Peter Goodfellow
Monterey Bay Aquarium
Keni

if i look back, i am lost

JVL
hello vonnie
Peter Solarz
đ©” avery cochrane đ©”

Andulka
Aqua Utopiaïœæ”·ăźćșă§èšæ¶ă玥ă
NASA

â
KIROKAZE
DEAR READER
untitled

blake kathryn
art blog(derogatory)
sheepfilms

â
Stranger Things
Cosmic Funnies

seen from Canada
seen from United Kingdom
seen from United Arab Emirates
seen from United States

seen from Germany

seen from TĂŒrkiye
seen from Portugal
seen from United States
seen from Nepal

seen from Malaysia

seen from United States
seen from United States

seen from United States
seen from United States
seen from United States
seen from United States
seen from United States
seen from United States
seen from United States

seen from United States
@bukowskishousekeys
Peter Goodfellow
THUNDARR THE BARBARIAN (1981)
Hey! Listen! A static version of this comic appears in my upcoming book, alongside new, never-before-seen comics. Itâs a secret to everybody. berkeleymews.com/book
BABY OH NO
Cover art to Spanish magazine, TERROR GRAFICO #5 (1972), by Esteban Maroto.
by Sasha Kharitonova
A friend of mine just brought to my attention that thereâs an old Judges Guild module called Glory Hole Dwarven Mine and Iâm extremely glad of it
Itâs available on DriveThruRPG so Iâm going to make it my mission to get it and leave a review filled with double entendres there
Early (1940s) and later (1950s and on) animation backgrounds from ROAD RUNNER.
Coyoteâs long fall, perfectly and almost poetically rounded off with a billowing cloud of dust, has to be one of the funniest things in animation. Often he wouldnât even move duting his long way down, heâd just meekly undergo it, completely Zen. Falling to his death was a daily routine.
Next to Bugs Bunny, Daffy Duck, Elmer Fudd, and so forth, Coyote really was one of WBâs most sympathetic characters.
Mall interiors from the 1970s/1980s.
My mother hated them, but to me, a kid, malls were exciting. They looked like small sci-fi colonies mixed with ocean liners, with their blood-red carpets, gilded railings, jungle plants, and crooked floor patterns. The mall, thatâs where you found your precious toys. Itâs where humans lived, and promises were fulfilled. Take an 1980s teen flick, and thereâs a scene in a mall.
George A. Romeroâs DAWN OF THE DEAD shows one in all its kitschy glory.
I was about 12, when I saw her again: she was hanging out with her friends near the fountain. A blonde elf-like girl, the sun around which the other kids orbited, she laughed a lot. Whenever her friends laughed though, she seemed quiet, troubled even, biting her thumb; thatâs when her eyes caught me. In a dark corner, two 16-year-olds, who seemed like real adults to me, were playing an arcade game and eating french fries; I wondered how they could play with greasy fingers. One burped loudly, but they didnât laugh. Eyes on the game.
Suddenly these two kids rush past you on their bikes. You know one of them, he is an enemy. He gave you the finger once, the first time you saw anyone making that gesture. âAsshole,â he says. Someone tells them they canât ride their bikes here, they shout something back.
Gino is this thin, moustached hothead with tight stonewash jeans and big white sneakers, and a permed mullet. He doesnât walk, he bounces, like a Muppet; he moves fast, like someone whoâs on his way to punch someone. He smokes and has a gold-colored necklace with his name, but better not joke about it, because Gino is the kind of guy who doesnât get jokes. Your brother referred to him once as âEvil Freddie Mercuryâ. He always seems to be everywhere: when you go ice skating, you run into him there; when you go swimming, heâs at the pool; when youâre playing football in the field behind your school you know heâs going to show up. He looks at youâwhenever you look at him, his eyes always immediately shoot backâbut he leaves you alone and trots out of sight. Youâre vaguely relieved to see him go.
The wall with flickering TVs plays an MTV video, you kind of watch as you wait for your mother to return, but not really. The two 16-year-olds have finished their game, they mumble some curses, one smacks the arcade machine, and they leave. You see Sebastianâs motherâSebastian, the kid who stole money once. She passes you and you feel her eyes, but you pretend not to see her.
The lady in her mobility scooter, her bags of groceries tied to the handlebars. She is rotund and can hardly walk, and always takes the elevator. Sometimes people help her get in, more often they donât. You cracked cruel jokes about her once when you were here with your brother, but really you just felt sadness.
You realize every kid is there with friends except you, and just when youâre about to discover some great truth about yourself and the world around you, your mother returns and you go home, your toys in the plastic toy store bag that you tried to hide from the blue eyes of the elegant blonde elf, whoâs still laughing with her friends, and who, though nobody would have guessed it, would go on to play such a major part in your life years later.
These are just some memories I have of the mall. Stories of my childhood unfolded there, and I remember everything.
The Goonies (1985)
âpeople die everyday. some mentally, some physically and others emotionally.â
â scottie waves (via fy-perspectives)
âWhen you really care about someone, their happiness matters more than yoursâ
â
Paths of Judgement: gouache on board, 16x20, based on James Cameronâs Terminator 2: Judgement Day and featured in my book Cinemaps. This movie was a game changer. Doing the map took me back to when it came out. I distinctly remember my friend (who saw it first) telling me all about it, with wide eyes and arms waving - it may have been the first true âgeek outâ I had ever seen, and it was fantastic. The standout for me now? Joe Mortonâs performance as Miles Dyson. Â Prints available at @g1988 for $65.