Project Poster File

Total Page:16

File Type:pdf, Size:1020Kb

Project Poster File Frank Branch, MLIS KNOWLEDGE ORGANIZATION IN TRANSMEDIA FICTIONAL WORLDS Theresa Arias, MLIS A study of Harry Potter, Lord of the Rings, Marvel Universe, and Star Wars Jolene Kennah, MLIS Rebekah Philips, MLIS RESEARCH QUESTIONS DOMAIN ANALYSIS TONY STAR K [Character] Question 1: Parent: Howard Stark, Jr How is knowledge contained within the narratives of Has Power: Super Intellect transmedia fictional worlds inherently structured Lives In: Malibu, CA as a domain? Led: Stark Industries Created: Iron Man Mark I Power Suit Question 2: Arc Reactor How do end-users navigate, organize and understand Alias: The Mechanic the information contained in the narratives of The Consultant transmedia fictional worlds? Morality : Neutral 0 50 100 150 200 250 300 Behavioral Style: Chaotic Sources Examples Codes Source of Nature: Purchased Technological KEY CONSIDERATIONS & METHODOLOGY CARD SORT STUDY How do you represent multiple truths? n = 19 How do you represent the tone of a relationship? 5 Source: http://author-quest.blogspot.com/2015/06/is-tony-stark-becoming-villain.html How do you represent critical changes to things? 14 CA PTUR ED by TERROR ISTS [Metamorphosis Event] Literature Review Becomes Iron Man Stops Selling Weapons Males Females Domain Analysis 4 6 9 IRON MA N [Character] Preliminary Ontology Other Identity: Tony Stark Has Power: Super Strength Age 26-35 Age 35-40 Age 18-25 Repulser Beams Micro Missiles Super Senses 4 Artificial Intelligence 6 Card Sort Study Power Armor Lives In: Stark Tower 4 Created By: Tony Stark 5 Morality : Good Behavioral Style: Lawful Final Ontology Source of Nature: Technological Source: http://avengers.marvelkids.com/characters/iron-man DEFINITIONS SUMMARY & FUTURE RESEARCH Transmedia: OWL Based Ontological Model: A story world building technique that produces co- ~ 72 classes ordinated, multi-platform stories with each plat- ~ 239 properties emphasizing relationships form producing its own stand-alone narrative that ~ 13 different controlled vocabularies creates new entries into the world with 100 terms & expansion rules Fictional World: Future Research Opportunities: The characters, associations, family trees, events, The Fan The Scholar The Creator The Brand Manager ~ Future user studies (i.e. personas other than fan) organizations, locations, science, technology, reli- ~ Expanding properties and relationships even more gions, philosophies, tropes, themes, natural laws ~ Relationship between world size & model usability and/or other components found within the narra- Obsessed with the Studies the Makes the Manages the ~ Develop interactive, input, & comparison UIs tive elements of a fictional transmedia story and Transmedia Property Transmedia Property Transmedia Property Transmedia Property ~ Develop more exploratory links between classes their connections to the real-world & new terms for the controlled vocabularies Special thanks to Dr.. Jin Ha Lee (sponsor), Travis Windleharth & the crew at Olympic Cards and Comics (Aid and Assistance) © 2016 .
