Rodrigo Culagovski

@culagovski.net

2480 Followers 1860 Following

Author, architect, researcher, and developer from the Galactic South. Published in Escape Pod, Nature Futures, Flash Fiction Online, LeVar Burton Reads, khōréō, among others. SFWA, Codex. https://culagovski.net

A comic panel showing Quicksilver and Banshee of the X-Men standing indoors beneath a geometric ceiling. Quicksilver, on the left, has short white hair and wears a green-and-white costume. He looks serious and says, “Banshee, that can’t be, can it?” Banshee, on the right, has orange hair with prominent sideburns and wears a blue-and-yellow X-Men costume with his arms crossed. He replies, “For God’s sake, why?” followed by, “Don’t know, lad. But 33 countries stripped mutants of any special protection last year.”
Three parakeets perched side by side on a branch against a blurred green background: two blue-and-white birds on the left and center, and one bright yellow bird on the right.
A meme screenshot comparing two styles of event flyers. At the top, white text on a black background says: “Hey if this is your flyer, I’m not going, I’m not donating, I’m not sharing. Don’t ask me 🤙”. Below are two side-by-side example flyers. On the left is a brightly colored, cluttered, AI-generated-looking flyer with fireworks and confetti, with large text reading: “ALL CHATGPT FLYERS LOOK THE SAME! Especially with this font!” On the right is a dark blue and orange parody flyer packed with chaotic text and exaggerated design elements, headlined: “YOUR FLYER LOOKS LIKE GARBAGE.” The meme criticizes generic AI-made promotional designs and overly cluttered flyers.
Alt text: A grayscale reference chart of English interrogative and indefinite pronouns/adverbs arranged in a grid. Columns are based on roots such as “who,” “what,” “where,” “when,” “why,” “which,” “whom,” “whose,” “whence,” and “whither,” combined with prefixes and suffixes including “any-,” “every-,” “else-,” “some-,” “no-,” “-ever,” and “-soever.” Many archaic forms (for example, “hence,” “thence,” “hither,” “whence,” “whither,” “somewhence,” “whencesoever”) are included. Numerous entries are shown in light gray with strikethroughs, indicating obsolete or rarely used forms. The lower portion extends the pattern to categories such as “how,” “body,” “one,” “thing,” “place,” “day,” “time,” and “way,” yielding forms like “anybody,” “everybody,” “somebody,” “nobody,” “anything,” “everything,” “something,” “nothing,” “anytime,” “sometime,” and “anyway.”
Pale blue Chinese-language book cover on a pink cutting mat grid, featuring large blue text “AI 大师” and “THE DIGITAL AESTHETE” along the spine edge. The cover illustration shows a hand-drawn retro robot with syringe-like transparent limbs, pink block feet, gears, and heart motifs in a pastel blue, pink, and yellow palette.
Striped grey cat under a blanket with one ear sticking out
Illustrated magazine cover titled “BAFFLING” (Issue XXIII, April 2026). A surreal landscape at sunset shows a cracked, desert-like surface with large circular holes. Inside the nearest hole is an inverted futuristic city with tall skyscrapers, as if reflected or existing below the ground, centered around a glowing red sphere. In the foreground, a small cloaked figure with a pointed hood stands at the edge, looking down into the scene. Warm orange and pink sky with dramatic clouds fills the background. Contributor names are listed along the bottom.
Black-and-white title card. Top: stylized word “BAFFLING,” with feathered wing shapes integrated into the letters. Beneath it in small caps: “SPECULATIVE FLASH FICTION WITH A QUEER BENT.” Centered main title: “Marianne in an Unlit Bar on the Outer Curve of Human Space.” Bottom: “Apr 15.”
Comic book cover: “The New Teen Titans” with DC logo and price $1.00. A crowd of teens stands in a city street. In the center, a masked hero in red and yellow (Kid Flash) carries an unconscious or injured girl in yellow. Other characters include Cyborg (left, muscular with metal arm), Raven (hooded, purple), Beast Boy (green skin), Starfire (orange skin, long red hair), and Robin (kneeling, looking down at papers). Bottom text: “All proceeds from this issue will be donated to fight drug abuse.”
