Create Your Own Superhero Or Super Villain

Total Page：16

File Type：pdf, Size：1020Kb

Create Your Own Superhero or Super Villain Here’s What To Do 1. Answer the following questions and create your own Superhero/Villain. 2. Based on your answers come up with a Costume Design and a Monologue. 3. You will be presenting your character when we return. Questions: 1. The Basics: Human Name, Age, Job (or school grade), favorite food, least favorite food, pet peeve, greatest strength, greatest weakness, and a secret (other than his/her concealed Superhero/Villain identity.) 2. The Background: Does your character come from a single parent household? Are they an only child? Orphan? Write FIVE sentences on your character’s family background. Who is your character’s closest friend? Do they know your character is a superhero/villain? 3. Origin Story: When/how/why did your character become a superhero/villain? How did they get their powers? 4. Superhero/Villain basics: a. Name. Why this name? b. Power. What can your character do? c. Flaw. Even Superman was allergic to kryptonite. Give your Superhero/Villain a flaw. NOTE: “No Flaw” is not acceptable, flaws are interesting! d. Costume. Why this costume? What does the costume do? e. Prop. Is it car? A ring? A staff? 5. Personal feeling: How does your character feel about his/her powers? Like? Dislike? Lucky? Cursed? If your character could go back to being normal, would they? Why or why not? 6. Outside Feelings: How does the city feel about your character? Trust? Or Distrust? NOW…. 7. In Action: Write a monologue about this character. It could be an average day in the life of this character and all the trouble he or she gets into. It could be about the first time this character uses his or her powers. The monologue should be about 1-2 minutes long. Be creative and have fun with this. 8. Figure out how this character walks, talks, moves, stands. How will you perform this monologue? Maybe you use your phone to vlog about your time off in the character of your superhero or supervillain. 9. Draw a costume design for this character using color. Be creative! What You will Turn in… 1. Written monologue 2. Answers to the above questions 3. Costume Design .

Copy Link

Recommended publications

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.
[Show full text]
Queer Here: Poetry to Comic Emma Lennen Katie Jan
Queer Here: Poetry to Comic Emma Lennen Katie Jan Pull Quote: “For the new audience of queer teenagers, the difference between the public and the superhero resonates with them because they feel different from the rest of society.” Consider this: a superhero webcomic. Now consider this: a queer superhero webcomic. If you are anything like me, you were infinitely more elated at the second choice, despite how much you enjoy the first. I love reading queer webcomics because by being online, they bypass publishers who may shoot them down for their queerness. As a result, they manage to elude the systematic repression of the LGBTQA+ community. In the 1950s, when repression of the community was even more prevalent, Frank O’Hara wrote the poem “Homosexuality” to express his journey of acceptance as well as to give advice to future gay people. The changes I made in my translation of the poem “Homosexuality” into a modern webcomic demonstrate the different time periods’ expectations of queer content, while still telling the same story with the same purpose, just in a different genre. Despite the difference between the genres, the first two lines and the copious amount of imagery present in the poem allowed for some near-direct translation. The poem begins with “So we are taking off our masks, are we, and keeping / our mouths shut? As if we’d been pierced by a glance!” (O’Hara 1-2). While usually masks symbolize hiding your true self and therefore have a negative connotation, the poem instead considers it one’s pride. Similarly, for many superheroes, the mask does not represent shame, it represents power and responsibility.
