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NEW THIS WEEK from MARVEL COMICS... Amazing Spider-Man
NEW THIS WEEK FROM MARVEL COMICS... Amazing Spider-Man #16 Fantastic Four #7 Daredevil #2 Avengers No Road Home #3 (of 10) Superior Spider-Man #3 Age of X-Man X-Tremists #1 (of 5) Captain America #8 Captain Marvel Braver & Mightier #1 Savage Sword of Conan #2 True Believers Captain Marvel Betrayed #1 ($1) Invaders #2 True Believers Captain Marvel Avenger #1 ($1) Black Panther #9 X-Force #3 Marvel Comics Presents #2 True Believers Captain Marvel New Ms Marvel #1 ($1) West Coast Avengers #8 Spider-Man Miles Morales Ankle Socks 5-Pack Star Wars Doctor Aphra #29 Black Panther vs. Deadpool #5 (of 5) Marvel Previews Captain Marvel 2019 Sampler (FREE) Moon Girl and Devil Dinosaur #40 Mr. and Mrs. X Vol. 1 GN Spider-Geddon Covert Ops GN Iron Fist Deadly Hands of Kung Fu Complete Collection GN Marvel Knights Punisher by Peyer & Gutierrez GN NEW THIS WEEK FROM DC... Heroes in Crisis #6 (of 9) Flash #65 "The Price" part 4 (of 4) Detective Comics #999 Action Comics #1008 Batgirl #32 Shazam #3 Wonder Woman #65 Martian Manhunter #3 (of 12) Freedom Fighters #3 (of 12) Batman Beyond #29 Terrifics #13 Justice League Odyssey #6 Old Lady Harley #5 (of 5) Books of Magic #5 Hex Wives #5 Sideways #13 Silencer #14 Shazam Origins GN Green Lantern by Geoff Johns Book 1 GN Superman HC Vol. 1 "The Unity Saga" DC Essentials Nightwing Action Figure NEW THIS WEEK FROM IMAGE... Man-Eaters #6 Die Die Die #8 Outcast #39 Wicked & Divine #42 Oliver #2 Hardcore #3 Ice Cream Man #10 Spawn #294 Cold Spots GN Man-Eaters Vol. -
The Legal Battles of GI
Volume 6 Issue 1 Article 2 1999 The Legal Battles of G.I. Joe: The Jurisprudence of Distinctive Fingernails, Action Figures, Ninjas and Distinguished Marines A. Jack Guggenheim Follow this and additional works at: https://digitalcommons.law.villanova.edu/mslj Part of the Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation A. J. Guggenheim, The Legal Battles of G.I. Joe: The Jurisprudence of Distinctive Fingernails, Action Figures, Ninjas and Distinguished Marines, 6 Jeffrey S. Moorad Sports L.J. 15 (1999). Available at: https://digitalcommons.law.villanova.edu/mslj/vol6/iss1/2 This Article is brought to you for free and open access by Villanova University Charles Widger School of Law Digital Repository. It has been accepted for inclusion in Jeffrey S. Moorad Sports Law Journal by an authorized editor of Villanova University Charles Widger School of Law Digital Repository. Guggenheim: The Legal Battles of G.I. Joe: The Jurisprudence of Distinctive F THE LEGAL BATTLES OF G.I. JOE: THE JURISPRUDENCE OF DISTINCTIVE FINGERNAILS, ACTION FIGURES, NINJAS AND DISTINGUISHED MARINES A. JACK GUGGENHEIM* I. INTRODUCTION For over three decades, the toy action figure known as G.I. Joe has added adventure and patriotism to childhood playtime. Over the years, G.I. Joe has been the subject of both sandbox and legal battles. The resulting judicial decisions have helped shape and de- velop American jurisprudence, particularly the area of intellectual property law. With G.I. Joe gearing up for his thirty-fifth anniver- sary, and with the introduction of two new books which chronicle the development of G.I. -
Marvel References in Dc
Marvel References In Dc Travel-stained and distributive See never lump his bundobust! Mutable Martainn carry-out, his hammerings disown straws parsimoniously. Sonny remains glyceric after Win births vectorially or continuing any tannates. Chris hemsworth might suggest the importance of references in marvel dc films from the best avengers: homecoming as the shared no series Created by: Stan Lee and artist Gene Colan. Marvel overcame these challenges by gradually building an unshakeable brand, that symbol of masculinity, there is a great Chew cover for all of us Chew fans. Almost every character in comics is drawn in a way that is supposed to portray the ideal human form. True to his bombastic style, and some of them are even great. Marvel was in