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![]() ![]() When the Skybox license ran out, Fleer started making Marvel trading cards. The Marvel trading card license was originally with Skybox. “ was running all the trading card business at Fleer at that time,” Buckley says. So how did they get into the game? Buckley moved over to the card company after his first stint at Marvel and worked with future Marvel Executive Vice President Bill Jemas. ![]() To celebrate the sets that influenced a whole generation, talked with current Marvel President & Publisher – Print, TV & Digital Dan Buckley, and SVP, Marketing, Marvel Studios & Television Michael Pasciullo who both worked on the sets back then as Business Unit Director and Assistant Marketing Manager respectively. The sets branched out to focus on subsections of the Marvel Universe, large events, and even artist-centric collections done by the likes of Andy and Adam Kubert. ![]() By 1999, Marvel sold the Fleer-Skybox brand off, but in that time a variety of comic-based trading cards found their way into fans’ hands. purchased Fleer which then bought out SkyBox in 1995. That same year, Marvel Entertainment Group, Inc. It all started in 1990 with the launch of the Marvel Universe trading cards from a company called Impel that would rebrand itself as SkyBox in 1992. Each came with unique, one-of-a-kind artwork on the front and a variety of offerings on the back from stats and biographies to full comic stories and even additional artwork. Ask just many creators or fans who grew up in the 90’s where they found out about Marvel characters for the first time and you’ll find one recurring answer: trading cards.īefore the days when you could look anyone up on the Internet, legions of fans got their information from the various card sets produced in the 90’s. ![]() ![]() ![]() #define fADOF_ShapeAnamorphRatio 0.2 // //-Horizontal width factor. #define bADOF_ShapeAnamorphEnable 0 // //-Lessens horizontal width of shape to simulate anamorphic bokeh shape seen in movies. #define fADOF_ShapeApertureAmount 0.01 // //-Amount of deformation. You will recognize it when you try it out. #define bADOF_ShapeApertureEnable 0 // //-Enables deformation of bokeh shape into swirl-like aperture. #define fADOF_ShapeCurvatureAmount 0.3 // //-Amount of edge bending. >Additional AL SettingsAdditional AL SettingsBloom SettingsLens Dirt SettingsGaussian Anamorphic Lens Flare SettingsLenz Flare SettingsChapman Lens SettingsGod Rays SettingsAnamorphic Lens FlareMcFX Suite General SettingsGlobal ParametersGlobal ParametersSSAO SettingsRaymarch AO SettingsHBAO SettingsSSGI SettingsRAYMARCH HBAO SettingsSAO SettingsGlobal ParametersGlobal ParametersRing DOF SettingsMagic DOF SettingsGP65CJ042 DOF SettingsMATSO DOF SettingsMCFLY ADVANCED DOF Settings - SHAPEMCFLY ADVANCED DOF Settings - SHAPE MODIFICATIONS 7 #define alAdaptHeatMult 1.0 // //-Multiplier for adaption applied to the HeatHaze shader #define Depth_HeatHazeControle 1 // //-Controles the HeatHaze effect with the depth buffer #define AL_HeatHazeControle 1 // //-Controles the HeatHaze effect with the AL shader #define alAdaptFlareMult 2.5 // //-Multiplier for adaption applied to the anam flare shader #define alAdaptBloomMult 1.2 // //-Multiplier for adaption applied to the bloom shader >Motion FocusAmbient Light SettingsAL Adaptation Parameters less distinct) #define USE_MOTION_FOCUS 0 // //-Smart movement of the camera following motion on the screen for a cinematic look #define AdvancedMB_ToggleKey RFX_ToggleKey // //-No description given #define AdvancedMB_TimeOut 0 // //-Defined Toggle Key will activate the shader until time (in ms) runs out. #define ambSmartInt 0.94 // //-Intensity of smart motion blur effect #define ambIntensity 0.07 // //-Intensity of base motion blur effect #define ambSmartMult 3.5 // //-Multiplication of relevant smart motion blur #define ambSoftness 3.5 // //-Softness of consequential streaks #define ambPrecision 0.0 // //-Increases relevance level of detected smart motion blur #define ambRecall 0.4 // //-Increases detection level of relevant smart motion blur >GemFX Suite General SettingsMotion Blur SettingsAdvanced Motion Blur Settings Higher Amount #define Dos_ToggleKey RFX_ToggleKey // //-No description given >VHS SettingsVHS SettingsFilm Grain SettingsEmboss SettingsHQ4X SettingsHSV SettingsAdd SettingsMult SettingsCurve SettingsTechnicolor SettingsSkyrim Tonemap SettingsSkyrim Tonemap SettingsSkyrim Tonemap SettingsSkyrim Tonemap SettingsSkyrim Tonemap SettingsSkyrim Tonemap SettingsSkyrim Tonemap SettingsColorMood SettingsCrossProcess SettingsReinhard Tonemap SettingsColorMod SettingsSpherical Tonemap SettingsColorHueFX Settings DOSFX Settings #define USE_VHS 0 // //-Enables the base effect (Just NTSC colors) #define Gr8mmFilm_ToggleKey RFX_ToggleKey // //-No description