F Newsmagazine - The School of the Art Institute of Chicago - Art, Culture, and Politics

The Quintessential Beach Episode! 

"Sailor Moon R" Episode 21, "The Beach The Island And A Vacation The Guardians Break"
“Sailor Moon R” Episode 21, “The Beach The Island And A Vacation The Guardians Break”

With the semester finally over and summer officially here, I am ready to relax and take a break from classes. While thinking about possible events and places I wanted to go, I couldn’t help but realize what I was seeking was in fact a “Beach episode.”

A “Beach Episode” is a trope within anime where the cast of characters take a break from their daily lives to have fun in the sun. “Mizugi Kai” or “swimsuit episodes,” as they’re referred to in Japan, can be found across several genres, from shonen with “My Hero Academia” to comedic romances like “Ouran High School Host Club.” Yet, with popularity comes criticism as these episodes have been known to be divisive within the anime community, either by virtue of simply being a filler episode or because of the amount of fanservice within them.

Which series featured the first beach episode is contested; some say it started with the “Astro-boy” episode “Sea-Serpent isle,” or with the 1980s romantic-comedy series, “Urusei Yatsura.” We can generally pinpoint the beach episode becoming popular around the 1990s, with series like “Nadia: The Secret of Blue Water” and “Palabro.”

Beach episodes became popular because of how they can function within anime series — often they work as filler episodes in order to pad out a season. A “filler episode” is an episode unrelated to the main plot that doesn’t significantly change the story. Within a 12 episode anime, there is a set episode quota to fill, and beach episodes are a perfect way to fill in those gaps. Oftentimes these episodes are television exclusive even in the original manga, like “Blue-Exocrist”’s episode, “Demon of the Deep Seas.

Some criticize filler episodes as not doing anything for the story, or worse, deliberately taking away from the plot. This isn’t completely true; filler episodes can serve a purpose. They’re often the calm before the storm of a series’ plot or a break from the actual plot. For example, “Bleach” is a well-known action-packed shonen, but their beach episode, “Summer! Sea! Swimsuit Festival!!“, is a break from that, and it’s completely unrelated to any of the events happening at that time. They’re also a goldmine for characters to interact with each other, like in the aforementioned “Ouran High School Host Club” episode, “The Sun, the Sea, and the Host Club!“, where we get to see a vulnerable side of the main character, Haruhi.

Furthermore, if an anime is primarily a slice of life, or comedic anime like “Komi Can’t Communicate”, can it truly be considered filler? The whole point is to be lighthearted and fun. It makes sense to have a beach episode as it matches the rest of the tone of the series and focuses on characters and their interactions.

Others will say that beach episodes only exist in order to satisfy male viewers with fanservice. Although fanservice in itself isn’t always sexual, the type people criticize is. In most, if not all beach episodes, there’s long spanning shots of female characters’ boobs, butts, and legs. It’s even worse when these characters are underage, which is somewhat common in modern anime. There is truth to most beach episodes only existing to show butt and boobs, but this is based on the standard of the specific anime. In a harem anime like “Heaven’s Lost Property,” where we see fanservice to a distasteful degree, the beach episode will be just as distasteful. In anime like “Pretty Cure,” a magical girl show, their beach episode reflects the show’s overall wholesomeness.

It’s also important to keep in mind that beach episodes could be popular just because of the virtue of media reflecting the artist’s lived experience. Japan, geographically, is made up of 4 main islands with beaches attractive to locals and tourists alike. With this consideration, beach episodes could be seen as a product of the lived experiences from the author’s life. Viewers are often receptive to glimpses of the author’s life and culture as it creates relatability; Western viewers want to understand a perspective they may not be familiar with and Japanese viewers may appreciate their lives reflected back to them. This could be why other summer/school break adjacent activities like summer festivals, hot spring vacations, or going to a temple on New Year’s are also popular within anime. What better way to showcase lived experiences than with characters that viewers have come to love within a plot they’re invested in?

This phenomenon has influenced Western animation as well, with many cartoons including  beach episodes. Although cartoons had beach episodes before anime’s boom in popularity within the United States (like Hey Arnold’s “Beach story” episode) many were introduced to the concept with anime-inspired Western shows. “Avatar: The Last Airbender,” for example, had an episode ominously called “The Beach.” To many, it raised the bar for the trope because it used the setting to force the antagonists of the show to be vulnerable and question why they’re like this. Illustrating how these young antagonists are the majority doing these actions out of insecurity, trauma, and an attempt at trying to control their own lives. Now, it’s fairly common to see Western cartoons have beach episodes, such as “OK KO,” “Craig of the Creek,” and “Gravity Falls.” Some Western shows play it up for laughs like the widely popular, “The Amazing Digital Circus,” which used their beach episode to be the comedic part of a very plot heavy episode.

Personally, I can’t imagine a reality where anime doesn’t have this widely used trope. I have come to find beach episodes endearing, and when done right, the beach episode accomplishes being an escape, not only for the characters on the screen, but for the viewer also. It’s hard to feel upset or stressed over the plot when the characters you’ve come to love are having so much fun on the beach. The beach episode reigns supreme as a staple within anime.

OutSMARTed by The Smithsonian

Alma Thomas, Elysian Fields, 1973, acrylic on canvas, 30 1/8 x 42 1/4 in. (76.5 x 107.2 cm), Smithsonian American Art Museum. Bequest of the artist, 1980.36.8
Alma Thomas, “Elysian Fields,” 1973, acrylic on canvas, 30 1/8 x 42 1/4 in. (76.5 x 107.2 cm), Smithsonian American Art Museum. Bequest of the artist, 1980.36.8. Image curtesy of the Smart Museum of Art.

