DOCSLIB.ORG

The Other End of the Wormhole

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Other End of the Wormhole Brigid Cherry The Other End of the Wormhole: The Case of “Stargate SG-1” on British Television Recent decades have seen increasing convergence between British and American forms of popular entertainment, though signifi cant cultural and national differences remain.1 As Manuel Alvarado states, there is an economically driven tendency to gloss over the differences between British (independent and American fi lms and television programmes.2 from the US-based However, as Marnie Carroll proposes elsewhere, communities) with discussion lists, the production, scheduling, and reception of web rings and other Internet locations as a popular cultural products are subject to national focus for British fandom. The study of national differences which need to be explored further.3 groupings within the fan audience highlights a This not only impinges upon debates about number of problematical issues. In particular, the cultural autonomy of regions and nations a converging international, yet American in Europe and elsewhere, but also impacts the dominated, entertainment industry is important viewing preferences and behaviour of audiences. to debates about cultural imperialism regionally These issues are examined here in a case and globally.5 Audience research carried out study of the science fi ction series Stargate SG- between 2001 and 2004 amongst the Stargate 1, which, like the majority of science fi ction fan communities on- and off-line focuses on programming on British television is produced how the tensions between national identity and in the US.4 A highly rated programme in the global participation are played out within fan UK, where it premiered on the satellite channel cultures. In particular, the fi ndings highlight the Sky One and subsequently began to be broadcast national and cultural differences surrounding on the terrestrial network Channel Four (with Stargate and its fans, known as ‘Gaters. a two-season lag), Stargate has proved to be In general, the majority of Science Fiction- immensely popular amongst science fi ction focused Internet groups and websites are audiences in the UK. The series has generated its located in the USA. This refl ects the overall own highly active on-line community in the UK geography of the Internet with the majority GET A LIFE?: FAN CULTURES AND CONTEMPORARY TELEVISION 61 Lauri Mullens, editor, Spectator 25:1 (Spring 2005): 61 - 70. THE OTHER END OF THE WORMHOLE of servers and portals—and therefore groups and other interactive spaces serving the fan communities—based predominantly in the USA.6 Non-American on-line fans, therefore, participate in an environment predominantly based in North America. This has implications, especially in the developing nations, for all Internet use, as well as for the nature of the Internet itself. However, this research also raises the issue of the cultural dominance of American media products in the overseas Anglophone marketplace, and it is this context which is addressed here. It is important, as a part of this project, to understand the state of British broadcasting and the position of science fi ction and other related genres (or, as the fans refer to it, telefantasy) within the various generic formulations of television drama, particularly in respect of the prevalence of American product in the marketplace. A Colonised Television Landscape Analysis of the UK television schedules shows a preponderance of American-produced drama (see table 1). Of all drama programmes shown during the period surveyed, 40% originated in the UK, Christopher Judge as Tealʼc on Stargate SG-1 whilst 57% are of American origin. However, the ratio varies according to genre. Soap operas A number of issues are raised by these fi gures. are predominantly home-produced, and there is a In terms of quantity, the output of drama on more even split within the ‘cops-and-docsʼ genre. British television may not have declined rapidly in Within the telefantasy genre, however, American recent decades, but generic output on mainstream programmes predominate. Of the total number channels may now be skewed towards soap of prime-time drama programmes, 33% can be opera, medical and crime dramas and heritage classifi ed as telefantasy; of these the majority television. However, there has certainly been a (79%) are broadcast by Sky One and the specialist steep decline in long-running science fi ction genre Sci-Fi Channel. Such narrowcasting illustrates that programming. The few new programmes in this there is a signifi cant niche audience for telefantasy, area have been short run dramas (for example, and further suggests that these audiences are the four-part vampire-crime series Ultraviolet). important to minority terrestrial channels such as This has, to some extent, been a deliberate policy BBC2 and