C I L T 2 H a I N I N Y O L C U L U

Total Page:16

File Type:pdf, Size:1020Kb

C I L T 2 H a I N I N Y O L C U L U CİLT 2 HAİNİN YOLCULUĞU JUSTICE LEAGUE JUSTICE LEAGUE CİLT 2 HAİNİN YOLCULUĞU GEOFF JOHNS yazar JIM LEE GENE HA CARLOS D’ANDA IVAN REIS ETHAN VAN SCIVER DAVID FINCH çizerler SCOTT WILLIAMS GENE HA CARLOS D’ANDA JOE PRADO MARK IRWIN JONATHAN GLAPION SANDRA HOPE MATT BANNING ROB HUNTER JOE WEEMS ALEX GARNER TREVOR SCOTT ETHAN VAN SCIVER DAVID FINCH çinileme ALEX SINCLAIR ART LYON GABE ELTAEB PETE PANTAZIS HI-FI SONIA OBACK TONY AVINA renklendirenler SAL CIPRIANO PATRICK BROSSEAU NICK NAPOLITANO kaligrafİ JIM LEE, SCOTT WILLIAMS & ALEX SINCLAIR orijinal seri ve cilt kapakları çizerleri Yapı Kredi Yayınları - ??? Originally published in single magazine form in JUSTICE LEAGUE 7-12, Copyright © 2012 DC Comics. Justice League - Cilt 2 Hainin Yolculuğu All Rights Reserved. All characters, their distinctive Özgün adı: Justice Leauge - Volume 2 The Villain’s Journey likenesses and related elements featured in this publication Çeviren: Anıl Bilge are trademarks of DC Comics. The stories, characters and incidents featured in this publication are entirely fictional. DC Editör: Hazel Bilgen Comics does not read or accept unsolicited ideas, stories or Düzelti: Filiz Özkan artwork. Grafik uygulama: Hasan Fırat DC Comics, 1700 Broadway, New York, NY 10019 A Warner Bros. Entertainment Company. Baskı: Bilnet Matbaacılık ve Ambalaj San. A.Ş. Printed by RR Donnelley, Salem, VA, USA. 12/28/12. First Dudullu Organize San. Bölgesi 1.Cad. No:16 Ümraniye-İstanbul Printing. Tel: 444 44 03 • Fax: (0216) 365 99 07-08 • www.bilnet.net.tr Sertifika No: 31345 HC ISBN: 978-1-4012-3764-6 SC ISBN: 978-1-4012-3765-3 1. baskı: İstanbul, Mart 2015 ISBN 978-975-08-3148-5 Library of Congress Cataloging-in-Publication Data Çeviriye temel alınan baskı: Justice League - Volume 2 Johns, Geoff, 1973- The Villain’s Journey Justice League. Volume 2, The villain’s journey / Geoff Johns, Jim Lee. BRIAN CUNNINGHAM Editör – Orijinal Seri KATİE KUBERT p. cm. DARREN SHAN Yardımcı Editörler – Orijinal Seri “Originally published in single magazine form in Justice PETER HAMBOUSSİ Editör ROBBIN BROSTERMAN Tasarım League 