This program unpacks Playstation 3 Theme files (.p3t) so that you can touch-up an existing theme to your likings or use a certain wallpaper from it (as many themes have multiple). But remember, if you use content from another theme and release it, be sure to give credit!
Download p3textractor.zip from above. Extract the files to a folder with a program such as WinZip or WinRAR. Now there are multiple ways to extract the theme.
The first way is to simply open the p3t file with p3textractor.exe. If you don’t know how to do this, right click the p3t file and select Open With. Alternatively, open the p3t file and it will ask you to select a program to open with. Click Browse and find p3textractor.exe from where you previously extracted it to. It will open CMD and extract the theme to extracted.[filename]. After that, all you need to do for any future p3t files is open them and it will extract.
The second way is very simple. Just drag the p3t file to p3textractor.exe. It will open CMD and extract the theme to extracted.[filename].
For the third way, first put the p3t file you want to extract into the same folder as p3textractor.exe. Open CMD and browse to the folder with p3extractor.exe. Enter the following: p3textractor filename.p3t [destination path]Replace filename with the name of the p3t file, and replace [destination path] with the name of the folder you want the files to be extracted to. A destination path is not required. By default it will extract to extracted.filename.
This program unpacks Playstation 3 Theme files (.p3t) so that you can touch-up an existing theme to your likings or use a certain wallpaper from it (as many themes have multiple). But remember, if you use content from another theme and release it, be sure to give credit!
Download p3textractor.zip from above. Extract the files to a folder with a program such as WinZip or WinRAR. Now there are multiple ways to extract the theme.
The first way is to simply open the p3t file with p3textractor.exe. If you don’t know how to do this, right click the p3t file and select Open With. Alternatively, open the p3t file and it will ask you to select a program to open with. Click Browse and find p3textractor.exe from where you previously extracted it to. It will open CMD and extract the theme to extracted.[filename]. After that, all you need to do for any future p3t files is open them and it will extract.
The second way is very simple. Just drag the p3t file to p3textractor.exe. It will open CMD and extract the theme to extracted.[filename].
For the third way, first put the p3t file you want to extract into the same folder as p3textractor.exe. Open CMD and browse to the folder with p3extractor.exe. Enter the following: p3textractor filename.p3t [destination path]Replace filename with the name of the p3t file, and replace [destination path] with the name of the folder you want the files to be extracted to. A destination path is not required. By default it will extract to extracted.filename.
From an alternative name: This is a redirect from a title that is another name or identity such as an alter ego, a nickname, or a synonym of the target, or of a name associated with the target.
This redirect leads to the title in accordance with the naming conventions for common names to aid searches and writing. It is not necessary to replace these redirected links with a piped link.
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This program unpacks Playstation 3 Theme files (.p3t) so that you can touch-up an existing theme to your likings or use a certain wallpaper from it (as many themes have multiple). But remember, if you use content from another theme and release it, be sure to give credit!
Download p3textractor.zip from above. Extract the files to a folder with a program such as WinZip or WinRAR. Now there are multiple ways to extract the theme.
The first way is to simply open the p3t file with p3textractor.exe. If you don’t know how to do this, right click the p3t file and select Open With. Alternatively, open the p3t file and it will ask you to select a program to open with. Click Browse and find p3textractor.exe from where you previously extracted it to. It will open CMD and extract the theme to extracted.[filename]. After that, all you need to do for any future p3t files is open them and it will extract.
The second way is very simple. Just drag the p3t file to p3textractor.exe. It will open CMD and extract the theme to extracted.[filename].
For the third way, first put the p3t file you want to extract into the same folder as p3textractor.exe. Open CMD and browse to the folder with p3extractor.exe. Enter the following: p3textractor filename.p3t [destination path]Replace filename with the name of the p3t file, and replace [destination path] with the name of the folder you want the files to be extracted to. A destination path is not required. By default it will extract to extracted.filename.
