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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. -
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. -
![Archons (Commanders) [NOTICE: They Are NOT Anlien Parasites], and Then, in a Mirror Image of the Great Emanations of the Pleroma, Hundreds of Lesser Angels](https://docslib.b-cdn.net/cover/8862/archons-commanders-notice-they-are-not-anlien-parasites-and-then-in-a-mirror-image-of-the-great-emanations-of-the-pleroma-hundreds-of-lesser-angels-438862.webp)
Archons (Commanders) [NOTICE: They Are NOT Anlien Parasites], and Then, in a Mirror Image of the Great Emanations of the Pleroma, Hundreds of Lesser Angels
A R C H O N S HIDDEN RULERS THROUGH THE AGES A R C H O N S HIDDEN RULERS THROUGH THE AGES WATCH THIS IMPORTANT VIDEO UFOs, Aliens, and the Question of Contact MUST-SEE THE OCCULT REASON FOR PSYCHOPATHY Organic Portals: Aliens and Psychopaths KNOWLEDGE THROUGH GNOSIS Boris Mouravieff - GNOSIS IN THE BEGINNING ...1 The Gnostic core belief was a strong dualism: that the world of matter was deadening and inferior to a remote nonphysical home, to which an interior divine spark in most humans aspired to return after death. This led them to an absorption with the Jewish creation myths in Genesis, which they obsessively reinterpreted to formulate allegorical explanations of how humans ended up trapped in the world of matter. The basic Gnostic story, which varied in details from teacher to teacher, was this: In the beginning there was an unknowable, immaterial, and invisible God, sometimes called the Father of All and sometimes by other names. “He” was neither male nor female, and was composed of an implicitly finite amount of a living nonphysical substance. Surrounding this God was a great empty region called the Pleroma (the fullness). Beyond the Pleroma lay empty space. The God acted to fill the Pleroma through a series of emanations, a squeezing off of small portions of his/its nonphysical energetic divine material. In most accounts there are thirty emanations in fifteen complementary pairs, each getting slightly less of the divine material and therefore being slightly weaker. The emanations are called Aeons (eternities) and are mostly named personifications in Greek of abstract ideas. -
How Superman Developed Into a Jesus Figure
HOW SUPERMAN DEVELOPED INTO A JESUS FIGURE CRISIS ON INFINITE TEXTS: HOW SUPERMAN DEVELOPED INTO A JESUS FIGURE By ROBERT REVINGTON, B.A., M.A. A Thesis Submitted to the School of Graduate Studies in Partial Fulfillment of the Requirements for the Degree of Master of Arts McMaster University © Copyright by Robert Revington, September 2018 MA Thesis—Robert Revington; McMaster University, Religious Studies McMaster University MASTER OF ARTS (2018) Hamilton, Ontario, Religious Studies TITLE: Crisis on Infinite Texts: How Superman Developed into a Jesus Figure AUTHOR: Robert Revington, B.A., M.A (McMaster University) SUPERVISOR: Professor Travis Kroeker NUMBER OF PAGES: vi, 143 ii MA Thesis—Robert Revington; McMaster University, Religious Studies LAY ABSTRACT This thesis examines the historical trajectory of how the comic book character of Superman came to be identified as a Christ figure in popular consciousness. It argues that this connection was not integral to the character as he was originally created, but was imposed by later writers over time and mainly for cinematic adaptations. This thesis also tracks the history of how Christians and churches viewed Superman, as the film studios began to exploit marketing opportunities by comparing Superman and Jesus. This thesis uses the methodological framework of intertextuality to ground its treatment of the sources, but does not follow all of the assumptions of intertextual theorists. iii MA Thesis—Robert Revington; McMaster University, Religious Studies ABSTRACT This thesis examines the historical trajectory of how the comic book character of Superman came to be identified as a Christ figure in popular consciousness. Superman was created in 1938, but the character developed significantly from his earliest incarnations. -
The Sinking Man Richard A