[Show full text]
GRAPHIC NOVELS in ADVANCED ENGLISH/LANGUAGE ARTS CLASSROOMS: a PHENOMENOLOGICAL CASE STUDY Cary Gillenwater a Dissertation Submi
GRAPHIC NOVELS IN ADVANCED ENGLISH/LANGUAGE ARTS CLASSROOMS: A PHENOMENOLOGICAL CASE STUDY Cary Gillenwater A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the School of Education. Chapel Hill 2012 Approved by: Madeleine Grumet James Trier Jeff Greene Lucila Vargas Renee Hobbs © 2012 Cary Gillenwater ALL RIGHTS RESERVED ii ABSTRACT CARY GILLENWATER: Graphic novels in advanced English/language arts classrooms: A phenomenological case study (Under the direction of Madeleine Grumet) This dissertation is a phenomenological case study of two 12th grade English/language arts (ELA) classrooms where teachers used graphic novels with their advanced students. The primary purpose of this case study was to gain insight into the phenomenon of using graphic novels with these students—a research area that is currently limited. Literature from a variety of disciplines was compared and contrasted with observations, interviews, questionnaires, and structured think-aloud activities for this purpose. The following questions guided the study: (1) What are the prevailing attitudes/opinions held by the ELA teachers who use graphic novels and their students about this medium? (2) What interests do the students have that connect to the phenomenon of comic book/graphic novel reading? (3) How do the teachers and the students make meaning from graphic novels? The findings generally affirmed previous scholarship that the medium of comic books/graphic novels can play a beneficial role in ELA classrooms, encouraging student involvement and ownership of texts and their visual literacy development. The findings also confirmed, however, that teachers must first conceive of literacy as more than just reading and writing phonetic texts if the use of the medium is to be more than just secondary to traditional literacy.
[Show full text]
“I Am the Villain of This Story!”: the Development of the Sympathetic Supervillain
“I Am The Villain of This Story!”: The Development of The Sympathetic Supervillain by Leah Rae Smith, B.A. A Thesis In English Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS Approved Dr. Wyatt Phillips Chair of the Committee Dr. Fareed Ben-Youssef Mark Sheridan Dean of the Graduate School May, 2021 Copyright 2021, Leah Rae Smith Texas Tech University, Leah Rae Smith, May 2021 ACKNOWLEDGMENTS I would like to share my gratitude to Dr. Wyatt Phillips and Dr. Fareed Ben- Youssef for their tutelage and insight on this project. Without their dedication and patience, this paper would not have come to fruition. ii Texas Tech University, Leah Rae Smith, May 2021 TABLE OF CONTENTS ACKNOWLEDGMENTS………………………………………………………….ii ABSTRACT………………………………………………………………………...iv I: INTRODUCTION……………………………………………………………….1 II. “IT’S PERSONAL” (THE GOLDEN AGE)………………………………….19 III. “FUELED BY HATE” (THE SILVER AGE)………………………………31 IV. "I KNOW WHAT'S BEST" (THE BRONZE AND DARK AGES) . 42 V. "FORGIVENESS IS DIVINE" (THE MODERN AGE) …………………………………………………………………………..62 CONCLUSION ……………………………………………………………………76 BIBLIOGRAPHY …………………………………………………………………82 iii Texas Tech University, Leah Rae Smith, May 2021 ABSTRACT The superhero genre of comics began in the late 1930s, with the superhero growing to become a pop cultural icon and a multibillion-dollar industry encompassing comics, films, television, and merchandise among other media formats. Superman, Spider-Man, Wonder Woman, and their colleagues have become household names with a fanbase spanning multiple generations. However, while the genre is called “superhero”, these are not the only costume clad characters from this genre that have become a phenomenon.
[Show full text]
Supervillain Detention!
Supervillain Detention! Your team has just helped Elemento, a superhero, to capture Dr. Chrono, a local villain who has the superpower to speed up time and can produce water from her fingers. This can cause some metals to rust and crumble instantly. She can also control metals that are magnetic. She must remain in our custody until she can be taken to the police for questioning. There is a small room that we can use but we will need to keep the door closed so she can’t sneak out while we rest. Several types of nails/fasteners are available but we must be careful. Elemento is vulnerable to aluminum (it is toxic and makes him weak). His superpower is heat which is used to melt any plastic he touches. Your task is to examine the available nails/fasteners and suggest what Elemento should use to secure the door to Dr. Crono’s place of temporary confinement. You will make a recommendation based on evidence from your tests and observations. Complete the data table below about the strengths and weaknesses of Dr. Chrono and Elemento. Dr. Chrono Elemento In your group, brainstorm at least five characteristics or properties of six materials that you can test. Here are the materials that are available for testing: • • Aluminum foil Aluminum nail 1 Next Generation Science Standards • Battery and bulb • Magnets • Common Iron nail • Plastic screw or anchor • Concrete screw • Sandpaper • Copper nail • Small cups of water and lime • Galvanized nail or lemon juice • Wooden dowel or lathe • Small magnets • Hand lenses • Stainless steel nail • Tape Chemists use specific characteristics or properties to describe and classify materials.
