#mignolia

[sandmandaddy69]

Mike Mignolia

[joculine]

I don’t like most of the new hades designs. they are are all just standing in a pretty neutral position. they got rid of a lot of the interesting poses and body language. AND THEY GOT RID OF THE BLACK SHADOWS ON THE PORTRAITS…

[lesansnom]

j'ai commencé l'encre de chine , ça y est je suis convaincu

1) Pomni - Digital Circus

2) Superboy - DC (j'ai essayé de faire les ombres à la Mike Mignolia)

3) Nuit - un de mes perso :)

[silliersiluriforme]

@asukiess [batting my eyelashes kicking my feet blushing twirling my hair ect] I’m using this as an excuse to yap :3c

I love putting the child in child soldier. Like. Marinette is NOT mature and she has to deal with SO MUCH so of course putting everyone and everything in a neat little box is the only way she can function. Chat noir is her non threatening goofy male bestie and Adrien is her perfect beautiful unattainable crush who’s too innocent and pure to realise his childhood best friend is evil. Unfortunately 15 year olds aren’t great judge of character teehee.

Now for what inspires me Id say mostly western comics !! I get most of my coloring inspo from golden age marvels and Gerard way’s works (especially the fabulous killjoys) my lineart is heavily influenced by Mike mignolia (and tatsuki fujimoto’s tho like. Way less. I wish I could make the squigglies work but alas.) !!!! Though I would say for panel layouts I’m partial to franco-Belgian stuff. Like I need to cram as many panels in that page as possible or I’ll explode myself. I wanna try making my colors even more fun and adding more fx in the future :3c.

I LOVE THAT LINE. “It means they like you.” ITS SO IMPORTANT TO ME. I think chat noir and ladybug’s different approaches to “The Public” is soooooo fun.

I think adrien living his entire life up on his little pedestal and THEN obtaining incompressible power at a very young age would lead to him to see civilians- The Public, as just that. Civilians. Maybe to a slightly dehumanising extent ? Which is. So fun.

so idk if anyone has noticed the pattern but like. Ok so first page- chat noir’s sat higher up than Marinette but she gets him to lower himself. In this angle of the love square she has control because he relinquished it.

Next page ! Ladybug is sat way higher than chat noir. She lowers herself but she never quite gets to his level.

NOW THE MULTICHAT DANCE OH BOY- he helps her up. Then he tries to push her down. She resists. He pushes her down harder. It’s confusing!! They’re BOTH confused. Marinette’s his friend ! Why is he being a dick to her ?? A question only god (me) could answer.

I think it’s sososo fun when Marinette is left all alone with no one to rely on. Whether it’s her fault or not. Isolate that baby !

[adarkrainbow]

The Yaga journal: The road to the otherworld

Baba Yaga as depicted in Mike Mignolia’s “Hellboy”

The first article of this journal was written by Natacha Rimasson-Fertin, and its full title is (when hastily translated by me): “The Baba Yaga on the road to the other world: a crucial meeting for the hero of the fairytale”. As I said previously, I will merely summarize the article and recap some of its important points. 

Every reader of Russian fairytales is familiar with the famous chicken-legged isba, the home of the Baba Yaga. But where exactly this home is located is however quite unclear - its position seemingly changing from tale to tale. This article relies on the fairytales collected by Afanassiev to study the places typical of the fairy tales, the travel the hero must undergo to reach the hag, all to try to locate the mysterious but iconic lair of Baba Yaga - which, in hope, will help clarify her “true function and identity”. 

It should be mentioned that, while the article focuses on tales about “travelling heroes”, it does mention the existence of another handful of tales where it is the Baba Yaga that invades the world of the humans - it is tales such as “Ivachka” (NRS 108-111) or “The wild geese” (NRS 113). [Note: NRS is the name used to refer to Afanassiev’s classification of Russian fairytales, the same way there is the ATU Index]. And in these tales, the house of the Baba Yaga is not actually located in the “otherworld”, but rather right next to where humans live: by a river side, or in the forest where the heroes regularly go fetch mushrooms. In fact, in these tales, the house of the Baba Yaga misses its chicken legs, and seems to be just a regular isba.