Recommended publications
  • Avengers and Its Applicability in the Swedish EFL-Classroom
    Master’s Thesis Avenging the Anthropocene Green philosophy of heroes and villains in the motion picture tetralogy The Avengers and its applicability in the Swedish EFL-classroom Author: Jens Vang Supervisor: Anne Holm Examiner: Anna Thyberg Date: Spring 2019 Subject: English Level: Advanced Course code: 4ENÄ2E 2 Abstract This essay investigates the ecological values present in antagonists and protagonists in the narrative revolving the Avengers of the Marvel Cinematic Universe. The analysis concludes that biocentric ideals primarily are embodied by the main antagonist of the film series, whereas the protagonists mainly represent anthropocentric perspectives. Since there is a continuum between these two ideals some variations were found within the characters themselves, but philosophical conflicts related to the environment were also found within the group of the Avengers. Excerpts from the films of the study can thus be used to discuss and highlight complex ecological issues within the EFL-classroom. Keywords Ecocriticism, anthropocentrism, biocentrism, ecology, environmentalism, film, EFL, upper secondary school, Avengers, Marvel Cinematic Universe Thanks Throughout my studies at the Linneaus University of Vaxjo I have become acquainted with an incalculable number of teachers and peers whom I sincerely wish to thank gratefully. However, there are three individuals especially vital for me finally concluding my studies: My dear mother; my highly supportive girlfriend, Jenniefer; and my beloved daughter, Evie. i Vang ii Contents 1 Introduction
    [Show full text]
  • Put on the Mask
    Alternate Scripts - Superheroes PUT ON THE MASK An Alternate Script for The Play's The Thing By Brian Engard For more information about The Play's The Thing and Magpie Games, visit us at www.magpiegames.com/theplay Alternate Scripts - Superheroes Biff! Bam! Pow! We all know what superheroes are. They can do things no normal person can, stand against forces the rest of us can't hope to combat, represent the ideals of our society -- even if they're ideals we've forgotten ourselves -- and they act as a beacon and an example for the rest of us. Superheroes also get into great, exciting fights and wear colorful Spandex uniforms. For all the dizzying number of superheroes (and villains!) out there, they're each subtly different from one another, each driven by his or her own motivations and background. Oh sure, eye lasers and the ability to fly are flashy and exciting and cool, but it's the human drama, the relationships and mortal struggles of these sometimes godlike beings that grounds them, makes them relatable, and makes us keep watching them. Sometimes superhero drama comes from the hero's need to see justice -- or vengeance -- done. Sometimes it's a need to protect that which the hero holds dear. Sometimes it's the struggle that comes with suddenly being thrust into a mantle of great power, and the enormous responsibility that comes with it. The only difference between a superhero and a supervillain is how the individual character reacts to these motives, how far she or he is willing to go to see justice -- or vengeance -- done, what lengths the character is willing to go to to protect something, or how the hero -- or villain -- handles that mantle of power and responsibility.
    [Show full text]
  • Marvel Film Chronology
    Marvel Film Chronology 965 AD – The frost giants of Jotunheim attempt to conquer Midgard/Earth. Their invasion point in Norway becomes the site of an epic battle as Asgard’s ruler Odin leads an army to repeal the invasion and protect the planet. Odin and his force push the frost giants back to Jotunheim where the AllFather discovers an abandoned frost giant infant, whom he adopts, names Loki and raises as his own alongside his own son Thor. A truce is negotiated between Odin and the frost giant king Laufey. 400-500s AD – Odin leaves the Tesseract on Earth. 1832 – James Howlett is born. 1845 – James Howlett’s father is murdered by Thomas Logan. Howlett discovers his mutant powers and kills Logan, only to learn that Logan is his true father and Logan’s son, Victor Creed, is Howlett’s half-brother. 1861-1975 – James Howlett fights in the American Civil War, World War I, World War II, and the Vietnam War with his brother Victor Creed. 1918 July 4 – Steve Rogers is born to a young couple in the Hell’s Kitchen section of New York City. His father dies of injuries from being mustard gassed during World War One, leaving his mother to raise the boy. 1924 June – Steve Roger’s mother dies of tuberculosis. Young Steve is placed in an Eighth Avenue orphanage. 1930 Sept. – A teenage Steve Rogers meets James Buchanan “Bucky” Barnes and the pair quickly become best friends. 1934 – Howard Stark and Abram Erskine briefly meet at an engineering conference in Geneva. February – Johann Schmidt meets the newly appointed German Chancellor Adolph Hitler at the Deutsches Operhaus in Berlin where he tries to convince Hitler of his theory that the Norse myths may actually be true.