[Show full text]
S19-Seven-Seas.Pdf
19S Macm Seven Seas Nurse Hitomi's Monster Infirmary Vol. 9 by Shake-O The monster nurse will see you now! Welcome to the nurse's office! School Nurse Hitomi is more than happy to help you with any health concerns you might have. Whether you're dealing with growing pains or shrinking spurts, body parts that won't stay attached, or a pesky invisibility problem, Nurse Hitomi can provide a fresh look at the problem with her giant, all-seeing eye. So come on in! The nurse is ready to see you! Author Bio Shake-O is a Japanese artist best known as the creator of Nurse Hitomi's Monster Infirmary Seven Seas On Sale: Jun 18/19 5 x 7.12 • 180 pages 9781642750980 • $15.99 • pb Comics & Graphic Novels / Manga / Fantasy • Ages 16 years and up Series: Nurse Hitomi's Monster Infirmary Notes Promotion • Page 1/ 19S Macm Seven Seas Servamp Vol. 12 by Strike Tanaka T he unique vampire action-drama continues! When a stray black cat named Kuro crosses Mahiru Shirota's path, the high school freshman's life will never be the same again. Kuro is, in fact, no ordinary feline, but a servamp: a servant vampire. While Mahiru's personal philosophy is one of nonintervention, he soon becomes embroiled in an ancient, altogether surreal conflict between vampires and humans. Author Bio Strike Tanaka is best known as the creator of Servamp and has contributed to the Kagerou Daze comic anthology. Seven Seas On Sale: May 28/19 5 x 7.12 • 180 pages 9781626927278 • $15.99 • pb Comics & Graphic Novels / Manga / Fantasy • Ages 13 years and up Series: Servamp Notes Promotion • Page 2/ 19S Macm Seven Seas Satan's Secretary Vol.
[Show full text]
Graphic Novels, Comics and Popular Culture- SWPACA 2016
Call for Papers and Presentations: Graphic Novels, Comics and Popular Culture- SWPACA 2016 Southwest Popular Culture / American Culture Association http://southwestpca.org/ Make plans to join the Southwest PCA/ACA for our 37th annual conference, February 10-13, 2016, at the Hyatt Regency Hotel and Conference Center in beautiful Albuquerque, New Mexico The area chair seeks papers/presentation proposals on Graphic Novels and Comics and Popular Culture, due on November 1st, 2015. Any aspect of Comics and Graphic Novels in Popular Culture will be considered. Possible panel/discussion topics: Comics podcasts. With so much comics-related news on websites, another form that has taken off in recent years includes the podcast/radio show. How well do these podcasts relate comic/graphic novels news? We have podcasts on the Golden Age of comics, superhero comics, and most recently The Comics Alternative, which goes beyond superheroes to discuss the independents. What impact do podcasts like this have? The concept of the super-villain! There is much scholarly literature on the superhero but not nearly as much on the super-villain. Yet a superhero is usually only as good or interesting as the super-villain counterpart. Stan Lee said that coming up with interesting super-villains is often difficult. Why? How have super-villains in comics changed over the years? What makes a supervillain like the Joker or Magneto so compelling? We would welcome full panels on supervillains. There has been a recent rise in superhero movies, What is the future of the superhero-based movie? Will the superhero movie continue to be popular? Has the superhero film run its course? Why are superhero movies still popular? Pedagogical approaches to teaching graphic novel content.
