Whoa! Electricity! Sweet electricity! How I missed you!
What a week that was. I’ll go a little more in-depth about my experiences tomorrow. Right now, I have some panels to post. Thank God this was a small week. Especially because that Teenage Mutant Ninja Turtles Annual is 60 pages. Damn. It’s pretty cool, though. Co-creator Kevin Eastman does his first illustrated TMNT comic in about 20 years and it’s essentially a Guy Ritchie movie with three factions of ninjas added in.
I’m joined by Jody, Gaijin Dan and Space Jawa. This may be the first week where I didn’t read the most stuff.
Aquaman #13
Geoff Johns and Ivan Reis
Avengers + X-Men #1
Dan Slott, Ron Garney, Jeph Loeb and Dale Keown
Avengers vs. X-Men Consequences #4
Kieron Gillen and Mark Brooks
I got this email on Halloween about a comic. It was a comic produced by Percy Carey’s Arch Enemy Entertainment. I’ve been trying to get off basically every mailing list ever, since my inbox is a disaster zone, so I wrote back, in full, “Hi, please remove me from your mailing list.” as soon as I received the email.
At like 0500 this morning, I got this email from Carey, reproduced in full with the exception of his email signature: “What’s wrong with you? Tree said you were cool and I thought you were too over the phone but ok cool I will take you off David. But you made an enemy out of me. Tell Joe Hughes Percy Carey said hi.”
Ugh. I actually liked Sentences, his autobiography co-created with Ron Wimberly, a whole bunch. Book of the year status. But okay, whatever. I had another guy say that it’s “Weird when people do so much complaining about mainstream comics and WON’T read an indy book when you give it to them free.” when I asked to be removed from his mailing list, which was kind of funny, since I voted for his indy book in an awards show (which it won) and just didn’t want to be on a mailing list, free books or not. But it’s whatever whatever. Life goes on.
People are very close to their creative work, and I can’t blame them for feeling a pinch when someone displays disinterest (though it isn’t really that on my side, it is probably definitely that from the outside looking in) for their work. But the sun wasn’t even up yet so I made a mental note to drop him an email, despite the weak threat that he could get me fired, explaining that I’m not that type of journalist any more and I’ve removed myself from 99% of mailing lists. It’s not you, it’s me. I’ve done that before, and it feels better than just not answering at all, which is probably wiser. And then I went back to sleep.
Which… okay. Weird? Yes. But I guess he really wants to have that conversation. But, there are also these, which followed ten minutes later, I guess because I didn’t answer fast enough. I didn’t answer the tweets because they arrived at 0510, maybe 15 minutes after he sent me that email, and I was in bed, on my way back to sleep.
@joehughes28 Joe I have a problem with one of your writers. I about to take it back to the streets. I tried to be nice.
Joe, the guy Carey’s tweeting at, is my editor over at CA.
I feel like making big threats in an email is one thing. I know what “you made an enemy out of me. Tell Joe Hughes Percy Carey said hi.” implies. “We are not friends. Think about that fact and think about the fact that I know your boss and what that means.” I get it. I roll my eyes because it’s such an impotent display of power, but I get it.
But actually trying to get me fired by hitting up someone in a position of authority over me? Because I said “Hi, please remove me from your mailing list.” to an unsolicited email? Nah, son. I’m not the guy that gets bullied. You’ve got me confused.
This is one of the things you have to watch out for when writing about comics, or really any type of entertainment journo. People can and will try to pressure you into doing what they want you to do, and when you decline or object, you’re going to have a fight. You can ignore it and avoid the fight altogether, you can answer back and try to smooth it out, or you can answer back and escalate the situation, which is almost definitely what this post is going to end up being.
Don’t let anyone push you around. Put whatever spotlight you have on them if they try it.
