Writer's Guide

Total Page:16

File Type:pdf, Size:1020Kb

Writer's Guide NINE LIVES Writer’s Guide by Lee A. Chrimes Version 1.1 – 10/6/2011 SERIES CONCEPT ............................................................................. 3 Mission Statement ......................................................................... 3 Background .................................................................................. 4 Themes........................................................................................ 5 CHARACTER BIOS............................................................................. 6 Selina Kyle ................................................................................... 6 Backstory .................................................................................. 6 Overview................................................................................... 6 Dialogue.................................................................................... 7 Appearance ............................................................................... 8 Arcs.......................................................................................... 9 Holly Robinson ............................................................................ 11 Backstory ................................................................................ 11 Overview................................................................................. 11 Dialogue.................................................................................. 12 Appearance ............................................................................. 13 Arcs........................................................................................ 13 Renee Montoya ........................................................................... 15 Backstory ................................................................................ 15 Overview................................................................................. 15 Dialogue.................................................................................. 17 Appearance ............................................................................. 17 Arcs........................................................................................ 17 Other Characters......................................................................... 19 GCPD ............................................................................................ 21 Gotham Central........................................................................... 21 Overview................................................................................. 21 Structure................................................................................. 22 Cop Stories.............................................................................. 22 BACKSTORY AND MYTHOLOGY ......................................................... 24 Overview.................................................................................... 24 Bat-Years ................................................................................... 26 STORYLINES .................................................................................. 28 Arc ............................................................................................ 28 Episodes..................................................................................... 29 Story Ideas................................................................................. 31 Season Summary ........................................................................ 32 Future Seasons ........................................................................... 34 Spin-offs .................................................................................... 35 ACTION......................................................................................... 37 SUMMARY...................................................................................... 38 2 SERIES CONCEPT Mission SStatementtatement Nine Lives is a superhero show without any obvious superheroes. It takes elements of spy-fi action ( Nikita , Alias ), urban drama ( Dark Angel ), cons and thievery ( Leverage ) and bundles it all up under the Batman world as reimagined by Christopher Nolan ( Batman Begins, The Dark Knight ). NL will be a show about finding your place in the world, about starting off at rock bottom, a stranger in a strange land, and learning to trust those worth trusting, slowly pushing yourself to newer and greater things and leaving the tragedies of your recent and distant history behind. There’ll always be new challenges, obstacles and tragedies to encounter, battle and overcome, but ultimately it’ll be a show about finding ways past whatever roadblocks get thrown in your path. We’re going to be taking Selina Kyle on a journey from down-and-out, disgraced former thief for hire, full of youthful arrogance and disdain, into her own kind of hero, one who plays to her own rulebook but can stand side by side with Batman and mean it. Holly is going to go from former junkie and hooker to bona fide ally of justice, albeit again by way of Selina’s own particular moral code. Montoya will start as a fresh-faced recruit and probably take the hardest journey of all, fighting a corrupt system she may never truly conquer, but she’s got just as much guts as Selina to face down her opponents and never blink. Our three lead girls will always be the focus of our stories – this is their show. Too many shows are content to leave their leads largely unaffected by years of progress – not us! The unique opportunity NL offers is that nobody’s ever traced the early