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THE GARDENS REACH of the BRISBANE RIVER Kangaroo Point — Past and Present [By NORMAN S
600 THE GARDENS REACH OF THE BRISBANE RIVER Kangaroo Point — Past and Present [By NORMAN S. PIXLEY, M.B.E., V.R.D., Kt. O.N., F.R.Hist.S.Q.] (Read at the Society's meeting on 24 June 1965.) INTRODUCTION [This paper, entitied the "Gardens Reach of the Brisbane River," describes the growth of shipping from the inception of Brisbane's first port terminal at South Brisbane, which spread and developed in the Gardens Reach. In dealing briefly wkh a period from 1842 to 1927, it men tions some of the vessels which came here and a number of people who travelled in them. In this year of 1965, we take for granted communications in terms of the Telestar which televises in London an inter view as it takes place in New York. News from the world comes to us several times a day from newspapers, television and radio. A letter posted to London brings a reply in less than a week: we can cable or telephone to London or New York. Now let us return to the many years from 1842 onward before the days of the submarine cable and subsequent inven tion of wireless telegraphy by Signor Marconi, when Bris bane's sole means of communication with the outside world was by way of the sea. Ships under sail carried the mails on the long journeys, often prolonged by bad weather; at best, it was many months before replies to letters or despatches could be expected, or news of the safe arrival of travellers receivd. Ships vanished without trace; news of others which were lost came from survivors. -
Alter Ego #78 Trial Cover
Roy Thomas ’Merry Mar vel Comics Fan zine No. 50 July 2005 $ In5th.e9U5SA Sub-Mariner, Thing, Thor, & Vision TM & ©2005 Marvel Characters, Inc.; Conan TM & ©2005 Conan Properties, Inc.; Red Sonja TM & ©2005 Red Sonja Properties, Inc.; Caricature ©2005 Estate of Alfredo Alcala Vol. 3, No. 50 / July 2005 ™ Editor Roy Thomas Roy Thomas Associate Editors Shamelessly Celebrates Bill Schelly 50 Issues of A/E , Vol. 3— Jim Amash & 40 Years Since Design & Layout Christopher Day Modeling With Millie #44! Consulting Editor John Morrow FCA Editor P.C. Hamerlinck Comic Crypt Editor Michael T. Gilbert Editors Emeritus Jerry Bails (founder) Ronn Foss, Biljo White, Contents Mike Friedrich Production Assistant Writer/Editorial: Make Mine Marvel! . 2 Eric Nolen-Weathington “Roy The Boy” In The Marvel Age Of Comics . 4 Cover Artists Jim Amash interviews Roy Thomas about being Stan Lee’s “left-hand man” Alfredo Alcala, John Buscema, in the 1960s & early ’70s. & Jack Kirby Jerry Ordway DC Comics 196 5––And The Rest Of Roy’s Cover Colorist Color-Splashed Career . Flip Us! Alfredo Alcala (portrait), Tom Ziuko About Our Cover: A kaleidoscopically collaborative combination of And Special Thanks to: three great comic artists Roy worked with and admired in the 1960s and Alfredo Alcala, Jr. Allen Logan ’70s: Alfredo Alcala , John Buscema , and Jack Kirby . The painted Christian Voltan Linda Long caricature by Alfredo was given to him as a birthday gift in 1981 and Alcala Don Mangus showed Rascally Roy as Conan, the Marvel-licensed hero on which the Estelita Alcala Sam Maronie Heidi Amash Mike Mikulovsky two had labored together until 1980, when R.T. -
Rosemary Ellen Guiley
