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kit brought us another awesome anniversary video!! 🥹🙇🙌✨💕
🎬 https://youtu.be/foVtASN01xQ
'There is a saying of the 7 years curse among K-pop girl groups, with many disbanding before that mark. But Dreamcatcher is a different story...'
We Are Dreamcatcher (7th Anniversary Video)
#dreamcatcher #7thAnniversary #anniversary #insomnicsy #kpop -
Panopticon – The Rime of Memory Review
By El Cuervo
Though his work pre-dates the last decade, it was in the 2010s that Austin Lunn’s solo project entitled Panopticon became one of the best black metal bands currently operating. From the raw, political charge of Kentucky, through the rangy, transitory Roads to the North, to the delicacy and melodicism of Autumn Eternal,1 Panopticon fuses American heritage with Nordic musicality into an extremely compelling and atmospheric black metal package. The new decade brought …and Again into the Light which was a typically dynamic and emotively-driven affair and it’s now followed by The Rime of Memory. Can Lunn maintain his quality in quantity?
Lunn is ever the master of atmosphere. The brief introduction called “I Erindringens Høstlige Dysterhet” bleeds into the first (and longest) main track called “Winter’s Ghost,” building tension with nearly 10 minutes of moody neofolk. The slow, plodding feel and layers of acoustic guitars and cello set a doomy pace. Although the first heaviest passage on the record is a punishingly bleak and unmelodic streak of black metal, this transitions into proper doom metal territory. Rime of Memory’s despondent tone and doom instrumentation lend its music even more weight and gravitas. I may not particularly enjoy doom these days but where it’s used to set a tone and counter-point other sounds it works well. Rime of Memory is moody but not dull, poignant but not overwrought. It extracts you from your current circumstances and drags you into its desolate, frost-bitten world. There is little comforting here, at least until the closing two tracks which allow slivers of optimism to pierce the darkness.
The core concoction of atmospheric, folk-infused black metal comprises 4 daddy-sized tracks running between 12 and 20 minutes, the brief introduction and another 9-minute track for good measure. It’s a lot to consume and it feels like you experience Lunn’s raw, unfiltered, creative expression. He’s invested himself into maximum drama here. I’m familiar with his protracted style and glean great enjoyment from some of his other lengthy works. But Rime of Memory takes another step on that road towards 80 minutes, finishing just a few minutes shy of that mark. I admire the way that Lunn channels his singular artistic and emotional energy into his albums, but the counter-balance of another song-writing hand might help to refine the mass of music he inevitably releases. There are too few songs for the album’s length, resulting in what feels like a feast each time you hit play; what’s here is good but there’s a lot of it. This might work on a once-per-week or once-per-month basis, but trying to listen to the album regularly all the way through is a lot to stomach. It’s unnecessary that the shortest main track on this album is nearly 10 minutes long, and there are 4 longer tracks than this.
Moreover, the first two-thirds of Rime of Memory is less dynamic than other Panopticon albums; besides its opening 10 minutes, it features few extended quiet passages, few soothing interludes, and few pretty melodies. There are fewer moments I can point to that surpass other highlight moments from previous records. I like long songs as much as the next prog nerd but such length requires dynamism, namely tangible progression between heavy and light, between instrumentation, between tempo and melodies. Rime of Memory has just enough of this to sustain its weight but it’s close in places. Fortunately, the closing duo called “Enduring the Snow Drought” and “The Blue Against the White” revitalizes my energy and enthusiasm after a crushing run of music, turning through stronger melodies, bigger guitar solos and proper slow passages to frame the heavier stuff. The latter’s final passage feels appropriately dense and climactic, but also memorable and melodic, with hummable guitar melodies and a powerful string arrangement. The final 28 minutes of the record are a potent reminder of why I love this band.
All this results in an album that was tough to rate. If you already enjoy Panopticon you’ll undoubtedly enjoy Rime of Memory too. It’s powerfully atmospheric and emotively poignant, pulling you into its cold, harsh world. But its emotions are alienating, and its run-time difficult to digest. I’m generally reluctant to highly award an album that I struggle to complete in one sitting because this defeats the purpose of the album as a singular art form. But it also says a lot that Panopticon pulls me back for more listens despite this. My recommendation isn’t as easy as it was for …and Again into the Light, but it’s a strong recommendation nonetheless.
Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps
Label: Bindrune Recordings
Websites: facebook.com/panopticon | panopticon.bandcamp.com
Releases Worldwide: November 29th, 2023Thus Spoke
So desperate to evade our inevitabilities…we will harness and destroy the very life force we thrive from to just have one more day of youth and ease…we will desecrate the sacred cathedrals of the wilderness, the havens of all life just so that we can have a simpler existence […] And then it comes. The well dries up. The forests burn. The smoke filled air choking our lungs […] It all served us nothing. There is no escape from death and grief and loss…So why did we do this? – A.Lunn
I won’t pretend to have any special personal connection to the Appalachian wilderness, because I don’t. I grew up in the South-East of England. Yet even to me, Panopticon’s music is so powerfully evocative, it almost feels like nostalgia. The forests and mountains, their history, their life, and their pain feel so real and so familiar. The albums are just as hard-hitting emotionally, progenitor Austin Lunn’s bleeding human heart palpable through the bewitching intermingling of bluegrass, folk, raw black, and atmospheric black metal. None have left me with dry eyes or a less than restless soul. Following up 2021’s …And Again Into the Light is a tall order, that previous record resonating particularly strongly—perhaps due to its release amidst the anxiety and isolation of lockdown fallout—and shooting to the top of my year-end list. But in characteristically understated fashion, dropping as the year draws to a close, The Rime of Memory is here to prove just how unmatched Panopticon is.
An allegory about time, aging, and the dying planet, The Rime of Memory draws from deep wells of passion and pain both intimate and universal. The dreamlike interplay of ferocious, frosted second-wave tirades, weeping strings, delicate plucks, and boundless, echoing atmospheres feels huge, and makes these emotions utterly undeniable. With a host of guest musicians providing said strings, piano, choir and harsh vocals, and poetry recitation (“An Autumn Storm”), both Lunn’s voice and his message is amplified and the sheer scale of this work totally envelops. In many ways, it’s the heaviest Panopticon has released in recent memory, a great deal devoted to the intense, archetypal surges of string-accented black metal and heart-wrenching screams, massive, clanging resonance (“Cedar Skeletons,” “An Autumn Storm”), and what is surely the most impassioned and impressive drumming of the project’s lifetime—especially on “Cedar Skeletons” and “Enduring the Snow Drought.” Quieter moments carry an analogous weight in stirring poignancy, wrought by liquid plucks and ethereal, fading tremolo, forlorn steel guitar plucking, and heaving sighs of string. Everything seems designed to enhance the drama, without ever overwhelming; cataclysmic climaxes fading into echo and stripped-back iterations of the theme. In mesmerized reverence you witness the pulsing post-metal grow layer upon layer, before exploding (“Winter’s Ghost,” and all the others).
