Batman Bat-Signal Ebook
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Myth, Metatext, Continuity and Cataclysm in Dc Comics’ Crisis on Infinite Earths
WORLDS WILL LIVE, WORLDS WILL DIE: MYTH, METATEXT, CONTINUITY AND CATACLYSM IN DC COMICS’ CRISIS ON INFINITE EARTHS Adam C. Murdough A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2006 Committee: Angela Nelson, Advisor Marilyn Motz Jeremy Wallach ii ABSTRACT Angela Nelson, Advisor In 1985-86, DC Comics launched an extensive campaign to revamp and revise its most important superhero characters for a new era. In many cases, this involved streamlining, retouching, or completely overhauling the characters’ fictional back-stories, while similarly renovating the shared fictional context in which their adventures take place, “the DC Universe.” To accomplish this act of revisionist history, DC resorted to a text-based performative gesture, Crisis on Infinite Earths. This thesis analyzes the impact of this singular text and the phenomena it inspired on the comic-book industry and the DC Comics fan community. The first chapter explains the nature and importance of the convention of “continuity” (i.e., intertextual diegetic storytelling, unfolding progressively over time) in superhero comics, identifying superhero fans’ attachment to continuity as a source of reading pleasure and cultural expressivity as the key factor informing the creation of the Crisis on Infinite Earths text. The second chapter consists of an eschatological reading of the text itself, in which it is argued that Crisis on Infinite Earths combines self-reflexive metafiction with the ideologically inflected symbolic language of apocalypse myth to provide DC Comics fans with a textual "rite of transition," to win their acceptance for DC’s mid-1980s project of self- rehistoricization and renewal. -
JUSTICE LEAGUE (NEW 52) CHARACTER CARDS Original Text
JUSTICE LEAGUE (NEW 52) CHARACTER CARDS Original Text ©2012 WizKids/NECA LLC. TM & © 2012 DC Comics (s12) PRINTING INSTRUCTIONS 1. From Adobe® Reader® or Adobe® Acrobat® open the print dialog box (File>Print or Ctrl/Cmd+P). 2. Click on Properties and set your Page Orientation to Landscape (11 x 8.5). 3. Under Print Range>Pages input the pages you would like to print. (See Table of Contents) 4. Under Page Handling>Page Scaling select Multiple pages per sheet. 5. Under Page Handling>Pages per sheet select Custom and enter 2 by 2. 6. If you want a crisp black border around each card as a cutting guide, click the checkbox next to Print page border. 7. Click OK. ©2012 WizKids/NECA LLC. TM & © 2012 DC Comics (s12) TABLE OF CONTENTS Aquaman, 8 Wonder Woman, 6 Batman, 5 Zatanna, 17 Cyborg, 9 Deadman, 16 Deathstroke, 23 Enchantress, 19 Firestorm (Jason Rusch), 13 Firestorm (Ronnie Raymond), 12 The Flash, 20 Fury, 24 Green Arrow, 10 Green Lantern, 7 Hawkman, 14 John Constantine, 22 Madame Xanadu, 21 Mera, 11 Mindwarp, 18 Shade the Changing Man, 15 Superman, 4 ©2012 WizKids/NECA LLC. TM & © 2012 DC Comics (s12) 001 DC COMICS SUPERMAN Justice League, Kryptonian, Metropolis, Reporter FROM THE PLANET KRYPTON (Impervious) EMPOWERED BY EARTH’S YELLOW SUN FASTER THAN A SPEEDING BULLET (Charge) (Invulnerability) TO FIGHT FOR TRUTH, JUSTICE AND THE ABLE TO LEAP TALL BUILDINGS (Hypersonic Speed) AMERICAN WAY (Close Combat Expert) MORE POWERFUL THAN A LOCOMOTIVE (Super Strength) Gale-Force Breath Superman can use Force Blast. When he does, he may target an adjacent character and up to two characters that are adjacent to that character. -
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. -
How Superman Developed Into a Jesus Figure
HOW SUPERMAN DEVELOPED INTO A JESUS FIGURE CRISIS ON INFINITE TEXTS: HOW SUPERMAN DEVELOPED INTO A JESUS FIGURE By ROBERT REVINGTON, B.A., M.A. A Thesis Submitted to the School of Graduate Studies in Partial Fulfillment of the Requirements for the Degree of Master of Arts McMaster University © Copyright by Robert Revington, September 2018 MA Thesis—Robert Revington; McMaster University, Religious Studies McMaster University MASTER OF ARTS (2018) Hamilton, Ontario, Religious Studies TITLE: Crisis on Infinite Texts: How Superman Developed into a Jesus Figure AUTHOR: Robert Revington, B.A., M.A (McMaster University) SUPERVISOR: Professor Travis Kroeker NUMBER OF PAGES: vi, 143 ii MA Thesis—Robert Revington; McMaster University, Religious Studies LAY ABSTRACT This thesis examines the historical trajectory of how the comic book character of Superman came to be identified as a Christ figure in popular consciousness. It argues that this connection was not integral to the character as he was originally created, but was imposed by later writers over time and mainly for cinematic adaptations. This thesis also tracks the history of how Christians and churches viewed Superman, as the film studios began to exploit marketing opportunities by comparing Superman and Jesus. This thesis uses the methodological framework of intertextuality to ground its treatment of the sources, but does not follow all of the assumptions of intertextual theorists. iii MA Thesis—Robert Revington; McMaster University, Religious Studies ABSTRACT This thesis examines the historical trajectory of how the comic book character of Superman came to be identified as a Christ figure in popular consciousness. Superman was created in 1938, but the character developed significantly from his earliest incarnations. -
Reading and Playing Cadre's Varicella
MelbourneDAC 2003 Face It, Tiger, You Just Hit the Jackpot: Reading and Playing Cadre’s Varicella Nick Montfort Stuart Moulthrop Department of Computer and Information Science School of Information Arts and Technologies University of Pennsylvania University of Baltimore E-mail: [email protected] E-mail: [email protected] A B ST R A C T: W e co n sid er a s pecif ic ch ar acter , th e to w er . That was m or e than f ou r y ear s ag o . P r in ces s Ch arlo tte, in th e 1 9 9 9 in teractiv e f ictio n S h e’ s s till her e. w o rk Va ricella b y A d am Cad re. To ap pr eciate and s o lv e this w or k , th e in ter acto r m u s t b o th in ter p r et S h e lo o ks u p . “h ello , v ar icella,” s h e s ay s . “f ace it, th e tex ts th at r es u lt ( as a liter ar y r eader d oes ) an d tiger , yo u jus t hit the jack p o t!” [ Bold f ace in also o p er ate th e cy b ertex tual m ach in e o f th e o r ig in al.] p r og r am , actin g as a gam e play er an d tr y in g to u n der s tan d the s ys tem o f Va ricella ’ s s im u lated What exactly could this utterance mean? It could be read w o rld . -
Superman Ebook, Epub
SUPERMAN PDF, EPUB, EBOOK Jerry Siegel | 144 pages | 30 Jun 2009 | DC Comics | 9781401222581 | English | New York, NY, United States Superman PDF Book The next event occurs when Superman travels to Mars to help a group of astronauts battle Metalek, an alien machine bent on recreating its home world. He was voiced in all the incarnations of the Super Friends by Danny Dark. He is happily married with kids and good relations with everyone but his father, Jor-EL. American photographer Richard Avedon was best known for his work in the fashion world and for his minimalist, large-scale character-revealing portraits. As an adult, he moves to the bustling City of Tomorrow, Metropolis, becoming a field reporter for the Daily Planet newspaper, and donning the identity of Superman. Superwoman Earth 11 Justice Guild. James Denton All-Star Superman Superman then became accepted as a hero in both Metropolis and the world over. Raised by kindly farmers Jonathan and Martha Kent, young Clark discovers the source of his superhuman powers and moves to Metropolis to fight evil. Superman Earth -1 The Devastator. The next few days are not easy for Clark, as he is fired from the Daily Planet by an angry Perry, who felt betrayed that Clark kept such an important secret from him. Golden Age Superman is designated as an Earth-2 inhabitant. You must be a registered user to use the IMDb rating plugin. Filming on the series began in the fall. He tells Atom he is welcome to stay while Atom searches for the people he loves. -
