Last night I checked out the Iron Man movie. It is just as fantastic as it was meant to be, but that’s just my initial reaction. We’ll see how I feel in a couple days. Ah, hell. I’ll still probably love it.
About a month back, I read through Peter David’s novelization, so I got the gist of how good this would be. Like Spider-Man 3, it was based on an earlier or fuller version of the movie before scenes got cut or, in the case of this movie, replaced. Spider-Man 3 was about character-building scenes getting cut for the sake of time and allowing more focus on Mary Jane’s constant whining. With Iron Man, most of the scenes were cut for time, or in other cases, to totally fuck over Terrance Howard as Jim Rhodes. The poor guy gets devoured by editing. According to interviews, in return for their involvement in the film, the Air Force insisted on having control of the character and refused some of his character actions. That explains that.
It’s also worth noting that director Favreau was into improvisation, which does alter a couple scenes here and there on the dialogue side of things..
This is going to be filled with spoilers, so if you haven’t seen the movie and don’t want to know about the scene where Titanium Man beats up an army of ballerinas, go make yourself a sandwich. Or go see the movie. You’d be glad you did.
A week ago, back when I posted my report on Comic Con, I mentioned this one comic issue that was so absurd it nearly knocked me over. The review was originally going to be up today at PopCultureShock, but that’s going to have to wait for next week. It’s not that I’m not about done with it, because I am. It’s just that with last week’s Comics From the 5th Dimension article, I sent it in a little too late and hermanos sat on it a little too long, so it just got put up for this week.
It works out. I do need to spend some more time on this site, especially with all the stuff I have planned. For one, with the Iron Man movie coming out tomorrow, I have to write its own little counterpart to the Spider-Man 3 Deleted Scenes article from a year back. Remember to check back for that.
In the meantime, check out Kountdown to Final Kombat, the top ten list of why I’m looking forward to Mortal Kombat vs. DC.
Nasir “Nas” Jones is one of the best rappers alive.
It’s as plain as the chipped tooth in his mouth. Illmatic is one of the top five best albums ever. It’s that good. New York State of Mind, to pick one song, is infinitely quotable (“I never sleep, ’cause sleep is the cousin of death” “Rappers I monkey flip ’em with the funky rhythm I be kickin'” “I got so many rhymes I don’t think I’m too sane/ Life is parallel to Hell but I must maintain” “Never put me in your box if the shit eats tapes”). If I tried, I could probably kick half the rhymes on the album with an instrumental.
The problem with coming out swinging on your first try is that your second looks lame by comparison. So it was with Nas– basically every album has been seen as lesser than Illmatic, to the point where Nas released Stillmatic. I’d say that Hip-Hop is Dead is his closest to Illmatic and a thoroughly awesome album.
The thing about Nas is that he’s scary clever and intelligent. It’s like if Tupac had kept up with the tone of his first album (Brenda Had a Baby, for example) with a bit more black power in. He is a sick storyteller. He isn’t the free-association kind of storyteller like Ghostface is. He’s in the Rakim school of telling stories– really straightforward and just in the mix. Ether is still basically the anatomy of how to make a diss song.
(If you’ve ever seen me make reference to spitting ether or ethering someone, just know that I’m not talking about the chemical.)
What I’m saying boils down to Nas is smart. The corollary to that is that he should know better.
Case in point, from King Magazine (vaguely nsfw, bikinis):
Do you remember the first time you were discriminated against because you were black? The first time I opened up a Superman comic book. The first time I saw Flashdance, with the light-skinned, beautiful bitch who’s chasing after some white cat, which…I don’t have nothing against interracial relationships—love ’em, actually.
This is Nas’s career in a nutshell. He’ll hit you with something profound and then follow it up with something off-kilter. “The first time I opened a Superman comic book.” “The first time I saw Flashdance, with the light-skinned, beautiful bitch.”
He’ll drop The World Is Yours and then hit you with Hate Me Now. He’ll go from Nasty Nas to Nas Escobar. Illmatic to It Was Written. He put One Mic, one of my most favorite songs ever, on an album with Braveheart Party, a song so bad that Mary J Blige asked for it to be removed from the second pressing of the album. Braveheart Party makes me want to fight Nas. One Mic makes me want to hang out with him and chop it up.
Nas’s next album is called Nigger. I trust him and his skill, particularly lately, to be able to pull it off. The first single is harsh, but I’m digging it. It took me a minute to open up to it.
What will it say about the record industry if Def Jam drops you, 10 albums deep, over a single word? That starts a revolution. It sparks something within the hip-hop community, within the streets, within the people outside the streets. It raises an eyebrow to the situation, you know? Nobody wants to deal with the word “nigger,” because what comes with the word “nigger” is a whole history where you show so much injustice, and you show so much that has not been fixed yet. So it’s a scary thing. But it’s also uncomfortable when I’m dealing with it. Like, no one can tell me what to do. None of the black leaders, none of these motherfuckers, record companies, none of them can tell me what to do. Because you can’t stop what I want to do, you understand?
