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she is registered in the jkpp as Linda

she uses the named Elvire aswell but you can only find her under Linda

 

i used pastel pencils

 

www.flickr.com/groups/1384462@N22/discuss/721576253601755...

Created for 38th MMM Challenge

 

The Rainbow Works November 2013 Texture Challenge

 

With thanks to…

Source image - VinothChandar

Egret - Donjd2

Textures - Elne (Neighya) & Me

Model - Faestock

Background a gift from a very dear friend

 

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# #MEP #TerresD'Exil #Jean-FrançoisJoly

 

Paris, MEP - LACPIXEL - 2016

 

Fluidr

  

Please don't use this image without my explicit permission.

© All rights reserved

William Randolph Hearst’s Study at Hearst Castle in San Simeon California. With over 3,000 books and priceless treasures from around the world, this room served as a private library and office from which Hearst controlled his media empire and as an executive boardroom for discussing world events with his cohorts.

 

It was tough getting a sharp 1/25 second shot holding the camera as they do not allow tripods and I had to lean over a rope.

This was created for the What Have You Done To Your Cat Group !!

 

View other creations Here !!

Created for DigitalMontage Challenge 14 - Fire & Water

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created for Kreative people *open theme*11

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created for: Digitalmania

after :Jimmy Lawlor

texture by CARLOS ARANA

Thanks to :FOTOLIA and SHUTTERSTOCK & google

texture by SkeletalMess

texture by: Lenabem-Anna

 

The Nikon FE2 is a significant upgrade to its predecessor, the Nikon FE. The FE2 came out in 1983, about five years after the release of the FE in 1978. Like the FM2N, the design of the FE2 was highly refined over two generations and various other upgrades. The FE2 is a great travel camera for film. It is relatively small and light, compared with both large fully-automated film SLR cameras and large full-frame FX or even crop sensor DX digital SLR cameras. However, the quality of the images it can produce are the same or better than those of a full-frame digital camera, especially when the film is scanned with a commercial-grade scanner. You can fit the camera with two or three small prime lenses and an electronic flash in a regular size fanny pack. The FE2 has most of the advantages of the FE and then some. The main improvements in the FE2 over the FE, which will be discussed in more detail below, are (1) TTL flash metering capability, (2) maximum shutter speed increased from 1/1000 sec. to 1/4000 sec., (3) 1/3 stop exposure compensation instead of only 1/2 stop, (3) brighter viewfinder than the FE, with improved focusing screens, and (4) flash synch speed and mechanical shutter speed both increased to 1/250 sec. from 1/90 sec. for mechanical shutter speed and 1/125 sec. maximum flash synch speed on the FE.

 

I became a constant user of the original FE soon after it came out in 1978 as a backup body to my pro-level Nikon F2 Photomic AS. Then, for a long time, I variously used an F3HP, F4 and F90X together with an FM2N for a second body. Of course, after that, digital SLRs started to take off and film became obsolete for most applications. However, for travel, especially in the modern age of restrictions on flight check-in and carry-on baggage, I like to keep my travel camera system as small as possible but still keep maximum image quality. The fully mechanical FM2N itself is almost the perfect travel camera. However, may people like to use flash with film lots of in addition to shooting landscapes and street images, may shooters like to take pictures of my friends and family, sometimes inside a building or at night. So the ability of the FE2 to support TTL flash is a big advantage over the FE or FM2N.

 

The FE2 was in production from 1983 to 1987, concurrent actually with the experimental and more high-tech FA. Finally, in 1988, both the FE2 and FA were replaced with the new style F801 (N8008), which had the metering system of the FA plus autofocus and built-in auto-wind. There was actually one additional major upgrade to the FM2N/FE3, and that is the FM3A, which was released much later (2001-2006; 1991). The FM3A is the most advanced of the FM/FE Series, with a hybrid mechanical/electronic shutter, an FE2 style metering indicator, and all of the other features of the FE2.

 

The FE2 was available in silver chrome and black paint. I have the black paint version, and the finish still looks great today, with only a bit of very minor wear and tear. When I compare the black finishes on the FE and FE2, the finish on the FE's black metal plates and dials is significantly more matte than the relatively shiny finish on the FE2. Comparing side by side, the matte finish on the older FE is definitely cooler. I have not looked closely at a chrome FE and FE2, but I have read that the chrome FE's finish is also slightly nicer than the chrome finish on the FE2. Anyway, the black FE2 also looks great. Although my FE2 has been to the shop a few times for regular maintenance, it has thankfully never had any breakdown. Some might argue that the all mechanical FM series is more repairable than an electronic camera like the FE2 over a multi-decade lifespan, and that may be true. But the FE2 is relatively simple compared with later advanced electronic cameras, so I am hopeful that my favorite camera technician will be able to keep my FE2 running for a long time to come.

 

All FM/FE-style bodies work great today with a wide variety of old and modern Nikon F mount lenses. Some people prefer the FE over the FE2 due to its ability to shoot more images per roll, slightly more convenient battery check, and most importantly, ability to mount pre-Ai lenses with the camera’s retractable meter coupling lever.

 

Unlike the single large 6 volt battery in the older Nikon EL-2, the FE and FE2 alike take either a 3V lithium battery, two 1.55V silver oxide batteries, or two 1.5V alkalines. This was standard for Nikon bodies of that era. I usually prefer to just go with a single 3V lithium to enjoy the long shelf life, but of course the other two types work fine too. Even though the small batteries control both the light meter and electronic shutter (but obviously not film advance or any autofocus), they still seem to last forever. I really liked the battery check lever on the back left of the FE, which is missing on the FE2. On the FE, you just need to push the lever down with your left thumb, and if the batteries are good, the red diode will light; no need to look through the viewfinder to check the batteries. On the FE2; you have to check battery power by movement of the viewfinder needle instead.

 

The FM/FE series is built with a copper-aluminum-silicon (copper-silumin) alloy body. I find the size and weight of the FE2 to be perfect, especially with wide-angle through medium telephoto Nikkor manual focus prime lenses. The body size is not too big or too small. Its size is large enough to hold securely, but still smaller than full size professional bodies like the F2AS or F3HP. It is not as small as the (mechanical) Contax S2, Pentax MX, or even the Olympus OM-3, which are considered small compact bodies and sometimes feel a bit too small to get a good grip. The FE2 weighs in at only 550g, without lens, even less than the FE's 590g. Of course, the weight of the batteries is insignificant, compared with the multiple AA batteries or other larger batteries in future electronic bodies. You can actually hang the FE2 with a small lens around your neck or shoulder and almost not notice the weight. The FE2 fits great into a dedicated case, or a spongy snug-fit case, or a small camera bag with a few lenses.

 

The FE2 body, like all cameras in the FM/FE series, feels a bit light and even insubstantial when held without a lens attached (The FE2 weighs virtually the same as the FM2N, which is only 10g lighter at 540g). However, once a lens is attached in the wide-angle to medium telephoto size range, especially any Nikkor manual focus primes, the lens/camera combination has the perfect balance, size and weight. It has a highly luxurious and precision feel and sound when held in your hands and used, although the sound is perhaps not as pleasing as that of the FM2N. I most often use Ai-S primes from 20/2.8 to 200/4 and the system is wonderful to operate with all of those lenses. However, once you start getting into bigger and heavier lenses such as, for example, the 80-200/2.8, the camera feels a big too light and out of balance. Also, on fatter lenses, you may need to use a rubber tripod spacer ring to keep the lens rings from touching the tripod head.

 

Operation of the FE2 is really smooth. The shutter speed ring is large and has an easy to turn knurled grip, although it is not quite as tall as that on the FM2N. The shutter speed dial on the FE2 offers noticeably more resistance than the dial on the FE due to the more robust click stops on the FE2. But still, it is easy to grab the shutter speed dial with your thumb and forefinger when the film advance lever is pulled out to turn on the camera. For safety purposes, you need to push the central button on the shutter speed dial to turn it off of "Auto". The film advance lever motion is amazingly smooth, although the lever is single-stroke only, unlike the levers on the F, F2 and F3. But the stroke is not very big, so a quick easy stroke quickly winds to the next frame. ASA/ISO setting is set by a ring that surrounds the rewind lever. The exposure compensation setting is located on the same ring as the ASA/ISO setting, and has a range from -2 to +2 EV in one-third stop increments, an improvement over the half-stop increments on the FE. Shutter speed and ISO markings are clear and easy to read. The ISO range of the FE2 (and also the FE) is 12 - 4000, wide enough to handle virtually all situations, though slightly narrower than the FM2N, which reaches up to 6400. The small multiple-exposure lever is located under the film advance lever, out of the way but easy to turn when you need it. The shutter release button is located at just the right location near the front of the body. It takes a standard mechanical cable release. The shutter release button on the FE2 (and FM2N) is a more modern, wider design compared with the relatively narrower release on the FE. The shutter release button on the older FE seems to have a slightly shorter travel than the FE2 and FM2N, and therefore feels slightly more instantaneous. Anyway, the shutter release on the FE2 works well with just the right amount of resistance to allow you to half press for an exposure reading, with just a short continued push to achieve an immediate shutter release. The electronic shutter on the FE2 has about the same loudness as the mechanical shutter on the FM2N, but the character of the sound is different. My FE2 has a honeycomb titanium shutter. Apparently, on later serial numbers, the FE2's shutter was changed to an even more improved aluminum design. The film counter is just in front of release crank and is easy to read.

 

One of the biggest advantages of the Nikon film SLR lens mount (the "F mount") is that it is the only SLR camera mount that has stayed virtually the same from the time of the first Nikon F and Nikkormat FS/FT through to the most current small and full frame Nikon digital SLRs. Except for the requirement that relatively newer Nikon film SLRs require Ai or Ai-converted lenses, all manual focus Nikon F mount lenses can be used on autofocus bodies, and most full-frame auto-focus Nikon F mount lenses can be used on all old manual focus bodies. I don't know of any other manufacturer that can make such a claim. Thus, it is convenient to use the FE2 together with a modern Nikon autofocus film or digital SLR because you can often use the same lenses on both bodies.

 

The FE and FM were the last bodies in that line to directly accept unmodified pre-Ai lenses because they included a retractable meter coupling lever. Of course, with pre-Ai lenses, you still need to use stop-down exposure metering. There are many excellent pre-Ai lenses available on the used market, and to use any such lenses that have not been converted to Ai, the FE and FM cameras would be a better choice than the FE2 or FM2n. Alternatively, you can probably still get an independent camera technician to convert any pre-Ai lens to Ai using scavenged parts, although Nikon itself presumably long ago stopped providing such service.

 

Loading Nikkor lenses onto any FM/FE Series body is quick and positive. Just line up the black dot on the lens with the dot on the camera body and twist the lens counter-clockwise. Of course, there is no need to line up the claw on Ai Nikkor aperture rings with an exposure meter pin on the body; this old system became obsolete after the Nikkormat FT2/EL-W generation. To remove a lens, just press the lens release button on the left front of the body and twist clockwise.

 

To load or unload film, twist the back opening lever counter-clockwise and pull the rewind crank upwards to open the camera back. Film loading is traditional style and almost foolproof. Like many Nikon and other cameras of this generation, you need to stick the film leader into a slot on the take-up spool and insure that the sprocket in the spool engages a film perforation. In my experience, this system is slower but more reliable than that on newer Nikon bodies where you simply lay the film leader flat next to an index line. Unlike the FE, the FE2 prevents you from accidentally loading the film with the shutter speed dial set to "A" and ending up with very long shutter activations if you try to wind to the first frame with the lens cap on. I can't count how many times I ran into this problem on my old FE. The FE2 defaults to M250 until the first official frame is reached. The slight downside is that you are unable to squeeze a few extra exposures off the beginning of the role (unless you use 1/250 sec. and Sunny 16 or an external exposure meter!).

 

The focusing screens of the FM/FE Series were improved and brightened with the release of the FM2/FE2. The original screens on the FE are about 1 stop dimmer than the later second generation. (Note: first and generation screens are interchangeable with exposure compensation). A slight disadvantage of the FM/FE series viewfinders is that, unlike the 100% frame coverage of a pro-level Nikon F series camera, the FE2's frame coverage is only 93%. This is not unusual in a pro-sumer level camera, but you need to be aware that objects that are outside the field of view in the viewfinder will be captured on your film. The viewfinder contains all of the information that you need for convenient camera setting. There is an aperture direct readout (ADR) at the center top of the viewfinder, same as on all FM/FE series cameras. The exposure meter uses a match needle system on the left side of the viewfinder. I actually prefer the three red light emitting diode system of the FM series, which is easier to see in all light conditions. However, the match needle system on the FE2, like the FE, is perfectly fine and is just as easy to see in most normal lighting conditions. The viewfinder of the FE2 is exactly the same as the FE, except that the shutter speed display range has been expanded beyond 1/1000 sec. to 1/4000 sec. Also, the FE2 adds a red LED on the right side of the viewfinder that lights up then exposure compensation is set to other than "0". This fixes a problem on the FE, where you could easily set exposure compensation then forget to turn it off, since there is no indication in the viewfinder that it is still on.

 

I often use both Manual exposure measurement and Aperture Priority exposure measurement on this camera, depending on the situation. In Manual metering, you simply adjust the shutter speed and aperture until the green and black needles line up. The black needle indicates the recommended shutter speed for the given aperture, and the green needle indicates the set shutter speed. In Auto metering (Aperture priority) you set the shutter speed dial to Auto which causes the green needle to lock on "A" in the viewfinder. The camera automatically selects the appropriate shutter speed, and the black needle indicates that speed in the viewfinder. While the match needle system is nice and clear in bright light, it is almost impossible to see the display to adjust exposure in dark environments. On the other hand, an advantage of the match needle system is that you receive direct visual confirmation of a wider range of exposure divergence, compared with the LED system.