    [Show full text]
  • Avengers Explored
    2020 Avengers Explored IRON MAN AND CAPTAIN AMERICA: A STUDY IN TRANSMEDIA, ADDITIVE COMPREHENSION AND ADDITIVE MYSTERY OLIVIER SNEPVANGERS Contents Introduction ............................................................................................................................................. 2 1. Theory: Transmedia and Narratology… Assemble! ............................................................................. 5 1.1 Transmedia .................................................................................................................................... 5 1.2 Narratology .................................................................................................................................. 10 1.3 Method ........................................................................................................................................ 19 2. Analysis: Captain America and Iron Man: A tale of two superheroes ............................................... 20 2.1 Captain America: Fragile body, Strong mind ............................................................................... 20 2.2 Iron Man: Fragile ego, Strong suit ............................................................................................... 29 2.3 Steve and Tony: Fragile friendship, Stronger together ............................................................... 37 2.3.1 The narratological nature of the relationship ...................................................................... 37 2.3.2 Exploring and expanding on Stony
    [Show full text]
  • Council of Marvels London International Model United Nations 21St Session | 2020
    Council of Marvels London International Model United Nations 21st Session | 2020 1 Council of Marvels London International Model United Nations 2020 Table of Contents TOPIC A: USE AND REGULATION OF TIME MANIPULATION 7 Introduction to the Topic 7 History of the topic: A Timeline of Events 10 Time travel in the MARVEL Universe 13 Current Situation 18 Past Actions 21 Guiding Questions 21 Further Reading 21 Bibliography 22 TOPIC B: RESTORATION AND INTEGRATION – DEALING WITH THE AFTERMATH OF THE BLIP 24 Introduction to the Topic 25 History of the Topic 26 Current Situation 29 Past Actions 32 Conclusion 32 Guiding Questions 33 Further Reading 33 Bibliography 34 2 Council of Marvels London International Model United Nations 2020 INTRODUCTION LETTER Dear Delegates, We are Helena Granik, Zoe Braddick, Kelli-Anne Tim and Zeesha Shirin Bandyopadhyay, and it is our honour and privilege to be your Directors for the UN Commission on Superhuman Activity. We hope that it is here that you will discover what an amazing activity Model United Nations truly is; it is the only forum in which you see academic rigour and social relations come together in one place. At every conference we attended, we learned an incredible amount and made lots of new friends; above all, MUN teaches people to accept others and themselves. If you’re reading this, you either agree or you’ve just received your committee allocation. Either way, you’re in too deep to back out now! The concept of this summit is to have two parallel committees: one of the powered individuals from the Marvel Universe and a United Nations committee made up of world leaders.
    [Show full text]
  • The Marvel Sonic Narrative: a Study of the Film Music in Marvel's the Avengers, Avengers: Infinity War, and Avengers: Endgame
    Graduate Theses, Dissertations, and Problem Reports 2019 The Marvel Sonic Narrative: A Study of the Film Music in Marvel's The Avengers, Avengers: Infinity arW , and Avengers: Endgame Anthony Walker West Virginia University, [email protected] Follow this and additional works at: https://researchrepository.wvu.edu/etd Part of the Musicology Commons Recommended Citation Walker, Anthony, "The Marvel Sonic Narrative: A Study of the Film Music in Marvel's The Avengers, Avengers: Infinity arW , and Avengers: Endgame" (2019). Graduate Theses, Dissertations, and Problem Reports. 7427. https://researchrepository.wvu.edu/etd/7427 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. The Marvel Sonic Narrative: A Study of the Film Music in Marvel's The Avengers, Avengers: Infinity War, and Avengers: Endgame Anthony James Walker Dissertation submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree Doctor of Musical Arts in Music Performance Keith Jackson, D.M.A., Chair Evan A.
    [Show full text]
  • A Study of Superhero Mythology Ryan Woods This Is a Digitised Version Of
    Gods in Spandex: A Study of Superhero Mythology Ryan Woods This is a digitised version of a dissertation submitted to the University of Bedfordshire. It is available to view only. This item is subject to copyright. GODS in SPANDEX: A STUDY of SUPERHERO MYTHOLOGY Ryan Woods A thesis submitted to the University of Bedfordshire, in fulfilment of the requirements for the degree of Master of Arts by Research University of Bedfordshire Research Institute for Media, Arts and Performance Submitted: February 2020 Table of Contents Author Declaration .......................................................................................................................................ii Abstract .........................................................................................................................................................iii Acknowledgements ..................................................................................................................................... iv Introduction ...................................................................................................................................................v Methodology ................................................................................................................................................. xi Literature Review ....................................................................................................................................... xix Chapter One ................................................................................................................................................
