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#D&D graphic novels
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Dungeons & Dragons Ravenloft-- Orphan of Agony Isle by: Casey Lily
Published by: IDW Comics I really liked this. I was super excited to read it because I grew up with my dad playing D&D with me. And honestly, I’m trying to get my baby sibling into it (I’m almost there, wish me luck). What really drew me in was the art. I saw it and was pulled in and it’s one of the many comics I’ve come to love because the art and story meld perfectly. Now the story was very…
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billloguidice · 1 year
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Return to the world of Dungeons & Dragons with these comic collections
Return to the world of Dungeons & Dragons with these comic collections #sale #dnd #dandd #dungeonsanddragons #comics #graphicnovel #fantasy
The tabletop legend gets the comic treatment. Choose from one of three great bundle options here. Thanks to our pals at IDW Publishing, you can jump headlong into the world of Dungeons & Dragons no matter how poorly you roll your acrobatics check! Comic geniuses like Jim Zub, AJ Mendez, Sal Buscema, Rags Morales, Andrea Di Vito, Jan Duursema and countless others come together to tell the story…
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savantefolle · 2 years
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Deux publications américaines pour ma fête!
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This day in history
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#20yrsago Will the music industry turn into the book industry?https://web.archive.org/web/20020802105058/http://www.newyorkmag.com/page.cfm?page_id=6099
#20yrsago MC Escher lizard tesselation paving stones https://web.archive.org/web/20020603035241/http://www.paverdepot.com/3-dstone/3-d-stone.html
#20yrsago We’re suing on behalf of ReplayTV customers, and Hollywood is *steamed* https://web.archive.org/web/20020617210642/https://www.eff.org/IP/Video/Newmark_v_Turner/20020606_eff_pr.html
#15yrsago See no evil: Against Internet filters https://web.archive.org/web/20070609213946/http://commentisfree.guardian.co.uk/cory_doctorow/2007/06/see_no_evil.html
#15yrsago Scotty vs Kirk: Engineers need to say no to DRM https://web.archive.org/web/20070609181014/http://news.zdnet.com/2100-9588_22-6189011.html
#10yrsago Internet privacy: a hard bargain https://web.archive.org/web/20120615084509/https://www.technologyreview.com/news/428045/the-curious-case-of-internet-privacy/?nlid=nldly&nld=2012-06-06
#10yrsago Recreating iconic Banksy images as photos https://web.archive.org/web/20120607065033/https://www.thisblogrules.com/2012/06/you-are-not-banksy-street-art-turns-real-life.html
#10yrsago Religious statues in superhero costumes https://collabcubed.com/2012/06/05/igor-scalisi-palminteri-superhero-saints/
#10yrsago Trinity: the birth of nuclear weapons in graphic novel form https://memex.craphound.com/2012/06/06/trinity-the-birth-of-nuclear-weapons-in-graphic-novel-form/
#5yrsago Stanford Libraries post digital archive of drafts of Allen Ginsberg’s HOWL https://library.stanford.edu/blogs/stanford-libraries-blog/2017/06/allen-ginsbergs-howl-goes-online
#5yrsago The Kill Society: Sandman Slim meets Mad Max…in hell https://memex.craphound.com/2017/06/06/the-kill-society-sandman-slim-meets-mad-max-in-hell/
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truefeygaming · 2 years
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Its a me...
I’m Amelia Fey (@TrueFeyQueen888) over on Twitter and I am here now.
I am transgender, pansexual, neurodivergent, liberal, nerdy, and chill.
I am obsessed with all things Fey/Fae/Fairy.
I love TTRPGs and I have made content for 5e both on DMsGuild but also on my blog (truefeygaming.wordpress.com). I also have original TTRPG content available on truefeyqueen888.itch.io
I love anime, comic books, and manga. My favorite anime include My Hero Academia, Jujutsu Kaisen, Demon Slayer, Sk8 the Infinity, Blue Exorcist, Death Note, Seven Deadly Sins, and Pokemon. My favorite comics/graphic novels are Klaus, Loki: The God Who Fell to Earth, The Prince and the Dressmaker, Batman Court of Owls, DIE, Angel Catbird, and Rock Candy Mountain. My favorite Manga is Saint Young Men.
I love Superheroes, my favorites being Spider-Man, Squirrel Girl, Venom, Wolverine, Cypher, Elixir, and Scarlet Witch for Marvel and Red Hood (and the rest of the Bat Family) Green Arrow, Poison Ivy, Beast Boy, Wonder Woman, Danny the Street, John Constantine, Swamp Thing and Raven for DC.
I love Cryptids with Mothman being my favorite (Mothman is my secret lover on the down low) followed by Sasquatch.
I really do love TTRPGs. D&D, Pathfinder, Cypher System, Savage Worlds, AMP: Year One, Fate of the Norns: Ragnarok, World of Darkness/Chronicles of Darkness, FFG Star Wars, Mouse Guard, TAGS RPG, Caltrop Core, and Starfinder being some of my favorites.
I hate TERFS and fascists, and stand for equality, acceptance, and kindness (with a dash of good-natured anarchy).
This is gonna be equal parts TTRPG, Pokemon, Supers/Comics, Anime, LGBTQ+ Content and Dumbshit.
And that is me. Hi!
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objecteiespai · 2 years
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French Abstract Formalist Comics (Comics estructurals francesos): Un moviment artístic PER KIM JOOHA
Definició
A mitjans de 2010, un grup de joves artistes francesos van començar a crear còmics sense paraules amb un estil geomètric i minimalista i poca o cap narrativa. El que mostren en lloc d'això és més que un “procés”.
L'estil emocional i mecànic i la manca de narrativa i paraules condueixen al lector a centrar-se en les qualitats formals i conceptes abstractes del còmic, l'art visual i els mitjans impresos, com l'espai-temps, el moviment, el cos, el signe, la textura, la representació, la transformació , repetició / diferència, etc.
Jo anomeno a aquest nou moviment emergent francès Abstract Formalist Comics. Són “còmics abstractes” formalistes, no perquè no mostrin imatges representatives-ho fan, i això és una diferència crítica entre ells i els còmics abstractes-sinó perquè mostren temes abstractes i conceptuals i conceptuals de narració abstracte i formalista. També es podrien anomenar Comics estructurals francesos, perquè són similars a les obres del cinema estructural com la longitud d’ ona de Michael Snow (1968).
Comparteixen un entorn físic, geografia i període; formes artístiques (estil, estètica dels còmics); temes i motius; així com les característiques estructurals dels còmics, els mitjans impresos i l'art visual. També comparteixen una comunitat i una plataforma. El primer exemple és l'antologia Lagon , editada per Alexis Beauclair, Jean-Philippe Bretin, Bettina Henni i Sammy Stein, tots ells artistes de compositors estructurals francesos, tot i que no tots els treballs de Lagon són Comics estructurals. (Per exemple, Simon Hanselman hi era.) Edicions Matiere , que ha tingut influència secundària en el desenvolupament del moviment, publica molts FSC…
Exemples
imatges de :
1.-Jean-Philippe Bretin, Deep Valley, 2015
Jean-Philippe Bretin és un dissenyador gràfic que treballa amb diversos artistes esmentats anteriorment. També ha publicat diversos còmics estructurals, incloent Deep Valley (2015), que mostra el poder de les imatges juxtaposades i la dialèctica del panell i la pàgina .
2.-Alexis Beauclair escruta minuciosament el paper actiu del lector de còmics en la creació de moviment a Loto (2012-). No obstant això, el lector casual gairebé no s'adona d'un cop d'estat. In Vanishing Perspective (2018), Beauclair convida al lector a convertir-se en la llum ( Photon ) i dirigir el moviment a la mateixa en el Laberint . Al final, l'espai tridimensional que el lector ha estat investigant en la seva imaginació es converteix en la realitat del paper real de Vanishing Perspective (Sol) .
