FAQ & Rules Clarifications for the Horus Heresy: Age of Darkness Rules V1.1 Updates and Errata
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Mar Customer Order Form
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THE HORUS HERESY AGE of DARKNESS: ZONE MORTALIS Rules for Deadly Close-Quarter Battles in the Labyrinths and Vaults of the Far Future
THE HORUS HERESY AGE OF DARKNESS: ZONE MORTALIS RULES FOR Deadly CLOSE-Quarter Battles IN THE LABYRINTHS AND Vaults OF THE FAR FUTURE The Horus Heresy Age of Darkness: fighting in a collapsing hive city under mass The Two Modes of Play Zone Mortalis allows players to recreate artillery bombardment or on a burning The Zone Mortalis rules have two modes some of the most savage arenas of combat star vessel in the middle of a space battle of play. The first and simplest mode is to conceivable, the battlefields the Codex Tactica ought to be. It’s the kind of game where incorporate a designated area of Zone Imperialis refers to as ‘Zone Mortalis’— all sorts of odd situations are going to be Mortalis terrain in a regular game of The the fatal ground. Such zones – be they thrown up from time to time and sudden Horus Heresy: Age of Darkness. This makes the contested decks of a void warship, reversals will occur, so have fun with it – a proportion of the gaming table operate tangled mine works, lightless underhives, hyper-competitive players or those seeking under the basic Zone Mortalis rules and can the prison-vaults of sundered fortress- complete predictability in their games will be represent the internal space of a command citadels, labyrinthine industrial sewer better served elsewhere. bunker, trench network, generatorium or systems and sacred catacombs – all have a hidden lab, or perhaps even the sanctum confluence of factors in common such as Citadel’s Zone Mortalis terrain is perfect of one of the Primarchs, filled with secrets close confinement, limited access for attack for representing the narrow confines, twists and deadly defences. -
Relationality and Masculinity in Superhero Narratives Kevin Lee Chiat Bachelor of Arts (Communication Studies) with Second Class Honours
i Being a Superhero is Amazing, Everyone Should Try It: Relationality and Masculinity in Superhero Narratives Kevin Lee Chiat Bachelor of Arts (Communication Studies) with Second Class Honours This thesis is presented for the degree of Doctor of Philosophy of The University of Western Australia School of Humanities 2021 ii THESIS DECLARATION I, Kevin Chiat, certify that: This thesis has been substantially accomplished during enrolment in this degree. This thesis does not contain material which has been submitted for the award of any other degree or diploma in my name, in any university or other tertiary institution. In the future, no part of this thesis will be used in a submission in my name, for any other degree or diploma in any university or other tertiary institution without the prior approval of The University of Western Australia and where applicable, any partner institution responsible for the joint-award of this degree. This thesis does not contain any material previously published or written by another person, except where due reference has been made in the text. This thesis does not violate or infringe any copyright, trademark, patent, or other rights whatsoever of any person. This thesis does not contain work that I have published, nor work under review for publication. Signature Date: 17/12/2020 ii iii ABSTRACT Since the development of the superhero genre in the late 1930s it has been a contentious area of cultural discourse, particularly concerning its depictions of gender politics. A major critique of the genre is that it simply represents an adolescent male power fantasy; and presents a world view that valorises masculinist individualism. -
CAPTAIN AMERICA–THE WINTER SOLDIER CHARACTER CARDS Original Text
CAPTAIN AMERICA–THE WINTER SOLDIER CHARACTER CARDS Original Text ©2014 WizKids/NECA LLC. © MARVEL PRINTING INSTRUCTIONS 1. From Adobe® Reader® or Adobe® Acrobat® open the print dialog box (File>Print or Ctrl/Cmd+P). 2. Under Pages to Print>Pages input the pages you would like to print. (See Table of Contents) 3. Under Page Sizing & Handling>Size select Actual size. 4. Under Page Sizing & Handling>Multiple>Pages per sheet select Custom and enter 1 by 2. 5. Under Page Sizing & Handling>Multiple> Orientation select Landscape. 6. If you want a crisp black border around each card as a cutting guide, click the checkbox next to Print page border (under Page Sizing & Handling>Multiple). 