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Council Lands - Project: Gorgon Wiki

Oh, and by the way, you can wrath at instant speed, and Hythonia can attack the turn she grows monstrous. This is not a Gorgon you want to mess around with. So, what can we do with Hythonia? Ideally, we want to try to curve from 2 mana to 4, then from 4 to 6, and then from 6 to 8. This means somethings like Everflowing Chalice are especially valuable because they fit into two critical spots on our curve.

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Everflowing Chalice. Coalition Relic. Wayfarer's Bauble. Solemn Simulacrum. Thran Dynamo. Cabal Coffers. Temple of the False God. Ancient Tomb. So, now what? We can put Hythonia into play, but what then? The most straightforward plan just involves activating her, attacking, and casting backup Hythonias or Clone s. With the Magic rules in place, we can just choose to keep the new copy and grow monstrous all over again.

If we can manage that a few turns in a row, perhaps backed up by some pump or burn, our opponent is just dead.

The game plan here is pretty direct: Ramp into Hythonia, wrath, and attack. Rinse and repeat as necessary. Netherborn Phalanx , Profane Command , and Haunted Fengraf serve as additional copies of Hythonia to help ensure you never run short. Solemn Simulacrum and Crypt Ghast do double-duty, making sure you have the mana to get your engines running and gaining buying you some time in the midgame.

Liliana of the Dark Realms sort of does it all in this deck.

A Gorgon's Mask: The Mother in Thomas Mann's Fiction (Psychoanalysis and Culture, 12)

She helps you hit land drops and picks off key creatures early on. As the game goes on, she can speed up your clock by a turn with Hythonia or let you burn people out with Profane Command. You can even set up a board with double Gorgons using Netherborn Phalanx to tutor up Visara. Visara the Dreadful by Brad Rigney.

Salvaging Station. Some of these are a little tricky to build around. Still, there are a few interesting ideas here. If you can expect your opponents to play enough creatures, you can create a dominating board presence by using Endless Whispers. Swamp count matters here. Campbell, which began appearing in Siegel and Schuster peddled their creation continually, tinkering with him through the years.

At first he wore street clothes, but later they put him in the familiar brightly colored tights and red cape. Note, also, that Doc's first name, Clark, was the same as that given to Superman by his adoptive parents, the Kents. Finally, the Superman story was accepted by editor M.

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Gaines, and the first thirteen-page story appeared in the first issue of Action Comics, with a surprising picture of the garishly costumed Superman on the cover, holding an automobile above his head. At the time, although pulp magazines and movie serials had introduced mass audiences to fantastic characters and gimmicks, there still had been nothing quite like this. The comic book superhero is as stylized and stilted a convention as any other in popular art, but long familiarity has blunted the weirdness of it for most of us.

The son of a scientist, a being from a heavier world, boasting enhanced capabilities, Superman was Aarn Munro, Clark Savage, and Hugo Danner rolled into one. His creators rounded out his personal history with a Moses-like rescue from certain death, and the result was amazingly successful. Steranko claims that success didn't really strike until the fourth issue of Action Comics, after publisher Harry Donenfeld commissioned a survey to find out why sales were up and found that the Superman features were responsible.

Each issue of Action Comics carried many features, after all. Donenfeld ordered the new character "plastered on every Action cover. They sold out. He gave Superman his own book, reprinting one early story. It, too, sold out. If readers saw it on the cover, they knew it was in the magazine. And so superheroes have colorful costumes not for some odd psychological reason, but because they sold magazines. The early Superman strips were sparse, with few of the conventions we have come to associate with them today.

Lois provided the impetus for many adventures, since Superman was perpetually having to rescue her. Arguably, the first big change—from street clothes to a colorful costume—came about because Superman was a pulp print character w h o had moved to a graphic picture medium. It was only by accident that the advantage o f his costume became known. The next change, however, was deliberate and resulted from another change in medium. Schuster's graphics couldn't be seen over the radio, of course, and Superman's powers had to be suggested by audio effects.

The problem came when the writers tried to advance the story. Radio is a dramatic medium, and it works far better when the story unfolds through dialogue rather than through descriptions given by an omniscient narrator. During those times when Lois Lane was in trouble, Clark Kent needed someone to talk to. He couldn't talk to himself without appearing even more schizophrenic than he already was. So Bob Maxwell, the show's producer, created a new character—"cub" reporter Jimmy Olsen—to give Clark Kent and Superman someone to hold a conversation with.

Another big change came with another change of medium. The Fleischer cartoon studio, previously known for creating Popeye and Betty Boop, began 1.


Used with pfrmisiion. The Nature of Myth 13 working on animated Superman cartoons in early T h e studio released its first, entitled simply Superman, on September 26, T h e cartoons' simplified renderings of Clark, Lois, Perry, and the Planet Jimmy never appeared in any of the seventeen cartoons were effective, and Superman's bright costume was often set off by scenes of the dark city surrounding him.

But one big change was needed. As the introduction to the cartoons noted and as later repeated in the live-action television series , Superman was "faster than a speeding bullet, more powerful than a locomotive, and able to leap tall buildings at a single bound " The figure on the screen performed all of these acts as the voice-over announced them. The leaping over a building seems a peculiar act, and it is not until you watch this that you realize doing so only makes sense for a character w h o cannot fly.

Superman began altering his power from superhuman leaps to true flight in the comics at just the same time he was being adapted to the movie screen. Nevertheless, it wasn't until two years later that the comics explicitly noted his ability to fly. Additional changes made to the character over the years were often due to the story's adaptation for these other media. For instance, in the Fleischer cartoons, Superman on a couple o f occasions changed into his costume in an art deco phone booth with translucent walls. He did this only rarely in the cartoons and never in the comics, on the radio, or in the television show or movies.

But the image o f Superman "changing in a phone booth" has become established indelibly in the public consciousness. All the changes listed above are significant in that they show how the myth changed in response to the limitations or capabilities of a new medium. If examples culled from Superman seem too far-fetched, then consider the story of St. Wilgefortis, daughter o f the king of Portugal. She was betrothed against her will to the king of Sicily but refused to marry him because she had taken a vow of virginity.

Gorgon Petragon (Earth-616)/Expanded History

She prayed for a solution, and Heaven answered her petition in an unusual w a y — s h e grew a beard. The Sicilian king broke off the engagement, and her father had Wilgefortis crucified. This story, it is n o w felt, was inspired by a misunderstanding of an artistic convention. In some cases the crucified Christ was depicted wearing a long gown, rather than the customary loincloth.

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This gown looked like a woman's dress, and the story of Wilgefortis arose to explain w h y a bearded woman was being crucified. The same story is told of other saints, including St. Liberata, St.

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  7. Livrade, and St. Robert Graves was particularly vulnerable to the temptation, and his book The Greek Myths bristles with dubious derivations of myths from images and artworks. Unfortu nately, most of Graves's supposed original images have never been found. Graves has no problem positing their existence, but those of a skeptical bent lack confidence in his explanations.

    The point of these examples is that myths can change through time by the addition of elements prompted by any number of causes.