Podcasts about Illustration

Illustration by David Wynne In which many plot threads come together; Charles Xavier is a catastrophically bad listener; you should probably not live in the Marvel Universe; bridges are really important; there's nothing sexy about dying of heat exhaustion; and we judge Morrison's Magneto and find him wanting. X-PLAINED: What Xorn did after dying The story so far New X-Men #146-148 Beast's typing gloves Several innovative ways to type loudly Doomed plans A manufactured confrontation A trap Magneto reimagined Visual depictions of sweat “New Genosha” Death and rebirth Whether Magneto has a place in New X-Men; and if so, what A name for an era NEXT EPISODE: Yet another death of Magneto Check out the visual companion to this episode on our blog. Find us on Apple Podcasts or Spotify! Jay and Miles X-Plain the X-Men is 100% ad-free and listener supported. If you want to help support the podcast–and unlock more cool stuff–you can do that right here! Buy rad swag at our Dashery shop!

This week, Brad and Dave discuss what happens after a cartoonist achieves the dream: making a living from comics. They explain why success can create its own time-management problems, how to protect the thing that's already working, and why adding books, Kickstarter campaigns, merch, newsletters, or conventions should happen gradually. They also talk about practical systems for numbering webcomic pages, naming files, and keeping longform comics organized over time. Main topics covered Weird convention-reader encounters, including disputed signatures and free-sketch requests What to do when your comic and Patreon are working, but there's no time for anything else Protecting the “engine” of your business before adding new projects Avoiding concentration risk when most income comes from one platform Adding new business layers slowly instead of trying to do everything at once Using small projects, like enamel pins, as manageable learning experiences Why side projects can derail your main comic if you're not careful Finding extra time without wrecking your life or mental health Dave's San Diego Comic-Con booth and the free ComicLab enamel pin How to number pages for longform webcomics The difference between website numbering and book-page numbering Using SEO-friendly titles, focus keyphrases, transcripts, and alt text File-naming conventions for comics, including dates, chapters, pages, and vertical-scroll segments Planning ahead for long-running comics so your numbering system doesn't break later You get great rewards when you join the ComicLab Community on Patreon$2 — Early access to episodes$5 — Submit a question for possible use on the show AND get the exclusive ProTips podcast. Plus $2-tier rewards.If you'd like a one-on-one consultation about your comic, book it now!Brad Guigar is the creator of Evil Inc and the author of The Webcomics Handbook. He is available for personal consultations. Dave Kellett is the creator of Sheldon and Drive. He is the co-director of the comics documentary, Stripped.

Das letzte Mal haben wir mit Maren Gutt von Wyrmgold in BGT058 gesprochen. Das ist nun schon fast 4 Jahre her und seit dem ist viel passiert. Zeit also mal wieder einen gestalterischen Blick auf Spiele zu werfen. Als aktuellen Aufhänger haben wir den aktuellen Titel von Wyrmgold genommen: Believe in Me! (Please). Markus und Dirk reden mit Maren darüber wie es gelingt sich stets neu zu erfinden und dennoch einen erkennbaren Stil zu behalten und es gelingt, dass Illustration und Gestaltung Hand in Hand gehen. Abschließend werfen wir noch einen Blick über den Tellerrand und natürlich kommt auch das Thema “Generative KI” zur Sprach. Dirk führt uns durch die Folge. Viel Spaß und gut Brett! Links Gamefound Kampagne Wyrmgold Webseite

After four years, this is it — my final episode of Thoughts on Illustration. Instead of going out with a single deep dive, I wanted to leave you with a roundup: the seven tips I find myself circling back to most often, whether I'm recording an episode, teaching a class, or sitting across from someone in a one-on-one coaching session. And then I close with one last piece of advice that I think ties everything else together — especially relevant right now, with AI reshaping how we think about creativity and originality.Thank you for four years of listening, sharing, and supporting this show. It's meant more to me than you know.Have a Daily Drawing Practice: Why drawing regularly — especially slow, observational drawing from life — is the foundational skill every illustrator needs before taking on real client work.Know What and Who Inspires You: Why your heroes and mentors (most of whom you'll never meet, and many of whom are long gone) are essential teachers, and how to study them like a student.Share Your Work: Why sharing isn't optional self-promotion but a core part of the creative process — it builds accountability, audience, and feedback you can't get any other way.Take Technique Seriously: Moving past "just drawing with color" toward real artistic technique, and how working within a "media paradigm" (drawing, painting, collage, or printmaking) sharpens your style.Lean Into Constraints: Why creative freedom isn't the absence of limits — it's working skillfully within them — and why illustration is always applied art with a purpose.Have a Well-Defined Creative Process: Breaking down the path from brief, to research, to sketches, to finished art — and why a repeatable process beats waiting for inspiration.Illustration Isn't Art, It's Problem Solving: Why thinking of illustration as a form of design — not just self-expression — actually frees you to do better creative work.Final Advice: Why the act of making art changes the artist, and why no AI tool can replace that deeply human, embodied experience of thinking and working through your hands.Drawing Is Important — The Book and Class: If you want to go deeper on tip #1, check out the book and the companion class on Skillshare.https://www.tomfroese.com/bookStyle Class, Composition for Illustrators, and The Six Stages of Illustration: Referenced throughout this episode — all available on Skillshare for anyone who wants to dig further into style, constraints, and process.https://www.tomfroese.com/teachingPast Episodes Mentioned: Episode 62 (How do you make an illustration cohesive?) and Episode 13 (Why constraints make you more creative) — both dig deeper into the constraints conversation from tip #5.One-on-One Coaching: If you want personal guidance on your portfolio or a specific project, book a session.https://www.tomfroese.com/coachingThank you to everyone who has listened, shared, and supported this podcast over the past four years — especially those of you who've supported here on Patreon. The show is ending, but I'm still here on Patreon for the Draw With Me's until further notice. If you'd want to sign up to be notified on my next adventure, stick around here, or find me/subscribe on Substack —> https://mr⁠tomfroese.substack.com⁠Work: ⁠tomfroese.com⁠Classes: ⁠tomfroese.com/teaching⁠Coaching: ⁠tomfroese.com/coaching⁠Instagram: ⁠https://www.instagram.com/mrtomfroese⁠In this EpisodeLinks and ResourcesWhat's Next?Find Me Elsewhere

Illustration by David Wynne In which friends don't let friends drink sparkling wine at the Hellfire Club; Cyclops is a Silent Hill protagonist; Fantomex is a cool dude; John Sublime has his grubby little fingers in everything; and three men do a lot of things to avoid going to therapy. X-PLAINED: What happened to the World Weapon XVI New X-Men #142-145 Fantomex (more) (again) The Weapon Plus program A large number of things men will do instead of going to therapy How to murder a nice, romantic mood The Hellfire Club, the rest of the time Jake Danials Whisky A drinking contest The Mysteries of Harris Burdick The World Weapon XV A series of B&Es Advanced Idea Mechanics (A.I.M.) Car cops Weapon XV's feelings Weapon Plus's secret space headquarters Education at the Xavier School Gender-swapped superheroes and heirs to superheroes NEXT EPISODE: Magneto, unmasked! Check out the visual companion to this episode on our blog. Find us on Apple Podcasts or Spotify! Jay and Miles X-Plain the X-Men is 100% ad-free and listener supported. If you want to help support the podcast–and unlock more cool stuff–you can do that right here! Buy rad swag at our Dashery shop!

James 5:16-18 (NASB) 16 Therefore, confess your sins to one another, and pray for one another so that you may be healed. A prayer of a righteous person, when it is brought about, can accomplish much. 17 Elijah was a man with a nature like ours, and he prayed earnestly that it would not rain, and it did not rain on the earth for three years and six months. 18 Then he prayed again, and the sky poured rain and the earth produced its fruit. Theme: Since the prayer of the righteous is very powerful, we as Christians should be motivated to pray. 1) A Motivation to pray (5:16b) 2) An Illustration of the power of prayer (5:17-18)

Anders och Freddie pratar om vad som hänt sedan sist. Nyheter som invigningen av Jack Kirby Way i New York och The Quentin Blake Centre for Illustration avhandlas. Det görs några nedslag i Stockholms internationella seriefestival som inleddes med att serieskaparen Liv Strömquist fick utmärkelsen Chevalier de L’Ordre des Arts et des Lettres av Frankrikes...

Split, Essex, Tübingen – Sara hat sich ihren Weg durch die Welt gewiggled. Zusammen mit Lokallegende-Addi geht's um das Leben zwischen Sprachen, Kulturen und Kreativität – und was das alles mit dem eigenen Kopf macht. Sara hat dazu ihre ganz eigenen Takes: ein Kurzfilm ganz ohne Worte, Street Art, Illustration. Überlebt so eine Kunstseele den Agenturalltag oder wird sie dadurch sogar beflügelt? Im Sitzen widmen sich die Artys dem Spagat zwischen persönlicher Kreativität und kommerziellem Kundenwunsch. Denn mit Sara ist endlich jemand im Studio der Addis Sprache spricht – Dänglisch.