Iron Man is a superhero appearing in American comic books published by Marvel Comics. Co-created by writer and editor Stan Lee, developed by scripter Larry Lieber, and designed by artists Don Heck and Jack Kirby, the character first appeared in Tales of Suspense #39 in 1962, and received his own title with Iron Man #1 in 1968. Shortly after his creation, Iron Man became a founding member of the superhero team, the Avengers, with Thor, Ant-Man, the Wasp, and the Hulk. Iron Man stories, individually and with the Avengers, have been published consistently since the character's creation.
Iron Man is the superhero persona of Anthony Edward "Tony" Stark, a businessman and engineer who runs the weapons manufacturing company Stark Industries. When Stark was captured in a war zone and sustained a serious heart wound, he built his Iron Man armor and escaped his captors. Iron Man's suits of armor grant him superhuman strength, flight, energy projection, and other abilities. The character was created in response to the Vietnam War as Lee's attempt to create a likeable pro-war character. Since his creation, Iron Man has been used to explore political themes, with early Iron Man stories being set in the Cold War. The character's role as a weapons manufacturer proved controversial, and Marvel moved away from geopolitics by the 1970s. Instead, the stories began exploring themes such as civil unrest, technological advancement, corporate espionage, alcoholism, and governmental authority.
Major Iron Man stories include "Demon in a Bottle" (1979), "Armor Wars" (1987–1988), "Extremis" (2005), and "Iron Man 2020" (2020). He is also a leading character in the company-wide stories Civil War (2006–2007), Dark Reign (2008–2009), and Civil War II (2016). Additional superhero characters have emerged from Iron Man's supporting cast, including James Rhodes as War Machine and Riri Williams as Ironheart, as well as reformed villains, Natasha Romanova as Black Widow and Clint Barton as Hawkeye. Iron Man's list of enemies includes his archenemy the Mandarin, many supervillains of communist origin, and many of Stark's business rivals.
Errol Flynn was used as a reference for Tony Stark's physical appearance
Following the success of the Fantastic Four in 1961 and the subsequent revival of American comic books featuring superheroes, Marvel Comics set about creating new superhero characters. Stan Lee developed the initial concept for Iron Man.[1] He wanted to design a character who should be unpalatable to his generally anti-war readers, but to make them like the character anyway.[2] Iron Man was created in the years after a permanent arms industry developed in the United States, and this was incorporated into the character's backstory.[3] The character was introduced as an active player in the Vietnam War. Lee described the national mood toward Vietnam during Iron Man's creation as "a time when most of us genuinely felt that the conflict in that tortured land really was a simple matter of good versus evil".[4]
Larry Lieber developed Iron Man's origin and wrote the first Iron Man story, while Jack Kirby and Don Heck were responsible for the initial design.[1][5] Lee modeled Iron Man after businessman Howard Hughes, invoking his physical appearance, his image as a businessman, and his reputation as an arrogant playboy.[6] Kirby and Heck then incorporated elements of the actor Errol Flynn's physical appearance in the design.[7] When first designing the character, Lee wanted to create a modernized Arthurian knight.[8] Kirby initially drew the Iron Man armor as a "round and clunky gray heap", and Heck modified the design to incorporate gadgets such as jets, drills, and suction cups.[9][10] The Iron Man character was created at a time when comic book characters were first depicted struggling with real life problems, and his heart injury was an early example of a superhero with a physical disability.[11]
Iron Man's earliest stories were published in the monster-themed anthology series Tales of Suspense. Marvel premiered several superheroes this way in the 1960s as superhero comics became more popular than traditional science-fiction and horror comics.[9][12] Iron Man's first appearance, "Iron Man is Born!", appeared in Tales of Suspense #39, released in December 1962 with a March 1963 cover date.[12] Though the Iron Man armor was gray in its first appearance, Marvel changed it to gold because of issues with printing.[5] Lee initially delegated the writing duties to other creators at Marvel, but he felt their work was substandard; as with his other characters, Lee reclaimed control of Iron Man so he could write the stories himself.[13]
