Oh boy oh boy oh boy
‘THE LEGEND OF ZELDA: THE WINDWAKER’ LINK NENDOROID COMING IN AUGUST
It looks like Good Smile Company and Max Factory‘s Luigi won’t be the lone Nintendo Nendoroid from the line for much longer. The Legend of Zelda: The Windwaker Link Nendoroid we saw at Toy Fair 2013 will be sailing to retail in late August.
Like most all Nendoroids, Link will stand a little less than 4″ tall and come with enough swappable parts to fill an inventory screen. Link’s Hero sword (and a sword-swinging effect piece), Hero’s shield, a heart container, and the game’s Wind Waker baton will all be present and accounted for in the figure’s box, plus a clear base to pose everything on. Of course, the figure will come packed with plenty of facial expression parts as well, including a smiling expression, a more fierce combat expression and a funny nervous expression. There’s no massive King of Red Lions ship accessory, however, so fans will have to simply build their own.
GIMME GIMME GIMMMMEEEEEEEEEEEEE
So, this morning, I got in an email exchange with a relatively new and very good writer who wanted my opinion on dealing with edits, accepting them, etc. I thought my response might be useful to other people and kinda gets at some stuff I’ve been telling a lot “young” writers lately. Below is one…
Specifically about music / entertainment writing in the magazine context, but that genuinely doesn’t matter — still 100% spot-on.
I honestly can’t remember the last time I reacted as intensely, as quickly, to a work of criticism as I have to Jessica Hopper’s work in this piece.
For one thing, speaking as a writer who’s done one in the past, this is an achievement in using the oral-history form to reveal information, rather than aid in cloaking it through self-mythologization. It’s so easy to do that with these things. Shit, it’s baked into the premise of the enterprise: Look at my proximity to all these people’s proximity to greatness!
But it’s not that Hopper doesn’t include all the choice nugs you’d want in an oral history — you know, anecdotes about meeting RuPaul while hammered at the SNL afterparty, differing accounts of how badly Courtney Love wanted to work with Butch Vig, etc. It’s that she treats it not just as a history of a cool thing, but as reporting on that thing. She digs into how the studio was selected, how the personnel came together, what the schedule was like. She digs into the rock climate at the time, the (limited) involvement of Billy Corgan and Kurt Cobain, the (profound) influence of Siamese Dream and Nevermind. She digs into drug use, who was doing what and when. She talks to band members, producers, label people. She lets Love hoist herself by her own petard when that’s called for, but she also lets her emerge, then and now, as someone who had a very clear artistic goal and worked, successfully, to achieve it. Inner torment and commercial ambitions and improved songwriting chops and a better rhythm section and working with a guitarist with little self-confidence and hiring skilled producers and developing a workday routine and navigating the demands of other prominent artists in the field with whom she was close — it all went in and that record came out, and Hopper gets it all down. I suppose she’s lucky that she got such a forthcoming group of interviewees, since god knows that’s rare, but luck’s a fundamental part of a good piece too.
I didn’t listen to Hole in the alt-’90s heyday; didn’t buy the “Yoko” nonsense either, that just didn’t seem to cut any more ice here than it does with actual Yoko. And there’s no way to be judgmental about Love as a parent without being more so about the one who isn’t there anymore at all, so I think I gave that a pass over the years as well. Point is I didn’t have much riding on reading this either way. But what a fascinating document of the making of a work of art, and what an inspiring example of how to write about art. It makes me want to work harder.
I like thinkin’ ‘bout writin’
The internet really doesn’t want me to get work done today.
Don’t suppose anyone in the UK wants to be my Record Store Day procurer? I can hopefully return the favor for US-only releases.
Monument is special to this album and to me. Its about space in time and defining oneself. Svein and Torbjorn and I were in a zone when we made it, it was like a dream. Like a meditation…
Listen to a snippet of a new track from Robyn and Röyksopp’s forthcoming collaborative mini-album Do It Again.
Why is nobody (a.) telling me when this is on sale, (b.) posting a tracklisting, (c.) hand-delivering me a copy, (d.) inviting me to hang out with Robyn and talk about it and maybe watch DO THE RIGHT THING or something, (e.) giving me a pony, etc. etc.
(I did get tickets to the Pier 97 show, at least. Who else is going?)
