One dimensional television characters are a thing of the past--today's popular shows feature intricate storylines and well developed characters. From the brooding Damon Salvatore in The Vampire Diaries to the tough-minded Rick Grimes in The Walking Dead, protagonists are not categorically good, antagonists often have relatable good sides, and heroes may act as antiheroes from one episode to the next. This collection of new essays examines the complex characters in Orange Is the New Black, Homeland, Key & Peele, Oz, Empire, Breaking Bad, House, and Buffy the Vampire Slayer.

In 2008, when the Bitcoin Whitepaper was published online, the technology world changed forever. Hero / Villain: Satoshi: The Man Who Built Bitcoin tells the story of how an awkward, Australian security specialist first created something revolutionary under the moniker “Satoshi Nakamoto” and how he spent every moment thereafter either in self-imposed hiding or in court trying to protect his invention. Initially intended to be a force for good that would allow people to transact directly and inexpensively online, it wasn’t long before Bitcoin became something else: a store of value with a cast of powerful investors hell-bent on manipulating it for their own gain. For the first time, the real inside story of Bitcoin is laid bare—a story with greed, power, and betrayal at its heart. With firsthand interviews with the man most likely to be Bitcoin’s inventor and those who have fought with him to ensure Bitcoin fulfills its positive and potentially world-changing purpose, Hero / Villain: Satoshi: The Man Who Built Bitcoin serves as an important book in the context of a world where cryptocurrency is in turmoil.

At Master Dreadthorn's School for Wayward Villains, young villains must learn to be bad. Rune Drexler, Big Bad Wolf Jr., and Jezebel Dracula are feeling pretty good (or bad!) about their evildoer skills. But that was before two new students joined the ranks: Princess Ileana and mad-scientist-in-training, Dodge VonDoe. The new kids have big secrets. One of them is actually a student at Dr. Do-Good's School for Superior Superheroes and he or she is here to take down Master Dreadthorn. Can Rune and Co. protect their school from the superheroes? Everything you know about good and evil is turned upside down in this delightful series where the "bad guys" wind up saving the world . . . reluctantly.

This gripping study of the inner struggle between personal ambition and social conscience explores the eternal conflict between the heroic «I» and the social «We». Religion, myth and biography guide us through the hero's life from extraordinary beginnings to triumph, vilification, defeat and resurrection. As the fascinating story unfolds, we realize its deep importance. The psychology of the hero's journey is our own. The hero's story is the story of our own inner life.

Your hero is not the most important character in your book. Your villain is. Are you fed up of drowning in two-dimensional villains? Frustrated with creating clichés? And failing to get your reader to root for your villain? In 13 Steps to Evil, you’ll discover: + How to develop a villain’s mindset + A step-by-step guide to creating your villain from the ground up + Why getting to the core of a villain’s personality is essential to make them credible + What pitfalls and clichés to avoid as well as the tropes your story needs Finally, there is a comprehensive writing guide to help you create superbad villains. Whether you’re just starting out or are a seasoned writer, this book will help power up your bad guy and give them that extra edge. These lessons will help you master and control your villainous minions, navigate and gain the perfect balance of good and evil, as well as strengthening your villain to give your story the tension and punch it needs. If you like dark humor, learning through examples and want to create the best villains you can, then you’ll love Sacha Black’s guide to crafting superbad villains. Read 13 Steps to Evil today and start creating kick-ass villains.

This compilation of essential information on 100 superheroes from comic book issues, various print and online references, and scholarly analyses provides readers all of the relevant material on superheroes in one place. The American Superhero: Encyclopedia of Caped Crusaders in History covers the history of superheroes and superheroines in America from approximately 1938–2010 in an intentionally inclusive manner. The book features a chronology of important dates in superhero history, five thematic essays covering the overall history of superheroes, and 100 A–Z entries on various superheroes. Complementing the entries are sidebars of important figures or events and a glossary of terms in superhero research. Designed for anyone beginning to research superheroes and superheroines, The American Superhero contains a wide variety of facts, figures, and features about caped crusaders and shows their importance in American history. Further, it collects and verifies information that otherwise would require hours of looking through multiple books and websites to find.

What You See Is What You Hear develops a unique model of analysis that helps students and advanced scholars alike to look at audiovisual texts from a fresh perspective. Adopting an engaging writing style, the author draws an accessible picture of the field, offering several analytical tools, historical background, and numerous case studies. Divided into five main sections, the monograph covers problems of definitions, history, and most of all analysis. The first part raises the main problems related to audiovisuality, including taxonomical and historical questions. The second part provides the bases for the understanding of audiovisual creative communication as a whole, introducing a novel theoretical model for its analysis. The next three part focus elaborate on the model in all its constituents and with plenty of case studies taken from the field of cinema, TV, music videos, advertising and other forms of audiovisuality. Methodologically, the book is informed by different paradigms of film and media studies, multimodality studies, structuralism, narratology, “auteur theory” in the broad sense, communication studies, semiotics, and the so-called “Numanities.” What You See Is What You Hear enables readers to better understand how to analyze the structure and content of diverse audiovisual texts, to discuss their different idioms, and to approach them with curiosity and critical spirit.

The heroes, villains, and monsters portrayed in such popular science fiction television series as Heroes, Lost, Battlestar Galactica, Caprica, Doctor Who, and Torchwood, as well as Joss Whedon's many series, illustrate a shift from traditional, clearly defined characterizations toward much murkier definitions. Traditional heroes give way to "gray" heroes who must become more like the villains or monsters they face if they are going to successfully save society. This book examines the ambiguous heroes and villains, focusing on these characters' different perspectives on morality and their roles within society. Appendices include production details for each series, descriptions and summaries of pivotal episodes, and a list of selected texts for classroom use. Instructors considering this book for use in a course may request an examination copy here.

Is human creativity a wall that AI can never scale? Many people are happy to admit that experts in many domains can be matched by either knowledge-based or sub-symbolic systems, but even some AI researchers harbor the hope that when it comes to feats of sheer brilliance, mind over machine is an unalterable fact. In this book, the authors push AI toward a time when machines can autonomously write not just humdrum stories of the sort seen for years in AI, but first-rate fiction thought to be the province of human genius. It reports on five years of effort devoted to building a story generator--the BRUTUS.1 system. This book was written for three general reasons. The first theoretical reason for investing time, money, and talent in the quest for a truly creative machine is to work toward an answer to the question of whether we ourselves are machines. The second theoretical reason is to silence those who believe that logic is forever closed off from the emotional world of creativity. The practical rationale for this endeavor, and the third reason, is that machines able to work alongside humans in arenas calling for creativity will have incalculable worth.