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Myth, Metatext, Continuity and Cataclysm in Dc Comics’ Crisis on Infinite Earths
WORLDS WILL LIVE, WORLDS WILL DIE: MYTH, METATEXT, CONTINUITY AND CATACLYSM IN DC COMICS’ CRISIS ON INFINITE EARTHS Adam C. Murdough 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 August 2006 Committee: Angela Nelson, Advisor Marilyn Motz Jeremy Wallach ii ABSTRACT Angela Nelson, Advisor In 1985-86, DC Comics launched an extensive campaign to revamp and revise its most important superhero characters for a new era. In many cases, this involved streamlining, retouching, or completely overhauling the characters’ fictional back-stories, while similarly renovating the shared fictional context in which their adventures take place, “the DC Universe.” To accomplish this act of revisionist history, DC resorted to a text-based performative gesture, Crisis on Infinite Earths. This thesis analyzes the impact of this singular text and the phenomena it inspired on the comic-book industry and the DC Comics fan community. The first chapter explains the nature and importance of the convention of “continuity” (i.e., intertextual diegetic storytelling, unfolding progressively over time) in superhero comics, identifying superhero fans’ attachment to continuity as a source of reading pleasure and cultural expressivity as the key factor informing the creation of the Crisis on Infinite Earths text. The second chapter consists of an eschatological reading of the text itself, in which it is argued that Crisis on Infinite Earths combines self-reflexive metafiction with the ideologically inflected symbolic language of apocalypse myth to provide DC Comics fans with a textual "rite of transition," to win their acceptance for DC’s mid-1980s project of self- rehistoricization and renewal. -
Marvel Universe 3.75" Action Figure Checklist
Marvel Universe 3.75" Action Figure Checklist Series 1 - Fury Files Wave 1 • 001 - Iron Man (Modern Armor) • 002 - Spider-Man (red/blue costume) (Light Paint Variant) • 002 - Spider-Man (red/blue costume) (Dark Paint Variant) • 003 - Silver Surfer • 004 - Punisher • 005 - Black Panther • 006 - Wolverine (X-Force costume) • 007 - Human Torch (Flamed On) • 008 - Daredevil (Light Red Variant) • 008 - Daredevil (Dark Red Variant) • 009 - Iron Man (Stealth Ops) • 010 - Bullseye (Light Paint Variant) • 010 - Bullseye (Dark Paint Variant) • 011 - Human Torch (Light Blue Costume) • 011 - Human Torch (Dark Blue Costume) Wave 2 • 012 - Captain America (Ultimates) • 013 - Hulk (Green) • 014 - Hulk (Grey) • 015 - Green Goblin • 016 - Ronin • 017 - Iron Fist (Yellow Dragon) • 017 - Iron Fist (Black Dragon Variant) Wave 3 • 018 - Black Costume Spider-Man • 019 - The Thing (Light Pants) • 019 - The Thing (Dark Pants) • 020 - Punisher (Modern Costume & New Head Sculpt) • 021 - Iron Man (Classic Armor) • 022 - Ms. Marvel (Modern Costume) • 023 - Ms. Marvel (Classic Red, Carol Danvers) • 023 - Ms. Marvel (Classic Red, Karla Sofen) • 024 - Hand Ninja (Red) Wave 4 • 026 - Union Jack • 027 - Moon Knight • 028 - Red Hulk • 029 - Blade • 030 - Hobgoblin Wave 5 • 025 - Electro • 031 - Guardian • 032 - Spider-man (Red and Blue, right side up) • 032 - Spider-man (Black and Red, upside down Variant) • 033 - Iron man (Red/Silver Centurion) • 034 - Sub-Mariner (Modern) Series 2 - HAMMER Files Wave 6 • 001 - Spider-Man (House of M) • 002 - Wolverine (Xavier School) -
NOVAVERSES ISSUE 5D
