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Does Spider-Man Have What It Takes To Kill Zombie Mary Jane? – Screen Rant

Spider-Man has the unenviable choice of whether or not to kill his zombified partner, Mary Jane in the latest issue of Marvel Zombies Resurrection.

This article contains spoilers forMarvel Zombies: Resurrection #3

Peter Parker and Mary Jane go together like zombies and decapitation. Or maybe its like peanut butter and jelly, except Spider-Mans peanut butter is an ax and Mary Janes jelly is her head, because Spider-Man may have to kill his zombified life partner.

Spider-Man has been aiding Reed and Sue Richards children in their quest to find a cure to the infection that has turned all superheroes - and the remaining human population that hasnt already become food - into zombies. Thezombie disease came from Galactus corpse, which crash landed on earth and its revealed in Marvel Zombies: Resurrection #3 that the infected can travel the multiverse via portals into Limbo thanks to a zombified Magik. As Spider-Mans crew of zombie killers/would-be infection healers arrive at the hives central location in the underwater city of Atlantis, they are surrounded by a legion of zombie superheroes and none other than the love of Peter Parkers life.

Related: Marvel's Deadliest Version of Punisher Joins The Zombie Apocalypse

Now undead, Mary Jane offers immortality to Spider-Man via infection. Creative team Phillip Kennedy Johnson and Leonard Kirk offer up an unenvious choice to Peter Parker: kill M.J. or turn into a zombie. The everlasting life of a zombie could seem a romantic notion to Peter, who could spend eternity with his partner. An immortality marred by the grim prospect of killing to eat and watching his girl devour everyone in sight, but immortality nonetheless.

Peter has spent every issue of this seriesrevisiting his past mistakes through horrid nightmares that play out at the beginning of each comic. In his flashbacks, Spider-Man relives the early days of the infection. Most heroes fell quickly and Spider-Man was stuck caring for Valeria and Franklin Richards after their parents turned. He couldnt kill Reed and Sue then but he certainly wasnt going to let the kids join the family business of brain eating. But now faced with the option to finally stop running and living in constant fear, does Spider-man have what it takes to kill?

Spider-Man is one of the more altruistic heroes and has often sacrificed himself for the greater good. But there is no greater good option here; its just kill or turn. Spider-Man and Mary Jane are meant for each other, but does that love extend into the afterlife? Will Spider-Man be able to stomach the remains of dead flesh as well as the regretful choice of turning zombie to be with his love? It seems unlikely that Spider-Man would give up his mortal life to be with M.J. when he still has the Richards kids to keep care of. Though it surely has to be tempting.

The alternatives to becoming a zombie are not ideal. Spider-Man and his cohorts are surrounded by super-powered undead and are trapped in the sunken city of Atlantis. Its down to fight, flight or become a feast for the undead fiends. The limited series is set to wrap up with the next issue, so Spider-Mans impossible choice will probably lead up to the conclusion of the story. And in a series rife with bleak choices it only makes sense that Spider-Man is faced with the ultimate one.

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Confronting The Dead In The Actun Tunichil Muknal Cave In Belize – TravelAwaits

The sheer number of pots, dark and brown pottery of all sizes, was staggering. Early explorers say more than 1,400 pots were found just laying in plain sight in the flowstone pools, visible to the naked eye with no need for excavation. Thousands more are likely buried under layers of calcite, each one begging Chac for rain, rain, please bring the rain.

We all slinked along the ridges of the pool, inches away from artifacts that had survived for centuries in the dark.

Look down, said Ian.

It took me a second to realize I was staring down at a skull, its yellowed jaw missing its two front teeth like some cheerful toddler. Several years before, a photographers long lens knocked the teeth out as he bent over too far for that perfect picture.

Above and past the ladder of doom, another skull laid face down. A large hole in the back of the skull made me think this soul was bludgeoned, but I was wrong.

A man, holding his own and his wifes digital camera, had struggled for a couple of shots, and he accidentally dropped his wifes camera, which burst through the cranium.

For the powers that be in Belize, that was nearly the last straw. Terrified of the continued damage to the relics and remains, the government planned to close the cave, but the official guides begged and pleaded, and a compromise was made.

No photos. No cameras. No gear. So far, that rule has worked, and no other major incidents of damage have occurred since, Ian said.

