…I wanted to test this feature to play with it.
I WILL NOT USE IT AND YOU CAN SEE WHY.
I repeat: This will not be used here.
Pip: Tangents Brand — music, comics, stories, photos, and shizzle — which is, genuinely, the most accurate site description on the internet.
Mara: Brandon Montoya has been busy. This episode moves through serialized fiction and the artists bringing it to life, a stretch of vintage photography and nostalgic objects, and some pointed commentary on propaganda and political imagery.
Pip: Let’s start with the fiction and the art that goes with it.
Serialized Fiction And Character Art
Mara: Several ongoing stories are getting visual identities right now — original illustrations, colored character art, chapter-specific commissions — and the question is what that collaborative pipeline actually looks like in practice.
Pip: The post on colored Kevin’s Story art sets the scene: artist Hey Pineapple handles line work, Rakushou handles color, and the result is described as “a great team up” with “more to come from this duo.”
Mara: That matters because it’s not just decoration — the art is tied directly to story chapters. The Kevin piece sits mid-way through Chapter 2 of Bowie Brown, and a separate image, The Execution of Mr. Hargrove, is so intense the uncensored version lives only on RedBubble.
Pip: Meanwhile the 1951 Packard post drops a chapter-specific commission — Hey Pineapple again, this time placing a vintage car near Ryogoku Bridge for Chapter 7 of Lost In Japan.
Mara: That chapter, Felix Appears, is the longest piece this week. Felix Trinity narrates from that bridge, and the prose captures his voice: “I mark what is mine. Don’t touch what is mine.”
Pip: Cold, precise, and deeply annoyed about being wet. The chapter earns it.
Mara: More art from Fluffy covers Officer O’Reilly and Pinocchio for the Nick Carter storyline — old-school manga style with tones. And Wyrd Chapter 3 previews Sultana the Roc, illustrated by Sagika Y, with the chapter described as a “wild adventure” still being prepared behind the scenes.
Mara: Russet Witch rounds things out — a windowsill sketch from Nanda signaling that Chapter 1 of that original story is finished and waiting on final art before it rolls.
Pip: A lot of stories in motion, each one waiting on a single image to open the door.
Mara: Which connects to something else entirely — the images being made not for fiction, but from the world as it already exists.
Vintage Objects And Nostalgic Photos
Pip: The photography side of the site this week is doing something specific: finding the emotional weight in objects and places that the present tense has mostly abandoned.
Mara: The anchor post, Album Covers from Antiques, names the impulse directly: “One of my favorite things to do is take these run down items and places and use them as hip hop album covers.”
Pip: So it is not archival sentiment — it is raw material. The Underwood typewriter photograph is already thinking about layout and design.
Mara: The Chevrolet Fleetmaster post works the same instinct from a different angle. A 46-48 Fleetmaster Aerosedan photographed in the present, described as taking you “back to black and white movies and hard boiled gumshoes.” That connection to the Lost In Japan fiction is not accidental — the 1951 Packard commission and this street photograph are pulling from the same visual era.
Pip: And then there is the phone booth post, which is essentially a small elegy. A photograph of an antique digital phone, paired with the observation that it is “weird to me that these don’t exist anymore.” Collect calls, Christopher Lloyd, and a very specific kind of public-space memory.
Mara: The Hoover Dam post steps back to 2021 — family visit, multiple shots, and the note that “to get a nice picture you have to be a distance away. IT’S HUGE.” Scale as a compositional problem.
Pip: The Sunset Near Neah Bay post is the quietest of the set — a coastline photograph available on RedBubble, paired with a detailed flashback covering the Seattle Monorail, Artists At Play playground, and the broader museum complex nearby. Practical travel notes tucked inside a photography post.
Mara: And Coming Soon, Minis rounds out the segment — a 3D printer acquired for free, a photograph of a Kougetsu mini figurine, and an open question to readers about whether three-inch figures are something they want.
Pip: From a 1940s Chevy to a three-inch resin figure — the throughline is objects that carry a story before you add one.
Mara: That instinct for embedded narrative carries into the week’s most direct political work.
Politics And Propaganda Commentary
Pip: The commentary posts this week are doing something deliberate — using art and meme format to make arguments about how Western audiences have been conditioned to see Iran and Zionism.
Mara: The America’s Propaganda on Iran post is blunt: “If you grew up in the west — America, Britain, Canada, all that — you have been fed a steady diet of lies for your whole life.”
Pip: No hedging there.
Mara: The Joe Biden and Robur the Zionist post works the same argument through fiction. Jules Verne’s Robur the Conqueror stands in for a real archetype — the rich Christian Zionist entrepreneur — with the post careful to note that “Zionism is not Judaism and conflating the two is antisemitic. Zionism is a political ideology.” Scheherazade’s Glass Bottle, illustrated by Victor O, frames Iran through mythological imagery rather than argument — the post calls it “one of Iran’s closest held secrets,” now available on RedBubble.
Pip: Satire, prose fiction, and straight photography — all pointed at the same question of who controls the image.
Mara: The throughline this week is authorship — of stories, of images, of the frame around a subject.
Pip: Next time, we find out whether the Russet Witch chapter finally has its art.
This feature is as dead as this guy:
Tangents Brand : Music, Comics, Stories, Photos & Shizzle 
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