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Tsr6903.Mu7.Ghotmu.C
[ Official Game Accessory Gamer's Handbook of the Volume 7 Contents Arcanna ................................3 Puck .............. ....................69 Cable ........... .... ....................5 Quantum ...............................71 Calypso .................................7 Rage ..................................73 Crimson and the Raven . ..................9 Red Wolf ...............................75 Crossbones ............................ 11 Rintrah .............. ..................77 Dane, Lorna ............. ...............13 Sefton, Amanda .........................79 Doctor Spectrum ........................15 Sersi ..................................81 Force ................................. 17 Set ................. ...................83 Gambit ................................21 Shadowmasters .... ... ..................85 Ghost Rider ............................23 Sif .................. ..................87 Great Lakes Avengers ....... .............25 Skinhead ...............................89 Guardians of the Galaxy . .................27 Solo ...................................91 Hodge, Cameron ........................33 Spider-Slayers .......... ................93 Kaluu ....... ............. ..............35 Stellaris ................................99 Kid Nova ................... ............37 Stygorr ...............................10 1 Knight and Fogg .........................39 Styx and Stone .........................10 3 Madame Web ...........................41 Sundragon ................... .........10 5 Marvel Boy .............................43 -
Twisted Trails of the Wold West by Matthew Baugh © 2006
Twisted Trails of the Wold West By Matthew Baugh © 2006 The Old West was an interesting place, and even more so in the Wold- Newton Universe. Until fairly recently only a few of the heroes and villains who inhabited the early western United States had been confirmed through crossover stories as existing in the WNU. Several comic book miniseries have done a lot to change this, and though there are some problems fitting each into the tapestry of the WNU, it has been worth the effort. Marvel Comics’ miniseries, Rawhide Kid: Slap Leather was a humorous storyline, parodying the Kid’s established image and lampooning westerns in general. It is best known for ‘outing’ the Kid as a homosexual. While that assertion remains an open issue with fans, it isn’t what causes the problems with incorporating the story into the WNU. What is of more concern are the blatant anachronisms and impossibilities the story offers. We can accept it, but only with the caveat that some of the details have been distorted for comic effect. When the Rawhide Kid is established as a character in the Wold-Newton Universe he provides links to a number of other western characters, both from the Marvel Universe and from classic western novels and movies. It draws in the Marvel Comics series’ Blaze of Glory, Apache Skies, and Sunset Riders as wall as DC Comics’ The Kents. As with most Marvel and DC characters there is the problem with bringing in the mammoth superhero continuities of the Marvel and DC universes, though this is not insurmountable. -
(“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. -
Resistant Vulnerability in the Marvel Cinematic Universe's Captain America
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 2-15-2019 1:00 PM Resistant Vulnerability in The Marvel Cinematic Universe's Captain America Kristen Allison The University of Western Ontario Supervisor Dr. Susan Knabe The University of Western Ontario Graduate Program in Media Studies A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Arts © Kristen Allison 2019 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Other Feminist, Gender, and Sexuality Studies Commons, Other Film and Media Studies Commons, and the Women's Studies Commons Recommended Citation Allison, Kristen, "Resistant Vulnerability in The Marvel Cinematic Universe's Captain America" (2019). Electronic Thesis and Dissertation Repository. 6086. https://ir.lib.uwo.ca/etd/6086 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract Established in 2008 with the release of Iron Man, the Marvel Cinematic Universe has become a ubiquitous transmedia sensation. Its uniquely interwoven narrative provides auspicious grounds for scholarly consideration. The franchise conscientiously presents larger-than-life superheroes as complex and incredibly emotional individuals who form profound interpersonal relationships with one another. This thesis explores Sarah Hagelin’s concept of resistant vulnerability, which she defines as a “shared human experience,” as it manifests in the substantial relationships that Steve Rogers (Captain America) cultivates throughout the Captain America narrative (11). This project focuses on Steve’s relationships with the following characters: Agent Peggy Carter, Natasha Romanoff (Black Widow), and Bucky Barnes (The Winter Soldier). -
