DOCSLIB.ORG

SIGNS THAT SAVE: SACRAMENTAL MATTER and AGENCY in ENGLISH LITERATURE 1590–1660 by Matthew J. Rinkevich a Dissertation Submitte

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
SIGNS THAT SAVE: SACRAMENTAL MATTER and AGENCY in ENGLISH LITERATURE 1590–1660 by Matthew J. Rinkevich a Dissertation Submitte SIGNS THAT SAVE: SACRAMENTAL MATTER AND AGENCY IN ENGLISH LITERATURE 1590–1660 by Matthew J. Rinkevich A dissertation submitted to the Faculty of the University of Delaware in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English Summer 2020 © 2020 Matthew J. Rinkevich All Rights Reserved SIGNS THAT SAVE: SACRAMENTAL MATTER AND AGENCY IN ENGLISH LITERATURE 1590–1660 by Matthew J. Rinkevich Approved: __________________________________________________________ John Ernest, Ph.D. Chair of the Department of English Approved: __________________________________________________________ John Pelesko, Ph.D. Dean of the College of Arts and Sciences Approved: __________________________________________________________ Douglas J. Doren, Ph.D. Interim Vice Provost for Graduate and Professional Education and Dean of the Graduate College I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: __________________________________________________________ Kristen Poole, Ph.D. Professor in charge of dissertation I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: __________________________________________________________ Julian Yates, Ph.D. Member of dissertation committee I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: __________________________________________________________ Lowell Duckert, Ph.D. Member of dissertation committee I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: __________________________________________________________ Julia Reinhard Lupton, Ph.D. Member of dissertation committee ACKNOWLEDGMENTS I wrote much of this dissertation in solitude, yet I was never alone. I was sustained by the many vibrant communities in which I found myself. Material support from the Andrew W. Mellon Foundation, the Folger Institute, and the Huntington Library, the University of Delaware, its College of Arts and Sciences, its Center for Material Culture Studies, and its Department of English assisted my research, including at the Folger Shakespeare Library, the Huntington, and the Bodleian Libraries. It also allowed me to participate in seminars at the Folger, the Huntington, and Rare Book School and to share my work at annual meetings of the Renaissance Society of America and the Shakespeare Association of America. These opportunities contributed to this project, and I owe a debt of gratitude to my benefactors. At the University of Delaware, I gained much from my membership in its English department. There, I benefitted from the encouragement and example of its faculty, especially Martin Brückner, Siobhan Carroll, Jim Dean, John Ernest, Melissa Ianetta, Ed Larkin, the late Don Mell, Sarah Wasserman, and Miranda Wilson. Each of them is a model of scholarly and teacherly commitment, as are Paul Green, Carolyn Sorisio, and Cheryl Wanko at West Chester University. I am also grateful to my dissertation committee. An unfailing and unflappable mentor, Julian Yates always insisted upon precision and creativity, and he inspired me by his radical generosity as he did so. Lowell Duckert perceptively read and responded to the completed dissertation manuscript, and Julia Reinhard Lupton shaped and championed this project in more ways than one. Finally, my dissertation director, Kristen Poole, guided iv me throughout my graduate studies and the writing of this dissertation. Without her, I would have become lost along the way. Kristen taught me to read promiscuously, to work tirelessly, and to live charitably. Now, I thank her heartily. Within and outside of the university, friends and loved ones have filled my life with joy as I labored. Early on, I shared conversation, food, and drink with companions like Evan Cheney, Carolyne King, Jim Miranda, and Jane Wessel. Evan, Carolyne, and Jim began this journey with me, and later, comrades like Mike Doss, Joe Nash, and Jack Truschel saw me through to the end. Susan Donley proved a wise and sympathetic confidante, especially recently. And Frank Desiderio and Zack Schagrin have been my best and most steadfast friends in these sour-sweet days. As I wrote, my body and spirit were refreshed by the hospitality of my godmother Mary Lou Lake and by that of the Kominsky family. One member of that family, Alyssa, is my sweetest friend, and her patience and understanding during this process leave me awestruck. Because of her, “my state, / (Like to the lark at break of day arising) / From sullen earth sings hymns at heaven’s gate.” I hope our song has just begun. I have gained many friends and many homes, but as I conclude these acknowledgements, I recognize my first home and my family. My sisters and brothers—Cathy, Karen, Eddie, and Nick—have shared both tears and laughter with me, and I hope their little brother has made them proud. Finally, I thank my mother, Sandy, and my father, Butch, for their sacrifices, for their support, for their saturating love. To them, I offer this poor gift: I dedicate this dissertation to my parents and to the memory of my grandmother Elma—my beloved Granny. v TABLE OF CONTENTS LIST OF FIGURES ..................................................................................................... viii ABSTRACT .................................................................................................................. ix PREFACE - NOTE ON THE TEXT ............................................................................ xi Chapter 1 WHAT DID SACRED MATTER DO IN EARLY MODERN ENGLAND? ... 1 “A Liuely Picture” .................................................................................. 1 Saving, Transforming, Gathering, Remaining ....................................... 6 Conversations and Community ............................................................ 15 2 SAVING: THE FAERIE QUEENE’S RE-FORMATION OF BAPTISM ...... 24 Baptizing Wassermen ........................................................................... 24 Bloody Hands and Saving Waters ........................................................ 33 Falling into the Font ............................................................................. 52 The Waters of Friendship ..................................................................... 65 Reformation/Re-formation ................................................................... 81 3 TRANSFORMING: MAKING SENSE OF THE EUCHARIST IN A MIDSUMMER NIGHT’S DREAM ................................................................... 86 Translation/substantiation .................................................................... 86 “Hail, Mortal!”—the Donkey-Head as Sacred Artifact ....................... 96 Sense-Making ..................................................................................... 103 In/Sensible Sacraments ...................................................................... 111 Love, Not Reason ............................................................................... 126 4 GATHERING: BURNING BOOKS, BREAKING BREAD, AND CREATING COMMUNION IN THE TEMPEST ......................................... 132 Biblioclasm on “an Vn-inhabited Island” .......................................... 132 Prospero’s Books as Sacramental Texts ............................................ 140 Incarnate Texts and Eucharistic Matter .............................................. 146 “A Celestial Liquor” .......................................................................... 150 vi Burning Books/Breaking Bread ......................................................... 157 A Hag-Seed in the Corpus Mysticum ................................................. 166 5 REMAINING: JOHN DONNE’S DECAYING CORPSES AND HESTER PULTER’S DISSOLVING BODIES ............................................................. 174 Noble Dust and Base Uses; or, Hamlet’s Graveyard ......................... 174 Donne Bodies ..................................................................................... 187 Dueling with Death ............................................................................ 192 Sacred Matter in “The Relique” ......................................................... 202 The Corpse/us of Hester Pulter .......................................................... 212 Pulter’s Dissolving Bodies ................................................................. 217 AFTERWORD ........................................................................................................... 228 BIBLIOGRAPHY ...................................................................................................... 233 vii LIST OF FIGURES Figure 1 “A liuely picture describing the weight and substaunce of Gods most blessed word agaynst the doctrines and vanities of mans traditions” in John Foxe’s The First Volume of the Ecclesiasticall History Contayning the Actes & Monumentes of Thinges Passed in Euery Kinges Time (London, 1576). (Public domain via Wikimedia Commons.) ...............................................................................................
Load more

Recommended publications
  • Having Ado with Lancelot
    Having Ado with Lancelot: A Chivalric Reassessment of Malory's Champion by Jesse Michael Brillinger Thesis submitted in partial fulfillment of the requirements for the Degree of Master of Arts (English) Acadia University Fall Convocation 2010 © Jesse Michael Brillinger 2010 This thesis by Jesse M. Brillinger was defended successfully in an oral examination on ___________. The examining committee for the thesis was: ________________________ Dr. Barb Anderson, Chair ________________________ Dr. Kathleen Cawsey, External Reader ________________________ Dr. Patricia Rigg, Internal Reader ________________________ Dr. K. S. Whetter, Supervisor _________________________ Dr. Herb Wyile, Acting Head This thesis is accepted in its present form by the Division of Research and Graduate Studies as satisfying the thesis requirements for the degree of Master of Arts (English). …………………………………………. ii I, Jesse M. Brillinger, grant permission to the University Librarian at Acadia University to reproduce, loan or distribute copies of my thesis in microform, paper or electronic formats on a non‐profit basis. I, however, retain the copyright in my thesis. ______________________________ Jesse M. Brillinger ______________________________ K.S. Whetter, Supervisor ______________________________ Sep. 19, 2010 iii Table of Contents Introduction: Malory, Chivalry and Lancelot ............................................................................... 1 Chapter 1: Medieval Chivalry in Literature and Life ............................................................