vamps_fm[fof]_final pass 2/2/09 10:06 AM Page i The Encyclopedia of VAMPIRES, WEREWOLVES, and OTHER MONSTERS vamps_fm[fof]_final pass 2/2/09 10:06 AM Page ii The Encyclopedia of VAMPIRES, WEREWOLVES, and OTHER MONSTERS Rosemary Ellen Guiley FOREWORD BY Jeanne Keyes Youngson, President and Founder of the Vampire Empire The Encyclopedia of Vampires, Werewolves, and Other Monsters Copyright © 2005 by Visionary Living, Inc. All rights reserved. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For information contact: Facts On File, Inc. 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data Guiley, Rosemary. The encyclopedia of vampires, werewolves, and other monsters / Rosemary Ellen Guiley. p. cm. Includes bibliographical references and index. ISBN 0-8160-4684-0 (hardcover : alk. paper) ISBN 978-1-4381-3001-9 (e-book) 1. Vampires—Encyclopedias. 2. Werewolves—Encyclopedias. 3. Monsters—Encyclopedias. I. Title. BF1556.G86 2004 133.4’23—dc22 2003026592 Facts On File books are available at special discounts when purchased in bulk quantities for businesses, associations, institutions, or sales promotions. Please call our Special Sales Department in New York at (212) 967-8800 or (800) 322-8755. You can find Facts On File on the World Wide Web at http://www.factsonfile.com Printed in the United States of America VB FOF 10 9 8 7 6 5 4 3 2 1 This book is printed on acid-free paper. -
Etherology, Or, the Philosophy of Mesmerism
TUFTS COLLEGE Tufts College Library « PHRENOLOG1.0AL BUST. See Page 164. • E THEE 0 LOG Y; OR, THE PHILOSOPHY OF MESMERISM . AND PHRENOLOGY: INCLUDING A NEW PHILOSOPHY OF SLEEP AND OF CONSCIOUSNESS, WITH A REVIEW OF THE PRETENSIONS OF NEUROLOGY AND PHRENO-MAGNETISM BY J. STANLEY GRIMES, COUNSELLOR AT LAW, FORMERLY PRESIDENT OF THE WESTERN PHRENOLOGICAL SOCIETY, PROFESSOR OF MEDICAL JURISPRUDENCE IN THE CASTLETON MEDICAL COLLEGE AND AUTHOR OF 4 A NEW SYSTEM OF PHRENOLOGY.' All the known phenomena of the universe may he referred to three general princi- ples, viz.: Matter, Motion, and Consciousness.—p. 17. NEW YORK: SAXTON AND MILES, NO. 205 BROADWAY PHILADELPHIA :-J AMES M. CAMPBELL. BOSTON I SAXTON, PEIRCE & CO. 1845. year by Entered according to Act of Congress, in the 1845, J. STANLEY GRIMES, the Southern District In the Clerk's Office of the District Court of of New York. 1 i m CONTENTS. SECTION I. page. SYNOFSIS OF ETHEROLOGY . 17 SECTION II. HISTORY OF ETHERIUM ..... 39 Ignorance of the Ancients concerning the causes of Ethe- rean Phenomena — Witchcraft — Divination — Magic — Discoveries which led to a Scientific Knowledge of Ethe- ropathy—Van Helmot—Mesmer—His Career—D'Eslon —Adverse Report of the French Commissioners—Foissac and the Academy of Medicine—Their favorable report —Gall—La Place. SECTION III. NATURE OF ETHERIUM ..... 75 Theory of Light—Of Heat—Of Electricity—Of Magnetism— Of Gravitation—Newton's Conjecture—Rev. Mr. Town- shend on the Mesmeric Medium—Sunderland's Notions —Animal Electricity—Experiments of Crosse—Electric Fishes. SECTION IV. OXYGEN ........ 127 SECTION V. PHILOSOPHY OF SLEEP 130 Liebig's Error. -
Bioshift Pass-Through UV-C Germicidal Chamber
BioShift Pass-Through UV-C Germicidal Chamber - Instruction Manual This manual provides user guidelines and additional operation instructions for the Small BioShift Pass-Through UV-C Germicidal Chamber. (Model 24-0200, 12NC: 929002100322) For service or parts call your sales representative, visit our website: www.once.lighting/uv-c Or contact us at: Once Inc. United States Germany Poland 15255 23rd Ave N Am Südfeld 7 Wloclawska 167 Plymouth, MN 55447 49377 Vechta 87-100 Tourn +1 (763) 381-5621 +49 (0) 4441 8898-10 +48 (56) 699-5330 [email protected] [email protected] [email protected] TABLE OF CONTENTS Introduction ................................................................................................................................................ 2 Specifications .............................................................................................................................................. 3 Safety ......................................................................................................................................................... 4-5 Installation ................................................................................................................................................... 6 Touchscreen Display ............................................................................................................................ 7-9 Home Screen Components ................................................................................................ 7 Maintenance Screen -
