BATMAN Vs SUPERMAN What Would Superman Drive, What Should Batman Drive and Where Could Wonder Woman Store Her Outfit?
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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. -
Walt Whitman, Where the Future Becomes Present, Edited by David Haven Blake and Michael Robertson
7ALT7HITMAN 7HERETHE&UTURE "ECOMES0RESENT the iowa whitman series Ed Folsom, series editor WALTWHITMAN WHERETHEFUTURE BECOMESPRESENT EDITEDBYDAVIDHAVENBLAKE ANDMICHAELROBERTSON VOJWFSTJUZPGJPXBQSFTTJPXBDJUZ University of Iowa Press, Iowa City 52242 Copyright © 2008 by the University of Iowa Press www.uiowapress.org All rights reserved Printed in the United States of America Design by Richard Hendel No part of this book may be reproduced or used in any form or by any means without permission in writing from the publisher. All reasonable steps have been taken to contact copyright holders of material used in this book. The publisher would be pleased to make suitable arrangements with any whom it has not been possible to reach. The University of Iowa Press is a member of Green Press Initiative and is committed to preserving natural resources. Printed on acid-free paper issn: 1556–5610 lccn: 2007936977 isbn-13: 978-1-58729–638-3 (cloth) isbn-10: 1-58729–638-1 (cloth) 08 09 10 11 12 c 5 4 3 2 1 Past and present and future are not disjoined but joined. The greatest poet forms the consistence of what is to be from what has been and is. He drags the dead out of their coffins and stands them again on their feet .... he says to the past, Rise and walk before me that I may realize you. He learns the lesson .... he places himself where the future becomes present. walt whitman Preface to the 1855 Leaves of Grass { contents } Acknowledgments, ix David Haven Blake and Michael Robertson Introduction: Loos’d of Limits and Imaginary Lines, 1 David Lehman The Visionary Whitman, 8 Wai Chee Dimock Epic and Lyric: The Aegean, the Nile, and Whitman, 17 Meredith L. -
A Chilling Look Back at Jeph Loeb and Tim Sale's
Jeph Loeb Sale and Tim at A back chilling look Batman and Scarecrow TM & © DC Comics. All Rights Reserved. 0 9 No.60 Oct. 201 2 $ 8 . 9 5 1 82658 27762 8 COMiCs HALLOWEEN HEROES AND VILLAINS: • SOLOMON GRUNDY • MAN-WOLF • LORD PUMPKIN • and RUTLAND, VERMONT’s Halloween Parade , bROnzE AGE AnD bEYOnD ’ s SCARECROW i . Volume 1, Number 60 October 2012 Comics’ Bronze Age and Beyond! The Retro Comics Experience! EDITOR-IN-CHIEF Michael Eury PUBLISHER John Morrow DESIGNER Rich J. Fowlks COVER ARTIST Tim Sale COVER COLORIST Glenn Whitmore COVER DESIGNER Michael Kronenberg PROOFREADER Rob Smentek SPECIAL THANKS Scott Andrews Tony Isabella Frank Balkin David Anthony Kraft Mike W. Barr Josh Kushins BACK SEAT DRIVER: Editorial by Michael Eury . .2 Bat-Blog Aaron Lopresti FLASHBACK: Looking Back at Batman: The Long Halloween . .3 Al Bradford Robert Menzies Tim Sale and Greg Wright recall working with Jeph Loeb on this landmark series Jarrod Buttery Dennis O’Neil INTERVIEW: It’s a Matter of Color: with Gregory Wright . .14 Dewey Cassell James Robinson The celebrated color artist (and writer and editor) discusses his interpretations of Tim Sale’s art Nicholas Connor Jerry Robinson Estate Gerry Conway Patrick Robinson BRING ON THE BAD GUYS: The Scarecrow . .19 Bob Cosgrove Rootology The history of one of Batman’s oldest foes, with comments from Barr, Davis, Friedrich, Grant, Jonathan Crane Brian Sagar and O’Neil, plus Golden Age great Jerry Robinson in one of his last interviews Dan Danko Tim Sale FLASHBACK: Marvel Comics’ Scarecrow . .31 Alan Davis Bill Schelly Yep, there was another Scarecrow in comics—an anti-hero with a patchy career at Marvel DC Comics John Schwirian PRINCE STREET NEWS: A Visit to the (Great) Pumpkin Patch . -
Batman’S Story