    [Show full text]
  • Robert Greene and the Theatrical Vocabulary of the Early 1590S Alan
    Robert Greene and the Theatrical Vocabulary of the Early 1590s Alan C. Dessen [Writing Robert Greene: Essays on England’s First Notorious Professional Writer, ed. Kirk Melnikoff and Edward Gieskes (Aldershot and Burlington, VT: Ashgate, 2008), pp. 25-37.\ Here is a familiar tale found in literary handbooks for much of the twentieth century. Once upon a time in the 1560s and 1570s (the boyhoods of Marlowe, Shakespeare, and Jonson) English drama was in a deplorable state characterized by fourteener couplets, allegory, the heavy hand of didacticism, and touring troupes of players with limited numbers and resources. A first breakthrough came with the building of the first permanent playhouses in the London area in 1576- 77 (The Theatre, The Curtain)--hence an opportunity for stable groups to form so as to develop a repertory of plays and an audience. A decade later the University Wits came down to bring their learning and sophistication to the London desert, so that the heavyhandedness and primitive skills of early 1580s playwrights such as Robert Wilson and predecessors such as Thomas Lupton, George Wapull, and William Wager were superseded by the artistry of Marlowe, Kyd, and Greene. The introduction of blank verse and the suppression of allegory and onstage sermons yielded what Willard Thorp billed in 1928 as "the triumph of realism."1 Theatre and drama historians have picked away at some of these details (in particular, 1576 has lost some of its luster or uniqueness), but the narrative of the University Wits' resuscitation of a moribund English drama has retained its status as received truth.
    [Show full text]
  • Arden of Faversham, Shakespearean Authorship, and 'The Print of Many'
    Chapter 9 Arden of Faversham, Shakespearean Authorship, and 'The Print of Many' JACK ELLIOTT AND BRETT GREATLEY-HIRSCH he butchered body of Thomas Arden is found in the field behind the Abbey. After reporting Tthis discovery to Arden's wife, Franklin surveys the circumstantial evidence of footprints in the snow and blood at the scene: I fear me he was murdered in this house And carried to the fields, for from that place Backwards and forwards may you see The print of many feet within the snow. And look about this chamber where we are, And you shall find part of his guiltless blood; For in his slip-shoe did I find some rushes, Which argueth he was murdered in this room. (14.388-95) Although The Chronicles of England, Scotland, and Ireland by Raphael Holinshed and his editors records the identities and fates of Arden's murderers in meticulous detail (Holinshed 1587, 4M4r-4M6v; 1587, 5K1v-5K3v), those responsible for composing the dramatization of this tragic episode remain unknown. We know that the bookseller Edward White entered The Lamentable and True Tragedy ofArden ofFaversham in Kent into the Stationers' Register on 3 April 1592 (Arber 1875-94, 2: 607 ), and we believe, on the basis of typographical evidence, that Edward Allde printed the playbook later that year ( STC 733). We know that Abel Jeffes also printed an illicit edition of the playbook, as outlined in disciplinary proceedings brought against him and White in a Stationers' Court record dated 18 December 1592 (Greg and Boswell 1930, 44). No copies of this pirate edition survive, but it is assumed to have merely been a reprint of White's; Jeffes was imprisoned on 7 August 1592, so his edition must have appeared prior to this date.
