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Aliens of Marvel Universe
Index DEM's Foreword: 2 GUNA 42 RIGELLIANS 26 AJM’s Foreword: 2 HERMS 42 R'MALK'I 26 TO THE STARS: 4 HIBERS 16 ROCLITES 26 Building a Starship: 5 HORUSIANS 17 R'ZAHNIANS 27 The Milky Way Galaxy: 8 HUJAH 17 SAGITTARIANS 27 The Races of the Milky Way: 9 INTERDITES 17 SARKS 27 The Andromeda Galaxy: 35 JUDANS 17 Saurids 47 Races of the Skrull Empire: 36 KALLUSIANS 39 sidri 47 Races Opposing the Skrulls: 39 KAMADO 18 SIRIANS 27 Neutral/Noncombatant Races: 41 KAWA 42 SIRIS 28 Races from Other Galaxies 45 KLKLX 18 SIRUSITES 28 Reference points on the net 50 KODABAKS 18 SKRULLS 36 AAKON 9 Korbinites 45 SLIGS 28 A'ASKAVARII 9 KOSMOSIANS 18 S'MGGANI 28 ACHERNONIANS 9 KRONANS 19 SNEEPERS 29 A-CHILTARIANS 9 KRYLORIANS 43 SOLONS 29 ALPHA CENTAURIANS 10 KT'KN 19 SSSTH 29 ARCTURANS 10 KYMELLIANS 19 stenth 29 ASTRANS 10 LANDLAKS 20 STONIANS 30 AUTOCRONS 11 LAXIDAZIANS 20 TAURIANS 30 axi-tun 45 LEM 20 technarchy 30 BA-BANI 11 LEVIANS 20 TEKTONS 38 BADOON 11 LUMINA 21 THUVRIANS 31 BETANS 11 MAKLUANS 21 TRIBBITES 31 CENTAURIANS 12 MANDOS 43 tribunals 48 CENTURII 12 MEGANS 21 TSILN 31 CIEGRIMITES 41 MEKKANS 21 tsyrani 48 CHR’YLITES 45 mephitisoids 46 UL'LULA'NS 32 CLAVIANS 12 m'ndavians 22 VEGANS 32 CONTRAXIANS 12 MOBIANS 43 vorms 49 COURGA 13 MORANI 36 VRELLNEXIANS 32 DAKKAMITES 13 MYNDAI 22 WILAMEANIS 40 DEONISTS 13 nanda 22 WOBBS 44 DIRE WRAITHS 39 NYMENIANS 44 XANDARIANS 40 DRUFFS 41 OVOIDS 23 XANTAREANS 33 ELAN 13 PEGASUSIANS 23 XANTHA 33 ENTEMEN 14 PHANTOMS 23 Xartans 49 ERGONS 14 PHERAGOTS 44 XERONIANS 33 FLB'DBI 14 plodex 46 XIXIX 33 FOMALHAUTI 14 POPPUPIANS 24 YIRBEK 38 FONABI 15 PROCYONITES 24 YRDS 49 FORTESQUIANS 15 QUEEGA 36 ZENN-LAVIANS 34 FROMA 15 QUISTS 24 Z'NOX 38 GEGKU 39 QUONS 25 ZN'RX (Snarks) 34 GLX 16 rajaks 47 ZUNDAMITES 34 GRAMOSIANS 16 REPTOIDS 25 Races Reference Table 51 GRUNDS 16 Rhunians 25 Blank Alien Race Sheet 54 1 The Universe of Marvel: Spacecraft and Aliens for the Marvel Super Heroes Game By David Edward Martin & Andrew James McFayden With help by TY_STATES , Aunt P and the crowd from www.classicmarvel.com . -
Avengersassembly Orientation
By Preeti Chhibber Illustrated by James Lancett Scholastic Inc. © 2020 MARVEL All rights reserved. Published by Scholastic Inc., Publishers since 1920. scholastic and associated logos are trademarks and/or registered trademarks of Scholastic Inc. The publisher does not have any control over and does not assume any responsibility for author or third-party websites or their content. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission of the publisher. For information regarding permission, write to Scholastic Inc., Attention: Permissions Department, 557 Broadway, New York, NY 10012. This book is a work of fiction. Names, characters, places, and incidents are either the product of the author’s imagination or are used fictitiously, and any resemblance to actual persons, living or dead, business establishments, events, or locales is entirely coincidental. ISBN 978-1-338-58725-8 10 9 8 7 6 5 4 3 2 1 20 21 22 23 24 Printed in the U.S.A. 23 First printing 2020 Book design by Katie Fitch HERO CARD #148 powers NAME: KAMALA KHAN, AKA MS. MARVEL POWERS: Embiggening! Disembiggening! Stretching! Shape-shifting! ms. marvel HERO CARD #477 powers NAME: MILES MORALES, AKA ULTIMATE SPIDER-MAN POWERS: Wall-crawling, expo- nential strength, electric shocks, being invisible, but not being creepy like a spider, that is for sure. spider-man HERO CARD #091 powers NAME: DOREEN GREEN, AKA SQUIRREL GIRL POWERS: Powers of a squirrel and (more importantly) powers of a girl. -