Channel Four as well.7 by programme makers and producers. Although Less than 3% of the telefantasy programmes British science fi ction television has a highly are of British origin; all of the remaining 97% regarded history (Quatermass, Doctor Who, originate in the US.8 It should also be noted that Blakeʼs 7, and series such as The Prisoner and all of the telefantasy programmes broadcast by the The Avengers), in recent years there has been little Sci-Fi Channel were American in origin. There support for telefantasy by television producers is thus a signifi cant scarcity of home-produced in the UK. This has not necessarily been linked telefantasy despite the popularity of the genre, the with low audiences for the genre, but is often part wide range of archive releases on DVD and video, of an ongoing debate about taste which codes and the rich history of British science fi ction. telefantasy as a devalued genre.9 In addition, the 62 SPRING 2005 BRIGID CHERRY high cost of special effects and CGI work required Files due to being broadcast on cable, subsequent for contemporary science fi ction have often left syndication has opened up larger audiences. On British programme makers unable to compete balance, however, it appears that UK audiences with well-funded American series. It is within (despite the much smaller overall population) are this particular set of circumstances that British almost as large as those in the US. This indicates telefantasy fans build attachments to American that Stargate has a relatively large audience in telefantasy programmes, and in this context that I overseas territories. This situation, potentially examine the popularity of Stargate in the UK. larger foreign audiences than domestic, at least in terms of reach, is no longer unusual within Viewing Figures, Transmission telefantasy. It has occurred previously with Circumstances and Screening Babylon 5 and has recently been repeated with Situations Farscape. This is highly signifi cant when it comes to considerations of fan cultures, since a Stargate attracts large audiences for Channel Four variety of factors exist that may cause overseas with the programme frequently in the channelʼs fans to feel excluded. Table 1: Number of drama programmes on British television in week ending April 19, 2002 by country of origin (during peak hours of 6pm till midnight Monday to Friday, 10am till midnight at weekends). Drama here is taken as scripted, fi ctional programming and includes soap opera, and sitcom as well as telefantasy. UK US Other Total Total TF Total TF Total TF Total TF Terrestrial 56 2 41 15 7 0 104 17 Satellite 41 0 97 63 1 0 139 63 Total 97 2 138 78 8 0 243 80 Terrestrial = 5 UK terrestrial channels (BBC, BBC2, ITV, Channel Four, C5) Satellite = 5 main satellite cable channels showing fi rst-run drama (Sky One, BBC Choice, ITV2, E4, The Sci-Fi Channel) TF = telefantasy top ten. BARB ratings show that episodes on A key factor in the development of Channel Four attract an audience of around two international fan cultures centered around million viewers (ranging from 1.7 million for the American programmes is the considerable delay week ending September 9, 2001 to 2.35 million in broadcasting episodes in the UK. As with the for the week ending October 28, 2001), while traditional release dates of fi lms, screening is fi gures for Sky One have risen from over 500,000 often delayed in overseas markets, in some cases viewers per episode in 2001 to over 900,000 in by several years. In the past, British fans have 2004.10 In the US, the Nielsen ratings for US often had to wait some time to see the most recent Showtime runs of Stargate were “averaging a episodes of their favourite American series. This more-than-acceptable 2.8 rating in cable homes is at its most extreme on the British terrestrial on Friday” and have been as high as 3.7 million.11 networks, where American series (including Though American viewing fi gures might be Buffy the Vampire Slayer, various Star Trek titles expected to be low in comparison to other popular and The X-Files) screened in the UK by the BBC science fi ction series such as Star Trek or The X- and independent networks have been between GET A LIFE?: FAN CULTURES AND CONTEMPORARY TELEVISION 63 THE OTHER END OF THE WORMHOLE one and two years behind the American fi rst runs. this audience study complain that the channel Episodes of Stargate on Channel Four have been unnecessarily “hack[s] great chunks out it” until subject to a two-year lag. Fans, who are now episodes no longer to make sense.13 Furthermore, keenly aware (and not just through the Internet, some ‘Gaters object to the fact that the timing of though this is certainly a contributory factor) that the advertising breaks in episodes does not match UK broadcasts are often subject to these lengthy the obvious cues for such breaks built into the delays, are increasingly displeased with this.
