Viktor Mikhaïlovitch Vasnetsov - Gamaun, l'oiseau prophétique, 1897
First known portrait of Anita Sarkeesian 😆😆😆

Viktor Mikhaïlovitch Vasnetsov - Gamaun, l'oiseau prophétique, 1897
First known portrait of Anita Sarkeesian 😆😆😆
In 2009, humanity finds itself under siege by a race of giant, warlike aliens called the Zentradi. During their initial attack, the SDF-1 Macross—a giant transforming space fortress housing thousands of civilians in addition to military personnel—is flung to the far side of the solar system due to a faulty space fold. Struggling to make it back to Earth with enemy forces hot on their trail, the people try to stay positive, their morale raised by the singing of superstar pop idol Lynn Minmay. Fighter pilot Hikaru is a huge fan, and a daring rescue leads to a potential romance between the two. But the Zentradi also have their eyes on Minmay. Her love songs stir up ancient memories of what may be their only weakness: Proto-Culture. It’s hard to overstate the impact Macross: Do You Remember Love? had on anime fans, and the genre as a whole, upon its release in 1984 (a momentous year that also saw game changers Nausicaä of the Valley of the Wind and Urusei Yatsura Movie 2: Beautiful Dreamer hit theaters). An adaption of the 1982 surprise hit TV series Super Dimension Fortress Macross, Do You Remember Love? smartly streamlines the original story while emphasizing the three key factors that made it a success: eye-popping space battles, a gripping love story, and catchy music. The production staff bursts at the seams with some of the most talented people in the industry, including: director Shoji Kawamori, co-director/writer Noboru Ishiguro, character designer Haruhiko Mikimoto, mecha designer Kazutaka Miyatake and ace animators like Koji Morimoto, Hideaki Anno, Hiroyuki Kitakubo and Ichiro Itano (whose signature missile barrages are forever associated with the franchise). Macross: Do You Remember Love? is modern yet nostalgic; ahead of its time but also firmly a product of it. Perhaps no other film captures the youthful energy and cherished motifs of 80s anime so well.
超時空要塞マクロス 愛・おぼえていますか (1984)
Please fire me. I work at McDonald’s and last week I spent 15 minutes trying to explain to an old man they we do not sell hot dogs (McDogs as he claimed it) then he threatened to report me for “withholding products from him”!
The Shape stalks, again. Digital (Krita) 16x20
Rappin’ Freddy, a tribute to the Rappin’ Rodney album of the 80s
Hajime Sorayama
A remarkable Jacobean re-emergence after 200 years of yellowing varnish Courtesy Philip Mould
ART CONSERVATORS ARE SO EXTREMELY UNDERRATED
Life plan
Across the country, judges increasingly are sending defendants to rehab instead of prison or jail. These diversion courts have become the bedrock of criminal justice reform, aiming to transform lives and ease overcrowded prisons.
But in the rush to spare people from prison, some judges are steering defendants into rehabs that are little more than lucrative work camps for private industry, an investigation by Reveal from The Center for Investigative Reporting has found.
The programs promise freedom from addiction. Instead, they’ve turned thousands of men and women into indentured servants.
The beneficiaries of these programs span the country, from Fortune 500 companies to factories and local businesses. The defendants work at a Coca-Cola bottling plant in Oklahoma, a construction firm in Alabama, a nursing home in North Carolina.
There’s little drug rehabilitation going on at these labor camps. Some of the companies that utilize the slave labor are so dependent on it that they’d go under without it. Some of the industries these men are forced to work in are notoriously dangerous. When they’re injured, the companies file workers compensation claims – and keep the money for themselves, even though the workers are typically not employees but clients.
Warning: no matter how bad you think this story is going to be, it’s worse
Paperbacks from Hell: The Twisted History of ‘70s and '80s Horror Fiction chronicles the rise and fall of horror paperback novels. Much like the glory days of VHS tapes lining video store shelves, horror fiction often featured artwork more interesting than the contents within. Author Grady Hendrix (My Best Friend’s Exorcism) saves bibliophiles countless hours of tracking down and reading hundreds of obscure books to suss out the hidden gems by highlighting the best, worst, and weirdest selections from this oft-overlooked literary subset.
The book is more than a mere reference guide with a gallery of covers and accompanying synopses; it offers an analytical and comprehensive look at the works. An author himself, Hendrix is not afraid to voice his opinion. (He is decidedly not a fan of Jay Anson’s The Amityville Horror, for example.) He also profiles a handful of the artists responsible for some of the most eye-catching covers. It’s logical that Paperbacks from Hell is a paperback release (albeit a glossy, coffee table-sized one), but I’d love a hardcover companion filled with full-page artwork.
Kyle Burles illustrated this heartwarming tribute to three masters of horror we recently lost: Tobe Hooper (The Texas Chainsaw Massacre), George A. Romero (Night of the Living Dead), and Wes Craven (A Nightmare on Elm Street).
Read the artist’s statement below, and check out his website to see more of his work.
“You know you’re fucked when stackoverflow doesn’t even have answers.” // submitted by anonymous