NOT ALL UNIVERSES ARE THE SAME NO: 5 NOT ALL UNIVERSES ARE THE SAME RISE OF THE CORPS Arc 1: Whatever Happened to Richard Rider? Part 1 WRITER - GORDON FERNANDEZ ILLUSTRATION - JASON HEICHEL and DAZ RED DRAGON PART 3 WRITER - BRYAN DYKE ILLUSTRATION - FERNANDO ARGÜELLO STARSCREAM PART 5 WRITER - DAZ BLACKBURN ILLUSTRATION - EMILIANO CORREA, JOE SINGLETON and DAZ DREAM OF LIVING JUSTICE PART 2 WRITER - BYRON BREWER ILLUSTRATION - JASON HEICHEL Edited by Daz Blackburn, Doug Smith & Byron Brewer Front Cover by JASON HEICHEL and DAZ BLACKBURN Next Cover by JOHN GARRETSON Novaverses logo designed by CHRIS ANDERSON NOVA AND RELATED MARVEL CHARACTERS ARE DULY RECOGNIZED AS PROPERTY AND COPYRIGHT OF MARVEL COMICS AND MARVEL CHARACTERS INC. FANS PRODUCING NOVAVERSES DULY RECOGNIZE THE ABOVE AND DENOTE THAT NOVAVERSES IS A FAN-FICTION ANTHOLOGY PRODUCED BY FANS OF NOVA AND MARVEL COSMIC VIA NOVA PRIME PAGE AND TEAM619 FACEBOOK GROUP. NOVAVERSES IS A NON-PROFIT MAKING VENTURE AND IS INTENDED PURELY FOR THE ENJOYMENT OF FANS WITH ALL RESPECT DUE TO MARVEL. NOVAVERSES IS KINDLY HOSTED BY NOVA PRIME PAGE! ORIGINAL CHARACTERS CREATED FOR NOVAVERSES ARE THE PSYCHOLOGICAL COSMIC CONSTANT OF INDIVIDUAL CREATORS AND THEIR CENTURION IMAGINATIONS. DOWNLOAD A PDF VERSION AT www.novaprimepage.com/619.asp READ ONLINE AT novaprime.deviantart.com Rise of the Nova Corps obert Rider walked somberly through the city. It was a dark, bleak, night, and there weren't many people left on the streets. His parents and friends all warned him about the dangers of 1 Rwalking in this neighborhood, especially at this hour, but Robert didn't care. -
Gender Roles & Occupations
1 Gender Roles & Occupations: A Look at Character Attributes and Job-Related Aspirations in Film and Television Stacy L. Smith, PhD Marc Choueiti Ashley Prescott & Katherine Pieper, PhD Annenberg School for Communication & Journalism University of Southern California An Executive Report Geena Davis Institute on Gender in Media Our earlier research shows that gender roles are still stereotyped in entertainment popular with children.1 For example, female characters in feature films populate less than 30% of all speaking roles. A slightly better percentage emerges across our research on gender roles in children’s television programming. Not only are on screen females present less frequently than on screen males, they are often sexualized, domesticated, and sometimes lack gainful employment. To illustrate this last point, our recent analysis2 of every first run general audience film (n=21) theatrically released between September 2006 and September 2009 reveals that a higher percentage of males (57.8%) than females (31.6%) are depicted with an occupation. While females hold marginally more professional jobs than their male counterparts (24.6% vs. 20.9%), women are noticeably absent in some of the most prestigious occupational posts. Across more than 300 speaking characters, not one female is depicted in the medical sciences (e.g., doctor, veterinarian), executive business suites (e.g., CEO, CFO), legal world (e.g., attorney, judge), or political arena. More optimistically, 6 of the 65 working females (9%) are shown with a job in the hard sciences or as pilots/astronauts. These findings suggest that females have not shattered as many glass ceilings in the “reel” world as one might suspect. -
SFU Thesis Template Files
“To Fight the Battles We Never Could”: The Militarization of Marvel’s Cinematic Superheroes by Brett Pardy B.A., The University of the Fraser Valley, 2013 Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the School of Communication Faculty of Communication, Art, and Technology Brett Pardy 2016 SIMON FRASER UNIVERSITY Summer 2016 Approval Name: Brett Pardy Degree: Master of Arts Title: “To Fight the Battles We Never Could”: The Militarization of Marvel’s Cinematic Superheroes Examining Committee: Chair: Frederik Lesage Assistant Professor Zoë Druick Senior Supervisor Associate Professor Adel Iskander Supervisor Assistant Professor Michael Ma External Examiner Faculty Member