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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. -
Marvel-Phile: Über-Grim-And-Gritty EXTREME Edition!
10 MAR 2018 1 Marvel-Phile: Über-Grim-and-Gritty EXTREME Edition! It was the best of times, it was the worst of times. It 90s, but you’d be wrong. Then we have Nightwatch, a was a dark time for the Republic. In short, it was...the bald-faced ripoff of Todd MacFarlane’s more ‘90s. The 1990s were an odd time for comic books. A successful Spawn. Next, we have Necromancer… the group of comic book artists, including the likes of Jim Dr. Strange of Counter-Earth. And best for last, Lee and hate-favorite Rob Liefield, splintered off from there’s Adam X the X-TREME! Oh dear Lord -- is there Marvel Comics to start their own little company called anything more 90s than this guy? With his backwards Image. True to its name, Image Comics featured comic baseball cap, combustible blood, a costume seemingly books light on story, heavy on big, flashy art (often made of blades, and a title that features not one but either badly drawn or heavily stylized, depending on TWO “X”s, this guy that was teased as the (thankfully who you ask), and a grim and gritty aesthetic that retconned) “third Summers brother” is literally seemed to take all the wrong lessons from renowned everything about the 90s in comics, all rolled into one. works such as Frank Miller’s Dark Knight Returns. Don’t get me wrong, there were a few gems in the It wasn’t long until the Big Two and other publishers 1990s. Some of my favorite indie books were made hopped on the bandwagon, which was fueled by during that time. -
(“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 Pop! List Popvinyls.Com
Marvel Pop! List PopVinyls.com Updated December 2016 01 Thor 23 IM3 Iron Man 02 Loki 24 IM3 War Machine 03 Spider-man 25 IM3 Iron Patriot 03 B&W Spider-man (Fugitive) 25 Metallic IM3 Iron Patriot (HT) 03 Metallic Spider-man (SDCC ’11) 26 IM3 Deep Space Suit 03 Red/Black Spider-man (HT) 27 Phoenix (ECCC 13) 04 Iron Man 28 Logan 04 Blue Stealth Iron Man (R.I.CC 14) 29 Unmasked Deadpool (PX) 05 Wolverine 29 Unmasked XForce Deadpool (PX) 05 B&W Wolverine (Fugitive) 30 White Phoenix (Conquest Comics) 05 Classic Brown Wolverine (Zapp) 30 GITD White Phoenix (Conquest Comics) 05 XForce Wolverine (HT) 31 Red Hulk 06 Captain America 31 Metallic Red Hulk (SDCC 13) 06 B&W Captain America (Gemini) 32 Tony Stark (SDCC 13) 06 Metallic Captain America (SDCC ’11) 33 James Rhodes (SDCC 13) 06 Unmasked Captain America (Comikaze) 34 Peter Parker (Comikaze) 06 Metallic Unmasked Capt. America (PC) 35 Dark World Thor 07 Red Skull 35 B&W Dark World Thor (Gemini) 08 The Hulk 36 Dark World Loki 09 The Thing (Blue Eyes) 36 B&W Dark World Loki (Fugitive) 09 The Thing (Black Eyes) 36 Helmeted Loki 09 B&W Thing (Gemini) 36 B&W Helmeted Loki (HT) 09 Metallic The Thing (SDCC 11) 36 Frost Giant Loki (Fugitive/SDCC 14) 10 Captain America <Avengers> 36 GITD Frost Giant Loki (FT/SDCC 14) 11 Iron Man <Avengers> 37 Dark Elf 12 Thor <Avengers> 38 Helmeted Thor (HT) 13 The Hulk <Avengers> 39 Compound Hulk (Toy Anxiety) 14 Nick Fury <Avengers> 39 Metallic Compound Hulk (Toy Anxiety) 15 Amazing Spider-man 40 Unmasked Wolverine (Toytasktik) 15 GITD Spider-man (Gemini) 40 GITD Unmasked Wolverine (Toytastik) 15 GITD Spider-man (Japan Exc) 41 CA2 Captain America 15 Metallic Spider-man (SDCC 12) 41 CA2 B&W Captain America (BN) 16 Gold Helmet Loki (SDCC 12) 41 CA2 GITD Captain America (HT) 17 Dr. -
Growing up with Vertigo: British Writers, Dc, and the Maturation of American Comic Books
