#urbano legends debut

[wiredphonez]

everyone should play the urbano legends debut demo available for free at steam do you see this guy loser

[princeofcyberpunk]

THEY MADE A LINKIN PARK REFERENCE GAME OF THE FUCKING YEAR

[geckogirl315]

IT'S OK TO HAVE FUN

Check my pinned for my socials and Discord!

[cintax3rror]

Art of Queen Nightcore!!

* ┉ˏ͛ ༝̩̩̥͙ ⑅͚˚　　 ҉　　⑅͚˚ ͛༝̩̩̥͙ ˎ┉

I’m pretty proud of this!

Time: 6 hours 20 minutes

Also a submission for a fan art competition in the Urbano discord server!!

Good luck to all who are competing!!

[miel-hehe]

if you like like twewy please download the demo! :))

some URBANO fanart i drew

the demo is now out on steam, so make sure to check it out :3

[munamunart]

late night confession

originally posted on june 25, 2023

[cajuinadepixel]

URBANO - Legends' Debut: conheça o jogo

Imagem: Barosa Antes de tudo, URBAN – Legends’ Debut foi criado por Barosa e é um jogo de RPG de ritmo. No momento da escrita deste artigo, a desenvolvedora ainda não divulgou a data de lançamento. Seres sobrenaturais e seres eternos habitam com os mortais na ecumenópolis de Urbano, onde o jogo se passa.  Você encarna o personagem Vailo, um caçador de lendas urbanas que investiga ocorrências…

[bluntforcefem]

kind of losing my mind ovr urbano legends debut demo if only because the protagonist is such a weird little freak and it kind of rules. guy with a weird thing about belts in both his private and vigilante life to the point where he's extremely obviously the same guy. he goes dancing for money and looks absolutely miserable doing it the whole time but damn if he isn't good at it. he has a rivalry with a dubiously real psychic guru who is extremely obviously flirting with him gayboy style the entire time. he lets a girl plan to and almost follow through on killing him and becomes her bestie knowing this because he has passive suicidal ideation and he just kind of drops this on her after her boss fight (where she was trying to kill him bc he killed her neglectful dad who turned into a weird club-haunting monster). he's a dork and has some of the silliest banter imaginable with her in the conversation hang-out minigame. he eats dubious monster food for fun and profit. and this is only what we see of him in the demo. what's his PROBLEM

[rose-the-witch1]

urbano: legends' debut! the demo is out on steam!!!

WOE GOTH GIRL BE UPON YE

:O i love her design!!!!!!!! what's she from??

[ricekilla]

u.s. hip hop artists must learn from bad bunny

There’s a nobility to watching someone speak a second language in public—especially on live TV, as Bad Bunny did in his performance on The Tonight Show with Jimmy Fallon. It is that cringe-inducing reality of imperfection; of the accent, the mispronunciations, the stuttering, that can leave a human so vulnerable. You’re watching a young man who knows his grip on The World’s Most Important Language is far from perfect. But rather than quietly accept this and avoid speaking it altogether, rather than resting on his native tongue and his many native successes, in a moment of exposure wherein most young artists would understandably reserve their vulnerabilities to avoid ire, Bunny decides to go for it. He speaks English, and it’s not perfect; but it is powerful. In his first televised American performance, El Conejo Malo spoke on the natural disaster that ravaged his home of Puerto Rico, including a barb at Donald Trump, all in accented English.

Yes, everyone’s got a Trump take, and most of them are Trump Bad. And yes, we need more than just cute speeches, verses, and social media posts. We need real activism; the activism that can actually send an impoverished child to school and help a sick mother pay for her health care. We should expect that Bunny put his money where his mouth is and work to fight against white supremacist leaders like Donald Trump as well as continue to repair the damage caused by Hurricane Maria. But there’s something special about Bad Bunny’s words in particular; unlike your safe American (and Latinx) stars, he’s not necessarily supposed to be speaking out. He could easily just be Lil Pump Puerto Rico for some years before his stature expands to the point of political expectations. He could easily just be the ignorant Latino rapper, or the ignorant Latino star, and not be expected to empower the world his art illuminates.

