The fictional posters attempt to be the limit of sublime and edge of the abject. Paintings in oil, acrylic and watercolor, arrange gothic imagery, are printed to mimic and mutate the formal design of earlier pulp fiction covers. The contrasts of grimacing portraiture, symbols and memento mori, and moments of interaction, are dream-like metaphors for angst and opinion toward earthly psychosexual existence. Happily obscene with a distorted sense of humor, the works serves as a biopic of human emotions and failures. The arrangement of objectified women, horror, and muddled symbolism, speaks to a trinity of essentiality and desire present in society and media. The works existence, fashioned as found pulp fiction covers, consequently appears as a spectacle of society, and a comment to society’s ever-changing perception of what is real. Parasitically thriving off the history of the medium as mass media, the work enters the world as an expressive mark. The presence of the medium questions perception of reality through how audiences engage mass media and the fiction in truth.