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Marvel Universe 3.75" Action Figure Checklist
Marvel Universe 3.75" Action Figure Checklist Series 1 - Fury Files Wave 1 • 001 - Iron Man (Modern Armor) • 002 - Spider-Man (red/blue costume) (Light Paint Variant) • 002 - Spider-Man (red/blue costume) (Dark Paint Variant) • 003 - Silver Surfer • 004 - Punisher • 005 - Black Panther • 006 - Wolverine (X-Force costume) • 007 - Human Torch (Flamed On) • 008 - Daredevil (Light Red Variant) • 008 - Daredevil (Dark Red Variant) • 009 - Iron Man (Stealth Ops) • 010 - Bullseye (Light Paint Variant) • 010 - Bullseye (Dark Paint Variant) • 011 - Human Torch (Light Blue Costume) • 011 - Human Torch (Dark Blue Costume) Wave 2 • 012 - Captain America (Ultimates) • 013 - Hulk (Green) • 014 - Hulk (Grey) • 015 - Green Goblin • 016 - Ronin • 017 - Iron Fist (Yellow Dragon) • 017 - Iron Fist (Black Dragon Variant) Wave 3 • 018 - Black Costume Spider-Man • 019 - The Thing (Light Pants) • 019 - The Thing (Dark Pants) • 020 - Punisher (Modern Costume & New Head Sculpt) • 021 - Iron Man (Classic Armor) • 022 - Ms. Marvel (Modern Costume) • 023 - Ms. Marvel (Classic Red, Carol Danvers) • 023 - Ms. Marvel (Classic Red, Karla Sofen) • 024 - Hand Ninja (Red) Wave 4 • 026 - Union Jack • 027 - Moon Knight • 028 - Red Hulk • 029 - Blade • 030 - Hobgoblin Wave 5 • 025 - Electro • 031 - Guardian • 032 - Spider-man (Red and Blue, right side up) • 032 - Spider-man (Black and Red, upside down Variant) • 033 - Iron man (Red/Silver Centurion) • 034 - Sub-Mariner (Modern) Series 2 - HAMMER Files Wave 6 • 001 - Spider-Man (House of M) • 002 - Wolverine (Xavier School) -
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. -
Sacks Checchetto Mossa
8 MARVEL.COM $3.99 ADVISORY PARENTAL 0 0 8 1 1 US MOSSA CHECCHETTO SACKS 7 5 9 6 0 6 0 8 8 3 6 2 FORTY-FIVE YEARS AGO, THE WORLD’S SUPER VILLAINS ORGANIZED UNDER THE RED SKULL AND COLLECTIVELY WIPED OUT NEARLY ALL OF THE SUPER HEROES. FEW SURVIVED THE CARNAGE THAT FATEFUL DAY, AND NONE OF THEM UNSCATHED. THE UNITED STATES WAS DIVIDED UP INTO TERRITORIES CONTROLLED BY THE VILLAINS, AND THE GOOD PEOPLE SURVIVE IN THESE WASTELANDS AS BEST THEY CAN. AMONG THEM LIVES A FORMER HERO WHO’S GIVEN UP ON THAT WAY OF LIFE. HE IS CLINT BARTON, BUT SOME KNOW HIM AS… AN EYE FOR AN EYE PART 8 SLINGS AND ARROWS CLINT BARTON IS GOING BLIND. HE WANTS TO SEE THROUGH ONE FINAL MISSION—EXACTING REVENGE ON HIS FORMER THUNDERBOLTS COLLEAGUES THAT HELPED BRING ABOUT THE DEATHS OF THE AVENGERS—BEFORE HE LOSES HIS SIGHT FOR GOOD. HE’S TAKEN OUT ATLAS AND THE BEETLE, AND AFTER SUFFERING AN INJURY, TURNED TO FORMER CO-HAWKEYE KATE BISHOP TO HELP HIM COMPLETE HIS QUEST. AFTER REGALING HER WITH THE GORY DETAILS OF THE MASSACRE, SHE RELUCTANTLY AGREED TO HELP HER FORMER MENTOR. MEANWHILE, THE MARSHAL BULLSEYE CLOSES IN HAWKEYE, DESPERATE TO FACE A LIVING SUPER HERO ONE MORE TIME… WRITER... ETHAN SACKS ARTIST... MARCO CHECCHETTO COLORIST... ANDRES MOSSA LETTERER... VC’s JOE CARAMAGNA COVER ARTIST... MARCO CHECCHETTO LOGO DESIGN... ADAM DEL RE GRAPHIC DESIGN... ANTHONY GAMBINO EDITOR... MARK BASSO EDITOR IN CHIEF... C.B. CEBULSKI CHIEF CREATIVE OFFICER... JOE QUESADA PRESIDENT.. -
Copyright by Jason Todd Craft 2004 the Dissertation Committee for Jason Todd Craft Certifies That This Is the Approved Version of the Following Dissertation
Copyright by Jason Todd Craft 2004 The Dissertation Committee for Jason Todd Craft Certifies that this is the approved version of the following dissertation: Fiction Networks: The Emergence of Proprietary, Persistent, Large- Scale Popular Fictions Committee: Adam Z. Newton, Co-Supervisor John M. Slatin, Co-Supervisor Brian A. Bremen David J. Phillips Clay Spinuzzi Margaret A. Syverson Fiction Networks: The Emergence of Proprietary, Persistent, Large- Scale Popular Fictions by Jason Todd Craft, B.A., M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December, 2004 Dedication For my family Acknowledgements Many thanks to my dissertation supervisors, Dr. Adam Zachary Newton and Dr. John Slatin; to Dr. Margaret Syverson, who has supported this work from its earliest stages; and, to Dr. Brian Bremen, Dr. David Phillips, and Dr. Clay Spinuzzi, all of whom have actively engaged