Constantine 2
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
Zatanna and the House of Secrets Graphic Novels for Kids & Teens 741.5 Dc’S New Youth Movement Spring 2020 - No
MEANWHILE ZATANNA AND THE HOUSE OF SECRETS GRAPHIC NOVELS FOR KIDS & TEENS 741.5 DC’S NEW YOUTH MOVEMENT SPRING 2020 - NO. 40 PLUS...KIRBY AND KURTZMAN Moa Romanova Romanova Caspar Wijngaard’s Mary Saf- ro’s Ben Pass- more’s Pass- more David Lapham Masters Rick Marron Burchett Greg Rucka. Pat Morisi Morisi Kieron Gillen The Comics & Graphic Novel Bulletin of satirical than the romantic visions of DC Comics is in peril. Again. The ever- Williamson and Wood. Harvey’s sci-fi struggling publisher has put its eggs in so stories often centered on an ordinary many baskets, from Grant Morrison to the shmoe caught up in extraordinary circum- “New 52” to the recent attempts to get hip with stances, from the titular tale of a science Brian Michael Bendis, there’s hardly a one left nerd and his musclehead brother to “The uncracked. The first time DC tried to hitch its Man Who Raced Time” to William of “The wagon to someone else’s star was the early Dimension Translator” (below). Other 1970s. Jack “the King” Kirby was largely re- tales involved arrogant know-it-alls who sponsible for the success of hated rival Marvel. learn they ain’t so smart after all. The star He was lured to join DC with promises of great- of “Television Terror”, the vicious despot er freedom and authority. Kirby was tired of in “The Radioactive Child” and the title being treated like a hired hand. He wanted to character of “Atom Bomb Thief” (right)— be the idea man, the boss who would come up with characters and concepts, then pass them all pay the price for their hubris. -
Crossmedia Adaptation and the Development of Continuity in the Dc Animated Universe
“INFINITE EARTHS”: CROSSMEDIA ADAPTATION AND THE DEVELOPMENT OF CONTINUITY IN THE DC ANIMATED UNIVERSE Alex Nader 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 May 2015 Committee: Jeff Brown, Advisor Becca Cragin © 2015 Alexander Nader All Rights Reserved iii ABSTRACT Jeff Brown, Advisor This thesis examines the process of adapting comic book properties into other visual media. I focus on the DC Animated Universe, the popular adaptation of DC Comics characters and concepts into all-ages programming. This adapted universe started with Batman: The Animated Series and comprised several shows on multiple networks, all of which fit into a shared universe based on their comic book counterparts. The adaptation of these properties is heavily reliant to intertextuality across DC Comics media. The shared universe developed within the television medium acted as an early example of comic book media adapting the idea of shared universes, a process that has been replicated with extreme financial success by DC and Marvel (in various stages of fruition). I address the process of adapting DC Comics properties in television, dividing it into “strict” or “loose” adaptations, as well as derivative adaptations that add new material to the comic book canon. This process was initially slow, exploding after the first series (Batman: The Animated Series) changed networks and Saturday morning cartoons flourished, allowing for more opportunities for producers to create content. References, crossover episodes, and the later series Justice League Unlimited allowed producers to utilize this shared universe to develop otherwise impossible adaptations that often became lasting additions to DC Comics publishing. -
The Hell Scene and Theatricality in Man and Superman
233 The Amphitheatre and Ann’s Theatre: The Hell Scene and Theatricality in Man and Superman Yumiko Isobe Synopsis: Although George Bernard Shaw’s Man and Superman (1903) is one of his most important dramatic works, it has seldom been staged. This is because, in terms of content and direction, there are technical issues that make it difficult to stage. In particular, Act Three features a dream in Hell, where four dead characters hold a lengthy philosophical symposium, has been considered independent of the main plot of John Tanner and Ann Whitefield. Tanner’s dream emphatically asserts its theatricality by the scenery, the amphitheatre in the Spanish desert where Tanner dozes off. The scene’s geography, which has not received adequate attention, indicates the significance of the dream as a theatre for the protagonist’s destiny with Ann. At the same time, it suggests that the whole plot stands out as a play by Ann, to which Tanner is a “subject.” The comedy thus succeeds in expressing the playwright’s philosophy of the Superman through the play-within-a- play and metatheatre. Introduction Hell in the third act of Man and Superman: A Comedy and a Philosophy (1903) by George Bernard Shaw turns into a philosophical symposium, as the subtitle of the play suggests, and this intermediate part is responsible for the difficulties associated with the staging of the play. The scene, called “the Hell scene” or “Don Juan in Hell,” has been cut out of performances of the whole play, and even performed separately; however, the interlude by itself has attracted considerable attention, not only from stage managers and actors, but also from critics, provoking a range of multi-layered examinations. -
How Superman Developed Into a Jesus Figure
