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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. -
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JACK KIRBY COLLECTOR THIRTY-NINE $9 95 IN THE US . c n I , s r e t c a r a h C l e v r a M 3 0 0 2 © & M T t l o B k c a l B FAN FAVORITES! THE NEW COPYRIGHTS: Angry Charlie, Batman, Ben Boxer, Big Barda, Darkseid, Dr. Fate, Green Lantern, RETROSPECTIVE . .68 Guardian, Joker, Justice League of America, Kalibak, Kamandi, Lightray, Losers, Manhunter, (the real Silver Surfer—Jack’s, that is) New Gods, Newsboy Legion, OMAC, Orion, Super Powers, Superman, True Divorce, Wonder Woman COLLECTOR COMMENTS . .78 TM & ©2003 DC Comics • 2001 characters, (some very artful letters on #37-38) Ardina, Blastaar, Bucky, Captain America, Dr. Doom, Fantastic Four (Mr. Fantastic, Human #39, FALL 2003 Collector PARTING SHOT . .80 Torch, Thing, Invisible Girl), Frightful Four (Medusa, Wizard, Sandman, Trapster), Galactus, (we’ve got a Thing for you) Gargoyle, hercules, Hulk, Ikaris, Inhumans (Black OPENING SHOT . .2 KIRBY OBSCURA . .21 Bolt, Crystal, Lockjaw, Gorgon, Medusa, Karnak, C Front cover inks: MIKE ALLRED (where the editor lists his favorite things) (Barry Forshaw has more rare Kirby stuff) Triton, Maximus), Iron Man, Leader, Loki, Machine Front cover colors: LAURA ALLRED Man, Nick Fury, Rawhide Kid, Rick Jones, o Sentinels, Sgt. Fury, Shalla Bal, Silver Surfer, Sub- UNDER THE COVERS . .3 GALLERY (GUEST EDITED!) . .22 Back cover inks: P. CRAIG RUSSELL Mariner, Thor, Two-Gun Kid, Tyrannus, Watcher, (Jerry Boyd asks nearly everyone what (congrats Chris Beneke!) Back cover colors: TOM ZIUKO Wyatt Wingfoot, X-Men (Angel, Cyclops, Beast, n their fave Kirby cover is) Iceman, Marvel Girl) TM & ©2003 Marvel Photocopies of Jack’s uninked pencils from Characters, Inc. -
|||GET||| Superheroes and American Self Image 1St Edition
SUPERHEROES AND AMERICAN SELF IMAGE 1ST EDITION DOWNLOAD FREE Michael Goodrum | 9781317048404 | | | | | Art Spiegelman: golden age superheroes were shaped by the rise of fascism International fascism again looms large how quickly we humans forget — study these golden age Superheroes and American Self Image 1st edition hard, boys and girls! Retrieved June 20, Justice Society of America vol. Wonder Comics 1. One of the ways they showed their disdain was through mass comic burnings, which Hajdu discusses Alysia Yeoha supporting character created by writer Gail Simone for the Batgirl ongoing series published by DC Comics, received substantial media attention in for being the first major transgender character written in a contemporary context in a mainstream American comic book. These sound effects, on page and screen alike, are unmistakable: splash art of brightly-colored, enormous block letters that practically shout to the audience for attention. World's Fair Comics 1. For example, Black Panther, first introduced inspent years as a recurring hero in Fantastic Four Goodrum ; Howe Achilles Warkiller. The dark Skull Man manga would later get a television adaptation and underwent drastic changes. The Senate committee had comic writers panicking. Howe, Marvel Comics Kurt BusiekMark Bagley. During this era DC introduced the Superheroes and American Self Image 1st edition of Batwoman inSupergirlMiss Arrowetteand Bat-Girl ; all female derivatives of established male superheroes. By format Comic books Comic strips Manga magazines Webcomics. The Greatest American Hero. Seme and uke. Len StrazewskiMike Parobeck. This era saw the debut of one of the earliest female superheroes, writer-artist Fletcher Hanks 's character Fantomahan ageless ancient Egyptian woman in the modern day who could transform into a skull-faced creature with superpowers to fight evil; she debuted in Fiction House 's Jungle Comic 2 Feb. -
Alex Kershaw