There is an ignorance associated with Latinx rappers in comparison to their influential American counterparts. The mainstream American musical lexicon only knows Daddy Yankee and Don Omar; Calle 13 is not even a footnote for your average hip hop fan. People are just beginning to take Latin “urbano” seriously as being led by artists that do more than make bops for your friends to slur-sing at high school dances. Bad Bunny sat with Colombian reggaeton king J. Balvin for an interview with Complex magazine, in which they announced a potentially seismic collaborative album. The two discussed and affirmed their place as trendsetters shirking norms; Balvin describes Bunny’s nails as a “very beautiful thing”. He tells Complex in Spanish that the message of expressions such as these is to “Be yourself. …If they say, he’s crazy, or he’s gay or whatever, who cares? If he’s gay, then he’s gay! When they see that, they say ‘Okay, if Bad Bunny isn’t gay, but he feels comfortable with what he’s doing, why won’t I come out of the closet and say it’s okay?’”

And in this moment wherein the ostensible Drake of Latin hip hop is encouraging defiance towards gender norms, I have a realization: somehow, the artists that do not even perform in English are the ones whose words should be most important to us in American hip hop right now.

How many American artists put themselves in a position to be vulnerable or ill-equipped for the sake of trying to say the right thing? It’s easier for G-Eazy to drop Donald Trump diss verses; he’s rich, established, and white, and he’s got little to lose. It’s easier for a rapper like Logic to plead for everyone to get along. It’s easy for Soundcloud rappers to dye their hair, rock their satchels, and tat their faces; how many of them are going to tell you about what social standards made those features shocking in the first place? How many of them are going to speak out against traditionalist aesthetics that they’re breaking? How many of them have something important to say?

We should, of course, be careful to exalt El Conejo Malo as some sort of feminist hip hop icon. Though he’s shown remarkable qualities as a public figure, he’s still a work in progress like the rest of us; often his music is charged by hints of debaucherous misogyny that is understood as the genre standard. It’s nothing particularly out of the ordinary, but that doesn’t make it ideal. And in this moment of hypertense political stances and, of course, Cancel Culture, seeing Twitterers post quips like “we stan an artist that is against toxic masculinity and gender norms 💅🏽” causes me to cringe; it feels like we’re setting ourselves up to be let down whenever Bunny makes a mistake.

Bad Bunny has not been cancelled yet, but he has been tested. His encounter with a salon that refused to paint his famous nails caught some flack from commenters. Many were angered by his reaction, in which he told doubters of his sexuality to “bring their women to his house” to watch them “have his babies”. In response to this, he clarified his sentiments in a classically defiant way (as translated by Remezcla: “’I was saying that I’d have sex with their wives, get them pregnant (which is wrong) and the men would raise my kids,’ he wrote, adding, ‘It was only a nice and exaggerated way of saying, no, I’m not gay and I love women. That’s all.’”) Eventually, the Latin trap star deleted his Twitter account.

Like the Fallon performance, this was an instance of Bunny using his words even at a point of potential vulnerability. He started by doing a typically millennial thing in calling out a salon for being decidedly unwoke and refusing him nail service because he was a man. He affirmed his gender expression as a straight man painting his nails because he wants to, understanding that there’s nothing wrong with that. Yet, in trying to say the right things, he said some wrong ones. There’s an obvious tint of misogyny in the “I’m gonna fuck your girlfriend” approach, particularly in this case, even if it is so hip hop and so inane that your average person would hardly bat an eyelash to it. Regardless, it was a failure on his part; he was a bad Bad Bunny, and it’s important that we acknowledge that.

It’s not to say that we should totally overlook the misogyny in Bunny’s lyrics or any other rap artists’, which both result from and contribute to a society that sidelines women as objects of desire, existing as complements to a man’s journey. I just want to write some nice words in Bad Bunny’s obituary before a Twitter storm eventually comes and gets him. He’s made mistakes and he’ll make more; unfortunate word choices and collaboration choices will get to any rapper’s resume in this toxic landscape. But what Bunny has decided to do so early in his career is remarkable for the fact that he is being abnormally, bravely thoughtful for someone in his position; someone who is young and misunderstood.

