Penguin posted wallpaper sized version in all sorts of resolutions:

I've previously posted wallpaper-sized version of his Star Wars and Let Me In posters.
And his glow-in-the-dark and glow-in-the-day vampire t-shirt is $5 at Threadless.








As a result, I suspect that Gawker Media’s pageview numbers will fall substantially when the new design is introduced. A lot of sites have tried to emphasize the primacy of audience metrics over clunky old pageview metrics, but the chase for pageviews stubbornly persists—even sites which carry no advertising have been known to do things like break stories up into multiple pages so that they can bask in artificially-inflated pageview numbers.That last observation makes me a little sad. I love magazines, and love blogs even more because they're basically magazines, only better. I never liked tv very much, and typically just used it as background noise for whatever else I was doing (playing gameboy, reading magazines, doing homework).
That’s maybe why no other major site has decided to adopt this kind of design, and it might also help explain Batty’s departure. The way that Denton explains it in his memo, he’s chasing audience while Batty was chasing revenues, and as a result “Chris and I diverge seriously over strategy.”
Denton spins this admission as a result of being “allergic to corporate boilerplate,” but it still sounds like corporate boilerplate to me. So let me try to be more specific still: if there was one area of disagreement between them which took long-simmering tensions to the point at which the two had little choice but to part ways, it was the fate of the sponsored post. Batty is a huge fan of the format.
[p]
The CPM game, then, is looking increasingly like a race to the bottom, where publishers desperately try every trick in the book to boost their pageviews and ad impressions, just to compensate for the fact that their revenues per page are very small. The results — sensationalism, salaciousness, and slideshows — only serve to further erode the value of the sites in the eyes of advertisers, and put ever more downward pressure on those CPMs. It’s a vicious cycle, and Denton has decided that now is the time to break it: no longer does he want to deal with advertisers looking idiotically at clickthrough rates. “Clickthroughs,” he writes, “are an indicator of the blindness, senility or idiocy of readers rather than the effectiveness of the ads.”
To break out of the current painful loop, Denton has decided to emulate his beloved television and move to “a programming grid which owes more to TV than to magazines.”




















From October 12, 2010 through March 13, 2011 the Fondation Cartier pour l’art contemporain presents MOEBIUS-TRANSE-FORME, the first major exhibition in Paris devoted to the work of Jean Giraud, known by his pseudonyms Gir and Mœbius. An icon of incomparable stature in the world of comics, an inventor of extraordinary forms and a brilliant cartoonist, Mœbius is an artist who goes beyond the traditional boundaries of the discipline. Following the artist’s wishes, this exhibition explores the theme of metamorphosis, a leitmotif that runs throughout his comics, drawings, and film projects. In relation to this theme, the exhibition also presents the first 3-D animated film directed by the artist, La Planète encore, along with the stories from the original comic boards. With landscapes and characters in perpetual transformation, his drawings explore the boundaries of the unconscious and reveal an imaginary and fantastic world. Th rough often sudden and disturbing metamorphoses of a character or a setting, Mœbius reveals a world where appearances are not as stable as they may seem.The gallery's site is a little frustrating, but with patience you can see lots of pages from the beautiful catalog:



