DOCSLIB.ORG

Terminator: Future Fate V2.0

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Terminator: Future Fate V2.0 Terminator: Future Fate V2.0 This product was nominated for a Best Campaign Fan Site ENnie from ENworld By Michael Tresca D20 System and D&D is a trademark of Wizards of the Coast, Inc.©. T2 and TERMINATOR are trademarks of Carolco Pictures Inc. and Carolco International N.Y. Copyright 1991 Carolco Pictures Inc. (United States and Canada); Carolco International N.Y. (all other countries) All Rights Reserved. T2:3D and all associated logos, images, and videos are the property of Universal Studios. Trademarks and copyrights are cited in this document without permission. This usage is not meant in any way to challenge the rightful ownership of said trademarks/copyrights. All copyrights are acknowledged and remain the property of the owners. This game is for entertainment only. The T-100 Seeker, T-200 Scarecrow, and T-300 Fast Walker, the Campaign in Brief section, refugee and rogue occupations, and much of the technical specifications on all of the Terminators, HKs and weapons are property of Christopher T. Shields. Information about the M-25 Pulse Rifle, M-27 Pulse Rifle, RBS-80 Plasma Rifle, Antitank Plasma Mine, T-70, T-1, T-600, T-700, T-800, T- 1000, T-X, T-1000000, HK Mini-Hunter, HK Silverfish, HK Centurion, HK Tank, HK Aerial Prototype, HK Aerial, HK Bomber, I-950 Hybrid, Background, Time Travel details and Skynet information is property of Mark Billen. Special thanks to Shane O'Connor for general edits and cleaning up timeline inconsistencies. This document utilizes the Terminator Two font. You can get the latest version of this document at Talien's Tower, under the Freebies section. This game contains spoilers about Terminator (movies, books, etc.). You have been warned! 2 – Terminator: Future Fate Table of Contents Table of Contents ........................................................................................................................................3 Introduction..................................................................................................................................................6 Summary...................................................................................................................................................6 Campaign in Brief ....................................................................................................................................6 The Role of the Heroes............................................................................................................................8 Campaign Traits.......................................................................................................................................8 Characters..................................................................................................................................................12 T-800s as PCs.........................................................................................................................................12 I-950s as PCs..........................................................................................................................................13 Synthetics as PCs..................................................................................................................................14 Occupations ...........................................................................................................................................15 Advanced Classes.....................................................................................................................................17 Tech Com Hierarchy..............................................................................................................................18 Black Shield............................................................................................................................................19 Canine Support Trainer.........................................................................................................................21 Covert Ops Agent ..................................................................................................................................23 Delta Company Agent............................................................................................................................25 Eagle Watch Member.............................................................................................................................27 Iron Guard...............................................................................................................................................29 Recon/Security.......................................................................................................................................31 Sci/Tech ..................................................................................................................................................33 Equipment ..................................................................................................................................................36 Armor ......................................................................................................................................................36 Weapons .................................................................................................................................................38 Handguns ...............................................................................................................................................38 Longarms................................................................................................................................................39 Melee Weapons ......................................................................................................................................40 Archaic Melee Weapons........................................................................................................................40 Other Ranged Weapons ........................................................................................................................41 Heavy Weapons .....................................................................................................................................41 Grenades and Explosives .....................................................................................................................43 Ammunition ............................................................................................................................................44 Miscellaneous Equipment.....................................................................................................................45 Vehicles ..................................................................................................................................................47 Time Travel.................................................................................................................................................48 Parallel Universe ....................................................................................................................................48 Similar Universe.....................................................................................................................................48 Terminator: Future Fate - 3 Unified Time stream...............................................................................................................................48 How It Works ..........................................................................................................................................48 NPCs ...........................................................................................................................................................50 Connor, John (General).........................................................................................................................50 Luna, Catherine (Lieutenant) ................................................................................................................50 Perry, Justin (Captain)...........................................................................................................................50 Reese, Kyle (Sergeant)..........................................................................................................................51 Monsters.....................................................................................................................................................52 T-1: Battle Unit .......................................................................................................................................54 T-70: Infantry Unit ..................................................................................................................................54 T-100: Seeker..........................................................................................................................................55 T-200: Scarecrow ...................................................................................................................................56 TS-300: Stealth Infiltrator ......................................................................................................................57 T-300: Fast Walker .................................................................................................................................58 T-400: Endo ............................................................................................................................................58
Load more

Recommended publications
  • Throwaway Robots in Blade Runner, the Terminators, A.I., and Wall•E” Many Objects Remain Unnoticed Simply Because It Never Occurs to Us to Look Their Way
    NEWSLETTER OF THE UCLA CENTER FOR THE JUN09 STUDY OF WOMEN BY VA N G E H E ILI ge R an D H eaT he R C O L L E TT E -VanDe R aa CSW Desire and Disposability in Patricia Yaeger’s “Luminous Trash: Throwaway Robots in Blade Runner, the Terminators, A.I., and Wall•E” Many objects remain unnoticed simply because it never occurs to us to look their way. Most people turn their backs on garbage cans, the dirt underfoot, the waste they leave behind. Siegfried Kracauer, Theory of Film: The Redemption of Physical Reality (Oxford, 1960) 1 toc Trashy Robots , continued from page 1 hat does it mean for humans to them completely within three years—almost desire human-like relationships with before the physical object itself shows any signs Wrobots? What kind of sovereignty do of wear and tear. In robot movies, this technol- we want to have over our trash? These two seem- ogy turnover becomes personified in robots: ingly unrelated questions melded together ex- commodities who behave both as subjects (who quisitely during Patricia Yaeger’s talk “Luminous can act) and as objects (that can be disposed of Trash: Throwaway Robots in Blade Runner, the once they are no longer valued). We humans Terminators, A.I. and Wall•E.” Yaeger directed want human-like relationships with our robots, her audiences’ eyes towards robots as trash, and but when our robots become obsolete—which is in doing so, linked together present and future practically instantaneous—we shift our thinking possibilities for re-thinking automated relation- from one of relating to one of discarding.
    [Show full text]
  • Complicated Views: Mainstream Cinema's Representation of Non
    University of Southampton Research Repository Copyright © and Moral Rights for this thesis and, where applicable, any accompanying data are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis and the accompanying data cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content of the thesis and accompanying research data (where applicable) must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holder/s. When referring to this thesis and any accompanying data, full bibliographic details must be given, e.g. Thesis: Author (Year of Submission) "Full thesis title", University of Southampton, name of the University Faculty or School or Department, PhD Thesis, pagination. Data: Author (Year) Title. URI [dataset] University of Southampton Faculty of Arts and Humanities Film Studies Complicated Views: Mainstream Cinema’s Representation of Non-Cinematic Audio/Visual Technologies after Television. DOI: by Eliot W. Blades Thesis for the degree of Doctor of Philosophy May 2020 University of Southampton Abstract Faculty of Arts and Humanities Department of Film Studies Thesis for the degree of Doctor of Philosophy Complicated Views: Mainstream Cinema’s Representation of Non-Cinematic Audio/Visual Technologies after Television. by Eliot W. Blades This thesis examines a number of mainstream fiction feature films which incorporate imagery from non-cinematic moving image technologies. The period examined ranges from the era of the widespread success of television (i.e.
    [Show full text]
  • Motion Picture Export Association of America
    quate fundsbeing available in the MPEAA member companies' bank accounts in Motion Picture Export Colombo) because the NFC had not as yet recommended such remittance to the Association of America Exchange Controller. Non payment of dues by the NFC re­ I The companies affiliated to the MPEAA tation of the films, as would be the case sulted in MPEAA members, in the first" comprise the world's largest film produc­ when films are purchased outright with instance, stopping further shipments and ers/distributors and account for over 80% valuable funds being tied up. release of their product on contracts al­ of the most successful English language ready approved. As no payments were i films distributed worldwide. The MPEAA MPEAA deals with exhibitors on the made even thereafter, MPEAA members member companies include Buena Vista basis of rental, with the supplier accept­ finally withdrew the exhibition rights given International (Disney), Carolco Pictures ing a percentage of the actual box office to NFC and informed the Corporation Incorporation, Columbia Pictures Inter­ takings. This way, the supplier's share is accordingly. But the NFC, though it has national (Tri Star), MGM/UA Communi­ governed only by how well a film fares at loudly proclaimed its ability to source all cations Company, Orion Pictures Inter­ the box office here and not by the selling its requirements of English language films national Corporation, Paramount Pictures price of the film itself. In Sri Lanka, the through independent suppliers or 'third Corporation, Twentieth Century Fox Inter­ market size for English language films parties' in the absence of MPEAA films, national Corporation, Universal Interna­ automatically commends rental as the still continues to this day to distribute tional Films and Warner Brothers Inter­ obviously viable choice.