The University of Chicago is one of the most prestigious universities in the world, and it is home to one of Chicago’s premier fine art museums, the Smart Museum of Art. Hosting roughly six exhibitions a year — three in the fall and three in the spring — each cycle becomes a spectacle. This spring, three exhibitions occupy the halls of this modernist building on the edge of the UChicago campus: one surveying contemporary Chinese art across the last three decades; another serving as a collaboration between students of the UChicago class “Power, Identity, Resistance,” and the museum; and the last showcasing Alma Thomas’s abstract works, organized by the Smithsonian American Art Museum.

“Beyond Boundaries” continues the long-standing focus on research and on showcasing the contemporary art of China started by Wu Hung, Harrie A. Vanderstappen Distinguished Service Professor of Chinese Art History at the University of Chicago. Surveying the last three decades of contemporary Chinese art, the exhibition’s curatorial text claims to “explore how artists navigate and challenge physical limitations across cultural, environmental, and political terrains.” Composed of works by artists such as Ai Weiwei, Lu Yang, and Wang Wei, the exhibition takes up only one gallery. This came as a surprise to me, as I thought a survey of the last three decades would take up more space considering how much contemporary Chinese artists have contributed to the art world, and how drastically Chinese contemporary art has changed over 30 years.

I was also surprised by the lack of diversity of mediums featured in the exhibit. Knowing how much art in China has changed since the 1990s, seeing only two sculptures and one video/game piece as the outliers in the room came as a disappointment. Photographs fill the remainder of the space. A few artist books hidden in the corner seemed like a good way to show diversity in mediums and topics; however, they are presented in glass vitrine with only the covers showing, and not one of them is open for the viewers to see the contents. Additionally, the show itself is quite small, featuring roughly 10 works. Despite being confined to a single gallery, the space feels too large for the amount of works present. The exhibit doesn’t feel like much of a comprehensive survey, since the majority of the art in the show comes from the 1990s, with comparatively few works from the past couple decades. “Beyond Boundaries” fails to be a representation of the last three decades of Chinese art. It appears to be a mere highlight of some objects in the Smart Museum’s collection, curated in what manages to be only somewhat reminiscent of a cohesive narrative. In my opinion, this show did not present anything new, eye-opening, or groundbreaking; rather, it struck me as merely an exercise in curating a show with what is available.

“Wise to the Power” struggles with similar problems. It’s the second part in an exhibition series created by students and professors of the UChicago social sciences core class “Power, Identity, Resistance,” which focuses on the questions of “why, and how, do people form political communities? How does political society organize our economic lives — and vice versa? And how, as individuals, do we navigate society?” The exhibition operates as a supplement to the course and explores how power operates in artists’ practices. On paper, it sounds like an interesting concept, but in reality, it becomes a poorly motivated “group” exhibition of artists who have nothing in common, with art that also often has almost nothing to do with power, politics, or anything stated in the curatorial text.

Most objects in “Wise to the Power” are accompanied by wall text, the first part of which is a quote from the book in the course reading list, and the second part of which is written by the undergraduate students of the course. The only positive I can mention in this regard is that, at least, the text does not seem to be AI-generated. Otherwise, the labels are full of poorly supported speculation on artists’ intents and motives, written without any real understanding of art history or art-historical writing. Overall, the problem seems to be that the curators at the Smart try to create exhibitions working with what is at hand, but their collection, despite exceeding 17,000 objects, seems to be too small to create a cohesive show with a clear thesis and a precise outcome. Both “Beyond Boundaries” and “Wise to the Power” end up being interesting on paper and in theory, but in reality, inside the galleries, they fail to live up to their set goals and expectations.

The only show on display at the Smart that ends up being worth the trip to the UChicago campus is “Composing Color: Paintings by Alma Thomas from the Smithsonian American Art Museum.” Perfectly timed for April’s Artemis II mission, the show highlights three distinct topics in Thomas’s abstract works: space, earth, and music. Her vivid pieces, perfectly balanced against navy blue walls, are truly stunning and mesmerizing. Her technique, perfect in its imperfection, supported by deep colors, hypnotizes and inspires, as much as the Apollo missions inspired Thomas herself. The division of the show into three parts by theme works magnificently, creating a strong and linear narrative and showing the subtle change in her technique and approach over the years. Especially impressive is the “music” section. Reading about music being a part of Thomas’s process, with her paintings often created while listening to a variety of albums and mixtapes, reminded me of Wassily Kandinsky. Kandinsky had a condition called synesthesia, which caused his senses to overlap, allowing him to involuntarily see vivid colors and shapes when he heard music, and “hear” harmonious sounds when painting. A tiny supplemental show in the corner of the same gallery, showcasing UChicago’s involvement in the Apollo missions’ preparation, does not distract from the main spectacle and, in my opinion, adds a nice contrast to Thomas’s abstractions.

Ultimately, the Smart Museum remains one of Chicago’s most interesting and promising museums, even when they produce questionable shows. It is still one of the few museums in Chicago with a connection to a major academic institution, and it tries to make the most of that relationship. This often results in compelling exhibition concepts, even if the final execution is less than ideal. What seemed to be lacking this time was the absence of cross-institutional partnerships, which would have allowed curators to work with a wider variety of art, which would’ve helped them deliver their points more precisely. A less ambitious exhibition thesis also could have helped. Nonetheless, this spring cycle will be remembered for the “Composing Color” exhibit produced by the Smithsonian, rather than Smart’s own exhibitions. Open until July 5th, Smart is free to the public every day from 10 am to 4:30 pm, except Mondays.

