Artist/Creator of #LordsoftheCosmos and #SatanicColoringBook & original artwork based on Satanism, Mythology, Dystopia and Literature. Open to freelance work.
State College, PA
Joined March 2013
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Hey all, the Indiegogo encore campaign for #lordsofthecosmos issue five is now FULLY FUNDED for you to check out and get on board with new covers from Khoi Pham and David Newbold as well as eight new black and white variants for all five issues! indiegogo.com/en/projects/ja…
Jason Lenox Illustrator retweeted
Just when safety seemed in reach, Ferro’s dropship goes down in flames. A devastating reminder that survival won’t come easy.
💬 Did this twist catch you off guard?
Jason Lenox Illustrator retweeted
Vin Makazian is a reminder that corruption doesn't always look like a criminal taking a suitcase full of money. Sometimes it looks like a police officer convincing himself that he's doing a few favors for the right people.
Vin is supposed to uphold the law, but his relationship with Tony turns that responsibility into a business arrangement. Tony gets information and access, while Vin gets money and a sense that he's useful to someone powerful. The uncomfortable part is how ordinary the exchange becomes once both men accept the arrangement as normal.
Vin isn't some mastermind controlling the system. He's a compromised man whose personal problems make him increasingly dependent on the very people he should be keeping at a distance.
That's what makes his position so tragic. He has a badge, authority, and a job that should give him purpose, yet he ends up trading his integrity for temporary relief.
Sometimes corruption doesn't begin with believing you're above the law. It begins with convincing yourself that breaking it just this once doesn't really count.
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Jason Lenox Illustrator retweeted
Uma's face before the final strike is absolute cinema perfection. She puts all the hate she had for Bill into that one strike - and then it's gone when they talk after. What a scene.
Jason Lenox Illustrator retweeted
Most viewers watching the intense village raid in The Northman (2022) probably don’t realize how much physical preparation and historical inspiration went into its brutal fight choreography. One of the sequence’s most unforgettable moments comes when Amleth catches a spear flying toward him and immediately throws it back at his attacker. The extraordinary display of strength and reflexes reflects the larger-than-life abilities associated with legendary Norse warriors, particularly the fearsome berserkers described in ancient sagas.
What makes the scene even more impressive is director Robert Eggers’ approach to filming combat. Rather than relying on constant camera cuts or exaggerated visual effects, the sequence unfolds through extended, carefully coordinated shots that emphasize the weight and intensity of every movement. Alexander Skarsgård underwent extensive physical training to portray Amleth, helping make his movements feel powerful and convincing. The spear-catching moment transforms a split-second defensive reaction into a devastating counterattack, highlighting the character’s almost superhuman combat abilities.
This commitment to immersive action is what makes The Northman (2022) stand out among historical epics. Through meticulously planned choreography, realistic-looking weapon handling, and relentless physical performances, Eggers creates a battle sequence that feels chaotic, dangerous, and brutally authentic. Every movement carries weight, making the violence feel immediate rather than overly polished or theatrical.
Clip from The Northman (2022)
Jason Lenox Illustrator retweeted
Christopher can dish out disrespect, but the moment somebody challenges him, suddenly it becomes a matter of respect.
When Christopher beats up Little Paulie, it’s another reminder that these guys rarely separate personal pride from business. A disagreement that could have stayed small turns into violence because nobody wants to look weak in front of the others. Christopher has spent years trying to prove he deserves his position, and he reacts badly whenever he feels someone is questioning it.
The irony is that Christopher is now a made man with real standing in the family, yet he still behaves like someone desperate to prove he belongs. He has power, but he doesn't always have the patience or self-control that should come with it.
That’s the trap in Tony’s world: every insult feels like a test, and every test demands a response.
Eventually, you stop defending your reputation and start letting your insecurity make decisions for you.
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Jason Lenox Illustrator retweeted
Tony knows the war with Phil Leotardo has reached the point where talking is no longer going to solve anything.
What makes this decision so revealing is how quickly Tony shifts from trying to manage the conflict to ordering a man’s death. The negotiations, the compromises, and the attempts to keep business running have all failed. Now Tony has to think about protecting his crew and ending a threat that has become too dangerous to ignore.
But Tony is never acting on strategy alone. Pride, revenge, and the need to prove he still controls his territory are mixed into every decision. He wants the war finished, but he also wants to be the man who decides how it finishes.
That’s the contradiction at the heart of Tony’s leadership: he can justify almost any act as necessary for the family, even when his own emotions are helping drive the decision.
He calls it business, but the people caught in the middle pay the price for his version of peace.
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Jason Lenox Illustrator retweeted
Matthew Bevilaqua made the mistake of thinking he could play in the big leagues before understanding the rules.
He and Sean thought killing Christopher would earn them respect and move them closer to the top. Instead, they created a problem they had absolutely no power to control.
What makes Tony’s involvement so chilling is how quickly the situation stops being about revenge and becomes about the rules of the organization. Christopher was one of their own, and Matthew’s attempt to climb the ladder has now made him a liability.
The panic, the begging, the sudden realization that nobody is coming to save him—that’s what makes the scene so brutal.
In Tony’s world, ambition without patience can be deadly. Matthew wanted to be somebody. He never understood what that would cost.
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Jason Lenox Illustrator retweeted
Tokyo Drifter (1966) is one of the most stylish crime films ever made.
Jason Lenox Illustrator retweeted
Una de las escenas mas gores por no decir la que más y, que menis me esperaba de #CrystalLake.
Me dejó en shock, esperaba que pudiera hacer algo Pam, pero no semejante Fatality de Mortal Kombat:
Jason Lenox Illustrator retweeted
A luta entre Chun-Li e Vega em Street Fighter II: The Animated Movie (1994) segue como uma das cenas mais marcantes de uma adaptação de videogame. Nela, Vega emboscada Chun-Li no apartamento dela, e a lutadora, quase dominada no início,
Jason Lenox Illustrator retweeted
To tell the truth, this scene made me cry so hard. These guys deserve so much better it’s not fair…😭😭💔
#CyberpunkEdgerunners #Rewatch
Jason Lenox Illustrator retweeted
Tony humiliated the fuck out of Ralphie in this scene. Barely acknowledged him, made him wait while he ate, didn't ask him to sit, acting dumb like "What did you do?" so he had to spell it out. Great scene of a Boss dressing down a soldier.