KNI_T_01_p01 CS6.indd 1 10/09/2020 10:14 IN THIS ISSUE YOUR PIECE Meet your white king – the latest 3 incarnation of the World’s Greatest Detective, the Dark Knight himself. PROFILE From orphan to hero, from injury 4 to resurrection; this is Batman’s story. GOTHAM GUIDE Insights into the Batman’s sanctum and 10 operational centre, a place of history, hi-tech devices and secrets. RANK & FILE Why the Dark Knight of Gotham is a 12 king – his knowledge, assessments and regal strategies. RULES & MOVES An indispensable summary of a king’s 15 mobility and value, and a standard move. Editor: Simon Breed Thanks to: Art Editor: Gary Gilbert Writers: Frank Miller, David Mazzucchelli, Writer: Alan Cowsill Grant Morrison, Jeph Loeb, Dennis O’Neil. Consultant: Richard Jackson Pencillers: Brett Booth, Ben Oliver, Marcus Figurine Sculptor: Imagika Sculpting To, Adam Hughes, Jesus Saiz, Jim Lee, Studio Ltd Cliff Richards, Mark Bagley, Lee Garbett, Stephane Roux, Frank Quitely, Nicola US CUSTOMER SERVICES Scott, Paulo Siqueira, Ramon Bachs, Tony Call: +1 800 261 6898 Daniel, Pete Woods, Fernando Pasarin, J.H. Email: [email protected] Williams III, Cully Hamner, Andy Kubert, Jim Aparo, Cameron Stewart, Frazer Irving, Tim UK CUSTOMER SERVICES Sale, Yanick Paquette, Neal Adams. Call: +44 (0) 191 490 6421 Inkers: Rob Hunter, Jonathan Glapion, J.G. Email: [email protected] Jones, Robin Riggs, John Stanisci, Sandu Florea, Tom Derenick, Jay Leisten, Scott Batman created by Bob Kane Williams, Jesse Delperdang, Dick Giordano, with Bill Finger Chris Sprouse, Michel Lacombe. Copyright © 2020 DC Comics. BATMAN and all related characters and elements © and TM DC Comics. -
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. -
Mapping Black Ash Dominated Stands Using Geospatial and Forest Inventory Data in Northern Minnesota, USA Peder S
892 ARTICLE Mapping black ash dominated stands using geospatial and forest inventory data in northern Minnesota, USA Peder S. Engelstad, Michael J. Falkowski, Anthony W. D’Amato, Robert A. Slesak, Brian J. Palik, Grant M. Domke, and Matthew B. Russell Abstract: Emerald ash borer (EAB; Agrilus planipennis Fairmaire, 1888) has been a persistent disturbance for ash forests in the United States since 2002. Of particular concern is the impact that EAB will have on the ecosystem functioning of wetlands dominated by black ash (Fraxinus nigra Marsh.). In preparation, forest managers need reliable and complete maps of black ash dominated stands. Traditionally, forest survey data from the United States Forest Inventory and Analysis (FIA) Program have provided rigorous measures of tree species at large spatial extents but are limited when providing estimates for smaller management units (e.g., stands). Fortunately, geospatial data can extend forest survey information by generating predictions of forest attributes at scales finer than those of the FIA sampling grid. In this study, geospatial data were integrated with FIA data in a randomForest model to estimate and map black ash dominated stands in northern Minnesota in the United States. The model produced low error rates (overall error = 14.5%; area under the curve (AUC) = 0.92) and was strongly informed by predictors from soil saturation and phenology. These results improve upon FIA-based spatial estimates at national extents by providing forest managers with accurate, fine-scale maps (30 m spatial resolution) of black ash stand dominance that could ultimately support landscape-level EAB risk and vulnerability assessments. Key words: compound topographic index (CTI), remote sensing, black ash, emerald ash borer, forest inventory. -
Costume Culture: Visual Rhetoric, Iconography, and Tokenism In
