Theme Forces April 2021 Update
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Sample File CREDITS Lead Designer, Concept, Writing, and Art Direction Artwork Marc Altfuldisch the Artwork in This Handbook Is All Created by the Artists Below
Sample file CREDITS Lead Designer, Concept, Writing, and Art Direction Artwork Marc Altfuldisch The artwork in this handbook is all created by the artists below. A huge thanks goes out to them, for allowing me to include their illustrations herein. Balance and Flavor If you find their artwork intriguing, you should check out their galleries, which are linked Marc Altfuldisch below. Thomas Thorhave Baltzer George Cameron Alecyl Sandara David Moore alecyl.deviantart.com sandara.deviantart.com Bog Hag Page 3: Tree with Animals Editing Tsunami George Cameron Arturo Delgado Shaman with Animal Spirits madstalfos.deviantart.com Goi-Kashu Playtesters Jiki-Ketsu-Gaki Two-Tailed White Inari Adam Ford Con-Tinh Oriental Sea Life Alejandro Villalon Celestial Dragon and Human Bailey Kellenberger Carp Dragon and Human Girl Branden Weaver Dave Melvin davesrightmind.deviantart.com Celestial Dragon Bryan Butler Typhoon Dragon Kumo Derik Snell Byoki Spawn Nian Elvin Johson Kyoso Spawn Ashi no Oni George Cameron Sanru no Oni Haino no Oni Gianfranco Abbatemarco Akuma Kamu no Oni James “Dragon Lover” Hudson Byoki Ugulu no Oni Jason Gyorog Nikoma Kyoso John “Crit God” Wilantowicz Onikage Shikibu Jonathan Butler Phoenix Tsuburo Joseph Miller Great Wyrm Torn Kenneth Robinson Spirit Wolf Urigarimono Parker Doiron Taka-onna Yaoguai Pete McCue Wang-Liang Raymond Govero Robert “Wrayyth” Whitsell Harley Dela Cruz Shizen1102 Steven “Nook” Anderson denzelberg.deviantart.com shizen1102.deviantart.com Samantha Christine Bajang Garegosu Tre Stoterau Ancient Dokufu Void Serpent Victor Vega Dokufu Spiderling Kirin Vijay Dukkipati Goblin Rat Orochi Hellbeast Manananggal ... thank you all very much! Your assistance made this all possible! Hsing-sing Matriarch Hundun Hyekuhei Teo Tei Drone A Very Special Thanks to Kappa Tao Tei Regent Eleazzaar’s Detect Balance Werebadger Taowu Drone with Taowu Scouts SwordMeow’s JOTUNGARD Maho-Tsukai Magus Qiongqui Mamono .. -
Spawn: the Eternal Prelude Darkness
Spawn: The Eternal Prelude Darkness. Pain. What . oh. Oh god. I'm alive! CHOOSE. What? Oh great God almighty in Heaven . NOT QUITE. CHOOSE. Choose . choose what? What are you? Where am I? Am I in Hell? NOT YET. DO YOU WISH TO RETURN? Yes! Yes, of course I want to go back! But . what's the catch? What is all this? IT IS NONE OF YOUR CONCERN. WHAT WOULD YOU GIVE FOR A RETURN? TO SEE YOUR LOVED ONES, TO ONCE MORE TASTE LIFE? WHAT WOULD YOU GIVE? I . I'm dead, aren't I? YES. But . what can I give? I am dead, so I have nothing! NOT TRUE. YOU HAVE YOURSELF. Myself? I don't understand . is it my soul you want? NO. I ALREADY HOLD YOUR SOUL . I WISH TO KNOW IF YOU WOULD SERVE ME WILLINGLY IN RETURN FOR COMING BACK. Serve . to see my wife again . yes . to hold my children once more . yes. I will serve you. VERY WELL. THE DEAL IS DONE . In a rainy graveyard, something fell smoking to the ground. It sat up, shaking its head, looking around itself. Strange. Why was he lying here? He tried to stand up, surprising himself by leaping at least twenty feet into the air, landing as smoothly as a cat. How . then something caught his attention. He stared into the puddle of rainwater, trying to discern the vague shape that must be his own face. And then he screamed. Because what stared back was the burn-scarred skullface of a corpse, its eyes glowing a deep green. -
American Motors ~I