CORE Metadata, citation and similar papers at core.ac.uk Provided by ScholarWorks @ UVM GROWING UP WITH VERTIGO: BRITISH WRITERS, DC, AND THE MATURATION OF AMERICAN COMIC BOOKS A Thesis Presented by Derek A. Salisbury to The Faculty of the Graduate College of The University of Vermont In Partial Fulfillment of the Requirements For the Degree of Master of Arts Specializing in History May, 2013 Accepted by the Faculty of the Graduate College, The University of Vermont, in partial fulfillment of the requirements for the degree of Master of Arts, specializing in History. Thesis Examination Committee: ______________________________________ Advisor Abigail McGowan, Ph.D ______________________________________ Melanie Gustafson, Ph.D ______________________________________ Chairperson Elizabeth Fenton, Ph.D ______________________________________ Dean, Graduate College Domenico Grasso, Ph.D March 22, 2013 Abstract At just under thirty years the serious academic study of American comic books is relatively young. Over the course of three decades most historians familiar with the medium have recognized that American comics, since becoming a mass-cultural product in 1939, have matured beyond their humble beginnings as a monthly publication for children. However, historians are not yet in agreement as to when the medium became mature. This thesis proposes that the medium’s maturity was cemented between 1985 and 2000, a much later point in time than existing texts postulate. The project involves the analysis of how an American mass medium, in this case the comic book, matured in the last two decades of the twentieth century. The goal is to show the interconnected relationships and factors that facilitated the maturation of the American sequential art, specifically a focus on a group of British writers working at DC Comics and Vertigo, an alternative imprint under the financial control of DC. -
Avengers Dissemble! Transmedia Superhero Franchises and Cultic Management
Taylor 1 Avengers dissemble! Transmedia superhero franchises and cultic management Aaron Taylor, University of Lethbridge Abstract Through a case study of The Avengers (2012) and other recently adapted Marvel Entertainment properties, it will be demonstrated that the reimagined, rebooted and serialized intermedial text is fundamentally fan oriented: a deliberately structured and marketed invitation to certain niche audiences to engage in comparative activities. That is, its preferred spectators are often those opinionated and outspoken fan cultures whose familiarity with the texts is addressed and whose influence within a more dispersed film- going community is acknowledged, courted and potentially colonized. These superhero franchises – neither remakes nor adaptations in the familiar sense – are also paradigmatic byproducts of an adaptive management system that is possible through the appropriation of the economics of continuity and the co-option of online cultic networking. In short, blockbuster intermediality is not only indicative of the economics of post-literary adaptation, but it also exemplifies a corporate strategy that aims for the strategic co- option of potentially unruly niche audiences. Keywords Marvel Comics superheroes post-cinematic adaptations Taylor 2 fandom transmedia cult cinema It is possible to identify a number of recent corporate trends that represent a paradigmatic shift in Hollywood’s attitudes towards and manufacturing of big budget adaptations. These contemporary blockbusters exemplify the new industrial logic of transmedia franchises – serially produced films with a shared diegetic universe that can extend within and beyond the cinematic medium into correlated media texts. Consequently, the narrative comprehension of single entries within such franchises requires an increasing degree of media literacy or at least a residual awareness of the intended interrelations between correlated media products. -