COSTUME CULTURE: VISUAL RHETORIC, ICONOGRAPHY, AND TOKENISM IN COMIC BOOKS A Dissertation by MICHAEL G. BAKER Submitted to the Office of Graduate Studies Texas A&M University-Commerce in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2017 COSTUME CULTURE: VISUAL RHETORIC, ICONOGRAPHY, AND TOKENISM IN COMIC BOOKS A Dissertation by MICHAEL G. BAKER Submitted to: Advisor: Christopher Gonzalez Committee: Tabetha Adkins Donna Dunbar-Odom Mike Odom Head of Department: M. Hunter Hayes Dean of the College: Salvatore Attardo Interim Dean of Graduate Studies: Mary Beth Sampson iii Copyright © 2017 Michael G. Baker iv ABSTRACT COSTUME CULTURE: VISUAL RHETORIC, ICONOGRAPHY, AND TOKENISM IN COMIC BOOKS Michael G. Baker, PhD Texas A&M University-Commerce, 2017 Advisor: Christopher Gonzalez, PhD Superhero comic books provide a unique perspective on marginalized characters not only as objects of literary study, but also as opportunities for rhetorical analysis. There are representations of race, gender, sexuality, and identity in the costuming of superheroes that impact how the audience perceives the characters. Because of the association between iconography and identity, the superhero costume becomes linked with the superhero persona (for example the Superman “S” logo is a stand-in for the character). However, when iconography is affected by issues of tokenism, the rhetorical message associated with the symbol becomes more difficult to decode. Since comic books are sales-oriented and have a plethora of tie-in merchandise, the iconography in these symbols has commodified implications for those who choose to interact with them. When consumers costume themselves with the visual rhetoric associated with comic superheroes, the wearers engage in a rhetorical discussion where they perpetuate whatever message the audience places on that image. -
How to Draw Superman Logo
How to Draw Superman Logo Easy Fast "Look! Up in thee sky! It's a bird! It's a plane! No, it's Superman!" Those words are well known to superhero fans around the world. Since his debut in DC's Action Comics #1 in 1938, Superman has perhaps become the world's best loved superhero. Sometimes called "the big blue boy scout," this American icon is known for always doing the right thing and making sacrifices to save people in danger. He appeared in print and radio media at a time when the American people longed for a hero - they were in the midst of the Great Depression and soon to be drawn into the war that was raging in Europe. Superman is an "every man" - he is an orphan, a refugee, a poor boy from the country, and a blue collar worker trying to make it in the big city. Superman was sent away from the planet Krypton, which was destroyed by the greed of the people who inhabited it. Superman derives his powers from the Earth's bright sun and disguises himself as "mild mannered Clark Kent, reporter for the Daily Planet." His iconic logo has been said to be the shield of the House of El, his biological family on his home world. Other works have said that the "S" shape stands for "Superman" or for hope in the language of Krypton. Whatever the meaning of this piece of pop art history, you can draw your very own Superman logo. All you need is a piece of paper and something with which to draw. -
Women in Film Time: Forty Years of the Alien Series (1979–2019)
IAFOR Journal of Arts & Humanities Volume 6 – Issue 2 – Autumn 2019 Women in Film Time: Forty Years of the Alien Series (1979–2019) Susan George, University of Delhi, India. Abstract Cultural theorists have had much to read into the Alien science fiction film series, with assessments that commonly focus on a central female ‘heroine,’ cast in narratives that hinge on themes of motherhood, female monstrosity, birth/death metaphors, empire, colony, capitalism, and so on. The films’ overarching concerns with the paradoxes of nature, culture, body and external materiality, lead us to concur with Stephen Mulhall’s conclusion that these concerns revolve around the issue of “the relation of human identity to embodiment”. This paper uses these cultural readings as an entry point for a tangential study of the Alien films centring on the subject of time. Spanning the entire series of four original films and two recent prequels, this essay questions whether the Alien series makes that cerebral effort to investigate the operations of “the feminine” through the space of horror/adventure/science fiction, and whether the films also produce any deliberate comment on either the lived experience of women’s time in these genres, or of film time in these genres as perceived by the female viewer. Keywords: Alien, SF, time, feminine, film 59 IAFOR Journal of Arts & Humanities Volume 6 – Issue 2 – Autumn 2019 Alien Films that Philosophise Ridley Scott’s 1979 S/F-horror film Alien spawned not only a remarkable forty-year cinema obsession that has resulted in six specific franchise sequels and prequels till date, but also a considerable amount of scholarly interest around the series. -