He is misunderstood because of the way he rebels against gender norms. He is misunderstood because his music isn’t in the right language; he’ll always be a Spanish rapper and not simply a rapper to the average hip hop head. He is misunderstood because of his drawl, his sluggishly opened vowels both as an intended stylization and as a natural result of his speaking voice and accent. He is also misunderstood as a young Latino from an island ravaged by natural disaster and poverty; overlooked by world powers, mocked by their cultures. He is misunderstood within that Latin American culture that physically and emotionally beat down young men who express themselves in “feminized” ways. If we know anything about mumble rap, or even music in general, it’s that the misunderstood artists have the most to add to the conversation.

Some of our misunderstood artists beg to be misunderstood. Kanye West went on NBC’s Saturday Night Live in a MAGA hat, highlighting a Yandhi press tour which we may otherwise know as Crazy Kanye 2: Electric Boogaloo. What’s most insulting about his whitewashed whimpering is that it’s become boring. We already know that none of us will completely understand his actions; he and his stans will equivocate that with us not being able to criticize him, which, no. The ignorance of his political speech is staggering, almost purposefully so. Rather than work to validate his perspective through an informed compassion, he manufactures a plastic one to hide behind when critiqued by the likes of known Chomskyites like Lana Del Rey. It’s a circus sideshow that only exists to benefit TV executives, Kanye West, and to some degree, Lord Voldemort himself.

Let’s compare that to another performance on a marquee NBC program. In his television debut on The Tonight Show with Jimmy Fallon, Bad Bunny gave a speech to the opening chords of his trap banger “Estamos Bien”. In his gravelly Borinqueño drawl, he preached with efficiency: “After one year of the hurricane there’s still people without electricity in their home. More than 3,000 people died, and Trump is still in denial, but you know what? Estamos bien!”

Rather than simply make fun songs and letting the rest of us intellectualize his place in this crazy world, Bunny is telling us what he’s fighting for. Rather than benefit himself through latching to causes, Bunny is benefiting causes through testing himself. And although his message is still a bit surface level and his songs sport the occasional (frequent) shallow lyric, his choice is important. He is putting words to his rebellion; substance to his style. Rather than settle for iconicism like young American rap stars, or navel-gaze with conjecture like some of our living (dying) legends, Bad Bunny is fighting for goodness that should be much simpler to see than it seems to be.

[bringinbackpod]

Interview with Jim Keller of Tommy Tutone

Together with American Songwriter, we had the pleasure of interviewing Jim Keller over Zoom video! 

Jim Keller has shared "Find My Shadow," a brand new song and video from his upcoming album By No Means (February 12). While each song on the new album features Los Lobos frontman David Hidalgo on guitar, this new offering is particularly special for the legend's work accentuating Keller's rich bass notes on vocal duties. The pair are joined on "Find My Shadow," and throughout the new album, by the top-notch rhythm section of Michael Urbano (Todd Rundgren, John Hiatt) and Bob Glaub (Jackson Browne, Warren Zevon), as well as by producer Mitchell Froom (Randy Newman, Crowded House) - who also hosted the recording sessions in his Los Angeles home studio as seen in the accompanying "Find My Shadow" visual. Keller adds: "what I love about the song is the melody is upbeat and happy, like a Roger Miller tune, but the lyrics are really about being lost." 

Listen to "Find My Shadow" and watch the in-studio visual via American Songwriter: https://americansongwriter.com/jim-keller-of-tommy-tutone-fame-debuts-new-single-with-david-hidalgo/

Pre-order By No Means here: https://ffm.to/bynomeans

��Keller has a knack for making seemingly simple lines sink a little deeper, especially when you add them all up in connection with the world-weary gravitas of his rumbling voice.... but it's Keller’s songwriting, wry and understated, yet always gently stirring, holds center court.” - American Songwriter

By No Means marks the next chapter in one of music’s most unusual careers. In addition to his lauded solo work, Keller penned the smash hit “867-5309 / Jenny” as a member of Tommy Tutone in the 80s and has served as Philip Glass’ manager over many of the intervening years. His songs have earned high praise from Tom Waits, who noted they “make me feel like I have big plans, no worries and all my hair.” Keller also counts Nels Cline and Marc Ribot as supporters and collaborators, and they are among over two dozen musicians who’ve re-worked “Don’t Get Me Started,” another track from By No Means, over the past year.

