#Logan Lee wallpaper

[badass-at-fandoming]

Top 10 VN Men

Ages ago @violettduchess posted her Top 10 VN datemates who happened to be men. This seemed fun, so let's give it awhirl!

I will, of course, break the rules. Instead of numbering 1 to 10, I'll choose one man from each visual novel I've played or stalked hard enough that it's like I've played. So, with no order in my heart ~

The Arcana: Muriel

I surprised myself here. I like Julian quite a lot. However, I actually enjoyed his route less once I went back and bought the paywalled scenes (how???). For Muriel, it was the reverse: during my initial read, I was exasperated with him. After reading all the paywalled scenes, his character growth grew on me, and gentle mountain man edges out Julian in my affections. By a cat hair lol.

Fictif: Rainier from Monster Manor

This was also a hard choice because I like Jesse Rodriguez so much y'all. However, Rainier's character arc, his bubbly positivity, his looks, his concept--SO GOOD Y'ALL.

Alice in the Country of Hearts: Julius Monrey

Whooooooa. Shock. Appalled. Who could have seen this coming. I also like Boris and Elliot. I'm watching a Let's Play of Blood's route right now, and he's growing on me. The manga really did him dirty.

Ikemen Revolution: Loki Genetta

I love Loki's sunshine! Reading his route was like settling into a bath, into that easy, warm time-flow of happiness. Also. His eyes turn red and he can obliterate people.

Ikemen Vampire: William Shakespeare

Billy Shakes is like, a nanosecond behind Jean. I love his words, I love his journey; I love MC being his morality pet. I had a blast with his route and took soooooo many screenshots.

Lovelink: Min-Jae Lee

Lovelink isn't my favorite app out there, mostly because the MC drives me up the wall. Routes can be touch and go. But with Min-Jae, something fucking CLICKED. Despite not accessing any paywalled content, he constantly emoji-reacted to my responses. His story was a thoughtful and compelling look into a K-Pop star's life: both the massive perks and the massive toxicity in that space. I definitely rec'd his route, or that of his counterpart, Liam Park.

Lovestruck: Iseul Idreis

my MANS. This CG was my phone wallpaper for a HOT minute.

Maybe: Interactive Stories - Logan Harris

Again, such a shock. I will get back to my fanfic of them eventually! Special shout outs: Noah Young, Enoch, Ambrose + Trevor

Nekopara Catboy Paradise - Laurier

He's a cat, he's a boy, he snuggles MC every night and yanno that met all my requirements.

Rose of Winter - Crow

This entry accesses the Deep Lore. Rose of Winter was the first visual novel I played. Ever. Not only is Crow a kind, time-traveling wizard (cool bird included), but also the first route I got a Good Ending. Nowadays, I follow walkthroughs 90% of the time, because I play for a happy time, not a sad time. When I played Rose of Winter, I didn't know VNs had different endings. I played the other 3 routes, and the LIs kept leaving. The joy I felt when Crow returned Rosemary's affections! When they tromped off in the sunset together! I was so happy. I never went back to get his Bad Ending, even though there's an achievement for it. I love him. I love them.

What have we learned in this post? We have learned that I like catboys, queerness, and time-travelers. Also, I can't play any more VNs because it would ruin the perfect 10 number these guys fit in 😂

#arcana #muriel of the kokhuri #fictif #monster manor #fictif rainier #hnkna #julius monrey #ikevamp #ikevamp william #ikevamp shakespeare #ikerev #loki genetta #lovelink #min-jae lee #lovestruck #iseul idreis #maybe: interactive stories #logan harris #kill your boss #nekopara catboys paradise #rose of winter #text post #lemon

[ink-logging]

The Uncanny X-Men 3D #1

The Uncanny X-Men 3D #1 by Chris Claremont, Jim Lee & Scott Williams. 3D production by Anomaly Productions. 