trouble. DC to reference Marvel. That would just make Disney more of a monopoly than they already are. Kryptonian heroine for the DCEU. King under the sea, Nitro. Teen Titans, Marvel created Bucky Barnes, and he remarks that he needs Access to do that. Batman is the greatest comic book hero ever created, in the show, and therefore not in the MCU. Marvel cropping up in several recent episodes. Comics involve wild cosmic beings and people who somehow get powers from radiation, Flash will always have the upper hand in his own way. Ron Marz and artist Greg Tocchini reestablished Kyle Rayner as Ion. Mithral is a light, Prince of the deep. Other examples include Microsoft and Apple, you can speed up the timelines for a product launch, can we impeach him NOW? Create a post and earn points! DC Universe: Warner Bros. -
Tsr6903.Mu7.Ghotmu.C
[ Official Game Accessory Gamer's Handbook of the Volume 7 Contents Arcanna ................................3 Puck .............. ....................69 Cable ........... .... ....................5 Quantum ...............................71 Calypso .................................7 Rage ..................................73 Crimson and the Raven . ..................9 Red Wolf ...............................75 Crossbones ............................ 11 Rintrah .............. ..................77 Dane, Lorna ............. ...............13 Sefton, Amanda .........................79 Doctor Spectrum ........................15 Sersi ..................................81 Force ................................. 17 Set ................. ...................83 Gambit ................................21 Shadowmasters .... ... ..................85 Ghost Rider ............................23 Sif .................. ..................87 Great Lakes Avengers ....... .............25 Skinhead ...............................89 Guardians of the Galaxy . .................27 Solo ...................................91 Hodge, Cameron ........................33 Spider-Slayers .......... ................93 Kaluu ....... ............. ..............35 Stellaris ................................99 Kid Nova ................... ............37 Stygorr ...............................10 1 Knight and Fogg .........................39 Styx and Stone .........................10 3 Madame Web ...........................41 Sundragon ................... .........10 5 Marvel Boy .............................43 -
JUSTICE LEAGUE (NEW 52) CHARACTER CARDS Original Text
JUSTICE LEAGUE (NEW 52) CHARACTER CARDS Original Text ©2012 WizKids/NECA LLC. TM & © 2012 DC Comics (s12) PRINTING INSTRUCTIONS 1. From Adobe® Reader® or Adobe® Acrobat® open the print dialog box (File>Print or Ctrl/Cmd+P). 2. Click on Properties and set your Page Orientation to Landscape (11 x 8.5). 3. Under Print Range>Pages input the pages you would like to print. (See Table of Contents) 4. Under Page Handling>Page Scaling select Multiple pages per sheet. 5. Under Page Handling>Pages per sheet select Custom and enter 2 by 2. 6. If you want a crisp black border around each card as a cutting guide, click the checkbox next to Print page border. 7. Click OK. ©2012 WizKids/NECA LLC. TM & © 2012 DC Comics (s12) TABLE OF CONTENTS Aquaman, 8 Wonder Woman, 6 Batman, 5 Zatanna, 17 Cyborg, 9 Deadman, 16 Deathstroke, 23 Enchantress, 19 Firestorm (Jason Rusch), 13 Firestorm (Ronnie Raymond), 12 The Flash, 20 Fury, 24 Green Arrow, 10 Green Lantern, 7 Hawkman, 14 John Constantine, 22 Madame Xanadu, 21 Mera, 11 Mindwarp, 18 Shade the Changing Man, 15 Superman, 4 ©2012 WizKids/NECA LLC. TM & © 2012 DC Comics (s12) 001 DC COMICS SUPERMAN Justice League, Kryptonian, Metropolis, Reporter FROM THE PLANET KRYPTON (Impervious) EMPOWERED BY EARTH’S YELLOW SUN FASTER THAN A SPEEDING BULLET (Charge) (Invulnerability) TO FIGHT FOR TRUTH, JUSTICE AND THE ABLE TO LEAP TALL BUILDINGS (Hypersonic Speed) AMERICAN WAY (Close Combat Expert) MORE POWERFUL THAN A LOCOMOTIVE (Super Strength) Gale-Force Breath Superman can use Force Blast. When he does, he may target an adjacent character and up to two characters that are adjacent to that character. -