American Motors ~I 1972 AMASPECIFICATIONS FORM . PassengerCar 1.-ANU FA C T URER CAR NA ME A ME RICAN M OT ORS CORPORATION • Grem li n • Ma t a dor • Jave li n • Horne t • Ambassa dor IAA I L I N G A OORESS MODEL. YEAR ISSUED : 14250 P l ymouth Road Det r o it, Mich igan 4823 2 1972 Se d:ember 2 1. 1971 At tn: Car L Chakmak ian REVISED (e ) P r oduc t Informat ion Dep t., 493 - 2557 (3 13) The information contained herein Is prepared, distributed by, and Is solely the responsi bility of the automobile manufacturing company to whose products it relates. Questions concerning these specifications should be directed to the manufacturer whose address Is shown above. This specification form was developed by automobile manufacturing companies under the auspices of the Automobile Manufacturers Association. AMA-40A-72 AMA Spec ificat ions Form-Pas senger Car TABLE OF CONTENTS BODY MODEL . ... .... .. ............... .. .... ......... ...... .... ...... , .... .. 1 CAR AND BODY DIMENSIONS ...... • .. .• ... , • •. ..• •. •.•.••. • •• •• .. .•• • . , ••. .. , , .•• 2, 3 POWER TEAMS .. ... .. ..... ... ........ .. ..... .. ..... ............... .... ........ 4 ENGINE .. ..................................... .. ..... .. .. .. ..... .... ... .. .. 5-9 EXHAUST SYSTEM ............................ ... ......• . ......................•... 9 FUEL SYSTEM ........................................ ... ...... ...... ...... .•..... 10 COOL ING SYSTEM ........................ .. ....... .... .. ....... ..... ........ 11 VEHICLE EMISSION CONTROL .... .. • ... -
The Apocalypse Archive: American Literature and the Nuclear
THE APOCALYPSE ARCHIVE: AMERICAN LITERATURE AND THE NUCLEAR BOMB by Bradley J. Fest B. A. in English and Creative Writing, University of Arizona, Tucson, 2004 M. F. A. in Creative Writing, University of Pittsburgh, Pittsburgh, 2007 Submitted to the Graduate Faculty of the Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2013 UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Bradley J. Fest It was defended on 17 April 2013 and approved by Jonathan Arac, PhD, Andrew W. Mellon Professor of English Adam Lowenstein, PhD, Associate Professor of English and Film Studies Philip E. Smith, PhD, Associate Professor of English Terry Smith, PhD, Andrew W. Mellon Professor of Contemporary Art History and Theory Dissertation Director: Jonathan Arac, PhD, Andrew W. Mellon Professor of English ii Copyright © Bradley J. Fest 2013 iii THE APOCALYPSE ARCHIVE: AMERICAN LITERATURE AND THE NUCLEAR BOMB Bradley J. Fest, PhD University of Pittsburgh, 2013 This dissertation looks at global nuclear war as a trope that can be traced throughout twentieth century American literature. I argue that despite the non-event of nuclear exchange during the Cold War, the nuclear referent continues to shape American literary expression. Since the early 1990s the nuclear referent has dispersed into a multiplicity of disaster scenarios, producing a “second nuclear age.” If the atomic bomb once introduced the hypothesis “of a total and remainderless destruction of the archive,” today literature’s staged anticipation of catastrophe has become inseparable from the realities of global risk. -
The Gremlin: Transforming the Past's Failures 161 the Eagle Squadron, a Noted "Gremlinologist," Who Had Heard Many Such Tales and Was Beginning to Collect Them
The Gremlin: Transfor111ing the Past's Failures BRUCE A. ROSENBERG A MERICAN MOTORS CORPORATION entered the sub-compact field in 1970 with a sturdy little car it named the Gremlin. Its rear door-window (the hatch-back) descends so abruptly from the vehicle's roof that it gives it the appearance of having been cut off before it finished growing (or perhaps the way that Sir Yvain's horse was cut off at the hind quarter by the falling portcullis at the castle of Esclados the Red). The company it- self exploits the car's looks in television commercials which depict a snide and burly service-station attendant asking a pretty young driver about the "rest" of her car. But the ad concludes with the important message that though the car might have unorthodox looks it is economical to drive: the girl smugly and tauntingly hands her torrnentor a dollar bill for gas. What is most incongruous in all this, particularly for those people with clear memories of World War II, is the very name of the car, Gremlin. Historically this is the least likely name for a