days of Selina Kyle in any detail. Flashbacks and origin stories only give us part of the puzzle – post 1985’s Crisis on Infinite Earths , which along with Batman Year One is the rough starting point for our chronology, all we know about Selina is she’s an orphaned runaway who learnt thievery while living rough, and turned it into a career. Nine Lives will show us how that happened. We’re going to do this without any of the flashy cape-and-tights theatrics of Smallville – this is the grittier, more realistic take on superheroics that the Nolan movies captured so well. The world of Batman’s Gotham is a colourful, violent place full of crazy characters, but they will always feel real . I don’t want any of that cosmic Gods, aliens and magic bollocks here wherever possible – we’re not going near things like Darkseid, Justice League, or any of the Crisis events, because those aren’t the stories I want to tell. Nine Lives will be street-level action – DC prides itself on having one foot in reality and this show will toe that line. It’ll help us stand out, for one thing. We will, however, be using the DCU concept of ‘metahumans’, people with extraordinary talents, gifts and abilities, whether inherited through accident, genetics or any other means. Possibly not to the full extent of characters like Cheetah, but in order for characters like Poison Ivy or Clayface to work we’ll need to be flexible with this. We’re also going to be fun . I’m not aiming for the kind of dark, gritty storytelling you’d find on The Wire , nor the teen-friendly camp of Smallville . Somewhere between the two. Moments of tragedy, sadness, pain and loss, and moments of joy, exhilaration, fist-pumping ass-kickery and dry wisecracks. I’ve been known for action-heavy shows with strong characterisation and a line in witty humour, 3 and while Nine Lives won’t be as quiplash-y as my other shows, we’ll still known when to crack a joke, and when to shut up and kick some ass. And most importantly, we’re not slave-tied to the canon of the comics. Anyone who reads comic books will tell you that their own chronology and continuity are hopelessly muddled, contradictory affairs, with reboots and retcons aplenty (and, in fact, one about to happen across the DCU later this year which will, if I’m honest, fuck a load of things up). When I originally started trying to map out Nine Lives , I quickly found that trying to find a consistent throughline of stories was nearly impossible, and when I realised that some big Bat-events that I wanted to play off wouldn’t be available canonically for six or seven years, I decided we need to strike off our own way with everything. Be respectful to the comic history and try not to deviate too massively unless necessary, but by and large do our own thing. For example, while our setup here is very much based around late 80s/early 90s Batman, the first volume of Catwoman ran from ’93 to ’01, putting it out of sync with where Season One begins, and Volume II from 2002 is where my head is with Nine Lives in terms of setting, scale and style. Renee Montoya originally didn’t debut until 1992, so she’s been brought back to fit into earlier continuity (and the GCPD stuff in general takes a cue from the excellent Gotham Central series, ’03-‘06). There was also the issue of how much Batman to use here. Nine Lives will hit the major Bat-arcs ( Knightfall, A Death In The Family, No Man’s Land etc.) but as strictly background only. Batman will feature only occasionally (at least in the first few seasons), with reference to events and storylines off-camera when appropriate. Batman as a character could easily dwarf Selina early on, so to avoid that we keep him in the shadows until our Selina is more established. Same goes for the more major league Rogues Gallery like Joker and Two-Face. We’ll be doing tightly-packed, 13-episode seasons. No filler. I don’t mind a more serialised style, especially in later
Recommended publications
  • Gotham Knights
    University of Denver Digital Commons @ DU Electronic Theses and Dissertations Graduate Studies 11-1-2013 House of Cards Matthew R. Lieber University of Denver Follow this and additional works at: https://digitalcommons.du.edu/etd Part of the Screenwriting Commons Recommended Citation Lieber, Matthew R., "House of Cards" (2013). Electronic Theses and Dissertations. 367. https://digitalcommons.du.edu/etd/367 This Thesis is brought to you for free and open access by the Graduate Studies at Digital Commons @ DU. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ DU. For more information, please contact [email protected],[email protected]. House of Cards ____________________________ A Thesis Presented to the Faculty of Social Sciences University of Denver ____________________________ In Partial Requirement of the Requirements for the Degree Master of Arts ____________________________ By Matthew R. Lieber November 2013 Advisor: Sheila Schroeder ©Copyright by Matthew R. Lieber 2013 All Rights Reserved Author: Matthew R. Lieber Title: House of Cards Advisor: Sheila Schroeder Degree Date: November 2013 Abstract The purpose of this thesis is to approach adapting a comic book into a film in a unique way. With so many comic-to-film adaptations following the trends of action movies, my goal was to adapt the popular comic book, Batman, into a screenplay that is not an action film. The screenplay, House of Cards, follows the original character of Miranda Greene as she attempts to understand insanity in Gotham’s most famous criminal, the Joker. The research for this project includes a detailed look at the comic book’s publication history, as well as previous film adaptations of Batman, and Batman in other relevant media.
