Kieron Gillen says:

With 10 hours and 45 minutes to go until July starts up, I've still got some work to do, entry wise. I'm pleased with what I've got so far, I expected to cheat far more than I have, with much shorter, lamer posts, but instead they've been overall decent.

Time to change that so I can sleep for a bit before coming back to finish things off.

The following is a nearly totally out of context comment for you, it's Kieron Gillen talking about his work writing comic issues that tie in with bigger crossovers. This is important given that his tie ins have been universally considered "good" where most tie ins are... horribad.

The acronyms used: JIM refers to the book Journey into Mystery, which I really should be buying, and FI is Fear Itself, a crossover even that sounded terrible, and I'm told was terrible.

Here's the link I was directed to to read this bit: http://mindlessones.com/2012/06/12/silence-17/#comments

and here's, well, I guess I'll restrict myself to the last, main comment by Gillen:

"Kieron Gillen Says:
June 14th, 2012 at 12:33 pm
Man, this is going to end up wanky. JIM covers its wankiness with gags most the time, and this is unsheathed. UNSHEATHED WANKY WORDS.
James Moore: You make your themes dovetail with the themes of the crossovers, basically. It’s probably most visible with Uncanny. I knew before I started we’d be heading to AvX, so with that as a major climax, I planned appropriately. The story is about the X-men’s increasing militancy, estrangement with governments, etc, because telling any other story is going to lead to that story being derailed.
(Which is fine, because that’s a theme I’m interested in. I’ve said that the Student riots were a major influence on the Uncanny run before, etc.)
With JIM, I had the issue-to-issue breakdown of FI before I started, and dovetailed all my plotting to act as counterpoint to the main themes (often by explicitly undermining them to render extra complexity). As its own entity, that JIM is a political book driven by a bunch of ironies means that it’s a suitable structure to work with to intro what I want to talk about.
The cost is that since I made FI so key – those 10 issues would be about a third of the whole run – FI remains important right to the final panel. So JIM is easy to ignore because they think it should be shrugging off the shroud of FI (or so they say, because they didn’t like it). That’s the problem with the novelistic intent is the holistic structure of it.
I try to serve both masters. I want people to be able to pick up my crossover books knowing they can read them without the core book, because I know many readers aren’t into crossovers. But I also want to add meaningfully to the experience of the people who *do* come for the crossover.
Pragmaticism. You’re never going to get 26 issues to do your Animal Man by your lonesome in 2012.
In short: Crossovers are a known. You make them work for you, as much as you can. And really? If you actually take any crossover seriously, they make fantastic backdrops for stories.
amypoodle: I certainly respect the opinion – and you pick up on the more awkward parts of the book – but it’s one enough reviewers have disagreed with to make me feel my intent at least worked for some. The comment “Reading JIM improves FI considerably, but works entirely without it” was something that turned up in almost all the early positive press. Thor’s release is the main awkward jump, but it kinda works as an intro to JIM’s odd caption-prose compress/decompress mode of storytelling. If you squint.
The usual metaphor I use is that JIM is the equivalent of a film about the Enigma Code and Fear Itself is WW2. You don’t need to know about Hitler’s rise to power to watch a film about Enigma. For JIM, “power threatening Asgard” is enough to be getting on with.
It’s Pop Sandman in the MU. That does mean it has to be in the MU, and such, we have to explain its setting (As much as you’d have to explain a bit of the French Legal System for a book about French Lawyers). C’est la vie, etc.
I’m not sure why I’m ending any statement with “etc”."

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I like this guy. I wasn't nuts about his Phonogram book, but that's because I wasn't the audience. It was for fans of 90's British pop music and lovers of magic/wizard business, so I'm neither. Fair enough.