Fantastic Four Omnibus Volume 2 (New Printing) Pdf, Epub, Ebook
FANTASTIC FOUR OMNIBUS VOLUME 2 (NEW PRINTING) PDF, EPUB, EBOOK Stan Lee | 832 pages | 17 Dec 2013 | Marvel Comics | 9780785185673 | English | New York, United States Fantastic Four Omnibus Volume 2 (new Printing) PDF Book It also introduces the groundbreaking if problematic Black Panther and the high weirdness of the Inhumans, along with other major players in the Marvel Universe to come. While I already knew Doom and Reed went to college together, it was nice to read the story for the first time. Marvel Omnibus time! Read more Added to basket. While I already knew Doom and Reed went to college together, it was nice to read the story for the first time. I guess it just showed how the world building was going on off the pages as well as on them. Please try again or alternatively you can contact your chosen shop on or send us an email at. Collecting the greatest stories from the World''s Greatest Comics Magazine in one, massive collector''s edition that has been painstakingly restored and recolored from the sharpest material in the Marvel Archives. Your order is now being processed and we have sent a confirmation email to you at. Fast Customer Service!!. Sort order. In this volume the two great storylines are the introduction of the Inhumans, Galactus and the Silver Surfer. Prices and offers may vary in store. The Fantastic Four comics from this era are consistently good value, even if some are more exciting than others. The Fantastic Four comics from this era are consistently good value, even if some are more exciting than others. -
An Analysis of Ms. Marvel's Kamala Khan
The “Worlding” of the Muslim Superheroine: An Analysis of Ms. Marvel’s Kamala Khan SAFIYYA HOSEIN Muslim women have been a source of speculation for Western audiences from time immemorial. At first eroticized in harem paintings, they later became the quintessential image of subservience: a weakling to be pitied and rescued from savage Brown men. Current depictions of Muslim women have ranged from the oppressed archetype in mainstream media with films such as The Stoning of Soraya M (2008) to comedic veiled characters in shows like Little Mosque on the Prairie (2012). One segment of media that has recently offered promising attempts for destabilizing their image has been comics and graphic novels which have published graphic memoirs that speak to the complexity of Muslim identity as well as superhero comics that offer a range of Muslim characters from a variety of cultures with different levels of religiosity. This paper explores the emergence of the Muslim superheroine in comic books by analyzing the most developed Muslimah (Muslim female) superhero: the rebooted Ms. Marvel superhero, Kamala Khan, from the Marvel Comics Ms. Marvel series. The analysis illustrates how the reconfiguration of the Muslim female archetype through the “worlding” of the Muslim superhero continues to perpetuate an imperialist agenda for the Third World. This paper uses Gayatri Spivak’s “worlding” which examines the “othered” natives and the global South as defined through Eurocentric terms by imperialists and colonizers. By interrogating Kamala’s representation, I argue that her portrayal as a “moderate” Muslim superheroine with Western progressive values can have the effect of reinforcing Safiyya Hosein is a Ph.D. -
Relationality and Masculinity in Superhero Narratives Kevin Lee Chiat Bachelor of Arts (Communication Studies) with Second Class Honours
