#ClassA [parte 2]

Bebe do meu copo que hoje cê pode 💋

A vida, às vezes só ensina quando a oportunidade acaba 🌴

Bem que eu te avisei que eu era um problema.

Eu só sei que nada sei é nem ajo como se soubesse 🌴

Me deixa sentir o teu perfume ❤

Não vou me perder por algo que me leve a perder tudo.

Eu sei, o tempo passa, mas não passa a vontade e a necessidade de te ter por perto 💕

Ela se sente culpado por saber que se apaixonou sabendo que eu não ia voltar.

Rebola no meu colo, do jeito eu gosto você sabe fazer 😍

Vem pra cá que nós relaxa! 💕

É necessário viver, arrependimentos são consequências 🍃

Eu faço grana, ela faz drama, eu vou embora, ela me chama ❤

Tu sabe que eu sumo, mas eu volto ❤

Hoje a grana tá baixa, mas a vontade tá em alta 💋

Às vezes ela vai embora, mas volta porque gosta ❤

Eu sei, o futuro é incerto.


…some panels from the first few books of ‘The Waters of Deadmoon’ (Story: Patrick Cothias - Art: Philippe Adamov - Heavy Metal, May 1990 through May 1991 - originally published in France as ‘Les Eaux de Mortelune’ by Glénat, 1986 through 1989), very much to my liking in the same vein as ‘Freakwave’ by Milligan/McCarthy & very Moebius…  


In November 2011 Russia was shocked by video with title “Chechen man cuts the throat of a girl”. It showed a man choking a girl until she passed out and then cutting her throat with a knife. However, some users doubted authenticity of the video, thinking that it was a fake murder that was staged to fuel hate Russian people have for Chechens. Even experts claimed that the video was fake. But the truth was much sinister. The person on the video is 26 years old Chechen man Salavdi Adamov who kidnapped a girl, cut her throat and left her bleed to death. After her last breath Adamov burned her body. The girl was never identified. She was the second person that was killed by Adamov. A month prior that he killed 22 years old woman. He was sentenced to 19 years and 6 months of imprisonment.

The giant floating platform in the last panel looks like something out of the Airtight Garage or a science fiction manga.

(Heavy Metal issue #152, September 1994 - Page 29 Dayak: Ghetto 9 by Adamov)

There’s a lot of great art in this story, which made it difficult to choose just one page to showcase, but that last panel is something else. The use of the regular checkerboard background makes the warp effect that much more effective.

(Heavy Metal issue #152, September 1994 - Page 97 Dayak: Ghetto 9 by Adamov)

The House of Ministries on Lenin Square, Tashkent, Uzbek SSR by Boris Mezentsev, Aleksander Yakushev, B. Zaritsky, Yevgeny Rozanov, Leon Adamov, and Yu. Korostelev [1970]. The building combines traditional Central Asian styles [Islamic screens and arabesque patterns in turquoise] with Soviet modernism, manifesting the union between the Socialist Republics and their ethnic differences, reminding them that they actively compose the USSR and are not simply passively being subject to Moscow. 

In an entirely wordless page, the art tells the story of what happens to people who are caught out in the open air when the acid rain falls. Very effective use of a silent sequence.

(Heavy Metal issue #128, September 1990 - Page 29 The Waters of DeadMoon by Adamov and Cothias)

The panel in the bottom left corner of the page contains two really interesting examples of censorship - look at the black bars drawn over the erections. They are still clearly erections - a hand is even wrapped around one. They’re just not flesh-colored anymore. It’s interesting that the editors thought this was necessary. After all, there are plenty of other, uncensored penises flopping around throughout the story, just not erections.

(Heavy Metal issue #128, September 1990 - Page 50 The Waters of DeadMoon by Adamov and Cothias)