General audiencesThis material is suitable for all ages and temperaments.
| Mature audiencesThis material may not be suitable for small children or sensitive individuals.
| Adult audiencesThis material is not suitable for minors or sensitive individuals.
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Starships designed for very different purposes by very different worlds at very different times using very different means of interstellar travel
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The pen-and-marker original was drawn on request in a “theme” sketchbook, the idea being to base a piece of art on a quotation selected from a list in the book. The title stems from the idea that, if man was made in God’s image, then surely man’s creations would be the grandchildren of God. Available for sale through Rabbit Valley.
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“Flying Low” was inspired by Miyazaki’s Nausicäa and drawn for Gerald Perkins’ big black sketchbook. In turn it inspired the short story “Sundance” and a look at the main character at the time of the story and thirty years later, after retiring from air racing in the wake of a bad crash.
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A common motif for fan creators is the cross-over between Star Trek and their own creations. This one would have explored the culture shock and conflicts of morality between the idealistic, Utopian Federation and the heavily biotech-influenced and frontier-pragmatic colony world of Avalon, as represented by one of its capital ships. Star Trek: The Next Generation is the intellectual property of Paramount Studios.
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This sex fantasy is unabashedly male-biased, a bit over the top, and certainly the rudest on the site. Still, at least one female reader cited it as a favorite, saying it exudes a sense of fun. Tigerstripe Amazons created by Mark Parker and used with permission.
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Story originally published in Yarf! issue seventeen. Illustrations inked by Susan Van Camp.
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This and a couple of other pieces taught the lesson that not all collaborations mesh well, even if all the artists involved are talented and capable. Originally published in handicapped-access booklet for 1991 San Diego Comic-Con. Artwork inked by Terrie Smith.
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The colony world of Avalon specializes in bioengineering, including creating merfolk for mariculture and other marine work. Another odd product is a bioluminescent octopoid creature, which the uplifted dolphins, with their strange sense of humor, seem to enjoy wearing like baby bonnets—one of Wayne Shaw’s weirder ideas.
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A main battle tank using contragravity lift-and-drive is more likely to look sleek and aerodynamic than like a modern tank without treads. As well, given the interest with which the military is pursuing exoskeleta and legged vehicles, the nay-sayers’ argument that they are impractical under any and all circumstances would seem to be undermined somewhat.
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This was a souvenir of a very enjoyable visit. At Susan’s urging, I started on pencils while she ran upstairs to get her inking pens. She said the tree had “lots of character” and suggested the fast-food bag and box of doughnuts because “leopards always stash their lunches in trees.” Prints available for sale through Rabbit Valley. Original artwork inked by Susan Van Camp. Originally published in Paper Phantasies issue eight.
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A patrol cop argues with a hunter uncomfortably near the boundary of a ranch, somewhere on the colony world of Unity. This was “envelope art”, drawn before the Web existed, back when artists traded photocopies through the mails.
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This was a holiday card design showing a group of friends on the colony world of Avalon, camping out in a deserted cove. Nearly all of Avalon’s inhabitants are bioengineered life forms or are descended from such.
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One of the more vivid characters created for this milieu, Lacan is an embittered ex-mercenary bioengineered as part of a pilot project intended to produce soldiers and other useful types. The concept was, of course, quite impractical—but corporations don’t always make rational decisions. Character created by Wayne Shaw and used with permission.
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A young student from the Institute for the Rehabilitation of Constructs—established to socialize the illegally bioengineered Double Helixers—strays onto the still-active portion of the US Marine Corps base at Camp Pendleton. Drawn for someone’s big black sketchbook.
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A rural cop stationed somewhere in the outback on the colony world of Hatikvah is shown with her patrol vehicle—a tiltrotor. This was “envelope art”, drawn before the Web existed, back when artists traded photocopies through the mails.
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The ambassador of Hatikvah argues her case to the king of Avalon, trying to persuade him to intervene in the Colonial War on behalf of her embattled world. She is accompanied by her military attaché and the captain of the courier vessel who brought news of the invasion.
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