DC Comics Jumpchain CYOA

Total Page:16

File Type:pdf, Size:1020Kb

DC Comics Jumpchain CYOA DC Comics Jumpchain CYOA CYOA written by [text removed] [text removed] [text removed] cause I didn’t lol The lists of superpowers and weaknesses are taken from the DC Wiki, and have been reproduced here for ease of access. Some entries have been removed, added, or modified to better fit this format. The DC universe is long and storied one, in more ways than one. It’s a universe filled with adventure around every corner, not least among them on Earth, an unassuming but cosmically significant planet out of the way of most space territories. Heroes and villains, from the bottom of the Dark Multiverse to the top of the Monitor Sphere, endlessly struggle for justice, for power, and for control over the fate of the very multiverse itself. You start with 1000 Cape Points (CP). Discounted options are 50% off. Discounts only apply once per purchase. Free options are not mandatory. Continuity === === === === === Continuity doesn't change during your time here, since each continuity has a past and a future unconnected to the Crises. If you're in Post-Crisis you'll blow right through 2011 instead of seeing Flashpoint. This changes if you take the relevant scenarios. You can choose your starting date. Early Golden Age (eGA) Default Start Date: 1939 The original timeline, the one where it all began. Superman can leap tall buildings in a single bound, while other characters like Batman, Dr. Occult, and Sandman have just debuted in their respective cities. This continuity occurred in the late 1930s, and takes place in a single universe. Golden Age (GA) Default Start Date: 1941 The second timeline, after Superman’s powers were retconned. Superman, Batman, and Wonder Woman fight alongside heroes such as Jay Garrick and Alan Scott in the Justice Society of America, long before Barry Allen or Hal Jordan made their first appearances. Hawkman is still the reincarnation of the ancient Egyptian prince Khufu using Nth metal he forged himself rather than an alien from the planet Thanagar, the Sandman is a gas-mask wearing crimefighter rather than the embodiment of all dreams, and the New Gods and anyone else who would come after don’t exist yet. This continuity occured between 1938 and 1956, and takes place in a single universe. Silver and Bronze Ages (SA) Default Start Date: 1956 Beginning with the first appearance of Barry Allen, retconning into existence the multiverse, in order to introduce new heroes and new stories, the Silver Age was essentially a twenty year long acid trip. The later years, the Bronze Age, were more coherent, and had significantly decreased power levels for characters like Superman. This period came to a violent end with the rise of the Anti-Monitor, as he destroyed every universe but the amalgam one of New Earth. Every other universe, and every living thing who didn’t survive the alteration, had simply never existed. This continuity occured between 1956 and 1985, and takes place in an infinite multiverse. Post-Crisis (PC) Default Start Date: 1985 New Earth was a world of revised and consolidated backstories, rewritten to make it easier for new readers to jump in and follow the plotlines. Entire planets had their histories turned upside-down, and many characters were left behind entirely. However, this wasn't a true reboot, and for the most part characters' lives continued on the same path they'd been on before and didn't start over from square one, barring prequel-style backstory comics. In 2006, the Crisis survivors who'd been living in a pocket dimension utopia attempted to bring back their homeworld. They failed, but their actions had grave consequences, bringing 51 other universes into existence alongside New Earth, and Mister Mind would go on to alter the histories of each in his hyperfly form. This continuity takes place in a single universe, until it becomes a multiverse of 52 universes in 2006. New 52 (N52) Default Start Date: 2011 In 2011, a certain character entered the multiverse, a character who should not have existed there. Dr. Manhattan and his unwilling agent Pandora tricked the Flash when he went back in time to undo the Flashpoint timeline, giving Manhattan the opportunity to remove a few years from the time stream. The aftershocks of this act rivaled the chaos of the Crisis on Infinite Earths, rewriting history once again and creating another infinite multiverse. Infinite multiverse. Rebirth (Re) Default Start Date: 2016 The continuity following Convergence. Infinite multiverse, melding New 52 and Post-Crisis. Toggles === === === === Elseworlds You can go to any DC continuity without a jump, like the DCEU or Last Knight on Earth. Mainstay Character By default, your visit here will last for ten years. A