    [Show full text]
  • Infinity Wars: Post 9/11 Superhero Films and American Empire
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2019 Infinity ars:W Post 9/11 Superhero Films and American Empire Peter J. Bruno The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/3353 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] INFINITY WARS: POST 9/11 SUPERHERO FILMS AND AMERICAN EMPIRE by PETER J. BRUNO A master’s thesis submitted to the Graduate Faculty in Liberal Studies in partial fulfillment of the requirements for the degree of Master of Arts, The City University of New York 2019 © 2019 PETER J. BRUNO All Rights Reserved ii Infinity Wars: Post 9/11 Superhero Films and American Empire by Peter J. Bruno This manuscript has been read and accepted for the Graduate Faculty in Liberal Studies in satisfaction of the thesis requirement for the degree of Master of Arts. Date George Fragopoulos Thesis Advisor Date Elizabeth Macaulay-Lewis Executive Officer THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Infinity Wars: Post 9/11 Superhero Films and American Empire by Peter J. Bruno Advisor: George Fragopoulos In the last two decades, superhero films have accounted for some of the most popular and financially lucrative films of all time. This thesis analyzes some of the aesthetic and ideological dimensions of various superhero films following their post 9/11 boom.
    [Show full text]
  • The Asgardian Loki Encounters the Other, the Leader of an Extraterrestrial Race Known As the Chitauri
    The Asgardian Loki encounters the Other, the leader of an extraterrestrial race known as the Chitauri. In exchange for retrieving the Tesseract,2 a powerful ene rgy source of unknown potential, the Other promises Loki a Chitauri army with wh ich he can subjugate the Earth. Nick Fury, director of the espionage agency S.H. I.E.L.D., and his lieutenant Agent Maria Hill arrive at a remote research facili ty during an evacuation, where physicist Dr. Erik Selvig is leading a research t eam experimenting on the Tesseract. Agent Phil Coulson explains that the object has begun radiating an unusual form of energy. The Tesseract suddenly activates and opens a portal, allowing Loki to reach Earth. Loki takes the Tesseract and u ses his scepter to enslave Selvig and several agents, including Clint Barton, to aid him in his getaway. In response to the attack, Fury reactivates the "Avengers Initiative". Agent Nat asha Romanoff is sent to Calcutta to recruit Dr. Bruce Banner to trace the Tesse ract through its gamma radiation emissions. Coulson visits Tony Stark to have hi m review Selvig's research, and Fury approaches Steve Rogers with an assignment to retrieve the Tesseract. While Barton steals iridium needed to stabilize the T esseract's power, Loki causes a distraction in Stuttgart leading to a confrontat ion with Rogers, Stark, and Romanoff that ends with Loki's surrender. While Loki is being escorted to S.H.I.E.L.D., Thor, his adoptive brother, arrives and free s him hoping to convince him to abandon his plan and return to Asgard.
    [Show full text]
  • Daredevil Mr
    WHOSE SIDE ARE YOU ON? The Superhuman Registration Act becomes law and Super Heroes must register as government agents. As Civil War erupts, Iron Man leads the Pro-Registration side while Captain America spearheads the Anti-Registration stand. You’ll need every advantage to emerge victorious. This guide is that edge. COVERS FIVE SYSTEMS & TWO UNIQUE EXPERIENCES We provide complete coverage of all the bosses, missions, and areas across fi ve gaming platforms! One section is devoted to the PS3® & XBOX 360® while another covers the Wii™, PS2®, & PSP®. MARVEL CHARACTER DATASHEETS Every power, ability, & heroic deed is covered in detail. There isn’t ® another thing you need to know about the characters! : ULTIMATE ALLIANCE 2 ULTIMATE DETAILED LEVEL MAPS Maps of each mission show Sub-Boss and Boss Encounters, Secrets, Power-Ups, and More! FUSION UNLOCK EVERY DISCOVER BREAKDOWN CHARACTER EVERY COSTUME Over 250 Fusions are explained, broken down, Discover how to unlock all the playable Uncover each of the playable characters’ and detailed! That’s a ton of Fusions! characters—including the villains! costumes! SIGNATURE SERIES SIGNATURE www.activision.com www.vicariousvisions.com www.savageentertainment.com www.n-space.com www.bradygames.com www.MarvelUltimateAlliance.com $19.99 USA / $22.99 CAN / £12.99 UK COVERS PLAYSTATION®2 & 3 Marvel, and all related characters: TM & © 2009 Marvel Entertainment, Inc. and its subsidiaries. Licensed by Marvel Characters B.V. www.marvel.com. All rights reserved. Game © 2009 Activision Publishing, Inc. Activision is a registered COMPUTER ENTERTAINMENT SYSTEMS, trademark of Activision Publishing, Inc. All rights reserved. All other trademarks and trade names are the properties of PSP® HANDHELD ENTERTAINMENT SYSTEM, their respective owners.
