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Version Control (The Reckoner Rises #2)
Par David Robertson. 2022
Braille (abrégé), Braille électronique (abrégé), DAISY audio (CD), DAISY audio (Téléchargement direct), DAISY audio (Zip), DAISY texte (Téléchargement direct), DAISY texte (Zip), Word (Zip), ePub (Zip)
Littérature générale (romans), Personnes handicapées (romans), Science-fiction, Fantastique (récits)Coutumes et cultures, Santé et médecine
Audio avec voix humaine, Braille avec transcription humaine
Production note: This title was created through eBOUND's Literary Image Description project. The author and illustrator wrote or consulted on…
the image descriptions, which are included in the body and narration of the text. "With Cole barely clinging to life, Eva fearlessly takes the lead to investigate Mihko's horrific experiments. But where's Brady? After learning that Mihko reinstated the Reckoner Initiative, Cole and Eva confront Mihko head-on. But a vicious battle with Mihko's newest test subject leaves Cole close to death, and Eva must continue their investigation without him. With Brady missing and Cole in recovery, Eva is on her own. When Eva stumbles across Mihko's secret laboratory, she finds her worst nightmares come to life. What new terrors has Mihko created? And can Eva find Brady before it's too late?"--Back coverBreakdown (The Reckoner Rises #1)
Par David Robertson. 2020
Braille (abrégé), Braille électronique (abrégé), DAISY audio (CD), DAISY audio (Téléchargement direct), DAISY audio (Zip), DAISY texte (Téléchargement direct), DAISY texte (Zip), Word (Zip), ePub (Zip)
Littérature générale (romans), Personnes handicapées (romans), Science-fiction, Fantastique (récits), Fantômes et horreur (récits)Coutumes et cultures, Santé et médecine
Audio avec voix humaine, Braille avec transcription humaine
Production note: This title was created through eBOUND's Literary Image Description project. The author and illustrator wrote or consulted on…
the image descriptions, which are included in the body and narration of the text. Acclaimed writer, David A. Robertson, delivers suspense, adventure, and humour in this stunningly illustrated graphic novel continuation of The Reckoner trilogy. Cole and Eva arrive in Winnipeg intent on destroying Mihko Laboratories. Their plans change when a new threat surfaces, and Cole has terrifying visions. Are these just troubled dreams or are they leading him to a terrifying truth? Will Eva be able to harness her powers to continue the investigation without him?
Braille (abrégé), Braille électronique (abrégé), DAISY Audio (CD), DAISY Audio (Téléchargement Direct), DAISY Audio (Zip), DAISY texte (Téléchargement direct), DAISY texte (Zip), Word (Zip), ePub (Zip)
Policiers (romans), Oeuvres littéraires (romans), Littérature générale (romans)Coutumes et cultures
Audio avec voix de synthèse, Braille automatisé
The first title from The Armory, a new high-quality urban noir imprint edited by Kenji Jasper. “There’s a new player…
stepping into the street-lit spotlight, and he’s one to watch . . . Urban libraries have to get Got.” —Library Journal, Starred Review There’s a young man living in the infamous Crown Heights section of Brooklyn. He is an orphaned college student trying to get through his sophomore year at age twenty-three, years behind the traditional undergraduates. His two best friends, Will and Chief, are an ex-drug dealer and a computer hacker. And his boss, Tony Star, is the most dangerous man in Brooklyn, an arch-criminal with enterprises legal and illegal across New York City and beyond. Our young man’s job is to pick up the weekly take from Star’s establishments and deliver it to him at the end of a night. It’s one day’s work a week for the kind of pay the fortunate get in a year. The money covers his tuition and the small apartment he rents in Crown Heights. Life is simple. And simple means good. Then, everything falls out of balance. Someone decides to rob him for the week’s take, and leave him for dead. His boss, being generous, gives him until the end of the night to recover what’s been stolen. But as the night moves forward and people start dying, this young man begins to learn the hard way that his chosen way of life is nothing but an illusion.After Midnight: Watchmen after Watchmen
Par Suzanne Scott. 2022
Braille (abrégé), Braille électronique (abrégé), DAISY Audio (CD), DAISY Audio (Téléchargement Direct), DAISY Audio (Zip), DAISY texte (Téléchargement direct), DAISY texte (Zip), Word (Zip), ePub (Zip)
Littérature générale (romans)Arts et divertissement, Coutumes et cultures, Art de vivre
Audio avec voix de synthèse, Braille automatisé
Contributions by Apryl Alexander, Alisia Grace Chase, Brian Faucette, Laura E. Felschow, Lindsay Hallam, Rusty Hatchell, Dru Jeffries, Henry Jenkins,…
Jeffrey SJ Kirchoff, Curtis Marez, James Denis McGlynn, Brandy Monk-Payton, Chamara Moore, Drew Morton, Mark C. E. Peterson, Jayson Quearry, Zachary J. A. Rondinelli, Suzanne Scott, David Stanley, Sarah Pawlak Stanley, Tracy Vozar, and Chris Yogerst Alan Moore and Dave Gibbons’s Watchmen fundamentally altered the perception of American comic books and remains one of the medium’s greatest hits. Launched in 1986—“the year that changed comics” for most scholars in comics studies—Watchmen quickly assisted in cementing the legacy that comics were a serious form of literature no longer defined by the Comics Code era of funny animal and innocuous superhero books that appealed mainly to children. After Midnight: “Watchmen” after “Watchmen” looks specifically at the three adaptations of Moore and Gibbons’s Watchmen—Zack Snyder’s Watchmen film (2009), Geoff Johns’s comic book sequel Doomsday Clock (2017), and Damon Lindelof’s Watchmen series on HBO (2019). Divided into three parts, the anthology considers how the sequels, especially the limited series, have prompted a reevaluation of the original text and successfully harnessed the politics of the contemporary moment into a potent relevancy. The first part considers the various texts through conceptions of adaptation, remediation, and transmedia storytelling. Part two considers the HBO series through its thematic focus on the relationship between American history and African American trauma by analyzing how the show critiques the alt-right, represents intergenerational trauma, illustrates alternative possibilities for Black representation, and complicates our understanding of how the mechanics of the show’s production can impact its politics. Finally, the book’s last section considers the themes of nostalgia and trauma, both firmly rooted in the original Moore and Gibbons series, and how the sequel texts reflect and refract upon those often-intertwined phenomena.