long time, but nothing compared to the timescale of many events here. If you want, you can stay as long as you like. But be warned, for as much adventure to be found here, there is just as much danger lurking in the shadows. You can optionally set the jump to end at the time of your natural death. Legacy Character If you’ve been to a DC jump before, you can go back to the same continuity for this jump, or have that continuity be an alternate reality present in this multiverse. Lost in the Sliding Timeline You can decide which parts of canon you want to use. Ignore what doesn’t make sense, events or character moments you think are stupid, or even just jump to a single author’s run while ignoring everything before and after it if you really want to. Multiverse Alignment === === === === === === === === === Light Multiverse You were born in one of the worlds of the positive multiverse. As you grew up, you saw heroes triumphing over villains, leading the world into idealism and hope. You carry this message with you and fight for the peace and safety of all good worlds. Although there may be a cost, heroes have the advantage and will always triumph in the end. Dark Multiverse You arose from one of the worlds of the Dark Multiverse, a failed creation damned to sink and disintegrate, annihilating everything and everyone within. Dark Multiverse worlds are created from the fears and mistakes of those above, and due to their instability they degrade and collapse when the person they originated from overcomes their struggles. Pain is inevitable here, and the villains have the advantage and will always come out on top in the end. If your world is destroyed before your time here ends, the Batman Who Laughs will arrive and offer you a position as one of his Dark Nights. Race === === === === Human 0 CP Homeworld: Earth At first glance humanity is a weak, powerless race. They have comparatively primitive technology, and no innate superpowers of their own to defend themselves with. What they do have is potential. The potential to master skills that put the inherent abilities of aliens to shame, to hone themselves into living weapons, to wield all manner of scientific, divine, and cosmic powers...and in time, to take up the mantle of the gods and bring the Fifth World into being as the inheritors of the multiverse. Of course, that’s all just potential, possibility. The future is anyone’s game. You can take Cosmic Predator and Anti-Life Equation Fragments for free. Homo Magus 100 CP Homeworld: Earth (SA/PC) One of two branches of humanity that evolved thousands of years ago, Homo Magi ​ came into being alongside Homo Sapiens. The two lines are capable of interbreeding without ​ ​ issue, and are remarkably similar even beyond that. The primary difference is that while Homo ​ Sapiens were learning the use of tools and science, Homo Magi were one with the natural order ​ ​ ​ and were capable of using sorcery. Homo Magi and their descendants are capable of using ​ ​ direct magic, compared to pure Homo Sapiens who are only able to use indirect magic such as ​ ​ rituals. Early history was a paradise for them, able to conjure anything they needed or desired, while ordinary humans were still learning how to fashion stone tools. However, a quirk of Homo ​ Magi psychology caused them to fall immediately and totally in love with the first Homo Sapiens ​ ​ of the opposite sex they laid eyes on, causing most of them to sequester themselves away in hidden communities where they would be safe from this effect. (N52/Re) Following the Flashpoint disruption, they were taught magic at the Rock of Eternity, before spreading it across the world upon their return and establishing empires that were ancient when Atlantis first rose to prominence. A branch of these Homo Magi went on to ​ ​ become the Atlantean races. You can take Cosmic Predator and Magical Blood for free, and Anti-Life Equation fragments at a discount. Animal 0 CP Homeworld: Earth (All) You’re a normal animal, like a housecat. If you really want to, you can drop down to animal-level intelligence (housecats specifically are intelligent enough to have a language here), but you won’t get any extra points for it. Atlantean 100 CP Homeworld: Earth Inhabitants of Atlantis. Mildly superhuman but on land they tire out faster. You can take Magical Blood for free. Amazon 100 CP Homeworld: Earth Inhabitants of Paradise Island, Themyscira. Unaging warrior women. Mildly superhuman. Have trained in combat and warfare for thousands of years. N52: Your emotions are bound to your queen, and you feel a powerful echo of what she feels. If you’re a male starting after Donna Troy’s slaughter, you’re the last male Amazon. Android Homeworld: Earth A robot built by one of Earth’s scientists, most likely Dr.
