Command, Control, Communications, Computers, Intelligence, Surveillance and Reconnaissance Equipment
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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. -
NOVAVERSES ISSUE 5D
NOT ALL UNIVERSES ARE THE SAME NO: 5 NOT ALL UNIVERSES ARE THE SAME RISE OF THE CORPS Arc 1: Whatever Happened to Richard Rider? Part 1 WRITER - GORDON FERNANDEZ ILLUSTRATION - JASON HEICHEL and DAZ RED DRAGON PART 3 WRITER - BRYAN DYKE ILLUSTRATION - FERNANDO ARGÜELLO STARSCREAM PART 5 WRITER - DAZ BLACKBURN ILLUSTRATION - EMILIANO CORREA, JOE SINGLETON and DAZ DREAM OF LIVING JUSTICE PART 2 WRITER - BYRON BREWER ILLUSTRATION - JASON HEICHEL Edited by Daz Blackburn, Doug Smith & Byron Brewer Front Cover by JASON HEICHEL and DAZ BLACKBURN Next Cover by JOHN GARRETSON Novaverses logo designed by CHRIS ANDERSON NOVA AND RELATED MARVEL CHARACTERS ARE DULY RECOGNIZED AS PROPERTY AND COPYRIGHT OF MARVEL COMICS AND MARVEL CHARACTERS INC. FANS PRODUCING NOVAVERSES DULY RECOGNIZE THE ABOVE AND DENOTE THAT NOVAVERSES IS A FAN-FICTION ANTHOLOGY PRODUCED BY FANS OF NOVA AND MARVEL COSMIC VIA NOVA PRIME PAGE AND TEAM619 FACEBOOK GROUP. NOVAVERSES IS A NON-PROFIT MAKING VENTURE AND IS INTENDED PURELY FOR THE ENJOYMENT OF FANS WITH ALL RESPECT DUE TO MARVEL. NOVAVERSES IS KINDLY HOSTED BY NOVA PRIME PAGE! ORIGINAL CHARACTERS CREATED FOR NOVAVERSES ARE THE PSYCHOLOGICAL COSMIC CONSTANT OF INDIVIDUAL CREATORS AND THEIR CENTURION IMAGINATIONS. DOWNLOAD A PDF VERSION AT www.novaprimepage.com/619.asp READ ONLINE AT novaprime.deviantart.com Rise of the Nova Corps obert Rider walked somberly through the city. It was a dark, bleak, night, and there weren't many people left on the streets. His parents and friends all warned him about the dangers of 1 Rwalking in this neighborhood, especially at this hour, but Robert didn't care. -
October 2009 751 AERO MECHANIC Page
October 2009 751 AERO MECHANIC Page VOL. 64 NO. 9 OCTOBER 2009 Members ‘Coordinate’ New Process WTO Ruling Boeing Co. managers have turned to process, the Company is Could Give a team of experts to help develop a new utilizing the experience process for customer coordinators in and knowledge of Cus- Boeing Upper Everett, after initial process changes were tomer Coordinators . being reviewed by management for “We got off to a bad Hand for Tanker implementation. start,” Schuessler ac- Who are those experts? They are Dis- knowledged. “The team by Rosanne Tomyn trict 751 members who do the actual got it and didn’t like it.” On September 4 a controversial, work as liaisons between assembly work- “When it was first pro- yet expected, preliminary ruling was ers and airplane customers. moted to us, it had the made by the World Trade Organiza- By working with the Union and ask- feel that it was coming tion (WTO) that found European ing workers for their ideas, the Company whether we liked it or Union “launch aid” loans given to hopes to improve the Quality Assurance not,” said John Dyas, a Airbus were actually illegal subsi- process by identifying minor defects District 751 member and dies. After years of fighting to en- earlier in the process before the Cus- a team leader for the 777 sure that American tax dollars go to tomer inspections , said Susan Schuessler, customer coordinators in an American made Air Force Tanker, the Quality Director for 747, 767 and Everett. “We weren’t the ruling could prove positive for 777s in Everett. -
This Session Will Be Begin Closing at 6PM on 5/19/20, So Be Sure to Get Those Bids in Via Proxibid! Follow Us on Facebook & Twitter @Back2past for Updates
5/19 Bronze to Modern Comic Books, Board Games, & Toys 5/19/2021 This session will be begin closing at 6PM on 5/19/20, so be sure to get those bids in via Proxibid! Follow us on Facebook & Twitter @back2past for updates. Visit our store website at GOBACKTOTHEPAST.COM or call 313-533-3130 for more information! Get the full catalog with photos, prebid and join us live at www.proxibid.com/backtothepast! See site for full terms. LOT # QTY LOT # QTY 1 Auction Policies 1 13 Uncanny X-Men #350/Gambit Holofoil Cover 1 Holofoil cover art by Joe Madureira. NM condition. 2 Amazing Spider-Man #606/Black Cat Cover 1 Cover art by J. Scott Campbell featuring The Black Cat. NM 14 The Mighty Avengers Near Run of (34) Comics 1 condition. First Secret Warriors. Lot includes issues #1-23, 25-33, and 35-36. NM condition. 