6 Fiber Art Projects to Project Your Love for ‘Project Hail Mary’

"Project Hail Mary" (2026). Curtesy of IMDB.

I don’t think I’ve met a single person who didn’t love “Project Hail Mary.” The film, based on Andy Weir’s novel of the same title, debuted in theaters in March of 2026. The fandom is still going buck-wild in June, with countless amounts of fanart, fanfic, and even a crack ship between Ryland Grace (Ryan Gosling) and Simon the convict (Mark “Markiplier” Fischbach) from indie horror film “Iron Lung” (their ship name is Bloodymary).

In that same fandom spirit, I’ve compiled a list of fiber art patterns for “Project Hail Mary” based projects! From the viral knitted fox cardigan to mini crocheted Rockys, there’s something for every fan and fiber artist. Most of these links go to Ravelry, which is my fiber-art-pattern-of-choice site. If they’re paid patterns, that’s denoted. Most are free!

Whether you’re looking to hold a beloved movie closer, or start a cosplay for the Grace to your Simon, this is the perfect way to spend some of that summer free time.

Mary Maxim’s Fox Cardigan (Paid)

“Project Hail Mary” (2026). Curtesy of IMDB.

There’s a lot written about how some of the magic in “Project Hail Mary” is the casualness of Gosling’s wardrobe. He’s just some guy! That is, until he’s wearing a spacesuit for half the movie. But he’s just some guy!

His most popular just-some-guy clothing is a knitted sweater by Mary Maxim. ’90s and otherwise vintage sweaters have been all the rage lately. Maxim was a brand started when they were originally popular. Maxim still sells patterns and kits, including a kit for a perfectly movie-accurate fox cardigan, listed for $89.99. If that’s out of your budget, they

Wolf Cardigan Knit Kit from Mary Maxim. Photo curtesy of Mary Maxim.

also have the pattern available for for $9.99. Officially on the site, it’s referred to as the wolf cardigan — the original design is a second colorwork pattern with different colors and a snarling wolf. You can learn how the wolf was changed to a fox for the film on the costumer’s Instagram.

While Maxim holds the official pattern, there was such a race to find and make the cardigan that Ravelry has dozens of project posts detailing their changes to the sweater. If you’re also looking to remix the sweater, or you would like a different fit, check out some of those!

Also, there’s an unofficial Ravelry pattern that will fit your knitted frog.

Rocky (Free and Paid)

Image curtesy of @amourfou_crochet on Instagram

So, fun fact, Rocky is not a human. There aren’t many sweater patterns for him because his (beautiful) clothes are a bit difficult to wear out — but if you’re looking for a Rocky to keep on your desk and cheer on your art making, here’s a free Amigurumi crochet pattern by amourfou_crochet on Instagram.

Additionally, here’s a Ravelry pattern (~$2.20 USD) for a Rocky that would require a bit more crochet skill. There’s color changes and the top of his carapace has book-accurate vents!

(If you’d like a matching mini crochet Ryland, here’s a free pattern for Emperor Comatose by Alyssa Voznak.)

Earth Hackeysack

“Project Hail Mary” (2026). Curtesy of IMDB.

There’s a moment in the film where Ryland contemplates an earth-colored hackey-sack — he even shows it to Rocky to explain earth. If you, too, wish to sadly stare at a stuffed crochet ball, a Redditor by the name of SilverC98 made a whole chart breaking down how to make your own. If you can’t crochet, Ravelry has many knit versions as well.

Cross Stitch!

Image curtesy of JohnGudmannArt on Etsy

I’ve often heard of cross-stitching being described as the ‘gateway drug’ into fiber crafts — it’s close enough to painting and drawing for people to want to try it, and fun enough that people want to try crochet after learning.

If you have a friend who loves “Project Hail Mary” and not fiber art, try introducing them to the medium with these patterns for an amaze amaze amaze hoop or an astronaut bookmark.

 

 

And of course, a breakdown of THE QUILT

Image curtesy of @draperemporium on Instagram

Do you have a bunch of free time? Are you looking to pick up a new hobby? Do you need yet another blanket in your household?

Even if all your answers to those questions were no, you still need to look at this gorgeous quilt. Referred to as a “textile prop,” Grace is featured multiple times in the film wrapped in its comfort. In-universe, the quilt was put together by many hands to support the astronauts on their way to save humanity. In reality, it was sewn together by a single team of prop-makers, who intentionally incorporated many global symbols of luck.

If you really want to recreate it, check out couldbeglorious on Tumblr, where they do an in-depth breakdown of the symbols and almost every square of the quilt.

Quilt Blocks

Image curtesy of KristaQuilts

Okay, so you love the quilt. But the whole thing is kinda overwhelming and terrifying, but it’s so pretty. But you don’t have time for that!

Have you ever made a single quilt block? You can frame and hang them just like embroidery, or use them as placemats!

Kirsta Quilts published a pattern for a foundation paper pieced Rocky quilt block on her blog. She also has a matching Grace Friend quilt block and a planet Adrian quilt block on the way.

If you don’t know how to sew, try cutting all the pieces out and gluing them to a square backing with a glue stick. Go over all the raw edges with handstitching, then leave as is or wash to get the glue out. Boom!

