bilboner-baggins

dobdob:

necroticnymph:

briansandstorm:

That awkward moment when Diablo shows up to your religious protest

This reminds me of an old story I heard from a friend. One year, an anime con was being held the same weekend as a Bible Conference. This dude in an Ifrit costume, stilts and all, gets into the elevator, all hunched over, on his way down to the lobby. Before he could reach the lobby, the elevator stopped on another floor. Two old ladies clutching bibles were about to step on when they see this giant red demon-creature.

And in his deepest voice he says, “Going down?”

They shrieked and ran off to find another elevator.

oh boy I have a story to contribute. On Saturday I was on my way to London Film and Comic Con as Abaddon from SPN. I’d upgraded the prosthetics (a decapitation wound that was actually sewn up with a suturing needle) and covered myself in fake blood before realising I was going to have to travel through London like this. I didn’t want to freak any nice people out so wore a scarf hijab-style to cover it all up.

Cut to me being singled out by an evangelical Christian outside the tube station (I think because of my punk clothes?) who tried to give me a homophobic pamphlet and shouted “you’re going to hell the way you’re living.”

Without skipping a beat I lifted up the scarf and replied “Darling. Been there, done that. They made me Queen”

He jumped back in horror, I strolled on. The only thing that could have made it better would have been an M.I.A. soundtrack.

asylum-art

asylum-art:

陈江洪 Chen Jiang Hong

Chen uses calligraphic techniques and paints on the floor with long wolf-hair brushes. Each brush stroke is a definite, irreversible moment that cannot be changed. The compositions are made up of strong black brush strokes balanced by smoky volutes and tactile sawdust. The subjects are often oversized and blurred, as if Chen has captured a fleeting moment in time. The large-scale ‘close-ups’ have an immediate impact on the viewer, emphasising the materiality of his painting.

Chen’s work translates the vitality of nature with a rare elegance and an extraordinary energy. It would appear to embody the philosophy of Oriental sumi-e – where the aim is not to reprod