Into the Spiderverse Jumpchain by U/Guyinthecap
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Creating Super Soldiers for Warfare: a Look Into the Laws of War
CREATING SUPER SOLDIERS FOR WARFARE: A LOOK INTO THE LAWS OF WAR Christopher E. Sawin* I. Introduction “The wars of the future are very likely going to resemble many of the science fiction movies that we are watching right now.”1 Extreme developments in technology coupled with competition for global control have triggered futuristic ideas of utilizing super human * J.D. Candidate, Suffolk University Law School, 2017; Journal of High Technol- ogy Law Managing Editor 2016-2017; B.A. Criminal Justice, Curry College, 2013; United States Marine Corps Veteran, Infantry, 2005-2009. 1 See Michael Snyder, The U.S. Military is Creating Iron Men, Super Soldiers and Terminator Robots to Fight Future Wars, TRUTH (Oct. 10, 2013), archived at http://perma.cc/6ZTE-MYP4 (envisioning that future wars will be fought utilizing robots or human enhancement technology); see also Sean Adl-Tabatabai, US Army Says Next Major War Will Be Fought By Robots and Cyborgs, YOUR NEWS WIRE (July 25, 2015), archived at http://perma.cc/3GUM-Q5VQ (predicting that by around the year 2050, war fighting will be performed by robots and genetically modified super soldiers, rather than ordinary humans). The battlefield of the future will be populated by fewer humans, but these humans would be physically and mentally augmented with enhanced capabilities that improve their ability to sense their environment, make sense of their environment, and interact with one another, as well as with ‘unenhanced humans,’ automated processes, and machines of various kinds. ALEXANDER KOTT ET AL., VISUALIZING THE TACTICAL GROUND BATTLEFIELD IN THE YEAR 2050: WORKSHOP REPORT 7-8 (2015). -
(“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. -
REMEMBER the TAMPA! • a LEGACY of COURAGE DURING WORLD WAR I REMEMBER the TAMPA! a Legacy of Courage During World War I
REMEMBER THE TAMPA!A Legacy of Courage During World War I Written by Nora L. Chidlow,WRITTEN Coast Guard BY NORA Archivist L. CHIDLOW, & Arlyn Danielson,USCG ARCHIVIST Coast Guard Curator AND ARLYNUnited DANIELSON, States Coast Guard CHIEF Historian’s CURATOR, Office USCG UNITED STATES COAST GUARD 1 n Seamen Norman Walpole, left, and Alexander Saldarini, right, at Gibraltar, circa 1917-1918. They were childhood friends from Weehauken, New Jersey, who died together when TAMPA was sunk on 26 September 1918. (Saldarini Collection, U.S. Coast Guard Heritage Assets Collection & Archives) 2 REMEMBER THE TAMPA! • A LEGACY OF COURAGE DURING WORLD WAR I REMEMBER THE TAMPA! A Legacy of Courage During World War I Written by Nora L. Chidlow, Coast Guard Archivist & Arlyn Danielson, Coast Guard Curator UNITED STATES COAST GUARD 3 Special Thanks to the Following People: Robin Gonzalez, Tampa Bay History Center, Tampa, Florida David James, Secretary & Maritime Historian, West Wales Maritime Heritage Society, U.K. Anthony Markes, Tampa researcher, U.K. Robert Pendleton, Naval historian and TAMPA Purple Heart researcher David Swidenbank, Vice Chairman, Porthcawl Museum, Porthcawl, South Wales, U.K. Nancy Turner, TAMPA researcher Brian Garry, American Legion Post #5, Tampa, Florida and all the descendants of TAMPA's crew! 4 REMEMBER THE TAMPA! • A LEGACY OF COURAGE DURING WORLD WAR I Introduction ORLD WAR I, the “War to End All Wars,” introduced an entirely new and more ravaging scale of warfare on both land and at sea. Both sides used new weaponry, techniques, and strategies to devastating effect during this conflict.W During this time, the United States was undergoing many industrial, societal, and technological advancements and changes, which enabled it to become a big supplier of raw and finished goods to European allies fighting the war. -