Amaze Amaze Amaze ‘Project Hail Mary’ Yarn

*BONUS* Yarnaceous Fibers sells a specific PHM yarn colorway for $29.99! There are many projects on Ravelry for socks and hats using the yarn. Yarnacious also has an astrophage colorway if you look hard enough…

EXTRA MINI  LISTICLE

My favorite “Project Hail Mary” memes, found in the making of this article! >:]

Rocky does the “Loss” comic 

Bread Rocky

Rocky learns humans float

Simon finds out about staggering-waste-of-carbonGate

Ryland Grace meets Ms. Frizzle

Forgotten Power of Buddhist Aesthetics

“Mohini on a Swing,” by Raja Ravi Varma. Oil on Canvas, 104 x 150 cm

The term avant-garde, derived from the French military expression meaning “advance guard,” is used in art and literature to describe practices that challenge established aesthetic, ideological, and institutional norms. Avant-garde artists position themselves ahead of their time, often facing rejection by dominant cultural systems because their work questions power, taste, and tradition.

Historically, avant-garde movements from dada to surrealism to situationism have attempted to dismantle conventional artistic forms and use art as a tool for social and political transformation. While the avant-garde is widely celebrated for its revolutionary intent, it often prioritizes concept over craft. In many cases, aesthetic rigor, technical mastery, and material discipline are deliberately abandoned. Though this rejection is framed as resistance to bourgeois values, it raises a critical question: can art that dismisses skill, labor, and visual responsibility truly serve the people it claims to represent?

The radical legacy of Buddhist art does not remain confined to history. In contemporary India, Buddhist–Ambedkarite visual art continues this revolutionary lineage, operating as a living avant-garde practice grounded in anti-caste struggle, Buddhist ethics, and Ambedkarite rationalism.

This art does not seek validation from Western avant-garde canons, nor does it rely on shock, absurdity, or formal rupture alone. Instead, it advances a deeper tone that intervenes in social structures, historical memory, and ethical perception. Its avant-garde character lies in its refusal to separate aesthetics from lived reality, and form from responsibility.

Contemporary Buddhist Ambedkarite’s visual practices confront caste as a material and ideological system. Through figuration, symbolism, spatial strategies, and material choices, these works expose how power operates on bodies, labor, land, and memory. Rather than aestheticizing suffering, they insist on making visible the structures that produce it. This insistence aligns directly with the Buddhist articulation of dukkha not as an abstract condition, but as a socially produced reality that demands transformation.

Like early Buddhist art, these contemporary practices prioritize mass legibility without sacrificing conceptual rigor. Their visual languages are accessible, direct, and grounded in everyday experience, yet they carry layered philosophical meaning rooted in equality, rationality, and compassion. This balance between accessibility and depth stands in stark contrast to much contemporary avant-garde art, which often remains trapped within elite institutional circuits and opaque theoretical gestures.

Importantly, Buddhist Ambedkarite visual art functions as a counter-archive. It reclaims history from Brahmanical and colonial narratives, re-centering marginalized bodies, symbols, and knowledge systems. In doing so, it does not merely represent the oppressed; it reconstructs visual culture itself, challenging who has the authority to produce meaning and whose lives are considered worthy of depiction.

Formally, these works may appear restrained, even sober, when compared to spectacular avant-garde gestures. Yet this restraint is deliberate. The art refuses excess in favor of clarity, refusing spectacle in favor of sustained critical engagement. Its experimental nature lies not in novelty for novelty’s sake, but in its commitment to reorienting vision training the viewer to see caste, violence, and resistance where dominant aesthetics.

Contemporary Buddhist Ambedkarite visual art fulfills what avant-garde theory has long claimed but rarely achieved. It unites ideological rupture with ethical commitment, mass relevance with artistic rigor, and historical consciousness with formal intelligence.

In continuity with ancient Buddhist art, these practices demonstrate that true avant-garde work is not defined by stylistic rebellion alone, but by its capacity to transform consciousness and social relations. Far from being peripheral to global art discourse, Buddhist Ambedkarite visual art stands as one of the most complete, grounded, and ethically coherent avant-garde practices of our time.

This is not a rejection of avant-garde art entirely. Avant-garde movements deserve recognition for challenging dominant cultural narratives and questioning the commodification of art. Their insistence on political engagement and social critique is significant.

However, the lack of artistic skill in much avant-garde work weakens its revolutionary potential. When art becomes entirely detached from form, labor, and visual intelligence, it risks becoming elitist. What claims to resist power often ends up depending on the same elite validation systems.

Revolutionary art must not only oppose power; it must communicate, endure, and move people. Buddhist art achieved this centuries ago without abandoning craftsmanship.

Raja Ravi Varma is often celebrated as a pioneer of modern Indian art. However, a critical examination reveals his work to be deeply problematic both politically and culturally.

Varma’s paintings of Hindu gods and goddesses are not acts of creative innovation but acts of appropriation and aesthetic colonization. His visual language is heavily borrowed from European academic realism, while the iconography he depicts is largely derived from earlier Buddhist and folk visual traditions. This synthesis is frequently mistaken for originality, when in reality it reinforces Brahmanical dominance through colonial aesthetics.

Rather than challenging caste hierarchy, social injustice, or religious authority, Varma’s art aestheticized power. His gods are muscular, fair-skinned, royal, and distant figures of dominance rather than liberation. The mass circulation of his lithographs normalized these images, shaping popular religious imagination in ways that erased subaltern, Buddhist, and anti-caste visual traditions.