 

The FE2, like the FE, FM2 and FM2n exposure meters uses a pair of silicon photodiodes (SPDs) for exposure measurement. This was the latest generation of exposure meter technology, after Cadmium Sulfide (CdS) technology in the Nikkormat FT (1965) through the FT3 (1977) and gallium-arsenide-phosphide photodiodes in the FM (1977). Silicon photodiodes provide quick response and stability, and apparently lower manufacturing cost for Nikon, compared with the prior generation. Exposure measurement range of the FE2 is the same as all FM/FE series cameras, i.e., EV 1 to EV 18 at ASA/ISO 100 and with a 50mm f/1.4 lens. This supports an aperture/shutter speed range of 1 sec. at f/1.4 through 1/1000 sec. at f/16. That range is pretty good for most situations, and a step up from the Nikkormat FT - FT3's range of EV 3 - EV 17. The FE2 is exactly on par with the Nikon F3HP. However, it is not as sensitive as the EV -2 to EV +17 range on the F2 Photomic AS, or the EV 0 to EV 21 range of the later Nikon F4.

 

Exposure lock is one thing that is slightly inconvenient on the FE/FE2. I sometimes find it easier, even on these cameras with aperture priority mode, to just use manual exposure mode and set the exposure directly. I find it quicker and more comfortable than pointing the camera to where you can measure the proper exposure, pushing the exposure lock button an holding the button in while recomposing and shooting. However, exposure lock on the FE2 is certainly usable. On the older FE, while locking exposure locks the shutter speed at the time the lock button is pressed, the black shutter speed needle in the viewfinder continues to move. This situation was fixed in the FE2, where the black shutter speed needle locks in place when the exposure lock is pressed. By the way, I am more apt to use Aperture priority exposure measurement and exposure lock with electronic Contax SLRs, which allow you to turn on the exposure lock by turning a switch after you achieve the proper exposure setting, and it stays on at a fixed EV until you turn it off. In other words, in the Contax world, after locking the exposure, changes in aperture affect the shutter speed and vice versa in order to keep correct exposure. The Nikon exposure lock only locks the shutter speed, so any changes to the aperture after the shutter speed is locked will change the exposure.

 

The center of the viewfinder display, with the standard K-Type focusing screen, contains a small central horizontal split image, surrounded by a microprism donut, which is further surrounded by a large matte donut and a 12mm diameter circle. But utilizing both the split-image and microprism collar, you can manually focus on almost any subject very quickly. Turn the camera at a slight angle when focusing if necessary to find a straight line. I can't resist pointing out that with well-maintained manual focus Nikkor primes, such as Ai-S lenses, focusing ring operation is buttery smooth, with just the right amount of viscous resistance. With the no-slip knurled focusing rings on the Ai-S lenses, focusing is quick and accurate. The FE2 provides three different interchangeable focusing screen types for various applications. I never needed to use any except the standard K2-Type screen. The B2 type screen removes the split image and microprism focusing aids, while the E2 type is the same as the B2, except with horizontal and vertical etched lines. As indicated previously, FM/FE series focusing screens were improved (from the "K" series to the "K2" series) to provide a brighter viewfinder image starting with the FM2/FE2 generation. Focusing screens on the FM3A were further improved so that their split-image rangefinders don’t go dark with lenses that have maximum aperture of f/5.6 or less.

 

The outer circle in the viewfinder encloses the central area that carries a 60% exposure meter weight, with the area outside the circle comprising the remaining 40%. The most important thing to know about an exposure measurement system is how it weights various areas of the viewfinder image so that you can determine how to use it in each situation. The 60/40 system works fine for most situations. It is vast improvement over the classic full-frame averaging system, which was used on a Pentax Spotmatic models, the earliest Nikkormat FT, and other cameras. For these averaging systems, if you wanted a proper exposure, you could not include a bright light or big sky in any area of the frame. Still, with the 60/40 system, you need to determine where to point the camera when manually setting the exposure. Find an areas that is representative of the subject, but which is not overly influenced by a bright light, a bright sky, a dark background, etc. Also make sure to select an area that approximates 18% gray, such as a dense area of green trees in a landscape image. If you cannot find an area that is equivalent to 18% gray that fills the 12mm circle, for example, inside the Haleakala volcano crater on Maui, HI, or a bright snowscape, then you need to compensate the exposure by appropriately changing the aperture or shutter speed in Manual mode, or by changing the exposure compensation dial in Auto mode.

 

Two contemporaneous Nikon bodies with the FE/FE2, the F3HP and the FA, had different exposure metering patterns. The F3HP, with its 80/20 heavy centerweight, makes it easier to find an area that is 18% gray, without surrounding high-contrast areas influencing the exposure reading too much. The FA is the first Nikon body to include, in addition to 60/40 centerweight, a multi-segment metering pattern (called AMP or "Automatic Multi-Pattern" in the FA; in later Nikon bodies, this metering pattern is referred to as "Matrix Metering"). The 5-segment pattern on the FA and its first generation software were the first Nikon attempt to correct the weaknesses of the traditional center-weight averaging system. While early multi-pattern systems on cameras such as the FA, F4, F800 and F90/F90x did a pretty good and steadily improving job in most normal situations, in difficult situations, they still didn't work as well as the center weight system with appropriate exposure compensation, as is utilized on the FE2. Of course, you have to know what you are doing in such situations! Newer film cameras, such as the F5 and F6, as well as advanced digital Nikons, with their advanced color matrix systems, finally do a good job even in difficult lighting situations. Modern Nikon bodies generally use a 75/25 weight in their center-weight metering modes.

 

The FE2 incorporates a vertical-travel, metal focal plane shutter with honeycomb titanium or aluminum curtains. Shutter speed range on the FE2 is an expanded 8 sec. through 1/4000 sec, which is acceptable even today. This is a big improvement over the shutter on the original FE, which maxed out at 1/1000 sec. On the slow end, the longest 8 sec. shutter speed (same as the FE) is a convenience to those of us who were previously used to using a shutter release cable for any exposure longer than a second. One advantage of the FE2's electronic shutter over the FM2n's mechanical shutter is that when in Auto (Aperture Priority) mode, the FE2 can select any intermediate shutter speed. In manual mode, you can only select the standard shutter speeds that are indicated on the shutter speed dial. The FE2 has one mechanical shutter speed, 1/250 sec., which is a separate selection on the shutter speed dial. The single mechanical shutter speed on the earlier FE is 1/90 sec. Users might argue whether it is better to have a backup speed of 1/90 sec. for available light, or 1/250 sec. for bright daylight. In any event, given the FE2's great reliability and long battery life, I have never had a need to use the 1/250 sec. mechanical shutter speed.

 

There are just a few more features that I want to mention. On the right front side of the body are located a depth-of-field preview lever and a self timer lever. Like many other cameras, you can check actual depth of field at the set aperture by pressing the depth-of-field lever. The image darkens if the lens is not set for maximum aperture, but you can get a good idea of the expected DOF with your lens/aperture combination. Actually, this lever is not really required with manual focus Nikkor lenses, because such lenses include an easy to read DOF index on the lens barrel. Many AF Nikkor lenses also have DOF index marks. The FE2 bodies have a mechanical self-timer with a delay of up to approximately 10 seconds. While these cameras do not have a mirror lock-up switch per se, you can simulate MLU by using the self-timer lever. When the shutter release button is pressed after the self-timer is set, the mirror swings up at the start of the timer count.

 

Finally, a hot-shoe contact is installed on top of the prism housing for flash photography. As already mentioned, the FE2 supports automatic TTL flash control with a four-contact hot shoe. The older FE only had a two-contact hot shoe for manual and non-TTL auto flash exposure. The FE2's maximum flash synch speed is 1/250 sec. This capability is still basically current today, significantly better than 1/125 sec. on the FE, and an improvement over all prior Nikon bodies except the FM2. On both the FE and FE2, one of the flash contacts communicates the flash charging status to the camera and lights a red diode "ready light" in the viewfinder when the flash is ready to shoot. Of course, the FE2 works with any Nikon flash unit. I use my SB-24 and SB-26 and they work great. If you will be doing a lot of flash photography, the FE2, along with the FA and FM3A, with TTL flash support, are better choices than the FE and prior Nikon bodies.

 

In addition to the vast selection of Nikkor and third-party lenses that are available for the Nikon F mount, the FE2 also accepts various other useful Nikon accessories. One of the most useful is the MD-12 motor drive (and also the earlier MD-11). This motor drive unit works on all FM/FE series bodies (and even the Nikon FA) and allows rapid fire or remote shooting up to 3.2 frames per second. However, the MD-12 is quite heavy, especially when loaded with the eight required AA batteries. These days, it would obviously be better to use a more modern camera is you want portable and higher-speed motor drive. Other useful optional accessories (which work with all FM and FE series bodies) are the MF-16 data back, the DB-2 Anti-Cold Battery Pack, the DR-3 and DG-2 viewfinder eyepieces, and various eyepiece correction lenses.

 

Copyright © 2013 - 2016 Timothy A. Rogers. All rights reserved.

  

(DSC_6194fin2)

Alright! Let's go!

 

Oh, it's Buffaloman AGAIN. *

Or, 'Terri-Bull'...

Nyuk! Nyuk!

What's he gonna do this-

 

Origin time!

 

Wait, what?

No!

We're sorry!

Now??

 

Buffaloman (バッファローマン) is a Devil Chojin with allegiances to Akuma Shogun and Satan, but works alongside the Justice Chojin for a good portion of the original series, before retiring to teach the New Generation.

 

About

 

Buffaloman is a charging bull-themed Chojin and one of the Seven Devil Chojin who were said to be too strong and brutal and banished to the ends of the universe.

 

His techniques and fighting style usually rely on his immense strength and power, but in tight situations he can lower his power in order to become faster. Additionally, he specialises in brutal fighting. He is quite clever and will often lure his opponents into wasting stamina.

 

He is depicted as a formidable opponent and far more powerful than any other chojin; the concept of Chojin Power was introduced specifically to illustrate this point. Buffaloman's Chojin Power is 10,000,000 Power, which is 10 times that of Warsman, previously Kinnikuman's greatest opponent. By the end of the series many chojin who surpass 10,000,000 Power have appeared, but Buffaloman still boasts of his power and is the only one where it is treated as an advantage.

 

Personality

 

Despite being a Devil Chojin, he normally fights honourably and shows his opponents respect, even when using brutal methods in battle. During his fight with Kinnikuman his good heart is awakened, and he is revived as a Justice Chojin after his first death. He also has a great sense of companionship, showing great respect for his fallen comrades. He returns to his evil ways in Kinnikuman (2011), but he maintains his honorable side and does not hate his former allies.

 

Appearance

 

He is very large in both height and frame, and has two curved horns called Long Horns (ロングホーン) on both sides of his head, and has a spike on each knee. He has curly brown hair, with a darker shade of skin and pure white eyes. He wears protective gear around both his legs and arms, and tends to have some sort of chest protection in the first few scenes before being destroyed.

 

He also has red shoes and gloves. When Buffaloman was possesed, he had purple skin and a fire symbol across his face with a smile on it.

 

Relationships

 

Kinnikuman

Kinnikuman is the one that showed him that, even if he was a devil, he could become a hero, making Buffaloman to sacrify his last horn and power for the sake of Meat and the dead Justice Chojin. After his resurrection, he become an ally and friend to Kinnikuman, and he even let Doctor Bombe to use his horns as replacement for Kinnikuman's arm bones.

 

Springman

Buffaloman has a good relation with all his fellow Devil Chojins, but his closet friend seems to be Springman, and the both of them end up fighting in tag matches. They are also the last two Devil Chojin in been defeated in their debut arc. In Kinnikuman Nisei, is shown that Springman visited Buffaloman in hospital, and both travel to see the final match between Mantaro and Ashuraman.

 

Mongolman

He and Mongolman end up making a tag team to enter the Universal Chojin Tag Tournament, and they come up with some destructive techniques.

 

Abilities

Buffaloman primary use his horns to do all kinds of techniques and attacks, as well as his powerful body to destroy his opponents.

 

History

 

Prehistory

Buffaloman came from the Buffalo Clan. The clan was growing in power and fought over who would become king, and it descended into many years of fighting until the entire clan was wiped out, which left Buffaloman as the sole survivor. He originally had a Chojin Power of 1,000,000 units, and was continually beaten because he lacked skill. At an unknown point, he was training alone and crossed through a hurricane in his travels. The wind blew away a cross on a church, and it headed straight towards Buffaloman, who was forced to use his own power to stop the cross, which taught him the Chojin Cross Drop.

 

He eventually met and struck a deal with Satan, who granted him more Chojin Power each time he killed another chojin. Eventually he killed so many that his power had climbed to 10,000,000.

 

He and his comrades, all known as the Seven Devil Chojin (Springman, Atlantis, Stereo Cassette King, Black Hole, Mister Khamen, and The Mountain), were eventually captured by a grouping of 100,000 Justice Chojin and Space Police and trapped in a Chojin Roach Motel and sent into space.

 

Kinnikuman

Buffaloman initially appears as a villain, as one of the Seven Devil Chojin. He steals parts of Meat's body and forces Kinnikuman to fight in a tournament to retrieve them, culminating in a tag-match between Kinnikuman and Mongolman against Buffaloman and Springman. He joins the Justice Chojin side, after renouncing Satan and freeing Meat. He will later participate in various tournaments alongside the Justice Chojin, before fighting alongside Ataru Kinniku in the Survivor Match for the Kinniku Throne Arc.