Dans une nouvelle étude publiée dans The Astrophysical Journal , une équipe d'astronomes de Yale décrit une galaxie naine située à 45 millions d'années-lumière de la Terre, appelée NGC 1052-DF9 , qui est la troisième galaxie découverte dépourvue de matière noire, après ses galaxies voisines DF2 et DF4. Ces trois petites galaxies semblent s'être formées par le même mécanisme de séparation du gaz et de la matière noire. Source Une troisième galaxie dépourvue de matière noire le long d'une traînée de galaxies dans le champ NGC 1052Michael A. Keim et al.The Astrophysical Journal volume 1004 (16 juin 2026)https://doi.org/10.3847/1538-4357/ae6b8d Illustrations DF9 dans son environnement ( Keim et al.) Illustration du processus qui pourrait être à l'origines des galaxies sans matière noire (Nature)

What seems like a simple question about exclamation points opens up a much bigger discussion about the power of comics lettering. Brad and Dave talk about punctuation, word balloons, font choices, and the unique grammar of comics — and why cartoonists have tools that prose writers can only dream of. They also share thoughts on staying creative during major disruptions, from studio moves to home renovations. On today's show... Exclamation points in comics: how many is too many? Whether to use one, two, or three exclamation points Why comics grammar differs from prose grammar Using lettering, font size, bolding, and balloon shape instead of extra punctuation When punctuation becomes unnecessary in comics lettering Nate Piekos's The Essential Guide to Comic Book Lettering Question marks, exclamation points, and the interrobang How punctuation order can affect emotional meaning Writing dialogue for comics: numerals, abbreviations, and natural speech Jim Davis, Garfield, and simplifying comics language Meeting readers where they are through visual storytelling NCS Reuben Awards weekend in Columbus, Ohio Brad and Dave's panel: “Actionable Advice in a Time of Change” Remodeling, moving studios, and creative disruption Setting up a dedicated creative space during chaos Managing the cognitive load of unfinished studio/home projects Why working ahead matters before a move or remodel The danger of putting fun distractions in your studio The temptation of arcade cabinets, pool tables, and other creativity killers You get great rewards when you join the ComicLab Community on Patreon$2 — Early access to episodes$5 — Submit a question for possible use on the show AND get the exclusive ProTips podcast. Plus $2-tier rewards.If you'd like a one-on-one consultation about your comic, book it now!Brad Guigar is the creator of Evil Inc and the author of The Webcomics Handbook. He is available for personal consultations. Dave Kellett is the creator of Sheldon and Drive. He is the co-director of the comics documentary, Stripped.

Love the pod and want more podcast only goodies? Find Busy Body on Patreon with a special video tier, stickers, bonus segments and more. Patreon Is our conception of modern Fitness really just a colonizers long game plan for everyone to look like an old British white man from the 1800s? It might be. Move over Goop an old timey British man already cornered the market. Join me for one of my favorite conversations yet. Do I say that about everyone? They're all so great, but this book was everything I'm interested in, and more, which means, I hope it's everything that you're interested in. We touch on so many topics. We're definitely going to have Conor back on. How did we only briefly touch on yoga's rough lineage?.. because it would have been a three hour podcast if we had! Subscribe now Listen to the episode, decolonize your body, and find your own personal reasons to work out! All this and more on today's episode. Get Conor's book HERE Find him on social HERE And more about his work and newsletter HERE Please take a moment to like, share or comment - these episodes take lots of time and effort and even a little heart let's me know you're listening ❤️ Leave a comment Music by Rob Byrne, performed by the Wild Yaks. Podcast produced by Brad Parsons at Trains Sound Studio. Illustration by Azul Trejo.

This episode, Kalid and Joe are joined by makeup artist & vfx professional, Ana Victoria Esquivel Vásquez, to chat about Guillermo del Toro's 2006 passion project, Pan's Labyrinth!​​*Thank you to Jim Hall for the music! Check out more of his music⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠here⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, and if you like what you hear, please consider donating to support his work⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠here⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠!*Thank you to Jim Tandberg for the Frankenstein's Podcast artwork!*Shoutout to our Patreon Producer(s), Luke Johnson, Andy Groth, Jake Kohl & Joe Mischo!⁠⁠⁠Support us on Patreon!⁠Featured Guest:Ana Victoria Esquivel Vásquez is a Los Angeles–based multidisciplinary makeup artist specializing in Beauty, Special Effects, and Illustration, with over a decade of professional experience spanning film, television, and high-level production work. Originally from Panama City, Panama, Ana developed her artistic foundation through fine arts studies at the Savannah College of Art and Design before continuing advanced training at the Academy of Freelance Makeup in London and Make-Up Designory in Burbank, and later she trained under renowned industry artists including Matt Rose, Jordu Schell, and Denise Baer. Since 2017, she has contributed to major productions through her expertise in beauty, prosthetics, specialty hair, and on-set collaboration, earning a reputation for technical precision, adaptability, calm leadership, and the ability to seamlessly merge artistry with efficiency across both beauty and effects-driven projects.References:The Disobedient Fairytale: How Guillermo del Toro's Use of Recontextualization Transforms Film Itself - MediumOnce Upon a Time in Spain - The Austin Chronicle15 Things You Didn't Know About Pan's Labyrinth - ScreenRantPAN'S LABYRINTH—Interview With Guillermo Del Toro - Screen AnarchyPan's People - The GuardianMaking Monsters: The Practical Effects Behind Guillermo Del Toro's Iconic Creatures - ShotdeckLas Criaturas del Laberinto del Fauno - Monster LegacyA vfx Labyrinth - FX GuideShannara ChroniclesVInce Staples - Cry BabyPokemon Shield (Nintendo Switch)Star Wars: The Mandalorian & Grogu The Starving Saints by Caitlin StarlingThe Luminous Dead by Caitlin Starling

Join our next FASO Show Live!https://artists.boldbrush.com/p/the-faso-showLearn the magic of marketing  with us here at BoldBrush!boldbrushshow.com--For today's episode, we sat down with Ned Mueller, an American artist and longtime illustrator-turned-fine-painter, known for his strong drawing, expressive plein air and figurative work, and decades of teaching and mentoring artists around the world. He shares his lifelong journey in art, from drawing as a child and training as an illustrator at Art Center School of Design to eventually transitioning into a fine artist with a distinct voice of his own. He talks candidly about facing serious health challenges, chronic pain, and burnout risks, and how having something meaningful to get up for—his painting practice and the support of his wife Karen—has kept him going. Drawing on decades of experience, Ned emphasizes the “four P's”: patience, perseverance, practice, and passion, urging artists to find subjects they truly love so their excitement shows in the work. He underscores the importance of strong fundamentals—especially drawing and values—explaining that you must first learn to paint what you know, then what you see, and ultimately what you feel. Ned also advises artists to simplify by thinking in big shapes, values, and edges, to do lots of small studies (in plein air and the studio), and to keep sharpening their skills through critique groups, workshops, and consistent practice. Throughout the conversation, he offers grounded yet hopeful insight into building a sustainable art life: do the work, keep learning, accept the hard realities of the art market, and let your love for painting carry you through the long haul. Finally, Ned tells us about his online classes!Ned's FASO site:www.nedmueller.com/Sign up for Ned's workshops!www.nedmueller.com/workshopsSign up for Ned's Newsletter!www.nedmueller.com/email-newsletterNed's Social Media:www.instagram.com/nedmueller06/www.facebook.com/NedMuellerFineArt/

Fragments d'une passion pas simple et de secrets Avant de mourir, la mère de Mehdi lui confie une pochette rouge remplie de lettres d'amour. Elles racontent la passion clandestine entre elle, Françoise, et son père Lahoucine. Ils se sont rencontrés à l'hôpital, à Paris, en 1959. Lui est un travailleur immigré marocain, ouvrier chez Citroën, qui vient d'avoir un accident en mobylette. Elle est une Française catholique, mariée et mère de deux enfants, aide-soignante à l'hôpital. Entre eux débute une relation, d'abord pudique, puis franchement passionnelle, que Françoise raconte au fur et à mesure dans ses lettres à Lahoucine. Une « passion pas simple » entre une femme mariée et un travailleur immigré dans la France conservatrice des années 60, en pleine guerre d'Algérie. Issu de cette union, Mehdi a hérité du paquet de lettres que son père n'a pas brûlé, que sa mère a toujours conservé. Au début des années 2000, Françoise avait raconté son histoire au micro de son fils. C'est à partir de ces archives personnelles que Mehdi se confronte à cet amour métis et clandestin. Alors, peu à peu, cette enquête sur une rencontre amoureuse se déploie en saga familiale dont un fils, trois sœurs et une mère sont les protagonistes. Avec délicatesse et sans tabou, il donne une voix à ce parcours exceptionnel, à cette femme dressée contre la morale et toutes les violences. Ses enfants enfin réunis autour de son micro regardent ces violences en face, et dessine le portrait de cette « passion pas simple ». Avec : Christine Béjat, Michèle Lhuillerie, Philippe Artières, Myriam Ahoudig, Jalal El Hakmaoui. Mentions : - Archives INA de radio ; Actualités ; - Oreille externe : Silvain Gire. Bibliographie : - Archives Personnelles, Philippe Artières et Jean François Laé, Armand Colin, 2011 ; - Derrière le mythe métisse, Solène Brun, La Découverte, 2024. Pour aller plus loin : - Histoire du métissage, Nelly Schmidt, Editions de la Martinière, Paris, 2003 ; - La double absence, Abdelmalek Sayad, Le Seuil, 1999 ; - Elise ou la vraie vie, Claire Etcherelli, Les lettres nouvelles, 1967. Remerciements : Mes trois sœurs (Christine, Michèle, et Myriam) pour leur participation ; Juliette Guigon pour l'accompagnement lors des doutes et des questionnements ; Silvain Gire pour sa vision ; Ijjou Ahoudig pour son écoute, Annika Erichsen pour sa patience, Philippe Artières pour son regard sur ces lettres, et Jalal El Hakmaoui pour la révélation d'un secret de famille. Et bien sûr l'équipe formidable d'ARTE Radio. Ce podcast documentaire a obtenu une aide sélective aux auteurs de podcast en 2022 et a été soutenu par une résidence à l'Institut français de Casablanca, dans le cadre du festival Amwaj en juillet 2025. Entretien, montage et narration Mehdi Ahoudig Enregistrements février 2004-juillet 2025 Lectures Emmanuelle Lafon Réalisation Samuel Hirsch, Mehdi Ahoudig Musiques originales et mixage Samuel Hirsch Oreille externe Silvain Gire Illustration Mehdi Ahoudig (photo d'archives personnelles) Production ARTE Radio