Load more

Recommended publications
  • 1-3 Front CFP 10-4-10.Indd
    Area/State Colby Free Press Monday, October 4, 2010 Page 3 Weather Gun rights, mental health on 2010 ballot Corner From “BALLOT,” Page 1 tional guarantees to the individual right to section of the law in the 1970s when the paign to let voters know why the revision bear arms, the federal constitution does, Constitution was last updated on a grand is needed. The U.S. Supreme Court ruled in a Dis- providing protection for citizens. scale, but left the mental health exception. “A voter with mental illness doesn’t trict Columbia case that individuals have “The federal constitutional right sets the Sweeney said had the changes been made mean someone who is in a state hospital,” the right to bear arms, striking down a ban minimum,” Levy said. “States might give later in the decade, the mental health excep- Sweeney said, “but someone with anxiety, on handguns. But the case was not viewed greater rights than the federal constitu- tion also would have been nixed. Mental depression, a soldier coming back with as far-reaching because of D.C.’s unique tion.” illness was just beginning to be understood, (post traumatic stress disorder). It’s our federal status. Then this June, the high For example, states may specify greater leading to changes in treatment and diagno- grandparents and our neighbors.” court struck down a Chicago handgun law, rights for carrying concealed weapons, li- sis that otherwise would have led to a “hos- Sweeney said Kansas isn’t the only state declaring that Americans have the right to censing of fi rearms or necessary training.
    [Show full text]
  • Simgate: Full-System, Cycle-Close Simulation of the Stargate Sensor Network Intermediate Node
    SimGate: Full-System, Cycle-Close Simulation of the Stargate Sensor Network Intermediate Node Ye Wen, Selim Gurun, Navraj Chohan, Rich Wolski, and Chandra Krintz Department of Computer Science University of California, Santa Barbara Abstract— We present SimGate – a full-system simulator of most Stargate components including the processor, memory for the Stargate intermediate-level, resource-constrained, sen- hierarchy, communications (serial and radio), and peripherals. sor network device. We empirically evaluate the accuracy and As the result, SimGate boots and runs the Familiar Linux performance of the system in isolation as well as coupled with simulated Mica2 motes. Our system is functionally correct and operating system and any program binary that executes over achieves accurate cycle estimation (i.e. cycle-close). Moreover, it, without modification. the overhead of simulated execution is modest with respect to Our system is also unique in that we use it to simulate the previously published work. ensemble of both intermediate and base level sensor devices, i.e. Stargate and motes (e.g. Mica2). We do so by coupling I. INTRODUCTION SimGate with SimMote, a cycle-accurate full-system simulator Sensor networks have emerged as a technology for transpar- of motes [17]. This interoperability reveals the potential of ently interconnecting our physical world with more powerful simulating a complete sensor network setting including both computational environments, and ultimately, global informa- basic nodes, gateway nodes, and their interactivity. tion systems. In a typical sensor network, computationally We evaluate the accuracy of our system by comparing simple, low-power, sensor elements take physical readings the simulated clock cycles to measured clock cycles using a and may perform minor processing of these readings before range of stressmarks and community benchmarks.
    [Show full text]
  • Television Sharknados and Twitter Storms
    Television Sharknados and Twitter Storms: Cult Film Fan Practices in the Age of Social Media Branding Stephen William Hay A thesis submitted to Victoria University of Wellington in fulfilment of the regulations for the degree of Master of Arts in Media Studies Victoria University of Wellington 2016 Abstract This thesis examines the Syfy channel’s broadcast of the television movie Sharknado and the large number of tweets that were sent about it. Sharknado’s audience engaged in cult film viewing practices that can be understood using paracinema theory. Paracinema engagement with cult films has traditionally taken place in midnight screenings in independent movie theatres and private homes. Syfy’s audience was able to engage in paracinematic activity that included making jokes about Sharknado’s low quality of production and interacting with others who were doing the same through the affordances of Twitter. In an age where branding has become increasingly important, Syfy clearly benefited from all the fan activity around its programming. Critical branding theory argues that the value generated by a business’s brand comes from the labour of consumers. Brand management is mostly about encouraging and managing consumer labour. The online shift of fan practices has created new opportunities for brand managers to subsume the activities of consumers. Cult film audience practices often have an emphasis on creatively and collectively engaging in rituals and activities around a text. These are the precise qualities that brands require from their consumers. Sharknado was produced and marketed by Syfy to invoke the cult film subculture as part of Syfy’s branding strategy.