HOW SUPERMAN DEVELOPED INTO A JESUS FIGURE CRISIS ON INFINITE TEXTS: HOW SUPERMAN DEVELOPED INTO A JESUS FIGURE By ROBERT REVINGTON, B.A., M.A. A Thesis Submitted to the School of Graduate Studies in Partial Fulfillment of the Requirements for the Degree of Master of Arts McMaster University © Copyright by Robert Revington, September 2018 MA Thesis—Robert Revington; McMaster University, Religious Studies McMaster University MASTER OF ARTS (2018) Hamilton, Ontario, Religious Studies TITLE: Crisis on Infinite Texts: How Superman Developed into a Jesus Figure AUTHOR: Robert Revington, B.A., M.A (McMaster University) SUPERVISOR: Professor Travis Kroeker NUMBER OF PAGES: vi, 143 ii MA Thesis—Robert Revington; McMaster University, Religious Studies LAY ABSTRACT This thesis examines the historical trajectory of how the comic book character of Superman came to be identified as a Christ figure in popular consciousness. It argues that this connection was not integral to the character as he was originally created, but was imposed by later writers over time and mainly for cinematic adaptations. This thesis also tracks the history of how Christians and churches viewed Superman, as the film studios began to exploit marketing opportunities by comparing Superman and Jesus. This thesis uses the methodological framework of intertextuality to ground its treatment of the sources, but does not follow all of the assumptions of intertextual theorists. iii MA Thesis—Robert Revington; McMaster University, Religious Studies ABSTRACT This thesis examines the historical trajectory of how the comic book character of Superman came to be identified as a Christ figure in popular consciousness. Superman was created in 1938, but the character developed significantly from his earliest incarnations. -
The Evolution of Batman and His Audiences
Georgia State University ScholarWorks @ Georgia State University English Theses Department of English 12-2009 Static, Yet Fluctuating: The Evolution of Batman and His Audiences Perry Dupre Dantzler Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/english_theses Part of the English Language and Literature Commons Recommended Citation Dantzler, Perry Dupre, "Static, Yet Fluctuating: The Evolution of Batman and His Audiences." Thesis, Georgia State University, 2009. https://scholarworks.gsu.edu/english_theses/73 This Thesis is brought to you for free and open access by the Department of English at ScholarWorks @ Georgia State University. It has been accepted for inclusion in English Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. STATIC, YET FLUCTUATING: THE EVOLUTION OF BATMAN AND HIS AUDIENCES by PERRY DUPRE DANTZLER Under the Direction of H. Calvin Thomas ABSTRACT The Batman media franchise (comics, movies, novels, television, and cartoons) is unique because no other form of written or visual texts has as many artists, audiences, and forms of expression. Understanding the various artists and audiences and what Batman means to them is to understand changing trends and thinking in American culture. The character of Batman has developed into a symbol with relevant characteristics that develop and evolve with each new story and new author. The Batman canon has become so large and contains so many different audiences that it has become a franchise that can morph to fit any group of viewers/readers. Our understanding of Batman and the many readings of him gives us insight into ourselves as a culture in our particular place in history. -
Super Satan: Milton’S Devil in Contemporary Comics
Super Satan: Milton’s Devil in Contemporary Comics By Shereen Siwpersad A Thesis Submitted to Leiden University, Leiden, the Netherlands in Partial Fulfillment of the Requirements for the Degree of MA English Literary Studies July, 2014, Leiden, the Netherlands First Reader: Dr. J.F.D. van Dijkhuizen Second Reader: Dr. E.J. van Leeuwen Date: 1 July 2014 Table of Contents Introduction …………………………………………………………………………... 1 - 5 1. Milton’s Satan as the modern superhero in comics ……………………………….. 6 1.1 The conventions of mission, powers and identity ………………………... 6 1.2 The history of the modern superhero ……………………………………... 7 1.3 Religion and the Miltonic Satan in comics ……………………………….. 8 1.4 Mission, powers and identity in Steve Orlando’s Paradise Lost …………. 8 - 12 1.5 Authority, defiance and the Miltonic Satan in comics …………………… 12 - 15 1.6 The human Satan in comics ……………………………………………… 15 - 17 2. Ambiguous representations of Milton’s Satan in Steve Orlando’s Paradise Lost ... 18 2.1 Visual representations of the heroic Satan ……………………………….. 18 - 20 2.2 Symbolic colors and black gutters ……………………………………….. 20 - 23 2.3 Orlando’s representation of the meteor simile …………………………… 23 2.4 Ambiguous linguistic representations of Satan …………………………... 24 - 25 2.5 Ambiguity and discrepancy between linguistic and visual codes ………... 25 - 26 3. Lucifer Morningstar: Obedience, authority and nihilism …………………………. 27 3.1 Lucifer’s rejection of authority ………………………..…………………. 27 - 32 3.2 The absence of a theodicy ………………………………………………... 32 - 35 3.3 Carey’s flawed and amoral God ………………………………………….. 35 - 36 3.4 The implications of existential and metaphysical nihilism ……………….. 36 - 41 Conclusion ……………………………………………………………………………. 42 - 46 Appendix ……………………………………………………………………………… 47 Figure 1.1 ……………………………………………………………………… 47 Figure 1.2 ……………………………………………………………………… 48 Figure 1.3 ……………………………………………………………………… 48 Figure 1.4 ………………………………………………………………………. -