While the reasons for the quests of the heroes in Russian fairytales are varied and multiple, there is a general tendency: heroines usually seek to be set free from something, while the heroes either seek this same “deliverance” or actually seek a wife. In fairytales, space is organized by two oppositions: known and unknown, familiar and foreign/alien. In this context, as Propp highlighted, “the farytale is built around the hero moving in space” - so travel means the breaking of the order of things, and thus a journey is already something extraordinary. In russian fairytales, according to Tatiana Ščepanskaja (in her “The culture of the road in Northern Russia), the road is actually “outside of the divine order” and even opposes this divine order. Traditionally “the road is the world of the non-being, where the custom doesn’t work. By taking the road, the individual is out of the community, he escapes the world of social workings - there is punishment, no public pressure, but also no encouragment and no glory. On the road, one is alone and free, outside of community and its norms.” So the man who travels lose all status - he doesn’t belong to the human society, but to the “other world”. On the road, one leaves the protection of their ancestors behind, and open themselves to numerous dangers - this is why many heroes of Russian fairytales always ask the blessing of their parent before going on the road. 

The road itself, as an “open space” is the world of all possibilities. In the last verson given by Afanassiev of the fairytale “Go I don’t know where, bring back I don’t know what” (NRS 212-215), the hero, after hearing that the Baba Yaga wants to eat him, mentions his status as a traveller “Why, you old devil! How could you eat a traveller? A traveller is bony and black, first heat up the tub and bathe me - then you’ll eat me!”. The bathing ritual itself is also a rite of passage. 

The frontier of the otherworld is of various natures, depending on the tale. Usually it is a clearing in the woods, which forms a typical liminal space. The Baba Yaga is closely tied to forest, her house often being at the heart of the woods, which isolates her from the world of the men. On top of living in a deep wood, fear also forms a “circle” around the Baba Yaga, as she kills anyone that comes near her house and people avoid it - sometimes the forest even has additional obstacles, such as a deep pit, or a mountain. 

In “Ilia of Mourom and the dragon” (NRS 310), we actually do not have a forest, but a mountain, forming a vast plateau. The hero needs to climb a very tall and very steep mountain made of sand - in order to go to the palace of the tsar whose daughter is harassed by a dragon. At the top of said mountain, the hero encounters not one but two Baba Yagas, who tell them how to reach their elder sister, and then the “Nightingale Robber”, whose whistling is so deafening it kills who hears it. The rest of the story seems to happen on the same plateau, since the hero is never said to go back down. The demultiplication of the Baba Yaga, turned into a trio of sisters, each older and more powerful than the next, and the presence of the Nightingale-Robber, embodiment of absolute evil and enemy of the Russian land, expands the “frontier of the otherworld” into a true no man’s land.  

A similar phenomenon of “expansion of the liminal area” can also be found in the second version of “The feather of Finist, the fair falcon” (NRS 235), where the heroine has to walk into a deep and dark forest until iron slippers and an iron bonet are “worn out” - only then does she found a “small house made of lead, constantly turning around on chicken legs”. Sometimes the house is said to be found “beyond the three times nine countries, in the three-times-tenth kingdom, on the other side of the fire river” (Maria Morevna, NRS 159). As in the previous tale, the river of fire plays the role of a “last limit” between the world of the humans and the other world - and when Ivan returns, as the Baba Yaga finds herself deprived of her magical scarf, she burns in the flames. 

