A precocious pre-pubescent, Kieron wrote his first journalism in a self-published pen-and-paper booklet laboriously hand-copied and sold on his suburban cul-de-sac to a readership of hectored neighbours and street kids. Later, inspired equally by the irreverent anarchism of Amiga Power and prime-cut Melody Maker, he progressed to writing Hatezine Darcy’s On The Pull. As part of the International Pop Underground his work resulted in him being slapped around the chops by some of the leading figures in post-Bis Glitterpop.

Having no real measurable talents and fearing his family trade of lifting of heavy brick-filled hods, he decided that he should turn his hand to word-whoring. He soon found gainful employ in Britain’s leading PC videogame magazine, PC Gamer. Eventually he went freelance, a situation where he finds himself today. Let’s just say his writings have appeared in every respectable videogame magazine in the land and most of the disrespectable ones too, putting aside God knows how many ill-thought out web-ventures and artfully constructed HTML Follies.

When Kieron isn’t being insulted by friends and strangers alike for his more ill-thought out moments, he busies himself by various other writing endeavours. Primarily, at the moment, comics. His efforts are divided between arty credible ones which will make girls nod sagely and find him more attractive and things with zombies and machine-guns. His work which he’s most closely associated with is Phonogram, which he produced with Jamie McKelvie and has been recieved with the correct mixture of rapture and bemusement. However by now, more people probably know him from his Marvel work on characters like Thor, Ares, S.W.O.R.D. and top-space-horse-god-thing Beta Ray Bill.

Some say he’s a genius. Notably, none of them are.