#retro reprints

[autismdogg]

Strawberry Shortcake Berry Best Friends coloring book, 2003 🍓🖍️

[bitmapbooks]

Reprints of the following books will be available today at 5pm GMT / 9am PST / 12pm EST / 6pm CET 📚

🕹️ Atari 2600/7800: a visual compendium: https://www.bitmapbooks.com/collections/all-books/products/atari-2600-7800-a-visual-compendium

🌈 Sinclair ZX Spectrum: a visual compendium: https://www.bitmapbooks.com/collections/all-books/products/sinclair-zx-spectrum-a-visual-compendium

🎮 N64: a visual compendium: https://www.bitmapbooks.com/collections/all-books/products/n64-a-visual-compendium

🎲 The CRPG Book: A Guide to Computer Role-Playing Games (Expanded Edition): https://www.bitmapbooks.com/collections/all-books/products/the-crpg-book-a-guide-to-computer-role-playing-games

#bitmapbooks #book #retrogaming #retrogames #gaming #art #reading #foryou #asmr #bookstagram #booktok #fyp #bluesky #atari #zxspectrum #n64 #crpg

[markrosewater]

"Aetherdrift is trying out “Secret Lair”-style Special Guests. These are not necessarily set on the world(s) of the set."

Hi Mark,

Even though they look cool, I'm personally not a fan. It goes back to your old mantra "if everything is special, nothing is special".

I'm less interested in buying special unique bespoke looking reprints via Secret Lair Drops if I can just similar styled cards from regular booster packs.

If this were to become a regular thing, it would also make the Secret Lair cards that I already own feel less special and unique which would also be disappointing.

I'm not sure if this type of feedback is useful because surely someone will love this change, it will bring them joy and I can just opt out of collecting these, but I do want to express that while Limited formats are more fun than ever, collecting isn't as fun as it used to be.

I think this is largely because basically everything is trying to be a novelty and special and that's impossible. Bonus sheets in every other set. Several different promos and alternate variant for dozens of cards in every set. Chase high powered reprints in every set. Retro bordered reprints every other set. Full art basics in every set and every pack, etc.

All of those things were more way more enticing (and received much more positive social media engagement) when they were done less frequently and were actually novel things.

We didn't make full art duels very often because we "wanted to make them more special". It turns out players, as a whole, maybe not you, preferred just having more access, and more options to choose from over having it be a less frequent thing. It's a balance.

[darkdragon768]

Alright so if I understand the employee right, tbob is meant to be reprinted in September cuz there just aren't any copies anymore. Probably didn't even leave america or something.

Fucking Americans again...

Please please please please please please please please please please please please please please please please please please be there PLEASE

[thejakeformerlyknownasprince]

Apparently Scholastic is selling reprints of Animorphs books 1-6 with their original covers! https://shop.scholastic.com/parent-ecommerce/books/animorphs-retro-tin-set-9781338678833.html

Unfortunately, it's only available in the US.

Excellent news! Hopefully we see these spread to other countries, and maybe even get reprints of the whole series. Link is here as well. Everyone who has ever downloaded the series for free, please consider buying just one book to show Scholastic that the interest is still out there.

[sugarbear2001]

Found some vintage Dragon Ball coloring books. Of course these are my fave.

[arecomicsevengood]

Jon Bogdanove

I was seven years old in 1992, when Superman died. I went to the comic shop with my grandmother, to get myself some comics, which were not Superman 75, and she picked up a copy of the issue, possibly persuaded by the shop merchant of its status as a future collector’s item. I either said “I don’t like Superman” or “I don’t care about Superman.” A few months later, I would get sucked into the Reign Of The Supermen crossover, and would read Superman comics pretty much every week for the next few years, until the “new costume” electric version of the character provided a convenient jumping-off point, although I would continually grab a random issue thereafter.