 

Seven Devil Chojin Arc

 

Harabote reveals that seven chojin were banned from the Olympics, due to their ruthless nature, and these seven Devil Chojin were placed into a floating space prison named a "Roach Motel". The "Roach Motel" is accidentally opened, when Kinnikuman is thrown straight onto the release mechanism during celebrations of his most recent victory. Buffaloman and the other Devil Chojin arrive at a fan-appreciation day, where Kinnikuman and his friends are celebrating the conclusion of the 21st Chojin Olympics.

 

Buffaloman initially attacks Warsman, who attacks him in defence of the children present. He announces that they cannot allow Kinnikuman to call himself "champion", until he had defeated each of the Seven Devil Chojin. Buffaloman splits Alexandria Meat's body into seven pieces; this forces Kinnikuman to beat them all within 10 days, if he wants to save his friend. When Kinnikuman is too injured to keep fighting the Seven Devils (after he defeated SteCassette King and Black Hole), his friends step in to take on the remaining Devil Chojin in his place. Buffaloman is pitted against Warsman.

 

In the match, we see Warsman dodging a series of Hurricane Mixers. On the eleventh try, Buffaloman pierces Warsman's hip, and proceeds to take out a chunk of Warsman's helmet. Warsman tries an arm hold, but Buffaloman breaks free and attempts a knee drop, which is countered by a Jet Liner. Buffaloman is unaffected again, and uses a Long Horn Boomerang. Warsman follows with a Palo Special, but is thrown off by Buffaloman and damages his legs. Warsman then destroys his Bear Claws on Buffaloman's horn, when attempting a Screw Driver attack.

 

Buffaloman pierces a hole through Warsman's chest, which inspires Warsman to use his own version of the Fire of Inner Strength. After an exchange of blows, Warsman begins to smoke from his body, and he grows too exhausted to properly continue the match. Warsman attacks with his Bear Claws one last time, and he manages to break off one of Buffaloman's longhorns. Buffaloman uses a series of Hurricane Mixers to kill Warsman. He then walks away and leaves Warsman deceased in the ring.

 

The final match takes places in the Denen Colosseum.

 

Buffaloman faces Kinnikuman in a double match with Springman. There is only one hour left of the deadline, so Kinnikuman only has one hour to save Meat. The stadium is designed as a giant countdown, with bars around the edges that move for each second, and that will destroy pieces of Meat's body at the 30 minutes and 60 minute marks. Just as Kinnikuman is about to fight alone, Mongolman appears to make it a true tag-team match and join Kinnikuman in his fight against Springman and Buffaloman.

 

Despite it being called a tag-team match, Buffaloman's attention is focused exclusively on Kinnikuman, while Springman fights against Mongolman. Mongolman defeats Springman and saves Meat's limb. Buffaloman is an extremely tough opponent, and - changing colour, as he uses the full force of his 10 million Chojin Power - uses his power to reverse Kinnikuman's techniques, including his trademark finishing move: the Kinniku Buster. During an exchange of blows, Harabote uncovers information on Buffaloman.

 

After Buffaloman helps fix Kinnikuman's mask, he becomes fully possessed by Satan. When Buffaloman goes beneath the ring, shredding the canvas with his horn, Kinnikuman uses his arm to stop the horn, and tosses him back onto the ring. Buffaloman loses control of his power when he absorbs Kinnikuman's Burning Inner Strength. Buffaloman pierces Kinnikuman's body with his horn, before - overwhelmed by The Fire - the power returns to Kinnikuman and allows him survive.

 

Due to the respect Kinnikuman showed him, even though they were mortal enemies, Buffaloman changes sides at the end of the match. He cries out the key that will free Meat's head, which allows Meat to be saved just before the final countdown. Buffaloman vows to join the Justice Chojin, if he survives Satan's punishment for defeat. He s fatally injured by Satan, but - before he dies - he gives up his Chojin Power, bought with the blood of other heroes, to bring back to life Warsman, Robin Mask and Wolfman, who had died fighting his teammates.

 

Golden Mask Arc

 

Kinnikuman struggles to make it through a door to the final match, and - at the last moment - Buffaloman uses his high chojin power to keep the door open for him. When Kinnikuman offers him a seat at the ring-side, on the side of the justice chojin, Buffaloman refuses and joins the devil chojin in the corner of Ashuraman. Ashuraman appears to gain the upper-hand, but - in a dispute with Meat - Buffaloman inadvertently gives Kinnikuman inspiration needed to counter-attack.

 

After Akuma Shogun murders Ashuraman, Buffaloman is inspired to rejoin the justice chojin.

 

He then confronts the Devil Knights leader, Akuma Shogun, in order to give Kinnikuman more time to perfect the Kinniku Driver. He is eventually defeated by Devil Shogun's Hell's Guillotine technique. During the fight between Akuma Shogun and Kinnikuman, Akuma Shogun begins to revive the Devil Knights and absorb them to become more powerful, but Buffaloman puts on Akuma Shogun's mask and fights them off, which gives Kinnikuman the chance he needed to defeat Akuma Shogun with the Kinniku Driver.

 

Dream Chojin Tag Arc

 

A second Mount Fuji appears in Japan.

 

On top of this mountain, the Universal Chojin Tag Team trophy appears. Underneath, there appears a series of rings that allow for eight tag-teams to compete. Buffaloman - along with the other justice chojin - goes to Kourakuen Hall to discuss the situation. Buffaloman refuses to team up with Kinnikuman and leaves. He sends a letter to Mongolman, asking him to join him as a new tag-team.

 

Buffaloman and Mongolman forms the 20 Million Powers. The name of their combo comes from Buffaloman's 10,000,000 power and Mongolman's 10,000,000 techniques (10 Million + 10 Million). In the first-round match-ups, the teams are required to navigate a labyrinth to be matched against their opponents, and the 20 Million Powers are matched against the Most Dangerous Combo. Just as the 20 Million Powers and Most Dangerous Combo are about to begin their fight, during the Dream Chojin Tag Arc, the Killer Game Combo arrive. This leads to the Killer Game Combo defeating the Most Dangerous Combo.

 

Brocken Jr. does not want his loss to count for nothing, so - to allow the 20 Million Powers to win - he challenges Buffaloman and allows himself to be pinned; this allows 20 Million Powers to officially win the match. This technical win allows the 20 Million Powers to advance to the next round, but the 20 Million Powers attack the Killer Game Combo for their intrusion. Buffaloman uses a feint against Screw Kid, but Mongolman - using the distraction to attack - injures his leg in the process.

 

Buffaloman is then struck by Kendaman, and the Killer Game Combo ask for formal permission to enter the tournament in the place of the Most Dangerous Combo. The 20 Million Powers declare that they will earn their place in the next round by first defeating the Killer Game Combo. The match began with a fierce one-on-one battle between Buffaloman and Kendaman, but Buffaloman tries a Hurricane Mixer on Kendaman, but it fails. Buffaloman is then caught in a Scorpion Defence by Kendaman.

 

He proceeds to break off his Long Horn and breaks the glass of the War-Cube, but is then attacked by a Hell's Screwdriver, which is only stopped by the thrown hair of Mongolman. Buffaloman counters with a powered-up Hurricane Mixer. Fearing the punishment that comes from failing their superiors, Screw Kid and Kendaman begin to use dirty tactics. At this point Neptuneman and Big the Budo reveal themselves, and Kendaman and Screw Kid abandon the match to attack them, and the 20 Million Powers win by default, as the Killer Game Combo are killed by the Hell Missionaries outside of the ring.

 

During the match-up lottery for the semi-final placements, the 20 Million Powers are matched with the Hell Missionaries. The first match is between the Muscle Brothers and the Stray Devil Chojin Combo, and the 20 Million Powers stay at the edge of the ring to act as spotters. At the end of the match, after the defeat of the Stray Devil Chojin Combo, the Hell Missionaries attack Sunshine, only to be stopped by the 20 Million Powers. They then allow the Hell Missionaries to attack, as the dolls - created by the Stray Devil Chojin to steal the justice chojin Friendship Power scatter, and thus creates animosity between the justice chojin.

 

The semi-final match against the Hell Missionaries is a simple barbed-wire cage match, but also a mask-removal death-match in which Mongolman must bet his mask. Buffaloman is thrown into the barbed wire by Neptuneman, who then switches with Mongolman, who is at a disadvantage from being unable to use the rope for his techniques. After being thrown into the screen cage, Mongolman rebounds with a kick.

 

After a series of blows, the 20 Million Powers seem to have the upper hand. Mongolman begins to suffer flashbacks within the ring, as the cage reminds him of his match against Warsman, and Buffaloman is unable to tag in, as both of the Hell Missionaries attack him. The spirit of Warsman helps Mongolman. Buffaloman is tagged in and uses a Buffalo Avalanche Drop. He proceeds to attach his Long Horn, and uses a Hurricane Heat. Mongolman is tagged into the match, but subject to a Cross Bomber.

 

Neptuneman uses his Magnet Power in retaliation. This heals the wounds of the Hell's Missionaries, and they try continuously to attack with Cross Bombers attacks, only to fail. Due to the Iron Sweat on Mongolman and Buffaloman, they are dragged towards the Hell Missionaries by their magnet power, and they almost defeat the 20 Million Powers with a Magnetic Storm Driver. The 20 Million Powers are then further attacked by a magnetic suplex. They are soon entangled in the magnetic barbed wires, as they regain their Friendship Power, and the Justice Chojin regain their power of friendship overall.

 

The iron sweat breaks from Mongoman and Buffaloman, and Buffaloman uses his Longhorn Train. This increases the power of the Hell's Missionaries, who use a Silhouette Body Press, and - after a series of blows - are thrown from the war-cube. The Hell's Missionaries summon thunder to increase their electrical power. Their Lightning Sabre attack renders Buffaloman and Ramenman immobile, and Buffaloman uses a fragment of Iron Sweat to draw Neptuneman away from Mongolman.

 

Buffaloman collapses against the mat, defeated by the Light Sabres.

 

Mongolman carries Buffaloman on his back, as they try again for a Longhorn Train, but they are defeated by a Magnetic Storm Crash. Once Ramenman is defeated, Buffaloman is rushed to hospital alongside Kinnikuman and Ramenman. At hospital, Doctor Bombe removes Buffaloman's horn in order to save Kinnikuman's arm, even knowing it would result in Buffaloman's death, but the tears in Buffaloman's eyes mark his consent to the procedure.

 

Blood Oath Brigade Formation!

 

This story covered the formation of Kinnikuman Soldier's team in detail. Brocken Jr. and Buffaloman want to join Soldier's team, but Asuraman and The Ninja aren't on board with that idea. According to Asuraman, Buffaloman is too easily swayed by his emotions, which is why he never became a Devil Knight despite having exceptional talent.

 

Kinnikuman Soldier shows up and interrupted Asuraman and The Ninja's departure. In response, The Ninja attempted to read Kinnikuman Soldier's mind with his Expose the Heart jutsu, but there's nothing to read. Unlike the other Fated Princes, Soldier has no ambition to destroy his opponents and take over the throne.

 

Asuraman gets into a fight against Soldier, but Soldier easily fends him off. Soldier even escaped the Asura Buster in a similar fashion to Kinnikuman and counters with a Dragon Cube Suplex. Buffaloman deduces why Soldier would pick those four. Pride is their main characteristic. According to Asuraman, "all four chojin are bull headed guys who won't listen to anyone".

 

Asuraman asks if Soldier is a fake Soldier and Soldier confirms this theory. He ambushed the real Soldier's team while they were training near Mt. Fuji and stole the real Soldier's mask. The fake Soldier explains that he joined the tournament because the Friendship Power the Justice Chojin use is a sham and that the pride that they share can bring out their true strength.

 

Asuraman wants Soldier to prove why this team of outcasts would make an excellent team. Soldier tells him to be silent. A real man would never talk so much. Instead, he'd silently watch the result with his own eyes. Asuraman follows up with his Tornado Hell, but Soldier dodges, causing the building already worn down by the Rolling Cube Suplex to collapse on top of them. Soldier heals them all with a Face Flash. With this act, Soldier convinced them to join his team for the upcoming tournament.

 

Survivor Match Arc

When Kinnikuman's right to the Kinniku Throne was challenged by five pretenders to the throne, Ataru Kinniku forms a team of five people to fight in a tournament to determine who shall be king of Planet Kinniku. [50] Buffaloman - sans his horns - arrives at the house of Brocken Jr., along with Asuraman and The Ninja. Ataru asks them to join his team, as well as to meet him at Nagoya Castle in three days time, and - during that time - they watch him from a distance to ascertain his character.

 

After Ataru defeats Bockman and saves a boy, Buffaloman and the others decide to join his team. They proceed to enter Nagoya Castle and face against Team Phoenix, as they announce they have formed The Chojin Blood Oath Brigade. After the defeat of The Ninja and Asuraman, Nagoya and Himeji Castles fly away from their locations and join as one structure.

 

In the final match during the semi-finals battle against Team Super Phoenix and Team Soldier (Soldier, Buffaloman, and Brocken) competed in a 6-Man Tag Match against Super Phoenix (Mammothman, and Prisman). The match takes place in a floating multi-sided ring. Buffaloman, for the most part, fought against Mammothman. Tremendously weaker without his Long Horns, he found himself losing against the nearly unstoppable Mammothman. He was finally able to gain and advantage when Kinnikuman returned the Long Horns used to fix his arm before the Tag match finals. Soon after, Brocken took out Prisman, but then fell into the canyon below and died. Seeing how much Soldier and Buffaloman cared for their fallen comrade convinced Super Phoenix that Soldier wasn't the real Soldier.