Iowa State University Capstones, Theses and Retrospective Theses and Dissertations Dissertations 1990 The sinking man Richard A. Malloy Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/rtd Part of the Fiction Commons, Literature in English, North America Commons, and the Poetry Commons Recommended Citation Malloy, Richard A., "The sinking man" (1990). Retrospective Theses and Dissertations. 134. https://lib.dr.iastate.edu/rtd/134 This Thesis is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Retrospective Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. The sinking man by Richard Alan Malloy A Thesis Submitted to the Graduate Faculty in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS Major: English Approved: Signature redacted for privacy Signature redacted for privacy Signature redacted for privacy For the Graduate College Iowa State University Ames, Iowa 1990 Copyright @ Richard Alan Malloy, 19 9 0. All rights reserved. ----~---- -~--- -- ii TABLE OF CONTENTS page CATERPILLARS 1 ONE ACRE FARM 7 CLIFFS 11 DUMPS 14 DOWN OUT OF UP 21 THE GIVER 22 TWELVE-PACK JUNKER 36 RELUCTANT SHOOTER 45 TAR YARD 50 IDLE AFTER HOURS AT MY DESK 57 SOMETHING UNDER MY FOOT 59 WINNOCK 61 PALE MEADOW 66 NOBILITY 76 THE SINKING MAN 78 DUMBBELLS 84 A LATE SHARED VISION 90 THE COMMITMENT 92 1 CATERPILLARS Bill kneaded the thin skin over his sternum. -
Prose in Poor Taste
PRO SE IN PO O R TA STE Editors Ben John Smith ~ Arthur Graham Copyright © 2017 by Horror Sleaze Trash ISB N -13: 978-1975745523 IS B N -1 0 : 19 7 5 7 4 5 5 2 3 /is book is a work of 3ction. Names, characters, business organizations, places, events, and incidents either are the product of the authors’ im agination or are used 3ctitiously. /e use of nam es of actual persons (living or dead), places, and characters is incidental to the purposes of the plot, and is not intended to change the entirely 3c tio n a l c h a ra c te r o f th e w o rk . No part of this work may be reproduced, stored in a retrieval system , o r tran sm itted b y an y m ean s w ith o u t the w ritten perm ission of the authors or publisher, with the exception of short excerpts used in articles and critical review s. Foreword HST isn’t run w ith any real sense of consistency or urgency. O r professionalism for that fucking m atter. It’s run from the oddity-crow ded spare room in a house in W estmeadow s, M elbourne. It’s ran w ith a scream ing one year old running dow n the hallw ay banging on a pot lid with a wooden spoon. It’s ran in conjunction w ith a full-tim e job as a sandblaster w ith a m ortgage. It’s patched together w ith saliva and claret. -
Brevard Live March 2012
Brevard Live March 2012 - 1 2 - Brevard Live March 2012 Brevard Live March 2012 - 3 4 - Brevard Live March 2012 Brevard Live March 2012 - 5 6 - Brevard Live March 2012 Content march 2012 FEATURES page 51 LES DUDEK CY CURNIN Columns During the 70s and 80s, Les Dudek made The Fixx, lead by Cy Curnin, hit the charts with flashy hits like “One Thing Charles Van Riper waves as one of the hottest guitar players Political Satire on the rock scene. He loaned his talent to Leads to Another,” “Saved By Zero” 20 famous performers like Boz Scaggs and and “Red Skies.” Matt Bretz recently Calendars Steve Miller. With 6 solo albums under talked to Curnin. his belt, he’s now part of rock history. Page 16 23 Live Entertainment, Page 10 Concerts, Festivals THE MOODY BLUES PADDLE BOARDING Chris Long Paddle boarding has just started to come 28 Political Blog Since the 60s, as a part of the histor- into the limelight with its enjoyable ath- ic original British invasion of Super letic characteristics and the rider’s spirited Brevard Scene groups, The Moody Blues have lit up unity with the water. Joe Cronin checked We’re Out There! the hearts and minds of millions of rock it out. 31 fans creating soundtracks of our lives. Page 39 Page 13 Out & About Brevard’s vibrant CHRISTOPHER BREWER 37 club & restaurant GLEN CAMPBELL scene He’s been a legend in country music. He is an artist with a very distinct and recognizable style who has been on a Just recently he announced that he has Life & The Beach Alzheimer’s. -
