DOCSLIB.ORG

Universidad De Salamanca Facultad De Filología

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Universidad De Salamanca Facultad De Filología UNIVERSIDAD DE SALAMANCA FACULTAD DE FILOLOGÍA DEPARTAMENTO DE FILOLOGÍA INGLESA ! Language of Supermen: Context, Metaphor, and Translatability of Marvel Comics’ Main Superhero Titles, 1961-1969 TESIS DOCTORAL REALIZADA POR GABRIEL RODRÍGUEZ MARTÍNEZ BAJO LA DIRECCIÓN DE DR. MANUEL GONZÁLEZ DE LA ALEJA SALAMANCA UNIVERSIDAD DE SALAMANCA FACULTAD DE FILOLOGÍA DEPARTAMENTO DE FILOLOGÍA INGLESA ! TESIS DOCTORAL Trabajo para optar al grado de doctor presentado por Gabriel Rodríguez Martínez bajo la dirección del Dr. Manuel González de la Aleja 2016 V° B° Director Autor Dr. Manuel González de la Aleja Gabriel Rodríguez Martínez To my super family: mom, dad, Giovanni, and abuela Irma. Though nothing will drive them away We can be heroes Just for one day. -D. Bowie Table of Contents Page ACKNOWLEDGEMENTS ………………………………………………….…….………… i INTRODUCTION ………………………………………….……………..…………….…… 1 CHAPTER ONE: CONTEXT ……………………………………………………………… 18 1.1. Approaching Comics Analysis from High …………………………………………..… 19 1.2. Context …………………………………….…………….…………………………….. 25 The Superhero: As American as Apple Pie …………..…………………………….. 32 Fall from Glory …………………………………………………………………….. 38 The Silver Age: A Shot at Redemption ……………….……………………………. 43 1.3. Mediating the Marvel Age of Comics………………………………………………….. 49 1.4. Phase One: 1961-1963…………………………………………………………………. 54 Domestic and International Politics ………………………………….…………..… 55 Social Issues ……………………………………………………….……………….. 65 Female Representation ……………………………………….…………………….. 70 1.5. A Couple of Late Entries………………………………………………..……………… 76 1.6. Phase Two: 1964-1966……………………..…………….………………..…………… 79 Domestic and International Politics …………………………………….………….. 82 Social Issues ……………………………………………………….……………….. 87 Female Representation …………………………………………….……………….. 97 1.7. Phase Three: 1967-1969……………………………….…………………..………….. 104 Domestic and International Politics ………………………………………………. 105 Social Issues ………………………………………………………………………. 109 Female Representation ……………………………………………………………. 119 1.8. Closing……………….….…………………………..………….…………………….. 124 CHAPTER TWO: METAPHOR ……………………………………………………….…. 127 2.1. Truth be Told ………………………….……………………………..…………….…. 128 2.2. A Brief History of Metaphorical Storytelling ………………..…………………..…… 132 2.3. Marvel Authors as Bricoleurs ………………….………….…….……………….…… 138 2.4.Writing and Metaphoricity of the Marvel Age …….……..…………………………… 148 2.5. A Higher Power ……………..……….………………….………..…….…………..… 157 2.6. Metaphors in the Marvel Age of Comics………………………….………………..… 166 2.7. Captain America: An Ideal Out of Context .……..……………….…….…………..… 168 2.8. Inhumans and the X-Men: Misunderstood Otherness ….……………….………….… 180 2.9. J.J. Jameson and the Establishment: Web of Lies ……………..………….………..… 191 2.10. Closing …………….…………………………………………….……………..…… 196 CHAPTER THREE: TRANSLATABILITY ……………………………………………… 197 3.1. A Regenerative Language………….….………………………………………….…… 200 3.2. Consumer-Driven Mythologies …..…………………………..…………………..…... 206 3.3. Saussurrean Linguistics in the Multiverse ……………………….……………..….… 212 3.4. The Multiverse as Second-Order Semiotic Systems…..……………………………… 219 3.5. The Marvel Cinematic Universe: Translations for New Generations………………… 224 3.6. MCU Phase One (2008-2012) …………………………….………………………..… 232 Iron Man (2008) ………………………………………….…………………….…. 232 The Incredible Hulk (2008) ……………………………………………………..… 237 Iron Man 2 (2010) ……………………..………….…………………………….… 240 Thor (2011) ……………………………………………………………………..… 242 Captain America: The First Avenger (2011) ….………………………………...… 246 The Avengers (2012) ……..……………………………………………………..… 248 3.7. MCU Phase Two (2013-2015) ……..…..….…..…………………………………..… 253 Iron Man 3 (2013) ……………………………………………………….……..… 254 Thor: The Dark World (2013) …………………………………………….…….… 257 Captain America: The Winter Soldier (2014) …………………………….…….… 260 Guardians of the Galaxy (2014) ………………………………………….……..… 263 Avengers: Age of Ultron (2015) ……………………………………….………..… 266 3.8. Closing…………………………………………..………………………………….… 272 CONCLUSION….……….………………..………………….……………..…………..… 272 WORKS CITED …….….………………………..………………….……………..