By keeping track of something that is no longer there, or that never was, maps constitute a contemplative experience of death. In visualizing migrant fatalities as a numerical hemorrhage, they also develop a distinct aesthetic of necropolitics. Such maps, in fact, make viewers understand that immobility and death produce their own movement and geography, since time takes its material toll by corroding and eroding the texture from which maps of death are made, transforming them into mutable and perishable organisms. Visually, immobility affects the architecture of the map as well, in the sense that the viral lines of the maps appearing in the news, usually depicting the alleged invasion of foreign people, now transform into points—death points as opposed to fluxes of life. This corroded, numerical, and dotted choreography uncovers an inhuman, unjust, but nonetheless real geography of necropower that would otherwise remain buried under the seabed.