UPDATE: Thank you, Idolator. Out May 26th, tracklisting is:
3. Do It Again
4. Every Little Thing
5. Inside The Idle Hour Club
Anonymous asked: Hey, Brian. I'm an aspiring writer, and I have this complex about being a person of color trying to break into comics. I know I'm probably making a bigger deal out of this than I should, but it's kind of disheartening to see gatherings of creators and to notice the lack of color. Am I worrying for nothing? I tend to over analyze things, so this has been bugging me more than it probably should. I apologize in advance if this question is stupid, annoying, or has been asked before.
I am not a person of color but I am the father of a multiracial household and I’m Hypery aware of the world we live in in this regard. but I truly believe that there is nothing standing in your way of making your dreams as a creative person come true. It’s between you and your talent.
truthfully most of us don’t even know what each other looks like. all anybody cares about is the quality of each other’s work.
do not put things in front of you to stop yourself from making your dreams come true. do not. people do this all the time and I truly believe it’s the difference between those who succeed and those who fail.
stop rejecting yourself before the rejection comes. and if rejection comes, and it will, don’t make it about anything but your work.
Bendis has a good point here, with the idea that you shouldn’t put things in front of you and that you need to hone your craft and focus on you.
But for really real, speaking as a black man who has worked in and around comics for a while now: race matters. You’ll have to live with people treating you like their ____ friend. You’ll have to deal with people pulling you aside to show their bonafides or dropping your name as some type of proof they or someone else isn’t racist. You’ll have to deal with rarely being able to call a spade a spade without being painted as angry or sensitive. You’ll have to deal with all the usual stuff you have to deal with as a person of color, but comics is a relatively small world even now, so pushing back a little—”You need to stop talking to me about this”—makes people feel some type of way about you.
I’m real careful who I associate with in comics for these reasons. I don’t like barcon because I know somebody’s gonna say something stupid. I’ve been going to several cons a year since 2007, and I’m not exaggerating when I say I’m batting a thousand when it comes to people saying idiotic or messed up or banal racial stuff to me because I’m The Black Guy. My friends got the same story. I know women that comics boys have said garbage things to, I know professionals who have repeatedly called other folks out of their name and shrugged and smiled about it.
Comics is not a special oasis of no barriers and complete freedom. Comics is American society, and chances are good that you already know how it works.
For me, the trick ended up gathering a comics family that is wild diverse. I didn’t do it intentionally, I’m not trying to catch Pokémon out here, but real recognizes real, and I’ve gravitated to people who aren’t just the current guard in comics. My wolf pack is crucial to keeping me interested in and happy with comics.
None of this is your fault, none of this anything you should have to deal with. But as a person of color, you’re already dealing with it. You’re not overthinking it. You’re not pre-rejecting. You’re protecting yourself. You recognized a problem and you’re looking for ways to deal it. You’re on the right track, and you can beat it. You’ll find a way to beat it. You’ll find your family, and together you’ll steamroll through the nonsense.
and no shots, but it’s never just about the work if you’re anything but a white guy. That’s not how life works. Some people can’t network like white dudes in comics if they’re seen as Other, or an Anomaly, and networking is a big part of how you get gigs.
Racism exists in the comics industry—as it exists in every other American industry. The circumstances of your birth will mean that a couple of avenues will be closed to you. But a couple of closed avenues aren’t nearly enough to block the path to your destination. If you want this—and it seems like you do—and you’re willing to do the work—and it seems like you are—you can achieve your dream. Period.
David’s advice is crucial. Find your family. Find support. It’s very easy to look at a couple of company photos promoted on news sites, see no one who looks like you, and think, “I don’t belong here.” Please believe those are not the only industry gatherings you will find and they do not depict the totality of the industry. You belong. There are creators of all backgrounds who would be happy to have you as a peer. There are readers interested in reading your work—one who is typing this response to you right now.
Rae Morris, “Do You Even Know?”
British singer-songwriter who’s been around for a while proves that what Ariel Rechtshaid productions secretly yearned for was violins and heavily reverbed guitars. I am shocked that this is not absolutely everywhere; it’s gorgeous.
Love this, mostly because it sounds like a spiritual sequel to most of Siobhan Donaghy’s Ghosts.