One of the weird things about writing about comics (or comics journalism or entertainment journalism or whatever this quagmire is called) is that you have to walk the fine line between advertising or marketing someone else’s work and actually creating meaningful content outside the restraints of an economic exchange. I’m fine with “Buy this book!” benefitting someone else, as long as the route I take to tell you to buy it agrees with me. For me, that’s long dumb essays about how cool Carrie Kelly is. For others, it’s something else.
These are advertisements for advertisements of upcoming series that Marvel sent out to all or most of the comics sites. They’re teasers for upcoming advertisements and announcements.
They’re also information-light. You get two names and a buzz word. They’re intended to hype up the fanbase… which makes me realize that comics marketing and advertisement (toward a certain segment of the fanbase) is largely accomplished by way of the press. You don’t see ads for Captain America comic books on TV — you check CBR or ComicsAlliance, where you’ll find stuff like this. Comics sites even post solicitations, which are essentially the thing that retailers use to order their comics. It’s catalog content.
This is the part of comics journo that I don’t want any part of, mainly because they’re such a blatant advertisement. There’s no content here to discuss, only the barest slip of info that makes you think about a series you weren’t previously thinking about.
I’m not really down with unlettered previews, either. They don’t feel like “look at this great art from _____” so much as “this series still exists and is coming soon!” But even with unlettered previews, if you know what you’re doing, you can spin those into something worth checking out. You can provide content outside of “this exists.” You can talk about the technique, the past history of art on a book, the artist’s prior work and how that will influence her work on this new comic, or even just dig into the storytelling and see what material you can squeeze out.
You can provide context is what I’m saying, and as writers-about-comics, that’s something we should be good at and do whenever possible. We need to be able to explain what something means beyond just “this exists and you can buy it.”
But if you look at one of those teasers up there, “this exists and you will be able to buy it” is as far as you can go, or at least as far as most people went. “Daniel Way and Steve Dillon are working on something to do with the word lightning. What could it be? Could it be Thunderbolts-related, since their slogan is ‘Justice, like lightning!’?” is… worthless, as a news piece? What does it mean, other than being a lead-in for a post a week later that says “Yup, it’s T-bolts! Here’s a cover!”
It’s advertising.
I’m blessed enough to be in a position where I can be a prima donna and pick and choose what I write about. I don’t think this stuff, these advertisements masquerading as editorial material, is very conducive to a healthy press or audience. It’s kind of emblematic of how eager the press is for access (we’ll post whatever you send us, even if there’s no real info attached!) and how willing the publishers are to game the system. We should be better, on both sides, because there is absolutely nothing that will be lost by being better, outside of blind obedience. An informed audience is never a bad thing, and treating them like they want to be informed is also never, ever a bad thing. Kick down some information or hidden context. Ignore series that are announced with the artist to be determined. Change the game. You can still tease with info that people can talk about, instead of blindly speculate about, without blowing the reveal.
When you’re covering this stuff, don’t stop at “this exists.” Take it a step further. Look at what you can say about it, rather than just reporting on it. What does it say, what does it mean, what does it do? If the answer’s nothing, is it worth posting?
My problem isn’t even with the teasers in and of themselves. They’re pretty effective, in terms of generating conversation. It’s that the press released them like they were actual news, instead of advertisements. Comics journo doesn’t have an ombudsman, so the lines between editorial and advertisement can get muddy. We need to be better at discernment, rather than posting everything that passes through our inbox. “No, thanks,” isn’t an insult.
Don’t let anyone take advantage of your enthusiasm. I’m willing to help you move a few units and get the word out if your work speaks to me on some level, and if not me, someone else will. That’s how comics journalism works, basically, and that’s okay. But there are better ways to do that than these teasers.
Faith Erin Hicks continues her streak of being one of the most interesting people in comics by talking about finding a balance in your career. She’s talking specifically about comics, but it’s really good advice regardless. You can’t do everything, and if you want to do anything well, you’re going to have to sit down and dedicate time to that thing. THat requires removing time from another thing, because time management is a zero-sum game. You’ve got twenty-four hours, so there’s a limit to what you can do.
