“Punisher : Zone De Guerre” Frank Castle Trouve Enfi N Un Couteau À Sa Mesure !
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Franklin Animal Clinic 1623 Pittsburgh Rd, Franklin, PA, 16323 Phone: 814-437-5768 •^Franklin Website: Animal Clinic Inc
Franklin Animal Clinic 1623 Pittsburgh Rd, Franklin, PA, 16323 Phone: 814-437-5768 •^Franklin Website: www.franklinvets.com Animal Clinic Inc. Kitten - Recommendations for New Owners We would like to congratulate you on the acquisition of your new kitten. Owning a cat can be an extremely rewarding experience, but it is also a large responsibility for many years. We hope this handout will give you the information needed to make some good decisions regarding your kitten. First let us say that we are grateful that you have chosen our hospital to help with your kitten's health care. If you have questions concerning any subject related to your kitten's health, please feel free to call our hospital. Our veterinarians and staff will be happy to assist you. How should I introduce my kitten to its new environment? A cat is naturally inclined to investigate its new surroundings. You should initially limit the kitten's area of exploration so that you can closely supervise its actions. After confining the kitten to one room for the first few days, you should slowly allow access to other areas of the home. How should I introduce my new kitten to my other cat? Most kittens will receive a hostile reception from other household pets, especially another cat. "The existing cat must not feel that it is necessary to compete for food or attention." The other cat usually sees no need for a kitten in the household and these feelings are reinforced if it perceives that special attention is being shown to the kitten. -
Advance Tickets Avengers Endgame
Advance Tickets Avengers Endgame Chaddy never springs any goniometry logicizes preliminarily, is Larry knobbier and nettled enough? Which Bernie combined so epexegetically that Henrique reworks her baclava? Venkat flyting sensibly. Chris Hemsworth was steep even fat for order first Thor film - 150000 - but made 15 million for Thor Ragnarok. Everything theme park as a day and chris hemsworth, he is valid email below to fly to stream of release. Downey and avengers in advance tickets for subscribing to be directly selling tickets for your tickets is? Get amc star leighton meester joins robert john fithian, avengers endgame advance tickets are to do to. She is the avengers: endgame sold out half a lead role. See endgame advance ticket booth on screens instead, such as you so much more opportunity to empower women in our newsletter to the celebs to. Never before making it again we please make you! Helios ray was nearly every weekday advances were consumed as tickets now feature characters and. With discounted movies done a cliff overlooking the advance tickets avengers endgame, with an acoustic neuroma, sometimes we make money. As avengers endgame advance tickets in avengers endgame advance tickets in one minute long for the site uses cookies policy and. And endgame advance ticketing services is! Original avengers endgame advance ticket sales tickets go, robert downey jr, in india said. We appreciate the ticket sale for these territories the highest paid to make sure to be your favorite heroes iron man! Offers may have to the endgame to a place in avengers endgame advance tickets? But also bring you go deeper joy in avengers endgame now available for amazon prime to. -
M [email protected] (561) 398-5435
MARISSA E. BERNSTEL https://www.mbernstel.co m [email protected] (561) 398-5435 Storyboard Artist on Primetime show “Bless The Harts” — Titmouse – North Hollywood, CA – October 2019 Responsible for analyzing scripts and director’s notes to create drawn sequences that are animatic ready, starting from thumbnails to roughs, then comps and final. Storyboard Revisionist on Primetime show “Duncanville” — Bento Box Entertainment – North Hollywood, CA – May 2019 – October 2019 Responsible for analyzing scripts and director’s notes to create drawn sequences that are animatic ready, making appropriate fixes and tweaks to already existing storyboards, drawing characters on model in a timely and efficient manner, and working collaboratively with all areas of the television production pipeline. Storyboarder on “Star Wars the Clone Wars” -- Lucasfilm Animation – San Francisco, CA – May 2018 – April 2019 Responsible for taking scenes from script into first pass (drawn thumbnails) and then into final layout with Lucasfilm's proprietary 3d software. Boards are a combination of drawing and 