‘Beautiful’ is almost too surface-level a word to describe The Rime of Memory, but it’ll do. Whether raging with near-dissonance (“An Autumn Storm”) or the dreaded major key (“Enduring the Snow Drought”), or being straightforwardly, gaze-ily gorgeous (“Winter’s Ghost,” “The Blue Against the White”), it is beautiful in an untamable, indescribable way. This is due to Panopticon’s proficiency for crafting exquisitely layered compositions, that weave the instrumentation together into inextricable ebbs and flows of urgent, plaintive, rage-filled sound. Such intricacies lead also to jaw-dropping, and tear-baiting catharses (“Winter’s Ghost,” “Cedar Skeletons,” “Enduring the Snow Drought”). Suffused with syrupy guitar, mournful refrains drifting upwards, morose spoken word or heaving screams, combining into a descending, explosive symphony led by the violins and cellos that carried the melody, chimes, choir, tumbling, accelerating percussion, emotion ringing into the atmosphere with melancholy strings. And the beginnings too—steel guitar, horn, cello and violin lament opening “Winter’s Ghost”
Even speaking of high points does little justice to the way the album flows and coheres as one. At a push, I would pull “Cedar Skeletons” out as not only the greatest on the record, but a strong contender for song of the year. There is nothing to remove, and nothing to add to The Rime of Memory, because with it, as with Panopticon’s other works, one must experience it as the cry of human solidarity, grief, and love that it is, as it is. Unbroken and unabridged. Many consider an album such as this that extends to 75 minutes simply ‘too long,’ and therefore deduct real or theoretical marks from their review or opinion of it. But being long is no inherent flaw. As it happens, 75 minutes is exactly the right duration for the drama and beauty of The Rime of Memory to play out.
I could wax lyrical even further but I imagine everyone is already very sick of me. The Rime of Memory epitomizes exactly why, and how far Panopticon exists in worlds beyond (post-)black metal peers. Another world to sink into, to muse on, to introspect, grieve, and hope to. The steel guitars and strings of “I Erindringens Høstlige Dysterhet” and “Winter’s Ghost” are starting again, and I’m already crying. Beyond words.
Rating: Excellent
#2023 #35 #45 #AtmosphericBlackMetal #BindruneRecordings #FolkMetal #Nov23 #Panopticon #Review #TheRimeOfMemory
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Panopticon – The Rime of Memory Review
By El Cuervo
Though his work pre-dates the last decade, it was in the 2010s that Austin Lunn’s solo project entitled Panopticon became one of the best black metal bands currently operating. From the raw, political charge of Kentucky, through the rangy, transitory Roads to the North, to the delicacy and melodicism of Autumn Eternal,1 Panopticon fuses American heritage with Nordic musicality into an extremely compelling and atmospheric black metal package. The new decade brought …and Again into the Light which was a typically dynamic and emotively-driven affair and it’s now followed by The Rime of Memory. Can Lunn maintain his quality in quantity?
Lunn is ever the master of atmosphere. The brief introduction called “I Erindringens Høstlige Dysterhet” bleeds into the first (and longest) main track called “Winter’s Ghost,” building tension with nearly 10 minutes of moody neofolk. The slow, plodding feel and layers of acoustic guitars and cello set a doomy pace. Although the first heaviest passage on the record is a punishingly bleak and unmelodic streak of black metal, this transitions into proper doom metal territory. Rime of Memory’s despondent tone and doom instrumentation lend its music even more weight and gravitas. I may not particularly enjoy doom these days but where it’s used to set a tone and counter-point other sounds it works well. Rime of Memory is moody but not dull, poignant but not overwrought. It extracts you from your current circumstances and drags you into its desolate, frost-bitten world. There is little comforting here, at least until the closing two tracks which allow slivers of optimism to pierce the darkness.
The core concoction of atmospheric, folk-infused black metal comprises 4 daddy-sized tracks running between 12 and 20 minutes, the brief introduction and another 9-minute track for good measure. It’s a lot to consume and it feels like you experience Lunn’s raw, unfiltered, creative expression. He’s invested himself into maximum drama here. I’m familiar with his protracted style and glean great enjoyment from some of his other lengthy works. But Rime of Memory takes another step on that road towards 80 minutes, finishing just a few minutes shy of that mark. I admire the way that Lunn channels his singular artistic and emotional energy into his albums, but the counter-balance of another song-writing hand might help to refine the mass of music he inevitably releases. There are too few songs for the album’s length, resulting in what feels like a feast each time you hit play; what’s here is good but there’s a lot of it. This might work on a once-per-week or once-per-month basis, but trying to listen to the album regularly all the way through is a lot to stomach. It’s unnecessary that the shortest main track on this album is nearly 10 minutes long, and there are 4 longer tracks than this.
Moreover, the first two-thirds of Rime of Memory is less dynamic than other Panopticon albums; besides its opening 10 minutes, it features few extended quiet passages, few soothing interludes, and few pretty melodies. There are fewer moments I can point to that surpass other highlight moments from previous records. I like long songs as much as the next prog nerd but such length requires dynamism, namely tangible progression between heavy and light, between instrumentation, between tempo and melodies. Rime of Memory has just enough of this to sustain its weight but it’s close in places. Fortunately, the closing duo called “Enduring the Snow Drought” and “The Blue Against the White” revitalizes my energy and enthusiasm after a crushing run of music, turning through stronger melodies, bigger guitar solos and proper slow passages to frame the heavier stuff. The latter’s final passage feels appropriately dense and climactic, but also memorable and melodic, with hummable guitar melodies and a powerful string arrangement. The final 28 minutes of the record are a potent reminder of why I love this band.
All this results in an album that was tough to rate. If you already enjoy Panopticon you’ll undoubtedly enjoy Rime of Memory too. It’s powerfully atmospheric and emotively poignant, pulling you into its cold, harsh world. But its emotions are alienating, and its run-time difficult to digest. I’m generally reluctant to highly award an album that I struggle to complete in one sitting because this defeats the purpose of the album as a singular art form. But it also says a lot that Panopticon pulls me back for more listens despite this. My recommendation isn’t as easy as it was for …and Again into the Light, but it’s a strong recommendation nonetheless.
Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps
Label: Bindrune Recordings
Websites: facebook.com/panopticon | panopticon.bandcamp.com
Releases Worldwide: November 29th, 2023Thus Spoke
So desperate to evade our inevitabilities…we will harness and destroy the very life force we thrive from to just have one more day of youth and ease…we will desecrate the sacred cathedrals of the wilderness, the havens of all life just so that we can have a simpler existence […] And then it comes. The well dries up. The forests burn. The smoke filled air choking our lungs […] It all served us nothing. There is no escape from death and grief and loss…So why did we do this? – A.Lunn
I won’t pretend to have any special personal connection to the Appalachian wilderness, because I don’t. I grew up in the South-East of England. Yet even to me, Panopticon’s music is so powerfully evocative, it almost feels like nostalgia. The forests and mountains, their history, their life, and their pain feel so real and so familiar. The albums are just as hard-hitting emotionally, progenitor Austin Lunn’s bleeding human heart palpable through the bewitching intermingling of bluegrass, folk, raw black, and atmospheric black metal. None have left me with dry eyes or a less than restless soul. Following up 2021’s …And Again Into the Light is a tall order, that previous record resonating particularly strongly—perhaps due to its release amidst the anxiety and isolation of lockdown fallout—and shooting to the top of my year-end list. But in characteristically understated fashion, dropping as the year draws to a close, The Rime of Memory is here to prove just how unmatched Panopticon is.
An allegory about time, aging, and the dying planet, The Rime of Memory draws from deep wells of passion and pain both intimate and universal. The dreamlike interplay of ferocious, frosted second-wave tirades, weeping strings, delicate plucks, and boundless, echoing atmospheres feels huge, and makes these emotions utterly undeniable. With a host of guest musicians providing said strings, piano, choir and harsh vocals, and poetry recitation (“An Autumn Storm”), both Lunn’s voice and his message is amplified and the sheer scale of this work totally envelops. In many ways, it’s the heaviest Panopticon has released in recent memory, a great deal devoted to the intense, archetypal surges of string-accented black metal and heart-wrenching screams, massive, clanging resonance (“Cedar Skeletons,” “An Autumn Storm”), and what is surely the most impassioned and impressive drumming of the project’s lifetime—especially on “Cedar Skeletons” and “Enduring the Snow Drought.” Quieter moments carry an analogous weight in stirring poignancy, wrought by liquid plucks and ethereal, fading tremolo, forlorn steel guitar plucking, and heaving sighs of string. Everything seems designed to enhance the drama, without ever overwhelming; cataclysmic climaxes fading into echo and stripped-back iterations of the theme. In mesmerized reverence you witness the pulsing post-metal grow layer upon layer, before exploding (“Winter’s Ghost,” and all the others).
‘Beautiful’ is almost too surface-level a word to describe The Rime of Memory, but it’ll do. Whether raging with near-dissonance (“An Autumn Storm”) or the dreaded major key (“Enduring the Snow Drought”), or being straightforwardly, gaze-ily gorgeous (“Winter’s Ghost,” “The Blue Against the White”), it is beautiful in an untamable, indescribable way. This is due to Panopticon’s proficiency for crafting exquisitely layered compositions, that weave the instrumentation together into inextricable ebbs and flows of urgent, plaintive, rage-filled sound. Such intricacies lead also to jaw-dropping, and tear-baiting catharses (“Winter’s Ghost,” “Cedar Skeletons,” “Enduring the Snow Drought”). Suffused with syrupy guitar, mournful refrains drifting upwards, morose spoken word or heaving screams, combining into a descending, explosive symphony led by the violins and cellos that carried the melody, chimes, choir, tumbling, accelerating percussion, emotion ringing into the atmosphere with melancholy strings. And the beginnings too—steel guitar, horn, cello and violin lament opening “Winter’s Ghost”
Even speaking of high points does little justice to the way the album flows and coheres as one. At a push, I would pull “Cedar Skeletons” out as not only the greatest on the record, but a strong contender for song of the year. There is nothing to remove, and nothing to add to The Rime of Memory, because with it, as with Panopticon’s other works, one must experience it as the cry of human solidarity, grief, and love that it is, as it is. Unbroken and unabridged. Many consider an album such as this that extends to 75 minutes simply ‘too long,’ and therefore deduct real or theoretical marks from their review or opinion of it. But being long is no inherent flaw. As it happens, 75 minutes is exactly the right duration for the drama and beauty of The Rime of Memory to play out.
I could wax lyrical even further but I imagine everyone is already very sick of me. The Rime of Memory epitomizes exactly why, and how far Panopticon exists in worlds beyond (post-)black metal peers. Another world to sink into, to muse on, to introspect, grieve, and hope to. The steel guitars and strings of “I Erindringens Høstlige Dysterhet” and “Winter’s Ghost” are starting again, and I’m already crying. Beyond words.
Rating: Excellent
#2023 #35 #45 #AtmosphericBlackMetal #BindruneRecordings #FolkMetal #Nov23 #Panopticon #Review #TheRimeOfMemory
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“In Flanders Fields” by John McCrae
In Flanders fields the poppies blow
Between the crosses, row on row,
That mark our place; and in the sky
The larks, still bravely singing, fly
Scarce heard amid the guns below.
We are the Dead. Short days ago,
We lived, felt dawn, saw sunset glow,
Loved and were loved, and now we lie
In Flanders fields.
Take up our quarrel with the foe:
To you from failing hands we throw. #rememberanceday #history #thefallen -
“In Flanders Fields” by John McCrae
In Flanders fields the poppies blow
Between the crosses, row on row,
That mark our place; and in the sky
The larks, still bravely singing, fly
Scarce heard amid the guns below.
We are the Dead. Short days ago,
We lived, felt dawn, saw sunset glow,
Loved and were loved, and now we lie
In Flanders fields.
Take up our quarrel with the foe:
To you from failing hands we throw. #rememberanceday #history #thefallen -
“In Flanders Fields” by John McCrae
In Flanders fields the poppies blow
Between the crosses, row on row,
That mark our place; and in the sky
The larks, still bravely singing, fly
Scarce heard amid the guns below.
We are the Dead. Short days ago,
We lived, felt dawn, saw sunset glow,
Loved and were loved, and now we lie
In Flanders fields.
Take up our quarrel with the foe:
To you from failing hands we throw. #rememberanceday #history #thefallen -
CW: Possible visual spoilers for "Fall of the House of Usher" on Netflix
On top of the more illustrative work I did on Fall of the House of Usher, we also needed to work out the layout of this scene so that Mark Hamill could walk around it and navigate to find the points of interest.
The different colour bodies represent different levels of "hero detail" for the physical props.
#ConceptArt
#Blender3D
#3D
#Blender
#Netflix
#FallOfTheHouseOfUsher
#MastoArt
#FediArt -
When the 121st #Missouri State Fair (#MSF121 ) begins Thursday, it'll mark the start of the last fair that Mark Wolfe will direct. Over the summer Wolfe made it known that he will retire after this year's event, wrapping up two decades on the fairgrounds including 14 as director.
https://www.centralmoinfo.com/wolfe-prepares-for-final-turn-as-missouri-state-fair-director/
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In 1969, The Turtles gave a special performance at the White House as guests of Tricia Nixon. Stories circulate concerning members of the group allegedly snorted cocaine on Abraham Lincoln's desk, and that Mark Volman fell off the stage 5 times.
