DC Comics Heroclix: DC Rebirth Booster Brick Click Here for More

Total Page：16

File Type：pdf, Size：1020Kb

DC Comics Heroclix: DC Rebirth Booster Brick Click Here for More

1+ hour Ages 14+ 2+ Players DC Comics HeroClix: DC Rebirth Booster Brick DC Rebirth is DC Comics most recent reboot of the entire DC Universe that re-imagines many of the most iconic heroes and villains in a stunning, new light! This exciting interpretation of the DC Universe includes new iterations of the usual suspects from the Justice League, JSA, and Teen Titans as well as new and exciting themes like Deathstroke's Defiance, Justice League China, and the Dark Trinity of Bizarro, Red Hood, and Artemis! Long-time HeroClix fans will be ecstatic to see many never- before-clixed characters like Power Girl, The Signal, Colonel Poison, Bumblebee, Cyclone, Commander Steel, Shade the Changing Girl, Jessica Cruz, and Flex Mentallo alongside their favorite, iconic characters! Much like when readers saw the DC Rebirth comics for the first time – we’re sure there are going to be some BIG surprises as they open these boosters! This booster set contains: Click here for more images 16 Commons (Plus 1 Prime) 16 Uncommons (Plus 1 Prime) 16 Rares (Plus 1 Prime) 12 Super Rares (Plus 1 Prime) 8 Chases Sellable Unit DC Comics HeroClix: DC Item # 73469 Rebirth Booster Brick UPC 634482734698 MSRP for unit 129.90 Expected Release Apr 2019 Orders Due Jan 08, 2019 Master Carton Pack 2 units per master carton Inner Carton Pack 0 units per inner carton Has Hang Tab? Yes Case Size (inches) 15(L) x 10(W) x 11(H) Case Gross Wgt (lbs) 6 Country of origin China 6 34482 73469 8 TM & © DC Comics. (s18) © 2018 WizKids/NECA, LLC. HeroClix and WizKids are trademarks of WizKids/NECA, LLC. All rights reserved. .

Copy Link

Recommended publications

Unit 03 Introduction to Labview and Lego Brick Introduction to Labview Tutorial
Unit 03 Introduction to Labview and Lego Brick Introduction to Labview Tutorial 1. Open Lego Mindstorm Education from your desktop 2. Startup screen known as the “Lobby” will look as follows Menu Options: Shows reference material, build guides, programming guides, and more 3. Starting a new Project > Select File > New Project > New Program > Open Double Click on Program Tab > Change the name to Hear Me 4. Option 1: Adjusting Project Properties Select the Wrench Icon next to the program name Option 2: Double Click on File name Tab (Program). This will highlight the program name to be changed The Project name will change once the file is saved. 5. Change the Project Name to Labview Tutorial 6. Click on the Hear Me Program Tab 7. Programming Area Making Sounds 1. Select Action (Green Tab) > Drag the Sound Action onto the work area and attach it to the Play button. The pieces fit together like puzzle pieces. Screen should look as follows May choose a pre saved file for sound. Click on Lego Sound files to see some of the options Volume Control Stop: no sounds Play File: Select a saved sound file Play Tone: Plays a tone based on 0: Wait for Completion certain frequency 1: Play Once Play Note: Set a note from a piano 2: Endless Loop 2. Choose a sound from the Lego Sound File 3. Attach the Brick to your PC using the USB to Micro USB cord >Press the middle button on the Brick to turn it on > The color around the Brick buttons will turn green when it is fully loaded.
[Show full text]
NXT User Guide Introduction
NXT User Guide Introduction WELCOME TO LEGO® MINDSTORMS® EDUCATION LEGO® MINDSTORMS® Education is the next generation in educational robotics, enabling students to discover Science, Technology, Engineering and Mathematics in a fun, engaging, hands-on way. By combining the power of the LEGO building system with the LEGO MINDSTORMS Education technology, teams of students can design, build, program, and test robots. Working together on guided and open-ended engineering projects, the team members develop creativity and problem-solving skills along with other important mathematics and science knowledge. Students also become more skilled in communication, organization and research, which helps prepare them for future success in higher levels of schooling and in the workplace. The next technology - now. LEGO MINDSTORMS Education features an advanced 32-bit computer- controlled NXT brick, Interactive Servo Motors, Sound, Ultrasonic and other sensors, Bluetooth communication and multiple downloading capabilities. The icon-based LEGO MINDSTORMS Education NXT Software is built on the LabVIEW™ software from National Instruments, an industry standard with applications in many engineering and research ﬁ elds. Curriculum. Inspiration. Support. The LEGO MINDSTORMS Education website www.MINDSTORMSeducation.com is your main resource for curriculum, training, product information and support. Our partners provide a strong network of information, technical advice, and teacher support as well. Carnegie Mellon Robotics Academy is our partner for developing curriculum materials and activities. Tufts University Center for Engineering Education Outreach (CEEO) is our partner for product development, workshops and conferences. In addition, local support is provided by our trade partners. If you are interested in a competitive challenge, check our website to ﬁ nd out more about the FIRST LEGO LEAGUE.