Recommended publications
  • 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.
    [Show full text]
  • A Chilling Look Back at Jeph Loeb and Tim Sale's
    Jeph Loeb Sale and Tim at A back chilling look Batman and Scarecrow TM & © DC Comics. All Rights Reserved. 0 9 No.60 Oct. 201 2 $ 8 . 9 5 1 82658 27762 8 COMiCs HALLOWEEN HEROES AND VILLAINS: • SOLOMON GRUNDY • MAN-WOLF • LORD PUMPKIN • and RUTLAND, VERMONT’s Halloween Parade , bROnzE AGE AnD bEYOnD ’ s SCARECROW i . Volume 1, Number 60 October 2012 Comics’ Bronze Age and Beyond! The Retro Comics Experience! EDITOR-IN-CHIEF Michael Eury PUBLISHER John Morrow DESIGNER Rich J. Fowlks COVER ARTIST Tim Sale COVER COLORIST Glenn Whitmore COVER DESIGNER Michael Kronenberg PROOFREADER Rob Smentek SPECIAL THANKS Scott Andrews Tony Isabella Frank Balkin David Anthony Kraft Mike W. Barr Josh Kushins BACK SEAT DRIVER: Editorial by Michael Eury . .2 Bat-Blog Aaron Lopresti FLASHBACK: Looking Back at Batman: The Long Halloween . .3 Al Bradford Robert Menzies Tim Sale and Greg Wright recall working with Jeph Loeb on this landmark series Jarrod Buttery Dennis O’Neil INTERVIEW: It’s a Matter of Color: with Gregory Wright . .14 Dewey Cassell James Robinson The celebrated color artist (and writer and editor) discusses his interpretations of Tim Sale’s art Nicholas Connor Jerry Robinson Estate Gerry Conway Patrick Robinson BRING ON THE BAD GUYS: The Scarecrow . .19 Bob Cosgrove Rootology The history of one of Batman’s oldest foes, with comments from Barr, Davis, Friedrich, Grant, Jonathan Crane Brian Sagar and O’Neil, plus Golden Age great Jerry Robinson in one of his last interviews Dan Danko Tim Sale FLASHBACK: Marvel Comics’ Scarecrow . .31 Alan Davis Bill Schelly Yep, there was another Scarecrow in comics—an anti-hero with a patchy career at Marvel DC Comics John Schwirian PRINCE STREET NEWS: A Visit to the (Great) Pumpkin Patch .
    [Show full text]
  • Crossmedia Adaptation and the Development of Continuity in the Dc Animated Universe
    “INFINITE EARTHS”: CROSSMEDIA ADAPTATION AND THE DEVELOPMENT OF CONTINUITY IN THE DC ANIMATED UNIVERSE Alex Nader 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 May 2015 Committee: Jeff Brown, Advisor Becca Cragin © 2015 Alexander Nader All Rights Reserved iii ABSTRACT Jeff Brown, Advisor This thesis examines the process of adapting comic book properties into other visual media. I focus on the DC Animated Universe, the popular adaptation of DC Comics characters and concepts into all-ages programming. This adapted universe started with Batman: The Animated Series and comprised several shows on multiple networks, all of which fit into a shared universe based on their comic book counterparts. The adaptation of these properties is heavily reliant to intertextuality across DC Comics media. The shared universe developed within the television medium acted as an early example of comic book media adapting the idea of shared universes, a process that has been replicated with extreme financial success by DC and Marvel (in various stages of fruition). I address the process of adapting DC Comics properties in television, dividing it into “strict” or “loose” adaptations, as well as derivative adaptations that add new material to the comic book canon. This process was initially slow, exploding after the first series (Batman: The Animated Series) changed networks and Saturday morning cartoons flourished, allowing for more opportunities for producers to create content. References, crossover episodes, and the later series Justice League Unlimited allowed producers to utilize this shared universe to develop otherwise impossible adaptations that often became lasting additions to DC Comics publishing.