[Show full text]
An Examination of Superhero Tropes in My Hero Academia
The University of San Francisco USF Scholarship: a digital repository @ Gleeson Library | Geschke Center Master's Projects and Capstones Theses, Dissertations, Capstones and Projects Spring 5-29-2020 The World’s Greatest Hero: An Examination of Superhero Tropes in My Hero Academia Jerry Waller [email protected] Follow this and additional works at: https://repository.usfca.edu/capstone Part of the Comparative Literature Commons, Japanese Studies Commons, Modern Literature Commons, and the Visual Studies Commons Recommended Citation Waller, Jerry, "The World’s Greatest Hero: An Examination of Superhero Tropes in My Hero Academia" (2020). Master's Projects and Capstones. 1006. https://repository.usfca.edu/capstone/1006 This Project/Capstone is brought to you for free and open access by the Theses, Dissertations, Capstones and Projects at USF Scholarship: a digital repository @ Gleeson Library | Geschke Center. It has been accepted for inclusion in Master's Projects and Capstones by an authorized administrator of USF Scholarship: a digital repository @ Gleeson Library | Geschke Center. For more information, please contact [email protected]. The World’s Greatest Hero: An Examination of Superhero Tropes in My Hero Academia Jerry Waller APS 650: MAPS Capstone Seminar May 17, 2020 1 Abstract In this paper the author explores the cross-cultural transmission of genre archetypes in illustrated media. Specifically, the representation of the archetype of American superheroes as represented in the Japanese manga and anime series, My Hero Academia. Through examination of the extant corpus of manga chapters and anime episodes for the franchise, the author draws comparison between characters and situations in the manga series with examples from American comic books by Marvel Comics and DC Comics.
[Show full text]
Comics and Webcomics: Super-Heroes, Over-Heroes and Poser-Heroes
H-ermes. Journal of Communication H-ermes, J. Comm. 19 (2021), 249-262 ISSN 2284-0753, DOI 10.1285/i22840753n19p249 http://siba-ese.unisalento.it Comics and webcomics: super-heroes, over-heroes and poser-heroes Heraldo Aparecido Silva Comics and webcomics: super-heroes, over-heroes and poser-heroes. This article aims to analyse the superhero subgenre in comic books and webcomics. First, the study focuses on the characteristics of hero, superhero and antihero categories. Then we briefly describe some contemporary aspect of the history of the stories in superhero comics to propose the inclusion of two new sub-categories: the over-hero and the poser-hero. The theoretical foundation is based on authors such as: Moya (1977; 1994; 2003), Eco (1993), Mix (1993), Beirce (1993), Bloom (2002; 2003), McLauglin (2005), Knowles (2008), Irwin (2009), Mazur; Danner (2014), among others. The literature specializing in comic books and philosophical perspectives functions as analytical and theoretical support for the interpretation of themes taken from the superhero universe.With the advent of computer graphics and the internet, comic books have conquered new formats, new technologies and new audiences from a democratized distribution. In addition, two factors are important to understand the relevance of webcomics to the history of comics. First, as comics in print are scanned, the comics/webcomics distinction is not exclusive. In this text, we discuss about heroes and superheroes that can be found and read in both printed and digital formats. Second, webcomics have enabled many artists to achieve more visibility for their work through social media. From this perspective, we argue that the notion of webcomics evolve from the notion of comics.
[Show full text]
The Evolution of Superman As a Reflection of American Society Marie Gould Bellarmine University, Louisville, KY Advisor: Dr
Dissecting the Man of Steel: The Evolution of Superman as a Reflection of American Society Marie Gould Bellarmine University, Louisville, KY Advisor: Dr. Aaron Hoffman Readers: Dr. Casey Baugher and Dr. Kathryn West INTRODUCTION Super-History: Comic Book Superheroes With the massive resurgence in the popularity of superheroes within pop and American Society by Jeffery K. culture, comic books are being slowly integrated into academic Johnson literature. In previous decades, the belief that they were purely for Comic books are “a metaphorical way of discussing childhood enjoyment had caused them to be seriously undervalued as a This book by historian and comic book enthusiast Jeffrey K. Johnson immigration, Americanization, urbanization, medium in scholastic studies. But there is much more to comics than the serves as the main foundation of this thesis. In his study, he analyzes trends surface-level storyline of good versus evil. If one chooses to dive deeper and patterns of America mirrored in comic books over the eight decades American identity, changing concepts of race and into the narrative, they will find that comics reveal much more to the since the introduction of superheroes into the genre. He separates his time gender, individualism, capitalism, modernism, and reader about that society’s values and struggles. What one may see as an periods into nine chapters, from Superman’s creation years to 2010. Similar to this thesis, each chapter describes how the social views and over-the-top, monologuing supervillain and a charismatic, strong-willed so many other cultural concerns.” political ideals were reflected in the superhero comics written in that superhero could also be the author’s representation of challenging ideas decade.