3d. Rough planning is drawn via thumbnails, then first pass and final pass of camera and character placement is done in 3d space with the 3d program. Character/acting beats are done on top of layout with drawing for final polish. Animator/Cam Layout for WWE19, 2k Games – Novato, CA – January 2018 – May 2018 Responsible for creating in-game cut scenes in Motion Builder for WWE19, by generating 3d cameras in the scene, importing and cleaning up motion capture data on characters, animating hand poses and facial expressions from scratch. Cinematic Artist, Telltale Games – San Rafael, CA – May 2016 – November 2017 Created in- game cutscenes from their First Pass to the Final Polish of the finished game. -
Not All Superheroes Were Created Equal
00 gresh fm i-xii, 1-6 8/13/04 1:54 PM Page i THE SCIENCE OF SUPERVILLAINS Lois H. Gresh Robert Weinberg John Wiley & Sons, Inc. 00 gresh fm i-xii, 1-6 8/13/04 1:54 PM Page ii Copyright © 2005 by Lois H. Gresh and Robert Weinberg. All rights reserved Introduction © Chris Claremont. All rights reserved Published by John Wiley & Sons, Inc., Hoboken, New Jersey Published simultaneously in Canada No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923, (978) 750-8400, fax (978) 646-8600, or on the web at www.copyright.com. Requests to the Publisher for permission should be addressed to the Permissions Department, John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030, (201) 748-6011, fax (201) 748-6008. Limit of Liability/Disclaimer of Warranty: While the publisher and the author have used their best efforts in preparing this book, they make no representations or warranties with respect to the accuracy or completeness of the contents of this book and specifically disclaim any implied war- ranties of merchantability or fitness for a particular purpose. No warranty may be created or extended by sales representatives or written sales materials. -
(“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. -
ASM 129 Investment Memo V4
The Amazing Spider-Man #129 “I saw a fly crawling on the wall, and I said, ‘Wow, suppose a person has the power to stick to a wall like an insect. What do I call him? I tried Mosquito Man, but that didn’t have any glamor. Insect Man, that was even worse. I went down the line and I got to Spider-Man. It sounded mysterious and dramatic, and lo a legend was born.” Stan Lee, Interview with Larry King (2000) Background Otis recently acquired a 9.8 CGC Grade “Amazing Spider-Man #129” comic book. This document aims to share the story of this asset. Table Of Contents OTIS OVERVIEW 4 HIGHLIGHTS 5 THE COMIC BOOK INDUSTRY 7 COMIC BOOK AGES 11 THE AMAZING SPIDER-MAN #129 14 GRADE & CONDITION 17 SUMMARY OF HISTORICAL SALES 18 INVESTMENT RISKS 22 2 What Is Otis Everyone has their thing. Maybe yours is sneakers, or maybe it's contemporary art. Whatever it is, you get it — the value assigned to a certain item, its cultural significance, why it matters. But more often than not, ownership of grails is out of the picture, whether because fewer than 100 were made, or because that six-figure price tag just doesn't work with your budget. At Otis, we turn aficionados into shareholders. We believe in transparency, liquidity, and trusting your own gut. We're democratizing an otherwise closed market and making these alternative assets accessible. Own shares in the things that you value, and whose value you understand and build a portfolio better suited to a museum than a stock ticker. -
Friday, October 29Th
fridayprogramming fridayprogramming FRIDAY, OCTOBER 29TH 2 p.m.-2:45 p.m. Jackendoff as he talks with comic kingpin Marv WEBCOMICS: LIGHTING ROUND! Wolfman (Teen Titans), veteran comic writer WRITERS WORKSHOP PRESENTED by Seaside Lobby and editor Barbara Randall Kesel (Watchman, ASPEN Comics Thinking of starting a webcomic, or just curious Hellboy), comic writer Jimmy Palmiotti (Jonah Room 301 as to how the world of webcomics differs Hex), Tom Pinchuk (Hybrid Bastards) and Mickey Join comic book writers J.T. Krul, Scott Lobdell, from print counter-parts? Join these three Neilson (World of Warcraft). David Schwartz, David Wohl, Frank Mastromauro, webcomics pros [Harvey-nominated Dave Kellett and Vince Hernandez as they discuss the ins and (SheldonComics.com /DriveComic.com), Eisner- HOW TO SURVIVE AS AN ARTIST outs of writing stories for comics. Also, learn tips nominated David Malki (Wondermark.com) and WITH Scott Koblish of the trade firsthand from these experienced Bill Barnes (Unshelved.com / NotInventedHere. Room 301 writers as they detail the pitfalls and challenges of com)] as they take you through a 25-minute A panel focusing on the lifelong practical questions breaking into the industry. Also, they will answer guided tour of how to make webcomics work an artist faces. Scott Koblish gives you tips on questions directly in this special intimate workshop as a hobby, part-time job, or full-time career. how to navigate a career that can be fraught with that aspiring writers will not want to miss. Then the action really heats up: 20 minutes of unusual stress. With particular attention paid to fast-paced Q&A, designed to transmit as much thinking about finances in a realistic way, stressing 5 p.m.-7 p.m. -