……… 277 ACKNOWLEDGEMENTS Though I began this dissertation believing that I would not succumb to this part of the ritual (and instead opt for a blank page), here I am thinking of a few words to leave. It suddenly crossed my mind that it would seem a little disrespectful to myself and everyone who has helped me along the way to not say anything about anyone. Therefore, here it goes. First and foremost I would like to thank my mother and my father for their unending support throughout my ventures. I have always joked that if my life had gone awry and I had decided to become some sort of criminal early on, they would have bought me my first gun. That is the sort of love and support that they have given me since day one. Regardless of my rebellious attitude and other disagreements that I might hold against them, my path in life has held one consistent mantra: to honor their trust and support. That, I believe, had influenced me to strive to become a better student, a better professional, and overall better human being. Here is to your honor, sir and madam. Thanks to my brother for being the greatest sidekick life could ever grant me. Even though time and interests have finally built a space between our frequent encounters, we still have thirty years of adventures from which we can reminisce. I wish you the best in your new ventures in life. To my comic book and podcast team back home: Verónica Muñiz, Jeancarlo Pérez, and especially Ricardo Serrano. You were the one who gifted me my first “serious” comic book back when we were drifting through our undergraduate studies. Little did we know back then that the gift would plant a seed that would keep giving. Thank you for being an eternal source of inspiration and a beacon of improvement as I look up to you for ways to improve myself every day. Thanks to William “Jojo” Román for becoming such a creative force in these past few years that I have known you. It is highly unusual to meet a person so late in life and have that person become so important so fast. You understand me in my most creative aspect and not every musician has the pleasure of finding someone like you in their life. If my life were a metaphor, it would be a ladder and, within its steps, there would be people from both my professional and academic trajectories. Thank you Pedro Rosado whom, even though we have not spoken in years, I constantly think of as he was an important figure in my formation. Thanks to everyone at the PGT for placing trust in me even when I did not know who I was as a person. Little did I know that this is how life molds you into the shape you will later take. Thanks to Michelle and Enid for equally molding me in my professional capacity and trusting me with even more that I could ever handle. As a comic book reader and avid pop culture follower, there are certain “musts” that one must have in order to have a healthy and productive hobby. One of these things is a comic book store where one goes not to only buy comics, but to talk about comics as well. During my time in Salamanca, I found such place in Tienda Dtbos and its owner Juan Manuel Conde. I spent countless hours talking about comics and learning about the European perspective comics history—something that the American experience is completely ignorant of. A few months after I returned to my country, Juan suddenly fell ill and passed away. I did not have the chance to say goodbye and, honestly, I do not think I will get over that fact anytime soon. Wherever you are, Juan, you are a part of this. Thanks to my professor, Manuel González de la Aleja for accepting to mentor me as I realized my thesis. When dealing with themes like these, one always wonders if the other side will accept or comprehend its nature, but all of these worries dissipated the first moment we sat down to talk about the project. The professor’s insight into pop culture and pop culture- adjacent literary genres were key in the direction of my thesis, even going as far as pointing me in the direction of what would become my third and final chapter. I know that the end result was far from what he had in mind, but at least I got to tell what he said in my own way. Lastly but not least important I wish to thank a very important person in my life who has endured years by my side through this process and countless others. Andrea Soto is proof that a person can become better just by the person they have by their side. Every day is a new opportunity