    [Show full text]
  • Kanye West Live Stream
    A GLOBAL INDUSTRY STREAMING PROBLEM BROADCAST STREAMING = CONTENT THEFT STREAM HACKING CREDENTIAL SHARING RE-STREAMING VIII. 100.(b) Saudi Arabia pay to beIN Damages ... Estimated to be in excess of USD 1 billion…” - 2018-10-01-beIN-Notice-of-Arbitration-236336633 “Disclaimer - Mygoodstream.pw absolutely legal and contains only links to other websites on the Internet that make the embedded feature available like justin.tv, ustream.tv.... We do not host or upload any video/media files, Mygoodstream.pw is not responsible for the legality of the content of other sites.” - mygoodstream.pw PIRACY COST EXAMPLE TIDAL - Kanye West Live Stream • In February 2016, Tidal live streamed the Kanye West Life Of Pablo subscription price of $8.99. • 3 million subscribers 20 million viewers = 17 million overage • Result servers crashed, next day headlines read Tidal Streaming failure • If everyone had been able to watch the entire stream at 1080p without the stream failing, at the lowest advertised cost for streaming bandwidth ($0.06 per Gb), Tidal would have incurred an additional unnecessary bandwidth cost of $1,298,052. http://www.billboard.com/articles/columns/hip-hop/6874845/tidal-blames-spotty-kanye-west-stream-life-pablo. http://www.theverge.com/2016/3/29/11325608/tidal-now-has-3-million-subscribers. https://urbanislandz.com/2017/07/03/kanye-west-terminates-tidal-contract-amidst-jay-z-fallout/ Show Revenue: 3M viewers @ $8.99 Streaming Costs Net Revenue Tidal $ 26,970,000 $ 1,566,410 $ 25,403,590 StreamGuard $ 26,970,000 $ 268,358 $ 26,701,642 WHY STREAMGUARD • Only place a single ticket purchase equals only one view • Put an end to middleman attacks, credential sharing, and stream hacking for all live events.
    [Show full text]
  • Using Global Objectives to Control Behaviors in Crowds
    USING GLOBAL OBJECTIVES TO CONTROL BEHAVIORS IN CROWDS A Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Science in the Graduate School of The Ohio State University By Domin Lee, B.S. ***** The Ohio State University 2008 Master’s Examination Committee: Approved by Dr. Rick Parent, Adviser Dr. Matthew Lewis Adviser Graduate Program in Computer Science and Engineering c Copyright by Domin Lee 2008 ABSTRACT The agent-based and behavioral modeling techniques are effective in many situa- tions; however, with an increase in demand for more complex and realistic behaviors, the problems of scale can quickly become an issue. By adding another set of rules that incorporate the desired behaviors, the rule-based methods can become difficult to manage. This thesis attempts to develop an organizational tool that avoids rule pro- liferation and problems with scale in rule-based systems. Using global objectives to weigh local rules, we look to model a system where behavioral decisions are made, not just at the individual levels, but also at the global levels in the crowds. Consequently, this thesis presents a solution for one requirement of team-oriented crowd behaviors in animation and games: the ability to adaptively generate human-like altruistic be- haviors. The team-oriented crowds refers to a type of crowds where each individual has a membership to a team. And those individuals interact directly and simultane- ously to achieve a global objective. Some of the team-oriented crowds include team sports: football, handball, hockey, basketball, and baseball. ”Altruistic behaviors” are the behaviors where behavioral decisions are made for the global objectives of the crowds.