 

As Soldier begins to have his true identity figured out by his own father Mayumi as his long-lost elder son Ataru, the Evil Gods choose to sabotage him to eliminate him and help Phoenix win the tournament. The God of Brutality steals a page from the Muscle Prophecy, a book owned by Kinniku Clan royalty which contains past, present, and even future information on every Chojin ever, as a means to reveal who Soldier is to Super Phoenix. As the God of Brutality attempts to give the page to Super Phoenix via Mammothman, Buffaloman sees a vision of Mayumi in his head, forcing him to take the page to protect it. As the mammoth Chojin prepares to hand it to Phoenix, the bull Chojin performs the Chojin Cross Drop on him, jumping out of the ring and forcing Buffaloman to hold the page in his mouth. As they fall, Mammothman hits Buffaloman with his Nose Fencing technique and retains the page. At the last second, Buffaloman hits Mammothman with a Buffalo Bomb on the roof of the Himeji/Nagoya castle and saves the page again.

 

The Evil Gods then arrived and began attacking the floating ring in an attempt to take out Ataru. As the ring fell, Buffaloman caught it and held it up. Weakened from the battle with Mammothman, he put on a red headband given to him by the other Justice Chojins and found enough strength to not only hold the ring up longer but also remove his arm guards and toss them up to Ataru. He then pushed it into the air and as it fell again, he jumped up and hit it with a Hurricane Mixer, successfully putting it back in mid-air. Unfortunately, Buffaloman had no more strength and fell into the canyon below. He is revived (along with his teammates) after the tournament by Kinnikuman's Face Flash.

 

Kinnikuman 2011

 

Perfect Origin Arc

 

Prehistory

Like all the other Idol Chojin, Buffaloman was sent off to his home of Spain by Harabote so he could be placed in Medical Suspension, to help him recover from his many injuries from matches past.

 

However, when he finished his Medical Suspension and made his return while the Seven Devil Chojin invaded the full-scale tournament going on, he declared he was a Devil Chojin again, renegading on his Idol Chojin friends out of nowhere.

 

The Seven Devil Chojin reconvene in their base. Buffaloman returns, where they all decide which of the Perfect Large Numbers they shall do battle against, and Buffaloman decides to fight against Strong the Budo, due to the fact that whomever fights him will likely lose and he will not sacrifice his teammates. The Mountain refuses to allow this to happen, and offers to sacrifice himself instead, due to the team needing Buffaloman to serve as their leader. He asks only that Buffaloman not avert his gaze during his match.

 

After Black Hole's match with Dalmatiman, Buffaloman announces that the Devil Chojin are going to purge all Perfect Chojin for their master, Devil Shogun. During the first stage, he mostly oversees how the Devil Chojin fight the Perfect Chojin.

 

In a flashback, it's revealed that Buffaloman made the choice to return to the Devil Chojin and fight alongside them, which the Seven Devil Chojin welcomed greatly. But they wouldn't let him join them to fight the Perfect Large Numbers because he was their "ace", their leader and without them, the Seven Devil Chojin couldn't perform at their best.

 

Diablos vs. John Does

Grim Reaper and Turboman enter with the New Large Numbers.

 

Grim Reaper reveals the next location - of the second-stage of the tournament - will be the Saqqara Pyramid, which has been relocated to Japan's Tottori Dunes. The Grim Reaper lands on the third step, while Turboman takes the fourth step. The Justice Chojin follow them to the mountain, and Buffaloman is assigned against Turboman, who attacks him with a drop-kick before he can enter the ring.

 

He then drags Buffaloman into the ring with a Turboman Stunner. Turboman punches Buffaloman while he's down, until Buffaloman counters with a headbutt and proceeds to use a back-drop. [60] It is then that Springman arrives on the fourth step to fight the Grim Reaper. [61] Grim Reaper begin the match with a Buzzsaw Hat, which cuts Springman's leg as he enters the ring with a jump.

 

Grim Reaper throws Springman against the corner-post, but the post goes through Springman's hollow body and allows him to remain unharmed, and a Spring-Body Breaking-Squeeze breaks the corner-post. A Spring Transfer allows him to distract Grim Reaper, whereby he land a drop-kick to the face. While Turboman and Grim Reaper, struggle in their matches and appear to be losing, Jak Tea fights against Black Hole and creates a strong geyser before he dies. This creates a crack along the pyramid.

 

Turboman frees himself from Buffaloman with a Somersault Kick. He tries a body-press, but Buffaloman catches him and counters with a back-flip. The fifth step finally collapses from the cracks and descends into the fourth step, where the two single matches combine into one tag-match. Turboman gets Buffaloman into a tombstone pile-driver, but - as he prepares for another attack - Springman and Buffaloman combine to use a Chojin Dodgeball. Springman is chastised for attacking Turboman, who was not his original opponent, as the match rules must abide by those of a single-match (due to the unusual circumstances).

 

The two teams agree to form a tag-team match with tag-team rules.

 

Springman lunges at Turboman, who uses a lariat and a Starter Revolver, but gets his arm caught inside Springma, who retaliates with a Spring Cyclone. Springman proceeds to use a Killer-Coil Head Attack. A second attempt at the attack is deflected by Turboman's a back-kick. It nearly knocks Springman out of the ring, until Buffaloman catches him. Turboman charges with a flying-cross, but the Diabolos counter again with a Devil Expander. Buffaloman then bounces off Springman to kick Turboman, who proceeds with a series of blows. Turboman uses a Glove Revolver and a Turbine Chop.

 

Buffaloman and Turboman return to their corners, and Turboman tags in Grim Reaper, who spins around on Turboman's head and delivers an Ignition Dress to Buffaloman. They proceed to use a John Does Arrow. The Diabolos try another Devil Expander, but Turboman dives through Springman and knocks Buffaloman out of the ring, before hitting him again with another John Does Arrows. A High-Capacity John Does Arrow sends Turboman towards Buffaloman, who manages to catch him and slams him against the wall, which causes the wall to crumble into the shape of a flight of stairs.

 

This allows Springman to use a Devil Slinky. He uses a Spring Body-Breaking Squeeze, which causes Turboman's body to start to glow, as Turboman stores the energy of his opponents. Turboman uses a High-Speed Turbo-Crash, as their two attacks seem to create a stalemate, but soon the release of Turboman's energy causes Springman to harden. He proceeds to stab Springman in his face with Revolver Spikes, and a Revolver Fin causes Springman's body to crash into Buffaloman.

 

Springman finds strength to lift Buffaloman, despite his weakened state. The Diabolos attempt a Long Horn Train, but - when it only glances off Turboman - follow with a Most Super Express. They follow with a third attack, which against glances off Turboman, but Turboman finds strength to use a Revolver Stud while Springman starts to crumble away. Springman uses all his strength to throw Buffaloman into a Hurricane Mixer, and Buffaloman's horns break through Turboman's Revolver attack and pierce his chest. This leads to Turboman's death, followed by Springman dying within Buffaloman's arms.

 

The Grim Reaper proceeds to Turboman's corpse, where he opens Turboman's back and steals his Earth Unit (which allows him to store energy to use against an opponent), and then kicks Turboman's body out of the ring. The Grim Reaper removes his robe, which he uses to taunt Buffaloman like a matador, and uses a Skeleton Body to avoid being struck with a Hurricane Mixer. The Grim Reaper states that people fall victim to Buffaloman's attack due to fear and fidgety movements, but - knowing no fear - he cannot be hurt.

 

The Grim Reaper grabs Buffaloman by his horns, before grabbing at his skin and flipping him over, and - in the process - tears chunks of skin from Buffaloman. The Grim Reaper proceeds to tear off more skin from Buffaloman, and attacks with a Dress Spear, which reveals all the scars on Buffaloman's body from previous matches. He is eventually countered by Buffaloman's Buffalo Hammer. The Grim Reaper proceeds to capture Buffaloman's legs, as he sets up for a John Does Arrows, before revealing it can double as a solo-technique called the Phantom Canon. This causes Buffaloman's scars to reopen in a bloody manner.

 

Buffaloman summons his blood back into his body by force of will. The scars move to Buffaloman's horn and turn it into a Long Horn, before he speeds around the Grim Reaper and lands a series of blows. The Grim Reaper uses an Ignition Dress, followed by a Thunder Sabre, which pins Buffaloman to the canvas, and the Grim Reaper uses the Earth Unit to absorb power from Buffaloman. The sheer power from Buffaloman causes the Earth Unit to break, and Buffaloman uses a Hurricane Mixer.

 

This is followed with a Chojin Cross Slam. The Diabolos are declared the winners of the match, and Psychoman exposes his chest with the offer that Buffaloman kills him as he sees fit, due to the Perfect Chojin suicide rule and out of respect to Buffaloman as the victor. The Grim Reaper taunts Buffaloman until Buffaloman stabs him through the chest with his horn, and this cements Buffaloman's return to a Devil Chojin, preventing him from going back to his Justice Chojin allies. Psychoman then vanishes.

 

Buffaloman takes a piece of Springman's body and leaves.

 

After the Perfect Origin hit the scene, and Grim Reaper reveals himself to be Psychoman, Buffaloman decides to make up for letting him escape alive, but Devil Knight Planetman beats Buffaloman to fighting Psychoman. Buffaloman mostly observes while the Devil Knights take on the Perfect Origin.

 

Buffaloman vs. Ganman

The fight takes place on the first ring of Yggdrasil.

 

They begin by clashing horns in a rapid succession, before Ganman slams Buffaloman's head onto the corner-post with a bulldog headlock. Ganman attempts to ram into Buffaloman, but Buffaloman counters with a preemptive kick, and attempts a body-press, which is caught by Ganman in turn. He throws Buffaloman down, before they lock hands centre of the ring, and Ganman attempts a double over-hook suplex; which prompts Buffaloman to state that he cannot lose, as he must avenge Sneagator.

 

Buffaloman extends one horn, and uses it to pierce into Ganman's right shoulder. This is followed by a Hurricane Devil Sword, as well as a Buffalo Hammer, until Ganman throws Buffaloman out of the ring and forces him to prevent his fall by drilling into the stone ring. Buffaloman drills a tunnel under the ring, which allows him to pierce his horn through the surface for a Devil Shark manoeuvre. It is impossible for Ganman to "read" Buffaloman's moves while he is underground, and Buffaloman knocks him down by targeting his legs.

 

Ganman begins to dodge the horn by sensing Buffaloman's breathing, and catches the horn in his hands, which he uses to drag Buffaloman out of the ring, before using Elk Horn Scissors. He slams Buffaloman onto the ring, which reduces the size of his horn, and Ganman shines a light down on Buffaloman with his cyclops eye. Buffaloman attempts a Hurricane Mixer, but Ganman catches him by his horns and proceeds to use a brain-buster. It is revealed Buffaloman is holding back his power, and Kinnikuman and Akuma Shogun convince him to use his full power once more. Buffaloman breaks out of a Canadian Back-Breaker.

 

He uses a Reverse Suplex, before struggling evenly with Ganman in the middle of the ring. The two engage in a series of even blows, but the scars on Buffaloman start to reopen as he gains back the Friendship Power of the Justice Chojin, and - after an equal battle - Ganman breaks off one of Buffaloman's horns. Ganman gains the upper-hand, after a series of carefully aimed blows, until Buffaloman punches his own eye so that he is left with one working eye (just like Ganman) in order to create a 'fair' fight.

 

They lock together evenly again in the ring, until Buffaloman dares Ganman to use his eye power on Chojin Enma. This provokes Ganman to use an Elk Horn Compressor, as he states he will not use his eye power on Chojin Enma due to having faith in him as a person. He follows with an Elk Horn Tempest, but - as the throws Buffaloman - Buffaloman uses his one remaining horn to swing on the corner-post. Buffaloman builds up speed by moving post to post, and uses a new finishing move: Hurricane Giga Blaster.

 

This completely destroys Ganman's horns. Ganman reveals he has remembered Buffaloman's name, which proves he considers Buffaloman a worthy adversary due to how he forgets all other opponents' names, and hands him his dumbbell. This kills Ganman, who dies upon the canvas.

 

Omega Centauri's Six Spear Arc

 

He was hanging out with the remaining of the Devil Chojin, when suddenly, a magic barrier seal them inside their HQ, making them unable to face off against the Omega invaders.

 

Unnamed Arc

 

As Brocken Jr. and Ataru console Ashuraman's loss after he saw Satan Cross die to The Natural, Buffaloman and The Ninja arrive. Buffaloman notes the coincidence of the five in the same location. The Chojin Blood Oath Brigade has formed again. Ataru believes it is up to the Chojin Blood Oath Brigade to unite as one and put an end to the dangers of the Choushin. Ashuraman is the one who will step up to the plate first.

 

During the fight between Caucasusman and Mammothman, the Chojin Blood Oath Brigade talk about Mammothman's poor showing in his fight against Caucasusman. Buffaloman talks about how tough Mammothman was during their fight and that Mammothman's calmness unnerved him. The Choushin are crafty enough to place their opponents into tricky situations and Mammothman is not used to that. All they can do is wait for something within Mammothman to break.

 

After the declaration of the God of Harmony about the opening of the Tower of Babel, Buffaloman decides to be one of the chojins to enter the tower. Once they arrive and enter, they are challenged by the first god, who introduced himself as the God of Evolution, now known as The Executioner. He didn't feel confortable leaving the first rival to Geronimo, knowing that if the young chojin fail, they will be all doomed. But surprinsigly, Geronimo wins, and three new doors are opened.

 

He decides to travel with Kinnikuman and Warsman, arriving to the next level where they are greet by the choushin of said level. Kinnikuman tries to hide behind Buffaloman, but he take him and tries to throw him into the ring, annoyed by his cowardice, but Warman is the one that jumps into the ring to face against the choushin, who introduce himself as Onyxman.