Thorragnarok59d97e5bd2b22.Pdf
©2017 Marvel. All Rights Reserved. CAST Thor . .CHRIS HEMSWORTH Loki . TOM HIDDLESTON Hela . CATE BLANCHETT Heimdall . .IDRIS ELBA Grandmaster . JEFF GOLDBLUM MARVEL STUDIOS Valkyrie . TESSA THOMPSON presents Skurge . .KARL URBAN Bruce Banner/Hulk . MARK RUFFALO Odin . .ANTHONY HOPKINS Doctor Strange . BENEDICT CUMBERBATCH Korg . TAIKA WAITITI Topaz . RACHEL HOUSE Surtur . CLANCY BROWN Hogun . TADANOBU ASANO Volstagg . RAY STEVENSON Fandral . ZACHARY LEVI Asgardian Date #1 . GEORGIA BLIZZARD Asgardian Date #2 . AMALI GOLDEN Actor Sif . CHARLOTTE NICDAO Odin’s Assistant . ASHLEY RICARDO College Girl #1 . .SHALOM BRUNE-FRANKLIN Directed by . TAIKA WAITITI College Girl #2 . TAYLOR HEMSWORTH Written by . ERIC PEARSON Lead Scrapper . COHEN HOLLOWAY and CRAIG KYLE Golden Lady #1 . ALIA SEROR O’NEIL & CHRISTOPHER L. YOST Golden Lady #2 . .SOPHIA LARYEA Produced by . KEVIN FEIGE, p.g.a. Cousin Carlo . STEVEN OLIVER Executive Producer . LOUIS D’ESPOSITO Beerbot 5000 . HAMISH PARKINSON Executive Producer . VICTORIA ALONSO Warden . JASPER BAGG Executive Producer . BRAD WINDERBAUM Asgardian Daughter . SKY CASTANHO Executive Producers . THOMAS M. HAMMEL Asgardian Mother . SHARI SEBBENS STAN LEE Asgardian Uncle . RICHARD GREEN Co-Producer . DAVID J. GRANT Asgardian Son . SOL CASTANHO Director of Photography . .JAVIER AGUIRRESAROBE, ASC Valkyrie Sister #1 . JET TRANTER Production Designers . .DAN HENNAH Valkyrie Sister #2 . SAMANTHA HOPPER RA VINCENT Asgardian Woman . .ELOISE WINESTOCK Edited by . .JOEL NEGRON, ACE Asgardian Man . ROB MAYES ZENE BAKER, ACE Costume Designer . MAYES C. RUBEO Second Unit Director & Stunt Coordinator . BEN COOKE Visual Eff ects Supervisor . JAKE MORRISON Stunt Coordinator . .KYLE GARDINER Music by . MARK MOTHERSBAUGH Fight Coordinator . JON VALERA Music Supervisor . DAVE JORDAN Head Stunt Rigger . ANDY OWEN Casting by . SARAH HALLEY FINN, CSA Stunt Department Manager . -
“Spider-Man's Superior”
WHEN PETER PARKER WAS BITTEN BY A RADIOACTIVE SPIDER, HE GAINED THE PROPORTIONAL SPEED, STRENGTH, AND AGILITY OF A SPIDER; ADHESIVE FINGERTIPS AND TOES; AND THE UNIQUE PRECOGNITIVE AWARENESS OF DANGER CALLED “SPIDER-SENSE”! AFTER LEARNING THAT WITH GREAT POWER THERE MUST ALSO COME GREAT RESPONSIBILITY, HE BECAME THE CRIME-FIGHTING SUPER HERO CALLED… IN ORDER TO ESCAPE DEATH, SPIDER-MAN’S GREATEST FOE, DOCTOR OCTOPUS, SWITCHED BODIES WITH PETER PARKER. PETER’S MIND ENDED UP BACK IN HIS BODY, SEEMINGLY SILENCING OCTAVIUS FOREVER. AFTER BREAKING INTO THE HEADQUARTERS OF A MYSTERIOUS NEW PHARMACEUTICAL COMPANY CALLED NEW U, THE AMAZING SPIDER-MAN WAS HORRIFIED TO FIND HIS METAL-LIMBED FOE ALIVE AND WELL. HOW OTTO SURVIVED REMAINS A MYSTERY… “SPIDER-MAN’S SUPERIOR” DAN SLOTT & CHRISTOS GAGE WRITERS GIUSEPPE CAMUNCOLI PENCILER CAM SMITH & JASON VC’S JOE ALEX SIMONE GIUSEPPE CAMUNCOLI KEITH CARAMAGNA ROSS BIANCHI INKERS COLORIST LETTERER COVER ARTIST VARIANT COVER ARTIST ANTHONY ALLISON DEVIN NICK AXEL JOE DAN ALAN SPECIAL GAMBINO STOCK LEWIS LOWE ALONSO QUESADA BUCKLEY FINE THANKS TITLE PAGE ASSISTANT ASSOCIATE EDITOR EDITOR CHIEF CREATIVE PUBLISHER EXECUTIVE DANIELE DESIGN EDITOR EDITOR IN CHIEF OFFICER PRODUCER ORLANDINI SPIDER-MAN CREATED BY STAN LEE AND STEVE DITKO THE AMAZING SPIDER-MAN No. 20, December 2016. Published Monthly except in February, April, June, August, and October 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. © 2016 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. -