with this dissertation in progress, and have given me immensely helpful feedback. This dissertation has benefited from the attention and feedback of many generous readers, including David Barndollar, Victoria Davis, Aimee Kendall, Eric Lupfer, and Doug Norman. Thanks also to Ben Armintor, Kari Banta, Sarah Paetsch, Michael Smith, Kevin Thomas, Matthew Tucker and many others for productive conversations about branding and marketing, comics universes, popular entertainment, and persistent world gaming. Some of my most useful, and most entertaining, discussions about the subject matter in this dissertation have been with my brother, Adam Craft. I also want to thank my parents, Donna Cox and John Craft, and my partner, Michael Craigue, for their help and support. -
Hellboy: the Board Game Rulebook
Rules 1 Hellboy - The board Game Contents Components ...................................... 3 Additional Rules .............................. 22 Basic Principles ................................. 6 • Requisition and Starting Cards ........... 22 • Cards ...................................................... 6 • Weapons ............................................... 22 • Trigger and Reaction Markers ............... 7 • Attack Effects ...................................... 22 • Target Priority ........................................ 8 • Backup Agents ..................................... 23 • Agent Boards ......................................... 9 • Other Counters .................................... 24 • Damage ................................................ 10 • Scenery ................................................. 25 • Making Tests ........................................ 11 The Confrontation ........................... 26 • The Game Board .................................. 12 Cases ............................................... 28 Playing the Game ............................ 14 • Game Setup ........................................ 28 • Enemy Phase ........................................ 14 Quick Reference .............................. 32 • Minion Behaviour ......................... 15 • Agent Phase ......................................... 16 • Actions ......................................... 16 • Rest Phase ............................................ 19 • Taking Time ................................. 19 • Doom Phase ........................................ -
Download Sin City Volume 5 Family Values 3Rd Edition Pdf Ebook by Frank Miller
Download Sin City Volume 5 Family Values 3rd Edition pdf ebook by Frank Miller You're readind a review Sin City Volume 5 Family Values 3rd Edition ebook. To get able to download Sin City Volume 5 Family Values 3rd Edition you need to fill in the form and provide your personal information. Book available on iOS, Android, PC & Mac. Gather your favorite books in your digital library. * *Please Note: We cannot guarantee the availability of this book on an database site. Ebook Details: Original title: Sin City Volume 5: Family Values (3rd Edition) 128 pages Publisher: Dark Horse Books; 2nd Revised ed. edition (November 9, 2010) Language: English ISBN-10: 159307297X ISBN-13: 978-1593072971 Product Dimensions:6 x 0.4 x 9 inches File Format: PDF File Size: 3847 kB Description: Frank Millers first—ever original graphic novel is one of Sin Citys nastiest yarns to date! Starring fan—favorite characters Dwight and Miho, this newly redesigned edition sports a brand—new cover by Miller, some of his first comics art in years!Theres a kind of debt you cant ever pay off, not entirely. And thats the kind of debt Dwight owes Gail.... Review: Family Values is the 5th book in the fantastic Sin City series of graphic novels written and illustrated by mad comic book genius Frank Miller. Its a brief and uncharacteristically straightforward jaunt starring Basin Citys premiere anti-hero Dwight and the biggest/smallest bada$z ever to hit the pulp, deadly little Miho. Sin City began once Miller... Ebook File Tags: sin city pdf, yellow bastard pdf, frank miller pdf, -
Relationality and Masculinity in Superhero Narratives Kevin Lee Chiat Bachelor of Arts (Communication Studies) with Second Class Honours