[Show full text]
Heroes and Superheroes: from Myth to the American Comic Book
Heroes and superheroes: from myth to the American comic book Hougaard Winterbach Faculty of Arts, Tshwane University of Technology, Pretoria. E-mail: [email protected] This article demonstrates that the mythological hero who appears in myth, legend and folklore has resurfaced in the twentieth century as the American comic book superhero. First, the differences between the hero and the superhero are explained. Then the characteristics of the archaic hero are discussed to show its parallels with the modern superhero. The argument is based on Joseph Campbell’s formulation of the complex pattern in the stages of the adventure of the hero. An analysis of a superhero comic book, Daredevil: Born Again, serves to show how these different stages, as distinguished by Campbell, form the basis for both the archaic and the American comic book superhero. Helde en superhelde: van mite tot die Amerikaanse strokiesprent Hierdie artikel demonstreer dat die mitologiese held wat in mites, legendes en volksverhale verskyn, sy herverskyning maak in die twintigste eeu in die vorm van die Amerikaanse strokiesprent superheld. Die verskille tussen die held en die superheld word eerstens bespreek. Vervolgens word die eienskappe van die argaïese held bespreek om die ooreenkomste met die moderne superheld aan te toon. Die argument is gebaseer op Joseph Campbell se formulering van die komplekse patroon in die fases van die held se avontuur. 'n Analise van 'n superheld strokiesprent (Daredevil: Born Again) toon hoe hierdie verskillende fases, soos deur Campbell onderskei, die basis vir sowel die argaïese held as vir die Amerikaanse strokiesprent vorm. he superhero1 has been a key character in the comic book, published largely in the United States of America, since 1938.
[Show full text]
Comic Book Club Handbook
COMIC BOOK CLUB HANDBOOK Starting and making the most of book clubs for comics and graphic novels! STAFF COMIC BOOK LEGAL Charles Brownstein, Executive Director Alex Cox, Deputy Director DEFENSE FUND Samantha Johns, Development Manager Kate Jones, Office Manager Comic Book Legal Defense Fund is a non-profit organization Betsy Gomez, Editorial Director protecting the freedom to read comics! Our work protects Maren Williams, Contributing Editor readers, creators, librarians, retailers, publishers, and educa- Caitlin McCabe, Contributing Editor tors who face the threat of censorship. We monitor legislation Robert Corn-Revere, Legal Counsel and challenge laws that would limit the First Amendment. BOARD OF DIRECTORS We create resources that promote understanding of com- Larry Marder, President ics and the rights our community is guaranteed. Every day, Milton Griepp, Vice President Jeff Abraham, Treasurer we publish news and information about censorship events Dale Cendali, Secretary as they happen. We are partners in the Kids’ Right to Read Jennifer L. Holm Project and Banned Books Week. Our expert legal team is Reginald Hudlin Katherine Keller available at a moment’s notice to respond to First Amend- Paul Levitz ment emergencies. CBLDF is a lean organization that works Andrew McIntire hard to protect the rights that our community depends on. For Christina Merkler Chris Powell more information, visit www.cbldf.org Jeff Smith ADVISORY BOARD Neil Gaiman & Denis Kitchen, Co-Chairs CBLDF’s important Susan Alston work is made possible Matt Groening by our members! Chip Kidd Jim Lee Frenchy Lunning Join the fight today! Frank Miller Louise Nemschoff http://cbldf.myshopify Mike Richardson .com/collections William Schanes José Villarrubia /memberships Bob Wayne Peter Welch CREDITS CBLDF thanks our Guardian Members: Betsy Gomez, Designer and Editor James Wood Bailey, Grant Geissman, Philip Harvey, Joseph Cover and interior art by Rick Geary.
[Show full text]