Check out all those performances here: https://www.jimkellermusic.com/dont-get-me-started-video-project/

We want to hear from you! Please email Tera@BringinitBackwards.com.

www.BringinitBackwards.com

#podcast #interview #bringinbackpod  #foryou #foryoupage #stayhome #togetherathome #zoom #aspn #americansongwriter #americansongwriterpodcastnetwork

Listen & Subscribe to BiB

Follow our podcast on Instagram and Twitter! 

source https://bringin-it-backwards.simplecast.com/episodes/interview-with-jim-keller-of-tommy-tutone-TCTjG4_U

[princeofcyberpunk]

started playing the urbano demo

i am SCREAMING this game is fucking incredible

the art the animation the music the gameplay the characters the everything

this twewy and rythmn game fan approves highly

steam store link (for the free demo) https://store.steampowered.com/app/2115210/URBANO__Legends_Debut/

[nextnnet]

Si por algo ha destacado Nintendo DS durante su periodo de vida, es por tener un amplio repertorio de títulos en su catálogo. Muchos de ellos, ofrecieron experiencias de juego fuera de lo habitual gracias al uso, como no, de las funciones táctiles e incluso de las dos pantallas que posee la portátil. Desde franquicias clásicas de Nintendo como Kirby o The Legend of Zelda, pasando por nuevas IP, como Elite Beat Agents The World ends With You, que es uno de los grandes ejemplos de ello.

El juego desarrollado por Square Enix se ha ganado la etiqueta de juego de culto con el paso del tiempo, aunque nunca ha dado el salto suficiente para convertirse en una franquicia. De hecho, ha llovido bastante desde su debut, exactamente han pasado once años. Ahora, Neku y compañía regresan con un nuevo lanzamiento bajo la etiqueta de Final Remix. Esta acogida en la consola híbrida supone una segunda oportunidad en El juego de los Segadores.

        Sobrevive en las calles de Shibuya

Abres los ojos, te levantas, y te sitúas rodeado de gente en uno de los distritos más emblemáticos de Japón; Shibuya. No sabes que ocurre, no te acuerdas de nada, aunque decides explorar el entorno y de repente, te encuentras con una joven llamada Shiki Misaki que te insta a ser su compañero. No sabes que ocurre, pero tras unos primeros y confusos compases, ambos se encuentran involucrados en todo un reto: El juego de los Segadores. Una partida donde nuestros protagonistas, deben de sobrevivir a las múltiples amenazas de una Shibuya alejada de la realidad. Ambos tienen que cooperar para superar una misión diaria a lo largo de una semana, si no lo hacen, los jugadores son suprimidos.

Así es como comienzan las aventuras de Neku y Shiki en The World ends With You, uno de los títulos más atípicos que ha desarollado Square Enix. Ya sea tanto en sus mecánicas jugables, como en estética, música, historia y desarrollo de los personajes. Lo que en un principio puede resultar un argumento simple o típico, se transforma en uno donde los giros de guión están presentes.

        Unas líneas más arriba, mencionábamos como el título pasó a ser una de las sensaciones de Nintendo DS, y es aquí, en sus combates, donde entra su peculiaridad. En Shibuya, además de jugadores y Segadores, también se encuentran peligrosas criaturas llamadas ruido, que sin duda, son una amenaza. Para evitar ser suprimidos y también, como en todo RPG, mejorar a nuestros protagonistas, nos enfrentamos a ellos en combates, que no pasan para nada desapercibidos gracias al uso de la pantalla táctil como es el caso del Modo Portatil. Para hacer frente al ruido, ejecutamos varias habilidades que provienen de los pines equipados.