Black Label Blæk 'Leibl 1 an Edgy, Provocative New Imprint| Featuring Standalone| | Stories From| Comics’ Premier Storytellers
I Black Label blæk 'le bl 1 An edgy, provocative new imprint| featuring standalone| | stories from| comics’ premier storytellers. 2 A state of mind achieved through an understanding of the forefront of fashion, design, entertainment and style. “An amazing showcase for Lee Bermejo, proving once again that no one can render Batman or Gotham City quite like him.” —IGN “The story promises to be grand and cinematic, and Bermejo’s painterly, detailed art rarely disappoints.” —Paste Magazine “Well-written, gorgeously drawn, and dark as hell.” —Geek Dad The Joker is dead… Did Batman kill him? He will go to hell and back to find out. Batman: Damned is a visceral thrill ride and supernatural horror story told by two of comics’ greatest modern creators: Brian Azzarello and Lee Bermejo. The Joker has been murdered. His killer’s identity is a mystery. Batman is the World’s Greatest Detective. But what happens when the person he is searching for is the man staring back at him in the mirror? With no memory of what happened on the night of the murder, Batman is going to need some help. Who better to set him straight than John Constantine? The problem is that as much as John loves a good mystery, he loves messing with people’s heads even more. With John’s “help,” the pair will delve into the sordid underbelly of Gotham as they race toward the mind-blowing truth of who murdered The Joker. Batman: Damned | Brian Azzarello | Lee Bermejo | 9781401291402 | HC | $29.99 / $39.99 CAN | DC Black Label | September 10, 2019 About the author: About the illustrator: Brian Azzarello has been writing comics Lee Bermejo began drawing comics in 1997 professionally since the mid-1990s. -
DC Comics Jumpchain CYOA
DC Comics Jumpchain CYOA CYOA written by [text removed] [text removed] [text removed] cause I didn’t lol The lists of superpowers and weaknesses are taken from the DC Wiki, and have been reproduced here for ease of access. Some entries have been removed, added, or modified to better fit this format. The DC universe is long and storied one, in more ways than one. It’s a universe filled with adventure around every corner, not least among them on Earth, an unassuming but cosmically significant planet out of the way of most space territories. Heroes and villains, from the bottom of the Dark Multiverse to the top of the Monitor Sphere, endlessly struggle for justice, for power, and for control over the fate of the very multiverse itself. You start with 1000 Cape Points (CP). Discounted options are 50% off. Discounts only apply once per purchase. Free options are not mandatory. Continuity === === === === === Continuity doesn't change during your time here, since each continuity has a past and a future unconnected to the Crises. If you're in Post-Crisis you'll blow right through 2011 instead of seeing Flashpoint. This changes if you take the relevant scenarios. You can choose your starting date. Early Golden Age (eGA) Default Start Date: 1939 The original timeline, the one where it all began. Superman can leap tall buildings in a single bound, while other characters like Batman, Dr. Occult, and Sandman have just debuted in their respective cities. This continuity occurred in the late 1930s, and takes place in a single universe. -
Training Question Answering Models from Synthetic Data
Training Question Answering Models From Synthetic Data Raul Puri 1 Ryan Spring 2 Mostofa Patwary 1 Mohammad Shoeybi 1 Bryan Catanzaro 1 Abstract Text Albert Einstein is known for his theories of special rel- ativity and general relativity. He also made important Question and answer generation is a data augmen- contributions to statistical mechanics, especially his math- tation method that aims to improve question an- ematical treatment of Brownian motion, his resolution of the paradox of specific heats, and his connection of fluctu- swering (QA) models given the limited amount of ations and dissipation. Despite his reservations about its human labeled data. However, a considerable gap interpretation, Einstein also made contributions to quan- remains between synthetic and human-generated tum mechanics and, indirectly, quantum field theory, question-answer pairs. This work aims to nar- primarily through his theoretical studies of the photon. row this gap by taking advantage of large lan- 117M Which two concepts made Einstein’s post on quantum mechanics relevant? guage models and explores several factors such as 768M Albert Einstein also made significant contributions to model size, quality of pretrained models, scale of which field of theory? data synthesized, and algorithmic choices. On the 8.3B Because of his work with the photon, what theory did he SQUAD1.1 question answering task, we achieve indirectly contribute to? higher accuracy using solely synthetic questions Human What theory did Einstein have reservations about? and answers than when using the SQUAD1.1 training set questions alone. Removing access Table 1. Questions generated by models of increasing capacity to real Wikipedia data, we synthesize questions with the ground truth answer highlighted in bold. -
Hawkman in the Bronze Age!
