This bit of audio here is important. It’s from DC’s Final Crisis Management panel from San Diego Comic-con 2008. Thanks to Jamie Coville for the mp3 of the panel.

The whole idea with Mister Miracle, Mister Miracle was supposed to be a book where everyone was black and that was the idea. I wanted to do like, Metron as Sun-Ra. He’d sit in this big Sun-Ra chair with mirrors and stuff.

But, it wasn’t drawn that way. And when they drew the second issue, they drew the homeless New Gods as white guys, don’t ask me why. ’cause everyone in that book was supposed to be black characters ’cause I wanted the whole thing to be based on Shilo Norman and his world. But, those guys shouldn’t be white, sometimes things just happen, artists tend to draw white guys.

Before I go in, I should probably explain some things about myself.

It’s fair to say that I’m under-educated. My college career was derailed around two months before it really got going, and I’ve been off-track ever since. I went from almost being a Buckeye to being whatever this is. It sucked, if you were wondering.

I eventually got serious about school, starting caring again, and flexing my underachieving muscles. Kanye West dropped his College Dropout album and I hated on it originally. “Telling kids to drop out of college?” I thought. “Way to go, Kanye. I thought you were supposed to be smart.” I mean, here’s a bit from his song “School Spirit:”

Told ’em I finished school, and I started my own business
They say, ‘Oh you graduated?’
No, I decided I was finished

So, yeah, a few years later and I’m pretty much officially a college drop out with a job that pays better than anything I’d have gotten fresh out of college.

The point of this is that I’m not exactly trained. Almost everything I know, I learned because I wanted to or because I experienced it. I can’t cite sources or trace lineages for ideas, but I know a little bit about a little bit. I’m smart enough to be able to form arguments and talk about them intelligently. I’m not Encyclopedia Brown, is my point. Pardon my poor phrasings or ignorance.

What’s this got to do with black New Gods?

Grant Morrison came very close to writing one of the best stories about the black experience. I can’t speak to whether it was on purpose or not. My gut says “Yes, to an extent,” so I’ll go with that.

Looking back, in most things I’ve read, most advice I’ve been given, and most stories I’ve heard, the one theme that’s almost universal among black people is “elevation.” You are more than what you appear to be, you will be more than you are, what you are now is only the beginning, and so on.

If you put some thought on it, it makes sense. Slavery stripped blacks of almost every possible form of identity. National, familial, religious, and tribal identity were completely wiped due to the slave trade. At that point, what history do you have left? Not much of one, right? What do you do when you don’t have a past?

You embrace the future.

I can’t speak to the specifics of Afro Futurism, but it’s a common trait amongst a lot of black thought. Boiled down, it’s all about being more than what you are, because what you aren’t isn’t that much at all. We aren’t slaves– we’re kings and queens. We came here on slave ships, but we’re gonna leave on space ships.

What’s getting high? Getting lifted.

You can see it in the music. Andre 3000, Sun Ra, George Clinton, and even Lil Wayne are examples of Afro Futurism. Saul Williams in particular has wholly embraced the idea of it. Here’s an excerpt from “Ohm” off the Lyricist Lounge record.

the beat don’t stop when, Earth sends out satellites
to spy on Saturnites and control Mars
cause niggas got a peace treaty with Martians
and we be keepin em up to date with sacred gibberish
like “sho’ nuff” and “it’s on”

It isn’t just about being “weird” and “out there,” though. You can see it in a man’s swagger. Swagger isn’t just about how you walk. It’s your style. It’s your demeanor. It’s how you walk, how you talk, how you dress, and how you carry yourself. A lot of hip-hop heads are gadget hounds. They’ve gotta have the newest and baddest thing out there. There’s a lot of jokes about bling bling or whatever, and part of it is certainly crass commercialism, but it’s also another way to show your individuality and embrace something bigger than you are. It’s a way to become you.

It’s like Key23 in The Invisibles, or “Let there be light.” it’s turning fiction into fact.

Look at the Wu-Tang Clan. The RZA is part rapper, part kung fu warrior, part chess master, part superhero, and then part Bobby Digital. Bobby’s something greater than the RZA who is in turn greater than Robert Diggs.

The cipher is an important part of rap. Or it was. I can’t tell any more. Another word for it is “circle.” The cipher contains men who are not much by themselves, but are something important when together. You’ve heard the advice “Watch who you let into your circle?” Your circle is your cipher. It’s your family and it is important.