    [Show full text]
  • 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.
    [Show full text]
  • Threat, Authoritarianism, and Depictions of Crime, Law, and Order in Batman Films Brandon Bosch University of Nebraska-Lincoln, [email protected]
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sociology Department, Faculty Publications Sociology, Department of 4-2-2016 “Why So Serious?” Threat, Authoritarianism, and Depictions of Crime, Law, and Order in Batman Films Brandon Bosch University of Nebraska-Lincoln, [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/sociologyfacpub Part of the Criminal Law Commons, Criminology Commons, Family, Life Course, and Society Commons, Public Affairs, Public Policy and Public Administration Commons, and the Social Control, Law, Crime, and Deviance Commons Bosch, Brandon, "“Why So Serious?” Threat, Authoritarianism, and Depictions of Crime, Law, and Order in Batman Films" (2016). Sociology Department, Faculty Publications. 287. http://digitalcommons.unl.edu/sociologyfacpub/287 This Article is brought to you for free and open access by the Sociology, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sociology Department, Faculty Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. VOLUME 17, ISSUE 1, PAGES 37–54 (2016) Criminology, Criminal Justice Law, & Society E-ISSN 2332-886X Available online at https://scholasticahq.com/criminology-criminal-justice-law-society/ “Why So Serious?” Threat, Authoritarianism, and Depictions of Crime, Law, and Order in Batman Films Brandon Bosch University of Nebraska-Lincoln A B S T R A C T A N D A R T I C L E I N F O R M A T I O N Drawing on research on authoritarianism, this study analyzes the relationship between levels of threat in society and representations of crime, law, and order in mass media, with a particular emphasis on the superhero genre.
    [Show full text]
  • MAR17 World.Com PREVIEWS
    #342 | MAR17 PREVIEWS world.com ORDERS DUE MAR 18 THE COMIC SHOP’S CATALOG PREVIEWSPREVIEWS CUSTOMER ORDER FORM CUSTOMER 601 7 Mar17 Cover ROF and COF.indd 1 2/9/2017 1:36:31 PM Mar17 C2 DH - Buffy.indd 1 2/8/2017 4:27:55 PM REGRESSION #1 PREDATOR: IMAGE COMICS HUNTERS #1 DARK HORSE COMICS BUG! THE ADVENTURES OF FORAGER #1 DC ENTERTAINMENT/ YOUNG ANIMAL JOE GOLEM: YOUNGBLOOD #1 OCCULT DETECTIVE— IMAGE COMICS THE OUTER DARK #1 DARK HORSE IDW’S FUNKO UNIVERSE MONTH EVENT IDW ENTERTAINMENT ALL-NEW GUARDIANS TITANS #11 OF THE GALAXY #1 DC ENTERTAINMENT MARVEL COMICS Mar17 Gem Page ROF COF.indd 1 2/9/2017 9:13:17 AM FEATURED ITEMS COMIC BOOKS & GRAPHIC NOVELS Hero Cats: Midnight Over Steller City Volume 2 #1 G ACTION LAB ENTERTAINMENT Stargate Universe: Back To Destiny #1 G AMERICAN MYTHOLOGY PRODUCTIONS Casper the Friendly Ghost #1 G AMERICAN MYTHOLOGY PRODUCTIONS Providence Act 2 Limited HC G AVATAR PRESS INC Victor LaValle’s Destroyer #1 G BOOM! STUDIOS Misfi t City #1 G BOOM! STUDIOS 1 Swordquest #0 G D. E./DYNAMITE ENTERTAINMENT James Bond: Service Special G D. E./DYNAMITE ENTERTAINMENT Spill Zone Volume 1 HC G :01 FIRST SECOND Catalyst Prime: Noble #1 G LION FORGE The Damned #1 G ONI PRESS INC. 1 Keyser Soze: Scorched Earth #1 G RED 5 COMICS Tekken #1 G TITAN COMICS Little Nightmares #1 G TITAN COMICS Disney Descendants Manga Volume 1 GN G TOKYOPOP Dragon Ball Super Volume 1 GN G VIZ MEDIA LLC BOOKS Line of Beauty: The Art of Wendy Pini HC G ART BOOKS Planet of the Apes: The Original Topps Trading Cards HC G COLLECTING AND COLLECTIBLES