There were four Superman titles released per month, and so they were staggered into a weekly continuity. A stated goal was for Superman to be the most-Marvel-like DC title, with a vast supporting cast and simmering plot threads; part of me wants to make an argument that by maintaining a weekly schedule, it was also the closest thing they had to a manga serial, although those similarities end pretty quickly. The single title that was most consistently my favorite was Adventures Of Superman, written by Karl Kesel, and drawn at first by Tom Grummett. The two of them would move onto the Superboy title once Reign Of The Supermen ended, and I read that too, but when Barry Kitson came on board Adventures as the penciller, he was my favorite artist the titles had, and then, again, when Stuart Immonen became the penciller, he was my favorite. All of this implies I was underrating Kesel as a writer, but the nature of the collaborative framework makes it difficult for me to come out and say outright that he’s great. The way the Superman books worked was that there would be pretty tight continuity between all the titles, and some subplots might only run in a book or two. When the Jack Kirby Fourth World saga was reprinted, I would realize how much of the cast of characters had become the supporting cast in the Superman books, and Kesel was the writer who used them most of all: The Guardian, the Newsboy Legion, Dubbilex. This degree of background knowledge compromises my impression of Kirby’s restless imagination. Perhaps I am lying to myself in retrospect, but while there would be, with some regularity, events or crossovers that would make a single plotline the focus of the titles for a month or two at a time, these were always my least favorite times reading the comics, and I preferred when there would be a story confined to a single issue.

Anyway, at the time, I probably would have said my least favorite of the Superman artists was Jon Bogdanove, who drew the Man Of Steel series. Like Kelley Jones drawing Batman during the same time period, he was the cartooniest, the most over-the-top and energetic, the furthest from the house style, the one who most courted ugliness in his willingness to embrace caricature. So of course now I love him and think he’s great, and it doesn’t feel like a coincidence that I stopped reading around the same time he took issues off, and that one of the random issues I grabbed after I’d stopped reading consistently was the “Death Of Mr. Mxyxptlk” issue he drew. I bought an Ebay lot of the first year’s worth of Man Of Steel issues he drew (written by Louise Simonson, with whom he’d previously collaborated on Marvel’s X-Factor series), and just generally have enjoyed looking at them and thinking about his work.

He hasn’t drawn many comics other than nostalgic retro projects referring to this era since his run ended. I like thinking he made enough in between his pagerate and royalties that he doesn’t have to. (He cocreated Steel, who had a movie made about him, and drew the first appearance of Doomsday, both of which should earn him a sizable payout.) A less positive thought to think is that today’s page rates, with no chances of royalties because comics don’t sell that well, is completely unappealing. I know that he loved Superman, and that he named his son Kal-El, and so it’s quite possible he reached the summit of what he would want his career to be, with no ambitions to do a creator-owned thing.

Like with Norm Breyfogle, there is also the possibility that what these men are good at might not translate outside the particular idiom of the iconic characters they drew the most. Yes, they can do human characters walking around, their body language and gestures; it's not all punches through walls and trains being saved from derailment with one's bare hands. It's so interesting to me, reading as many alt-comics as I do, how many current cartoonists in that idiom opt for a strict grid approach to their page layouts, perhaps indebted to the comic strip but seeming more often like the result of watching television and looking at Instagram. I assume these artists do not read superhero comics or manga, and are unaware of all the ways to move a reader's eye about the page, but it's true also that they've chosen an approach where one can easily control the comedic timing. What Bogdanove does with Simonson - drawing twenty-two pages a month written by someone else and keeping them visually interesting - is a totally different skill. I also should not overlook the work of Dennis Janke, a great inker in a number of contexts, or Glenn Whitmore, who colored all of the Superman books to maintain their consistency, and displayed how strong flat colors can work with any number of approaches to drawing. The following page is however inked by Hilary Barta, who I came to know through his work on the Tomorrow Stories strip Splash Brannigan, written by Alan Moore, and who would also show himself to be a great inker for Rick Veitch on a few Greyshirt stories.

