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Myth, Metatext, Continuity and Cataclysm in Dc Comics’ Crisis on Infinite Earths
WORLDS WILL LIVE, WORLDS WILL DIE: MYTH, METATEXT, CONTINUITY AND CATACLYSM IN DC COMICS’ CRISIS ON INFINITE EARTHS Adam C. Murdough A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2006 Committee: Angela Nelson, Advisor Marilyn Motz Jeremy Wallach ii ABSTRACT Angela Nelson, Advisor In 1985-86, DC Comics launched an extensive campaign to revamp and revise its most important superhero characters for a new era. In many cases, this involved streamlining, retouching, or completely overhauling the characters’ fictional back-stories, while similarly renovating the shared fictional context in which their adventures take place, “the DC Universe.” To accomplish this act of revisionist history, DC resorted to a text-based performative gesture, Crisis on Infinite Earths. This thesis analyzes the impact of this singular text and the phenomena it inspired on the comic-book industry and the DC Comics fan community. The first chapter explains the nature and importance of the convention of “continuity” (i.e., intertextual diegetic storytelling, unfolding progressively over time) in superhero comics, identifying superhero fans’ attachment to continuity as a source of reading pleasure and cultural expressivity as the key factor informing the creation of the Crisis on Infinite Earths text. The second chapter consists of an eschatological reading of the text itself, in which it is argued that Crisis on Infinite Earths combines self-reflexive metafiction with the ideologically inflected symbolic language of apocalypse myth to provide DC Comics fans with a textual "rite of transition," to win their acceptance for DC’s mid-1980s project of self- rehistoricization and renewal. -
Aliens of Marvel Universe
Index DEM's Foreword: 2 GUNA 42 RIGELLIANS 26 AJM’s Foreword: 2 HERMS 42 R'MALK'I 26 TO THE STARS: 4 HIBERS 16 ROCLITES 26 Building a Starship: 5 HORUSIANS 17 R'ZAHNIANS 27 The Milky Way Galaxy: 8 HUJAH 17 SAGITTARIANS 27 The Races of the Milky Way: 9 INTERDITES 17 SARKS 27 The Andromeda Galaxy: 35 JUDANS 17 Saurids 47 Races of the Skrull Empire: 36 KALLUSIANS 39 sidri 47 Races Opposing the Skrulls: 39 KAMADO 18 SIRIANS 27 Neutral/Noncombatant Races: 41 KAWA 42 SIRIS 28 Races from Other Galaxies 45 KLKLX 18 SIRUSITES 28 Reference points on the net 50 KODABAKS 18 SKRULLS 36 AAKON 9 Korbinites 45 SLIGS 28 A'ASKAVARII 9 KOSMOSIANS 18 S'MGGANI 28 ACHERNONIANS 9 KRONANS 19 SNEEPERS 29 A-CHILTARIANS 9 KRYLORIANS 43 SOLONS 29 ALPHA CENTAURIANS 10 KT'KN 19 SSSTH 29 ARCTURANS 10 KYMELLIANS 19 stenth 29 ASTRANS 10 LANDLAKS 20 STONIANS 30 AUTOCRONS 11 LAXIDAZIANS 20 TAURIANS 30 axi-tun 45 LEM 20 technarchy 30 BA-BANI 11 LEVIANS 20 TEKTONS 38 BADOON 11 LUMINA 21 THUVRIANS 31 BETANS 11 MAKLUANS 21 TRIBBITES 31 CENTAURIANS 12 MANDOS 43 tribunals 48 CENTURII 12 MEGANS 21 TSILN 31 CIEGRIMITES 41 MEKKANS 21 tsyrani 48 CHR’YLITES 45 mephitisoids 46 UL'LULA'NS 32 CLAVIANS 12 m'ndavians 22 VEGANS 32 CONTRAXIANS 12 MOBIANS 43 vorms 49 COURGA 13 MORANI 36 VRELLNEXIANS 32 DAKKAMITES 13 MYNDAI 22 WILAMEANIS 40 DEONISTS 13 nanda 22 WOBBS 44 DIRE WRAITHS 39 NYMENIANS 44 XANDARIANS 40 DRUFFS 41 OVOIDS 23 XANTAREANS 33 ELAN 13 PEGASUSIANS 23 XANTHA 33 ENTEMEN 14 PHANTOMS 23 Xartans 49 ERGONS 14 PHERAGOTS 44 XERONIANS 33 FLB'DBI 14 plodex 46 XIXIX 33 FOMALHAUTI 14 POPPUPIANS 24 YIRBEK 38 FONABI 15 PROCYONITES 24 YRDS 49 FORTESQUIANS 15 QUEEGA 36 ZENN-LAVIANS 34 FROMA 15 QUISTS 24 Z'NOX 38 GEGKU 39 QUONS 25 ZN'RX (Snarks) 34 GLX 16 rajaks 47 ZUNDAMITES 34 GRAMOSIANS 16 REPTOIDS 25 Races Reference Table 51 GRUNDS 16 Rhunians 25 Blank Alien Race Sheet 54 1 The Universe of Marvel: Spacecraft and Aliens for the Marvel Super Heroes Game By David Edward Martin & Andrew James McFayden With help by TY_STATES , Aunt P and the crowd from www.classicmarvel.com . -