The isba of the Baba Yaga has so many different descriptions that Vladimir Propp used it as the perfect illustration for his “Transformations of the fairytale”. Only two elements stay the same: the house is located near a forest, and has chicken legs. And even then, sometimes the chicken legs are replaced by other animal parts, such as “goat horns” in “Ivan the small bull”. In the second version of “The feather of Finist, the fair falcon” (NRS 235), the heroine finds a “little house of lead, on chicken legs, that was constantly spinning”. Propp explained that actually, the descriptions of the house constantly spinning on itself are oral deformations of what the house could originally do - turn on itself whenever it was commanded to. From “turning back”, the house simply started “turning”, until came the image of a house constantly spinning. In one of the seven versions of “The sea-tsar and Vassilissa the very wise” (NRS 224), the house is not described (”a small lonely isba”) and only two elements allow to identify it as the house of the “Baba Yaga with the bone-leg”. One is the dark, empty forest surrounding the house, and the second is the fact that when Ivan-son-of-merchant tells it “Small house, small house, turn your back to the forest, and turn you door towards me!” the house obeys and moves. And inside waits the Baba Yaga, her body going from one corner of the house to another, and her chest sagging to yet another part of the house.There is one particular case, the one of the NRS 141-142, “The brave Bear, Mustache, Hill and Oak”, in which the Baba Yaga and her daughters live in an underground world, with no mention of the isba. 

But what happens inside this house, with this house? Propp did wonder, upon looking at the fairytales - why does the house needs to turn around for one to enter? It is true that Ivan finds himself in front of a wall “without windows or doors”, but why doesn’t he just go around the house, instead of telling it to turn? It seems to be forbidden to go around the house... The house seems to be on a frontier that Ivan cannot cross - one has to go through the house to pass, as it is impossible to cross otherwise. The open side of the house is usually turned towards the “three-times-tenth kingdom” that Ivan must reach, while the closed side is turned towards the realms Ivan comes from - Propp linked this with the Scandinavian custom of never having a door facing the north, because the house of Hel, goddess of the afterlife (Nastrand, the “beach of corpses”), had its door located towards the north. With this element, Propp concludes that the house of the Baba Yaga is actually the limit of the world of the dead - and crossing the house allows to “select” who passes and who doesn’t pass into the afterlife. Thus the meeting of the Baba Yaga is a trial in itself. 

Propp sees in the chicken legs a remnant of the pillars on which stood the initiation-cabin, which seems to feed into this idea of the Baba Yaga’s isba being a rite of passage towards death. In his book about ancient Slavic paganism, Boris Rybakov mentions a type of malevolent undeads called the nav’i (nav’ in singular), who are the dead without baptism and that we must appease through offerings. He says that they appear like enormous birds, or feartherless roosters the size of eagles - they leave the footprints of a chicken, and attack pregnant women and children to drink their blood. These elements clearly evoke the myth of the Baba Yaga: is she one of those “wrongly-dead”, turned hostile towards humanity? 

If we read the dialogue between the Baba Yaga and the hero of the tale, we understand better the trial that the Yaga is. In the tale “Ivan Bykovic” (NRS 137), Ivan-small-bull enters the “chicken-legged, goat-horned house”, and sees the Baba Yaga with her bone leg, laying on her stove, stretching from one corner of the house to another, her nose reaching the ceiling. She exclaims that up to this day she never smelled or saw a Russian man, but today she has one “rolling on my spoon, rolling in my maw”. Ivan answers “Hey, old woman, don’t get angry, come down from your stove and sit on the bench. Ask us where we are going, and I’ll answer you kindly.” The Baba Yaga has a similar dialogue to the heroine of the second version of “The feather of Finist, fair falcon” (NRS 234-235), but there she is less aggressive, probably because the maiden calls her tenderly “babusja”, “small grandmother”, to which the Yaga answers with affection “maljutka”, “little one”. These examples prove us that the heroes and heroines have to find the rights word to either intimidate or appease the Baba Yaga, to make her an auxiliary. For a male hero, it is courage that is put to the test, when it a female hero, it is politeness that needs to be used. But always, it transforms the Baba Yaga, from a guardian and an adversary, to a guide and auxliary.