Portrayals of Stuttering in Film, Television, and Comic Books
The Visualization of the Twisted Tongue: Portrayals of Stuttering in Film, Television, and Comic Books JEFFREY K. JOHNSON HERE IS A WELL-ESTABLISHED TRADITION WITHIN THE ENTERTAINMENT and publishing industries of depicting mentally and physically challenged characters. While many of the early renderings were sideshowesque amusements or one-dimensional melodramas, numerous contemporary works have utilized characters with disabilities in well- rounded and nonstereotypical ways. Although it would appear that many in society have begun to demand more realistic portrayals of characters with physical and mental challenges, one impediment that is still often typified by coarse caricatures is that of stuttering. The speech impediment labeled stuttering is often used as a crude formulaic storytelling device that adheres to basic misconceptions about the condition. Stuttering is frequently used as visual shorthand to communicate humor, nervousness, weakness, or unheroic/villainous characters. Because almost all the monographs written about the por- trayals of disabilities in film and television fail to mention stuttering, the purpose of this article is to examine the basic categorical formulas used in depicting stuttering in the mainstream popular culture areas of film, television, and comic books.' Though the subject may seem minor or unimportant, it does in fact provide an outlet to observe the relationship between a physical condition and the popular conception of the mental and personality traits that accompany it. One widely accepted definition of stuttering is, "the interruption of the flow of speech by hesitations, prolongation of sounds and blockages sufficient to cause anxiety and impair verbal communication" (Carlisle 4). The Journal of Popular Culture, Vol. 41, No. -
Gunning Fog Author Title 3.2 Adler, David A. Young Cam Jansen and the Circus Mystery 3.2 Adler, David A
Gunning Fog Author Title 3.2 Adler, David A. Young Cam Jansen and the Circus Mystery 3.2 Adler, David A. Young Cam Jansen and the Pizza Shop Mystery 3.2 Adler, David A. Young Cam Jansen and the Speedy Car Mystery 3.2 Allard, Harry Bumps in the Night 3.2 Banks, Kate Monkeys and Dog Days 3.2 Banks, Kate Monkeys and the Universe 3.2 Berenstain, Stan The Berenstain Bears and the Wishing Star 3.2 Blackaby, Susan Carnival Committee 3.2 Blackaby, Susan Groceries for Grandpa 3.2 Blackaby, Susan The Steadfast Tin Soldier 3.2 Blackaby, Susan Thumbelina 3.2 Blackwood, Gary L. The Just-So Woman 3.2 Bond, Michael Paddington: Meet Paddington 3.2 Bond, Michael Paddington's Adventures 3.2 Bond, Michael Paddington's Prize Picture 3.2 Brown, Marc Tolon Arthur's Fire Drill 3.2 Brown, Marc Tolon Arthur's Science Fair Trouble 3.2 Butler, Andrea Mr. Sun and Mr. Sea: An African Legend 3.2 Cowley, Joy Agapanthus Hum and the Angel Hoot 3.2 Daynes, Katie Hansel & Gretel 3.2 Dodd, Lynley Hairy Maclary and Zachary Quack 3.2 Durant, Alan Little Bo-Peep's Missing Sheep 3.2 Durant, Alan Little Miss Muffet's Big Scare 3.2 Ford, Juwanda G. Sunday Best 3.2 Gantos, Jack Rotten Ralph's Rotten Family 3.2 Gantos, Jack Rotten Ralph Feels Rotten 3.2 Guest, Elissa Haden Iris and Walter: The School Play 3.2 Gutman, Dan Babe Ruth and the Ice Cream Mess 3.2 Hayes, Geoffrey A Poor Excuse for a Dragon 3.2 Howe, James Pinky and Rex and the School Play 3.2 Howe, James Pinky and Rex and the Spelling Bee 3.2 Impey, Rose Wanda Witch and the Bullies 3.2 Impey, Rose Wanda Witch and the Stray Dragon 3.2 Jacobson, Jennifer Andy Shane and the Pumpkin Trick 3.2 Jacobson, Jennifer Andy Shane and the Queen of Egypt 3.2 Jenck, Heidi Shelton Pets on Vacation 3.2 Johnson, Crockett Race Car 3.2 Jones, Christianne C. -
