DOCSLIB.ORG

The Marvel Sonic Narrative: a Study of the Film Music in Marvel's the Avengers, Avengers: Infinity War, and Avengers: Endgame

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Marvel Sonic Narrative: a Study of the Film Music in Marvel's the Avengers, Avengers: Infinity War, and Avengers: Endgame Graduate Theses, Dissertations, and Problem Reports 2019 The Marvel Sonic Narrative: A Study of the Film Music in Marvel's The Avengers, Avengers: Infinity arW , and Avengers: Endgame Anthony Walker West Virginia University, [email protected] Follow this and additional works at: https://researchrepository.wvu.edu/etd Part of the Musicology Commons Recommended Citation Walker, Anthony, "The Marvel Sonic Narrative: A Study of the Film Music in Marvel's The Avengers, Avengers: Infinity arW , and Avengers: Endgame" (2019). Graduate Theses, Dissertations, and Problem Reports. 7427. https://researchrepository.wvu.edu/etd/7427 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. The Marvel Sonic Narrative: A Study of the Film Music in Marvel's The Avengers, Avengers: Infinity War, and Avengers: Endgame Anthony James Walker Dissertation submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree Doctor of Musical Arts in Music Performance Keith Jackson, D.M.A., Chair Evan A. MacCarthy, Ph.D., Research Advisor Carson McTeer Matthew Heap, Ph.D. Osama Mukdadi, Ph.D. School of Music Morgantown, West Virginia 2019 Keywords: Marvel, Avengers, Infinity War, Endgame film music, comic book, comic book movie Copyright ©2019 by Anthony J. Walker All rights reserved ABSTRACT The Marvel Sonic Narrative: A Study of the Film Music in Marvel's The Avengers, Avengers: Infinity War, and Avengers: Endgame Anthony James Walker This document explores the music of three films in the Marvel Avengers enterprise: Marvel’s The Avengers, Avengers: Infinity War, and Avengers: Endgame. It does not examine the second film of the series, Avengers: Age of Ultron. The document seeks to uncover and further understand the music’s function in each film and to determine its continuity throughout all three films. This study uses a combination of film music studies and theory-based analysis to support the findings with the aim of identifying connecting musical elements that stretch throughout these three films. This includes the use of leitmotif/themes, previously introduced music, musical similarity and contrast, as well as ways the music fits in the larger dramatic scheme of each film and the overall function of film music. Ultimately, this document will uncover vital themes that progress the sonic narrative in the Avengers soundscape. TABLE OF CONTENTS Abstract ii List of Tables iv The Marvel Cinematic Universe Filmography (2008-2019) v INTRODUCTION 1 CHAPTER ONE The Music of MARVEL’S THE AVENGERS (2012) 5 CHAPTER TWO The Music of AVENGERS: INFINITY WAR (2018) 17 CHAPTER THREE The Music of AVENGERS: ENDGAME (2019) 29 CONCLUSION 40 BIBLIOGRAPHY 43 iii List of Tables Table 1. Cue Sheet for MARVEL’S THE AVENGERS (2012) Table 2. Cue Sheet for AVENGERS: INFINITY WAR (2018) Table 3. Cue Sheet for AVENGERS: ENDGAME (2019) iv THE MARVEL CINEMATIC UNIVERSE FILMOGRAPHY For the purposes of this document, the Marvel Cinematic Universe (MCU) refers to the universe’s live action feature films. It does not include television shows, animated movies, or “One-Shots”. It includes films from Paramount Pictures, Universal Pictures, Walt Disney Studios Motion Pictures, and Sony Pictures Releasing, however, only the films that are a part of the shared universe – produced by Kevin Feige. Release dates are listed by U.S. releases. Phase One Iron Man (2008) The Incredible Hulk (2008) Iron Man 2 (2010) Thor (2011) Captain America: The First Avenger (2011) Marvel's The Avengers (2012) Phase Two Iron Man 3 (2013) Thor: The Dark World (2013) Captain America: The Winter Soldier (2014) Guardians of the Galaxy (2014) Avengers: Age of Ultron (2015) Ant-Man (2015) Phase Three Captain America: Civil War (2016) Doctor Strange (2016) Guardians of the Galaxy Vol. 2 (2017) Spider-Man: Homecoming (2017) Thor: Ragnarok (2017) Black Panther (2018) Avengers: Infinity War (2018) Ant-Man and the Wasp (2018) Captain Marvel (2019) Avengers: Endgame (2019) Spider-Man: Far From Home (2019) Phase Four Black Widow (scheduled for 2020) The Eternals (scheduled for 2020) Shang-Chi and the Legend of the Ten Rings (scheduled for 2021) Doctor Strange in the Multiverse of Madness (scheduled for 2021) Untitled Spider-Man: Far From Home sequel (scheduled for 2021) Thor: Love and Thunder (scheduled for 2021) Black Panther II (scheduled for 2022) v INTRODUCTION Film score study is fairly new in