to learn and grow in other areas that are not just academic or professional. Thank you. To everyone who I may seem to have left out, do not believe so. You are in here as much as every aforementioned name. Trust me. Thank you. Introduction Rodríguez Martínez !3 The “germ” for this dissertation was cultivated during an encounter with Terrence Hawkes’ Structuralism and Semiotics in 2013. At the moment, our attention was directed towards the study of opinions in a language and how embellished truths (“myths”) regarding any subject could enter a culture or society through its lexicon. During a reading of Hawkes’ text, a couple of paragraphs stood out from the rest as thought-provoking. Unbeknown to us at the moment, these lines would set the course for a future research venture: In the past, he points out, myths have been subjected to methods of interpretation which seriously conflict, not only with each other, but with the essential nature of the myths themselves. They have been seen as collective ‘dreams’, as the basis of ritual, as the result of ‘a kind of esthetic
Load more

Recommended publications
  • Ff: Vol. 4 Free Download
    FF: VOL. 4 FREE DOWNLOAD Jonathan Hickman,Nick Dragotta | 168 pages | 05 Dec 2012 | Marvel Comics | 9780785163145 | English | New York, United States FF, Volume 4 Volume 1 is to be released on July 24, I believed they overstayed there welcome. The book released in three separate volumes, the first covering the six NES and SNES titles, the second covering the three PlayStation titles, and the third covering the following five titles. Volume 3 was a bit disappointing since it depended too much on the main Fantastic Four series. January 28, [21] ISBN Final Fantasy 25th Memorial Ultimania Vol. It's somewhat fitting, then, to have the emotional epilogue, the true finale to this ground-breaking run, appear in this book. Learn FF: Vol. 4 - opens in a new window or tab. Jul FF: Vol. 4, Alan rated it liked it. Fantastic Four 38 "Defeated by the Frightful Four! All about family. You know the saying: There's no time like the present Fantastic Four "The Masque of Doom! Interest will be charged to your account from the purchase date if the balance is not paid in full within 6 months. Skill Points can be FF: Vol. 4 to purchase new upgrades for weapons. We also get some build up with the Inhumans and black bolt returning to earth. Fantastic Four "Doom Quest! After a certain amount of time you get tired of wasting talent. May FF: Vol. 4, Matt rated it really liked it Shelves: graphic-novelsmarvel. FF: Vol. 4 Panther: Little Green Men. Fantastic Four "Good-Bye! Fantastic Four "Inwards to Infinity! The remaining 48 Manuscripts will only be obtainable by replaying the game in Hard Mode difficulty.
    [Show full text]
  • HEROES and HERO WORSHIP.—Carlyle
    z 2 J51 ^ 3 05 i 1 m Copyright, 1899, by Henry Altemus. Heroes and j ^ 'Hero Worship i CARLYLE ii i i]i8ijitimMin'iiwMM» i i jw [.TfciBBST,inrawn ^^ TttO/nAS Carlylc MERGES AND riERO WORSHIP #1^ ON HEROES, HERO-WORSHIP, AND THE HEROIC IN HISTORY. LECTURE I. THE HERO AS DIVINITY. ODIN. PAGANISM : SCAN^ DINAVIAN MYTHOLOGY. We have undertaken to discourse here for a little on Great Men, their manner of appearance in our world's business, how they have shaped themselves in the world's history, what ideas, men formed of them, what work they did ; —on Heroes, namely, and on their reception- and per- formance ; what I call Hero-worship and the Heroic in human affairs. Too evidently this is a large topic ; deserving quite other treatment than we can expect to give it at present. A large topic ; indeed, an illimitable one ; wide as Universal History itself. For, as I take it. Uni- versal History, the history of what man has- accomplished in this world, is at bottom the His- ! 6 Xecturcs on Ibcroes, tory of the Great Men who have worked here. They were the leaders of men, these great ones ; the modellers, patterns, and in a wide sense creators, of whatsoever the general mass of men contrived to do or to attain •, all things that we see standing accomplished in the world are properly the outer material result, the practical realization and embodiment, of Thoughts that dwelt in the Great Men sent into the world : the soul of the whole world's history, it may justly be considered, were the history of these.