    [Show full text]
  • COVID-19 Rush Journal Club
    COVID-19 Rush Journal Club NOVEL CORONAVIRUS SARS-COV-2. Transmission electron micrograph of SARS-CoV-2 virus particles, iso- lated from a patient. Image captured and color-enhanced at the NIAID Integrated Research Facility (IRF) in Fort Detrick, Maryland. Credit: NIAID Available at: https://www.flickr.com/photos/niaid/49597768397/in/al- bum-72157712914621487/. Accessed April 19, 2020. This document is a collection of efforts from students of Rush University. It provides brief reviews of research articles regarding COVID-19. We hope that this will be helpful to clini- cians, students, community leaders, and the general public. This document, however, does not act as a replacement of the original source documents. Please use the DOI on each page to read more. Student Editors Blake Beehler, MD John Levinson, MS2 Alice Burgess, MS2 Luke McCormack, MS2 Alyssa Coleman, MS3 Diana Parker, MS2 Shyam Desai, MD Elena Perkins, MS3 Joseph Dodson, MS1 Hannah Raff, MS3 Joshua Doppelt, MD Ayesan Rewane, MSCR Emily Hejna, MS2 Audrey Sung, MS3 Danesha Lewis, PhD student Literature Selection Christi Brown, MS2 Lindsay Friedman, MS3 Danesha Lewis, PhD Student Travis Tran, MS2 Student Editors in Chief Joseph deBettencourt, MS3 Alyssa Coleman, MS3 Lindsay Friedman, MS3 Leah Greenfield, MS2 Beth Hall, MD Morgan Sturgis, MS2 Travis Tran, MS2 Ashley Wehrheim, MS2 Kaitlyn Wehrheim, MS2 Bijan Zarrabi, MS2 Faculty Editors and Mentors Frank Cockerill, MD - Adjunct Professor of Medicine Mete Altintas, PhD - Director, Translational and Preclinical Studies Rachel Miller,
    [Show full text]
  • Stargate Sg1 "Flesh and Blood" Episode #1001 Dialogue Continuity Script
    STARGATE SG1 "FLESH AND BLOOD" EPISODE #1001 DIALOGUE CONTINUITY SCRIPT June 5, 2006 Prepared by: Line 21 Media Services Ltd. #122 - 1058 Mainland Street Vancouver, B.C. V6B 2T4 Phone: (604) 662-4600 [email protected] 1 STARGATE SG-1 - "Flesh and Blood" - Episode #1001 TIMECODE DIALOGUE START TIMECODE 01:00:00:00 AT FIRST FRAME OF PICTURE RECAP 01:00:00:05 TEAL'C: Previously on Stargate SG-1... 01:00:03:08 DOCI: In the name of the gods, ships shall be built to carry our warriors out amongst the stars. 01:00:08:22 ORLIN: Everything Origins followers devote themselves to is a lie. 01:00:12:16 MITCHELL: Whose baby is it? 01:00:13:21 VALA: I don't know. 01:00:14:19 PRIOR (V/O):The child is the will of the Ori. 01:00:18:10 VALA (V/O): The ships are planning to leave. 01:00:19:28 VALA (CONT'D): Somewhere out there, the Ori have a working supergate. 01:00:22:11 CARTER (V/O): We've managed to locate the dialing control crystals on one particular section of the gate. 2 STARGATE SG-1 - "Flesh and Blood" - Episode #1001 01:00:26:10 CARTER (CONT'D): We dial out before they can dial in. 01:00:28:20 CARTER (CONT'D INTO RADIO): Something's happening. 01:00:31:09 (EXPLOSION) 01:00:35:19 CARTER (CONT'D): My god... 01:00:36:27 NETAN: I didn't think you were that stupid. 01:00:38:14 TEAL'C: I have come to seek the assistance of the Lucian Alliance.
    [Show full text]
  • Interfacing STARGATE-IP to UPB Networks
    Interfacing STARGATE-IP to UPB Networks INTRODUCTION This Application Note describes Stargate-IP and Stargate-Lite support for controlling UPB Powerline devices. These control- lers, when connected to the powerline by a UPB Powerline Interface Module, can control a network of up to 250 UPB lighting dimmers and other UPB devices. This application note assumes a working knowledge of UPB and that the UPB devices have been installed and properly configured using the UPStart program (available from PCS or Simply Automated websites). Support for UPB requires a UPB Powerline Interface Module (PIM), also called a Computer Interface Module (CIM) and a UPB serial adapter and cable. The PIM connects to COM2 or COM3 of the Stargate via the UPB serial adapter cable. Once configured, the UPB devices are fully integrated into Stargate and can be controlled in the same manor as X10 or ALC lighting devices. Stargate Controllers NEW Controllers Stargate-IP and Stargate-Lite controllers shipped with firmware 4.0.0 or later are modified and ready for UPB support. These units are shipped with a UPB serial adapter and cable for connection to a UPB Powerline Interface Module. The UPB Powerline Interface Module is not supplied. The UPB Powerline Interface Module (PCS PIM) or Computer Interface Module (Simply Automated CIM) are available from various distributors. NOTE: Your PIM or CIM must be in MESSAGE mode, not PULSE mode, in order for this module to behave correctly. If you are experiencing problems when the PIM or CIM is connected to Stargate, your interface is likely in PULSE mode and needs to be changed to MESSAGE mode.
