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(“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. -
Growing up with Vertigo: British Writers, Dc, and the Maturation of American Comic Books
CORE Metadata, citation and similar papers at core.ac.uk Provided by ScholarWorks @ UVM GROWING UP WITH VERTIGO: BRITISH WRITERS, DC, AND THE MATURATION OF AMERICAN COMIC BOOKS A Thesis Presented by Derek A. Salisbury to The Faculty of the Graduate College of The University of Vermont In Partial Fulfillment of the Requirements For the Degree of Master of Arts Specializing in History May, 2013 Accepted by the Faculty of the Graduate College, The University of Vermont, in partial fulfillment of the requirements for the degree of Master of Arts, specializing in History. Thesis Examination Committee: ______________________________________ Advisor Abigail McGowan, Ph.D ______________________________________ Melanie Gustafson, Ph.D ______________________________________ Chairperson Elizabeth Fenton, Ph.D ______________________________________ Dean, Graduate College Domenico Grasso, Ph.D March 22, 2013 Abstract At just under thirty years the serious academic study of American comic books is relatively young. Over the course of three decades most historians familiar with the medium have recognized that American comics, since becoming a mass-cultural product in 1939, have matured beyond their humble beginnings as a monthly publication for children. However, historians are not yet in agreement as to when the medium became mature. This thesis proposes that the medium’s maturity was cemented between 1985 and 2000, a much later point in time than existing texts postulate. The project involves the analysis of how an American mass medium, in this case the comic book, matured in the last two decades of the twentieth century. The goal is to show the interconnected relationships and factors that facilitated the maturation of the American sequential art, specifically a focus on a group of British writers working at DC Comics and Vertigo, an alternative imprint under the financial control of DC. -
Discovering the Literary Relevancy of Watchmen: a Review of the Graphic
Running head: LITERARY RELEVANCY OF WATCHMEN 1 Discovering the Literary Relevancy of Watchmen A Review of the Graphic Novel’s Philosophical Themes (2 inches) Tyler Flynn (2 inches) A Senior Thesis submitted in partial fulfillment of the requirements for graduation in the Honors Program Liberty University Spring 2012 (1.5 inches) LITERARY RELEVANCY OF WATCHMEN 2 Acceptance of Senior Honors Thesis This Senior Honors Thesis is accepted in partial fulfillment of the requirements for graduation from the Honors Program of Liberty University. ______________________________ Dr. Carey Martin, Ph.D. Thesis Chair (1 inch) ______________________________ Dr. Cliff Kelly, Ph.D. Committee Member (1 inch) ______________________________ Dr. David Duby, Ph.D. Committee Member (1 inch) ______________________________ Brenda Ayres, Ph.D. Honors Director (1 inch) ______________________________ Date LITERARY RELVANCY OF WATCHMEN 3 Abstract The American comic book, specifically those of the superhero genre, is a medium that has been associated with stagnant, morally upright characters and formulaic plots. However, author Alan Moore and artist Dave Gibbons changed said stigma with their groundbreaking series Watchmen . An analysis of the work’s storyline, as well as some of the main characters, will reveal the deep philosophical and psychological underpinnings of the graphic novel, and, more importantly, its literary merit. A Christian interpretation of the work will also be presented. LITERARY RELEVANCY OF WATCHMEN 4 Discovering the Literary Relevancy of Watchmen A Review of the Graphic Novel’s Philosophical Themes The advent of the superhero is widely agreed to have been initiated by Jerry Siegel and Joe Schuster with the creation of Superman in the 1938 publication of Action Comics #1 (Goulart 43). -
The Faerie Queene Study Guide
The Faerie Queene Study Guide © 2018 eNotes.com, Inc. or its Licensors. ALL RIGHTS RESERVED. No part of this work covered by the copyright hereon may be reproduced or used in any form or by any means graphic, electronic, or mechanical, including photocopying, recording, taping, Web distribution or information storage retrieval systems without the written permission of the publisher. Summary The Faerie Queene is a long epic poem that begins and ends with Christian affirmations. In it, Edmund Spenser draws on both Christian and classical themes, integrating the two traditions with references to contemporary politics and religion. The poem begins with a representation of holiness in book 1, and the Mutabilitie Cantos (first printed with the poem in 1609 after Spenser’s death) conclude with a prayer. Book 1 is identified as the Legend of the Knight of the Red Cross (or Saint George) in canto 2, verses 