Her solution was giving up videogames. I don’t really have that option, on account of my day job, but I can relate. I’m real picky about games these days, pretty much only playing AAA titles or weird downloadable stuff that I heard good things about (Tokyo Jungle, whattup). I buy maybe four or five disc-based games a year, and then I play them over a period of six months or more. I like PSN titles, the downloadable joints, if only because they’re cheap and they’re usually built for bite-size playing sessions. NBA 2k13 is about the only game I binge on these days. I even do a mission or two of Sleeping Dogs and call it a day most times.
I had to sit down and hammer out a schedule earlier this year, because of Issues. I alternated between not sleeping well and sleeping too much, and I wasn’t as productive as I wanted to be. I came up with two rules. First, evenings and nights are sacred. Once I get home from work, I’m free from work. Evenings are for relaxing, decompressing, resting, video games, and what little tv I actually watch. Second, I needed to do something about my mornings. I’d wake up tired, go to work tired, and come home tired. So I needed to sort that out.
What I ended up deciding to do was pretty easy to pull off. I used to wake up early to go to high school and watch Sportscenter with my granddad and uncle. They were out of the house by 0530. I told myself that I would wake up at 6, and use the three hours before work to handle writing and other stuff. I exercise in the mornings anyway, so I’m just waking up a little earlier, so I still have time to run, lift, stretch, or whatever’s on deck for that day (abs, ugh). I don’t play games in the morning, though I will download games or demos for playing later in the background. No TV either, outside of streaming youtube videos off my Watch Later playlist, which is almost exclusively music videos, at this point. I try to avoid tweeting in the evenings, but sometimes the allure of dumb jokes is just too much and I relapse. I don’t IM at home, though, or do that email-tumblr-twitter-email loop.
Write in the mornings, work during the day, and relax in the evenings, only writing after the sun goes down if it’s absolutely necessary.
It worked, mostly. I feel much more alert when I work out or run before going into work, and it’s nice to have a demarcation of what I do and when. Previously, I’d write whenever, willy-nilly. Come home, play some games, and then write ’til midnight, or come home, write, and then stay up past midnight. Now, I go to bed earlier and wake up more rested and better equipped to handle a hard day.
I’m still tired sometimes, and getting up to do anything in the middle of the night is usually a pretty bad idea, but I’m pretty happy with this schedule. I’d always thought of schedules, of rationing your time, as a thing that stinky grown-ups did. Schedules are boring, yeah? I knew that schedules provide a structure to make sure things get done, but I didn’t realize that it could have an overall positive effect on your life. If I know what I’m doing, then I can be flexible and change plans and know exactly what I need to do to make up for it. I can look forward to getting home and doing a thing, instead of look forward to getting home, at which point I will write, and then, if it isn’t too late, maybe have a chance to have some fun.
I don’t cook dinner at midnight any more. I have more free time. I’m super excited about watching a bunch of basketball games as they air (and one or two in person!) this year. I feel good about getting off work. The schedule works. I’m that much closer to finding a balance.
Part of fun of writing about comics, for me at least, is the competition. I don’t mean scrapping with scrubs or anything, either. I mostly mean competing against my friends. Gavin, who is currently without power and won’t see this until he’s back, has been my funniest friend for going on ten years now. No one throws shade like the late, lamented Pedro Tejeda, the ghost of Funnybook Babylon. No one is as well-reasoned as Jamaal Thomas. Nobody’s got an eye for comics history like Chris Eckert. Tucker Stone is the king of insight, and Abhay has punchlines that’ll stop you cold. All these dudes do things that I wish I could do better, and I really dig seeing them work their craft.