    [Show full text]
  • Television Shows
    Libraries TELEVISION SHOWS The Media and Reserve Library, located on the lower level west wing, has over 9,000 videotapes, DVDs and audiobooks covering a multitude of subjects. For more information on these titles, consult the Libraries' online catalog. 1950s TV's Greatest Shows DVD-6687 Age and Attitudes VHS-4872 24 Season 1 (Discs 1-3) DVD-2780 Discs Age of AIDS DVD-1721 24 Season 1 (Discs 1-3) c.2 DVD-2780 Discs Age of Kings, Volume 1 (Discs 1-3) DVD-6678 Discs 24 Season 1 (Discs 4-6) DVD-2780 Discs Age of Kings, Volume 2 (Discs 4-5) DVD-6679 Discs 24 Season 1 (Discs 4-6) c.2 DVD-2780 Discs Alfred Hitchcock Presents Season 1 DVD-7782 24 Season 2 (Discs 1-4) DVD-2282 Discs Alias Season 1 (Discs 1-3) DVD-6165 Discs 24 Season 2 (Discs 5-7) DVD-2282 Discs Alias Season 1 (Discs 4-6) DVD-6165 Discs 30 Days Season 1 DVD-4981 Alias Season 2 (Discs 1-3) DVD-6171 Discs 30 Days Season 2 DVD-4982 Alias Season 2 (Discs 4-6) DVD-6171 Discs 30 Days Season 3 DVD-3708 Alias Season 3 (Discs 1-4) DVD-7355 Discs 30 Rock Season 1 DVD-7976 Alias Season 3 (Discs 5-6) DVD-7355 Discs 90210 Season 1 (Discs 1-3) c.1 DVD-5583 Discs Alias Season 4 (Discs 1-3) DVD-6177 Discs 90210 Season 1 (Discs 1-3) c.2 DVD-5583 Discs Alias Season 4 (Discs 4-6) DVD-6177 Discs 90210 Season 1 (Discs 4-5) c.1 DVD-5583 Discs Alias Season 5 DVD-6183 90210 Season 1 (Discs 4-6) c.2 DVD-5583 Discs All American Girl DVD-3363 Abnormal and Clinical Psychology VHS-3068 All in the Family Season One DVD-2382 Abolitionists DVD-7362 Alternative Fix DVD-0793 Abraham and Mary Lincoln: A House
    [Show full text]
  • Mayevent 2006 Horizon Volume 13 Issue 7
    Hamilton Amateur Astronomers MayEvent 2006 Horizon Volume 13 Issue 7 Chair’s Report by Glenn Muller 34”, or about a degree East of M104. And, the fun doesn’t end there. In that immedi- Regular EH readers will know of my affinity for aster- ate vicinity is yet another asterism with the ominous isms; those unique formations of stars that prompt the moniker of “Jaws”. Situated just off the imaginary line imagination with their chance alignments. connecting Stargate to M104 are four bright stars in a Well, at a recent Binbrook session I was pushing the row. They form the head and mouth of a celestial shark, 6” reflector around Corvus, looking for the Sombrero the body of which consists of a string of fainter trailing Galaxy, when I chanced across six stars in a cluster stars. Both the Stargate and Jaws are mentioned in Phil no wider than 10’ forming two nested triangles. They Harrington’s book The Deep Sky: An Introduction. In instantly piqued my interest so, using the common sci- fact, it was Harrington who gave Jaws its label. Another entific jargon, I alerted the rest of the group. “Hey,” I good source of information for this interesting group is said. “Come take a look at these neat stars!”. John and the internet link Dianna, a nice couple from Winona who were observing www.backyard-astro.com/deepsky/ This fine site has a nice map of the with us for the first time, politely pried themselves from top100/15.html region and a couple of excellent sketches – well worth the wonderful views through their 11” Celestron SCT checking out.
