DOCSLIB.ORG

Read Book Ultimate Spider-Man

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

ULTIMATE SPIDER-MAN: POWER AND RESPONSIBILITY VOL. 1 PDF, EPUB, EBOOK Brian Bendis,Mark Bagley | 200 pages | 05 Aug 2009 | Marvel Comics | 9780785139409 | English | New York, United States Ultimate Spider-Man: Power and Responsibility Vol. 1 PDF Book Can the shattered nation recover after the dramatic events of United We Stand? Because of this recovery, I'll probably be reading the next volume. Rating details. If order does not fit then they will be protected by cardboard. Plot-wise, this is a thoroughly pleasant read, but there are no surprises or twists to be had. Sign me up! Jul 05, Stephen rated it liked it Shelves: comics-graphic-novels. View Product. The cheerleaders also make fun of Mary Jane for being friends with Peter. Liz begins to kiss Peter, who doesn't object. I liked the more modern feel, but I've been meaning to get back into comics for years, and I decided to make this volume my first revisit after my 5-year-old son picked it out while we were at the comic aisle Newbury Comics. Leave a Reply Cancel reply Enter your comment here This volume establishes the way he gets his powers, and why he becomes a superhero. Ben and May suggest that basketball might not be a good idea; to which Peter retorts angrily. The art is impressive as well, painting the new Ultimate Marvel universe as beautiful place, wholly realistic, yet holding onto that comic-book charm and gloss. Notify me when available Fast delivery with Econt. Paperback , pages. The Spectacular Spider-man! A two in one! The Masks and Mor There's a lot to setup here. The man knows how to draw realistic looking teens. Reset it. This edit will also create new pages on Comic Vine for: Beware, you are proposing to add brand new pages to the wiki along with your edits. For everything I liked about the comic, there was something I didn't like. Meet Mach Two, former Morlock tunnel refugee turned mutant resistance fighter! With the artistic talents of Mark Bagley and Art Thhibert breathing new life into this legendary mythos, Spider-Man has reasserted himself as one of the most popular characters in the world! Join 8 other followers. Updating Spider-Man for the 21st centiry was no easy task, and it took the brilliant minds of Bill Jemas and Brian Michael Bendis to do just that. This will not affect the original upload Small Medium How do you want the image positioned around text? The story is basically the same as the original, with a few new twists. There, at least, they will not fool the head with endless advertising. You are commenting using your Twitter account. Cap and Iron Man , and the art is clear with all characters easily distinguishable. Continuity : It was designed to create its own continuity, but still has some anachronisms. It's a good thing, too. Phone number. It doesn't hurt to be having revelatory fun with Peter as he discovers his powers: And it's pretty cool to meet future villains in off-the-cuff ways: [He's a genius lackey of Osborn - because that always plays out fine with Otto] And other future antagonists: And see the first super-powers battle of his career unfold: [image error] But it's the quiet moments of characters talking that gets under your skin the most - especially Bendis' take on the big Uncle Ben speech: And Bendis really plays the killer heartstrings moment of Peter's life: As much as we owe so much of our comic-book enjoyment to Stan Lee tangent: wouldn't you want to see this movie? Skip to main content. Aunt May and Uncle Ben decide not to sue, instead just to accept Norman's apologies and make sure Peter is alright. It's similar to the of being a nerd who gets bullied, gets powers, kind of a jerk, and learns his lesson. As a Spider-Man book, and especially one written by Bendis, the humor here can be a bit relentless at times. And with that will come great responsibility. I get a lecture! Find us. Dec 05, Mike rated it it was amazing Shelves: fun , favorites , re-read , gateway-comics. The art in this comic was a hit-or-miss to me. It's the familiar origin story we all know, but it's always fun to revisit. This edit will also create new pages on Comic Vine for:. Later at school, the basketball coach asks Peter to play basketball on the team, since he was holding back and the team is short one player Flash, because his hand is broken. Ultimate Spider-Man: Power and Responsibility Vol. 1 Writer Sep 09, Masanobu rated it it was ok Shelves: comics , read-in You might