    [Show full text]
  • King and Country: Shakespeare’S Great Cycle of Kings Richard II • Henry IV Part I Henry IV Part II • Henry V Royal Shakespeare Company
    2016 BAM Winter/Spring #KingandCountry Brooklyn Academy of Music Alan H. Fishman, Chairman of the Board William I. Campbell, Vice Chairman of the Board BAM, the Royal Shakespeare Company, and Adam E. Max, Vice Chairman of the Board The Ohio State University present Katy Clark, President Joseph V. Melillo, Executive Producer King and Country: Shakespeare’s Great Cycle of Kings Richard II • Henry IV Part I Henry IV Part II • Henry V Royal Shakespeare Company BAM Harvey Theater Mar 24—May 1 Season Sponsor: Directed by Gregory Doran Set design by Stephen Brimson Lewis Global Tour Premier Partner Lighting design by Tim Mitchell Music by Paul Englishby Leadership support for King and Country Sound design by Martin Slavin provided by the Jerome L. Greene Foundation. Movement by Michael Ashcroft Fights by Terry King Major support for Henry V provided by Mark Pigott KBE. Major support provided by Alan Jones & Ashley Garrett; Frederick Iseman; Katheryn C. Patterson & Thomas L. Kempner Jr.; and Jewish Communal Fund. Additional support provided by Mercedes T. Bass; and Robert & Teresa Lindsay. #KingandCountry Royal Shakespeare Company King and Country: Shakespeare’s Great Cycle of Kings BAM Harvey Theater RICHARD II—Mar 24, Apr 1, 5, 8, 12, 14, 19, 26 & 29 at 7:30pm; Apr 17 at 3pm HENRY IV PART I—Mar 26, Apr 6, 15 & 20 at 7:30pm; Apr 2, 9, 23, 27 & 30 at 2pm HENRY IV PART II—Mar 28, Apr 2, 7, 9, 21, 23, 27 & 30 at 7:30pm; Apr 16 at 2pm HENRY V—Mar 31, Apr 13, 16, 22 & 28 at 7:30pm; Apr 3, 10, 24 & May 1 at 3pm ADDITIONAL CREATIVE TEAM Company Voice
    [Show full text]
  • Accepted Version
    Article [Review of:] The New Oxford Shakespeare: The Complete Works: Modern Critical Edition / gen. eds. Gary Taylor , John Jowett , Terri Bourus , and Gabriel Egan. - Oxford : Oxford Univ. Press, 2016 ; The New Oxford Shakespeare : The Complete Works : Critical Reference Edition / gen. eds. Gary Taylor, John Jowett, Terri Bourus, and Gabriel Egan. - Oxford: Oxford University Press, 2017 ; The New Oxford Shakespeare : Authorship Companion / eds. Gary Taylor and Gabriel Egan. - Oxford: Oxford University Press, 2017 ERNE, Lukas Christian Reference ERNE, Lukas Christian. [Review of:] The New Oxford Shakespeare: The Complete Works: Modern Critical Edition / gen. eds. Gary Taylor , John Jowett , Terri Bourus , and Gabriel Egan. - Oxford : Oxford Univ. Press, 2016 ; The New Oxford Shakespeare : The Complete Works : Critical Reference Edition / gen. eds. Gary Taylor, John Jowett, Terri Bourus, and Gabriel Egan. - Oxford: Oxford University Press, 2017 ; The New Oxford Shakespeare : Authorship Companion / eds. Gary Taylor and Gabriel Egan. - Oxford: Oxford University Press, 2017. Shakespeare, 2018, vol. 14, no. 3, p. 291-296 DOI : 10.1080/17450918.2018.1496136 Available at: http://archive-ouverte.unige.ch/unige:123514 Disclaimer: layout of this document may differ from the published version. 1 / 1 Review of The New Oxford Shakespeare: The Complete Works: Modern Critical Edition, gen. eds. Gary Taylor, John Jowett, Terri Bourus, and Gabriel Egan (Oxford: Oxford University Press, 2016); Critical Reference Edition, 2 vols., gen. eds. Gary Taylor, John Jowett, Terri Bourus, and Gabriel Egan (Oxford: Oxford University Press, 2017); Authorship Companion, eds. Gary Taylor and Gabriel Egan (Oxford: Oxford University Press, 2017). Lukas Erne English Department, University of Geneva, Switzerland The publication of The New Oxford Shakespeare is a major event in the editorial history of Shakespeare.
