{PDF} Hawkeye: Kate Bishop Vol. 1: Anchor Points Ebook
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Marvel Universe by Hasbro
Brian's Toys MARVEL Buy List Hasbro/ToyBiz Name Quantity Item Buy List Line Manufacturer Year Released Wave UPC you have TOTAL Notes Number Price to sell Last Updated: April 13, 2015 Questions/Concerns/Other Full Name: Address: Delivery Address: W730 State Road 35 Phone: Fountain City, WI 54629 Tel: 608.687.7572 ext: 3 E-mail: Referred By (please fill in) Fax: 608.687.7573 Email: [email protected] Guidelines for Brian’s Toys will require a list of your items if you are interested in receiving a price quote on your collection. It is very important that we Note: Buylist prices on this sheet may change after 30 days have an accurate description of your items so that we can give you an accurate price quote. By following the below format, you will help Selling Your Collection ensure an accurate quote for your collection. As an alternative to this excel form, we have a webapp available for http://buylist.brianstoys.com/lines/Marvel/toys . STEP 1 Please note: Yellow fields are user editable. You are capable of adding contact information above and quantities/notes below. Before we can confirm your quote, we will need to know what items you have to sell. The below list is by Marvel category. Search for each of your items and enter the quantity you want to sell in column I (see red arrow). (A hint for quick searching, press Ctrl + F to bring up excel's search box) The green total column will adjust the total as you enter in your quantities. -
A Player's Guide Part 1
A Player’s Guide Effective: 9/20/2010 Items labeled with a are available exclusively through Print-and-Play Any page references refer to the HeroClix 2010 Core Rulebook Part 1 – Clarifications Section 1: Rulebook 3 Section 2: Powers and Abilities 5 Section 3: Abilities 9 Section 4: Characters and Special Powers 11 Section 5: Special Characters 19 Section 6: Team Abilities 21 Section 7: Alternate Team Abilities 23 Section 8: Objects 25 Section 9: Maps 27 Part 2 – Current Wordings Section 10: Powers 29 Section 11: Abilities 33 Section 12: Characters and Special Powers 35 Section 13: Team Abilities 71 Section 14: Alternate Team Abilities 75 Section 15: Objects 77 Section 16: Maps 79 How To Use This Document This document is divided into two parts. The first part details every clarification that has been made in Heroclix for all game elements. These 40 pages are the minimal requirements for being up to date on all Heroclix rulings. Part two is a reference guide for players and judges who often need to know the latest text of any given game element. Any modification listed in part two is also listed in part one; however, in part two the modifications will be shown as fully completed elements of game text. [This page is intentionally left blank] Section 1 Rulebook at the time that the player gives the character an action or General otherwise uses the feat.‖ Characters that are removed from the battle map and placed Many figures have been published with rules detailing their on feat cards are not affected by Battlefield Conditions. -
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. -
GIR Jem and the Holograms
Kelly Thompson: The lesson I hope is still put yourself into it, but understand that there's no way to please everyone and at the same time, try your best to listen to the complaints and to learn. Not all of them are going to be valid, but plenty of them are and we can only learn and do better. Jamie Broadnax: Welcome back to Get It Right, the podcast exploring the intersection of pop culture and social justice. I am your host, Jamie Broadnax the founder and editor of Black Girl Nerds.com and host of the BGN Podcast. We had such a great experience talking with G Willow Wilson about Ms Marvel and the comics world in general that we wanted to continue exploring what getting it right in comics look like. Joining us today are Kelly Thompson and Sophie Campbell, the writer and artist team who created the new Jem and the Holograms comic. I know. You might be thinking, "Wasn't Jem a toy from the 1980's?" but folks, Jem the comic is where it's at. Let me tell you, from its body-positive characters to its stories about trans identity and queerness, Jem is as progressive as it is entertaining. Don't believe me? Well, keep listening. I think you will. Thank you guys so much for coming on our show. Very excited to talk to the team behind the Jem and the Holograms comic book, by IDW Publishing. Can you introduce yourselves so listeners can match the voice with the person? Sophie Campbell: Yeah, so I'm Sophie. -
