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Jaime Hernandez, The Love Bunglers. I feel like this spread is a motherfucker even if you don’t know the scenes it’s referencing, if you didn’t read the stories where they originally appeared. This is what it’s like to live with someone, or even just to live. Give it a stare until it hits you.

This book is great. Unlike the other books in this series of Love And Rockets collections, this collects two graphic novels that pair perfectly with each other, rather than a series of short stories of varying quality. Jaime’s work is weird for me in that what is presented as the book’s central relationship is something I have very little interest in. Here that given vector is absent, and that defines the book, two characters pursuing their own agendas while those around them feel like things are wrong and won’t be made right until they meet again. I disagree completely, and find the beginning, before they separate, and the very end, where they are reunited, to be the weakest parts of the book. Sometimes I feel like the only reason you are being given to care about the characters in these comics is because other characters do, and the whole thing can feel like being at a party where you are witnessing conversations between people you don’t know as they talk about other people you don’t know, feeling stuck while you wait for a friend to arrive.
The thing about Love And Rockets, both Jaime’s work and that of his brother Gilbert, is that what makes their narratives weird and unique is a very real thing in terms of life as lived. This comic, drawn over the course of four years, seems to take place over the course of, maybe, a few months. Over the course of the thirty years the book has been coming out, the characters have aged that much. Life advances, and the characters get older, but there is so much elision, so much being skipped over as unimportant at any given moment that gets fleshed out in flashback later, and this allows the whole of the work to include so much weirdness and so many disparate parts- from wrestling and science-fiction at some points to sexuality and class at others. Characters get introduced to have their stories told, and then are gone, probably for good. It can make a collection like the preceding volume, The Girl From H.O.P.P.E.R.S., feel exhausting to read it all in one go, like eating a series of rich desserts made of other people’s stupid fucking drama, Here there is more focus on overarching structure than you’ll get, really, anywhere else in Jaime’s body of work.
The way these comics are built means you can sort of enter anywhere, and you’ll catch up eventually. It also means that you can read it in serialization for years at a time, stop reading it when you can’t afford it or it doesn’t feel worth it, and then come back to it, and read a new installment that knocks you on your ass as you feel like “Oh man, I’ve been reading this comic for longer than I’ve been friends with any of the people I see on a regular basis.” This is sort of true of superhero comics as well, only the emphasis on small stuff, the moments of epiphany that define short stories, are so different from the ritual of repetition that drives a fight scene between old adversaries. But in a frustration of literary form, the moments that defines these comics tends not to come at the end of a story, but just incidentally, in quiet moments, while some of the best drawings are the title pages.

I agree with a lot of this. The Girl from H.O.P.P.E.R.S. has some really great moments and really all of the Love and Rockets collections are worth your time, but this is where Xaime rips out your heart and stamps on it. The punk scene is disintegrating, people are strung out, fucked up and too far from each other (in a lot of ways) to reach out. I read this one an awful lot, because in it Xaime has captured the pure agony of understanding yourself and staying friends with the people that understood before you did. If I recall correctly, there’s not too much of Izzy in this collection, but the interludes with her are really important.



Bizarre proof-of-concept tech by Dr. Hirotaka Osawa are glasses with small displays that give attention to others around you.

The idea here is that we have technology to help us work in areas such as physical labour and brainwork, but not “emotional labour”, the social face-to-face aspects of job roles. Video embedded below:

From IEEE:

Have you ever had trouble concentrating in the office as people walk by and glance at you? Do you come off as unfriendly or aloof, when you’re really just focusing on your work?

Dr. Hirotaka Osawa from Tsukuba University, in Japan, has developed a new wearable device to help us with something called “emotional labor.” His idea is that people could adopt cyborg technology to increase the emotional comfort of those around us. In this case, the device is a crazy pair of glasses that display eyeballs on their lenses.

The device’s virtual eyes naturally follow people and movement, making it appear as though you’re friendly and approachable, even if you’re too busy doing something else or too tired to actually look friendly and approachable.

"This emotional support reduces a user’s cognitive load for social manners," Osawa says.

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(via new-aesthetic)


Reflections on the Horsehead Nebula


More Chris Foss concept art for Jodorowski’s Dune.



"Okay, you’re dancing against the truck right now. You gotta dance with it, girl." - Ilana

Damn man this is matching up too well with Four Tet I can’t stop watching it.


Guys GUYS!

Seth Fisher on Tokyo Days, Bangkok Nights

(via royalboiler)

art: Howard Chaykin, from the Swords of Heaven, the Flowers of Hell.
The best thing about this fight is that it appears to be taking place on a gigantic Piet Mondrian canvas.