Alt text: A stylized illustration of a lone astronaut seen from behind, walking forward into a colorful, abstract cosmic background filled with glowing particles and paint-like splashes in pink, purple, green, and yellow. The astronaut’s suit is dark with illuminated highlights. Surrounding the figure in a circular layout is bold, multicolored, slightly offset text reading “STARS AND GRAVITY TEA OR COFFEE,” with a retro 3D effect in teal and orange.
Poster-style illustration with a light blue background and large blue “AI” text alongside the Chinese “大师” (Master / Great Master). Top-left text reads “译文科学” (Translation Science). Top-right text reads “未来事务管理局 编” (Edited by the Bureau of Future Affairs). A stylized robot made of cardboard-like panels stands centered; its limbs are transparent measuring cylinders with marked volume scales, partially filled with dark liquid. The robot has simple geometric facial features, a heart symbol on its chest, and visible gear motifs. Vertical text on the left reads “THE DIGITAL AESTHETE.” Bottom text reads “上海译文出版社” (Shanghai Translation Publishing House). White curved lines radiate from the lower right corner.
Screenshot of a social media profile page for “Attie” (@attie.ai) with a blue verification checkmark. A notice reads “User Blocked by ‘The Great AI - NFT - CRYPTO Cull’.” The Posts tab is selected, and the main content area shows a warning icon with the message “Posts hidden.”
Two young women, Magik (blonde, in a yellow-and-black suit with a winged headpiece) and Kitty Pryde (brunette, in a blue-and-black suit with gold gloves), hug a small purple dragon, Lockheed. Both smile with eyes closed as they hold him tightly. Lockheed has small horns, wings, and a long tail. A speech bubble above them says “LOCKHEED!”.
Elevated panoramic view of a rural coastal landscape at dusk, with rolling green hills and patches of farmland in the foreground. A narrow paved road winds through scattered houses and small buildings toward a bay on the left. The water is calm, with rows of aquaculture structures visible offshore. In the distance, layered hills and a faint shoreline stretch beneath thick, dramatic clouds lit by soft pink and orange light breaking through the sky.
A hand-painted, wooden sign, reading "Entrance of pets forbidden Existence of large dog" in Spanish.
A shot of Carnaval in Salvador, Brazil. People dancing in the street in colorful costumes at night.
brown and black tabby cat with green eyes lying curled on a bed in soft daylight, looking directly at the camera.
Low-angle view looking straight up a tall palm tree with a textured trunk and a radial crown of fronds against a clear blue sky, surrounded by leafy trees at the edges.
Black-and-white photo of a sleeping cat curled on a bed, with one front paw extended toward the camera in the foreground and its face partially tucked into the bedding.
Alt text: Comic panel showing a masked hero in profile on the left, facing the ocean. Three kaiju silhouettes rise from the water on the horizon. A speech bubble reads: “WHAT DOES ANYONE WANT? MONEY. ATTENTION. KAIJU.”
Comic-style panel showing a close-up of two people in profile; one person’s face is tinted blue, the other pinkish, with a speech bubble reading “I WANT YOU TO BAMF ME.”
White background with a diagonal yellow stripe from lower left to upper right. Blue text on the left reads Rodrigo Culagovski, 2025, Awards Consideration. Blue text on the right lists: BigHappyFriend Likes Humans, Flash Fiction Online; Dead Man's Switch, Tractor Beam; A Track of Color Among the Wars, Nightshades.
Batgirl and Wolverine sit side by side in front of a massive glowing clock face, both wearing yellow-and-black costumes and eating noodles from white takeout boxes with chopsticks. Batgirl has long red hair; Wolverine has long black hair. Speech bubbles read: “WE HEAD TO THE CLOCK TOWER. AND WE EAT.” then Wolverine says, “IT’S 25 WITH CHICKEN.” Batgirl replies, “IT’S GOOD.” Wolverine continues, “IT HAS ALL THE FLAVOR OF 25.” In the background, Nightwing kneels on the floor in a blue suit holding up a small brown dog, smiling. Honeybadger sits across from him in a yellow suit, petting Jonathan, her wolverine, who stands on his hind legs with paws on her shoulders.