i Being a Superhero is Amazing, Everyone Should Try It: Relationality and Masculinity in Superhero Narratives Kevin Lee Chiat Bachelor of Arts (Communication Studies) with Second Class Honours This thesis is presented for the degree of Doctor of Philosophy of The University of Western Australia School of Humanities 2021 ii THESIS DECLARATION I, Kevin Chiat, certify that: This thesis has been substantially accomplished during enrolment in this degree. This thesis does not contain material which has been submitted for the award of any other degree or diploma in my name, in any university or other tertiary institution. In the future, no part of this thesis will be used in a submission in my name, for any other degree or diploma in any university or other tertiary institution without the prior approval of The University of Western Australia and where applicable, any partner institution responsible for the joint-award of this degree. This thesis does not contain any material previously published or written by another person, except where due reference has been made in the text. This thesis does not violate or infringe any copyright, trademark, patent, or other rights whatsoever of any person. This thesis does not contain work that I have published, nor work under review for publication. Signature Date: 17/12/2020 ii iii ABSTRACT Since the development of the superhero genre in the late 1930s it has been a contentious area of cultural discourse, particularly concerning its depictions of gender politics. A major critique of the genre is that it simply represents an adolescent male power fantasy; and presents a world view that valorises masculinist individualism. -
From Ms Marvel to Ms Shabash
Paper prepared for the Fifth Euroacademia Forum of Critical Studies Asking Big Questions Again 11 – 12 November 2016 Lucca, Italy This paper is a draft Please do not cite or circulate From Ms. Marvel to Ms. Shabash: Sex and Power Distribution in Bangladeshi and Western Cultures Tahseen Salman Choudhury Arzoo Ismail Research and Publication Officer, Bangladesh Lecturer, School of Business Employers’ Federation Bangladesh University of Liberal Arts Bangladesh Abstract The medium of comics is a wonderful preserver of culture. Sequential art can effortlessly portray the latest trends and norms prevalent in any society. Comics from different parts of the world can help identify and analyze cultural differences across borders. Comic books talk about people, their dreams, their aspirations, their activities, and their ways of life. The depiction of norms, trends, traditions, celebrations, and conventions of different groups of people are well-contained in this art form. Western comics have been illustrating all these for years, securing their firm foothold in the world of sequential art. During the last few years, owing to various factors like the rise of comic-book based TV shows, superhero movies, and comic cons regularly happening in Bangladesh, the Bangladeshi comic book industry has experienced a boom. This paper aimed to identify and analyze the representation of cultures across a sample of Bangladeshi and western comics that were published during the last five years in order to determine the role of gender in the respective societies on the basis of Social Dominance Theory (SDT). While looking into societies via comics, Bangladesh remained the primary focus. Simultaneously, western comics aided in running a comparative study between the respective societies in terms of intergroup oppression, discrimination, and prejudice. -
Is There an African-American Graphic Novel?