Islamism After the Arab Spring: Between the Islamic State and the Nation-State the Brookings Project on U.S
Islamism after the Arab Spring: Between the Islamic State and the nation-state The Brookings Project on U.S. Relations with the Islamic World U.S.-Islamic World Forum Papers 2015 January 2017 Shadi Hamid, William McCants, and Rashid Dar The Brookings Institution is a nonprofit organization devoted to independent research and policy solutions. Its mission is to conduct high-quality, independent research and, based on that research, to provide in- novative, practical recommendations for policymakers and the public. The conclusions and recommendations of any Brookings publication are solely those of its author(s), and do not reflect the views of the Institu- tion, its management, or its other scholars. Project on U.S. Relations with the Islamic World Center for Middle East Policy at Brookings Brookings recognizes that the value it provides to any supporter is in its absolute commitment to quality, 1775 Massachusetts Avenue, NW independence and impact. Activities supported by its Washington, DC 20036 donors reflect this commitment and the analysis and recommendations are not determined by any donation. www.brookings.edu/islamic-world STEERING n 2015, we returned to Doha for the views of the participants of the work- COMMITTEE the 12th annual U.S.-Islamic World ing groups or the Brookings Institution. MArtiN INDYK Forum. Co-convened annually by Select working group papers will be avail- Executive Ithe Brookings Project on U.S. Relations able on our website. Vice President with the Islamic World and the State of Brookings Qatar, the Forum is the premier inter- We would like to take this opportunity BRUCE JONES national gathering of leaders in govern- to thank the State of Qatar for its sup- Vice President ment, civil society, academia, business, port in convening the Forum with us. -
Recycling the Other: the Role of Nostalgia in Superhero Comics’ Orientalism Nao Tomabechi
Recycling the Other: The Role of Nostalgia in Superhero Comics’ Orientalism Nao Tomabechi Abstract Whiteness has been one of the core ideals in American mainstream superhero comics, but in recent years, with demands for diversity increasing, more than ever, racial minorities have leading roles in superhero comics. However, the struggle for Asians in the superhero genre is not entirely gone. The number of appearances may have increased, but stereotypes do persist. Japanese characters in superhero comics, for instance, whether they are heroes or villains, are still forced to display their Otherness, even in recent works. In this paper, by using Wolverine’s adventures set in Japan and the Japanese superhero Katana from DC Comics as examples, I argue that Asians in contemporary superhero comics are still contained within the grasps of Orientalism, and that nostalgia plays a significant role in that containment. Keywords: Orientalism, nostalgia, racism, continuity, diversity Introduction As many scholars and fans have already pointed out, whiteness has been one of the core ideals in American mainstream superhero comics.1 From DC Comics’ Superman and Batman to Marvel’s Captain America and Iron Man, the most famous and popular superheroes, as well as supervillains, have always been predominantly white. In recent years however, with increasing demands for diversity, this focus on whiteness has been highly questioned and criticized. Consequently, more than ever, racial minorities have leading roles in superhero comics. Miles Morales, the Spider-Man of Marvel’s Ultimate Universe, is a mixed-race teenager, and the African Black Panther is now extremely popular after the successful film released in 2018. -
(“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. -
Jimmy Olsen Asks the Tough Questions on Kryptonian