Mcwilliams Ku 0099D 16650
‘Yes, But What Have You Done for Me Lately?’: Intersections of Intellectual Property, Work-for-Hire, and The Struggle of the Creative Precariat in the American Comic Book Industry © 2019 By Ora Charles McWilliams Submitted to the graduate degree program in American Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Co-Chair: Ben Chappell Co-Chair: Elizabeth Esch Henry Bial Germaine Halegoua Joo Ok Kim Date Defended: 10 May, 2019 ii The dissertation committee for Ora Charles McWilliams certifies that this is the approved version of the following dissertation: ‘Yes, But What Have You Done for Me Lately?’: Intersections of Intellectual Property, Work-for-Hire, and The Struggle of the Creative Precariat in the American Comic Book Industry Co-Chair: Ben Chappell Co-Chair: Elizabeth Esch Date Approved: 24 May 2019 iii Abstract The comic book industry has significant challenges with intellectual property rights. Comic books have rarely been treated as a serious art form or cultural phenomenon. It used to be that creating a comic book would be considered shameful or something done only as side work. Beginning in the 1990s, some comic creators were able to leverage enough cultural capital to influence more media. In the post-9/11 world, generic elements of superheroes began to resonate with audiences; superheroes fight against injustices and are able to confront the evils in today’s America. This has created a billion dollar, Oscar-award-winning industry of superhero movies, as well as allowed created comic book careers for artists and writers. -
Table of Content
Table of Content Introduction.................................................................................................................................... Chapter I: The Misrepresentation.................................................................................................1 1. Wolverine vs. Northstar.......................................................................................................3 2. Rawhide Kid........................................................................................................................7 3. Freedom Ring......................................................................................................................9 4. Punisher.............................................................................................................................11 5. Hulk vs. YMCA.................................................................................................................13 6. Superior Iron Man.............................................................................................................18 Chapter II: Coming Out As a Mutant: Queerness in X-men Comics..........................................22 1. Legacy Virus – the Image of AIDS in Comics...................................................................24 2. How (Not) To Be A Mutant – Acceptance And Self-acceptance........................................29 Chapter III: Bisexuality and Gender Transgression in the Marvel Universe...............................33 1. The Case of Peggy Carter vs. Howard -
Agent Carter
Les fiches du Rayon du Polar Agent Carter Editions virtuelles Le Rayon du Polar Page 1/10 Les fiches du Rayon du Polar Hayley Atwell >... > Peggy Carter ||| James D'Arcy >... > Edwin Jarvis ||| Enver Gjokaj >... > Daniel Sousa ||| Chad Michael Murray >... > Jack Thompson ||| Dominic Cooper >... > Howard Stark Créée par Christopher Markus et Stephen McFeely En 2011, les complexes cinématographiques accueillaient « Captain America: First Avenger » (1), le cinquième film de l'univers cinématographique Marvel (2) narrant l’une des aventures du super héros Captain America, l’un des personnages de Marvel Comics. Trois ans plus tard, ce même Steve Rogers, jeune homme fragile de Brooklyn métamorphosé en super héros, revenait avec « Captain America : Le Soldat de l'hiver » (3). Certes, ce porte-drapeau du patriotisme américain, né en 1940 de par la volonté de Jack Kirby et Joe Simon (4), a connu d’autres excursions filmiques (5), mais dans ces deux, il est flanqué de la même Peggy Carter : Hayley Atwell. Entre temps, à l’occasion du DVD d'« Iron Man 3 », les studios Marvel réalisaient un court métrage de quinze minutes, intitulé « Action Peggy » qu’ils plaçaient en bonus de ce DVD et qui propulsait au premier plan Peggy Carter (6). Et c’est ainsi que tout naturellement, la série Agent Carter vit le jour, avec dans le rôle éponyme Hayley Atwell. 1946 : « Captain America », que d’aucuns croyaient invincible, est mort depuis quelque temps. Mais Peggy n’a pas le temps de faire son deuil, les hommes sont revenus de la guerre et ont retrouvé leur place, la reléguant, au sein SSR (Strategic Scientific Reserve), aux basses œuvres administratives. -