Mark Bagley, Scott Hanna, Richard Isanove
When science geek Peter Parker was bitten by a radioactive spider, he was imbued with amazing abilities: the proportional strength and speed of a spider, adhesive fi ngertips and toes, and a precognitive awareness of danger called “spider-sense.” After inadvertently playing a part in the death of his Uncle Ben, Peter learned that with great power there must also come great responsibility, and now fi ghts crime as the web-slinging, wall-crawling wonder called... MARY JANE! THE RETURN OF Years ago, a mad scientist called the JACKAL cloned Peter Parker and created BEN REILLY, the original Scarlet Spider. Ben fought against him and for a time took up the mantle of the Amazing Spider-Man before sacrifi cing his life to save Peter’s. But his story didn’t end there. In an effort to perfect his cloning technology, the Jackal re-cloned and tortured Ben again and again. Ben snapped, freed himself, and took over as the Jackal, hoping to use the villain’s tech to save the world. Ben created the company New U. Claiming to deliver medical miracles, the company was really replacing ailing patients with near-perfect clones. One of these patients was an employee of Peter’s company, Parker Industries, named Jerry Salteres. Upon meeting the seemingly cured Jerry, Peter’s Spider-Sense went off, prompting him to investigate New U. There, he uncovered the dark truth: Ben has cloned nearly everyone who has died in Spider-Man’s life, from friends and loved ones like Gwen Stacy, Captain Stacy, and Jean DeWolff, to his worst enemies like Doctor Octopus and the Green Goblin, hoping to convince Peter to use Parker Industries’ reach to make New U global. -
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. -
A Celebration of Superheroes Virtual Conference 2021 May 01-May 08 #Depaulheroes
1 A Celebration of Superheroes Virtual Conference 2021 May 01-May 08 #DePaulHeroes Conference organizer: Paul Booth ([email protected]) with Elise Fong and Rebecca Woods 2 ACKNOWLEDGMENTS This has been a strange year, to be sure. My appreciation to everyone who has stuck with us throughout the trials and tribulations of the pandemic. The 2020 Celebration of Superheroes was postponed until 2021, and then went virtual – but throughout it all, over 90% of our speakers, both our keynotes, our featured speakers, and most of our vendors stuck with us. Thank you all so much! This conference couldn’t have happened without help from: • The College of Communication at DePaul University (especially Gina Christodoulou, Michael DeAngelis, Aaron Krupp, Lexa Murphy, and Lea Palmeno) • The University Research Council at DePaul University • The School of Cinematic Arts, The Latin American/Latino Studies Program, and the Center for Latino Research at DePaul University • My research assistants, Elise Fong and Rebecca Woods • Our Keynotes, Dr. Frederick Aldama and Sarah Kuhn (thank you!) • All our speakers… • And all of you! Conference book and swag We are selling our conference book and conference swag again this year! It’s all virtual, so check out our website popcultureconference.com to see how you can order. All proceeds from book sales benefit Global Girl Media, and all proceeds from swag benefit this year’s charity, Vigilant Love. DISCORD and Popcultureconference.com As a virtual conference, A Celebration of Superheroes is using Discord as our conference ‘hub’ and our website PopCultureConference.com as our presentation space. While live keynotes, featured speakers, and special events will take place on Zoom on May 01, Discord is where you will be able to continue the conversation spurred by a given event and our website is where you can find the panels. -
Body Bags One Shot (1 Shot) Rock'n