look at this and think that seven issues is quit a lot of story to get through just to re-learn how Peter Parker becomes Spider-man as we all know the story already, but I personally like the drawn out story. Add to Watchlist. A two in one! Email to friends Share on Facebook - opens in a new window or tab Share on Twitter - opens in a new window or tab Share on Pinterest - opens in a new window or tab Add to Watchlist. What size image should we insert? The teacher threatens to talk to his coach if he falls asleep again; Peter reveals that he quit the basketball team already, so there'd be no point in that. People who viewed this item also viewed. Spider-Man and his amazing friends, Iceman and the Human Torch, team up to help the newly powered Rick Jones deal with the crazy changes and responsibilities that come with Besides, I wouldn't call it dishonest or unfair if he secures a position that even marginally reflects his extensive qualifications for once, especially considering all he sacrifices regularly for the greater good. Aunt May and Uncle Ben decide to pay the bill, rather than pay a lawyer, even though they don't have the money. I personally never liked Black Cat but that was mostly because she was less of a love interest and more of a sex object. My only complaint is that it started off a bit slow which explains the half-star reduction , and well- written though it was, it wasn't classic or poignant enough to entirely compensate for that. It was also an attempt of retelling one of Marvel's iconic hero. Sounds like a fun collection. So do you guys want me to read and review the second story in this title, or do you want me to review something else next time? The man and woman ask Peter why he didn't stop the man, trip him or kick him, and Peter responds, 'Yeah, well, I've got my own problems, big guy. Email Address:. You did. Shipping and handling. At this point, he's probably drawn Spider-Man more than anyone else. As Spider-Man fights on with a seemingly Reading like a HBO mini-series, the story might be more drawn out but that doesn't meaning the visual pacing has slowed for a moment. Take a look below: While it's true that Peter could very easily have stopped this robber well before he ultimately got to Uncle Ben, there is no reason whatsoever for that storeowner to have expected what outwardly looks like an ordinary teenage boy to jeopardize his safety to foil a petty crime that doesn't directly concern him; such an obligation would very greatly exceed the level of civic duty, and cross far into selfless heroism. I loved the way that Mark Bagley made the characters glow on each page as it made the images so beautiful to look at and it really brought out the intensity of the situations. In this issue " Big Time Super Hero". Seller does not offer returns. The blood is stolen by somebody working for Norman Osborn; Norman has his scientists look at the blood, where he learns that the Oz formula in the spider's venom is killing Peter. You are commenting using your Twitter account. Do you understand? Ultimate Spider-Man: Power and Responsibility Vol. 1 Reviews Feb 16, Lindsey. I never really understood why, for instance, he refrained from using his superhero connections to land him reliable, flexible, and well-paying employment. The pacing works well and I think the change of how Ben died, and also the fact Peter's breakdown is near perfect, really help here. This trade could really be subtitled "Exposition", because there's far more setup than action. I think I used to watch Spider-man cartoons, or certainly I had Spider-man somewhere in my consciousness, but I haven't seen the films although I got a free download of the latest one for my PS Vita when I bought it, I should look into that and I wasn't entirely clear on Spider-man lore. This process takes no more than a few hours and we'll send you an email once approved. It's fantastic. Shelves: smart-alecs , marvel-graphic-novels , favourite-characters , superheroes. This volume opens up with J. Struggling to rationalize what has evidently become his new reality, Peter suddenly finds himself fighting in school, skipping class, and failing his courses, all the while lying to his Aunt and Uncle about why he's been acting so strangely. Volume 5 Harry Osborn snaps awake in his mansion to the sounds of his mother screaming. For some time, Ultimate Spider-man outsold the mainstream Spider-man co Peter and MJ greet him, worried and excited.
Recommended publications
  • Mark Bagley, Scott Hanna, Richard Isanove