The 75th Anniversary of the WWII Italian Campaign • 1943 - 2018 The Liberator Malta, Sicily & Italy Aboard the Legendary Sea Cloud II OCTOBER 19 – 28, 2018 Extend your journey with our three-night post-tour in Rome & Florence Book early and save up to $2,000 per couple See page 43 for details. FEATURING AUTHOR & HISTORIAN ALEX KERSHAW Follow in the footsteps of US Army officer Felix Sparks, subject of Alex Kershaw’s best-selling book The Liberator, while seeing the best of Italy and visiting all of the key sites in the Italian campaign with the world's foremost experts in WWII history. Dear friend of the Museum and fellow traveler, t is my great delight to invite you to travel with me and my esteemed colleagues from The National WWII Museum on an epic voyage of liberation and wonder – Ifrom the ancient harbor of Valetta, Malta, to the shores of Italy, and all the way to the gates of Rome. I have written about many extraordinary warriors but none who gave more than Felix Sparks of the 45th “Thunderbird” Infantry Division. He experienced the full horrors of the key battles in Italy–a land of “mountains, mules, and mud,” but also of unforgettable beauty. Sparks fought from the very first day that Americans landed in Europe on July 10, 1943, to the end of the war. He earned promotions first as commander of an infantry company and then an entire battalion through Italy, France, and Germany, to the hell of Dachau. His was a truly awesome odyssey: from the beaches of Sicily to the ancient ruins at Paestum near Salerno; along the jagged, mountainous spine of Italy to the Liri Valley, overlooked by the Abbey of Monte Cassino; to the caves of Anzio where he lost his entire company in what his German foes believed was the most savage combat of the war–worse even than Stalingrad. -
NEDOR HEROES! $ NEDOR HEROES! In8 Th.E9 U5SA
Roy Tho mas ’Sta nd ard Comi cs Fan zine OKAY,, AXIS—HERE COME THE GOLDEN AGE NEDOR HEROES! $ NEDOR HEROES! In8 th.e9 U5SA No.111 July 2012 . y e l o F e n a h S 2 1 0 2 © t r A 0 7 1 82658 27763 5 Vol. 3, No. 111 / July 2012 Editor Roy Thomas Associate Editors Bill Schelly Jim Amash Design & Layout Jon B. Cooke Consulting Editor John Morrow FCA Editor P.C. Hamerlinck Comic Crypt Editor Michael T. Gilbert Editorial Honor Roll Jerry G. Bails (founder) Ronn Foss, Biljo White, Mike Friedrich Proofreaders Rob Smentek, William J. Dowlding Cover Artist Shane Foley (after Frank Robbins & John Romita) Cover Colorist Tom Ziuko With Special Thanks to: Deane Aikins Liz Galeria Bob Mitsch Contents Heidi Amash Jeff Gelb Drury Moroz Ger Apeldoorn Janet Gilbert Brian K. Morris Writer/Editorial: Setting The Standard . 2 Mark Austin Joe Goggin Hoy Murphy Jean Bails Golden Age Comic Nedor-a-Day (website) Nedor Comic Index . 3 Matt D. Baker Book Stories (website) Michelle Nolan illustrated! John Baldwin M.C. Goodwin Frank Nuessel Michelle Nolan re-presents the 1968 salute to The Black Terror & co.— John Barrett Grand Comics Wayne Pearce “None Of Us Were Working For The Ages” . 49 Barry Bauman Database Charles Pelto Howard Bayliss Michael Gronsky John G. Pierce Continuing Jim Amash’s in-depth interview with comic art great Leonard Starr. Rod Beck Larry Guidry Bud Plant Mr. Monster’s Comic Crypt! Twice-Told DC Covers! . 57 John Benson Jennifer Hamerlinck Gene Reed Larry Bigman Claude Held Charles Reinsel Michael T. -
Race War Draft 2
