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fantomcomics · 2 years

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What’s Out This Week? 6/29

Yeah, we know. Us too. We love you.

Buffy ‘97 #1 - Jeremy Lambert, Marianna Ignazzi & Qistina Khalidah

In this special celebratory issue, Buffy Summers and Willow Rosenberg find themselves trapped... in a '90s teen magazine! But obviously it's not just any old magazine-this one's part of a demon's diabolical plan to feed on teenage insecurities. Meanwhile, in true '90s makeover montage-style, Spike gives Giles a hand with a fresh new look to impress a very special someone! Celebrate the 25th Anniversary of Buffy the Vampire Slayer by Jeremy Lambert (Doom Patrol), artist Marianna Ignazzi (An Unkindness of Ravens).

Mindset #1 - Zack Kaplan & John Pearson

When an introverted tech geek accidentally discovers mind control, he and his friends do something unexpected - they put the science into an app to help users break their technology addiction. But as their Mindset app achieves a dangerous cult following, lies, conspiracies, and murder come to light. Are they helping people or controlling them?

Redman #1 (of 5) - Matt Frank

From the studio that created the cult TV show Ultraman (Now a Marvel Comics series and Netflix Show). Here is Redman, the Kaiju Hunter... Trapped in a desolate and yet somehow familiar world populated with a vast array of the ferocious beasts known as "Kaiju," Redman continues his endless Red Fight, battling tirelessly to cull the monsters. With each fierce battle, the mysterious, blood-splattered "hero" sinks closer to his prey, ready to strike. This while a sinister form watches and records his every move...

The Oblivion Trials #1 (of 4) - Brandon Chen, Fred Packard & Anderson Carman

What mystery lies on the other side of the afterlife? After his own abrupt death, a young boy, Kiko, finds himself whisked to an ethereal world into the boat of Charon, a deity that presents him with a choice that will decide his eternal fate.

Sins Of The Black Flamingo #1 (of 5) - Andrew Wheeler & Travis Moore

OCCULT NOIR. MIAMI SLEAZE. Sebastian Harlow is the Black Flamingo, a flamboyant and narcissistic thief who gets his kicks stealing mystic artifacts from the wealthy and corrupt of Miami's occult underground. When his latest job leads him to his biggest score so far, the hedonistic outlaw discovers something he wasn't looking for-something to believe in.

Power Rangers Unlimited: Countdown To Ruin #1 - Margueriete Bennett, Anna Kekovsky Chandra & Keyla K. Valerio

In the next crucial Power Rangers Unlimited special, calamity looms for fan-favorites Andros and Zhan from the hit series Power Rangers in Space. Discover their past growing up on KO-35, their journey to becoming Rangers, and the epic battle that changed their lives forever... The future of the Power Rangers saga starts here in this exciting one-shot adventure!

What’s The Furthest Place From Here? Vol 1 - Matthew Rosenberg & Tyler Boss

When 16-year-old Sid goes missing in the wastelands, it's up to the members of her gang to discover what happened. But what they find is a whole world beyond anything they could have imagined. Like Lord of the Rings meets Lord of the Flies, or JOHN CARPENTER by way of JOHN HUGHES, this series smashes together sci-fi and fantasy with elements of comedy, horror, and mystery for an emotional coming-of-age story unlike anything you've read before. This extra-length volume collects the first arc of the breakout hit series JAMES TYNION IV has said is "what the future of comics SHOULD feel like."

Hellboy& The BPRD: Old Man Whittier One-Shot - Mike Mignola & Gabriel Hernandez Walta

Trouble runs in the Whittier family! When Catherine Whittier learns she's inherited the family home, she knows better than to go back alone, and Hellboy's experience with the family (in Hellboy: The Whittier Legacy) makes him the perfect one to make sure any unkind spirits are rest. Because in a house with a history like this, "plot" can mean more than just a family graveyard. Hellboy creator Mike Mignola is joined by artist Gabriel Hernández Walta to bring readers a terrifying new one-shot in the home of the infamous Whittier family!

Whatcha scooping up this week, Fantomites?