Our three part season filmed in Ireland begins!Fionn mac Cumhaill (Finn McCool) is likely the most famous figure in Irish mythology, leading the legendary band of warriors known as the Fianna (Fenians) through an epic mythic cycle. On his adventures, Fionn encounters a giant, a fire-breathing goblin, and a magic fish containing all the world's knowledge. Maybe the Salmon of Knowledge can explain what the fierce warrior is doing dressed up like a baby?We will explore how, even a thousand years after his tragic final battle, Fionn mac Cumhaill inspired revolution and cultural revival in Ireland. The many-skilled warrior demonstrates an ancient ideal that any of us can carry into modern life.Mythos & Logos are two ancient words that can be roughly translated as “Story & Meaning.”Support the channel by subscribing, liking, and commenting to join the conversation!Patreon: https://www.patreon.com/c/mythosandlogos00:00 Introduction00:12 Illustration from Myths & Legends; The Celtic Race by Stephen Reid00:35 Illustration from Myths & Legends; The Celtic Race by Stephen Reid01:12 Fionn mac Cumhaill with the Red Light of Battle Shining Around his Head by Beatrice Elvery01:47 Boyhood Deeds of Fionn mac Cumhaill02:39 Druidess by Alexandre Cabanel03:45 The Riders off the Sidhe by John Duncan04:04 Illustration from Myths & Legends; The Celtic Race by Stephen Reid04:12 Augusta Gregory, Gods and Fighting Men04:59 Oscur Leaning on his Left Arm by Beatrice Elvery05:21 Illustration from Myths & Legends; The Celtic Race by Stephen Reid05:30 The Salmon of Knowledge06:19 Connla's Well by Justin McCarthy07:30 The Fighting Fianna07:58 Illustration from Heroes of the Dawn by Beatrice Elvery08:49 Ossian on the Bank of the Lora by François Gérard09:03 Illustration from Heroes of the Dawn by Beatrice Elvery09:31 The Giant's Causeway10:46 Illustration from Myths & Legends; The Celtic Race by Stephen Reid11:29 Sadhbh by Arthur Rackham11:36 A Legend of Knockmany by John D Batten13:02 The Fianna's Final Fight13:41 Illustration from Myths & Legends; The Celtic Race by Stephen Reid14:41 Conclusion: Fionn mac Cumhaill's Legacy16:57 Portrait of William Butler Yeats by John Butler Yeats17:40 OutroAll works of art are public domain unless stated otherwise. Ambiment- The Ambient by Kevin MacLeod is licensed under a Creative Commons Attribution License.

Josie Moore grew up in the valley town of Westfield, Massachusetts with a voice that wouldn't work and a brain filled to bursting. Paranoid by the world and abandoned by those around her, she turned to art in her time of hiding. When she was scared, she wrote about it. When she cried, she drew comforting pictures. With the inability to pinpoint and process her own emotions, she used art and storytelling as her communication, turning her fear into something beautiful. Nowadays, she can finally leave her bedroom, but never without a sketchbook by her side. She attends the University of Massachusetts Dartmouth in hopes of getting her BFA in Illustration. She spends her days doodling elves, bears, and silly little faeries and nights writing, planning, and…hopefully writing some more. Finally having an outlet to put all her obsessive, creative energy, she dreams of one day showing even the deepest crevices of her mind with her odd love stories and twisted mysteries. The Writers and Illustrators of the Future Contests are the most prestigious writing and illustrating competitions in the world with the Writers of the Future being in its 43rd year, the Illustrators of the Future in its 38th year and they are judged by the premier names in speculative fiction. The Illustrators of the Future Contest judges include, Bob Eggleton (11 Chesley Awards and 9 Hugo Awards), Larry Elmore (Dungeons & Dragons book covers), Echo Chernik (graphic designs for major corporations including Celestial Seasonings tea packaging), Rob Prior (art for Spawn, Heavy Metal comics and Buffy the Vampire Slayer), Ciruelo (Eragon Coloring Book). Joseph Sidari lives in the Boston suburbs with his wife and a delightfully spoiled labradoodle named Chloe, who takes him for walks twice a day. As a practicing physician, he works hard caring for his patients while trying to kill off his protagonists. He is a current member of the Grub Street Writers Group of Boston and a former member of the Spacecraft Writers' Group. He's been a lifelong fan of reading speculative fiction, but only started writing it after flipping his bicycle during triathlon training. Typing at his computer felt like a less risky hobby, so that summer, with his wrist on the mend, he wrote a novel. Then another. On his third attempt, he found an agent who suggested that writing short stories could help build his reputation while the book was being shopped around. The manuscript never sold, but he realized short stories were fun, too. Since then, he has earned multiple honorable mentions in the Writers of the Future contest and two Silvers, while publishing several short stories—though not enough to “pro out." This story was one of those honorable mentions. You know the email Joni Labaqui [contest director] sends? The one that suggests to “revise and resubmit an old story if you don't have anything new.” It resonated. “I liked the idea of the epistolary tale I'd entered to the Contest about a woman trying to free the last dragon in America. But I needed to double down on the premise. Write more than just blog posts. So, I rewrote it from top to bottom.” And here is the new and improved story. United Public Radio & UFO Paranormal Radio www.uprntalkradio.com The Writers of the Future Contest judges include, Tim Powers (author of On Stranger Tides), Kevin J. Anderson and Brian Herbert (Dune prequel series), Robert J. Sawyer (The Oppenheimer Alternative), Brandon Sanderson (Mistborn series, The Stormlight Archive), Larry Niven (Ringworld), Orson Scott Card (Ender's Game), Nnedi Okorafor (Who Fears Death), Hugh Howey (Wool), and Katherine Kurtz (Deryni series) to name a few.

Irvin Rodriguez is a visual artist whose work offers a synthesis of painting and drawing, inspired by the European masters and 19th-century painters, paired with the narrative influence and aesthetics of illustration and contemporary art. Rodriguez's artistic practice spans multiple disciplines, from analog to digital media, resulting in figurative compositions and portraits that communicate individual and collective experiences. Born in the Bronx, New York, in 1988, Rodriguez graduated from the Fashion Institute of Technology with a BFA in Illustration (2010), while simultaneously studying at the Grand Central Atelier (2008–2010), and later at the Art Students League of NY (2013–2016). Since then, Rodriguez has exhibited in numerous group and solo exhibitions in Europe, South America, and the United States, and was also the recipient of the 2016 Elizabeth Greenshields Foundation Grant, the 2019 John F. and Anna Lee Stacey Scholarship, and the 2019 Donald Jurney Travel Fellowship. Over the years, he has developed into a compelling and versatile artist, with works in the film, comic book, publishing, and video game industries for clients like Naughty Dog, Lucasfilm, DC Comics, and Magic: The Gathering. He currently lives and works out of his studio in Los Angeles, California. Irvin was the 2011 recipient of the L. Ron Hubbard Golden Brush Award. He has been an Illustrators of the Future judge since 2023. In this episode, Irvin discusses his journey in a successful artistic career. Learn more at irvinrodriguez.com.

Irvin Rodriguez is a visual artist whose work offers a synthesis of painting and drawing, inspired by the European masters and 19th-century painters, paired with the narrative influence and aesthetics of illustration and contemporary art. Rodriguez's artistic practice spans multiple disciplines, from analog to digital media, resulting in figurative compositions and portraits that communicate individual and collective experiences. Born in the Bronx, New York, in 1988, Rodriguez graduated from the Fashion Institute of Technology with a BFA in Illustration (2010), while simultaneously studying at the Grand Central Atelier (2008–2010), and later at the Art Students League of NY (2013–2016). Since then, Rodriguez has exhibited in numerous group and solo exhibitions in Europe, South America, and the United States, and was also the recipient of the 2016 Elizabeth Greenshields Foundation Grant, the 2019 John F. and Anna Lee Stacey Scholarship, and the 2019 Donald Jurney Travel Fellowship. Over the years, he has developed into a compelling and versatile artist, with works in the film, comic book, publishing, and video game industries for clients like Naughty Dog, Lucasfilm, DC Comics, and Magic: The Gathering. He currently lives and works out of his studio in Los Angeles, California. Irvin was the 2011 recipient of the L. Ron Hubbard Golden Brush Award. He has been an Illustrators of the Future judge since 2023. In this episode, Irvin discusses his journey in a successful artistic career. Learn more at irvinrodriguez.com.

CHECK, PLEASE — Thanks for tuning in. Just a note before we get going: This is the 50th episode of The Full Bleed, and I, along with the team here at Magazeum, truly appreciate the time you spend with us. Waiting is what I consider a perfect magazine. Not because of its design or the writing, though both are stellar. But mostly because it functions as a closed loop. How? The subject and the audience are one and the same. Waiting, you see, is a magazine about creatives in New York's service industry. And it is a magazine for creatives in New York's service industry. That's a neat trick and also makes me wonder why no one had done this before founder, editor-in-chief, and complete magazine neophyte Adele Blanton hit upon the idea. Adele has done the math: 10 percent of the estimated 700,000 people working in the food and beverage industry in New York are artists of some kind. Artists, actors, writers, dancers. You name it. And that number is a healthy baseline for any publication. Waiting has published three well-received issues and now she and the team behind it has to figure out how to maintain and grow the media. That's one of the many things we talk about on the show. Did we tell you this is our 50th episode? Because it's our 50th episode. — This episode is made possible by our friends at Freeport Press. A production of Magazeum LLC ©2021–2025