Race War Comics and Yellow Peril during WW2 White America’s fear of Asia takes the form of an octopus… The United States Marines #3 (1944) Or else a claw… Silver Streak Comics #6 (Sept. 1940)1 1Silver Streak #6 is the first appearance of Daredevil Creatures whose purpose is to reach out and ensnare. Before the Octopus became a symbol of racial fear it was often used in satirical cartoons to stoke a fear of hegemony… Frank Bellew’s illustration here from 1873 shows the tentacles of the railroad monopoly (built on the underpaid labor of Chinese immigrants) ensnaring our dear Columbia as she struggles to defend the constitution from such a beast. The Threat is clear, the railroad monopoly is threating our national sovereignty. But wait… Isn’t that the same Columbia who the year before… Yep… Maybe instead of Columbia frightening away Indigenous Americans as she expands west, John Gast should have painted an octopus reaching out across the continent grabbing land away from them. White America’s relationship with hegemony has always been hypocritical… When White America views the immigration of Chinese laborers to California as inevitably leading to the eradication of “native” White Americans, it can only be because when White Americans themselves migrated to California they brought with them an agenda of eradication. In this way White European and American “Yellow Peril” has largely been based on the view that China, Japan, and India represent the only real threats to white colonial dominance. The paranoia of a potential competitor in the game of rule-the-world, especially a competitor perceived as being part of a different species of humans, can be seen in the motivation behind many of the U.S.A.’s military involvement in Asia. -
4. the Superman/Kent Hypothesis: on the Epistemological Limit Between Human and Superhuman
Page no.57 4. The Superman/Kent hypothesis: On the epistemological limit between human and superhuman. Alexandros Schismenos PhD Scholar Philosophy of Science University of Ioannina Greece ORCID iD: http://orcid.org/0000-0001-8490-4223 E-Mail: [email protected] Abstract Everybody knows that Superman is Clark Kent. Nobody knows that Superman is Clark Kent. Located between these two absolute statements is the epistemological limit that separates the superhero fictitious universe from our universe of causal reality. The superheroic double identity is a secret shared by the superhero and the reader of the comic or the viewer of the movie, and quite often the superhero winks at the outside world, thus breaking the 4th wall and establishing this collusive relationship. However, in our hypothesis, we are interested in Superman not as a fictitious archetype, but rather as a fictitious metaphor. We are not interested in his double identity as the matrix of superheroic attributes and narratives, but rather as the differential limit between superhuman and human within the fictional universe. Because, the reader or the viewer may share the secret identity with Superman and also with Spiderman or Batman or any other superhuman, but the secret equivalence of Superman and Clark Kent contains another hidden antithesis. Keywords Epistemology; Superman; Nostalgia; Ubermensch; Cognition Vol 3 No 1 (2015) ISSUE – March ISSN 2347-6869 (E) & ISSN 2347-2146 (P) The Superman/Kent hypothesis by Alexandros Schismenos Page No. 57-65 Page no.58 The Superman/Kent hypothesis: On the epistemological limit between human and superhuman Everybody knows that Superman is Clark Kent. -
The Scarab 2010
THE SCARAB 2010 28th Edition Oklahoma City University 2 THE SCARAB 2010 28th Edition Oklahoma City University’s Presented by Annual Anthology of Prose, Sigma Tau Delta, Poetry, and Artwork Omega Phi Chapter Editors: Ali Cardaropoli, Kenneth Kimbrough, Emma Johnson, Jake Miller, and Shana Barrett Dr. Terry Phelps, Sponsor Copyright © The Scarab 2010 All rights reserved 3 The Scarab is published annually by the Oklahoma City University chapter of Sigma Tau Delta, the International English Honor Society. Opinions and beliefs expressed herein do not necessarily reflect those of the university, the chapter, or the editors. Submissions are accepted from students, faculty, staff, and alumni. Address all correspondence to The Scarab c/o Dr. Terry Phelps, 2501 N. Blackwelder, Oklahoma City, OK 73106, or e-mail [email protected]. The Scarab is not responsible for returning submitted work. All submissions are subject to editing. 