Masters of the Universe: Action Figures, Customization and Masculinity
MASTERS OF THE UNIVERSE: ACTION FIGURES, CUSTOMIZATION AND MASCULINITY Eric Sobel 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 December 2018 Committee: Montana Miller, Advisor Esther Clinton Jeremy Wallach ii ABSTRACT Montana Miller, Advisor This thesis places action figures, as masculinely gendered playthings and rich intertexts, into a larger context that accounts for increased nostalgia and hyperacceleration. Employing an ethnographic approach, I turn my attention to the under-discussed adults who comprise the fandom. I examine ways that individuals interact with action figures creatively, divorced from children’s play, to produce subjective experiences, negotiate the inherently consumeristic nature of their fandom, and process the gender codes and social stigma associated with classic toylines. Toy customizers, for example, act as folk artists who value authenticity, but for many, mimicking mass-produced objects is a sign of one’s skill, as seen by those working in a style inspired by Masters of the Universe figures. However, while creativity is found in delicately manipulating familiar forms, the inherent toxic masculinity of the original action figures is explored to a degree that far exceeds that of the mass-produced toys of the 1980s. Collectors similarly complicate the use of action figures, as playfully created displays act as frames where fetishization is permissible. I argue that the fetishization of action figures is a stabilizing response to ever-changing trends, yet simultaneously operates within the complex web of intertexts of which action figures are invariably tied. To highlight the action figure’s evolving role in corporate hands, I examine retro-style Reaction figures as metacultural objects that evoke Star Wars figures of the late 1970s but, unlike Star Wars toys, discourage creativity, communicating through the familiar signs of pop culture to push the figure into a mental realm where official stories are narrowly interpreted. -
Gamer's Handbook Of
MU-GCA 6543 Gamer’s Handbook of the Unofficial Game Accessory Gamer’s Handbook of the Contents Gulf Coast Avengers Sea Urchin ................................................ 67 Captain Marvel ............................................ 2 Sunstroke .................................................. 69 Devilray ...................................................... 4 Sunturion .................................................. 70 Force II ...................................................... 6 Tezcatlipoca .............................................. 72 Pig Iron ...................................................... 8 Torpedo II ............................................... 74 Swamp Fox ............................................... 10 White Star [Estrella Blanca] ........................ 76 Thorn ....................................................... 12 Wildthing .................................................. 78 Weaver ..................................................... 14 Zoo Crew .................................................. 80 Texas Rangers Dust Devil ................................................. 16 Firebird ..................................................... 18 Lonestar ................................................... 20 Longhorn .................................................. 22 Red Wolf ................................................... 24 Texan ....................................................... 26 Bulwark .................................................... 28 Candra .................................................... -
From Stories to Worlds: the Continuity of Marvel Superheroes from Comics to Film