 

Kinnikuman Nisei

 

Buffaloman acts as a teacher within the Hercules Factory. He is matched against Terry the Kid in the graduation matches, which he loses and allows for Terry the Kid to graduate. He will later participate in an exhibition match during the Chojin Olympics, which he fights with Ramenman against The Machineguns. In the Ultimate Chojin Tag Tournament, he again teams up with Ramenman, but will ultimately lose against the Muscle Brothers Nouveau.

 

Hercules Factory Arc

 

He became one of the many instructors at the Hercules Factory, training the future generation of chojin to fight evil. He is then assigned to the last test for the First Year Graduation: fight one of the new generation chojin, to see if he is worthy or needs more training.

 

He end up fighting Terry the Kid, the son of the famous Terryman. After a quick fight, Terry the Kid manage to defeat him with his Texas Clover Hold, congratulating him for his win shortly after.

 

HF First Year Replacement Matches Arc

 

He is shown to have been defeated by one of the new First Years: Jade. He then return to see the final match of the tournament, alongside the other teachers that were defeated by the Generation EX.

 

Demon Seed Arc

 

Buffaloman meets with Meat and goes with him to check a disturbance. He collapses when Alexandria Meat is taken by six tendrils, much like what happened to him 36 years ago, and the six people reveal themselves to be the ultimate Devil Chojin: the Demon Seeds. Buffaloman cries to see that the new generation cannot enter the General Palast.

 

Jade begs Buffaloman to help, but Buffaloman - weeping and in a rage - strikes Jade over and over, as he expresses guilt over his actions 36 years ago that set current events into action.

 

He stabs himself in the chest with a jagged piece of rock, and tears open the wound to accept the General Stone and reaffirms his pact with Satan. [85] He uses his newfound powers to open a hole in the barrier, but only one chojin can pass through as his strength is not enough for more. The barrier closes just after Mantaro Kinniku enters, trapping them both inside, but also cutting off Buffaloman's horn in the process.

 

Buffaloman tosses away the General stone, only to be carried - in his weak state - by Mantaro. Mantaro is forced to choose an opponent, but The Constellation attacks before the match, and Buffaloman blocks an arrow aimed at Mantaro with his body in defence of his ex-pupil. The Constellation pushes the arrow further into the wound and then proceeds to break his arm, but Buffaloman counters with his Hurricane Mixer. The Constellation uses a Suplex, which smashes Buffaloman's head against the concrete floor and cracks open his skull, incapacitating him.

 

Mantaro struggles to gain an advantage, but Buffaloman's advice helps him to counter. The Constellation uses a broken post of the ring to attack Buffaloman, so as to stop his invaluable advice, and it strikes Buffaloman on the forehead and knocks him unconscious. He regains consciousness just long enough to offer Mantaro further encouragement, before he faints once more. Mantaro tries to carry Buffaloman to safety, but - due to his injuries - passes out in the central chamber and collapses next to Buffaloman, at which point the B-Evolutions arrive.

 

Ultimate Chojin Tag Tournament Arc

 

Prehistory

Buffaloman appears late into this arc, as he participates in the tournament at Kourakuen Stadium. He is featured alongside Mongolman (Ramenman) as part of the 20 Million Powers; despite his missing horns, from the match three days ago in his timeline, Buffaloman seeks to distract the New Generation (to which he sees as the villains). Buffaloman chastises Robin Mask for helping Chaos Avenir, as he believes they are responsible for Alisa Mackintosh's accident.

 

Battle Royale

 

He fights against The Gaon and Emperor Death, in a battle royale for the opening match, and their opponents start with the upper hand.

 

History

 

Prehistory

Buffaloman came from the Buffalo Clan. The clan was growing in power and fought over who would become king, and it descended into many years of fighting until the entire clan was wiped out, which left Buffaloman as the sole survivor. He originally had a Chojin Power of 1,000,000 units, and was continually beaten because he lacked skill. At an unknown point, he was training alone and crossed through a hurricane in his travels. The wind blew away a cross on a church, and it headed straight towards Buffaloman, who was forced to use his own power to stop the cross, which taught him the Chojin Cross Drop.

 

He eventually met and struck a deal with Satan, who granted him more Chojin Power each time he killed another chojin. Eventually he killed so many that his power had climbed to 10,000,000.

 

He and his comrades, all known as the Seven Devil Chojin (Springman, Atlantis, Stereo Cassette King, Black Hole, Mister Khamen, and The Mountain), were eventually captured by a grouping of 100,000 Justice Chojin and Space Police and trapped in a Chojin Roach Motel and sent into space.

 

Kinnikuman

Buffaloman initially appears as a villain, as one of the Seven Devil Chojin. He steals parts of Meat's body and forces Kinnikuman to fight in a tournament to retrieve them, culminating in a tag-match between Kinnikuman and Mongolman against Buffaloman and Springman. He joins the Justice Chojin side, after renouncing Satan and freeing Meat. He will later participate in various tournaments alongside the Justice Chojin, before fighting alongside Ataru Kinniku in the Survivor Match for the Kinniku Throne Arc.

 

Seven Devil Chojin Arc

 

Harabote reveals that seven chojin were banned from the Olympics, due to their ruthless nature, and these seven Devil Chojin were placed into a floating space prison named a "Roach Motel". The "Roach Motel" is accidentally opened, when Kinnikuman is thrown straight onto the release mechanism during celebrations of his most recent victory. Buffaloman and the other Devil Chojin arrive at a fan-appreciation day, where Kinnikuman and his friends are celebrating the conclusion of the 21st Chojin Olympics.

 

Buffaloman initially attacks Warsman, who attacks him in defence of the children present. He announces that they cannot allow Kinnikuman to call himself "champion", until he had defeated each of the Seven Devil Chojin. Buffaloman splits Alexandria Meat's body into seven pieces; this forces Kinnikuman to beat them all within 10 days, if he wants to save his friend. When Kinnikuman is too injured to keep fighting the Seven Devils (after he defeated SteCassette King and Black Hole), his friends step in to take on the remaining Devil Chojin in his place. Buffaloman is pitted against Warsman.

 

In the match, we see Warsman dodging a series of Hurricane Mixers. On the eleventh try, Buffaloman pierces Warsman's hip, and proceeds to take out a chunk of Warsman's helmet. Warsman tries an arm hold, but Buffaloman breaks free and attempts a knee drop, which is countered by a Jet Liner. Buffaloman is unaffected again, and uses a Long Horn Boomerang. Warsman follows with a Palo Special, but is thrown off by Buffaloman and damages his legs. Warsman then destroys his Bear Claws on Buffaloman's horn, when attempting a Screw Driver attack.

 

Buffaloman pierces a hole through Warsman's chest, which inspires Warsman to use his own version of the Fire of Inner Strength. After an exchange of blows, Warsman begins to smoke from his body, and he grows too exhausted to properly continue the match. Warsman attacks with his Bear Claws one last time, and he manages to break off one of Buffaloman's longhorns. Buffaloman uses a series of Hurricane Mixers to kill Warsman. He then walks away and leaves Warsman deceased in the ring.

 

The final match takes places in the Denen Colosseum.

 

Buffaloman faces Kinnikuman in a double match with Springman. There is only one hour left of the deadline, so Kinnikuman only has one hour to save Meat. The stadium is designed as a giant countdown, with bars around the edges that move for each second, and that will destroy pieces of Meat's body at the 30 minutes and 60 minute marks. Just as Kinnikuman is about to fight alone, Mongolman appears to make it a true tag-team match and join Kinnikuman in his fight against Springman and Buffaloman.

 

Despite it being called a tag-team match, Buffaloman's attention is focused exclusively on Kinnikuman, while Springman fights against Mongolman. Mongolman defeats Springman and saves Meat's limb. Buffaloman is an extremely tough opponent, and - changing color, as he uses the full force of his 10 million Chojin Power - uses his power to reverse Kinnikuman's techniques, including his trademark finishing move: the Kinniku Buster. During an exchange of blows, Harabote uncovers information on Buffaloman.

 

After Buffaloman helps fix Kinnikuman's mask, he becomes fully possessed by Satan. When Buffaloman goes beneath the ring, shredding the canvas with his horn, Kinnikuman uses his arm to stop the horn, and tosses him back onto the ring. Buffaloman loses control of his power when he absorbs Kinnikuman's Burning Inner Strength. Buffaloman pierces Kinnikuman's body with his horn, before - overwhelmed by The Fire - the power returns to Kinnikuman and allows him survive.

 

Due to the respect Kinnikuman showed him, even though they were mortal enemies, Buffaloman changes sides at the end of the match. He cries out the key that will free Meat's head, which allows Meat to be saved just before the final countdown. Buffaloman vows to join the Justice Chojin, if he survives Satan's punishment for defeat. He s fatally injured by Satan, but - before he dies - he gives up his Chojin Power, bought with the blood of other heroes, to bring back to life Warsman, Robin Mask and Wolfman, who had died fighting his teammates.

 

Golden Mask Arc

 

Kinnikuman struggles to make it through a door to the final match, and - at the last moment - Buffaloman uses his high chojin power to keep the door open for him. When Kinnikuman offers him a seat at the ring-side, on the side of the justice chojin, Buffaloman refuses and joins the devil chojin in the corner of Ashuraman. Ashuraman appears to gain the upper-hand, but - in a dispute with Meat - Buffaloman inadvertently gives Kinnikuman inspiration needed to counter-attack.

 

After Akuma Shogun murders Ashuraman, Buffaloman is inspired to rejoin the justice chojin.

 

He then confronts the Devil Knights leader, Akuma Shogun, in order to give Kinnikuman more time to perfect the Kinniku Driver. He is eventually defeated by Devil Shogun's Hell's Guillotine technique. During the fight between Akuma Shogun and Kinnikuman, Akuma Shogun begins to revive the Devil Knights and absorb them to become more powerful, but Buffaloman puts on Akuma Shogun's mask and fights them off, which gives Kinnikuman the chance he needed to defeat Akuma Shogun with the Kinniku Driver.

 

Dream Chojin Tag Arc

 

A second Mount Fuji appears in Japan.

 

On top of this mountain, the Universal Chojin Tag Team trophy appears. Underneath, there appears a series of rings that allow for eight tag-teams to compete. Buffaloman - along with the other justice chojin - goes to Kourakuen Hall to discuss the situation. Buffaloman refuses to team up with Kinnikuman and leaves. He sends a letter to Mongolman, asking him to join him as a new tag-team.

 

Buffaloman and Mongolman forms the 20 Million Powers. The name of their combo comes from Buffaloman's 10,000,000 power and Mongolman's 10,000,000 techniques (10 Million + 10 Million). In the first-round match-ups, the teams are required to navigate a labyrinth to be matched against their opponents, and the 20 Million Powers are matched against the Most Dangerous Combo. Just as the 20 Million Powers and Most Dangerous Combo are about to begin their fight, during the Dream Chojin Tag Arc, the Killer Game Combo arrive. This leads to the Killer Game Combo defeating the Most Dangerous Combo.

 

Brocken Jr. does not want his loss to count for nothing, so - to allow the 20 Million Powers to win - he challenges Buffaloman and allows himself to be pinned; this allows 20 Million Powers to officially win the match. This technical win allows the 20 Million Powers to advance to the next round, but the 20 Million Powers attack the Killer Game Combo for their intrusion. Buffaloman uses a feint against Screw Kid, but Mongolman - using the distraction to attack - injures his leg in the process.

 

Buffaloman is then struck by Kendaman, and the Killer Game Combo ask for formal permission to enter the tournament in the place of the Most Dangerous Combo. The 20 Million Powers declare that they will earn their place in the next round by first defeating the Killer Game Combo. The match began with a fierce one-on-one battle between Buffaloman and Kendaman, but Buffaloman tries a Hurricane Mixer on Kendaman, but it fails. Buffaloman is then caught in a Scorpion Defence by Kendaman.

 

He proceeds to break off his Long Horn and breaks the glass of the War-Cube, but is then attacked by a Hell's Screwdriver, which is only stopped by the thrown hair of Mongolman. Buffaloman counters with a powered-up Hurricane Mixer. Fearing the punishment that comes from failing their superiors, Screw Kid and Kendaman begin to use dirty tactics. At this point Neptuneman and Big the Budo reveal themselves, and Kendaman and Screw Kid abandon the match to attack them, and the 20 Million Powers win by default, as the Killer Game Combo are killed by the Hell Missionaries outside of the ring.

 

During the match-up lottery for the semi-final placements, the 20 Million Powers are matched with the Hell Missionaries. The first match is between the Muscle Brothers and the Stray Devil Chojin Combo, and the 20 Million Powers stay at the edge of the ring to act as spotters. At the end of the match, after the defeat of the Stray Devil Chojin Combo, the Hell Missionaries attack Sunshine, only to be stopped by the 20 Million Powers. They then allow the Hell Missionaries to attack, as the dolls - created by the Stray Devil Chojin to steal the justice chojin Friendship Power scatter, and thus creates animosity between the justice chojin.

 

The semi-final match against the Hell Missionaries is a simple barbed-wire cage match, but also a mask-removal death-match in which Mongolman must bet his mask. Buffaloman is thrown into the barbed wire by Neptuneman, who then switches with Mongolman, who is at a disadvantage from being unable to use the rope for his techniques. After being thrown into the screen cage, Mongolman rebounds with a kick.

 

After a series of blows, the 20 Million Powers seem to have the upper hand. Mongolman begins to suffer flashbacks within the ring, as the cage reminds him of his match against Warsman, and Buffaloman is unable to tag in, as both of the Hell Missionaries attack him. The spirit of Warsman helps Mongolman. Buffaloman is tagged in and uses a Buffalo Avalanche Drop. He proceeds to attach his Long Horn, and uses a Hurricane Heat. Mongolman is tagged into the match, but subject to a Cross Bomber.

