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I love doing field research, like nothing beats going on a little trip to collect photos for art ref

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My comic has been out for months now so I can finally post one of my favourite pages 🫣🪦🥀

Dracula's Guest is a prequel to Dracula based on Stoker's excised material, you can read it here:

ComicFury ♥ Webtoon ♥ Tapas

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If you see this you’re legally obligated to reblog and tag with the book you’re currently reading

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ℜ𝔢𝔫𝔞𝔦𝔰𝔰𝔞𝔫𝔠𝔢 𝔉𝔯𝔞𝔫𝔨𝔢𝔫𝔰𝔱𝔢𝔦𝔫

(Context under cut)

Before it was ever brought to the screen, Frankenstein was extremely popular on the melodramatic stage and was adapted numerous times over the course of the 19th century. Something that struck me about these adaptations is that they often set the story in more typically gothic historicized settings with characters dressed as if they're on the Shakespearean stage. Frankenstein's use of science is therefore replaced with esoteric Renaissance alchemy, often interpolating elements of Faust into his character. This vindicates Frankenstein's obsession with Renaissance alchemists like Albertus Magnus and Paracelsus that he's ridiculed for in the novel, though I'm not sure how intentional this was as many of the plays seem to copy eachother rather than drawing on the original text. Nevertheless, I was really inspired by this shift in time period so here's my take on a Renaissance Fankenstein making his homunculus. I ended up choosing the 17th century which is on the tail end of the Renaissance (I know some people don't even count it) but there were still alchemists in the period like Johann Konrad Dippel (who some people think Mary Shelley took inspiration from for the novel but girl I don't know if I agree with that). I also want to shout out the silent film of Frankenstein from 1910 in which the creature seems to be baking in a kiln as part of the creation scene?? The decentering of scientific advancements and interpolation of the Faust myth into these adaptations definitely shifted the thematic focus of the story. It's not until 20th century adaptations that contemporary science returns to the narrative.

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Details in Red

Portrait of Isabelle Antoinette Barones Sloet van Toutenburg, 1852, by Nicaise de Keyser.

Patricipance of Venice, 1881, by Alexandre Cabanel.

A Young Lady Aged 21, Possibly Helena Snakenborg, 1569, by an unknown artist.

Portrait de la comédienne Marie-Anne de Châteauneuf, 1712, by  Nicolas de Largillière.

Mrs. Hugh Hammersley, c. 1893, by John Singer Sargent .

Louise, Queen of the Belgians, 1841, by Franz Xaver Winterhalter.

Sabina Seupham Spalding, c. 1846, by Federico de Madrazo y Kuntz. 

Elizabeth I, the “Pelican” portrait, c. 1572, by Nicholas Hilliard.

Portrait of Mary Louise of Orleans, Queen of Spain, c. 1679, by José García Hidalgo.

Portrait of Marguerite de Sève, 1729, by Nicolas de Largillière.

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House carved into a stone by a 15th century Romanian monk

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DOECHII Cosmopolitan (2025)

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Victor Frankenstein syndrome aka you spent nights over nights crying and bleeding over this work and now that it's finally done you're just like "nvm. it's trash" and go to bed

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Announcing Palimpsest: Labors of November

Last year, our love for Pentiment took shape in Palimpsest—a fanzine that celebrated the game’s storytelling, characters, art, and intricate history. Just as Palimpsest layered new voices atop Pentiment's foundations, this year we will add another chapter to our collective tribute: a fall-winter themed sequel. On November 15th, a new pentiment zine will arrive.

Contributor applications will open in June!

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Núpsstaður, Iceland (July 2014) 

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Hi everyone! Here's your Daily Reminder to Click for Palestine!

And if you can spare a dollar, donate to ANERA!

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The Power of the Witch documentary (1971)

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prolific illustrators Leo & Diane Dillon with their son, Lee, in 1976. The Dillons primarily drew surrealistic & fantasy-themed art (see examples) for numerous book covers, magazines, album covers, and children's books. Leo Dillon was the first African-American winner of the Caldecott Medal for illustrators.

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lichrally what was the point of the castlevania show calling her explicitly carmilla of styria. she is a vampire who is named carmilla but other than that is an entirely different character to countess mircalla (millarca) (carmilla) of karnstein, styria. what is the point of making deliberate references to a source material you're otherwise disregarding? just have her be an unrelated character who is a vampire named carmilla. why are you drawing attention to the fact that at no point does netflix's castlevania's carmilla Lezz Out.