With Great Power Comes Great Responsibility—A Personal Philosophy for Communicating Science in Society
This Accepted Manuscript has not been copyedited and formatted. The final version may differ from this version. Commentary | History, Teaching, and Public Awareness With Great Power Comes Great Responsibility—A Personal Philosophy for Communicating Science in Society E. Paul Zehr1,2,3,4,5,6 1Rehabilitation Neuroscience Laboratory, University of Victoria, Victoria, BC, Canada 2Human Discovery Science, International Collaboration on Repair Discoveries (ICORD), Vancouver, BC, Canada 3Centre for Biomedical Research, University of Victoria, Victoria, BC, Canada 4Division of Medical Sciences, University of Victoria, BC, Canada 5School of Exercise Science, Physical, and Health Education 6Zanshin Consulting Inc., Victoria, BC, Canada DOI: 10.1523/ENEURO.0200-16.2016 Received: 6 July 2016 Accepted: 21 August 2016 Published: 1 September 2016 Cite as: eNeuro 2016; 10.1523/ENEURO.0200-16.2016 Alerts: Sign up at eneuro.org/alerts to receive customized email alerts when the fully formatted version of this article is published. Accepted manuscripts are peer-reviewed but have not been through the copyediting, formatting, or proofreading process. This is an open-access article distributed under the terms of the Creative Commons Attribution 4.0 International (http://creativecommons.org/licenses/by/4.0), which permits unrestricted use, distribution and reproduction in any medium provided that the original work is properly attributed. Copyright © 2016 the authors 1 With Great Power Comes Great Responsibility— 2 A Personal Philosophy for Communicating 3 Science in Society 4 5 6 7 8 E. Paul Zehr1-6 9 1Rehabilitation Neuroscience Laboratory, Univ. Victoria, Victoria, BC, Canada 10 2 Human Discovery Science, International Collaboration on Repair Discoveries (ICORD), 11 Vancouver, BC, Canada 12 3Centre for Biomedical Research, University of Victoria, Victoria, BC, Canada. -
Goblin Nation Free
FREE GOBLIN NATION PDF Jean Rabe | 320 pages | 10 Oct 2009 | Wizards of the Coast | 9780786951536 | English | United States Goblin Nation (Earth) | Marvel Database | Fandom Spider-Man's activities as a solo New York City-based crime fighter, member of the Avengers, and former member of the Future Foundation has made him one of the most connected heroes in the Goblin Nation Universeand that didn't change when the consciousness of his old foe Doctor Octopus AKA Otto Octavius took command of his body. What did change was the established dynamics between Spidey and many of his fellow heroes. The Superior Spider-Man's brand of egotistical and often violent heroics has rubbed many heroes the wrong way, and the former Doc Goblin Nation isn't shy about voicing his opinions about the so-called "heroes" that cross his path. These new, sometimes contentious, and often explosive dynamics are chronicled every month in the Goblin Nation "Superior Spider-Man Team- Up. How does that feel? And I imagine even with your busy schedule working on television shows like "Mad" and "Robot Chicken" the opportunity to tell stories that team Spider-Man with various characters in the Marvel Universe was to good to pass up. Kevin Shinick: That's exactly right. In fact, I'm thrilled, because the one person I enjoy teaming Spider-Man up with the most is me! So when an opportunity like this comes along I instinctively say yes. It's like a spider-sense that kicks in on its own. Only it comes out of my mouth. -
Spider-Man: Into the Spider-Verse