the scheme of music research, and there are glaring gaps in the literature. There has been much research into silent films and westerns, as well as into large franchise films like Jaws, Indiana Jones, Superman, Star Wars (all titles with music by John Williams)1, and Lord of the Rings (Howard Shore).2 The MCU spans over twenty-plus films (and is still growing), however, aside from film score reviews and critiques, there has not been any substantial research into its music. Comic book films have grown extremely popular over the past twenty years, to the point that Avengers: Endgame was the highest grossing film of all time. Research into comic book films is somewhat unique in that there is various source material for the films and its scores. For Marvel specifically, there is an eighty-year treasure chest of comics; characters; animated shows and movies; live-action films outside the MCU; and the twenty-two films in the MCU. The films that are the focus of this study could also have possible influences of about fifteen different film scores with different composers. The nature of film music enables directors and studios to have substantial input on how the music should and will sound. The music takes on a life beyond a composer’s control which creates a sonic palette that often stretches across films in the same franchise. This creates a sonic sound for a particular film’s universe. One well known example of this type of soundscape is the Star Wars films. The Marvel Cinematic Universe is comprised the same way.3 1 Emilio Audissino, John Williams's Film Music: Jaws, Star Wars, Raiders of the Lost Ark, and the Return of the Classical Hollywood Music Style. (Wisconsin Film Studies. Madison, Wisconsin: University of Wisconsin Press, 2014) Accessed September 5, 2019. 2 Vincent Rone. "Scoring the Familiar and Unfamiliar in Howard Shore's the Lord of the Rings." Music and the Moving Image 11, no. 2 (2018): 37-66. 3 The MCU was created as part of Marvel Studios, LLC, and is owned by The Walt Disney Company. 1 The MCU began with the release of Iron Man in 2008. Since then, the MCU spans twenty- three films with more on the way. All of the 23 films to date have been co-produced by Kevin Feige and they have had several different directors and composers. All the films and characters are based on Marvel comics, which have been in existence since 1939. Thus, Marvel and the MCU have been around for decades and show no signs of slowing down. This is also true for the “comic book” film craze. Andy Hill has observed: Certain films have the capacity – in concept, script, in visual realization – to alter the way we see the world…. Everyone who loves cinema has had the experience of leaving a theater with a slightly different walk, talk and attitude, feeling they’ve carried a bit of the character away with them.4 Marvel films are unique, in that, they have a vast eighty-year history, packed with characters and stories that fans have grown to love. They also have the ability to capture new fans, because despite larger-than-life stories and characters, people can always relate to some aspect of their identities or natures. While printed comics stimulate readers with exquisite visuals and scintillating stories, films have to incorporate additional elements like sound and motion. For sound, this includes both sound effects and screen music. Alan Silvestri (born 1950), the composer for the three films discussed in this study, is a well-established Hollywood composer, having won several awards for his compositions and having composed for over one hundred films, most notably: all three of Robert Zemeckis’s Back to the Future films (1985, 1989, and 1990), James Cameron's The Abyss (1989), John McTiernan’s Predator (1987), Robert Zemeckis’s Forrest Gump (1994), and Steven Spielberg's Ready Player One (2018). In the MCU, he composed the music for Captain America: The First Avenger (2011), Marvel’s The Avengers (2012), Avengers: Infinity War (2018), and 4 Andy Hill, Scoring the Screen: The Secret Language of Film Music. Music Pro Guides (Milwaukee, WI: Hal Leonard Books, 2017), 160. 2 Avengers: Endgame (2019). Furthermore, Silvestri can be accredited with “streamlining” the sound of the universe. While it is unclear whether he worked with some of the later composers, other composers worked off what he created in Marvel’s The Avengers, or whether it was a studio decision, elements of Silvestri’s music can be heard in many of the films after the 2012 Marvel’s The Avengers. To truly understand the sonic landscape of the MCU, it is important to understand the music of the Avengers films, a series of four films within the broader 23 films.