Flash back to the year 1990. A 14 year old Zack loved the X-Men (even though I was already starting to nitpick the stories to death), I loved Marc Silvestri, and I loved brand new X-Men artist Jim Lee. Uncanny X-Men #268 came out and (before they had terminally over-explained Wolverine’s past) we get some of our earliest Logan fan service, teaming him up with Black Widow in the modern day and Captain America in the 1940s. I thought this issue was so cool. 

Anyway, seeing this 3D version on the stands in 2019 made me so immensely nostalgic that I didn’t even think to notice the $8(!) price tag on this bad boy. Which I guess was probably the point. Oh well, it’s fine. Even the polybag, similar to the ones I got my Marvel subscription comics in as a kid (after they stopped mailing them in brown paper sleeves with no tops or bottoms!), reminded me of times past. I was excited to dig in!

Needless to say, I mostly skimmed a lot of this. Reading a comic with this many word balloons and captions is fucking hard, now—And I’m a proponent of captions and thought bubbles! It was ok though, because I read this comic a zillion times already. It’s like DNA, it’s like wallpaper. Claremont was beginning his final arc on X-Men, though he didn’t know it. There’s lots of fun character stuff in here I’d (almost) forgotten, like Jubilee’s distrust of Psylocke.

I spent a lot of time studying the work of Ray Zone a few years ago while working on Study Group Magazine #3d, and while I’m glad Marvel and Anomaly Productions are taking this sort of left field reprint based approach to keeping 3D comics alive.. well, I was honestly a bit unimpressed with the 3D. I hate to say it, but it doesn’t quite work.  There’s a lot of vibrating lines and blurry layers you don’t see in, say: Superman Beyond 3D (which if I’m not mistaken was the last Ray Zone comic before he died). The main problem is the frontmost layer of image. Often the depth illusions are working best on the middle and background elements, while someone’s face in the foreground is super blurry. 

All that said, I still had fun looking at this and hope that they do more in this 3D reprint line—but also that they take the time to dial in the technical aspects a bit more next time. -zack/ @ghostattack

#xmen #wolverine #jim lee #chris claremont #3d comics #3d artwork #anaglyph #zacklist

[uk-news-talking-politics]

Stan Lee's super-hero vision defined the world outside our window

By Ian Dunt

Yesterday, Stan Lee died. He was the creator, in collaboration with others, of countless superheros, including Spider-Man, the Hulk, Daredevil, the Fantastic Four, Black Panther, X-Men, Thor and Iron Man. These characters are now the engine of the global blockbuster movie industry, as well as countless cartoons, childrens toys and, of course, comics. They are part of the wallpaper of our world. Barely a day will go by without you spotting them somewhere, whether it's in a shop window, or the T-shirt of a passerby, or a lunchbox. It is hard to think of a single other figure who contributed so much to the culture we live in today.

There was a dark side to his animated public persona. You could spend an article talking about the failure to properly reward other creators, or the charges to fans for autographs, or the weird and unpleasant recriminations around his household in his later years. Underneath the superhero shine, there was a money machine, working as money machines always do. But today isn't the day for that. Today is the day to recognise his achievements. He wanted to portray the world outside your window. And that world was a vibrant place of multicultural myth-making.

Before Lee, comics had become a fairly stuffy affair. The Golden Age of comics, in the late 30s and early 40s, when characters like Superman, Batman and Wonder Woman were created, was originally imbued with a odd type of transgression. Superman was the product of Jewish immigrants to the US and acted as a deified version of that experience. Batman had a troubling noirish elasticity. Early Wonder Woman comics were obsessed with ideas of loving submission and female superiority.

But in the 1950s, the genre had been targeted by moral puritans. Psychiatrist Fredric Wertham's book 'Seduction of the Innocent' claimed, among other things, that the stories of Batman and Robin were "psychologically homosexual", triggering a moral panic among legislators and parents. The Comics Code Authority was set up, demanding strict moral guidelines in stories. The  "sanctity of marriage" had to be emphasised in romance. Figures of authority would be presented in ways which promoted respect. "In every instance good shall triumph over evil," it demanded. It was an artistic death sentence. The readership left in droves as the creativity and daring was regulated out of existence.