Were these two incidents related, I wonder?10 weird and wonderful things which happened on 10 May:
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“The secret of getting ahead is getting started” is great advice.
The secret of “The secret of getting ahead is getting started” is that Mark Twain is *not* the source of the quote.
#GettingStarted #Motivation #MarkTwain #ApocryphalQuotes -
This short book trailer animation traces my six year journey across Scotland, searching for women accused of witchcraft and the places in the landscape that mark their lives. #ScottishFolklore #witch #witches #scottishHistory #bookTrailer #nonfiction #bookstodon #folklore #WritingCommunity #bookclub #scottishbook #scotland #womennotwitches #hexthepatriarchy #feminist #feministhistory #witchesofmastodon #witchythings
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This short book trailer animation traces my six year journey across Scotland, searching for women accused of witchcraft and the places in the landscape that mark their lives. #ScottishFolklore #witch #witches #scottishHistory #bookTrailer #nonfiction #bookstodon #folklore #WritingCommunity #bookclub #scottishbook #scotland #womennotwitches #hexthepatriarchy #feminist #feministhistory #witchesofmastodon #witchythings
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This short book trailer animation traces my six year journey across Scotland, searching for women accused of witchcraft and the places in the landscape that mark their lives. #ScottishFolklore #witch #witches #scottishHistory #bookTrailer #nonfiction #bookstodon #folklore #WritingCommunity #bookclub #scottishbook #scotland #womennotwitches #hexthepatriarchy #feminist #feministhistory #witchesofmastodon #witchythings
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This short book trailer animation traces my six year journey across Scotland, searching for women accused of witchcraft and the places in the landscape that mark their lives. #ScottishFolklore #witch #witches #scottishHistory #bookTrailer #nonfiction #bookstodon #folklore #WritingCommunity #bookclub #scottishbook #scotland #womennotwitches #hexthepatriarchy #feminist #feministhistory #witchesofmastodon #witchythings
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This short book trailer animation traces my six year journey across Scotland, searching for women accused of witchcraft and the places in the landscape that mark their lives. #ScottishFolklore #witch #witches #scottishHistory #bookTrailer #nonfiction #bookstodon #folklore #WritingCommunity #bookclub #scottishbook #scotland #womennotwitches #hexthepatriarchy #feminist #feministhistory #witchesofmastodon #witchythings
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#Freudenfreude is its own reward, of course - and my artistic life is richer and better for the freudenfreude-rich relationships that mark it. Cheer on your people, folks. It makes you better. #actors #playwrights #artists #actorslife #actor #playwright #writer
https://www.nytimes.com/2022/11/25/well/mind/schadenfreude-freudenfreude.html
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#Freudenfreude is its own reward, of course - and my artistic life is richer and better for the freudenfreude-rich relationships that mark it. Cheer on your people, folks. It makes you better. #actors #playwrights #artists #actorslife #actor #playwright #writer
https://www.nytimes.com/2022/11/25/well/mind/schadenfreude-freudenfreude.html
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#Freudenfreude is its own reward, of course - and my artistic life is richer and better for the freudenfreude-rich relationships that mark it. Cheer on your people, folks. It makes you better. #actors #playwrights #artists #actorslife #actor #playwright #writer
https://www.nytimes.com/2022/11/25/well/mind/schadenfreude-freudenfreude.html
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#Freudenfreude is its own reward, of course - and my artistic life is richer and better for the freudenfreude-rich relationships that mark it. Cheer on your people, folks. It makes you better. #actors #playwrights #artists #actorslife #actor #playwright #writer
https://www.nytimes.com/2022/11/25/well/mind/schadenfreude-freudenfreude.html
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#Freudenfreude is its own reward, of course - and my artistic life is richer and better for the freudenfreude-rich relationships that mark it. Cheer on your people, folks. It makes you better. #actors #playwrights #artists #actorslife #actor #playwright #writer
https://www.nytimes.com/2022/11/25/well/mind/schadenfreude-freudenfreude.html
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A Look Back at Amazing Spider-Man #361 (1992)
Disclaimer: This is my original work with details sourced from reading the comic book and doing personal research. Anyone who wants to use this article, in part or in whole, needs to secure first my permission and agree to cite me as the source and author. Let it be known that any unauthorized use of this article will constrain the author to pursue the remedies under R.A. No. 8293, the Revised Penal Code, and/or all applicable legal actions under the laws of the Philippines.
Welcome back superhero enthusiasts, 1990s arts and culture enthusiasts, Marvel Comics fans and comic book collectors! Today we go back to the early 1990s to examine a small part of the Marvel Comics shared universe through a tale of the Amazing Spider-Man monthly series.
When it comes to the argument as to who is the most evil or the deadliest foe Spider-Man ever has, many point towards Venom (Eddie Brock and the alien costume from Secret Wars) who is murderous, filled with revenge against Spider-Man, is physically formidable and knows Peter Parker and his family members. In the early 1990s, the creative guys behind the Amazing Spider-Man series made the key decision to create another symbiote-wearing super villain like Venom but much more violent, more murderous and truly insane.
With those details laid down, here is a look back at Amazing Spider-Man #361, published in 1992 by Marvel Comics with a story written by David Michelinie and drawn by Mark Bagley.
The cover.Early story
The story begins inside the agro-lab of the Empire State University where an awful figure in black-and-blood intimidates a male worker. The awful figure is Carnage and he decides to play with the worker a bit before fulfilling his intention to kill him. The worker tries to escape but ends up failing as Carnage throws a huge piece of hardware at the door. Carnage grabs the man, slams him on the wall and uses sharp makeshift blades that suddenly stretched to murder the him.
At the a certain home in Forest Hills, Peter Parker spends quality time his aunt May Parker as he repairs an important machine in the basement. Moments later, the phone rings and May goes up to answer it. Peter follows and learns that the call was meant for him.
Upon using the phone, Peter learns the tragic news that his friend Chip at the university was murdered. He excuses himself from May to go outside to secretly change into Spider-Man and make his way to Empire State University. Struck by the tragic news, Spider-Man is aware that there have been a dozen brutal murders in New York City over the last week. He is also aware that a message was written in blood by someone called Carnage…
Quality
The first-ever battle between Spider-Man and Carnage is very intense to look at.To make things very clear, this comic book has the first full appearance of Carnage which is Cletus Kasady with a living costume spawned from Venom’s symbiote. Kasady himself first appeared in Amazing Spider-Man #344 in 1991, and it is very clear that the creators deliberately modeled him after DC Comics’ super villain the Joker to have the psychopath appearance (distinctive messy hair, crazed facial expressions, slim body frames and the unusual jawline). Kasady and the Joker also have a nihilistic view of the world focused on spreading chaos while enjoying unrestrained violence.