Teaching the Graphic Novel E<lited by Stephen E. Tabachnick There an African erican Graphic Novel? fStudents in the literature courses I teach, whether in introductory or seminars, react to the discovery of a graphic novel on the with a range of emotions, from unrestrained excitement to snide As a mixed-race scholar specia li zing in nineteenth-century ,;_.resentations of race with broader teaching interests in popular culture The Modern Language Association of America comics, I use these moments to elucidate my aims. I want students to New York 2009 the limits mystified in descriptors such as literature and African ,...A.. '"ICan. That the chosen limit expander in question on their syllabus is one of the few graphic novels by an African American creator helps their initial questions from those familiar to teachers of Maus comic books for kids?," "How do I read this?," "But is this litera to ones peculiar to my situation ("Just what's black about this?"). my imagined first-day discussions, gone over obsessively in my head I teach a special-topics survey on the graphic novel to primarily © 2009 by T he Modern Language Association of America. All rights reserved. 'students at an elite college, some of the wi lier comic enthusiasts Printed in the United States of America. Second printing 2010 them muse aloud, "Is there such a thing as an African American novel?" Leaving aside for the moment the question of racial representivity, interrogations can be translated, in a preteaching fantasy and in 69 70 African American Graphic Novel? Michael A. -
Media Industry Approaches to Comic-To-Live-Action Adaptations and Race
From Serials to Blockbusters: Media Industry Approaches to Comic-to-Live-Action Adaptations and Race by Kathryn M. Frank A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Communication) in the University of Michigan 2015 Doctoral Committee: Associate Professor Amanda D. Lotz, Chair Professor Susan J. Douglas Professor Lisa A. Nakamura Associate Professor Aswin Punathambekar © Kathryn M. Frank 2015 “I don't remember when exactly I read my first comic book, but I do remember exactly how liberated and subversive I felt as a result.” ― Edward W. Said, Palestine For Mom and Dad, who taught me to be my own hero ii Acknowledgements There are so many people without whom this project would never have been possible. First and foremost, my parents, Paul and MaryAnn Frank, who never blinked when I told them I wanted to move half way across the country to read comic books for a living. Their unending support has taken many forms, from late-night pep talks and airport pick-ups to rides to Comic-Con at 3 am and listening to a comics nerd blather on for hours about why Man of Steel was so terrible. I could never hope to repay the patience, love, and trust they have given me throughout the years, but hopefully fewer midnight conversations about my dissertation will be a good start. Amanda Lotz has shown unwavering interest and support for me and for my work since before we were formally advisor and advisee, and her insight, feedback, and attention to detail kept me invested in my own work, even in times when my resolve to continue writing was flagging. -
Customer Order Form
ORDERS PREVIEWS world.com DUE th 18 FEB 2015 FEB COMIC THE SHOP’S PREVIEWSPREVIEWS CATALOG CUSTOMER ORDER FORM CUSTOMER 601 7 Feb15 Cover ROF and COF.indd 1 1/8/2015 3:45:07 PM Feb15 IFC Future Dudes Ad.indd 1 1/8/2015 9:57:57 AM FEATURED ITEMS COMIC BOOKS & GRAPHIC NOVELS The Shield #1 l ARCHIE COMIC PUBLICATIONS 1 Sonic/Mega Man: Worlds Collide: The Complete Epic TP l ARCHIE COMIC PUBLICATIONS Crossed: Badlands #75 l AVATAR PRESS INC Extinction Parade Volume 2: War TP l AVATAR PRESS INC Lady Mechanika: The Tablet of Destinies #1 l BENITEZ PRODUCTIONS UFOlogy #1 l BOOM! STUDIOS Lumberjanes Volume 1 TP l BOOM! STUDIOS 1 Masks 2 #1 l D. E./DYNAMITE ENTERTAINMENT Jungle Girl Season 3 #1 l D. E./DYNAMITE ENTERTAINMENT Uncanny Season 2 #1 l D. E./DYNAMITE ENTERTAINMENT Supermutant Magic Academy GN l DRAWN & QUARTERLY Rick & Morty #1 l ONI PRESS INC. Bloodshot Reborn #1 l VALIANT ENTERTAINMENT LLC GYO 2-in-1 Deluxe