In some tales, the Baba Yaga is much less aggressive, and is immediately a guide to the hero, and even shows some tenderness - like in the first version of the tale “The sea-tsar and Vassilissa the very-wise” (NRS 219-226) where she tells everything the hero needs to know for his quest, and calls him “ditjatko”, “my child”. This role of auxliary and guide is especially present in the tales where the hag is depicted as the mistress of the animals, or of the winds. For example in “The enchanted princess” (NRS 271-272), the hero, a soldier, uses a flying carpet to find where his fiancée is located. He visits successively three Baba Yagas, all sisters. The last one lives “at the end of the world”, in a small house beyond which there is only pitch-black darkness. Beyond the end of the world, there is nothing, the void. This last Baba Yaga is the ruler of all winds, and helps the soldier by summoning them - the south wind ends up revealed to the hero where he will find his bride. 

However these are the tales where the stay at the Yaga’s house is brief. Other times, the hero has to stay for a long time at the house, and then the nature of the trial changes: the hero has to fight to keep their life. In “Maria Morevna” (NRS 159), the hero goes to Baba Yaga to obtain a magical horse able to rival the one of Kochtcheï-the-Immortal. The Baba Yaga agrees, but only if he serves her for three days - if he succeeds, he’ll have the horse, if he fails, she will place his head at the top of a pole. The hero manages to overcome the various imposed chores thanks to the help of animals he spared previously in the tale.

Another very interesting example is in the very famous fairytale, Vassilissa-the-very-beautiful (NRS 104), which is also the one where the house of the Baba Yaga is described in the more details - including the spikes covered in human skulls that Ivan Bilibine famously illustrated. After letting purposefully the fire go out in her house, Vassilissa’s wicked stepmother sends her fetch some fire at Baba Yaga’s house. Instead of being devoured, the heroine returns safely, and on top of that, this travel to the otherworld acts as a “reparation” - since justice is re-established through the deserved punishment of the wicked stepmother. The fire Vassilissa brings back destroys the wicked woman, reducing her to ashes. We should also note that, unlike in other tales, there is no need to ask for the house to turn, Vassilissa simply waits for the return of the Baba Yaga by the entrace gate. And on top of overcoming her fear, the girl is faced with much more complex tasks. The first is to do the house chores, but which are impossible by their enormous scope - however Vassilissa manages thanks to a magical doll and her mother’s blessing (the first being the manifestation of the second). The second trial is when the Baba Yaga has a discussion with the girl: she encourages Vassilissa to ask question, while warning her not to ask too much, because “not all questions are good to ask”. This is because the implicit taboo is to not ask the old woman about what is going on INSIDE her house. Vassilissa is victorious, because she knows when she should just observe - she doesn’t ask about the mysterious disembodied pair of hands working inside the house, but about the horsemen riding around the house, in the woods, and the Baba Yaga is very glad she asked about “only what was in the courtyard” - but, as some commentators noted, this is also perhaps the last trial because it is the only one that Vassilissa manages to overcome without the help of her magical doll. Once she saw what she had to saw, and overcame her fear, Vassilisa was initiated to typically feminine tasks of the patriarchal society - cleaning the house, preparing the meal, weaving... But this serves to actually fulfll her destiny - as in the second part of the tale, she arrives at an old woman who creates shirts, and the shirts she makes for the old woman are so good the tsar itself will summon Vassilissa and marry her, thus fulfilling the prophecy of her name (Vassilissa coming from the Greek “basileus”, “king”). The hero becomes a hero because they manage to perform the imposed task - these are “elective trials”.

Russian fairytales contain numerous other characters merely called “old women”, “hags” or “crones”, but that some elements associate with the Baba Yaga and the role of the “initiation-master”. Their old age, the fact they live in a house near the woods, and especially their way of speaking to the hero. We even meet a genderbent Baba Yaga in “ivan-of-the-bitch and the White Faun/Sylvan” (NRS 139) - an old man in a mortar, who pushed himself around with a pestle. Though this character’s behavior does not evoke the Baba Yaga at all. 