3 Daredevil/Black Widow Figure Lot 1 Marvel Select. New in packages. Package have minor to moderate 15 Comic Book Superhero Trading Cards 1 shelf wear. Various series. Singles, promos, and chase cards. You get all pictured. 4 X-Men Origins One-Shot Lot of (4) 1 Gambit, Colossus, Emma Frost, and Sabretooth. NM condition. 16 Uncanny X-Men #283/Key 1st Bishop 1 First full appearance of Bishop, a time-traveling mutant who can 5 Guardians of The Galaxy #1-2/Key 1 New roster and origin of the Guardians of the Galaxy: Star-Lord, absorb and redistribute energy. NM condition. Gamora, Drax, Rocket Raccoon, Adam Warlock, Quasar and 17 Crimson Dawn #1-4 (X-Men) 1 Groot. -
Gender Roles & Occupations
1 Gender Roles & Occupations: A Look at Character Attributes and Job-Related Aspirations in Film and Television Stacy L. Smith, PhD Marc Choueiti Ashley Prescott & Katherine Pieper, PhD Annenberg School for Communication & Journalism University of Southern California An Executive Report Geena Davis Institute on Gender in Media Our earlier research shows that gender roles are still stereotyped in entertainment popular with children.1 For example, female characters in feature films populate less than 30% of all speaking roles. A slightly better percentage emerges across our research on gender roles in children’s television programming. Not only are on screen females present less frequently than on screen males, they are often sexualized, domesticated, and sometimes lack gainful employment. To illustrate this last point, our recent analysis2 of every first run general audience film (n=21) theatrically released between September 2006 and September 2009 reveals that a higher percentage of males (57.8%) than females (31.6%) are depicted with an occupation. While females hold marginally more professional jobs than their male counterparts (24.6% vs. 20.9%), women are noticeably absent in some of the most prestigious occupational posts. Across more than 300 speaking characters, not one female is depicted in the medical sciences (e.g., doctor, veterinarian), executive business suites (e.g., CEO, CFO), legal world (e.g., attorney, judge), or political arena. More optimistically, 6 of the 65 working females (9%) are shown with a job in the hard sciences or as pilots/astronauts. These findings suggest that females have not shattered as many glass ceilings in the “reel” world as one might suspect. -
Loki Production Brief
PRODUCTION BRIEF “I am Loki, and I am burdened with glorious purpose.” —Loki arvel Studios’ “Loki,” an original live-action series created exclusively for Disney+, features the mercurial God of Mischief as he steps out of his brother’s shadow. The series, described as a crime-thriller meets epic-adventure, takes place after the events Mof “Avengers: Endgame.” “‘Loki’ is intriguingly different with a bold creative swing,” says Kevin Feige, President, Marvel Studios and Chief Creative Officer, Marvel. “This series breaks new ground for the Marvel Cinematic Universe before it, and lays the groundwork for things to come.” The starting point of the series is the moment in “Avengers: Endgame” when the 2012 Loki takes the Tesseract—from there Loki lands in the hands of the Time Variance Authority (TVA), which is outside of the timeline, concurrent to the current day Marvel Cinematic Universe. In his cross-timeline journey, Loki finds himself a fish out of water as he tries to navigate—and manipulate—his way through the bureaucratic nightmare that is the Time Variance Authority and its by-the-numbers mentality. This is Loki as you have never seen him. Stripped of his self- proclaimed majesty but with his ego still intact, Loki faces consequences he never thought could happen to such a supreme being as himself. In that, there is a lot of humor as he is taken down a few pegs and struggles to find his footing in the unforgiving bureaucracy of the Time Variance Authority. As the series progresses, we see different sides of Loki as he is drawn into helping to solve a serious crime with an agent 1 of the TVA, Mobius, who needs his “unique Loki perspective” to locate the culprits and mend the timeline. -
Comic Book Original Pages: Are They Literature Or a Commodity?