    [Show full text]
  • Film Locations in San Francisco
    Film Locations in San Francisco Title Release Year Locations A Jitney Elopement 1915 20th and Folsom Streets A Jitney Elopement 1915 Golden Gate Park Greed 1924 Cliff House (1090 Point Lobos Avenue) Greed 1924 Bush and Sutter Streets Greed 1924 Hayes Street at Laguna The Jazz Singer 1927 Coffee Dan's (O'Farrell Street at Powell) Barbary Coast 1935 After the Thin Man 1936 Coit Tower San Francisco 1936 The Barbary Coast San Francisco 1936 City Hall Page 1 of 588 10/02/2021 Film Locations in San Francisco Fun Facts Production Company The Essanay Film Manufacturing Company During San Francisco's Gold Rush era, the The Essanay Film Manufacturing Company Park was part of an area designated as the "Great Sand Waste". In 1887, the Cliff House was severely Metro-Goldwyn-Mayer (MGM) damaged when the schooner Parallel, abandoned and loaded with dynamite, ran aground on the rocks below. Metro-Goldwyn-Mayer (MGM) Metro-Goldwyn-Mayer (MGM) Warner Bros. Pictures The Samuel Goldwyn Company The Tower was funded by a gift bequeathed Metro-Goldwyn Mayer by Lillie Hitchcock Coit, a socialite who reportedly liked to chase fires. Though the tower resembles a firehose nozzle, it was not designed this way. The Barbary Coast was a red-light district Metro-Goldwyn Mayer that was largely destroyed in the 1906 earthquake. Though some of the establishments were rebuilt after the earthquake, an anti-vice campaign put the establishments out of business. The dome of SF's City Hall is almost a foot Metro-Goldwyn Mayer Page 2 of 588 10/02/2021 Film Locations in San Francisco Distributor Director Writer General Film Company Charles Chaplin Charles Chaplin General Film Company Charles Chaplin Charles Chaplin Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Warner Bros.
    [Show full text]
  • Founder Joanelle Romero As a • “Frozen River” Screened at RNFF and Went 2015 and Sponsored by Honest Engine Films, Lifetime Member
    Joanelle Romero An American media executive, actress, award-winning filmmaker, television producer, and humanitarian Deadline by Pete Hammond Variety by Dave McNary Joanelle Romero’s family name and long Forward for The First American Indian history is well documented in Congress Television Channel and served on the and can be traced prior to the year 1600 adopted Lakota. in Pecos, New Mexico. Congressman board. Edward R Roybal and Congresswomen Joanelle has grown up the in Lucille Roybal Allard are Joanelle’s entertainment industry, her mother Rita She has two adult children, graduates cousins. Joanelle’s mothers mother, her Rogers was signed to Universal Studios of Yale University and Berklee College ot retsis saw aimefuE amdnarG taerG amdnarG aimefuE saw retsis ot and was in several Elvis Presley Films. Congressman Edward R Roybal dad. Her mother co-started in Peter Fonda’s two. Congressman Edward R Roybal was a in several Red Skelton Shows and Carol who went on to break through the Show. barriers and launch ground-breaking Joanelle is a citizen of Mescalero- awards: Chiricahua Apache, Dinétah, Paiute Armin T. Wegner Humanitarian Award Nations and is SpanishSephardic. A for “the vision to see the truth and relative of Pawnee, Pojoaque, Southern the courage to speak it” Romero is Ute and Iroquois. Joanelle’s father was born on the Jicarilla Reservation and a Humanitarian of any kind. Romero her great-grandma from her mother’s side was born on the Mescalero reservation. Joanelle is a Sundancer and Sacred pipe carrier. Chief Leonard Crow Dog gave and Los Angeles Women’s Theatre Wayanka Po Win” in a ceremony held Integrity Award.
    [Show full text]
  • Whitepaper V2.6 MAVO Token
    Whitepaper V2.6 MAVO Token PREFACE Films are an integral part of the modern world. They connect us and bring us closer together. They have become one of the most essential components of entertainment in our daily lives, and a common language that we all speak regardless of nationality, religion, race, or culture. In addition to its tremendous cultural impact, the film industry also accrues very impressive income every year. In 2016, revenue generated by worldwide box office ticket sales totaled an impressive US$38 billion, led by a rapid pace of growth in China, whose market size has played an important role in affecting positive market trends. In fact, it has been predicted that by the year of 2020, global film box office revenues will reach US$49.3 billion. Meanwhile, online movie streaming platforms achieved outstanding results in the year 2016, benefiting from a large number of overseas subscribers. In fact, 2016 was the first year in which Netflix’s number of overseas subscribers actually exceeded its local US subscriber base, with 104 million people subscribing to the service in total, generating a 32.3% increase in sales revenue and a total revenue of US$2.785 billion. All of this indicates that the breakneck pace of the movie industry is not set to slow down anytime soon. 2 THE REMAINING ISSUE Unfortunately, in reality the boom in the movie industry still benefits only a very small portion of the industry’s professionals, with very little profit trickling down to those who actually produce the movies in question.