With all of that being said, again the Baba Yaga is provent to be a deeply ambivalent character. Many different searchers provided many different explanations, but always ended up confronted by the contradictions that made her. According to the author of the article, the most pertinent theory would be the one of Anna-Natalya Malakhovskaya, who sees in Baba Yaga not just “an archaic mother-goddess in a world of good and evil dichotomy”, but rather a “goddess whose many roles fulfill the three functions of Dumezl”. That is to say, 1) wisdom and the link to the sacred, the magical divinities 2) the warrior function and 3) the fertility/fecundity function that is interwoven with death.

So... What sense should one give to these tales about a travel to the other world, to the afterlife, to the world of the dead? Beyond the entertaining nature of fairytales, is there an initiation in these tales? We can remember that Vassilissa the very beautiful, in her tale (NRS 104) is banished by Baba Yaga once she reveals to her the nature of her magical helper - when she speaks of the blessing of her mother, Baba Yaga tells her to leave the house, since she doesn’t want anyone blessed in her house. There seems to be something dadactic at work here - especially when we consider the virtues embodied by Vassilissa: piety (in the traditional sense, religious piety) and filial piety (as she stays faithful to the words of her mother), as well as docility, serviability, and bravery or rather trust. Trust in her mother’s blessing that even the all-powerful Baba Yaga cannot contradict. This last motif, of which the Vassilissa tale is the most emblematic example, highlights how the Baba Yaga is tied to archaid, pre-Christian concepts. We see here the tie to the protecting ancestor-spirits, through the mean of the mother’s blessing, which saves the heroine. This tale maybe illustrates the “double faith” so typical of the folk-Christianity of Russia. 

Now, if we return to the tales evoked briefly at the top of the article - the ones where the hero doesn’t visit Baba Yaga’s home, but rather those where Baba Yaga invades our world to kidnap a child. How to explain the appearance of the witch in the world of the humans, either directly, or through intermediaries (the wild geese). If we look at “The wild geese” (NRS 113), we notice that the little brother is actually quite safe in the Baba Yaga’s house - he plays there with golden apples. What causes fear and trouble is the fact that he was kidnapped, more than where he stays. The disturbance in the order comes from the ravishing - and the girl is worried that she will be punished for to not having watched over her brother well enough. It seems here that the appearance of the sinster Baba Yaga, or of her winged servants the wild geese, is here bringing an answer to the phenomenon that reason refused to explain - in this case infant mortality. These “wild geese” that “ravish little childrens” might be agents of death. 

In conclusion, the Baba Yaga is at the same time the guardian of the frontier to the other world, but also the ferryman (or ferrywoman) leading to it, the guide to this other place - for she is a liminal being between the world, half-living, half-dead, half-animal, half-human. It seems that layers and layers of cultural meanings, symbolism and interpretations have accumulated themselves onto the Baba Yaga more than on any fairytale character, resulting in a complex and tangled knot creating a divinity as spiritual as chtonic, ruling over the fate of mortals. 

As for the geography of the fairytales, we can clearly have a three-part map with the Baba Yaga tales: our world, the other world, and the in-between-world. In the in-between world, passage can go either way. Under the aspect of simple, entertaining stories, these tales are initiation rites, describing through images and pictures the changes happening when one “passes” into the adult age, as much on an individual level as on a social one. 

[is-jan-jan-is]

Best comics by publisher:

I am bored and autistic and gay and so I've compiled an objectively subjective list of the 'best' books from each publisher. You're welcome, America.

IDW-honestly the current Star Trek run is phenomenal and we all love TMNT but I gotta give it to Atomic Robo.

Scout-Metal Shark Bro is so good that it honestly skewed my expectations for the entire publisher. They truthfully have two solid lines and the rest is an odd marketing campaign. The Black Caravan stuff was fun, though.

Boom!-SIKTC is undeniably amazing and 'We Only Find Them When They're Dead' is objectively top tier but for me, it's all about Coda. The art, the writing, the straight dude getting dunked on by his orc paladin wife-perfection. The first issue of the continuation just dropped and reading it was like returning home.

Ahoy!-Penultiman is pretty good but I think 'The Wrong Earth' is clearly their best title.