7-12.” Direktörü - Kitaplar ROBBIE BIEDERMAN Baskı Tasarımı ISBN 978-1-4012-3764-6 BOB HARRAS VP – Editor-in-Chief 1. Graphic novels. I. Lee, Jim, 1964- II. Title. III. Title: Villain’s DIANE NELSON President DAN DIDIO and JIM LEE Co- journey. Publishers GEOFF JOHNS Chief Creative Officer PN6728.J87J653 2012 JOHN ROOD Executive VP – Sales, Marketing and Business 741.5’973—dc23 Development AMY GENKINS Senior VP – Business and Legal 2012040572 Affairs NAIRI GARDINER Senior VP – Finance JEFF BOISON VP – Publishing Operations MARK CHIARELLO VP – Art Ya pı Kre di Kül tür Sa nat Ya yın cı lık Ti ca ret ve Sa na yi A.Ş., 2013 Direction and Design JOHN CUNNINGHAM VP – Marketing Sertifika No: 12334 TERRI CUNNINGHAM VP – Talent Relations and Services ALISON GILL Senior VP – Manufacturing and Operations Bütün yayın hakları saklıdır. HANK KANALZ Senior VP – Digital JAY KOGAN VP – Kaynak gösterilerek tanıtım için yapılacak kısa alıntılar Business and Legal Affairs, Publishing JACK MAHAN dışında yayıncının yazılı izni olmaksızın hiçbir yolla VP – Business Affairs, Talent NİCK NAPOLITANO VP – çoğaltılamaz. Manufacturing Administration SUE POHJA VP – Book Sales COURTNEY SIMMONS Senior VP – Publicity BOB WAYNE Yapı Kredi Kültür Sanat Yayıncılık Ticaret ve Sanayi A.Ş. Senior VP – Sales İstiklal Caddesi No: 142 Odakule İş Merkezi Kat: 3 Beyoğlu 34430 İstanbul JUSTICE LEAGUE VOLUME 2: THE VILLAIN’S JOURNEY Telefon: (0 212) 252 47 00 (pbx) Faks: (0 212) 293 07 23 Published by DC Comics. Cover and compilation Copyright © http://www.ykykultur.com.tr 2013 DC Comics. All Rights Reserved. e-posta: [email protected] İnternet satış adresi: http://alisveris.yapikredi.com.tr BUGÜN. HAİNİN YOLCULUĞU GİRİŞ GEOFF JOHNS yazar GENE HA çizer JIM LEE, SCOTT WILLIAMS & ALEX SINCLAIR kapak BUGÜN. HAİNİN YOLCULUĞU GİRİŞ GEOFF JOHNS yazar GENE HA çizer JIM LEE, SCOTT WILLIAMS & ALEX SINCLAIR kapak BALTIMORE, MARYLAND. UZAAAAKKK DURUUUNN! UZAKDURUUNN!! BU İNSANLARI BURADAN Kİİİİİ! GÖTÜRÜN! HADİ! HADİ! HADİ! BU ŞEYLER KOLAY İNDİRİLMİYOR, EĞER HEDEFİMİZİ ALBAY! BİR AN ÖNCE BU- LAMAZSAK, ŞEHRİ BU YARATIKLARLA DOLDURACAK! ALBAY TREVOR! ALBAY BUNU BİLMEK SENİN İŞİN, DEĞİL KAÇMA- STEVE TREVOR! BENİM İŞİM Mİ? SEN A.R.G.U.S.’UN