i am davidbrothers dotcom

We feed off your energy, we see you on that Kenny G. Just tooting your own horn, do your thing, my n i g.

email me. tweet me. i am.

April 24, 2014 at 2:29pm
1 note

undertheinfluenceofcomics asked: That's cool. Appreciate you taking the time.

For sure. Good luck.

2:26pm
16 notes

enui asked: One Piece current arc, what you think?

I’ve been wanting to talk about this for a while.

The big reveals in most comics tend to be immediate, save for when they’re mysteries or deus ex machina, and then they’re generally opaque or surprises. Who’s the big bad guy, who’s going to arrive in the nick of time and save the day, who’s going to get the killshot, etc.

But a few months back, Oda reintroduced a character who is relatively minor in terms of appearances, but very significant to the text. The character wasn’t explicitly named, but he was recognized as being a Big Deal. He donned a disguise and he stuck around for weeks. Weeks without explaining who he is or how he came to be! But if you read the comic, if you read the arc he appeared in, you knew who he is and you could pretty easily figure out exactly what was going to happen to him, both by way of basic Shonen Jump storytelling principles and the rules of the world Oda has created.

That knowledge, and seeing the way Oda danced around it, made me really excited to read each new chapter of this arc, all the way up to the point that he showed his cards and exactly what I thought would happen happened. It’s deft, smarter than most boys’ comics I read, and fascinating. It’s almost like Chekov’s Gun, only the gun goes off in the first arc, again in the second, and then REALLY goes off in the third.

I’m digging it. It’s a highlight of Jump right now.

12:57pm
10 notes

Prince Paul Ft Everlast - The Men in Blue (by ShamrockHipHop2)

rap songs about being cops

"New York’s finest, with a bullet-proof vest/ I confiscate the chronic, I let you keep the stress"

12:55pm
6 notes

Pharoahe Monch - Got You (by MrBungle79)

rap songs about being cops over everything, even as a radio edit

"Shotty in the trunk and on my ankle there’s a nine too/ ‘cause psychologically the guns you use, will define you"

9:45am
105 notes
Reblogged from supervillain

On terminology

supervillain:

Oh I get it. “Art-horror” is a great term for you to write around the idea that you just like horror films, intellectual cowardice runs deep y’all. There will never be anything more obvious than your shame for liking genre by writing about the respectable end of that being “different”. Of course, we’re in a time period where thoughtful writing about horror movies is at an epic fucking paucity, so I shouldn’t pick at that? But shit like that really just raises disgust in my core. Own it, or shut the fuck up. Just keep justifying yourself for liking something that you feel isn’t accepted by whomever you are writing towards, rather than discussing the tools and effects that genre utilizes that are unique to it. The opposite side of that is if you don’t need to couch everything in genre, instead of the tools of it and how they work. “These are special” why? Because you say so? Am I supposed to trust you? This isn’t just horror this is everything (for example this is a big part of why I don’t write about comics anymore) this is how you keep writing the same thing year after year instead of finding insight, this shit. I am not interested in what you want to canonize, I am interested in why. Your need to elevate bores the living shit out of me. I am not interested in you being a warrior for genre, either. That’s a dead end, and you end up on the side of idiots who can’t discern the difference. No one wants to be on the side of the “superheroes are modern myths” assholes and their ilk across all genres and subgenres. Is this movie a horror film or an art film is a question that only means something if you let it, and finding what is truly horrifying inside of a film, regardless of it’s pitched audience or dvd shelf placement, is what matters. Not that any of this matters, it’s all writing for the sake of discussion, if that. I can see your shame, instead of your passion or disgust, or any feeling worth reading about.

Your english degree is showing.

(this started off as tweets about this)

April 23, 2014 at 3:44pm
26 notes

undertheinfluenceofcomics asked: I'm curious, if you know, what's the denial/approval process at image like? Is it a democracy? filters through one person then voted on? Sorted by email vs mail submission? Weighted vote? Etc.

Ahh, sorry man, but I try to keep church and state separate. Not out of any sense of professionalism (I can barely spell it) or propriety (I don’t have a good joke for this one), but because I really botched the work/life balance at my old gig, and now I’m careful to keep certain things for me and leave work at work as much as I can, whether online or in real life. I can’t really give you an answer without blurring that line for me and inviting more questions that would further blur it. So…comics questions are okay, Image questions are not.

