Stark Comic Quotes

We've searched our database for all the quotes and captions related to Stark Comic. Here they are! All 8 of them:

Stark raving mad.
Stieg Larsson
Peabody waved her PPC triumphantly. “It’s the Kirk thing, The Enterprise thing. It reminded me I’d hit this name that made me snicker when I was running the van—the Cargo. Here it is. Tony Stark.” “Oh, baby.” McNab blew her a double-handed kiss. “Good call.” “It’s gotta be, right?” Peabody said to McNab. “It’s his style.” “Who the hell is Tony Stark?” Eve demanded. “Iron Man,” Roarke told her. “Superhero, genius, innovative engineer, and billionaire playboy.” “Iron Man? You’re talking about a comic book guy?” “Graphic novel,” Roarke and McNab said together.
J.D. Robb (Calculated in Death (In Death, #36))
He caught the first man in the back of the knee before they even knew he was there, and the heavy axehead split flesh and bone like rotten wood. Logs that bleed, Tyrion thought inanely as the second man came for him. Tyrion ducked under his sword, lashed out with the axe, the man reeled backward... and Catelyn Stark stepped up behind him and opened his throat. The horseman remembered an urgent engagement elsewhere and galloped off suddenly.
George R.R. Martin (A Game of Thrones (A Song of Ice and Fire, #1))
So far we have had a séance, with spirit possession, a White Lady walking by night, a perambulating suit of armor, a diabolical character in a black cloak, and even a semi-dead man with a look of stark staring horror. It isn’t even good horror fiction; it’s straight out of The Mysteries of Udolpho. By some straining of the brain I could believe in ghosts; but I can’t believe in a ghost that acts like Terror Comics.
Elizabeth Peters (Borrower of the Night (Vicky Bliss, #1))
For example, if you name a sheep “jeb_”, you will get a sheep with wool that is fading through color cycles, however, you will get the sheep’s original color when you harvest wool from it. When you name a rabbit “toast”, it will look like a skinned rabbit, a tribute to the legendary lost rabbit of a player’s girlfriend, “toast the bunny”. If you name a mob with “Grumm” or “Dinnerbone”, you can make a mob turn upside down! These are awesome Minecraft secrets for players.
Ben Stark (MINECRAFT: Minecract Tips, Tricks And Secrets: (Minecraft, Minecraft Books, Minecraft Handbook, Minecraft Comics, Minecraft Secrets, Video Games, Minecraft Hacks, Minecraft Mobs))
It was as if the writers had used up their limited supply of nuance on the film’s script and only had bucketfuls of played-out tropes left for the comics. It’s a pretty stark example of what happens when you let people tell their own stories…and when you don’t.
Kevin A. Patterson (Love's Not Color Blind: Race and Representation in Polyamorous and Other Alternative Communities)
It's a great indy movie with many a spark, Robert Downey Jr starring as Tony Stark. Only that it didn't have the public recognition, Now are the headlines about films in exhibition: Many good movies with no channel to portrait All end up with a few public to its own fate. No need to say who made them obliterate. (AnA Cross+Tic for Iron Man)
Ana Claudia Antunes (ACross Tic)
The dramatic strategy of the show provides a simple and effective means to blend melodrama with farce (which Sondheim claims as his “two favorite forms of theatre because … they are obverse sides of the same coin”).37 Starkly put, the show develops a pattern of first scaring the hell out of its audience and then rescuing the situation through humor, each time by introducing Mrs. Lovett into a situation saturated with Sweeney Todd’s wrenching angst. This scare-rescue pattern happens twice to great effect, at the beginning and end of Act I, but its real payoff is the devastating conclusion, where there is no comic rescue. The denial of this previous pattern greatly intensifies the darkness of the supremely bleak ending, making the show’s musical profile seem operatic to Broadway audiences even though, ironically in this respect, the denouement unfolds with only intermittent singing.38 But the musical dimension of the show is also deliberately operatic, as it interweaves, Wagner-like, a host of recurring motives, mostly related to each other through a common origin in the Dies Irae, from the Catholic requiem mass. The Dies Irae (literally, “Day of Wrath”; see example 7.1) was taken up as a symbol of death and retribution in music throughout the nineteenth century and continuing into the twentieth (the most important early such use was by Berlioz in his 1830 Symphonie fantastique). Most scene changes bring back “The Ballad of Sweeney Todd,” which includes both fast and slow versions of the Dies Irae (example 7.1) and builds up to a frenetic, obsessive chorus of “Sweeney, Sweeney.
Raymond Knapp (The American Musical and the Performance of Personal Identity)