Heck continued as the primary Iron Man artist until 1965, as Kirby had obligations to other Marvel properties.[9][10] As part of a shuffling to match artists with the characters they were most suited for, Steve Ditko became the artist for Iron Man.[14] Ditko was responsible for only three issues in late 1963, but in this time he redesigned Iron Man's suit from fully gold to the red and gold color scheme that became the character's primary image.[15] Iron Man's recurring nemesis, the Mandarin, first appeared shortly after in Tales of Suspense #50 (1964).[16] By this time, the science-fiction and horror stories were phased out, and Tales of Suspense ran only Iron Man and Captain America stories.[12]
Once Marvel's distributor allowed the company more monthly releases, The Avengers (1963) was developed as a new comic book series.[17] Iron Man was one of the five characters who formed the titular superhero team.[18] By 1965, the difficulty of maintaining continuity between The Avengers and the members' solo titles prompted Lee to temporarily write the original cast out of The Avengers, including Iron Man.[19]
For the first five years of publication, Iron Man represented the United States in Cold War allegories.[4][20] Growing opposition to the American involvement in Vietnam prompted a shift in Iron Man's characterization, which was part of a larger push by Marvel in the late 1960s to be more apolitical.[4][21] Over the years, the letters to the editor column in several issues saw extensive political debate.[22] Lee shifted the stories' focus to espionage and domestic crime, incorporating Marvel's fictional intelligence agency S.H.I.E.L.D. He also incorporated the villains of other Marvel heroes, avoiding Iron Man's primarily communist rogues' gallery and rewriting some of Iron Man's communist villains to have personal motivations independent of their communist allegiances.[23]
Iron Man was one of several characters whom Marvel gave a full-length dedicated series in 1968.[24] Marvel combined the final issues of Tales of Suspense and the Sub-Mariner's Tales to Astonish into a one-shot special, Iron Man and Sub-Mariner.[25]Iron Man then began its run under writer Archie Goodwin.[26] Goodwin reintroduced political themes slowly over the following years, with a focus on domestic issues like racial conflict and environmentalism rather than geopolitics.[27]
I don't feel Tony Stark is a dinosaur, a creature unable to change before the weight of time crushes him aside. Yeah, it is hard in 1977 to praise a millionaire industrialist, playboy and former munitions-manufacturer—but it isn't impossible to change that image. Which is what I plan to do.
When Goodwin became Marvel's editor-in-chief, he assigned Gerry Conway as the writer for Iron Man.[29] Conway was the first of several writers in a four-year effort to reform Iron Man, beginning in 1971, with stories that directly addressed the character's history as a weapons manufacturer.[30] These stories were especially prominent during a run by Mike Friedrich, in which corporate reform of Stark Industries was a recurring subplot.[31]
Iron Man was one of several Marvel characters who declined in popularity during the 1970s, and the series went a period of time without a dedicated writer until Bill Mantlo took over in 1977.[32] The following year, David Michelinie and Bob Layton took charge of the series, beginning with issue #116.[33][34] While inking the series, Layton used issues of GQ, Playboy, and electronics catalogues as visual references,[35] which he and Michelinie used to stay informed on developments in real world technology so the Iron Man armor would always be a more advanced version of what existed.[34] Layton was inspired by the vast collection of specialized outfits used by Batman when designing Iron Man's various armors.[36]
In Iron Man #117 and #118 (1978), Michelinie and Layton replaced many elements that developed over the series' run: they removed Iron Man's romantic interest Whitney Frost and Stark's robotic Life Model Decoy doubles, and they had Stark move to a different home.[37] They introduced Iron Man's new romantic interest, Bethany Cabe, as a feminist character who worked as his bodyguard.[38] The largest change they made was to make Iron Man an alcoholic, an unprecedented move for a major comic book hero, which led to the "Demon in a Bottle" story arc that ran from issues #120 to #128 (1979).[39] At the same time, they introduced the character Justin Hammer, who provided financial backing for several Iron Man villains.[40]