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via:
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http://goodcomicsbykim.tumblr.com/
http://goodcomicsbykim.tumblr.com/post/139872616517/deep-valley-2015-by-jean-philippe-bretin
http://goodcomicsbykim.tumblr.com/post/153177151867/european-abstract-formalist-comics
http://www.captionbox.net/2017/10/13/short-list-for-best-online-comics-studies-scholarship-bocss-award-2017/
https://www.comicsgrid.com/articles/10.16995/cg.73/
https://www.comicsgrid.com/about/
http://www.micexpo.org/
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orangerful · 2 years
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Books Read in October
Books Read in October #books #reading
Graphic novel heavy month and then I started to read an ADULT FICTION book (I know!) but that means my reading speed slowed down so you’ll find out more about that title next month hopefully! Blades of Freedom: A Tale of Haiti, Napoleon, and the Louisiana Purchase by Nathan HaleMy rating: 5 of 5 starsNathan Hale’s Hazardous Tales is one of favorite series. I am embarrassed to say that I have…
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stilljumpingback · 2 years
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The Adventure Zone: The Crystal Kingdom by the McElroy Family
I love The Adventure Zone, but haven't found the time to work my way through their backlog of podcast episodes. Reading their D&D adventures in graphic novel form is SO MUCH fun, and more so with each sequel.
Genre | Fantasy Graphic Novel Page #s | 272Publishing Date | July 2021 Based on the blockbuster podcast where the McElroy brothers and their dad play a tabletop RPG and illustrated by cartooning powerhouse Carey Pietsch, The Adventure Zone: The Crystal Kingdom takes this #1 New York Times bestselling series to haunting new heights. A desperate call for help interrupts holiday celebrations at…
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omedapixel · 3 years
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Hi Emma! I have a question regarding the computer you are using. Recently I found myself enjoying building lots, therefore I downloaded tens of GB’s of cc and my laptop is not doing great so I decided to buy a new one. But I’m completely lost which laptop to choose and was hoping for your advice because you know exactly what it takes to create a decent lot and how satisfying is that you don’t need to wait 30 min to open “decor” section. I’m sorry if this question is kinda annoying. Thank you!
hi there!! i hope you don’t mind me writing a novel-length response lol 😅 and please know i’m not a super computer expert! this is just what i know from my experience. i also only have 10GB of cc (which surprised me ha!)
i’ve had so many issues running sims 3 on a laptop that i actually bought a desktop computer specifically for it! but i think laptops can work too, you just need to be aware of overheating (which is what cause all my past laptops to die)
the computer i have now is a medion pc with 16gb of ram, and the graphics card is a nvidia gtx 1070. even though this computer is pretty good at keeping cool, i obsessively monitor the temperature and don’t let it get over 50 degrees C (but i’m probably being over cautious!)
if you want to get a laptop i would recommend one that has good cooling capabilities and a fairly new graphics card. also if it has ssd, you can install the sims on there and that will make your game run faster! so probably some sort of gaming laptop (maybe like one of these? - https://www.reinisfischer.com/top-20-gaming-laptops-nvidia-geforce-gtx-1060-6gb-graphics-card )
but also aside from the computer itself, i swear by fps limiters!! i use this one for ts3 and it works amazing for me - http://www.moreawesomethanyou.com/smf/index.php/topic,15585.0.html
this post by @potato-ballad-sims might also help you - https://potato-ballad-sims.tumblr.com/post/138757612807/yes-thats-right-there-is-a-way-to-make-the-sims
now i’m probably imagining things but i’ve also found that my game seems to run a lot faster after i installed this mod - https://modthesims.info/d/630199/hide-game-icons-in-cas-buy-amp-build-mode.html
ok that’s all i’ve got, hopefully you found at least some of this helpful! let me know if you have any other questions :)
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Dee Rees was waiting outside a discreet home on a quiet street in Los Angeles on a warm day in June, wearing a T-shirt emblazoned with the words “Arrest the President.” She led the way past her fragrant jasmine bushes, past a kidney-shaped pool, past a Great Dane the size of a tween into an intimate guesthouse that had been converted into a music studio. The walls were painted dark blue and nearly every spare inch of wall and floor held equipment: Fender guitars, synths, amps, speakers and keyboards. The floor was covered by so many power cords that they resembled an area rug. A recording of an off-key voice earnestly singing was playing loudly on a loop. Rees shot me a pained look. “I’m not a singer,” she said.
Nearby, standing at a microphone, the singer Santigold was humming along to Ree’s voice and mimicking the undulations until she knew them by heart. The musician Ray Brady, sitting at a computer nearby, cycled through a series of drum-machine sounds until they heard one they all liked, and Santigold started singing over it. The air-conditioner was off — it interfered with the quality of the recordings — and the air was dense with humidity that no one seemed bothered by.
Rees and Santigold were recording a series of demos for a big-screen futuristic opera titled “The Kyd’s Exquisite Follies.” The screenplay, which Rees had been working on for about a year, describes the journey of a young, black androgynous musician living in a small town who sets off for “It City” in search of stardom. “An outsized, sequin-spangled, sunglassed Cosmic Being leans into frame,” reads the description for the first scene. “It is Bootsy Collins if Bootsy was simultaneously tripping on acid, André 3000 and CBD Frosted Flakes with extra sugar.” Her mood board for the project features images from the cultural festival Afropunk and a dream cast of Erykah Badu, Beyoncé, Janelle Monáe and the R&B singer Syd. The whole thing almost sounded like a fantasy incubated deep in a Twitter thread, but Rees later told me that she was inspired to combine the cultural legacy of “The Wiz” with the grandeur of the “Star Wars” franchise to create a kid-friendly movie as canonical as her reference points. “I was like, ‘Where’s “The Wiz” for us, for our kids, for queer kids?’ ” she said.
Rees has been working toward this moment for nearly 10 years, assuredly moving from indie films into blockbuster cinema with the hope of establishing a creative freedom few directors attain. She is placing a thick spread of bets, in the hope that she will soon be able to play as boldly as she wants. Legacy, she told me, is her ultimate goal: “I want to create work that matters and lasts.”
At 43, Rees has already had the type of success that will outlast her. In 2011, she released her first feature film, “Pariah,” a lush coming-of-age drama about a young black woman named Alike grappling with both her sexuality and the world’s response to it. The movie won more than a dozen awards, including, most notably, the N.A.A.C.P. Image Award for Outstanding Motion Picture. Last year, the movie was included on IndieWire’s list of best films of the past decade, along with “Moonlight,” “Carol,” and “Call Me by Your Name” — movies that also feature queer narratives, though it’s worth noting that “Pariah” came out years before them. In 2017, she released her next feature film, “Mudbound,” a drama about the lives of a black family and a white family working the same plot of land in Mississippi in the 1940s. It garnered four Oscar nominations, including Best Adapted Screenplay, making her the first black woman to be nominated in the category. Her latest project, opening on Feb. 14 before streaming on Netflix, is her most Hollywood yet: Starring Anne Hathaway, Willem Dafoe and Ben Affleck, “The Last Thing He Wanted” is an adaptation of the 1996 Joan Didion novel about an American journalist investigating illicit arms sales to Central America during the Reagan administration. It is Rees’s attempt to demonstrate her range across scale, genre and star power.
But here in Los Angeles, her deepest professional desire was underway. Rees had already secured a producer for “Follies” in her longtime collaborator, Cassian Elwes, as well as a costume designer. Lucasfilm’s Industrial Light and Magic had signed on to create the visual effects. The next stage of the process was to produce a music sample that could be played for potential financiers, studio partners and distributors, to generate excitement for the project.
The main song she and Santigold were working on that afternoon was a duet between the hero, the Kyd, and an unseen entity offering support from afar. “The intention here is that the Universe is accompanying her, and she doesn’t realize it,” Rees informed the room, using her hands to show two entities orbiting around each other, the smaller one oblivious to the larger one. She described the song as a ballet, with choreography. The Universe is not a metaphor, she explained; it’s an actual character, a guiding light and love interest, which she imagined being played by Erykah Badu. The song lyrics included melancholic lines like “It was easier when no one was looking” and “People see you as they need you to be.”
