In the second book of this series, the Blobheads reveal their super power called the mental tentacle, which makes electric appliances come to life. Billy thinks that's cool--until all the kitchen appliances start complaining about Billy and his mom and dad. How will Billy explain this to his parents? Illustrations.

"Hello, my name is Thomas Thwaites, and I have made a toaster." So begins The Toaster Project, the author's nine-month-long journey from his local appliance store to remote mines in the UK to his mother's backyard, where he creates a crude foundry. Along the way, he learns that an ordinary toaster is made up of 404 separate parts, that the best way to smelt metal at home is by using a method found in a fifteenth-century treatise, and that plastic is almost impossible to make from scratch. In the end, Thwaites's homemade toaster—a haunting and strangely beautiful object—cost 250 times more than the toaster he bought at the store and involved close to two thousand miles of travel to some of Britain's remotest locations. The Toaster Project may seem foolish, even insane. Yet, Thwaites's quixotic tale, told with self-deprecating wit, helps us reflect on the costs and perils of our cheap consumer culture, and in so doing reveals much about the organization of the modern world.

Feeling abandoned by their beloved master, a vacuum cleaner, tensor lamp, electric blanket, clock radio, and toaster undertake a long and arduous journey to find him in a faraway city.

Leading artists, theorists, and writers exhume the dystopian and utopian futures contained within the present “I am the supercommunity, and you are only starting to recognize me. I grew out of something that used to be humanity. Some have compared me to angry crowds in public squares; others compare me to wind and atmosphere, or to software.” Invited to exhibit at the 56th Venice Biennale, e-flux journal produced a single issue over a four-month span, publishing an article a day both online and on site from Venice. In essays, poems, short stories, and plays, artists and theorists trace the negative collective that is the subject of contemporary life, in which art, the internet, and globalization have shed their utopian guises but persist as naked power, in the face of apocalyptic ecological disaster and against the claims of the social commons. “I convert care to cruelty, and cruelty back to care. I convert political desires to economic flows and data, and then I convert them back again. I convert revolutions to revelations. I don’t want security, I want to leave, and then disperse myself everywhere and all the time.”

Videogames! Aren’t they the medium of the twenty-first century? The new cinema? The apotheosis of art and entertainment, the realization of Wagnerian gesamtkunstwerk? The final victory of interaction over passivity? No, probably not. Games are part art and part appliance, part tableau and part toaster. In How to Talk about Videogames, leading critic Ian Bogost explores this paradox more thoroughly than any other author to date. Delving into popular, familiar games like Flappy Bird, Mirror’s Edge, Mario Kart, Scribblenauts, Ms. Pac-Man, FarmVille, Candy Crush Saga, Bully, Medal of Honor, Madden NFL, and more, Bogost posits that videogames are as much like appliances as they are like art and media. We don’t watch or read games like we do films and novels and paintings, nor do we perform them like we might dance or play football or Frisbee. Rather, we do something in-between with games. Games are devices we operate, so game critique is both serious cultural currency and self-parody. It is about figuring out what it means that a game works the way it does and then treating the way it works as if it were reasonable, when we know it isn’t. Noting that the term games criticism once struck him as preposterous, Bogost observes that the idea, taken too seriously, risks balkanizing games writing from the rest of culture, severing it from the “rivers and fields” that sustain it. As essential as it is, he calls for its pursuit to unfold in this spirit: “God save us from a future of games critics, gnawing on scraps like the zombies that fester in our objects of study.”

Learn the basics of cartooning with Jack Keely and Carson van Osten! Cartooning 1 explores the basics of cartooning, from character construction to figures in motion, and shows you how to create a variety of lovable characters—from a perky puppy to a personable toaster! With step-by-step projects and artist's tips on drawing humans, cute critters, and anthropomorphized objects, you’ll find a wealth of charming cartoons to inspire and guide you as you learn the art of traditional cartooning, step by easy step. In this book, Jack Keely (with some help from Carson van Osten) invites you into the cartooning world and explains his drawing techniques, as well as his methods of developing a cartoon to its fullest. You will learn to impart personality and expression as you discover a host of tips and techniques that will help you bring your cartoons to life. This book will be a welcome addition to any cartoonist's library! Designed for beginners, the How to Draw & Paint series offers an easy-to-follow guide that introduces artists to basic tools and materials and includes simple step-by-step lessons for a variety of projects suitable for the aspiring artist. Cartooning 1 allows artists to widen the scope of their abilities, demonstrating how to animate a character, from character development to movement and dialogue.