7. Click OK. ©2014 WizKids/NECA LLC. © MARVEL TABLE OF CONTENTS Agent 13™, 16 Agent Sitwell™, 17 Batroc™, 7 Black Widow™, 6 Brock Rumlow™, 13 Captain America™ (Present), 4 Captain America™ (WWII), 15 Captain America™ and Black Widow™, 20 Captain America™ and Bucky™, 21 Falcon™, 9 Maria Hill™, 14 Nick Fury™, 18 S.H.I.E.L.D. Agent™, 8 S.H.I.E.L.D. Commander™, 10 S.H.I.E.L.D. Soldier™, 5 Steve Rogers™, 12 Winter Soldier™, 11 Winter Soldier™ (Shield), 19 ©2014 WizKids/NECA LLC. © MARVEL Captain America™ (Present) 001 CAPTAIN AMERICA™ NOT BAD WITH OTHER THINGS, EITHER Avengers, S.H.I.E.L.D., Soldier, Strike Team (Super Strength) THE COSTUME IS A LITTLE OLD-FASHIONED… (Toughness) You Aren’t the Mission …BUT IT GETS THE JOB DONE (Invulnerability) Espionage: Fight On Our Terms If Captain America is part of a themed team, opponents do not modify the result of the roll to establish the first player. -
After Fantastika Programme
#afterfantastika Visit: www.fantastikajournal.com After Fantastika July 6/7th, Lancaster University, UK Schedule Friday 6th 8.45 – 9.30 Registration (Management School Lecture Theatre 11/12) 9.30 – 10.50 Panels 1A & 1B 11.00 – 12.20 Panels 2A, 2B & 2C 12.30 – 1.30 Lunch 1.30 – 2.45 Keynote – Caroline Edwards 3.00 – 4.20 Panels 3A & 3B 4.30 – 6.00 Panels 4A & 4B Saturday 7th 10.30 – 12.00 Panels 5A & 5B 12.00 – 1.00 Lunch 1.00 – 2.15 Keynote – Andrew Tate 2.30 – 3.45 Panels 6A, 6B & 6C 4.00 – 5.00 Roundtable 5.00 Closing Remarks Acknowledgements Thank you to everyone who has helped contribute to either the journal or conference since they began, we massively appreciate your continued support and enthusiasm. We would especially like to thank the Department of English and Creative Writing for their backing – in particular Andrew Tate, Brian Baker, Catherine Spooner and Sara Wasson for their assistance in promoting and supporting these events. A huge thank you to all of our volunteers, chairs, and helpers without which these conferences would not be able to run as smoothly as they always have. Lastly, the biggest thanks of all must go to Chuckie Palmer-Patel who, although sadly not attending the conference in-person, has undoubtedly been an integral part of bringing together such a vibrant and engaging community – while we are all very sad that she cannot be here physically, you can catch her digital presence in panel 6B – technology willing! Thank you Kerry Dodd and Chuckie Palmer-Patel Conference Organisers #afterfantastika Visit: www.fantastikajournal.com -
The Muppets Take the Mcu
THE MUPPETS TAKE THE MCU by Nathan Alderman 100% unauthorized. Written for fun, not money. Please don't sue. 1. THE MUPPET STUDIOS LOGO A parody of Marvel Studios' intro. As the fanfare -- whistled, as if by Walter -- crescendos, we hear STATLER (V.O.) Well, we can go home now. WALDORF (V.O.) But the movie's just starting! STATLER (V.O.) Yeah, but we've already seen the best part! WALDORF (V.O.) I thought the best part was the end credits! They CHORTLE as the credits FADE TO BLACK A familiar voice -- one we've heard many times before, and will hear again later in the movie... MR. EXCELSIOR (V.O.) And lo, there came a day like no other, when the unlikeliest of heroes united to face a challenge greater than they could possibly imagine... STATLER (V.O.) Being entertaining? WALDORF (V.O.) Keeping us awake? MR. EXCELSIOR (V.O.) Look, do you guys mind? I'm foreshadowing here. Ahem. Greater than they could possibly imagine... CUT TO: 2. THE MUPPET SHOW COMIC BOOK By Roger Langridge. WALTER reads it, whistling the Marvel Studios theme to himself, until KERMIT All right, is everybody ready for the big pitch meeting? INT. MUPPET STUDIOS The shout startles Walter, who tips over backwards in his chair out of frame, revealing KERMIT THE FROG, emerging from his office into the central space of Muppet Studios. The offices are dated, a little shabby, but they've been thoroughly Muppetized into a wacky, cozy, creative space. SCOOTER appears at Kermit's side, and we follow them through the office. -
PDF Download Luke Cage Epic Collection
LUKE CAGE EPIC COLLECTION: RETRIBUTION PDF, EPUB, EBOOK Archie Goodwin | 480 pages | 16 Feb 2021 | Marvel Comics | 9781302928315 | English | New York, United States Luke Cage Epic Collection: Retribution PDF Book But, these are black and white, yes? The rebirth of Captain America! For a better shopping experience, please upgrade now. How did the world fall and the Maestro rise? A yellow light goes on. Meanwhile, in the Wild Hunt, children play at being adults and prepare for the fight of their lives. January 28, The X-Men have gone their separate ways! View Product. And when mutant babies go missing, Cable takes it personally — almost as personally as his complicated love life. Collects Conan the Barbarian , material from Chamber of Darkness 4. Written by G. Collecting MS. I