Santi, as everyone in the room called her, finished singing one part and began recording another, in a lower intonation to indicate a different voice. She and Rees were building out the bones of a pivotal point in the narrative: The Kyd is reflecting on the isolation, loneliness and self-doubt that accompany a rise to stardom — feelings that Rees teased out from her own life experiences as a young director. They worked intently for nearly an hour this way, playing keyboard, looping drums, recording Santigold as she sang both parts, then pausing to get feedback. When Rees wasn’t feeling something, it was obvious: She remained silent but shook her head “no.” When she liked something, she bounced in her seat and offered affirmations like “that’s hot.”
Watching the two women work, I realized that Rees didn’t just have an idea for music, she had created an entire universe, writing all the songs, arranging the melodies and constructing a 3-D model in her head of the sets and landscape. To her, composing compelling songs and comedy numbers while grabbing milk at the bodega comes as effortlessly as directing some of the biggest actors working in Hollywood. Despite that, the biggest question about her career now is whether Hollywood will allow her the longevity she craves.
“I know this character,” Rees said at one point about the Kyd, though she might have been talking about her own journey as an artist so far. “That feeling of being trapped, wanting to be an artist, knowing the odds are against you and doing it anyway.”
A few weeks later, Rees was sitting in a small coffee shop in Harlem, not far from where she lives with her wife, the author Sarah M. Broom, who recently won a National Book Award for her memoir, “The Yellow House.” Rees had been stationed there for a while, talking to other regulars, reading the short-story collection “Heads of the Colored People,” by Nafissa Thompson-Spires, and working on her laptop. Rees is a minimalist: Everything about her has an understated elegance, from the twists in her hair to the black and camo Jordans that she likes to wear. That day, she was dressed in a tailored white-and-pink-dotted button-down shirt and carrying a backpack.
Rees told me that people often describe her success in the film industry as overnight, which feels dismissive of the years she spent hustling for “Pariah” and glosses over the years that she struggled to sell pilots and feature films since then. “I’ve spent 12 years slugging away,” she said. She’s quick to point out that most of her work has not made it to market.
Rees said her strategy is to work on “five things at once and see which one sticks.” Each time we talked, she was working on a new project. Once it was a television show about a black police officer in the South, set in the 1970s. Another time it was a potential collaboration with a black playwright. This is both a survival tactic designed to navigate the ever-changing tides of a mercurial entertainment industry and perhaps also a defense mechanism: better not to get too attached to a project that doesn’t get picked up. The gap years after “Pariah” taught her to be strategic.
“For me, everything still comes with a grain of salt,” she said. “I never trust if it’s going to happen until you see a grip truck pulling up.” Many black women who make a compelling, noteworthy debut never manage to make a second feature — think of Julie Dash or Leslie Harris, whose names you might not know but who are responsible for, respectively, the indie films “Daughters of the Dust” and “Just Another Girl on the I.R.T.” “It seemed like people wondered if that was a fluke,” she said about “Pariah.” After “Mudbound,” she felt that question of her directorial ability has been answered. “Now it’s just about, How much do I get to do?”
From Rees’s vantage, this is the time to be working as quickly and furiously as she possibly can to get all of her dream projects off the ground — not just “Follies” but also a lesbian horror film she plans to write with her wife and a sci-fi graphic novel that she can eventually adapt for the screen. “It’s a creator’s market,” she told me. “There are more canvases, and not just feature films. You can work online, you can make different kinds of TV. You can make your thing, and they’ll come to you.”
Rees was referring, in part, to streaming services, specifically Netflix, which financed and is distributing “The Last Thing He Wanted.” Over the past five years, Netflix has done the same for hundreds of original shows and movies, many of which are critically acclaimed and attract as much attention and accolades than the offerings from traditional movie studios. In 2019, Netflix released 60 films, and analysts estimate the company spends more than $8 billion on original content a year. “We’re not a 100-year-old studio or own intellectual property like Disney does,” Scott Stuber, the head of films at Netflix, told me. “We don’t have an archive or a library, so it’s very important strategically to get in business with filmmakers like Dee, Alfonso Cuarón, Martin Scorsese, and that is our differentiator.” Netflix’s elbowing into Hollywood has propelled other companies to follow suit, including Disney, Hulu, Apple and Amazon, all of which now produce exclusive streaming content. Netflix’s dominance is likely to be challenged in the coming years, but the company has already reshaped consumer standards, including the expectation that people can watch high-quality, Oscar-worthy first-run entertainment from the comfort of their couch.
To stay competitive, traditional studios now have to pay attention to what those services are doing and try to beat them at their own game. Many of the directors making the best material are coming from the indie world, Rees reminded me: Ryan Coogler, Ava DuVernay, Barry Jenkins. “And it’s not because of altruistic reasons but because of moneymaking reasons,” she said. “Studios are realizing it’s profitable to keep their eyes open. Netflix forced the rest of the industry to take more risks. The advantage for filmmakers is that they’re making it impossible for the rest of the industry to be dismissive or willfully ignorant, and they make the industry consider films and filmmakers that they might not have considered.”
Rees also pointed out the desire for content aimed specifically at black consumers, noting that studio heads and industry leaders were finally paying attention to the black appetite: “We’re the consumers and we’re the producers. And we’re saying: No more ‘Green Book.’ We’re not interested in that.” Though Rees tends to avoid social media and the internet, she sees them as levers for this radical change. “The gatekeepers can still modulate production, but they can’t modulate awareness in the same way,” she told me. “With that awareness comes a hunger, and it sustains a stable of artists.”
In the 1970s, Rees’s parents bought a home in a largely white neighborhood in Nashville. Her father was a police officer; her mother, a scientist at Vanderbilt University. When I first asked Rees to describe her childhood, she told me it was a “typical, boring suburban experience.” She was an only child who liked to lose herself in video games, “Garfield” comics and Choose Your Own Adventure books. The family was solidly middle class. “At the grocery store, it was my job to hold the calculator and calculate the grocery bill as we went along,” Rees recalled fondly.
But Rees’s “typical” childhood also included anecdotes about growing up adjacent to white people who questioned her family’s presence in their midst. Neighbors hung Confederate flags as curtains. Kids toilet papered their trees, prank rang the doorbell, ripped up the roses that her mother planted in a wagon wheel. People regularly tossed garbage in their yard as they drove or walked by. “It was my job to pick up that trash,” Rees said. “They always seemed to be looking at us like, ‘How can you be here, how can you have more than us?’ ” Rees’s father often parked his police car outside their home to “let people know not to [expletive] with us,” Rees said. “You were constantly bracing for it, preparing for it and trying not to let it provoke you, as it was meant to do.” These incidents, and the questions about belonging they raised, can be felt in all her films.
Rees graduated in 2000 from Florida A&M University with a master’s degree in business administration and worked in marketing for a series of health and beauty companies. Rees envisioned herself as Marcus Graham, one of the young black advertising professionals in the movie “Boomerang.” “I really thought I’d be working with people like Strangé,” she said, referring to the eccentric Grace Jones character who gives birth to a perfume bottle in a cosmetics commercial. None of the jobs lasted more than a year, but the detour was productive: She went on a commercial shoot for a client, Dr. Scholl’s, and followed the production assistant around out of curiosity. She was energized watching the work, prompting her to reconsider her career trajectory. She was accepted to New York University’s graduate film program in 2003.
Rees had never been to art school or even touched a camera. “I had no idea what I was doing,” she said. She struggled with the assignments, which often consisted of making short film experiments. “I failed and I failed hard,” she recalled. Her professors seemed to pay more attention to the better students. “It felt like an instant divestment of interest.” By the second semester, she was considering dropping out. “On the first day, they told us that ‘only two of you will make it,’ ” she said. “And I was not the one who seemed like they were going to make it. I was like, ‘This is a waste, it’s so expensive, I shouldn’t do this.’ ” At 27, she worried that she was too old to start a new career.