 

Neptuneman uses his Magnet Power in retaliation. This heals the wounds of the Hell's Missionaries, and they try continuously to attack with Cross Bombers attacks, only to fail. Due to the Iron Sweat on Mongolman and Buffaloman, they are dragged towards the Hell Missionaries by their magnet power, and they almost defeat the 20 Million Powers with a Magnetic Storm Driver. The 20 Million Powers are then further attacked by a magnetic suplex. They are soon entangled in the magnetic barbed wires, as they regain their Friendship Power, and the Justice Chojin regain their power of friendship overall.

 

The iron sweat breaks from Mongoman and Buffaloman, and Buffaloman uses his Longhorn Train. This increases the power of the Hell's Missionaries, who use a Silhouette Body Press, and - after a series of blows - are thrown from the war-cube. The Hell's Missionaries summon thunder to increase their electrical power. Their Lightning Sabre attack renders Buffaloman and Ramenman immobile, and Buffaloman uses a fragment of Iron Sweat to draw Neptuneman away from Mongolman.

 

Buffaloman collapses against the mat, defeated by the Light Sabres.

 

Mongolman carries Buffaloman on his back, as they try again for a Longhorn Train, but they are defeated by a Magnetic Storm Crash. Once Ramenman is defeated, Buffaloman is rushed to hospital alongside Kinnikuman and Ramenman. At hospital, Doctor Bombe removes Buffaloman's horn in order to save Kinnikuman's arm, even knowing it would result in Buffaloman's death, but the tears in Buffaloman's eyes mark his consent to the procedure.

 

Blood Oath Brigade Formation!

 

This story covered the formation of Kinnikuman Soldier's team in detail. Brocken Jr. and Buffaloman want to join Soldier's team, but Asuraman and The Ninja aren't on board with that idea. According to Asuraman, Buffaloman is too easily swayed by his emotions, which is why he never became a Devil Knight despite having exceptional talent.

 

Kinnikuman Soldier shows up and interrupted Asuraman and The Ninja's departure. In response, The Ninja attempted to read Kinnikuman Soldier's mind with his Expose the Heart jutsu, but there's nothing to read. Unlike the other Fated Princes, Soldier has no ambition to destroy his opponents and take over the throne.

 

Asuraman gets into a fight against Soldier, but Soldier easily fends him off. Soldier even escaped the Asura Buster in a similar fashion to Kinnikuman and counters with a Dragon Cube Suplex. Buffaloman deduces why Soldier would pick those four. Pride is their main characteristic. According to Asuraman, "all four chojin are bull headed guys who won't listen to anyone".

 

Asuraman asks if Soldier is a fake Soldier and Soldier confirms this theory. He ambushed the real Soldier's team while they were training near Mt. Fuji and stole the real Soldier's mask. The fake Soldier explains that he joined the tournament because the Friendship Power the Justice Chojin use is a sham and that the pride that they share can bring out their true strength.

 

Asuraman wants Soldier to prove why this team of outcasts would make an excellent team. Soldier tells him to be silent. A real man would never talk so much. Instead, he'd silently watch the result with his own eyes. Asuraman follows up with his Tornado Hell, but Soldier dodges, causing the building already worn down by the Rolling Cube Suplex to collapse on top of them. Soldier heals them all with a Face Flash. With this act, Soldier convinced them to join his team for the upcoming tournament.

 

Survivor Match Arc

 

When Kinnikuman's right to the Kinniku Throne was challenged by five pretenders to the throne, Ataru Kinniku forms a team of five people to fight in a tournament to determine who shall be king of Planet Kinniku. Buffaloman - sans his horns - arrives at the house of Brocken Jr., along with Asuraman and The Ninja. Ataru asks them to join his team, as well as to meet him at Nagoya Castle in three days time, and - during that time - they watch him from a distance to ascertain his character.

 

After Ataru defeats Bockman and saves a boy, Buffaloman and the others decide to join his team. They proceed to enter Nagoya Castle and face against Team Phoenix, as they announce they have formed The Chojin Blood Oath Brigade. After the defeat of The Ninja and Asuraman, Nagoya and Himeji Castles fly away from their locations and join as one structure.

 

In the final match during the semi-finals battle against Team Super Phoenix and Team Soldier (Soldier, Buffaloman, and Brocken) competed in a 6-Man Tag Match against Super Phoenix (Mammothman, and Prisman). The match takes place in a floating multi-sided ring. Buffaloman, for the most part, fought against Mammothman. Tremendously weaker without his Long Horns, he found himself losing against the nearly unstoppable Mammothman. He was finally able to gain and advantage when Kinnikuman returned the Long Horns used to fix his arm before the Tag match finals. Soon after, Brocken took out Prisman, but then fell into the canyon below and died. Seeing how much Soldier and Buffaloman cared for their fallen comrade convinced Super Phoenix that Soldier wasn't the real Soldier.

 

As Soldier begins to have his true identity figured out by his own father Mayumi as his long-lost elder son Ataru, the Evil Gods choose to sabotage him to eliminate him and help Phoenix win the tournament. The God of Brutality steals a page from the Muscle Prophecy, a book owned by Kinniku Clan royalty which contains past, present, and even future information on every Chojin ever, as a means to reveal who Soldier is to Super Phoenix. As the God of Brutality attempts to give the page to Super Phoenix via Mammothman, Buffaloman sees a vision of Mayumi in his head, forcing him to take the page to protect it. As the mammoth Chojin prepares to hand it to Phoenix, the bull Chojin performs the Chojin Cross Drop on him, jumping out of the ring and forcing Buffaloman to hold the page in his mouth. As they fall, Mammothman hits Buffaloman with his Nose Fencing technique and retains the page. At the last second, Buffaloman hits Mammothman with a Buffalo Bomb on the roof of the Himeji/Nagoya castle and saves the page again.

 

The Evil Gods then arrived and began attacking the floating ring in an attempt to take out Ataru. As the ring fell, Buffaloman caught it and held it up. Weakened from the battle with Mammothman, he put on a red headband given to him by the other Justice Chojins and found enough strength to not only hold the ring up longer but also remove his arm guards and toss them up to Ataru. He then pushed it into the air and as it fell again, he jumped up and hit it with a Hurricane Mixer, successfully putting it back in mid-air. Unfortunately, Buffaloman had no more strength and fell into the canyon below. He is revived (along with his teammates) after the tournament by Kinnikuman's Face Flash.

 

Kinnikuman 2011

 

Perfect Origin Arc

 

Prehistory

Like all the other Idol Chojin, Buffaloman was sent off to his home of Spain by Harabote so he could be placed in Medical Suspension, to help him recover from his many injuries from matches past.

 

However, when he finished his Medical Suspension and made his return while the Seven Devil Chojin invaded the full-scale tournament going on, he declared he was a Devil Chojin again, renegading on his Idol Chojin friends out of nowhere.

 

The Seven Devil Chojin reconvene in their base. Buffaloman returns, where they all decide which of the Perfect Large Numbers they shall do battle against, and Buffaloman decides to fight against Strong the Budo, due to the fact that whomever fights him will likely lose and he will not sacrifice his teammates. The Mountain refuses to allow this to happen, and offers to sacrifice himself instead, due to the team needing Buffaloman to serve as their leader. He asks only that Buffaloman not avert his gaze during his match.

 

After Black Hole's match with Dalmatiman, Buffaloman announces that the Devil Chojin are going to purge all Perfect Chojin for their master, Devil Shogun. During the first stage, he mostly oversees how the Devil Chojin fight the Perfect Chojin.

 

In a flashback, it's revealed that Buffaloman made the choice to return to the Devil Chojin and fight alongside them, which the Seven Devil Chojin welcomed greatly. But they wouldn't let him join them to fight the Perfect Large Numbers because he was their "ace", their leader and without them, the Seven Devil Chojin couldn't perform at their best.

 

Diablos vs. John Does

 

Grim Reaper and Turboman enter with the New Large Numbers.

 

Grim Reaper reveals the next location - of the second-stage of the tournament - will be the Saqqara Pyramid, which has been relocated to Japan's Tottori Dunes. The Grim Reaper lands on the third step, while Turboman takes the fourth step. The Justice Chojin follow them to the mountain, and Buffaloman is assigned against Turboman, who attacks him with a drop-kick before he can enter the ring.

 

He then drags Buffaloman into the ring with a Turboman Stunner. Turboman punches Buffaloman while he's down, until Buffaloman counters with a headbutt and proceeds to use a back-drop. It is then that Springman arrives on the fourth step to fight the Grim Reaper. Grim Reaper begin the match with a Buzzsaw Hat, which cuts Springman's leg as he enters the ring with a jump.

 

Grim Reaper throws Springman against the corner-post, but the post goes through Springman's hollow body and allows him to remain unharmed, and a Spring-Body Breaking-Squeeze breaks the corner-post. A Spring Transfer allows him to distract Grim Reaper, whereby he land a drop-kick to the face. While Turboman and Grim Reaper, struggle in their matches and appear to be losing, Jak Tea fights against Black Hole and creates a strong geyser before he dies. This creates a crack along the pyramid.

 

Turboman frees himself from Buffaloman with a Somersault Kick. He tries a body-press, but Buffaloman catches him and counters with a back-flip. The fifth step finally collapses from the cracks and descends into the fourth step, where the two single matches combine into one tag-match. Turboman gets Buffaloman into a tombstone pile-driver, but - as he prepares for another attack - Springman and Buffaloman combine to use a Chojin Dodgeball. Springman is chastised for attacking Turboman, who was not his original opponent, as the match rules must abide by those of a single-match (due to the unusual circumstances).

 

The two teams agree to form a tag-team match with tag-team rules.

 

Springman lunges at Turboman, who uses a lariat and a Starter Revolver, but gets his arm caught inside Springma, who retaliates with a Spring Cyclone. Springman proceeds to use a Killer-Coil Head Attack. A second attempt at the attack is deflected by Turboman's a back-kick. It nearly knocks Springman out of the ring, until Buffaloman catches him. Turboman charges with a flying-cross, but the Diabolos counter again with a Devil Expander. Buffaloman then bounces off Springman to kick Turboman, who proceeds with a series of blows. Turboman uses a Glove Revolver and a Turbine Chop.

 

Buffaloman and Turboman return to their corners, and Turboman tags in Grim Reaper, who spins around on Turboman's head and delivers an Ignition Dress to Buffaloman. They proceed to use a John Does Arrow. The Diabolos try another Devil Expander, but Turboman dives through Springman and knocks Buffaloman out of the ring, before hitting him again with another John Does Arrows. A High-Capacity John Does Arrow sends Turboman towards Buffaloman, who manages to catch him and slams him against the wall, which causes the wall to crumble into the shape of a flight of stairs.

 

This allows Springman to use a Devil Slinky. He uses a Spring Body-Breaking Squeeze, which causes Turboman's body to start to glow, as Turboman stores the energy of his opponents. Turboman uses a High-Speed Turbo-Crash, as their two attacks seem to create a stalemate, but soon the release of Turboman's energy causes Springman to harden. He proceeds to stab Springman in his face with Revolver Spikes, and a Revolver Fin causes Springman's body to crash into Buffaloman.

 

Springman finds strength to lift Buffaloman, despite his weakened state. The Diabolos attempt a Long Horn Train, but - when it only glances off Turboman - follow with a Most Super Express. They follow with a third attack, which against glances off Turboman, but Turboman finds strength to use a Revolver Stud while Springman starts to crumble away. Springman uses all his strength to throw Buffaloman into a Hurricane Mixer, and Buffaloman's horns break through Turboman's Revolver attack and pierce his chest. This leads to Turboman's death, followed by Springman dying within Buffaloman's arms.

 

The Grim Reaper proceeds to Turboman's corpse, where he opens Turboman's back and steals his Earth Unit (which allows him to store energy to use against an opponent), and then kicks Turboman's body out of the ring. The Grim Reaper removes his robe, which he uses to taunt Buffaloman like a matador, and uses a Skeleton Body to avoid being struck with a Hurricane Mixer. The Grim Reaper states that people fall victim to Buffaloman's attack due to fear and fidgety movements, but - knowing no fear - he cannot be hurt.

 

The Grim Reaper grabs Buffaloman by his horns, before grabbing at his skin and flipping him over, and - in the process - tears chunks of skin from Buffaloman. The Grim Reaper proceeds to tear off more skin from Buffaloman, and attacks with a Dress Spear, which reveals all the scars on Buffaloman's body from previous matches. He is eventually countered by Buffaloman's Buffalo Hammer. The Grim Reaper proceeds to capture Buffaloman's legs, as he sets up for a John Does Arrows, before revealing it can double as a solo-technique called the Phantom Canon.

 

💪M💪U💪S💪C💪L💪E💪

 

A year of the shows and performers of the Bijou Planks Theater.

 

M.U.S.C.L.E. No. 105, "Buffaloman D"

 

Painted by Paprika, thus losing all collectible value forever.

 

Buffaloman has been seen in BP 2019 Day 302!

www.flickr.com/photos/paprihaven/48980587088/

 

BP 2020 Day 133!

www.flickr.com/photos/paprihaven/49852162532/

 

BP 2020 Day 315!

www.flickr.com/photos/paprihaven/50587994286/

 

BP 2023 Day 80!

www.flickr.com/photos/paprihaven/52762400414/

  

Colonne de la libération de la Saône et Loire 1944/2024 - Autun le 8/09/2024

 

www.saoneetloire.fr/actualite/colonne-de-la-liberation-un...

Inspired by my recent holiday to Menorca Spain .

 

Make It Interesting • Challenge 1 (Rocks)

 

Source image with thanks to Rabiem22

 

Villa and Sea~My Own Photos

Boat ~Google.