Parents want their kids to be better than they were. What matters is that the next generation ends up better off than the previous one. Go to school, get a job, leave the ghetto, do something, be something. You don’t have a history and your people don’t have a history worth speaking of. So, you have to create one.

Elevate yourself. What you are is not everything that you are.

I’m not an expert on Afro Futurism. I can’t tell you exactly where it came from, but I’ve got a pretty good idea why it exists. It is about elevation. It’s taking what you are and becoming something else. It’s being a butterfly.

Chris Randle picked up on the Morrison thing a while back. He linked to this fascinating piece about black sci-fi. I don’t know that I’ve read any, to be honest, but the themes and ideas in it are familiar. Creating/ascending to/acquiring/forcing a heaven that you do not currently have into existence.

All of this goes back to having the direct link to your past stolen by slavery. It’s all well and good to know that you came from Africa at some point– but where? When? Who were you related to? How do you get past that?

Why is this important and how does it relate to the New Gods?

The New(er) Gods were originally all supposed to be black at first. They were the new incarnations of the New Gods, who were themselves the successors to the Old Gods of the Third World. The New Gods becoming black would have continued the tradition of elevation.

In 7 Soldiers: Mister Miracle, Shilo Norman pulls off a trick that involves escaping from a black hole. Inside the hole, he met Metron of the New Gods, who informed him that evil was on its way and that Shilo must be prepared for the coming horror. He meets the reincarnated, or maybe just incarnated, versions of the good New Gods while going through his training, and they are broken and decrepit. The evil gods have won. Shilo passes through the crucible and beats death, finally proving that he’s ready to lead the charge. In Final Crisis, he’s seen gathering heroes to fight Darkseid and the forces of evil.

Shilo being the champion of the New Gods is an intensely powerful image on a variety of levels. By being the first of the New Gods, he’s attained what Afro Futurism and elevation represents. He’s elevated to a higher state. He’s achieved his potential. His figurative lack of a past no longer matters. He’s beyond that now.

On a level that’s both higher and lower than that at the same time, Mister Miracle represents something else entirely. He’s the world’s greatest escape artist. He can easily escape from traps, games, gimmicks… and chains. He’s thrown off his personal chains of oppression. He’s a freed slave, and in becoming so, is also the master of his destiny. He becomes the Harriet Tubman (or maybe Catcher Freeman) for the superheroes/New Gods. He has to rescue them and lead them to safety.

He’s found his true identity and elevated.

Grant Morrison has said that all we’ve seen of the New Gods before Final Crisis is just a sliver of their true existence. In FC, we see the full extent of their being. Isn’t this similar to the idea that a person represents something greater than himself? You are not what you appear to be, you are something more?

If not for that unfortunate art error, Morrison might have written a story that’d resonate even deeper with some of his fans. It’s already rife with layered meaning, but the meaning that almost was is amazing.

It’s worth thinking about. It’s probably a story worth telling, too.

4thletter! is available via Livejournal and RSS, with an optional comments RSS feed, too.

I’m in San Francisco, Gavin’s a Jersey boy.

You can email me at 4thletter on gmail, AIM me at ethiopiates, or GoogleTalk me at 4thletter on gmail.

As far as Web 2.0 goes, I’ve got a tumblr, “it’s all science,” which is also available via rss, and a video blogging spot on vimeo, which is here.

We make it easy on you. Get familiar.

I’m working on a post about black people in comics right now, but you’re going to have to live with this other post about the same thing for today. I have to put in some work on that other piece, because I think it deserves it.

This one is about Captain America & The Falcon.

This was originally one of my least favorite Kirby works, if only because Panther and the 4th World were full of big ideas and bigger executions. Cap & Falcon wasn’t as sexy as his other stuff. I’d always assumed it was just by-the-numbers superheroics. What’d I’d read of it years ago seemed like regular old superheroics. I thought it was just like his old Joe Simon Cap jawns.

It definitely has its high points, though. It’s essentially a high octane buddy movie. Cap & Falcon are two best friends who stay in the thick of battle. The art is pure Kirby– impossible poses, punches, and maneuvers. Those weird double fist uppercuts/body slams that throw people over your head, the amazing and impossible flips, and kirby krackle. All of it is in here.