Cada uno de estos ataques se realizan de una manera diferente. Unos pueden ser activados cortando a Neku, pulsando sobre el enemigo o sobre espacios vacios. Hay una gran variedad de ellos, además de tener diferentes propiedades.  Al derrotar a cada enemigo, tanto nuestros personajes como las chapas, obtienen experiencia. Los protagonistas como no, mejoran sus atributos, en cambio los pines, además de eso, pueden evolucionar en otros mucho más efectivos.

  Eliminando al ruido, pero a la última moda

En el combate, nuestro compañero también nos puede ayudar. En la entrega original se utilizaban ambas pantallas, la inferior para mostrar a Neku y en la superior a Shiki. Además de usar los botones de la consola para que nuestra compañera pueda desencadenar varios combos. En esta versión de Nintendo Switch, como es lógico, todo se muestra en una sola pantalla. Para ello, basta con pulsar sobre el objetivo para que nuestro compañero nos ayude. Lo mejor de todo, es que con su ayuda podemos combinar golpes entre los dos personajes, esto hace que el porcentaje de sincronización aumente. Al llegar al 100%, se nos permite realizar una destructiva técnica que golpea con fuerza a los enemigos.

  Todo este sistema de combate es completamente táctil en el Modo Portátil, desde el movimiento de Neku hasta los ataques. En cambio, jugar en Modo TV o Tabletop supone utilizar uno de los Joy-Con. La gran diferencia es que, los pines se activan de la misma forma, dibujando sobre el escenario, pero en este caso, utilizamos el sensor del mando. Con el movimiento de Neku ocurre exactamente igual. La adaptación de los controles está realmente bien, aunque las únicas pega que le podemos poner es el nulo uso de los botones. Nos hubiera gustado utilizar en modo portátil utilizar los botones de los Joy-Con para mover a Neku por el escenario, de forma similar a la entrega original. Además de eso, el uso del Joy-Con está bien implementado a lo que es el sistema de combate, aunque en ocasiones suele fallar y apunta sobre otra dirección. Por suerte, se puede reiniciar de inmediato pulsando el botón Y.

  En cuanto al equipamiento de los personajes, disponemos de varias tiendas a las que acudir para comprar todo tipo de ropa y accesorios. Cada vestimenta y pin pertenecen a una marca en cuestión. Esto hace que cada zona que se visita esté influenciada por una marca lider u otra. Si nuestras chapas equipadas no están a la moda, podemos revertir la situación. Solo basta con librar varios combates para ello. El uso de pines que están en una buena situación en una zona en concreto nos beneficia, dotando de mayor poder al pin en los combates.

      Las calles de Shibuya acogen a todo tipo de gente, cada una de ellas, como es natural, tiene sus propios pensamientos. La principal habilidad de Neku, es poder leer la mente a los habitantes del distrito japonés. Al hacerlo, en pantalla aparecen diferentes bocadillos que salen de los personajes y que se pueden leer, sirviendo de gran ayuda para poder avanzar en El juego de los Segadores. Además de los pensamientos de los NPC, también hacen acto de presencia el ruido. Podemos combatir contra nuestros enemigos si pulsamos sobre ellos. Si lo hacemos con varios a la vez, se encadenan varios enfrentamientos. Una opción ideal para sumar puntos y añadir mejores recompensas a nuestro inventario.

  Lo mejor de esto, es que The World ends With You nos permite configurar a nuestro gusto las condiciones con las que nos enfretamos al ruido. Desde la dificultad, pasando por el nivel de nuestros protagonistas (menos vida, mejores recompensas). De esta forma, el título es accesible para todo tipo de jugadores. Como novedad, también podemos utilizar un modo cooperativo que solo está disponible en modo TV o Tabletop, ya que utiliza ambos Joy-Con.

      Si hay algo caracteristico del título, es su apartado audiovisual. Muy alejado a lo que ofrecen franquicias como Final Fantasy o Dragon Quest. Con un toque urbano, escenarios que simulan Shibuya a la perfección y un diseño de personajes excepcional que sale de las manos del más que conocido Tetsuya Nomura. En el caso de esta versión, los sprites de los personajes ahora se visualizan en alta denifición, mejorando considerablemente. En cuanto a la música, The World ends With You siempre ha destacado por este apartado. La música JPOP está más que presente, pero también el hip-hop. La cantidad de temas que suelen sonar en el título es considerable, y lo mejor de todo, es que saben captar a la perfección el ambiente de la zona y sus tribus urbanas. Calling, Twister, Hybrid y un sinfin de temas se quedan grabados en la cabeza del jugador, y creedme, no vais a querer jugar al título sin unos cascos.