Sean’s talking about how Miller controls the reader in Dark Knight Returns and Ronin, and it’s really good stuff. I know the basics of this stuff, how big panels make you do one thing and a stutter-y cascade of panels make you do another, but Sean turns jargon plain and lays everything bare, revealing new facets of works I thought I knew well. And I mean, I love Frank Miller’s body of work, I’ve been through these books dozens of times… but Sean is revealing the iceberg just beneath the water’s surface here.
It’s way deeper than “Frank Miller draws nice.”
Sean elevated the game. If you’re trying to figure out how comics work, to examine what a master did in a period when he dropped more classics than most people get in a lifetime, you should read it.
Posted in brief bits by david brothers |Comments Off on LISTEN TO WITZKE
Ahoy! In what Mother Nature will surely insist is my last post for a little while, here’s this week’s taste of comics read. I have my usual crew in Jody, Gaijin Dan, Space Jawa and Was Taters.
Interesting week in that we reached the end of many great Marvel runs due to the big Marvel NOW! changeover. Considering how fantastic the enders are for Journey Into Mystery, Incredible Hulk, Captain America and FF, I can’t help but notice how Marvel is flat-out making DC look incompetent in regards to the New 52. Everyone’s getting their own true sendoff without seeming rushed and pointless.
Though apparently Daniel Way’s final issue of Deadpool shit the bed, so we’ll ignore that one.
A-Babies vs. X-Babies (Jawa’s pick)
Skottie Young and Gurihiru
A-Babies vs. X-Babies (Jody’s pick)
Skottie Young and Gurihiru
All-Star Western #13
Justin Gray, Jimmy Palmiotti, Moritat and Phil Winslade
When I talk to non-comic reading friends about comics, one thing I like to mention to mess with them is that Archie Meets the Punisher is a thing that happened. That always seems to get a little bit of a reaction out of them, but not as much as my claims that it was actually quite good! The usual follow-up to that is, “How could that possibly be good?” and it hits me as a loaded question. There are different reasons why it works so well, but it wasn’t for years until I found out the perfect way to explain it to the uninitiated.
Archie Meets the Punisher came out in 1994, just prior to the explosion of Marvel/DC crossovers that we’d see throughout the era. The Archie and Marvel camps were friendly with each other and there was a joke going back and forth that there should be a crossover where Riverdale becomes a darker and more violent place and Archie becomes a vigilante after his family is killed. Obviously, that didn’t happen, but writer Batton Lash came up with an outline that pleasantly surprised everyone involved and they moved forward with it.
Many crossovers are meant to be a look at the similarities and differences between the two parties involved. This book is less about the former and very much about the latter. On one hand, we have Archie Andrews, the optimistic and corny lead character in a town where the sun is always shining and the biggest tragedy is the decision over which hot girlfriend he’s going to ask out on any given night. Then you have Frank Castle, the dead-inside Vietnam veteran whose family was murdered by the mob, leading him to dedicate his entire being to showing no mercy to the criminal element. Granted, these are still the days when Marvel and DC weren’t overly violent, even in murderer anti-hero comics, and the only blood you’d see was a shadowy spray of black with no shot of the wound, but it’s still entirely messed up to do a story that mixes these two very, very different characters.
-Kendrick Lamar’s good kid, m.A.A.d city is out today. Amazon’s got the regular version of good kid, m.A.A.d city for five bucks. You can also get the deluxe edition for ten bucks, which includes three extra tracks (“Black Boy Fly” is heat and shoulda been on the album) and a digital booklet. You should buy this album. I preordered the vinyl, which I feel like was a great idea, now that I’ve heard the album. I dunno if it’s a promo or what, but Lamar’s debut album Section.80 is $5.49 right now, and that’s great, too.
–good kid, m.A.A.d city opens with a prayer played off a cassette tape and spoken by young men. “Lord God, I come to you a sinner and I humbly repent for my sins. I believe that Jesus is Lord. I believe you raised him from the dead. I will ask that Jesus come to my life and be my Lord and Savior. I receive Jesus to take control of my life and that I may live for him from this day forth. Thank you Lord Jesus for saving me with Your precious blood. In Jesus’ Name. Amen.”