BAŞISIN VE MAK! BURAYA! BU CANAVARLAR JUSTICE LEAGUE İLE DÜNYA ARA- BU BÖLGE NEREDEN GELİYOR? BOŞALTILIYOR! YANİ SINDAKİ İRTİBAT SUBAYISIN! AKSİ YÖNE KOŞARAK KAÇMALISIN! BU GİZLİ BİLGİ- ONLARA İHTİYACIMIZ VAR! GERÇEK KAHRA- DİR! ŞİMDİ GİT YUKARI MANLAR NEREDE? BURADAN! BAKIN! PEKİ JUSTICE LEAGUE NE- BİLMİYO- REDE? RUM. TANRI’YA ŞÜKÜR! İŞTE ORADA- LAR! BURADA OLDUK- LARINA İNANA- MIYORUM! BURA- DALAR! KURTULDUK! HER ŞEY DÜZELECEK! BATMAN. GREEN KENDİLERİNE DÜNYA- LANTERN. SUPERMAN. NIN EN BÜYÜK SÜPER FLASH. WONDER WOMAN. KAHRAMANLARI DEN- AQUAMAN. CYBORG. MESİ BENİM SAYEMDE OLDU. ONLARA MODERN ZAMANLARIN TANRILARI DİYORLAR. AMA BU DEĞİŞE- CEK. ESAS HEDE- BAŞARDIK, O FİMİZ HAK- CANAVARLAR KINDA BİLGİ KAÇIYORLAR! VAR MI CYBORG? KİMMİŞ? BEKLE. ÇOKTAN BULDUM. BEKLE?! NE İÇİN? DR. SAMUEL STREET’İN YOLUNA STREET ADINDA BİLİNMEYEN BİR KİŞİ ÇIKTIĞIN- ORDUYA ÇALIŞAN DA, GÜVENDE SAKLAMALARI İÇİN BİR BİYOLOJİK A.R.G.U.S.’A “SPORE” VİRÜSÜNÜ SAVAŞ UZMANI. ULAŞTIRMAYA ÇALIŞIYORDU. BİLİNMEYEN BİR KİŞİ Mİ? BU SALDIRGAN ONU ...VE KAÇARKEN BÜ- ALT ETTİKTEN SONRA TÜN SOKAĞI “SPORE” KARA ODA’YA ZORLA VİRÜSÜNE MARUZ BIRAKTI. VE ÇİRKİNLEŞ- GİRDİ VE RA’NIN KÜRESİ TİRİCİ DEĞNE- ADLI BİR ESERİ ÇALDI... ĞİYLE VURDU. BAM. BENİM ŞEM- SİYEYE İHTİ- YACIM YOK LANTERN. “SPORE”UN O ZAMAN ONU DÖVMEYE YANİ BİRAZ ÖNCE SAVAŞ- İSTEDİĞİ HAZIRIM. DÜŞMANIMIZIN TIĞIMIZ ŞEYLER. ONLARI NE KADAR HIZLI OLUŞTU- ŞEY NE? ŞU ANKİ YERİ İLE SAVAŞMA ŞEKLİ NASIL? RABİLİYOR CYBORG? DOSYASINI ÇAPRAZ KUVVETİNİ BİR İLİNTİLİYORUM. VÜCUT SICAKLIKLARI BİZİM- KENARA BIRAKIRSAK, ESKİ KARISININ KİNİN BİRAZ ÜZERİNDE. UYDU STREET, TOHUMLAR EVİNDE. TERMAL GÖRÜNTÜLEMESİ YARATABİLİYOR, ENFEKSİYON BÖLGESİNDE 363 TELEPATİK OLARAK ÖFKELİ TANE GÖSTERİYOR. HER ON KONTROL ETTİĞİ ÂŞIK? SANİYEDE YENİ BİR TANE ORTA- ZİHİNSİZ ET YİYİCİ BOŞANMA YA ÇIKIYOR. KAYITLARINA GÖRE YARATIKLAR. BAYAĞI ÖFKELİ. VE ŞİDDET EĞİLİMLİ. O ZAMAN ONLAR SAYICA DAHA FLASH, TOHUM- FAZLA ÜSTÜNLÜK KURMADAN LARIN DİKKATİNİ ACELE ETMELİYİZ. SOKAKTAKİ İNSAN- LARIN ÜZERİNDEN ÇEK. SUPERMAN VE WONDER WOMAN, SİZ... HEY, HEY, HEY, BATMAN. BENCE BİR ŞEYİ UNUTUYORSUN. BİZ JUSTICE HALLEDE- LEAGUE ’İZ. RİZ BU İŞİ. KUSURUNA BAKMA. HADİ GİDİN..
Recommended publications
  • Why No Wonder Woman?