Loyola of Los Angeles Entertainment Law Review Volume 14 Number 3 Article 4 3-1-1994 Comic Book Original Pages: Are They Literature or a Commodity? Alex Chun Follow this and additional works at: https://digitalcommons.lmu.edu/elr Part of the Law Commons Recommended Citation Alex Chun, Comic Book Original Pages: Are They Literature or a Commodity?, 14 Loy. L.A. Ent. L. Rev. 487 (1994). Available at: https://digitalcommons.lmu.edu/elr/vol14/iss3/4 This Notes and Comments is brought to you for free and open access by the Law Reviews at Digital Commons @ Loyola Marymount University and Loyola Law School. It has been accepted for inclusion in Loyola of Los Angeles Entertainment Law Review by an authorized administrator of Digital Commons@Loyola Marymount University and Loyola Law School. For more information, please contact [email protected]. COMIC BOOK ORIGINAL PAGES: ARE THEY LITERATURE OR A COMMODITY? I. INTRODUCTION In 1983, Kevin Eastman and Peter Laird, two aspiring illustrators, were sitting in their Massachusetts apartment when Eastman came up with some sketches of turtles with nunchakus.1 After looking at Eastman's drawings, Laird said, "We'll call them Teenage Mutant Ninja Turtles."2 With that statement, the concept for the 'Teenage Mutant Ninja Turtles" comic book was born. 3 Eastman and Laird began self-publishing4 their creation in 1984.' Since then, the pizza-eating terrapins have gone on to generate a billion dollars in film, television and licensing revenues.6 Success stories such as Eastman and Laird's are rare, but even that slim chance may be denied comic book artists if a tax is imposed on original comic book pages by the California State Board of Equalization (BOE). -
Avengers Prime Pdf, Epub, Ebook
AVENGERS PRIME PDF, EPUB, EBOOK Brian Bendis,Alan Davis | 128 pages | 19 Oct 2011 | Marvel Comics | 9780785147268 | English | New York, United States Avengers Prime PDF Book Steve Rogers and Tony Stark battle together to save each other and the life of their fallen friend Thor! Overall, I loved this story. Tom Brevoort. This story is light on substance, but heavy on action and banter. Book However there are times when solving people's problems for them only leads to more problems and I am as bad as an enemy in that persons life. He has also previously done work on Daredevil, Alias, and The Pulse. Tony has a run in with a dragon and some goblins with a serious grudge against Thor and ends up getting away Readers also enjoyed. As far as the bigger picture goes, I can't really comment on how well this fits in, but as a one-off it was light-hearted and fun, and full of things I love, so. I adore this book! Trivia About Avengers Prime. JavaScript must be enabled to use this site. What I got from it? Given the opportunity to "fix" all the things which had fallen Thor restrains himself realizing, "To use this unholy power for my own ends would make me the same demon a she is" I can appreciate that as sometimes I want enter in to situations as a savior an help to solve people's problems for them. Still, this wasn't bad and had some cool moments. This book has an adorable Tony Stark flirting outrageously with Steve Rogers. -
1606 Industrial Hose Catalog 5-12-06.Indd
INDUSTRIAL HOSE Catalog 4800 ! WARNING FAILURE OR IMPROPER SELECTION OR IMPROPER USE OF THE PRODUCTS AND/OR SYSTEMS DESCRIBED HEREIN OR RELATED ITEMS CAN CAUSE DEATH, PERSONAL INJURY AND PROPERTY DAMAGE. This document and other information from Parker Hannifin Corporation, its subsidiaries and authorized distributors provide product and/or system options for further investigation by users having technical expertise. It is important that you analyze all aspects of your application, including conse- quences of any failure, and review the information concerning the product or system in the current product catalog. Due to the variety of operating conditions and applications for these products or systems, the user, through its own analysis and testing, is solely responsible for making the final selection of the products and systems and assuring that all performance, safety and warning requirements of the application are met. The products described herein, including without limitation, product features, specifications, designs, availability and pricing, are subject to change by Parker Hannifin Corporation and its subsidiaries at any time without notice. Offer of Sale The items described in this document are hereby offered for sale by Parker Hannifin Corporation, its subsidiaries or its authorized distributors. This offer and its acceptance are governed by the provisions stated in the full “Offer of Sale”. © Copyright 2006, Parker Hannifin Corporation. All Rights Reserved. MAPP® REGISTERED TRADEMARK AIRCO/BOC CORPORATION (USA) and CANADIAN LIQUID AIR -
Ownership Concentration in the U.S. Comic Book Industry