But regulations rarely work the way they're intended. They tend to push things in weird directions, as people try to game the system. For many superhero comics, like Batman, the hero was pushed away from street-level crime stories towards grand and colourful sci-fi plots, which ended up linking arms with the psychedelic drug-infused hippie culture of the 60s. This was picked up later by writers like Grant Morrison to make a kind of mind-expanding anarchic infrastructure to the genre.

But Lee's response to this stifling culture was to bring back readers by humanising the super heroes. The universe he created, in an unsurpassed frenzy of creativity in the 60s, was designed to reflect the "world outside your window". Instead of fictional cities like Metropolis, which represented sun-lit progress, and Gotham, which represented gothic noir, stories were set in real locations. The characters were chiseled away at too. The square-jawed moral perfection of characters like Superman were replaced with fundamentally flawed, bickering personalities, whose own weaknesses and failings drove their narrative arcs.

Lee, who was himself the child of immigrants, populated his universe with a colourful collection of characters, from different classes, races and sexes, and with different personalities and body-types. It was a kind of lunatic multiculturalism, a place where diversity was injected into every element of the stories.

The Thing was rough-and-ready, working class and from the Lower East Side. His best friend with the thin, intellectual, distant Reed Richards. Spider-Man was a nerdy orphan living with his aunt and uncle. Scientist Bruce Banner was turned into a Jekyll-and-Hyde green monster which reflected his own internal angst. Tony Stark was a billionaire industrialist, who would later develop a drink problem. Thor was a Norse God, who spoke in cod-Shakespearean language. Daredevil was an inner-city lawyer whose disability gave him enhanced perception. Black Panther was an African king, of a nation which was far more technologically advanced than anything in the West. The X-Men were mutants who were hated and feared by society. They functioned as a metaphor for whichever minority the writer wished to project onto them, from race, to sexuality, to, in the recent Logan movie, immigrants in general. These characters were jumbled up together, offering a crazed milieu of language and preoccupations and striking visual imagery.

Lee had taken the Platonic form of super heroes, they way they encapsulate one idea perfectly, and injected real like drama into them. By doing so he made them relevant. Any kid reading a comic could picture themself as the weedy, geeky Spider-Man. He allowed people to feel they could act like superheroes, rather than just look up to them. The relevance he provided was not just emotional. It was political. By making them like us, the comics implicitly suggested we could be like them.

This was reflected in his Stan's Soap Box, a little comment section he'd tuck away in the comic, written in his rhythmic splashy style, which would regularly kick back against racism and discrimination. "Let's lay it right on the line," he wrote in 1968, "Bigotry and racism are among the deadliest social ills plaguing the world today."

Years later, towards the end of this life, he put out a video making a similar point. "Those stories have room for everyone, regardless of their race, gender or color of their skin. The only things we don't have room for are hatred, intolerance and bigotry." This was moral instruction, but of the best kind. It opened doors, rather than closing them.

It wasn't perfect, by any means. The Marvel universe was still overwhelmingly populated by white male protagonists, even if they were varied within that context. But this attitude, and the bizarre, super-serum-injected sense of genre multiculturalism, embedded itself into the DNA of the Marvel universe. When I was growing up in the 80s - decades before a female Doctor Who was a twinkle in a BBC producer's eye - a black female character called Storm was already leader of the X-Men. It continues in Marvel comics today, where a half-black half-Latino kid called Miles Morales wears the Spider-Man costume and one of the most popular current characters is Ms Marvel, a Muslim teenager in New Jersey.

Now that these characters have gone mainstream, out of the comics page and onto cinema screens across the world, they have taken that cultural mechanism and spread it to places his books would never have reached. The recent Black Panther film, starring an almost all-black cast and directed by an African-American, took $201.8 million in the US alone in its opening weekend, making it the fifth biggest opening of all time. It's the the of financial performance which fundamentally recalibrates Hollywood's calculations about the viability of future projects.