What’s even more remarkable is how Kirby juxtaposed the mundane with the insane. Cap & Falcon has a black lead character, so Issues tend to come up sometimes. They have a discussion about slavery, Falcon distrusts the government, and so on.

You could easily paint Sam as the Angry Black Man, but that’s needlessly reductive. He’s conscious of the past, which makes him conscious of the future. You can either speak up or keep getting sand kicked in your face, right?

Throughout the book, whether his name is on the cover or not, Cap & Falcon are portrayed as equals. They fight together, live together, and come close to dying together. The people they meet treat them as equal threats. He isn’t the sidekick. He isn’t the Black Version Of Captain America Who Is Almost As Good As The Real Thing But Not Quite. He’s the partner. He’s the equal.

I’m kind of consistently amazed at the deft touch Kirby had when it came to black characters back in the day. It isn’t perfect, and the jive talk is pretty awkward (“It took two hundred years, Falcon… but this country’s grown up!” “Jive! It’s still trying, friend! I’ll stake my life on that!”), but Kirby pretty much sat down and did it better than some people do it now. He approached things from the right place, and I really appreciate that.

Really, though… Captain America & The Falcon can be summed up in one image. It’s an image of two best friends arm-wrestling on the kitchen table and talking smack before a mind ray zaps into the room and turns both of them crazy.

Later on, Henry Kissinger tells them to call him “Henny.” Some nights, Henny hits the bar and orders two Thug Passions. He pours one out for the homey Tupac and tosses the other back like it was nothing.

There’s so much to love about this series. Leila is awesome, but has disappeared down the same black hole as Glory Grant. I’d love to see her show up again, since last I remember, she was in Priest’s Cap & Falcon. I’ve talked about Kirby here, here, and here.

Jack Kirby is like Darwyn Cooke for me. I love them, but the work doesn’t exactly hit every month, so I tend to forget exactly how much I love them. And then I find, or remember, something they did and I realize that I’m a huge stan all over again.

Big ups to Chris from FBB for sparking this post thanks to an offhand image link and hilarious discussion.

Hey, there. I didn’t have time to post about my trip in time, but at the moment, I’m kicking it in Arizona for a few days. I should be back Friday or so, but in the meantime, hermanos has the slack and that’s fine with me.

Just three things of note from my trip so far:

1) On the plane flight, I sat next to none other than former WWF Intercontinental and Tag Champion Tito Santana! God, that was awesome. We talked for a while about many things, but that guy was a complete class act. Totally friendly, good natured and still looks great. At first I didn’t want to say anything because I thought he was too young to be Tito.

2) The IMAX theater around here isn’t playing Dark Knight. Instead, they just have a series of educational films that will not make them money. How dense and/or retarded are they for not picking up on the goddamn Batman? It boggles the mind.

3) While at the local mall, I stepped into a KB Toys for the sake of looking at some action figures. Now, this store looks like they just get a series of figures, sell the ones worth selling and keep a never-ending supply of the ones nobody wants for years. For instance, for the Marvel Legends figures, I found about 15 Longshots and maybe 2 Lady Deathstrikes. Then I discovered a bargain bin of Rocky Balboa figures. At first I was excited. Rocky figures? That means I could pick up a sweet figure of Clubber Lang or Drago for cheap. Maybe if I’m lucky there will be an Apollo Creed in there.

Instead, I just found a huge pile of figures for the announcers and commentators. Not just for Rocky Balboa, but for the old movies as well. Who would want this? I’m serious. Who would ever want one of these? No kid, that’s for sure. I don’t think there are any fans of the movies who are licking their lips over this. I can’t comprehend how someone thought those would be a good idea.

That’s all for now. Be back in a couple days.

Comics are a bastard medium.

It isn’t fine art. Even the commercial art doesn’t quite stick– it’s for sale, yeah, but it’s still somewhere between the two.

Comics are for children. They feature men in tights re-enacting the same simple good versus evil fights they’ve been doing for decades. How deep do you think Batman vs the Joker really goes? Don’t even try to play the “graphic novel” card– graphic novels are just comics with a spine.

The time of comics being worth a grip of money is over, too. It kind of blows my mind when I see people buying variant books for twenty bucks. I have trouble paying more than ten cents a page– why would you go for a dollar a page? Do you really expect that much of a return on your investment? That comic is worthless, son, and it isn’t going to make you money. The ’90s are dead and gone.