 

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1° parossismo del 2012 dell'Etna, 19° della serie, visto dalla strada Mareneve, Fornazzo. 05 Gennaio 2012

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Primavera, is a large panel painting in tempera paint by the Italian Renaissance painter Sandro Botticelli made in the late 1470s or early 1480s (datings vary). It has been described as "one of the most written about, and most controversial paintings in the world", and also "one of the most popular paintings in Western art".

The painting depicts a group of figures from classical mythology in a garden, but no story has been found that brings this particular group together. Most critics agree that the painting is an allegory based on the lush growth of Spring, but accounts of any precise meaning vary, though many involve the Renaissance Neoplatonism which then fascinated intellectual circles in Florence. The subject was first described as Primavera by the art historian Giorgio Vasari who saw it at Villa Castello, just outside Florence, by 1550.

Although the two are now known not to be a pair, the painting is inevitably discussed with Botticelli's other very large mythological painting, The Birth of Venus, also in the Uffizi. They are among the most famous paintings in the world, and icons of the Italian Renaissance; of the two, the Birth is even better known than the Primavera. As depictions of subjects from classical mythology on a very large scale, they were virtually unprecedented in Western art since classical antiquity.

The history of the painting is not certainly known; it may have been commissioned by one of the Medici family, but the certainty of its commission is unknown. It draws from a number of classical and Renaissance literary sources, including the works of the Ancient Roman poet Ovid and, less certainly, Lucretius, and may also allude to a poem by Poliziano, the Medici house poet who may have helped Botticelli devise the composition. Since 1919 the painting has been part of the collection of the Uffizi Gallery in Florence, Italy.

The painting features six female figures and two male, along with a cupid, in an orange grove. The movement of the composition is from right to left, so following that direction the standard identification of the figures is: at far right "Zephyrus, the biting wind of March, kidnaps and possesses the nymph Chloris, whom he later marries and transforms into a deity; she becomes the goddess of Spring, eternal bearer of life, and is scattering roses on the ground." Chloris the nymph overlaps Flora, the goddess she transforms into.

In the centre (but not exactly so) and somewhat set back from the other figures stands Venus, a red-draped woman in blue. Like the flower-gatherer, she returns the viewer's gaze. The trees behind her form a broken arch to draw the eye. In the air above her a blindfolded Cupid aims his bow to the left. On the left of the painting the Three Graces, a group of three females also in diaphanous white, join hands in a dance. At the extreme left Mercury, clothed in red with a sword and a helmet, raises his caduceus or wooden rod towards some wispy gray clouds.

The interactions between the figures are enigmatic. Zephyrus and Chloris are looking at each other. Flora and Venus look out at the viewer, the Cupid is blindfolded, and Mercury has turned his back on the others, and looks up at the clouds. The central Grace looks towards him, while the other two seem to look at each other. Flora's smile was very unusual in painting at this date.

The pastoral scenery is elaborate. There are 500 identified plant species depicted in the painting, with about 190 different flowers, of which at least 130 can be specifically identified. The overall appearance, and size, of the painting is similar to that of the millefleur ("thousand flower") Flemish tapestries that were popular decorations for palaces at the time.

These tapestries had not caught up by the 1480s with the artistic developments of the Italian Renaissance, and the composition of the painting has aspects that belong to this still Gothic style. The figures are spread in a rough line across the front of the picture space, "set side by side like pearls on a string". It is now known that in the setting for which the painting was designed the bottom was about at eye level, or slightly above it, partly explaining "the gently rising plane" on which the figures stand.

The feet of Venus are considerably higher than those of the others, showing she is behind them, but she is at the same scale, if not larger, than the other figures. Overlapping of other figures by Mercury's sword and Chloris' hands shows that they stand slightly in front of the left Grace and Flora respectively, which might not be obvious otherwise, for example from their feet. It has been argued that the flowers do not grow smaller to the rear of the picture space, certainly a feature of the millefleur tapestries.

The costumes of the figures are versions of the dress of contemporary Florence, though the sort of "quasi-theatrical costumes designed for masquerades of the sort that Vasari wrote were invented by Lorenzo de' Medici for civic festivals and tournaments." The lack of an obvious narrative may relate to the world of pageants and tableaux vivants as well as typically static Gothic allegories.

Various interpretations of the figures have been set forth, but it is generally agreed that at least at one level the painting is "an elaborate mythological allegory of the burgeoning fertility of the world." It is thought that Botticelli had help devising the composition of the painting and whatever meanings it was intended to contain, as it appears that the painting reflects a deep knowledge of classical literature and philosophy that Botticelli is unlikely to have possessed. Poliziano is usually thought to have been involved in this, though Marsilio Ficino, another member of Lorenzo de' Medici's circle and a key figure in Renaissance Neoplatonism, has also often been mentioned.

One aspect of the painting is a depiction of the progress of the season of spring, reading from right to left. The wind of early Spring blows on the land and brings forth growth and flowers, presided over by Venus, goddess of April, with at the left Mercury, the god of the month of May in an early Roman calendar, chasing away the last clouds before summer. As well as being part of a sequence over the season, Mercury in dispelling the clouds is acting as the guard of the garden, partly explaining his military dress and his facing out of the picture space. A passage in Virgil's Aeneid describes him clearing the skies with his caduceus. A more positive, Neoplatonist view of the clouds is that they are "the benificent veils through which the splendour of transcendent truth may reach the beholder without destroying him."

Venus presides over the garden – an orange grove (a Medici symbol). It is also the Garden of the Hesperides of classical myth, from which the golden apples used in the Judgement of Paris came; the Hellenistic Greeks had decided that these were citrus fruits, exotic to them. According to Claudian, no clouds were allowed there. Venus stands in front of the dark leaves of a myrtle bush. According to Hesiod, Venus had been born of the sea after the semen of Uranus had fallen upon the waters. Coming ashore in a shell she had clothed her nakedness in myrtle, and so the plant became sacred to her. Venus appears here in her character as a goddess of marriage, clothed and with her hair modestly covered, as married women were expected to appear in public.

The Three Graces are sisters, and traditionally accompany Venus. In classical art (but not literature) they are normally nude, and typically stand still as they hold hands, but the depiction here is very close to one adapting Seneca by Leon Battista Alberti in his De pictura (1435), which Botticelli certainly knew. From the left they are identified by Edgar Wind as Voluptas, Castitas, and Pulchritudo (Pleasure, Chastity and Beauty), though other names are found in mythology, and it is noticeable that many writers, including Lightbown and the Ettlingers, refrain from naming Botticelli's Graces at all.

Botticelli's Pallas and the Centaur (1482) has been proposed as the companion piece to Primavera.

Cupid's arrow is aimed at the middle Grace — Chastity, according to Wind — and the impact of love on chastity, leading to a marriage, features in many interpretations. Chastity looks towards Mercury, and some interpretations, especially those identifying the figures as modelled on actual individuals, see this couple as one to match Chloris and Zephyrus on the other side of the painting.

In a different interpretation the Earthy carnal love represented by Zephyrus to the right is renounced by the central figure of the Graces, who has turned her back to the scene, unconcerned by the threat represented to her by Cupid. Her focus is on Mercury, who himself gazes beyond the canvas at what many believe hung as the companion piece to Primavera: Pallas and the Centaur, in which "love oriented towards knowledge" (embodied by Pallas Athena) proves triumphant over lust (symbolized by the centaur).

The basic identification of the figures is now widely agreed,but in the past other names have sometimes been used for the females on the right, who are two stages of the same person in the usual interpretation. The woman in the flowered dress may be called Primavera (a personification of Spring), with Flora the figure pursued by Zephyrus. One scholar suggested in 2011 that the central figure is not Venus at all, but Persephone.

In addition to its overt meaning, the painting has been interpreted as an illustration of the ideal of Neoplatonic love popularized among the Medicis and their followers by Marsilio Ficino. The Neoplatonic philosophers saw Venus as ruling over both Earthly and divine love and argued that she was the classical equivalent of the Virgin Mary; this is alluded to by the way she is framed in an altar-like setting that is similar to contemporary images of the Virgin Mary. Venus' hand gesture of welcome, probably directed to the viewer, is the same as that used by Mary to the Archangel Gabriel in contemporary paintings of the Annunciation.

Punning allusions to Medici names probably include the golden balls of the oranges, recalling those on the Medici coat of arms, the laurel trees at right, for either Lorenzo, and the flames on the costume of both Mercury (for whom they are a regular attribute) and Venus, which are also an attribute of Saint Laurence (Lorenzo in Italian). Mercury was the god of medicine and "doctors", medici in Italian. Such puns for the Medici, and in Venus and Mars the Vespucci, run through all Botticelli's mythological paintings.

The origin of the painting is unclear. Botticelli was away in Rome for many months in 1481/82, painting in the Sistine Chapel, and suggested dates are in recent years mostly later than this, but still sometimes before. Thinking has been somewhat changed by the publication in 1975 of an inventory from 1499 of the collection of Lorenzo di Pierfrancesco de' Medici.

The 1499 inventory records it hanging in the city palace of Lorenzo di Pierfrancesco de' Medici and his brother Giovanni "Il Popolano". They were the cousins of Lorenzo de' Medici ("Lorenzo il Magnifico"), who was effectively the ruler of Florence, and after their father's early death had been his wards. It hung over a large lettuccio, an elaborate piece of furniture including a raised base, a seat and a backboard, probably topped with a cornice. The bottom of the painting was probably at about the viewer's eye-level, so rather higher than it is hung today.

In the same room was Botticelli's Pallas and the Centaur, and also a large tondo with the Virgin and Child. The tondo is now unidentified, but is a type of painting especially associated with Botticelli. This was given the highest value of the three paintings, at 180 lire. A further inventory of 1503 records that the Primavera had a large white frame.

In the first edition of his Life of Botticelli, published in 1550, Giorgio Vasari said that he had seen this painting, and the Birth of Venus, hanging in the Medici country Villa di Castello. Before the inventory was known it was usually believed that both paintings were made for the villa, probably soon after it was acquired in 1477, either commissioned by Lorenzo di Pierfrancesco or perhaps given to him by his older cousin and guardian Lorenzo de' Medici. Rather oddly, Vasari says both paintings contained female nudes, which is not strictly the case here.

Most scholars now connect the painting to the marriage of Lorenzo di Pierfrancesco de' Medici. Paintings and furniture were often given as presents celebrating weddings. The marriage was on 19 July 1482, but had been postponed after the death of the elder Lorenzo's mother on 25 March. It was originally planned for May. Recent datings tend to prefer the early 1480s, after Botticelli's return from Rome, suggesting it was directly commissioned in connection with this wedding, a view supported by many.

Another older theory, assuming an early date, suggests the older Lorenzo commissioned the portrait to celebrate the birth of his nephew Giulio di Giuliano de' Medici (who later became Pope), but changed his mind after the assassination of Giulo's father, his brother Giuliano in 1478, having it instead completed as a wedding gift for Lorenzo di Pierfrancesco.

It is frequently suggested that Lorenzo di Pierfrancesco is the model for Mercury in the portrait, and his bride Semiramide represented as Flora (or Venus). In older theories, placing the painting in the 1470s, it was proposed that the model for Venus was Simonetta Vespucci, wife of Marco Vespucci and according to popular legend the mistress of Giuliano de' Medici (who is also sometimes said to have been the model for Mercury); these identifications largely depend on an early date, in the 1470s, as both were dead by 1478. Simonetta was the aunt of Lorenzo's bride Semiramide. Summarizing the many interpretations of the painting, Leopold Ettlinger includes "descending to the ludricous – a Wagnerian pantomime enacted in memory of the murdered Giuliano de' Medici and his beloved Simonetta Vespucci with the Germanic Norns disguised as the Mediterranean Graces."

Whenever this painting and the Birth of Venus were united at Castello, they have remained together ever since. They stayed in Castello until 1815, when they were transferred to the Uffizi. For some years until 1919 they were kept in the Galleria dell'Accademia, another government museum in Florence. Since 1919, it has hung in the Uffizi Gallery in Florence. During the Italian campaign of World War Two, the picture was moved to Montegufoni Castle about ten miles south west of Florence to protect it from wartime bombing.

It was returned to the Uffizi Gallery where it remains to the present day. In 1978, the painting was restored.[66] The work has darkened considerably over the course of time

You cannot depend on your eyes when your imagination is out of focus...

Mark Twain ~

 

Created For~ Ghostworks Challenge #57

 

Also for ~

Kreative People Contest 49 Butterflies

 

With Kind Thanks to~

 

Texture~Skeletalmess

 

Birds~Freebie

 

Girl & Butterflies~Grabbaggraphics

 

Flower Brushes Purchased From~Renderosity

 

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Nicolai Ge (1831 - 1894) Challenge - September / October 2021

 

Recreating Nicolai Ge (1831 - 1894) - September / October 2021 - LINK HERE

  

Nikolai Nikolaevich Ge (1831 - 1894) (Russian: Николай Николаевич Ге) was a Russian realist painter and an early Russian symbolist. He was famous for his works on historical and religious subjects.

 

Nikolai Ge was born in Voronezh at Ivanovsky khutor (now the Shevchenkovo village) in a Russian noble family. His grandfather who was a French nobleman immigrated to the Russian Empire during the 18th century and married a Russian woman.

 

His parents died when he was still a child, so Nikolai was raised by his serf nurse and his grandmother. He graduated from the First Kiev Gymnasium and studied at the physics-mathematics department of Kiev University and Saint Petersburg University. In 1850 he gave up his career in science and entered the Imperial Academy of Arts in Saint Petersburg where he studied under the tutelage of the historical painter Pyotr Basin until 1857.

