Craft, Entertainment, Wildlife

Scootaloo Automaton / morisato54

Scootaloo, while not being able to fly as fast or as high as other pegasi manages to get around town just as quickly using earth pony ingenuity. Although sometimes her still being a filly easily becomes an excuse for recklessness, but at least she has the sense to wear a helmet. Now if only the other ponies she might come crashing through would be wearing one too — via Youtube

Craft, Entertainment, Wildlife

Little Fat Cthulhu Custom Chess Set 100 / Little Fat Dragons

This is a special order listing for one handcrafted Little Fat Cthulhu chess set inspired by characters from the Cthulhu Mythos. Each piece was individually created, no moulds or casting resins were used so pricing is based on several hours of work to create the 32 unique pieces — via Etsy

Doctor Who: Peter Capaldi revealed as 12th Doctor

Actor Peter Capaldi has been announced as the new star of BBC sci-fi series Doctor Who.

The 55-year-old Glasgow-born star will be the 12th actor to play the Doctor, replacing outgoing lead Matt Smith.

Capaldi is best known for his role as foul-mouthed spin-doctor Malcolm Tucker in the BBC series The Thick of It.

It’s so wonderful not to keep this secret any longer, but it’s been so fantastic, he said after the news was revealed on a live BBC One show.

The actor had been the bookmakers’ favourite to take on the role, with betting on him becoming the next Doctor suspended on Friday.

It is not the first time Capaldi has appeared on the show — he played Roman merchant Caecilius in 2008 Doctor Who adventure The Fires of Pompeii.

At 55, he is the same age as William Hartnell when he was cast in the role as the first Doctor in 1963.

Being asked to play the Doctor is an amazing privilege. Like the Doctor himself I find myself in a state of utter terror and delight. I can’t wait to get started, he said — via redwolf.newsvine.com

Craft, Entertainment, Wildlife

Derpy Hooves Automaton / morisato54

Derpy, or Ditsy Doo as she may alternately be called, might have a relatively drab coat of gray compared to other more vividly colored ponies, but it is the sparkle in her eyes, the warmth of her smile and her carefree gait that makes her irresistibly adorable. The fact that her eyes might not necessarily focus well all the time is merely icing on a cake, or in her case, fresh blueberries on top of a muffin. In my case it’s a relief not to go through the painstaking task of perfectly synchronising their movement.

The stand and figure are carved out of Philippine mahogany while the gears and crank are made from Narra hardwood. The figure is hand painted with enamel and protected with clear flat lacquer. Derpy stands at 5 3/8″ to the tip of her wings and the whole piece measures at 7″ long, 4 3/4″ wide (wingspan) and 9 3/8″ high at her highest point. She took 100 1/2 hours to complete — via Youtube

The Art of Fiction No. 211, William Gibson

Today, Gibson is lanky and somewhat shy, avuncular and slow to speak — more what you would expect from the lapsed science-fiction enthusiast he was in 1972 than the genre-vanquishing hero he has become since the publication of his first novel, the hallucinatory hacker thriller Neuromancer, in 1984. Gibson resists being called a visionary, yet his nine novels constitute as subtle and clarifying a meditation on the transformation of culture by technology as has been written since the beginning of what we now know to call the information age. Neuromancer, famously, gave us the term ­cyberspace and the vision of the Internet as a lawless, spellbinding realm. And, with its two sequels, Count Zero (1986) and Mona Lisa Overdrive (1988), it helped establish the cultural figure of the computer hacker as cowboy hero. In his Bridge series — Virtual Light (1993), Idoru (1996), and All Tomorrow’s Parties (1999), each of which unfolds in a Bay Bridge shantytown improvised ­after a devastating Pacific earthquake transforms much of San Francisco — he planted potted futures of celebrity journalism, reality television, and nanotechnology, each prescient and persuasive and altogether weird.

Neuromancer and its two sequels were set in distant decades and contrived to dazzle the reader with strangeness, but the Bridge novels are set in the near future — so near they read like alternate history, Gibson says, with evident pride. With his next books, he began to write about the present-day, or more precisely, the recent past: each of the three novels in the series is set in the year before it was written. He started with 11 September 2001.

Pattern Recognition was the first of that series. It has been called an eerie vision of our time by The New Yorker, one of the first authentic and vital novels of the twenty-first century, by The Washington Post Book World, and, by The Economist, probably the best exploration yet of the function and power of product branding and advertising in the age of globalisation. The Pattern Recognition books are also the first since Mona Lisa Overdrive in which Gibson’s characters speak of cyberspace, and they speak of it elegiacally. I saw it go from the yellow legal pad to the Oxford English Dictionary, he tells me. But cyberspace is everywhere now, having everted and colonised the world. It starts to sound kind of ridiculous to speak of cyberspace as being somewhere else — via redwolf.newsvine.com