Comics are the red-headed stepchild of Hollywood. How many IP farms are out there now? How many people write comics that are obviously movie pictures or storyboards in sequential art form? How many Hollywood writers drop in, dabble a bit, and drop back out, sometimes mid-series? Hollywood options are big news these days– why? Easy: Hollywood is where the money is, friends. Money talks.

Comics are a bastard medium. Not quite fine art, not quite commercial art. Disrespected, not respected, and used as a stepping stone. What do comics have to lose? Nothing at all.

Why not take greater advantage of that?

I love Gotham Central. It’s a great little police procedural. Everything from the writing down to the art clicks. But, take a look at it. It looks like it could have been The Wire or The Shield. It’s staged and laid out like a TV show. It’s got realistic angles, establishing shots, and pretty realistic looking characters. This could’ve easily been a TV show. I’m not dissing or anything. The realism is a point of pride for the series, I’m sure.

Comics can do Hollywood. Hollywood is easy. However, can Hollywood do this?

Look at that. Hyper-compressed information dump gives way to a wonderfully wide open two page spread. The eighteen panel grid is positively claustrophobic. The lack of words and panel size forces you to take your time and pore over each panel. The panels even reflect the reality of the situation. They’re inside an oppressive military facility, and when they escape? A wide open breath of fresh air.

What about the insane style switches in Seven Soldiers #1?

Comics can do so much that movies cannot. However, the general style at the Big Two, and even beyond, tend to stick to realism. Chris Bachalo and Humberto Ramos are a nice look, but work by them, and those like them, is fairly rare.

David Aja made wonderful use of the comics page in his work on Immortal Iron Fist. He kept the straight-forward, realistic storytelling and flipped it. Each strike gets its own panel. Iron Fist dances around the comics page in a scene that would take a split second of action in a movie. He makes the page part of the story.

I loved We3. There are a ton of little narrative tricks and details that force you to read the book slowly and take it all in. The spread above, of the animals attacking the soldiers, is more exciting than bullettime was when the Matrix hit. Every single action gets its place in time. If you look at the panels in order, it’s like looking at a film strip.

No one cares about comics, so comics can get away with a lot. Grant Morrison’s Flex Mentallo is one of my favorite comics. It tells the tale of a forgotten superhero and how you can make fiction a reality. It’s a love letter to comics and it flits from era to era over the course of the series. It’s brave.

We need more Flex Mentallos. Tell a story that might not sell, but is worth the time. Marvel’s started moving in this direction with their revamped Marvel Knights series. Who’d have thought that a story about Daredevil’s Dad would be an excellent comic?

There’s a lot of attention paid to continuity, as well. Things have to line up just so or else the story is ruined.

Screw that.

Keep the stories internally consistent, but go wild. I may not like Marvel Zombies very much, but I can respect what it represents. Take advantage of the fact that most of these characters are unbreakable. Toss Captain America into 1602, sure. Pop Spider-Man into feudal Japan. What if Luke Cage was in his ’20s in 1930s Harlem? What did the Black Panther cult do to fight colonization in Africa?

Take your characters and bend them. If they break, guess what– you can just dial it back to what it was before. You don’t need Continuity Patch Comix. Fans aren’t stupid. If you say “That was then, this is now,” they will assuredly grumble. They’ll grumble regardless, to be honest. But, they’ll get over it. They always do.

Spider-Man made it through the Clone Saga. Batman made it through the ’90s. Luke Cage, Ms. Marvel, Emma Frost, and a host of other d-list characters are headlining now. You can’t break these characters, so don’t treat them like fine china. Throw them against the wall. They’ll bounce back.

Comics need to start acting like comics. No one expects anything out of them but a story that goes from A to B to (sometimes) C. If no one expects anything out of you, you’re free to do what you like.

We need more Seth Fishers.

Fresh out! 4l!tv 03: Continuity Patch Comix.

This week, I talk about why we don’t really need books like Green Lantern: Rebirth, One More Day, or Infinite Crisis. It comes complete with audio/visual aids.

Artist of the Week is Esso, out of Harlem. I dug through the 2dopeboyz archive and pulled out a few treats: Paper Planes remix, Hip-hop Will Never Die w/Nas, and Get Ya Beat Killed. Add in three mixtapes, ESSOcentric v1, ESSObama, and E3: E-Day and you’ve got over fifty new songs to bump.