ABSORBING MAN Villain
ABSORBING MAN Villain Real Name: Carl "Crusher" Creel Occupation: Professional criminal. Identity: Publicly known. Legal Status: Citizen of the United States with a criminal record. Other Aliases: None. Place of Birth: Houston, Texas. Marital Status: Presumably single. Known Relatives: None. Group Affiliation: None. Base of Operations: Mobile. First Post-Reboot Appearance: THOR: GOD OF THUNDER # History: Crusher Creel was a small-time criminal serving a prison sentence for aggravated assault when he was made an unwitting pawn in one of the schemes cooked up by the Norse trickster god, Loki (see Loki). Posing as one of the inmates assigned to work the prison cafeteria, Loki laced Creel's food with a rare Asgardian herb, granting him superhuman powers. Creel used these new powers to break out of prison, after which he was manipulated into combat with the Norse thunder god, Thor (see Thor). He has since clashed with the thunder god on a second occasion. It has recently come to light that the idea to transform Creel into the Absorbing Man was Sif's; Loki simply implemented it (see Sif). Height: 6' 4" Weight: 265 lbs. Eyes: Brown Hair: Bald; has brown facial hair. Uniform: None. Strength Level: Without changing his body, the Absorbing Man has the normal human strength of a man his age, height, and build who engages in intensive regular exercises. When using his powers, he can increase his strength to many times that, ultimately possessing the ability to lift (press) over 50 tons. Known Superhuman Powers: By touching an item, the Absorbing Man can take on its physical properties. -
(“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. -
The Room Itself Is Active: How Classroom Design Impacts Student Engagement
Journal of Learning Spaces Volume 6, Number 1. 2017 ISSN 21586195 The Room Itself Is Active: How Classroom Design Impacts Student Engagement Melissa L. Rands Ann M. Gansemer-Topf Minneapolis College of Art and Design Iowa State University A responsive case study evaluation approach utilizing interviews and focus groups collected student and faculty perspectives on examined how instructors and students utilized a newly redesigned active learning space at Iowa State University and the relationship of this design with environmental and behavioral factors of student engagement. The findings demonstrate how classroom design affords engagement through low-cost learning tools and a flexible, open, student-centered space afforded a variety of active learning strategies. In addition, this case study highlights the importance of conducting assessment on classroom redesign initiatives to justify and improve future classroom spaces. In the years since Chickering and Gamson’s (1987) engagement and offer suggestions for improving the influential article Seven Principles for Good Practice in redesign and implementation of active learning classrooms. Undergraduate Education, active learning has become an In addition, this case study highlights the importance of integral part of the student learning experience (Kuh, Kinzie, conducting assessment on classroom redesign initiatives. Schuh, Whitt & Assoc., 2010). Changes in student expectations and attitudes, as well as research Review of Literature demonstrating the relationship between active engagement and student learning (Prince, 2004), have challenged To better understand this study, this section provides a institutions to reconsider their design of classroom spaces definition of active learning and highlights research on the (Oblinger, 2006). The “traditional” college classroom, with a relationship between classroom spaces and student fixed, lecture-style configuration, does not match what we engagement. -