Load more

Recommended publications
  • Waid Ewing Zub Jacinto Curiel
    PART5 679 WAID EWING ZUB JACINTO CURIEL RATED T+ 6 7 9 1 1 $3.99US DIRECT EDITION MARVEL.COM 7 59606 08766 2 VARIANT 679 EDITION 6 7 9 2 1 RATED T+ $3.99US MARVEL.COM 7 59606 08766 2 VARIANT 679 EDITION RATED T+ • $3.99US •MARVEL.COM 6 7 9 3 1 7 59606 08766 2 The Earth has been STOLEN! The Lethal Legion and the Black Order have arrived on Earth to fight for cosmic objects called Pyramoids, which are wreaking elemental havoc on their surroundings. Most of the world’s heroes and villains have been trapped in a mysterious stasis, leaving behind only a handful of Avengers as the planet’s last line of defense. When Pyramoids landed in Rome and Peru, the remaining Avengers split into teams to investigate, but the battle has already claimed several of them, and Black Dwarf beat the Rome team to the first Pyramoid. After the heroes in Rome saw their Pyramoid inexplicably annihilate Black Dwarf, they sent Lightning to Peru to warn the other team of the danger, but he was too late--the Human Torch had already touched the second Pyramoid… WRITERS Al Ewing, Jim Zub & Mark Waid ARTIST Kim Jacinto Color Artist David Curiel Letterer VC’s Cory Petit CoVER Mark Brooks VARIANT COVERS Editor in Chief Nick Bradshaw & Jim Campbell; Ramon Perez C.B. Cebulski GRAPHIC DESIGN Chief Creative Officer Carlos Lao Joe Quesada ASSISTANT EDITOR President Alanna Smith Dan Buckley EDITOR Executive Producer Tom Brevoort Alan Fine Avengers created by Stan Lee & Jack Kirby THOR HERCULES ROGUE GRANDMASTER JANE FOSTER LIGHTNING SYNAPSE WONDER MAN RED HULK FALCON HUMAN TORCH MIGUEL SANTOS EMILY GUERRERO SIMON WILLIAMS GEN.
    [Show full text]
  • The Avengers (Action) (2012)
    1 The Avengers (Action) (2012) Major Characters Captain America/Steve Rogers...............................................................................................Chris Evans Steve Rogers, a shield-wielding soldier from World War II who gained his powers from a military experiment. He has been frozen in Arctic ice since the 1940s, after he stopped a Nazi off-shoot organization named HYDRA from destroying the Allies with a mystical artifact called the Cosmic Cube. Iron Man/Tony Stark.....................................................................................................Robert Downey Jr. Tony Stark, an extravagant billionaire genius who now uses his arms dealing for justice. He created a techno suit while kidnapped by terrorist, which he has further developed and evolved. Thor....................................................................................................................................Chris Hemsworth He is the Nordic god of thunder. His home, Asgard, is found in a parallel universe where only those deemed worthy may pass. He uses his magical hammer, Mjolnir, as his main weapon. The Hulk/Dr. Bruce Banner..................................................................................................Mark Ruffalo A renowned scientist, Dr. Banner became The Hulk when he became exposed to gamma radiation. This causes him to turn into an emerald strongman when he loses his temper. Hawkeye/Clint Barton.........................................................................................................Jeremy
    [Show full text]
  • B R I a N K I N G M U S I C I N D U S T R Y P R O F E S S I O N a L M U S I C I a N - C O M P O S E R - P R O D U C E R
    B R I A N K I N G M U S I C I N D U S T R Y P R O F E S S I O N A L M U S I C I A N - C O M P O S E R - P R O D U C E R Brian’s profile encompasses a wide range of experience in music education and the entertainment industry; in music, BLUE WALL STUDIO - BKM | 1986 -PRESENT film, television, theater and radio. More than 300 live & recorded performances Diverse range of Artists & Musical Styles UNIVERSITY OF SOUTHERN CALIFORNIA Music for Media in NYC, Atlanta, L.A. & Paris For more information; www.bluewallstudio.com • As an administrator, professor and collaborator with USC working with many award-winning faculty and artists, PRODUCTION CREDITS - PARTIAL LIST including Michael Patterson, animation and digital arts, Medeski, Martin and Wood National Medal of Arts recipient, composer, Morton Johnny O’Neil Trio Lauridsen, celebrated filmmaker, founder of Lucasfilm and the subdudes (w/Bonnie Raitt) ILM, George Lucas, and his team at the Skywalker Ranch. The B- 52s Jerry Marotta Joseph Arthur • In music education, composition and sound, with a strong The Indigo Girls focus on establishing relations with industry professionals, R.E.M. including 13-time Oscar nominee, Thomas Newman, and 5- Alan Broadbent time nominee, Dennis Sands - relationships leading to PS Jonah internships in L.A. and fundraising projects with ASCAP, Caroline Aiken BMI, the RMALA and the Musician’s Union local 47. Kristen Hall Michelle Malone & Drag The River Melissa Manchester • In a leadership role, as program director, recruitment Jimmy Webb outcomes aligned with career success for graduates Col.