TAYLOR • SILVA • Di BENEDETTO • GURU-Efx #2
#2 TAYLOR • SILVA • Di BENEDETTO • GURU-eFX 0 0 2 1 1 PARENTAL ADVISORY $3.99US MARVEL.COM 7 59606 09001 3 Years ago, Wolverine was part of a team of Avengers with Iron Man, Spider-Man, Luke Cage and Jessica Jones. They discovered a bomb that was specially rigged only to explode when a person activated it. Wolverine elected to activate the bomb to dispose of it for good, blowing himself up in the process. Today, Wolverine’s body is missing from its final resting place. Iron Man has assembled Jessica Jones, Luke Cage and Spider-Man to covertly attend a private underworld auction where Wolverine’s body may be for sale. Much to Luke and Jessica’s dismay, the first auction item is the DNA sequence of their daughter Danielle! WRITER PENCILER INKER COLOR ARTIST LETTERER Tom R.B. Silva Adriano GURU-eFX vc’s joe Taylor Di Benedetto sabino COVER ARTISTS VARIANT COVER ARTISTS GREG LAND & R.B. Silva & RAIN BEREDO Jesus Aburtov ASSISTANT EDITORS EDITORS Chris Robinson & MARK PANICCIA WITH CHRISTINA HARRINGTON JORDAN D. WHITE EDITOR IN CHIEF CHIEF CREATIVE OFFICER PRESIDENT EXECUTIVE PRODUCER C.B. CEBULSKI JOE QUESADA DAN BUCKLEY ALAN FINE SPECIAL THANKS TO MIKE O’SULLIVAN HUNT FOR WOLVERINE: ADAMANTIUM AGENDA No. 2, August 2018. Published Monthly by MARVEL WORLDWIDE, INC., a subsidiary of MARVEL ENTERTAINMENT, LLC. OFFICE OF PUBLICATION: 135 West 50th Street, New York, NY 10020. BULK MAIL POSTAGE PAID AT NEW YORK, NY AND AT ADDITIONAL MAILING OFFICES. © 2018 MARVEL No similarity between any of the names, characters, persons, and/or institutions in this magazine with those of any living or dead person or institution is intended, and any such similarity which may exist is purely coincidental. -
The Empowering Squirrel Girl Jayme Horne Submitted for History of Art 390 Feminism and History of Art Professor Ellen Shortell M
The Empowering Squirrel Girl Jayme Horne Submitted for History of Art 390 Feminism and History of Art Professor Ellen Shortell Massachusetts College of Art and Design All the strength of a squirrel multiplied to the size of a girl? That must be the Unbeatable Squirrel Girl (fig. 1)! This paper will explore Marvel’s Squirrel Girl character, from her introduction as a joke character to her 2015 The Unbeatable Squirrel Girl comic series which is being harold as being extremely empowering. This paper aims to understand why a hero like Squirrel Girl would be harold and celebrated by fans, while other female heroes with feminist qualities like Captain Marvel or the New Almighty Thor might be receiving not as much praise. Squirrel Girl was created by Will Murray and artist Steve Ditko. Despite both of them having both worked for Marvel and DC, and having written stories about fan favorites like Spider-Man, Wonder Woman, Iron Man, and others, they are most known for creating Squirrel Girl, also known as Doreen Green. Her powers include superhuman strength, a furry, prehensile tail (roughly 3-4 feet long), squirrel-like buck teeth, squirrel-like retractable knuckle claws, as well as being able to communicate with squirrels and summon a squirrel army. She was first introduced in 1991, where she ambushed Iron Man in attempt to impress him and convince him to make her an Avenger. That’s when they were attacked one of Marvel’s most infamous and deadly villains, Doctor Doom. After Doctor Doom has defeated Iron Man, Squirrel Girl jumps in with her squirrel army and saves Iron Man1 (fig. -