i Being a Superhero is Amazing, Everyone Should Try It: Relationality and Masculinity in Superhero Narratives Kevin Lee Chiat Bachelor of Arts (Communication Studies) with Second Class Honours This thesis is presented for the degree of Doctor of Philosophy of The University of Western Australia School of Humanities 2021 ii THESIS DECLARATION I, Kevin Chiat, certify that: This thesis has been substantially accomplished during enrolment in this degree. This thesis does not contain material which has been submitted for the award of any other degree or diploma in my name, in any university or other tertiary institution. In the future, no part of this thesis will be used in a submission in my name, for any other degree or diploma in any university or other tertiary institution without the prior approval of The University of Western Australia and where applicable, any partner institution responsible for the joint-award of this degree. This thesis does not contain any material previously published or written by another person, except where due reference has been made in the text. This thesis does not violate or infringe any copyright, trademark, patent, or other rights whatsoever of any person. This thesis does not contain work that I have published, nor work under review for publication. Signature Date: 17/12/2020 ii iii ABSTRACT Since the development of the superhero genre in the late 1930s it has been a contentious area of cultural discourse, particularly concerning its depictions of gender politics. A major critique of the genre is that it simply represents an adolescent male power fantasy; and presents a world view that valorises masculinist individualism. -
Fantastic Four Compendium
MA4 6889 Advanced Game Official Accessory The FANTASTIC FOUR™ Compendium by David E. Martin All Marvel characters and the distinctive likenesses thereof The names of characters used herein are fictitious and do are trademarks of the Marvel Entertainment Group, Inc. not refer to any person living or dead. Any descriptions MARVEL SUPER HEROES and MARVEL SUPER VILLAINS including similarities to persons living or dead are merely co- are trademarks of the Marvel Entertainment Group, Inc. incidental. PRODUCTS OF YOUR IMAGINATION and the ©Copyright 1987 Marvel Entertainment Group, Inc. All TSR logo are trademarks owned by TSR, Inc. Game Design Rights Reserved. Printed in USA. PDF version 1.0, 2000. ©1987 TSR, Inc. All Rights Reserved. Table of Contents Introduction . 2 A Brief History of the FANTASTIC FOUR . 2 The Fantastic Four . 3 Friends of the FF. 11 Races and Organizations . 25 Fiends and Foes . 38 Travel Guide . 76 Vehicles . 93 “From The Beginning Comes the End!” — A Fantastic Four Adventure . 96 Index. 102 This book is protected under the copyright laws of the United States of America. Any reproduction or other unauthorized use of the material or artwork contained herein is prohibited without the express written consent of TSR, Inc., and Marvel Entertainment Group, Inc. Distributed to the book trade in the United States by Random House, Inc., and in Canada by Random House of Canada, Ltd. Distributed to the toy and hobby trade by regional distributors. All characters appearing in this gamebook and the distinctive likenesses thereof are trademarks of the Marvel Entertainment Group, Inc. MARVEL SUPER HEROES and MARVEL SUPER VILLAINS are trademarks of the Marvel Entertainment Group, Inc. -
Agenda Packet
City of Capitola Agenda Mayor: Kristen Petersen Vice Mayor: Yvette Brooks Council Members: Jacques Bertrand Ed Bottorff Sam Storey REVISED CAPITOLA CITY COUNCIL REGULAR MEETING THURSDAY, MAY 28, 2020 7 PM CITY COUNCIL CHAMBERS 420 CAPITOLA AVENUE, CAPITOLA, CA 95010 NOTICE OF REMOTE ACCESS ONLY: In accordance with the current Shelter in Place Order from Santa Cruz County Health Services and Executive Order N-29-20 from the Executive Department of the State of California, the City Council meeting will not be physically open to the public and in person attendance cannot be accommodated. To watch: 1. Online http://capitolaca.iqm2.com/Citizens/Default.aspx 2. Spectrum Cable Television channel 8 3. Zoom Meeting (link and phone numbers below) To participate remotely and make public comment: 1. Send email: a. As always, send additional materials to the City Council via [email