David Michelinie was really methodical when it came to build-up the tension, presenting key details and pacing the narrative when showing Carnage (who actually appears on the first page) and emphasizing the details about him (including Kasady’s background history and personality as observed by the witnesses who knew him). The appearance of Carnage in the first half was deliberately limited to ten panels and as the story moved on, details of him were revealed especially when Peter Parker did his own detective work. By the time Spider-Man and Carnage finally faced off with each other, the spectacle (action scenes) really ramped up high and the Michelinie-Bagley duo succeeded in showing Carnage being deadlier and unrelenting towards the webslinger.
Spider-Man doing detective work in costume and in civilian form as Peter Parker. This is also one of the finest pieces of Spider-Man art done by Mark Bagley.More on the iconic hero, Peter Parker here was portrayed as being highly disturbed by the recent murders of the city and the loss of his friend which compelled him to do very serious detective work leading up to his discovering of Kasady (and the eventual face-off in a ruined property where Carnage took refuge in). Parker also felt uneasy about remembering his recent encounter with Venom and the details of the murder reminded him of the old nemesis. The pacing here is excellent and as the narrative went on, the tension really intensified.
Spider-Man’s encounter with Carnage – which the cover art obviously emphasized without restraint – is really intense to look at. As he is completely unprepared as to what Carnage was capable of doing, the webslinger really struggled and was in danger in key moments. Carnage also has unique capabilities using the symbiote such as forming sharp blades and shooting small but sharp projectiles. If you want super villain-led moments of action that really challenged the superhero, you will find a good amount of that here. Also, I can say that Mark Bagley is very good in presenting the action scenes with dynamism, danger and intensity mixed together well.
Conclusion
The news image of Cletus Kasady on the lower-right corner is obviously patterned after Batman’s nemesis the Joker. That image really looks like it was ripped out of a Batman comic book.Amazing Spider-Man #361 (1992) marks the very intense debut of Carnage and the way he was presented as the newest super villain for Spider-Man to deal with, he is nastier and deadlier than Venom (who would eventually have the delusion of protecting the innocent while remaining murderous). In fact, the way the battle between the two was executed here made me forget about Venom temporarily which shows the Michelinie-Bagley duo pulled the right moves in making this comic book. To be clear, Carnage is pure evil laced with insanity and with absolute disregard towards people. Both Carnage and Venom are murderers and they should be condemned always. It happens that Carnage is more disastrous and has no regard for human life, which ironically makes Venom looking a bit less evil by comparison.
As for Spider-Man, his portrayal here is really dramatic and his superhero pursuits only added to the trouble of his marriage with Mary Jane. As such, you could end up feeling sorry for MJ even though Peter Parker himself wants to solve problems while protecting not only their lives but also the lives of the innocent.
Overall, Amazing Spider-Man #361 (1992) is highly recommended.
+++++
Thank you for reading. If you find this article engaging, please click the like button below, share this article to others and also please consider making a donation to support my publishing. If you are looking for a copywriter to create content for your special project or business, check out my services and my portfolio. Feel free to contact me with a private message. Also please feel free to visit my Facebook page Author Carlo Carrasco and follow me on Twitter at @HavenorFantasy as well as on Tumblr at https://carlocarrasco.tumblr.com/ and on Instagram at https://www.instagram.com/authorcarlocarrasco
#1990s #AmazingSpiderMan #America #amusement #Batman #Carnage #ChatGPT #CityOfNewYork #CletusKasady #comic #comicBook #ComicBookReview #comicReview #comics #comicsBlog #comicsReview #conspiracy #crossover #DavidMichelinie #DCComics #EddieBrock #entertainment #entertainmentBlog #Facebook #fun #Google #GoogleSearch #illustratedLiterature #Instagram #Joker #literature #MarkBagley #Marvel #MarvelComics #MaryJane #MaryJaneParker #NewYork #NewYorkCity #NewYorkCityNYC #nostalgia #PeterParker #retroReview #Retrospective #review #Reviews #SecretWars #socialMedia #SpiderMan #superhero #The1990s #UnitedStates #Venom #VenomLethalProtector #WordPress #WordPressCom -
A Look Back at Amazing Spider-Man #361 (1992)
Disclaimer: This is my original work with details sourced from reading the comic book and doing personal research. Anyone who wants to use this article, in part or in whole, needs to secure first my permission and agree to cite me as the source and author. Let it be known that any unauthorized use of this article will constrain the author to pursue the remedies under R.A. No. 8293, the Revised Penal Code, and/or all applicable legal actions under the laws of the Philippines.
Welcome back superhero enthusiasts, 1990s arts and culture enthusiasts, Marvel Comics fans and comic book collectors! Today we go back to the early 1990s to examine a small part of the Marvel Comics shared universe through a tale of the Amazing Spider-Man monthly series.
When it comes to the argument as to who is the most evil or the deadliest foe Spider-Man ever has, many point towards Venom (Eddie Brock and the alien costume from Secret Wars) who is murderous, filled with revenge against Spider-Man, is physically formidable and knows Peter Parker and his family members. In the early 1990s, the creative guys behind the Amazing Spider-Man series made the key decision to create another symbiote-wearing super villain like Venom but much more violent, more murderous and truly insane.
With those details laid down, here is a look back at Amazing Spider-Man #361, published in 1992 by Marvel Comics with a story written by David Michelinie and drawn by Mark Bagley.
The cover.Early story
The story begins inside the agro-lab of the Empire State University where an awful figure in black-and-blood intimidates a male worker. The awful figure is Carnage and he decides to play with the worker a bit before fulfilling his intention to kill him. The worker tries to escape but ends up failing as Carnage throws a huge piece of hardware at the door. Carnage grabs the man, slams him on the wall and uses sharp makeshift blades that suddenly stretched to murder the him.
At the a certain home in Forest Hills, Peter Parker spends quality time his aunt May Parker as he repairs an important machine in the basement. Moments later, the phone rings and May goes up to answer it. Peter follows and learns that the call was meant for him.
Upon using the phone, Peter learns the tragic news that his friend Chip at the university was murdered. He excuses himself from May to go outside to secretly change into Spider-Man and make his way to Empire State University. Struck by the tragic news, Spider-Man is aware that there have been a dozen brutal murders in New York City over the last week. He is also aware that a message was written in blood by someone called Carnage…
Quality
The first-ever battle between Spider-Man and Carnage is very intense to look at.To make things very clear, this comic book has the first full appearance of Carnage which is Cletus Kasady with a living costume spawned from Venom’s symbiote. Kasady himself first appeared in Amazing Spider-Man #344 in 1991, and it is very clear that the creators deliberately modeled him after DC Comics’ super villain the Joker to have the psychopath appearance (distinctive messy hair, crazed facial expressions, slim body frames and the unusual jawline). Kasady and the Joker also have a nihilistic view of the world focused on spreading chaos while enjoying unrestrained violence.