This is our livelihood, he said. We fought to keep the cave open for tours. We go through a long training to become guides. Its an honor.

Staring at my crystallized boy, it was an honor for me to be in the dark with him, to remember him in some small way for what he gave up to try to save his people.

His death wasnt enough for Chac. The rains didnt come. Massive cities were left abandoned for the jungle to reclaim, and his people scattered defeated and lost across Belize, Honduras, Guatemala, and Mexico.

But still, The Crystal Maiden remains silent and still and glowing under the eyes of tourists curious for a glimpse of immortality. For me, the dangers of the underworld were worth the chance to slip back into history and honor the dead.

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50 years old | Ainos daughter has been the most demanding coworker of illustrator Ville Tietvinen Nothing suited her without negotiation – Pledge…

The conscious does not believe that anything digital will last very long.

Cartoon artist and illustrator Ville Tietvinen turns 50, but his thoughts revolve on three time levels within a radius of 5,000 years, from the Bronze Age to the present.

Iiro Kttnerin scripted cartoon work Spacing is nearing completion.

Its based on the earliest found Aramaic scroll that tells a version of a 5,000-year-old flood story, Tietvinen says.

An archaeological detective story in modern times explores what really happened in the days of Noah and how history was rewritten in 450 BC when book scrolls were burned in the Jerusalem temple.

Spacing will be released next fall. Knowledgeable and known as a screenwriter, Kttner has used the University of Helsinkis Old Testament Exegesis Lecturer as an expert. Kirsi Valkamaatawho, according to Tietvinen, knows the Bronze Age very well.

The Dead Sea the scrolls have made the Knowledgeable think modern digital. There are still mostly parts of them, but something has survived.

SpacingWhen making the book, the belief in anything permanent has faltered. But if anything about us survives, then books. I dont think anything digital will last very long. I cling to analog and as old ways as possible to tell new stories.

Culture and art have traditionally been seen to represent the mortal mans desire for immortality, a means to leave a mark on the world of itself.

Immortality was also discussed by the photographer Maija Tammen made with Immortal (2020), a combination of art and non-fiction. It tells of a Hydra polyp that does not age and could live forever unless external factors kill it.

Known with Kttner has done the same Tree stories trilogy, picture books for adults. Thinning was supposed to be the next part of the series, but the Knowledgeable liked the idea by asking Kttner to expand the comic script from it.

About thinning becomes more than 140 pages long, the most extensive work of the conscious then Invisible hands comic book work (2011).

The book about a paperless Moroccan immigrant received tremendous publicity, was taken in four editions, and translated into German, French, Swedish, and Arabic.

Invisible hands i did five years, drawing took three years. Thinning Ive done a couple of years. A cartoon is a cumbersome way of telling stories, so its not worth using for day flies. But I miss that dialogue of image and word.

Knowledgeable especially to draw his comics in a laborious, almost as laborious style as his illustrations. Many cartoonists use lighter techniques.

Invisible hands after the conscious artistic burden has been lightened by collaborators, Kttner and Tammi, but also Aino Tietvinen, his own daughter, with whom Tietvinen made a book mixing comics and picture books Just a bad dream (2013) Ainos dreams.

I thought I was a perfectionist, but Maija was interested in all the steps of making a book. It is enjoyable to work with Iiro because he knows everything about the structures of the stories and is therefore able to break them.

But Aino has definitely been the most demanding partner. Nothing suited him without negotiation. But I had to illustrate his imagination.

At the time of writing, Aino Tietvinen was 67 years old.

Ville Tietvinen became interested in making comics only as an adult, while studying. He studied architecture. First-born Smiling moon (1995) was born then Harri Hannulan with.

We started making the best cartoon in the world. Now I hope the publisher has rejected it. I graduated as an architect, but I havent done those jobs in a single day. I am not formally valid for anything I do.

In addition to his own books, Tietvinen has made layouts, stamps, posters and more for other books. After comics, he is best known for magazine illustrations. He has done journalistic illustration Ville Hnninen with book Narrative image (2018).

Even in illustrating magazines, the Knowledgeable is more fascinated by paper than the web, even though he uses digital aids in drawing. He says the golden age of newspaper illustration is ten years behind. Before, more than half of Knights work was in it, now about a quarter.