[Show full text]
MINDSTORMS EV3 User Guide
User Guide TABLE OF CONTENTS Introduction + Welcome ...................................................................................................................... 3 + How to Use This Guide .................................................................................... 4 + Help ................................................................................................................................. 5 EV3 Technology + Overview ..................................................................................................................... 6 + EV3 Brick ..................................................................................................................... 7 Overview ...................................................................................................................... 7 Installing Batteries ............................................................................................... 10 Turning On the EV3 Brick ................................................................................ 11 + EV3 Motors ................................................................................................................. 12 Large Motor ............................................................................................................... 12 Medium Motor ......................................................................................................... 12 + EV3 Sensors ............................................................................................................
[Show full text]
Costume Culture: Visual Rhetoric, Iconography, and Tokenism In
COSTUME CULTURE: VISUAL RHETORIC, ICONOGRAPHY, AND TOKENISM IN COMIC BOOKS A Dissertation by MICHAEL G. BAKER Submitted to the Office of Graduate Studies Texas A&M University-Commerce in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2017 COSTUME CULTURE: VISUAL RHETORIC, ICONOGRAPHY, AND TOKENISM IN COMIC BOOKS A Dissertation by MICHAEL G. BAKER Submitted to: Advisor: Christopher Gonzalez Committee: Tabetha Adkins Donna Dunbar-Odom Mike Odom Head of Department: M. Hunter Hayes Dean of the College: Salvatore Attardo Interim Dean of Graduate Studies: Mary Beth Sampson iii Copyright © 2017 Michael G. Baker iv ABSTRACT COSTUME CULTURE: VISUAL RHETORIC, ICONOGRAPHY, AND TOKENISM IN COMIC BOOKS Michael G. Baker, PhD Texas A&M University-Commerce, 2017 Advisor: Christopher Gonzalez, PhD Superhero comic books provide a unique perspective on marginalized characters not only as objects of literary study, but also as opportunities for rhetorical analysis. There are representations of race, gender, sexuality, and identity in the costuming of superheroes that impact how the audience perceives the characters. Because of the association between iconography and identity, the superhero costume becomes linked with the superhero persona (for example the Superman “S” logo is a stand-in for the character). However, when iconography is affected by issues of tokenism, the rhetorical message associated with the symbol becomes more difficult to decode. Since comic books are sales-oriented and have a plethora of tie-in merchandise, the iconography in these symbols has commodified implications for those who choose to interact with them. When consumers costume themselves with the visual rhetoric associated with comic superheroes, the wearers engage in a rhetorical discussion where they perpetuate whatever message the audience places on that image.
[Show full text]
NEIL BELOUFA This Exhibition by Neïl Beloufa (*1985) Was Amazingly Staged
NEIL BELOUFA This exhibition by Neïl Beloufa (*1985) was amazingly staged. The frst part was in front of the Schirn’s main entrance and freely accessible from the street during opening hours. Visitors were encouraged to sit on one of around a dozen long pink foam-flled rubbery supports to look through a medieval-style visor onto vertical screens on which young members of the military from various countries talked about their lives and loves in video chats with the artist. Surrounding them were sculptures that stopped just short of faux-goth robotic fguration, as well as some ropes literalising the idea of interconnection. Upstairs, in the second part of the exhibition, the soldiers’ stories were woven together into an “art fction” video, set within an installation of Plexiglas and aluminium that forced the viewer to approach by going to and fro, as in an airport security line, before reaching the screening space. Here, the audio recordings sometimes overlaid videogame replays or acted scenes, mixing commentary and narrative; at one point, visitors saw the chat column of the artist’s Skype interface, where he explained the project was “about how militaries (not Hollywood) present themselves”. This layering and openness multiplied the questions in play, rather than reducing the project to a mission accomplished. Globalisation, as we are so often told, shrinks distance. So why is war so often treated as remote, even though we hear about it all the time? But that was not really or only what Beloufa’s exhibition was “about”, which was much more various: love and youth and technology and workout culture and self-representation and patriotism and cultural conditioning and the future and who the audience is and how everyone is connected and wants to be loved and some people are closer to death than others.