machine imaginable. But apparently not for the general public, and presumably not for the staff at American Motors which named the car several years ago. The company must have assumed, or conducted extensive field research which demonstrated, that car buyers would think of pixies, sprites, or other varieties of the "wee folk" when they heard the name Gremlin. The name conjures up an image of a small, compact creature (verymuch like the car), who is harmless, playful, and whimsical, perhaps something like the Celtic elf who sells the breakfast cereal, "Lucky Charms." When they first became known to Americans in 1942 (Gremlins had already made the acquaintance of the R.A.F.), they were the subject of several articles in leading magazines, and their diminutive stature was usually featured. -
Metals Recycling Entities Sorted by City Location As of July 31, 2016 Total Active MRE Count = 806
Metals Recycling Entities sorted by City Location as of July 31, 2016 Total active MRE count = 806 CertID Location Name Street Address City ZIP County Contact Phone Email ExpDate 101026 A-1 CORE & METAL LLC 301 N. TREADAWAY ABILENE 79601 TAYLOR DOZIER CHAD (325) 675-5477 [email protected] 3/23/2017 101025 A-1 SALVAGE LLC 4008 PINE ST. ABILENE 79601 TAYLOR BLAKE DOZIER (325) 672-5504 [email protected] 2/5/2017 101241 JAY'Z RECYCLING 3902 PINE ST. ABILENE 79601 TAYLOR JASON HUDSON (325) 676-5299 [email protected] 8/14/2017 101110 PINE STREET SALVAGE CO. 3833 PINE ST. ABILENE 79601 TAYLOR GREG DANKWORTH (325) 677-8831 [email protected] 3/10/2017 101053 TEXAS METALS & RECYCLING CO. INC 2989 PINE ST. ABILENE 79601 TAYLOR JODIE BREWSTER (325) 672-8585 [email protected] 5/7/2017 101982 ALAMO METAL RECYCLING 219 E. FRONTAGE RAOD ALAMO 78516 HIDALGO RUBY GONZALEZ (956) 783-4709 [email protected] 4/12/2018 102193 ALVAREZ RECYCLING 1109 S. ALAMO ROAD ALAMO 78516 HIDALGO ALVAREZ BELEN (956) 638-8004 [email protected] 11/12/2017 102095 H & A METAL RECYCLERS 229 E. BUS. HWY. 83 ALAMO 78516 HIDALGO JORGE CALVILLO (956) 283-1151 [email protected] 12/22/2016 101755 MONCAS SCRAP METAL 117 S. BORDER ROAD ALAMO 78516 HIDALGO JESUS MONROY (956) 330-5406 [email protected] 1/9/2017 102075 OLD SHINE METALS LLC 1302 N. TOWER ROAD ALAMO 78516 HIDALGO HONORIO VILLARRE (956) 702-9868 [email protected] 11/10/2016 101259 WILKINSON GARY IRON & METAL INC 917 S. -
Alternative Perspectives of African American Culture and Representation in the Works of Ishmael Reed
ALTERNATIVE PERSPECTIVES OF AFRICAN AMERICAN CULTURE AND REPRESENTATION IN THE WORKS OF ISHMAEL REED A thesis submitted to the faculty of San Francisco State University In partial fulfillment of Zo\% The requirements for IMl The Degree Master of Arts In English: Literature by Jason Andrew Jackl San Francisco, California May 2018 Copyright by Jason Andrew Jackl 2018 CERTIFICATION OF APPROVAL I certify that I have read Alternative Perspectives o f African American Culture and Representation in the Works o f Ishmael Reed by Jason Andrew Jackl, and that in my opinion this work meets the criteria for approving a thesis submitted in partial fulfillment of the requirement for the degree Master of Arts in English Literature at San Francisco State University. Geoffrey Grec/C Ph.D. Professor of English Sarita Cannon, Ph.D. Associate Professor of English ALTERNATIVE PERSPECTIVES OF AFRICAN AMERICAN CULTURE AND REPRESENTATION IN THE WORKS OF ISHMAEL REED Jason Andrew JackI San Francisco, California 2018 This thesis demonstrates the ways in which Ishmael Reed proposes incisive countemarratives to the hegemonic master narratives that perpetuate degrading misportrayals of Afro American culture in the historical record and mainstream news and entertainment media of the United States. Many critics and readers have responded reductively to Reed’s work by hastily dismissing his proposals, thereby disallowing thoughtful critical engagement with Reed’s views as put forth in his fiction and non fiction writing. The study that follows asserts that Reed’s corpus deserves more thoughtful critical and public recognition than it has received thus far. To that end, I argue that a critical re-exploration of his fiction and non-fiction writing would yield profound contributions to the ongoing national dialogue on race relations in America. -