Today's show is sponsored by Huion, makers of the Huion Kamvas 22 (Gen 3) — a 21.5" pen display with a gorgeous 2.5K screen and really smooth performance. Bottom line: it feels great to draw on — and it punches way above its price. • Check it out at https://comiclabshop.com • Use code COMICLAB5 for an exclusive 5% discount! (Valid through June 14th) This week, Dave returns from Alaska Comics Camp — https://minicon.alaskarobotics.com/comics-camp/ — with a glowing review of what he calls one of the most meaningful experiences of his professional life. He explains how the camp blends education, community, mentorship, and artistic growth in a remote setting that forces attendees to disconnect from technology and reconnect with one another. Along the way, Brad and Dave discuss what makes the camp special, the value of peer-to-peer learning, the recent panic over Kickstarter's updated NSFW guidelines, Eisner nominations, and the realities of pursuing recognition in comics. Alaska Comics Camp Alaska Robotics Comics Camp is a four-night creative retreat in the southeast Alaska rainforest for comics pros, visual storytellers, and adjacent creators — writers, game devs, filmmakers, journalists, musicians, and more. You have to apply to attend. It's not a standard “buy a badge and show up” event; accepted campers attend after the Alaska Robotics Mini-Con in Juneau.  Cost: Camp is listed at $800, which includes four nights of lodging, meals, and transportation to/from downtown Juneau. Financial aid is available, and asking for aid does not affect application review.  What to expect: workshops, presentations, peer conversations, campfires, board games, hanging out, and wandering through the woods and nearby ocean beach — basically “a professional development conference for people who don't like conference rooms.”  Comfort level: rustic but not brutal — heated cabins, bunk beds with mattresses, flushing toilets, hot showers, power outlets, meals, snacks, coffee/tea, towels, and comfort items are provided. There's no regular Wi-Fi or cell service at camp, though service is reachable by hike or ride.  How to participate next year: watch the Alaska Robotics Mini-Con / Comics Camp site and their social channels for the next application window. Recent camps have used an application process with deadlines months ahead of the event, so don't wait until spring to start looking. https://minicon.alaskarobotics.com/comics-camp/ Topics Covered A complete tour of Alaska Comics Camp and how it evolved from a small Juneau event into an international gathering of cartoonists School visits, library presentations, the Alaska Robotics Mini-Con, and the camp experience itself Why the lack of cell service is one of the camp's greatest strengths Classes taught by attendees on topics including storytelling, lettering, humor writing, character development, publishing, and business An NSFW-comics discussion that impressed Brad with the camp's openness and professionalism The importance of "Comics Rules" (similar to Chatham House Rules) in creating a safe environment for sharing industry information Real-world discussions of publishing contracts, agents, income, and career sustainability The anonymous income survey that helps attendees understand the wide range of successful cartooning careers Why Alaska Comics Camp has become one of Dave's favorite events in all of comics Stories from ComicLab listeners who attended camp after hearing about it on the podcast Dave's observations about Alaska's landscape, culture, and strong sense of community The tale of a failed camp water pump and Pat Race's MacGyver-level solution involving a distillery, a fire department, and a garden hose The viral misinformation claiming Kickstarter had banned pornography What Kickstarter's updated NSFW guidelines actually said Why Stripe — not Kickstarter — is the real concern for adult-content creators Brad's emergency solo Pro Tips episode explaining the new guidelines How creators can avoid overreacting to social-media panic cycles Listener feedback about what Brad and Dave's voices sound like to non-Americans Congratulations to friends of the show, including Ryan North, Glenn Fleishman, Tony Cliff, and Steve Lieber, on their Eisner nominations A discussion about award submissions, advocacy, and why creators must nominate themselves The realities of comics awards, including Eisners, Ringo Awards, Hugos, Reubens, and Ignatz Awards Whether award nominations come from changing your work — or simply years of steady improvement and persistence You get great rewards when you join the ComicLab Community on Patreon$2 — Early access to episodes$5 — Submit a question for possible use on the show AND get the exclusive ProTips podcast. Plus $2-tier rewards.If you'd like a one-on-one consultation about your comic, book it now!Brad Guigar is the creator of Evil Inc and the author of The Webcomics Handbook. He is available for personal consultations. Dave Kellett is the creator of Sheldon and Drive. He is the co-director of the comics documentary, Stripped.

When was the last time you felt free to be creative? To just let loose and tap into your creativity in an inviting and supportive space? I was thinking about these points when I took in the Something Sketchy – Bad Drawing Only event in January.  This gathering comes from the wonderful mind of Jaymie Raefta, a Saskatoon illustrator and artist who has become one of my favourite people in the past few years.  Once every few months in a warehouse space in Riversdale, Jaymie hosts a gathering of people who love to draw, no matter their ability, and encourages them to draw badly. Very badly.  Jaymie, who uses they/them pronouns, emcees the evening. They embrace the role with the vigor and charm of a late-night television talk show host. Jaymie's quick wit and humour, along with quirky musical selections, create the perfect vibe for people to draw.  The drawing comes from specific prompts which Jaymie comes up with. My favourite was the following: draw your favourite co-worker as a cold baked potato.  You have two minutes to complete your drawing, and at the end of each round, the table votes on the best bad drawing.  What I love about these Something Sketchy nights is the creative community they are forming in Saskatoon. The room was packed with more than 30 people who giggled and laughed throughout the night while making new friends and reconnecting with old ones. The people came from all walks of life: artists, graphic designers, potters, and even a mailman. You will hear from these people how much it means to them to have a devoted set time and space to be creative in this episode, and you will hear why these Something Sketchy nights mean so much to Jaymie.  This has been an amazing season of YXE Underground, and I am so thrilled to end it with such a fun and meaningful episode.  If you want to learn more about the Something Sketchy – Bad Drawing events, look up Plastic Salad on Instagram. This is an illustration collective created by Jaymie to promote illustration in Saskatchewan, and there's a Something Sketchy event happening on Wednesday, June 17th, from 6:30pm-8:30pm that you should totally check out!  A big thank you to Jaymie and everyone at the Something Sketchy for letting me share their stories on the podcast.  If you have enjoyed this episode and are a fan of the podcast, please feel free to leave a glowing 5-star review and share it with your friends. Word of mouth is, I think, the best way to share podcasts, and so I really do appreciate your support in spreading the word about YXE Underground. You can find the podcast on Instagram, Facebook and Twitter. Simply search YXE Underground. A big thank you to all of you listeners for continuing to support a local, independent podcast. It means the world. I will drop a few bonus episodes this summer, but Season 9 will launch in September. I can't wait to share more stories of people and organizations who are making a difference here in Saskatoon. If you have someone who you think should be on the podcast, send me an email: ericandersonyxe@gmail.com I would like to acknowledge these interview were gathered on Treaty Six territory and the traditional homeland of Metis.  YXE Underground is a production of the Salthammer Production Company. My name is Eric Anderson. Thank you so much listening and we'll talk to you soon, Saskatoon.     Host, Producer, Editor: Eric AndersonTheme Music: Andrew DicksonWebsite: https://www.yxeunderground.comRecorded: On Treaty 6 Territory and the traditional homeland of the Metis

【主播的话】今年五月，我去了一趟奥马哈，参加了一年一度的巴菲特股东大会。作为一个平日里并不算关注投资的人，去参会纯粹是记者的好奇心作祟：我想看看，这个每年让几万人专程飞来朝圣的地方，究竟供着什么“神”？现场的第一印象，像是一个巨大的县城大卖场，人声鼎沸，摩肩接踵，中国投资者组团涌入，对着一个九十多岁的老人的照片虔诚地举起手机。那种氛围也让人深思：他们在这里寻找的，究竟是财富密码，还是某种更难言说的确定感？也是在那里，我第一次真正开始思考，投资这件事和我们的生活到底是什么关系。带着这个问题，我回到了纽约，找到了大卫翁。他是知名财经博客《起朱楼宴宾客》的主播，还刚刚出版了一本叫做《资产配置行动指南》的书。他有一份让旁人羡慕的履历——西安交大少年班，LSE硕士，拥有逾20年金融行业经验，曾任头部中资投行董事总经理、国家外汇储备管理机构高管等。离开机构之后，他创办了播客、也在公号写作，把复杂的金融知识和资产配置理念掰开揉碎，重新调配成普通人能消化的东西。我们这期的对话，也并不是一堂理财课。我们想探讨的是：一个人可以怎么使用资产配置的眼光重新丈量自己的人生规划？选择丁克、退出系统、裸辞、养老，这些正在成为越来越多人真实选项的时刻。在中国，房地产的旧神话已经散场，AI正在悄悄拉开新的贫富裂缝，在这个锚点纷纷失效的年代，钱的问题从来都不只是钱的问题。大卫翁在录制快结束时说了一句话，我觉得可以当作这期节目的注脚：投资的最终目的，应该服务于你自己的生活。在一个把财富增值当作人生目标本身来贩卖的时代，我们或许需要一点逆流而行的清醒。【本期主播】王磬：微博@王磬【本期嘉宾】大卫翁：《起朱楼宴宾客》主播，著有《资产配置行动指南》【本期剧透】00:09 投资最重要的不是行动指南，而是一本心态修炼手册04:27 几乎所有“新鲜小韭菜”初次投资都要交学费？07:48 投资如同学习外语，那么市场有“母语者”吗？14:44 巴菲特奥马哈股东大会的现场见闻：很像县城大卖场，中国投资者组团来“拜财神”25:58 对于普通人的投资建议：与其预测市场，不如回归自身需求31:32 选择丁克，选择离职，选择养老，那该怎么算这笔财务的账？48:10 投资的最终目的，应该服务于你自己的生活59:17 中国新的房地产周期，过往4%-5%稳健收益且随取随用的刚兑时代已经过去了01:11:59 中国创作者经济的尽头与播客的尴尬01:19:53 纽约一年的实感：AI带来社会巨大的割裂，得利者没有争执，都在狂欢【相关阅读】《资产配置行动指南》作者: 大卫翁 出版社: 中信出版社 出版年: 2026-2单身独居，如何最大化个人价值，保障自己的日子有声有色？传统家庭，如何一手护卫父母的健康，一手为“吞金兽”的教育金做准备？略有积蓄，要不要投一点私募产品？要不要换套改善型住房？利率降低、房价难涨、寿命延长，面对一系列新环境，实现资产的安全及稳稳增值才是王道！跟随资深金融人大卫翁，从个人的“三张表”开始梳理，透视自己的收入与支出，资产与负债，现金流流入与流出。在真实的个人数据中，优化收入与消费结构，放大你最宝贵的人力资产，把钱理出来。资产配置远不是买理财产品那般单调。大卫翁带你认识权益类、固定收益类、现金类、另类资产等四大类资产，在不同的经济周期环境下，灵活运用这些武器可做到攻守兼备。同时，针对全球化的资产配置，大卫翁教你打开视野，做聪明资金。现在就盘活自己的资产，去做最适合自己的资产配置。Illustration by Tim EnthovenWhat I Learned About Billionaires at Jeff Bezos's Private Retreat我在杰夫·贝索斯私人聚会上学到的关于亿万富豪的真相 作者：诺亚·霍利（Noah Hawley) 发表平台：大西洋月刊 发表时间：2026.4作者回忆了他受邀参加杰夫·贝索斯举办的名为“篝火”（Campfire）的年度极为私密的闭门静修会。现场聚集了约80位全球最顶尖的头脑，包括普利策奖得主、摇滚明星、顶级科学家和电影明星，讨论着如何“让世界变得更好”，但充满了一种荒诞的悬浮感。当今的顶级亿万富豪已经脱离了普通人的现实生活，对于他们来说，由于资产过于庞大，世界上的任何东西都是“免费的”，宛如生活在一个巨型的“感官剥夺水箱”中，社会的真实反馈和大众的疾苦根本无法穿透他们的财富防火墙。【