One of the reasons that's possible is because of the flawed characters at the heart of these super heroes, the fact that the drama does not lie in their costumes, or their antics, or even their identity, but in their personality and the tiny tragedies that Lee injected into each of them as a driving motive.

This is now Stan Lee's world and we just live in it. It's a welcoming, open world. We have a lot to thank him for.

#marvel #stan-lee #superhero

[topbeautifulwomens]

#Neil #Flynn #cosmetics #friends #girl #makeupparty #modelswanted #paris #runwaymodel #sexygirls #women #womensfashion

Having been acting since his school years, Neil Flynn pursued live theater in Chicago after graduating from college. He performed at the renowned Steppenwolf and Goodman Theaters, where he collaborated with Aidan Quinn in “Hamlet” and Brian Dennehey in “Galileo.” He later became a mainstay at Chicago’s ImprovOlympic West in Hollywood, where he has appeared for three years in the popular show Beer, Shark, Mice. He also went on to be a member of the Second City Comedy Troupe in Chicago.

Meanwhile, Flynn began appearing on screen. He played a bit part as a street preacher in John McNaughton’s biopic about serial killer, Henry Lee Lucas (played by Michael Rooker), Henry: Portrait of a Serial Killer (1986), but his scene was cut. Deleted scene can be seen on the 20th Anniversary DVD edition.

On television, Flynn was very first seen playing guest roles in a 1987 episode of the anthology series “CBS Summer Playhouse” and the quick-lived ABC drama “Sable,” as well as in a 1989 episode of CBS Vietnam war drama series “Tour of Duty.” He also appeared in the pilot episode and in another episode of ABC drama/sitcom “Doogie Howser, M.D.” Flynn eventually landed his first big screen role as a longshoreman in writer-director David S. Ward’s baseball comedy movie, Major League (1989), starring Tom Berenger and Charlie Sheen.

In the early of 1990s, Flynn could be seen in Daniel Stern’s baseball movie Rookie of the Year (1993; with Gary Busey and Bruce Altman; Flynn played the first basemen), Andrew Davis’ Oscar-winning phase/drama thriller The Fugitive (1993; starring Harrison Ford and Tommy Lee Jones; Flynn played a Chicago Transit Authority police officer), Peter Pistor’s independent film The Fence (1994; starring Freddy RodrĂ­guez) and Patrick Read Johnson’s family comedy Baby’s Day Out (1994; alongside Joe Mantegna and Lara Flynn Boyle). He also appeared in an episode of “ABC Afterschool Specials.”

From 1996 to 1997, Flynn played different roles in three episodes of CBS sci-fi drama series “Early Edition.” During that time, he played a detective in the made-for-television movie To Sir, with Love II (1996; starring Sidney Poitier) and played a state trooper in Andrew Davis’ action/drama thriller film Chain Reaction (1996, starring Keanu Reeves, Morgan Freeman and Rachel Weisz). He also appeared as a cop in an episode of NBC Emmy-winning sitcom “Seinfeld” and in Raja Gosnell’s family film Home Alone 3 (1997; starring Alex D. Linz), sequel in the Home Alone series.

Flynn spent the snooze of the 1990s guest starring in such shows as ABC hit sitcoms “Ellen” and “The Drew Carey Show” (Flynn played the fake husband/partner of “Scrubs” co-star Christa Miller), Fox sci-fi series “Sliders,” Fox sitcom “That ’70s Show” and CBS popular medical drama “Chicago Hope.” He also won National Board of Review’ Best Acting by an Ensemble for his turn in writer-director Paul Thomas Anderson’s drama film Magnolia (1999), alongside Tom Cruise, Julianne Moore, William H. Macy and Philip Seymour Hoffman.