H MAVDS IRON MAN ARMOR DIGEST collects VARIOUS, $9 H MAVDS FF SPACED CREW DIGEST collects #37-40, $9 H MMW INV. IRON MAN V. 5 HC H YOUNG X-MEN V. 1 TPB collects #2-13, $55 collects #1-5, $15 H MMW GA ALL WINNERS V. 3 HC H AVENGERS INT V. 2 K I A TPB Body Bags One Shot (1 shot) collects #9-14, $60 collects #7-13 & ANN 1, $20 JASON PEARSON The wait is over! The highly anticipated and much debated return of H MMW DAREDEVIL V. 5 HC H ULTIMATE HUMAN TPB JASON PEARSON’s signature creation is here! Mack takes a job that should be easy collects #42-53 & NBE #4, $55 collects #1-4, $16 money, but leave it to his daughter Panda to screw it all to hell. Trapped on top of a sky- H MMW GA CAP AMERICA V. 3 HC H scraper, surrounded by dozens of well-armed men aiming for the kill…and our ‘heroes’ down DD BY MILLER JANSEN V. 1 TPB to one last bullet. The most exciting BODY BAGS story ever will definitely end with a bang! collects #9-12, $60 collects #158-172 & MORE, $30 H AST X-MEN V. 2 HC H NEW XMEN MORRION ULT V. 3 TPB Rock’N’Roll (1 shot) collects #13-24 & GS #1, $35 collects #142-154, $35 story FÁBIO MOON & GABRIEL BÁ art & cover FÁBIO MOON, GABRIEL BÁ, BRUNO H MYTHOS HC H XMEN 1ST CLASS BAND O’ BROS TP D’ANGELO & KAKO Romeo and Kelsie just want to go home, but life has other plans. -
(Mr) 3,60 € Aug18 0015 Citize
Συνδρομές και Προπαραγγελίες Comics Αύγουστος 2018 (για Οκτώβριο- Nοέμβριο 2018) Μέχρι τις 17 Αυγούστο, στείλτε μας email στο [email protected] με θέμα "Προπαραγγελίες Comics Αύγουστος 2018": Ονοματεπώνυμο Username Διεύθυνση, Πόλη, ΤΚ Κινήτο τηλέφωνο Ποσότητα - Κωδικό - Όνομα Προϊόντος IMAGE COMICS AUG18 0013 BLACKBIRD #1 CVR A BARTEL 3,60 € AUG18 0014 BLACKBIRD #1 CVR B STAPLES (MR) 3,60 € AUG18 0015 CITIZEN JACK TP (APR160796) (MR) 13,49 € AUG18 0016 MOTOR CRUSH TP VOL 01 (MAR170820) 8,49 € AUG18 0017 MOTOR CRUSH TP VOL 02 (MAR180718) 15,49 € AUG18 0018 DEAD RABBIT #1 CVR A MCCREA (MR) 3,60 € AUG18 0020 INFINITE HORIZON TP (FEB120448) 16,49 € AUG18 0021 LAST CHRISTMAS HC (SEP130533) 22,49 € AUG18 0022 MYTHIC TP VOL 01 (MAR160637) (MR) 15,49 € AUG18 0023 ERRAND BOYS #1 (OF 5) CVR A KOUTSIS 3,60 € AUG18 0024 ERRAND BOYS #1 (OF 5) CVR B LARSEN 3,60 € AUG18 0025 POPGUN GN VOL 01 (NEW PTG) (SEP071958) 26,99 € AUG18 0026 POPGUN GN VOL 02 (MAY082176) 26,99 € AUG18 0027 POPGUN GN VOL 03 (JAN092368) 26,99 € AUG18 0028 POPGUN GN VOL 04 (DEC090379) 26,99 € AUG18 0029 EXORSISTERS #1 CVR A LAGACE 3,60 € AUG18 0030 EXORSISTERS #1 CVR B GUERRA 3,60 € AUG18 0033 DANGER CLUB TP VOL 01 (SEP120436) 8,49 € AUG18 0034 DANGER CLUB TP VOL 02 REBIRTH (APR150581) 8,49 € AUG18 0035 PLUTONA TP (MAR160642) 15,49 € AUG18 0036 INFINITE DARK #1 3,60 € AUG18 0037 HADRIANS WALL TP (JUN170665) (MR) 17,99 € AUG18 0038 WARFRAME TP VOL 01 (O/A) 17,99 € AUG18 0039 JOOK JOINT #1 (OF 5) CVR A MARTINEZ (MR) 3,60 € AUG18 0040 JOOK JOINT #1 (OF 5) CVR B HAWTHORNE (MR) 3,60 -
(“Spider-Man”) Cr
PRIVILEGED ATTORNEY-CLIENT COMMUNICATION EXECUTIVE SUMMARY SECOND AMENDED AND RESTATED LICENSE AGREEMENT (“SPIDER-MAN”) CREATIVE ISSUES This memo summarizes certain terms of the Second Amended and Restated License Agreement (“Spider-Man”) between SPE and Marvel, effective September 15, 2011 (the “Agreement”). 1. CHARACTERS AND OTHER CREATIVE ELEMENTS: a. Exclusive to SPE: . The “Spider-Man” character, “Peter Parker” and essentially all existing and future alternate versions, iterations, and alter egos of the “Spider- Man” character. All fictional characters, places structures, businesses, groups, or other entities or elements (collectively, “Creative Elements”) that are listed on the attached Schedule 6. All existing (as of 9/15/11) characters and other Creative Elements that are “Primarily Associated With” Spider-Man but were “Inadvertently Omitted” from Schedule 6. The Agreement contains detailed definitions of these terms, but they basically conform to common-sense meanings. If SPE and Marvel cannot agree as to whether a character or other creative element is Primarily Associated With Spider-Man and/or were Inadvertently Omitted, the matter will be determined by expedited arbitration. All newly created (after 9/15/11) characters and other Creative Elements that first appear in a work that is titled or branded with “Spider-Man” or in which “Spider-Man” is the main protagonist (but not including any team- up work featuring both Spider-Man and another major Marvel character that isn’t part of the Spider-Man Property). The origin story, secret identities, alter egos, powers, costumes, equipment, and other elements of, or associated with, Spider-Man and the other Creative Elements covered above. The story lines of individual Marvel comic books and other works in which Spider-Man or other characters granted to SPE appear, subject to Marvel confirming ownership. -
2016 FEATURE FILM STUDY Photo: Diego Grandi / Shutterstock.Com TABLE of CONTENTS
2016 FEATURE FILM STUDY Photo: Diego Grandi / Shutterstock.com TABLE OF CONTENTS ABOUT THIS REPORT 2 FILMING LOCATIONS 3 GEORGIA IN FOCUS 5 CALIFORNIA IN FOCUS 5 FILM PRODUCTION: ECONOMIC IMPACTS 8 6255 W. Sunset Blvd. FILM PRODUCTION: BUDGETS AND SPENDING 10 12th Floor FILM PRODUCTION: JOBS 12 Hollywood, CA 90028 FILM PRODUCTION: VISUAL EFFECTS 14 FILM PRODUCTION: MUSIC SCORING 15 filmla.com FILM INCENTIVE PROGRAMS 16 CONCLUSION 18 @FilmLA STUDY METHODOLOGY 19 FilmLA SOURCES 20 FilmLAinc MOVIES OF 2016: APPENDIX A (TABLE) 21 MOVIES OF 2016: APPENDIX B (MAP) 24 CREDITS: QUESTIONS? CONTACT US! Research Analyst: Adrian McDonald Adrian McDonald Research Analyst (213) 977-8636 Graphic Design: [email protected] Shane Hirschman Photography: Shutterstock Lionsgate© Disney / Marvel© EPK.TV Cover Photograph: Dale Robinette ABOUT THIS REPORT For the last four years, FilmL.A. Research has tracked the movies released theatrically in the U.S. to determine where they were filmed, why they filmed in the locations they did and how much was spent to produce them. We do this to help businesspeople and policymakers, particularly those with investments in California, better understand the state’s place in the competitive business environment that is feature film production. For reasons described later in this report’s methodology section, FilmL.A. adopted a different film project sampling method for 2016. This year, our sample is based on the top 100 feature films at the domestic box office released theatrically within the U.S. during the 2016 calendar -
ED071097.Pdf
DOCUMENT RESUME ED 071 097 CS 200 333 TITLE Annotated Index to the "English Journal," 1944-1963. INSTITUTION National Council of Teachers of English, Champaign, PUB DATE 64 NOTE 185p. AVAILABLE FROMNational Council of Teachers of English, 1111 Renyon Road, Urbana, Ill. 61801 (Stock No. 47808, paper, $2.95 non-member, $2.65 member; cloth, $4.50 non-member, $4.05 member) EDRS PRICE MF-$0.65 HC -$6.58 DESCRIPTORS *Annotated Bibliographies; Educational Resources; English Education; *English Instruction; *Indexes (Locaters); Periodicals; Resource Guides; *Scholarly Journals; *Secondary School Teachers ABSTRACT Biblidgraphical information and annotations for the articles published in the "English Journal" between 1944-63are organized under 306 general topical headings arranged alphabetically and cross referenced. Both author and topic indexes to the annotations are provided. (See also ED 067 664 for 1st Supplement which covers 1964-1970.) (This document previously announced as ED 067 664.) (SW) U.S. DEPARTMENT OF HEALTH. f.N... EDUCATION & WELFARE OFFICE OF EDUCATION Cr% THIS DOCUMENT HAS BEEN REPRO. C.) DUCED EXACTLY AS RECEIVED FROM THE PERSON OR ORGANIZATION ORIG- 1:f INATING IT POINTS OF VIEW OR OPIN IONS STATED DO NOT NECESSARILY r REPRESENT OFFICIAL OFFICE OF EDU C) CATION POSITION OR POLICY [11 Annotated Index to the English Journal 1944-1963 Anthony Frederick, S.M. Editorial Chairman and the Committee ona Bibliography of English Journal Articles NATIONAL COUNCIL OF TEACHERS OF ENGLISH Copyright 1964 National Council of Teachers of English 508 South Sixth Street, Champaign, Illinois 61822 PERMISSION TO REPRODUCE THIS COPY RIGHTED MATERIAL HAS BEEN GRLNTED "National Council of Teachers of English TO ERIC AND ORGANIZATIONS OPERATING UNDER AGREEMENTS WITH THE US OFFICE OF EDUCATION FURTHER REPRODUCTION OUTSIDE THE ERIC SYSTEM REQUIRES PER MISSION OF THE COPYRIGHT OWNER English Journal, official publication for secondary school teachers of English, has been published by the National Council of Teachers of English since 1912. -