Department of Criminology Kwantlen Polytechnic University Date Defended/Approved: June 16, 2016 ii Abstract The Marvel comics film adaptations have been some of the most successful Hollywood products of the post 9/11 period, bringing formerly obscure cultural texts into the mainstream. Through an analysis of the adaptation process of Marvel Entertainment’s superhero franchise from comics to film, I argue that a hegemonic American model of militarization has been used by Hollywood as a discursive formation with which to transform niche properties into mass market products. I consider the locations of narrative ambiguities in two key comics texts, The Ultimates (2002-2007) and The New Avengers (2005-2012), as well as in the film The Avengers (2012), and demonstrate the significant reorientation of the film franchise towards the American military’s “War on Terror”. While Marvel had attempted to produce film adaptations for decades, only under the new “militainment” discursive formation was it finally successful. -
Homer's Foreshadowing of the End of the Heroic Age in the Iliad
The Kabod Volume 1 Issue 1 Fall 2014 Article 9 September 2014 All Shall Fade: Homer's Foreshadowing of the End of the Heroic Age in The Iliad Sabrina Hardy Liberty University, [email protected] Follow this and additional works at: https://digitalcommons.liberty.edu/kabod Part of the Classical Literature and Philology Commons Recommended Citations MLA: Hardy, Sabrina "All Shall Fade: Homer's Foreshadowing of the End of the Heroic Age in The Iliad," The Kabod 1. 1 (2014) Article 9. Liberty University Digital Commons. Web. [xx Month xxxx]. APA: Hardy, Sabrina (2014) "All Shall Fade: Homer's Foreshadowing of the End of the Heroic Age in The Iliad" The Kabod 1( 1 (2014)), Article 9. Retrieved from https://digitalcommons.liberty.edu/kabod/vol1/iss1/9 Turabian: Hardy, Sabrina "All Shall Fade: Homer's Foreshadowing of the End of the Heroic Age in The Iliad" The Kabod 1 , no. 1 2014 (2014) Accessed [Month x, xxxx]. Liberty University Digital Commons. This Individual Article is brought to you for free and open access by Scholars Crossing. It has been accepted for inclusion in The Kabod by an authorized editor of Scholars Crossing. For more information, please contact [email protected]. Hardy: All Shall Fade: Foreshadowing the End of the Heroic in The Iliad Hardy 1 Sabrina Hardy Dr. Carl Curtis ENGL 400: Classical Epic Fall 2012 Heroes: the mighty men of valor were those who took the burdens of the world upon their own shoulders. During the time of the Trojan War as detailed by Homer, heroes were the paragons of strength and glory. -
Civil War Comics in Order
Civil War Comics In Order Rotative and tarry Marcos always hook-ups speculatively and straddles his battlers. Shallow Mitchael sometimes scant any parvenu smoodges tartly. Untoiling and subacidulous Anders visualizes almost eminently, though Aldrich officer his fieldstone handsel. Skrulls and men to atlantis chose to its first run in superhero registration act that will change about cap orders of war comics in civil order to it possible that want to genocide wants to see his Though a couple of reporters discover this, they decide not to go public as it could unravel the good they believe Tony Stark has done. The threat of imprisonment to all who did not cooperate only fueled his belief that he was correct. MCU connections in this one, aside from a brief cameo by Dum Dum Dugan. The Avengers, Thor, Iron Man, Ms. They were superfluous, imo, and do not advance the story in any way. Civil war of business. Monitoring performance to make your website faster. In it Cap has to go out to the desert to ask Hulk for help. It challenges the reader about the notion of the police state, that utopian and dystopian aspects of life are perhaps not as distant as humanity may assume. Tony placed inside all of their armors. What alcoholics refer to as a moment of clarity. Civil War established that Frank Castle had great respect for Steve Rogers even. The Marvel universe has never looked better or more epic. But once you do, this story is just so much damn fun. TPB acts as a prologue to this event. -