A grey cat lounging on a pile of things with one paw over an eyeglass case.
An older Cyclops wearing a tattered red cape and visor looks over his shoulder amid falling leaves, saying, “I can do anything. Anything. As long as I have the X-Men with me.”
A gray tabby cat lying on its side atop a textured pink knitted blanket, looking toward the camera with a relaxed expression. A television and console table with miscellaneous items are visible in the background.
Assorted market produce displayed on a table, including plantains, bananas, garlic, sweet potatoes, limes, various chili peppers, jars of honey, and rows of plastic bags filled with different types of dried beans and legumes.
A comic panel showing two characters talking. On the left, a young person with long blonde hair, wearing a black and purple jacket with an “X” symbol on the shoulder. On the right, a man with purple hair and beard, goggles, and a fur-collared coat kneeling with a red object in hand. He says, “The X-Men will be the end to all of this. They will murder our world and dance on her corpse.”
Comic panel showing a character flying on a mechanical glider, leaving behind orange smoke that spells out the message “HUMANS ARE PEOPLE TOO!” The character says, “I sure hope you jokers get the message.”
Gray tabby cat lying on a bed, partially wrapped in a pink knitted blanket with one paw extended, looking directly at the camera.
Several guitar slides of different materials and colors (brass, glass, ceramic) lined up on a surface, with a harmonica in the foreground.
A fluffy cat lying on its back with paws curled and tail stretched out, sleeping peacefully on a bed with pillows nearby.
A grafiti of a cartoon duck with the text: SET YOUR ALARM.
Close-up view of metal movable type pieces arranged in a wooden case, seen through a magnifying glass. The type includes numbers, punctuation marks, symbols, and decorative characters.
Nighttime cityscape view from a hillside, showing illuminated houses, a palm tree in the foreground, a mural-lit stairway descending, and a brightly lit bay with ships and the distant city lights spreading across the coastline.
A view out a car window of the Atacama desert. Trucks, signs, hills.
Two cats lying on a bed: a tabby cat in the background on a pink knitted blanket, and a long-haired tortoiseshell cat in the foreground looking toward the camera with wide eyes.
Comic panel with Illyana Rasputin on the left and Dani Moonstar on the right. Illyana, in black armor with blonde hair, holds glowing, jagged energy weapons and says, “OH NOOOOO. LIMINAL SAYS YOU’RE DEFENSELESS, DANI. WHATEVER WILL YOU DO?” Dani, wearing a yellow and black uniform with the X-Men insignia on her shoulder and two long red braids, clenches a glowing fist while forming her psychic weapon and replies, “I THINK MY *PSYCHIC BOW* AND I WILL MANAGE.”
A boy with dark messy hair wearing a light blue jacket, white shirt, tie, dark pants, and a backpack stands inside a bus stop, leaning his head against the glass with a tired posture. In front of him sits a robotic dog colored purple and blue with angular, mechanical features. A speech bubble directed toward the dog says: “I’ll be home soon, Waffles. Don’t kill anybody.”
Comic panel depicting a large communal meal at a rectangular table with many plates of food and drinks. Dishes include pancakes, empanadas, toast, sausage with eggs, cinnamon rolls, grits, jalapeño cornbread, and bowls of food. Multiple characters with colorful costumes and gloves are seated around the table, reaching for food. A small grey cat is also on the table at the left edge. Text boxes read: * "HAVEN HOUSE." * "DON'T GET ME WRONG, THE SCHOOL WAS GREAT. THE PROFESSOR WAS ALWAYS HIRIN' GREAT CHEFS." * "BUT EVERYTHIN' SEEMED A LITTLE FANCIFIED, LIKE CHURCH SHOES ON A WEDNESDAY. LIKE A JOB INTERVIEW THAT NEVER ENDED." * "SAUSAGE AND GRITS, JALAPEÑO CORN BREAD, RANSOM MADE EMPANADAS. JITTER MADE CINNAMON BREAD FOR HOTORU." * "THIS IS HOME, SOMEHOW."