    [Show full text]
  • Charles Soule Kim Jacinto Antonio Fabela Vc's Clayton
    Thousands of years ago aliens experimented on cavemen, supercharging their evolution, and then mysteriously left their experiments behind. These men and women built the city of Attilan and discovered a chemical called Terrigen that unlocked secret super-powers in their modifi ed DNA, making them… MEDUSA READER BLACK BOLT KARNAK TRITON AHURA MAXIMUS ISO GRID NAJA INFERNO FLINT MS. MARVEL A prediction provided by Ulysses, a young Inhuman with the ability to perceive the events of the future, brought Earth’s mightiest heroes together to stop a being of cosmic power from destroying the world. Another of Ulysses’ visions empowered the heroes to apprehend the Mad Titan Thanos, but not without cost—Colonel James Rhodes, a.k.a. War Machine, was killed in the ensuing battle. Enraged at the loss of his friend, Tony Stark, the invincible Iron Man, invaded New Attilan and kidnapped Ulysses in hopes of learning how the young Inhuman’s powers work. Queen Medusa quickly mobilized her people to rescue their brother, but chose to spare Stark from further retaliation. Finding Medusa’s mercy weak, a fringe group of Inhumans struck out at Stark, Stark Tower and another Stark facility in Switzerland, making it seem like Medusa was responsible. And Tony has taken these attacks very personally… CHARLES KIM ANTONIO VC’S CLAYTON SOULE JACINTO FABELA COWLES WRITER ARTIST COLOR ARTIST LETTERER RYAN STEGMAN & RICHARD ISANOVE ELIZABETH TORQUE CHARLES BEACHAM WIL MOSS COVER ARTISTS VARIANT COVER ARTIST ASST. EDITOR EDITOR AXEL ALONSO JOE QUESADA DAN BUCKLEY ALAN FINE EDITOR IN CHIEF CHIEF CREATIVE OFFICER PUBLISHER EXEC.
    [Show full text]
  • Marvel Comics Avengers Chronological Appearances by Bob Wolniak
    Marvel Comics Avengers Chronological Appearances By Bob Wolniak ased initially on the Bob Fronczak list from Avengers Assemble and Avengers Forever websites. But unlike Mr. B Fronczak’s list (that stops about the time of Heroes Reborn) this is NOT an attempt at a Marvel continuity (harmony of Marvel titles in time within the fictional universe), but Avengers appearances in order in approx. real world release order . I define Avengers appearances as team appearances, not individual Avengers or even in some cases where several individual Avengers are together (but eventually a judgment call has to be made on some of those instances). I have included some non-Avengers appearances since they are important to a key storyline that does tie to the Avengers, but noted if they did not have a team appearance. Blue (purple for WCA & Ultimates) indicates an Avengers title , whether ongoing or limited series. I have decided that Force Works is not strictly an Avengers title, nor is Thunderbolts, Defenders or even Vision/Scarlet Witch mini- series, although each book correlates, crosses over and frequently contains guest appearances of the Avengers as a team. In those cases, the individual issues are listed. I have also decided that individual Avengers’ ongoing or limited series books are not Avengers team appearances, so I have no interest in the tedious tracking of every Captain America, Thor, Iron Man, or Hank Pym title unless they contain a team appearance or x-over . The same applies to Avengers Spotlight (largely a Hawkeye series, with other individual appearances), Captain Marvel, Ms. Marvel, Vision, Wonder Man, Hulk, She-Hulk, Black Panther, Quicksilver, Thunderstrike, War Machine, Black Widow, Sub-Mariner, Hercules, and other such books or limited series.
    [Show full text]