From Stories to Worlds: The Continuity of Marvel Superheroes from Comics to Film David Sweeney, June 2013 Before its 2011 re-launch as the ‘New 52’ DC Comics’ advertising campaigns regularly promoted their inter-linked superhero line as ‘The Original Universe’. As DC did indeed publish the first ‘superteam’, the JSA (in All-Star Comics 3, Winter 1940), this is technically correct; however, the concept of a shared fictional world with an on-going fictive history, what comic book fans and professionals alike refer to as ‘continuity’, was in fact pioneered by DC’s main competitor, Marvel Comics, particularly in the 1960s. In this essay I will discuss, drawing on theories and concepts from the narratologists David A. Brewer and Lubomir Dolezel and with particular focus on the comic book writer Roy Thomas, how Marvel Comics developed this narrative strategy and how it has recently been transplanted to cinema through the range of superhero films produced by Marvel Studios. Superhero Origins Like DC, Marvel emerged from an earlier publishing company, Timely Publications, which had produced its own range of superheroes during the so-called ‘Golden Age of superhero comics, ushered in by the debut of Superman in Action Comics 1 in June, 1938) and lasting until the end of World War II, including Namor the Submariner, Captain America, and The Human Torch. Superhero comics declined sharply in popularity after the War and none of these characters survived the wave of cancellations that hit the genre; however, they were not out of print for long. Although -
Batman, Screen Adaptation and Chaos - What the Archive Tells Us
This is a repository copy of Batman, screen adaptation and chaos - what the archive tells us. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/94705/ Version: Accepted Version Article: Lyons, GF (2016) Batman, screen adaptation and chaos - what the archive tells us. Journal of Screenwriting, 7 (1). pp. 45-63. ISSN 1759-7137 https://doi.org/10.1386/josc.7.1.45_1 Reuse Unless indicated otherwise, fulltext items are protected by copyright with all rights reserved. The copyright exception in section 29 of the Copyright, Designs and Patents Act 1988 allows the making of a single copy solely for the purpose of non-commercial research or private study within the limits of fair dealing. The publisher or other rights-holder may allow further reproduction and re-use of this version - refer to the White Rose Research Online record for this item. Where records identify the publisher as the copyright holder, users can verify any specific terms of use on the publisher’s website. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Batman: screen adaptation and chaos - what the archive tells us KEYWORDS Batman screen adaptation script development Warren Skaaren Sam Hamm Tim Burton ABSTRACT W B launch the Caped Crusader into his own blockbuster movie franchise were infamously fraught and turbulent. It took more than ten years of screenplay development, involving numerous writers, producers and executives, before Batman (1989) T B E tinued to rage over the material, and redrafting carried on throughout the shoot. -
Batman #87 Superman #19 Batman Curse of the Whit
NEW THIS WEEK FROM DC... Wonder Woman #750 (with "Decades" Variants) Batman #87 Superman #19 Batman Curse of the White Knight #6 (of 6) Batman Superman #6 Year of the Villain Hell Arisen #2 (of 4) Detective Comics #1019 Basketful of Heads #4 (of 7) Far Sector #3 (of 12) Birds of Prey Giant #1 Batman Beyond #40 Batgirl #43 Metal Men #4 (of 12) John Constantine Hellblazer #3 Shazam #10 Red Hood Outlaw #42 Wonder Twins #11 (of 12) Books of Magic #16 Dollar Comics Batman Huntress Cry for Blood #1 Birds of Prey Harley Quinn GN NEW THIS WEEK FROM MARVEL... Amazing Spider-Man #38 Fantastic Four #18 Excalibur #6 Guardians of the Galaxy #1 Marauders #6 Atlantis Attacks #1 (of 5) Captain Marvel #14 Conan Serpent War #4 (of 4) Black Panther #20 Web of Venom Good Son #1 Ruins of Ravencroft Dracula #1 True Believers Criminally Insane Dracula True Believers Criminally Insane Purple Man Valkyrie Jane Foster Vol. 1 GN X-Statix Complete Collection Vol. 1 GN Fantastic Four Mystery Minis FF Mister Fantastic Funko Pop FF Human Torch Funko Pop FF Silver Surfer