    [Show full text]
  • Winds of Salem Pdf Free Download
    WINDS OF SALEM PDF, EPUB, EBOOK Melissa de La Cruz | 324 pages | 01 May 2015 | Little, Brown & Company | 9781401330224 | English | United States Winds of Salem PDF Book So we finally reach then end of this journey. The vague ending with Freya, Killian, and Loki in the bar. I really enjoyed this series and Ms. Back to the point about characters losing their powers, Freya in the past still has hers which doesn't make sense and is incongruous with how the passage of time works in the novel. I'm sad. Joanna and Norman have never had a stronger marriage. So, overall, it's safe to say I a I received this book via NetGalley. I wish Cruz had not included a spirit harassing Joanna that leads them to Salem. And I loved the Norse mythology. In the present, Ingrid has doubts over her relationship with Matt when she sees how close he is with his daughter's mother, Mariza. However, she is also the author of the children's fairytale series, Descendants, which seems to be doing pretty well. It turns out that Bran is Loki and Killian is Balder, therefore, the end of the plot of the first book is the Beauchamp family prevening Loki from enacting Ragnorak as punishment for Freya choosing Balder. As you were reading this, did you feel her conflict? This in and of itself is highly unoriginal. May Meanwhile, twenty-first-century North Hampton has its own snares. Other Editions Okay, now that I introduced you to our so called wonderful cast of characters again.
    [Show full text]
  • NEW THIS WEEK from MARVEL... Star Wars Vader Dark Visions #1 (Of
    NEW THIS WEEK FROM MARVEL... Star Wars Vader Dark Visions #1 (of 5) Amazing Spider-Man #16.HU Avengers #16 (War of Realms) Avengers No Road Home #4 (of 10) Conan the Barbarian #4 Cosmic Ghost Rider Destroys Marvel History #1 (of 6) Uncanny X-Men #13 Domino Hotshots #1 (of 5) Immortal Hulk #14 Age of X-Man Prisoner-X #1 (of 5) Meet the Skrulls #1 (of 5) Star Wars #62 Champions #3 Deadpool #10 Miles Morales Spider-Man #1 (3rd print) Star Wars Age of Republic Padme Amidala #1 Black Order #5 (of 5) Fantastic Four Vol. 1 "Fourever" GN Killmonger #5 (of 5) Immortal Hulk #12 (2nd print) Ziggy Pig Silly Seal Comics #1 Avengers by Jason Aaron Vol. 2 GN Marvel Knights Punisher by Ennis Complete Collection Vol. 2 GN NEW THIS WEEK FROM DC... Detective Comics 80 Years of Batman Deluxe Hard Cover Doomsday Clock #9 (of 12) Batman #66 Green Lantern #5 Justice League #19 Harley Quinn #59 Young Justice #3 Adventures of the Super Sons #8 (of 12) Deathstroke #41 Green Arrow #50 Female Furies #2 (of 6) Dreaming #7 Curse of Brimtstone #12 Suicide Squad Black Files #5 (of 6) Batman & Harley Quinn GN Justice League Dark Vol. 1 GN JLA New World Order Essential Edition GN DC Essentials Batgirl Action Figure NEW THIS WEEK FROM IMAGE... Walking Dead #189 Walking Dead Vol. 31 GN Die #4 Cemetery Beach #7 (of 7) Deadly Class #37 Paper Girls #26 Unnatural #8 (of 12) Self Made #4 Eclipse #13 Vindication #2 (of 4) Last Siege GN Wicked & Divine Vol.