really prefer, in some cases, the black and white art. Rick Jones' girlfriend Marlo won't fare any better: She dies! Click here. While U. This fresh hell comes complete with a Minotaur, Cerberus…and the demonic Belasco! Of course, just like comics and other books, Epic Collections themselves can go out of print. You will receive a verification email shortly. Luke Cage Epic Collection: Retribution Writer The Nova Corps is destroyed, leaving only Richard Rider. A new era of Star Wars storytelling begins. Image 2 of 2. Electronic hum. But when you mess with the Minotaur, you get the horns! The Thing throws down with the Hulk in a battle so huge it takes the combined might of the FF and the Avengers to stop it! Image 2 of 3. Hardcover sold out. -
American Sniper"
"AMERICAN SNIPER" by Chris Kyle with Scott McEwen and Jim DeFelice Screenplay By Jason Hall Second Draft 07.17.13 All gave some. Some gave all. OVER BLACK The groan of tank treads drowns out THE CALL TO PRAYER as an entire MARINE COMPANY advances over the top of us. EXT. STREET, FALLUJAH, IRAQ - DAY The sun melts over squat residences on a narrow street. The MARINE COMPANY creeps toward us like a cautious Goliath. FOOT SOLDIERS walk alongside Humvees and tanks. COMMANDING OFFICER (OS) (radio chatter) Charlie Bravo-3, we got eyes on you from the east. Clear to proceed, over. EXT. ROOFTOP, “OVERWATCH” - SAME Sun glints off a slab of corrugated steel. Beneath it-- CHRIS KYLE lays prone, dick in the dirt, eye to the glass of a .300 Win-Mag sniper rifle. He’s Texas stock with a boyish grin, blondish goatee and vital blue eyes. Both those eyes are open as he tracks the scene below, sweating his ass off in the shade of steel. CHRIS KYLE Fucking hot box. GOAT (24, Arkansas Marine) lies beside him, woodsy and outspoken, watching dirt-devils swirl in the street. GOAT Dirt over here tastes like dog shit. CHRIS KYLE I guess you’d know. Goat balks and fixes his M4 on the door. CHRIS SCOPE POV TRACK ACROSS bombed-out buildings, twisted metal and golden-domed mosques. Ragged curtains flutter out a window. Cat-tails on the river sway the same direction. We are seeing what he’s thinking as-- SFX: A LOW FREQUENCY BUZZ escalates over picture as his concentration deepens. -
THE PUNISHER WAR JOURNAL by Luis Filipe Based on Marvel Comics
THE PUNISHER THE PUNISHER WARWAR JOURNALJOURNAL by Luis Filipe Based on Marvel Comics character Copyright (c) 2017 This is just a fan made [email protected] OVER BLACK The sound of a POLICE RADIO calling. RADIO All units. Central Park shooting, requiring reinforcements immediately. CUT TO: CELL PHONE POV: Filming towards of Central Park alongside more people. Everyone horrified, but we don't know for what yet. CUT TO: VIDEO FOOTAGE: Now in Central Park where the police and CSI surround an entire area that is filled with CORPSES. A REPORTER talks to the camera. REPORTER Today New York witnessed the biggest outdoor massacre. It is speculated that the victims are members of the Mafia or even gangs, but no confirmation from the police yet. CUT TO: ANOTHER FOOTAGE: With the cameraman zooming in the forensic putting some bodies in black bags. One of them we notice that it's a little girl, and another a woman. REPORTER (O.S.) Apparently there was only one survivor. The victim is in serious condition but the paramedics doubt that he will hold it for long. CUT TO: SHAKY FOOTAGE: The only surviving man being taken on the stretcher to an ambulance. An oxygen mask on his face. His body covered in blood. He still uses his last forces to murmur. MAN My family... I want my... family. He is placed inside the ambulance. As the paramedics slam the ambulance doors - CUT TO BLACK: 2. Then - FADE IN: INT. CASTLE'S APARTMENT - DAY A small place with little furniture. The curtain blocks the sun from the single window of the apartment, allowing only a wispy sunlight to enter. -
The Lawyer As Superhero: How Marvel Comics' Daredevil Depicts
Barry University School of Law Digital Commons @ Barry Law Faculty Scholarship Spring 5-2019 The Lawyer as Superhero: How Marvel Comics' Daredevil Depicts the American Court System and Legal Practice Louis Michael Rosen Barry University School of Law, [email protected] Follow this and additional works at: https://lawpublications.barry.edu/facultyscholarship Part of the Entertainment, Arts, and Sports Law Commons, Law and Society Commons, and the Legal Ethics and Professional Responsibility Commons Recommended Citation 47 Capital U. L. Rev. 379 (2019) This Article is brought to you for free and open access by Digital Commons @ Barry Law. It has been accepted for inclusion in Faculty Scholarship by an authorized administrator of Digital Commons @ Barry Law. THE LAWYER AS SUPERHERO: HOW MARVEL COMICS’ DAREDEVIL DEPICTS THE AMERICAN COURT SYSTEM AND LEGAL PRACTICE LOUIS MICHAEL ROSEN* TABLE OF CONTENTS I. INTRODUCTION ................................................................................. 