#WOTW #What's Out This Week?#comic #comics #comic book #comic books #Hellboy #What's The Furthest Place From Here?#Power Rangers #Sins Of The Black Flamingo #The Oblivion Trials #Redman #Mindset #Buffy '97

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jvlawoffices · 17 days

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Navigating Estate Planning: Understanding the Role of Probate and Wills & Trusts Attorneys

Introduction:

Estate planning is a critical aspect of ensuring your assets are distributed according to your wishes and your loved ones are provided for after you're gone. Central to this process are probate attorneys and wills & trusts attorneys, who play vital roles in navigating the complexities of estate administration and asset distribution. In this article, we'll explore the importance of probate attorneys and wills & trusts attorneys in Rowland Heights, San Dimas, Fullerton, Whittier, and Yorba Linda, and how they can assist individuals and families in planning for the future.

Understanding Probate Attorney Services:

A probate attorney specializes in guiding executors and beneficiaries through the probate process, which involves validating a deceased person's will, identifying and appraising assets, paying debts and taxes, and distributing remaining assets to heirs. In Rowland Heights and San Dimas, probate attorneys from reputable firms like JV Law Offices provide expert legal counsel to streamline the probate process, minimize disputes, and ensure the efficient transfer of assets according to the decedent's wishes.

Wills & Trusts Attorney Services:

Wills and trusts attorneys focus on helping individuals create comprehensive estate plans that encompass wills, trusts, powers of attorney, and other essential documents. In Fullerton, Whittier, and Yorba Linda, experienced wills & trusts attorneys like those at JV Law Offices work closely with clients to understand their unique circumstances and goals, drafting personalized estate planning documents that protect assets, minimize tax liabilities, and provide for loved ones.

The Role of Probate and Wills & Trusts Attorneys:

Probate attorneys guide clients through the probate process, ensuring compliance with legal requirements and addressing any challenges that may arise. They serve as advocates for executors and beneficiaries, representing their interests in probate court proceedings and facilitating the timely distribution of assets.

Wills & trusts attorneys, on the other hand, focus on proactive estate planning, helping clients create wills, trusts, and other instruments that reflect their wishes and protect their assets. They provide invaluable advice on estate tax planning, asset protection, and incapacity planning, helping clients achieve their long-term financial objectives while preserving family harmony.

Conclusion:

Estate planning is a multifaceted endeavor that requires careful consideration and expert guidance. Probate attorneys and wills & trusts attorneys play indispensable roles in this process, offering essential legal services to individuals and families in Rowland Heights, San Dimas, Fullerton, Whittier, and Yorba Linda. Whether navigating the complexities of probate or crafting comprehensive estate plans, these attorneys provide peace of mind and assurance that your wishes will be honored and your loved ones provided for. If you're in need of estate planning assistance, don't hesitate to consult with a qualified probate or wills & trusts attorney to safeguard your legacy for generations to come.

For more: Probate Attorney Rowland Heights

Probate Attorney San Dimas

Wills And Trusts Attorney Fullerton

Wills And Trusts Attorney Whittier

Wills And Trusts Attorney Yorba Linda

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mmorgpm · 2 years

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mainsllc · 2 years

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The series received good ratings and William Hopper was nominated as Best Supporting Actor (Continuing Character) in a Dramatic Series at the 11th Primetime Emmy Awards following his role. His breakout role came when he played the role of a private investigator Paul Drake on CBS’s courtroom television series “Perry Mason”.

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hellboysource · 2 years

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The Whittier Legacy by Mike Mignola and Dave Stewart (2010)

#hellboy #hellboyedit #comicedit #mike migonla #dave stewart #edits #The Whittier Legacy #comics #by paige

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geekcavepodcast · 2 years

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Whittier Family Takes Center Stage in “Hellboy and the B.P.R.D.: Old Man Whittier”

Dark Horse Comics has announced a new Hellboy and the B.P.R.D. story. Hellboy and the B.P.R.D.: Old Man Whittier hails from Mike Mignola, artist Gabriel Hernández Walta, and letterer Clem Robins.

Hellboy and the B.P.R.D.: Old Man Whittier continues the story started in Hellboy: The Whittier Legacy. “When Catherine Whittier learns she’s inherited the house she grew up in, she knows better than to return home alone. And who better to escort her than Hellboy? After all, with a house with a history like this, “plot” can mean more than just a family graveyard.” (Dark Horse Comics)

Hellboy and the B.P.R.D.: Old Man Whittier, featuring a main cover by Walta (above) and a variant cover by Mignola and colorist Dave Stewart, goes on sale on June 22, 2022.