But, just between you and me, each book is assigned a champion and those champions are then pitted against one another in a deathmatch. It’s messy, but cleaning ain’t in my job description, so I figure it gets the job done.

9:43am
7,172 notes
Reblogged from pollyjeanharveys

Diane Kruger as Bridget von Hammersmark in Inglourious Basterds

(Source: pollyjeanharveys, via dafnap)

7:32am
0 notes

the questions →

Ask me stuff, if’n you’re into the idea of me saying things to you

April 22, 2014 at 6:27pm
11,336 notes
Reblogged from naturalablavi
digital-femme:

Artwork by Keturah Ariel

digital-femme:

Artwork by Keturah Ariel

(Source: naturalablavi)

6:22pm
412 notes
Reblogged from vgjunk
brooksbraswell:

vgjunk:

Lupin III: Densetsu no Hihou o Oe!, Super Famicom.

pure style

brooksbraswell:

vgjunk:

Lupin III: Densetsu no Hihou o Oe!, Super Famicom.

pure style

3:25pm
66 notes

franzferdinand2 asked: This is an intentionally vague question, but at what point do you think genre stops being useful?

I used to be really embarrassed about this, but I eventually got over myself: I don’t get the difference between genre and literary fiction. In my head, I know that there is a difference. Literary fiction has literary value of some sort, while genre fiction is pop fiction, meant to entertain or appeal to the population at large.

I know it, I understand it, I can define it, but I don’t get it. I can’t differentiate between one and the other unless I’m given a hint, and then I can work backwards and come up with reasons why a book is one or the other. But inside, I feel like it’s a fake dichotomy.

But I’m in a position where I’m not too concerned about the difference between the two because of my own personal interests and what I tend to write about, so I never had to do the legwork to really crystalize the difference between the two in my head, or seek out someone who could lay it out for me plainly. I don’t have to care, so I don’t, pretty much. I struggled with it before realizing I didn’t need it.

I think genre is always useful. Every story, no matter how fantastic, reflects some aspect of the culture it was created in. Call of Duty Ghosts is garbagio, but its plot reflects certain anxieties of our time. The new wave of war movies means something. Rappers suddenly being cool with going down, after a couple decades of dudes treating oral like a one-way street, means something. Even like…trashy freaky sex novels, the resurgence of practical effects in increasingly explicit horror flicks, there’s reasons behind it.

I feel like those reasons in genre fiction are as valid and interesting as the reasons for stuff in literary fiction. I get a lot out of stuff. If you’re willing to approach a work and put it on the autopsy table, you can find a lot to chew on, and that’s as valuable to me as whatever old novel makes it into the canon. Everything is useful, forever! So far, at least.

Short-sighted POV, maybe, but life’s short! And nobody pays me to write nothing, so I can have whatever dumb opinions and shortcomings I want

Bet you didn’t expect THAT answer! Or maybe you did, every once and a while I ask somebody to explain the difference to me online, so maybe this was a trap you set for me!!

2:59pm
27 notes

Kid Cudi Explains His Mission Statement (by The Arsenio Hall Show)

11:50am
6 notes

This begins a series of letters David and I have and are exchanging back and forth as we make our way through SMTIV, commenting on story, gameplay, design, whatever comes to mind. Today’s post features our conversation prior to acquiring and beginning the game, talking about experience, expectation, and maybe a few other things.

— 

The SMTIV Letters, Part One: Anticipation | Project: Ballad

Peterson x Brothers on Shin Megami Tensei IV, presented by Project Ballad.

Part two arrives on Wednesday.

The death of all things arrives Friday.

12:04am
143 notes

Black identity does not have to be a negotiation with awful stereotypes, a dystopian view of the race (remember those black-man-as-endangered-species stories or the constant “Why are black women single?” reports?), an abysmal sense of powerlessness, or a reckoning of hardened realities. Fatalism is not a synonym for blackness.

— Ytasha L Womack, Afrofuturism: The World of Black Sci-Fi and Fantasy Culture

April 21, 2014 at 11:59pm
21 notes

When Roberts was a guest, and I a guest cohost, on WVON’s Matt McGill Morning Show in Chicago, one angered caller asked, “Well, if race is an invention and not real, how do you explain racism?” Roberts shared that the politics and social measures as well as the laws and injustices around race are real. However, race is not some default biological category, although it is a social and political identity.

— Ytasha L Womack, Afrofuturism: The World of Black Sci-Fi and Fantasy Culture