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Clayface is an alias used by several supervillains appearing in American comic books published by DC Comics. Most incarnations of the character possess clay-like bodies and shapeshifting abilities, and all of them are adversaries of the superhero Batman. In 2009, Clayface was ranked as IGN's 73rd-greatest comic book villain of all time. [1]
They Too Arise was an early work of Arthur Miller. It was a rewrite of No Villain. [1] References This page was last edited on 8 September 2021, at 07:12 (UTC). ...
No Villain is a play written by Arthur Miller during his sophomore year of college in 1936, during spring break. [1] This was his first work, reportedly written in five days in the hope of winning a $250 Hopwood Award in drama, the first of two that he won.
Malcolm Merlyn the Dark Archer (Arthur King) is a highly skilled archer and mercenary. Although primarily an enemy of the Green Arrow, Merlyn has had several encounters with the Batman family as a member of the League of Assassins. David Cain [149] [150] [151] Kelley Puckett Damion Scott: Batman #567 (July 1999)
Arthur Asher Miller (October 17, 1915 – February 10, 2005) was an American playwright, essayist and screenwriter in the 20th-century American theater.Among his most popular plays are All My Sons (1947), Death of a Salesman (1949), The Crucible (1953), and A View from the Bridge (1955).
Abomination (Lam, Chang) Abraham Cornelius; Abraham Erskine; Absorbing Man (Creel, Carl) Adrian Toomes; Agatha Harkness; AIM agents (MODOK's servants) Alpha Dog; Amphibian (Squadron Supreme) Anaconda (Sitznski, Blanche) Ancient One; Apocalypse; Arcade (unknown) Arcanna (Squadron Supreme) Arnim Zola; Angel (Worthington III, Warren) Arsenal; Asp ...
Honors at Dawn, written in 1936, is Arthur Miller's second play (after No Villain /They Too Arise), for which he won a second Avery Hopwood Award. It was written at the University of Michigan , in Ann Arbor, Michigan .
Resurrection Blues is a 2002 play by Arthur Miller. Though Miller was not known for his humor, this play uses a pointed comedic edge to intensify his observations about the dangers, as well as the benefits, of blind belief: political, religious, economic and emotional.