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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. -
NOVAVERSES ISSUE 5D
NOT ALL UNIVERSES ARE THE SAME NO: 5 NOT ALL UNIVERSES ARE THE SAME RISE OF THE CORPS Arc 1: Whatever Happened to Richard Rider? Part 1 WRITER - GORDON FERNANDEZ ILLUSTRATION - JASON HEICHEL and DAZ RED DRAGON PART 3 WRITER - BRYAN DYKE ILLUSTRATION - FERNANDO ARGÜELLO STARSCREAM PART 5 WRITER - DAZ BLACKBURN ILLUSTRATION - EMILIANO CORREA, JOE SINGLETON and DAZ DREAM OF LIVING JUSTICE PART 2 WRITER - BYRON BREWER ILLUSTRATION - JASON HEICHEL Edited by Daz Blackburn, Doug Smith & Byron Brewer Front Cover by JASON HEICHEL and DAZ BLACKBURN Next Cover by JOHN GARRETSON Novaverses logo designed by CHRIS ANDERSON NOVA AND RELATED MARVEL CHARACTERS ARE DULY RECOGNIZED AS PROPERTY AND COPYRIGHT OF MARVEL COMICS AND MARVEL CHARACTERS INC. FANS PRODUCING NOVAVERSES DULY RECOGNIZE THE ABOVE AND DENOTE THAT NOVAVERSES IS A FAN-FICTION ANTHOLOGY PRODUCED BY FANS OF NOVA AND MARVEL COSMIC VIA NOVA PRIME PAGE AND TEAM619 FACEBOOK GROUP. NOVAVERSES IS A NON-PROFIT MAKING VENTURE AND IS INTENDED PURELY FOR THE ENJOYMENT OF FANS WITH ALL RESPECT DUE TO MARVEL. NOVAVERSES IS KINDLY HOSTED BY NOVA PRIME PAGE! ORIGINAL CHARACTERS CREATED FOR NOVAVERSES ARE THE PSYCHOLOGICAL COSMIC CONSTANT OF INDIVIDUAL CREATORS AND THEIR CENTURION IMAGINATIONS. DOWNLOAD A PDF VERSION AT www.novaprimepage.com/619.asp READ ONLINE AT novaprime.deviantart.com Rise of the Nova Corps obert Rider walked somberly through the city. It was a dark, bleak, night, and there weren't many people left on the streets. His parents and friends all warned him about the dangers of 1 Rwalking in this neighborhood, especially at this hour, but Robert didn't care. -
One Thousand Years Ago, Superstition and the Sword Ruled. It Was a Time of Darkness
One thousand years ago, superstition and the sword ruled. It was a time of darkness. It was a world of fear. It was the age of gargoyles. [Insert epic music] Stone by day, warriors by night. We travel the worlds that are and might not be. Now here in Manhattan … The light of the sun did not dramatically set with the last vestiges reaching out in defiance. The light just darkened behind the clouds as a light rain started. But even in the year of alternate reality 1994 the lights of the New York night life shown bright. Bright enough to see by. High atop a privately owned skyscraper a set of large humanoid statues cracked and shuttered. Shards of stone shrapnel flew in all directions. And so it was that the group of travelers awoke and Wanderer landed flat on his face. The … only thing that saved him from falling off the building was the fact that he was in the middle of a large patio. “My legs! What happened to my legs?!” Then he saw his hands. “What the fuck!” That was when Wanderer’s tail and wings started to spasm wildly. All of his senses were heightened. He now had new appendages and no idea of where he was. Someone moved nearby. No, something moved with a familiar aura. Red clawed feet appeared in his sight. Then the clawed hands reached out to roll him over. “Quit being such a drama queen. Your legs are just fine. You’re not human now. You’re a gargoyle. “Tanny,” she wore a warm smile as her eyes tried to memorize his face, “Why are you naked?” That was just before Tanthia moved even closer to get a good, long sniff of him. -
Gender Roles & Occupations
1 Gender Roles & Occupations: A Look at Character Attributes and Job-Related Aspirations in Film and Television Stacy L. Smith, PhD Marc Choueiti Ashley Prescott & Katherine Pieper, PhD Annenberg School for Communication & Journalism University of Southern California An Executive Report Geena Davis Institute on Gender in Media Our earlier research shows that gender roles are still stereotyped in entertainment popular with children.1 For example, female characters in feature films populate less than 30% of all speaking roles. A slightly better percentage emerges across our research on gender roles in children’s television programming. Not only are on screen females present less frequently than on screen males, they are often sexualized, domesticated, and sometimes lack gainful employment. To illustrate this last point, our recent analysis2 of every first run general audience film (n=21) theatrically released between September 2006 and September 2009 reveals that a higher percentage of males (57.8%) than females (31.6%) are depicted with an occupation. While females hold marginally more professional jobs than their male counterparts (24.6% vs. 20.9%), women are noticeably absent in some of the most prestigious occupational posts. Across more than 300 speaking characters, not one female is depicted in the medical sciences (e.g., doctor, veterinarian), executive business suites (e.g., CEO, CFO), legal world (e.g., attorney, judge), or political arena. More optimistically, 6 of the 65 working females (9%) are shown with a job in the hard sciences or as pilots/astronauts. These findings suggest that females have not shattered as many glass ceilings in the “reel” world as one might suspect. -