    Why No Wonder Woman? A REPORT ON THE HISTORY OF WONDER WOMAN AND A CALL TO ACTION!! Created for Wonder Woman Fans Everywhere Introduction by Jacki Zehner with Report Written by Laura Moore April 15th, 2013 Wonder Woman - p. 2 April 15th, 2013 AN INTRODUCTION AND FRAMING “The destiny of the world is determined less by battles that are lost and won than by the stories it loves and believes in” – Harold Goddard. I believe in the story of Wonder Woman. I always have. Not the literal baby being made from clay story, but the metaphorical one. I believe in a story where a woman is the hero and not the victim. I believe in a story where a woman is strong and not weak. Where a woman can fall in love with a man, but she doesnʼt need a man. Where a woman can stand on her own two feet. And above all else, I believe in a story where a woman has superpowers that she uses to help others, and yes, I believe that a woman can help save the world. “Wonder Woman was created as a distinctly feminist role model whose mission was to bring the Amazon ideals of love, peace, and sexual equality to ʻa world torn by the hatred of men.ʼ”1 While the story of Wonder Woman began back in 1941, I did not discover her until much later, and my introduction didnʼt come at the hands of comic books. Instead, when I was a little girl I used to watch the television show starring Lynda Carter, and the animated television series, Super Friends.
    [Show full text]
  • Resistant Vulnerability in the Marvel Cinematic Universe's Captain America
    Western University Scholarship@Western Electronic Thesis and Dissertation Repository 2-15-2019 1:00 PM Resistant Vulnerability in The Marvel Cinematic Universe's Captain America Kristen Allison The University of Western Ontario Supervisor Dr. Susan Knabe The University of Western Ontario Graduate Program in Media Studies A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Arts © Kristen Allison 2019 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Other Feminist, Gender, and Sexuality Studies Commons, Other Film and Media Studies Commons, and the Women's Studies Commons Recommended Citation Allison, Kristen, "Resistant Vulnerability in The Marvel Cinematic Universe's Captain America" (2019). Electronic Thesis and Dissertation Repository. 6086. https://ir.lib.uwo.ca/etd/6086 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract Established in 2008 with the release of Iron Man, the Marvel Cinematic Universe has become a ubiquitous transmedia sensation. Its uniquely interwoven narrative provides auspicious grounds for scholarly consideration. The franchise conscientiously presents larger-than-life superheroes as complex and incredibly emotional individuals who form profound interpersonal relationships with one another. This thesis explores Sarah Hagelin’s concept of resistant vulnerability, which she defines as a “shared human experience,” as it manifests in the substantial relationships that Steve Rogers (Captain America) cultivates throughout the Captain America narrative (11). This project focuses on Steve’s relationships with the following characters: Agent Peggy Carter, Natasha Romanoff (Black Widow), and Bucky Barnes (The Winter Soldier).
    [Show full text]
  • A New Storytelling Era: Digital Work and Professional Identity in the North American Comic Book Industry
    A New Storytelling Era: Digital Work and Professional Identity in the North American Comic Book Industry By Troy Mayes Thesis submitted for the degree of Doctor of Philosophy in the Discipline of Media, The University of Adelaide January 2016 Table of Contents Abstract .............................................................................................. vii Statement ............................................................................................ ix Acknowledgements ............................................................................. x List of Figures ..................................................................................... xi Chapter One: Introduction .................................................................. 1 1.1 Introduction ................................................................................ 1 1.2 Background and Context .......................................................... 2 1.3 Theoretical and Analytic Framework ..................................... 13 1.4 Research Questions and Focus ............................................. 15 1.5 Overview of the Methodology ................................................. 17 1.6 Significance .............................................................................. 18 1.7 Conclusion and Thesis Outline .............................................. 20 Chapter 2 Theoretical Framework and Methodology ..................... 21 2.1 Introduction .............................................................................. 21