    [Show full text]
  • Infinity War
    Article MAST | Vol.2 | No.1 | May 2021 The Journal of Media Art Study and Theory Volume 2, Issue 1, 2021 Total Screen: Why Baudrillard, Once Again? www.mast-journal.org Baudrillard and the Prophetic: Reimagining the Twin Towers in Avengers: Infinity War Loraine Haywood The University of Newcastle, Australia Abstract After 9/11, Jean Baudrillard proclaimed that the Twin Towers of the World Trade Center (the Twin Towers) in New York City, would enter the imaginary space, that: “Even in their pulverized state… No one who knew them can cease imagining them …Their end in material space has borne them off into a definite imaginary space…” (Spirit of Terrorism 36-37). This can now be considered a prophetic statement, not just in the realm of the human memory, a geographical imagination, but in the imaginary spaces of film. The Twin Towers are reimagined and revealed in presence and absence (maps and territories of the Real). They are present and have an origin story in Robert Zemeckis’ resurrection narrative The Walk, where the high-wire walk by Philippe Petite was credited with “giving them a soul.” They are present in their absence in the New York City skyline in Joseph Kosinski’s Oblivion. However, it is in Marvel’s Avengers: Infinity War that the ruined and ghostly remains of the Twin Towers are reimagined, returning to haunt audiences on the screen, associated with one of the key plot elements, the Soul Stone, and its need for sacrifice. Avengers: Infinity War reimagines the Twin Towers as an architectural marker for the Soul Stone.
    [Show full text]
  • Television Academy Awards
    2021 Primetime Emmy® Awards Ballot Outstanding Music Composition For A Series (Original Dramatic Score) The Alienist: Angel Of Darkness Belly Of The Beast After the horrific murder of a Lying-In Hospital employee, the team are now hot on the heels of the murderer. Sara enlists the help of Joanna to tail their prime suspect. Sara, Kreizler and Moore try and put the pieces together. Bobby Krlic, Composer All Creatures Great And Small (MASTERPIECE) Episode 1 James Herriot interviews for a job with harried Yorkshire veterinarian Siegfried Farnon. His first day is full of surprises. Alexandra Harwood, Composer American Dad! 300 It’s the 300th episode of American Dad! The Smiths reminisce about the funniest thing that has ever happened to them in order to complete the application for a TV gameshow. Walter Murphy, Composer American Dad! The Last Ride Of The Dodge City Rambler The Smiths take the Dodge City Rambler train to visit Francine’s Aunt Karen in Dodge City, Kansas. Joel McNeely, Composer American Gods Conscience Of The King Despite his past following him to Lakeside, Shadow makes himself at home and builds relationships with the town’s residents. Laura and Salim continue to hunt for Wednesday, who attempts one final gambit to win over Demeter. Andrew Lockington, Composer Archer Best Friends Archer is head over heels for his new valet, Aleister. Will Archer do Aleister’s recommended rehabilitation exercises or just eat himself to death? JG Thirwell, Composer Away Go As the mission launches, Emma finds her mettle as commander tested by an onboard accident, a divided crew and a family emergency back on Earth.