Nyu Abu Dhabi Class of 2019 Capstone Projects
NYU ABU DHABI CLASS OF 2019 CAPSTONE PROJECTS NYU ABU DHABI 1 2 CAPSTONE PROJECT 2019 CLASS OF 2019 CAPSTONE PROJECT FOREWORD 2 THE FILM 3 ARTS AND HUMANITIES 4 ARAB CROSSROADS ART AND ART HISTORY FILM AND NEW MEDIA HISTORY LITERATURE AND CREATIVE WRITING MUSIC THEATER ENGINEERING 14 CIVIL ENGINEERING COMPUTER ENGINEERING ELECTRICAL ENGINEERING MECHANICAL ENGINEERING SCIENCE AND MATHS 20 BIOLOGY CHEMISTRY COMPUTER SCIENCE MATHEMATICS PHYSICS PSYCHOLOGY SOCIAL SCIENCE 36 ECONOMICS ECONOMICS AND MATHEMATICS ECONOMICS AND POLITICAL SCIENCE ECONOMICS AND FINANCE POLITICAL SCIENCE SOCIAL RESEARCH AND PUBLIC POLICY NYU ABU DHABI 1 FOREWORD The Capstone Project is one of the culminating ex- arship and creative accomplishments, leading the periences for all students at NYU Abu Dhabi. This students that have completed them to obtain great yearlong endeavor engages students first-hand in academic distinctions, such as winning prestigious the discovery and production of knowledge, result- awards and prizes, including the Rhodes Scholar- ing in a deep intellectual experience. As the final ship, as well as opening doors to the finest grad- step before graduating from NYU Abu Dhabi, no uate programs and job opportunities in the world. other project better embodies our conviction that significant research and original creative works are As a companion to this anthology, Alexis Gambis — essential elements of the highest quality undergrad- NYUAD professor, filmmaker, and biologist — has uate education. produced a short film entitled The Capstone Project (2019). The cumulative effect of the film is a striking This publication presents an anthology of abstracts testament to the prolific talent, extraordinary ingenu- from Capstone projects across the university’s ac- ity, and powerful creativity that distinguish our stu- ademic majors, spanning the arts, engineering, dents. -
Ferguson to Seek Newark Mayoralty
IBRAR ' F 28 1986 . zrc:: · ' m .-. :::J ' :<: 0"' ~ • (U 'i < Newark swimmers 'i 0> Ill > ;>;" 'i 'i 0 • '< CD < ~ 0 rT shine at title M '< meets/ lh, 3h .....0 Newark Symphony to celebrate anniversary/2a, 16a Peddlers' ~range wars' discussed by city /Sa Vol. 75, No. 38 Ferguson to seek Newark LATCH mayoralty Shue School principal will face Redd Saying ''it is time for a change," Dr. Hugh KEY Ferguson announced last week that he will attempt to unseat four-term Newark Newark YWCA pioneer Mayor William M. Redd in the April 8 municipal elec in providing care tion. Ferguson, 48, is the prin cipal of Shue Middle School and a resident of North Townview Lane in by i~eil Thomas Woodmere. One of the major reasons for Ferguson's candidacy is n the 1930s, they were scorned, the fact that Redd has been the children of pqor, blue col · ··iiiayoFs1"nce1973. "1'he city lar parents who were easily of Newark needs a change I identified by the large door in administration, someone keys fastened around their necks. with fresh ideas," Ferguson Today, they are a growing part of our said. "It's time for a new vi society, the children of people from all sion and a new perspec walks of life, from single parents for 1 tive." whom employment is a necessity to up Ferguson's campaign per middle class couples who are simply platform will center on four taking advantage of the fresh op key goals: portunities of the 1980s as two-career • Improving relations bet families. -
Loki Production Brief