Research Commons at The
http://waikato.researchgateway.ac.nz/ Research Commons at the University of Waikato Copyright Statement: The digital copy of this thesis is protected by the Copyright Act 1994 (New Zealand). The thesis may be consulted by you, provided you comply with the provisions of the Act and the following conditions of use: Any use you make of these documents or images must be for research or private study purposes only, and you may not make them available to any other person. Authors control the copyright of their thesis. You will recognise the author’s right to be identified as the author of the thesis, and due acknowledgement will be made to the author where appropriate. You will obtain the author’s permission before publishing any material from the thesis. FROM 'AMBIGUOUSLY GAY DUOS' TO HOMOSEXUAL SUPERHEROES: THE IMPLICATIONS FOR MEDIA FANDOM PRACTICES A thesis submitted in fulfilment of the requirements for the degree of Master of Arts in Screen and Media At The University of Waikato By GEMMA CORIN The University of Waikato 2008 Abstract Despite traversing the fine line between homosocial and homosexual (Brooker, 2000) in his controversial text Seduction of the Innocent, Fredric Wertham’s (1954) description of Batman and Robin as a ‘wish dream of two homosexuals living together’ (Lendrum, 2004, p.70) represents one of the first published queer readings of superhero characters. This text can also be interpreted as the commencement of, and subsequent intense interest in the way superhero characters often portray a ‘camp’ sensibility (Medhurst, 1991) representative of a queer performative identity (Butler, 1993). -
(“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. -
Marvel's 'Luke Cage': the Art of Recording Sound in the Chaotic Marvel Universe
Marvel's 'Luke Cage': The Art of Recording Sound in the Chaotic Marvel Universe In Marvel's world of action and fighting, how do you capture sound? When Marvel announced it was expanding its universe to Netflix with a four-part series featuring Daredevil, Jessica Jones, Luke Cage and Iron Fist ending in an eight episode mini-series, The Defenders, there wasn’t much chatter among fanboys. Even when Netflix released the Daredevil teaser in 2015, fans were mum—but with good reason. ABC’s now- debunked Agent Carter was airing, Avengers: Age of Ultron saw daily plot reveals, and the latest trailer for Ant-Man dropped, delivering more intrigue to the macro-sized hero played by Paul Rudd. But overshadowing it all was news that Sony was bringing Spider- Man into the Marvel world, which we witnessed in Captain America: Civil War. What was then lost in the shuffle is now an unprecedented success for Netflix: Daredevil is one of its most-watched original series, Jessica Jones will see a second season, and the streaming service has announced a fifth hero in the fold, Punisher. Netflix is hoping Luke Cage, premiering today, packs the same powerful punch. No Film School reached out to production sound mixer Joshua Anderson, CAS, to discuss how he captured the chaotic sounds of Hell's Kitchen. "I imagine that when he takes a punch, he not only feels the physical power, but also feels the sound of the punch." No Film School: You’ve been the production mixer on each of the Marvel series on Netflix – Daredevil, Jessica Jones, and now Luke Cage. -
Read Book A-Force Vol. 1: Hypertime
A-FORCE VOL. 1: HYPERTIME PDF, EPUB, EBOOK Jorge Molina,G. Willow Wilson | 144 pages | 28 Jul 2016 | Marvel Comics | 9780785196051 | English | New York, United States A-Force Vol. 1: Hypertime PDF Book Related Products. The main story is lots of fun -- Singularity comes to the newly established "normal" whatever that means at this point universe from the Battleworlds one, and is incredibly cute. Before she is brought to justice, she asks She-Hulk to tell Nico how much she loved her, and that she is going to see America again. Yay, superhero ladies! Good art, neat characters. You stay far away from this book , and Laura Martin's colours are gorgeous, especially her star-fields inside Singularity