    Mark Bagley, Scott Hanna, Richard Isanove

    When science geek Peter Parker was bitten by a radioactive spider, he was imbued with amazing abilities: the proportional strength and speed of a spider, adhesive fi ngertips and toes, and a precognitive awareness of danger called “spider-sense.” After inadvertently playing a part in the death of his Uncle Ben, Peter learned that with great power there must also come great responsibility, and now fi ghts crime as the web-slinging, wall-crawling wonder called... MARY JANE! THE RETURN OF Years ago, a mad scientist called the JACKAL cloned Peter Parker and created BEN REILLY, the original Scarlet Spider. Ben fought against him and for a time took up the mantle of the Amazing Spider-Man before sacrifi cing his life to save Peter’s. But his story didn’t end there. In an effort to perfect his cloning technology, the Jackal re-cloned and tortured Ben again and again. Ben snapped, freed himself, and took over as the Jackal, hoping to use the villain’s tech to save the world. Ben created the company New U. Claiming to deliver medical miracles, the company was really replacing ailing patients with near-perfect clones. One of these patients was an employee of Peter’s company, Parker Industries, named Jerry Salteres. Upon meeting the seemingly cured Jerry, Peter’s Spider-Sense went off, prompting him to investigate New U. There, he uncovered the dark truth: Ben has cloned nearly everyone who has died in Spider-Man’s life, from friends and loved ones like Gwen Stacy, Captain Stacy, and Jean DeWolff, to his worst enemies like Doctor Octopus and the Green Goblin, hoping to convince Peter to use Parker Industries’ reach to make New U global.
  • Baskin-Robbins Celebrates the Start of the Summer Movie and Ice Cream Seasons with the Amazing Spider-Man 2„¢

    Baskin-Robbins Celebrates the Start of the Summer Movie and Ice Cream Seasons with the Amazing Spider-Man 2„¢

    BASKIN-ROBBINS CELEBRATES THE START OF THE SUMMER MOVIE AND ICE CREAM SEASONS WITH THE AMAZING SPIDER-MAN 2â„¢ Movie Promotion with Sony Pictures Brings Super-Powered New Frozen Treats, Including a Delicious New Flavor of the Month, to Baskin-Robbins, As Well As a Three-Day Scoop Fest Promotion and Amazing Scoop Fest Contest CANTON, Mass. (March 31, 2014) – Baskin-Robbins, the world’s largest chain of ice cream specialty shops, is excited to welcome your friendly neighborhood Spider-Man to its restaurants and the arrival of The Amazing Spider-Man 2 ™ to the big screen on May 2. Starting this week, Baskin-Robbins, in collaboration with Sony Pictures, brings the spirit of The Amazing Spider-Man 2 to participating Baskin-Robbins locations nationwide with a full web of delicious frozen treats and promotions inspired by the blockbuster film franchise, including the April Flavor of the Month, The Amazing Spider-Man 2™ ice cream. “We are excited to help bring the buzz and excitement of The Amazing Spider-Man 2 to Baskin-Robbins guests nationwide through our collaboration with Sony Pictures,” said John Costello, President, Global Marketing and Innovation, Dunkin’ Brands. “It’s a great way to kick off the summer ice cream and movie seasons. We hope guests will swing into our restaurants to try our delicious frozen treats inspired by The Amazing Spider-Man 2, and also take part in our three-day Scoop Fest promotion and Amazing Scoop Fest Contest.” Super-Powered Menu Items To help guests get their Spider-Sense tingling, Baskin-Robbins is offering
  • The Futurism of Hip Hop: Space, Electro and Science Fiction in Rap