    [Show full text]
  • Aesthetics, Taste, and the Mind-Body Problem in American Independent Comics
    PAPER TOWER: AESTHETICS, TASTE, AND THE MIND-BODY PROBLEM IN AMERICAN INDEPENDENT COMICS William Timothy Jones 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 2014 Committee: Jeremy Wallach, Advisor Esther Clinton © 2014 William Timothy Jones All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor Comics studies, as a relatively new field, is still building a canon. However, its criteria for canon-building has been modeled largely after modernist ideas about formal complexity and criteria for disinterested, detached, “objective” aesthetic judgment derived from one of the major philosophical debates in Western thought: the mind-body problem. This thesis analyzes two American independent comics in order to dissect the aspects of a comic work that allow it to be categorized as “art” in the canonical sense. Chris Ware’s Building Stories is a sprawling, Byzantine comic that exhibits characteristically modernist ideas about the subordination of the body to the mind and art’s relationship to mass culture. Rob Schrab’s Scud: The Disposable Assassin provides a counterpoint to Building Stories in its action-heavy stylistic approach, developing ideas about the merging of the mind and the body and the artistic and the commercial. Ultimately, this thesis advocates for a re -evaluation of comics criticism that values the subjective, emotional, and the popular as much as the “objective” areas of formal complexity and logic. iv ACKNOWLEDGMENTS To Anna O’Brien, for the original germ of this idea and hours of enlightening conversation and companionship. To Jeremy Wallach and Esther Clinton, whose emphatic response to the paper that eventually became this thesis was instrumental to my belief in the quality of my work.
    [Show full text]
  • All Batman References in Teen Titans
    All Batman References In Teen Titans Wingless Judd boo that rubrics breezed ecstatically and swerve slickly. Inconsiderably antirust, Buck sequinedmodernized enough? ruffe and isled personalties. Commie and outlined Bartie civilises: which Winfred is Behind Batman Superman Wonder upon The Flash Teen Titans Green. 7 Reasons Why Teen Titans Go Has Failed Page 7. Use of teen titans in batman all references, rather fitting continuation, red sun gauntlet, and most of breaching high building? With time throw out with Justice League will wrap all if its members and their powers like arrest before. Worlds apart label the bleak portentousness of Batman v. Batman Joker Justice League Wonder whirl Dark Nights Death Metal 7 Justice. 1 Cars 3 Driven to Win 4 Trivia 5 Gallery 6 References 7 External links Jackson Storm is lean sleek. Wait What Happened in his Post-Credits Scene of Teen Titans Go knowing the Movies. Of Batman's television legacy in turn opinion with very due respect to halt late Adam West. To theorize that come show acts as a prequel to Batman The Animated Series. Bonus points for the empire with Wally having all sorts of music-esteembody image. If children put Dick Grayson Jason Todd and Tim Drake in inner room today at their. DUELA DENT duela dent batwoman 0 Duela Dent ideas. Television The 10 Best Batman-Related DC TV Shows Ranked. Say is famous I'm Batman line while he proceeds to make references. Spoilers Ahead for sound you missed in Teen Titans Go. The ones you essential is mainly a reference to Vicki Vale and Selina Kyle Bruce's then-current.
