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Winter 2012-2013
Love Grows . By Giving General The library is proud to announce that we have partnered with Toys for Tots to 2 serve as a drop-off location from now until Thursday, December 20. A donation box is located in the Youth Services Department. Friends 3 Also, the library will once again be a drop-off site for your holiday donations for the following local organizations: Families 4 • Crisis Center of South Suburbia (toys, misc. personal items, children's and women's clothing) Youth 5 • Tinley Park Food Pantry (non-perishable, non-expired, non-glass food items) Teens • Together We Cope (gift items for children and teens) 6 Separate boxes for each group will be located in the library lobby. Adults Collections run from Monday, November 26 through Friday, December 14, 2012. 7 – 10 Bookmobile Tinley Park Public Library 11 News and Program Guide General Winter 2012/2013 12 Monday – Friday 9 am – 9 pm Saturday An Afternoon with Sox Great 9 am – 5 pm Billy Pierce and author John O'Donnell Sunday Saturday, February 23 from 1:30 - 4 pm noon – 5 pm White Sox legend Billy Pierce will be appearing with John O'Donnell, author of Like Night and Day, A Look at Chicago Baseball, 1964 - 1969. John will talk about Closed: his experiences in the world of baseball as seen through the eyes of a child. Pierce Monday, December 24 will speak about his experiences with the Chicago White Sox. The program will be Tuesday, December 25 followed by an autograph session with books and photos available for purchase. -
The Avengers (Action) (2012)
1 The Avengers (Action) (2012) Major Characters Captain America/Steve Rogers...............................................................................................Chris Evans Steve Rogers, a shield-wielding soldier from World War II who gained his powers from a military experiment. He has been frozen in Arctic ice since the 1940s, after he stopped a Nazi off-shoot organization named HYDRA from destroying the Allies with a mystical artifact called the Cosmic Cube. Iron Man/Tony Stark.....................................................................................................Robert Downey Jr. Tony Stark, an extravagant billionaire genius who now uses his arms dealing for justice. He created a techno suit while kidnapped by terrorist, which he has further developed and evolved. Thor....................................................................................................................................Chris Hemsworth He is the Nordic god of thunder. His home, Asgard, is found in a parallel universe where only those deemed worthy may pass. He uses his magical hammer, Mjolnir, as his main weapon. The Hulk/Dr. Bruce Banner..................................................................................................Mark Ruffalo A renowned scientist, Dr. Banner became The Hulk when he became exposed to gamma radiation. This causes him to turn into an emerald strongman when he loses his temper. Hawkeye/Clint Barton.........................................................................................................Jeremy -
A Chilling Look Back at Jeph Loeb and Tim Sale's
Jeph Loeb Sale and Tim at A back chilling look Batman and Scarecrow TM & © DC Comics. All Rights Reserved. 0 9 No.60 Oct. 201 2 $ 8 . 9 5 1 82658 27762 8 COMiCs HALLOWEEN HEROES AND VILLAINS: • SOLOMON GRUNDY • MAN-WOLF • LORD PUMPKIN • and RUTLAND, VERMONT’s Halloween Parade , bROnzE AGE AnD bEYOnD ’ s SCARECROW i . Volume 1, Number 60 October 2012 Comics’ Bronze Age and Beyond! The Retro Comics Experience! EDITOR-IN-CHIEF Michael Eury PUBLISHER John Morrow DESIGNER Rich J. Fowlks COVER ARTIST Tim Sale COVER COLORIST Glenn Whitmore COVER DESIGNER Michael Kronenberg PROOFREADER Rob Smentek SPECIAL THANKS Scott Andrews Tony Isabella Frank Balkin David Anthony Kraft Mike W. Barr Josh Kushins BACK SEAT DRIVER: Editorial by Michael Eury . .2 Bat-Blog Aaron Lopresti FLASHBACK: Looking Back at Batman: The Long Halloween . .3 Al Bradford Robert Menzies Tim Sale and Greg Wright recall working with Jeph Loeb on this landmark series Jarrod Buttery Dennis O’Neil INTERVIEW: It’s a Matter of Color: with Gregory Wright . .14 Dewey Cassell James