    The Futurism of Hip Hop: Space, Electro and Science Fiction in Rap

    Open Cultural Studies 2018; 2: 122–135 Research Article Adam de Paor-Evans* The Futurism of Hip Hop: Space, Electro and Science Fiction in Rap https://doi.org/10.1515/culture-2018-0012 Received January 27, 2018; accepted June 2, 2018 Abstract: In the early 1980s, an important facet of hip hop culture developed a style of music known as electro-rap, much of which carries narratives linked to science fiction, fantasy and references to arcade games and comic books. The aim of this article is to build a critical inquiry into the cultural and socio- political presence of these ideas as drivers for the productions of electro-rap, and subsequently through artists from Newcleus to Strange U seeks to interrogate the value of science fiction from the 1980s to the 2000s, evaluating the validity of science fiction’s place in the future of hip hop. Theoretically underpinned by the emerging theories associated with Afrofuturism and Paul Virilio’s dromosphere and picnolepsy concepts, the article reconsiders time and spatial context as a palimpsest whereby the saturation of digitalisation becomes both accelerator and obstacle and proposes a thirdspace-dromology. In conclusion, the article repositions contemporary hip hop and unearths the realities of science fiction and closes by offering specific directions for both the future within and the future of hip hop culture and its potential impact on future society. Keywords: dromosphere, dromology, Afrofuturism, electro-rap, thirdspace, fantasy, Newcleus, Strange U Introduction During the mid-1970s, the language of New York City’s pioneering hip hop practitioners brought them fame amongst their peers, yet the methods of its musical production brought heavy criticism from established musicians.
  • Relationality and Masculinity in Superhero Narratives Kevin Lee Chiat Bachelor of Arts (Communication Studies) with Second Class Honours

    Relationality and Masculinity in Superhero Narratives Kevin Lee Chiat Bachelor of Arts (Communication Studies) with Second Class Honours

    i Being a Superhero is Amazing, Everyone Should Try It: Relationality and Masculinity in Superhero Narratives Kevin Lee Chiat Bachelor of Arts (Communication Studies) with Second Class Honours This thesis is presented for the degree of Doctor of Philosophy of The University of Western Australia School of Humanities 2021 ii THESIS DECLARATION I, Kevin Chiat, certify that: This thesis has been substantially accomplished during enrolment in this degree. This thesis does not contain material which has been submitted for the award of any other degree or diploma in my name, in any university or other tertiary institution. In the future, no part of this thesis will be used in a submission in my name, for any other degree or diploma in any university or other tertiary institution without the prior approval of The University of Western Australia and where applicable, any partner institution responsible for the joint-award of this degree. This thesis does not contain any material previously published or written by another person, except where due reference has been made in the text. This thesis does not violate or infringe any copyright, trademark, patent, or other rights whatsoever of any person. This thesis does not contain work that I have published, nor work under review for publication. Signature Date: 17/12/2020 ii iii ABSTRACT Since the development of the superhero genre in the late 1930s it has been a contentious area of cultural discourse, particularly concerning its depictions of gender politics. A major critique of the genre is that it simply represents an adolescent male power fantasy; and presents a world view that valorises masculinist individualism.
  • Katalog Zur Ausstellung "60 Jahre Marvel