Cover of *The Uncanny X-Men* #143, published by Marvel Comics in March 1981. The artwork shows Kitty Pryde (Shadowcat) in a yellow and black X-Men costume, inside a decorated room with a Christmas tree and wrapped presents. She is being attacked by a large green monster with sharp claws, red eyes, and drooling fangs. The top of the cover reads "Merry Christmas" above the X-Men logo, and the bottom caption states: "...GUESS WHAT JUST CAME DOWN THE CHIMNEY!"
A pedalboard with multiple guitar effects pedals. From left to right, top row: Boss expression pedal, Electro-Harmonix Oceans 11 reverb, Electro-Harmonix Canyon delay/looper, IK Multimedia ToneX, Boss Metal Core ML-2, JHS Bender (1973 London fuzz). Bottom row: ML Sound Lab Chug distortion, ProCo RAT distortion, Boss Distortion DS-1, Boss Blues Driver BD-2, Caline Snake Bite reverb, Cry Baby Wah pedal. All pedals are connected with patch cables and powered on a black pedalboard.
Book cover with a cracked purple stone background decorated with small white and yellow daisies. The title and author’s name are printed in bold yellow block letters: **CHARLIE JANE ANDERS** *NATIONALLY BESTSELLING AUTHOR* **LESSONS IN MAGIC AND DISASTER** At the bottom in smaller white text: “**WITCHCRAFT IS HARD. FAMILIES ARE HARDER…**”
A closeup shot of a flowering tree, with many pink and white flowers.
Two cartoon characters, Beavis and Butt-Head, wearing red work uniforms with yellow collars and red visors with a "W" logo, standing facing each other. Beavis, on the right, has blonde hair and an angry expression, extending his right arm to punch Butt-Head in the chest. Butt-Head, on the left, has brown hair and a displeased expression, with his right arm bent and his left arm hanging down.
Cover of the book "Again, Dangerous Visions Vol. 2," edited by Harlan Ellison. The top section features the title in large white block letters against a gradient background transitioning from dark purple at the top to bright orange and yellow at the bottom. Below the editor’s name, text lists contributing authors: James Blish, Gahan Wilson, Thomas M. Disch, Terry Carr, and others. The lower portion contains stylized black illustrations of eyes, faces, and organic shapes in a horizontal arrangement across the cover.
A brown, black, and white cat is curled up in a ball on a grey blanket, next to another cat wrapped up in a reddish bed runner.
Illustrated book cover for "Automatic Noodle" by Annalee Newitz. The background is turquoise, with the title in large white block letters over an image of a giant container of pink noodles. At the top, a yellow robotic hand holding chopsticks lifts noodles from the container. Steam rises from the noodles. The lower part of the container features a cityscape in orange tones, with the Golden Gate Bridge visible. Robotic arms extend into the scene, and two humanoid robots, one seated on the edge of the container and one below, face each other. In the top left corner is a blurb in turquoise text: “A story I didn’t know I needed right now. So much fun!” —Martha Wells, bestselling author of The Murderbot Diaries.
A color-coded map of Europe where countries with the letter "r" in their names are shaded in blue, and other countries are in light gray. Country names are labeled, but many labels are distorted or misspelled, such as "Geimarty" for Germany, "Franca" for France, and "Remanik" for Romania. Bodies of water and geographic borders are visible, with the map centered on mainland Europe.
Book cover for This Exquisite Topology. A large, multicolored eye dominates the background, with the iris rendered in swirling hues of red, blue, purple, and black. Superimposed over the eye is a metallic torus shape resembling a donut or ring, pierced vertically by a pointed structure extending downward. Smaller spherical shapes orbit the central form. The overall aesthetic is surreal and cosmic. Text at the top reads "THIS EXQUISITE TOPOLOGY" in bold white uppercase letters. Bottom right corner text in green states: “EDITED BY NADIA SIMONE BOUWERTS AND SIMON POTHEREZ.”
