Retrofan1preview (Pdf)
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Toys and Action Figures in Stock
Description Price 1966 Batman Tv Series To the B $29.99 3d Puzzle Dump truck $9.99 3d Puzzle Penguin $4.49 3d Puzzle Pirate ship $24.99 Ajani Goldmane Action Figure $26.99 Alice Ttlg Hatter Vinimate (C: $4.99 Alice Ttlg Select Af Asst (C: $14.99 Arrow Oliver Queen & Totem Af $24.99 Arrow Tv Starling City Police $24.99 Assassins Creed S1 Hornigold $18.99 Attack On Titan Capsule Toys S $3.99 Avengers 6in Af W/Infinity Sto $12.99 Avengers Aou 12in Titan Hero C $14.99 Avengers Endgame Captain Ameri $34.99 Avengers Endgame Mea-011 Capta $14.99 Avengers Endgame Mea-011 Capta $14.99 Avengers Endgame Mea-011 Iron $14.99 Avengers Infinite Grim Reaper $14.99 Avengers Infinite Hyperion $14.99 Axe Cop 4-In Af Axe Cop $15.99 Axe Cop 4-In Af Dr Doo Doo $12.99 Batman Arkham City Ser 3 Ras A $21.99 Batman Arkham Knight Man Bat A $19.99 Batman Batmobile Kit (C: 1-1-3 $9.95 Batman Batmobile Super Dough D $8.99 Batman Black & White Blind Bag $5.99 Batman Black and White Af Batm $24.99 Batman Black and White Af Hush $24.99 Batman Mixed Loose Figures $3.99 Batman Unlimited 6-In New 52 B $23.99 Captain Action Thor Dlx Costum $39.95 Captain Action's Dr. Evil $19.99 Cartoon Network Titans Mini Fi $5.99 Classic Godzilla Mini Fig 24pc $5.99 Create Your Own Comic Hero Px $4.99 Creepy Freaks Figure $0.99 DC 4in Arkham City Batman $14.99 Dc Batman Loose Figures $7.99 DC Comics Aquaman Vinimate (C: $6.99 DC Comics Batman Dark Knight B $6.99 DC Comics Batman Wood Figure $11.99 DC Comics Green Arrow Vinimate $9.99 DC Comics Shazam Vinimate (C: $6.99 DC Comics Super -
Captain America
The Star-spangled Avenger Adapted from Wikipedia, the free encyclopedia Captain America first appeared in Captain America Comics #1 (Cover dated March 1941), from Marvel Comics' 1940s predecessor, Timely Comics, and was created by Joe Simon and Jack Kirby. For nearly all of the character's publication history, Captain America was the alter ego of Steve Rogers , a frail young man who was enhanced to the peak of human perfection by an experimental serum in order to aid the United States war effort. Captain America wears a costume that bears an American flag motif, and is armed with an indestructible shield that can be thrown as a weapon. An intentionally patriotic creation who was often depicted fighting the Axis powers. Captain America was Timely Comics' most popular character during the wartime period. After the war ended, the character's popularity waned and he disappeared by the 1950s aside from an ill-fated revival in 1953. Captain America was reintroduced during the Silver Age of comics when he was revived from suspended animation by the superhero team the Avengers in The Avengers #4 (March 1964). Since then, Captain America has often led the team, as well as starring in his own series. Captain America was the first Marvel Comics character adapted into another medium with the release of the 1944 movie serial Captain America . Since then, the character has been featured in several other films and television series, including Chris Evans in 2011’s Captain America and The Avengers in 2012. The creation of Captain America In 1940, writer Joe Simon conceived the idea for Captain America and made a sketch of the character in costume. -
Freak/Slay/Love Viking Vixens….Vinyl Vigilantes Mom Mechas...Psycho Superstars and Other Furious Females March 2019 - No
MEANWHILE FREAK/SLAY/LOVE VIKING VIXENS….VINYL VIGILANTES MOM MECHAS...PSYCHO SUPERSTARS AND OTHER FURIOUS FEMALES MARCH 2019 - NO. 27 PLUS...THE SONS OF EL TOPO David AND SOME OTHER DUDES, TOO B Moebius Jean Giraud Jose Ladronn Jean-Pierre Gibrat Gibrat Steve Skroce B. B. Alejandro Jodorowsky The Comics & Graphic Novel Bulletin of An infamous– and Global sensation exhausted- perfor- Emma draws and mance artist ex- discusses the re- A quartet of new graphic novels spot- multiple voiceovers that make up “The amines her life of light the struggles of the modern wom- Big Burning House”. Nowak’s realistic Musician and writer Gerard Way has and even less love for other vigilantes. alities of wom- an...and the post-modern woman...and depiction of women’s bodies is given a been the ringmaster of Young Ani- Not even that crepuscular Clown of cultural crime as the pre-modern woman. And when we sci-fi twist by artist Rachael Stott in mal comics since the birth of the line Crime, the Joker, can aid her war en’s lives in THE say “struggle”, we mean physically as Vertigo’s Motherlands. A super-science in 2017. As noted in 741.5 #9 Sept 17, against the Collective, ruthless rulers of she plans her final well as emotionally. Set in those halcy- bounty hunter in a mad world made of Young Animal is a subsidiary imprint of Gotham A.D. Meanwhile, as Space MENTAL LOAD, a on days before the rise of the Web, scrambled realities, Retriever Tabitha DC meant to provide a safe space for Case and Lotion the cat re-imagine assault on decent Heavy Vinyl (Boom!Box) stars a quintet Tubach is a big, solid gal who’s forced weird comics. -