(Image via Dark Horse Comics - Gabriel Hernández Walta’s cover of Hellboy and the B.P.R.D.: Old Man Whittier)

#hellboy and the bprd old man whittier #old man whittier #hellboy #hellboy and the bprd #mike mignola #gabriel hernandez walta #clem robins #dave stewart #dark horse comics #catherine whittier #hellboy the whittier legacy #TGCLiz

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hapalopus · 3 years

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Hellboy reading list

Edit: oops i did it again, this was meant to stay in the drafts. Editing this stuff on mobile is hard okay TvT

It's still a WIP and when I'm done I'll share it for real. I'll delete this in the morning when I can get to my computer, but in the meantime y'all can take a look at the list. It's not the exact order I read them in, nor is it entirely chronological, but it's the order I feel it makes most sense to read these comics in :>

* = Ties the narrative together but can be skipped

** = Bad idea to skip these, but it won't ruin the story

*** = Do not skip!!

Sorted:

Seed of Destruction***

The Wolves of Saint August

The Corpse*

The Iron Shoes

The Baba Yaga*

King Vold

The Chained Coffin***

Wake the Devil***

Almost Colossus**

Pancakes*

The Nature of the Beast*

The Right Hand of Doom***

Box Full of Evil***

Heads

Goodbye, Mister Todd*

The Vârcolac

The Killer in My Skull*

Abe Sapien versus Science**

Being Human*

Conqueror Worm***

The Third Wish**

The Island***

Into the Silent Sea

Drums of the Dead

Hollow Earth***

Darkness Calls***

The Mole

Unsorted:

The Troll Witch and Others (TBP)

The Crooked Man and Others (TBP)

The Wild Hunt

The Bride of Hell

The Whittier Legacy

They That Go Down to the Sea in Ships

A Christmas Underground

Dr. Carp's Experiment

Hellboy in Mexico

The Storm

Double Feature of Evil

The Sleeping and the Dead

Buster Oakley Gets His Wish

The Fury

Hellboy versus the Aztec Mummy

Hellboy Gets Married

House of the Living Dead

The Coffin Man

The Coffin Man 2: The Rematch

The Midnight Circus

Hellboy in Hell

Hellboy and the B.P.R.D. (#1-#13)

Hellboy Winter Special (2016)

Hellboy and the B.P.R.D. (#14-#19)

Hellboy Winter Special (2017)

Into the Silent Sea

Hellboy and the B.P.R.D. (#15-#25)

Krampusnacht

Hellboy Winter Special (2018)

Hellboy and the B.P.R.D.: The Beast of Vargu and Others

Hellboy vs. Lobster Johnson: The Ring of Death

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eugene114 · 4 years

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Snow-Bound

With the death of his sister and the arrival of his niece to keep house for him, Whittier wanted to commemorate his sister and recreate his past for his niece, in poetry. At first he thought of it as a short children’s poem, but as it grew, he told Jamie Fields, his publisher, that he was writing a poem giving ��a homely picture of old New England homes.” (Woodwell 338)

With encouragement from Fields, Whittier completed the poem in October of 1865. Snow-Bound was published in February of 1866 in book form and became an immediate success. By April the 10,000 copies in the first edition had been sold out, and Fields was printing more. It continued to have unprecedented success not only because it was some of Whittier’s best writing, but because war weary Americans, going through the industrial revolution, were becoming nostalgic about their rural past.

By midsummer the sale of Snow-Bound had reached twenty thousand; it was ultimately to bring Whittier $10,000 (Woodwell 338). Snow-Bound,and the commissions Whittier received due to his Snowbound popularity, gave Whittier financial security for the rest of his life, allowing him to pay his niece’s expenses at Ipswich Seminary, put another addition onto his house in Amesbury, and leave a legacy when he died.

Snow-Bound

The poem opens with a long introductory note in which Whittier identifies the people in the poem and tells how important story-telling was in the Whittier household. “In my boyhood, in our lonely farm-house, we had scanty sources of information; few books and only a small weekly newspaper. Our only annual was the Almanac. Under such circumstances story-telling was a necessary resource in the long winter evenings.”