[Show full text]
NEW THIS WEEK from DC... Batman #50 Man of Steel #6 (Of 6
NEW THIS WEEK FROM DC... Batman #50 Man of Steel #6 (of 6) Catwoman #1 Deathstroke #33 Justice League #3 Nightwing #46 Unexpected #2 Green Lanterns #50 Curse of Brimstone #4 Green Arrow #42 Harley Quinn #45 Injustice 2 #29 Aquaman (Rebirth) Vol. 5 GN DC Nation #2 NEW THIS WEEK FROM MARVEL... Captain America #1 Avengers #4 Cosmic Ghost Rider #1 (of 5) Deadpool #2 Star Wars #50 Doctor Strange #3 Immortal Hulk #2 Hunt for Wolverine Weapons Lost #3 (of 4) Ant-Man and the Wasp #3 (of 5) Astonishing X-Men #13 X-Men Gold #31 Death of the Inhumans #1 (of 5) Infinity Countdown Champions #2 (of 2) Spider-Man Deadpool #35 Weapon X #20 3 Ben Reilly Scarlet Spider #21 Marvel Rising Squirrel Girl Ms. Marvel #1 Rogue & Gambit GN True Believers Fantastic Four Coming of Galactus # True Believers Fantastic Four Wedding Reed and Sue War of Kings (new printing) NEW THIS WEEK FROM IMAGE... Walking Dead #181 Unnatural #1 (of 12) New Lieutenants of Metal #1 (of 4) Death or Glory #3 Paper Girls #22 Thief of Thieves #38 I Hate Fairyland #20 Last Siege #2 (of 8) Paradiso #5 ALSO NEW THIS WEEK... Xerxes Fall of House of Darius #4 (of 5) Quantum Age from World of Black Hammer #1 Animosity Vol. 3 GN Dark Ark #8 Deep Roots #1 Deep Roots #2 Giant Days #40 Highest House #5 Hillbilly #11 Incognegro Renaissance #5 (of 5) Jimmys Bastards #9 Lady Mechanika Dame Sans Merci #1 (of 3) My Hero Academia Vigilantes Vol. 1 GN Quantum & Woody Vol.
[Show full text]
DC COMICS V. Mark TOWLE United States Court of Appeals, Ninth
DC COMICS v. Mark TOWLE United States Court of Appeals, Ninth Circuit. September 23, 2015. 9 IKUTA, Circuit Judge. 10 We are asked to decide whether defendant Mark Towle infringed DC Comics' exclusive rights under a copyright when he built and sold replicas of the Batmobile, as it appeared in the 1966 television show Batman and the 1989 film BATMAN. Holy copyright law, Batman! I 12 DC Comics (DC) is the publisher and copyright owner of comic books featuring the story of the world-famous character, Batman. Since his first comic book appearance in 1939, the Caped Crusader has protected Gotham City from villains with the help of his sidekick Robin the Boy Wonder, his utility belt, and of course, the Batmobile. 13 Originally introduced in the Batman comic books in 1941, the Batmobile is a fictional, high-tech automobile that Batman employs as his primary mode of transportation. The Batmobile has varied in appearance over the years, but its name and key characteristics as Batman's personal crimefighting vehicle have remained consistent. Over the past eight decades, the comic books have continually depicted the Batmobile as possessing bat-like external features, ready to leap into action to assist Batman in his fight against Gotham's most dangerous villains, and equipped with futuristic weaponry and technology that is "years ahead of anything else on wheels." 14 Since its creation in the comic books, the Batmobile has also been depicted in numerous television programs and motion pictures. Two of these depictions are relevant to this case: the 1966 television series Batman, starring Adam West, and the 1989 motion picture BATMAN, starring Michael Keaton.