Robinson The celebrated color artist (and writer and editor) discusses his interpretations of Tim Sale’s art Nicholas Connor Jerry Robinson Estate Gerry Conway Patrick Robinson BRING ON THE BAD GUYS: The Scarecrow . .19 Bob Cosgrove Rootology The history of one of Batman’s oldest foes, with comments from Barr, Davis, Friedrich, Grant, Jonathan Crane Brian Sagar and O’Neil, plus Golden Age great Jerry Robinson in one of his last interviews Dan Danko Tim Sale FLASHBACK: Marvel Comics’ Scarecrow . .31 Alan Davis Bill Schelly Yep, there was another Scarecrow in comics—an anti-hero with a patchy career at Marvel DC Comics John Schwirian PRINCE STREET NEWS: A Visit to the (Great) Pumpkin Patch . -
Crossmedia Adaptation and the Development of Continuity in the Dc Animated Universe
“INFINITE EARTHS”: CROSSMEDIA ADAPTATION AND THE DEVELOPMENT OF CONTINUITY IN THE DC ANIMATED UNIVERSE Alex Nader 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 2015 Committee: Jeff Brown, Advisor Becca Cragin © 2015 Alexander Nader All Rights Reserved iii ABSTRACT Jeff Brown, Advisor This thesis examines the process of adapting comic book properties into other visual media. I focus on the DC Animated Universe, the popular adaptation of DC Comics characters and concepts into all-ages programming. This adapted universe started with Batman: The Animated Series and comprised several shows on multiple networks, all of which fit into a shared universe based on their comic book counterparts. The adaptation of these properties is heavily reliant to intertextuality across DC Comics media. The shared universe developed within the television medium acted as an early example of comic book media adapting the idea of shared universes, a process that has been replicated with extreme financial success by DC and Marvel (in various stages of fruition). I address the process of adapting DC Comics properties in television, dividing it into “strict” or “loose” adaptations, as well as derivative adaptations that add new material to the comic book canon. This process was initially slow, exploding after the first series (Batman: The Animated Series) changed networks and Saturday morning cartoons flourished, allowing for more opportunities for producers to create content. References, crossover episodes, and the later series Justice League Unlimited allowed producers to utilize this shared universe to develop otherwise impossible adaptations that often became lasting additions to DC Comics publishing. -
Toward an Aesthetics and Politics of Guilt in American
UNIVERSITY OF CALIFORNIA Los Angeles Responsibility, Freedom, and the State: Toward an Aesthetics and Politics of Guilt in American Literature, 1929-1960 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Comparative Literature by Timothy Jeffrey Haehn 2014 © Copyright by Timothy Jeffrey Haehn 2014 ABSTRACT OF THE DISSERTATION Responsibility, Freedom, and the State: Toward an Aesthetics and Politics of Guilt in American Literature, 1929-1960 By Timothy Jeffrey Haehn Doctor of Philosophy in Comparative Literature University of California, Los Angeles, 2014 Professor Eleanor K. Kaufman, Chair This dissertation proposes a fundamental reassessment of guilt in twentieth-century American literature. I claim that guilt ought to be understood not so much in relation to the Holocaust or the history of U.S. race relations as in relation to the state. In readings of Mary McCarthy, Richard Wright, J. D. Salinger, Arthur Miller, and Saul Bellow, as well as the early Superman comics and fiction and criticism that invoke Fyoder Dostoevsky’s work, this project demonstrates how authors of fiction and popular culture mobilize feelings of responsibility and guilt to symbolize anxieties over the diminished role of the state as a vehicle for public relief. As the federal government jettisoned burdens that it had borne since the Depression, the writers in question depict various mechanisms employed by individuals to absorb state burdens and to compensate for the reduced availability of state-backed relief. With renewed emphasis on existential categories such as guilt, freedom, and anxiety, I trace tensions at the core of mid- twentieth-century narratives that situate them squarely within the problematics of antistatism. -