Loki Production Brief
PRODUCTION BRIEF “I am Loki, and I am burdened with glorious purpose.” —Loki arvel Studios’ “Loki,” an original live-action series created exclusively for Disney+, features the mercurial God of Mischief as he steps out of his brother’s shadow. The series, described as a crime-thriller meets epic-adventure, takes place after the events Mof “Avengers: Endgame.” “‘Loki’ is intriguingly different with a bold creative swing,” says Kevin Feige, President, Marvel Studios and Chief Creative Officer, Marvel. “This series breaks new ground for the Marvel Cinematic Universe before it, and lays the groundwork for things to come.” The starting point of the series is the moment in “Avengers: Endgame” when the 2012 Loki takes the Tesseract—from there Loki lands in the hands of the Time Variance Authority (TVA), which is outside of the timeline, concurrent to the current day Marvel Cinematic Universe. In his cross-timeline journey, Loki finds himself a fish out of water as he tries to navigate—and manipulate—his way through the bureaucratic nightmare that is the Time Variance Authority and its by-the-numbers mentality. This is Loki as you have never seen him. Stripped of his self- proclaimed majesty but with his ego still intact, Loki faces consequences he never thought could happen to such a supreme being as himself. In that, there is a lot of humor as he is taken down a few pegs and struggles to find his footing in the unforgiving bureaucracy of the Time Variance Authority. As the series progresses, we see different sides of Loki as he is drawn into helping to solve a serious crime with an agent 1 of the TVA, Mobius, who needs his “unique Loki perspective” to locate the culprits and mend the timeline. -
Siege: Mighty Avengers Pdf, Epub, Ebook
SIEGE: MIGHTY AVENGERS PDF, EPUB, EBOOK Christos Gage,Dan Slott,Khoi Pham | 128 pages | 02 Feb 2011 | Marvel Comics | 9780785148012 | English | New York, United States Siege: Mighty Avengers PDF Book See Marvel Universe Events: Siege for the events surrounding this end of this volume. Dark Avengers: Ares 1 Dec President Obama , U. However, lead by Hank Pym, things will be different, as he's the big brains scientist, not the great leader like your Captain America or your Iron Man, or even your Cyclops Archived from the original on April 17, My Thoughts:This marks the end of the Mighty Avengers series that has ran for a total of 36 issues. Dark Reign Ch. Word quickly spreads, and people everywhere are beginning to question Norman Osborn and H. They do battle on Asgards side though. They then convince Volstagg to allow them to accompany him on his way back to Asgard to get his interview and to cover the invasion from another perspective. Following the Skrulls' eventual defeat and the subsequent dissolution of S. Agent's Gun U. The Avengers are dead Hood reveals the Norn Stones to his crime syndicate and states that it can empower them with the ability to find the New Avengers and those responsible for helping Luke Cage escape. Meanwhile in Washington, the President is watching the invasion of Asgard with his security council and orders the Secretary of State to mobilize all available military forces to be dispatched to Broxton and to have Osborn and the Dark Avengers arrested for treason. All-New, All-Different Avengers. -
Comic Book Original Pages: Are They Literature Or a Commodity?