David Michelinie was really methodical when it came to build-up the tension, presenting key details and pacing the narrative when showing Carnage (who actually appears on the first page) and emphasizing the details about him (including Kasady’s background history and personality as observed by the witnesses who knew him). The appearance of Carnage in the first half was deliberately limited to ten panels and as the story moved on, details of him were revealed especially when Peter Parker did his own detective work. By the time Spider-Man and Carnage finally faced off with each other, the spectacle (action scenes) really ramped up high and the Michelinie-Bagley duo succeeded in showing Carnage being deadlier and unrelenting towards the webslinger.
Spider-Man doing detective work in costume and in civilian form as Peter Parker. This is also one of the finest pieces of Spider-Man art done by Mark Bagley.More on the iconic hero, Peter Parker here was portrayed as being highly disturbed by the recent murders of the city and the loss of his friend which compelled him to do very serious detective work leading up to his discovering of Kasady (and the eventual face-off in a ruined property where Carnage took refuge in). Parker also felt uneasy about remembering his recent encounter with Venom and the details of the murder reminded him of the old nemesis. The pacing here is excellent and as the narrative went on, the tension really intensified.
Spider-Man’s encounter with Carnage – which the cover art obviously emphasized without restraint – is really intense to look at. As he is completely unprepared as to what Carnage was capable of doing, the webslinger really struggled and was in danger in key moments. Carnage also has unique capabilities using the symbiote such as forming sharp blades and shooting small but sharp projectiles. If you want super villain-led moments of action that really challenged the superhero, you will find a good amount of that here. Also, I can say that Mark Bagley is very good in presenting the action scenes with dynamism, danger and intensity mixed together well.
Conclusion
The news image of Cletus Kasady on the lower-right corner is obviously patterned after Batman’s nemesis the Joker. That image really looks like it was ripped out of a Batman comic book.Amazing Spider-Man #361 (1992) marks the very intense debut of Carnage and the way he was presented as the newest super villain for Spider-Man to deal with, he is nastier and deadlier than Venom (who would eventually have the delusion of protecting the innocent while remaining murderous). In fact, the way the battle between the two was executed here made me forget about Venom temporarily which shows the Michelinie-Bagley duo pulled the right moves in making this comic book. To be clear, Carnage is pure evil laced with insanity and with absolute disregard towards people. Both Carnage and Venom are murderers and they should be condemned always. It happens that Carnage is more disastrous and has no regard for human life, which ironically makes Venom looking a bit less evil by comparison.
As for Spider-Man, his portrayal here is really dramatic and his superhero pursuits only added to the trouble of his marriage with Mary Jane. As such, you could end up feeling sorry for MJ even though Peter Parker himself wants to solve problems while protecting not only their lives but also the lives of the innocent.
Overall, Amazing Spider-Man #361 (1992) is highly recommended.
+++++
Thank you for reading. If you find this article engaging, please click the like button below, share this article to others and also please consider making a donation to support my publishing. If you are looking for a copywriter to create content for your special project or business, check out my services and my portfolio. Feel free to contact me with a private message. Also please feel free to visit my Facebook page Author Carlo Carrasco and follow me on Twitter at @HavenorFantasy as well as on Tumblr at https://carlocarrasco.tumblr.com/ and on Instagram at https://www.instagram.com/authorcarlocarrasco
#1990s #AmazingSpiderMan #America #amusement #Batman #Carnage #ChatGPT #CityOfNewYork #CletusKasady #comic #comicBook #ComicBookReview #comicReview #comics #comicsBlog #comicsReview #conspiracy #crossover #DavidMichelinie #DCComics #EddieBrock #entertainment #entertainmentBlog #Facebook #fun #Google #GoogleSearch #illustratedLiterature #Instagram #Joker #literature #MarkBagley #Marvel #MarvelComics #MaryJane #MaryJaneParker #NewYork #NewYorkCity #NewYorkCityNYC #nostalgia #PeterParker #retroReview #Retrospective #review #Reviews #SecretWars #socialMedia #SpiderMan #superhero #The1990s #UnitedStates #Venom #VenomLethalProtector #WordPress #WordPressCom -
A Look Back at Amazing Spider-Man #361 (1992)
Disclaimer: This is my original work with details sourced from reading the comic book and doing personal research. Anyone who wants to use this article, in part or in whole, needs to secure first my permission and agree to cite me as the source and author. Let it be known that any unauthorized use of this article will constrain the author to pursue the remedies under R.A. No. 8293, the Revised Penal Code, and/or all applicable legal actions under the laws of the Philippines.
Welcome back superhero enthusiasts, 1990s arts and culture enthusiasts, Marvel Comics fans and comic book collectors! Today we go back to the early 1990s to examine a small part of the Marvel Comics shared universe through a tale of the Amazing Spider-Man monthly series.
When it comes to the argument as to who is the most evil or the deadliest foe Spider-Man ever has, many point towards Venom (Eddie Brock and the alien costume from Secret Wars) who is murderous, filled with revenge against Spider-Man, is physically formidable and knows Peter Parker and his family members. In the early 1990s, the creative guys behind the Amazing Spider-Man series made the key decision to create another symbiote-wearing super villain like Venom but much more violent, more murderous and truly insane.
With those details laid down, here is a look back at Amazing Spider-Man #361, published in 1992 by Marvel Comics with a story written by David Michelinie and drawn by Mark Bagley.
The cover.Early story
The story begins inside the agro-lab of the Empire State University where an awful figure in black-and-blood intimidates a male worker. The awful figure is Carnage and he decides to play with the worker a bit before fulfilling his intention to kill him. The worker tries to escape but ends up failing as Carnage throws a huge piece of hardware at the door. Carnage grabs the man, slams him on the wall and uses sharp makeshift blades that suddenly stretched to murder the him.
At the a certain home in Forest Hills, Peter Parker spends quality time his aunt May Parker as he repairs an important machine in the basement. Moments later, the phone rings and May goes up to answer it. Peter follows and learns that the call was meant for him.
Upon using the phone, Peter learns the tragic news that his friend Chip at the university was murdered. He excuses himself from May to go outside to secretly change into Spider-Man and make his way to Empire State University. Struck by the tragic news, Spider-Man is aware that there have been a dozen brutal murders in New York City over the last week. He is also aware that a message was written in blood by someone called Carnage…
Quality
The first-ever battle between Spider-Man and Carnage is very intense to look at.To make things very clear, this comic book has the first full appearance of Carnage which is Cletus Kasady with a living costume spawned from Venom’s symbiote. Kasady himself first appeared in Amazing Spider-Man #344 in 1991, and it is very clear that the creators deliberately modeled him after DC Comics’ super villain the Joker to have the psychopath appearance (distinctive messy hair, crazed facial expressions, slim body frames and the unusual jawline). Kasady and the Joker also have a nihilistic view of the world focused on spreading chaos while enjoying unrestrained violence.