LIFE and Wildlife Crime
LIFE WILDLIFE CRIME Environment EUROPEAN COMMISSION GETTING IN TOUCH WITH THE EU ENVIRONMENT DIRECTORATE-GENERAL In person LIFE (“The Financial Instrument for the Environment and All over the European Union there are hundreds of Eu- Climate Action”) is a programme launched by the Europe- rope Direct information centres. You can find the address an Commission and coordinated by the Environment and of the centre nearest you at: http://europa.eu/contact Climate Action Directorates-General. The Commission has delegated the implementation of many components On the phone or by email of the LIFE programme to the Executive Agency for Small Europe Direct is a service that answers your questions and Medium-sized Enterprises (EASME). about the European Union. You can contact this service: The contents of the publication “LIFE and Wildlife Crime” – by freephone: 00 800 6 7 8 9 10 11 (certain operators do not necessarily reflect the opinions of the institutions may charge for these calls), of the European Union. – at the following standard number: +32 22999696, or – by electronic mail via: http://europa.eu/contact Authors: João Pedro Silva (Nature & Biodiversity expert), Justin Toland (Senior editor), Jon Eldridge, Stephen Not- FINDING INFORMATION ABOUT THE EU tingham, and Carla Travagnin (NEEMO EEIG, Communica- tions Team Coordinator). Managing Editor: Jean-Claude Merciol (European Commission, Environment DG, LIFE Online Information about the European Union in all the official D.4). LIFE Focus series coordination: Davide Messi- na and Santiago Urquijo-Zamora (LIFE Communications languages of the EU is available on the Europa website Coordinators), Valerie O’Brien (Environment DG, Publica- at: http://europa.eu tions Coordinator). -
British Writers, DC, and the Maturation of American Comic Books Derek Salisbury University of Vermont
University of Vermont ScholarWorks @ UVM Graduate College Dissertations and Theses Dissertations and Theses 2013 Growing up with Vertigo: British Writers, DC, and the Maturation of American Comic Books Derek Salisbury University of Vermont Follow this and additional works at: https://scholarworks.uvm.edu/graddis Recommended Citation Salisbury, Derek, "Growing up with Vertigo: British Writers, DC, and the Maturation of American Comic Books" (2013). Graduate College Dissertations and Theses. 209. https://scholarworks.uvm.edu/graddis/209 This Thesis is brought to you for free and open access by the Dissertations and Theses at ScholarWorks @ UVM. It has been accepted for inclusion in Graduate College Dissertations and Theses by an authorized administrator of ScholarWorks @ UVM. For more information, please contact [email protected]. GROWING UP WITH VERTIGO: BRITISH WRITERS, DC, AND THE MATURATION OF AMERICAN COMIC BOOKS A Thesis Presented by Derek A. Salisbury to The Faculty of the Graduate College of The University of Vermont In Partial Fulfillment of the Requirements For the Degree of Master of Arts Specializing in History May, 2013 Accepted by the Faculty of the Graduate College, The University of Vermont, in partial fulfillment of the requirements for the degree of Master of Arts, specializing in History. Thesis Examination Committee: ______________________________________ Advisor Abigail McGowan, Ph.D ______________________________________ Melanie Gustafson, Ph.D ______________________________________ Chairperson Elizabeth Fenton, Ph.D ______________________________________ Dean, Graduate College Domenico Grasso, Ph.D March 22, 2013 Abstract At just under thirty years the serious academic study of American comic books is relatively young. Over the course of three decades most historians familiar with the medium have recognized that American comics, since becoming a mass-cultural product in 1939, have matured beyond their humble beginnings as a monthly publication for children. -