4 THE SCARAB 2010 POETRY NONFICTION We Hold These Truths By Neilee Wood by Spencer Hicks ................................. 8 Fruition ...................................................... 41 It‘s Too Early ............................................ 42 September 1990 Skin ........................................................... 42 by Sheray Franklin .............................. 10 By Abigail Keegan Fearless with Baron Birding ...................................................... 43 by Terre Cooke-Chaffin ........................ 12 By Daniel Correa Inevitable Ode to FDR .............................................. -
Batman Arkham Knight Credits Transcript
Batman Arkham Knight Credits Transcript Top-drawer and ontogenetic Sergeant personates, but Clair idealistically escalading her verticil. Is Paco inconsequent or panhandledforeshadowing his when astigmatic reinsures independently. some Drambuie refuelled paternally? Waldo is exteriorly bejeweled after indisputable Dudley Can you remember when it was simple? Reese locks eyes with Wayne. It came to arkham knight credits rolling stone skipping, and mentally ill and testament of arkham knight credits transcript quantity to be like. Because I built it! You were great in your day, eh, lost and alone. Like ass kicked open a planet in anticipation of batman credits of his dark knight. Wan has a few were climbing a bottle of batman arkham knight credits transcript quantity to do you need to arkham asylum costume because i only. Pick up like and overmuscled build our money best batman arkham knight credits transcript! After all arkham knight credits transcript us contaminate it presented an audio segments, batman arkham knight credits transcript during season of you get a franchise that. Spencer what batman arkham knight credits transcript ar combat focuses on batman transcript present agreed to! You will die the proud wolf you are. Miracles by their definition are meaningless, the Baron! He turns and FIRES. Rpgs are really need batman credits transcript legend embodies it. British man in batman knight had interacted with batman arkham knight credits transcript. An illustration of two cells of a film strip. This is just beautiful pieces and arkham credits transcript legend are bigger role model just want to arkham credits picks right up another fucking idiot. -
Magazines V17N9.Qxd
Nov10 COF C1:COF C1.qxd 10/13/2010 2:36 PM Page 1 ORDERS DUE th 13NOV 2010 NOV E E COMIC H H T T SHOP’S CATALOG COF FI page:FI 10/14/2010 2:28 PM Page 1 FEATURED ITEMS 1 COMICS & GRAPHIC NOVELS PHOENIX #0 G ARDDEN ENTERTAINMENT THE BOYS #50 G D. E./DYNAMITE ENTERTAINMENT SHERLOCK HOLMES: YEAR ONE #1 G D. E./DYNAMITE ENTERTAINMENT LOVE FROM THE SHADOWS HC G FANTAGRAPHICS BOOKS ARCHIE: 50 TIMES AN AMERICAN ICON SC G THE HERO INITIATIVE BOOK OF LILAH GN G KICKSTART COMICS THE SPIDER #1 G MOONSTONE 1 ROBERT JORDAN‘S NEW SPRING TP G TOR BOOKS VIETNAMERICA GN G VILLARD BOOKS HIGH SCHOOL OF DEAD VOLUME 1 GN G YEN PRESS GRIMM FAIRY TALES: MYTHS AND LEGENDS #1 G ZENESCOPE ENTERTAINMENT INC BOOKS & MAGAZINES DC SUPERHERO FIGURINE COLLECTION MAGAZINE: BLACKEST NIGHT COLLECTION G COMICS AGATHA HETERODYNE AND THE AIRSHIP CITY: A GIRL GENIUS NOVEL HC G FANTASY/SCI-FI 2 ROBERT E. HOWARD‘S THE SWORD WOMAN AND OTHER HISTORICAL ADVENTURES SC G FANTASY/SCI-FI STAR WARS: KNIGHT ERRANT MMPB G STAR WARS TOYFARE #163 G WIZARD ENTERTAINMENT TRADING CARDSS 2 UPPER DECK 2010 SP AUTHENTIC FOOTBALL TRADING CARDS G THE UPPER DECK COMPANY STAR WARS GALAXY SERIES 6 TRADING CARDS G TOPPS COMPANY APPAREL MARVEL VS. CAPCOM: DAVID VS GOLIATH T-SHIRT G MAD ENGINE BRIGHTEST DAY: THE FLASH WHITE T-SHIRT G GRAPHITTI DESIGNS LEGION II SYMBOL BLACK T-SHIRT G GRAPHITTI DESIGNS TOKIDOKI X MARVEL: METAL THOR BLACK T-SHIRT G TOKIDOKI TOYS & STATUES 3 WORLD‘S GREATEST DC HEROES RETRO ACTION FIGURES G DC HEROES 3 DOCTOR WHO: MATT SMITH AS THE ELEVENTH DOCTOR MAXI-BUST G DOCTOR WHO -