Rees confessed all her fears and insecurities to her girlfriend at the time, who told her: “O.K., so there’s only going to be two of you. That means you and who else?” The pep talk helped, as did the support from a few professors, including Spike Lee, who has served as the film program’s artistic director for nearly two decades. Lee was impressed by Rees’s storytelling abilities and her eye, which already felt uniquely her own — rare for anyone, but especially students. “In my experience, very few people have a style right off the jump,” he told me recently. “It’s something that you develop over time, and she had it. I never had any doubts about her being successful. I could see that she was going to do what she had to do to get where she wanted to get.”
She felt her work began to click when the assignments moved into documentary. “That is when I found myself and found my voice,” she told me. She took a trip to Liberia with her grandmother and the budding cinematographer Bradford Young. “It just felt like no one was looking, and I felt confident and was able to make the doc.” That film, “Eventual Salvation,” tells the story of her 80-year-old grandmother, Earnestine Smith, as she travels to Monrovia, where she lived for decades, and confronts the aftermath of a devastating civil war.
She loved imagining herself into the shoes of her subjects. “It helped me be a better director, because I could see that ‘Oh, if I’d gotten this shot, it would be a better dynamic, better storytelling through body language.’ ” Rees’s graduate thesis was a short film called “Pariah,” and the strength of the script landed her at Sundance Labs to incubate the short into a feature. Lee offered guidance, and Young, still unknown, drenched the film in the shimmering, richly colored patinas that he would later use in movies like “Arrival” and “Selma.”
While at N.Y.U., Rees shortened her name from Diandréa to Dee. She was establishing a boundary between herself and the world that to this day feels as if it safeguards her personal life. She was coming out as a lesbian, which at first, her parents chalked up to an “art-school thing,” Rees said. But once they realized she was truly in love with a woman, they imploded. Her mother came to New York to try to stage an intervention. Her father was embarrassed. “Nashville is superconservative and small, and I guess word was getting around,” Rees said. Neither parent spoke to her for some time, but both came to see a screening of “Pariah” in New York in 2011. The support in the room eased their worries, as did the affiliation with Sundance. “My life wasn’t a wreck, which somehow made it more acceptable for them,” Rees said.
A common theme threading through Rees’s projects is the way the world places limits on people and whether that destroys or liberates them. The moments in her movies at which her characters confront that existential dilemma are often extremely subtle, but powerful nonetheless. In “Bessie,” the 2015 HBO movie Rees made about the blues singer Bessie Smith, we see how Smith rebels against societal expectations in her sexual fluidity, hard drinking and even in her confrontation with the Ku Klux Klan at one of her shows. But the moment that is most revealing is Smith, played by Queen Latifah, sitting fully nude at a vanity, her body shining with oil, seeing herself surrounded by the trappings of fame but ultimately alone and aging. She’s facing the choices she has made and seemingly deciding whether she’ll make different ones tomorrow. In “Pariah,” it’s the spark of possibilities reflected in young Alike’s eyes as she watches a dancer slide down a pole to Khia’s pleasure anthem “My Neck, My Back” in a gay nightclub.
What is striking about Rees’s work is that even though none of her movies are explicitly autobiographical, she still finds ways to channel her life experiences into them. Embedded in “Mudbound,” for example, is the experience of her great-grandparents, who picked cotton, but it also reflects the amorality of racial violence and how a country can fight against it in a war, while still perpetuating it at home. At the center of “The Last Thing He Wanted” is a father-daughter relationship complicated by guilt and obligation, but it’s also a thriller whose main character is determined to expose government corruption.
Rees realized early in her career that as a female director working in Hollywood, she wouldn’t have the same liberty as, say, Richard Linklater or Noah Baumbach to explore the details of her life onscreen. Rees made compromises so that she could still work on the themes that interested her most. “When I first started out, I was like, ‘I’m not going to do adaptations,’ ” she told me. “I only want to do my own stuff, but I quickly realized that I couldn’t survive because of the time it takes to get people to want to do your original thing.”
In 2014, Cassian Elwes, a longtime Hollywood veteran who has produced such films as “Lee Daniels’ The Butler” and “Dallas Buyers Club,” found himself horrified after reading about the extreme gender imbalance prevalent in Hollywood movie making. Dr. Stacy L. Smith, a communications professor at the University of Southern California at Annenberg, has found that less than 5 percent of major Hollywood movies were directed by women. People of color were also dramatically underrepresented. (Those numbers have not fluctuated significantly in the years since.) Elwes was similarly shocked to read that most young white male directors make their sophomore projects not long after their first; most women of color take years. Many of them, unable to support themselves during that gap, give up.
Around this time, two young producers brought Elwes the script for “Mudbound.” He fell in love with it, and his mind drifted to “Pariah,” which he’d seen at Sundance. Elwes sent Rees the script. A few years earlier, Rees had wanted to adapt the novel “Home,” by Toni Morrison, to explore the paradox of freedom for black Americans returning home from overseas; now she realized she could inject that desire into “Mudbound.”
“He was the first producer who was just like, ‘It’s yours,’ ” Rees recalled. “It wasn’t exploitative or like you should be grateful. He was like, ‘Whatever you want to do, let’s work it out.’ He’s believed more in me than some producers of color.”
A movie like “Mudbound” could easily be saturated with simplistic Hollywood narratives about the resilience of black people and the restorative power of interracial friendships. But Rees was not afraid to show a world where some white people are evil and none will save the black characters. Rees first impression of the script was that it was “a little too sweet.” It featured music as the balm easing tension between the two families. Rees wrote more scenes explicitly featuring the Jackson family, including one around a dinner table where they discuss their dreams of purchasing their own parcel of land, only to be interrupted by the white landowner, who demands they come unload his truck. The film finds its own emphatic language for the spectral horror of white violence in America through quiet vignettes: The tight face of a well-dressed black man, riding in the back of a white man’s dusty pickup truck. The wet and swollen face of a white woman sobbing into the arms of a black matriarch, whose resignation and fatigue can be read in the set of her mouth.
Rachel Morrison, the film’s cinematographer, who received an Oscar nomination for the film, said she was drawn to Rees’s ability to “put the audience squarely in the main character,” she told me. For example, when filming Laura, a woman at a loss for who she is in the world, the shots feature her petite, wiry body dwarfed by the soggy terrain and gaping blue sky. Rees was “uncompromising in only the best ways,” Morrison said, in a tone rich with admiration. She recalled an instance where Rees wanted a shot looking through a screen door, from the outside world into a dark home. “It was a ton of work, balancing the bright sun and dark shadows, but I was like, ‘If it’s worth it to you, I’ll do it.’ ” It was worth it to Rees. Morrison spent close to an hour manipulating the set to capture what would amount to seconds of screen time. When Morrison saw the final cut, she realized the elegance of the shot and how beautifully it articulated the difference between the two families and the worlds they inhabit. “It’s one of my favorite shots in the film,” she said.
After they finished “Mudbound,” Rees told Elwes that she wanted to adapt the Joan Didion novel. He knew Didion’s agent and was able to option “The Last Thing He Wanted.” “We took it around to all the studios, and no one would deal with it,” she said. “Netflix jumped in and saved it. But it was hard in that way. You think because it’s Joan Didion, like, of course — but nope.”
Rees struggles not to take the studios’ lack of interest in her work personally. When I asked her how she rationalized their indifference, she took her time answering, clearly weighing how much of her inner thoughts about Hollywood she wanted to air in public, staring into her coffee all the while. “When stuff doesn’t make logical sense, to me, I go to a place where there’s only one thing that can explain this. You know what I mean?” She paused again, fiddling with her latte. “It feels like a double standard, and the double standard to me is race.”