Dans les coulisses du film « Persepolis » Pour créer, Winshluss a besoin d'une « joie primitive »… qu'il ne trouve pas uniquement sur sa planche à dessins. Depuis 2003, l'homme signe aussi des films. Huit courts et cinq longs-métrages, passant de l'animation aux prises de vues réelles, parfois adaptés de ses bandes dessinées et souvent signés de son vrai nom, Vincent Paronnaud. Il y a de quoi rire devant la leçon d'humour noir d'Il était une fois l'huile (2010), être charmé face à La mort père et fils (réalisé avec Denis Walgenwitz, 2017) ou très ému devant Persepolis, d'après la BD de la regrettée Marjane Satrapi sur sa jeunesse en Iran, qu'il transposa avec elle à l'écran. Sélectionné à Cannes en 2007, ce drame expressionniste y récolte le prix du jury, puis deux César ainsi qu'une nomination aux Oscars, et attire en salles trois millions de personnes dans le monde. Comment Winshluss a-t-il attrapé du cinéma le virus, jusqu'à y croire mordicus ? Prépare-t-il, non pas un, mais deux films, en plus d'une nouvelle BD ? C'est le sujet principal de ce troisième et dernier épisode, évoquant aussi les menaces qui pèsent sur trois de ses maisons d'édition historiques : Les Requins Marteaux, Cornélius et L'Association. L'auteur du mois : Winshluss Né en 1970 à La Rochelle, Winshluss est auteur de BD, cinéaste, musicien et plasticien. Narrateur goguenard de nos grandes et petites apocalypses, il a notamment signé, depuis la fin des années 90, une douzaine de bandes dessinées grotesques et désespérées, bourrées de losers malchanceux, de militaires serviles et d'hommes d'affaires crapuleux, dont une relecture anticapitaliste et contemporaine de Pinocchio (Les Requins Marteaux, 2008), récompensée du fauve d'or du meilleur album au festival international d'Angoulême. Sous le nom de Vincent Paronnaud, il est aussi le coréalisateur avec Marjane Satrapi du film Persepolis, distingué de deux César et d'un prix spécial du jury au festival de Cannes en 2007. Il vit et travaille à Bordeaux. Cette conversation a été enregistrée en février 2026. Mais une semaine avant de la mettre en ligne, nous avons appris le décès de l'autrice et cinéaste Marjane Satrapi, souvent évoquée dans ce numéro de Bookmakers. Nous adressons donc toutes nos condoléances à ses proches, en particulier à son ami Winshluss. Remerciements : Adèle Tocquet, Studio Gong, ainsi que Pauline, Daniel, Victor, Chloé et Bastien pour les lectures. Enregistrements février 2026 Entretien Richard Gaitet Montage Mathilde Guermonprez et Esteban Capron Réalisation et mixage Charlie Marcelet Musiques originales Samuel Hirsch Chant, toy-piano, synthétiseur, kalima, percussions Michael Liot Illustration Sylvain Cabot Production ARTE Radio

Défaire les contes de fée : méthode Aux auteurs et autrices qui débutent, Winshluss conseille de « faire un max de trucs, même si ce n'est pas abouti. Pour avancer, il faut produire. Quand tu es publié, toutes les conneries que tu as pu faire te sautent au visage. C'est la meilleure façon de progresser ». Dans les années 2000, ce punk à lunettes sort sept albums de BD, à la fois foutraques et rigoureux, riches en gags potaches parfois d'abord écrits et dessinés pour Picsou Magazine ou le journal Ferraille illustré. Dans ses histoires infernales qui finissent toujours mal, Winshluss alterne un noir et blanc brutal avec un usage naïf de la gouache, pastiche les comics des années 30, se moque de dieu dans un livre aux allures de missel ou fait de la « Tête-à-Toto » un alter-ego flegmatique dans l'observation de nos cruautés quotidiennes. Sale gosse du 9e art, il nargue la mort dans Welcome to the death club (Cornélius, 2001), ricane des galères d'un chimpanzé du paléolithique dans Smart monkey (Cornélius, 2004), régale les mômes avec son compère Cizo via les idioties de Wizz & Buzz (Delcourt, 2006-2007), avant de décrocher la timbale grâce à Pinocchio (Les Requins Marteaux, 2008), sacré meilleur album à Angoulême et vendu à 65 000 exemplaires. Comment a-t-il construit cette version robot du mythique pantin de Collodi, ici balloté de catastrophe en catastrophe avec, en guise de conscience, un insecte écrivain alcoolo nommé Jiminy Cafard ? Comment expliquer la douceur féérique et si marrante de son album pour enfants, Dans la forêt sombre et mystérieuse (Gallimard, 2016), lauréat de la « pépite d'or » au salon de littérature jeunesse de Montreuil, qu'il adapta fort joliment sur grand écran en 2024 avec Alexis Ducord ? Les livres de Winshluss contiennent souvent un minimum de mots. Comment écrire le muet, se demandera-t-on dans le deuxième épisode de ce sérieux bavardage autour de sa mécanique, vissée « d'errances et de certitudes ». L'auteur du mois : Winshluss Né en 1970 à La Rochelle, Winshluss est auteur de BD, cinéaste, musicien et plasticien. Narrateur goguenard de nos grandes et petites apocalypses, il a notamment signé, depuis la fin des années 90, une douzaine de bandes dessinées grotesques et désespérées, bourrées de losers malchanceux, de militaires serviles et d'hommes d'affaires crapuleux, dont une relecture anticapitaliste et contemporaine de Pinocchio (Les Requins Marteaux, 2008), récompensée du fauve d'or du meilleur album au festival international d'Angoulême. Sous le nom de Vincent Paronnaud, il est aussi le coréalisateur avec Marjane Satrapi du film Persepolis, distingué de deux César et d'un prix spécial du jury au festival de Cannes en 2007. Il vit et travaille à Bordeaux. Cette conversation a été enregistrée en février 2026. Mais une semaine avant de la mettre en ligne, nous avons appris le décès de l'autrice et cinéaste Marjane Satrapi, souvent évoquée dans ce numéro de Bookmakers. Nous adressons donc toutes nos condoléances à ses proches, en particulier à son ami Winshluss. Remerciements : Adèle Tocquet, Studio Gong, ainsi que Pauline, Daniel, Victor, Chloé et Bastien pour les lectures. Enregistrements février 2026 Entretien Richard Gaitet Montage Mathilde Guermonprez et Esteban Capron Réalisation et mixage Charlie Marcelet Musiques originales Samuel Hirsch Chant, toy-piano, synthétiseur, kalima, percussions Michael Liot Illustration Sylvain Cabot Production ARTE Radio

Dans la matrice de sa pop culture empoisonnée Bienvenue dans le monde merveilleux de Winshluss ! Il était une fois un petit agité de Charente qui foutait le feu à ses jouets. L'école n'intéresse guère cet anarchiste en puissance, lecteur de Pif Gadget et du magazine Métal Hurlant ; il la quitte à dix-sept ans sans se douter des étranges aventures que lui fera vivre son talent monstrueux pour le dessin. Dès Super Negra, sa première BD publiée en 1999 aux Requins Marteaux, cet autodidacte énervé explosait les héros niais de Disney à la bombe nucléaire. Mais comment ce tatoué plutôt taiseux, « traumatisé » par David Lynch et obsédé par les ombres diaboliques du film La nuit du chasseur (Charles Laughton, 1955), a-t-il réussi à contaminer la société avec sa pop culture empoisonnée ? Au point d'exposer aujourd'hui son « goût de la matière noire » dans de très chics galeries d'art ? Quel double effet décisif eut sur lui le chef-d'œuvre d'Art Spiegelman, Maus ? Peut-on décider de « mal dessiner » pour bousculer les conventions ? C'est la toile de fond de ce premier épisode consacré à ce peintre rigolard de nos malheurs absurdes. Lumière, oui, sur les us et coutumes de Winshluss ! L'auteur du mois : Winshluss Né en 1970 à La Rochelle, Winshluss est auteur de BD, cinéaste, musicien et plasticien. Narrateur goguenard de nos grandes et petites apocalypses, il a notamment signé, depuis la fin des années 90, une douzaine de bandes dessinées grotesques et désespérées, bourrées de losers malchanceux, de militaires serviles et d'hommes d'affaires crapuleux, dont une relecture anticapitaliste et contemporaine de Pinocchio (Les Requins Marteaux, 2008), récompensée du fauve d'or du meilleur album au festival international d'Angoulême. Sous le nom de Vincent Paronnaud, il est aussi le coréalisateur avec Marjane Satrapi du film Persepolis, distingué de deux César et d'un prix spécial du jury au festival de Cannes en 2007. Il vit et travaille à Bordeaux. Cette conversation a été enregistrée en février 2026. Mais une semaine avant de la mettre en ligne, nous avons appris le décès de l'autrice et cinéaste Marjane Satrapi, souvent évoquée dans ce numéro de Bookmakers. Nous adressons donc toutes nos condoléances à ses proches, en particulier à son ami Winshluss. Remerciements : Adèle Tocquet, Studio Gong, ainsi que Pauline, Daniel, Victor, Chloé et Bastien pour les lectures. Enregistrements février 2026 Entretien Richard Gaitet Montage Mathilde Guermonprez et Esteban Capron Réalisation et mixage Charlie Marcelet Musiques originales Samuel Hirsch Chant, toy-piano, synthétiseur, kalima, percussions Michael Liot Illustration Sylvain Cabot Production ARTE Radio

In this episode Olga shares the story behind her latest picture book, A Light For Lucinda published June 9, 2026. She answers questions from the Kidlit community regarding the inspiration for this book, Illustration struggles and a sneak chat about her upcoming graphic novels.