    [Show full text]
  • Steven Douglas Smith Resume
    STEVEN DOUGLAS SMITH www.DIRECTOROFPHOTOGRAPHY.org FEATURES Directors/ Partial List PO John Asher LOC Productions SCARY MOVIE 5 Malcolm Lee/ David Zucker The Weinstein Company BLACK CADILLAC John Murlowski First Look Pictures/Showtime AKEELAH AND THE BEE Doug Atchison Lionsgate/2929 Prod (2 nd Unit DP) DINOSAUR Ralph Zondag Walt Disney Co./Buena Vista THE CRAZIES Breck Eisner Paramount /Sony Pictures (VFX Dp) NET 2.0 Charles Winkler Sony/Screen Gems/Winkler Films HOME OF THE BRAVE Irwin Winkler MGM/Millenium (2 nd Unit Dp) MISSION CANNOT FAIL & TOBYHANNA 3D Ron Luscinski ExE Studios / Navy (3D Installation ) UNREQUITED Jason Epperson Lucky Day Studios KNUCKLEHEAD Michael Watkins Lionsgate (VFX DP) AN AMERICAN CAROL David Zucker Mpower Pictures (2 nd Unit DP) I HOPE THEY SERVE BEER IN HELL Bob Gosse Darko Entertainment (Co DP) JOYRIDE Quinton Peeples Live/Trillion Ent. 50 FIRST DATES Peter Segal Sony/Anonymous Content (VFX DP) RIPPLE EFFECT Philipe Caland Think Films/YGB Films JENIFA Kenki Saegusa Toho Arthouse/Wilco Co. Ltd LEELA Somnath Sen Bollywood/Lemon Tree Films HEAVEN OR VEGAS Greg Haynes Cineville/Storm Entertainment NO EASY WAY Jeff Fine Redwood Comm * Kodak Award SOMETIMES THEY COME BACK 2 Adam Grossman Trimark Pictures SECRET AGENT CLUB John Murlowski Hit Entertainment OUR COUNTRY Keith Melton IMAX Corp./Giant Screen Films CORONADO Claudio Faeh Hallmark Channel (Co. DP) 4929 Wilshire Blvd., Ste. 259 Los Angeles, CA 90010 ph 323.782.1854 fx 323.345.5690 [email protected] STEVEN DOUGLAS SMITH www.DIRECTOROFPHOTOGRAPHY.org BASIC INSTINCT Paul Verhoven Tri-Star /Carolco Pictures (Cam Op) TEN INCH HERO David Mackay Brave New Films (2 nd Unit DP) ULTIMATE X Bruce Hendricks Walt Disney Co.
    [Show full text]
  • Honda Classic Smashes Records Baywatch Bursts Into Boca Local Leadership Joins Worldwide Company in This Issue
    The Newsletter of the Palm Beach County Film and Television Commission | MARCH 2016 IN THIS ISSUE LOCAL LEADERSHIP JOINS WORLDWIDE COMPANY Carolco Pictures, who produced blockbuster films such as Terminator 2: 1 CAROLCO’S NEW COO Judgment Day, Basic Instinct, Total Recall, and the first three movies of the Rambo series, recently announced that Jacqueline Journey will serve as 2 HONDA CLASSIC HITS BIG the new Chief Operating Officer. Ms. Journey, a Palm Beach County resident, is a producer and director who has a history of award-winning projects for film 3 BAYWATCH IN BOCA and television. Her work has been seen across the globe including Europe, Africa, Asia and the Pacific Rim, the Middle East, South America, and the Jacqueline Journey 4 LOCAL FILM ON XFINITY United States. Several were award-winning live concerts, documentaries, and high profile interviews featuring Oscar winners, Grammy winners, legends and 5 BIRDING ADVENTURES celebrities including Matthew McConaughey, Dennis Quaid, Willie Nelson, Billy Bob Thornton, Juliette Lewis and Taylor Swift. Additionally Ms. Journey premiered her EDUCATION CORNER: 6 first feature film, Hidden Assets, at The Palm Beach International Film Festival in G-STAR HOSTS AUDITIONS 2015 and it also screened in Cannes and won Best Film at Florida Supercon. 7 LOCATION SPOTLIGHT: COASTAL HOTSPOTS CAROLCO is a diversified organization engaged in the financing and production of motion picture and television properties. Ms. Journey said, "I am thrilled to be a part of one of the most iconic brands in the industry. I believe CAROLCO has tremendous potential." FTC Film Commissioner Chuck Elderd shared, “Jacqueline is an exceptional talent and undoubtedly her vast experience will pave the way for her continued success.” For more info visit carolcopictures.com.