Download Torrent Agente Carter 1 Agente Carter - 1ª Temporada Completa Torrent (2015) Dublada / Dual Áudio 720P Download
download torrent agente carter 1 Agente Carter - 1ª Temporada Completa Torrent (2015) Dublada / Dual Áudio 720p Download. Informações da Série Título: Agente Carter - 1ª Temporada Completa Torrent Lançamento: 2015 Gêneros: Ação, Aventura, Ficção Idiomas: Inglês / Português Legendas: Português Duração: 42 Minutos Classificação Indicativa: 10 Anos Nacionalidade: EUA Crítica: 7.9 / 10 Informações do Arquivo Torrent Qualidade: 720p, HD, WEB-DL Qualidade de Áudio: 10 Qualidade de Vídeo: 10 Formatos: MKV Tamanho: 3.21 GB Servidor: Torrent. Sinopse : O ano é 1946, e Peggy Carter (Hayley Atwell) se encontra marginalizada quando os homens retornam ao lar após a Guerra. Trabalhando para a SSR, Peggy precisa balancear o trabalho administrativo e missões secretas para Howard Stark, ao mesmo tempo em que leva uma vida solteira após perder o seu amor, Steve Rogers. Trailer. Agente Carter - 1ª Temporada Completa Dublada. 1ª TEMPORADA COMPLETA DOWNLOAD TORRENT DUBLADA DUAL ÁUDIO MKV 720P. Recomendamos Assistir. Série Agente Carter - 2ª Temporada Completa (2016) Série Agente Carter da Marvel - 2ª Temporada (2016) Série Agente Carter da Marvel - 1ª Temporada (2015) Elenco. Hayley Atwell . Peggy Carter 18 Episódios 2015-2016 James DArcy . Edwin Jarvis 18 Episódios 2015-2016 Enver Gjokaj . Daniel Sousa 18 Episódios 2015-2016 Chad Michael Murray . Jack Thompson 14 Episódios 2015-2016 Wynn Everett . Whitney Frost 10 Episódios 2016 Reggie Austin . Jason Wilkes 10 Episódios 2016 Bridget Regan . Dottie Underwood 10 Episódios 2015-2016 Lesley Boone . Rose . 9 Episódios 2015-2016. GÊNEROS. Série Agente Carter - 1ª Temporada Completa Dublada / Dual Áudio Torrent (2015) em 720p / HD / WEB-DL Download nos formatos MKV [BAIXAR GRÁTIS - Lacraia Torrent]. -
Newsletter 05/13 DIGITAL EDITION Nr
ISSN 1610-2606 ISSN 1610-2606 newsletter 05/13 DIGITAL EDITION Nr. 328 - Mai 2013 Michael J. Fox Christopher Lloyd LASER HOTLINE - Inh. Dipl.-Ing. (FH) Wolfram Hannemann, MBKS - Talstr. 11 - 70825 K o r n t a l Fon: 0711-832188 - Fax: 0711-8380518 - E-Mail: [email protected] - Web: www.laserhotline.de Newsletter 05/13 (Nr. 328) Mai 2013 editorial THE BROKEN CIRCLE: Kino & Konzert im Schauburg Cinerama Theater, Karlsruhe Cast & Crew im Gespräch mit Wolfram Hannemann 5 JAHRE LEBEN: Baden-Württemberg-Premiere mit Cast & Crew Liebe Filmfreundinnen und WIDESCREEN WEEKEND: Filmfreunde! Wolfram Hannemann führt in „Hello, Dolly!“ ein Wann sind Sie das nächste Mal „online“? Es lohnt sich wieder einmal auf unseren Youtube-Kanal zu surfen. Dort gibt es nicht weniger als gleich vier Neuzugänge zu entdecken. Alles natürlich wie immer in Full HD. Wir freuen uns über jeden Klick und jedes „Like“. Also ran an die Tasten und viel Spaß dabei! Noch ein wichtiger Hinweis für alle, die sich schon auf das CinemaScope-Festival in der Karlsruher Schauburg gefreut haben: es findet leider vorerst nicht statt. Der Termin 01./0.2 Juni 2013 ist einer umfassenden Renovierung des Hauses zum Opfer gefallen. Einen Trost gibt es: aufgeschoben ist nicht aufgehoben! Ihr LASER HOTLINE Team JÄGER DES AUGENBLICKS: Sportkletterer Stefan Glowacz und Holger Heuber im Gespräch mit SWR-Kinomann Herbert Spaich LASER HOTLINE Seite 2 Newsletter 05/13 (Nr. 328) Mai 2013 Star Trek Wars München hat mich wieder. Frisch aus der Schweiz zurück, lasse ich 15•-Kino-Tickets, zweisprachige Untertitel und nerventötende Filmpausen hinter mir. Als erstes ging es in meiner bayerischen Hei- matstadt auch nicht in den Biergarten oder auf den Marienplatz, sondern ins langjährige, heimi- sche Stammkino. -
TV Review: Agent Carter – Series 2 Episode 8: 'The Edge of Mystery