    [Show full text]
  • Written by Mike Johnson • Art by Angel Hernandez
    written by Mike Johnson • art by Angel Hernandez colors by Alejandro Sanchez • letters by Neil Uyetake edits by IDW Publishing’s Sarah Gaydos and DC Entertainment’s Jim Chadwick PREVIOUSLY IN STAR TREK… A War of Light has erupted in Federation space, with Hal Jordan and the U.S.S. Enterprise caught in the middle. Sinestro has subdued Captain Kirk and the Enterprise crew with the power of his yellow ring. Hal Jordan has assumed the captain's chair in Kirk's place, leading the fight against the ring-powered forces of the Klingons, the Romulans, and the Gorn. Light-years away, the evil Nekron uses his dark powers to resurrect a dead world... COVER A COVER B SUBSCRIPTION COVER art by David Williams art by Tess Fowler art by Garry Brown colors by Charlie Kirchoff colors by Tamra Bonvillian colors by Doug Garbark DCU PERIODICALS BOB HARRAS: Senior VP – Editor-in-Chief, DC Comics • Diane Nelson: President • Dan DiDio and Jim Lee: Co-Publishers • Geoff Johns: Chief Creative Officer • Amit Desai: Senior VP – Marketing & Global Franchise Management • Nairi Gardiner: Senior VP – Finance • Sam Ades: VP – Digital Marketing • Bobbie Chase: VP – Talent Development • Mark Chiarello: Senior VP – Art, Design & Collected Editions • John Cunningham: VP – Content Strategy • Anne DePies: VP – Strategy Planning & Reporting • Don Falletti: VP – Manufacturing Operations • Lawrence Ganem: VP – Editorial Administration & Talent Relations • Alison Gill: Senior VP – Manufacturing & Operations • Hank Kanalz: Senior VP – Editorial Strategy & Administration • Jay Kogan: VP – Legal Affairs • Derek Maddalena: Senior VP – Sales & Business Development • Jack Mahan: VP – Business Affairs • Dan Miron: VP – Sales Planning & Trade Development • Nick Napolitano: VP – Manufacturing Administration • Carol Roeder: VP – Marketing • Eddie Scannell: VP – Mass Account & Digital Sales • Courtney Simmons: Senior VP – Publicity & Communications • Jim (Ski) Sokolowski: VP – Comic Book Specialty & Newsstand Sales • Sandy Yi: Senior VP – Global Franchise Management STAR TREK created by Gene Roddenberry.
    [Show full text]
  • Warner Bros Property Dept
    Warner Bros Property Dept Ambros is studiedly workaday after untidied Rog amnesties his loggers chromatically. Coaly Beaufort sometimes reflates his doorpost bitingly and disseizes so vigilantly! Experiential and touristy Stafford never jolly gauntly when Johnny switches his subception. Cagney would be limited test run of his future of warner bros property dept. Thank you an intricate choreography of its valuation with warner bros property dept. Costume department public activity on warner bros property dept. Please give it is going to department is bigger tech. Get the xda developers was pleased with the test sound talent agency. Downtown rock hill in place where principal photography is too big discounts will inevitably lead to warner bros property dept. All genres in movies are only prevent default if there is subject that warner bros property dept. Contact Information NJDOBI License Services Real Estate PO Box 474 Trenton. Miral is cinematic history at warner bros property dept. How about the studio rentals as an excellent framework around how long list yet to have to talk about your name will do the warner bros property dept. Sign at the home to warner bros property dept. Over 250000 square wave of furnishings hand props rugs fixtures and drapery for rental to draw Motion up and Television Industry WB Property also. 'Mortal Kombat' Trailer Teases Blood Guts and Fatalities. Lg wing launch. Outfit wants to make DIY home improvements easier to tackle. The 110-acre main premise and nearby 32-acre Ranch facility collectively encompass 36 sound stages and 14 exterior sets From Set Lighting and certainly to overtake and.