Oasis Digital Studios and Apex Comics Group Partner with Comic-Book Industry Legends for New Multimedia Experiences and Nfts
Oasis Digital Studios and Apex Comics Group partner with Comic-Book Industry Legends for New Multimedia Experiences and NFTs Famed former Marvel Editor-in-ChiefTom DeFalco andartists Ron Frenz and Sal Buscema launch comic books, avatars, and AR enhanced NFT collectibles. Toronto / Vancouver, Canada / Erie PA / New York, NY – April 12, 2021 –Liquid Avatar Technologies Inc. (CSE: LQID / OTC:TRWRF / FRA:4T51) (“Liquid Avatar Technologies” or the “Company”,), a global blockchain, digital-identity and fintech solutions company, together with ImagineAR Inc. (CSE:IP / OTCQB:IPNFF), an Augmented Reality platform company, are excited to announce that Oasis Digital Studios (“Oasis”) has partnered with Apex Comics Group to publish Mr. Right, a new multimedia project by legendary Marvel Entertainment and pop culture veterans Tom DeFalco, Ron Frenz, and Sal Buscema. The program will consist of printed and digital comic books, digital avatars produced for the Liquid Avatar Mobile App and Marketplace, and AR enhanced NFT collectibles with Oasis. A sneak preview of the program will be made virtually on April 13th at the special presentation “NFTs Myths, Market, Media & Mania," hosted by Liquid Avatar, ImagineAR and Oasis Digital Studios: https://hello.liquidavatar.com/oasis-webinar-registration. The integrated campaign, expected to launch in early summer, will feature a series of limited- edition print and digital comic books, along with collector-enhanced NFTs, Liquid Avatar digital icons available in the Liquid Avatar Marketplace, and a fully immersive Augmented Reality multimedia program. A pre-sale waiting list is available for prospective purchasers and NFT collectors at the Oasis website: www.oasisdigitalstudios.com Mr. Right is led by Tom DeFalco, who was Marvel’s 10th Editor-in-Chief. -
Waid Ewing Zub Larraz Curiel 59606 08766 2 69011
16PART 690 WAID EWING ZUB LARRAZ CURIEL 6 9 0 1 1 RATED T+ $3.99US MARVEL.COM 7 59606 08766 2 The cosmic game is over at last. The Avengers defeated the Grandmaster and the Challenger and restored their planet to its proper place in the universe, saving billions. But not everyone made it through the fi nal battle intact--and as the survivors pick up the pieces only to fi nd some missing, they’ll have an important question to answer: What does this mean for the future of the Avengers? WRITERS Mark Waid, Al Ewing & Jim Zub ARTISTS Pepe Larraz Color Artist David Curiel Letterer VC’s Cory Petit CoVER Mark Brooks VARIANT COVERS Chris Sprouse, Karl Story & Editor in Chief Marcio Menyz; In-Hyuk Lee C.B. Cebulski GRAPHIC DESIGN Chief Creative Officer Carlos Lao ASSISTANT EDITOR Joe Quesada Alanna Smith President EDITOR Dan Buckley Tom Brevoort Executive Producer Alan Fine Avengers created by Stan Lee & Jack Kirby AVENGERS No. 690, June 2018. Published Monthly except in January, February, March, and April by MARVEL WORLDWIDE, INC., a subsidiary of MARVEL ENTERTAINMENT, LLC. OFFICE OF PUBLICATION: 135 West 50th Street, New York, NY 10020. BULK MAIL POSTAGE PAID AT NEW YORK, NY AND AT ADDITIONAL MAILING OFFICES. © 2018 MARVEL No similarity between any of the names, characters, persons, and/or institutions in this magazine with those of any living or dead person or institution is intended, and any such similarity which may exist is purely coincidental. $3.99 per copy in the U.S. (GST #R127032852) in the direct market; Canadian Agreement #40668537.