In the 1980s, writers for Iron Man focused on the character's role as a businessman, reflecting the economic changes associated with Reaganomics, and many of his challenges involved threats to his company.[41]Denny O'Neil was put in charge of Iron Man beginning with issue #158 (1982). His run explored Stark's psychology, having him relapse into alcoholism and suffer at the hands of business rival Obadiah Stane.[36] O'Neil wrote Stark out of the role entirely beginning with issue #170 (1983), having him temporarily retire as Iron Man and replacing him with his ally James Rhodes.[42] Stark was relegated as a side character until he returned to heroism in Iron Man #200 (1985).[43]
The 1987 "Armor Wars" story arc followed Iron Man as he reclaimed his technology, which Justin Hammer distributed to several villains.[44] This story blended the character's superhero and businessman aspects more directly when Stark sought legal recourse against his rivals.[41] Michelinie and Layton returned to the series with issue #211 (1986), and they again experimented with variations on the Iron Man armor.[45]
In 1990, Michelinie and Layton handed the series over to John Byrne, one of the most highly-regarded comic book writers at the time. He wrote three story arcs across twenty issues: "Armor Wars II" (which had already been announced by Michelinie and Layton), "The Dragon Seed Saga", and "War Games".[46] Byrne revisited Iron Man's opposition to communism but portrayed it as less of a threat,[47] and he rewrote Iron Man's origin to remove references to communism and the Vietnam War. He lost interest in the series by 1992 as his collaborators John Romita Jr. and Howard Mackie had moved on to other projects.[46] Iron Man's supporting character War Machine was spun off into his own comic book series in 1994.[48]
By the 1990s, the Iron Man series rejected broader ideology, and individualist values replaced Stark's allegiance to American democracy for its own sake. He remained anti-communist, reiterating his support for democracy and refusing to do business in China following the Tiannamen Square Massacre in 1989.[49] The absence of Cold War politics was not immediately replaced by another theme, and post-Cold War Iron Man stories often explored different ideas regarding technology for a short time before moving on.[50] When terrorism became more prominent in the public mind, writers shifted Iron Man's symbolism from anti-communism to anti-terrorism.[51]
As part of a company-wide reorganization in 1996, Marvel's major characters, including Iron Man, were given to former Marvel writers Jim Lee and Rob Liefeld in a profit-sharing agreement. Lee and Liefeld were given charge of the "Heroes Reborn" branding that renumbered Marvel's long-running periodicals at issue #1.[52] This new Iron Man series, labeled volume two, was set in an alternate universe created during the "Onslaught" event. It ran for thirteen issues, written by Lee and Scott Lobdell and drawn by Whilce Portacio.[53][54] The following year, Marvel introduced the "Heroes Return" event to bring the characters back from the alternate universe, which again reset characters such as Iron Man to issue #1.[55][56]Kurt Busiek beamce the writer for volume three while Sean Chen was the artist.[53][57]
When the Ultimate Marvel imprint was created with reimagined versions of Marvel's characters, an alternate Iron Man appeared in 2002 with the Ultimates, the imprint's adaptation of the Avengers.[58] Marvel released a five issue limited series, Ultimate Iron Man, featuring this character in 2005.[59]
Iron Man represented an attempt to define what a superhero was in the 21st century, following the September 11 attacks, implicitly likening the fear of terrorism to the fear of unregulated super-powered beings.[60] In 2004, Iron Man was a major character in the Avengers Disassembled event and subsequently became a founding member of the New Avengers.[61]Iron Man volume four began in 2005,[53] with Warren Ellis as the writer and Adi Granov as the artist. Its first story arc, "Extremis", saw Iron Man upgrade his body directly through the Extremis virus, giving him direct control over a biological armor.[59] The volume's first 14 issues carried the Iron Man title, while issues #15–32 (2007–2008) were titled Iron Man: Director of S.H.I.E.L.D.[53]
