TEEN TITANS CHARACTER CARDS Original Text
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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. -
A Glossary of Words Used in the Dialect of Cheshire
o^v- s^ COLONEL EGERTON LEIGH. A GLOSSARY OF WORDS USED IN THE DIALECT OF CHESHIRE FOUNDED ON A SIMILAR ATTEMPT BY ROGER WILBRAHAM, F.R.S. and F.S.A, Contributed to the Society of Antiquaries in iSiy. BY LIEUT.-COL. EGERTON LEIGH, M.P. II LONDON : HAMILTON, ADAMS, AND CO. CHESTER : MINSHULL AND HUGHES. 1877. LONDON : CLAY, SONS, AND TAYLOR, PRINTERS, » ,•*• EREA2) STH4iaT^JIIJ:-L,; • 'r^UKEN, V?eTO«IVS«"gBI?t- DEDICATION. I DEDICATE this GLOSSARY OF Cheshijie Words to my friends in Mid-Cheshire, and believe, with some pleasure, that these Dialectical Fragments of our old County may now have a chance of not vanishing entirely, amid changes which are rapidly sweeping away the past, and in many cases obliterating words for which there is no substitute, or which are often, with us, better expressed by a single word than elsewhere by a sentence. EGERTON LEIGH. M24873 PRELIMINARY OBSERVATIONS ATTACHED TO WILBRAHAM'S "CHESHIRE GLOSSARY." Although a Glossary of the Words peculiar to each County of England seems as reasonable an object of curiosity as its History, Antiquities, Climate, and various Productions, yet it has been generally omitted by those persons who have un- dertaken to write the Histories of our different Counties. Now each of these counties has words, if not exclusively peculiar to that county, yet certainly so to that part of the kingdom where it is situated, and some of those words are highly beautiful and of their and expressive ; many phrases, adages, proverbs are well worth recording, and have occupied the attention and engaged the pens of men distinguished for talents and learning, among whom the name of Ray will naturally occur to every Englishman at all conversant with his mother- tongue, his work on Proverbs and on the different Dialects of England being one of the most popular ones in our PRELIMINARY OBSERVATIONS. -
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. -
Comics Original Graphic Novels Collected Editions
Store info: FILL OUT THIS INTERACTIVE CHECKLIST AND RETURN TO YOUR RETAILER TO MAKE SURE YOU DON’T MISS THE LATEST FROM DC! (Tuesday availability at participating stores) TO VIEW CATALOG, VISIT: DCCOMICS.COM/CONNECT COMICS M V M = Main V = Variant M V M = Main V = Variant Check with your retailer for variant cover details. Check with your retailer for variant cover details. Available Tuesday, November 3, 2020 _ _ Detective Comics #1031 _ _ Batman #102 _ _ The Flash #766 _ _ Batman: The Adventures Continue #6 _ John Constantine: Hellblazer #12 _ _ DC Classics: The Batman Adventures #6 _ Justice League Dark #28 _ _ DCeased: Dead Planet #5 _ The Last God #10 MOVIE HOMAGE VARIANT _ _ Legion of Super-Heroes #11 _ _ The Dreaming: Waking Hours #4 _ _ The Other History of the DC Universe #1 _ _ Hellblazer: Rise and Fall #2 _ _ Red Hood #51 _ _ Justice League #56 _ _ Suicide Squad #11 _ _ Strange Adventures Director’s Cut #1 _ _ Wonder Woman #767 _ _ Sweet Tooth: The Return #1 _ _ Tales from the Dark Multiverse: Batman: Hush #1 ORIGINAL GRAPHIC NOVELS _ _ Young Justice #20 Available Tuesday, January 5, 2021 Available Tuesday, November 10, 2020 _ House of El Book One: The Shadow Threat TP _ _ American Vampire 1976 #2 Available Tuesday, January 12, 2021 _ _ The Batman’s Grave #12 _ We Found a Monster TP _ _ Dark Nights: Death Metal Infinite Hour Exxxtreme! #1 _ _ Detective Comics #1030 COLLECTED EDITIONS _ _ The Flash #765 _ _ The Green Lantern Season Two #9 Available Tuesday, December 1, 2020 _ _ Hawkman #29 _ The Green Lantern Season Two Vol. -
Teen Titans Go! to the Movies’
Movie Review: ‘Teen Titans Go! To the Movies’ NEW YORK — Though a mixed bag of good values and a bit of dodgy humor renders it acceptable but not ideal for kids, sharp satire makes the witty animated comedy “Teen Titans Go! To the Movies” (Warner Bros.) a hoot for their elders. As it skewers a broad range of subjects, from some politicians’ preoccupation with the size of their hands to 1980s-style anthems of affirmation, the film wins smiles and laughs at a remarkably steady pace. Even the plot is a vehicle for mockery. A youthful version of Batman’s sidekick Robin (voice of Scott Menville) becomes obsessed by the fact that, unlike all other superheroes, no movie has ever been made about him. The other members of the ensemble of crime fighters Robin leads — shape-shifting Beast Boy (voice of Greg Cipes), human-mechanical mashup Cyborg (voice of Khary Payton), teleporting Raven (voice of Tara Strong) and alien princess Starfire (voice of Hynden Walch) — don’t share his fixation with Hollywood. But, as supportive pals, they go along for the ride. Through their battle with master mind manipulator Slade (voice of Will Arnett) the team acquires the evil nemesis considered essential to their quest. And they eventually convince Tinseltown director Jade Wilson (voice of Kristen Bell) to feature them. But Robin’s ego and the silliness of his pals get in the way, leading to a breakup of the group. As Robin and his buddies strive to be taken seriously, this big-screen adaptation of the Cartoon Network TV series hilariously harpoons a wide range of pop-culture targets in a manner that will amuse grownups. -
All Batman References in Teen Titans
All Batman References In Teen Titans Wingless Judd boo that rubrics breezed ecstatically and swerve slickly. Inconsiderably antirust, Buck sequinedmodernized enough? ruffe and isled personalties. Commie and outlined Bartie civilises: which Winfred is Behind Batman Superman Wonder upon The Flash Teen Titans Green. 7 Reasons Why Teen Titans Go Has Failed Page 7. Use of teen titans in batman all references, rather fitting continuation, red sun gauntlet, and most of breaching high building? With time throw out with Justice League will wrap all if its members and their powers like arrest before. Worlds apart label the bleak portentousness of Batman v. Batman Joker Justice League Wonder whirl Dark Nights Death Metal 7 Justice. 1 Cars 3 Driven to Win 4 Trivia 5 Gallery 6 References 7 External links Jackson Storm is lean sleek. Wait What Happened in his Post-Credits Scene of Teen Titans Go knowing the Movies. Of Batman's television legacy in turn opinion with very due respect to halt late Adam West. To theorize that come show acts as a prequel to Batman The Animated Series. Bonus points for the empire with Wally having all sorts of music-esteembody image. If children put Dick Grayson Jason Todd and Tim Drake in inner room today at their. DUELA DENT duela dent batwoman 0 Duela Dent ideas. Television The 10 Best Batman-Related DC TV Shows Ranked. Say is famous I'm Batman line while he proceeds to make references. Spoilers Ahead for sound you missed in Teen Titans Go. The ones you essential is mainly a reference to Vicki Vale and Selina Kyle Bruce's then-current. -
Fall 2018 Alumni Magazine
University Advancement NONPROFIT ORG PO Box 2000 U.S. POSTAGE Superior, Wisconsin 54880-4500 PAID DULUTH, MN Travel with Alumni and Friends! PERMIT NO. 1003 Rediscover Cuba: A Cultural Exploration If this issue is addressed to an individual who no longer uses this as a permanent address, please notify the Alumni Office at February 20-27, 2019 UW-Superior of the correct mailing address – 715-394-8452 or Join us as we cross a cultural divide, exploring the art, history and culture of the Cuban people. Develop an understanding [email protected]. of who they are when meeting with local shop keepers, musicians, choral singers, dancers, factory workers and more. Discover Cuba’s history visiting its historic cathedrals and colonial homes on city tours with your local guide, and experience one of the world’s most culturally rich cities, Havana, and explore much of the city’s unique architecture. Throughout your journey, experience the power of travel to unite two peoples in a true cultural exchange. Canadian Rockies by Train September 15-22, 2019 Discover the western Canadian coast and the natural beauty of the Canadian Rockies on a tour featuring VIA Rail's overnight train journey. Begin your journey in cosmopolitan Calgary, then discover the natural beauty of Lake Louise, Moraine Lake, and the powerful Bow Falls and the impressive Hoodoos. Feel like royalty at the grand Fairmont Banff Springs, known as the “Castle in the Rockies,” where you’ll enjoy a luxurious two-night stay in Banff. Journey along the unforgettable Icefields Parkway, with a stop at Athabasca Glacier and Peyto Lake – a turquoise glacier-fed treasure that evokes pure serenity – before arriving in Jasper, nestled in the heart of the Canadian Rockies. -
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. -
H.I.V.E. 4: Dreadnought Download Free