    The World ends With You -Final Remix- (Nintendo Switch) – Shibuya tiene un color especial

Uno de los títulos más especiales del catálogo de Nintendo DS está de regreso. The World ends With You -Final Remix- es la mejor opción para adentrarte en las calles de Shibuya y el macabro Juego de los Segadores. Su efectivo, además de divertido sistema de combate aprovecha todas las funciones de la máquina híbrida, ya sea Joy-Con u pantalla táctil. Esta última forma de jugar nos ha parecido la mejor, pero echamos en falta algún uso para los botones, aunque sea para mover a Neku. Por lo demás, contamos con un capítulo especial, que profundiza aún más el argumento, sumando casi dos horas más de juego. Además, de llegar traducido al castellano, siendo la primera vez que nuestros protagonistas hablan el idioma de cervantes. The World ends With You es uno de los mejores juegos creados por Square Enix y uno de los grandes ejemplos de como aprovechar al máximo el potencial de una consola.

  Este análisis ha sido realizado gracias a una copia digital de The World ends With You – Final Remix- para Nintendo Switch cedida por Nintendo España

Análisis – The World ends With You -Final Remix- (Nintendo Switch). Calling, You hear the calling Si por algo ha destacado Nintendo DS durante su periodo de vida, es por tener un amplio repertorio de títulos en su catálogo.

[allspark]

It’s time for our weekly Diamond Comics Shipping List! Check out some great titles IDW has in store for us next week like Optimus Prime, Transformers: Lost Light, Transformers: Unicron, G.I. Joe: A Real American Hero, DuckTales, Teenage Mutant Ninja Turtles, and much more! All coming your way for July 11th!

OPTIMUS PRIME #20

John Barber (A/CVR A) Kei Zama (CVR B) Casey Coller

“The Falling,” Part 5. Optimus Prime has faced defeat before and come back… but he’s never seen anything like this. Beyond life, beyond death-only the wisdom of an old friend can save him. Meanwhile, Victorion battles Devastator… and only one will survive.

The return of Bumblebee!  One shall rise, one shall fall, but who will destroy them all?

TRANSFORMERS LOST LIGHT #20

James Roberts (A) Casey Coller (CVR A & B) Jack Lawrence

Rodimus vs. Getaway!  Finally!

TRANSFORMERS UNICRON #1

James Roberts (A/CVR A) Alex Milne (CVR B) James Raiz

The end is nigh! The Darkest Hour has come. Optimus Prime stages a desperate gamble as the world-eater, Unicron, approaches Windblade’s homeworld-but that’s just the appetizer. The main course is Cybertron (with a side of Earth)… and it’s starting to look like no force in the galaxy can stop the end from coming.

GI JOE A REAL AMERICAN HERO #253

Larry Hama (A/CVR A) Brian Shearer (CVR B) John Royle

“Special Missions,” Part 3 (of 5). G.I. Joe. Cobra. Two opposing forces. Two powerful war machines, each made more lethal by the undeniable strength of their individual parts. But who and what are those parts? Living legend Larry Hama shares some of their amazing stories in “Special Missions”-one-shot stories featuring a variety of characters and different artists to draw them! This issue, longtime G.I. Joe alum Brian Shearer joins forces with Larry to present G.I. Joe’s intrepid first sergeant without equal: DUKE!

CROW MEMENTO MORI #4

Roberto Recchioni (A/CVR A) Werther Dell’Edera (CVR B) Davide Furno

While Father Raphael appears visibly excited upon hearing of David’s crusade, the young Crow cannot seem to find his mission truly accomplished and questions whether Evil doesn’t truly hide within every man’s heart. But what is the truth that the Crow means to show him?  David’s holy quest for vengeance comes to an end, but will he truly find his peace?