Nas is smart. Nas is stupid.
I say that this is Nas’s career in a nutshell, but it’s also bigger than that. It’s emblematic of a bunch of black men all over the country. Actually, let me dial that back– I am right there with Nas.
I’m not perfect. Sometimes I slip. Sometimes I roll my eyes at certain things like “*smh*, white people.” Sometimes I look at something and the only comment I’ve got is “That’s mad niggerish, man.” Sometimes I want to just box the entire internet’s ears and and scream on someone.
I’m smart. I should know better.
It’s a constant struggle. This is why I don’t like snarky things– it’s too easy. Anyone can toss off six sentences of ill will without really looking at something. I try to keep from doing it if only because I hate it. I force myself to think things over. I force myself to adjust to new information. I force myself to produce real content, for good or for ill.
I love Nas. I don’t want to be Nas.
From Nas’s verse on Kanye West’s “We Major”:
I heard the beat and I ain’t know what to write
First line, should it be about the hoes or the ice?
Fo-fo’s or Black Christ? Both flows’d be nice
Rap about big paper or the black man plight?
Nas knows what I’m talking about. (Kanyayo does, too, but that’s another conversation.) You can go low brow or you can go high brow. I can talk about ice or black man’s plight, which one do I pick?
I like Luke Cage and Storm. At the same time, I hate Luke Cage and Storm and everything they represent. They’re two sides of the same coin– the dangerous thug and the whitewashed safe one. The problem is that that coin represents a false dichotomy.
It isn’t that simple. Very, very few things are black and white. Racism and sexism definitely aren’t as simple as racist/not racist or sexist/not sexist, no matter how hard people on both sides of the argument try to make it seem that way. 99% of people are Nas– stuck in the middle. Smart and stupid. Gifted and wasted talent.
Pedro of FBB and I talk pretty much daily, and one thing we often talk about is how the level of discourse online and off embraces dichotomies way too easily. People want to be able to point and say “That’s wrong” and be absolutely right. It’s the “Manichean murder machine” that The Invisibles talks about. Nine times out of ten, it isn’t as simple as with me/against me. Real life is not in black and white. Real life is in shades of gray. I feel like it’s important to take that into account when writing.
On the one hand, Lil Wayne is the dude who coined “Bling bling.” On the other, he’s dropped incredible verses on “Georgia… Bush” and Rich Boy’s “Ghetto Rich” remix. (“Fuck being like Mike, I wanna be like pop/ Then I picked up a mic, I wanna be like ‘Pac/ Please put down the pipe, you don’t need that rock/ Please put up a fight for the kids that watch/ Us in the spotlight, and then they mock/ But caskets get closed and then they drop.”) David Banner can drop “Like A Pimp” or “Play” (NSFW) and then be that dude who basically did a better job raising money for the Hurricane Katrina support effort than the US government?
Is T.I. the idiot who got caught trying to buy illegal guns, or is he the guy who stays working with single parents and Boys & Girls Clubs, trying to make life easier for them?
This is what I think about. I write for a living, so I take this writing thing pretty seriously. I want to be sure that I’m on point, because my words reflect who I am. I’m not afraid to pull back and tell myself “It’s just comics,” but I’m not going to be that guy who is talking out of the side of his neck and end up looking like an idiot.
I hadn’t realized it until I sat down and thought about it, but Nas was probably the first “conscious” rapper I heard. I’m saying, I knew PE and KRS and them, but I know Nas way better than I know them. Maybe that’s why he’s so prominent in my mind. I heard KRS and PE. I paid attention to Nas.
I could talk about the man and his career all day. I’m not entirely sure why I’m writing about Nas on my comics blog and I don’t entirely know where I’m going with this. He wanted to draw comics as a kid, though, which ties into my usual point that black people reading comics isn’t a new or remarkable thing. Don’t call it a comeback new trend, ’cause we’ve always been here. Pay attention.
Basically, Nas and L-Boogie would be the best duo in music ever.
Art Baltazar at New York con really hooked me up. I got a grip of sketches for me and my friends. I’m having to trickle these out, ’cause I know that my friends read the blog and check my flickr. Here’s a few that I gave out last week:
Grifter for the Eisner Award-nominated Matt Silady, Cloak & Dagger for World Famous Runaways Fan Mindy Owens, both of which are my comrades in Writers Old Fashioned
Matt Murdock for Kirsten, also of WOF, and Doc Strange for James Sime
Adam Strange (heart) Miss Misery, for Kirsten and James both.