    [Show full text]
  • Prisons and Punishments in Late Medieval London
    Prisons and Punishments in Late Medieval London Christine Winter Thesis submitted for the Degree of Doctor of Philosophy in the University of London Royal Holloway, University of London, 2012 2 Declaration I, Christine Winter, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 3 Abstract In the history of crime and punishment the prisons of medieval London have generally been overlooked. This may have been because none of the prison records have survived for this period, yet there is enough information in civic and royal documents, and through archaeological evidence, to allow a reassessment of London’s prisons in the later middle ages. This thesis begins with an analysis of the purpose of imprisonment, which was not merely custodial and was undoubtedly punitive in the medieval period. Having established that incarceration was employed for a variety of purposes the physicality of prison buildings and the conditions in which prisoners were kept are considered. This research suggests that the periodic complaints that London’s medieval prisons, particularly Newgate, were ‘foul’ with ‘noxious air’ were the result of external, rather than internal, factors. Using both civic and royal sources the management of prisons and the abuses inflicted by some keepers have been analysed. This has revealed that there were very few differences in the way civic and royal prisons were administered; however, there were distinct advantages to being either the keeper or a prisoner of the Fleet prison. Because incarceration was not the only penalty available in the enforcement of law and order, this thesis also considers the offences that constituted a misdemeanour and the various punishments employed by the authorities.
    [Show full text]
  • How Did the Romans Really Crucify Jesus? Richard Binder, September 27, 2020 (Edited March 14, 2021)
    How Did the Romans Really Crucify Jesus? Richard Binder, September 27, 2020 (edited March 14, 2021) This article is the conclusion of a secular exploration of an event that some people devoutly believe happened, while others deny the very existence of its central character. That event, or non-event, was the crucifixion of Jesus of Nazareth. You can find the complete series of articles at this Web address: http://www.richardspens.com/?crux= For nearly two millennia, the method by which Jesus of Nazareth was crucified has been a subject of speculation by Christians, archaeologists, historians, and others whose interest might be based on little or nothing more than curiosity. There exist countless religious paintings, sculptures, and corpora on crucifixes, and there exist also many ancient writings describing crucifixion as practiced by the Romans. This article is an attempt to pull together several applicable threads of information with the purpose of describing without religious bias just how Jesus’ crucifixion was carried out. One thing we can be sure of is that Jesus’ death on the cross did not appear as it is portrayed in depictions intended for veneration by the faithful, typified by the three images shown here—for it was horrifyingly unsuited to that purpose. In this article, I shall refer to works of this type as “traditional” depictions. The Ancona Crucifixion, by Crucifixion from an English A modern Roman Catholic crucifix Titian, 1558 psalter, c. 1225 All three of the above images show nails through Jesus’ palms, one nail holding both feet to the front of the cross, and Jesus wearing a loincloth and hung on a Latin cross.
    [Show full text]
  • 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.
    [Show full text]
  • Malory's Launcelot and Guinevere Abed Togydirs Betsy Taylor
    Malory's Launcelot and Guinevere abed togydirs Betsy Taylor In Malory's account of the ambush of Launcelot in Guinevere's chamber he obliquely denies the authority of his sources: For, as the Freynshhe booke seyth, the quene and sir Launcelot were k>gydirs. And whether they were abed other at other maner of disportis, me lyste nat thereof make no mencion, for love that tyme was nat as love ys nowadayes.1 · Both his sources put Launcelot and Guinevere abed,2 but Malory says he prefers not to discuss the matter ('me lyste nat thereof make no mencion'); instead he links the lovers' activities here with the love he anatomizes, however cumbersomely, at the beginning of 'The Knight of the Cart' episode: But the olde love was nat so. For men and women coude love togydirs seven yerys, and no lycoures lustis was betwyxte them, and than was love trouthe and faythefulnes. And so in lyke wyse was used such love in kynge Arthurs dayes. (p. 1120, II. 2...{1) The benefit of Malory's reticence is twofold: he places (or attempts to place) the lovers beyond contemporary criticism, 'for love that tyme was nat as love ys nowadayes'; and he ensures that the image of Launcelot which dominates in this episode is that of the 'noble knyght' who 'toke hys swerde undir hys arme, and so he walked in hys mantell ... and put hymselff in grete jouparte' (p. 1165, 11. 5-7). In Malory's version of the episode we pass from this image to 'Madame,' seyde sir Launcelot, 'ys there here ony armour within you that myght cover my body wythall?' (p.