11-12. Red Cross, as an individual, is the Protestant Everyman, but as Saint George, historically England’s patron saint, he also represents the collective people of England. He is a pilgrim who hopes to achieve the virtue holiness, and for the reader his adventures illustrate the path to holiness. Red Cross’s overarching quest, as an individual, is to behold a vision of the New Jerusalem, but he also is engaged in a holy quest involving the lady Una, who represents the one true faith. To liberate Una’s parents, the king and queen, Adam and Eve, Red Cross must slay the dragon, who holds them prisoner. The dragon represents sin, the Spanish Armada, and the Beast of the Apocalypse, and when Red Cross defeats the dragon he is in effect restoring Eden. -
British Writers, DC, and the Maturation of American Comic Books Derek Salisbury University of Vermont
University of Vermont ScholarWorks @ UVM Graduate College Dissertations and Theses Dissertations and Theses 2013 Growing up with Vertigo: British Writers, DC, and the Maturation of American Comic Books Derek Salisbury University of Vermont Follow this and additional works at: https://scholarworks.uvm.edu/graddis Recommended Citation Salisbury, Derek, "Growing up with Vertigo: British Writers, DC, and the Maturation of American Comic Books" (2013). Graduate College Dissertations and Theses. 209. https://scholarworks.uvm.edu/graddis/209 This Thesis is brought to you for free and open access by the Dissertations and Theses at ScholarWorks @ UVM. It has been accepted for inclusion in Graduate College Dissertations and Theses by an authorized administrator of ScholarWorks @ UVM. For more information, please contact [email protected]. GROWING UP WITH VERTIGO: BRITISH WRITERS, DC, AND THE MATURATION OF AMERICAN COMIC BOOKS A Thesis Presented by Derek A. Salisbury to The Faculty of the Graduate College of The University of Vermont In Partial Fulfillment of the Requirements For the Degree of Master of Arts Specializing in History May, 2013 Accepted by the Faculty of the Graduate College, The University of Vermont, in partial fulfillment of the requirements for the degree of Master of Arts, specializing in History. Thesis Examination Committee: ______________________________________ Advisor Abigail McGowan, Ph.D ______________________________________ Melanie Gustafson, Ph.D ______________________________________ Chairperson Elizabeth Fenton, Ph.D ______________________________________ Dean, Graduate College Domenico Grasso, Ph.D March 22, 2013 Abstract At just under thirty years the serious academic study of American comic books is relatively young. Over the course of three decades most historians familiar with the medium have recognized that American comics, since becoming a mass-cultural product in 1939, have matured beyond their humble beginnings as a monthly publication for children. -
Sep 18 Customer Order Form
DUE DATE: SEPTEMBER 18, 2018 #360 | SEP18 PREVIEWS world.com Name: ORDERS DUE SEP 18 THE COMIC SHOP’S CATALOG PREVIEWSPREVIEWS CUSTOMER ORDER FORM CUSTOMER 601 7 Sep18 Cover ROF and COF.indd 1 8/9/2018 10:53:18 AM Celebrate Halloween at your local comic shop! Get Free Comics the Saturday before Halloween!” HalloweenComicFest.com /halloweencomicfests @Halloweencomic halloweencomicfest HCF17 STD_generic_SeeHeadline_OF.indd 1 6/7/2018 3:58:11 PM BITTER ROOT #1 THE GREEN LANTERN #1 IMAGE COMICS DC COMICS OUTER DARKNESS #1 SHAZAM! #1 IMAGE COMICS DC COMICS SPIDER-MAN #1 (IDW) IDW PUBLISHING WILLIAM GIBSON’S ALIEN 3 #1 JAMES BOND 007 #1 DARK HORSE COMICS DYNAMITE ENTERTAINMENT AVENGERS #10 (#700) MARVEL COMICS CRIMSON LOTUS #1 FIREFLY #1 DARK HORSE COMICS BOOM! STUDIOS Sep18 Gem Page ROF COF.indd 1 8/9/2018 10:59:12 AM FEATURED ITEMS COMIC BOOKS • GRAPHIC NOVELS • PRINT Powers In Action #1 l ACTION LAB ENTERTAINMENT Witch Hammer OGN l AFTERSHOCK COMICS Grumble #1 l ALBATROSS FUNNYBOOKS Carson of Venus: The Flames Beyond #1 l AMERICAN MYTHOLOGY PRODUCTIONS Archie #700 l ARCHIE COMIC PUBLICATIONS 1 Alan Moore’s Writing For Comics GN l AVATAR PRESS INC James Warren, Empire of Monsters HC l FANTAGRAPHICS BOOKS Spectrum 25 SC/HC l FLESK PUBLICATIONS The Overstreet Price Guide to Star Wars Collectibles SC l GEMSTONE PUBLISHING Taarna Volume 1 TP l HEAVY METAL MAGAZINE XCOM 2: Factions Volume 1 GN l INSIGHT COMICS Fantastic Worlds: The Art of William Stout HC l INSIGHT EDITIONS Quincredible #1 l LION FORGE Women in Gaming: 100 Pioneers of Play HC l PRIMA GAMES 1 Thimble Theatre: The Pre-Popeye Cartoons of E.C. -
Watchmen Thesis
