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themaskednegro:

aeostyle:

Steal your boyfriend’s flannel. We won’t tell.
Get the look:Heritage FlannelCanvas Anorak

BUT I WILL. FUCK THAT SHIT.YO.HOMIE.THEY STEALIN YOUR FUCKIN FLANNEL. YOU KNOW IF THEY TAKE THAT SHIT YOU WON’T BE ALLOWED TO THE LUMBERJACKS CONVENTION IN NANTUCKET THIS YEAR.FUCK THAT.DON’T LET THEM TAKE YOUR FLANNEL HOMIE

themaskednegro:

aeostyle:

Steal your boyfriend’s flannel. We won’t tell.

Get the look:
Heritage Flannel
Canvas Anorak

BUT I WILL. FUCK THAT SHIT.

YO.

HOMIE.

THEY STEALIN YOUR FUCKIN FLANNEL. YOU KNOW IF THEY TAKE THAT SHIT YOU WON’T BE ALLOWED TO THE LUMBERJACKS CONVENTION IN NANTUCKET THIS YEAR.

FUCK THAT.

DON’T LET THEM TAKE YOUR FLANNEL HOMIE

fuckyeahbehindthescenes:

The ‘Industrial Light & Magic’ animators studied skydivers performing in a vertical wind tunnel to create Iron Man’s aerial movements. Iron Man was also animated to take off slowly and land quickly to make those movements more realistic.

Iron Man (2008)

comicsalliance:

A MODEST AND BELATED BIRTHDAY CELEBRATION FOR MIKE MIGNOLA
By Patrick A. Reed
If you were to pull a random sampling of professionals from across the comics industry and poll them on their favorite modern-day creators, Mike Mignola’s name would doubtlessly rank near the top. Since he burst on the scene at Marvel in the early 1980s, pencilling an obscure limited series about a talking space raccoon, he’s matured brilliantly – from his seminal work at DC Comics (pencilling books including World Of Krypton, Cosmic Odyssey, and Batman: Gotham By Gaslight), to his work at Topps, Marvel, and other companies in the early ’90s (on Ironwolf, Bram Stoker’s Dracula, various X-books, and many other titles), to his move into creator-owned comics with the mighty Hellboy, he’s maintained a unique voice and an immediately recognizable art style, bettering himself with each successive project, evolving and refining his voice at every opportunity.

Mignola’s vision is of course best expressed by the empire of “Hellboy-verse” comics, which includes the titles B.P.R.D. Hell On Earth, Abe Sapien, Lobster Johnson, Witchfinder, and even inspiring a kid-friendly spin-off series Itty Bitty Hellboy. They’re all set in his own supernatural horror-heroic world that blends spooky atmospherics and bizarre humor to create some of the best, most distinctive American comics ever put to paper.

Outside of comics, Mignola’s designed for animation (Atlantis: The Lost Empire), created concept art for a number of acclaimed films (Pan’s Labyrinth, Bram Stoker’s Dracula, Blade II), and even branched out into writing and illustrating prose novels (Baltimore, Joe Golem). His own creations have been adapted to both live-action films (Hellboy and Hellboy II: The Golden Army), and cartoons (Hellboy: Sword Of Storms, Hellboy: Blood And Iron, The Amazing Screw-On Head).

Whether it’s baby Hellboy eating a forbidden breakfast, a snake and a magician flying kites, or a robotic super-spy with a detachable head in the employ of President Lincoln, there’s a dry-yet-absurd tone to Mignola stories that drips with the glee of innovation and possibility, yet manages to keep it all contained within straight-faced third-person storytelling. And so, today, a few days after his 54th birthday, we’re excited to celebrate Mike Mignola’s career with a few fellow fans (who also happen to be notable comic-makers in their own right).
SEE THE TRIBUTES AT COMICS ALLIANCE

comicsalliance:

A MODEST AND BELATED BIRTHDAY CELEBRATION FOR MIKE MIGNOLA

By Patrick A. Reed

If you were to pull a random sampling of professionals from across the comics industry and poll them on their favorite modern-day creators, Mike Mignola’s name would doubtlessly rank near the top. Since he burst on the scene at Marvel in the early 1980s, pencilling an obscure limited series about a talking space raccoon, he’s matured brilliantly – from his seminal work at DC Comics (pencilling books including World Of Krypton, Cosmic Odyssey, and Batman: Gotham By Gaslight), to his work at Topps, Marvel, and other companies in the early ’90s (on Ironwolf, Bram Stoker’s Dracula, various X-books, and many other titles), to his move into creator-owned comics with the mighty Hellboy, he’s maintained a unique voice and an immediately recognizable art style, bettering himself with each successive project, evolving and refining his voice at every opportunity.

Mignola’s vision is of course best expressed by the empire of “Hellboy-verse” comics, which includes the titles B.P.R.D. Hell On EarthAbe SapienLobster Johnson, Witchfinder, and even inspiring a kid-friendly spin-off series Itty Bitty Hellboy. They’re all set in his own supernatural horror-heroic world that blends spooky atmospherics and bizarre humor to create some of the best, most distinctive American comics ever put to paper.

Outside of comics, Mignola’s designed for animation (Atlantis: The Lost Empire), created concept art for a number of acclaimed films (Pan’s Labyrinth, Bram Stoker’s Dracula, Blade II), and even branched out into writing and illustrating prose novels (Baltimore, Joe Golem). His own creations have been adapted to both live-action films (Hellboy and Hellboy II: The Golden Army), and cartoons (Hellboy: Sword Of Storms, Hellboy: Blood And Iron, The Amazing Screw-On Head).

Whether it’s baby Hellboy eating a forbidden breakfast, a snake and a magician flying kites, or a robotic super-spy with a detachable head in the employ of President Lincoln, there’s a dry-yet-absurd tone to Mignola stories that drips with the glee of innovation and possibility, yet manages to keep it all contained within straight-faced third-person storytelling. And so, today, a few days after his 54th birthday, we’re excited to celebrate Mike Mignola’s career with a few fellow fans (who also happen to be notable comic-makers in their own right).

SEE THE TRIBUTES AT COMICS ALLIANCE

house-of-thought:

Mada’in Saleh - Modern Saudi Arabia - built between 100 BC - 100 AD

Built by the Nabataean Kingdom prior to Roman annexation, these series of tombs were abandoned by the time Islam became predominant in the region.

(via fistfulofgammarays)

The Amazing Screw-On Head (Pilot)

I was reminded of this recently and watching it again, it made me even sadder that Sci Fi never ordered a full season of this, because holy shit it is perfect in every way.

And then I learned that Bryan Fuller made this and it blew my mind and also made a lot of sense.

Forget Firefly, this and Heat Vision & Jack are the greatest television tragedies of our time.

kellysue:

Avengers Assemble #9

Stefano Caselli is soooo good. Those expressions!

(Source: 5ummit)