I asked her how she coped with being so demonstrably talented as a filmmaker and yet feeling thwarted in her efforts at the same time. “The only refuge I have is to do more work, to be relentless and keep making and making, and hopefully, eventually I won’t have to continue to prove that I have the capabilities.” She felt this deeply when “Mudbound” was passed over by major studios, even though it resembled a Birney Imes photograph come to life and featured mesmerizing performances by Carey Mulligan and Rob Morgan. It eventually sold to Netflix, reportedly for $12.5 million, the largest deal to come out of Sundance in 2017. “I’ve learned to go where the love is and work with who wants to work with you,” she told me. “The thing you’re up against is not new. Since first grade, the moment you enter school, you’re up against racism. But it’s still stunning sometimes.”
What remains striking about Rees is that these challenges haven’t muted her ambition. Elwes repeatedly highlighted it. “It’s gigantic,” he said, marveling. “She could be knocking out independent movies all day long if she wanted to.” But instead, with something like “Follies,” she is trying to create a pop-cultural empire. “She’s building a world, and right now in Hollywood, most people are just making another version of a comic book or a sequel or a remake,” Elwes said. Her fearlessness and talent are why he immediately agreed to help her produce and finance her sci-fi opera after she floated the idea by him in a text message. He has been hustling to raise the $80 million or so that she needs to pull it off. “It’s not a slam dunk,” he said, “but whoever takes the risk will get the reward.”
Toward the end of our meeting at the coffee shop, Rees told me shyly — a rare mode for her — that her biggest dream is to work on a major feature-film trilogy, something even more audacious than “Follies.” “I want to have a world with a black woman at the center of it, who ends up leading a rebellion,” she said. “I want to create a whole new world rather than color in somebody else’s.” The trilogy Rees wants to build takes place in a dystopic time, a hellscape devastated by climate change and out-of-control social media where people have to meet a minimum “credit” rating in order to have a decent quality of life.
Rees hopes that “The Last Thing” will be a bridge between her past work and her larger ambitions. Unlike her previous films, “The Last Thing” is a fast-paced political thriller with car chases, shootouts and body counts that includes tight close-ups and impressionistic landscape shots. The effect is claustrophobic and dizzying — a departure from Rees’s previous, more linear work — and yet the audience remains, as Morrison reflected, squarely in the perspective of Elena McMahon, the journalist at the center of it, played by Anne Hathaway. As McMahon loses her moral compass, the viewer becomes disoriented, too, and unable to keep up with the revelations, which, at Sundance, caused many critics to pan the movie.
When I spoke with Rees by phone from Sundance, right after the first reviews came in, she sounded sanguine. Her film had been “trashed,” she said, “but I still believe in it.” Then her voice perked up as she proceeded to tell me the details of a few still unannounced deals she had inked since we last saw each other. From her perspective, it seemed, the critical response was a blip in what she plans to be a long career.
Rosie Perez, who portrays a photojournalist in “The Last Thing,” told me that the day she arrived on location in Puerto Rico to shoot the film, she immediately noticed Rees’s sharp intelligence but found her aloof. “I wasn’t sure if I was going to connect with her,” she said. When it came time to work, Rees was meticulous but hands off. She set up the scene, positioning the camera with her own hands at times, and then stepped away. “It freed us up to just act,” Perez said. “She lets you do your thing. But you have to trust that she’s doing hers, too.”
Once, after a scene, Rees called cut, and Perez asked Rees if she was sure they got the shot. “She looked at me and said, deadpan: ‘I wouldn’t have moved on if we didn’t.’ ” Perez, deep in recollection, let loose that famous laugh from deep in her nasal cavity. “I was like: ‘Got it. Let me shut the [expletive] up.’ ” Her admiration for Rees was cemented in that moment.
But that wasn’t all she got from Rees, Perez told me, recalling a scene in which she and her co-star, Anne Hathaway, are running to catch a plane, dodging gunfire. “Anne is running like Catwoman, sprinting toward the plane,” Perez said. “I felt like the older lady trying to keep up.” She mentioned this to Rees, who replied, “Well, that’s your character, isn’t it?” At first, Perez’s ego was bruised. But later, Rees told her, “I hired you because you’re a kick-ass actress and also because you have the courage to look like a grown-ass woman.” At the time, Perez was splitting her time on the set of the second season of Spike Lee’s “She’s Gotta Have It,” where she was guest-­starring as Mars Blackmon’s mother. Lee didn’t want Perez to wear a lot of makeup, and Perez initially balked. But her time with Rees adjusted her priorities: “I walked onto his set, and I was like ‘O.K.’ ” Working with Rees, she said, “gave me the confidence to do that.” That, she said, was Rees’s gift. “You have to let her be who she is, in order to see what she is trying to give you.”
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For Mini-Comic Monday it’s…Copy That! #56! This issue is a 28-page, B&W info/news mini comic zine published by D. Blake Werts. Cover by Jacob Alvarez.
In this issue of Copy That! Joseph Tenney interviews Jacob Alvarez! Joseph and Jacob talk about connecting with other cartoonist, being a part of Cartoon Loonacy, getting into comics and the underground, painting, doing stand-up and improv, the graphic novel Chinatown Bus, hipster culture, redneck Ghost Rider, inking the Scud way, recommended reading, influences, the future of comics, and more! You can follow Jacob Alvarez on Instagram at https://www.instagram.com/hypnospiral_comics/ and on Twitter at @MJacobAlvarez
In the community news and info section we get a few pages featuring the offerings of: Alan Sissom (Comics Link Spotlight); Brian Leonard (Odd Mojo); Charles Brubaker (The Fuzzy Princess); Horsty (multiple titles); Ian Shires (Time Trvlr); Matt Feazell (Leftover Convention Sketchbook, and 5 O’Clock Shadow); Matt Jones (A Trip to Die For, and Trick Or…); and news from RC Harvey!
To get your hands on Copy That! and for more info contact:
D. Blake Werts
12339 Chesley Drive
Charlotte, NC 28277
or email Blake at: bwerts (at) vnet (dot) net
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The Pull List: New Comic Book Releases 10/24/2018
Below is this week’s new comic book releases thanks to ComicList.com. Here’s the latest list of comic books, graphic novels, and other products that should be available at your local or online comic book shop this week, 10/24/2018!