    [Show full text]
  • Click Above for a Preview, Or Download
    JACK KIRBY COLLECTOR THIRTY-NINE $9 95 IN THE US . c n I , s r e t c a r a h C l e v r a M 3 0 0 2 © & M T t l o B k c a l B FAN FAVORITES! THE NEW COPYRIGHTS: Angry Charlie, Batman, Ben Boxer, Big Barda, Darkseid, Dr. Fate, Green Lantern, RETROSPECTIVE . .68 Guardian, Joker, Justice League of America, Kalibak, Kamandi, Lightray, Losers, Manhunter, (the real Silver Surfer—Jack’s, that is) New Gods, Newsboy Legion, OMAC, Orion, Super Powers, Superman, True Divorce, Wonder Woman COLLECTOR COMMENTS . .78 TM & ©2003 DC Comics • 2001 characters, (some very artful letters on #37-38) Ardina, Blastaar, Bucky, Captain America, Dr. Doom, Fantastic Four (Mr. Fantastic, Human #39, FALL 2003 Collector PARTING SHOT . .80 Torch, Thing, Invisible Girl), Frightful Four (Medusa, Wizard, Sandman, Trapster), Galactus, (we’ve got a Thing for you) Gargoyle, hercules, Hulk, Ikaris, Inhumans (Black OPENING SHOT . .2 KIRBY OBSCURA . .21 Bolt, Crystal, Lockjaw, Gorgon, Medusa, Karnak, C Front cover inks: MIKE ALLRED (where the editor lists his favorite things) (Barry Forshaw has more rare Kirby stuff) Triton, Maximus), Iron Man, Leader, Loki, Machine Front cover colors: LAURA ALLRED Man, Nick Fury, Rawhide Kid, Rick Jones, o Sentinels, Sgt. Fury, Shalla Bal, Silver Surfer, Sub- UNDER THE COVERS . .3 GALLERY (GUEST EDITED!) . .22 Back cover inks: P. CRAIG RUSSELL Mariner, Thor, Two-Gun Kid, Tyrannus, Watcher, (Jerry Boyd asks nearly everyone what (congrats Chris Beneke!) Back cover colors: TOM ZIUKO Wyatt Wingfoot, X-Men (Angel, Cyclops, Beast, n their fave Kirby cover is) Iceman, Marvel Girl) TM & ©2003 Marvel Photocopies of Jack’s uninked pencils from Characters, Inc.
    [Show full text]
  • Medieval Representations of Satan Morgan A
    Rollins College Rollins Scholarship Online Master of Liberal Studies Theses 2011 The aS tanic Phenomenon: Medieval Representations of Satan Morgan A. Matos [email protected] Follow this and additional works at: http://scholarship.rollins.edu/mls Part of the Christianity Commons, and the History of Christianity Commons Recommended Citation Matos, Morgan A., "The aS tanic Phenomenon: Medieval Representations of Satan" (2011). Master of Liberal Studies Theses. 28. http://scholarship.rollins.edu/mls/28 This Open Access is brought to you for free and open access by Rollins Scholarship Online. It has been accepted for inclusion in Master of Liberal Studies Theses by an authorized administrator of Rollins Scholarship Online. For more information, please contact [email protected]. The Satanic Phenomenon: Medieval Representations of Satan A Project Submitted in Partial Fulfillment Of the Requirements for the Degree of Master of Liberal Studies By Morgan A. Matos July, 2011 Mentor: Dr. Steve Phelan Rollins College Hamilton Holt School Winter Park Master of Liberal Studies Program The Satanic Phenomenon: Medieval Representations of Satan Project Approved: _________________________________________ Mentor _________________________________________ Seminar Director _________________________________________ Director, Master of Liberal Studies Program ________________________________________ Dean, Hamilton Holt School Rollins College i Table of Contents Table of Contents i Table of Illustrations ii Introduction 1 1. Historical Development of Satan 4 2. Liturgical Drama 24 3. The Corpus Christi Cycle Plays 32 4. The Morality Play 53 5. Dante, Marlowe, and Milton: Lasting Satanic Impressions 71 Conclusion 95 Works Consulted 98 ii Table of Illustrations 1. Azazel from Collin de Plancy’s Dictionnaire Infernal, 1825 11 2. Jesus Tempted in the Wilderness, James Tissot, 1886-1894 13 3.