It’s been quiet on 4l lately ’cause my day job needed a careful application of “work” applied to “projects.” That’ll change soon! Big things poppin’.
Myspace.com Blogs – EXCLUSIVE: FRANK MILLER blogs about WILL EISNER from the set of THE SPIRIT! – MySpace Comic Books MySpace Blog
I maintain that A CONTRACT WITH GOD will prove Will’s most influential moment in comic-book history. Out of nowhere, the master reappeared on the scene, stabbing his sword in the sand, declaring with format, content, and its self-description as a “graphic novel” (a term I don’t like, but more on our disagreements later), that comic books need not be ephemeral things with a shelf life measured in weeks, but, if worthy of it, capable of literary permanence. It changed the way artists, then publishers, viewed comics. Back then, in the dog years of the early seventies, Will charted a map for the future that may have saved comic books from self-induced extinction.
It’s a good read. If you haven’t read it, check out Eisner/Miller. It’s also a wonderful read.
Posted in comic books by david brothers | | Comments Off on Frank Miller on Will Eisner
The weekend of chunky guys dressed like Colossus and hot women dressed as Slave Leia has come to an end. I myself had a great time, spent with hermanos from this very site and a whole bunch of guys from Funnybook Babylon. Sadly, Thomas “Wanderer” Wilde deemed himself “too broke” to consider joining us and Hoatzin would have probably involved a gigantic plane ticket paid in rare diamonds, since he’s from Europe. I don’t know. I really have no grasp on how that type of thing works. Besides, Hoatzin seems to have vanished from our planet. What happened to that guy?
This one movie sent the other movie into space.
Day One
Last year I got to New York the day before the con started, which allowed me enough rest and whatnot. This year I had to come in the first day of the event and kill time until David Uzumeri came in from Canada, since he was in charge of dealing with the hotel. I walked straight from the Port Authority bus terminal to the Javits Center, which tired me the hell out.
After getting my swanktastical press pass, I met up with hermanos and Joseph of FBB. They were at a panel starting up that was a screening for a new Will Eisner documentary. Since I was tired from all that walking, I decided to stick around and watch it. I found it interesting in the sense that I honestly didn’t know all that much about Eisner, which is almost a sin if you’re a comic fan. The four of us (David U. showed up towards the end) mostly agreed that while it had some fantastic stuff in there, such as taped conversations between Eisner and guys like Kirby, the sum of it was incredibly dry.
Shortly after, we went to the panel on online journalism, with guys from Newsarama and CBR there. It wasn’t as good as the comic blogging panel from last year and mostly focused on arguing over criticism vs. getting press releases. Once that was done with, I was rested up enough to do some wandering.
I’m going to have a big post about Comic Con later in the day, but something caught my eye today and I felt I needed to make mention of it. Back in the mid-90’s, DC released a commercial to the masses about their comics. It was well-produced and even though at that age I couldn’t name half the characters shown, I still thought it was pretty badass.
It would show character art of heroes from that era and morph them into other characters as the announcer went on. Here’s a quick transcript, minus the echoing female voice:
Announcer: DC. Incredible action. Astonishing adventure. The coolest heroes. The hottest heroines. And the most outrageous villains…
Darkseid: TOO TOUGH FOR TEE VEE!
Announcer: …in the universe!
Lobo (with an animated mouth and a voice that tries way too hard to be animated Wolverine): This ain’t yer daddy’s comic book, fanboy!
Announcer: DC Comics!
I never got the whole “too tough for TV” thing. Didn’t they have Batman: The Animated Series around that time?
Maybe you remember this. The only reason I still do is because a fairly local comic shop, Zapp Comics, used the same commercial. After DC decided to stop using the ad, Zapp just took the same commercial and added their store’s information to the last few seconds. It’s weird that they would do a commercial that doesn’t even mention Marvel in any capacity, but like I said, it’s a well-produced commercial.
They aren’t the only ones who do this. A quick search on YouTube helped me find the same commercial, only with information from Humungo Comics in Pennsylvania tacked on.
Why do I remember this commercial and bring it up? Because they still play it! I just saw the damned thing on TV less than an hour ago!
Yes, it’s a nice ad, but it’s been like 12-14 years. Look at all the dated stuff in that commercial. Murderous Hooded Green Arrow, Yellow-Ringed Guy Gardner with the G jacket, Deathstroke shown as one of the “coolest heroes”, Matrix Supergirl, Catwoman with her huge curly hair as one of the first villains shown, MOTHERFUCKING LEX LUTHOR JUNIOR! I could have sworn I saw Evil Raven in the commercial I saw on TV, but she’s not on the YouTube video.
I know comic shops may not have the revenue necessary to make a flashy new commercial every few years, but at this rate, some kid will be watching this and Lobo’s one-liner will be wrong. Those actually were that kid’s daddy’s comic books.