Django Unchained (2012) Screenplay
' \Jl't-H- en �'1 J drtecitJ b/ qu eh+; h -r�r... n+ l ho ,r Lo\5-t- () .<..+-t vof I 3/ I;)-- ftp�;L 2 t 1-h 1) \ I ' =------- I EXT - COUNTRYSIDE - BROILING HOT DAY As the film's OPENING CREDIT SEQUENCE plays, complete with its own SPAGHETTI WESTERN THEME SONG, we see SEVEN shirtless and shoeless BLACK MALE SLAVES connected together with LEG IRONS, being run, by TWO WHITE MALE HILLBILLIES on HORSEBACK. The location is somewhere in Texas. The Black Men (ROY, BIG SID, BENJAMIN, DJANGO, PUDGY RALPH, FRANKLYN, and BLUEBERRY) are slaves just recently purchased at The Greenville Slave Auction in Greenville Mississippi. The White Hillbillies are two Slave Traders called, The SPECK BROTHERS (ACE and DICKY). One of the seven slaves is our hero DJANGO.... he's fourth in the leg iron line. We may or may not notice a tiny small "r" burned into his cheek ("r" for runaway), but we can't help but notice his back which has been SLASHED TO RIBBONS by Bull Whip Beatings. As the operatic Opening Theme Song plays, we see a MONTAGE of misery and pain, as Django and the Other Men are walked through blistering sun, pounding rain, and moved along by the end of a whip. Bare feet step on hard rock, and slosh through mud puddles. Leg Irons take the skin off ankles. DJANGO Walking in Leg Irons with his six Other Companions, walking across the blistering Texas panhandle .... remembering... thinking ... hating .... THE OPENING CREDIT SEQUENCE end. EXT - WOODS - NIGHT It's night time and The Speck Brothers, astride HORSES, keep pushing their black skinned cargo forward. -
"Superman" by Wesley Strick
r "SUPERMAN" Screenplay by Wesley Strick Jon Peters Entertainment Director: Tim Burton Warner Bros. Pictures July 7, 1997 y?5^v First Draft The SCREEN is BLACK. FADE IN ON: INT. UNIVERSITY CORRIDOR - LATE NIGHT A YOUNG PROFESSOR hurries down the empty hall — hotly murmuring to himself, intensely concerned ... A handsome man, about 30, but dressed strangely — are we in some other country? Sometime in the past? Or in the future? YOUNG PROFESSOR It's switched off ... It can't be ... But the readings, what else — The Young Professor reaches a massive steel door, like the hatch of a walk-in safe. Slides an ID card, that's emblazoned with a familiar-looking "S" shield: the door hinges open. The Young Professor pauses — he hadn't noted, till now, the depths of his fear. Then, enters: INT. UNIVERSITY LAB - LATE NIGHT Dark. The Professor tries the lights. Power is off. Cursing, he's got just enough time, as the safe door r swings closed again, to find an emergency flashlight. He flicks it on: plays the beam over all the bizarre equipment, the ultra-advanced science paraphernalia. Now he hears a CREAK. He spins. His voice quavers. YOUNG PROFESSOR I.A.C. ..? His flashlight finds a thing: a translucent ball perched atop a corroding pyramid shape. It appears inanimate. YOUNG PROFESSOR (cont'd) Answer me. And finally, from within the ball, a faint alow. Slyly: BALL How can I? You unplugged me, Jor- El ... Remember? Recall? The Young Professor -- JOR-EL -- looks visibly shaken. y*fi^*\ (CONTINUED) CONTINUED: JOR-EL I did what I had to, I.A.C. -
The Art of Reverse-Engineering Flash Exploits [email protected]
The art of reverse-engineering Flash exploits [email protected] Jeong Wook Oh July 2016 Adobe Flash Player vulnerabilities As recent mitigations in the Oracle Java plugin and web browsers have raised the bar for security protection, attackers are apparently returning to focus on Adobe Flash Player as their main attack target. For years, Vector corruption was the method of choice for Flash Player exploits. Vector is a data structure in Adobe Flash Player that is implemented in a very concise form in native memory space. It is easy to manipulate the structure without the risk of corrupting other fields in the structure. After Vector length mitigation was introduced, the attackers moved to ByteArray.length corruption (CVE-2015-7645). Control Flow Guard (CFG) or Control Flow Integrity (CFI) is a mitigation introduced in Windows 8.1 and later, and recently into Adobe Flash