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The Abomination's mental faculties eventually return and the Abomination reappears in the "Countdown" storyline as a pawn of another Hulk foe, the Leader. The Abomination is sent to a toxic waste site to collect samples and encounters the gray version of the Hulk again, who is outmatched and also weak due to being poisoned. The Hulk, however ...
The Abomination is more monstrous-looking, twice as strong as the Hulk at normal levels (however, the Abomination's strength levels do not increase when he gets angry) and wreaks havoc for fun and pleasure. The Leader is a gamma-irradiated super-genius who has tried plan after plan to take over the world.
Abomination (character), a Marvel Comics supervillain; Abomination , a plot device in the Dune series; Abomination: The Nemesis Project, a 1999 video game; Abomination, a 1998 novel by Robert Swindells; The Abomination , a Dalek variant
The term "abominable fancy" was first used by Frederic Farrar for the long-standing Christian idea that the eternal punishment of the damned in Hell entertains the saved in Heaven. [1] According to Philip C. Almond, this view was held by several Christian philosophers , including Augustine , Tertullian , Thomas Aquinas and Peter Lombard .
Fancy pictures are a sub-genre of genre paintings in 18th-century English art, featuring scenes of everyday life but with an imaginative or storytelling element, usually sentimental. The usage of the term varied, and there was often an overlap with the conversation piece , a type of group portrait showing the subjects engaged in some activity.
Abomination (from Latin abominare 'to deprecate as an ill omen') is an English term used to translate the Biblical Hebrew terms shiqquts שיקוץ and sheqets שקץ , [1] which are derived from shâqats, or the terms תֹּועֵבָה , tōʻēḇā or to'e'va (noun) or 'ta'ev (verb).
Vanessa, by Millais, 1868, Sudley House, Liverpool, a fancy portrait of Esther Vanhomrigh. A fancy portrait is a portrait of a real or literary character that takes the form of a conventional portrait, but is defined by the fact that its depiction of the character is derived from the artist's imagination rather than any authentic record of the person's appearance.