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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. -
Alan Moore's Miracleman: Harbinger of the Modern Age of Comics
Alan Moore’s Miracleman: Harbinger of the Modern Age of Comics Jeremy Larance Introduction On May 26, 2014, Marvel Comics ran a full-page advertisement in the New York Times for Alan Moore’s Miracleman, Book One: A Dream of Flying, calling the work “the series that redefined comics… in print for the first time in over 20 years.” Such an ad, particularly one of this size, is a rare move for the comic book industry in general but one especially rare for a graphic novel consisting primarily of just four comic books originally published over thirty years before- hand. Of course, it helps that the series’ author is a profitable lumi- nary such as Moore, but the advertisement inexplicably makes no reference to Moore at all. Instead, Marvel uses a blurb from Time to establish the reputation of its “new” re-release: “A must-read for scholars of the genre, and of the comic book medium as a whole.” That line came from an article written by Graeme McMillan, but it is worth noting that McMillan’s full quote from the original article begins with a specific reference to Moore: “[Miracleman] represents, thanks to an erratic publishing schedule that both predated and fol- lowed Moore’s own Watchmen, Moore’s simultaneous first and last words on ‘realism’ in superhero comics—something that makes it a must-read for scholars of the genre, and of the comic book medium as a whole.” Marvel’s excerpt, in other words, leaves out the very thing that McMillan claims is the most important aspect of Miracle- man’s critical reputation as a “missing link” in the study of Moore’s influence on the superhero genre and on the “medium as a whole.” To be fair to Marvel, for reasons that will be explained below, Moore refused to have his name associated with the Miracleman reprints, so the company was legally obligated to leave his name off of all advertisements. -
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. -
Superman Or Batman Cakes
2105-8507SMnBatWebIs50530.qxd 7/12/05 11:42 AM Page 1 Instructions for To Decorate Superman Cake To make the Superman cake in the colors shown you will need Wilton Baking & Decorating Icing Colors in Royal Blue, Christmas Red, Copper (skin tone), and Lemon Yellow, tips 3, 16 and 18. We suggest that you tint all icing at Superman or Batman one time while cake cools. Refrigerate tinted icings in covered containers until ready to use. Cakes Make 3 cups buttercream icing: 1 PLEASE READ THROUGH INSTRUCTIONS BEFORE YOU BEGIN. • Tint 1 ⁄2 cups blue 3 IN ADDITION, to decorate cakes you will need: • Tint ⁄4 cup red • Tint 1⁄4 cup copper (skin tone) • Wilton Decorating Bag and Coupler or • Tint 1⁄4 cup yellow parchment paper triangles • Reserve 1⁄4 cup white • Tips 3, 16, and 18 • Wilton Icing Colors in Royal Blue, WITH RED ICING WITH YELLOW ICING • Use tip 3 and “To Outline” • Use tip 16 and “To Make Stars” Christmas Red, Copper (skin tone), directions to outline details on cape directions to cover belt Lemon Yellow and Black • Use tip 18 and “To Make Stars” • Use tip 16 and “To Make Stars” • Serving plate directions to cover cape directions to squeeze out a second • One 2-layer cake mix or ingredients for layer of stars in a circle to give the your favorite layer cake recipe WITH BLUE ICING appearance of a belt buckle • 3 cups buttercream icing (recipe) or • Use tip 3 and “To Outline” directions to outline details on suit WITH RED ICING 2 packages of creamy vanilla type • Use tip 16 and “To Make Stars” frosting mix (15.4 oz. -
Crossmedia Adaptation and the Development of Continuity in the Dc Animated Universe
“INFINITE EARTHS”: CROSSMEDIA ADAPTATION AND THE DEVELOPMENT OF CONTINUITY IN THE DC ANIMATED UNIVERSE Alex Nader 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 May 2015 Committee: Jeff Brown, Advisor Becca Cragin © 2015 Alexander Nader All Rights Reserved iii ABSTRACT Jeff Brown, Advisor This thesis examines the process of adapting comic book properties into other visual media. I focus on the DC Animated Universe, the popular adaptation of DC Comics characters and concepts into all-ages programming. This adapted universe started with Batman: The Animated Series and comprised several shows on multiple networks, all of which fit into a shared universe based on their comic book counterparts. The adaptation of these properties is heavily reliant to intertextuality across DC Comics media. The shared universe developed within the television medium acted as an early example of comic book media adapting the idea of shared universes, a process that has been replicated with extreme financial success by DC and Marvel (in various stages of fruition). I address the process of adapting DC Comics properties in television, dividing it into “strict” or “loose” adaptations, as well as derivative adaptations that add new material to the comic book canon. This process was initially slow, exploding after the first series (Batman: The Animated Series) changed networks and Saturday morning cartoons flourished, allowing for more opportunities for producers to create content. References, crossover episodes, and the later series Justice League Unlimited allowed producers to utilize this shared universe to develop otherwise impossible adaptations that often became lasting additions to DC Comics publishing. -
Superman: What Makes Him So Iconic?