PUBLISHER TITLE, ISSUE NUMBER, PRICE IN U.S. DOLLARS ("AR" means "ask your retailer for the price")
ABRAMS PRESS Monsters Of The Week The Complete Critical Companion To The X-Files HC, $30.00
ACTION LAB ENTERTAINMENT NorthStars Volume 1 Welcome To Snowville HC, $9.99
AFTERSHOCK COMICS Babyteeth #13, $3.99 Beyonders #3, $3.99 Dead Kings #1 (Cover A Matthew Dow Smith), $3.99 Dead Kings #1 (Cover B Michael Gaydos), $3.99
AH COMICS Mark Twain's Niagara Volume 1 GN, $8.99
AHOY COMICS High Heaven #2, $3.99
ALBATROSS FUNNYBOOKS Spookhouse 2 #4 (Of 4), $3.99
ALTERNA COMICS Baron Rat #1 (One Shot), $1.00 Cyko KO #2 (Of 3), $1.50 Eden #2 (Of 4), $1.50 Tinseltown #4 (Of 5), $1.50 Zero Jumper #4 (Of 4), $1.50
AMERICAN MYTHOLOGY PRODUCTIONS Stargate Atlantis Singularity #3 (Cover A Clint Hilinski), $3.99 Stargate Atlantis Singularity #3 (Cover B Photo), $3.99 Stargate Atlantis Singularity #3 (Cover C Premium Limited Edition Flashback Photo), $9.99 Vampire PA TP, $19.99
AMIGO COMICS Skymasters Of The Space Force The Complete Sunday Strips In Color 1959-1960 HC, $34.95
AMP! COMICS FOR KIDS Phoebe And Her Unicorn Volume 8 Phoebe And Her Unicorn In Unicorn Theater HC, $9.99 Fortnite Guide To Staying Alive Tips And Tricks For Every Kind Of Player SC, $9.99
AMULET BOOKS Nathan Hale's Hazardous Tales Volume 8 Lafayette HC, $13.99
ANDREWS MCMEEL Mother Is Coming A Foxtrot Collection TP, $18.99 Pearl Takes A Wrong Turn A Pearls Before Swine Treasury TP, $18.99
ARCHIE COMIC PUBLICATIONS Archie Jumbo Comics Digest #293, $6.99 Vampironica #4 (Cover A Greg Smallwood), $3.99 Vampironica #4 (Cover B Francesco Francavilla), $3.99 Vampironica #4 (Cover C Fiona Staples), $3.99
ASPEN COMICS Aspen Universe Decimation Volume 1 TP, $14.99 Nu Way #4 (Cover A Alex Konat), $3.99 Nu Way #4 (Cover B V Kenneth Marion), $3.99 Soulfire Volume 7 #4 (Cover A Chahine Ladjouze), $3.99 Soulfire Volume 7 #4 (Cover B Andre Risso), $3.99 Soulfire Volume 7 #4 (Cover C Marco Lorenzana), AR
BBC BOOKS Doctor Who Twelve Angels Weeping HC, $17.99
BENITEZ PRODUCTIONS Lady Mechanika Oversized Edition Volume 3 HC, $28.99
BLUE JUICE COMICS Anne Bonnie #7, $3.99
BOOM! STUDIOS Abbott Volume 1 TP, $17.99 Backstagers Halloween Intermission #1 (Cover A Rian Sygh), $7.99 Backstagers Halloween Intermission #1 (Cover B Veronica Fish), AR Coda #6 (Of 12)(Cover A Matias Bergara), $3.99 Coda #6 (Of 12)(Cover B Matthew Taylor), $3.99 Jim Henson's Labyrinth Coronation #8 (Of 12)(Cover A Fiona Staples), $3.99 Jim Henson's Labyrinth Coronation #8 (Of 12)(Cover B Sana Takeda), $3.99 Jim Henson's The Dark Crystal Creation Myths Box Set, $29.99 Mighty Morphin Power Rangers #32 (Cover A Jamal Campbell), $3.99 Mighty Morphin Power Rangers #32 (Cover B Jordan Gibson Vintage Variant), $3.99 Mighty Morphin Power Rangers #32 (Cover C Linda Lithen Color Spotlight Variant), AR Mighty Morphin Power Rangers #32 (Cover D Miguel Mercado), AR Over The Garden Wall Hollow Town #2 (Cover A Celia Lowenthal), $3.99 Over The Garden Wall Hollow Town #2 (Cover B Natalie Hall), $3.99 Regular Show 25 Years Later #5 (Of 6)(Cover A Cristina Rose Chua), $3.99 Regular Show 25 Years Later #5 (Of 6)(Cover B Ling Chen), $3.99 Thrilling Adventure Hour #4 (Of 8)(Cover A Jonathan Case), $3.99 Thrilling Adventure Hour #4 (Of 8)(Cover B Natacha Bustos), $3.99 WWE Then Now Forever Volume 2 TP, $16.99
CHRONICLE BOOKS Art Of Wreck-It Ralph 2 Ralph Breaks The Internet HC, $40.00
COFFIN COMICS Lady Death Pin-Ups #1 (Lady Death Rider Damaged Edition), $20.00  Lady Death Pin-Ups #1 (Lady Death Rider Edition), $20.00
COMIC SHOP NEWS Comic Shop News #1636, AR
COMICMIX Deadbeats Omnibus Volume 1 TP, $25.00  Soulsearchers And Company Omnibus Volume 1 TP, $25.00
DANGER ZONE Vampblade Season 3 #6 (Cover A Marcello Costa), $4.99 Vampblade Season 3 #6 (Cover B Marcello Costa Risque Variant), $4.99 Vampblade Season 3 #6 (Cover C Axebone), $4.99 Vampblade Season 3 #6 (Cover D Axebone Risque Variant, $4.99 Vampblade Season 3 #6 (Cover E Dan Mendoza), $4.99 Vampblade Season 3 #6 (Cover F Dan Mendoza Risque Variant), $4.99
DARK HORSE COMICS Aliens Dust To Dust #3 (Of 4)(Cover A Gabriel Hardman), $3.99 Aliens Dust To Dust #3 (Of 4)(Cover B Carlos D'Anda), $3.99 Aliens The Essential Comics Volume 1 TP, $24.99 B.P.R.D. Hell On Earth Volume 3 HC, $34.99 Beasts Of Burden Wise Dogs And Eldritch Men #3 (Of 4)(Cover A Benjamin Dewey), $3.99 Beasts Of Burden Wise Dogs And Eldritch Men #3 (Of 4)(Cover B Tyler Crook), $3.99 Dave McKean Short Films HC, $24.99 Mob Psycho 100 Volume 1 TP, $11.99 Mystery Science Theater 3000 #2 (Cover A Todd Nauck), $3.99 Mystery Science Theater 3000 #2 (Cover B Steve Vance), $3.99 Olivia Twist #2, $4.99 Predator Hunters II #3, $3.99 Super Mario Bros. Encyclopedia The Official Guide To The First 30 Years HC, $39.99 Super Mario Bros. Encyclopedia The Official Guide To The First 30 Years HC (Limited Edition), $79.99 Usagi Yojimbo #172 (The Hidden Part 7 Of 7), $3.99 Whispering Dark #1, $3.99
DC COMICS Action Comics #1004 (Cover A Steve Rude), $3.99 Action Comics #1004 (Cover B Francis Manapul), AR Batgirl #28 (Cover A Julian Totino Tedesco), $3.99 Batgirl #28 (Cover B Joshua Middleton), AR Batman Beyond #25 (Cover A Viktor Kalvachev), $4.99 Batman Beyond #25 (Cover B Dave Johnson), AR Batman Detective Comics The Rebirth Deluxe Edition Volume 3 HC, $34.99 Batman Kings Of Fear #3 (Of 6), $3.99 Batman Volume 7 The Wedding Rebirth TP, $16.99 Books Of Magic #1 (Cover A Kai Carpenter), $3.99 Books Of Magic #1 (Cover B Joshua Middleton), AR Books Of Magic #1 (Cover C Blank Variant), AR Deathstroke By Tony S. Daniel Omnibus HC, $75.00 Detective Comics #991 (Cover A Carmine Di Giandomenico), $3.99 Detective Comics #991 (Cover B Mark Brooks), AR Flash #57 (Cover A Dan Mora), $3.99 Flash #57 (Cover B Howard Porter), AR Flash Starting Line DC Essential Edition TP, $24.99 Justice League Odyssey #2 (Cover A Stjepan Sejic), $3.99 Justice League Odyssey #2 (Cover B Terry Dodson & Rachel Dodson), AR Old Lady Harley #1 (Of 5)(Cover A Mauricet), $3.99 Old Lady Harley #1 (Of 5)(Cover B Amanda Conner), AR Old Lady Harley #1 (Of 5)(Cover C Blank Variant) , AR Raven Daughter Of Darkness #9 (Of 12), $3.99 Sandman Volume 1 Preludes And Nocturnes 30th Anniversary Edition TP , $19.99 Scarlet #3 (Of 5), $3.99 Scarlet Volume 1 TP, $14.99 Scooby-Doo Team-Up #43, $2.99 Silencer #10, $2.99 Terrifics #9, $2.99 Titans #28 (Cover A Leonardo Manco), $3.99 Titans #28 (Cover B Phil Jimenez), AR United States Of Murder Inc Volume 1 Truth TP, $16.99 Wonder Woman #57 (Cover A Yasmine Putri), $3.99 Wonder Woman #57 (Cover B Jenny Frison), AR