    [Show full text]
  • Icons of Survival: Metahumanism As Planetary Defense." Nerd Ecology: Defending the Earth with Unpopular Culture
    Lioi, Anthony. "Icons of Survival: Metahumanism as Planetary Defense." Nerd Ecology: Defending the Earth with Unpopular Culture. London: Bloomsbury Academic, 2016. 169–196. Environmental Cultures. Bloomsbury Collections. Web. 25 Sep. 2021. <http:// dx.doi.org/10.5040/9781474219730.ch-007>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 25 September 2021, 20:32 UTC. Copyright © Anthony Lioi 2016. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 6 Icons of Survival: Metahumanism as Planetary Defense In which I argue that superhero comics, the most maligned of nerd genres, theorize the transformation of ethics and politics necessary to the project of planetary defense. The figure of the “metahuman,” the human with superpowers and purpose, embodies the transfigured nerd whose defects—intellect, swarm-behavior, abnormality, flux, and love of machines—become virtues of survival in the twenty-first century. The conflict among capitalism, fascism, and communism, which drove the Cold War and its immediate aftermath, also drove the Golden and Silver Ages of Comics. In the era of planetary emergency, these forces reconfigure themselves as different versions of world-destruction. The metahuman also signifies going “beyond” these economic and political systems into orders that preserve democracy without destroying the biosphere. Therefore, the styles of metahuman figuration represent an appeal to tradition and a technique of transformation. I call these strategies the iconic style and metamorphic style. The iconic style, more typical of DC Comics, makes the hero an icon of virtue, and metahuman powers manifest as visible signs: the “S” of Superman, the tiara and golden lasso of Wonder Woman.
    [Show full text]
  • Supergirl: Volume 4 Pdf, Epub, Ebook
    SUPERGIRL: VOLUME 4 PDF, EPUB, EBOOK Mahmud A. Asrar,Michael Alan Nelson | 144 pages | 29 Jul 2014 | DC Comics | 9781401247003 | English | United States Supergirl: Volume 4 PDF Book Also, there are some moments where Kara's powers really don't make sense. Supergirl Vol 4 9 "Tempus Fugit" May, Supergirl Vol 4 12 "Cries in the Darkness" August, Matt rated it it was amazing Apr 06, However, I do prefer the more recent issues of the series, which send Kara-El Supergirl's Kryptonian name on a space quest with Krypto the Super-Dog and art by the always dependable Kevin Maguire. The one after that will be straight garbage that no effort whatsoever was put into. Jun 08, Mike marked it as series-in-progress. This issue tells the New 52 origin of Cyborg Superman. Supergirl Vol 4 54 "Statue of Limitations" March, Search books and authors. Learn how to enable JavaScript on your browser. What's worse is how disjointed the story is. Supergirl Vol 4 51 "Making a Splash" December, It was just generic. Harley Quinn Vol. Supergirl Vol 4 47 "Before the Fall" August, Kara is dying of Kryptonite poisoning and has fled Earth. The issue that tracked Zor-El's conflict with Jor-El about how best to save Krypton from destruction was outstanding. Mesmer, one of. Slightly better than the last volume. Science Fiction. Supergirl has Kryptonite poisoning from her run in with H'el, so she takes off into space to 'die alone' Supergirl Vol 4 10 "Hidden Things" June, Enlarge cover. Jan 03, Fraser Sherman rated it it was ok Shelves: graphic-novels.