It’s a common prayer. It immediately put me in mind of Yasiin Bey, bka Mos Def. He opened Black On Both Sides (and his other albums) with the phrase “Bismillah ir-Rahman ir-Rahim.” It means “In the Name of Allah, the Most Beneficent, the most Merciful,” and it is an expression of faith on the part of Mos. It’s always delivered in his own voice, almost a whisper. (You’ve heard Queen’s “Bohemian Rhapsody,” probably — “Bismillah” is used there, as well.) It’s Bey giving thanks and publicly expressing his beliefs.
Kendrick’s is different. It’s recorded, which is already one step of separation from Kendrick-the-character and Kendrick-the-artist. The men are unidentified and speak with no real intonation, two more steps of separation. It’s rote. It’s men at church going through the motions. It won’t make sense until you finish the album.
–good kid, m.A.A.d city has a lot of skits, which puts me in mind of Prince Paul’s near-flawless A Prince Among Thieves. Sometimes it’s Kendrick’s parents calling to ask about their van, sometimes it’s him talking to his friends. Sometimes it’s something more violent.
But the skits work. Instead of being speed bumps, they aid the album into sounding like a cohesive work, rather than a collection of songs. They provide a narrative, or at least a through line, from song to song. It enhances the songs, rather than getting in their way. It’s probably half as good on shuffle, but as far as skits go, Lamar has the right idea.
The skits bleed back into the songs and vice versa. Sometimes a line of dialogue kicks off a song, and sometimes a bit of dialogue recalls Lamar’s past work. They don’t feel like they’re just skits. They’re connective tissue.
Tracks 1-10 form a story that ends where it begins. The last two tracks, “Real” featuring Anna Wise of Sonnymoon, and “Compton” featuring Dr Dre, are a… coda? An epilogue? Something.
-In thinking about it, it’s structured similar to A Prince Among Thieves, too. We start on Y, then we see A through Y, and then we catch up with Z. “Pain” segues into “How It All Started” which leads up to “You Got Shot,” and then we get the cruel finale of “The New Joint (DJ’s Delite)” b/w “A Prince Among Thieves.”
good kid, m.A.A.d city goes from “Sherane a.k.a. Master Splinter’s Daughter” to “Bitch Don’t Kill My Vibe,” and then leads you through “Poetic Justice” before the cycle completes four songs later on “Sing About Me/I’m Dying of Thirst.” “Real” and “Compton” are the outro.
Less cruel and more uplifting than “A Prince Among Thieves,” but still similar in structure. Hook, then pull back, then stack tension until it’s too late to turn back.
-Son, there’s even a freestyle skit that’s explicitly presented as Kendrick Lamar rhyming in his homey’s car! Remember “What U Got (The Demo)” with Breezly Brewin and Big Sha?
My heart done hardened, ready to put the world on a milk carton
Fuck it, no one else deserve to live
I done gave all I got to give and still ain’t got shit (What?)
So who mad? You grab and ransom
And I’ma pierce his soul and touch the heart of his grandson (oh shit!)
I’ve been wanting to jack “ready to put the world on a milk carton” for a story or SOMEthing since 1999, man.
Anyway: parallels!
-Rap is influenced by real people living real lives, and then those same people allow themselves to be influenced by rap, creating a cycle that feeds on itself. Put differently, Cam’Ron didn’t invent “pause” or “no homo”, and Kanye didn’t invent “ham” or “cray.” But, after Kanye, a lot of people who aren’t from the south like to talk about going ham. After Cam, “no homo” became a phenomenon. It doesn’t take much for an idea to go global.
At one point on good kid, m.A.A.d city, Lamar and his friends take inspiration from a Jeezy song. “Last time I checked, I was the man on these streets,” Jeezy says. Lamar’s boy, in response, says, “Yeah, yeah, that shit right there. I’m trynna be the nigga in the streets.”