DEVILS DUE/1FIRST COMICS Dog Soldiers GN, $19.99
DIAMOND PUBLICATIONS Game Trade Magazine #225, $3.99 Previews #362 (November 2018), $3.99
DISNEY - HYPERION Sanity And Tallulah GN, $12.99 Sanity And Tallulah HC, $21.99
DRAWN AND QUARTERLY Bad Friends GN, $21.95
DYNAMIC FORCES Action Comics #1000 (Curt Swan Black & White Variant Cover Signed By Scott Snyder), AR Action Comics #1000 (Dan Jurgens Black & White Wraparound Variant Cover Signed By Tom King), AR Action Comics #1000 (Dan Jurgens Black & White Wraparound Variant Cover Signed By Pete Tomasi), AR Amazing Spider-Man #1 (Adam Hughes Sketch Sepia Variant Cover), AR Avengers #1 (Ken Haeser Iron Man Sketch Variant Cover Signed By Ken Haeser), AR Batman #50 (Joe Jusko Midtown Comics Joker Graffiti Variant Cover), AR Captain America #1 (John Tyler Christopher Midtown Comics Captain Virgin Variant Cover), AR Captain America #1 (John Tyler Christopher Midtown Comics Golden Age Virgin Variant Cover), AR Captain America #1 (John Tyler Christopher Midtown Comics Modern Age Virgin Variant Cover), AR Captain America #700 (Stan Lee Gold Signature Edition), AR Cosmic Ghost Rider #1 (Christian Ward Midtown Comics Variant), AR Domino #1 (Soo Min Seong Midtown Comics Variant Cover), AR Gwenpool #1 (Ken Haeser Pink Signed And Remarked Variant Cover), AR Invincible Iron Man #600 (Stan Lee Gold Signature Edition), AR Mighty Thor #700 (Stan Lee Gold Signature Edition), AR Wonder Woman #51 (Stanley Artgerm Lau Variant Cover Signed By Joe Orlando), AR
DYNAMITE ENTERTAINMENT Army Of Darkness Halloween Special #1 (One Shot), $4.99 Bettie Page Halloween Special #1 (One Shot), $4.99 James Bond The Body HC, $24.99 KISS Blood And Stardust #1 (Cover A Stuart Sayger The Demon Variant), $3.99 KISS Blood And Stardust #1 (Cover B Stuart Sayger The Starchild Variant), $3.99 KISS Blood And Stardust #1 (Cover C Stuart Sayger The Catman Variant), $3.99 KISS Blood And Stardust #1 (Cover D Stuart Sayger The Spaceman Variant), $3.99 KISS Blood And Stardust #1 (Cover E Rodney Buchemi), $3.99 KISS Blood And Stardust #1 (Cover F Maria Sanapo Trick Or Treat Variant), $3.99 KISS Blood And Stardust #1 (Cover G Photo), $3.99 KISS Blood And Stardust #1 (Cover H Rodney Buchemi Black & White Variant), AR KISS Blood And Stardust #1 (Cover I Stuart Sayger The Demon Virgin Variant), AR KISS Blood And Stardust #1 (Cover J Stuart Sayger The Starchild Virgin Variant), AR KISS Blood And Stardust #1 (Cover K Maria Sanapo Virgin Variant), AR Legenderry Red Sonja Volume 2 A Steampunk Adventure TP, $19.99 Mars Attacks #1 (Cover A Tom Mandrake), $3.99 Mars Attacks #1 (Cover B Ruairi Coleman), $3.99 Mars Attacks #1 (Cover C Eoin Marron), $3.99 Mars Attacks #1 (Cover D Robert Hack, $3.99 Mars Attacks #1 (Cover E Chris Schweizer), $3.99 Mars Attacks #1 (Cover F Tom Mandrake Black & White Variant), AR Mars Attacks #1 (Cover G Robert Hack Virgin Variant), AR Mars Attacks #1 (Cover H Ruairi Coleman Black & White Variant), AR Mars Attacks #1 (Cover I Tom Mandrake Virgin Variant), AR Mars Attacks #1 (Cover J Chris Scheweizer Black & White Variant), AR Mars Attacks #1 (Cover K Ken Haeser), AR Mars Attacks #1 (Cover L Blank Authentix Variant), AR Red Sonja Halloween Special #1 (One Shot), $4.99 Vampirella Dejah Thoris #2 (Cover A Jay Anacleto), $3.99 Vampirella Dejah Thoris #2 (Cover B Stephen Segovia), $3.99 Vampirella Dejah Thoris #2 (Cover C Carlo Pagulayan), $3.99 Vampirella Dejah Thoris #2 (Cover D Joe Jusko), $3.99 Vampirella Dejah Thoris #2 (Cover E Vampirella Cosplay), $3.99 Vampirella Dejah Thoris #2 (Cover F Dejah Thoris Cosplay), $3.99 Vampirella Dejah Thoris #2 (Cover G Joe Jusko Virgin Variant), AR Vampirella Dejah Thoris #2 (Cover H Jay Anacleto Black & White Variant), AR Vampirella Dejah Thoris #2 (Cover I Stephen Segovia Black & White Variant), AR Vampirella Dejah Thoris #2 (Cover J Vampirella Cosplay Virgin Variant), AR Vampirella Dejah Thoris #2 (Cover K Dejah Thoris Cosplay Virgin Variant), AR Vampirella Halloween Special #1 (One Shot), $4.99 Vampirella Roses For The Dead #2 (Of 4)(Cover A Joseph Michael Linsner), $3.99 Vampirella Roses For The Dead #2 (Of 4)(Cover B Billy Tucci), $3.99 Vampirella Roses For The Dead #2 (Of 4)(Cover C Billy Tucci Black & White Variant), $3.99 Vampirella Roses For The Dead #2 (Of 4)(Cover D Joseph Michael Linsner Black & White Variant), AR
EAGLEMOSS PUBLICATIONS  Marvel Fact Files #239, $6.50 Marvel Fact Files #240, $6.50 Marvel Fact Files #241, $6.50 Marvel Fact Files #242, $6.50
F+W MEDIA Magic The Gathering Cards The Unofficial Ultimate Collector's Guide HC, $27.99
FAMOUS MONSTERS OF FILMLAND Famous Monsters Of Filmland #289 (Terry Wolfinger Doug Jones Variant Cover), $29.99
FANTAGRAPHICS BOOKS Disney Masters Collector's Hardcover Box Set Volume 1 (Volumes 1 & 2), $59.99  Disney Masters Collector's Hardcover Box Set Volume 2 (Volumes 3 & 4), $59.99  Disney Masters Gift Hardcover Box Set Volume 1 (Volumes 1 & 3 Featuring Mickey Mouse), $59.99  Disney Masters Gift Hardcover Box Set Volume 2 (Volumes 2 & 4 Featuring Donald Duck), $59.99  Drawn To Berlin Comic Workshops In Refugee Shelters And Other Stories From A New Europe HC, $24.99 Fante Bukowski Volume 3 A Perfect Failure GN, $16.99
GOLDEN APPLE BOOKS Adventure Van #3 (Of 5), $3.99 Blastosaurus #3, $3.99
GRAPHIX Amulet Volumes 1-8 Box Set, $103.92  Hidden Witch GN, $12.99  Hidden Witch HC, $24.99
GREENWILLOW BOOKS Knights Vs Dinosaurs Illustrated Novel HC, $16.99
HACHETTE PARTWORKS Doctor Who The Complete History Volume 80 The Twelfth Doctor Stories 262-263 HC, $18.99
HARPER DESIGN Making Of Planet Of The Apes HC, $60.00
HERMES PRESS Walt Kelly's Pogo The Complete Dell Comics Volume 6 HC, $50.00
HERO COLLECTOR Star Trek Designing Starships Volume 1 The Enterprises And Beyond HC, $29.95