Valiant-hear me out, hear me out. I've collected ALL of Valiant's reboot, 2012-present. Unfortunately I must report that peak Valiant is X-O Manowar: Retribution. 1993 was a good year for whacky sci-fi comics. There is a scene wherein Aric of Darcia proclaims:"he must be like those men who prefer other men. I do not understand these men; but damn, do they make the best wizards!" That's peak fiction.

Dark Horse-look Hellboy is great. It's so good that I almost gave it to Mike Mignolia just on merit and industry influence alone. Unfortunately, Jeff Lemire exists. Black Hammer is perfect in every way. MIND MGMT was a strong second.

Image-Astro City. The characters are deep, emotional beings. Their stories breathe in the most human way. Most other titles conflate grit with maturity while AC makes you feel without several arcs of trauma porn. Also, im happy to see creators who remember that comic books are the home of wackiness. Its a slice of life hero series-10/10. Also Alex Ross. This (image) was annoying to choose because-despite suffering the unforgivable scourge of Robert Kirkman- Image has so many other good titles. Bitch Planet, Savage Dragon and Spawn (obligatory, obvi), Rumble, Chew, Outer Darkness, Descender/Ascender, etc .. not to mention Radiant Black. I still want to give it to Saga. Due to all the confusion with inage/wildstorm/dc having some claim to Astro City I almost skipped it entirely which is a shame but, yeah-Astro City.

TKO Studios-honestly, I'm not sure that this company is still kickin'. They were a fun little experiment though, with several enjoyable titles. I can't say any of them really blew me away. But, if I had to pick a 'best' I'd give it to 'Sentient'. Jeff Lemire can do no wrong.

AWA-they're too new for a selection to have any real meaning but 'The Resistance' is pretty good. It's been a couple years and I hope they produce something else that's quality because E-Ratic was a pretty big let down.

D.C.-Crisis on Infinite Earths. It's a given. There is something to be said about the cultural impact of Crisis. Originally, 'crisis' stories were crossovers of varying stakes. The comic gods(Perez and Wolfman) changed the game with this one. Also,every Crisis story which follows was similarly silly and serious. The pseudo science wackiness and over the top theatrics gets me every time. No other comic company gets it right. D.C. has been getting progressively better and better these last couple years, especially now with the phenomenal 'Dawn of D.C.' stuff. But if I was stranded on an island and could only bring one D.C. title it would be Crisis. ('83 New Teen Titans is of course a strong second)

Oni Press- their Rick and Morty stuff was a guilty pleasure (because it's really quite good but that means I have to spend money on Rick and Morty) and 'The Sixth Gun' was well made. Regardless, their best title was clearly 'Pink Lemonade'. Its chaotic indie fun that doesn't make sense and doesn't have too.

Massive/Whatnot Inc: these guys are really new, started 2022 I think. Not really sold on them yet but one of their first titles, quested, was lots of fun. Pretty small selection so far but what they do have is quality. 'Best book' goes to Plot Holes. Not only did Sean Murphy give us the most tolerable Bruce Wayne, he also gave us this creative joyride. It's equal parts wacky and sincere and best of all, it's in the Murphy style. Even though its early on in the run it's one of those titles you look forward to. throughout the month.

Marvel-Marvel peaked in 1999 with Earth X. Don't get me wrong, I love a great deal of Marvel books. Al Ewing's Ultimates (NOT Bendis) was great. Personally, my favorite Avengers story was the Celestial Madonna saga of the sixties, but Waid's run was great(obvi) and Hickman's was too. Hickman's Xmen stuff...also happened. Cates and Jason aaron had good Thor runs. The first and last of Aaron's avenger arcs were great. Peter David's many 'Spider' runs were fun and Dan Slott sure does exist. The Sam Wilson cap runs were all phenomenal, especially the Symbol of Truth run-and Kelly Thompson's run on Carol was one of the best ever. Good Marvel books have been dwindling lately but Jed McKay's 'Avengers' is honestly one of the best books out there. Unfortunately, none of that good stuff comes close to Earth X. The prose, the thorough examination of human nature, the Alex Ross of it all. Earth X was an ode to Marvel lore which read better than most of Marvel history. 'Nuff said.