SPIDER-MAN: INTO THE SPIDER-VERSE Screenplay by Phil Lord and Rodney Rothman Story by Phil Lord Dec. 3, 2018 SEQ. 0100 - THE ALTERNATE SPIDER-MAN “TAS” WE BEGIN ON A COMIC. The cover asks WHO IS SPIDER-MAN? SPIDER-MAN (V.O.) Alright, let’s do this one last time. My name is Peter Parker. QUICK CUTS of a BLOND PETER PARKER Pulling down his mask...a name tag that reads “Peter Parker”...various shots of Spider-Man IN ACTION. SPIDER-MAN (V.O.) I was bitten by a radioactive spider and for ten years I’ve been the one and only Spider-Man. I’m pretty sure you know the rest. UNCLE BEN tells Peter: UNCLE BEN (V.O.) With great power comes great responsibility. Uncle Ben walks into the beyond. SPIDER-MAN (V.O.) I saved a bunch of people, fell in love, saved the city, and then I saved the city again and again and again... Spiderman saves the city, kisses MJ, saves the city some more. The shots evoke ICONIC SPIDER-MAN IMAGES, but each one is subtly different, somehow altered. SPIDER-MAN (V.O.) And uh... I did this. Cut to Spider-Man dancing on the street, exactly like in the movie Spider-Man 3. SPIDER-MAN (V.O.) We don’t really talk about this. A THREE PANEL SPLIT SCREEN: shots of Spider-Man’s “products”: SPIDER-MAN (V.O.) Look, I’m a comic book, I’m a cereal, did a Christmas album. I have an excellent theme song. (MORE) 2. SPIDER-MAN (V.O.) (CONT'D) And a so-so popsicle. -
Spider-Verse Characters
Fighting In 40 Alias Space Knight Am Combat Sense Am Spider Climb A buzzing in your head alerts you You can walk/run on vertical and Agility In 40 Name Eugene Thompson of danger. You cannot be horizontal surfaces at 2 areas Strength Am 50 ID Secret blindsided, and may make (+1 area per extra two arms). Endurance In 40 Group US Army, defensive actions if you make a Am Balance successful power feat. Your Reason Gd 10 Guardians of the You can automatically walk on Galaxy, T-Bolts Intuition in combat is equal to this tightropes. An Agility Feat lets Intuition Rm 30 power rank. If the sense is Origin Alien you walk on unsteady surfaces, Psyche Ex 20 nullified, all Agility feats are or to fall 30 feet without Base NYC, Galaxy reduced by -1CS. damage. Health FASE 170 ( ) Job Soldier, Agent Am Webbing Gd Swinging Karma (RIP) 60 Once-bully turned friend of You shoot webs up to 7 areas, Swing 3 areas. Popularity 10 Peter Parker, Flash Thompson lost once per three rounds. Ty Camouflage his legs while carrying his partner to Resources Ty 6 Gd Armor You can blend with your safety in Iraq. The symbiote provides protection surroundings, for +2CS Stealth. from blunt attacks. He bonded with the Klyntar symbiote known as Venom, granting Guns (+1CS), Leadership, him Spider-Man’s powers. Martial Arts A (no size Drax took him to Klyntar, where penalties), Martial Arts his symbiote’s predatory instincts Amputee Ex Prosthetic Legs and irrationality were calmed. Flash When separated from the These let you walk as normal, B (+1CS to hit when unarmed), and the symbiote keep these urges symbiote, you have no legs. -
Graphic Novels & Trade Paperbacks
AUGUST 2008 GRAPHIC NOVELS & TRADE PAPERBACKS ITEM CODE TITLE PRICE AUG053316 1 WORLD MANGA VOL 1 TP £2.99 AUG053317 1 WORLD MANGA VOL 2 TP £2.99 SEP068078 100 BULLETS TP VOL 01 FIRST SHOT LAST CALL £6.50 FEB078229 100 BULLETS TP VOL 02 SPLIT SECOND CHANCE £9.99 MAR058150 100 BULLETS TP VOL 03 HANG UP ON THE HANG LOW £6.50 MAY058170 100 BULLETS TP VOL 04 FOREGONE TOMORROW £11.99 APR058054 100 BULLETS TP VOL 05 THE COUNTERFIFTH DETECTIVE (MR) £8.50 APR068251 100 BULLETS TP VOL 06 SIX FEET UNDER THE GUN £9.99 DEC048354 100 BULLETS TP VOL 07 SAMURAI £8.50 MAY050289 100 BULLETS TP VOL 08 THE HARD WAY (MR) £9.99 JAN060374 100 BULLETS TP VOL 09 STRYCHNINE LIVES (MR) £9.99 SEP060306 100 BULLETS TP VOL 10 DECAYED (MR) £9.99 MAY070233 100 BULLETS TP VOL 11 ONCE UPON A CRIME (MR) £8.50 STAR10512 100 BULLETS VOL 1 FIRST SHOT LAST CALL TP £6.50 