CLONES, BONES and TWILIGHT ZONES: PROTECTING the DIGITAL PERSONA of the QUICK, the DEAD and the IMAGINARY by Josephj
CLONES, BONES AND TWILIGHT ZONES: PROTECTING THE DIGITAL PERSONA OF THE QUICK, THE DEAD AND THE IMAGINARY By JosephJ. Beard' ABSTRACT This article explores a developing technology-the creation of digi- tal replicas of individuals, both living and dead, as well as the creation of totally imaginary humans. The article examines the various laws, includ- ing copyright, sui generis, right of publicity and trademark, that may be employed to prevent the creation, duplication and exploitation of digital replicas of individuals as well as to prevent unauthorized alteration of ex- isting images of a person. With respect to totally imaginary digital hu- mans, the article addresses the issue of whether such virtual humans should be treated like real humans or simply as highly sophisticated forms of animated cartoon characters. TABLE OF CONTENTS I. IN TR O DU C T IO N ................................................................................................ 1166 II. CLONES: DIGITAL REPLICAS OF LIVING INDIVIDUALS ........................ 1171 A. Preventing the Unauthorized Creation or Duplication of a Digital Clone ...1171 1. PhysicalAppearance ............................................................................ 1172 a) The D irect A pproach ...................................................................... 1172 i) The T echnology ....................................................................... 1172 ii) Copyright ................................................................................. 1176 iii) Sui generis Protection -
Links to the Past User Research Rage 2
ALL FORMATS LIFTING THE LID ON VIDEO GAMES User Research Links to Game design’s the past best-kept secret? The art of making great Zelda-likes Issue 9 £3 wfmag.cc 09 Rage 2 72000 Playtesting the 16 neon apocalypse 7263 97 Sea Change Rhianna Pratchett rewrites the adventure game in Lost Words Subscribe today 12 weeks for £12* Visit: wfmag.cc/12weeks to order UK Price. 6 issue introductory offer The future of games: subscription-based? ow many subscription services are you upfront, would be devastating for video games. Triple-A shelling out for each month? Spotify and titles still dominate the market in terms of raw sales and Apple Music provide the tunes while we player numbers, so while the largest publishers may H work; perhaps a bit of TV drama on the prosper in a Spotify world, all your favourite indie and lunch break via Now TV or ITV Player; then back home mid-tier developers would no doubt ounder. to watch a movie in the evening, courtesy of etix, MIKE ROSE Put it this way: if Spotify is currently paying artists 1 Amazon Video, Hulu… per 20,000 listens, what sort of terrible deal are game Mike Rose is the The way we consume entertainment has shifted developers working from their bedroom going to get? founder of No More dramatically in the last several years, and it’s becoming Robots, the publishing And before you think to yourself, “This would never increasingly the case that the average person doesn’t label behind titles happen – it already is. -
The Dracula Film Adaptations
DRACULA IN THE DARK DRACULA IN THE DARK The Dracula Film Adaptations JAMES CRAIG HOLTE Contributions to the Study of Science Fiction and Fantasy, Number 73 Donald Palumbo, Series Adviser GREENWOOD PRESS Westport, Connecticut • London Recent Titles in Contributions to the Study of Science Fiction and Fantasy Robbe-Grillet and the Fantastic: A Collection of Essays Virginia Harger-Grinling and Tony Chadwick, editors The Dystopian Impulse in Modern Literature: Fiction as Social Criticism M. Keith Booker The Company of Camelot: Arthurian Characters in Romance and Fantasy Charlotte Spivack and Roberta Lynne Staples Science Fiction Fandom Joe Sanders, editor Philip K. Dick: Contemporary Critical Interpretations Samuel J. Umland, editor Lord Dunsany: Master of the Anglo-Irish Imagination S. T. Joshi Modes of the Fantastic: Selected Essays from the Twelfth International Conference on the Fantastic in the Arts Robert A. Latham and Robert A. Collins, editors Functions of the Fantastic: Selected Essays from the Thirteenth International Conference on the Fantastic in the Arts Joe Sanders, editor Cosmic Engineers: A Study of Hard Science Fiction Gary Westfahl The Fantastic Sublime: Romanticism and Transcendence in Nineteenth-Century Children’s Fantasy Literature David Sandner Visions of the Fantastic: Selected Essays from the Fifteenth International Conference on the Fantastic in the Arts Allienne R. Becker, editor The Dark Fantastic: Selected Essays from the Ninth International Conference on the Fantastic in the Arts C. W. Sullivan III, editor Library of Congress Cataloging-in-Publication Data Holte, James Craig. Dracula in the dark : the Dracula film adaptations / James Craig Holte. p. cm.