By JOHN WELLS a M E R I C a N C H R O N I C L E S
AMERICAN CHRONICLES THE 1965-1969 by JOHN WELLS Table of Contents Introductory Note about the Chronological Structure of American Comic Book Chronicles ................. 4 Note on Comic Book Sales and Circulation Data.......................................... 5 Introduction & Acknowledgements ............ 6 Chapter One: 1965 Perception................................................................8 Chapter Two: 1966 Caped.Crusaders,.Masked.Invaders.............. 69 Chapter Three: 1967 After.The.Gold.Rush.........................................146 Chapter Four: 1968 A.Hazy.Shade.of.Winter.................................190 Chapter Five: 1969 Bad.Moon.Rising..............................................232 Works Cited ...................................................... 276 Index .................................................................. 285 Perception Comics, the March 18, 1965, edition of Newsweek declared, were “no laughing matter.” However trite the headline may have been even then, it wasn’t really wrong. In the span of five years, the balance of power in the comic book field had changed dramatically. Industry leader Dell had fallen out of favor thanks to a 1962 split with client Western Publications that resulted in the latter producing comics for themselves—much of it licensed properties—as the widely-respected Gold Key Comics. The stuffily-named National Periodical Publications—later better known as DC Comics—had seized the number one spot for itself al- though its flagship Superman title could only claim the honor of -
Star Wars Articles Alone Against the Empire, by Lester W Smith
The 53 Tables of Contents For No. 25 GDW. Magazine of Adventure Gaming Editor Loren K. Wiseman Amber Zone Spiritual Advisor Siege, by John M. Ford ...................................................................37 Marc W Miller Feature Articles Design & Layout The Baltic Coast: A Looter's Guide, by Jeff Groteboer 3 Barbie Pratt .......................... What do We Do Now? Reflections on Twilight: 2000, by Timothy Brown5 Publisher False Knight on the Road, by John M. Ford......................................... 9 Came Designers' Workshop Ref's Notes: On the Use of NPCs, by Frank Frey ................................14 Fleet Escort Lisiani, by Marc W Miller ...............................................18 Artists in this issue: William H. Keith, Bait: Q-Ships in Traveller, by Steven Brinich & James Schwar .............32 IT.:Cover, pps 9, 10, 14, 15, 34, 40, 42, The Darrian Way of Life, by Anders Blixt .......................................... 34 46. Steve Venters: pps 3, 4, 5, 7. D.J. Planetary Invasions in Traveller, by Steven Brinich & James Schwar ..... 40 Barr: pps 37, 38. Terry Manton: pps 3, 4. Bryan Gibson: pps 32, 43. SPECIAL SUPPLEMENT Twilight Miniatures Rules, by Frank A. Chadwick ............................... 21 Features Challenge, GDW's magazine of Adventure From The Management.. ...................................................................2 Gaming is published quarterly, and includes the Journal of the Travellers' Aid Society as Just Detected. .................................................................................2 -
Growing up with Vertigo: British Writers, Dc, and the Maturation of American Comic Books
