Demetrius May’s day-go color and multi-generational pop sensibilities really appeal to me. If I had the wallspace, I’d be gagging for a nice, huge print of the above image or quite a few of the others on this page. (Note that some may be Not Safe For Work.)
via Kitsune Noir
We’ve been talking it up, and now it’s time to deliver! Here’s the first strip, written by me and drawn by the fantastically fantastic Ming Doyle. Want more? Come back next Tuesday at noon! (You can also add it to your RSS feeds, which is what I recommend.)
Here are this week’s staff picks! So, you know, there you go. Yeah.
In typical record company wisdom, the label has made it so that I’m not able to embed the YouTube video containing a rather nice promotional short for “Symphonies” by Dan Black. However, The Art Of The Title has it in both standard and high definition formats and an interesting interview with the creators. As I’m a sucker for Tron, black and white, and Saul Bass title sequences, this is sort of a gimme.
Via William Gibson, the first Assault Girl short, and the trailer for the upcoming full-length Assault Girls film,both by acclaimed anime director Mamoru Oshii.
The first Assault Girl was made for Shin-Onna Tachiguishi Retsuden, a film anthology whose title translates to “The Women of Fast Food.” There is an Assault Girl 2, which appeared in another anthology entitled Kiru ~ KILL. At The Sky Crawlers’, but I can’t find it online anywhere. Assault Girls will be in Japanese theaters this December:
Here is the newest comic strip featuring Yavin IV’s staff that I have written.
Tonight, I’ll be returning to 1991′s finest urban crime drama for the first time in fifteen years when I do a drunken livetweet of New Jack City. It’ll start at 11pm EDT. Want to tag along? The film is on Netflix’s Watch Instantly and I’m @beaucoupkevin. Let’s all agree to use the hashtag #NewJackCity.
(I’m going to end up being like Carrie, aren’t I? Covered in pig’s blood, babbling about Ice T, all on stage by myself.)
Truly. this is the final wedding-related strip.
Our weekly updates begin! Go, read, and then tell everyone you know about it.
This video’s being passed around the last couple of days with people discussing the cliché that is the dead cellular phone in horror and suspense movies. What I’ve not seen is anyone stating why this motif is so persistent.
Horror is derived from the feeling of isolation, from the fact that there is no easy out for a protagonist. In an era where 82% of Americans now have a cellular phone of some type, any screenplay (or comics script) that wants to keep the audience from suspecting the protagonists are as dumb as posts for not calling the police/national guard/Justice League in at the end of the first act needs to address the issue of the ubiquitous communications device that allows us to send pictures, emails, text messages, and make phone calls. Yes it’s a cliché, and usually clumsily handled, but it’s a necessary one to keep that needed suspension of disbelief aloft for the 90+ minutes of entertainment that the viewer has paid for.
(On a slightly-related note, that’s something I’ve noticed a lot about Japanese horror: it’s definitely about being isolated. In a very social, very crowded culture like theirs, the idea of being utterly alone already hits a tone. A prime example of this is the last third of Audition, where Takeshi Miike plays this to the hilt.)