From McAllister, M.P., Sewell, Jr., E. H., & Gordon, I. (2001). Comics and Ideology. NY: Peter Lang. @2001 Peter Lang. Chapter 2 Ownership Concentration in the U.S. Comic Book Industry Matthew P. McAllister In the May 24, 1998 issue of The New York Times, there appeared a 3,200-word essay about the Marvel Entertainment Group, for years the dominant publisher in the comic book industry (Bryant, 1998). The illustration that accompanied the story was a drawing of two angry figures slugging it out in a fierce battle royale. However, this article did not appear in the entertainment section, the arts section, or even the book section. It appeared in the business section. The article was not about the hottest titles, characters or artists, but instead about stock values, junk bonds, and corporate assets. And the two figures pummeling each other were not fictional superheroes, but rather cari- catures of two Wall Street moguls, Ronald Perelman and Carl Icahn. In fact, the news article focused specifically on the dire nature of the comic book market and the struggle for control over Marvel, the industry leader, that took place between these two financial tycoons. This article joined a series of news reports from 1996 through 1998 that appeared in other business venues like The Wall Street Journal, The Hollywood Reporter, and The Financial Times of London. Such articles collectively presented a troubled image of the economic and industrial dynamics of the comic book industry in the late 1990s. This chapter will focus on these dynamics from the perspective of political economy, arguing that the comic book industry is characterized by increased conglomeration and ownership concentration. -
EXECUTIVE SUMMARY Decapitation
EXECUTIVE SUMMARY Decapitation. Dismemberment. Serial killers. Graphic gore. Hey, Kids! COMICS!! Since the release of The Dark Knight film series and the 22 movies in the Marvel Cinematic Universe, comic-book characters have become wildly popular in other forms of entertainment, particularly television. But broadcast TV’s representations of comic-book characters are no longer the bright, colorful, and optimistic figures of the past. Children are innately attracted to comic-book characters; but in today’s comic book-based programs, children are being exposed to graphic violence, profanity, dark and intense themes, and other inappropriate content. In this research report, the PTC examined comic book-themed prime-time programming on the maJor broadcast networks during November, February, and May “sweeps” periods from November 2012 through May 2019. Programs examined were Fox’s Gotham; CW’s Arrow, Black Lightning, The Flash, Supergirl, DC’s Legends oF Tomorrow, and Riverdale; and ABC’s Marvel’s Agents oF S.H.I.E.L.D., Marvel’s Agent Carter, and Marvel’s Inhumans. Research data suggest that broadcast television programs based on these comic-book characters, created and intended for children, are increasingly inappropriate and/or unsafe for young viewers. In its research, the PTC found the following during the study period: • In comic book-themed programming with particular appeal to children, young viewers were exposed to over 6,000 incidents of violence, over 500 deaths, and almost 2,000 profanities. • The most violent program was CW’s Arrow. Young viewers witnessed 1,241 acts of violence, including 310 deaths, 280 instances of gun violence, and 26 scenes of people being tortured. -
X-Men, Dragon Age, and Religion: Representations of Religion and the Religious in Comic Books, Video Games, and Their Related Media Lyndsey E
Georgia Southern University Digital Commons@Georgia Southern University Honors Program Theses 2015 X-Men, Dragon Age, and Religion: Representations of Religion and the Religious in Comic Books, Video Games, and Their Related Media Lyndsey E. Shelton Georgia Southern University Follow this and additional works at: https://digitalcommons.georgiasouthern.edu/honors-theses Part of the American Popular Culture Commons, International and Area Studies Commons, and the Religion Commons Recommended Citation Shelton, Lyndsey E., "X-Men, Dragon Age, and Religion: Representations of Religion and the Religious in Comic Books, Video Games, and Their Related Media" (2015). University Honors Program Theses. 146. https://digitalcommons.georgiasouthern.edu/honors-theses/146 This thesis (open access) is brought to you for free and open access by Digital Commons@Georgia Southern. It has been accepted for inclusion in University Honors Program Theses by an authorized administrator of Digital Commons@Georgia Southern. For more information, please contact [email protected]. X-Men, Dragon Age, and Religion: Representations of Religion and the Religious in Comic Books, Video Games, and Their Related Media An Honors Thesis submitted in partial fulfillment of the requirements for Honors in International Studies. By Lyndsey Erin Shelton Under the mentorship of Dr. Darin H. Van Tassell ABSTRACT It is a widely accepted notion that a child can only be called stupid for so long before they believe it, can only be treated in a particular way for so long before that is the only way that they know. Why is that notion never applied to how we treat, address, and present religion and the religious to children and young adults? In recent years, questions have been continuously brought up about how we portray violence, sexuality, gender, race, and many other issues in popular media directed towards young people, particularly video games.