[candont]

I mean I liked it. I cheered at the at the exciting parts got sad during the sad parts. Yet after there was a small yet lingering twinge of disappointment. Can't pinpoint why.

I mean this one was like custom built to hit me in the nerdstalgia. Not only do I still have my copies of the Mignolia scripted Rocket Racoon series from way back when but the Abnett Lanning series was one of the last mainstream series I was reading before the last (most recent) time I quit comics. I didn't really feel they got the characters right until the second film as the first one seemed to me more like Star Wars but if everybody was Han Solo (an excellent idea mind you). And this one only added, actual time in knowwhere and Cosmo! How cool! Maybe she could have said Comrade more but I thought yes right I should have been reading Cosmo as female all along.

My oldest said it was the best Marvel in forever and my youngest liked it but said it was still sad. Am sure I'll watch again and see if that twinge comes or goes.

[fangirlnationmag]

Mike Mignolia, Dave Stewart, and Lemony Snicket Team Up for Dark Version of 'Pinocchio'

Hellboy creator Mike Mignola, celebrated colorist Dave Stewart, and Lemony Snicket (writer of A Series of Unfortunate Events) have teamed up for a fully illustrated version of Carlo Collodi’s novel Pinocchio: The Illuminated Edition.  The hardcover features 50 original illustrations done by Mike Mignola. Lemony Snicket adds over 100 full text annotations, as slipped in typewritten sheets.…

[georgevegaart]

Ok Part 2 You guys gave me... #hellboy Picking 2 from each SM platform #sixfanarts #mignolia comics #draw #comic #comicart #art #artwork #comicartist #artist #makingcomics #drawing #pencils #georgevegaart #illustration #digitalart #drawchallange #marvel #mcu #dccomics #darkhorsecomics #comissions https://www.instagram.com/p/B-y5fBonvPD/?igshid=p3rp2a5uosh2

[shadow27]

6.66 ABV Abe Sapien Indigo Blue Beer “If you’re attending #SDCC2019, come join us on Saturday, July 20 @knottybarrel  East Village location from 7-10pm for a special untapping of the @GiganticBrewing #Hellboy series Ape Sapien Indigo Blue beer. See you there!“

[horatiovonbecker]

Oh wow. That’s a powerful scene. I think I get why Wheel of Time is good, now.

(What would happen if/when Mike Mignolia and Brandon Sanderson do a collab?)

Weep for Manetheren. Weep for what is lost forever.

[teaboot]

Guys. Y'all ain't cracked it yet. Someone goes "Oh, you like this thing? Name five" and you just pull titles out of your ass. Make shit up.

Like, what, you haven't heard of 'Hellboy' creator Mike Mignolia's early unpublished short work, "Debacle Of The Elf Queen"? Fuckin poser

[cranity]

do you like hellboy? you seem like you’d be a mike mignola fan

I do! Guillermo Del Toro is my #1 and I adored his movies as a kid, and I read some of the Mignolia comics back in the day!

[stryfeposting]

top tier rare cables in reverse order

igor kordey's iconic dick sucking lips cable. master of the butch kaftan gay aesthetic.

jose ladronn's boxy headed cable. a solid weird cable and an absolute unit. a walking fashion disaster.

mike mignolia's cable. the rarest cable of all, spotted less than a handful of times. somehow took the incoherent original pouches/guns/hairy shoulders design and made it look good.

a special mention to any artist who tactfully avoids his receding hairline/widows peak combination.

[echodreamer]

Redesign on my old World of Warcraft character, Fallen Paladin and Deathknight Ceres Mignolia. 

[teratomarty]

I love an artist who isn't afraid to use big blocks of black in their panels! Mignolia influence?

Ghoul: Why don’t you just hire musicians like a normal person??

Cardinal: In this economy?