Player. Object vftable (virtual function table) corruption has been very common technology for exploit writers for years. CFG creates a valid entry point into vftable calls for specific virtual calls, and exits the process when non-conforming calls are made. This prevents an exploit’s common method of vftable corruption. Reverse-engineering methods Dealing with Adobe Flash Player exploits is very challenging. The deficiency of usable debuggers at the byte code level makes debugging the exploits a nightmare for security researchers. Obfuscating the exploits is usually a one-way process and any attempt to decompile them has caveats. There are many good decompilers out there, but they usually have points where they fail, and the attackers usually come up with new obfuscation methods as the defense mechanism to protect their exploits from being reverse-engineered. -
A M E R I C a N C H R O N I C L E S the by JOHN WELLS 1960-1964
AMERICAN CHRONICLES THE 1960-1964 byby JOHN JOHN WELLS Table of Contents Introductory Note about the Chronological Structure of American Comic Book Chroncles ........ 4 Note on Comic Book Sales and Circulation Data......................................................... 5 Introduction & Acknowlegments................................. 6 Chapter One: 1960 Pride and Prejudice ................................................................... 8 Chapter Two: 1961 The Shape of Things to Come ..................................................40 Chapter Three: 1962 Gains and Losses .....................................................................74 Chapter Four: 1963 Triumph and Tragedy ...........................................................114 Chapter Five: 1964 Don’t Get Comfortable ..........................................................160 Works Cited ......................................................................214 Index ..................................................................................220 Notes Introductory Note about the Chronological Structure of American Comic Book Chronicles The monthly date that appears on a comic book head as most Direct Market-exclusive publishers cover doesn’t usually indicate the exact month chose not to put cover dates on their comic books the comic book arrived at the newsstand or at the while some put cover dates that matched the comic book store. Since their inception, American issue’s release date. periodical publishers—including but not limited to comic book publishers—postdated -
Flashpoint: the World of Flashpoint Featuring the Flash Free
FREE FLASHPOINT: THE WORLD OF FLASHPOINT FEATURING THE FLASH PDF Sean Ryan,Ig Guara | 256 pages | 06 Apr 2012 | DC Comics | 9781401234089 | English | United States Flashpoint (comics) - Wikipedia Account Options Sign in. Top charts. New arrivals. Not a dream, not an imaginary story, not an elseworld. Family is alive, Flashpoint: The World of Flashpoint Featuring the Flash ones are strangers, and close friends are different, gone or worse. It's a world on the brink of a cataclysmic war-- but where are Earth's Greatest Heroes to stop it? Now the question remains: Where--or rather when--is Bart Allen? The young speedster races to unravel the tangled web of time and he's joined by an unlikely ally: Flashpoint: The World of Flashpoint Featuring the Flash otherworld hero Hot Pursuit! One inmate is looking to break his way out and seek revenge on the hero who put him there. The temperature rises as the classic Flash villain Heatwave takes center stage! Reverse Flash: Everything you knew changed in a flash--all thanks to one super-powered speedster. A one-man superhero squad, Cold has captured and eliminated many of the super-villains terrorizing the city, but what dark secret does he hold that he fears getting out? Reviews Review Policy. Published on. Original pages. Best for. Android 3. Content protection. Read aloud. Learn more. Learn More. Flag as inappropriate. It syncs automatically with your account and allows you to read online or offline wherever you are. Please follow the detailed Help center instructions to transfer the files to supported eReaders.