Loyola of Los Angeles Entertainment Law Review Volume 14 Number 3 Article 4 3-1-1994 Comic Book Original Pages: Are They Literature or a Commodity? Alex Chun Follow this and additional works at: https://digitalcommons.lmu.edu/elr Part of the Law Commons Recommended Citation Alex Chun, Comic Book Original Pages: Are They Literature or a Commodity?, 14 Loy. L.A. Ent. L. Rev. 487 (1994). Available at: https://digitalcommons.lmu.edu/elr/vol14/iss3/4 This Notes and Comments is brought to you for free and open access by the Law Reviews at Digital Commons @ Loyola Marymount University and Loyola Law School. It has been accepted for inclusion in Loyola of Los Angeles Entertainment Law Review by an authorized administrator of Digital Commons@Loyola Marymount University and Loyola Law School. For more information, please contact [email protected]. COMIC BOOK ORIGINAL PAGES: ARE THEY LITERATURE OR A COMMODITY? I. INTRODUCTION In 1983, Kevin Eastman and Peter Laird, two aspiring illustrators, were sitting in their Massachusetts apartment when Eastman came up with some sketches of turtles with nunchakus.1 After looking at Eastman's drawings, Laird said, "We'll call them Teenage Mutant Ninja Turtles."2 With that statement, the concept for the 'Teenage Mutant Ninja Turtles" comic book was born. 3 Eastman and Laird began self-publishing4 their creation in 1984.' Since then, the pizza-eating terrapins have gone on to generate a billion dollars in film, television and licensing revenues.6 Success stories such as Eastman and Laird's are rare, but even that slim chance may be denied comic book artists if a tax is imposed on original comic book pages by the California State Board of Equalization (BOE). -
Ownership Concentration in the U.S. Comic Book Industry
From McAllister, M.P., Sewell, Jr., E. H., & Gordon, I. (2001). Comics and Ideology. NY: Peter Lang. @2001 Peter Lang. Chapter 2 Ownership Concentration in the U.S. Comic Book Industry Matthew P. McAllister In the May 24, 1998 issue of The New York Times, there appeared a 3,200-word essay about the Marvel Entertainment Group, for years the dominant publisher in the comic book industry (Bryant, 1998). The illustration that accompanied the story was a drawing of two angry figures slugging it out in a fierce battle royale. However, this article did not appear in the entertainment section, the arts section, or even the book section. It appeared in the business section. The article was not about the hottest titles, characters or artists, but instead about stock values, junk bonds, and corporate assets. And the two figures pummeling each other were not fictional superheroes, but rather cari- catures of two Wall Street moguls, Ronald Perelman and Carl Icahn. In fact, the news article focused specifically on the dire nature of the comic book market and the struggle for control over Marvel, the industry leader, that took place between these two financial tycoons. This article joined a series of news reports from 1996 through 1998 that appeared in other business venues like The Wall Street Journal, The Hollywood Reporter, and The Financial Times of London. Such articles collectively presented a troubled image of the economic and industrial dynamics of the comic book industry in the late 1990s. This chapter will focus on these dynamics from the perspective of political economy, arguing that the comic book industry is characterized by increased conglomeration and ownership concentration. -
EXECUTIVE SUMMARY Decapitation
EXECUTIVE SUMMARY Decapitation. Dismemberment. Serial killers. Graphic gore. Hey, Kids! COMICS!! Since the release of The Dark Knight film series and the 22 movies in the Marvel Cinematic Universe, comic-book characters have become wildly popular in other forms of entertainment, particularly television. But broadcast TV’s representations of comic-book characters are no longer the bright, colorful, and optimistic figures of the past. Children are innately attracted to comic-book characters; but in today’s comic book-based programs, children are being exposed to graphic violence, profanity, dark and intense themes, and other inappropriate content. In this research report, the PTC examined comic book-themed prime-time programming on the maJor broadcast networks during November, February, and May “sweeps” periods from November 2012 through May 2019. Programs examined were Fox’s Gotham; CW’s Arrow, Black Lightning, The Flash, Supergirl, DC’s Legends oF Tomorrow, and Riverdale; and ABC’s Marvel’s Agents oF S.H.I.E.L.D., Marvel’s Agent Carter, and Marvel’s Inhumans. Research data suggest that broadcast television programs based on these comic-book characters, created and intended for children, are increasingly inappropriate and/or unsafe for young viewers. In its research, the PTC found the following during the study period: • In comic book-themed programming with particular appeal to children, young viewers were exposed to over 6,000 incidents of violence, over 500 deaths, and almost 2,000 profanities. • The most violent program was CW’s Arrow. Young viewers witnessed 1,241 acts of violence, including 310 deaths, 280 instances of gun violence, and 26 scenes of people being tortured.