In this sense, Ravi Varma’s work lacks both revolutionary intent and social responsibility. It does not question society; it beautifies its inequalities. It does not serve the oppressed; it reassures the powerful.

If avant-garde art is defined by its capacity to challenge dominant structures, then Buddhist art stands as one of the most authentic avant-garde traditions in history rooted in ethics, skill, and mass transformation. While modern avant-garde movements offer important political critiques, their frequent rejection of artistic rigor limits their reach and impact.

At the same time, figures like Raja Ravi Varma must be re-evaluated not as national icons but as contributors to cultural hegemony. True revolutionary art does not merely innovate visually; it liberates thought, dismantles hierarchy, and speaks to the lived realities of the oppressed.

Dear Sister

Illustration by Zuzu Hill
Illustration by Zuzu Hill

Jan 12, day 5 of the internet shutdown and day 3 after the massacre:

Dear sister,
I’ve been seeing things that changed me. Probably forever. Probably for the worse. Dead children, faces smashed. Blood, blood, blood. Body bags on top of body bags on top of body bags. Brains on the pavement — Iranian brains, like mine. I saw mothers wailing in my language, screaming in a frequency I never imagined Persian words could reach. All on the palm of my hand, in this rectangle that’s my only window to you and to home. A broken, foggy window that neither protects me from the storm nor gives me a clear image of what’s through it. But a window nevertheless.

There’s a heartbreaking irony in liking dead bodies. I like them all day and all night. Like them so the algorithm does its thing. So the world can know we’re dying. The internet is crazy — it gives people an illusion of activism. And people are attacking each other all the time. You get called a Zionist if you show the scale of the massacre, and you get called pro-regime if you’re not pro-war.

Jan 13, day 6 of the internet shutdown and day 4 after the massacre:

Dear sister,
I saw the devil in my dreams last night. And I think something just clicked. I realized he’s never going to stop. Because the genius that he is has no intelligence. Isn’t critical. Isn’t nuanced. Its only objective is to corrupt — corrupt feelings and the mind. And he’s doing one hell of a job.

In a weird way, I was proud of him in my dream. With his gaze, stuck in a trance, and his face determined and loveless. But also hateless. With an eerie smile drying up on his lips. His face was something between a person and a goat. He was looking my way but unable to lock eyes. He was big in size, yet unnoticeable. He was sitting, waiting, for his automatic plans to unfold.

I was horrified, yet I didn’t look away. I stared at his majestic depravity. At his inability to understand or care or think or talk. At his determinism. It reminded me of what you told me about Persian mythology: if the bad is gone, the good is also gone. Because good and bad give each other meaning, same as day and night. So in a way, I stared him in the eyes and came to an understanding of his job — his evil sacrifice to make sure “good” lives.

Jan 14, day 7 of the internet shutdown and day 5 after the massacre:

I’m very numb, sister.
I wish I was a table or a spoon. Or a tablespoon lol.
I have no agency. I only move my body through time like an empty boat on a river.

Jan 15, day 8 of the internet shutdown and day 6 after the massacre:

Dear sister,
Happy birthday.
You’ve become a concept.
I want to know exactly where you are and what you’re thinking. I want to take away your pain and worry. Ngl, this is a shitty start, but I hope 35 treats you better than 34. You’re my favorite person in the world.

Jan 16, day 9 of the internet shutdown and day 7 after the massacre:

Dear sister,
I have 10 legs and I’m paralyzed. How about that?

Jan 17, day 10 of the internet shutdown and day 8 after the massacre:

Dear sister,
There’s this extreme inclination to shut up when you have a lot to say. I’m succumbing to that. It makes me not say valuable things and lets them sit and go stale in me, in that damp, dark environment that had been the best place for the mushrooms of ambitious dreams — just to later become a swamp for the mold of despair to grow everywhere, just to now become a frozen lake with frozen fishies of truth. There, but not reachable.

I keep reposting shit. Fuck imperialism. But also fuck the regime. Fuck monarchy and fuck communism. Fuck fascism. Fuck theocracy, and fuck me. Fuck most things at this point. Come up with new terms so we can fuck even more terms — aren’t we tired of fucking all these terms?

March 2nd, day 3 of war and the internet shutdown, 42 days after the previous shutdown ended:

Dear sister,
We all danced for the death of the dictator. Some maybe for a little too long. The war has already killed more than 1,000 civilians. Some of the people who amplified the news of the January massacre are silent about the recent deaths, and some who were silent about those are vocal about these. One can only wonder if it’s the lives of Iranians that matter to us, or who pulled the trigger. If our love for life is heavier, or our hate for the regime. Or Israel. Or imperialism.

March 3rd, day 4 of war and the internet shutdown:

Dear sister,
I want to cry for normal reasons again. Like for how much I fucking miss you and mom and that awesome kid of yours. I want to go back to being able to give a fuck about my classes. But I’m all out of fucks. All my fucks are already with you and mom and that kid of yours. I hope you still give him a kiss from me every day.

March 4th, day 5 of war and the internet shutdown:

Dear sister,
I hate that I know where their next target is but you don’t, because I have an internet connection and you don’t. And I hate that that’s even an indicator. I hate that people are trapped in this triangle of death.

March 5th, day 6 of war and the internet shutdown:

Dear sister,
Before they shut the internet down again last week, I was talking to mom when granny took her phone, held it in a way for me to only see her eyebrows and a whole lot of ceiling. She said she doesn’t believe in God anymore. She sounded very confident about it too.