After quoting a passage from R.W. Emerson’s “The Snow Storm” Whittier begins with a description of the storm.

The sun that brief December day Rose cheerless over hills of gray, And, darkly circled, gave at noon A sadder light than waning moon.

Whittier continues describing the pre-storm weather, and then describes the activities of the family.

Meanwhile we did our nightly chores,-- Brought in the wood from out of doors, Littered the stalls, and from the mows Raked down the herd-grass for the cows; Heard the horse whinnying for his corn…

And that night:

Unwarmed by any sunset light The gray day darkened into night,

And ere the early bedtime came The white drift piled the window-frame, And through the glass the clothes-line posts Looked in like tall and sheeted ghosts.

So all night long the storm roared on: The morning broke without a sun;…

And it snowed all day.

And, when the second morning shone, We looked upon a world unknown, On nothing we could call our own.

After describing the strange appearance of everything covered with snow, Whittier gets back to the human action.

A prompt, decisive man, no breath Our father wasted: “Boys, a path!”

Our buskins on our feet we drew; With mittened hands, and caps drawn low,

And, where the drift was deepest, made A tunnel walled and overlaid With dazzling crystal:…

Whittier continues to describe how they take care of the animals, how the wind continues all night, and how the family gathers around the fire. He describes each member of the gathering. His father tells stories of his travels among the French and Indians in Canada:

Our father rode again his ride On Memphremagog’s wooded side Sat down again to moose and samp In trapper’s hut and Indian camp;

Our mother, while she turned her wheel Or run the new-knit stocking-heel, Told how the Indian hordes came down At midnight on Cocheco town, And how her own great-uncle bore His cruel scalp-mark to fourscore.

Our uncle, innocent of books, Was rich in lore of fields and brooks, The ancient teachers never dumb Of Nature’s unhoused lyceum.

Next, the dear aunt, whose smile of cheer And voice in dreams I see and hear.— The sweetest woman ever Fate Perverse denied a household mate,…

There, too, our elder sister plied Her evening task the stand beside; A full, rich nature, free to trust, Truthful and almost sternly just, Impulsive, earnest, prompt to act, And make her generous thought a fact, Keeping with many a light disguise The secret of self-sacrifice.

When he describes his younger sister, with whom Whittier had lived until her death earlier that year, Whittier’s sense of loss is palpable.

As one who held herself a part Of all she saw, and let her heart Against the household bosom lean, Upon the motley-braided mat Our youngest and our dearest sat, Lifting her large, sweet, asking eye, Now bathed in the unfading green And holy peace of Paradise.

Do those large eyes behold me still? With me one little year ago:--

Having described the immediate family, Whittier moves on to the guests. First a student from Dartmouth who was earning his way through school by teaching at the district school while boarding with the Whittiers.

Brisk wielder of the birch and rule, The master of the district school

Held at the fire his favored place, Its warm glow lit a laughing face…

He teased the mitten-blinded cat, Played cross-pins on my uncle’s hat, Sang songs, and told us what befalls In classic Darmouth’s college halls.

And then Harriet Livermore, described in Whittier’s opening notes as the daughter of Judge Livermore of New Hampshire. She was: "…a young woman of fine natural ability, enthusiastic, eccentric, with slight control over her violent temper, which sometimes made her religious profession doubtful.”

She sat among us, at the best, A not unfeared, half-welcome guest, Rebuking with her cultured phrase Our homeliness of words and ways.

After another night of high winds that seem to be tearing the house apart, the Whittiers awake the next morning to the sound of the “snow plow.”

Next morn we wakened with the shout Of merry voices high and clear; And saw the teamsters drawing near To break the drifted highways out.

But the Whittiers have had no news from the outside for a week until:

At last the floundering carrier bore The village paper to our door.

Welcome to us its week-old news,

Wide swung again our ice-locked door, And all the world was ours once more!

In his concluding stanza, Whittier sums up what made this poem the most popular in America until the reality of depressions and wars in the twentieth century shattered the nostalgia.

These Flemish pictures of old days; Sit with me by the homestead hearth, And stretch the hands of memory forth To warm them at the wood-fire’s blaze.