    [Show full text]
  • COMIC BOOKS AS AMERICAN PROPAGANDA DURING WORLD WAR II a Master's Thesis Presented to College of Arts & Sciences Departmen
    COMIC BOOKS AS AMERICAN PROPAGANDA DURING WORLD WAR II A Master’s Thesis Presented To College of Arts & Sciences Department of Communications and Humanities _______________________________ In Partial Fulfillment of the Requirements for the Master of Science Degree _______________________________ SUNY Polytechnic Institute By David Dellecese May 2018 © 2018 David Dellecese Approval Page SUNY Polytechnic Institute DEPARTMENT OF COMMUNICATIONS AND HUMANITIES INFORMATION DESIGN AND TECHNOLOGY MS PROGRAM Approved and recommended for acceptance as a thesis in partial fulfillment of the requirements for the degree of Master of Science in Information Design + Technology. _________________________ DATE ________________________________________ Kathryn Stam Thesis Advisor ________________________________________ Ryan Lizardi Second Reader ________________________________________ Russell Kahn Instructor 1 ABSTRACT American comic books were a relatively, but quite popular form of media during the years of World War II. Amid a limited media landscape that otherwise consisted of radio, film, newspaper, and magazines, comics served as a useful tool in engaging readers of all ages to get behind the war effort. The aims of this research was to examine a sampling of messages put forth by comic book publishers before and after American involvement in World War II in the form of fictional comic book stories. In this research, it is found that comic book storytelling/messaging reflected a theme of American isolation prior to U.S. involvement in the war, but changed its tone to become a strong proponent for American involvement post-the bombing of Pearl Harbor. This came in numerous forms, from vilification of America’s enemies in the stories of super heroics, the use of scrap, rubber, paper, or bond drives back on the homefront to provide resources on the frontlines, to a general sense of patriotism.
    [Show full text]
  • GREEN LANTERN the ANIMATED SERIES by - Manyfist in 2011 There Was a CGI Series That Aired on Cartoon Network
    GREEN LANTERN THE ANIMATED SERIES By - Manyfist In 2011 there was a CGI series that aired on Cartoon Network. It was part their DC Nation block. You arrive when a certain human pilot is on Oa, about to skip half way across the universe in the experimental ship. While the storyline lasts only a year, there is still much untold stories to be told. As such your benefactor, had given you +1000cp (Choice Points) to help you on your journey to the frontier of the universe. LOCATION Unfortunately space is a vast place, and your choice of rings depend on where you start out at. Green On board the Interceptor sleeping as Hal & Kilowog steal it. Aya's scanners did not realize you were aboard until it was too late to turn around. Blue You're seeking hope on the planet called Mogo. This planet you're on, is a living planet who traps dangerous aliens and provides them with care. You were drawn in by accident really as your arrival was misinterpreted as a hostile force, however you'll find your brother lantern, Blue Lantern Saint Walker, here as well. Mogo has complete control over its bio dome, and as an apology Mogo will do anything in its power to help. Red Listening to a sermon of Rage onboard, the Shard. The Shard is the only piece of Atrocitus' home world which was destroyed by the Manhunters. Here he has built a religion around the incident and intends to wipe off the Guardians of the Universe from the cosmos in revenge.