I don’t know. I think I still do believe in God. But if she’s real, she must be really kinky. And she must have a thing for Persians.

April 25th, day 57 of the internet shutdown 

Dear sister,
I don’t have an answer. I try to always stay in a pack. Alone is vulnerable, as mom always says. Hope to hear your voice soon.

Lasso the Moon

Transcript:

Two page black and white comic about two men who live and work on a farm, spanning from when they wake up to when they go to sleep.

Page one: 11 panels 

Panel 1: 

A wide establishing shot of a farm house in the mountains, the sun is rising over them. There is a box with text in the upper left corner reading “Somewhere in Wyoming 5:15 am” 

Panel 2: 

Close up of two men sleeping in bed alongside a border collie. Their names are Levon and Atticus, the dogs name is Buddy. 

Panel 3: 

Close up of an alarm clock going off on the bedside table with bold text reading “BEEP BEEP”. There is a speech bubble coming from Levon saying “uuugh” 

Panel 4: 

Close up of Levon’s hand silencing the alarm clock. 

Panel 5: 

Levon sitting on the edge of the bed looking lovingly at Atticus who is not visible within the panel.

Panel 6: 

Atticus and Buddy are still sleeping soundly in bed. The dog is sleeping on its back across Atticus’’ arm. 

Panel 7: 

Levon is cooking breakfast in the kitchen. Buddy has followed him into the kitchen and Levon says to him “No human food for you Buddy.” 

Panel 8: 

Wide shot shown through a door that has been cracked open, showing Levon and Atticus sitting at the dining table. The dog is begging by the table. Levon is taking a sip from his coffee and asks Atticus “Any plans for today?” Atticus responds, “Not much, probably just more job searching.” and then tells the dog “Sorry buddy still no”. 

Panel 9: 

Close up side view of Levon smiling at Atticus. 

Panel 10: 

Close up of the plate of food. There is bacon, two eggs, toast and baked beans on the plate. 

Panel 11: 

Close up side view of Atticus eating and saying “mmmm! Delicious”. 

Page two: 18 panels 

Panel 1: 

Buddy is waiting impatient by the front door, looking back at the viewer/Levon. There is a speech bubble of Levon saying “Hand on just a sec, Buddy” 

Panel 2: 

Close up of Levon’s hand opening the door. 

Panel 3: 

Buddy sprinting across the grass, the tip of his tail, nose and paws slightly breaking outside of the panel. 

Panel 4: 

Wide shot of Buddy standing on the grassy hill, there is a flock of sheep on the left and a fence visible in the lower right corner. 

Panel 5: 

Close up of Levon drinking his coffee. He is holding the mug with both hands and his cowboy hat is tipped down, covering his eyes.

Panel 6: 

Zoomed out side view of Levon from the waist up. He is feeding a horse and saying “Mornin’, Dax”. 

Panel 7: 

Close up of Levon’s hand brushing Dax with a horse grooming brush. 

Panel 8: 

Full body shot from behind of Levon riding Dax. 

Panel 9: 

Wide shot of Levon kneeling down in a garden. This panel is not contained within panel borders. 

Panel 10: 

Close up of Levon’s hand picking a tomato. 

Panel 11: 

Close up of Levon’s hand picking a strawberry. 

Panel 12: 

Close up of Levon’s hand on Atticus’ waist. 

Panel 13: 

Side view of Levon and Atticus from the waist up. Atticus is cooking as Levon is hugging him from behind. Levon says “mmm smells delicious already”. 

Panel 14 & 15: 

The two panels are the shape of two plates of food. On the plates are steak, mashed potatoes and baked beans. 

Panel 16: 

Levon and Atticus sitting down in bed and giving each other a kiss. 

Panel 17: 

The moon shining over the mountains outside. 

Panel 18: 

Atticus sitting up in bed reading by the lamp on the bedside table. Levon’s arm and shoulder can be seen in the lower left corner – he is asleep.

The Hooded Claw

Transcript:

 

Four page comic about a priest finding an injured man outside in the middle of the night. Limited colour pallet of red, yellow, and teal. 

Page one:

Panel 1: 

A priest is seen speaking at a pulpit, speech implied by empty speech bubbles. There is a stylized spotlight shining on him. 

Panel 2: 

A close up of the priest’s hand hanging up his chasuble. 

Panel 3: 

Another close up of the priest’s hand putting out a candle with a candle snuffer. The panel is in the shape of a red circular church window. 

Panel 4: 

The view through one of the church windows shows a wolf lurking outside in the snowy woods, its eyes are red. The panel is in the shape of a gothic church window. 

Panel 5: 

A close up of the priest’s hand opening the church door 

Panel 6: 

Another close up of the priest’s hand holding a red gas lantern. 

Panel 7: 

The priest exists through the church doors holding the lamp. It is snowing. He can be seen from the waist up, face concerned as he hears a groan. The sound of the grown is depicted through large wobbly text. 

Panel 8: 

Close up on the priest’s face lit by the lamp. His eyebrows are lifted in worry as he says “Hello?” into the dark. The text is shaky. 

Panel 9: 

Zoomed out shot of the front of the church, the priest can be seen in the doorway as it snows around him. The lantern from panel 6 overlaps with the top of this panel. 

Panel 10: 

Zoomed out shot of a man laying in a pool of blood in the snow surrounded by darkness. The blood trails up off of the panel.