    [Show full text]
  • Relationality and Masculinity in Superhero Narratives Kevin Lee Chiat Bachelor of Arts (Communication Studies) with Second Class Honours
    i Being a Superhero is Amazing, Everyone Should Try It: Relationality and Masculinity in Superhero Narratives Kevin Lee Chiat Bachelor of Arts (Communication Studies) with Second Class Honours This thesis is presented for the degree of Doctor of Philosophy of The University of Western Australia School of Humanities 2021 ii THESIS DECLARATION I, Kevin Chiat, certify that: This thesis has been substantially accomplished during enrolment in this degree. This thesis does not contain material which has been submitted for the award of any other degree or diploma in my name, in any university or other tertiary institution. In the future, no part of this thesis will be used in a submission in my name, for any other degree or diploma in any university or other tertiary institution without the prior approval of The University of Western Australia and where applicable, any partner institution responsible for the joint-award of this degree. This thesis does not contain any material previously published or written by another person, except where due reference has been made in the text. This thesis does not violate or infringe any copyright, trademark, patent, or other rights whatsoever of any person. This thesis does not contain work that I have published, nor work under review for publication. Signature Date: 17/12/2020 ii iii ABSTRACT Since the development of the superhero genre in the late 1930s it has been a contentious area of cultural discourse, particularly concerning its depictions of gender politics. A major critique of the genre is that it simply represents an adolescent male power fantasy; and presents a world view that valorises masculinist individualism.
    [Show full text]
  • Customer Order Form
    ORDERS PREVIEWS world.com DUE th 18 OCT 2016 OCT COMIC THE SHOP’S PREVIEWSPREVIEWS CATALOG CUSTOMER ORDER FORM CUSTOMER 601 7 Oct16 Cover ROF and COF.indd 1 9/8/2016 4:16:17 PM Oct16 Archie.indd 1 9/8/2016 9:50:56 AM THE LEGEND MOTOR CRUSH #1 OF ZELDA: IMAGE COMICS ART & ARTIFACTS HC DARK HORSE COMICS SUPERGIRL: BEING SUPER #1 DC ENTERTAINMENT ALIEN VS. PREDATOR: ROCKSTARS #1 LIFE AND DEATH #1 IMAGE COMICS DARK HORSE COMICS LOCKE & KEY: SMALL WORLD ONE-SHOT IDW ENTERTAINMENT JUSTICE LEAGUE VS. U.S.AVENGERS #1 SUICIDE SQUAD #1 MARVEL COMICS DC ENTERTAINMENT Oct16 Gem Page ROF COF.indd 1 9/8/2016 4:10:22 PM FEATURED ITEMS COMIC BOOKS & GRAPHIC NOVELS Rough Riders Volume 1 TP l AFTERSHOCK COMICS Reggie & Me #1 l ARCHIE COMICS Uber: Invasion #1 l AVATAR PRESS The Avengers: Steed & Mrs Peel: The Diana Magazine Stories Volume 1 GN l BIG FINISH PRODUCTIONS Jim Henson’s The Storyteller: Giants #1 l BOOM! STUDIOS 1 Klaus and the Witch of Winter One-Shot l BOOM! STUDIOS 1 Wonder Woman ‘77 Meets the Bionic Woman 77 #1 l D.E./DYNAMITE ENTERTAINMENT Red Sonja #0 l D.E./DYNAMITE ENTERTAINMENT Another Castle: Grimoire TP l ONI PRESS Disney’s Great Parodies Volume 1: Mickey’s Inferno GN/HC l PAPERCUTZ Hookjaw #1 l TITAN COMICS World War X #1 l TITAN COMICS Divinity III: Stalinverse #1 l VALIANT ENTERTAINMENT Tomie Complete Deluxe Editon HC l VIZ MEDIA The Pokemon Cookbook Sc l VIZ MEDIA BOOKS 2 Mercenary: The Freelance Illustration of Dan Brereton HC l ART BOOKS Krazy: The Black & White World of George Herriman HC l COMICS The Art of Archer HC l MOVIE/TV The Art of Rogue One: A Star Wars Story HC l STAR WARS Star Wars Little Golden Book: I Am a Stormtrooper l STAR WARS - YOUNG READERS MAGAZINES 2 Doctor Who Magazine Special #45: 2017 Yearbook l DOCTOR WHO Birth.Movies.Death.