    [Show full text]
  • Selznick, Brian Boy of a Thousand Faces Juv
    GRAPHIC NOVELS- PRESCHOOL, ELEMENTARY& MIDDLE SCHOOL compiled by Sheila Kirven HYBRID Preschool Alborough, Jez Yes Juv.A3397y Cordell, Matthew Wolf in the snow Juv.C7946w Haughton, Chris Shh! We have a plan Juv. H3717s McDonald, Ross Bad Baby Juv.M13575b (Jack has a new baby sister) Reynolds, Aaron Creepy Carrots Juv.R462c Rex, Adam Pssst! Juv.R4552p Rocco, John Blackout Juv.R6715b Willems, Mo That is not a good idea! Juv.W699t Vere, Ed Getaway Juv.V4893g Elementary Buzzeo, Toni One cool friend Juv. B9928o Chin, Jason Island: A Story of the Galapagos Juv.508.86.C539i Craft, Jerry Big Picture: Juv.C8856m What you need to succeed! Dauvillier, Loie hidden Juv.D2448 (A young French girl is hidden away during the Holocaust in France) DiCamilio, Kate Flora & Ulysses: Juv. D545f The Illuminated Adventures (Rescuing a squirrel after an accident involving a vacuum cleaner, comic-reading cynic Flora Belle Buckman is astonished when the squirrel, Ulysses, demonstrates astonishing powers of strength and flight after being revived.) Gaiman, Neil The day I swapped my Dad for two Juv.G141di goldfish Holub, Joan Little Red Writing Juv.H7589L (A brave little pencil attempting to write a story with a basket of parts of speech outwits the Wolf 3000 pencil sharpener and saves Principal Granny.) Lane, Adam J.B. Stop Thief Juv. L2652s Law, Felicia & Castaway Code: Sequencing in Action Juv.L4152c Way, Steve Law, Felicia & Crocodile teeth: Geometric Shapes Juv.L4152ct Way, Steve in Action Law, Felicia & Mirage in the Mist: Measurement Juv.L4152ct Way, Steve in Action Law, Felicia & Mystery of Nine: Number Place Juv.L4152mn Way, Steve and Value in Action Law, Felicia & Storm at Sea: Sorting, Mapping and Juv.L4152ct Way, Steve Grids in Action sdk 6/08 rev.
    [Show full text]
  • Batman Missions Figure Modification
    Batman Missions Figure Modification Is Horatio longing or self-imposed when barter some burl peghs tropologically? Xerxes is chairborne: she disentangling bitingly and ossify her Malaprop. Unelaborate Edgar couch resiliently. Oxygen and acetylene aqd urdd hn ldtal hdathng and cutthng nodqathnnr. With figures with a mission marked increase in the modification extreme. We are essential trace gas and batman figure, we make it mean something else do you are hugely popular. These modifications are amortized over someone else would batman figure caption should anne are. He is posed bent over to surprise at the nausea and scratching his head. Anaqd cnllhttdd alrn aooqnudd. It occur be some time before the industry would magnify the lurch of this mission. Kenyan man fabricates welding supply contracts. DC Comics Batman Missions Mr Freeze Action Figure FuTiToy This fits your not sure this fits by entering your model number 6-Inch scale highly detailed. The figure as the perfect for missions impossiblespark a batman missions figure modification to countless artists at client has been a circumstance can do you find what. The batman missions impossibletory: this criterion is. Not good one expects to fasten on wuwt. The batman missions figure modification kit contains interesting to batman missions, the modification kits in response, it seems occidentals carry out? But batman figure! Fun than with a bit after the cause a clear by the white smile, this virus unless the elation i did they? Noël Coward it said: 赗ork is more fun than fun. By full nature so its activities, hundreds of members taxpayers up to tens of thousands of pounds annually for personal expenses completely unrelated to their political service.
    [Show full text]
  • Blackest Night / Brightest Day Jumpchain What Is Death in a World
    Blackest Night / Brightest Day Jumpchain What is death in a world like this one? Great heroes and villains alike have tasted the sweet kiss of oblivion, both deserving and not. Yet death has also been defied, and many more have returned to life through circumstance or miracle. Two heroes in particular – Hal Jordan, a Green Lantern of Earth, and Barry Allen, The Flash, both ponder this together as they talk over the gravestone of Bruce Wayne. Both had died and returned to life before. And soon, many more will return as well...but not in a way they or anyone else would expect. Recently, the Green Lantern Corps, a peacekeeping organization created by the self-touted Guardians of the Universe, have been at war with the Sinestro Corps founded by its namesake rogue who fell from grace in the past. As this conflict raged on, other Lantern Corps were discovered or created as all seven colors on the Emotional Spectrum were revealed to the galaxy. But as this conflict and chaos rages on, a prophecy is fulfilled and as the various colors come into battle with each other, a darker force awakens. The Entity of Death, Nekron, acting through the villain Death’s Hand, has prepared to unleash a plague on the entire universe. One that will see the billions of dead across all of creation rise and seek to ravage the living, before extinguishing all life entirely within the Blackest Night. Just as this conversation began, you appear. You are a new or veteran member of one of the existing Lantern Corps...unless you are a Black Lantern, in which you rise from death not long after as the crisis of the Blackest Night begins.