Iron Man led the pro-registration faction during the 2006 Civil War crossover event by Mark Millar and Steve McNiven.[62] In an allegory for the Patriot Act and government surveillance, Iron Man's pro-registration faction represented conservative support for government surveillance in the name of security and stood against Captain America's anti-registration faction that represented individualism and liberal opposition to government surveillance.[63] Iron Man believed in pragmatically choosing the lesser of two evils, whereas Captain America held an idealist approach, and both held these positions at great personal cost.[64] While Marvel was neutral between the characters, readers overwhelmingly saw Iron Man as the villain, being the stronger force that the underdog had to overcome.[65][66]
The Iron Man series reverted to the original numbering in 2011, when the overall 500th issue was published as Iron Man #500.[53] A concurrent series, Iron Man Legacy by Fred Van Lente, launched in 2010 leading up to the release of the film Iron Man 2.[70] Iron Man was then one of several characters whose series was relaunched at issue #1 with the Marvel Now! branding following the 2012 Avengers vs. X-Men event,[71] written by Kieron Gillen.[72] The 2014 "AXIS" event led into the Superior Iron Man series by Tom Taylor, featuring Iron Man with a new reversed personality.[73]
A new Invincible Iron Man run written by Brian Michael Bendis and drawn by David Marquez began in 2015.[74] A simultaneous Iron Man series, International Iron Man, ran for seven issues in 2016 under Marvel's All-New, All-Different Marvel branding, also by Bendis. This series was meant to ensure Iron Man's status as a major character as All-New, All Different developed.[75] A second Civil War event in 2016 portrayed Iron Man as an advocate of free will against Captain Marvel's determinism.[76]
As part of a broader trend by Marvel Comics to substitute its main characters with a diverse cast of original characters in the 2010s, Iron Man was temporarily replaced by Ironheart, a teenaged African-American girl who reverse engineered the Iron Man armor, in 2016.[77] At the same time, the series Infamous Iron Man began publication with Dr. Doom as Iron Man.[78]
The series Tony Stark: Iron Man premiered in 2018 with the Fresh Start branding, written by Dan Slott and drawn by Valerio Schiti.[79] In 2020, Iron Man was relaunched in a new series, written by Christopher Cantwell and illustrated by CAFU, following the "Iron Man 2020" event. This series moved away from the developments and deviations made to Stark's character introduced over the previous years—including the more extravagant science fiction and soap opera plots—creating a clean slate for new story arcs in a traditional superhero setting.[80] The character was relaunched again in 2022 with Invincible Iron Man, written by Gerry Duggan and illustrated by Juan Frigeri.[81]
Tales of Suspense #39 (March 1963): Iron Man debuts. Cover art by Jack Kirby and Don Heck
Anthony Edward "Tony" Stark was born in Long Island, New York. As a child, he inherited his family's business, Stark Industries, when his parents were killed in a car crash.[82] Developing equipment for the U.S. military, he travels to a war zone to conduct a weapons test when he triggers a booby trap. His heart is critically injured by shrapnel, and he is captured by the communist Wong-Chu, who demands Stark build him a weapon. Stark instead builds a suit of armor that sustains his heart, becoming Iron Man.[15][9] The war zone Stark visited was changed retroactively multiple times by different writers to correspond with the character's age, which is explained by a "sliding scale of continuity" in which the timing of significant events in the world of Marvel may change. This conflict was the Vietnam War for the first decades of Iron Man's publication history.
Devil Hunter Yohko (Japanese: 魔物ハンター妖子, Hepburn: Mamono Hantā Yōko) is a Japanese original video animation series created by Madhouse, produced by Toho, and released in North America by ADV Films as their first release. The series was first released on December 1, 1990 and ended on July 1, 1995. It is about a sixteen-year-old girl named Yohko Mano, voiced by Aya Hisakawa, who banishes demons from the Earth.
