Preludes & Nocturnes

Film Freak.
Writer Geek.
Cultural Antique.

Green Arrow & Ralph Dibny From 52 #8
Art by Eddy Barrows & Rob Stull

What I love about this scene is that it’s so in character for GA. 

(Source: jthenr-comics-vault, via jthenr-comics-vault)

Arkham. Ashcan Pete4lyfe. 
(Dexter Drake is a fun second though)

Arkham. Ashcan Pete4lyfe. 

(Dexter Drake is a fun second though)

That the attachment of Grimm’s uprooted Golem to the Maharal is in large part an attempt to emphasize the power of the holy word is evident in one of the main differences between Jewish and Christian accounts of the Golem in this period. All Christian accounts follow Grimm in identifying the utterance of holy words as the key to the animation process. The Jewish versions, on the other hand, emphasize the act of writing the secret name and inserting it into a cavity of the head (usually the mouth), an act which by definition defies pronunciation. It is not a magical spell that brings the Golem to life; it is an act of literacy, that is, an act of reading, studying, and writing, which are all meditations on the nature of God. This act strongly distances itself from the conjuring power of the words used by Grimm’s anonymous ‘‘they,’’ where ‘‘Schemhamphoras’’ is more like abracadabra. Moreover this act of literacy is about rewriting or reclaiming the creation in Eden by transferring the divine voice into the written form of the divine name. It would seem, then, that only a rabbi with a specific name can control the Holy Name. Man might not be able to speak for God, but he can quote him on parchment.

—How the Golem Came to Prague: Edan Dekel and David Gantt Gurley

Remember that one time Madman met Hellboy? 

"I’m not so sure about this. I think this brain recorder stuff is a load of hooey." 

Madman: The Living End (a proem).