I begin to spend time outside my body without falling over. At these times I feel blurred, as if there are two of me, one superimposed on the other, but imperfectly. There’s an edge of transparency, and beside it a rim of solid flesh that’s without feeling, like a scar. I can see what’s happening, I can hear what’s being said to me, but I don’t have to pay any attention. My eyes are open but I’m not there. I’m off to the side.
—  Margaret Atwood, from Cat’s Eye

Happy anniversaryBATTLE BORN" (First release: September 17, 2012) 

"This is what makes the Battle Born era the biggest and best yet. We’ve seen The Killers go through four stages of evolution: the synth-pop themed Hot Fuss (2004) era that saw them burst onto the scene with the legendary ‘Mr Brightside’; the Sam’s Town (2006) era that showed them as a strong rock presence drawing on influences from their edge-of-the-desert hometown of Nevada; and the futuristic and saxophone-laced Day & Age (2008) era that showcased yet another string on The Killers’ bow. Then – after a lengthy absence to concentrate on solo projects – came 2012’s Battle Born, an album that doesn’t appear as full of hits as its predecessors on the surface, but is by far the most polished. This is a testament to how far the band has come, with the ability to headline Wembley a sure sign of making it. When The Killers look back on their time together as a band, they will pin point this as ‘the’ moment and this era as ‘the’ era. Brandon was quick to point this out too, stating in an interview that the Battle Born tour had been “the best tour we’ve ever had.” (demon-media.co.uk)


Some £1 designs from this morning’s competition

"Michael Barrymore, giving a thumbs up with ‘Awight?’ round the edge" - Garry Brogden

"Prince Harry in his SS uniform" - Thomas Nugent

"This is a serious issue. Something simple, yet elegant. Something that can really demonstrate how great Britain is. Obviously it has to be the crudely drawn cock and balls." - Phil Jones

I’ll be submitting one of these to HM Royal Treasury so fingers crossed.


By Juliet Kahn

Coco Chanel once opined that “fashions fade, only style remains the same.” In channeling the latter through the former, Gwen Stacy’s Spider-Woman disagrees to great effect in the self-contained Edge Of Spider-Verse #2, on sale now and nominally part of Marvel’s Spider-Verse crossover event. The electric color palette and the asymmetrical hairdos and the wildly winged eyeshadow might look dated in a few years’ time, sure, but these pages bleed a fluorescent adolescent attitude found across time and space, from 19th century Spain’s hipster majos to Siouxie Sioux. This is a Gwen that owes as much to Peter Parker as she does to Tank Girl. This is a Gwen—and a comic—with style.

There’s the outfit. It is, as has been discussed here and elsewhere, fabulous, and entirely organic—when I imagine a spunky 20-year-old woman of today gaining spider powers, this is exactly what I see her wearing. The colors by Rico Renzi are incredible, managing to encapsulate both the Forever 21 spinner rack and the rock and roll excess of the 1980s. The sound effects are all scrawled in shades of “fruity cocktail that will get you really drunk,” from THWAPP a la “Adios, Motherf*cker,” to WA-TUP in “Tequila Sunrise.”


the pursuit of hyper-realism in games is going to be the death of me

its like things just get grungier and grungier, eventually we will have grunge that looks more realistic than actual dirt

ninjatechnerd said:

Donnie came into their room and sat on his bed that was right across from Mikey's. He knew Mikey wasn't quite over the whole hermaphrodite thing.."so...have you decided which gender you're going to identity yourself as?"

Indeed, Mikey was still feeling a bit weird about that whole thing. He poked his face out from under the covers, resting his chin on the edge of his concave bed-thingie.

"Been a dude all my life. Ain’t no reason to change now."