    [Show full text]
  • (“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.
    [Show full text]
  • DIE RPG Beta Manual V1.Pdf
    DIE: A ROLE-PLAYING GAME KIERON GILLEN ©2019 ART BY STEPHANIE HANS COVER DESIGN BY RIAN HUGHES Copyright © 2019 Kieron Gillen Ltd & Stéphanie Hans. All rights reserved. DIE, the Die logos, and the likenesses of all characters herein or hereon are trademarks of Kieron Gillen Ltd & Stéphanie Hans. No part of this publication may be reproduced or transmitted in any form or by any means (except for short excerpts for journalistic or review purposes) without the express written permission of Kieron Gillen Ltd or Stéphanie Hans. All names, characters, events, and places herein are entirely fictional. Any resemblance to actual persons (living or dead), events, or places is coincidental. Representation: Law Offices of Harris M. Miller II, P.C. ([email protected]) CONTENTS 1) INTRODUCTION 2) THE WORLD OF DIE 3) PREPARATION 4) THE FIRST SESSION 5) PREPARING THE SECOND SESSION 6) THE SECOND SESSION 7) THE RULES 8) RUNNING THE ARCHETYPES 9) ADVICE FOR GAMESMASTERS 10) OTHER RESOURCES WELCOME I have a habit of being a little extra around my comics. I fear this is the most extra thing I’ve ever done. Alongside creating the comic DIE with Stephanie Hans, I developed the role-playing game you hold in your hands. Er… figure of speech. “PDF on your hard drive” doesn’t quite have the same ring. This RPG creates, in a miniaturized form, your own version of the first arc of DIE. As such, there’s some possible structural spoilers for the comic. I say “possible” because it really is your own version of the comic.
    [Show full text]
  • Kirby: the Wonderthe Wonderyears Years Lee & Kirby: the Wonder Years (A.K.A
    Kirby: The WonderThe WonderYears Years Lee & Kirby: The Wonder Years (a.k.a. Jack Kirby Collector #58) Written by Mark Alexander (1955-2011) Edited, designed, and proofread by John Morrow, publisher Softcover ISBN: 978-1-60549-038-0 First Printing • December 2011 • Printed in the USA The Jack Kirby Collector, Vol. 18, No. 58, Winter 2011 (hey, it’s Dec. 3 as I type this!). Published quarterly by and ©2011 TwoMorrows Publishing, 10407 Bedfordtown Drive, Raleigh, NC 27614. 919-449-0344. John Morrow, Editor/Publisher. Four-issue subscriptions: $50 US, $65 Canada, $72 elsewhere. Editorial package ©2011 TwoMorrows Publishing, a division of TwoMorrows Inc. All characters are trademarks of their respective companies. All artwork is ©2011 Jack Kirby Estate unless otherwise noted. Editorial matter ©2011 the respective authors. ISSN 1932-6912 Visit us on the web at: www.twomorrows.com • e-mail: [email protected] All rights reserved. No portion of this publication may be reproduced in any manner without permission from the publisher. (above and title page) Kirby pencils from What If? #11 (Oct. 1978). (opposite) Original Kirby collage for Fantastic Four #51, page 14. Acknowledgements First and foremost, thanks to my Aunt June for buying my first Marvel comic, and for everything else. Next, big thanks to my son Nicholas for endless research. From the age of three, the kid had the good taste to request the Marvel Masterworks for bedtime stories over Mother Goose. He still holds the record as the youngest contributor to The Jack Kirby Collector (see issue #21). Shout-out to my partners in rock ’n’ roll, the incomparable Hitmen—the best band and best pals I’ve ever had.
    [Show full text]