Entering the refreshing millennium, Flynn provided his voice for XR, a short, somewhat neurotic robot with several pop-out gadturns into that gets blown up on nearly each and every mission he goes on although he can be rebuilt, on ABC/UPN animated TV series “Buzz Lightyear of Star Command.” During that time, he was also cast in Lyndon Chubbuck’s romantic thriller movie The Right Temptation, with Kiefer Sutherland, Rebecca De Mornay, Dana Delany and Adam Baldwin, as well as appeared in an episode of ABC sitcom “Then Came You” and CBS drama series “Family Law.”

2001 saw Flynn snagged his most prominent role to date, as Sacred Heart Hospital’s menacing janitor in NBC’s Emmy and Peabody Award-winning American sitcom/dramedy series, “Scrubs.” Originally tried out for the role of Dr. Perry Cox, which later went to co-star John C. McGinley, Flynn has been playing the role of Janitor since the show’s premiere on October 2, 2001 until its existing seventh season (announced in May 2007).

“When we watched the pilot, we knew instantly we had to keep this guy around.” “Scrubs” executive producer Bill Lawrence on Neil Flynn.

During his hefty six-year stint in “Scrubs,” Flynn guest starred in an episode of CBS cop drama series “The District,” ABC sitcom “The Norm Show,” popular, Emmy Award-winning CBS cop drama “CSI: Crime Scene Investigation,” Fox drama series “Boston Public” and ABC Emmy-winning police drama “NYPD Blue.” He also appeared in Jon Schnepp’s 23-minute sci-fi movie The Removers (2001).

While voicing Julius Caesar on MTV/Teletoon’s animated sitcom “Clone High” (2002-2003), Flynn appeared in the made-for-television movie It truly is a Very Merry Muppet Christmas Movie (2002). Afterward, he was spotted as a guest in two episodes of the WB (now The CW) sci-fi/drama series about young Clark Kent/Superman, “Smallville,” and was featured in Mark Waters’ take on Rosalind Wiseman’s book, Mean Girls (2004; as the father of Lindsay Lohan’s character). He also had a deleted scene as an anonymous police officer in Adam McKay’s comedy movie Anchorman: The Legend of Ron Burgundy (2004; starring Will Ferrell), which can be viewed in the straight to DVD spin-off film Wake Up, Ron Burgundy: The Lost Movie, and in the deleted scenes of the Anchorman DVD.

Fynn provided his voice in the Disney Channel’s animated TV series “Kim Possible” twice (in 2003 and 2007). Meanwhile, he appeared in an episode of UPN sitcom “Love, Inc.” and TBS sitcom “My Boys,” as well as in two episodes of NBC sitcom starring Matt LeBlanc, “Joey” and appeared in part live-action, part animated telemovie Re-Animated (2006).

On the big screen, Flynn was recently seen in Wil Shriner’s film version of Carl Hiaasen’s novel, Hoot (2006; starring Luke Wilson and Logan Lerman), and in writer-director Patrick Read Johnson’s drama comedy 5-25-77 (2007). He also starred in Chris Peckover’s 8-minute comedy movie Alive and Well (2007). In February 2007, TV audience caught him on Comedy Central’s “The Naked Trucker and T-Bones Show.”

Flynn will next be seen alongside Simon Baker, Winona Ryder and Leslie Bibb in writer-director Daniel Waters’ upcoming drama/comedy film, Sex and Death 101. And adding to his TV and movie credits, Flynn has also done voice acting for the Playstation 2 video game series The Ratchet & Clank, as the Plumber.

Name Neil Flynn Height 6' 5″ Naionality American Date of Birth 13 November 1960 Place of Birth Waukegan, Illinois, USA Famous for

The post Neil Flynn Biography Photographs Wallpapers appeared first on Beautiful Women.

source http://topbeautifulwomen.com/neil-flynn-biography-photographs-wallpapers/

[comicshorrorvwetc]

Each week we release the textless cover art for all of Marvel and DC’s comic books.  Use them as a wallpaper on your phone or just enjoy the artwork itself without the logo concealing portions of the image.  Come back each week for that Wednesdays newly released cover art!