Magic and mayhem collide in this monstrously funny middle-grade sequel to Chris Rylander's The Legend of Greg. Now in paperback. Greg Belmont longs for the days when he thought he was an ordinary thirteen-year-old, before he learned he's really a fantastical Dwarf in a world where the return of magic has reignited an ancient feud between the Dwarves and the Elves. But now that magic is spreading rapidly, calling forth mythical monsters that are wreaking total havoc on earth, he knows things will never go back to normal. To make matters worse, rumors are growing that the Elves are planning a sinister attack--and their new leader might be none other than Greg's former best friend, Edwin. Before they can say "Galdervatn," Greg and his Dwarven friends find themselves up against perilous dangers that their training has barely prepared them for. Can Greg and his bloodthirsty talking ax keep them out of harm's way long enough to prevent all-out war? Or will epic failure find him yet again in this hilarious, action-packed sequel to The Legend of Greg?

When Nephele has a terrible freshman year, she does the only logical thing for a math prodigy like herself: she invents a time travel app so she can go back and do it again (and again, and again) in this funny love story, Groundhog Day for the iPhone generation. Fourteen-year-old Nephele used to have friends. Well, she had a friend. That friend made the adjustment to high school easily, leaving Nephele behind in the process. And as Nephele looks ahead, all she can see is three very lonely years. Nephele is also a whip-smart lover of math and science, so she makes a plan. Step one: invent time travel. Step two: go back in time, have a do-over of 9th grade, crack the code on making friends and become beloved and popular. Does it work? Sort of. Nephele does travel through time, but not the way she planned--she's created a time loop, and she's the only one looping. And she keeps looping, for ten years, always alone. Now, facing ninth grade for the tenth time, Nephele knows what to expect. Or so she thinks. She didn't anticipate that her new teacher would be a boy from her long ago ninth grade class, now a grown man; that she would finally make a new friend, after ten years. And, she couldn't have pictured someone like Jazz, with his deep violet eyes, goofy magic tricks and the quietly intense way he sees her. After ten freshman years, she still has a lot more to learn. But now that she's finally figured out how to go back, has she found something worth staying for?

'He's a total rock 'n' roller. There's a bit of Mario in all of us - well, maybe not Gary Neville - but the rest of us most definitely.' Noel Gallagher He may be football's latest superstar, but Mario Balotelli is just as famous off the pitch for his eccentricity and extraordinary antics. From the time he let off fireworks in his bathroom to the notorious bib incident, he's rarely out of the news. But in his secret diary*, as we follow Mario through one turbulent football season and the trail of mayhem he leaves in his wake, we discover that the headlines only tell half the story. Whether he's hiding Silvio Berlusconi in his basement, patrolling the streets of Manchester as a caped crusader or trying to be the first Premiership footballer to go to the moon, the truth is stranger, and much funnier, than we could have expected. *not the actual diary of Mario Balotelli

Mark Sundeen receives a call from a big city publisher with an offer to write a book about bullfighting in Spain. Sundeen agrees, assuming that this is his best and last chance to follow the trajectory of his literary heroes, despite the fact that he has never been to a bullfight, doesn't speak Spanish, and is not even a particularly good reporter. After squandering most of the book advance, Sundeen can't afford a trip to Spain, so he settles for nearby Mexico. But the bullfighting he finds there is tawdry and comical, and there's little of the passion and bravery that he'd hoped to employ in exhibiting his literary genius to the masses. To compensate for his own shortcomings as an author, Sundeen invents an alter ego, Travis LaFrance, a swashbuckling adventure writer in the tradition of Sundeen's idol, Ernest Hemingway. When LaFrance steps in, our narrator goes blundering through the landscape of his own dreams and delusions, propelled solely by the preposterous insistence that his own life story, no matter how crummy, is worth being told in the pages of Great Literature. The Making of Toro is a unique comic classic and a sly, poignant tale of the hazards of trying too hard to turn real life into high art.