I’m way too fond of Anti-Backpack, too. It’s self-conscious as all get out.

Anyway, I’m still working on the sound mix. I’ve heard that the backing music is a little too loud, so I’ll work that out. I’ve also been told that I should get a green screen so that I can report live from the Daily Planet, but one thing at a time, right? I’ll fix the sound first, then some bitrate issues, and then move on from there.

You can catch my page on Vimeo. I’ll look into other distribution methods later on.

6:00-7:00 The Comics Blogosphere— The blog explosion has opened up a new frontier for comics criticism. This lively (and inevitably bloggable) discussion features David Brothers (4thletter!), Jeff Lester ( The Savage Critic(s)), Laura Hudson (Myriad Issues), Tim Robins (Mindless Ones) and moderator Douglas Wolk (Reading Comics).

Wow. That’s my name up there. Let me go ahead and say thanks to my fellow FBB4l! gangster David Uzumeri of Funnybook Babylon, who recommended me to Douglas Wolk after being unable to make it to the panel, and to Douglas Wolk, who didn’t look at 4l and go “Ha ha ha… no.”

I’ve been comics blogging in specific for a little over three years now. I went to my first convention in 2007. It was New York City Comic-con. A few months later, I moved to San Francisco. My second convention was Wondercon here in SF in 08, then NYCC again, and then I went to my very first San Diego Comic-con and had the honor of being on a panel at the biggest comics show in the country.

Wow, right?

The panel was a lot of fun. We didn’t exactly pack the room, but there was a respectable crowd. I was slightly nervous before the panel, as Andrew Bayer can attest, but that disappeared once I got close to the stage. I introduced myself to Douglas and the rest of the panel and took my seat. I already knew, or knew of, most of the people on the panel. I’d seen and spoken to at least one guy from Mindless Ones, though I didn’t know Tim personally. Laura I met at NYCC08 courtesy of Jon from PopCultureShock, though I was reading her blog before then. Jeff Lester I knew from Savage Critic(s) and had been reading for a while. We lived in the same town for a full year before meeting, since I kind of danced around the outside of his social circle. Do I even have to explain why Douglas Wolk is important? I kind of felt like the odd man out a little– I respected everyone on the panel. What was I doing there?

(jeff’s a luke cage fan, so he’s automatically cool.)

Pardon any errors in here– I’m going from memory and I may have a few things out of order. I’m sure I got all the facts right, though. This is also all very me-centric, because a) the world revolves around you know who, b) I feel like I learned a lot, and c) I didn’t take any notes, so there’s no way to do a proper report.

We went over a lot of the usual stuff you’d expect on this kind of panel. Where we got started, why we do it, and so on. I got to tell the secret origin of 4thletter! and everything. It was a lot like #34 on this list, only with more fanfiction. I mentioned how Fanboy Rampage, The Beat, and the old Journalista were kind of the trinity of blogging back then, and it turns out that Heidi Mac was in the audience. That was a nice surprise!

(At some point during all of this, I called Gavin a genius and possibly my rival.)

We talked about being part of a group blog is kind of an involved game of one-upmanship, as well. Having a partner, or partners, forces you to try and keep up. You can get complacent when you’re the only one on a blog, but a group blog is a community unto itself.

All of us got on really well. There were a lot of laughs and jokes and everything was very friendly. Laura described herself as a “stats stalker,” meaning that she keeps a close eye on her referrals and stats for her blog. I won’t lie– I do the same thing. I particularly like finding creators who’re googling for themselves. It’s fun and interesting.

That ended up spinning off into a sidebar about how stats and feedback affect your blogging. Almost everyone agreed that you should respect the feedback, but not follow it slavishly or allow it to completely alter your style. Use the feedback to grow as a writer, but you have to be careful not to let it give you a swelled head or wreck your self esteem. Trying to pay attention to the criticism, constructive or otherwise, is important, but learn what’s useful and what’s useless.

Jeff Lester made a good point that I can’t quote from memory, but it was in reference to growing as a writer and looking back on things you’d written years ago and having something like an “ache in your soul.” Growing as a writer is vital, and sometimes that feeling is bad, but necessary, one. It shows that you’re getting better. Or have low self-esteem, I’m not sure which.