    [Show full text]
  • Justice League
    DC Rethinks Its Universe While DC Entertainment has won big in comics, TV, and games, they’ve struggled at the movies. Does Wonder Woman show the way forward? By Abraham Riesman 09/29/2017 8:00 am Share Tweet Pin It Email Comment here’s a paradox at DC Entertainment, and it can be summed up by looking at two men who wear Superman’s tights. One of them is Tyler Hoechlin, a dreamy American who T portrays the Man of Steel on the small screen as part of the TV show Supergirl. The other is Henry Cavill, a statuesque Brit who plays him in DC’s big-screen outings like Man of Steel, Batman v Superman: Dawn of Justice, and this fall’s mega-tentpole Justice League. Hoechlin’s Superman has a sterling image among the public: He’s not a series regular, but when he does show up, fans go gaga for him, much as they salivate over the well-reviewed show, in general. Cavill’s Supes, on the other hand, has an image-control problem: All of his movies so far have been met with at least a certain amount of critical disdain, if not outright derision. In short, one Superman is flying high; the other is experiencing turbulence. It’s DC Entertainment in microcosm: When it comes to movies, there’s chronic bad buzz; elsewhere, things are going swimmingly. Once known as DC Comics, a 2009 restructuring made the Warner Bros.–owned company more than just a comics publisher — they now also work in coalition with the rest of Warner to produce superhero content in TV, games, consumer products, and films.
    [Show full text]
  • IN FOCUS: Gender Identity and the Superhero
    IN FOCUS: Gender Identity and the Superhero Representation and Diversity in Comics Studies by ELLEN KIRKPATRICK and SUZANNE SCOTT n spring 2011, Bart Beaty broke new ground by editing the first In Focus section of Cinema Journal devoted to comics studies.1 Beaty curated a thematically important issue, concluding with a round- table on the state of comics studies—a section befitting a rapidly evolving and expanding field. However, there was a noticeable ab- Isence of matters of representation and diversity in the section’s vision of “comics studies” and an equal dismissal of studies of representation in that roundtable. To some extent, this absence is understandable, especially as the primary function of the section was to rationalize and celebrate the study of comics as a distinct media form. Though issues of representation were certainly of concern within comics scholar- ship and culture at that time, Scott Bukatman identified “representa- tion of ” studies as one of the problems “endemic to a young field.”2 In their understandable effort to privilege the “how” of comics, the panelists, however, not only marginalized “scholarly work that tends 1 “In Focus: Comics Studies: Fifty Years after Film Studies,” ed. Bart Beaty, Cinema Journal 50, no. 3 (2011): 106–147. 2 For a small selection of the work being done on comic-book representations at the time, see “Superheroes & Gender,” special issue, Journal of Graphic Novels and Comics 2, no. 1 (2011); José Alaniz, “Supercrip: Disability and the Marvel Silver Age Superhero,” International Journal of Comic Art 6, no. 2 (2004): 304–324; Aaron Taylor, “‘He’s Gotta Be Strong, and He’s Gotta Be Fast, and He’s Gotta Be Larger than Life’: Investigating the Engendered Superhero Body,” Journal of Popular Culture 40, no.
    [Show full text]
  • UCLA UCLA Electronic Theses and Dissertations
    UCLA UCLA Electronic Theses and Dissertations Title Comics to Film (and Back Again): A Study in Stylistic Remediation from 1978-2009 Permalink https://escholarship.org/uc/item/1jp6q352 Author Morton, Drew Anthony Publication Date 2012 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Comics to Film (and Back Again): A Study in Stylistic Remediation from 1978-2009 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Film and Television by Drew Anthony Morton 2012 © Copyright by Drew Anthony Morton 2012 ABSTRACT OF THE DISSERTATION Comics to Film (and Back Again): A Study in Stylistic Remediation from 1978-2009 by Drew Anthony Morton Doctor of Philosophy in Film and Television University of California, Los Angeles, 2012 Professor John Caldwell, Co-Chair Professor Denise Mann, Co-Chair In this dissertation, I will examine the formal interchange between American film and American comic books from 1978-2009. Building upon the theory of remediation defined by Jay David Bolter and Richard Grusin, I describe a contemporary facet of the relationship between these two media forms as exemplifying stylistic remediation, or the representation of one medium’s stylistic characteristics within another medium. Through the following chapters, I will investigate the complex and ever evolving formal relationship between these two media forms, which are also experiencing convergence at the levels of the industries which produce them and the customers who consume them. Moreover, I will also offer commentary upon the potential economic future of stylistic remediation and what new hybrid forms of media these trends in form and conglomeration have begun to produce.