PDF Download Aquaman: Kingdom Lost 1St Edition Ebook
AQUAMAN: KINGDOM LOST 1ST EDITION PDF, EPUB, EBOOK John Arcudi | 9781401271299 | | | | | Aquaman: Kingdom Lost 1st edition PDF Book His plan now despoiled by his exile from their world, Namor returns to Earth to resume his war with the land dwellers after jokingly citing how the Non-Team up of the Defenders had saved it from annihilation. In Sword of Atlantis 57, the series' final issue, Aquaman is visited by the Lady of the Lake, who explains his origins. Vintage Dictionary. See All - Best Selling. In the Marvel limited series Fantastick Four , Namor is reinvented as Numenor , Emperor of Bensaylum, a city beyond the edge of the world. Archived from the original on April 22, Bill Everett. These included: the ability to instantly dehydrate to death anyone he touched, shoot jets of scalding or freezing water from it, healing abilities, the ability to create portals into mystical dimensions that could act as spontaneous transport, control and negate magic, manipulate almost any body of water he sets his focuses on [2] and the capability to communicate with the Lady of the Lake through his magic water hand. When his former friend Captain America presented himself to the Atlanteans to broker an agreement with Namor, he attacked Captain America in a rage while ranting about how Atlantis has taken the heat of the surface world's battles time and time again. Character Facts Powers: super strength, durability, control over sea life, exceptional swimming ability, ability to breathe underwater. Aquaman was given an eighth volume of his eponymous series, which started with a one-shot comic book entitled Aquaman: Rebirth 1 August Aquaman 1. -
Comic Corner: Impressive, and Coltrane Once Again Absolutely Kills It with His Tenor Solos
THE DOUGLAS COLLEGE NEWSPAPER SINCE 1978 OtherPress.e Room 1020 – 700 Royal Ave. Douglas College New Westminster, BC V3L 5B2 TELEPHONE: 604.525.3542 WEBSITE: theotherpress.ca EMAIL: [email protected] STAFF LIST Natalie Serafini Editor-in-Chief [email protected] Eric Wilkins Assistant Editor [email protected] Angela Ho Business Manager Chandler Walter Distribution Manager Mike LeMieux Layout Manager Joel McCarthy Screenshot of ‘Girls’ Graphics Manager Cara Seccafien Production Assistant Nudity and bravery udity is, paradoxically, both belief, and is applauded for her requires bravery. The two aren’t this further by suggesting that Ed Appleby Nemblematic of strength courage in showing what real mutually exclusive, but they a woman’s bravery is associated Illustrator and of vulnerability. Daenerys women’s bodies look like. aren’t the same either. with showing off her body, or Targaryen, (spoilers!) emerging I think we’re confusing the The thing is, I’m technically choosing to forego makeup, Jony Roy from the ashes of her husband’s meaning of being brave—or arguing over a technicality, a or wearing horizontal stripes, Social Media Coordinator ritual cremation with dragon rather, we’ve become confused to difference in synonym where not only demeans women and triplets, represents strength; with the point of perceiving displays bravery and guts are likely linked the definition of bravery, it Angela Espinoza a sense of confidence and self- of reality as courageous. Of in the thesaurus. also belittles female bravery to News Editor assuredness, you feel no shame course it takes a certain amount We’ve devalued women’s physical appearance.