Fantastic Four Compendium
MA4 6889 Advanced Game Official Accessory The FANTASTIC FOUR™ Compendium by David E. Martin All Marvel characters and the distinctive likenesses thereof The names of characters used herein are fictitious and do are trademarks of the Marvel Entertainment Group, Inc. not refer to any person living or dead. Any descriptions MARVEL SUPER HEROES and MARVEL SUPER VILLAINS including similarities to persons living or dead are merely co- are trademarks of the Marvel Entertainment Group, Inc. incidental. PRODUCTS OF YOUR IMAGINATION and the ©Copyright 1987 Marvel Entertainment Group, Inc. All TSR logo are trademarks owned by TSR, Inc. Game Design Rights Reserved. Printed in USA. PDF version 1.0, 2000. ©1987 TSR, Inc. All Rights Reserved. Table of Contents Introduction . 2 A Brief History of the FANTASTIC FOUR . 2 The Fantastic Four . 3 Friends of the FF. 11 Races and Organizations . 25 Fiends and Foes . 38 Travel Guide . 76 Vehicles . 93 “From The Beginning Comes the End!” — A Fantastic Four Adventure . 96 Index. 102 This book is protected under the copyright laws of the United States of America. Any reproduction or other unauthorized use of the material or artwork contained herein is prohibited without the express written consent of TSR, Inc., and Marvel Entertainment Group, Inc. Distributed to the book trade in the United States by Random House, Inc., and in Canada by Random House of Canada, Ltd. Distributed to the toy and hobby trade by regional distributors. All characters appearing in this gamebook and the distinctive likenesses thereof are trademarks of the Marvel Entertainment Group, Inc. MARVEL SUPER HEROES and MARVEL SUPER VILLAINS are trademarks of the Marvel Entertainment Group, Inc. -
Fantastic Four Kree/Skrull Alliance Cotati Avengers
AVENGERS CAPTAIN CAPTAIN BLACK AMERICA IRON MAN MARVEL PANTHER THOR MANTIS WICCAN FANTASTIC FOUR MR. THE INVISIBLE THE HUMAN THE POWERHOUSE BRAINSTORM SPIDER-MAN WOLVERINE FANTASTIC WOMAN TORCH THING KREE/SKRULL ALLIANCE EMPEROR SUPER- CAPTAIN R’KLLL MUR-G’NN HULKLING SKRULL GLORY COTATI QUOI SWORDSMAN HULK After years of conflict, the Kree and Skrull Empires suddenly united under the leadership of Emperor Dorrek VIII, the Young Avenger and Kree/Skrull hybrid known as Hulkling. His first act as Emperor was to order their combined forces to Earth to defeat their mutual enemy, the plantlike race known as the Cotati. Led by Quoi, the prophesied Celestial Messiah, and his father, the Swordsman, the Cotati plan to eliminate all animal life --starting with Earth. The united members of the Avengers and Fantastic Four have been defending the planet from the invading Cotati but were unable to stop them from planting the seeds for the Death Blossom. Once it blooms, the Cotati will have control of all plant life in the galaxy. Captain Marvel and the Human Torch teamed up with former Young Avenger Wiccan, who revealed he and Hulkling had recently married. He also exposed Emperor Hulking as R’Klll, the former Skrull empress, in disguise. But while Wiccan and his allies freed the true Hulkling from captivity, they were too late to stop R’Klll from activating the Pyre, a weapon that will end the threat of the Cotati forever--by detonating Earth’s sun! story Al Ewing & Dan Slott script Al Ewing artist Valerio Schiti color artist Marte Gracia letterer VC’s Joe Caramagna cover Jim Cheung & Jay David Ramos variant covers Jim Cheung & Jay David Ramos; Michael Cho; John Tyler Christopher; Tony Daniel & Frank D’Armata; Alexander Lozano & Wade von Grawbadger; Mike McKone & Morry Hollowell; Mike Mignola graphic designer Carlos Lao assistant editor Martin Biro associate editor Alanna Smith editor Tom Brevoort editor in chief C.B. -
![Archons (Commanders) [NOTICE: They Are NOT Anlien Parasites], and Then, in a Mirror Image of the Great Emanations of the Pleroma, Hundreds of Lesser Angels](https://docslib.b-cdn.net/cover/8862/archons-commanders-notice-they-are-not-anlien-parasites-and-then-in-a-mirror-image-of-the-great-emanations-of-the-pleroma-hundreds-of-lesser-angels-438862.webp)
Archons (Commanders) [NOTICE: They Are NOT Anlien Parasites], and Then, in a Mirror Image of the Great Emanations of the Pleroma, Hundreds of Lesser Angels
