1. youchosewrong:

    (from DC Super Heroes Which Way Book #1: Superman The Man of Steel - written by Andrew Helfer, illustrated by Jose Delbo,1983)

    Submitted by the Magnificent Mike Sterling!

  2. zehcnasednuldivad:

    "Uh, actually, I should say… I can tell you that this song is called Innundir Skinni, and it’s actually about, being pregnant!"
    "Groovy?!? ahahaha"

  3. davidlundesanchez:

    Peg-Leg Pete by Matt Kish

    Matt Kish and I had an art trade. I made a Witch King for his Witch King collection and he made me this magnificent Peg-Leg Pete! 

  4. I laugh every time I read this, the very first page of Tony

    "død overalt! jeg takler det ikke lenger. vil dø jeg og" (Death everywhere, I can’t handle it anymore. I want to die, too) and "Hils Snurre Sprett fra meg i kanin-helvete" (Send my regards to Bugs Bunny in rabbit Hell) are two of the greatest lines I’ve ever read in a comic.

  5. characterwednesday:

    SuperMegaBowser vs. Mario

    Nayson Bowman

    8.5 x 11

    Pencil on paper

  6. darylseitchik:

    Missy 7/18/10

  7. bigredrobot:


    Page from Jack Kirby’s Spirit World, from 1971. I love the way he draws ghosts!


    (via thesaddestbitchinallofspectrum)

  8. p-kyle:

    Special Friend 126

  9. logisticalfictions:

    Tale of Two Cities. Borders are the logistical mechanics of separation. In the absence of clear geographic boundaries they are little more than arbitrary divisions of space—legal fictions producing territorialized landscapes with frustratingly real consequences for the humans and nonhumans who must cross them. Sometimes porous and permeable, they can rapidly ossify into rigid and resistant markers of permanent exclusion. Perhaps the most dramatic imagination of the absurdity of these fictions is given by China Miéville’s account of the vaguely Balkan cities of Besźel and Ul Qoma in The City and the City (2009). Evoking something akin to (but different from) the absurd division of Berlin or the markers carving up Jerusalem, the mirrored cities of the book are just as evident in the class divisions of everyday urban life—neighborhoods unvisited, people unseen.

    The border that separates Besźel from Ul Qoma is notable in its absence from geography. The cities overlap, differentiated only by the colors and designs of their building, the dress and habit of their people. This literal manifestation of the “wall in the mind” requires one city’s inhabitants to learn to not recognize the other, and vice versa. Border crossing can only take place at the designated border zone at Copula Hall, where emigrants circle back on the same space, but enter into an altered perceptual place. Transgressing this arrangement is punishable by the seemingly otherworldly phenomena of Breach, but it is in exactly this kind of transgression that the story seems to set its motions.

    BLDGBLOG: I’m curious to what extent you were hoping to base your work on these sorts of real-life border conditions.

    Miéville: The most extreme example of this was something I saw in an article in the Christian Science Monitor, where a couple of poli-sci guys from the State Department or something similar were proposing a solution to the Arab-Israeli conflict. In the case of Jerusalem, they were proposing basically exactly this kind of system, from The City and The City, in that you would have a single urban space in which different citizens are covered by completely different juridical relations and social relations, and in which you would have two overlapping authorities.

    I was amazed when I saw this. I think, in a real world sense, it’s completely demented. I don’t think it would work at all, and I don’t think Israel has the slightest intention of trying it.

    My intent with The City and The City was, as you say, to derive something hyperbolic and fictional through an exaggeration of the logic of borders, rather than to invent my own magical logic of how borders could be. It was an extrapolation of really quite everyday, quite quotidian, juridical and social aspects of nation-state borders: I combined that with a politicized social filtering, and extrapolated out and exaggerated further on a sociologically plausible basis, eventually taking it to a ridiculous extreme.

    But I’m always slightly nervous when people make analogies to things like Palestine because I think there can be a danger of a kind of sympathetic magic: you see two things that are about divided cities and so you think that they must therefore be similar in some way. Whereas, in fact, in a lot of these situations, it seems to me that—and certainly in the question of Palestine—the problem is not one population being unseen, it’s one population being very, very aggressively seen by the armed wing of another population.

    In fact, I put those words into Borlu’s mouth in the book, where he says, “This is nothing like Berlin, this is nothing like Jerusalem.” That’s partly just to disavow—because you don’t want to make the book too easy—but it’s also to make a serious point, which is that, obviously, the analogies will occur but sometimes they will obscure as much as they illuminate.

    Initial Image via René Fijten

    Selected interview via BLDGBLOG.

  10. kombuchaclock:


  11. seizurecubes-fakemon:

    Spooktrap - the tunic pokemon

    Type: ghost/ground

    Ability: Skill Link or Shadow Tag (hidden ability) 

    For the region’s desert nomads, spooktrap are the bane of their existence. They move through the sand as if it were water, siphoning it through their bodies to propel them forwards. And when they gang up on a straggler, there is nothing the nomads can do to prevent them being dragged into the sand, never to be seen again.

    During the hottest part of the day, the pokemon encases itself in a protective layer of ectoplasmic goop. The desert nomads are wont to stealing this ectoplasm in revenge, as its removal results in the temporary evaporation of the spooktrap, and it can function as a sleeping bag in a pinch.

    Spooktrap also manages to trail sand wherever it goes, even after weeks of lack of exposure to the substance. Testing has shown that they grind up dust and tiny particles of rock in the air to make their own ‘sand’ for no apparent reason.

    [I have never heard the term ‘in a pinch’ used outside of a pokemon game. Is it a Japanese thing?]


  12. How to draw a comic!


    Step one: ah, you messed up~

  13. seeingcalvino:

    "True, also in Hypatia the day will come when my only desire will be to leave. I know I must not go down to the harbor then, but climb the citadel’s highest pinnacle and wait for a ship to go by up there. But will it ever go by? There is no language without deceit."


    Watercolor and colored pencil on watercolor paper

    July 23rd, 2014

    artist: Joe Kuth

  14. mini-girlz:

    Standing Figures

    Culture: Possibly Mimbres, Native American

    Medium: Stone, pigment

    These eight figurines were found inside a ceramic vessel near Sanders, Arizona, but the context of the discovery site is unknown. Their facial features, thin arms, and angular postures point to a Mimbres origin. Similar stone figurines have been discovered in the region in a variety of archaeological contexts, including a burial, a domestic room, and a trash mound. The open mouths suggest some form of communication, and the objects’ small size indicates personal use, but questions remain: Were the objects used for rituals or burial offerings, or as treasured possessions? Were they discarded after one use? 

    via > brooklynmuseum.org

  15. spudd64:

    THE WEIRD: The King in Yellow

    11 inches by 14 inches

    acrylic paint and ink on watercolor paper

    July 21, 2014

    (I don’t often do this kind of thing, but after watching the entirety of the decent but massively hyped True Detective on DVD, I was reminded of how much I love “weird” literature. That inspired me to do this drawing of the King in Yellow, touching on many things from the original cover to the Robert. W. Chambers book to Harry Clarke.)