Full text of "Snow-Bound"

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laconservancy · 4 years

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The ‘70s Turn 50: Celebrating the Decade that Broke the Mold

The 1976 Bonaventure Hotel is an iconic 1970s building in downtown L.A. Photo by Architectural Resources Group.

The Los Angeles Conservancy celebrates the 1970s’ golden anniversary with The ‘70s Turn 50, an exciting initiative exploring the decade’s lasting imprint on L.A. County’s built environment. This yearlong campaign will raise public awareness and educate Angelenos about 1970s architectural and cultural heritage sites in Los Angeles.

Why Fifty Years?

The fifty-year mark is significant in historic preservation. One of the criteria for designation on the National Register of Historic Places states that properties under the age of fifty should not be considered eligible unless they are of “exceptional importance.” While there is no age limit in Los Angeles for local landmark designation, the fifty-year rule remains a benchmark for examining buildings and structures from a period not yet long-gone. It serves as a rallying cry for preservationists anxious to spotlight places that may be at risk.

In 2010, the Conservancy leveraged the 1960s’ fiftieth birthday to shine a light on the growing number of lost or threatened buildings from that decade. Increasing public awareness and pressure helped spare some threatened ‘60s buildings.

The 1966 Fairmont Century Plaza (formerly, the Century Plaza Hotel), which had faced potential demolition, was successfully saved thanks to massive public support and a sensitive redevelopment plan brokered by the Conservancy and the National Trust for Historic Preservation.

Instilling value for structures not yet in our collective consciousness is half the battle when it comes to preserving them. However, those most in need of attention are in constant flux, moving targets based on the time and changing trends.

Threats to the ‘70s

In the decade since the Conservancy launched its efforts to preserve resources from the 1960s, structures from the 1970s have moved increasingly into the cross-hairs—especially those made with faltering building materials.

Gasoline shortages caused by the 1973 oil embargo quickly curtailed the postwar housing explosion in the United States, a boom that had resulted in the construction of roughly six million housing units in California. Construction shrank as ‘stagflation,’ a term coined in the ‘70s to describe the simultaneous occurrence of slow economic growth and high rates of inflation, gripped the country. The subsequent emphasis on cheap construction materials resulted in buildings that were difficult and expensive to maintain.

1970s buildings also face an increased threat due to a lack of enthusiasm for the aesthetics of the era. The design features and fads iconic to it (shag carpet, faux wood-grain paneling, platform shoes, and macramé) tend to be polarizing ones, and its architecture may be equally difficult for many to embrace.

A Time of Experimentation

Yet in Southern California, the ‘70s marked a time of unprecedented architectural exploration, and the structures left in its wake are some of the finest examples of that creative spirit. Large architectural firms expanded beyond the plain International Style glass box with a variety of building shapes and experimented with glass-skinned exteriors that gave their corporate commissions a simple yet beautiful aesthetic.

The Westin Bonaventure Hotel (John Portman, 1976), the colorful Pacific Design Center (Pelli and Gruen Associates, 1975), and the Federal Aviation Administration Headquarters (César Pelli, Anthony J. Lumsden, DMJM, 1972) exemplify the originality of the decade.

Simultaneously, schools of architecture, such as the newly formed Graduate School of Architecture and Urban Planning at UCLA; the School of Environmental Design at California State Polytechnic University, Pomona; and the radical Southern California Institute of Architecture (SCI-Arc), joined the ranks of the University of Southern California’s established architecture school in producing many of the leading architects of the time. Craig Hodgetts, Robert Mangurian, Thom Mayne, Michael Rotondi, Eric Owen Moss, Eugene Kupper, and Frederick Fisher all taught at these institutions, which provided them the means to experiment despite limited budgets.

Frank Gehry’s 1978 re-design of his Santa Monica residence using cheap and accessible materials was the first project to bring him significant attention. It catapulted the Los Angeles Deconstructivism movement onto the national stage.

The colorful Pacific Design Center’s first building, the Blue Building, rose at the corner of Melrose Avenue and San Vicente Boulevard in West Hollywood in 1975. Photo by Adrian Scott Fine/L.A. Conservancy.