A R C H O N S HIDDEN RULERS THROUGH THE AGES A R C H O N S HIDDEN RULERS THROUGH THE AGES WATCH THIS IMPORTANT VIDEO UFOs, Aliens, and the Question of Contact MUST-SEE THE OCCULT REASON FOR PSYCHOPATHY Organic Portals: Aliens and Psychopaths KNOWLEDGE THROUGH GNOSIS Boris Mouravieff - GNOSIS IN THE BEGINNING ...1 The Gnostic core belief was a strong dualism: that the world of matter was deadening and inferior to a remote nonphysical home, to which an interior divine spark in most humans aspired to return after death. This led them to an absorption with the Jewish creation myths in Genesis, which they obsessively reinterpreted to formulate allegorical explanations of how humans ended up trapped in the world of matter. The basic Gnostic story, which varied in details from teacher to teacher, was this: In the beginning there was an unknowable, immaterial, and invisible God, sometimes called the Father of All and sometimes by other names. “He” was neither male nor female, and was composed of an implicitly finite amount of a living nonphysical substance. Surrounding this God was a great empty region called the Pleroma (the fullness). Beyond the Pleroma lay empty space. The God acted to fill the Pleroma through a series of emanations, a squeezing off of small portions of his/its nonphysical energetic divine material. In most accounts there are thirty emanations in fifteen complementary pairs, each getting slightly less of the divine material and therefore being slightly weaker. The emanations are called Aeons (eternities) and are mostly named personifications in Greek of abstract ideas. -
Department of Political Science Chair of Gender Politics Wonder Woman
Department of Political Science Chair of Gender Politics Wonder Woman and Captain Marvel as Representation of Women in Media Sara Mecatti Prof. Emiliana De Blasio Matr. 082252 SUPERVISOR CANDIDATE Academic Year 2018/2019 1 Index 1. History of Comic Books and Feminism 1.1 The Golden Age and the First Feminist Wave………………………………………………...…...3 1.2 The Early Feminist Second Wave and the Silver Age of Comic Books…………………………....5 1.3 Late Feminist Second Wave and the Bronze Age of Comic Books….……………………………. 9 1.4 The Third and Fourth Feminist Waves and the Modern Age of Comic Books…………...………11 2. Analysis of the Changes in Women’s Representation throughout the Ages of Comic Books…..........................................................................................................................................................15 2.1. Main Measures of Women’s Representation in Media………………………………………….15 2.2. Changing Gender Roles in Marvel Comic Books and Society from the Silver Age to the Modern Age……………………………………………………………………………………………………17 2.3. Letter Columns in DC Comics as a Measure of Female Representation………………………..23 2.3.1 DC Comics Letter Columns from 1960 to 1969………………………………………...26 2.3.2. Letter Columns from 1979 to 1979 ……………………………………………………27 2.3.3. Letter Columns from 1980 to 1989…………………………………………………….28 2.3.4. Letter Columns from 19090 to 1999…………………………………………………...29 2.4 Final Data Regarding Levels of Gender Equality in Comic Books………………………………31 3. Analyzing and Comparing Wonder Woman (2017) and Captain Marvel (2019) in a Framework of Media Representation of Female Superheroes…………………………………….33 3.1 Introduction…………………………….…………………………………………………………33 3.2. Wonder Woman…………………………………………………………………………………..34 3.2.1. Movie Summary………………………………………………………………………...34 3.2.2.Analysis of the Movie Based on the Seven Categories by Katherine J. -
Secret Wars II Free
FREE SECRET WARS II PDF Jim Shooter,Al Milgrom | 264 pages | 28 Dec 2011 | Marvel Comics | 9780785158301 | English | New York, United States Secret Wars II () Values & Price Guide Goodreads helps you keep track of books you want to read. Want to Read saving…. Want to Read Currently Reading Read. Other editions. Enlarge cover. Error rating book. Refresh and try again. Open Preview See a Problem? Details if other :. Thanks for telling us about the problem. Return to Book Page. Al Milgrom Illustrator. Last time Earth's heroes encountered the Beyonder, they fought for their lives. This time, they fight for all existence! A year after kidnapping the most powerful beings on Earth and pitting them against one another in a "Secret War" on a distant world, the omnipotent Beyonder comes to Earth Secret Wars II continue his study of humanity. As the Beyonder's understanding slowly grows, so too do his own desires - and even the lord of lies, Mephisto, fears what the Beyonder might finally decide he desires. Because if the Beyonder decides he wants to end all that is, even the combined might of Secret Wars II universe's Secret Wars II powers might not be enough to stop him! Get A Copy. Paperbackpages. Published December 28th by Marvel first published March More Details Secret Wars 2Marvel Universe Events. Other Editions 1. Friend Reviews. To see what your friends thought of this book, please sign up. To Secret Wars II other readers questions about Secret Wars IIplease sign up. Lists with This Book. Community Reviews. Showing Average rating 3. -
Duggan • Allred • Allred
DUGGAN • ALLRED • ALLRED RATED T+ $4.99US MARVEL.COM 0 0 1 1 1 7 59606 08963 5 1 VARIANT EDITION 0 0 1 2 1 RATED T+ $4.99US MARVEL.COM 7 59606 08963 5 ADAM WARLOCK Adam Warlock has been a son of science. A savior. He lost and won his very soul. He had ultimate power—and sacrifi ced it. Adam Warlock has seen the future—and yet he wanders. Warlock awoke from an apocalyptic vision to fi nd himself trapped in the wastes of Soul World, within the Soul Stone. Making his escape, he emerged… into the clutches of Kang the Conqueror! WRITER ARTIST GERRY DUGGAN MICHAEL ALLRED COLOR ARTIST LETTERER COVER ARTIST LAURA ALLRED VC’s CORY PETIT AARON KUDER & IVE SVORCINA VARIANT COVER ARTISTS MICHAEL & LAURA ALLRED ASSISTANT EDITOR EDITOR EDITOR IN CHIEF CHIEF CREATIVE OFFICER PRESIDENT EXECUTIVE PRODUCER ANNALISE BISSA JORDAN D. WHITE C.B. CEBULSKI JOE QUESADA DAN BUCKLEY ALAN FINE INFINITY COUNTDOWN: ADAM WARLOCK No. 1, April 2018. Published as a One-Shot by MARVEL WORLDWIDE, INC., a subsidiary of MARVEL ENTERTAINMENT, LLC. OFFICE OF PUBLICATION: 135 West 50th Street, New York, NY 10020. © 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. $4.99 per copy in the U.S. (GST #R127032852) in the direct market; Canadian Agreement #40668537. Printed in the USA. DAN BUCKLEY, President, Marvel Entertainment; JOE QUESADA, Chief Creative Offi cer; TOM BREVOORT, SVP of Publishing; DAVID BOGART, SVP of Business Affairs & Operations, Publishing & Partnership; DAVID GABRIEL, SVP of Sales & Marketing, Publishing; JEFF YOUNGQUIST, VP of Production & Special Projects; DAN CARR, Executive Director of Publishing Technology; ALEX MORALES, Director of Publishing Operations; SUSAN CRESPI, Production Manager; STAN LEE, Chairman Emeritus. -
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Revista Sans Soleil Estudios de la imagen Hijos del átomo: la mutación como génesis del monstruo contemporáneo. El caso de Hulk y los X-Men en Marvel Comics José Joaquín Rodríguez Moreno* University of Washington RESUMEN La Era Atómica engendró un nuevo tipo de monstruo, el mutante. Esta criatura fue explotada en las historias de ciencia ficción y consumida principalmente por una audiencia adolescente, pero fue más que un simple monstruo. A través de un análisis detenido, el mutante puede mostrarnos los miedos y las expectativas que despertaba en su público. Para lograr eso, necesitamos conocer el modo en que estas historias eran creadas, cuál fue su contexto histórico y qué temas desarrollaron los autores. Este trabajo estudia dos casos concretos producidos en Marvel Comics durante los primeros años sesenta: Hulk y los X-Men, gracias a los cuales sabremos más sobre el tiempo y la sociedad en que fueron producidos. PALABRAS CLAVE: Monstruo, Mutante, Era Atómica, Cómics, Estudios culturales. ABSTRACT: The Atomic Age spawned a new monster type – the mutant. This creature was exploited in science fiction narratives and mostly consumed by a teenage audience, but it was more than a mere monster. Through an inquisitive analysis we can learn about the nightmares and hopes that mutants represented for its audience. In order to do it, we need to learn how these narratives were created, what was its historical context and what topics were portrayed by the authors. We are studying two concrete cases from Marvel Comics in the early 60s – Hulk and the X-Men, which will show us more about their time and society.