Rap album feeding on a rap album feeding off real life feeding off a rap album.
-On “Sing About Me,” Lamar takes on the role of the sister of Keisha, a woman he talked about on “Keisha’s Song (Her Pain)” on Section.80. It’s the kind of song rappers make about how it sucks to be a lady. He name checks “Brenda’s Got A Baby,” you know? It’s a good example of those types of songs, probably on par with Lupe Fiasco’s “He Say She Say” or that verse out of “Kick Push II.” Patronizing, right? But in a way that makes me just feel like I get it, even if I don’t particularly dig the execution, rather than frustrated. His heart’s in the right place.
But on “Sing About Me,” Lamar directly addresses himself by way of the role of Keisha’s sister. “What’s crazy was, I was hearing about it, but doubted your ignorance. How could you ever just put her on blast and shit, judging her past and shit?” and later, “You lying to these motherfuckers, talking about you can help with my story. You can help me if you sell this pussy for me, nigga.”
“Keisha’s Song (Her Pain)” was bleak and direct and sad and maybe leans a little too far toward victim blaming and not enough toward… anything else. It’s cool to see Lamar self-correct, explicitly self-correct, himself on wax. And then the next verse is a rebuttal to the sister, of sorts, as Lamar explains where he was coming from. No easy answers. That shows a thoughtfulness and fluidity that I really dig.
-Fluidity: good kid, m.A.A.d city doesn’t sound like Section.80 much at all. Lamar adopts multiple flows and crosses a broad range of subject matter over the course of good kid. It’s not as stridently focused on life as an ’80s baby like Section.80 was, but it’s just as sharp.
Lamar trades the post-Reagan Era trauma of Section.80 for life growing up in Compton on good kid, and it totally works. They’re two of a kind, as far as subject matter goes, but it gives each album a different texture. Section.80 is borderline funereal at times, a checklist of horrors and injustice. This one is more even, less focused on the foibles of a generation of young men that learned how to do everything spiteful and more focused on just how they live their life.
I mean, son made a song about peer pressure in 2012 and it’s subtle in all the right ways. That’s dope.
–good kid, m.A.A.d city is an ill album. I ended up preordering the vinyl, just going by how much I liked Section.80 (it hasn’t left my iPod, Schoolboy Q’s Habits and Contradictions neither). I never do that, but I felt strongly that Kendrick Lamar would come through. And come through he did. It’s an album, a proper, listen to it front-to-back and let it simmer, album. Upbeat enough that you could spin it at a relaxed party, but down enough to spark deep thoughts. (Those voice mails, boy.)
-I’ve been thinking a lot about how little black boys grow up lately, in part because of real life and the Little Brother documentary project. What goes wrong, what goes off, and what goes down to make a good kid into something else. All kids are good, but it’s the poison we put in them that screws them up.
“Compton, USA made me an angel on angel dust” kind of sums it all up, in a way.
-I like this outro from Section.80 even more now, because good kid, m.A.A.d city builds on its blueprint:
“See a lot of y’all don’t understand Kendrick Lamar, because you wonder how I could talk about money, hoes, clothes, God, and history all in the same sentence. You know what all them things have in common? Only half of the truth if you tell it. See, I spent twenty-three years on this Earth searching for answers ’til one day I realized I had to come up with my own.
I’m not on the outside looking in. I’m not on inside looking out. I’m in the dead fucking centre looking around.
You ever seen a newborn baby kill a grown man? That’s an analogy for the way the world make me react. My innocence been dead. So the next time I talk about money, hoes, clothes, God, and history all in the same sentence, just know I meant it, and you felt it, ’cause you too are searching for answers.
I’m not the next pop star. I’m not the next socially aware rapper. I am a human motherfucking being over dope ass instrumentation.
Look at that. Header image. It’s been long enough.