    [Show full text]
  • Tesis Iván Sandoval
    BENEMÉRITA UNIVERSIDAD AUTÓNOMA DE PUEBLA FACULTAD DE FILOSOFÍA Y LETRAS MAESTRÍA EN ESTÉTICA Y ARTE ____________________________________________________________ LO POLÍTICO EN LAS PELÍCULAS DE SUPERHÉROES Tesis o Tesina presentada para obtener el grado de: Licenciatura, Maestría Presenta: LIC. Iván Alejandro Sandoval Quiroz Asesores: Titular: Dr. Víctor Gerardo Rivas López Lector: Dr. Alberto José Luis Carrillo Canán Lector: Dr. Fernando Huesca Ramón CIUDAD DE PUEBLA. 23 DE MARZO DE 2021 ÍNDICE 1. INTRODUCCIÓN 2 1.1. Justificación 3 1.2. Estado de la cuestión 4 1.3. El UCM y la estructura narrativa del monomito 6 1.4. Etapas de la investigación 7 1.5. Variantes dentro del UCM 12 2. MARCO TEÓRICO 15 2.1. La obra de arte en un entorno posmoderno 15 2.2. Lo político 17 2.3. El inconsciente político 19 2.4. El viaje del héroe 22 2.5. El Universo Cinematográfico de Marvel 26 2.6. Etapas del UCM 29 2.7. Acerca de la adaptación de cómics al cine 30 3. DESARROLLO - ESTUDIO DE CASOS 32 3.1. Fase 1 32 3.2. Fase 2 44 3.3. Fase 3 56 4. CONCLUSIONES 78 4.1. Acerca de las películas como serie o conjunto 78 4.2. El inconsciente político en la forma 82 4.3. Sobre la relación entre los personajes 85 4.4. La Otredad como punto central de la narrativa 88 4.5. Nota final 93 5. BIBLIOGRAFÍA 96 6. ANEXOS 98 1 1. Introducción Este trabajo de investigación consiste en el análisis de las películas del Universo Cinematográfico de Marvel (en adelante UCM) para identificar y exponer un contenido político, tomando la noción central del “inconsciente político” de la obra de Fredric Jameson (que será expuesto en el Marco Teórico), lo que permitirá ahondar en la aparente superficialidad de las películas de superhéroes.
    [Show full text]
  • Knowledge Organiser
    Key Composers Purpose Bernard Hermann James Horner Music in a film is there to set the scene, enhance the AoS3 – Film Music mood, tell the audience things that the visuals cannot, or John Williams Danny Elfman manipulate their feelings. Sound effects are not music! John Barry Alan Silvestri Jerry Goldsmith Howard Shore Key terms Hans Zimmer Leitmotif – A theme for a character Mickey-mousing – When the music fits precisely with action Musical Elements & Common Associations (Musical Cliche’s) Underscore – where music is played at the same time as action Tempo Fast Excitement, action or fast-moving things (eg. A chase scene) Slow Contemplation, rest or slowing-moving things (eg. A funeral procession) Fanfare – short melodies from brass sections playing arpeggios and often accompanied with percussion Melody Ascending Upward movement, or a feeling of hope (eg. Climbing a mountain) Descending Downward movement, or feeling of despair (eg. Movement down a hill) Instruments and common associations (Musical Clichés) Large leaps Distorted or grotesque things (eg. a monster) Woodwind - Natural sounds such as bird song, animals, rivers Harmony Major Happiness, optimism, success Bassoons – Sometimes used for comic effect (i.e. a drunkard) Minor Sadness, seriousness (e.g. a character learns of a loved one’s death) Brass - Soldiers, war, royalty, ceremonial occasions Dissonant Scariness, pain, mental anguish (e.g. a murderer appears) Tuba – Large and slow moving things Rhythm Strong sense of pulse Purposefulness, action (e.g. preparations for a battle) & Metre Harp – Tenderness, love Dance-like rhythms Playfulness, dancing, partying (e.g. a medieval feast) Glockenspiel – Magic, music boxes, fairy tales Irregular rhythms Excitement, unpredictability (e.g.
    [Show full text]
  • Fantastic Four Compendium
    MA4 6889 Advanced Game Official Accessory The FANTASTIC FOUR™ Compendium by David E. Martin All Marvel characters and the distinctive likenesses thereof The names of characters used herein are fictitious and do are trademarks of the Marvel Entertainment Group, Inc. not refer to any person living or dead. Any descriptions MARVEL SUPER HEROES and MARVEL SUPER VILLAINS including similarities to persons living or dead are merely co- are trademarks of the Marvel Entertainment Group, Inc. incidental. PRODUCTS OF YOUR IMAGINATION and the ©Copyright 1987 Marvel Entertainment Group, Inc. All TSR logo are trademarks owned by TSR, Inc. Game Design Rights Reserved. Printed in USA. PDF version 1.0, 2000. ©1987 TSR, Inc. All Rights Reserved. Table of Contents Introduction . 2 A Brief History of the FANTASTIC FOUR . 2 The Fantastic Four . 3 Friends of the FF. 11 Races and Organizations . 25 Fiends and Foes . 38 Travel Guide . 76 Vehicles . 93 “From The Beginning Comes the End!” — A Fantastic Four Adventure . 96 Index. 102 This book is protected under the copyright laws of the United States of America. Any reproduction or other unauthorized use of the material or artwork contained herein is prohibited without the express written consent of TSR, Inc., and Marvel Entertainment Group, Inc. Distributed to the book trade in the United States by Random House, Inc., and in Canada by Random House of Canada, Ltd. Distributed to the toy and hobby trade by regional distributors. All characters appearing in this gamebook and the distinctive likenesses thereof are trademarks of the Marvel Entertainment Group, Inc. MARVEL SUPER HEROES and MARVEL SUPER VILLAINS are trademarks of the Marvel Entertainment Group, Inc.