JAN040032 100 PAINTINGS HC £9.99 JAN050367 100 PERCENT TP (MR) £16.99 DEC040302 1000 FACES TP VOL 01 (MR) £9.99 MAR063447 110 PER CENT GN £8.50 AUG052969 11TH CAT GN VOL 01 £7.50 NOV052978 11TH CAT GN VOL 02 £7.50 MAY063195 11TH CAT GN VOL 03 (RES) £7.50 AUG063347 11TH CAT GN VOL 04 £7.50 DEC060018 13TH SON WORSE THING WAITING TP £8.50 STAR19938 21 DOWN TP £12.99 JUN073692 24 NIGHTFALL TP £12.99 MAY061717 24 SEVEN GN VOL 01 £16.99 JUN071889 24 SEVEN GN VOL 02 £12.99 JAN073629 28 DAYS LATER THE AFTERMATH GN £11.99 JUN053035 30 DAYS OF NIGHT BLOODSUCKERS TALES HC VOL 01 (MR) £32.99 DEC042684 30 DAYS OF NIGHT HC (MR) £23.50 SEP042761 30 DAYS OF NIGHT RETURN TO BARROW HC (MR) £26.99 FEB073552 30 DAYS OF NIGHT -
Civil War 2099
MIGUEL O’HARA WAS A YOUNG GENETICS GENIUS EMPLOYED AT THE MEGACORPORATION ALCHEMAX IN THE FUTURE CITY OF NUEVA YORK! ONE OF HIS EXPERIMENTS--TO REPLICATE THE POWERS OF THE PRESENT-DAY SPIDER-MAN--WAS TURNED AGAINST HIM AND REWROTE HIS DNA TO MAKE IT 50 PERCENT SPIDER! AFTER LEARNING HOW TO USE HIS AMAZING NEW ABILITIES, MIGUEL BECAME... CIVIL WAR 2099 CHAPTER TWO PETER DAVID WILL SLINEY RACHELLE ROSENBERG WRITER ARTIST COLOR ARTIST VC’S CORY PETIT FRANCESCO MATTINA LETTERER COVER ARTIST CHARLES BEACHAM MARK PANICCIA EDITOR SENIOR EDITOR AXEL ALONSO JOE QUESADA EDITOR IN CHIEF CHIEF CREATIVE OFFICER DAN BUCKLEY ALAN FINE PUBLISHER EXEC. PRODUCER SPIDER-MAN CREATED BY STAN LEE & STEVE DITKO SPIDER-MAN 2099 No. 14, October 2016. Published Monthly except in February and August by MARVEL WORLDWIDE, INC., a subsidiary of MARVEL ENTERTAINMENT, LLC. OFFICE OF PUBLICATION: 135 West 50th Street, New York, NY 10020. BULK MAIL POSTAGE PAID AT NEW YORK, NY AND AT ADDITIONAL MAILING OFFICES. © 2016 MARVEL No similarity between any of the names, characters, persons, and/or institutions in this magazine with those of any living or dead person or institution is intended, and any such similarity which may exist is purely coincidental. $3.99 per copy in the U.S. (GST #R127032852) in the direct market; Canadian Agreement #40668537. Printed in the USA. Subscription rate (U.S. dollars) for 12 issues: U.S. $26.99; Canada $42.99; Foreign $42.99. POSTMASTER: SEND ALL ADDRESS CHANGES TO SPIDER-MAN 2099, C/O MARVEL SUBSCRIPTIONS P.O. BOX 727 NEW HYDE PARK, NY 11040. -
ABSTRACT SHAEFFER, MATHEW TODD. with Great Power and Great
ABSTRACT SHAEFFER, MATHEW TODD. With Great Power and Great Responsibility: The Representation of America's Social Anxieties and Historical Events in The Amazing Spider- Man, 1962-1979. (Under the direction of committee Dr. David Zonderman). This thesis examines The Amazing Spider-Man comic series as a means to explore historical events and social anxieties during the 1960s and 1970s. Recently, superheroes have reclaimed a prominent place in American culture as superhero films are surging in popularity. Using The Amazing Spider-Man, I hope to highlight how superhero comic books are a valuable source for American cultural history and warrant serious scholarly research. To conduct my research, I looked at the scholarship on superhero comics, which has expanded greatly over the last few years, and conducted a close examination of Amazing Fantasy #15 (1962), which first introduces Spider-Man, and nearly 200 issues of The Amazing Spider-Man published from 1963 until 1979. I found that The Amazing Spider-Man comic series offers insight into American society and American values during the time period. I examine how The Amazing Spider-Man advocates the responsible use of science during the new Nuclear Age while also reflecting the dangers of new and unconstrained science. I study how the main character, Peter Parker, deals with social acceptance, general social anxieties, and finding his place in the world. I look at how the hero struggles with Cold War tensions, losing loved ones, seeing friends shipped off to war, social unrest, civil rights issues, student protests, political corruption, and much more. Finally, I look at how the perception of gender changes during the 1960s and 1970s by examining the evolution of both male and female gender values portrayed in the comic and how those values evolve over time. -