I love so many things about this page: The way the moving through physical space in-story is mirrored by the page itself, going down the steps from the roof in the first panel, the looseness of shape and drapery, the distinctiveness of Lois Lane's wardrobe choices. The architecture, the sense of place. The way the flat color and limited palette works to define background, with the same light blue being assigned to the sky as backlighting, to windowshades in an office window, to the books on a shelf. These are just really fun comics to look at, and they possess a craft that is frankly subtle, neither the over-the-top mannerism of the Image artists nor the solid romanticized bodies of Dan Jurgens' work on the Superman title that would follow it in the weekly rotation. If you scroll back up to the second image I've selected to highlight, you can see how that sense of place involves diners, overhead train tracks, windows with sign painted lettering on it: This is an America I remember, possessing charm and character and human qualities, but it now has this sense of nostalgia to it, which is weirdly perfect for Superman, as a character - I think other depictions of Metropolis occasionally present it as a sort of "city of the future" maybe in a World's Fair sense and that works too, but I don't know, I love the vibe.

I have to shout-out as well the Superman '86 to '99 Tumblr that's going through all this stuff. Currenlty they are going through the Zero Hour era, where Bogdanove drew a Man Of Steel issue and cover that blew my young mind in its juxtaposition of different artists' styles.

[dielukedie-subaru]

Motor Trend article

Popular Science article (9/94)

*Looks like Subaru highlighted these articles before compiling and printing.

New addition to the collection! It's actually a compilation of scans from different articles/press releases from several magazines about the "new" 2nd gen Subaru Legacy. Very neat!

"The beauty of great press."

[istherewifiinhell]

okay. heres what were all here for. tell me why the fuck im supposed to suck the dick of these uk comics

[ID: A man holding up an aged looking paper, with a medieval style drawing of a giant metal fire breathing man. He leans forward serious asking his son "... Did it look like this?" END]

marveltf story line, MAN OF IRON, 9-12 in the UK, or.... 33-34 in the us. alright lol do whatever i guess. first published in 1985

new vibe same procedure: Script: Steve Parkouse art: John Ridgeway (9-10) Mike Collins (11-12) Colours: Joise Fermin (9-10) Gina Hart (11-12) Nel Yomtov (US)* Letters: Richard Starkings Editor: Sheila Cranna and these caps are from the UK classics idw book so: Original Series Edits by Shelia Cranna and Ian Rimmer, editorial notes and assistance by James Roberts, Collection Edits by Justin Eisinger and Alonzo Simon, Collection Design by Shawn Lee (<- hey i know his work from turtles!)

*so the uk comics were part in colour and part B&W, to save costs... including the american reissues? printing costs i guess. but when reprinted in collected books, they would get the full colour treatment. whats not clear to me is WHO did those colours, its not listed anywhere i can find. ill simply have to assume its the same artists... and hope im not discrediting anyone....

AND ALSO the last page in this reprint apparently uses the US comic page, and i have a cap of that last page, so. Yomtov's in here too..... tf franchise the way u treat ur sacred texts breaks my turtles fan heart.

and lastly! the keen eyed may notice, we are back to toy accurate art, the character model designs haven't and wont make their way over until much later, I'm told.

well with all that perfectly convoluted business out of the way, lets explore what tfs is like across the pond.

[ID: The same man, Roy, driving as he thinks to himself "What kind of bozo would want to bomb the castle? The Saxon Liberation Front? The mind boggles…" END]

[spluttering laugh] so the humours a little different!

[ID: The boy, Sammy, climbing a tree, hand outstretched reaching for the arrow he lost. Standing, with his in the canopy is Jazz. Sammy yells in fear. END]

OKAY. so the vibes are little different

[ID: Caption Box: And the apparition was fearful, being a Man of Iron of great height and girth, seeming unheedful of quarrel, spear or sword…" The robot from the illustration, clearly transformer, but blockier, more retro scifi, standing in the middle of a medieval battle, men with chain-mail and swords looking at him with trepidation. Caption Box: The Man of Iron forded the stream at Eldric's Cross, making great strides for the abbey… and some brave souls followed, though none dared come too close…" Two of the fighters shown following him, a body shot with an arrow lays at the other side of the river. END]

damn okay. so the vibes are ALOT DIFFERENT

(no 10) sammy dreams

[ID: Sammy stands on a house rooftop, in his PJ's, looking down at the cobble street, where a seeker in alt mode rests. END]