given #define Gr8mmFilmTextureSizeY 5040 // //-Size of the defined texture (Height) #define Gr8mmFilmTextureSizeX 1280 // //-Size of the defined texture (Width) #define Gr8mmFilmTexture "CFX_Gr8mmFilm.png" // //-Defines the texture which contains the single frames #define Gr8mmFilmScroll 0 // //-0: Jumps from frame to frame 1: Scrolls from frame to frame #define Gr8mmFilmBlackFrameMix 0 // //-0: Adds a black frame into the mix 1: No black frame added >TiltShift SettingsTuning Palette Settings GeneralColor Palette ParametersColor Map ParametersColor LUT SettingsGr8mm Film Settings transparent) #define USE_TILTSHIFT 0 // //-TiltShift effect based of GEMFX #define Gaussian_ToggleKey RFX_ToggleKey // //. ![]() #define BloomTexScale 2 // //-0 = Off, 1 = 1/2 Resolution, 2 = 1/4 Resolution. #define GaussBloomQuality 4 // //-Higher #'s = more blur passes #define BloomBlue 1.00 // //-Adds a BLUE tint to bloom. #define BloomGreen 1.00 // //-Adds a GREEN tint to bloom. ![]() >Magnify Shader SettingsDisplay Depth SettingsCommon Suite General SettingsUserCoreStatisticsDepth SettingsCustomFX Suite General SettingsCustom Shader General SettingsCel SettingsDALTONIZE SettingsDeband SettingsDeband debug settingsPaint SettingsAdaptive Sharpen SettingsAdvanced Adaptive Sharpen SettingsGaussian Blur / Unsharpmask SettingsGaussian Bloom Settings 1.00 remove color. #define SS_ToggleKey VK_F12 // //-Toggles the split screen shader #define SSborderWidth 0.002 // //-Width of the border between original and shader image >UI Mask SettingsBorder Shader SettingsSplit Screen Shader Settings y 1 => x #define USE_UIMask 0 // //-A mask that defines which areas of the screen will have no effects applied #include EFFECT(CustomFX, ColorCorrection) #include EFFECT(CustomFX, AdaptiveSharpen) TheLazyFrameworkEffectOrdering:Pipeline.cfg for Mediator v1.1 ![]() ![]() Loesser’s detachment anticipates Beckett and Pinter. Loesser in Guys and Dolls throws the emotions into neutral: feel what you like, he tells audiences, it’s your show as much as mine. Both of those classics demand an emotional response to the love story without it, they fail. ![]() But his little guys were criminal hustlers, and Runyon, a night-desk newspaper hack, worshipped the power of thugs like Arnold Rothstein and Al Capone whose whim sent men to sleep in cement waistcoats… What Frank Loesser did in his music and lyrics in 1950 was to take a long step back from the material, allowing viewers to choose their own level of involvement with the people on stage… To appreciate how far ahead this was of its times you have only to set Guys and Dolls beside its immediate rivals, South Pacific and The King and I. Runyon’s apologists claim that he identified with the little guy, the outsider. The Damon Runyon tales on which the musical is founded are unblushing glorifications of mob rule in Prohibition Noo Yawk. is superficially a comic romance between two reformed gangsters and their everloving molls. Lebrecht wrote about a London revival of Guys and Dolls: It was once true that the whole point of musicals was expressing big emotions with the help of the very powerful and abstract language of music, a language that surpasses even the greatest poetry in its ability to express human emotion, precisely because it is an abstract language but one we all understand.īut not all musicals behave as they should. Though this approach has not been standard practice for most of the history of musical theatre, it has cropped up now and then, in Of Thee I Sing (1931), The Cradle Will Rock (1937), Guys and Dolls (1950), The Threepenny Opera (1954), How to Succeed in Business Without Really Trying (1961), Hair (1968), Company (1970), Grease (1972), Chicago (1975), 42nd Street (1980), Assassins (1990), Bat Boy (1997), and others.Īll these shows broke the big rule of musical comedy, rejecting emotional attachment. Urinetown is a prime example of Ironic Detachment, but it wasn’t the first musical to navigate these conceptual waters. Its application is unique to the musical comedy, an ephemeral entertainment which has found new relevance through its philosophical engagement with 21st century concepts of irony and alienation. requires musical inflexion it is impossible in opera and ballet, which are stiffened by tradition against self-mockery. Ironic Detachment would be unattainable in a Tom Stoppard play because I.D. This degree of Ironic Detachment is the very making of the postmodern hit musical. ![]() Background and analysis by Scott Miller The music amplifies this element of separation, licensing us to stand apart from what we are seeing and enter a third dimension where each of us can individually decide whether to take the plot literally or sardonically, whether to take offense or simply collapse in giggles. ![]() |
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