I mentioned that, in my experience, the only way to become a better writer is to write regularly. I’ve been press of some sort or another (games or comics) since 2003, and that’s led to me writing almost every day ever since, be it for work or play, fact or fiction. In high school, a steady stream of (fan)fiction and school essays kept me busy, too. It helped a lot, since I tend to immediately hate whatever I write thirty seconds after I finish it and am always pushing myself to do and be better. Pushing through those thousand terrible pages you write before you get to your first good one is a necessary evil.

There was also a brief tangent about trolls and negative commentary online. Learning to recognize a troll when you see it, and learning not to engage them no matter how tempting it gets, is basically a life skill.

On the flip side, both Laura and I mentioned that we have been guilty of causing trouble, due in part to our blogs being vanity blogs, for lack of a better term. Jeff and Tim are part of group blogs with specific aims, while 4l is me and Gavin and Myriad Issues is just Laura. We blog because we can, so a lot of personality and real life issues start coming in. If you’re in a bad mood when you write, that’s going to come through in the post and then you might have some ‘splaining to do, Lucy. We both tend to shoot emails to trusted friends before the post to check and see if we were going over the line, and sometimes that gets posted anyway.

On the flip-flip side, sometimes you just have to eat a blogger alive. Don’t pretend like some don’t have it coming.

Laura made a really interesting point mid-way through that piggybacked off something Tim said. Tim mentioned that he’d gotten his start in fanzines, which just aren’t a viable from an economic or attention standpoint these days. Laura, and myself, grew up on the internet. It’s helped mold her style of writing, introduced her to people, and opened up new doors. It’s a brand new age for criticism, and there’s kind of a generation gap (I’m not calling anyone old!) between the people who grew up online and who got on the net after they grew up.

I mean, looking at my life from day job to fun gigs– in the past five days, I’ve written something like ten blog posts for a certain game website, kicked off a new strategy guide project, edited five manuals for two different game franchises, troubleshot a few hilarious hardware/software failures (they weren’t hilarious at all, that was sarcasm), played a bunch of currently unreleased games, shot about half an hour of video and edited it into something interesting (and sad), tricked Gavin into doing a great PCS piece on Batman, and wrote an emergency (short) script for a game company.

This is my life. I love my life. It’s always interesting, always fascinating, and sometimes frustrating, but it’s mine. It’s different, it’s weird, and I don’t know that I would have been able to do this in anything but the Internet Age. I’d like to do more freelance writing, since 90% of what I do these days is a weird mishmash of technical writing and educational, but that’s my fault for not pursuing it actively.

At some point during the panel, probably before all of this stuff I’ve already talked about, someone asked about the role of comics blogging in regards to affecting companies and letters pages. All of us agreed that the blogs are a replacement for letters page, but without the filter that a keen-eyed editor employs in comics.

Any idiot, including myself, can have a blog and talk about comics all day long. There are an enormous amount of bloggers out there, and not all of them are worthwhile. Again, discernment is the key skill to have when speaking online. I don’t think that any of us said that they’d affected someone’s publishing operations in their day-to-day, but there had definitely been a fan reaction.

I came away from the panel kind of re-energized, honestly, and not for the first time that weekend. The blogging panel and the Black panel reminded me what I love about the quagmire that is comics and why I even bother with it. The answer is the community– there are a lot of smart people out there that I don’t know, but will one day meet via the internet, and then eventually in real life.

Case in point: Cheryl Lynn (who needs to check her email >:|), Pedro, Chris, Joe, Jamaal, Jon, and David from the FBB4l! gang, Carla Hoffman from Snap Judgments, and Graeme McMillan, who writes for every website ever, but is currently on io9. Add the entire cast of the blogging panel to this, as well. That’s why I do it.

This wasn’t on the panel, but on Friday night, after the Eisners, a lot of people came to the Hyatt to get their drink on. I was going to sneak in and go straight to bed after seeing Tropic Thunder (hilarious, and there is a post coming on that soon, as well), but I got there and at least three people I knew spotted me on the way in, so I kind of had to come back downstairs. I caught up with Darwyn Cooke after seeing him at the con earlier, talked to my San Francisco buddies, and spotted Laura in the lobby. The bar had just closed, and while Laura and I were talking, she said “What would you say if I could get you a drink?” I said she’d be my brand new favorite person. So, we go back into the bar, to a table, and she gives me a drink.

Laura Hudson is my BFF and my favorite blogger. Sorry, Graeme!