An English dubbed version of the series was also released. The six-episode series was adapted into several video games by Masaya.[3]
For centuries, the Mano family has been slaying demons. Yohko's grandmother, Madoka, is the 107th Devil Hunter, and Yohko's mother, Sayoko, would have been the 108th, but for a small hitch: A Devil Hunter must be a virgin to take on the power and responsibility. Sayoko became pregnant before Madoka could reveal the family's secrets, and so the job fell to Yohko. Now the 108th Devil Hunter, Yohko must face off against demons while trying to live her life as a boy-crazy schoolgirl.
Yohko Mano (真野 妖子 Mano Yōko) Voiced by: Aya Hisakawa (Japanese); Amanda Winn-Lee (English): The heroine of the anime. Her grandmother gives Yohko the responsibility to be the 108th Devil Hunter and continue their family's legacy of Devil Hunters. She now fights as a Devil Hunter against demons that appear and interrupt her life and ruin her chances of ever getting with the guy of her dreams. As the story goes on, Yohko appears younger.[citation needed] In part 1, she was drawn with a lot of detail, giving her a mature look. By part 6, less detail and a younger look were used.
Azusa Kanzaki (神崎 あづさ Kanzaki Azusa) Voiced by: Konami Yoshida (Japanese); Kimberly Yates (English): A sidekick, or apprentice under Yohko. She is a Devil Hunter in training. Azusa is from a mountain village and came down seeking Yohko to be trained. Although she is not a skilled fighter and can be a klutz, Azusa fights alongside Yohko where she can and continues to learn to become just like her master, Yohko. Azusa wears a Youma bracelet instead of the traditional Youma ring that Yohko possesses and she wields the Spear of Fuma in combat.
Madoka Mano (真野 マドカ Mano Madoka) Voiced by: Yūji Mitsuya (Japanese); Sharon Shawnessey (English): Grandmother to Yohko Mano and mother of Sayoko Mano, Yohko's mother. She was the former 107th Devil Hunter but now is too old to continue being a Devil Hunter, although she still has some skill and fight in her. She passes the title of Devil Hunter to Yohko to continue the family legacy.
Sayoko Mano (真野 小夜子 Sayoko Mano) Voiced by: Hiromi Tsuru (Japanese); Carol Amerson (English): Daughter of Madoka Mano and mother to Yohko Mano. She was supposed to be the 108th Devil Hunter but became pregnant with Yohko (Only virgins can become Devil Hunters). She had a very frank and open opinion on sex and even gave Yohko a package of condoms in the first episode. This attitude, like most things in the series, was later toned down greatly in subsequent episodes.
Chikako Ogawa (小川 千賀子 Ogawa Chikako) Voiced by: Chieko Honda (Japanese); Tiffany Grant (English): Yohko's best friend. Chi (her nickname) seems to have an extensive information gathering network and tends to know about most of the events going on at the school. She usually supplies Yohko with info (sometimes pictures) on the most handsome guys. She employs herself as Yohko's "manager" and assist Yohko where she can, although she does tend to get herself caught in the line of fire.
Osamu Wakabayashi Voiced by: Kappei Yamaguchi: A friend and admirer of Yohko, he gets used by the demons in the first OVA in an attempt to prevent her from becoming a Devil Hunter.[4][1][2]
Haruka Mano (真野 ハルカ Mano Haruka) Voiced by: Noriko Hidaka (Japanese); Sue Ulu (English): The first Devil Hunter from the Mano Family. She is very skilled as a Devil Hunter and is able to fend and defeat any demon, even the most powerful of all demons, Yujiro Tasugaru. In several artworks, she is portrayed with a white Devil Hunter outfit with pink hair. In the anime however, she wears a red Devil Hunter outfit and has light green hair.