PRODUCTION BRIEF “I am Loki, and I am burdened with glorious purpose.” —Loki arvel Studios’ “Loki,” an original live-action series created exclusively for Disney+, features the mercurial God of Mischief as he steps out of his brother’s shadow. The series, described as a crime-thriller meets epic-adventure, takes place after the events Mof “Avengers: Endgame.” “‘Loki’ is intriguingly different with a bold creative swing,” says Kevin Feige, President, Marvel Studios and Chief Creative Officer, Marvel. “This series breaks new ground for the Marvel Cinematic Universe before it, and lays the groundwork for things to come.” The starting point of the series is the moment in “Avengers: Endgame” when the 2012 Loki takes the Tesseract—from there Loki lands in the hands of the Time Variance Authority (TVA), which is outside of the timeline, concurrent to the current day Marvel Cinematic Universe. In his cross-timeline journey, Loki finds himself a fish out of water as he tries to navigate—and manipulate—his way through the bureaucratic nightmare that is the Time Variance Authority and its by-the-numbers mentality. This is Loki as you have never seen him. Stripped of his self- proclaimed majesty but with his ego still intact, Loki faces consequences he never thought could happen to such a supreme being as himself. In that, there is a lot of humor as he is taken down a few pegs and struggles to find his footing in the unforgiving bureaucracy of the Time Variance Authority. As the series progresses, we see different sides of Loki as he is drawn into helping to solve a serious crime with an agent 1 of the TVA, Mobius, who needs his “unique Loki perspective” to locate the culprits and mend the timeline. -
Gargoyles: Chapter 2: All Things Come in Their Time One Thousand Years Ago, Superstition and the Sword Ruled. It Was a Time of D
Gargoyles: Chapter 2: All Things Come In Their Time One thousand years ago, superstition and the sword ruled. It was a time of darkness. It was a world of fear. It was the age of gargoyles. [Insert epic music] Stone by day, warriors by night. We travel the worlds that are and might not be. Now here in Norway … In a cave someplace in the Norwegian highlands the main crew went about their work. The sun had risen just maybe half an hour ago so the clan was asleep. As for them, they walked about in their human forms to avoid the stone inducing sleep. Soft balls of magical light drifted around the ceiling to light their way. Yet the greatest source of light came from the open warehouse portal. As it was the “puppy” that had hatched from that egg ran around sniffing everything it could. After they discovered that the crustal necklace prevented stone hibernation Wanderer had fashioned it into a collar for the dog. It looked like the cross breeding of a dragon that banged a pit-bull. Its skin was sort of that turquoise color you get after copper sits in the rain for decades. While its head sported a small nub that would one day grow into a nose horn and a crest lined with tiny nubs to protect its neck. Staring at the gargbeast Wanderer could see a type of carnivorous, mono-horned, rhino-triceratops thing going on. Although, he still didn’t know if this thing was a boy or a girl. But anyway, Wanderer pulled it off of another gargbeast statute. -
2005 Trashionals: Round 09 Bonuses
2005 TRASHionals: Round 09 Bonuses https://swan.he.net/~trashqb/trash-admin/scripts/display_printable.pl?... 2005 TRASHionals Round 09 Bonuses 1. Here are opportunities for shame and for points. Given the opening lines of a Britney Spears hit song, name the title for 10 points each. Hint: Unlike many Spears' verbosely titled hits, all three of these songs have one-word titles. 1. "Baby, can't you see/I'm calling/A guy like you/Should wear a warning" ANSWER: Toxic 2. "Hush, just stop/There's nothing you can do or say, baby/I've had enough" ANSWER: Stronger 3. "For whatever reason/I feel like I've been wanting you all my life/But you don't understand/I'm so glad we're at the same place at the same time" ANSWER: Boys 2. Answer questions about these star players of the 2007 WNBA finals for ten points each 1. This Rutgers grad won the Series MVP trophy a year after being selected second overall by Phoenix in 2006. She finished the series with a pair of 26 point performances with the Mercury facing elimination ANSWER: Cappie Poindexter 2. This veteran 3-point specialist received a shiner under her right eye in game four, but played all forty minutes of that game and hit 6 of 9 from behind the arc in 39 minutes of game five for the losing Detroit Shock ANSWER: Katie Smith 3. This 2007 All-Star game MVP and daughter of Karl Malone was sidelined for game one of the series and hampered with leg and back injuries limiting her to 24 points for the Shock ANSWER: Cheryl Ford 3. -
Comic Book Original Pages: Are They Literature Or a Commodity?