    Katalog Zur Ausstellung "60 Jahre Marvel

    Liebe Kulturfreund*innen, bereits seit Ende des Zweiten Weltkriegs befasst sich das Amerikahaus München mit US- amerikanischer Kultur. Als US-amerikanische Behörde war es zunächst für seine Bibliothek und seinen Lesesaal bekannt. Doch schon bald wurde das Programm des Amerikahauses durch Konzerte, Filmvorführungen und Vorträge ergänzt. Im Jahr 1957 zog das Amerika- haus in sein heutiges charakteristisches Gebäude ein und ist dort, nach einer vierjährigen Generalsanierung, seit letztem Jahr wieder zu finden. 2014 gründete sich die Stiftung Bay- erisches Amerikahaus, deren Träger der Freistaat Bayern ist. Heute bietet das Amerikahaus der Münchner Gesellschaft und über die Stadt- und Landesgrenzen hinaus ein vielfältiges Programm zu Themen rund um die transatlantischen Beziehungen – die Vereinigten Staaten, Kanada und Lateinamerika- und dem Schwerpunkt Demokratie an. Unsere einladenden Aus- stellungräume geben uns die Möglichkeit, Werke herausragender Künstler*innen zu zeigen. Mit dem Comicfestival München verbindet das Amerikahaus eine langjährige Partnerschaft. Wir freuen uns sehr, dass wir mit der Ausstellung „60 Jahre Marvel Comics Universe“ bereits die fünfte Ausstellung im Rahmen des Comicfestivals bei uns im Haus zeigen können. In der Vergangenheit haben wir mit unseren Ausstellungen einzelne Comickünstler, wie Tom Bunk, Robert Crumb oder Denis Kitchen gewürdigt. Vor zwei Jahren freute sich unser Publikum über die Ausstellung „80 Jahre Batman“. Dieses Jahr schließen wir mit einem weiteren Jubiläum an und feiern das 60-jährige Bestehen des Marvel-Verlags. Im Mainstream sind die Marvel- Helden durch die in den letzten Jahren immer beliebter gewordenen Blockbuster bekannt geworden, doch Spider-Man & Co. gab es schon lange davor. Das Comic-Heft „Fantastic Four #1“ gab vor 60 Jahren den Startschuss des legendären Marvel-Universums.
  • ABSTRACT the Pdblications of the Marvel Comics Group Warrant Serious Consideration As .A Legitimate Narrative Enterprise

    ABSTRACT the Pdblications of the Marvel Comics Group Warrant Serious Consideration As .A Legitimate Narrative Enterprise

    DOCU§ENT RESUME ED 190 980 CS 005 088 AOTHOR Palumbo, Don'ald TITLE The use of, Comics as an Approach to Introducing the Techniques and Terms of Narrative to Novice Readers. PUB DATE Oct 79 NOTE 41p.: Paper' presented at the Annual Meeting of the Popular Culture Association in the South oth, Louisville, KY, October 18-20, 19791. EDFS PRICE MF01/PCO2 Plus Postage." DESCRIPTORS Adolescent Literature:,*Comics (Publications) : *Critical Aeading: *English Instruction: Fiction: *Literary Criticism: *Literary Devices: *Narration: Secondary, Educition: Teaching Methods ABSTRACT The pdblications of the Marvel Comics Group warrant serious consIderation as .a legitimate narrative enterprise. While it is obvious. that these comic books can be used in the classroom as a source of reading material, it is tot so obvious that these comic books, with great economy, simplicity, and narrative density, can be used to further introduce novice readers to the techniques found in narrative and to the terms employed in the study and discussion of a narrative. The output of the Marvel Conics Group in particular is literate, is both narratively and pbSlosophically sophisticated, and is ethically and morally responsible. Some of the narrative tecbntques found in the stories, such as the Spider-Man episodes, include foreshadowing, a dramatic fiction narrator, flashback, irony, symbolism, metaphor, Biblical and historical allusions, and mythological allusions.4MKM1 4 4 *********************************************************************** * Reproductions supplied by EDRS are the best that can be made * * from the original document. * *********************************************************************** ) U SOEPANTMENTO, HEALD.. TOUCATiONaWELFARE NATIONAL INSTITUTE CIF 4 EDUCATION THIS DOCUMENT was BEEN N ENO°. DOCEO EXACTLY AS .ReCeIVED FROM Donald Palumbo THE PE aSON OR ORGANIZATIONORIGuN- ATING T POINTS VIEW OR OPINIONS Department of English STATED 60 NOT NECESSARILY REPRf SENT OFFICIAL NATIONAL INSTITUTE OF O Northern Michigan University EDUCATION POSITION OR POLICY CO Marquette, MI.
  • Peter Parker Is Bitten by the Radioactive Super Spider. Peter