Illustration can deepen the news in a different way than photography, but the savings have struck and it is being used less all the time. Images increase but content does not. It is claimed that we live in visual time, but this does not always seem to be the case.

Who?

Born in Helsinki in 1970.

Graduated as an architect from the Helsinki University of Technology in 2000.

Illustrations from the 1990s to Helsingin Sanomat, Yliopisto magazine and Suomen Kuvalehti, among others.

Comic books: Smiling Moon (1995), Birds and Seas (2003), Invisible Hands (2011), Only Bad Dream (2013).

Storybook series Trees of Trees (20142015) with Iiro Kttner.

Picture book Invisible (2016) with Elina Hirvonen.

Narrative image non-fiction book (2018) on journalistic illustration with Ville Hnninen.

Art book Immortal Lost Memoirs of Cornelia Dulac Concerning the Freshwater Polyp Hydra (2020) with Maija Tammi.

Awards include: Finnish Critics Associations Criticism Incentives for Birds and the Sea 2004, Finnish Cultural Foundations Invisible Hands Award 2011.

Turns 50 on Tuesday 20.10.

.

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Requiem For A Theme: Film Composer Clint Mansell On The Sound Of Sadness – Delaware First Media

The 2000 film Requiem for a Dream celebrates its 20th anniversary this fall, and in that time there's at least one part of its legacy that's never faded: the music. The movie's haunted original score spawned a kind of breakout hit that would ripple through media for years to come, while also kickstarting a new career for its British-born composer, Clint Mansell.

Mansell churned out a whole batch of disparate musical ideas after reading the script for the film, which director Darren Aronofsky co-adapted with Hubert Selby Jr. from the 1978 novel of the same name, about four characters succumbing to addiction. The sketch that became the score's central theme, Mansell remembers, was track 17 out of 20 on a demo CD he'd made, and sounded like kind of a hip-hop slow jam: "It even had sort of an 808 beat under it," he says. It didn't yet have the stabbing melody line that would become its hallmark; for now it was just three sad, descending chords.

Aronofsky had originally asked Mansell to write a hip-hop score for the story, since that was the music of the Brooklyn director's youth, but Mansell kept getting stuck. He was on the verge of quitting when Aronofsky flew to New Orleans where Mansell was living in an apartment owned by and adjacent to Trent Reznor for a desperate session of just throwing ideas from the CD against scenes in the film. They randomly tried the theme track under a scene where the character Marion (Jennifer Connelly), who has just slept with her therapist for drug money, stumbles out into a violent thunderstorm and vomits. "And it was just like, oh my God, what's this?" Mansell says. "It was one of those magical moments where image plus music creates this third element."

He developed that seedling into a piece called "Lux Aeterna," and it became the core idea of the score, an addictive uroboros of despair that was further elevated by the artistry of Kronos Quartet, who performed it for the recording. "It's not just the chords, it's not just the melody," Mansell says of the track's essential power, "it's the life that [Kronos] breathed into it." The theme plays in slightly different variations throughout the film during the speed-fueled montage of Sara (Ellen Burstyn) cleaning her apartment, or when Tyrone (Marlon Wayans) flees a drug dealer's limo after a violent shootout and it crescendos in the finale as the four main characters each curl up into a fetal position. "Darren had said, 'It's like a horror movie, really. Every time that the addiction wins, that's a win for the monster,' " Mansell recalls. " 'Lux Aeterna' is basically a monster theme."

Requiem was only the composer's second film score, and he says he felt way out of his depth. A self-taught guitar player from the industrial town of Stourbridge, 100 miles north of London, Mansell formed the band Pop Will Eat Itself when he was 19. The group's sample-heavy style a mashup of post-punk, rock and hip-hop was dubbed "grebo." They didn't garner any big hits, but "like the best music of that time, you felt like you were in a club," Reznor says. "If you saw other people at that rack in the record store, or wearing a t-shirt, you shared some common insight and secret society vibe. [The band] felt like a refreshing breath of truth. It wasn't concerned about political correctness or anything else. It just felt like an interesting collage of music and presentation. It just felt alive."