Vince remembers an important moment of singing with our BLC community, and reflects on the maturity of communal repentance. (Illustration by Daniel Richardson)Join our live chat! https://discord.gg/MNXJSM8New here? http://brownlinechurch.org/connectResources http://brownlinechurch.org/resourcesLinkTree https://linktr.ee/brownlinechurch Donate http://brownlinechurch.org/donate

durée : 00:02:56 - Regarde le monde - par : Jean-Philippe Balasse - Royal Mail livre un magazine avec… dix-neuf ans de retard. Illustration d'un service postal déjà jugé "inacceptable". Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Vince remembers an important moment of singing with our BLC community, and reflects on the maturity of communal repentance. (Illustration by Daniel Richardson)Join our live chat! https://discord.gg/MNXJSM8New here? http://brownlinechurch.org/connectResources http://brownlinechurch.org/resourcesLinkTree https://linktr.ee/brownlinechurch Donate http://brownlinechurch.org/donate

durée : 00:02:56 - InterNational - par : Jean-Philippe Balasse - Royal Mail livre un magazine avec… dix-neuf ans de retard. Illustration d'un service postal déjà jugé "inacceptable". Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Redan stenåldersmänniskorna trodde att himlafenomenen påverkade tillvaron på jorden. Solens betydelse är ju självklar och månen gav människorna en tydlig rytm som med tiden gav oss kalendrar. Det är först i Mesopotamien som planeterna drogs in när astrologin utvecklas.Idag tror inga vetenskapsmän på astrologi – trots att de borde skicka de tidiga astrologernas sin tacksamhet för utvecklandet av den vetenskapliga metoden och för naturvetenskapens framgångar.I detta avsnitt av podden Historia Nu Premium samtalar programledaren Urban Lindstedt med Jonathan Lindström om astrologins uppkomst och dess märkliga dubbelroll i historien: som både omstridd trosföreställning och som drivkraft för observationer, tabeller och den sorts systematik som så småningom bidrog till vetenskaplig metod. Detta är början på ett Historia Nu Premium-avsnitt. Vill du lyssna på hela avsnittet blir du medlem på www.historia.nu/premium. Det kostar 75 kr/mån och då får du två extra avsnitt samt alla vanliga avsnitt reklamfria. Föreställningen att himlafenomen påverkar livet på jorden är äldre än de första städerna. Solens makt över värme, växtlighet och dygn är fysisk och självklar. Men månen – den närmaste himlakroppen – gav något minst lika viktigt: en tydlig rytm. Den blev en naturlig klocka för jakt, vandringar, tidräkning och riter. Där, i månens återkomst, föddes tanken att himlen inte bara lyser – den talar.Månmånaden återkommer med sådan regelbundenhet att den tidigt blev grund för kalendrar. Och där det finns mönster uppstår frågor. När kommer nästa fullmåne? När är det bäst att så? Varför försvinner månen i en förmörkelse? Sådana frågor gör människan till observatör – och observationen är första steget mot systematik.Det avgörande språnget kom när samhällen blev mer komplexa: jordbruk, städer, skatter, administration – och kungar som ville veta om framtiden bar goda eller dåliga tecken. Då räckte inte minnet eller muntlig tradition. Man behövde register. I Mesopotamien – området mellan Eufrat och Tigris – utvecklades en kultur där skrivkonst, tempeladministration och kungamakt knöts samman. Och där himlen blev ett arkiv av tecken som kunde samlas, jämföras och läras ut.Den tidiga mesopotamiska astrologin var i grunden omenbaserad: himlafenomen tolkades som gudomliga varningar eller löften, framför allt om kollektiva frågor – kungens hälsa, krig, skördar och väder. Under andra årtusendet f.Kr. kodifierades detta i enorma samlingar. Den mest berömda är Enūma Anu Enlil, en serie på cirka 68–70 lertavlor med uppskattningsvis 6 500–7 000 omen kopplade till himmelska och atmosfäriska fenomen.Omenläran var inte vetenskap – men den krävde noggrann observation, klassificering och återanvändbara referenser. Prästlärda blev specialister som skrev ned, jämförde och försökte hitta återkomster. Det liknar, på ett avlägset men verkligt sätt, embryot till en metod: samla data, se mönster, dra slutsatser.I Babylonien utvecklades så småningom en mer beräkningsbar himmel. Den uniforma zodiaken – indelningen av ekliptikan i tolv lika stora delar om 30 grader – växte fram i slutet av 400-talet f.Kr.. Det blev ett avgörande steg mot ett koordinatsystem som gjorde tabeller och prognoser möjliga. Ungefär samtidigt skiftar fokus från statens öde till individens: det äldsta bevarade horoskopet för en enskild person dateras till 410 f.Kr.När babylonisk kunskap rörde sig västerut – via erövringar, handel och översättningar – mötte den grekisk filosofi och matematik. I den hellenistiska världen blev astrologi inte bara en konst att tyda tecken, utan något man försökte motivera som en ordnad lära om hur kosmos hänger ihop.Bild: Titelbladet till den tyska utgåvan av De scientia motus orbis (1504), en astronomisk skrift tillskriven Māshā'allāh (ca 730–815). Illustration av Albrecht Dürer, Wikimedia Common. Public domain.Musik: And Spring Awakes av Yagull Music, Storyblock AudioKlippare: Emanuel Lehtonen Hosted on Acast. See acast.com/privacy for more information.

Illustration by David Wynne In which Jean Grey crosses several lines; Emma Frost is killed; Bishop and Sage visit from X-Treme X-Men; mutants are weird; the plot thickens; Emma Frost is resurrected; and we learn several secrets of fly reproduction. X-PLAINED: The brothers Xorn A question of reading order New X-Men #139-141 Cosmic force problems A showdown A brief tour through the mind of Emma Frost A murder most foul Bishop (briefly) (again) Sage (briefly) (again) Many suspects One way to get drugs, I guess? A mysterious shack and its mysterious contents Perils and advantages of being a living computer A murder weapon Angel and Beak's excellent babies A resurrection A subtly remarkable taxicab The advent of mixed-case lettering in Marvel comics How Angel and Beak's reproductive cycle corresponds to actual fly reproduction NEXT EPISODE: Assault on Weapon Plus Check out the visual companion to this episode on our blog. Find us on Apple Podcasts or Spotify! Jay and Miles X-Plain the X-Men is 100% ad-free and listener supported. If you want to help support the podcast–and unlock more cool stuff–you can do that right here! Buy rad swag at our Dashery shop!

This week, we had a chat with Sumidik, also known as Kenny Ng, about his latest Hokkien calendar illustration series. We also learned about his inspiration and the process behind creating this project. Plus, we'll show you how to get your hands on his artwork! Kenny aka Sumidik's Instagram: https://www.instagram.com/sumidik/ [ratings] http://dts.podtrac.com/redirect.mp3/penanghokkien.com/media/PgHkn-2026-06-08.mp3 Support PGHK Follow me on: Clubhouse @JohnOng Penang Hokkien Podcast House Global Hokkien Speakers House TikTok (PGHK) @PenangHokkien TikTok (John's) @John.Ong Instagram (PGHK) @PenangHokkien Instagram (John's) @John.Ong Watch this episode on YouTube: (((DOWNLOAD AUDIO FILE)))

Happy Pride! Let's get Queer As Comics! Writer, critic, curator, publisher and broadcaster Paul Gravett rejoins the show to talk about curating a fabulous new exhibition, Queer As Comics, to help launch the Quentin Blake Centre for Illustration! We talk about what makes comics queer (it's not just an issue of sexuality), the artists and comics he wishes he could have included in the show, the challenges of exhibiting comics as opposed to paintings, and why Queer As Comics' survey of 65 artists covering 80 years of history "starts with the Finnish" (as in Tom of Finland and Tove Jansson). We also get into the endlessness of Tove Jansson's life & creativity (and why Paul's committed to writing a big book about her anyway), his first exposure to queer comics (and again, why all comics are queer), how it feels to see the Quentin Blake Centre come to life and to see Quentin still making art in his 90s, and more. • More info at our site • Support The Virtual Memories Show via Stripe, Patreon, or Paypal, and subscribe to our e-newsletter

Au sommaire de ce supplément, nous ouvrons avec la situation au Proche-Orient. Chaque jour, Israël poursuit son offensive meurtrière au Liban. Le chaos règne, les négociations ne donnent pas grand-chose, et côté israélien, les plus ultras entretiennent la mécanique guerrière... 2è partie : les agriculteurs ne sont pas contents globalement en France, cours trop bas, polémique sur l'utilisation d'engrais et de pesticides et la sécheresse qui s'aggrave. Comment maintenir l'irrigation malgré tout? Dans le nord d'Israël : une trêve qui n'en est pas une  Quelques jours après le début de l'offensive israélo-américaine en Iran, le Hezbollah libanais se jette, le 2 mars 2026, dans le conflit et attaque Israël. La riposte sera très meurtrière : plus de 3 000 morts au Liban, un million de déplacés. Sur le papier, depuis le 17 avril, il y a un cessez-le-feu, mais sur le terrain, il n'en est rien... Les frappes israéliennes massives sur le Liban se poursuivent et le Hezbollah continue d'attaquer. RFI vous conduit aujourd'hui dans le nord d'Israël. Ils s'appellent Ori, Yuval ou Ella... Après 3 mois de bombardements, ils sont à bout de nerfs.  RFI a consacré, le 3 juin 2026, une journée spéciale au Liban présentée de Beyrouth, le Liban qui a recensé plus de 3 000 morts et plus d'un million de déplacés depuis le 2 mars dernier. Un Grand reportage de Frédérique Misslin qui s'entretient avec Jacques Allix.   Agriculture : dans le sud de la France, le grand défi du partage de l'eau À l'heure du Salon international de l'agriculture à Paris, la colère paysanne gronde toujours en France. Normes contraignantes, concurrence exacerbée par l'accord UE / Mercosur, gestion de l'épidémie bovine… et il faut ajouter à cela la sécheresse. À cause du réchauffement climatique, de plus en plus d'agriculteurs manquent d'eau et la question du partage de la ressource est devenue épineuse. Illustration dans le sud de la France, dans la région de Perpignan. L'été dernier (2025) : fleuves à sec, cultures desséchées… squelettes d'abricotiers et de vignes arrachés. En perspective pour résoudre le problème : un tuyau de 10 km pour dériver une partie d'un cours d'eau afin de sécuriser l'irrigation. Mais ce projet ne fait pas l'unanimité, y compris chez les agriculteurs… Un Grand reportage de Laura Salabert qui s'entretient avec Jacques Allix.