Yujiro Tasugaru Voiced by: Kenji Nomura: The strongest of all demons, Yujiro is one of the first formidable demons and enemy of the Mano Family, being an oni-looking humanoid muscle demon and wearing a monster face on his back. Yujiro is very powerful and has the ability to manipulate time and space. He was responsible for allowing demons to enter the human world and almost brought the world to the brink of hell, until the first Devil Hunter, Haruka Mano, defeated and sealed him. Every generation, Yujiro manages to free himself, only to be beaten and sealed again by that generation's Devil Hunter. Not only is he extremely powerful, he is extremely clever and cunning.
Chiaki Mano Voiced by: Shigeru Chiba: Twin sister of Madoka Mano and Grandmother to Ayako Mano. Chiaki competed against Madoka to see which of the two would hold the title of the 107th Devil Hunter. Chiaki lost to her sister and because of this, she grew bitter of Madoka and left the family house, stealing the Whip of Destruction in the process. She now trains Ayako and Azusa 2 to defeat the 108th Devil Hunter, Yohko Mano, to prove that Ayako is the true 108th Devil Hunter.
Ayako Mano Voiced by: Aya Hisakawa: Granddaughter of Chiaki Mano and cousin to Yohko Mano. She was trained by Chiaki Mano to defeat Yohko and become the true 108th Devil Hunter. Ayako shares a very similar appearance to Yohko, thus making them look like twins. However, Ayako has lighter hair and her eyes are a bit more narrow than Yohko's, and her Devil Hunter uniform is black, not red. She is the wielder of the Whip of Destruction, which she uses at its full potential. Together with Azusa 2, she had planned to take the Devil Hunter title from Yohko and claim it as her own. However, they joined forces to fight a very powerful demon, one Ayako had accidentally released, which temporarily shook her confidence. Afterwards, Ayako decided she needed more training and left to improve herself, parting with her cousin on more amiable terms.
Azusa 2: Sidekick to Ayako Mano. She looks very much like Azusa Kanzaki. Since she never mentioned her actual name, Madoka dubs her with the name "Azusa 2". She is very much like Azusa, both in appearance and in skill, which means that she too is a klutz at times and not very skilled in fighting. She does seem to have a bit more experience in combat, although not much of a difference compared to Azusa Kanzaki.
Devil Hunter Yohko: Yohko Mano is introduced. Yohko goes about her daily life; day dreaming about a cute guy named Hideki. Yohko learns that her family has a long history of being devil hunters. But this time the demons decide to take out the next devil hunter before she can fight back. After a failed attempt to take Yohko's virginity (so that she can't become a devil hunter), the demons decide to use Hideki as bait. Yohko must become the 108th devil hunter and rescue the man of her dreams. The English-dubbed "Special Edition" of this episode restores approximately 30 seconds of assorted footage that was cut from the final Japanese print of the film.[5]
Devil Hunter Yohko 2: Yohko trains to become a good devil hunter. Nearby a local construction site destroys a forest in which sleeping spirits lie. The spirits are disturbed by this and start harassing the construction workers. Azusa Kanzaki, a Devil Hunter in training, is introduced. Azusa came to become an apprentice to Yohko. The two team up to fight against the spirits that are harassing the workers.
Devil Hunter Yohko 3: Yohko has a dream about a man named Master Biryu. Yohko is transported to another dimension and learns that Biryu has been imprisoned. Yohko learns that she must save Master Biryu (although she develops a crush on him). Meanwhile, Azusa saw Yohko disappear and attempts to get Yohko back with Yohko's friend, Chi. They manage to get to where Yohko is, but fail and manage to get themselves back where they started. She must fight the demon holding Master Biryu captive in order to free him.
Devil Hunter Yohko 4-Ever: A tribute to Devil Hunter Yohko, with a collection of music videos. These videos feature songs from the series (including three new songs), put to scenes from the anime, colored manga picture, an original animated video featuring chibified versions of Yohko and Azusa, and two live videos.