380 II. BACKGROUND: POPULAR CULTURE AND THE LAW THEORIES ....... 387 III. DAREDEVIL––THE STORY SO FAR ............................................... 391 A. Daredevil in the Sights of Frank Miller ....................................... 391 B. Daredevil Through the Eyes of Brian Michael Bendis ................ 395 C. Daredevil’s Journey to Redemption by David Hine .................... 402 D. Daredevil Goes Public, by Mark Waid ........................................ 406 IV. DAREDEVIL’S FRESH START AND BIGGEST CASE EVER, BY CHARLES SOULE ...................................................................................... 417 V. CONCLUSION .................................................................................... 430 Copyright © 2019, Louis Michael Rosen. * Louis Michael Rosen is a Reference Librarian and Associate Professor of Law Library at Barry University School of Law in Orlando, Florida. He would like to thank Professor Taylor Simpson-Wood, his mentor, ally, advocate, cheerleader, and ever-patient editor as he wrote this article. -
Press Layout
2 Vol. XXXI, Issue 2 | Wednesday, September 30, 2009 news Obama, Paterson, Makin’ War Not Love In a shock - tempt to verbally one up their opponent. ing turn of “So that’s how it’s going to be, huh? Brother against By Nick Statt events involv - brother?” Paterson said after being told that Obama ing the recent wouldn’t be opposed to “socking him once or twice in the controversy mouth.” Paterson finished out the surprisingly emotional over New York Governor David Paterson’s decision to run interview with NBC’s David Gregory by saying, “That for governor, President Obama called Gov. Paterson a “jack - grey-haired grandpa couldn’t touch me. I’m like Dare - ass on Monday, September 21. devil. My acute hearing would carry me all day.” “I mean, sometimes I just wonder what he’s doing up The back and forth from the President and New there. He’s certainly not winning any popularity awards and York’s heavily disliked governor has created an enormous then just decides to totally ignore my request for him to pull buzz on the commentator circuit. Jelly donut-human hy - out,” Obama said casually after the first portion of his inter - brid Rush Limbaugh, famous for getting his start on the view with Terry Moran of NBC. “So does that count as the Food Network by questioning Rachel Ray’s sexuality, has first question?” Moran responded. “I, I hear you – I agree called Paterson’s comments in the Gregory interview as with you. He’s a jackass. He’s also legally blind and in all hon - pulling the “competitive race/physical disability card.” The esty I just can’t have that anymore,” Obama whispered, term, recently coined by Limbaugh himself, accuses Pa - As the week wraps up, President Obama has voiced fur - thinking that his off the record comments would stay terson of feeling both that he has to compete with Obama ther frustration. -
Mcwilliams Ku 0099D 16650
‘Yes, But What Have You Done for Me Lately?’: Intersections of Intellectual Property, Work-for-Hire, and The Struggle of the Creative Precariat in the American Comic Book Industry © 2019 By Ora Charles McWilliams Submitted to the graduate degree program in American Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Co-Chair: Ben Chappell Co-Chair: Elizabeth Esch Henry Bial Germaine Halegoua Joo Ok Kim Date Defended: 10 May, 2019 ii The dissertation committee for Ora Charles McWilliams certifies that this is the approved version of the following dissertation: ‘Yes, But What Have You Done for Me Lately?’: Intersections of Intellectual Property, Work-for-Hire, and The Struggle of the Creative Precariat in the American Comic Book Industry Co-Chair: Ben Chappell Co-Chair: Elizabeth Esch Date Approved: 24 May 2019 iii Abstract The comic book industry has significant challenges with intellectual property rights. Comic books have rarely been treated as a serious art form or cultural phenomenon. It used to be that creating a comic book would be considered shameful or something done only as side work. Beginning in the 1990s, some comic creators were able to leverage enough cultural capital to influence more media. In the post-9/11 world, generic elements of superheroes began to resonate with audiences; superheroes fight against injustices and are able to confront the evils in today’s America. This has created a billion dollar, Oscar-award-winning industry of superhero movies, as well as allowed created comic book careers for artists and writers.