and Antimatter. This time around, the A-Force team is actually just the core members from the last volume so no one feels sidelined. Young Adult. Sort order. These are good stories; just as good is the reprint, included here, of Avengers 83, which I bought from the newsstand in October, , featuring the introduction of The Valkyrie and the Lady Liberators! Submit Review. This is a gorgeous volume of sequential art in trade paperback format. For the best experience on our site, be sure to turn on Javascript in your browser. Forgot Password. She's more than just a magic user. The artwork is gorgeous, and the story is focused on just a few of the heavy hitters. This story is a reprint of the comic A-Force Vol 2 2. With a new Thor in town it has very close ties to one of the team members, and realm-crossing dragons, Volume 2 should be a blast. -
Subscription Pamplet New 11 01 18
Add More Titles Below: Vault # CONTINUED... [ ] Aphrodite V [ ] ___________________________ [ ] Auntie Agatha's Wayward Bunnies (6) [ ] James Bond [ ] Bitter Root [ ] Lone Ranger [ ] ___________________________ [ ] Blackbird [ ] Mars Attack [ ] Bully Wars [ ] Miss Fury [ ] ___________________________ [ ] Burnouts [ ] Project SuperPowers 625 N. Moore Ave., [ ] Cemetery Beach (of 7) [ ] Rainbow Brite [ ] ___________________________ [ ] Cold Spots (of 5) [ ] Red Sonja Moore OK 73160 [ ] Criminal [ ] Thunderbolt [ ] ___________________________ [ ] Crowded [ ] Turok [ ] Curse Words [ ] Vampirella Dejah Thores [ ] ___________________________ [ ] Cyber Force [ ] Vampirella Reanimator Subscription [ ] Dead Rabbit [ ] ___________________________ [ ] Die Comic Pull Sheet [ ] East of West [ ] ___________________________ [ ] Errand Boys (of 5) [ ] Evolution [ ] ___________________________ We offer subscription discounts for [ ] Exorisiters [ ] Freeze [ ] Adventure Time Season 11 [ ] ___________________________ customers who want to reserve that special [ ] Gideon Falls [ ] Avant-Guards (of 12) comic book series with SUPERHERO [ ] Gunning for Hits [ ] Black Badge [ ] ___________________________ BENEFITS: [ ] Hardcore [ ] Bone Parish [ ] Hit-Girl [ ] Buffy Vampire Slayer [ ] ___________________________ [ ] Ice Cream Man [ ] Empty Man Tier 1: 1-15 Monthly ongoing titles: [ ] Infinite Dark [ ] Firefly [ ] ___________________________ 10% Off Cover Price. [ ] Jook Joint (of 5) [ ] Giant Days [ ] Kick-Ass [ ] Go Go Power Rangers [ ] ___________________________ -
CTCS 469 Marvel Fall 2020 Syll
CTCS 469: Marvel Units: 4 Fall 2020; W—6pm–8:30pm Pacific Zoom ID: [available through blackboard] Professor: J.D. Connor Office: None Office Hours: M 12–2 and others by appointment at jdconnor.youcanbook.me; held in my personal zoom: 851 900 6551 Contact Info: [email protected]. I reply to emails during business hours, usually the same day. TA’s Lead: Alessandra Sternberg, [email protected] F 12–1, https://ta-alessandra.youcanbook.me/ Brian Smith, [email protected] T 12–1, 590 049 4528 Daniel Hawkins, [email protected] Th 3–4, 784 998 7296 CTCS469Marvel/F2020/Connor/Syll/1 Course Description Marvel: The Course focuses on the art and industry of the Marvel Cinematic Universe, from the corporate battles over the bankrupt company to the present. We will balance analysis of corporate strategy with close attention to the form and style behind the largest sustained narrative effort in cinematic history. At the core lies a unique design- centered production model that has allowed Marvel to radically diversify its motion pictures—a diversity of talent, genre, and style—even as they maintain production and narrative continuity. We will emphasize the roles of key creative workers—not just producing and directing, but screenwriting, production and costume design, sound, score, and music, performance, cinematography, marketing, and so on. Although the MCU is the heart of the course, we will also be examining alternative comic adaptation practices. We’ll look at pre–MCU Marvel films (Spider-Man, Blade), Marvel properties outside the MCU (X-Men, Deadpool), and DC (The Dark Knight).