David Michelinie was really methodical when it came to build-up the tension, presenting key details and pacing the narrative when showing Carnage (who actually appears on the first page) and emphasizing the details about him (including Kasady’s background history and personality as observed by the witnesses who knew him). The appearance of Carnage in the first half was deliberately limited to ten panels and as the story moved on, details of him were revealed especially when Peter Parker did his own detective work. By the time Spider-Man and Carnage finally faced off with each other, the spectacle (action scenes) really ramped up high and the Michelinie-Bagley duo succeeded in showing Carnage being deadlier and unrelenting towards the webslinger.
Spider-Man doing detective work in costume and in civilian form as Peter Parker. This is also one of the finest pieces of Spider-Man art done by Mark Bagley.More on the iconic hero, Peter Parker here was portrayed as being highly disturbed by the recent murders of the city and the loss of his friend which compelled him to do very serious detective work leading up to his discovering of Kasady (and the eventual face-off in a ruined property where Carnage took refuge in). Parker also felt uneasy about remembering his recent encounter with Venom and the details of the murder reminded him of the old nemesis. The pacing here is excellent and as the narrative went on, the tension really intensified.
Spider-Man’s encounter with Carnage – which the cover art obviously emphasized without restraint – is really intense to look at. As he is completely unprepared as to what Carnage was capable of doing, the webslinger really struggled and was in danger in key moments. Carnage also has unique capabilities using the symbiote such as forming sharp blades and shooting small but sharp projectiles. If you want super villain-led moments of action that really challenged the superhero, you will find a good amount of that here. Also, I can say that Mark Bagley is very good in presenting the action scenes with dynamism, danger and intensity mixed together well.
Conclusion
The news image of Cletus Kasady on the lower-right corner is obviously patterned after Batman’s nemesis the Joker. That image really looks like it was ripped out of a Batman comic book.Amazing Spider-Man #361 (1992) marks the very intense debut of Carnage and the way he was presented as the newest super villain for Spider-Man to deal with, he is nastier and deadlier than Venom (who would eventually have the delusion of protecting the innocent while remaining murderous). In fact, the way the battle between the two was executed here made me forget about Venom temporarily which shows the Michelinie-Bagley duo pulled the right moves in making this comic book. To be clear, Carnage is pure evil laced with insanity and with absolute disregard towards people. Both Carnage and Venom are murderers and they should be condemned always. It happens that Carnage is more disastrous and has no regard for human life, which ironically makes Venom looking a bit less evil by comparison.
As for Spider-Man, his portrayal here is really dramatic and his superhero pursuits only added to the trouble of his marriage with Mary Jane. As such, you could end up feeling sorry for MJ even though Peter Parker himself wants to solve problems while protecting not only their lives but also the lives of the innocent.
Overall, Amazing Spider-Man #361 (1992) is highly recommended.
+++++
Thank you for reading. If you find this article engaging, please click the like button below, share this article to others and also please consider making a donation to support my publishing. If you are looking for a copywriter to create content for your special project or business, check out my services and my portfolio. Feel free to contact me with a private message. Also please feel free to visit my Facebook page Author Carlo Carrasco and follow me on Twitter at @HavenorFantasy as well as on Tumblr at https://carlocarrasco.tumblr.com/ and on Instagram at https://www.instagram.com/authorcarlocarrasco
#1990s #AmazingSpiderMan #America #amusement #Batman #Carnage #ChatGPT #CityOfNewYork #CletusKasady #comic #comicBook #ComicBookReview #comicReview #comics #comicsBlog #comicsReview #conspiracy #crossover #DavidMichelinie #DCComics #EddieBrock #entertainment #entertainmentBlog #Facebook #fun #Google #GoogleSearch #illustratedLiterature #Instagram #Joker #literature #MarkBagley #Marvel #MarvelComics #MaryJane #MaryJaneParker #NewYork #NewYorkCity #NewYorkCityNYC #nostalgia #PeterParker #retroReview #Retrospective #review #Reviews #SecretWars #socialMedia #SpiderMan #superhero #The1990s #UnitedStates #Venom #VenomLethalProtector #WordPress #WordPressCom -
A Look Back at Amazing Spider-Man #361 (1992)
Disclaimer: This is my original work with details sourced from reading the comic book and doing personal research. Anyone who wants to use this article, in part or in whole, needs to secure first my permission and agree to cite me as the source and author. Let it be known that any unauthorized use of this article will constrain the author to pursue the remedies under R.A. No. 8293, the Revised Penal Code, and/or all applicable legal actions under the laws of the Philippines.
Welcome back superhero enthusiasts, 1990s arts and culture enthusiasts, Marvel Comics fans and comic book collectors! Today we go back to the early 1990s to examine a small part of the Marvel Comics shared universe through a tale of the Amazing Spider-Man monthly series.
When it comes to the argument as to who is the most evil or the deadliest foe Spider-Man ever has, many point towards Venom (Eddie Brock and the alien costume from Secret Wars) who is murderous, filled with revenge against Spider-Man, is physically formidable and knows Peter Parker and his family members. In the early 1990s, the creative guys behind the Amazing Spider-Man series made the key decision to create another symbiote-wearing super villain like Venom but much more violent, more murderous and truly insane.
With those details laid down, here is a look back at Amazing Spider-Man #361, published in 1992 by Marvel Comics with a story written by David Michelinie and drawn by Mark Bagley.
The cover.Early story
The story begins inside the agro-lab of the Empire State University where an awful figure in black-and-blood intimidates a male worker. The awful figure is Carnage and he decides to play with the worker a bit before fulfilling his intention to kill him. The worker tries to escape but ends up failing as Carnage throws a huge piece of hardware at the door. Carnage grabs the man, slams him on the wall and uses sharp makeshift blades that suddenly stretched to murder the him.
At the a certain home in Forest Hills, Peter Parker spends quality time his aunt May Parker as he repairs an important machine in the basement. Moments later, the phone rings and May goes up to answer it. Peter follows and learns that the call was meant for him.
Upon using the phone, Peter learns the tragic news that his friend Chip at the university was murdered. He excuses himself from May to go outside to secretly change into Spider-Man and make his way to Empire State University. Struck by the tragic news, Spider-Man is aware that there have been a dozen brutal murders in New York City over the last week. He is also aware that a message was written in blood by someone called Carnage…
Quality
The first-ever battle between Spider-Man and Carnage is very intense to look at.To make things very clear, this comic book has the first full appearance of Carnage which is Cletus Kasady with a living costume spawned from Venom’s symbiote. Kasady himself first appeared in Amazing Spider-Man #344 in 1991, and it is very clear that the creators deliberately modeled him after DC Comics’ super villain the Joker to have the psychopath appearance (distinctive messy hair, crazed facial expressions, slim body frames and the unusual jawline). Kasady and the Joker also have a nihilistic view of the world focused on spreading chaos while enjoying unrestrained violence.