He graduated from the academy in 1857 with a gold medal for his painting "The Witch of Endor Calling Up the Spirit of the Prophet Samuel"

 

upload.wikimedia.org/wikipedia/commons/0/0b/Witch_of_Endo...

 

His gold medal provided him a scholarship for studying abroad. He visited Germany, Switzerland, France and in 1860 settled in Italy. In Rome he met Alexander Andreyevich Ivanov who strongly influenced Ge.

 

In 1861 Ge painted "The Last Supper", bought by Tsar Alexander II of Russia made such a strong impression when it was shown in Saint Petersburg in 1863 that Ge was made a professor of Imperial Academy of Arts.

In 1864 Ge returned to Florence and would paint not only Herzen's portrait but also the Messengers of the Resurrection and the first version of the Christ on the Mount of Olives.

 

uploads6.wikiart.org/images/nikolai-ge/not_detected_25297...

 

However, his incursions into religious and historical themes, with some exceptions, were not very successful and some were even rejected by the Imperial Academy.

Ge took the cold response to his work very hard. He wrote that a man should live by doing agricultural work, and the art should not be for sale. He bought a small khutor (farm) in Chernigov gubernia (currently Ukraine) and moved there.

 

He became later acquainted with Leo Tolstoy and became an enthusiastic follower of his philosophy. In the early 1880s he returned to art producing religious paintings and portraits.

Among his portraits of the time was his famous portrait of Leo Tolstoy, portrait of Mikhail Saltykov-Shchedrin and many others.

 

His late paintings on New Testament subjects of that period were praised by liberal but criticized by conservatives and forbidden by the authorities for blasphemy. Quod Est Veritas? Christ and Pilate (1890) was expelled from the exhibition:

 

upload.wikimedia.org/wikipedia/commons/1/19/What-is-truth...

 

What is truth? Christ and Pilate by Nikolai Nikolaevich Ge. was produced in 1890 and now is considered to be one of the famous artworks of Realism movement. The work can be viewed now at Tretyakov Gallery, in Moscow.

 

The Judgment of the Sanhedrin: He is Guilty! (1892) was not admitted to the annual Academy of Arts exhibition; The Calvary (Golgotha) (1893) remained unfinished; The Crucifixion (1894) was banned by Tsar Alexander III.

 

upload.wikimedia.org/wikipedia/commons/3/36/Nikolay_Ge_04...

 

About the painting he wrote: "I thought for a long time why crucifixion is necessary... - it is not necessary to arouse pity, compassion... repentance is necessary to realize and feel that Christ died for me..."

 

The painting “Conscience. Judas” (1891) refers the viewer to the biblical story of the thirteenth apostle, who sold his Master for thirty silver coins. The exposure, tones and colors used in the creation of this canvas are very peculiar and dramatic oppressive atmosphere, and only a tiny glimpse of live warm light flickers away.

 

The central character of the painting, in which Judas is marked, stands in the foreground, with his back to the viewer, as if we were him, completely wrapped in a long robe. He is completely hidden, but even his posture expresses the desolation of broken hopes. The deal did not bring him enrichment; Judah is alone and abandoned.

The road and two points of illumination create a straight tunnel and his loneliness and alienity are underlined by the play of light and shadow.

 

upload.wikimedia.org/wikipedia/commons/1/12/Nikolaj_Nikol...

 

" More than anything Nicolai Ge was a restless mind, the biblical based paintings that were done from an unconventional perspective, starting from the very human questions, questioning their moral values and ultimately portraying the dimension of the divine from a human point of view.

 

In Nikolai Ge's "What is Truth?" , depicting the New Testament account of the question as posed by Pilate to Jesus reveals the artist's concern for the search for truth as a liberator of the soul and consciences, although this may sometimes be uncomfortable. In many ways, the art of Nikolai Ge Remains as contemporary as the same questions we make today about ourselves! " ("Text by Daniel Arrhakis" )

 

Ge died on his farm in 1894 and the fate of many of his works remains a mystery.

Ge had bequeathed all of his works to his Swiss benefactress, Béatrice de Vattville in exchange for a small stipend from her during his lifetime. When she died in 1952, none of Ge's works was found in her castle. Among the lost works is Ge's supposedly magnum opus painting "The Crucifixion".

 

Ge's drawings were later discovered by art collectors in Swiss second-hand stores as late as 1974. Negotiations for their acquisition and return to Russia – as a full collection, rather than sold off in parts – failed repeatedly during the 1990s.

They were only concluded in 2011 after the Tretyakov Gallery was able to arrange sponsorship from a Russian state bank to purchase them for donation to the gallery's permanent collection.

 

So we propose for this month of September / October to recreate works of this incredible Russian Painter and /or using photos and elements from yours or stock images to recreate some of his inspirational unique works !

t is not intended here to be a faithful copy or similar, but an interpretation of the moral and spiritual questions that his art poses and that still question us today!

 

You may explore some of his Art and life in the the links below for be inspired. If you use some images of his works, be sure that they have Public Domain Attribution for you can use them and provide a link.

 

Nikolai Ge - 100 obras de arte - pintura www.wikiart.org/pt/nikolai-ge

 

Nikolai Ge - Wikipedia en.wikipedia.org/wiki/Nikolai_Ge

   

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Work using the paintings :

 

* "Conscience, Judas" by Nicolai Ge (1891) Collection

Tretyakov Gallery in Wikipedia ( Public Domain) :

 

upload.wikimedia.org/wikipedia/commons/1/12/Nikolaj_Nikol...

 

* "Portrait of Nikolaj Nikolajewitsch Ge" by Mykola Yaroshenko (1890) in WikiArt (Public Domain) :

 

uploads4.wikiart.org/images/mykola-yaroshenko/portrait-of...

"I still think that a small lightening charge through the cue would aid your shot Mr Solo!" advised Thor.

"I don't know, Thor. I'm pretty sure it'd have some disastrous consequences!" replied a worried Captain Solo.

WEEK 37 – Covington Kroger Closing, Set 1

 

I discussed a few descriptions back the construction of script décor, specifically as compared to millennium; but in this description I’d like to focus more on the actual look of the décor, and all the different elements that go into making it, well, what it is. As I told you earlier, the official name for the package is “Flagship Script,” meaning that this is one of the few examples of where our fan-originated name comes very close to the real thing! And it’s easy to see why that’s the case, too; obviously, the script font used for all the interior signage is a feature that stands out very prominently.

 

Besides that, you’ve got the columns, discussed previously, which are colored in white and adorned with red diamonds, and some additional stripes that complement the also-aforementioned border stripes that circle the rest of the walls in the store. Those stripes are colored in various shades of tan or beige, and taken altogether the entire color scheme – green for the signage and certain delineating lines, red for the diamonds and other small accents, and the various beiges/tans – definitely presents a very classy aesthetic. Throw in some wallpaper and woodgrain for texture (see the Kroger logo hanging in the corner in the distance), and voilà, you’ve got yourselves some script décor!

 

I’m curious to know – what’s your opinion on this package? For me, as I shared before on Discord, the best way I can describe it is that script décor is perfectly inoffensive. That is to say, it’s not my favorite, but it also has no bad qualities to it, nor does it feel overly dated. In fact, even though I associate it very much with the mid-2000s simply because I know it hails from that era, I think it feels more or less kinda timeless. The same certainly can’t be said for millennium! And yet, I’ve always liked millennium so much better; in fact, before just recently, when it became super endangered, I had never really sought out to photograph any script décor stores. It’s weird… I like it, but it’s definitely not one that I have much experience with or attachment to. I can see it and recognize it’s well done, but I don’t feel any excitement from it. Hence… perfectly inoffensive.

 

(Now granted, the rarer it’s become, the more I’ve grown to be excited about script. But you get my point – taken as a whole, it’s something I can appreciate, and even like, but it just doesn’t really do much for me, not like other décors anyway.)

 

(c) 2021 Retail Retell

These places are public so these photos are too, but just as I tell where they came from, I'd appreciate if you'd say who :)

 

Created for Faestock Challenge #77

 

With thanks to...

Model - Faestock

Hummingbird - MorgueFile

Background was a gift from a dear friend

 

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Discussing The Nursery.

Discussion dans une venelle de la cité médiévale de Rochefort-En-Terre.

An old photograph dated 02 Sep 1950, of the 10 1/4" (260mm) gauge Hastings Miniature Railway engine no. 3007 'Firefly'.

 

On the photo reverse is annotated "0-6-0 No. 3007 at Hastings, 2/9/50", unfortunately there is no photographer name.

 

Another photo taken on the same day is here.

flic.kr/p/2psYvoi

 

'Firefly' history from Wikipedia:-

"Firefly, built H.C.S. Bullock, in 1936 (as GWR 0-6-0PT No 3007); rebuilt 1945 by RHDR engineers as 0-6-0 tender locomotive. This engine is perhaps the one most closely associated with the Hastings Miniature Railway, having operated there from the opening of the line in 1948 until 1984, when it was sold to the Kerr's Miniature Railway in Scotland. Having been the principal engine at Hastings, it has retained that role (and the original number, 3007) in Scotland."

🚂 NOTE - Apparently Kerr's railway closed indefinitely on 11 October 2020. The owner said “Nothing’s being sold, the collection is going to stay with the family and it’s going to stay together.” In April 2025, Angus Council was reported to be discussing a new 20-year lease on the site with the former operator, with a view to reopening the railway.

 

The Hastings Miniature Railway Wikipedia page:-

en.wikipedia.org/wiki/Hastings_Miniature_Railway

  

If there are any errors in the above description please let me know. Thanks.

  

📷 Any photograph I post on Flickr is an original in my possession, nothing is ever copied/downloaded from another location. 📷

 

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Created for Mixmaster 13 in the Artistic Manipulation Group following Chef Beth's recipe:

 

➤ Your image must be a pure, non-representational abstract.

➤ It may NOT contain any recognizable objects or beings. Note: it may be digital art from a blank canvas and/or a photo manipulation, as long as the subject of the photo is not recognizable in the final result.

➤ Your image must convey/embody an emotion.

➤ The title of your image must be a quotation that includes the name of whatever emotion you have chosen.

➤ Your image must use three distinct colors/hues (besides black and white which are optional). Note: light, medium and dark blue are NOT distinct hues; blue, green and purple are.

 

This abstract started as a blank grey canvass to which I added layers of texture, and purple, blue and green paint using brushes in Photoshop Elements 13.

 

The texture layers are my own.

Hard to believe there is a "red warning" for high winds and rain tomorrow.

 

Bright sunshine in Wellington Somerset,UK.

 

Several Welsh councils along with Somerset County Council said all their schools would close on Friday. More than a hundred schools across Devon and Cornwall will also shut and Bristol City Council said it has advised schools not to open.

 

The government held an emergency Cobra meeting to discuss the response to the incoming storm.

 

Prime Minister Boris Johnson said the Army was "on standby" to support those affected.

 

It comes after Storm Dudley caused widespread travel disruption and power cuts on Wednesday.

For Its An Addiction discussion HERE

 

With thanks to…

Mountains - CAStock

Model - Elandria

Arches - Elandria

Rock - The-Strawberry-Tree

Vines - SheIsPrettyStock

Sky – Dezzan ( 1 ), ( 2 ), ( 3 )

Bird Brushes - Skeletal Mess

Hair was a gift from a dear friend

 

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When we were discussing options for this year's autumn hiking adventure, it almost seemed like there was nothing left in northern Scandinavia that we all still wanted to explore. However, after some discussions, we realized that Finnish Lapland might be an interesting and convenient location for our regular autumn outdoor pursuits.

 

After conducting some research and planning, we narrowed our focus to Finland's northwest, bordering Sweden and Norway. More specifically, we honed in on the Käsivarsi Wilderness Area, which happens to be the second-largest wilderness area in Finland.

 

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Käsivarsi is somewhat atypical for Finland due to its higher elevation (Finland's highest peak, Halti (1,324m), is located in its northern tip), rugged terrain, and limited wooded areas. This combination sounded particularly attractive to us because it meant we would hike across various types of landscapes, both on and off marked trails.

 

Our itinerary was as follows: Kilpisjärvi/Saana mountain -> Tshahkaljärvi lake -> Siktagurajohka river -> Meekonjärvi lake including trip to Pitsusköngäs waterfall -> Porojärvi lake including ascent of Saivaara cliff -> Guhturgurajávri/Termisjärvi lakes -> Ailakkajärvi lake -> Kilpisjärvi.

Discussing the latest news in town, Jaisalmer, Rajasthan, India.

Plauderei mit der Nachbarin.

When we were discussing options for this year's autumn hiking adventure, it almost seemed like there was nothing left in northern Scandinavia that we all still wanted to explore. However, after some discussions, we realized that Finnish Lapland might be an interesting and convenient location for our regular autumn outdoor pursuits.

 

After conducting some research and planning, we narrowed our focus to Finland's northwest, bordering Sweden and Norway. More specifically, we honed in on the Käsivarsi Wilderness Area, which happens to be the second-largest wilderness area in Finland.

 

-----

 

Käsivarsi is somewhat atypical for Finland due to its higher elevation (Finland's highest peak, Halti (1,324m), is located in its northern tip), rugged terrain, and limited wooded areas. This combination sounded particularly attractive to us because it meant we would hike across various types of landscapes, both on and off marked trails.

 

Our itinerary was as follows: Kilpisjärvi/Saana mountain -> Tshahkaljärvi lake -> Siktagurajohka river -> Meekonjärvi lake including trip to Pitsusköngäs waterfall -> Porojärvi lake including ascent of Saivaara cliff -> Guhturgurajávri/Termisjärvi lakes -> Ailakkajärvi lake -> Kilpisjärvi.

Discussing the Queen's Gambit with the Queen prior to a match. Not sure if what I was saying sank in or not as I explained what a terrific television show it was.

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