[ID: Dark and moody art, a barely seen figure towers in the shadows over the residential houses. From a higher angle, its shown to be Mirage, he stands taking up the entire street, backlit and casting shadows. END]

WHAT THE FUCK. that is terrifying

(something about beautiful black inked art + toy model makes them so CREATURE)

[ID: Roy speaks to a man in army uniform. Roy: How large? Soldier: Well… ahh…at a rough estimate? About the size of an ocean-going liner. Roy: Whaat? Roy with a hand to his head in dismay: Well, for god's sake what is it? Solider: We don't know. I've called in extra men and we're going to excavate… END]

somethings! buried under the castle... gee well one wonders what it might be

[ID: Close on Jazz's alt mode dashboard, its filled with lights and screen of alien language. Hes saying: But I'm not a stranger, Sammy. Deep down, you know… don't you? You've been wanting an adventure all your life… Besides. I have something to tell you. Sammy looking doubtful. Jazz continues: Something really important. Sammy has a hand on Jazz's open door: Why not just sit for a while in the front seat? Just pretend you're driving… END]

JAZZ THATS KIDNAPPING BUD....

really get a kick outta this note in the printed version

[ID: REMEMBER: NEVER ACCEPT LIFTS FROM STRANGERS! TO BE CONTINUED! END]

(no 11)

[ID: Jazz speaks to Sammy on the road, a blue and white F1 car pulling up. "My name is unpronounceable in your language… so just call me Jazz! And that's Mirage right behind us!" Jazz takes a exit to a low road, a black camper truck driving alongside. "This is where we rendezvous with Trailbreaker. All set Sammy?" All three driving along, Sammy responds "Sure thing Jazz!" END]

[guitar riff] THE BOYS ARE BACK IN TOWN. im so glad all my good friends are here.

[ID: An fiery explosion engulfing Trailbreaker with a "Whaamf!". Wheels coming off, glass shattering, the truck top blowing to bits. Trailbreaker veering off road, a trail of fire and parts behind him calls out "Jazz! I'm hit... I'm hit BAD! END]

TRAILBREAKER NOOOO. who could have seen this coming...

[ID: Jazz narrowing swerving a missile. Exploding behind him, and speedlines trail him, and a wreath in flame around him. The colours are almost delicate, and a reflective glow in his paint. END]

wha. this just looks so cool.... what the hell....

[ID: Bluesteak, smiling speaking to comms "Autobot Bluestreak to patrol leader +++ Just brushed something off your tail, Jazz+++ try to be more careful in future, hmmm? Bluestreak out+" END]

being a cunt in the work slack. king

[ID: Jazz in profile, lit under the starry night sky, soft line-less colours defining the planes of his head in blue greys, and pitch black. To Sammy he says "Not really. It's a shuttlecraft… now stand back…" To comms "Autobot Jazz To Autobot leader+++ Approaching shuttle with Surveillance Subject+++ Request permission to board+++" END]

Wuh. Huh. Jazz u look so fucking cool right now?? And handsome.....

okay whats going on back at the castle (no 12)

[ID: The army soldier half sitting on a desk, holding a phone to his ear, the rotary cradle held resting on his leg. He's saying "IT's not just a question of scale, sir. We simply cannot identify it. END]

whys he kinda... apparently this style of uniform is called temperate barrack dress?? that answers none of my questions im just kinda... whyd u draw him like that tho...