—(Contributions to the study of science fiction and fantasy, ISSN 0193–6875 ; no. -
Intelligent Business
Intelligent Business Walt Disney buys Marvel Entertainment Of mouse and X-Men Sep 3rd 2009 | NEW YORK From The Economist print edition Will Disney's latest acquisition prove as Marvellous as it appears? NOT even the combined powers of Spiderman, Iron Man, the Incredible Hulk, Captain America and the X-Men could keep The Mouse at bay. On August 31st Walt Disney announced it was buying Marvel Entertainment for $4 billion, just days after the comic- book publisher had celebrated 70 glorious years of independence, during which it had created many of the most famous cartoon characters not invented by Disney itself. In fact, Marvel did not put up much of a fight, accepting what most analysts think was a generous price. Disney will get access both to Marvel's creative minds and— potentially far more valuable in an age when familiar stories rule the box office—an archive containing around 5,000 established characters, only a fraction of which have yet made the move from paper to the silver screen. Marrying Marvel's characters with Disney's talent for making money from successful franchises is a good idea. In recent years Disney has proved the undisputed master at Disney is bringing the exploiting the same basic content through multiple channels, including films, websites, commercial heft video games, merchandising, live shows and theme parks. The edgier, darker Marvel characters should fill a hole in Disney's much cuddlier portfolio. This currently covers most people from newborn babies, through the addictive "Baby Einstein" DVDs (popularly known as "baby crack"), to adults, through its Touchstone label. -
Blood and Images in Dracula 2000
Journal of Dracula Studies Volume 8 2006 Article 3 2006 "The coin of our realm": Blood and Images in Dracula 2000 Alan S. Ambrisco University of Akron, Ohio Lance Svehla University of Akron, Ohio Follow this and additional works at: https://research.library.kutztown.edu/dracula-studies Part of the English Language and Literature Commons, Feminist, Gender, and Sexuality Studies Commons, and the Film and Media Studies Commons Recommended Citation Ambrisco, Alan S. and Svehla, Lance (2006) ""The coin of our realm": Blood and Images in Dracula 2000," Journal of Dracula Studies: Vol. 8 , Article 3. Available at: https://research.library.kutztown.edu/dracula-studies/vol8/iss1/3 This Article is brought to you for free and open access by Research Commons at Kutztown University. It has been accepted for inclusion in Journal of Dracula Studies by an authorized editor of Research Commons at Kutztown University. For more information, please contact [email protected],. "The coin of our realm": Blood and Images in Dracula 2000 Cover Page Footnote Alan S. Ambrisco is an Associate Professor of English at The University of Akron. His research interests include medieval literature and the history of monsters. Lance Svehla is an Associate Professor of English at the University of Akron. He has published work in such journals as Teaching English in the Two-Year College and College Literature. This article is available in Journal of Dracula Studies: https://research.library.kutztown.edu/dracula-studies/vol8/ iss1/3 “The coin of our realm”: Blood and Images in Dracula 2000 Alan S. Ambrisco and Lance Svehla [Alan S. -
Digital Comics: Panel Structure in a Digital Environment