Page two:

Panel 1: 

Wide shot of the priest shining a light on the man laying on the ground. He is facing away and three large gashes can be seen across his back. The priest is on the left side, the man is on the right. 

Panel 2-3: 

Two shots of the blood trailing off far into the woods with a speech bubble overlapping with them of the priest asking “Sir? Are you okay?” 

Panels 4-8 are set against a black silhouette of the man’s body lying on his side in the snow. 

Panel 4: 

Close up of the man’s back and the three large gashes which are still bleeding. The priest’s light is shining on him. 

Panel 5: 

Close up the side of the man’s face, where more gashes are visible. The man is now on his back, implying the priest has turned him over. 

Panels 6 & 7 have no borders, just figures set against the black background. 

Panel 6: 

The priest is kneeling down, he has lifted the man up and leaned him back against himself in a sitting position. 

Panel 7: 

The priest has lifted the man up and draped him around his shoulders to carry him. He has now gotten blood on himself as well. The man is still unconscious. 

Panel 8: 

Zoomed out wide shot showing the whole church and the rectory. There is a small trail leading from the pool of blood to the rectory and one light is on inside. 

Page three:

Panels 1-4 depict the priest bandaging the injured man, the panels are all squares with black backdrops, the body parts are flat red tones and the bandages are white. 

Panel 1: 

The priest bandaging the man’s hand.

Panel 2: 

The priest bandaging the man’s calf. 

Panel 3: 

The priest bandaging the man’s foot. 

Panel 4: 

The priest bandaging the man’s bicep. 

Panel 5: 

Wide shot of the couch in the priest’s home with a window to the right of the couch. The man is lying on the couch bandaged and covered with a blanket. The priest sits on the arm of the couch solemnly looking at the man. 

Panel 6: 

Close up of the man’s face and upper body as he sleeps, blood can be seen seeping through the bandages. There is a cut going through his eyebrow and just barely missing the inner corner of his eye. There is another cut through his left ear onto his cheek and two on his right cheek. 

Panel 7: 

Super close up of the man’s face, only his nose and left eye are fully visible. 

Panel 8: 

A headshot of the priest staring longingly, this is not contained within a panel. 

Panel 9: 

Wide shot of the room, the details of the room are obscured with black except for the couch, the window, and the door that the priest is now walking through. 

Page four:

Panel 1-3: Close up shots of the man’s face showing the gashes on his face closing/healing progressively. The first two panels only show his left eye but the final panel is zoomed out a bit to show both. In the first panel his eye is shut, in the second it is starting to open and in the third both eyes are open, red, and his pupils are reflecting like a cat’s eyes. 

Panel 4: 

Close up of both eyes looking directly at the viewer, they are red and glowing in the dark. His eyebrows are furrowed. The gashes on his face are fully scars now. 

Panel 5: 

Wide shot of the priest sitting on the left side of his bed. He has his face buried in his hands, his arms resting on his knees. There is a lamp in the right corner that is illuminating his back.

Panel 6: 

Close up birds eye shot of the priest’s hands gripping his knees. 

Panel 7: 

Close up of the priest’s eyes looking frightened with dramatic lighting as he hears a crash. The text “crash” is done in bold scratchy lettering with a light to dark red gradient. 

Panel 9: 

Mirroring panel 9 on page three, another wide shot of the main room except now the couch is empty, the blanket is strewn onto the ground and the window is broken. The priest looks out into the room shocked. 

Panel 10: 

Close up the broken window, curtains blowing. It is snowing outside and red eyes can be seen glowing in the darkness. This panel is not contained within borders, it is in the shape of the window. 

Nightmare

Transcript:

PANEL 1:

Text reads:

Girl with green shirt: “Okay, Your turn! What’s your biggest fear?”

Girl with yellow shirt: “Yeah tell us!”

Image of three girls sitting on a bench at a bus stop. From left to right there is a girl with black hair wearing a purple shirt, a girl with light brown hair wearing a green shirt, and a girl with dark brown hair wearing a yellow shirt. The girl with the green shirt and the girl with the yellow shirt are looking at the other girl expectantly. There are trees and a building behind them.

PANEL 2:

Text reads:

Girl with purple shirt: “Hm, let me think.” “If I were to be honest it would be car crashes.” “I’ve never been able to stamp out that worry”

Image of the girl with her arms crossed, closing her eyes while she thinks. Next to her is an image of a crashed car in a dark forest. The car is emitting smoke.

PANEL 3:

Text reads:

“When I was 9, I used to fiddle with the safety lock”

Image of the same girl, now 9 years old, messing with a car’s safety lock. She is in the backseat, and the window shows trees in the distance.

PANEL 4:

Text reads:

“I never truly trusted it to work”

Image of a close up of the girl’s finger fiddling with the safety lock.

PANEL 5:

Text reads:

“When I was 16, my hands would shake behind the wheel. “Nervous Id somehow drive into a building”

Image of the girl, now 16, nervous behind the wheel. Her eyes are closed as a thought bubble reads “I got this…” There is an image of a car crashing into a brick wall on the right side of the panel.

PANEL 6:

Text reads:

“When I was 19, my love for Alex Wolff swayed me to watch Hereditary”

Image of Alex Wolff from Hereditary wearing a crown. His nose is bandaged up and there are pink hearts around him.

PANEL 7:

Image of a TV showing a scene from Hereditary, it shows a treehouse in the middle of a forest.