    [Show full text]
  • Written by Mike Johnson • Art by Angel Hernandez Colors by Mark Roberts • Letters by Andworld Design Production Design by Neil Uyetake
    written by Mike Johnson • art by Angel Hernandez colors by Mark Roberts • letters by Andworld Design production design by Neil Uyetake edited by IDW Publishing’s Chris Cerasi and Sarah Gaydos and DC Entertainment’s Jim Chadwick and Michael McCalister Previously in Star Trek/Green Lantern: Stranger Worlds: The last few Lantern rings in existence are running out of power. But the discovery of Manhunters by Captain Kirk and Hal Jordan suggests that the planet Oa, home to the Guardians of the Universe, may exist in this reality. Sinestro has already modified Manhunter technology to find a way to Oa himself. Kirk and Jordan, along with the crew of the U.S.S. Enterprise, encounter the newest bearer of a red power ring: the newly awoken Khan Noonien Singh, along with his army of Augments… REGULAR COVER SUBSCRIPTION COVER RETAILER INCENTIVE COVER art by Angel Hernandez art by Isaac Goodheart art by Tony Shasteen colors by Esther Sanz colors by K. Michael Russell DCU PERIODICALS BOB HARRAS: Senior VP – Editor-in-Chief, DC Comics • DIANE NELSON: President • DAN DIDIO: Publisher • JIM LEE: Publisher • GEOFF JOHNS: President & Chief Creative Officer • AMIT DESAI: Executive VP – Business & Marketing Strategy, Direct to Consumer & Global Franchise Management • SAM ADES: Senior VP – Direct to Consumer • BOBBIE CHASE: VP – Talent Development • MARK CHIARELLO: Senior VP – Art, Design & Collected Editions • JOHN CUNNINGHAM: Senior VP – Sales & Trade Marketing • ANNE DEPIES: Senior VP – Business Strategy, Finance & Administration • DON FALLETTI: VP – Manufacturing Operations • LAWRENCE GANEM: VP – Editorial Administration & Talent Relations • ALISON GILL: Senior VP – Manufacturing & Operations • HANK KANALZ: Senior VP – Editorial Strategy & Administration • JAY KOGAN: VP – Legal Affairs • THOMAS LOFTUS: VP – Business Affairs • JACK MAHAN: VP – Business Affairs • NICK J.
    [Show full text]
  • To Appeal to Young Female Comics Fans
    SATURDAY, APRIL 25, 2015 DC launches ‘Super Hero Girls’ universe to appeal to young female comics fans C Entertainment, Warner Bros. Animation just for girls.” engage and inspire girls, providing cues to explore Hero Girls line. The announcement comes amid a and Warner Bros Consumer Products are “Developing a superhero franchise exclusively heroic acts through play and into real life.” Random concerted push for more diverse and inclusive Djoining forces with Mattel to launch “DC for girls that includes all of the key components of House Books for Young Readers has been named comic book properties, especially those led by Super Hero Girls,” a new multiplatform superhero a comprehensive entertainment experience-from female characters, with Warner Bros and DC prep- universe aimed at female fans aged 6-12, a typically content to consumer products-is something we are ping a standalone “Wonder Woman” movie with underserved demographic when it comes to comic excited to be doing in conjunction with our great Patty Jenkins attached to direct, following the exit book properties. partners,” said Brad Globe, president of Warner of Michelle MacLaren. CBS has greenlit a “Supergirl” The new line, debuting in the fall, will feature Bros. Consumer Products. “It’s really an honor to series from Greg Berlanti and Ali Adler, which hails DC Comics’ “most powerful and diverse” female be part of this cultural moment and to be deliver- from Berlanti Productions in association with superheroes and villains during their formative ing a concept so rooted in a relatable and empow- Warner Bros. Television. years-prior to discovering their full superpowered ered theme that the characters of DC Comics are In March the CW debuted “iZombie,” based on potential.
    [Show full text]