Antiques & Collectables
Hugo Marsh Neil Thomas Forrester Director Shuttleworth Director Director Antiques & Collectables Thursday 27th May 2021 at 10.00 For enquires regarding this auction, please contact: Special Auction Services Baylies Hall Tower Street Dudley West Midlands DY1 1NB Telephone: 01384 931001 Email: [email protected] www.specialauctionservices.com Thomas Forrester Director Due to the nature of the items in this auction, buyers must satisfy themselves concerning their authenticity prior to bidding and returns will not be accepted, subject to our Terms and Conditions. Additional images are available on request. Buyers Premium with SAS & SAS LIVE: 20% plus Value Added Tax making a total of 24% of the Hammer Price the-saleroom.com Premium: 25% plus Value Added Tax making a total of 30% of the Hammer Price 1. 52 (2006/07) DC Comics, 13. Adventure Comics #259 (1959) 26. Amazing Adventures Marvel Complete run #1 - #52 all bagged and DC, bagged and boarded (1973-1976), #19 #20 #29 #30 #31 #32 boarded (52) £20-40 #33 #33 #34, all bagged and boarded (9) £20-40 £20-40 14. Adventure Comics #259 (1959) 2. 2001: A Space Odyssey (1976) DC, bagged and boarded 27. The Amazing Spider-Man Marvel, #1 #5 #8 #10, all bagged and £20-40 Marvel, King-Size Special #5 (1968) boarded (4) Giant-Size Spider-Man #6 (1975) King- £30-50 15. Adventure Comics (1963-1967) Size Annual #15 (1981) Amazing Spider- DC, #308 #310 #340 #353, all bagged and Man Annual #24 (1990), all bagged and 3. Action Comics #285 (1962) DC, boarded (4) boarded (4) Supergirl’s existence revealed to the £20-40 £40-60 world, bagged and boarded £20-40 16. -
Superheroes & Stereotypes: a Critical Analysis of Race, Gender, And
SUPERHEROES & STEREOTYPES: A CRITICAL ANALYSIS OF RACE, GENDER, AND SOCIAL ISSUES WITHIN COMIC BOOK MATERIAL Gabriel Arnoldo Cruz A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY December 2018 Committee: Alberto González, Advisor Eric Worch Graduate Faculty Representative Joshua Atkinson Frederick Busselle Christina Knopf © 2018 Gabriel Arnoldo Cruz All Rights Reserved iii ABSTRACT Alberto González, Advisor The popularity of modern comic books has fluctuated since their creation and mass production in the early 20th century, experiencing periods of growth as well as decline. While commercial success is not always consistent from one decade to the next it is clear that the medium has been and will continue to be a cultural staple in the society of the United States. I have selected this type of popular culture for analysis precisely because of the longevity of the medium and the recent commercial success of film and television adaptations of comic book material. In this project I apply a Critical lens to selected comic book materials and apply Critical theories related to race, class, and gender in order to understand how the materials function as vehicles for ideological messages. For the project I selected five Marvel comic book characters and examined materials featuring those characters in the form of comic books, film, and television adaptations. The selected characters are Steve Rogers/Captain America, Luke Cage, Miles Morales/Spider-Man, Jean Grey, and Raven Darkholme/Mystique. Methodologically I interrogated the selected texts through the application of visual and narrative rhetorical criticism.