“Why So Serious?” Comics, Film and Politics, Or the Comic Book Film As the Answer to the Question of Identity and Narrative in a Post-9/11 World
ABSTRACT “WHY SO SERIOUS?” COMICS, FILM AND POLITICS, OR THE COMIC BOOK FILM AS THE ANSWER TO THE QUESTION OF IDENTITY AND NARRATIVE IN A POST-9/11 WORLD by Kyle Andrew Moody This thesis analyzes a trend in a subgenre of motion pictures that are designed to not only entertain, but also provide a message for the modern world after the terrorist attacks of September 11, 2001. The analysis provides a critical look at three different films as artifacts of post-9/11 culture, showing how the integration of certain elements made them allegorical works regarding the status of the United States in the aftermath of the attacks. Jean Baudrillard‟s postmodern theory of simulation and simulacra was utilized to provide a context for the films that tap into themes reflecting post-9/11 reality. The results were analyzed by critically examining the source material, with a cultural criticism emerging regarding the progression of this subgenre of motion pictures as meaningful work. “WHY SO SERIOUS?” COMICS, FILM AND POLITICS, OR THE COMIC BOOK FILM AS THE ANSWER TO THE QUESTION OF IDENTITY AND NARRATIVE IN A POST-9/11 WORLD A Thesis Submitted to the Faculty of Miami University in partial fulfillment of the requirements for the degree of Master of Arts Department of Communications Mass Communications Area by Kyle Andrew Moody Miami University Oxford, Ohio 2009 Advisor ___________________ Dr. Bruce Drushel Reader ___________________ Dr. Ronald Scott Reader ___________________ Dr. David Sholle TABLE OF CONTENTS ACKNOWLEDGMENTS .......................................................................................................................... III CHAPTER ONE: COMIC BOOK MOVIES AND THE REAL WORLD ............................................. 1 PURPOSE OF STUDY ................................................................................................................................... -
Department of Political Science Chair of Gender Politics Wonder Woman
Department of Political Science Chair of Gender Politics Wonder Woman and Captain Marvel as Representation of Women in Media Sara Mecatti Prof. Emiliana De Blasio Matr. 082252 SUPERVISOR CANDIDATE Academic Year 2018/2019 1 Index 1. History of Comic Books and Feminism 1.1 The Golden Age and the First Feminist Wave………………………………………………...…...3 1.2 The Early Feminist Second Wave and the Silver Age of Comic Books…………………………....5 1.3 Late Feminist Second Wave and the Bronze Age of Comic Books….……………………………. 9 1.4 The Third and Fourth Feminist Waves and the Modern Age of Comic Books…………...………11 2. Analysis of the Changes in Women’s Representation throughout the Ages of Comic Books…..........................................................................................................................................................15 2.1. Main Measures of Women’s Representation in Media………………………………………….15 2.2. Changing Gender Roles in Marvel Comic Books and Society from the Silver Age to the Modern Age……………………………………………………………………………………………………17 2.3. Letter Columns in DC Comics as a Measure of Female Representation………………………..23 2.3.1 DC Comics Letter Columns from 1960 to 1969………………………………………...26 2.3.2. Letter Columns from 1979 to 1979 ……………………………………………………27 2.3.3. Letter Columns from 1980 to 1989…………………………………………………….28 2.3.4. Letter Columns from 19090 to 1999…………………………………………………...29 2.4 Final Data Regarding Levels of Gender Equality in Comic Books………………………………31 3. Analyzing and Comparing Wonder Woman (2017) and Captain Marvel (2019) in a Framework of Media Representation of Female Superheroes…………………………………….33 3.1 Introduction…………………………….…………………………………………………………33 3.2. Wonder Woman…………………………………………………………………………………..34 3.2.1. Movie Summary………………………………………………………………………...34 3.2.2.Analysis of the Movie Based on the Seven Categories by Katherine J. -