Movers and Shakers

On the social and cultural front, the ‘70s were a crucible for movements. The Los Angeles Conservancy, Whittier Conservancy, Pasadena Heritage, and many other preservation and heritage groups were founded in the 1970s in response to the demolition and threatened destruction of historic sites across the County. Similarly, the environmental movement, which gained national attention with landmark legislation, such as the National Environmental Protection Act, the Clean Water Act, and the Endangered Species Act, solidified in Los Angeles through the efforts of new organizations like TreePeople and the California Conservation Corps.

Begun in the ‘60s, the battle for civil rights continued, now in tandem with and alongside anti-Vietnam War marches and protests. The Chicano Moratorium took place in 1970, imprinting East Los Angeles with the memories of its message, marchers, and casualties. In the following years, both the women’s and LGBTQ+ liberation movements would make their presence known across Southern California, as well. Despite Tom Wolf’s descriptor of the 1970s as the “Me” decade, Los Angeles retained strong elements of civic engagement and activism.

Celebrating the ‘70s

The Conservancy will explore all of this and much more through The ‘70s Turn 50 initiative. Throughout 2020, we will tell the stories and explore the legacies of the 1970s in a variety of ways, including:

Holding a yearlong tour and discussion series at significant ‘70s buildings across the County.

Hosting special tours of buildings and sites of architectural and cultural importance.

Nominating structures from the decade for landmark designations.

Launching a social media campaign and a new ‘70s-centered microsite.

Most importantly, we will build a coalition of fellow organizations eager to join us in this enterprise. We hope that Conservancy members and citizens of Los Angeles County will create a force for valuing and preserving the rich heritage and unique culture of the 1970s.

Visit our microsite at laconservancy.org/70sTurn50 to learn more about this initiative, our programming partners, and upcoming events celebrating the 1970s. We will add more content and announce additional events throughout 2020.

#70sTurn50 #1970s #upcoming events

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eddycurrents · 5 years

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BPRD: Being Human - “The Dead Remembered”

Story: Mike Mignola & Scott Allie | Pencils: Karl Moline | Inks: Andy Owens | Colours: Dave Stewart | Letters: Clem Robins

Originally published by Dark Horse in BPRD: The Dead Remembered #1-3 | April-June 2011

Collected in BPRD: Being Human

Plot Summary:

In 1976, Professor Bruttenholm takes Liz with him to investigate a haunting in Massachusetts that may have ties to the witch trials. While there, Liz experiences her first real crush, trying to come to terms with her powers and the ghosts that haunt her, both from the past and the present.

Reading Notes:

(Note: Pagination is in reference to the chapter itself and is not indicative of anything found in the issues or collections.)

pg. 1 - Interesting cold open, on the confrontation of a “witch” by a mob threatening to do her ill. The terror in her eyes is aptly captured by Karl Moline, Andy Owens, and Dave Stewart here in the art.

It’s also interesting in that in our current understanding and hindsight, witches as envisioned by witch hunters, priests, and such during the height of the Salem Witch Trials don’t exist. These women were generally falsely accused out of politics, jealousy, spite, etc. or in the rare case where they exhibited some natural or scientific knowledge. No magic powers. No communion with the devil. So, in general, we often find stories in which these women are accused, the women are given a sympathetic outlook, because we don’t believe they’re actually “witches”.

In a world like Hellboy though, magic witches and demons do exist. The women can actually be what the people accuse them of. As such, it adds a certain level of doubt as to the veracity of the claims that otherwise wouldn’t be there. So you wonder, is she really a witch? And, if so, is she a good witch or a bad witch?

pg. 2 - And we’re into the present of the story in 1976. I absolutely love Hellboy and Bruttenholm here interacting as adults. It’s an interesting dynamic, also when it comes to Bruttenholm getting nostalgic about young Hellboy. It is funny to see a kind of inversion of HB wanting to go on a trip.

pg. 3 - It’s also great to see Hellboy acting like a big brother.

pg. 5 - One hell of a nightmare to carry around with you as baggage. Compared to the somewhat neutral palette (other than the vibrant reds), it’s interesting to see this explosion of bright colour for Liz’s memory from Stewart. It gives a very nice impact to how overwhelming it can be to Liz.

Also, there’s an idea put forward here that her “minders” are terrified of her. That’s got to do one hell of a number on a kid.

pg. 7 - Hellboy’s probably the most human and humane of any person at the Bureau. You really get the impression that he wants Liz to succeed and be “normal” (whatever that normal may be).

pg. 8 - I hate this car game. I have a few friends who do it still, and I always see it as a kind of gatekeeping and flouting of knowledge rather than the sharing of information that I know at least one of them means it as. I’m probably guilty of it in some regards as well.