HAWKMAN IN THE BRONZE AGE! July 2017 No.97 ™ $8.95 Hawkman TM & © DC Comics. All Rights Reserved. BIRD PEOPLE ISSUE: Hawkworld! Hawk and Dove! Nightwing! Penguin! Blue Falcon! Condorman! featuring Dixon • Howell • Isabella • Kesel • Liefeld McDaniel • Starlin • Truman & more! 1 82658 00097 4 Volume 1, Number 97 July 2017 EDITOR-IN-CHIEF Michael Eury PUBLISHER John Morrow Comics’ Bronze Age and Beyond! DESIGNER Rich Fowlks COVER ARTIST George Pérez (Commissioned illustration from the collection of Aric Shapiro.) COVER COLORIST Glenn Whitmore COVER DESIGNER Michael Kronenberg PROOFREADER Rob Smentek SPECIAL THANKS Alter Ego Karl Kesel Jim Amash Rob Liefeld Mike Baron Tom Lyle Alan Brennert Andy Mangels Marc Buxton Scott McDaniel John Byrne Dan Mishkin BACK SEAT DRIVER: Editorial by Michael Eury ............................2 Oswald Cobblepot Graham Nolan Greg Crosby Dennis O’Neil FLASHBACK: Hawkman in the Bronze Age ...............................3 DC Comics John Ostrander Joel Davidson George Pérez From guest-shots to a Shadow War, the Winged Wonder’s ’70s and ’80s appearances Teresa R. Davidson Todd Reis Chuck Dixon Bob Rozakis ONE-HIT WONDERS: DC Comics Presents #37: Hawkgirl’s First Solo Flight .......21 Justin Francoeur Brenda Rubin A gander at the Superman/Hawkgirl team-up by Jim Starlin and Roy Thomas (DCinthe80s.com) Bart Sears José Luís García-López Aric Shapiro Hawkman TM & © DC Comics. Joe Giella Steve Skeates PRO2PRO ROUNDTABLE: Exploring Hawkworld ...........................23 Mike Gold Anthony Snyder The post-Crisis version of Hawkman, with Timothy Truman, Mike Gold, John Ostrander, and Grand Comics Jim Starlin Graham Nolan Database Bryan D. Stroud Alan Grant Roy Thomas Robert Greenberger Steven Thompson BRING ON THE BAD GUYS: The Penguin, Gotham’s Gentleman of Crime .......31 Mike Grell Titans Tower Numerous creators survey the history of the Man of a Thousand Umbrellas Greg Guler (titanstower.com) Jack C. -
Justice League: Rise of the Manhunters
JUSTICE LEAGUE: RISE OF THE MANHUNTERS ABDULNASIR IMAM E-mail: [email protected] Twitter: @trapoet DISCLAIMER: I DON’T OWN THE RIGHTS TO THE MAJORITY, IF NOT ALL THE CHARACTERS USED IN THIS SCRIPT. COMMENT: Although not initially intended to, this script is also a response to David Goyer who believed you couldn’t use the character of the Martian Manhunter in a Justice League movie, because he wouldn’t fit. SUCK IT, GOYER! LOL! EXT. SPACE TOMAR-RE (V.O) Billions of years ago, when the Martians refused to serve as the Guardians’ intergalactic police force, the elders of Oa created a sentinel army based on the Martian race… they named them Manhunters. INSERT: MANHUNTERS TOMAR-RE (V.O) At first the Manhunters served diligently, maintaining law and order across the universe, until one day they began to resent their masters. A war broke out between the two forces with the Guardians winning and banishing the Manhunters across the universe, stripping them of whatever power they had left. Some of the Manhunters found their way to earth upon which entering our atmosphere they lost any and all remaining power. As centuries went by man began to unearth some of these sentinels, using their advance technology to build empires on land… and even in the sea. INSERT: ATLANTIS EXT. THE HIMALAYANS SUPERIMPOSED: PRESENT INT. A TEMPLE DESMOND SHAW walks in. Like the other occupants of the temple he’s dressed in a red and blue robe. He walks to a shadowy figure. THE GRANDMASTER (O.S) It is time… prepare the awakening! Desmond Shaw bows.