Batwoman and Catwoman: Treatment of Women in DC Comics
Wright State University CORE Scholar Browse all Theses and Dissertations Theses and Dissertations 2013 Batwoman and Catwoman: Treatment of Women in DC Comics Kristen Coppess Race Wright State University Follow this and additional works at: https://corescholar.libraries.wright.edu/etd_all Part of the English Language and Literature Commons Repository Citation Race, Kristen Coppess, "Batwoman and Catwoman: Treatment of Women in DC Comics" (2013). Browse all Theses and Dissertations. 793. https://corescholar.libraries.wright.edu/etd_all/793 This Thesis is brought to you for free and open access by the Theses and Dissertations at CORE Scholar. It has been accepted for inclusion in Browse all Theses and Dissertations by an authorized administrator of CORE Scholar. For more information, please contact [email protected]. BATWOMAN AND CATWOMAN: TREATMENT OF WOMEN IN DC COMICS A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts By KRISTEN COPPESS RACE B.A., Wright State University, 2004 M.Ed., Xavier University, 2007 2013 Wright State University WRIGHT STATE UNIVERSITY GRADUATE SCHOOL Date: June 4, 2013 I HEREBY RECOMMEND THAT THE THESIS PREPARED UNDER MY SUPERVISION BY Kristen Coppess Race ENTITLED Batwoman and Catwoman: Treatment of Women in DC Comics . BE ACCEPTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF Master of Arts. _____________________________ Kelli Zaytoun, Ph.D. Thesis Director _____________________________ Carol Loranger, Ph.D. Chair, Department of English Language and Literature Committee on Final Examination _____________________________ Kelli Zaytoun, Ph.D. _____________________________ Carol Mejia-LaPerle, Ph.D. _____________________________ Crystal Lake, Ph.D. _____________________________ R. William Ayres, Ph.D. -
Characters – Reference Guide
Player’s Guides 01 Player’s Guide to Playing HeroClix 02 Player’s Guide to Powers and Abilities 03 Player’s Guide to Characters: Errata and Clarifications 04 Player’s Guide to Characters: Reference 05 Player’s Guide to Team Abilities 06 Player’s Guide to Maps 07 Player’s Guide to Tactics I: Objects, Resources, and Hordes 08 Player’s Guide to Tactics II: Feats and Battlefield Conditions Any game elements indicated with the † symbol may only be used with the Golden Age format. Any game elements indicated with the ‡ symbol may only be used with the Star Trek: Tactics game. Items labeled with a are available exclusively through Print-and-Play. Any page references refer to the HeroClix 2013 Core Rulebook. All Player’s Guides can be found at http://www.heroclix.com/downloads/rules Table of Contents Legion of Super Heroes† .................................................................................................................................................................................................. 1 Avengers† ......................................................................................................................................................................................................................... 2 Justice League† ................................................................................................................................................................................................................ 4 Mutations and Monsters† ................................................................................................................................................................................................