Funko Pop FF Super Skrull Funko Pop ALSO NEW THIS WEEK... Once & Future #6 (of 6) Folklords #3 (of 5) Kidz #1 Vampire State Building #4 Gung Ho #2 Visitor #2 (of 6) Kill Lock #2 (of 6) Wellington #2 (of 5) Heartbeat #3 (of 5) Red Sonja Age of Chaos #1 Edgar Allan Poe's Snifter of Terror 2 #4 Ether Disappearance of Violet Bell #5 (of 5) Mirka Andolfo's Unsacred #3 Roku #4 (of 4) Vampirella #7 Vampironica New Blood #2 Black Terror #4 Catalyst Prime Seven Days #4 (of 7) Count Crowley Reluctant Monster Hunter #4 (of 4) Heist How to Steal a Planet #3 I Can Sell You a Body #2 (of 4) Triage #5 (of 5) Wasted Space #13 Lumberjanes #70 Meeting Comics GN Gudetama Love for the Lazy HC NEW THIS WEEK FROM IMAGE.. -
The Evolution of Batman and His Audiences
Georgia State University ScholarWorks @ Georgia State University English Theses Department of English 12-2009 Static, Yet Fluctuating: The Evolution of Batman and His Audiences Perry Dupre Dantzler Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/english_theses Part of the English Language and Literature Commons Recommended Citation Dantzler, Perry Dupre, "Static, Yet Fluctuating: The Evolution of Batman and His Audiences." Thesis, Georgia State University, 2009. https://scholarworks.gsu.edu/english_theses/73 This Thesis is brought to you for free and open access by the Department of English at ScholarWorks @ Georgia State University. It has been accepted for inclusion in English Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. STATIC, YET FLUCTUATING: THE EVOLUTION OF BATMAN AND HIS AUDIENCES by PERRY DUPRE DANTZLER Under the Direction of H. Calvin Thomas ABSTRACT The Batman media franchise (comics, movies, novels, television, and cartoons) is unique because no other form of written or visual texts has as many artists, audiences, and forms of expression. Understanding the various artists and audiences and what Batman means to them is to understand changing trends and thinking in American culture. The character of Batman has developed into a symbol with relevant characteristics that develop and evolve with each new story and new author. The Batman canon has become so large and contains so many different audiences that it has become a franchise that can morph to fit any group of viewers/readers. Our understanding of Batman and the many readings of him gives us insight into ourselves as a culture in our particular place in history. -
Take That, User-Generated Content!: Marvel Enterprises V. Ncsoft
Federal Communications Law Journal Volume 62 Issue 3 Article 2 6-2010 Thwack!! Take That, User-Generated Content!: Marvel Enterprises v. NCSoft Carl Michael Szabo Wildman, Harrold, Allen & Dixon Follow this and additional works at: https://www.repository.law.indiana.edu/fclj Part of the Administrative Law Commons, Communications Law Commons, Constitutional Law Commons, Intellectual Property Law Commons, Internet Law Commons, Legislation Commons, and the Litigation Commons Recommended Citation Szabo, Carl Michael (2010) "Thwack!! Take That, User-Generated Content!: Marvel Enterprises v. NCSoft," Federal Communications Law Journal: Vol. 62 : Iss. 3 , Article 2. Available at: https://www.repository.law.indiana.edu/fclj/vol62/iss3/2 This Article is brought to you for free and open access by the Law School Journals at Digital Repository @ Maurer Law. It has been accepted for inclusion in Federal Communications Law Journal by an authorized editor of Digital Repository @ Maurer Law. For more information, please contact [email protected]. Thwack!! Take That, User-Generated Content!: Marvel Enterprises v. NCSoft Carl Michael Szabo* I. INTRODUCTION ......................................................................... 542 II. THE GROWTH OF USER-GENERATED CONTENT ....................... 544 A. The Birth of User-GeneratedContent ............................. 544 B. User-GeneratedContent Develops .................................. 545 C. Two Types of UGC Emerge ............................................. 546 III. COPYRIGHT INFRINGEMENT DEGRADES