Age: 74
male
Mark Richard Hamill (born September 25, 1951) is an American actor. He is best known for starring as Luke Skywalker in the Star Wars franchise and the Joker in various animated DC Comics projects, starting with Batman: The Animated Series in 1992. Through the 1980s, Hamill distinguished himself from his Star Wars role by pursuing a Broadway theatre career, starring in productions of The Elephant Man, Amadeus and The Nerd. His other live-action film and television roles include Kenneth W. Dantley Jr. in Corvette Summer (1978), Private Griff in The Big Red One (1980), Crow in Sushi Girl (2012), Ted Mitchum in Brigsby Bear (2017), and Arthur Pym in the Netflix miniseries The Fall of the House of Usher (2023). Hamill has also had a prolific career as a voice actor. Aside from Joker, his roles include the Hobgoblin in Spider-Man: The Animated Series (1995–1998), Fire Lord Ozai in Avatar: The Last Airbender (2005–2008), Mr. Salacia and Senator Stampingston in Metalocalypse (2006–2013, 2023), and Skips in Regular Show (2010–2017).
Mark Hamill
Archangel Gabrial
for Archangel Gabrial in Mandela Catalogue
Suggested by GodzillaLover04
In the shadowy recesses of a seemingly ordinary world, the Mandela Catalogue unfurls a tale of dread, where reality becomes a hunting ground for malevolent beings known as Alternates. These entities are shapeshifters, mimicking their human victims with unnerving precision, but beneath their facade lies pure malevolence. As people vanish or meet gruesome fates, the Alternates weave their insidious presence into everyday life, turning familiar faces into vessels of terror. The ordinary becomes a maze of suspicion and dread, where trust is a relic of the past, and every encounter could herald the end of one's sanity or life. The story spirals deeper into horror as the protagonists, ordinary individuals trying to comprehend the incomprehensible, face relentless psychological torment. They uncover cryptic broadcasts and messages revealing the Alternates’ invasion, each revelation chipping away at their sanity. The eerie soundscapes and visuals, distorted and fragmented, reflect the shattering of reality itself. The terror escalates as the protagonists realize the true horror lies not in the physical manifestations of the Alternates, but in understanding that these entities feed on fear, manipulating reality. Every shadow, every flicker of doubt, every whisper in the night could be the Alternates, making the safety of the known world a distant memory, replaced by an endless night of paranoia and existential dread.
