That Bat Guy I draw so rarely. A quick sketch from this morning.

Wait. So, he draws a near perfect Superman, and now he has the AUDACITY to draw a Batman that captures so much of that Mazzuchelli timelessness. How dare you Evan Shaner. You need to draw World’s Finest. High-res


That Bat Guy I draw so rarely. A quick sketch from this morning.

Wait. So, he draws a near perfect Superman, and now he has the AUDACITY to draw a Batman that captures so much of that Mazzuchelli timelessness. How dare you Evan Shaner. You need to draw World’s Finest.


I made this comic for Light Grey Art Lab’s Stacks exhibition. It’s a cool concept where each artist makes a zine centered on a given year from the past 30 years. All together its like a weird rambling timeline.

I chose 1999 mostly because I really wanted to make this comic for a long time. This story is based on actual events from when I was 14, but I just changed the names and faces a little bit. 

I’ll post the rest of the story tomorrow!

You can buy a copy here.

I definitely support comics being set in Louisiana.

And this one just happens to be pretty good, too.




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How does Babs's mask stay on? It's gone from cowl to cap, by the looks of it.

Asked by Anonymous







It stays on because comics.


So much for being practical, I guess.

How does Superman fly? How does he shoot laser beams from his eyes? How does Wonder Woman’s lasso work? How does Batman never get any sleep and still function? How does Booster Gold travel back in time? How does the Joker manage to speak clearly after his face was literally ripped off?

actually the cap would just hold on because of friction. it has so much area of connection. and if say you add a friction improving surface on the inside it holds on even better.

also if you ask this go bother almost every comic book artist ever how women are supposed to fight in high heels or capes

So, friction can keep it from being yanked off by anybody?

Who’s going to yank it off? I have the scripts for our first few issues in front of me. I can’t find any scenes where someone’s yanked on it. We didn’t write any.

I’m also PRETTY certain Batman’s cowl being connected to his cape isn’t what’s stopping him from being unmasked.

I would argue it’s because Batman.

And electro-shock defenses.

I’m sure Babs will be fine.

Did you guys know that I’m taking commissions?

Both black and white originals, and color printed with black and white originals included are available directly from my site.

You can check them out and order one through my webstore located here.

You can also message me here, or shoot me an email at if you have any special requests or specific thing you’re looking for.

If you’re not in the market for any nerdy commissions, please feel to like, reblog, or just straight up pass the word along.

Thanks for taking a look.


"Cartoon Brew: What got you interested in animation?

Aymeric Kevin: Japanese anime. Like it was the case for many, it started as a hypnotic fixation with the shonen genre. Anime had a large presence in France in the 1990s—shows like Dragon Ball, Saint Seiya, City Hunter, evenFist of the North Star—there were many shows being aired on TV at the time. Later on, Masaaki Yuasa’s Mind Game and Hayao Miyazaki’s Princess Mononoke swept me away and to this day remain my favorite films. It was during high school when I become really fascinated in the animation process through the making of videos, peeking into the world of the many devoted people working together, sweating over the desks, crunched over focused on a singular mission. This made me want to be in this industry. I still spend hours re-watching the documentary, How Mononoke Hime was Born (Mononoke Hime wa koushite umareta). For those who have not seen it yet, I highly recommend it.

Cartoon Brew: Gobelins has a good track record of producing remarkable student films. What makes Gobelins different and what did you learn there?

Aymeric Kevin:
 The rhythm here is quick; the moment you are accepted into the school the pace of progression within their walls accelerate. The fact is, they usually choose people with solid drawing skills to begin with, and that is probably why the fast pace is sustainable. Gobelins likes to remind people they are not going to teach anyone how to draw; they teach how to animate. Yet they offer a very comprehensive course where students are taken through every stage of the animation production. Knowing all of the stages and processes helps you make better decisions whatever you end up doing in animation.

What I have mainly learned though started as a realization during the first entrance exam. I was in a large room with rows of tables, but more importantly, rows filled with hundreds of applicants. It was
clear: there are a lot of drawers out there. This emulation, this reality of competition, remains strong and vigilant throughout the years at Gobelins. Whether it is good or bad, it undeniably pushes one to do their best at all times.”