    Peter Parker Is Bitten by the Radioactive Super Spider. Peter

    Hero Journey Definitions & Examples Chart Name: Ms. Durham’s Cheat Sheet Instructions: Using a pencil, complete the chart as you view the movie. for Spiderman Movie or Book Example Phase Definition In Your Own Words Title: Spider Man, 2002 Everything is going to DEPARTURE PHASE change for the main Peter Parker is bitten character – nothing is * The future hero is first by the radioactive given notice that his or going to be the same, Call to her life is going to whether he knows it or super spider. Adventure change. not. * Peter Parker lets the The future hero often refuses to accept the Call burglar escape – he Refusal of to Adventure. The doesn’t help the man the Call refusal may stem from a sense of duty, an who just cheated obligation, a fear, or him. insecurity. This is the point where Peter Parker begins his * the hero actually begins adventure when he actually the adventure, leaving practices w/ his new found the known limits of his Beginning powers, often crashing b/c he or her world and doesn’t understand the the venturing into an Adventure limits and everything is still unknown and dangerous unknown. realm where the rules and limits are unknown. Uncle Ben dies – Peter feels responsible INITIATION PHASE Peter chases down the robber who killed Uncle Ben MJ and Harry start dating The Road of Trials is a Peter starts saving lives series of tests, tasks, or Spiderman gets BAD press challenges that the hero MJ gets hurt in Green Goblin must undergo as part of attack * the hero’s transforma- MJ gets attacked by criminals tion.
  • (“Spider-Man”) Cr

    (“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.
  • “I Am the Villain of This Story!”: the Development of the Sympathetic Supervillain

    “I Am the Villain of This Story!”: the Development of the Sympathetic Supervillain

    “I Am The Villain of This Story!”: The Development of The Sympathetic Supervillain by Leah Rae Smith, B.A. A Thesis In English Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS Approved Dr. Wyatt Phillips Chair of the Committee Dr. Fareed Ben-Youssef Mark Sheridan Dean of the Graduate School May, 2021 Copyright 2021, Leah Rae Smith Texas Tech University, Leah Rae Smith, May 2021 ACKNOWLEDGMENTS I would like to share my gratitude to Dr. Wyatt Phillips and Dr. Fareed Ben- Youssef for their tutelage and insight on this project. Without their dedication and patience, this paper would not have come to fruition. ii Texas Tech University, Leah Rae Smith, May 2021 TABLE OF CONTENTS ACKNOWLEDGMENTS………………………………………………………….ii ABSTRACT………………………………………………………………………...iv I: INTRODUCTION……………………………………………………………….1 II. “IT’S PERSONAL” (THE GOLDEN AGE)………………………………….19 III. “FUELED BY HATE” (THE SILVER AGE)………………………………31 IV. "I KNOW WHAT'S BEST" (THE BRONZE AND DARK AGES) . 42 V. "FORGIVENESS IS DIVINE" (THE MODERN AGE) …………………………………………………………………………..62 CONCLUSION ……………………………………………………………………76 BIBLIOGRAPHY …………………………………………………………………82 iii Texas Tech University, Leah Rae Smith, May 2021 ABSTRACT The superhero genre of comics began in the late 1930s, with the superhero growing to become a pop cultural icon and a multibillion-dollar industry encompassing comics, films, television, and merchandise among other media formats. Superman, Spider-Man, Wonder Woman, and their colleagues have become household names with a fanbase spanning multiple generations. However, while the genre is called “superhero”, these are not the only costume clad characters from this genre that have become a phenomenon.
  • The Oxford Dictionary of New Words: a Popular Guide to Words in the News