Digital Comics: Panel Structure in a Digital Environment A Thesis Submitted to the Faculty of Drexel University by Nathaniel Shaw in partial fulfillment of the requirements for the degree of Masters of Science in Digital Media May 2011 © Copyright 2011 Nathaniel Shaw. All Rights Reserved i Acknowledgements I would like to thank my thesis advisor, Troy Finamore, for all of the constructive criticism and support throughout the process of this thesis project. Without his suggestions and technical help the project would not have been possible. I would also like to thank the committee, Matt Kaufhold and Jervis Thompson, for their contributions, comments, and suggestions. If Matt hadn’t told me to make sure to have a beginning, middle, and end to my story I wouldn’t have thought to do the opposite. Special recognition goes to my sister, Nyssa Shaw, for her help when I was struggling with the story. Additionally, I would like to thank my fellow graduate students Dan Bodenstein, Bob Piscopo, Simon Littlejohn, and Greg Ruane for the support and sense of community. This thesis and Drexel Digital Media wouldn’t be the same without them. Thanks also goes to past Drexel students Evan Boucher, Dave Lally, Nick Avallone, Christian Hahn, Jessie Amadio, Justin Wilcott, and Tom Bergamini for their help throughout my education here at Drexel. I learned so much from each of them. Finally, I would like to thank the Drexel Digital Media faculty that helped me along the way. Dave Mauriello for his enthusiasm for teaching and dedication to the Digital Media program. Ted Artz for his interest in my thesis and creative input on other projects. -
2020-2021 EAHS Course Catalog
December 2019 Dear Parents/Guardians and Students, The information in the enclosed Course Catalog provides important information for planning a successful high school career and setting our students up to reach their full potential. It is important to review the course information carefully and thoroughly prior to making course selections. At East Aurora High School, we offer a wide variety of courses that both challenge our students and provide them with key knowledge and skills to help guide their post-secondary decisions. During the 2019-2020 School Year, we were able to provide Pre-Advanced Placement courses to all of our freshmen in their four core classes and band. We are excited to continue our Pre-Advanced Placement courses to our class of 2024 students, as well as the expansion of Pre-Advanced Placement to our class of 2023 students in Geometry, English, and Chemistry. Over the past several years, we have expanded our Advanced Placement courses; there are 26 Advanced Placement classes offered to our students for the 2020-21 School Year. In addition, we offer classes in partnership with Waubonsee Community College and Fox Valley Career Center that allow our students to graduate with college credit and/or job placement credentials. East Aurora High School offers a variety of elective courses in Career and Technical Education, Family and Consumer Science, Fine and Performing Arts, Business, and World Languages in addition to our core academic classes. There are also robust Physical Education offerings to meet the interests of our students. In addition, we have the honor of housing one of the most distinguished NJROTC units in the country for our students. -
(“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. -
Thomas Bentley Rue Platinum and Golden Age Comic Book and Adventure Strips Collection 2018.001
http://oac.cdlib.org/findaid/ark:/13030/c8nc66v5 No online items Guide to the Thomas Bentley Rue Platinum and Golden Age Comic Book and Adventure Strips Collection 2018.001 Ann Galvan Historic Collections, J. Paul Leonard Library 2018 1630 Holloway Ave San Francisco, California 94132-1722 URL: http://library.sfsu.edu/historic-collections asc.2018.001 1 Contributing Institution: Historic Collections, J. Paul Leonard Library Title: Thomas Bentley Rue Platinum and Golden Age Comic Book and Adventure Strips Collection Source: Rue, Thomas Bentley, 1937-2016 Accession number: asc.2018.001 Extent: 18 Cubic Feet (17 boxes, 1 oversize box) Date (inclusive): 1938-1956 Abstract: The Thomas Bentley Rue Platinum and Golden Age Comic Book and Adventure Strips Collection features comics and adventure strips ranging from the 1930s to the 1950s. Language of Material: English Conditions Governing Access Collection is open for research. Preferred Citation [Title], Thomas Bentley Rue Platinum and Golden Age Comic Book and Adventure Strips Archive, Historic Collections, J. Paul Leonard Library. Separated Materials A number of comic book reprints and compilations have been added to the J. Paul Leonard Library's general collection. A collection of Big Little Books are housed in Historic Collections within Special Collections. Immediate Source of Acquisition Gift of Virginia D.H. Rue In Memory of Thomas Bentley Rue, Accession number 2018/001. Conditions Governing Use Copyrighted. Transmission or reproduction of materials protected by copyright beyond that allowed by fair use requires the written permission of the copyright owner. In addition, the reproduction of some materials may be restricted by terms of gift or purchase agreements, donor restrictions, privacy and publicity rights, licensing and trademarks.