Black Panel & BET post(s) coming soon. I’ve got a lot to talk about and a lot to turn into coherent sentences instead of my chopped and screwed notes.

Usually, whenever a big comic book movie comes out, I’m there with a little article about comparing the film to the novelization. After all, the novelizations are based on earlier scripts of the movie and shed some light on what was taken out. Sometimes things are for the better. Sometimes they’re for the worse.

There’s a reason I’m so late with the Dennis O’Neil adaptation of Dark Knight. While the books for Marvel movies come out about a month or so before release, it was decided, for spoiler purposes likely, that Dark Knight would be released as a strict-on-sale title. It came out the same day as the movie, but my Barnes and Noble didn’t receive it until days later. As a fun aside, O’Neil himself came to the store, wondering if we had it yet.

At first I wasn’t even going to bother. Reading the book after seeing the movie didn’t sound like as much fun. That decision changed after seeing what I have to call the best movie of the summer. I picked up a copy and spent the next week or so reading it.

I should point out that this is going to be spoiler-heavy, but this is a comic site and you are a person reading a comic site. If you haven’t seen Dark Knight by now and haven’t at least been spoiled about the scene where David Allen Grier appears as Oswald Cobblepot, then there’s probably something wrong with you.

Read the rest of this entry »

TSS Presents 15 Minutes With Method Man | The Smoking Section

TSS: So what’s the word with this comic book you got coming out?

Method Man: Huh?

TSS: What’s the word with this comic book you got coming out?

Method Man: (Laughs) It’s funny getting asked that, that’s why I wanted to hear you say that again. It’s called Method Man of course, named after me. Except for Method Man is in a gang of murderers who are descendants of the first murderer, Cain. My character doesn’t want anything to do with that lifestyle anymore nut that’s the only life he knows. So, in the outside world, he becomes a private investigator. He just takes the cases nobody else will because basically they don’t think the cases are real because they deal with paranormal and occult things.

TSS: So what was your role in the book? Did you just do the concept? The writing?

Method Man: The concept. David Atchinson took the writing over and Sanford Greene did the artwork.

TSS: What made you want to do this comic book?

Method Man: I never really thought about it. But when the opportunity presented itself, I jumped at it because I’m a big comic book fan.

TSS: Yeah, I remember the Wu-Tang had a comic book a few years ago. I collect too and—

Method Man: Wack. That shit was wack. I ain’t understand that bullshit.

TSS: Who’s idea was it?

Method Man: I don’t know. I ain’t have nothing to do with that shit. There were a lot of things going on I ain’t have nothing to do with. Like that wack-ass video game. That video game was garbage.

TSS: Wait, which game was that?

Method Man: Shaolin Style or some shit like that.

TSS: Now, back to this comic, I hear you got 25,000 comics or something like that…

Method Man: Yeah, I got a gang of books.

TSS: What were your favorites and what really influenced this comic book?

Method Man: All of them, really. I basically stuck with Marvel. I like some of the independent titles. I read comics like Evil Ernie. Vampirella. Lady Death. All those outside independents and stuff like that. Dark Horse Comics and Image when it broke off and all those artists formed their own company. But mostly Marvel was my mainstay. And any X-Men.

TSS: So X-Men were the favorite?

Method Man: Yeah.

TSS: So what was your favorite character?

Method Man: All of’em really. I wasn’t that much of a geek where it’s like ’such and such is my favorite character because he does this, that and the third.’ But I just love the books. I like the teamwork.

Shaolin Style was awesome because it was a real deal four player fighting game with fatalities. It wasn’t really all that fun, though.

Method Man, from the Black Panel (full report coming soon), on his comic Method Man: “It’s pretty decent.”

I love his marketing. I should be getting a copy of the book in the mail soon, so I’ll definitely have to report back with that.

RZA: Interview

I always thought the story of Bobby Digital would make a wicked comic book. Are you seriously considering it?

That’s what we’re doing now. We got a comic book coming. When you get the new album, you get a little taste of the artwork and the villains that I’ve created around the character. The Birds of Prey are after him, the main villain being the Raven. You also got the Hawk, the Vulture, the Eagle and the Crane. We have them incorporated inside the artwork of the album, as well. They’re also mentioned in the music, but you gotta listen closely.

In true RZA fashion, he peppers the interview with plenty of smart dumb quotes.

“You Can’t Stop Us Now” is pretty hot, though.