protected] by 5 p.m. the Wednesday before the meeting and they will be distributed to agenda recipients. CAPITOLA CITY COUNCIL REGULAR MEETING AGENDA May 28, 2020 b. During the meeting, send comments via email to [email protected] § Identify the item you wish to comment on in your email’s subject line. Emailed comments will be accepted during the Public Comments meeting item and for General Government / Public Hearing items. § Emailed comments on each General Government/ Public Hearing item will be accepted after the start of the meeting until the Mayor announces that public comment for that item is closed. § Emailed comments should be a maximum of 450 words, which corresponds to approximately 3 minutes of speaking time. -
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. -
Anti-Hero, Trickster? Both, Neither? 2019
Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Tomáš Lukáč Deadpool – Anti-Hero, Trickster? Both, Neither? Master’s Diploma Thesis Supervisor: Jeffrey Alan Vanderziel, B.A. 2019 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Tomáš Lukáč 2 I would like to thank everyone who helped to bring this thesis to life, mainly to my supervisor, Jeffrey Alan Vanderziel, B.A. for his patience, as well as to my parents, whose patience exceeded all reasonable expectations. 3 Table of Contents Introduction ...…………………………………………………………………………...6 Tricksters across Cultures and How to Find Them ........................................................... 8 Loki and His Role in Norse Mythology .......................................................................... 21 Character of Deadpool .................................................................................................... 34 Comic Book History ................................................................................................... 34 History of the Character .............................................................................................. 35 Comic Book Deadpool ................................................................................................ 36 Films ............................................................................................................................ 43 Deadpool (2016) -
ABSTRACTS BOOK Proof 03
1st – 15th December ! 1st International Meeting of Early-stage Researchers in Paleontology / XIV Encuentro de Jóvenes Investigadores en Paleontología st (1December IMERP 1-stXIV-15th EJIP), 2018 BOOK OF ABSTRACTS Palaeontology in the virtual era 4 1st – 15th December ! Ist Palaeontological Virtual Congress. Book of abstracts. Palaeontology in a virtual era. From an original idea of Vicente D. Crespo. Published by Vicente D. Crespo, Esther Manzanares, Rafael Marquina-Blasco, Maite Suñer, José Luis Herráiz, Arturo Gamonal, Fernando Antonio M. Arnal, Humberto G. Ferrón, Francesc Gascó and Carlos Martínez-Pérez. Layout: Maite Suñer. Conference logo: Hugo Salais. ISBN: 978-84-09-07386-3 5 1st – 15th December ! Palaeontology in the virtual era BOOK OF ABSTRACTS 6 4 PRESENTATION The 1st Palaeontological Virtual Congress (1st PVC) is just the natural consequence of the evolution of our surrounding world, with the emergence of new technologies that allow a wide range of communication possibilities. Within this context, the 1st PVC represents the frst attempt in palaeontology to take advantage of these new possibilites being the frst international palaeontology congress developed in a virtual environment. This online congress is pioneer in palaeontology, offering an exclusively virtual-developed environment to researchers all around the globe. The simplicity of this new format, giving international projection to the palaeontological research carried out by groups with limited economic resources (expensive registration fees, travel, accomodation and maintenance expenses), is one of our main achievements. This new format combines the benefts of traditional meetings (i.e., providing a forum for discussion, including guest lectures, feld trips or the production of an abstract book) with the advantages of the online platforms, which allow to reach a high number of researchers along the world, promoting the participation of palaeontologists from developing countries.