This was the big ep! Timmy drew and it's apparent you can't just listen to drawing classes and get better. It turns out you have to actually practice too. Join our Discord Server:https://discord.gg/tbwUPZydHEDraw with us live every Thursday at 4pm PT (7pm ET)https://visualartspassage.com/drawing-hiveView Visual Arts Passage Courses:https://www.visualartspassage.com/Follow Visual Arts Passage:https://www.instagram.com/visualartspassage/https://www.facebook.com/visualartspassageSubscribe to our Youtube:https://www.youtube.com/visualartspassage?sub_confirmation=1----------------------------------------------------------Visual Arts Passage offers online mentorship courses in Illustration and Fine Arts, led by industry professionals to help you develop real-world skills and build a career doing what you love.Want more art tips & industry insights? Subscribe & turn on notifications!#illustrationclasses #onlineartclasses #drawingclass #artschool #learntodraw

In this drawing class we're drawing with Raymond Bonilla, Cassandra Kim, John English for drawing the show 'Widow's Bay'. Join our Discord Server:https://discord.gg/tbwUPZydHEView Visual Arts Passage Courses:https://www.visualartspassage.com/Follow Visual Arts Passage:https://www.instagram.com/visualartspassage/https://www.facebook.com/visualartspassageSubscribe to our Youtube:https://www.youtube.com/visualartspassage?sub_confirmation=1----------------------------------------------------------Visual Arts Passage offers online mentorship courses in Illustration and Fine Arts, led by industry professionals to help you develop real-world skills and build a career doing what you love.Want more art tips & industry insights? Subscribe & turn on notifications!#illustrationclasses #onlineartclasses #drawingclass #artschool #learntodraw

Should cartoonists hire a social-media manager? Brad and Dave discuss the pros and cons of outsourcing social media and ultimately argue that most creators should handle it themselves. They explain why social media is an extension of a creator's voice, how direct engagement provides invaluable feedback about audience-building and marketing, and why improving your promotional skills makes you a better cartoonist overall. Along the way, they discuss shyness, self-promotion, audience growth, and the dangers of trying to be everywhere at once online. Topics Covered • The ComicLab newsletter and the “Five to Grow On” feature • Whether cartoonists should hire a social-media manager • Why social media is part of a creator's artistic voice • The value of learning promotion instead of outsourcing it • Why creative people often resist marketing and business skills • How marketing skills can improve artistic skills • The dangers of trying to maintain every social-media platform at once • Brad's “2-2-1” approach to social media • Platform-specific posting strategies and why one-size-fits-all promotion fails • Social-media feedback as a tool for improving your work • Shyness and discomfort with self-promotion • The “lipstick on a pig” problem: when promotion can't compensate for weak work • Why making a great comic remains the most important marketing strategy • Dave's upcoming Reddit AMA and his Hugo Award nomination • Using award nominations as promotional opportunities • Hugo Awards promotional support versus other industry awards • BlueSky starter packs and audience growth • Why cartoonists should do more cross-promotion • Whether creators should put award nominations on book covers • How long to keep promoting a completed comic project • Managing inventory and promoting older books • Long-tail sales and evergreen products • Using older books as bonuses, stretch goals, and loss leaders • When it makes sense to retire promotional efforts • Whether different creative projects need separate Patreons, newsletters, Substacks, and social-media accounts • The benefits and drawbacks of splitting projects into separate brands • Cognitive load, burnout, and managing multiple audiences • Using separate platforms to measure the success of different projects • When creators should keep projects under one roof and when they should branch out You get great rewards when you join the ComicLab Community on Patreon$2 — Early access to episodes$5 — Submit a question for possible use on the show AND get the exclusive ProTips podcast. Plus $2-tier rewards.If you'd like a one-on-one consultation about your comic, book it now!Brad Guigar is the creator of Evil Inc and the author of The Webcomics Handbook. He is available for personal consultations. Dave Kellett is the creator of Sheldon and Drive. He is the co-director of the comics documentary, Stripped.

What's the difference between images that move people and those that are just pretty pictures? In this episode, I dig into what it means to bring substance to your work — it's one of the hardest qualities to describe but perhaps the one that might matter most. This isn't something you can manufacture or build up through practice alone. It already exists in you. The question is where you can find it, and whether you're trying to tap more deeply into it.I also share an important announcement about the future of this podcast — if you're a paid supporter on Patreon or Spotify, please listen up.In this EpisodeAn Important Announcement: The future of Thoughts on Illustration after this summer — and what comes next for me and my work.What Is Substance? Why substance is the sense of personal meaning that runs through your body of work as a whole — the feeling that someone is behind the work, working something out.Substance vs. Point of View: How these two qualities relate to each other, and why you can have a strong, original visual voice and still have work that doesn't go very deep.Range and Versatility: Why having both light and serious work in your portfolio makes you more versatile — with a nod to Paul Rand's ability to do this.Striking Oil: Why substance isn't something you build — it already exists in you. How to notice where your wells are and what you're actually drawing from.My Own Wells: What a collection of plastic bread clips, a 1970s merchandise catalog, and a Saskatchewan hotel bottle opener have to do with my illustration work.Today's Action Exercise: The one question that starts the journey toward more substantial work — and why writing it down honestly might change everything.Today's Action on Illustration Why Does Illustration Really Really Matter to You? Write down — in your journal or sketchbook, as though nobody's reading — why becoming an illustrator really, really matters to you. As few or as many words as you need. This is where substance begins.(Become a paid supporter on Patreon or Spotify to access today's full "Action on Illustration" prompt.)Tag me on Instagram @mrtomfroese or email me your results!Show LinksKnow Your Art — Cohort Course Mailing List: https://docs.google.com/forms/d/e/1FAIpQLSdSNaT1XNb6jXS5qjW0ybiryBH70MC1ycGhHj-yDEuQKXdszQ/viewform?usp=headerDrawing Is Important — The Book: https://www.tomfroese.com/bookSupport on Patreon: patreon.com/tomfroeseFind Me ElsewhereWork and Classes — tomfroese.comInstagram — instagram.com/mrtomfroeseDaily Drawings — instagram.com/drawingisimportant

L'invitée : Emanuelle Saada, professeure au département de français et d'histoire de Columbia UniversityLe livre : Histoires et colonisations. Des récits de la conquête aux héritages postcoloniaux, Paris, Gallimard, « Bibliothèque des histoires », 2026.La discussion :· Pourquoi ce livre en forme de bilan historiographique ? (1:00)· Quelles différences d'approche entre France et États-Unis ? (10:15)· Lectures et découvertes dans la préparation du livre (21:00)· La colonisation est-elle occidentale ? (26:30)· La nature du pouvoir colonial : dominer, gouverner (33:00)· Les chantiers de recherche actifs ou à défricher (40:30) Les références citées dans la discussion :· Ajayi, J. F. Ade. "The Continuity of African Institutions under Colonialism." p. 189-200 in T. O. Ranger, ed., Emerging Themes in African History, 1968.· Alban Bensa, Kacué Yvon Goromoedo et Adrian Muckle, Les sanglots de l'aigle pêcheur. Nouvelle-Calédonie : la guerre kanak de 1917, Toulouse, Anacharsis, 2015, 716 p.· Saliha Belmessous (dir.), Native Claims: Indigenous Law against Empire, 1500–1920, New York, Oxford UP, 2012.· Ronald Robinson, « Non-European Foundations of European Imperialism: Sketch for a Theory of Collaboration », dans Roger Owen et Bob Sutcliffe (dir.), Studies in the Theory of Imperialism, Londres, Longman, 1972, p. 117-142.· Edward Saïd, Orientalism, 1978· Ann Laura Stoler, Au cœur de l'archive coloniale. Questions de méthode, Paris, EHESS, 2020.· Camille Lefebvre, M'hamed Oualdi « Remettre le colonial à sa place : Histoires enchevêtrées des débuts de la colonisation en Afrique de l'Ouest et au Maghreb », Annales. Histoire, Sciences Sociales, 2017/4 72e année, 2017. p.937-943. Les conseils de lecture :· Nathan Wachtel, La vision des vaincus, 1971· Frederick Cooper et Ann Laura Stoler (dir.), Tensions of Empire: Colonial Cultures in a Bourgeois World, Berkeley, University of California Press, 1997· Camille Lefebvre, Des pays au crépuscule Illustration : statuettes de soldats indiens des troupes britanniques, XIXe siècle, Copenhague, Musée national, D.3907a-cUn podcast créé, animé et produit par André Loez et distribué par Binge Audio. Contact pub : project@binge.audioHébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Illustration by David Wynne In which you should use drugs only with caution; a famous shirt makes its debut; Wolverine is the new Mary Worth; and you were never Quentin Quire's age (unless you were). X-PLAINED: What Quentin Quire's been up to since discorporating New X-Men #135-138 The Special Class Basilisk Ernst Dummy No Girl Whether the Xavier School should admit human students Quentin's new look Kick (more) (again) The Omega Gang That one t-shirt How to punch up your Power Point presentation A somewhat fraught camping trip The Special Class vs. U-Men A secret Some kind of weird affair A riot, of sorts Wolverine's unfortunate soul patch What actually happened to Jumbo Carnation Telepathic deconstruction The Cuckoos vs. Emma Frost A somewhat mysterious secondary mutation Denouement The subsequent evolution of Quentin Quire What's happening to xplainthexmen.com when the show ends The telepathy-telekinesis overlap NEXT EPISODE: Murder! Check out the visual companion to this episode on our blog. Find us on Apple Podcasts or Spotify! Jay and Miles X-Plain the X-Men is 100% ad-free and listener supported. If you want to help support the podcast–and unlock more cool stuff–you can do that right here! Buy rad swag at our Dashery shop!