Reznor liked PWEI so much that he signed the band to his label, Nothing Records. He says that in his New Orleans base of operations at the time, "We had a big studio with a lot of rooms for people to hang out, and it also had two separate apartments attached to the building. At some point, after we had toured together and Clint and I had become friends and drinking buddies and kind of comrades, I vaguely remember he was in some form of crisis in his life, and was living in New York and needed to get away. And I said, 'Well, there's an apartment here. Anytime, you know indefinitely if you want to stay there, there's nobody living there.' "

Mansell was transitioning out of PWEI, and had just written an electronic score for Aronofsky's first feature, Pi. He moved into one of the apartments, and Reznor bought him his first Apple computer and Pro Tools setup. "I remember him working super hard, and my recollection is it taking quite a bit of time, and just hearing peripherally about the frustrations and the learning curve but a real excitement," he says. "And to my amazement, this incredible film pops out, with this incredible soundtrack. I was really happy for him. And suddenly he's a big film composer."

Though Reznor says Mansell didn't directly inspire his own evolution into a film composer 10 years later with The Social Network, he adds: "Clint would have given me the confidence to feel like it could be done. You know, it's not an impossible thing. He's proven you can do that, without 20 years of university studies and degrees."

Requiem for a Dream premiered at the Cannes Film Festival in May 2000, and was released in theaters that December. Burstyn received an Oscar nomination for her performance as an aging woman in unglamorous descent, but the film a relentlessly bleak, hallucinogenic trip that crescendos into a symphony of debasement wasn't exactly a smash. Aronofsky chose to release it unrated to avoid an NC-17 rating, which all but relegated it to art houses.

Likewise, the "monster theme" for this controversial, indie downer should have faded into obscurity. Instead, it quietly became a monster hit not on the radio, but relentlessly licensed in other media. Most of that can be traced to its usage in the theatrical trailer for The Lord of the Rings: The Two Towers in 2002, where it was given an "epic" remix, goosed with a warlike choir and full orchestra, which was created specially for the trailer by Simone Benyacar, Daniel Nielsen and Veigar Margeirsson.

After that, the "Requiem for a Tower" remix kept getting used in movie trailers including for The Da Vinci Code, I Am Legend and Sunshine as well as for video games (Assassin's Creed), advertising campaigns (Canon cameras, Molson Canadiaan beer) and on TV shows (The Late Show with David Letterman, So You Think You Can Dance). Mansell wasn't paid much up front for the score, but he held onto the writing and publishing rights. Each licensing fee would have brought in somewhere between $35,000 and $100,000. "If I could do that every day, you know, fantastic," he says, laughing.

Mansell's film scoring career ignited after Requiem. He scored four more films for Aronofsky, including Noah, the Grammy-nominated Black Swan -- where he applied a remix approach to the music of Tchaikovsky and The Fountain, about a man whose wife is dying of cancer and his desperate quest for immortality. It had been discovering David Bowie that turned a young Mansell onto music in the 1970s; in 2009, Bowie's son Duncan Jones found himself using the scores from Requiem and The Fountain as reference tracks for his sci-fi thinker, Moon so he asked Mansell to score it.

Moon and Requiem became favorites of another director, Ben Wheatley, leading him and Mansell to collaborate on 2015's High-Rise and, most recently, a new adaptation of the Daphne du Maurier classic Rebecca for Netflix. "The thing that I love about his music in general," Wheatley says, "is the sorrow, the sadness of things. As light and as romantic as it can sound, there is always that underscore, undertow, of sadness. And I definitely feel that is totally appropriate for [Rebecca,], because the story is sad about things."

In 2014, sorrow paid a personal visit to Mansell: His girlfriend, actress Heather Mottola, died of complications from pneumonia at just 29. The last thing they'd seen in a theater together was a concert film of Lou Reed performing his polarizing album Berlin.

"Obviously I was grieving, and in a lot of shock," Mansell says. "It was traumatic. I did therapy and grief counseling, and they all kind of pointed at the idea that, 'You should express yourself through music, and do something musical for her.' " He ultimately decided to make a track-for-track cover album of Berlin, which he released this summer.

Even though Reed's subject matter is grim drugs, murder, doomed romance Mansell and his collaborator, Clint Walsh, decided to make it in the glam punk style that Mottola loved. "The reinterpretation of the music actually became about us doing it, not what it represented," he says. "We had fun making that record. The original record is very downbeat, and it's bleak. I think we found some hope in our version."