Why Wonder Woman Matters
Why Wonder Woman Matters When I was a kid, being a hero seemed like the easiest thing in the world to be- A Blue Beetle quote from the DC Comics publication The OMAC Project. Introduction The superhero is one of modern American culture’s most popular and pervasive myths. Though the primary medium, the comic book, is often derided as juvenile or material fit for illiterates the superhero narrative maintains a persistent presence in popular culture through films, television, posters and other mediums. There is a great power in the myth of the superhero. The question “Why does Wonder Woman matter?” could be answered simply. Wonder Woman matters because she is a member of this pantheon of modern American gods. Wonder Woman, along with her cohorts Batman and Superman represent societal ideals and provide colorful reminders of how powerful these ideals can be.1 This answer is compelling, but it ignores Wonder Woman’s often turbulent publication history. In contrast with titles starring Batman or Superman, Wonder Woman comic books have often sold poorly. Further, Wonder Woman does not have quite the presence that Batman and Superman both share in popular culture.2 Any other character under similar circumstances—poor sales, lack of direction and near constant revisions—would have been killed off or quietly faded into the background. Yet, Wonder Woman continues to persist as an important figure both within her comic universe and in our popular consciousness. “Why does Wonder Woman matter?” To answer this question an understanding of the superhero and their primary medium, the comic book, is required, Wonder Woman is a comic book character, and her existence in the popular consciousness largely depends on how she is presented within the conventions of the comic book superhero narrative. -
SUPERGIRLS and WONDER WOMEN: FEMALE REPRESENTATION in WARTIME COMIC BOOKS By
SUPERGIRLS AND WONDER WOMEN: FEMALE REPRESENTATION IN WARTIME COMIC BOOKS by Skyler E. Marker A Master's paper submitted to the faculty of the School of Information and Library Science of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Science in Library Science. Chapel Hill, North Carolina May, 2017 Approved by: ________________________ Rebecca Vargha Skyler E. Marker. Supergirls and Wonder Women: Female Representation in Wartime Comics. A Master's paper for the M.S. in L.S. degree. May, 2017. 70 pages. Advisor: Rebecca Vargha This paper analyzes the representation of women in wartime era comics during World War Two (1941-1945) and Operation Iraqi Freedom (2001-2010). The questions addressed are: In what ways are women represented in WWII era comic books? What ways are they represented in Post 9/11 comic books? How are the representations similar or different? In what ways did the outside war environment influence the depiction of women in these comic books? In what ways did the comic books influence the women in the war outside the comic pages? This research will closely examine two vital periods in the publications of comic books. The World War II era includes the genesis and development to the first war-themed comics. In addition many classic comic characters were introduced during this time period. In the post-9/11 and Operation Iraqi Freedom time period war-themed comics reemerged as the dominant format of comics. Headings: women in popular culture-- United States-- History-- 20th Century Superhero comic books, strips, etc.-- History and criticism World War, 1939-1945-- Women-- United States Iraq war (2003-2011)-- Women-- United States 1 I.