    [Show full text]
  • Apocalypse As Religious and Secular Discourse in Battlestar Galactica
    Volume 6 2014-15 APOCALYPSE & GHOSTS Apocalypse as Religious and Secular Discourse in Battlestar Galactica and its Prequel Caprica Diane Langlumé University of Paris VIII Saint-Denis Abstract he concept of the end of the world is inherent in religious discourse. Illustratively, in T Medieval Christianity, a divine power was held responsible for cataclysmic events. In the post-Hiroshima era, the concept of apocalypse has taken on secular meaning. Not surprisingly, given recent history, the apocalypse has become a prominent component of popular television epics; broadcast narratives, such as Battlestar Galactica and Caprica, entwine both Biblical and secular versions of the apocalypse, thereby creating a novel apocalyptic discourse which, instead of establishing the apocalypse as an end, uses it as a foundation, as a thought-provoking means of conveying a political message of tolerance and acceptance of otherness, of encouraging self-reflectiveness; and as a way of denouncing the empty rhetoric of religious extremism. Keywords: Television series, Battlestar Galactica, Caprica, religion, Book of Mormon, Bible, Book of Revelation, John of Patmos, Genesis, Adam, Garden of Eden, Heaven, God, fall of man, the beast, false prophet, angel, Second Coming, resuscitation, apocalypse, end of the world, nuclear apocalypse, Hiroshima, post-apocalyptic, genocide, intertextuality, parody, pastiche, religious satire, 9/11, America, religious terrorism, suicide bombing, cyborg, robot, humanity, monotheism, polytheism. he television series Battlestar Galactica1 establishes its chronology between a nuclear T apocalypse that has just taken place and the threat of a potential future apocalypse,2 both at the hands of human-looking cyborgs called Cylons. Caprica, its prequel series, set fifty- eight years before the nuclear detonation, unfolds the events leading up to the apocalypse in Battlestar Galactica.
    [Show full text]
  • ART's Renderdrive
    HPG and Hot3D are normally about the latest and greatest hardware. This isn’t that – this is about some hardware from before NVIDIA started calling their products GPUs. Why is this being presented at HPG? In many recent conferences, someone has presented a good rendering technique, and I’ve gone up and said it was interesting, but did they know we did it some years before? An obviously they didn’t, because we didn’t publish it. We can’t be alone in this (although others might not actually tell the presenters), so this is a call for people to describe old technology as the patents start expiring and people stop caring about protecting the IP. ART was founded in Cambridge, England in 1995, based on Adrian Wrigley’s 1994 PhD thesis in the Rainbow Graphics Group in the computer laboratory. (See http://www.lib.cam.ac.uk/collections/departments/manuscripts-university- archives/subject-guides/theses-dissertations-and-1 for information on ordering the thesis; it does not appear to be online. The corresponding patent is available at https://patents.google.com/patent/US5933146A/en.) The idea was to make a rendering appliance that could be used like a render farm (and shared between artists). Absent anything else resembling a standard for photorealistic ray tracing, it was based on the RenderMan specification. Obviously not enough customers existed to make the company highly successful, but those who were interested included those who could use ray tracing on transparent surfaces or liked depth of field. Jim Henson didn’t buy one, but caused us a lot of confusion as to how we could be used for Fraggles until Farscape came out.
    [Show full text]
  • Dragon Con Progress Report 2021 | Published by Dragon Con All Material, Unless Otherwise Noted, Is © 2021 Dragon Con, Inc
    WWW.DRAGONCON.ORG INSIDE SEPT. 2 - 6, 2021 • ATLANTA, GEORGIA • WWW.DRAGONCON.ORG Announcements .......................................................................... 2 Guests ................................................................................... 4 Featured Guests .......................................................................... 4 4 FEATURED GUESTS Places to go, things to do, and Attending Pros ......................................................................... 26 people to see! Vendors ....................................................................................... 28 Special 35th Anniversary Insert .......................................... 31 Fan Tracks .................................................................................. 36 Special Events & Contests ............................................... 46 36 FAN TRACKS Art Show ................................................................................... 46 Choose your own adventure with one (or all) of our fan-run tracks. Blood Drive ................................................................................47 Comic & Pop Artist Alley ....................................................... 47 Friday Night Costume Contest ........................................... 48 Hallway Costume Contest .................................................. 48 Puppet Slam ............................................................................ 48 46 SPECIAL EVENTS Moments you won’t want to miss Masquerade Costume Contest ........................................
    [Show full text]
  • 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.
    [Show full text]