DUCK AVENGER NEW ADVENTURES TP BOOK 03

Francesco Artibani (A) Various (CVR) Corrado Mastantuono

Advance solicited for June release! Donald Duck is still the diabolical Duck Avenger… but he wishes he wasn’t! Mysterious Dr. Fairfax is shaking up Duckburg with duck-made earthquakes, and time travelers want Donald to battle space aliens in the distant future! With supercomputer One always on duty, how can any heroic mission go wrong… or right? More of the world-famous sci-fi adventures that Donald Duck fans want most, making their North American debut!

DUCKTALES #10

Joe Caramagna, Steve Behling (A) Emilio Urbano, Ciro Cangialosi, Christina Giorgilli, Dario Calabria (CVR A & B) Marco Ghiglione

When Huey discovers Dewey has been sneaking out at night, he gets to the bottom of the mystery by grabbing a pair of hedge clippers! Then, when Donald, Scrooge, and the boys search for a treasure of the two-headed horse, they get a few more heads than they were bargaining for!

J SCOTT CAMPBELL DANGER GIRL GALLERY ED

(A/CVR) J. Scott Campbell

J. Scott Campbell is renowned for his gorgeous art and stunningly realized covers. This collection (available in a standard size square bound prestige format as well as in a deluxe, oversized hardcover) features 64 pages crammed full of Campbell’s Danger Girl covers and pin-ups. As an added bonus, several notable “guest stars” are included in this collection, providing their own beautifully executed version of the Danger Girl team: Adam Hughes, Travis Charest, Joe Madureira, Arthur Adams, Joe Quesada, David Mack, and more. A fine addition to any fan of Danger Girl and the art of J. Scott Campbell!

TMNT UNIVERSE TP VOL 04 HOME

Chris Mowry, Erika Anderson, Paul Allor, Brian Flynn (A) Giannis Milonogiannis, Michael Dialynas (CVR) Freddie Williams

Discover the secret origins of the Triceratons: how they began on Earth, what that means for their return, and how they successfully rebelled against their Utrom captors! Plus, the Turtles fight to save their city, but become trapped in tight quarters when NYC is evacuated. Will they find a way to freedom without driving each other crazy? Then, Raphael and Alopex go undercover at Null Industries. They find more than they bargained for, including very angry mutants! Collects issues #16-20.

TMNT URBAN LEGENDS #3

Gary Carlson (A/CVR A) Frank Fosco (CVR B) Erik Larsen

This is it! The entire TMNT Volume 3, reproduced for the first time ever in full four-color glory! Join creators Gary Carlson and Frank Fosco as they take the Heroes in a Half-Shell on some of their most amazing and dangerous and bizarre adventures ever… In this issue, Leonardo desperately seeks out the lost Master Splinter and the badly wounded Donatello via the Astral Plane, while Mikey and Raph are caught in a fight for their lives against Pimiko and her attacking minions!

UNCLE SCROOGE #36

Carl Barks, Carl Fallberg, Thad Komorowski (A) Marco Rota, Daan Jippes (CVR A) Jonathan H. Gray (CVR B) Michel Nadorp

Is Scrooge McDuck always sharper than the sharpies? In “Treasure Above the Clouds,” he’s battling with playboy plutocrat John D. Rockerduck for ownership of an awesome Incan treasure-but in “Peril of the Black Forest,” Scrooge fights his own nephews for possession of Duckburg’s woodlands!

WALT DISNEY SHOWCASE #3 BEAGLE BOYS

Stefano Ambrosio, Jonathan H. Gray, Joe Torcivia (A) Andrea Freccero (A/CVR A) Enrico Faccini (CVR B) Giorgio Cavazzano

When Ludwig Von Drake teams up with the Junior Woodchucks to design an interactive museum of valuable treasures, the terrible Beagle Boys decide to get a little “interactive” themselves! Then, in “Alarm Disarmers,” it’s the Beagles vs. Scrooge McDuck in a battle of hi-tech!