Loyola of Los Angeles Entertainment Law Review Volume 14 Number 3 Article 4 3-1-1994 Comic Book Original Pages: Are They Literature or a Commodity? Alex Chun Follow this and additional works at: https://digitalcommons.lmu.edu/elr Part of the Law Commons Recommended Citation Alex Chun, Comic Book Original Pages: Are They Literature or a Commodity?, 14 Loy. L.A. Ent. L. Rev. 487 (1994). Available at: https://digitalcommons.lmu.edu/elr/vol14/iss3/4 This Notes and Comments is brought to you for free and open access by the Law Reviews at Digital Commons @ Loyola Marymount University and Loyola Law School. It has been accepted for inclusion in Loyola of Los Angeles Entertainment Law Review by an authorized administrator of Digital Commons@Loyola Marymount University and Loyola Law School. For more information, please contact [email protected]. COMIC BOOK ORIGINAL PAGES: ARE THEY LITERATURE OR A COMMODITY? I. INTRODUCTION In 1983, Kevin Eastman and Peter Laird, two aspiring illustrators, were sitting in their Massachusetts apartment when Eastman came up with some sketches of turtles with nunchakus.1 After looking at Eastman's drawings, Laird said, "We'll call them Teenage Mutant Ninja Turtles."2 With that statement, the concept for the 'Teenage Mutant Ninja Turtles" comic book was born. 3 Eastman and Laird began self-publishing4 their creation in 1984.' Since then, the pizza-eating terrapins have gone on to generate a billion dollars in film, television and licensing revenues.6 Success stories such as Eastman and Laird's are rare, but even that slim chance may be denied comic book artists if a tax is imposed on original comic book pages by the California State Board of Equalization (BOE). -
Avengers Prime Pdf, Epub, Ebook
AVENGERS PRIME PDF, EPUB, EBOOK Brian Bendis,Alan Davis | 128 pages | 19 Oct 2011 | Marvel Comics | 9780785147268 | English | New York, United States Avengers Prime PDF Book Steve Rogers and Tony Stark battle together to save each other and the life of their fallen friend Thor! Overall, I loved this story. Tom Brevoort. This story is light on substance, but heavy on action and banter. Book However there are times when solving people's problems for them only leads to more problems and I am as bad as an enemy in that persons life. He has also previously done work on Daredevil, Alias, and The Pulse. Tony has a run in with a dragon and some goblins with a serious grudge against Thor and ends up getting away Readers also enjoyed. As far as the bigger picture goes, I can't really comment on how well this fits in, but as a one-off it was light-hearted and fun, and full of things I love, so. I adore this book! Trivia About Avengers Prime. JavaScript must be enabled to use this site. What I got from it? Given the opportunity to "fix" all the things which had fallen Thor restrains himself realizing, "To use this unholy power for my own ends would make me the same demon a she is" I can appreciate that as sometimes I want enter in to situations as a savior an help to solve people's problems for them. Still, this wasn't bad and had some cool moments. This book has an adorable Tony Stark flirting outrageously with Steve Rogers. -
Ownership Concentration in the U.S. Comic Book Industry
From McAllister, M.P., Sewell, Jr., E. H., & Gordon, I. (2001). Comics and Ideology. NY: Peter Lang. @2001 Peter Lang. Chapter 2 Ownership Concentration in the U.S. Comic Book Industry Matthew P. McAllister In the May 24, 1998 issue of The New York Times, there appeared a 3,200-word essay about the Marvel Entertainment Group, for years the dominant publisher in the comic book industry (Bryant, 1998). The illustration that accompanied the story was a drawing of two angry figures slugging it out in a fierce battle royale. However, this article did not appear in the entertainment section, the arts section, or even the book section. It appeared in the business section. The article was not about the hottest titles, characters or artists, but instead about stock values, junk bonds, and corporate assets. And the two figures pummeling each other were not fictional superheroes, but rather cari- catures of two Wall Street moguls, Ronald Perelman and Carl Icahn. In fact, the news article focused specifically on the dire nature of the comic book market and the struggle for control over Marvel, the industry leader, that took place between these two financial tycoons. This article joined a series of news reports from 1996 through 1998 that appeared in other business venues like The Wall Street Journal, The Hollywood Reporter, and The Financial Times of London. Such articles collectively presented a troubled image of the economic and industrial dynamics of the comic book industry in the late 1990s. This chapter will focus on these dynamics from the perspective of political economy, arguing that the comic book industry is characterized by increased conglomeration and ownership concentration.