[ID: A seeker, drawn in blues, walking between the ruins of the castle. Off panel someone says "It just seemed to appear from nowhere!" END]

bigfooting it up... AT A CASTLE. oh lads. im done for [blah blah he telePORTS and thats skywarps power but hes blue so WHO is it. dont worry abt it man. dont matter. they apparently change in the various times its been coloured, which is objectively funny imho. keep em guessing]

[ID: Moody and still illustrations of a robot identical to the Man of Iron in stasis, plugged into a bed of sorts. The ship around him is dark but for strips of coloured computer like lights in the walls and floor. Caption boxes narrate: Deep beneath the Autobots feet, in a sealed chamber, a special Autobot lay waiting… He was navigator, warrior and guardian of Autobot destiny… In his long, slow, machine world, a million years were as fleeting seconds. Human history had passed over him. Small inter panels. Mid on the Guardian: Locked in his dormant brain was the location of the planet Cybertron. He waited only to be re-activated, re-integrated with his mission… Restored to life. Close on the Guardian: His attendant was no more, the link between them severed. Laying in profile, just barely defined in the pitch black: Alone in the darkness he patiently beamed his signal. The same pattern of impulses… Waiting. END]

What the actual fuck (its even more somberly dramatic than just that)

[ID: Sammy, from a distance, staring at the castle. Caption Box: Autumn came, leaves fell. Sammy was a year older and a year wiser. He never saw Jazz again… Sammy asleep in bed, moonlight pouring through his paneled window. "But on clear, sharp nights, when stars glittered like needles and the night winds rattled his window… Then he slept a fitful, fearful sleep…" Sammy sleeping, with his dreams projected above him. "And the Man of Iron walked once more through his dreams." The End]

WHAT THE ACTUAL FUCK

um well. okay! thats. fucking crazy. and this is the only tf comic this dude ever did. okay... can u tell he was from the dr who comics...... it ALSO means this doesnt actually speak at all for what the rest of tfuk will be like. which is damn funny. LIKE WOW! THAT WAS CRAZY. anyways.

[animefeminist]

Lum Through the Years: Urusei Yatsura's gender roles, then and now

The magical anime girl of the 1980s is a figure of reverence for many a retro clothing company or vaporwave SoundCloud artist. Alongside reboots, reprints, and new adaptations of retro works, the aesthetics of these figures have experienced a reemergence in the past decade, bringing properties such as Devilman, Fruits Basket, and most recently Trigun back into the cultural moment. Chief among these images is a certain girl in a tiger-print bikini: Lum, the cute, sexy, alien heroine of Urusei Yatsura who was cemented as an ‘80s icon, and who floated back onto our screens in 2022 in a new adaptation. While Lum herself unquestionably remains an anime icon, looking to the different ways she’s depicted in the older anime versus the new can shed some light on changing attitudes to the genre and archetype she’s so nicely embodied over time.

Read it at Anime Feminist!

[satoshi-mochida]

Edia licenses nine classic titles to Shinyuden for release on modern platforms, starting with Final Zone - Gematsu

Edia has licensed nine titles to Shinyuden for release on modern platforms, starting with the release of Final Zone for Switch on January 17, followed shortly by PlayStation 5, Xbox Series, PlayStation 4, Xbox One, and PC via Steam, the companies announced.

The nine titles licensed out to Shinyuden are as follows:

Dino Land

Exile

Exile: Wicked Phenomenon

Final Zone

Gaudi: Barcelona no Kaze

GRIFFIN

Psycho Dream

Sol-Deace

Traysia

According to Edia, it licensed its owned titles to Shinyuden in order to expand its services to western markets where retro games have recently grown in popularity. Edia is also considering plans to sell reprints and remodeled versions of retro game titles from its catalog of 139 former Telenet Japan titles.

[slimelover165]

Moon Knight 50th Anniversary Self-indulgent announcement Fan fiction

Join me in the land of delusion, a realm where Moon Knight is finally treated with the respect he deserves.

The air hums with anticipation as whispers of something monumental ripple through the fandom. It’s early September, and for the first time in what feels like an eternity, Moon Knight’s Twitter is alive—electric with cryptic teases and midnight murmurs. A cryptic message, a flickering crescent moon. A surprise live stream. August 1st. The Fist of Vengeance’s birthday and 50th anniversary. The fandom stirs. Speculation spreads like wildfire

You fall asleep on July 31st, your mind buzzing with speculation, the glow of your screen still imprinted behind your eyelids. And then—it happens.