    [Show full text]
  • Brendan Lacy M.Arch Thesis.Indb
    The Green Scare: Radical environmental activism and the invention of “eco-terror- ism” in American superhero comics from 1970 to 1990 by Brendan James Lacy A thesis presented to the University of Waterloo in fulfi llment of the thesis requirement for the degree of Master of Architecture Waterloo, Ontario, Canada, 2021 © Brendan James Lacy 2021 Author’s Declaration I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required fi nal revisions, as accepted by my examiners. I understand that my thesis may be made electronically available to the public. iii Abstract American environmentalism became a recognizable social move- ment in the 1960s. In the following two decades the movement evolved to represent a diverse set of philosophies and developed new protest methods. In the early 1990s law enforcement and govern- ment offi cials in America, with support from extraction industries, created an image of the radical environmental movement as danger- ous “eco-terrorists.” Th e concept was deployed in an eff ort to de-val- ue the environmental movement’s position at a time of heightened environmental consciousness. With the concept in place members of the movement became easier to detain and the public easier to deter through political repression. Th e concept of “eco-terrorism” enters popular media relatively quickly indicated by the proliferation of superhero comics in the ear- ly 1990s that present villainous environmental activists as “eco-ter- rorists.” Th is imagery contrasts comics from 1970 which depicted superheroes as working alongside activists for the betterment of the world.
    [Show full text]
  • PDC Marvel Theme Announcement
    Peloton Dads Challenge – Marvel Run! FORMAT CHANGES: - MARVEL THEME! Avengers, assemble! Time to take on Thanos and The Black Order! - Four Teams! We will have four teams for this run of the PDC. This will enable the next point… - Weekly Head to Head Match Ups! Each week you will be competing against only one competitor team. We will rank the standings as Wins/Losses just like a typical football season. - NINE weeks in the “Regular Season” – this means you will face each team three times. - Playoffs! After the nine regular season weeks, we will have a 2 week playoff where the seeding will be 1st vs 4th and 2nd vs 3rd. This means the 4th place team could lose the regular season but still win the playoffs! - Eleven weeks, TOTAL NEW TEAM LEADERS: - Our leaders from our Star Wars Run did a great job! They were not “replaced”; they were awarded a reprieve! It is always fun to get new leaders in to keep things fresh! - Leading the Avengers: Mike “Captain America” Nulicek! - Leading the Guardians of the Galaxy: Chris “Star-Lord” Lear! - Leading the X-Men: Brian “Wolverine” Verlaan! - Leading The Black Order: Mike “Thanos” Callahan! Peloton Dads Challenge – Marvel Run! REGULAR SEASON SCHEDULE: - WEEK ONE: - Guardians versus X-Men - Avengers versus The Black Order - WEEK TWO: - X-Men versus The Black Order - Guardians versus Avengers - WEEK THREE: - The Black Order versus Guardians - Avengers versus X-Men - WEEK FOUR: - Guardians versus X-Men - Avengers versus The Black Order - WEEK FIVE: - X-Men versus The Black Order - Guardians versus Avengers - WEEK SIX: - The Black Order versus Guardians - Avengers versus X-Men - WEEK SEVEN: - Guardians versus X-Men - Avengers versus The Black Order - WEEK EIGHT: - X-Men versus The Black Order - Guardians versus Avengers - WEEK NINE: - The Black Order versus Guardians - Avengers versus X-Men Peloton Dads Challenge – Marvel Run! FREQUENTLY ASKED QUESTIONS: - SIGN-UP: DO I HAVE TO SIGN UP EACH WEEK? YES.
    [Show full text]