    [Show full text]
  • Table Talk Transcript June 17, 2021
    School Lunch Tray Table Talk Transcript: June 17, 2021 Presenters: Speaker 1 – Shannon Yearwood, Speaker 2 – Susan Alston, Speaker 3 – Susan Fiore, Speaker 4 – Fionnuala Brown, Speaker 5 – Monica Pacheco Speaker 6 – Andy Paul, Speaker 7 – Teri Dandeneau, Sean Fogarty, Hostess – Michelle Rosado 0:03 Speaker 1 - Hi, and welcome to our last School Lunch Tray Table Talk for the School Year 2021. I’m Shannon Yearwood, the Education Manager with the Child Nutrition Programs at the Connecticut State Department of Education. 0:17 Joining me today is who I like to refer to as “Team Awesome,” because you have probably the best state administrators that any State could ask for, and they are right here as a resource for you to tap into. You know these are very strange times and just because this is the end of the Table Talk for this school year does not mean we are going anywhere. So certainly keep reaching out to us with your questions. 0:40 Um you guys know who your contacts are out there, who's on our team, so thank you so much for joining us. 0:45 Uh keep in mind, these at this will act as an open office hours, so certainly ask us your questions, type those into the box. We might run out of time, we have a packed agenda today, um and so that will help us be able to follow up with you. Or potentially develop some more resources that we know that that's some information that is good for the entire state, so thank you again for joining us, um and keep in mind these are recorded.
    [Show full text]
  • 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.
    [Show full text]
  • General Fund Revenues
    2012–2013 Budget City of Eden Prairie, Minnesota Table of Contents Page Introduction Strategic Plan .............................................................................................................................................. 8 Organizational Structure and Chart ...................................................................................................... 10 City Council/Management Team ........................................................................................................... 11 Other Eden Prairie Facts ......................................................................................................................... 12 Distinguished Budget Presentation Award ........................................................................................... 14 Budget Overview City Manager’s Budget Message ............................................................................................................. 16 Key Results ................................................................................................................................................ 23 Budget Development ............................................................................................................................... 36 Financial Policies ...................................................................................................................................... 41 Budget Summary-All Budgeted Funds .................................................................................................
    [Show full text]
  • 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.
    [Show full text]
  • Media Website Contact List
    MEDIA WEBSITE CONTACT LIST version: 8/2016 Outlet Name First Name Last Name Title Email Address Website Address Bleeding Cool Richard Johnston Editor-in-Chief [email protected] http://www.bleedingcool.com/ Comics Alliance Andrew Wheeler Editor in Chief [email protected] http://comicsalliance.com/ Comics Alliance Kevin Gaussoin Editor in Chief [email protected] http://comicsalliance.com/ Comic Book Resources Albert Ching Managing Editor [email protected] http://www.comicbookresources.com/ Comic Vine Tony Guerrero Editor-in-Chief [email protected] http://www.comicbookresources.com/ ComicBook.com James Viscardi Editor in Chief [email protected] http://comicbook.com/ Forces of Geek Erin Maxwell Reporter [email protected] http://www.forcesofgeek.com/ IGN Entertainment Joshua Yehl Comics Editor [email protected] http://www.ign.com/ ICV2 Milton Griepp Editor in Chief [email protected] http://icv2.com/ Newsarama Chris Arrant Editor-in-Chief [email protected] http://www.newsarama.com/ The Beat Heidi MacDonald Editor in Chief [email protected] http://www.comicsbeat.com/ Comicosity Matt Santori-Griffith Senior Editor [email protected] http://www.comicosity.com/ The Mary Sue Maddy Myers Editor [email protected] http://www.themarysue.com/ The Mary Sue Dan Van Winkle Editor [email protected] http://www.themarysue.com/ Multiversity Comics Brian Salvatore Editor-in-Chief [email protected] http://multiversitycomics.com/ Comic Crusaders [email protected] www.comiccrusaders.com/ Graphic Policy Brett Schenker Founder / Blogger in Chief [email protected] https://graphicpolicy.com/ THIS LIST OF CONTACTS IS DESIGNED TO BE A RESOURCE FOR PUBLISHERS TO HELP PROMOTE THEIR PROJECTS TO THE PUBLIC.