Also make sure to check out last weeks (04-19-17) album here.

DC Comics 04-26-17

#gallery-0-9 { margin: auto; } #gallery-0-9 .gallery-item { float: left; margin-top: 10px; text-align: center; width: 50%; } #gallery-0-9 img { border: 2px solid #cfcfcf; } #gallery-0-9 .gallery-caption { margin-left: 0; } /* see gallery_shortcode() in wp-includes/media.php */

BATGIRL #10 Cover by FRANCIS MANAPUL

BATMAN ’66 MEETS WONDER WOMAN ’77 #4 Cover by MICHAEL ALLRED

BATMAN BEYOND #7 Cover by MARTIN ANSIN

BATMAN/THE SHADOW #1 Cover by RILEY ROSSMO

BLUE BEETLE #8 Cover by SCOTT KOLINS

DOOM PATROL #7 Cover by MICHAEL ALLRED

FUTURE QUEST #12 Cover by EVAN “DOC” SHANER

MOTHER PANIC #6 Cover by TOMMY LEE EDWARDS

SCOOBY-DOO TEAM-UP #25 Cover by DARIO BRIZUELA

SUICIDE SQUAD #16 Cover by TONY S. DANIEL

SUPERGIRL BEING SUPER #3 Cover by JOELLE JONES

TEEN TITANS #7 Cover by KHOI PHAM

THE FLASH #21 Cover by HOWARD PORTER

THE HELLBLAZER #9 Cover by TBD

THE KAMANDI CHALLENGE #4 Cover by PAUL POPE

Marvel Comics 04-26-17

#gallery-0-10 { margin: auto; } #gallery-0-10 .gallery-item { float: left; margin-top: 10px; text-align: center; width: 50%; } #gallery-0-10 img { border: 2px solid #cfcfcf; } #gallery-0-10 .gallery-caption { margin-left: 0; } /* see gallery_shortcode() in wp-includes/media.php */

BEN REILLY THE SCARLET SPIDER #1 Cover by GREG LAND

BEN REILLY THE SCARLET SPIDER #1 Cover by MARK BAGLEY

BLACK PANTHER #13 Cover by BRIAN STELFREEZE

DEADPOOL VS. THE PUNISHER #1 Cover by DECLAN SHALVEY

ELEKTRA #3 Cover by ELIZABETH TORQUE

GREAT LAKES AVENGERS #7 Cover by WILL ROBSON

HULK #5 Cover by JEFF DEKAL

INFAMOUS IRON MAN #7 Cover by ALEX MALEEV

MAN-THING #3 Cover by TYLER CROOK

MAN-THING #3 Variant cover by LEONARD KIRK

MIGHTY THOR #18 Cover by RUSSELL DAUTERMAN

MOON GIRL AND DEVIL DINOSAUR #18 Cover by AMY REEDER

OCCUPY AVENGERS #6 Cover by PAULO SIQUEIRA

OLD MAN LOGAN #21 Cover by ANDREA SORRENTINO

PATSY WALKER, A.K.A. HELLCAT! #17 Cover by BRITTNEY L. WILLIAMS

ROCKET RACCOON #5 Cover by DAVID NAKAYAMA

STAR WARS DARTH MAUL #3 Cover by RAFAEL ALBUQUERQUE

THANOS #6 Cover by MIKE DEODATO

THE MIGHTY CAPTAIN MARVEL #4 Cover by ELIZABETH TORQUE

ULTIMATES 2 #6 Cover by CHRISTIAN WARD

WEAPON X #2 Cover by GREG LAND

X-MEN BLUE #2 Cover by ARTHUR ADAMS

X-MEN GOLD #2 Cover by ARDIAN SYAF

  New Comic Book Covers 04-26-17 Each week we release the textless cover art for all of Marvel and DC's comic books.  Use them as a wallpaper on your phone or just enjoy the 

#art #dc comics #featured #marvel comics #textless covers