1 I. Introduction My argument begins with a quote from the blog of Tony Long, a writer for the magazine Wired , a magazine which is immersed in popular culture and technology, and is usually ahead of the times in its cultural evaluations. However, there are still some areas in which the writers are not completely aware of the changes of genre, as Long demonstrates in his argument for why a graphic novel that was recently nominated for the National Book Award should not be eligible. Long says, I have not read this particular "novel" but I'm familiar with the genre so I'm going to go out on a limb here. First, I'll bet for what it is, it's pretty good. Probably damned good. But it's a comic book. And comic books should not be nominated for National Book Awards, in any category. That should be reserved for books that are, well, all words. This is not about denigrating the comic book, or graphic novel, or whatever you want to call it. This is not to say that illustrated stories don't constitute an art form or that you can't get tremendous satisfaction from them. This is simply to say that, as literature, the comic book does not deserve equal status with real novels, or short stories. (para 15-16) Long feels quite strongly that graphic novels are “comic books,” and does not know of any distinction between the two. He considers “comic books” and graphic novels to both be “illustrated stories” and so not eligible to be considered “literature.” His distinction of literature seems to be that of novels and short stories, and the reason those are literary is because they are “all words.” Long is displaying a prejudice towards what he considers “comic books” that is endemic to the mind of the American reader, and most American scholars. -
Brothers in Berets the Evolution of Air Force Special Tactics, 1953-2003
Brothers in Berets The Evolution of Air Force Special Tactics, 1953-2003 Forrest L. Marion, PhD Air Force History and Museums Program In Conjunction With Air Force Special Operations Command Air University Press Curtis E. LeMay Center for Doctrine Development and Education Maxwell Air Force Base, Alabama Project Editors Library of Congress Cataloging-in-Publication Data Belinda Bazinet and Dr. Ernest Allan Rockwell Names: Marion, Forrest L., author. | Air University (U.S.). Press, publisher. | Curtis E. LeMay Center for Copy Editor Doctrine Development and Education, issuing body. Tammi Dacus Title: Brothers in berets : the evolution of Air Force Cover Art and Book Design Special Tactics, 1953-2003 / Forrest L. Marion Daniel Armstrong Description: First edition. | Maxwell Air Force Base, Alabama : Air University Press, Curtis E. LeMay Cen- Composition and Prepress Production Michele D. Harrell ter for Doctrine Development and Education, [2018]. | At head of title: Air University, Curtis E. LeMay Center Print Preparation and Distribution for Doctrine Development and Education. | Includes Diane Clark bibliographical references and index. Identifiers: LCCN 2017059577| ISBN 9781585662784 | ISBN 158566278X Subjects: LCSH: United States. Air Force—Combat controllers—History. | United States. Air Force— Commando troops—History. | Special forces (Military science)—United States—History. | United States. Air Force Special Operations Command. Classification: LCC UG633 .M3144 2018 | DDC AIR UNIVERSITY PRESS 358.4131—dc23 | SUDOC D 301.26/6:T 11 -
Filibuster 2008
Filibuster 2008 Writing a book is an adventure. To begin with, it is a toy and an amusement. Then it becomes a mistress, then it becomes a master, then it becomes a tyrant. The last phase is that just as you are about to be reconciled to your servitude, you kill the monster, and fling him to the public. Sir Winston Churchill Directly From the Editor!! Friends, full fraught with war-sweat glaring, kismet-dashed with derring-do, doth here present case: Alas the day when all voices cease and the final hours of coiling conundrum crash all together like minute pawns against the wagerly knights and evening kings and kingly queens in furious disparagement dispatch- ing the last breaths of mighty air! Not really. So, as both an editor and a writer, my chiefest frustration is also the greatest gift: I’m not included in this issue! “Humbug!” says Scrooge; “Hilarious!” says I! Aye. The focus changes when a feverish brain must reach for words other than its own, and here presented is the fruit of my labor(ers). No, I didn’t hire a score of goblins to sit in a dungeon and swim through page after page of unfaltering text. No. I swam through page after page, and one of the hardest things an editor must, MUST, do is say “No” to someone. I had to turn down some submissions. Sounding the trumpet from the blistering recesses of the computer lab to the towering heights of the Library’s tenth floor yielded a great wealth of submissions, for which I among others am thoroughly grateful. -
Clyde Mcphatter & Bonus
