Phantasmic Tales

The tumblr of Adam Prosser, artist, writer, comic book maker, and god knows what else. I also have a Patreon!

[lizlemondyke]

it’s funny cuz it’s true

[ladythatsmyskull]

Mad #500 (2009). By Paul Gilligan.

[hometoursandotherstuff]

[homoqueerjewhobbit]

This is the first gift I ever bought my Aussie husband after watching him stop to take pictures of every single squirrel we encountered on his first visit to the US (aka the first time we met aka one of the things that made me fall in love with him)

[knivesandteeth]

My first overseas visit i spent a lot of time chasing squirrels like a dog

[dftea]

Huh

[phantasmictales]

I mean bear in mind that to an Australian, a kangaroo is a very boring, commonplace animal

[cartoonistcoop]

We are now OPEN FOR SUBMISSIONS for our second Digital Comics Residency! Time to submit your pitches! Read more about our program and submit your pitch here: https://cartoonist.coop/digital-residency/

Credits: Art by se.mo

[cartoonistcoop]

SUBMISSIONS CLOSE Tuesday June 30th, 11:59pm EDT

[cartoonistcoop]

Have you filled out the third annual Comic Worker Survey?

If not, this is the time to support your fellow comics workers! Your answers will help address pay disparities for a more transparent and equal comics industry. Take the survey here: https://cartoonist.coop/2026comicworkersurvey

Art by @‌urnash.com

[cartoonistcoop]

Make a Terrible Comic Day

Make a Terrible Comic Day is held every year on June 24, and this year, we're making one together! Join us that day for 60 minutes of focused working to lofi music, followed by sharing our work for 30 minutes after!

Want to learn more about Make a Terrible Comic Day?? Check out the website HERE!

[ladythatsmyskull]

[frodo-of-the-nine-fingers]

you can just feel the self-congratulatory glee of whoever named this paint this color, like they truly thought they were so funny and i think you're so funny paint color naming man good job paint man

[the-real-seebs]

never use this color on a wall you're going to be living with for a while, it looks okay at first but holy shit man

[boomcomplains]

Okay, but don't leave this in the tags, man.

[soveryunofficial]

A Day at the Zoo

A Day at the Zoo; A cute little story by Shiro, is now available on GlobalComix! https://bit.ly/oneDayAtTheZoo A few words of warning: It’s paid content. It’s NOT for kids. It contains violence and gore. Payment prudecessors should be happy tho since there is not a single exposed Bublé.

[thepromiscuousfinger]

[videos-i-didnt-make]

telephone pole.mp4

[thespian-wallflower]

I feel a draft. We must be near the Sea of Holes.

Yellow Submarine (1968)

[fictionalauthorityii]

I am very sad to hear of the passing of John Blanche. For many of us, John Blanche IS warhammer, and his artwork is what initially drew us into the hobby.

It cannot be overstated how much he contributed to this space that we love and cherish, in a way that is to me more significant than simply publishing books, writing rules, and selling miniatures.

John Blanche helped create the setting and bring to life many of the characters that we have grown to love over the years that we have enjoyed this hobby. His artwork stands alone in its style, the definitive aesthetic of “grimdark” that influences the game to this day.

As a person with a deep artistic background, Mr. Blanche’s work stood beside many that inspired my own work throughout the years and I cannot help but feel that the world is less bright because of his passing.

In a way, he will live forever, and I can only hope that his work continues to be shared and admired within this space.

Thank you so much, Mr. Blanche.

[yodawgiheardyoulikemecha]

Adeptus Titanicus

John Blanche

[kinsey3furry300]

Rip John Blanche, one of the definitive illustrators of a very specific type of sci-fi and fantasy art.

[bryanharryrombough]

John Blanche's first work for Games Workshop, the cover of White Dwarf #4, Dec/Jan 1977/78.

[lucybellwood]

An Indulgent Rant After a Frustrating Meeting

I've been doing this for sixteen years. I've seen with my eyes that giving people art, letting art move, letting stories breathe, allowing them to travel: it changes people. Those stories go places and lodge in people's hearts in ways you can't predict. That can't happen if you keep it all close to the chest, behind a paywall, locked in bureaucracy. It can't happen if you're afraid. If you operate from a place of ownership and grasping and the fear that there might be money left on the table. We want a piece of this, they say. We want to make sure we get our share. You wouldn't have made this without us. True. Of course. But who will move the story? Who will connect with the audience? Is it you? I don't think so. That's why you hired me. If you give someone something freely with intention, it carries gratitude in it like a seed. It's nonlinear. I've been saying this for years.

The "money left on the table" isn't thousands, or even hundreds. Often it's a loss! I pay to print comics to put out into the world because they will go places I can't. People will find their way back to me. If my life changed because of one college student's weird photocopied tall ship-themed zine I found in a bookstore in 2005, who knows where my work will go and what it will do.

It infuriates me to run up against this mentality because it is so hard to share anything in the world today. It is so hard to get stories into the hands of people who need them. You have to give everything a fighting chance—print it out, leave it in the library, share it on social media, post it on your blog. Yes, publish it. Put it in a book. Put that book up for sale. Of course. Of course. I want to eat. I'm not a fool. But if people don't find the story, they won't want to buy the book. That's how it works.

I'm tired of working in a system that operates on that fear. It feels juvenile. "What if someone steals my idea?" "What if someone reads my work and doesn't pay me for the privilege?" GREAT. SOMEONE HAS READ MY WORK.

I don't know how to sit in the seat of this power while also championing the fact that artists must be paid. Our work has value, but much of that value is slantwise. It doesn't come in linear channels. So yes, pay me, but also trust me. Trust that I know what I'm doing. Trust that art moves in mysterious ways. Trust in the story. If it is good and true, people will value it. They will bring that value back to you.