Jimmy Olsen Asks the Tough Questions on Kryptonian Law Gabe Diani, Joshua Gilliland, Jessica Mederson, Jordon Huppert, Roger Quiles, Crystal Swanson, and Cynthia Kitchen Agenda Duty to Rescue Imprisoning Aliens Financial Responsibility for Super Villain Battles? “Phantom Zone” and Cruel & Unusual Punishment? J’onn J’onzz and Identity Theft Does Supergirl Violate U.S. Airspace? Invasion of Privacy And Jeepers More! Jessica Mederson Hero Name: Zippy Sworn Mission: To Help the Underdog Arch Nemesis: Hypocrites Weaknesses: Chocolate, sitcoms, and Celebrity gossip Jordon Huppert Hero Name: Link Skills: Defending the Public, arguing with the man, being a general pain in the Neck Weaknesses: Spiders that aren't Spider- man, usually the facts, being told the odds. Joshua Gilliland Hero Name: Bow Tie Skills: Wielding the Federal Rules of Civil Procedure for native file productions Weakness: New Comics on Wednesdays, Chicken tacos Crystal Swanson Hero Name: Pro Hawk V’che Skills: Gather the facts, seek the truth, cross like a boss Weaknesses: 80's hair bands Roger Quiles Hero Name: GameShark Sworn mission: to serve and protect professional video game players Arch nemeses: final bosses everywhere Weaknesses: controllers and keyboards with sticky buttons, cheat codes, and mojitos Cynthia Kitchen Superhero name: Captain Kitty Skills: Defender of contractors; cat whisperer Weaknesses: Sephora; Susiecakes “Jimmy Olsen” Name: James Bartholomew Olsen Occupation: Cub Reporter (75+ years experience) Aliases: Elastic Lad, Giant Turtle Boy, Superlad, Flamebird, -
DC Comics Jumpchain CYOA
DC Comics Jumpchain CYOA CYOA written by [text removed] [text removed] [text removed] cause I didn’t lol The lists of superpowers and weaknesses are taken from the DC Wiki, and have been reproduced here for ease of access. Some entries have been removed, added, or modified to better fit this format. The DC universe is long and storied one, in more ways than one. It’s a universe filled with adventure around every corner, not least among them on Earth, an unassuming but cosmically significant planet out of the way of most space territories. Heroes and villains, from the bottom of the Dark Multiverse to the top of the Monitor Sphere, endlessly struggle for justice, for power, and for control over the fate of the very multiverse itself. You start with 1000 Cape Points (CP). Discounted options are 50% off. Discounts only apply once per purchase. Free options are not mandatory. Continuity === === === === === Continuity doesn't change during your time here, since each continuity has a past and a future unconnected to the Crises. If you're in Post-Crisis you'll blow right through 2011 instead of seeing Flashpoint. This changes if you take the relevant scenarios. You can choose your starting date. Early Golden Age (eGA) Default Start Date: 1939 The original timeline, the one where it all began. Superman can leap tall buildings in a single bound, while other characters like Batman, Dr. Occult, and Sandman have just debuted in their respective cities. This continuity occurred in the late 1930s, and takes place in a single universe. -
Download Injustice 1 Pc Download Injustice 1 Pc
download injustice 1 pc Download injustice 1 pc. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 67d9216cfa93848c • Your IP : 188.246.226.140 • Performance & security by Cloudflare. Injustice: Gods Among Us. Play your favorite character and compete against other gamers! The good news is that it is also available on Android and Xbox! Natalia Kudryavtseva Posts 1050 Registration date Wednesday April 15, 2020 Status Administrator Last seen August 12, 2021. Published by Warner Bros International Enterprises, Injustice: Gods Among Us is a popular action fighting game based on DC Comics Universe. The gamer can unleash superheroes’ abilities such as Batman, Joker, or Wonder Woman and fight enemies. There are different game modes available. This is the Injustice: Gods Among Us Ultimate Edition download page. Gaming features and gameplay. Injustice characters : Injustice: Gods Among Us features 24 characters, from Batman and Joker to Flash, Cyborg, Shazam, Green Lantern, and many others. With their help, you can defeat all the enemies.