The song is “Loves Me Like a Rock”, by the way. Which is kind of interesting since it involves the devil and being fooled.

Though Liz’s response of ultimately diving into reading is the perfect teenager reaction, regardless of time period.

pg. 9 - The Father’s dilapidated house is interesting. Who puts a priest out to pasture in the middle of nowhere?

pg. 11 - The incorporation again of Henry Hood is nice, as is the possible ties to the Whittier family we met earlier in The Whittier Legacy. That gives further credence that Anne perhaps actually is a witch.

I like the simple purple wash Stewart uses for the flashback.

pg. 13 - I like that the priest is building the possibility here of Anne’s innocence throughout the terrible ordeal. It sets up the idea that this could be a revenge haunting.

pg. 14 - It’s somewhat funny that the witch, or whatever it is at this point, would use fire to spook Liz. It feels like something intentional that a spirit would utilize in order to sew doubt in Bruttenholm.

pg. 15 - Which seems to have worked. You get the impression that Bruttenholm thinks that Liz caused the fire.

pg. 18 - Why is it always smudging? There are other ways to cleanse and purify an area, especially when you consider that Bruttenholm is a stodgy Brit (even if he has been living in America for at least 30 years at this point).

pg. 19 - Liz is also downright mean to Teddy here. I mean, it’s understandable given what just happened with the professor, but wrong target.

pg. 22 - Now that’s just creepy. The bullet hole in the back of her head just makes it even more terrifying.

pg. 24 - You’d think that this happening in the woods would clue the professor and the priest that it’s not necessarily the house that’s the problem, but no.

pg. 25 - It’s also kind of sad that Liz is effectively being unheard, disbelieved, and denied here. It would only further her feelings of alienation.

pg. 28 - It ultimately didn’t seem to stop Teddy, though...

pg. 30 - Teddy emphasizes that it always does seem to be the kids who know the truth. Also, that adults tend not to believe the kids.

pg. 31 - There’s something about those shell wind chimes.

pg. 33 - I think it’s kind of weird that Bruttenholm is still pursuing the ghost as if it’s in the house and not tied somewhere else. Sure, there are manifestations within the house, but his previous attempt at purification didn’t even get a little bit of cupboard rattling.

pg. 34 - Being concerned about occult methods now is a weird quirk.

pg. 36 - It would have to be scary to find out that you’re developing pyrokinetic powers. Add that to the usual problems that any adolescent goes through and this is just a recipe for a firebomb.

pg. 39 - It’s a wonder that Liz didn’t go into a permanent state of shock from this. Actually seeing the full flashover event that caused the death of her family, friends, and more is just horrifying.

pg. 40 - Also the guilt from knowing that her mother knew about her lie is clearly eating at her.

pg. 42 - Awkward...

pg. 43 - More about those wind chimes. Also, regardless of whether Anne Caldwell was guilty or not, the mob “justice” is just nasty.

pg. 44 - The repetition of “Behold, I am against thee, saith the lord of hosts.” is interesting.

pg. 46 - I like the seeds of doubt planted as to who or what the ghost is, though Bruttenholm still seems to be looking in the wrong direction.

pg. 47 - This has got to be hard for a kid to understand. Also, Bruttenholm really isn’t great at interpersonal skills. He does at least seem to be trying.

pg. 48 - Third time’s the charm, right?

pg. 49 - It is good, though, that Bruttenholm seems to have finally clued in on what Liz really needs. Locking her up and treating her like a feral animal definitely isn’t good for her.

pg. 51 - I do like that the kids are taking the approach ultimately that the witch was the wronged party here.

pg. 52 - Or maybe she is evil.

Also, if this was what happened the first time I ever tried a cigarette, I’d never smoke. Ever. (I don’t and never have, but you get my point).

pg. 53 - The increasing severity of the storm is wonderfully depicted.

pg. 54 - Definitely evil.

pg. 55 - Just great art from Moline, Owens, and Stewart. The horror feel is intense.

pg. 58 - Liz being forced through the stages of Anne’s death in the present is very weird. It gives the impression that the witch wants her to experience something,

pg. 60 - There’s an interesting line here about power. Giving you the impression that maybe Anne wants Liz as a vessel.

pg. 62 - That’s an impressive column of fire.

pg. 64 - Poor kid.

pg. 66 - Good on them. This is sweet.