Artist and illustrator Malika Favre joins host Katy Cowan for a wide-ranging conversation about building a creative career on your own terms. They talk about why Malika left London after fifteen years for the slower, sunnier rhythm of Barcelona, and the strange guilt of trying to take it easy in a city that never lets you. Malika reflects on becoming an illustrator later in life at 28, why the years she spent as an in-house designer at studios like Airside gave her the business head that helped her survive freelancing, and how she resisted being put in a box – even turning down lucrative erotic commissions after her Kama Sutra book made her name, so she could keep that side of her work personal. They get into the real state of the industry too: shrinking budgets, impossible briefs, and what AI means for illustrators starting out today. Malika makes the case that anything handmade and deeply personal will only become more valuable because no one can copy what comes from within. Along the way, there's talk of growing up without a TV in the suburbs of Paris, the strong women who shaped her, the oversharing of vulnerability online, and her side venture, I Can't Afford This But Maybe She Can, which gives a voice to independent makers. Honest, funny and full of hard-won wisdom, it's a chat about stamina, taste, and why there will always be space for people with talent.

With both Brad and Dave nominated for awards this year, the guys spiral into a surprisingly deep conversation about awards, marketing, ego, and whether creators should plaster “award nominee” stickers all over their books. Later, they tackle a listener question about using 3D models, digital sets, and reference material in comics production — leading to a fascinating behind-the-scenes look at how both creators actually build comics pages in tools like Clip Studio Paint and Photoshop. Along the way, they discuss why imperfections matter in cartooning, how typography affects visual storytelling, and why “cheating” is often just another word for “working smarter.” Today's Show Should you put an award nomination on a book cover? UPDATE: Hugo Award voter packet "WSFS Membership"  Using sets and other pre-made background materials  UPDATE: Patreon Quips is now available on desktop You get great rewards when you join the ComicLab Community on Patreon$2 — Early access to episodes$5 — Submit a question for possible use on the show AND get the exclusive ProTips podcast. Plus $2-tier rewards.If you'd like a one-on-one consultation about your comic, book it now!Brad Guigar is the creator of Evil Inc and the author of The Webcomics Handbook. He is available for personal consultations. Dave Kellett is the creator of Sheldon and Drive. He is the co-director of the comics documentary, Stripped.

Before the AI chatbot boom, psychologist and New Yorker contributor Paul Bloom wrote about how populations vulnerable to loneliness might be helped by the illusion of connection they offer. He discusses his more recent, updated reflection on the topic titled "A.I. Is About to Solve Loneliness. That's a Problem," which is the subject of Wednesday evening's Theater of War on the Radio at BAM.  Illustration by Moor Studio via Getty Creative Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Is there more to illustration than storytelling with pictures? D.B. Dowd joins Sam Cotterill and Jake Parker to discuss the influence of illustration on society, taking ownership of your work, and the history of the field.

Illustration by David Wynne In which Warren Kenneth Worthington III is a terrible teacher; we are all Magneto's children; Sooraya Qadir deserves a better origin story; teenagers have a lot of feelings; and we meet one of the modern age's most controversial mutants. X-PLAINED: The destiny of Quentin Quire New X-Men #131-134 An underattended funeral How to fly? Kinda? I guess? A kiss A friendship Another bit of ruby quartz marginalia that will never be mentioned again A somewhat ill-founded psychic metaphor Emma Frost's Dark Phoenix costume Some kind of weird affair Echoes of 9/11/2001 Genosha, a year later Ghosts Polaris's paternity Shocker (the mutant one) The last words of Genosha Islamophobia post 9/11 Sooraya Qadir (Dust) An attempted hijacking and the aftermath thereof Some Shi'ar nonsense X-Corporation Mumbai Jumbo Carnation Telepathy class An artist's interpretation of the fate of mankind if mutants are not driven out, as predicted by Bolivar Trask Accountability Professor X's weird little paintings X-adjectives Best and worst X-Men with whom to share a psychic rapport NEXT EPISODE: Quentin Quire's teen angst bullshit gets a body count! Check out the visual companion to this episode on our blog. Find us on Apple Podcasts or Spotify! Jay and Miles X-Plain the X-Men is 100% ad-free and listener supported. If you want to help support the podcast–and unlock more cool stuff–you can do that right here! Buy rad swag at our Dashery shop!

Brooklyn-born surrealist blues poet, vocalist, and composer aja monet's sophomore album nods to the Black Arts Movement's legacy and lineage. She joins us for a Listening Party for her album, the color of rain, ahead of her Carnegie Hall concert tonight at 7:30 p.m. Illustration by tokio aoyama/ courtesy of drink sum wtr Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Matt Haig was already several books into his career as a writer by the time he published “The Midnight Library” in 2020. One of those books, the 2015 memoir “Reasons to Stay Alive,” had even been a best seller in England, his home nation. Yet, “The Midnight Library” was a true breakout phenomenon. The novel, about a depressed woman who, after deciding to end her own life, ends up in a magical library in which every book presents her with an alternative life, eventually sold more than 10 million copies worldwide. The author's new book, “The Midnight Train,” takes place on a parallel track. In it, an older man dies and finds himself on a train, able to revisit key moments in his life on his way to the hereafter. Like its blockbuster sibling, the book is concerned with questions of gratitude, regret and perspective. Haig joined the “Book Review” podcast and spoke to the host, Gilbert Cruz, about his new book and why he returned to the world of “The Midnight Library.” If you are having thoughts of suicide, call or text 988 to reach the 988 Suicide and Crisis Lifeline or go to SpeakingOfSuicide.com/resources for a list of additional resources. Books Discussed on This Episode “The Midnight Library,” by Matt Haig “Reasons to Stay Alive,” by Matt Haig “The Labrador Pact,” by Matt Haig “Winnie-the-Pooh,” by A. A. Milne “The House at Pooh Corner,” by A. A. Milne “Alice's Adventures in Wonderland,” Lewis Carroll “The Outsiders,” by S. E. Hinton “Walden,” by Henry David Thoreau “Paris Trance,” by Jeff Dyer “Invisible Cities,” by Italo Calvino “The Invisible Life of Addie LaRue,” by V. E. Schwab “The History of Love,” by Nicole Krauss “We Burned So Bright,” by T. J. Klune “A Novel Love Story,” by Ashley Poston “The Someday Garden,” by Ashley Poston Listen to and Follow the ‘Book Review' Podcast Apple Podcasts | Spotify | Amazon Music | YouTube | iHeartRadio Unlock full access to New York Times podcasts and explore everything from politics to pop culture. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify. We Want to Hear From You We would love to hear your thoughts about this episode, and about the Book Review's podcast in general. You can send them to thebookreview@nytimes.com. Credits The “Book Review” podcast is hosted by Gilbert Cruz and produced by Sarah Diamond, Amy Pearl, and Patricia Sulbarán. The show is edited by Larissa Anderson and mixed by Pedro Rosado. Special thanks to MJ Franklin, Dahlia Haddad, and Brooke Minters. Illustration by The New York Times; Photo: Andrew Testa for The New York Times Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. For more podcasts and narrated articles, download The New York Times app at nytimes.com/app. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Illustration by David Wynne In which Xorn goes out on the town; silverware is morally neutral; Cyclops pursues dubious counsel; the X means ten; and Fantomex is eminently enjoyable. X-PLAINED: The parentage of Hope Summers New X-Men #127-130 Mutant Town A monster who is not a monster but is, perhaps, a metaphor X-Corporation Paris The whole Phoenix situation Fantomex Weapon XII A gene-hazard Corporal Animal E.V.A. The Weapon Plus program (somewhat) The World (somewhat) The Shi'ar Empire vs. Earth Xorn variations NEXT EPISODE: A Memorial of Magnetism Check out the visual companion to this episode on our blog. Find us on Apple Podcasts or Spotify! Jay and Miles X-Plain the X-Men is 100% ad-free and listener supported. If you want to help support the podcast–and unlock more cool stuff–you can do that right here! Buy rad swag at our Dashery shop!

“Angel Down,” a grisly novel about World War I told in a single, almost 300-page-long sentence, was awarded this year's Pulitzer Prize for fiction. In a review for The New York Times, Ben H. Winters described it as a “thunderous gallop” that captures the “cruel and self-perpetuating logic of war.” (It was also one of the Book Review's Top 10 books of 2025.) The day after the Pulitzers were awarded, the book's author, Daniel Kraus — who has written horror, fantasy and young adult novels — spoke to the Book Review's editor, Gilbert Cruz, about putting together his semi-experimental story. Cruz also spoke with Patricia Cornwell, a best-selling author who rose to prominence in the 1990s with novels about the character Kay Scarpetta, a chief medical examiner. A Scarpetta series starring Nicole Kidman debuted this year on Amazon. Cornwell has released a new memoir, “True Crime,” in which she tells the surprising story of her childhood and the events that led her to become a novelist. Listen to and Follow ‘The Book Review' Apple Podcasts | Spotify | Amazon Music | YouTube | iHeartRadio Unlock full access to New York Times podcasts and explore everything from politics to pop culture. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify. We Want to Hear From You We would love to hear your thoughts about this episode, and about the Book Review's podcast in general. You can send them to thebookreview@nytimes.com. Credits The “Book Review” podcast is hosted by Gilbert Cruz and produced by Amy Pearl, Sarah Diamond and Patricia Sulbarán. The show is edited by Larissa Anderson and mixed by Pedro Rosado. Special thanks to Dahlia Haddad and Brooke Minters. Illustration by The New York Times; Inset cover: via Grand Central Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. For more podcasts and narrated articles, download The New York Times app at nytimes.com/app. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.