H.I.V.E. 4: DREADNOUGHT Author: Mark Walden Number of Pages: 304 pages Published Date: 01 Aug 2011 Publisher: Bloomsbury Publishing PLC Publication Country: London, United Kingdom Language: English ISBN: 9781408815939 DOWNLOAD: H.I.V.E. 4: DREADNOUGHT H.I.V.E. 4: Dreadnought PDF Book She and the H. Students Rock , Paper , and Scissors. Author : Clarence H. E in order to reclaim Nero, but are captured and sent into space, to Number One's hideout. Unfortunately for them, Nigel Darkdoom and Franz also happen to be Otto's friends. As they finish their tour of the Dreadnaught, it is attacked by Jason Drake, a rouge member of G. The Teen Titans journeyed to the H. Episodes Season 1 2 3 4 5 Characters Red X. In this 4th installment of the H. Each stream is associated with a color, and their uniforms reflect this. Master gathered seven unnamed criminal scientists to assist him in taking over the world and eliminating Superman and the Teen Titans. Reviews 0 Top Tips 0. Mark Waldens novel, H. The mind-controlled citizens then start building psionic amplifiers that will allow the Queen to expand her powers across the whole of the U. It becomes clear that the Disciples are not all they appear and in a desperate race against time Otto must work out who his real friends are to prevent the Disciples from completing their true objective. When the school takes a field trip to the north pole Nigel, the son of the leader of G. I guess that's how to politely address a clone of a super computer with an evil mind who can enter human's mind. -
The Reflection of Sancho Panza in the Comic Book Sidekick De Don
UNIVERSIDAD DE OVIEDO FACULTAD DE FILOSOFÍA Y LETRAS MEMORIA DE LICENCIATURA From Don Quixote to The Tick: The Reflection of Sancho Panza in the Comic Book Sidekick ____________ De Don Quijote a The Tick: El Reflejo de Sancho Panza en el sidekick del Cómic Autor: José Manuel Annacondia López Directora: Dra. María José Álvarez Faedo VºBº: Oviedo, 2012 To comic book creators of yesterday, today and tomorrow. The comics medium is a very specialized area of the Arts, home to many rare and talented blooms and flowering imaginations and it breaks my heart to see so many of our best and brightest bowing down to the same market pressures which drive lowest-common-denominator blockbuster movies and television cop shows. Let's see if we can call time on this trend by demanding and creating big, wild comics which stretch our imaginations. Let's make living breathing, sprawling adventures filled with mind-blowing images of things unseen on Earth. Let's make artefacts that are not faux-games or movies but something other, something so rare and strange it might as well be a window into another universe because that's what it is. [Grant Morrison, “Grant Morrison: Master & Commander” (2004: 2)] TABLE OF CONTENTS 1. Acknowledgements v 2. Introduction 1 3. Chapter I: Theoretical Background 6 4. Chapter II: The Nature of Comic Books 11 5. Chapter III: Heroes Defined 18 6. Chapter IV: Enter the Sidekick 30 7. Chapter V: Dark Knights of Sad Countenances 35 8. Chapter VI: Under Scrutiny 53 9. Chapter VII: Evolve or Die 67 10. -
(“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. -
NEIL BELOUFA This Exhibition by Neïl Beloufa (*1985) Was Amazingly Staged
NEIL BELOUFA This exhibition by Neïl Beloufa (*1985) was amazingly staged. The frst part was in front of the Schirn’s main entrance and freely accessible from the street during opening hours. Visitors were encouraged to sit on one of around a dozen long pink foam-flled rubbery supports to look through a medieval-style visor onto vertical screens on which young members of the military from various countries talked about their lives and loves in video chats with the artist. Surrounding them were sculptures that stopped just short of faux-goth robotic fguration, as well as some ropes literalising the idea of interconnection. Upstairs, in the second part of the exhibition, the soldiers’ stories were woven together into an “art fction” video, set within an installation of Plexiglas and aluminium that forced the viewer to approach by going to and fro, as in an airport security line, before reaching the screening space. Here, the audio recordings sometimes overlaid videogame replays or acted scenes, mixing commentary and narrative; at one point, visitors saw the chat column of the artist’s Skype interface, where he explained the project was “about how militaries (not Hollywood) present themselves”. This layering and openness multiplied the questions in play, rather than reducing the project to a mission accomplished. Globalisation, as we are so often told, shrinks distance. So why is war so often treated as remote, even though we hear about it all the time? But that was not really or only what Beloufa’s exhibition was “about”, which was much more various: love and youth and technology and workout culture and self-representation and patriotism and cultural conditioning and the future and who the audience is and how everyone is connected and wants to be loved and some people are closer to death than others.