The screen lights up. The familiar sigil of Khonshu gleams, and the stream begins. The announcements come fast and relentless. First, a dedicated merch drop—sleek, minimalist streetwear, striking posters, and high-end collectibles adorned with exclusive 50th-anniversary designs. A love letter to the legend. As well as tons of merch based on the show, But it’s only the beginning.

Then, the comics. A giant-sized special issue of Moon Knight: Fist of Vengeance is revealed, Alessandro Cappuccio’s artwork dominates, a visual feast of sharp edges and shadows. Every turn of the page feels cinematic, raw. And it doesn’t stop there. Variant covers flood the screen, crafted by the greatest Moon Knight artists to ever grace his pages. Sienkiewicz, Finch, Smallwood, and more—all lending their signature touch to this anniversary event.

The celebration expands. A series of variant covers spans Marvel’s major titles, a tribute to how Moon Knight’s legend in his death arc. Two new five-issue spin-offs emerge, deep dives into unexplored corners of his mythology. Classic stories return in beautifully reprinted collections, giving new readers a chance to walk the path of Marc Spector, Jake Lockley, and Steven Grant.

The celebration doesn’t stop there. Hushed voices hint at something bigger—a game, an animated series—the kind of legacy expansion fans have long dreamed of. And then, the moment that sends shivers down your spine: Oscar Isaac appears.

He grins, hands in his pockets, the weight of the moment lingering before he speaks. “See you at Comic-Con.” The room erupts. He teases something big—something no one will see coming.

Before you can catch your breath, a code flashes on the screen—a gift, a new Moon Knight skin, alongside the Midnight Mission map and the debut of Hunter’s Moon in Marvel Rivals. The audience gasps. The hype is real.

But the celebration isn’t just digital. Next year’s Comic-Con will be a Moon Knight fan’s dream. Exclusive pop-ups, immersive experiences, and cosplay contests set the stage for what’s shaping up to be a year unlike any other.

Then, the final wave of reveals. Two action figure lines. One modern, sleek, dynamic. One retro, dripping with nostalgia. And towering above them all, a Maximum Series Moon Knight—the definitive figure for collectors. It’s a collector’s fever dream brought to life.

But then—the true moment of reckoning. The stream slows, the screen fades to black. A heartbeat of silence. And then, a flicker of silver.

A teaser for Moon Knight Season 2.

The last shot lingers—a crescent moon hanging in the night sky, then darkness. The screen fades. The chat explodes.

The world remembers his name.

( This will likely be the only fan function I ever write, I know this would never and could never happen and it's way to much to announce at once but let me indulge myself ok)

[tymime]

I'm of the opinion that society only became ready for characters like Mickey Mouse and Popeye to be in the public domain now, and no sooner.

When you look back on the copyright extension acts of decades past, I think maybe, just maybe, it was a good thing for Mickey Mouse. To be clear, this isn't about how these copyright extensions benefitted the Disney Company financially. I'm talking about Mickey as a fictional character, about the artists and creators, not the CEOs. I'm not thinking of Mickey as some kind of idealistic, free-for-all-people sort of thing, but as a work of art. Disney was only just getting back on its feet in the 1980s, after a long period of stale, formulaic, somewhat low-effort films and comics. If Mickey Mouse had gone public domain soon after Mickey's Christmas Carol had been released, Disney would've lost control of their flagship character during a time when they were just figuring what to do with him again. I think this would've made Disney's Renaissance era just a little bit worse. I couldn't tell you how exactly, since that would be mere speculation, but they may have been less inclined to build Mickey's Toontown or reprint Floyd Gottfredson comics, or anything like that.

The same thing goes for the late 1990s. If they had lost Mickey then, I have a feeling that wonderful cartoons like Runaway Brain and House of Mouse would've been less likely to have been made.

Here's what I'm thinking: Say that a Steamboat Willie horror movie had been made in, I dunno, 1988. Coming right after or before Who Framed Roger Rabbit?, Disney seeing their most famous character tainted by a slasher film probably would've taken the wind out of their sails. Would the Eisner-era "returning to their glory days" attitude have been so prevalent? The entire decade of animation might've looked a bit different.