David Michelinie was really methodical when it came to build-up the tension, presenting key details and pacing the narrative when showing Carnage (who actually appears on the first page) and emphasizing the details about him (including Kasady’s background history and personality as observed by the witnesses who knew him). The appearance of Carnage in the first half was deliberately limited to ten panels and as the story moved on, details of him were revealed especially when Peter Parker did his own detective work. By the time Spider-Man and Carnage finally faced off with each other, the spectacle (action scenes) really ramped up high and the Michelinie-Bagley duo succeeded in showing Carnage being deadlier and unrelenting towards the webslinger.
Spider-Man doing detective work in costume and in civilian form as Peter Parker. This is also one of the finest pieces of Spider-Man art done by Mark Bagley.More on the iconic hero, Peter Parker here was portrayed as being highly disturbed by the recent murders of the city and the loss of his friend which compelled him to do very serious detective work leading up to his discovering of Kasady (and the eventual face-off in a ruined property where Carnage took refuge in). Parker also felt uneasy about remembering his recent encounter with Venom and the details of the murder reminded him of the old nemesis. The pacing here is excellent and as the narrative went on, the tension really intensified.
Spider-Man’s encounter with Carnage – which the cover art obviously emphasized without restraint – is really intense to look at. As he is completely unprepared as to what Carnage was capable of doing, the webslinger really struggled and was in danger in key moments. Carnage also has unique capabilities using the symbiote such as forming sharp blades and shooting small but sharp projectiles. If you want super villain-led moments of action that really challenged the superhero, you will find a good amount of that here. Also, I can say that Mark Bagley is very good in presenting the action scenes with dynamism, danger and intensity mixed together well.
Conclusion
The news image of Cletus Kasady on the lower-right corner is obviously patterned after Batman’s nemesis the Joker. That image really looks like it was ripped out of a Batman comic book.Amazing Spider-Man #361 (1992) marks the very intense debut of Carnage and the way he was presented as the newest super villain for Spider-Man to deal with, he is nastier and deadlier than Venom (who would eventually have the delusion of protecting the innocent while remaining murderous). In fact, the way the battle between the two was executed here made me forget about Venom temporarily which shows the Michelinie-Bagley duo pulled the right moves in making this comic book. To be clear, Carnage is pure evil laced with insanity and with absolute disregard towards people. Both Carnage and Venom are murderers and they should be condemned always. It happens that Carnage is more disastrous and has no regard for human life, which ironically makes Venom looking a bit less evil by comparison.
As for Spider-Man, his portrayal here is really dramatic and his superhero pursuits only added to the trouble of his marriage with Mary Jane. As such, you could end up feeling sorry for MJ even though Peter Parker himself wants to solve problems while protecting not only their lives but also the lives of the innocent.
Overall, Amazing Spider-Man #361 (1992) is highly recommended.
+++++
Thank you for reading. If you find this article engaging, please click the like button below, share this article to others and also please consider making a donation to support my publishing. If you are looking for a copywriter to create content for your special project or business, check out my services and my portfolio. Feel free to contact me with a private message. Also please feel free to visit my Facebook page Author Carlo Carrasco and follow me on Twitter at @HavenorFantasy as well as on Tumblr at https://carlocarrasco.tumblr.com/ and on Instagram at https://www.instagram.com/authorcarlocarrasco
#1990s #AmazingSpiderMan #America #amusement #Batman #Carnage #ChatGPT #CityOfNewYork #CletusKasady #comic #comicBook #ComicBookReview #comicReview #comics #comicsBlog #comicsReview #conspiracy #crossover #DavidMichelinie #DCComics #EddieBrock #entertainment #entertainmentBlog #Facebook #fun #Google #GoogleSearch #illustratedLiterature #Instagram #Joker #literature #MarkBagley #Marvel #MarvelComics #MaryJane #MaryJaneParker #NewYork #NewYorkCity #NewYorkCityNYC #nostalgia #PeterParker #retroReview #Retrospective #review #Reviews #SecretWars #socialMedia #SpiderMan #superhero #The1990s #UnitedStates #Venom #VenomLethalProtector #WordPress #WordPressCom -
Today's issue of The Gods and their Croziers is out: Conall, the (possibly) Summertime Fionn.
This one is very delayed, and perhaps not as well written as it could be: my laptop died. However, I've included an array of Kings, Saints, and a Knight, with names and feast days and mythic details that mark them as being related.
https://buttondown.com/godsandcroziers/archive/may-22-conall-cernach-corc-the-summertime-fionn/
#Celtic #Celt #Myth #Mythology #Pagan #Irish #Welsh -
Today's issue of The Gods and their Croziers is out: Conall, the (possibly) Summertime Fionn.
This one is very delayed, and perhaps not as well written as it could be: my laptop died. However, I've included an array of Kings, Saints, and a Knight, with names and feast days and mythic details that mark them as being related.
https://buttondown.com/godsandcroziers/archive/may-22-conall-cernach-corc-the-summertime-fionn/
#Celtic #Celt #Myth #Mythology #Pagan #Irish #Welsh -
Today's issue of The Gods and their Croziers is out: Conall, the (possibly) Summertime Fionn.
This one is very delayed, and perhaps not as well written as it could be: my laptop died. However, I've included an array of Kings, Saints, and a Knight, with names and feast days and mythic details that mark them as being related.
https://buttondown.com/godsandcroziers/archive/may-22-conall-cernach-corc-the-summertime-fionn/
#Celtic #Celt #Myth #Mythology #Pagan #Irish #Welsh -
Today's issue of The Gods and their Croziers is out: Conall, the (possibly) Summertime Fionn.
This one is very delayed, and perhaps not as well written as it could be: my laptop died. However, I've included an array of Kings, Saints, and a Knight, with names and feast days and mythic details that mark them as being related.
https://buttondown.com/godsandcroziers/archive/may-22-conall-cernach-corc-the-summertime-fionn/
#Celtic #Celt #Myth #Mythology #Pagan #Irish #Welsh -
Today's issue of The Gods and their Croziers is out: Conall, the (possibly) Summertime Fionn.
This one is very delayed, and perhaps not as well written as it could be: my laptop died. However, I've included an array of Kings, Saints, and a Knight, with names and feast days and mythic details that mark them as being related.
https://buttondown.com/godsandcroziers/archive/may-22-conall-cernach-corc-the-summertime-fionn/
#Celtic #Celt #Myth #Mythology #Pagan #Irish #Welsh -
"The child who is not embraced by the village will burn it down to feel its warmth"
As long as Gregor Robertson is still minister of housing, I'm actually going to back Alberta separating.
Yeah, Alberta separatism is fairly unpatriotic.
But what's even more unpatriotic is denying people the ability to build homes.
Canada deserves ZERO respect if housing starts don't improve, and cost of housing drops isn't dependent on racist deportations that Mark Carney is pushing for.