PANEL 8:

Text reads:

“20 Minutes in, my biggest fear appeared”

Girl with purple shirt: “ Turn it off!”

Girl with yellow shirt: “ Really?”

Image of the girl with the purple shirt turning away from the TV, covering her face with her hands. The girl in yellow looks at her confused, she is holding a remote in her hand.

PANEL 9:

Text reads:

“I sat in the middle of the backseat that night.”

Silhouette of the girl in purple’s mom: “ Did you have fun?”

Girl with purple shirt: “Mhm!”

Image of the girl with a purple shirt, sitting in the middle of the backseat, clutching the seatbelt and closing their eyes.

PANEL 10:

Text reads:

“Even now I brace myself in the passenger seat wincing whenever we speed up.” “ But maybe I’m just being neurotic… sooooooo”

Image of a car speedometer.

PANEL 11:

Text reads:

Girl with purple shirt: “I guess I would say horses?”

Image of the side profile of the girl in purple. She is looking to the right and has her finger on her chin, thinking.

PANEL 12:

Text reads:

Girl with green shirt, and Girl with yellow shirt: “…”

Image of both girls looking at each other.

PANEL 13:

Text reads:

Girl with green shirt, and Girl with yellow shirt: “Ha, ha, ha”

Image of both girls covering their mouths as they laugh.

PANEL 14:

Text reads:

Girl with green shirt: “Horses… Really?”

Image of the girl with the green shirt looking towards the left, at the girl with the purple shirt.

PANEL 15:

Text reads:

Girl with purple shirt: “Yeah, they freak me out!”

Girl with yellow shirt: “Ha ha, you’re so lame!”

Girl with green shirt: “He he”

Image of all the girls stood up, gathering their bags. There is a bench, a building, and a couple of trees behind them.

PANEL 16:

Text reads:

Girl with purple shirt: “Shut up!” “You’re scared of spiders!”

Girl with green shirt: “Ha Ha”

Girl with yellow shirt: “Have you seen a wolf spider?!” “So gross!”

Image of all three girls walking to a bus. Behind them is a billboard, a bench, a couple of trees and a building.

The Awakening

Transcript:

Panel 1: A white cat with neutral eyes loafed comfortably in a gray and white void.

Panel 2: The cat’s shape begins condensing and simplifying. It looks blob-like.

Panel 3: The cat is blob-ifying even more, shrinking in size. The space around it goes darker.

Panel 4: The cat is nothing but a small circle, no features visible.

Panel 5: Suddenly, the circle-that-was-a-cat explodes into jagged shapes like a firecracker or a starburst. It’s vaguely cat-shaped, and the cat’s eyes are wide with shock.

Panel 6: The jagged cat-shape floats about in space, expanding in size.

Panel 7: The jagged cat-shape drifts about, now on the bottom-left corner of the panel. 

Panel 8: The jagged cat-shape is almost big enough to take over the entire panel. Its eyes are firmly in the center.

Panel 9: The shape has become so large, it encompasses all. The panel is white, save for a pair of those familiar eyes.

Panel 10: The eyes close happily. Perhaps abstraction wasn’t so bad!

Roomies

Transcript:

Image of two figures in conversation, one a human, the other a unicorn. The human is standing, arms crossed, a confused expression on her face. She wears her brown hair in braids with a pink, fish-shaped hair clip, a salmon colored off-the-shoulder t-shirt, beige shorts, and mismatched socks. The unicorn is seated to the left of her, sighing with an expression of annoyance. The conversation is as follows:

Human: “Soooo… can your magic automatically pay my bills or what?”

Unicorn: “Neigh.”

Human: “Right.”

This is my final message… Goodbye

Transcript:

Panel 1: 

We see Nat, who has messy hair and square glasses. 

Nat says, “It’s me! I’m the comics editor of F News.”

Panel 2:

A small sequence of panels that include different stages of the “Nat Persona” in F NewsMagazine.

Underneath it, Nat Says, “It’s fun to see the ways I’ve changed. I’ve included a version of me in almost 13 issues.”

Panel 3: 

Nat’s hands are clasped together.

They say, “I guess I just wanted to say… Thank you!”

Panel 4:

Nat holds a bundle of papers. They look happy!

Text below it reads, “Thank you to everyone who trusted me with their wonderful comics. Thank you to my friends! I have had a lot of fun, and it’s been real.”

“Goodbye! -Nat”

No One Was There

Transcript:

Panel 1: A colorful chicken sits on black handlebars. NARRATION, “no one was there to tell the girl that balancing a chicken on her handle bars was not possible.” To the left of the chicken’s head, to the right, NARRATION, “so, she rode fast”  

Panel 2: Cut off at the waist, the girl rides her bike with cut-off jean shorts and cowgirl boots. Below the bike wheels, NARRATION, “bouncing on pebbles and stones”

Panel 3: Zoomed out view of the girl riding her bike with the colorful chicken on her handlebars. Above her head, NARRATION, “the chicken’s head”

Panel 4: Same zoomed out scene as Panel 3, but the girl is going down hill, the chicken’s head stretched up high. Above head, NARRATION, “remaining level”

Panel 5: Over the girl’s shoulder she looks at a barn with a dark entrance, the colorful chicken still sitting on the handlebars out of frame, looking at the girl. Above the girl’s head, NARRATION, “but when she got home, still, no one was there”

Panel 6: Behind and below Panels 3 and 4, the barn has two ghosts coming from the dark entrance. Below the barn, NARRATION, “just the ghosts leftover from old stories”