Final Thoughts:

Liz is probably my favourite character outside of Hellboy himself. For a character who was going to die because Mike Mignola didn’t know what to do with her, she’s come very far, suffered a lot of adversity, come to terms with her own agency, and become the fire. This origin story, delving further into what happened regarding the death of her parents and also some of the formative events that clearly imprinted on who she became, paints a complicated picture out of fear, self-doubt, and building an abrasive personality in response to it.

It’s also really nice to see more art from Karl Moline. His art on the Liz-centric issue of War on Frogs was wonderful and he, with inks here from Andy Owens, was the perfect choice to come back to flesh out this period in her life. Also, his witches are creepy fantastic.

d. emerson eddy does not want to burn the witch.

#Give 'em Hellboy #Hellboy #BPRD #Being Human #Mike Mignola #Scott Allie #Karl Moline #RaisingHellboy #151

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theonion · 6 years

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WHITTIER, CA—Saying his regurgitated arguments about elites exploiting working-class Americans were simply precious, sources confirmed Wednesday that an adorable 23-year-old on a tirade about economic oppression must have just read Howard Zinn’s A People’s History Of The United States for the first time. “Aw, listen to him going on and on about robber barons and American imperialism—isn’t he the cutest?” local coffee shop patron Amber Irving said of Kyle Green, the young man who was reportedly all in a huff about the Spanish-American War, putting a knowing smile on the face of everyone within earshot. “Oh my goodness! Now he’s throwing a little fit about railroad strikes, of all things. He’s really quoting chapter and verse, isn’t he? And look how earnest the little guy is!” At press time, sources reported a visibly worked-up Green had taken to social media to reappraise the legacy of Christopher Columbus.

#The Onion

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seeselfblack · 6 years

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Pio Pico, Afro Mexican governor of Mexican California

The birth of Pio de Jesus Pico in 1801 is marked on this date. He was an African, Native and Mexican businessman and politician.

Pico was born in the San Gabriel Mission in Mexico, the son of a soldier, Jose Maria Pico. His father had come from Mexico with the Anza expedition of 1801. The fourth of ten children, Pico's heritage was a mix of African, Native American, Hispanic, and European roots. A revolutionary in his youth, he was the last Mexican governor of Alta California (now the state of California), the region above what is now Mexico.

Pico became governor in 1845 following a revolt that ended with a bloodless artillery duel near Cahuenga Pass that forced out Governor Manuel Micheltorena. The state historic site, Campo de Cahuenga, opposite Universal Studios, marks the spot today. During his brief tenure as the last Mexican governor, Pico completed the secularization of the missions. He was accused of irresponsibly sorting out mission property to friends and allies as the American takeover of California neared. Pico greatly feared the growing American migration to California. "They are cultivating farms, establishing vineyards, erecting mills, sawing up lumber, building workshops, and doing a thousand other things which seem natural to them, but which Californians neglect or despise," he said in a speech.

Pico favored annexation with France or England, believing that the European powers would be more tolerant of the slower California way of life. In 1846, with American troops occupying Los Angeles (which Pico had made the state capital) and San Diego, Pico bowed to the inevitable and escaped to Mexico. Two years later, with California a territory of the United States, he returned home as a private citizen. He became a businessman and early member of the Los Angeles City Council. Over the years, gambling losses took a heavy toll on Pico’s fortune. He eventually sold his last major holding, a ranch in the San Fernando Valley, and built Pico House, a deluxe downtown hotel that was the largest of its day. He ultimately lost the hotel too.

Living off the charity of friends, he died in poverty in Los Angeles at the home of his daughter, Joaquina Pico Moreno, and was buried in a pauper’s grave. (Pico House, located on the Plaza across from Olvera Street, has been restored and is on the National Register of Historic Places. Pico Boulevard, a major L.A. thoroughfare, bears the governor’s name.) The Pio Pico home he called El Ranchito still stands in Whittier, CA. Pio Pico died in 1894.

via AfricanAmericanRegistry.com