    [Show full text]
  • Batman Year One Proprosal by Larry and Andy
    BATMAN YEAR ONE PROPROSAL BY LARRY AND ANDY WACHOWSKI The scene is Gotham City, in the past. A party is going on and from it descends Thomas Wayne with his wife Martha, and son Bruce. They are talking, with Bruce chatting away about how he wants to see The Mark of Zorro again. Obviously they have just come from a movie premiere. As they turn a corner to their car, they are met by a hooded gunman who tries holding them up. There is a struggle and the Wayne parents are murdered in a bloodbath. Bruce is left there, when he is met by a police officer. There is a screech and a bat flies overhead... Twenty years have passed. Bruce is now twenty‐eight and quite dynamic. The main character has been travelling the world, training for a war on crime, to avenge his parents' deaths. He is at the Ludlow International Airport, where his butler Alfred picks him up. The two drive to Wayne Manor, just outside of Gotham. Bruce watches the city from the distance. The scene moves to downtown Gotham, where Bruce is wearing a hockey mask and black clothes. A fight breaks out between him and a pimp which leads to Bruce escaping to a rotting building. Bleeding badly, he doesn't know whether to continue his crusade against crime. A screech fills the area and a bat dives at him, knocking him onto an old chair. Bruce realises his destiny... The opening credits feature Bruce at Wayne Manor, slamming down a hammer on scrap metal, moulding it into shape.
    [Show full text]
  • Schurken Im Batman-Universum Dieser Artikel Beschäftigt Sich Mit Den Gegenspielern Der Comic­Figur „Batman“
    Schurken im Batman-Universum Dieser Artikel beschäftigt sich mit den Gegenspielern der Comic-Figur ¹Batmanª. Die einzelnen Figuren werden in alphabetischer Reihenfolge vorgestellt. Dieser Artikel konzentriert sich dabei auf die weniger bekannten Charaktere. Die bekannteren Batman-Antagonisten wie z.B. der Joker oder der Riddler, die als Ikonen der Popkultur Verankerung im kollektiven Gedächtnis gefunden haben, werden in jeweils eigenen Artikeln vorgestellt; in diesem Sammelartikel werden sie nur namentlich gelistet, und durch Links wird auf die jeweiligen Einzelartikel verwiesen. 1 Gegner Batmans im Laufe der Jahrzehnte Die Gesamtheit der (wiederkehrenden) Gegenspieler eines Comic-Helden wird im Fachjargon auch als sogenannte ¹Schurken-Galerieª bezeichnet. Batmans Schurkengalerie gilt gemeinhin als die bekannteste Riege von Antagonisten, die das Medium Comic dem Protagonisten einer Reihe entgegengestellt hat. Auffällig ist dabei zunächst die Vielgestaltigkeit von Batmans Gegenspielern. Unter diesen finden sich die berüchtigten ¹geisteskranken Kriminellenª einerseits, die in erster Linie mit der Figur assoziiert werden, darüber hinaus aber auch zahlreiche ¹konventionelleª Widersacher, die sehr realistisch und daher durchaus glaubhaft sind, wie etwa Straûenschläger, Jugendbanden, Drogenschieber oder Mafiosi. Abseits davon gibt es auch eine Reihe äuûerst unwahrscheinlicher Figuren, wie auûerirdische Welteroberer oder extradimensionale Zauberwesen, die mithin aber selten geworden sind. In den frühesten Batman-Geschichten der 1930er und 1940er Jahre bekam es der Held häufig mit verrückten Wissenschaftlern und Gangstern zu tun, die in ihrem Auftreten und Handeln den Flair der Mobster der Prohibitionszeit atmeten. Frühe wiederkehrende Gegenspieler waren Doctor Death, Professor Hugo Strange und der vampiristische Monk. Die Schurken der 1940er Jahre bilden den harten Kern von Batmans Schurkengalerie: die Figuren dieser Zeit waren vor allem durch die Abenteuer von Dick Tracy inspiriert, der es mit grotesk entstellten Bösewichten zu tun hatte.
