Wednesday, August 27, 2014

theoneandonlyadour said: In Hulk vs. Iron Man #4, Tony's inner monologue mentions that he knows were the "keys" for the Godkiller are. Is he talking about Arno, who can properly control the Godkiller, or is he saying that he knows how to get the Godkiller back after it went to another reality?

If I stayed for longer, the Godkiller fighting something equally massive would have been part of the conclusion to my arc. That I wasn’t going to do the story, I wanted to tease the idea in there on the way out. Stark’s a smart guy. He has plans.

But I meant both.

Anonymous said: Did you see Robin Wright's Lucifer cosplay at the emmys?

It’s a strong look.

Anonymous said: Are all of the gods in the Wicked and the Divine British? I know that the setting would suggest that they all are, but I try not to make assumptions.

They are at all least living in Britain. I’d rather mention nationalities of birth in the comic as and where it may come up.

newmanedeni said: I loved your Origin II series and your Sabertooth issue of X men Origins but I really don't know how they can exist in the same universe. Could you help me reconcile your two stories of Wolverine and Sabertooth meeting?

Trying to avoid spoilers for those who haven’t read either.

The party who appeared dead weren’t. The other party was off camera for all of it. All three of them went on the run, which is where the majority of that abuse took place.

(I’d have to re-read SABERTOOTH: ORIGINS btw, so excuse the looseness)

Anonymous said: Is Punk Dead? This has been on my mind a lot lately, I think it is but can't seem to think why.

If our PHONOGRAM: RUE BRITANNIA pitch was kicked back for excessive anglophilia our alternative first arc of PHONOGRAM was going to be about the question of punk, taking in that.

You can see the some of the notes in the CBGB story that I did with Marc Ellerby. It’s in here.

‘Sympathy’ by Sleater‐KinneyThis still scares me.
Every ninety(ish) days, two handsome young writers return to this blog. They read the last three issues of The Wicked + The Divine, and they write three essays each.

Welcome to Tim + Alex Get TWATD. Each set of essays will be broken into two posts, to save our wrists and your eyes. We might be doing close readings of particular scenes or panels, picking out a theme or character that’s caught our attention, or just speculating wildly. Spoilers will be everywhere, so if you haven’t read the comics yet, avert your eyes or, better yet, grab them and come back later.

In two years, they’ll probably still be doing this. The idiots.
I’d have linked to Alex and Tim’s new essay series just because of its conceptual perfection even if they didn’t have interesting things to say. However, they do. Essays on death, adults and Baphomet. Go read.
evilspy:

I can’t stop thinking about this alternative dialogue for Baphomet from thewickedandthedivine. Blame kierongillen.

Blame me for everything.

evilspy:

I can’t stop thinking about this alternative dialogue for Baphomet from thewickedandthedivine. Blame kierongillen.

Blame me for everything.

Tuesday, August 26, 2014
The band had opted to re-record the song for the film-shoot rather than merely mime, and while this decision unquestionably adds to the interest of the clip, Keith’s drumming is far from flawless. In the context of his looming fate, these audible errors inevitably resonate with ominous significance. For example, the middle section of the song contains a kind of mini-crescendo, culminating as Roger Daltrey cuts loose with his best Acton Town blues-howl: “Whoooooo are yoo-oo-oo!” This false musical climax is then followed by a slightly unexpected shift into another quiet instrumental passage. But if you listen to the film sound track carefully, you can hear Keith momentarily forget this pianissimo-fortissimo-pianissimo structure, instead taking off immediately after Roger’s bellow with the snare and bass drum rhythm that actually drives the final section of the song. He stops abruptly, realizing his error, to re-trench sheepishly behind a wash of cymbals. (Some might consider it fanciful to suggest that cymbals can convey embarrassment; nevertheless, that is what I hear. Even Keith’s mistakes as a drummer can be powerfully emotionally expressive.) I loved Ben Saunders writing at length about Keith Moon’s drumming. The quoted segment is about WHO ARE YOU, and is a great unlocker of a record. There’s a lot more close reading in here - there’s a section towards the end about a lost drum-stick I almost quoted instead, but I wanted something about the musicianship rather than just the wild-man-ness of him. Read the rest here. Strong stuff.