Read Ebook {PDF EPUB} Marvel Masterworks the Amazing Spider-Man Vol
Read Ebook {PDF EPUB} Marvel Masterworks The Amazing Spider-Man Vol. 3 by Stan Lee Marvel Masterworks: The Amazing Spider-Man Vol. 5 (Trade Paperback) You just hit the jackpot, tiger! The MARVEL MASTERWORKS bring you another set of classic tales featuring world's most amazing super hero-the Amazing Spider-Man. With Stan Lee and John Romita bringing story after story of unmatched drama and adventure, it's Spidey at his very best! It begins with the first appearance of the bulldozer on two legs, the Rhino, and if he can't turn Spidey into an endangered species, then perhaps an out-of-control, outer-space powered Col. John Jameson might be able to do the trick. The action keeps pumping with Spidey's first meeting with the Avengers (hint, it doesn't go well), the Shocker, the return of the Lizard, Kraven the Hunter, and the debut of an all-new Vulture and the Kingpin! But the true heart of the story is in the tale of young Peter Parker finding his way in the world. He finds new independence as he gets his own pad with pal Harry Osborn, courts Gwen Stacy, and beholds one of comics' most unforgettable entrances, a certain Miss Mary Jane Watson. Of course, for poor Spidey there's just as many pitfalls as perigees, and rarely has Spidey had it worse than in "Spider-Man No More!" Collecting THE AMAZING SPIDER-MAN #41-50 & ANNUAL #3. All Ages . $24.99. You just hit the jackpot, tiger! The MARVEL MASTERWORKS bring you another set of classic tales featuring world's most amazing super hero-the Amazing Spider-Man. -
Mason 2015 02Thesis.Pdf (1.969Mb)
‘Page 1, Panel 1…” Creating an Australian Comic Book Series Author Mason, Paul James Published 2015 Thesis Type Thesis (Professional Doctorate) School Queensland College of Art DOI https://doi.org/10.25904/1912/3741 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/367413 Griffith Research Online https://research-repository.griffith.edu.au ‘Page 1, Panel 1…” Creating an Australian Comic Book Series Paul James Mason s2585694 Bachelor of Arts/Fine Art Major Bachelor of Animation with First Class Honours Queensland College of Art Arts, Education and Law Group Griffith University Submitted in fulfillment for the requirements of the degree of Doctor of Visual Arts (DVA) June 2014 Abstract: What methods do writers and illustrators use to visually approach the comic book page in an American Superhero form that can be adapted to create a professional and engaging Australian hero comic? The purpose of this research is to adapt the approaches used by prominent and influential writers and artists in the American superhero/action comic-book field to create an engaging Australian hero comic book. Further, the aim of this thesis is to bridge the gap between the lack of academic writing on the professional practice of the Australian comic industry. In order to achieve this, I explored and learned the methods these prominent and professional US writers and artists use. Compared to the American industry, the creating of comic books in Australia has rarely been documented, particularly in a formal capacity or from a contemporary perspective. The process I used was to navigate through the research and studio practice from the perspective of a solo artist with an interest to learn, and to develop into an artist with a firmer understanding of not only the medium being engaged, but the context in which the medium is being created.