Clyde McPhatter & Bonus The Great R&B Files (# 12 of 12) Updated February 2, 2019 An R&B Pioneers Series Special Feature: Clyde McPhatter - the Original Soul Star Presented by Claus Röhnisch The R&B Pioneers Series Volume Twelve of twelve The R&B Pioneers Series: find them all at The Great R&B-files Created by Claus Röhnisch http://www.rhythm-and-blues.info BONUS FEATURES: - Ink Spots (grandfathers of ”Doo Wop”) - Combat Jet Aircraft and Top Interests North American X-15 - El Coyote (pulp character) FF: June 8, 1959 (USA) - JLA (Justice League of America) comics I: Sept 1959 Max speed: Mach 6:72 B: 3 (of which 1 was lost) - From Joel Whitburn’s Top 10 R&B Hits S: retired in December 1968 page 1 (52) http://www.rhythm-and-blues.info Clyde McPhatter & Bonus 2 http://www.rhythm-and-blues.info Clyde McPhatter & Bonus Clyde McPhatter – the Original Soul Star *near Durham, North Carolina 1932 (raised in Teaneck, New Jersey) ±New York City, 1972 Introduction The R&B Pioneers Series Volume Twelve (of twelve) Although Clyde McPhatter is not featured as a solo act in “The R&B Pioneer Series Top 30 Favorites” special edition, he sure is to be recognized as one of the most important pioneers of all, and he was absolutely the first “Soul Star”, paving the way for Sam Cooke, Jackie Wilson, Little Willie John, Nolan Strong, Dee Clark, Sammy Turner, Marv Johnson, Smokey Robinson, the second generation Drifters, and James Brown et al (with probably only Roy Brown as the forerunner). -
Representations of Hiv/Aids in Popular American Comic Books, 1981- 1996
REPRESENTATIONS OF HIV/AIDS IN POPULAR AMERICAN COMIC BOOKS, 1981- 1996 William Richard Avila A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2021 Committee: Jeffrey Brown, Advisor Michael Decker Graduate Faculty Representative William Albertini Timothy Messer-Kruse © 2021 William Richard Avila All Rights Reserved iii ABSTRACT Jeffery Brown, Advisor From 1981-1996, the United States experienced an epidemic of human immunodeficiency virus/acquired immunodeficiency syndrome (HIV/AIDS) that held profound implications for issues ranging from civil rights, public education, and sexual mores, to government accountability, public health, and expressions of heterosexism. Popular comic books that broached the subject of HIV/AIDS during the U.S. epidemic elucidate how America’s discourse on the disease evolved in an era when elected officials, religious leaders, legal professionals, medical specialists, and average citizens all struggled to negotiate their way through a period of national crisis. The manner whereby comic book authors, illustrators, and publishers engaged the topic of HIV/AIDS changed over time but, because comic books are an item of popular culture primarily produced for a heterosexual male audience, such changes habitually mirrored the evolution of the nation’s mainstream, heteronormative debates regarding the epidemic and its sociocultural and political implications. Through studying depictions of the HIV/AIDS epidemic in popular comic books, alterations in the heterocentric, national discourse emerge revealing how homophobic dismissals of the “gay plague” in the early 1980s gave way to heterosexual panic in the mid-1980s, followed by the epidemic’s reinterpretation as a national tragedy in the late-1980s. -
Alumni History and Hall of Fame Project
Los Angeles Unified School District Alumni History and Hall of Fame Project Los Angeles Unified School District Alumni History and Hall of Fame Project Written and Edited by Bob and Sandy Collins All publication, duplication and distribution rights are donated to the Los Angeles Unified School District by the authors First Edition August 2016 Published in the United States i Alumni History and Hall of Fame Project Founding Committee and Contributors Sincere appreciation is extended to Ray Cortines, former LAUSD Superintendent of Schools, Michelle King, LAUSD Superintendent, and Nicole Elam, Chief of Staff for their ongoing support of this project. Appreciation is extended to the following members of the Founding Committee of the Alumni History and Hall of Fame Project for their expertise, insight and support. Jacob Aguilar, Roosevelt High School, Alumni Association Bob Collins, Chief Instructional Officer, Secondary, LAUSD (Retired) Sandy Collins, Principal, Columbus Middle School (Retired) Art Duardo, Principal, El Sereno Middle School (Retired) Nicole Elam, Chief of Staff Grant Francis, Venice High School (Retired) Shannon Haber, Director of Communication and Media Relations, LAUSD Bud Jacobs, Director, LAUSD High Schools and Principal, Venice High School (Retired) Michelle King, Superintendent Joyce Kleifeld, Los Angeles High School, Alumni Association, Harrison Trust Cynthia Lim, LAUSD, Director of Assessment Robin Lithgow, Theater Arts Advisor, LAUSD (Retired) Ellen Morgan, Public Information Officer Kenn Phillips, Business Community Carl J. Piper, LAUSD Legal Department Rory Pullens, Executive Director, LAUSD Arts Education Branch Belinda Stith, LAUSD Legal Department Tony White, Visual and Performing Arts Coordinator, LAUSD Beyond the Bell Branch Appreciation is also extended to the following schools, principals, assistant principals, staffs and alumni organizations for their support and contributions to this project.