    The Oxford Dictionary of New Words: a Popular Guide to Words in the News

    The Oxford Dictionary of New Words: A popular guide to words in the news PREFACE Preface This is the first dictionary entirely devoted to new words and meanings to have been published by the Oxford University Press. It follows in the tradition of the Supplement to the Oxford English Dictionary in attempting to record the history of some recent additions to the language, but, unlike the Supplement, it is necessarily very selective in the words, phrases, and meanings whose stories it sets out to tell and it stands as an independent work, unrelated (except in the resources it draws upon) to the Oxford English Dictionary. The aim of the Oxford Dictionary of New Words is to provide an informative and readable guide to about two thousand high-profile words and phrases which have been in the news during the past decade; rather than simply defining these words (as dictionaries of new words have tended to do in the past), it also explains their derivation and the events which brought them to prominence, illustrated by examples of their use in journalism and fiction. In order to do this, it draws on the published and unpublished resources of the Oxford English Dictionary, the research that is routinely carried out in preparing new entries for that work, and the word-files and databases of the Oxford Dictionary Department. What is a new word? This, of course, is a question which can never be answered satisfactorily, any more than one can answer the question "How long is a piece of string?" It is a commonplace to point out that the language is a constantly changing resource, growing in some areas and shrinking in others from day to day.
  • Activision and Marvel Enterprises Expand Alliance and Extend Interactive Rights for Spider- Man™, -Xmen™, Fantastic Four™ and Iron-Man™

    Activision and Marvel Enterprises Expand Alliance and Extend Interactive Rights for Spider- Man™, -Xmen™, Fantastic Four™ and Iron-Man™

    Activision and Marvel Enterprises Expand Alliance and Extend Interactive Rights for Spider- Man™, -XMen™, Fantastic Four™ and Iron-Man™ Santa Monica, C.A. and New York, N.Y. - January 8, 2003 -- Activision, Inc. (Nasdaq: ATVI) and Marvel Enterprises (NYSE: MVL) jointly announced today that the companies have expanded their long-term, broad-based strategic alliance and signed a multi-year extension for their current video game licensing agreements. The expanded agreements grant Activision the exclusive rights to develop and publish video game products based on Marvel's comic book franchises Spider-ManTM , X- MENTM , Fantastic FourTM and Iron ManTM through 2009. The new agreement represents the largest deal to date between Marvel and Activision, with improved financial terms commensurate with the enormous popularity of the Marvel franchises. Under the terms of these agreements, Activision has secured the exclusive worldwide publishing rights to each of the four properties for all platforms and operating systems that deliver interactive entertainment software products to consumers. The terms of the new agreements also provide Activision with the option to acquire the interactive entertainment rights to develop products in conjunction with motion pictures and television series involving the X-MEN, Fantastic Four and Iron Man. Activision also publishes games based on the phenomenally successful Spider-Man motion picture and its sequels under a separate agreement with Spider-Man Merchandising LLP. "Our association with Marvel has resulted in
  • SFU Thesis Template Files

    SFU Thesis Template Files

    “To Fight the Battles We Never Could”: The Militarization of Marvel’s Cinematic Superheroes by Brett Pardy B.A., The University of the Fraser Valley, 2013 Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the School of Communication Faculty of Communication, Art, and Technology Brett Pardy 2016 SIMON FRASER UNIVERSITY Summer 2016 Approval Name: Brett Pardy Degree: Master of Arts Title: “To Fight the Battles We Never Could”: The Militarization of Marvel’s Cinematic Superheroes Examining Committee: Chair: Frederik Lesage Assistant Professor Zoë Druick Senior Supervisor Associate Professor Adel Iskander Supervisor Assistant Professor Michael Ma External Examiner Faculty Member Department of Criminology Kwantlen Polytechnic University Date Defended/Approved: June 16, 2016 ii Abstract The Marvel comics film adaptations have been some of the most successful Hollywood products of the post 9/11 period, bringing formerly obscure cultural texts into the mainstream. Through an analysis of the adaptation process of Marvel Entertainment’s superhero franchise from comics to film, I argue that a hegemonic American model of militarization has been used by Hollywood as a discursive formation with which to transform niche properties into mass market products. I consider the locations of narrative ambiguities in two key comics texts, The Ultimates (2002-2007) and The New Avengers (2005-2012), as well as in the film The Avengers (2012), and demonstrate the significant reorientation of the film franchise towards the American military’s “War on Terror”. While Marvel had attempted to produce film adaptations for decades, only under the new “militainment” discursive formation was it finally successful.