Comic book cover for X-Men #19 (Legacy #719), published by Marvel Comics. The title reads "Deadpool & Outlaw visit The Uncanny X-Men." Featured characters include Deadpool in his red and black costume holding two guns and asking, "Was it something I said?", running away from several X-Men members: Rogue flying with fists clenched, Jubilee using her plasma powers, Gambit charging a card with kinetic energy, Nightcrawler teleporting mid-air, and Wolverine charging forward with claws out. Outlaw, in a cowgirl outfit with two pistols, is prominently shown in the foreground. The creative team listed includes Simone, Marquez, and Wilson. The comic is rated T+.
A comic panel showing three characters in a humorous situation involving cats. Character 1 (left): A person with short, curly hair, wearing a blue shirt and jeans, stands with their hands on their hips. They say, "I CAN'T! MR. GAMBIT'S CATS HAVE IMPRISONED ME, AND THEY WON'T LET ME MOVE." Character 2 (center): A person with dark, messy hair, wearing a black jacket over a gray shirt, is sitting on a couch surrounded by three cats. The cats are perched on their shoulders and lap, appearing affectionate. This character looks distressed and says, "HELP ME. THEY ARE MAKING A RUMBLE SOUND! THEY'RE GOING TO MURDER ME, I KNOW IT!" Character 3 (right): A person with long, dark hair, wearing a colorful outfit, gestures with their hands while speaking. They ask, "WHY DO THOSE CATS LOVE YOU SO MUCH, HOTORU?" The central character responds to Character 1 with, "NOT TILL AFTER YOU HELP MAKE BREAKFAST."
Cover of Marvel’s “X-Men: The Age of Apocalypse” comic, showing a large, stern-faced Apocalypse in the background above a group of X-Men characters in action poses, including Magneto reaching forward, Wolverine with claws out, Colossus, Nightcrawler, Gambit, and others, set against a red apocalyptic sky and ruined cityscape.
FISSION #5 interior page: An interior page of FISSION #5 showing the title “The Narrative Bias” by Rodrigo Culegovski. The text begins: “It’s the hottest summer on record in Santiago; every summer is. Valeria is sitting on the couch in my living room, fanning herself. A drop of sweat slides down my neck, from the heat or because I’m nervous. The woman on my computer screen is a composite of short clips of similar-looking people, edited together to create a...”
A tabby cat with a white chest and paws lies on a bed in warm, golden sunlight. The cat's body is stretched out, and its head is tilted slightly while looking directly at the camera with relaxed, half-closed eyes. The fur is long and fluffy, with a mix of dark brown, black, and orange tones. The light creates a soft, glowing effect across the cat's fur and the wrinkled blanket underneath.
Comic book cover titled "Runaways" from Marvel, issue #1. At the top, it reads “ONE WORLD UNDER DOOM” with eyes peering through metal slats. Two characters lounge on a ledge: one in bright red and yellow armor with horns, the other in colorful clothes and sneakers. Below, four characters sit or stand at a bus stop: one in a green hooded cloak and suit resembling Doctor Doom, one reading a map, one with round glasses and a flower hat, and one in black with a pentagram necklace. Yellow caution signs with silhouettes of running figures are posted on the bus stop. Bubbles float throughout the scene.
A comic book page showing a group of superpowered individuals preparing for battle. In the top panel, a character warns others, "They're coming, get ready, Outliers!" Another asks Calico if she can use her powers without Ember; Calico responds uncertainly. A character explains that another teammate, Jitter, is out of power and emphasizes, "We're the line." In the central panel, a character floats midair with dark tendrils emanating from their body, saying, "We're the line. Go, team." Below, chaos erupts. One character throws people to safety, saying, "Can't help it. I love that kid." In the last panel, Calico is urged to get to safety but insists someone else should go, exclaiming, "I love you!"
A casually dressed man in a hoodie and cap stands on the left, speaking with a skeptical or curious expression. He asks, "Is your friend turning into a robot? Is that, like, part of the project?" In the center, a woman in a teal jacket, red scarf, and high-waisted beige pants stands with a relaxed, confident posture, hand raised casually, replying, "Yes. Yes, it is." On the right, a man in a suit holding an orange cup responds, "Wow. Advanced placement."
A poster for doggy ice cream, in Spanish