    [Show full text]
  • (“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.
    [Show full text]
  • Spencer Vicentini Sabbatini Sinclair
    $3.99 0 6 5 1 1 RATED SPENCER SINCLAIR SABBATINI VICENTINI US LGY#866 T 7 5 9 6 0 6 0 8 9 3 6 9 65 BONUS DIGITAL EDITION – DETAILS INSIDE! PETER PARKER was bitten by a radioactive spider and gained the proportional speed, strength, and agility of a SPIDER, adhesive fingertips and toes, and the unique precognitive awareness of danger called “SPIDER-SENSE”! After the tragic death of his Uncle Ben, Peter understood that with great power there must also come great responsibility. He became the crimefighting super hero called… KING’S RANSOM Part Three Peter is rocking a new suit, courtesy of Threats & Menaces. The suit allows TNM subscribers to watch the world through Spidey’s eyes, and TNM chief J. Jonah Jameson to monitor Spidey through it all. It’s not…ideal. JJJ hasn’t been monitoring his friend Joe “Robbie” Robertson who is working together with Lonnie Lincoln, A.K.A. Tombstone! The moral newsman and amoral crime lord became strange bedfellows after their children Randy Robertson and Janice Lincoln have become literal bedfellows. They’ve been on the rocks (Randy’s a social worker and Janice runs a criminal organization called “The Syndicate”), and things got worse when they were kidnapped by Madame Masque and Crime-Master! Robbie and Tombstone got a lead to find their kids from the low-level criminal Mirage--but why are Masque and Crime-Master working together? Well, Mayor Wilson Fisk (né Kingpin) declared NYC open season for super criminals to help him obtain the Lifeline Tablet.
    [Show full text]
  • Game On: Ways of Using Games to Engage Learners in Reading For
    Game On: Ways of using digital games to engage learners in reading for pleasure October 2011 1 Contents Summary and key recommendations 3 1 Background 5 2 Recent research 8 3 A further review of games 13 4 Developing and testing two games 23 5 Observations from the think tank event 36 6 Recommendations 38 This report has been compiled by Genevieve Clarke and Michelle Treagust with thanks to colleagues at The Reading Agency, NIACE and PlayGen and also to students and tutors at Morley College, Transport for London, Brent Adult and Community Education Service and Park Future Family Learning Centre in Havant who took part in this project. Please contact [email protected] for further information. The Reading Agency has been funded by the Department for Business, Innovation and Skills to undertake this study as part of its ongoing work to promote the use of reading for pleasure to engage, motivate and support adults with literacy needs. The Reading Agency Free Word Centre 60 Farringdon Road London EC1R 3GA tel: 0871 750 1207 email: [email protected] web: readingagency.org.uk 2 Summary and key recommendations This document reports on the project undertaken by The Reading Agency for the Department of Business, Innovation and Skills (BIS) and NIACE between April and June 2011 which aimed to: help develop the Department’s thinking and plans to capitalise on the power of digital games; lay better groundwork to help the learning and skills sector harness the potential of games to engage and support people who are struggling with reading and writing and transform their perception of literacy and its relevance to their lives; and take The Reading Agency’s adult literacy development work with digital games to the next stage.
    [Show full text]