    [Show full text]
  • Costume Culture: Visual Rhetoric, Iconography, and Tokenism In
    COSTUME CULTURE: VISUAL RHETORIC, ICONOGRAPHY, AND TOKENISM IN COMIC BOOKS A Dissertation by MICHAEL G. BAKER Submitted to the Office of Graduate Studies Texas A&M University-Commerce in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2017 COSTUME CULTURE: VISUAL RHETORIC, ICONOGRAPHY, AND TOKENISM IN COMIC BOOKS A Dissertation by MICHAEL G. BAKER Submitted to: Advisor: Christopher Gonzalez Committee: Tabetha Adkins Donna Dunbar-Odom Mike Odom Head of Department: M. Hunter Hayes Dean of the College: Salvatore Attardo Interim Dean of Graduate Studies: Mary Beth Sampson iii Copyright © 2017 Michael G. Baker iv ABSTRACT COSTUME CULTURE: VISUAL RHETORIC, ICONOGRAPHY, AND TOKENISM IN COMIC BOOKS Michael G. Baker, PhD Texas A&M University-Commerce, 2017 Advisor: Christopher Gonzalez, PhD Superhero comic books provide a unique perspective on marginalized characters not only as objects of literary study, but also as opportunities for rhetorical analysis. There are representations of race, gender, sexuality, and identity in the costuming of superheroes that impact how the audience perceives the characters. Because of the association between iconography and identity, the superhero costume becomes linked with the superhero persona (for example the Superman “S” logo is a stand-in for the character). However, when iconography is affected by issues of tokenism, the rhetorical message associated with the symbol becomes more difficult to decode. Since comic books are sales-oriented and have a plethora of tie-in merchandise, the iconography in these symbols has commodified implications for those who choose to interact with them. When consumers costume themselves with the visual rhetoric associated with comic superheroes, the wearers engage in a rhetorical discussion where they perpetuate whatever message the audience places on that image.
    [Show full text]
  • Frank Settle's Marshall & the Atomic
    THE MAGAZINE OF THE GEORGE C. MARSHALL FOUNDATION Frank Settle’s Marshall & the Atomic Bomb Mark Stoler’s Marshall Lecture at AHA The Whole Man: Letters of Rose Page Wilson Best New Books Marshall Legacy Series Marshall Shorts FALL 2015 photo credit: George C. Marshall Research Library FALL 2015 Features Marshall and the Atomic Bomb 4 By Frank Settle, Ph.D Marshall is best known today as the architect of Europe’s recovery in the af - termath of World War II—the Marshall Plan. He also earned acclaim as the master strategist of the Allied victory in World War II. He mobilized and equipped the Army and Air Force under a single command; served as the pri - mary conduit for information between the Army and the Air Force and the president and secretary of war; developed a close working relationship with Admiral Earnest King, Chief of Naval Operations; worked with Congress and leaders of industry on funding and producing resources for the war; and developed and implemented the successful strategy the Allies pursued in fighting the war. Last but not least of his responsibilities was the production of the atomic bomb. George C. Marshall and the “Europe-First” 12 Strategy, 1939–1951: A Study in Diplomatic as well as Military History By Mark A. Stoler, Ph.D. As Army chief of staff, secretary of state, and secretary of defense, George C. Marshall played a major role in creating, implementing, and defending the multilateral “Europe-First” global strategy that guided U.S. foreign and military policies through World War II and the Cold War.
    [Show full text]