Angel: Through My Eyes - Natural Disaster Zones by Zoe Daniel Series Editor: Lyn White
BOOK PUBLISHERS Teachers’ Notes Angel: Through My Eyes - Natural Disaster Zones by Zoe Daniel Series editor: Lyn White ISBN 9781760113773 Recommended for ages 11-14 yrs These notes may be reproduced free of charge for use and study within schools but they may not be reproduced (either in whole or in part) and offered for commercial sale. Introduction ............................................ 2 Links to the curriculum ............................. 5 Background information for teachers ....... 12 Before reading activities ......................... 14 During reading activities ......................... 16 After-reading activities ........................... 20 Enrichment activities ............................. 28 Further reading ..................................... 30 Resources ............................................ 32 About the writer and series editor ............ 32 Blackline masters .................................. 33 Allen & Unwin would like to thank Heather Zubek and Sunniva Midtskogen for their assistance in creating these teachers notes. 83 Alexander Street PO Box 8500 Crows Nest, Sydney St Leonards NSW 2065 NSW 1590 ph: (61 2) 8425 0100 [email protected] Allen & Unwin PTY LTD Australia Australia fax: (61 2) 9906 2218 www.allenandunwin.com ABN 79 003 994 278 INTRODUCTION Angel is the fourth book in the Through My Eyes – Natural Disaster Zones series. This contemporary realistic fiction series aims to pay tribute to the inspiring courage and resilience of children, who are often the most vulnerable in post-disaster periods. Four inspirational stories give insight into environment, culture and identity through one child’s eyes. www.throughmyeyesbooks.com.au Advisory Note There are children in our schools for whom the themes and events depicted in Angel will be all too real. Though students may not be at risk of experiencing an immediate disaster, its long-term effects may still be traumatic. -
Dragon Con Progress Report 2021 | Published by Dragon Con All Material, Unless Otherwise Noted, Is © 2021 Dragon Con, Inc
WWW.DRAGONCON.ORG INSIDE SEPT. 2 - 6, 2021 • ATLANTA, GEORGIA • WWW.DRAGONCON.ORG Announcements .......................................................................... 2 Guests ................................................................................... 4 Featured Guests .......................................................................... 4 4 FEATURED GUESTS Places to go, things to do, and Attending Pros ......................................................................... 26 people to see! Vendors ....................................................................................... 28 Special 35th Anniversary Insert .......................................... 31 Fan Tracks .................................................................................. 36 Special Events & Contests ............................................... 46 36 FAN TRACKS Art Show ................................................................................... 46 Choose your own adventure with one (or all) of our fan-run tracks. Blood Drive ................................................................................47 Comic & Pop Artist Alley ....................................................... 47 Friday Night Costume Contest ........................................... 48 Hallway Costume Contest .................................................. 48 Puppet Slam ............................................................................ 48 46 SPECIAL EVENTS Moments you won’t want to miss Masquerade Costume Contest ........................................ -
(“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.