    [Show full text]
  • Sharon M. Segal Features Television Corporate
    SHARON M. SEGAL shotzee@ aol.com 310-614-1765 FEATURES TRANSP. OFFICE COORDINATOR/D.O.T. COMPLIANCE "HORRIBLE BOSSES" - New Line Cinema Feature Transportation Coordinator: Denny Caira TRANSP. ACCOUNTANT / D.O.T. COMPLIANCE "VALENTINE'S DAY" - New Line Cinema Feature Accountant: Terri Edinger Transportation Coordinator: Larry Shephard SPECIAL EFFECTS PROD. ACCOUNTANT "WINDTALKERS" - Metro-Goldwyn-Mayer Feature Main Unit Production Accountant: Marilyn Tasso 1st ASSISTANT LOCATION ACCOUNTANT "MEET JOE BLACK" - Universal Pictures Feature Accountant: Tamara Bally Location: Warwick, R.I. VISUAL EFFECTS PROD. ACCOUNTANT "VOLCANO" - Twentieth Century Fox - Fox 2000 Feature Main Unit Production Accountant: Jim Davidson 1st ASSISTANT ACCOUNTANT "ACES, IRON EAGLE III" - Carolco Pictures Feature Producer / UPM: Stanley Neufeld Location: Tuscon, AZ Accountant: Gregory Manson PRODUCTION ACCOUNTANT "BETTY BOOP" - Metro-Goldwyn-Mayer Animated Feature Producers: Jerry Rees / Steve Leiva TELEVISION 2nd UNIT PRODUCTION ACCOUNTANT DANIELLE STEEL'S "THE RING" - NBC Prod.'s M.O.W. T.V. Controller: Kim Robyn Location: New York City 1st ASSISTANT ACCOUNTANT "THE PROFILER" - NBC Productions Television Pilot T.V. Controller: Kim Robyn Location: Atlanta, GA 1st ASSISTANT ACCOUNTANT "IN A CHILD'S NAME" - New World Television Mini Series Accountant: Gregory Manson Location: Wilmington, N.C. PRODUCTION ACCOUNTANT "THE RICKI LAKE SHOW" - Columbia Pictures TV Television Talk Show Director Production Accounting: Wing Hom Location: New York City POST PRODUCTION ACCOUNTANT "CAGNEY & LACEY" - Orion Television Television Series Producer: Stanley Neufeld CORPORATE SENIOR PRODUCTION AUDITOR SONY CORPORATION of AMERICA Motion Pictures / Television Corporate Audit PRODUCTION CONTROLLER DIGITAL DOMAIN Features / Commercials Corporate Controller: Yvette Macaluso FINANCE RESEARCH PROJECT METRO-GOLDWYN-MAYER COORDINATOR Director-Budget & Estimating: Charles Ogle ASSISTANT CONTROLLER NEW WORLD ENTERTAINMENT Television Production V.P.
    [Show full text]
  • A Comparative Study of Women's Aggression
    A COMPARATIVE STUDY OF WOMEN'S AGGRESSION Kiera M. Gaswint 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 May 2018 Committee: Kim Coates, Advisor Jeff Brown © 2018 Kiera Gaswint All Rights Reserved iii ABSTRACT Kim Coates, Advisor This project explores women’s aggression in superhero, science fiction, and crime film through a close reading of Wonder Woman, Ghost in the Shell, and Atomic Blonde. All based in genres that are traditionally considered ‘for boys,’ these films are different from other superhero, science fiction, and crime films because they feature female leads with aggressive tendencies. Using Dana Crowley Jack’s theory of women’s aggression and Yvonne Tasker and Diane Negra’s definition of postfeminism, I argue that Diana, Major, and Lorraine revolutionize the image of the lead postfeminist character by offering examples of women’s aggression that resist acceptable, palatable representations of women’s aggression. Whereas in the past there have been many representations of aggressive women, those past representations have been affected by postfeminism in a way that commodifies and limits their ability to be authentically aggressive. I examine how these new films – Wonder Woman, Ghost in the Shell, and Atomic Blonde - play into and ultimately resist postfeminist representations because of their aggression and how that aggression is played out on the female body. In the following chapters I analyze how the heroines in Wonder Woman, Ghost in the Shell, and Atomic Blonde disrupt postfeminist notions and prior images of women’s aggression by explicitly examining aggressive women who are not domesticated or justified by rape.
    [Show full text]