Nouse Web Archives TV Review: Agent Carter – Series 2 Episode 8: ‘The Edge of Mystery’ Page 1 of 3 News Comment MUSE. Politics Business Science Sport Roses Freshers Muse › Film & TV › Features Film Reviews TV Reviews Festivals TV Review: Agent Carter – Series 2 Episode 8: ‘The Edge of Mystery’ ‘The Edge of Mystery’ is not a bad episode of Agent Carter by any means, but a lot will have to be done in the last two episodes of this series for there to be a strong conclusion, says Thomas Ron Tuesday 10 May 2016 ★★★☆☆ Image: Marvel / ABC Looks like the last two episodes were a high point for Agent Carter. At least it has not gone too far backwards to the point where it was bad. This episode was a good one that worked for me and I enjoyed it, but it did lack the gravitas that we saw previously. I don’t have any actual criticism for this episode, but not all of it added up and it feels that a show in its antepenultimate episode should really be dishing out more that what we are seeing. The show had a vote of confidence by the network by being made longer. I just wish it was using that vote to better effect. One of the best parts of this episode was the ending where Jarvis went up and shot Whitney Frost multiple times point blank in the chest. This was a great moment for the character. I had previously criticised the show for not doing enough with Jarvis, just having him stand around being the comic relief. -
Crisis of Infinite Intertexts! Continuity As Adaptation in the Superman Multimedia Franchise
Crisis of Infinite Intertexts! Continuity as Adaptation in the Superman Multimedia Franchise Jack Peterson Teiwes ORCID identifier 0000-0001-8956-1602 Doctor of Philosophy November 2015 School of Culture and Communication The University of Melbourne Submitted in total fulfillment of the requirements of the PhD degree Produced on archival quality paper Abstract Since first appearing as a comic book character over three quarters of a century ago, Superman was not only the first superhero, spawning an entire genre of imitators, but also quickly became one of the most widely disseminated multi-media entertainment franchises. This achieved a degree of intergenerational cultural dissemination that far surpasses his comic book fandom. Yet despite an unprecedented degree of adaptation into other media from radio, newspaper strips, film serials, animation, feature films, video games and television, Superman’s ongoing comic books have remained in unbroken publication, developing a long and complex history of narrative renewal and reinvention. This thesis investigates the multifaceted intertextuality between the comic book portrayals of Superman and its many adaptations over the years, including how such retellings in other media have a generally stronger cultural impact, which exerts in turn an adaptive influence upon these continuing comics’ internalised narrative continuity. I shall argue that Superman comics, as a case study for the wider phenomenon in the superhero genre, demonstrate via their frequent revisions and relaunches of continuity, a process of deeply palimpsestuous self-adaptation. The Introduction positions my research methodology in relation to intertextual theory, with an emphasis on providing terminological clarity, while Chapter 1 expands into a literature review on pertinent key scholarship on adaptation studies and the comics studies field specifically. -
American Comic Books & the Aids Crisis
FATAL ATTRACTIONS: AMERICAN COMIC BOOKS & THE AIDS CRISIS A MASTER’S FINAL PROJECT FOR THE DEPARTMENT OF AMERICAN STUDIES Sean A. Guynes FATAL ATTRACTIONS: AMERICAN COMIC BOOKS AND THE AIDS CRISIS A Master’s Final Project Presented by SEAN A. GUYNES Submitted to the Department of American Studies, University of Massachusetts Boston, in partial fulfillment of the requirements for the degree of MASTER OF ARTS June 2015 American Studies Program © 2015 by Sean A. Guynes All rights reserved Cover design after Alaniz (2014). Cover art by Richard Bennett, Uncanny X-Men #303 (August 1993), © Marvel Worldwide, Inc. Art below from 7 Miles A Second, story by David Wojnarowicz, art by James Romberger and Marguerite Van Cook (1996). ABSTRACT FATAL ATTRACTIONS: AMERICAN COMIC BOOKS AND THE AIDS CRISIS June 2015 Sean A. Guynes, B.A., Western Washington University M.A., University of Massachusetts Boston Advisor: Aaron Lecklider, Ph.D. Second Reader: Rachel Rubin, Ph.D. Between 1988 and 1994 American comic books engaged the politics, problematics, and crises of the AIDS epidemic by inserting the virus and its social, cultural, and epidemiological effects on gay men into the four-color fantasies of the superhero genre. As the comic-book industry was undergoing major internal changes that allowed for more mature, adult storylines, creators challenged the Comics Code Authority’s 1954 sanction against the representation of homosexuality to create, for the first time, openly gay characters. Creators’ efforts were driven by a desire to recognize the reality of gay men’s lived experiences, especially crucial in the epidemic time of the AIDS crisis.