Edition HC l VIZ MEDIA LLC BOOKS Funnybooks: The Improbable Glories of the Best American Comic Books l COMICS Taschen’s The Bronze Age Of DC Comics 1970-1984 HC l COMICS Neil Gaiman: Chu’s Day at the Beach HC l NEIL GAIMAN Darth Vader & Friends HC l STAR WARS MAGAZINES Star Trek: The Official Starships Collection Special #5: Klingon Bird-of-Prey l EAGLEMOSS Ace Magazine #2 l COMICS Ultimate Spider-Man Magazine #3 l COMICS Doctor Who Special #40 l DOCTOR WHO 2 TRADING CARDS Topps 2015 Baseball Series 2 Trading Cards l TOPPS COMPANY APPAREL DC Heroes: Aquaman Navy T-Shirt l PREVIEWS EXCLUSIVE WEAR 2 DC Heroes: Harley Quinn “Cells” -
(“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. -
Resistant Vulnerability in the Marvel Cinematic Universe's Captain America
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 2-15-2019 1:00 PM Resistant Vulnerability in The Marvel Cinematic Universe's Captain America Kristen Allison The University of Western Ontario Supervisor Dr. Susan Knabe The University of Western Ontario Graduate Program in Media Studies A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Arts © Kristen Allison 2019 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Other Feminist, Gender, and Sexuality Studies Commons, Other Film and Media Studies Commons, and the Women's Studies Commons Recommended Citation Allison, Kristen, "Resistant Vulnerability in The Marvel Cinematic Universe's Captain America" (2019). Electronic Thesis and Dissertation Repository. 6086. https://ir.lib.uwo.ca/etd/6086 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract Established in 2008 with the release of Iron Man, the Marvel Cinematic Universe has become a ubiquitous transmedia sensation. Its uniquely interwoven narrative provides auspicious grounds for scholarly consideration. The franchise conscientiously presents larger-than-life superheroes as complex and incredibly emotional individuals who form profound interpersonal relationships with one another. This thesis explores Sarah Hagelin’s concept of resistant vulnerability, which she defines as a “shared human experience,” as it manifests in the substantial relationships that Steve Rogers (Captain America) cultivates throughout the Captain America narrative (11). This project focuses on Steve’s relationships with the following characters: Agent Peggy Carter, Natasha Romanoff (Black Widow), and Bucky Barnes (The Winter Soldier). -
Fantastic Four Volume 3: Back in Blue Free
FREE FANTASTIC FOUR VOLUME 3: BACK IN BLUE PDF Leonard Kirk,James Robinson | 120 pages | 05 May 2015 | Marvel Comics | 9780785192206 | English | New York, United States Fantastic Four Vol. 3: Back in Blue (Trade Paperback) | Comic Issues | Comic Books | Marvel Uh-oh, it looks like your Internet Explorer is out of date. For a better shopping experience, please upgrade now. Javascript is not enabled in your browser. Enabling JavaScript in your browser will allow you to Fantastic Four Volume 3: Back in Blue all the features of our site. Learn how to enable JavaScript on your browser. Home 1 Books 2. Add to Wishlist. Sign in to Purchase Instantly. Explore Now. Buy As Gift. Overview Collects Fantastic Four The Fantastic Four must deal with the Council of Dooms, who treat that event as their nativity - and who have trevaled there to witness it! To make matters worse, Mr. Fantastic's sickness spreads to the Fantastic Four Volume 3: Back in Blue - and someone may be behind the illness that's befallen the First Family! The team must mastermind a planetary heist for technology that could save their lives, but spacetime has had enough of their traveling back and forth across it - and they soon find themselves trapped in a universe where the only five things left alive are themselves Product Details About the Author. About the Author. He lives in Portland, OR. Related Searches. The time-displaced young X-Men continue to adjust to a present day that's simultaneously more awe-inspiring The time-displaced young X-Men continue to adjust to a present day that's simultaneously more awe-inspiring and more disturbing than any future the young heroes had ever imagined for themselves.