SUPERMAN: WHAT MAKES HIM SO ICONIC? Superman: What makes him so Iconic? Myriam Demers-Olivier George Brown College © 2009, Myriam Demers-Olivier SUPERMAN: WHAT MAKES HIM SO ICONIC? Introduction “Faster than a speeding bullet, more powerful than a locomotive, able to leap tall buildings in a single bound. Look! Up in the sky! It’s a bird, it’s a plane, it’s Superman! “ (Daniels, 1998, p. 1-7). Some people might not recognize the reference to early radio shows and cartoons, but most people will recognize the name Superman. Superman has become such an amazing cultural icon, that almost everyone knows his name, and often his weakness, his powers, the colors of his suit and the name of his arch nemesis. It’s part of common knowledge and everyone has been exposed to him at some time or another. Since the creation of Superman in 1938, comic book research and literary studies have come along way. These allows us to more deeply analyze and understand, as well as unravel the deeper signified meanings associated with the iconic Superman (Wandtke, 2007, p. 25). He is seen as a superhero, but also upholds “truth, justice and the American way” (Watt-Evans, 2006, p. 1). Some see him as Christ-like or Jewish, and even as a fascist. He fulfills some of our needs from the Maslow’s hierarchy of needs, and also expresses different messages depending on the medium in which he is portrayed. There is no end to the Superman merchandise, but Superman as an icon, can change a person. -
All Batman References in Teen Titans
All Batman References In Teen Titans Wingless Judd boo that rubrics breezed ecstatically and swerve slickly. Inconsiderably antirust, Buck sequinedmodernized enough? ruffe and isled personalties. Commie and outlined Bartie civilises: which Winfred is Behind Batman Superman Wonder upon The Flash Teen Titans Green. 7 Reasons Why Teen Titans Go Has Failed Page 7. Use of teen titans in batman all references, rather fitting continuation, red sun gauntlet, and most of breaching high building? With time throw out with Justice League will wrap all if its members and their powers like arrest before. Worlds apart label the bleak portentousness of Batman v. Batman Joker Justice League Wonder whirl Dark Nights Death Metal 7 Justice. 1 Cars 3 Driven to Win 4 Trivia 5 Gallery 6 References 7 External links Jackson Storm is lean sleek. Wait What Happened in his Post-Credits Scene of Teen Titans Go knowing the Movies. Of Batman's television legacy in turn opinion with very due respect to halt late Adam West. To theorize that come show acts as a prequel to Batman The Animated Series. Bonus points for the empire with Wally having all sorts of music-esteembody image. If children put Dick Grayson Jason Todd and Tim Drake in inner room today at their. DUELA DENT duela dent batwoman 0 Duela Dent ideas. Television The 10 Best Batman-Related DC TV Shows Ranked. Say is famous I'm Batman line while he proceeds to make references. Spoilers Ahead for sound you missed in Teen Titans Go. The ones you essential is mainly a reference to Vicki Vale and Selina Kyle Bruce's then-current. -
Why No Wonder Woman?