Mansell's collaborators tend to say he's a pretty cheery and funny guy, who happens to be drawn to stories in the realm of requiems. "But I think it's more than that," Mansell says for his own part. "I think it's to do with the authenticity of those things, you know, and the stakes of them. They're just the ones that feel real to me, that musically bring something out of me. I want to spend the time with them you know? It feels important to me."

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X-Men: X of Swords Pushes Mr. Sinister Into a Battle With His Own Clone – Screen Rant

In the latest issue of Hellions, Mr. Sinister has the perfect plan to avoid responsibility and danger in X of Swords... or so he thinks.

Warning: spoilers ahead for Hellions #5

Marvel's "X of Swords"event is well underway for the X-Men's island nation of Krakoa, as its ten mutant champions have gone out to collect their blades for the coming tournament against Arakko, with the winner claiming Krakoa as the prize. This is all being orchestrated by Lady Saturnyne, the regent of Otherworld, whose realm stands between Krakoa and its long lost sibling nation of Arakko, which has been taken over by the forces of Apocalypse's children. While Krakoa's Quiet Council deliberates, one of their members, Mr. Sinister, comes up with a plan to stop the coming conflict before it even starts. However, he gets more than he bargained for by proposing this plan, motivating Sinister to do something quite drastic (with hilarious results).

Mr. Sinister's amazing plan is quite sinister (surprise, surprise), but possibly very effective. Sinister wants to send his team of Hellions to Otherworld to try and steal the swordsthat Arakko's champions are searching for, thereby forcing a forfeit and precluding the need for any bloodshed or loss of life, as the mutants' ability to resurrect has been disabled. As a result, the Council reaches a majority vote to send the Hellions on a mission to fulfill Sinister's plan. However, the Council also votes to send Sinister along as well to lead his team, something that he was not expecting or wanting at all. With the Council having spoken, Mr. Sinister has no choice but to go to Otherworld and risk death. Or does he?

Related:X-Men Theory: X of Swords Will End With a Sinister Betrayal

After meeting with the Council, Sinister returns to Bar Sinister, his resident base of operations on Krakoa. Almost immediately, he thaws out one of his clones to go instead inHellions #5,written by Zeb Wells with art by Carmen Carnero. However, a clone of Sinister is still Sinister, personality and all, so why should he go when he just woke up? Caught in a stalemate with himself, the two Sinisters do the only thing they can to resolve the issue: The Noble Contest.

Of course, readers have no clue which Sinister won the "noble contest" of Rock, Paper, Scissors, though part of the fun of this interaction is that they don't really need to. Furthermore, it totally makes sense that Sinister would have his own secret and illegal cloning facility off the books, as his experiments towards creating Chimera mutantsare no doubt already underway. Plus, it comes in handy to always have a decoy and means of immortality. Even if he ends up being the one who has to risk his life, at least he can be confident that he'll live on with the next clone.

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Altered Carbon fans need to do this after watching show – Looper

Altered Carbon is based on the 2002 novel of the same name by author Richard K. Morgan. That book is followed by the sequels Broken Angels and Woken Furies. Although there will always be the requisite book versus adaptation arguments, the Altered Carbon fan base appears to be happy with Morgan's series.

In a Reddit threadentitled "Are the books worth it?," u/IssueAcrobatic starts the conversation by writing, "So Altered Carbon s1 is probably my favorite piece of cinematic work ever, the world and the concepts are just f***ing perfect. I love Kovac' [sic] character and all of the small really well thought out details (Kovac [sic] poisoning himself to lower his body temp and get past a scanner) and stuff like that. My question is, are the books good? Are they worth a read?"

Suffice it to say, other users would agree that the books are, in fact, worth the read. "The books are amazing," another user responded. "So gritty and visceral. Richard Morgan is an all around amazing author." In case fans of the show still aren't convinced, another user said, "All the books are worth reading. They're all really good. The world is more fleshed out and there are plenty of those little details. The books handle Envoys better than the show. Kovacs feels way more op."

As can be expected, the TV show contains some different elements than the book series. Another user mentions, "The biggest difference is Quell and Quellism it's a completely different philosophy in the books and I think the show makes it worse. Also, the Envoy Corps are not the Quellist Black Brigades in the books, they are an elite version of Protectorate forces."

While there are other differences such as the Elders already being extinct in the booksas opposed to the last remaining Elder appearing in the second season of the TV series fans appear to appreciate the literature just as much as the show, if not more.

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