Illustrations from La grande anthologie du Fantastique - published in France from 1977 to 81. by Christian Broutin (born 1933)
Jules of Nature

Game Changer & Make Some Noise
Show & Tell
occasionally subtle
The Bowery Presents
Misplaced Lens Cap
★
todays bird

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Sade Olutola

bliss lane
Sweet Seals For You, Always

Kiana Khansmith
ojovivo
Not today Justin
hello vonnie
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gracie abrams

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@the-sun-the-sun
Illustrations from La grande anthologie du Fantastique - published in France from 1977 to 81. by Christian Broutin (born 1933)
small town diner waitress voice: Omelas? Oh, oh no, easy mistake, you're in oh - MAY - las right now, with an A. Plenty' people get the name mixed up. Nope, no utopia here, just our small little town. *face gets really grim* We do still.. Okay well we do still have a kid that we... I mean it isn't working but- well- You know. It- It's fine. I'm sure it'll start working soon.
The tower
I am learning to imagine the future:
My sycamore tree began life in the gravel at the edge of a parking lot. If trees can feel pain, that is a painful, unlucky death. I carefully dug it up and put it in a pot I made out of a disposable cup.
Hello small one. This world may be cruel, but I will not be.
I decided to take care of it, not expecting it to survive, and when my sycamore tree unfurled one tiny leaf and then another, it chiseled a tiny foothold in my terrified brain, the kind of brain that doesn't remember a world before the atomic bomb and before 9/11.
I googled the lifespans of trees. My neurons had to stretch and expand to accommodate what I learned: My sycamore tree may live five hundred years. It's hard to think something so big. In twenty years, my baby sycamore tree will be three stories tall, and the home of many creatures. In five years, my sycamore tree will be taller than I am. In one year, it will be summer.
There's this concept called sense of foreshortened future where people who have lived through trauma can't conceptualize a future for themselves because deep down they don't expect to survive, When I look forward, all I see is fire and death, melting ice and burning sky. We were raised Evangelical. All we see is Judgment Day, except there is no heaven.
But now there is a tiny gap in the wall, a crack in the door of my cell
and on the other side, I see a tree
There is, in the future, a great old sycamore tree, full of clean winds and the stir of a thousand wings. A hundred years from now. Fifty years from now. There will be forests in that world. There will be a world.
It takes courage, but we have to imagine it.
Most tree species can live in excess of three or four hundred years. I think I'm learning something. I think there are ancient voices saying hello small one, touch the dirt and the leaves, for now you are part of something that cannot die
in 2030 I will be thirty years old and the world will not have ended and there will still be hummingbirds, and we will have photos of the stars more beautiful than we can now imagine.
I planted an Eastern Redcedar; they may live nine hundred years. There will be nine hundred years. The people in that time will remember us. Maybe we will meet the aliens (hi aliens!).
I will blow out the candles on many birthday cakes in a world where there are wolves in dark forests far from home. I am learning to imagine the future. I learned recently that elk were reintroduced to the Appalachian Mountains after over a hundred years of extirpation, and that they are expanding their range.
That tiny crack I can see through now opens a tiny bit more:
Maybe elk will pass through my hometown, maybe there will be a forest where the pasture is on the high hill that I can see from my home
say it, say it, say it: ten years, thirty years, a hundred years from now
I am learning to imagine the future. There is a crack in the wall of this prison, of this machine, of this darkness, and through it, I see a tree.
today
✨War Paint✨ the impersonal excerpts of the impromptu perzine I made because I was 🙃. Featuring Harmonia Rosales paintings Stigmata & Our Lady of Regalia + the pivotal scene in the movie Black Girl by Ousmane Sembene & a few songs.
It's Make A Terrible Comic Day, tho i messed up and called it Draw A Bad Comic day.
Drawn for my dear friend @pseudonymjones, who created this wonderful day and wonderful event. ilu Emma.
life is very personal
Entry Points, oil on canvas by Lydia Pettit on Instagram
man is a wolf to man
albert is an arabic name meaning The Bert
cake is such an underappreciated band. i can’t believe we brought back low rise flare jeans before we brought back cake in the top 40
i’m just saying cake’s music would be widely regarded as so sexy if it wasn’t for all the mariachi horns and vibraslap and the vocalist didn’t always sound like he was explaining his suicide plans to a gun store clerk in sacramento. the world wasn’t ready for them
The fact that it sounds like a dispassionate reading of a terrorist manifesto is a feature
“I love the way the player’s body moves in Bloodborne: You can fly in any direction like that, like a nervous little bird. If you want to be close, you are instantly close, and if you want to be away, you are instantly away. What a gift. Of course everything is violent and wants to touch you, but if you are perfect, you will not be touched. There is a little secret here which perhaps you can notice: When the ugly monster’s limbs reach out to touch the small human’s body, there is about a tenth of a second—maybe less— where her body is invincible. It doesn’t even matter if she’s geometrically in harm’s way or not. She is safe because she timed it right, was perfect. See, even in this very hard game, there is something wonderful and fair: The game doesn’t care about the way bodies actually intersect. If your timing was correct, it agrees: “You were not touched.” Many games hide that tiny moment of invincibility within quick movement, and it feels so kind just knowing, no mater how bad you are, that if you could fit every moment of pain in that one tenth of a second you could be invincible for the rest of your life. Sometimes I wish I had this power in real life. If I had it would mean never having to say ‘no’ in so many words, nor the confrontation that sometimes comes with saying no. But that perfect, flawless dodge is not sustainable—you have to be devastated so many times to get the timing so flawless. And here’s my bad secret: when I killed this one monster, I didn’t do it by dodging flawlessly, but by mashing some awful weapon in her side while her limbs were flailing and she could not hit me back. Unfair and problematic of me, I know. So often, games’ expressive qualities are limited to the violent motion of virtual bodies, yet they can be extremely articulate within that vocabulary. As much as I want to be an untouchable angel of forgiveness and grace with a bottomless well of compassion for all living things, I keep messing up that dodge and I think it’s making me a bitch.”
— Aevee Bee, “I love my untouchable virtual body” (via goodbyemisery)
california girls we're unforgivable, sins so grave they can't be absolved!
It kind of fucks with me that somebody killed ötzi the iceman because ötzi himself is like whatever but the silent presence of human hands that drew back the string of the bow that shot the arrow that killed him is crazy. the idea that there were various people involved in that situation and while one of them has had his last hours painstakingly reconstructed and studied to no end, the others now only exist insofar that an arrowhead had to get into his shoulder somehow. imagine killing someone and then suddenly your entire existence is only a vague shadow implied by the fact that you killed them. much to consider
Testing the mummified bone marrow of ötzi to figure out his ancestry whole time there’s definitely another person, maybe more than one, standing in the room with us but I can never see or speak to them because I only know them through the assurance that they were there too in the form of one single arrowhead. I hate prehistory so much it’s unreal
I hate it too tbh
It’s extremely important that you listen to this with the sound on