IDW PUBLISHING Bill Sienkiewicz's Mutants And Moon Knights Artifact Edition HC (not verified by Diamond), $125.00 Judge Dredd Toxic #1 (Cover A Mark Buckingham), $3.99 Judge Dredd Toxic #1 (Cover B John Gallagher), $3.99 Judge Dredd Toxic #1 (Cover C Mark Buckingham), AR Judge Dredd Toxic #1 (Cover D Marco Castiello), AR Lodger #1 (Cover A David Lapham), $3.99 Lodger #1 (Cover B Bill Sienkiewicz), AR Star Trek The Next Generation Terra Incognita #4 (Cover A Tony Shasteen), $3.99 Star Trek The Next Generation Terra Incognita #4 (Cover B Photo), $3.99 Star Trek The Next Generation Terra Incognita #4 (Cover C Elizabeth Beals), AR Star Trek The Next Generation Terra Incognita #4 (Cover D J. K. Woodward), AR Star Wars Adventures Tales From Vader's Castle #4 (Of 5)(Cover A Francesco Francavilla), $3.99 Star Wars Adventures Tales From Vader's Castle #4 (Of 5)(Cover B Robert Hack), $3.99 Star Wars Adventures Tales From Vader's Castle #4 (Of 5)(Cover C Francesco Francavilla Black & White Variant), AR Teenage Mutant Ninja Turtles Macro-Series #2 (Michelangelo)(Cover A David Petersen), $7.99 Teenage Mutant Ninja Turtles Macro-Series #2 (Michelangelo)(Cover B Ryan Brown), $7.99 Teenage Mutant Ninja Turtles Macro-Series #2 (Michelangelo)(Cover C Michael Dialynas), AR Teenage Mutant Ninja Turtles Urban Legends #6 (Cover A Frank Fosco), $3.99 Teenage Mutant Ninja Turtles Urban Legends #6 (Cover B Frank Fosco & Erik Larsen), $3.99 Teenage Mutant Ninja Turtles Urban Legends #6 (Cover C Kevin Eastman), AR Transformers Bumblebee Movie Prequel From Cybertron With Love TP, $14.99 Uncle Scrooge Volume 11 Whom The Gods Would Destroy TP, $12.99
IMAGE COMICS Bloodstrike Brutalists TP, $9.99 Burnouts #2 (Cover A Chris Burnham), $3.99 Burnouts #2 (Cover B Geoffo), $3.99 Burnouts #2 (Cover C Tony Fleecs), $3.99 Cold Spots #3 (Of 5)(Cover A Mark Torres), $3.99 Cold Spots #3 (Of 5)(Cover B Shiuan Chan), $3.99 Days Of Hate #9 (Of 12), $3.99 Die!Die!Die! #4 (not verified by Diamond), $3.99 Gasolina Volume 2 TP, $16.99 Isola Volume 1 TP, $9.99 Rat Queens #12 (Cover A Owen Gieni), $3.99 Rat Queens #12 (Cover B Jim Valentino & Owen Gieni), $3.99 Rat Queens #12 (Cover C Owen Gieni Virgin Variant), $3.99 Redneck #16, $3.99 Regression #12, $3.99 Royalboiler Brandon Graham's Drawn Out Collection TP, $24.99
INSIGHT EDITIONS Harry Potter A Pop-Up Guide To Hogwarts HC, $75.00
IRON CIRCUS COMICS FTL Y'all GN, $30.00  Girl Who Married A Skull And Other African Stories GN, $15.00  Meal GN, $15.00
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kitihococ · 2 years
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Manuel d utilisation toyota avensis 2004 pdf
  MANUEL D UTILISATION TOYOTA AVENSIS 2004 PDF >> DOWNLOAD LINK vk.cc/c7jKeU
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            Toyota Avensis Workshop Manual Toyota Avensis The Toyota Avensis is a large family car from Toyota, Japan and was introduced in 1997. Toyota Avensis - 2005 - Workshop/Repair manual Best Toyota Avensis Service Repair Manual 2003-2004 Software Download (ISO Format) Bookmark File PDF Toyota Avensis 2005 Owners Manual. Toyota Avensis repair and owner's manuals - Car Manuals Club View and Download Toyota Avensis owner's manual online. 1999/102007/07 . Best Toyota Avensis Service Repair Manual 2003-2004 Software Toyota Avensis Workshop Manual 2003 2007 Pdf Avensis April 18th, 2019 - Hello toyota brethrendoes anyone have the Toyota avensis workshop manual for 2003 2007 males on pdf format if so can you please upload it onto the net and post the link on the forum please thanks in advance. 2011 Toyota Avensis Owner s Manual PDF 772 Pages. Toyota Avensis 2003 2008 workshop service manual. TOYOTA AVENSIS MODELS DIESEL SERVICE amp REPAIR MANUAL. Toyota Cars Repair Manuals Parts Catalog Repair Manual.
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#10yrsago Giants Beware: kids’ graphic novel that will delight adults too https://memex.craphound.com/2012/04/12/giants-beware-kids-graphic-novel-that-will-delight-adults-too/
#10yrsago Call for diversity in D&D rulebooks https://www.tor.com/2012/04/11/a-modest-proposal-for-increased-diversity-in-dungeons-and-dragons/
#10yrsago Putting a name to the free-floating dread inspired by the Facebook/Instagram acquisition https://nymag.com/intelligencer/2012/04/facebook-and-instagram-when-your-favorite-app-sells-out.html
#10yrsago Antitrust and ebooks: regulators miss the big DRM lock-in picture https://www.wired.com/2012/04/bezos-holder-settlement/
#5yrsago Human rights coalition from the global south to W3C: don’t put DRM in web standards! https://web.archive.org/web/20170412141946/http://justnetcoalition.org/2017/W3C_EME_objection.pdf
#5yrsago After ratting out users to China, Yahoo created (and then blew) a $17m “dissidents’ fund” https://phys.org/news/2017-04-yahoo-accused-mismanaging-fund-dissidents.html
#5yrsago Oversold, understated and authoritarian: debullshitifying the reporting on United’s “removal” of Dr David Dao https://www.nakedcapitalism.com/2017/04/united-passenger-removal-reporting-management-fail.html
#5yrsago Prison inmates built working PCs out of ewaste, networked them, and hid them in a closet ceiling https://cbs6albany.com/news/nation-world/investigation-finds-inmates-built-computers-and-hid-them-in-ceiling-at-marion-prison-04-11-2017
#1yrago Big Tech’s secret weapon is switching costs, not network effects https://pluralistic.net/2021/04/12/tear-down-that-wall/#zucks-iron-curtain
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collectorscorner · 4 years
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CC Blogger - New Arrivals @ Collectors Corner : Wednesday 8/26/20 Collectors Corner Parkville - HQ : OPEN for IN STORE SHOPPING with Strong Safety Measures in Place (Hand Sanitizing Stations, Masks Required for All, Social Distancing Required, Limited Capacity, CURBSIDE Pick Up Optional) - According to Baltimore County Guidelines. 1-410-668-3353. CC Parkville - NEW 2020 STORE HOURS, Sunday 12-6, Mon-Tues 12-7, Wed 9-8, Thurs 11-7, Friday & Saturday 11-8 Collectors Corner - Bel Air Outpost Location : OPEN for IN STORE SHOPPING with Strong Safety Measures in Place (Hand Sanitizing Stations, Masks Required for All, Social Distancing Required, Limited Capacity, CURBSIDE Pick Up Optional) - According to Harford County Guidelines. 1-410-838-1777. CC Bel Air -NEW 2020 STORE HOURS, Sunday 11-5, Monday/Tuesday - Closed, Wednesday 11-8, Thursday 11-7, Friday/Saturday 11-8 Complete list of items shipping to the stores, some items may be limited in availability. 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stilljumpingback · 3 years
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Adventure Queers: Meet Milo Applejohn!
Adventure Queers: Meet Milo Applejohn!
Milo Applejohn (he/him, they/them) is a Métis graphic medicine and fiction illustrator. He is the author of graphic novel Fox on the Table: Broken Sun and novella Fox on the Table: The Princess and the Plague King, and he was most recently a story contributor to the North American Indigenous storytelling novel Cautionary Fables, now on Kickstarter. You can follow him on Twitter…
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