[Show full text]
Cold War Fantasies: Testing the Limits of the Familial Body Wonder
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by E-space: Manchester Metropolitan University's Research Repository Cold War Fantasies: Testing the Limits of the Familial Body Wonder Woman 1947-1967 was written by Robert Kanigher - the longest writing stint of any in her seventy year history. Kanigher revamped the character in 1958 to fit a more cosy post-Wertham storyline where she lived a fantasy existence on Paradise Island. The images, drawn mainly by Ross Andru and Mike Esposito softened Wonder Woman's image from a warrior woman to a teen romance heroine with a doe-eyes and full lips. Instead of warrior boots she wore Greek sandals tied up with straps around her legs. Kanigher also introduced more stories of life on Paradise Island and they must have been popular with readers because they featured in sixteen out of the twenty-three issues in this era. Also Wonder Woman appeared in the top thirty best selling comics with a readership of over 200,000.1 The demands by readers for more of these stories in letters pages and within the storylines themselves, demonstrate they must have hailed, some aspects of readers' lives in Cold War America. Yet despite her popularity, this era is one of the most overlooked in Wonder Woman scholarship, possibly because the stories were regarded as fairytales told to a teenage female readership. Yet this era throws up some fascinating cultural paradoxes. Wonder Woman posed a problem in 1950s and '60s because she challenged the perceived role of women as reliant on men in family life and the job market.
[Show full text]
BOB WOOLF, Nle Border Rufbap
Copyr ight 1878-1884, by Beadle & Adams. En tered at Post omce, New York. N. Y .. as oecond class matter. Mar. 15, 18911. THE ARTHUR WESTBROOK CO. No.9 Cleveland, Ohio Vol. I BOB WOOLF, nle Border RufBap. OJ\ 'l!llE GIRL DEAD-SHOT. BY EDWARD L. WHEELER ~ -:s:~\'l THE GIRL DEAD-SHOT. \ I .:> pyrigh t 1878-1884, by Beadle '& Ada m s. E ntered at Post Omce, New York, N. Y. 1 as !:.econ d c lass m a t ter. 1\fa r. 15, 1£ryl TH:C ARTHUR WESTBROOK CO. · ~Tb.9 Clcv cl3:-id, Ohio Vol. I BOB WOOLF The Border Ruffian. ..... - ;;: -·' 01>• • ~·BE G IRL DEAD-S HOT. THE GIRL lJEAD·SHO'l', Rob Woolf, the Border Ruftlan. he has just r:illen But you cannot come in heN nor see him either." Bob Woolf. "Blast :vou, I'll see if I won't, ye little she-tiger!" cried tht" ruffi.an. " Dismount, bo:yees, an' stave in thet 'ar door l D'ye hear? stare it ml" THE BORDER RUFFl,A.N; "Hold I Bob Woolf?" cried the girl, her' eyes tla,•h• lng fire, '' hold! Come in here if you will; b n~ OR, first. lilt me tell you 10 so doing you w'll ~ yourself and men to the king of all scourges- "'l.ll· TB E GI&L DEAD-SHOT ~ 1JO,r ."', Had a C11.nnon-ball struck the border cbier be BY EDWARD L. WHEELER, could nnr. have been more startled. A.UTHOR OF "DEADWOOD DICK, ' ' "THE DOUBLE DAO· Jn an instant his companions were spurring away 11 0vPr the plain at a safe dista nce.
[Show full text]
Jamaica Dash Woijimgton, 0
HI .V.VA • .v.-.v^kv....... THE SUNDAY STAR Jamaica Dash WoiJimgton, 0. C., July 19, 1959 F-7 jfeiTii - v v Is Won Easily CHARTS OF DELAWARE PARK RACES (Copyrighted. 1959, by Triangle Publication. Inc ) | FIFTH RACE Purse. $6,000: allowances; 3-year-olds; FIRST RACE—Purse. $3,000; claiming; 4-year-olda and 6 furlongs. Pom. 4 15; off 4 Is‘a; start good; won driving. up. 6 furlongs 06; off at once, start *ood. won Winner. C V Whitney s dk. gr c. 3. bv Mahmoud—Bright Post. 2 1 Song Trainer. driving Winners, dead hea' for first: Candv Davta. Mrs ! R L. Wheeier Values—s3,9oo. $1,200, “ By Bally V 'fltewart s by Bethy S6OO. S3OO. Time. I MS. Cloudy J. ch. m 5. Heather Broom—Wee andjast Ache bg Trainer. J M Stewart Mr T R Trout's Horse Jockey Wgt. PP »« oy Eye Eye Bellevue. I "Str. ~ Pin. Oddi. July tAP) . 4. For -Swesteel Trainer. M H DCon ’• NEW YORK, 18 Values—sl.27s, Bongbird (Valenzuela) 121 6 4 11 $3 34 ; 11.275, S3OO. $l5O. Time. 1 13*». Cloudy Bonus (Adams) Leonard D. Fruchtman's Bally and fast. I 121 5 2 1 1* 2* in 90 a Seth Who (Nelson) 121 I 7 5 *4 3"* « ?»•) Ache took the lead going Jockey '« a (Ballev) 121 3 8 8 7" 4> into! Horse. Wyt PP 1 str rm (>.:,!• Moon Acain oho Candy . Miss Jennifer (Kratz) 11H 2 3 3 3‘ 5" lo 50 the far turn at Jamaica today, dh Davis (Block) 108 11 I ll 1 *§2 30 (Block) 111 7 6 j dh Bellevue (Lovato) no 3 4 3 l* 3 rto 1 Summer Storm 8 6 Jo to I Mr.