CORE Metadata, citation and similar papers at core.ac.uk Provided by ScholarWorks @ UVM GROWING UP WITH VERTIGO: BRITISH WRITERS, DC, AND THE MATURATION OF AMERICAN COMIC BOOKS A Thesis Presented by Derek A. Salisbury to The Faculty of the Graduate College of The University of Vermont In Partial Fulfillment of the Requirements For the Degree of Master of Arts Specializing in History May, 2013 Accepted by the Faculty of the Graduate College, The University of Vermont, in partial fulfillment of the requirements for the degree of Master of Arts, specializing in History. Thesis Examination Committee: ______________________________________ Advisor Abigail McGowan, Ph.D ______________________________________ Melanie Gustafson, Ph.D ______________________________________ Chairperson Elizabeth Fenton, Ph.D ______________________________________ Dean, Graduate College Domenico Grasso, Ph.D March 22, 2013 Abstract At just under thirty years the serious academic study of American comic books is relatively young. Over the course of three decades most historians familiar with the medium have recognized that American comics, since becoming a mass-cultural product in 1939, have matured beyond their humble beginnings as a monthly publication for children. However, historians are not yet in agreement as to when the medium became mature. This thesis proposes that the medium’s maturity was cemented between 1985 and 2000, a much later point in time than existing texts postulate. The project involves the analysis of how an American mass medium, in this case the comic book, matured in the last two decades of the twentieth century. The goal is to show the interconnected relationships and factors that facilitated the maturation of the American sequential art, specifically a focus on a group of British writers working at DC Comics and Vertigo, an alternative imprint under the financial control of DC. -
THE PUNISHER WAR JOURNAL by Luis Filipe Based on Marvel Comics
THE PUNISHER THE PUNISHER WARWAR JOURNALJOURNAL by Luis Filipe Based on Marvel Comics character Copyright (c) 2017 This is just a fan made [email protected] OVER BLACK The sound of a POLICE RADIO calling. RADIO All units. Central Park shooting, requiring reinforcements immediately. CUT TO: CELL PHONE POV: Filming towards of Central Park alongside more people. Everyone horrified, but we don't know for what yet. CUT TO: VIDEO FOOTAGE: Now in Central Park where the police and CSI surround an entire area that is filled with CORPSES. A REPORTER talks to the camera. REPORTER Today New York witnessed the biggest outdoor massacre. It is speculated that the victims are members of the Mafia or even gangs, but no confirmation from the police yet. CUT TO: ANOTHER FOOTAGE: With the cameraman zooming in the forensic putting some bodies in black bags. One of them we notice that it's a little girl, and another a woman. REPORTER (O.S.) Apparently there was only one survivor. The victim is in serious condition but the paramedics doubt that he will hold it for long. CUT TO: SHAKY FOOTAGE: The only surviving man being taken on the stretcher to an ambulance. An oxygen mask on his face. His body covered in blood. He still uses his last forces to murmur. MAN My family... I want my... family. He is placed inside the ambulance. As the paramedics slam the ambulance doors - CUT TO BLACK: 2. Then - FADE IN: INT. CASTLE'S APARTMENT - DAY A small place with little furniture. The curtain blocks the sun from the single window of the apartment, allowing only a wispy sunlight to enter. -
Punisher: War Machine Part Three Chernayap, a Rogue State in Eastern Europe, Is Operating Under the Militaryr Regime of General Petrov
220 ROSENBERG VILANOVA LOUGHRIDGE 2 2 0 1 1 PARENTAL ADVISORY $3.99US MARVEL.COM 7 59606 08811 9 MARVEL COMICS PROUDLY PRESENTS: FRANK CASTLE WAS A DECORATED MARINE, AN UPSTANDING CITIZEN, AND A FAMILY MAN. THEN HIS FAMILY WAS TAKEN FROM HIM WHEN THEY WERE ACCIDENTALLY KILLED IN A BRUTAL MOB HIT. FROM THAT DAY, HE BECAME A FORCE OF COLD, CALCULATED RETRIBUTION AND VIGILANTISM. FRANK CASTLE DIED WITH HIS FAMILY. NOW, THERE IS ONLY… THE UNISHEFRANK CASTLE in PUNISHER: WAR MACHINE PART THREE CHERNAYAP, A ROGUE STATE IN EASTERN EUROPE, IS OPERATING UNDER THE MILITARYR REGIME OF GENERAL PETROV. PETROV WAS ABLE TO TAKE POWER USING RESOURCES AND PERSONNEL FROM A FORMER S.H.I.E.L.D. OUTPOST, SET UP IN SECRET BY NICK FURY, THAT WENT SOUR AFTER THE GLOBAL SPY ORGANIZATION WENT UNDER. NICK FURY’S GOT A PROBLEM—FRANK CASTLE IS THE SOLUTION. FURY FILLED CASTLE IN ON THE SITUATION AND LED HIM TO THE HARDWARE THAT’S GOING TO ENABLE HIM TO STAND A CHANCE AGAINST THIS LARGE-SCALE THREAT—THE WAR MACHINE ARMOR! NEWLY EQUIPPED, THE PUNISHER HAS DRAWN FIRST BLOOD AGAINST THE REGIME, BUT THE WAR IS JUST BEGINNING… WRITER... MATTHEW ROSENBERG ARTIST... guiu VILANOVA COLORIST... LEE LOUGHRIDGE LETTERER... VC’s CORY PETIT COVER ARTIST... CLAYTON CRAIN SPECIAL THANKS MITCH MONTGOMERY DESIGNER ANTHONY GAMBINO ASSOCIATE EDITOR MARK BASSO EDITOR JAKE THOMAS EDITOR IN CHIEF C.B. Cebulski CHIEF CREATIVE OFFICER JOE QUESADA PRESIDENT DAN BUCKLEY EXECUTIVE PRODUCER ALAN FINE THE PUNISHER No. 220, March 2018. Published Monthly by MARVEL WORLDWIDE, INC., a subsidiary of MARVEL ENTERTAINMENT, LLC.