Disney today is very, very different. While they still see dollar signs when it comes to Mickey, and they still make good quality cartoons with him in it, the last time Disney really cared about classic 1930s Mickey was in the late 2000s, around the time when Epic Mickey came out. A retro, proud-of-our-heritage version of Mickey is something Disney no longer cares about, which goes hand-in-hand with the revisionism that plague the remakes of their classic films. Despite the "Rebrushed" version of Epic Mickey, I don't think Disney really wants to be retro anymore.

The other half of the equation is the internet and its indie creators. Remix culture is basically a revival of how most humans made art throughout most of history- not trying to come up with an "original idea", but making something derivative of what came before. Critics who complain about "endless sequels and remakes" probably despise this idea, but the fact of the matter is that nothing is completely original, and stuff like YouTube Poop, video game music covers, memes, and fanart is the 21st century version of that. There's a feeling going around that big media corporations aren't truly making the content we want to see anymore, and I'm inclined to agree. Marvel movies have already peaked and have gone downhill, we seem to be burnt out on Star Wars, and Warner Bros. generally seems to hate animation nowadays. We're also in a world where indie artists have much more power and influence than ever before, with platforms like YouTube, social media, and online art galleries to spread the word better than pre-internet media ever could. I've been waiting for Disney to relearn what makes Mickey Mouse great for years. A cartoon series equivalent to DuckTales (the original, mind you), adapting Floyd Gottfredson stories has been a pipe dream for some time now. Disney isn't going to make it, so I just might make animatics for that idea myself.

So that's my take on it. Public interest in using these characters is coming at the right time, in my opinion. There have been drawbacks of course, and I think sequel-haters are one of the biggest results, but did anyone else actually give a darn about the public domain until Winnie-the-Pooh was "set free"? I've been interested in the subject for over a decade myself, but I'm willing to bet most people weren't even aware of the concept until now. What I'm mainly concerned about is artistic integrity- Mickey being free to use doesn't mean that everybody's going to be thoughtful and tasteful. That much is obvious. As for Popeye, I'm gonna wait until the whole spinach thing, as well as Bluto and Wimpy, are in the public domain before I seriously consider using the character.

(PS To any jerks who think I'm some sort of corporate shill- read this a bit more carefully. There's plenty of criticisms of corportations littered throughout this, but I guess some people are too stupid to notice...)

[markrosewater]

In recent years, WOTC has printed old frame variants of many of MTG's most popular and powerful cards. These old frame variants lack the holo stamp, much like the original old frame cards did. My question is this: do we really need the holo stamp at all anymore? It was introduced as an anti-piracy measure, but if all the most popular cards are going to reprinted without it, why have it? If all the most attractive piracy targets can be copied without duplicating the stamp, why put it on Mabel?

Because we don't do something on a tiny portion of cards, don't do it at all? I think we're more likely to add the holo stamp on retro cards that get rid of it on normal ones.

[bitmapbooks]

Chuckie Egg - Featured in our book - Sinclair ZX Spectrum: a visual compendium

Whether discovering classic retro games for the first time or enjoying a nostalgic return to your 8-bit gaming days, Sinclair ZX Spectrum: a visual compendium is sure to enthrall and entertain.

Reprints are due 28th November. Sign up for an email reminder here: https://www.bitmapbooks.com/collections/all-books/products/sinclair-zx-spectrum-a-visual-compendium

#bitmapbooks #book #retrogaming #retrogames #gaming #art #reading #foryou #zxspectrum #bookstagram #booktok #fyp #chuckieegg

[soulmuppet]

All systems are GO!

We are LIVE on Kickstarter!!

Embrace the heartbreak of the Blues, travel through a galaxy of trauma and heartbreak on your crew's spaceship. Do what you can to make ends meet in a universe infused with Americana music and retro-future technology

Check out the new range of products for the game: our first hardcover expansion, a VHS box set full of pamphlet adventures, a slipcase compendium of previous Orbital Blues releases. You can also grab reprints of the core book and cassette (along with a fancy exclusive cover)

Please come follow along with the project and share with your friends!