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IDW Comics Shipping List for July 11th! It’s time for our weekly Diamond Comics Shipping List! Check out some great titles IDW has in store for us next week like 

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Cuba en la cuerda de los videojuegos

  LA HABANA, Cuba.- Una experiencia inédita para esta isla tuvo lugar el pasado viernes en la ciudad de Pinar del Río, famosa por su proverbial ausencia de novedad. La Cenicienta de Cuba acogió el primer concierto de música de videojuegos de Nintendo, así como de anime y manga, interpretado por la camerata Éxtasis bajo la batuta del maestro Liván Labrada Morales, fundador del ensemble.

En este doble estreno —de formato y programa—, el maestro Labrada eligió partituras de juegos y series bien conocidos entre los fans, como The Legend of Zelda, Final Fantasy, La princesa Mononoke y Nausika en el valle del viento. Además de reavivar con la iniciativa el programa de música de concierto en Pinar del Río, el director se propuso conectar a públicos y generaciones que parecen muy distantes en cuanto a la conciliación de sus intereses.

Mientras los amantes de la música sinfónica hoy son ejemplares de una fauna en peligro de extinción, los aficionados al anime japonés —también denominados otaku, individuos fascinados por determinados aspectos de la cultura japonesa— y los videojuegos, conforman un vasto segmento de público de distintas edades, con un bagaje cultural variado, que han encontrado zonas en común para la interacción y el entretenimiento.

La idea de hacer coincidir ambos universos sonoros ha sido ampliamente explotada a nivel internacional. Comenzó a finales de la década de 1980 en Japón, llegando a Occidente en los primeros años del siglo XXI.

Uno de los hitos memorables se produjo en junio de 2011 en la ciudad de Colonia (Alemania), con el concierto Symphonic Odisseys. En aquella ocasión, una orquesta sinfónica interpretó música de videojuegos compuesta por el maestro Nobuo Uematsu; desde entonces, ha aumentado el número de formatos de concierto que han incorporado esta música en sus programas.

En Cuba las orquestas sinfónicas se mantienen atadas a los repertorios convencionales y el reconocimiento que la cultura vinculada al anime, el manga y los videojuegos ha despertado a nivel institucional, es mínimo. Con esta atractiva variante de la cultura urbana sucede hoy lo que en otros tiempos con el rock o el rap: sus seguidores carecen de espacios para expresarse; y su actividad se limita a un fenómeno de interés para un grupo específico, que no cuenta con apoyo promocional ni legitimación.

El concierto ofrecido en Pinar del Río es el adelanto de una temporada prevista para 2018, dedicada a esta música que no es apreciada como un fin en sí misma, sino mediante el producto para el cual ha sido compuesta. La premier, si bien generó cierta curiosidad, no tuvo el acompañamiento de un público apasionado del tema. El director intentó que la interpretación de la camerata estuviera apoyada con la proyección de imágenes de los videojuegos y filmes homenajeados, pero por falta de recursos y voluntad no pudo ser.

“Savior” es el primer videojuego “indie” cubano (Captura de pantalla/Archivo)

Si hubiese realmente una estrategia orientada a llevar opciones culturales a esta juventud desentendida, sería fácil notar que se necesita muy poco para que la música sinfónica interese a las nuevas generaciones. Bastan una orquesta de cámara y una pantalla para que el panorama musical urbano, castigado por la mismidad del reguetón y sucedáneos, cambie sin perder público.

Los dictadores de la cultura menosprecian todo lo que no suene o huela a “raíces”, pero delante de sus ojos está creciendo un público que se ha dejado fascinar por la historia y la cultura japonesas. Los otaku no se limitan solo a las películas y los videojuegos; se han apropiado de toda clase de valores: vestuario, maquillaje y hasta conductas emocionales que pueden rastrearse años atrás, hasta aquella microcultura “emo” que sustituyó a los “frikis” en la céntrica avenida de G.

Con el debut de la camerata Éxtasis y su concierto homenaje a los videojuegos, el anime y las historietas japonesas, un público poco visible retoma algo del protagonismo que alcanzó hace aproximadamente una década. Un fenómeno que podría magnificar su impacto si se realizara, por ejemplo, en La Habana.

Cuba en la cuerda de los videojuegos