[Show full text]
Great Southwest Council ‐ Boy Scouts of America Gorham Scout Ranch Honor Bricks Order Form
Great Southwest Council ‐ Boy Scouts of America Gorham Scout Ranch Honor Bricks Order Form Thank you for your interest in Gorham Scout Ranch Honor Bricks. Your 4” x 8” brick/s will be engraved and installed at a special outdoor seating area at the Ranch. You can order a replica brick, as well, which will be identical to the one at Gorham but sent to you. This tax‐deductible donation will support Dining Hall improvements. Please write your inscription in the boxes below with one character per box (maximum 15 characters per line and 3 lines per brick). Characters include letters, numbers, spaces, or punctuation marks (do not use special characters). Additionally, you may add an image recognizing Scouting involvement of you or your unit (see available logos below). There is space to order two bricks; for more bricks, attach additional pages. Brick #1 ($100) Brick #2 ($100) Add image ($25 extra): (write code from below) Add image ($25 extra): (write code from below) Order replica brick ($50 for copy brick): Yes Order replica brick ($50 for copy brick): Yes Optional Brick Image to Recognize Accomplishments and Associations Brownsea Crest Merit Knot Eagle Award Order of the Silver Beaver Woodbadge Gorham Scout Arrow Beads Ranch Code: NMBS Code: NMMK Code: NMEA Code: NMOA Code: NMSB Code: NMWB Code: NMGR CONTACT INFORMATION & ORDER SUMMARY BILLING INFORMATION # of bricks: x $100 = $ Enclosed is my + # of images: x $25 (limit 1 per brick) = $ D Check (payable to: Great Southwest Council, BSA). + # of replica bricks: x $50 = $ Total Or, I authorize you to charge my: Name: D VISA D MasterCard D Discover Address: Name on Card: City, State, Zip: Card Number: Day Phone: Expiration Date: Email: V Code (Last 3‐4 digits in the signature block): Please send this completed form, along with check or credit card information to: Great Southwest Council, 5841 Office Boulevard NE, Albuquerque, NM 87109 For additional information, call (505) 345‐8603.
[Show full text]
Collective of Heroes: Arrow's Move Toward a Posthuman Superhero Fantasy
St. Cloud State University theRepository at St. Cloud State Culminating Projects in English Department of English 12-2016 Collective of Heroes: Arrow’s Move Toward a Posthuman Superhero Fantasy Alyssa G. Kilbourn St. Cloud State University Follow this and additional works at: https://repository.stcloudstate.edu/engl_etds Recommended Citation Kilbourn, Alyssa G., "Collective of Heroes: Arrow’s Move Toward a Posthuman Superhero Fantasy" (2016). Culminating Projects in English. 73. https://repository.stcloudstate.edu/engl_etds/73 This Thesis is brought to you for free and open access by the Department of English at theRepository at St. Cloud State. It has been accepted for inclusion in Culminating Projects in English by an authorized administrator of theRepository at St. Cloud State. For more information, please contact rswexelbaum@stcloudstate.edu. Collective of Heroes: Arrow’s Move Toward a Posthuman Superhero Fantasy by Alyssa Grace Kilbourn A Thesis Submitted to the Graduate Faculty of St. Cloud State University in Partial Fulfillment of the Requirements for the degree of Master of Arts in Rhetoric and Writing December, 2016 Thesis Committee: James Heiman, Chairperson Matthew Barton Jennifer Tuder 2 Abstract Since 9/11, superheroes have become a popular medium for storytelling, so much so that popular culture is inundated with the narratives. More recently, the superhero narrative has moved from cinema to television, which allows for the narratives to address more pressing cultural concerns in a more immediate fashion. Furthermore, millions of viewers perpetuate the televised narratives because they resonate with the values and stories in the shows. Through Fantasy Theme Analysis, this project examines the audience values within the Arrow’s superhero fantasy and the influence of posthumanism on the show’s superhero fantasy.
[Show full text]