    [Show full text]
  • 52 Omnibus Free
    FREE 52 OMNIBUS PDF Geoff Johns,Grant Morrison | 1216 pages | 04 Dec 2012 | DC Comics | 9781401235567 | English | United States 52 Omnibus: Buy 52 Omnibus by Johns Geoff at Low Price in India | Life's a circus, but that's nothing new for Dick Grayson! Join Nightwing as he flies 52 Omnibus through this action-packed omnibus collection! When Haly's Circus, where Dick Grayson once performed, returns to Gotham City--it brings a mysterious superhuman evil. Nightwing works to uncover the mysteries that Haly's Circus brought with it, but as Dick he finds himself torn between his two lives Nightwing will travel with Haly's Circus across the east coast and back to Gotham in his attempt to discover the dark 52 Omnibus that hide beneath the big top. Back in Gotham, Nightwing will face 52 Omnibus against villains like Lady Shiva and the Joker--and with enemies like this Search books and authors. View all online retailers Find local retailers. Also by Kyle Higgins. Related titles. Animal Farm. Umbrella Academy Volume 1: Apocalypse Suite. Sailor 52 Omnibus 1. Watchmen: International Edition Lenticular. The Complete Maus. Assassin's Creed Valhalla. Wonder Woman in the Fifties. Rent-A-Girlfriend 5. Lucifer Vol. Spy Island. Batman: Chalice. Art BaltazarFranco Aureliani. Our top books, exclusive content 52 Omnibus competitions. Straight to your inbox. Sign up to our newsletter using your email. Enter your email to sign up. Thank you! Your subscription to Read More was successful. To help us recommend your next book, 52 Omnibus us what you enjoy reading. Add your interests.
    [Show full text]
  • The Reflection of Sancho Panza in the Comic Book Sidekick De Don
    UNIVERSIDAD DE OVIEDO FACULTAD DE FILOSOFÍA Y LETRAS MEMORIA DE LICENCIATURA From Don Quixote to The Tick: The Reflection of Sancho Panza in the Comic Book Sidekick ____________ De Don Quijote a The Tick: El Reflejo de Sancho Panza en el sidekick del Cómic Autor: José Manuel Annacondia López Directora: Dra. María José Álvarez Faedo VºBº: Oviedo, 2012 To comic book creators of yesterday, today and tomorrow. The comics medium is a very specialized area of the Arts, home to many rare and talented blooms and flowering imaginations and it breaks my heart to see so many of our best and brightest bowing down to the same market pressures which drive lowest-common-denominator blockbuster movies and television cop shows. Let's see if we can call time on this trend by demanding and creating big, wild comics which stretch our imaginations. Let's make living breathing, sprawling adventures filled with mind-blowing images of things unseen on Earth. Let's make artefacts that are not faux-games or movies but something other, something so rare and strange it might as well be a window into another universe because that's what it is. [Grant Morrison, “Grant Morrison: Master & Commander” (2004: 2)] TABLE OF CONTENTS 1. Acknowledgements v 2. Introduction 1 3. Chapter I: Theoretical Background 6 4. Chapter II: The Nature of Comic Books 11 5. Chapter III: Heroes Defined 18 6. Chapter IV: Enter the Sidekick 30 7. Chapter V: Dark Knights of Sad Countenances 35 8. Chapter VI: Under Scrutiny 53 9. Chapter VII: Evolve or Die 67 10.
    [Show full text]