My Angels for this week are Was Taters, Gaijin Dan, Jody and Space Jawa. Jody, Taters and I all chose the same panel for Hawkeye #3 initially, but Taters and I decided to choose others for the sake of showing off how excellent this comic is. Bro.
Before Watchmen: Minutemen #4
Darwyn Cooke and John Higgins
I hope New York Comic Con, 4thletter and I live forever so I can keep making the title longer year after year.
I’m going to be honest with you. When you come back from an exhausting trip like this and you have a day or so to recuperate, the realization that you have to relive it all over again by writing it up is like a punch in the gut. But it’s my duty to write of my weekend where everyone was wearing a Bane mask, Finn hat and doing the Gangnam Style dance. It’s time to discuss New York Comic Con 2012.
This was a lonely year for me. David has long disowned the con, other David wasn’t going either and I wasn’t going to be joined by any of my coworkers. With all the UCB classes I’ve been taking, I decided to be a little more on the frugal side and went against getting a hotel. After all, the classes have made me so accustomed to commuting into the city that I figured I could just do that for four days in a row. Coincidentally, I had a show in the city the Sunday prior and watched a show with a friend the following Tuesday, so I ended up commuting six times in eight days. I spent about half a day in a bus over that time.
At least I had a press pass, which was nice. The only problem being that NYCC has decided to put their foot down and make it a little harder to get one of those. It used to be that you’d just fill out some stuff online. Now you have to fill out some stuff online, get an email for a link to a PDF document, print it out, fill it out, print out three articles, staple your business card, get an assignment letter from your editor (which I guess means David) and fax it all. Yes, faxing is apparently still a thing in 2012. I had no clue.
DAY ONE: THURSDAY
Thursday is the prelude, really. The place is only open for four hours and not as many people are there. I got to wander the floor a bit and enjoy a brief day of no insane foot traffic. At one point I ran into Neil Gibson at the Twisted Dark booth. I reviewed his comic less than a year ago and it was a really shittily-written review and I felt bad about it, so I bought a copy of the comic’s third volume. I mean, I guess I would have regardless, but at least now I feel like I redeemed myself in some way. Nice guy, although he was really annoyed that the printers fucked up their con copies of the book and added an extra page. Now all the reveal pages are on the right side instead of the left, ruining some of the suspense.
I perused through some of the comic-selling booths. It’s something I tend to do every con, but I keep forgetting to save it for Sunday, when the prices are cheaper. Every year I look for that one weird piece of comic history that hits me by surprise and I got that taken care of pretty early on with a comic starring Bob’s Big Boy.
is about the only game I binge on these days. I even do a mission or two of 
and call it a day most times.
and 
, and it’s really good stuff. I know the basics of this stuff, how big panels make you do one thing and a stutter-y cascade of panels make you do another, but Sean turns jargon plain and lays everything bare, revealing new facets of works I thought I knew well. And I mean, I love Frank Miller’s body of work, I’ve been through these books dozens of times… but Sean is revealing the iceberg just beneath the water’s surface here.
for five bucks. You can also get the 
for ten bucks, which includes three extra tracks (“Black Boy Fly” is heat and shoulda been on the album) and a digital booklet. You should buy this album. I preordered 
, which I feel like was a great idea, now that I’ve heard the album. I dunno if it’s a promo or what, but Lamar’s debut album 
is $5.49 right now, and that’s great, too.
(and his other albums) with the phrase “Bismillah ir-Rahman ir-Rahim.” It means “In the Name of Allah, the Most Beneficent, the most Merciful,” and it is an expression of faith on the part of Mos. It’s always delivered in his own voice, almost a whisper. (You’ve heard Queen’s “Bohemian Rhapsody,” probably — “Bismillah” is used there, as well.) It’s Bey giving thanks and publicly expressing his beliefs.
. Sometimes it’s Kendrick’s parents calling to ask about their van, sometimes it’s him talking to his friends. Sometimes it’s something more violent.
