By Brent Frankenhoff
Meet the undesirable asses, the cruel men, the fellows you don't intend to make mad. those are the fellows you'd are looking to have backing you up in a struggle. And those are the blokes who make undesirable quite a bit enjoyable. From hard-bitten heroes to vile villains - together with Wolverine, Batman, Luke Cage, Galactus, and extra - 100 Baddest Motherf*#!ers! offers the lowdown at the down low in a full-color, absolutely illustrated, butt-kicking format.
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Additional resources for 100 Baddest Mother F*#!ers in Comics
Old and New Comedy had repeatedly satirized him as loud, self-aggrandizing, and slow witted. Here, perhaps, he blurs into the New Comedy stereotype of the miles gloriosus—the braggart soldier, addicted to his own tall tales of past glories. The second grullos can certainly be read as supporting this interpretation. This is the only illustration that unambiguously shows Heracles wrestling a lion, just as he says he did in the immediately adjacent text. 3). . ground line” and still less on a neat stack of two (Weitzmann in Roberts 1954, 86).
Oxy. 2331, close-up of grullos 3: The lion slain. Bitel has suggested to me a reading I find very persuasive: The lion is not standing on a ground line but on a stepped base of cut stone. In other words, this is not a real lion—it is a statue of one, and the interlocutor has caught Heracles in the act of faking his most famous Labor. Heracles may not be hero enough to wrestle a lion, but, as Maas observed, he can take on a punning substitute. 4) closely matches descriptions of the chameleon in ancient literary sources: It is lizardlike, with a long tail, and it can change its color to match its surroundings.
Accordingly, he sought advice from the recognized academic authority: Kurt Weitzmann was not a classicist, but his Illustrations in Roll and Codex (1947) was the first serious treatment of the ancient illustrated book. Doubtless to Roberts’s relief, Weitzmann responded with a detailed letter, which 8. A modern editio princeps typically presents two texts in parallel: a diplomatic transcript (an accurate, noninterpretive record of the ink traces visible on the papyrus), and an edition interpreting those traces, supplementing them with surmises about missing letters and words, and adding spacing and punctuation.