Why No Wonder Woman? A REPORT ON THE HISTORY OF WONDER WOMAN AND A CALL TO ACTION!! Created for Wonder Woman Fans Everywhere Introduction by Jacki Zehner with Report Written by Laura Moore April 15th, 2013 Wonder Woman - p. 2 April 15th, 2013 AN INTRODUCTION AND FRAMING “The destiny of the world is determined less by battles that are lost and won than by the stories it loves and believes in” – Harold Goddard. I believe in the story of Wonder Woman. I always have. Not the literal baby being made from clay story, but the metaphorical one. I believe in a story where a woman is the hero and not the victim. I believe in a story where a woman is strong and not weak. Where a woman can fall in love with a man, but she doesnʼt need a man. Where a woman can stand on her own two feet. And above all else, I believe in a story where a woman has superpowers that she uses to help others, and yes, I believe that a woman can help save the world. “Wonder Woman was created as a distinctly feminist role model whose mission was to bring the Amazon ideals of love, peace, and sexual equality to ʻa world torn by the hatred of men.ʼ”1 While the story of Wonder Woman began back in 1941, I did not discover her until much later, and my introduction didnʼt come at the hands of comic books. Instead, when I was a little girl I used to watch the television show starring Lynda Carter, and the animated television series, Super Friends. -
How Superman Developed Into a Jesus Figure
HOW SUPERMAN DEVELOPED INTO A JESUS FIGURE CRISIS ON INFINITE TEXTS: HOW SUPERMAN DEVELOPED INTO A JESUS FIGURE By ROBERT REVINGTON, B.A., M.A. A Thesis Submitted to the School of Graduate Studies in Partial Fulfillment of the Requirements for the Degree of Master of Arts McMaster University © Copyright by Robert Revington, September 2018 MA Thesis—Robert Revington; McMaster University, Religious Studies McMaster University MASTER OF ARTS (2018) Hamilton, Ontario, Religious Studies TITLE: Crisis on Infinite Texts: How Superman Developed into a Jesus Figure AUTHOR: Robert Revington, B.A., M.A (McMaster University) SUPERVISOR: Professor Travis Kroeker NUMBER OF PAGES: vi, 143 ii MA Thesis—Robert Revington; McMaster University, Religious Studies LAY ABSTRACT This thesis examines the historical trajectory of how the comic book character of Superman came to be identified as a Christ figure in popular consciousness. It argues that this connection was not integral to the character as he was originally created, but was imposed by later writers over time and mainly for cinematic adaptations. This thesis also tracks the history of how Christians and churches viewed Superman, as the film studios began to exploit marketing opportunities by comparing Superman and Jesus. This thesis uses the methodological framework of intertextuality to ground its treatment of the sources, but does not follow all of the assumptions of intertextual theorists. iii MA Thesis—Robert Revington; McMaster University, Religious Studies ABSTRACT This thesis examines the historical trajectory of how the comic book character of Superman came to be identified as a Christ figure in popular consciousness. Superman was created in 1938, but the character developed significantly from his earliest incarnations. -
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. -
Read Book Smallville: Season 5 : the Official Companion
SMALLVILLE: SEASON 5 : THE OFFICIAL COMPANION PDF, EPUB, EBOOK Craig Byrne | 160 pages | 25 Jan 2008 | Titan Books Ltd | 9781845765422 | English | London, United Kingdom Smallville: Season 5 : The Official Companion PDF Book Cassandra rated it it was amazing Jul 05, Every episode is well examined, and some episodes, like the popular "Memoria," were treated with extended sections. According to writers Kelly Souders and Brian Peterson, "Reckoning" had been chosen as the episode's title before the script had been finalized. Karen A. One faction of fans was unhappy with the choice of Jonathan, however, as they would have preferred Lana dying instead. Volume 5 - 1st printing. Alongside E4 broadcasting the new series of the show, Sci-Fi were also broadcasting all the older episodes, which ran all the way up to the end of Season 7. However, the show was not able to afford the special effects to pull the scene off, and so, the sequence was re-written to feature a bus crash. Leslie rated it it was amazing Jun 26, This authorized companion with a stunning page full-color section takes you through Season Four, which achieved the highest ratings of any season! Since then, she has headlined shows like Bitten and the reboot of V. The final version was finished "two-and-a-half [to] three weeks" before production began. It should come as no surprise, then, that Durance was a hit with the viewers and fans and she remains one of the, if not the best incarnation of Lois Lane there ever has been highly contentious though that sentence is. -
Justice League Superman Action Figure Free
FREE JUSTICE LEAGUE SUPERMAN ACTION FIGURE PDF Jack Mathews | none | 12 Dec 2012 | Diamond Comic Distributors | 9781605843308 | English | none Superman Figure Justice League 10 Inch Character Justice League Superman Action Figure. Justice League - 10" Figures Released in by Mattel Born in the underwater world of Atlantis, Arthur Curry leads a dual life as Aquaman, protector of the world's oceans. He is able to "breathe" water, swim at speeds up to miles per hour. As a detective, martial arts master, and so much more, Batman earns his status as the World's Gr. Green Lantern. Justice League - 10" Figures Released in by Mattel A mysterious woman with angelic wings, Shayera Hol claims to be an undercover detective from the planet Thanagar—a war-like world located in an unknown sector of the universe—who found her. Martian Manhunter. Justice League - 10" Figures Released in by Mattel As is common among telepaths, the Martian Manhunter is an intensely silent figure. Even in his darkest moments, his mood is often reflected only the expression in his eyes. When he speaks, others li. Justice League - 10" Figures Released in by Mattel Though genetically an alien conceived on the planet Krypton, Superman is an American by birth, born in a Kansas cornfield. Through his deeds, Superman has become earth's preeminent super hero. The Flash. He has few friends who don't move in superhuman circles. Wally West has a reputation among his peers as. Wonder Woman. The amazing Justice League Superman Action Figure princess can soar on the air currents, and can move at superhuman spee.