Devil Hunter 5: Hell on Earth: Madoka, Yohko's grandmother, senses the return of Tokima: the demon who from the time of the first devil hunter has been the enemy of the Mano family, is approaching. Tokima appears and possesses Ryuichi Asakura, a man whom Yohko has a crush on. Tokima tricks Yohko and gets near the clock that keeps his power sealed, but is repelled by special talismans. The next day, Madoka ends up with her past youthful body! Tokima possesses Azusa, who takes the clock. Yohko fights Azusa to try to stop her from destroying the clock. Yohko is tricked and "killed". The clock is destroyed and the demon's power released. Yohko is taken to the time of the very first Devil Hunter, Haruka Mano. The two go back into the present and fight against Tokima.
Devil Hunter Yohko 6: Double Jeopardy: Ayako Mano, who is nearly identical in appearance to Yohko, is introduced; she has spent her life training and honing her abilities so that one day she may defeat Yohko and become the devil hunter of the Mano family, and now she is ready for the final confrontation. Yohko continues to live her life and is unaware of Ayako until she starts stealing away every guy that on whom Yohko has a crush. Then one night while taking a bath, Yohko hears something outside and gives chase. She then meets up with an Azusa look-alike. She and Ayako attack the unsuspecting Yohko with crushing attacks, while Yohko parries the onslaught. The fight stops, but Ayako vows to finish it. Madoka reveals a certain part of her past that relates to the encounter. Yohko's teacher, whom she has a crush on, is used as bait to lure Yohko. Ayako and Yohko meet face-to-face for the showdown. The fight awakens a demon who sleeps deep within the Earth and the two must learn to fight together to fend off this powerful creature.
Devil Hunter Yohko was ADV Films' first VHS release, on December 15, 1992. ADV co-founder Matt Greenfield said the reason Yohko was chosen as the first release was because "we wanted something that was really very unique, that people were going to say 'Whoa! What was that?', because at the time no one in the US had seen anything like this."[5] Toho reluctantly licensed Devil Hunter Yohko to ADV, making the title ADV's first; even though Shozo Watanabe, the general manager of the Los Angeles office of Toho, expressed concern that ADV would not be able to handle the distribution of the film, Toho was unable to find another distributor, so it selected ADV.[3] The story was adapted into a manga by Gaku Miyao. The anime was re-released on DVD in 2002, commemorating the tenth anniversary of its original release by ADV.[6]
Toho released a Blu-raybox set of the OVA series on July 20, 2022.[7]
^ abToole, Mike (October 27, 2003). "Devil Hunter Yohko". AnimeJump/BestAnime. Archived from the original on October 14, 2016. Retrieved September 27, 2016.
This program unpacks Playstation 3 Theme files (.p3t) so that you can touch-up an existing theme to your likings or use a certain wallpaper from it (as many themes have multiple). But remember, if you use content from another theme and release it, be sure to give credit!
Download p3textractor.zip from above. Extract the files to a folder with a program such as WinZip or WinRAR. Now there are multiple ways to extract the theme.
The first way is to simply open the p3t file with p3textractor.exe. If you don’t know how to do this, right click the p3t file and select Open With. Alternatively, open the p3t file and it will ask you to select a program to open with. Click Browse and find p3textractor.exe from where you previously extracted it to. It will open CMD and extract the theme to extracted.[filename]. After that, all you need to do for any future p3t files is open them and it will extract.
The second way is very simple. Just drag the p3t file to p3textractor.exe. It will open CMD and extract the theme to extracted.[filename].
For the third way, first put the p3t file you want to extract into the same folder as p3textractor.exe. Open CMD and browse to the folder with p3extractor.exe. Enter the following: p3textractor filename.p3t [destination path]Replace filename with the name of the p3t file, and replace [destination path] with the name of the folder you want the files to be extracted to. A destination path is not required. By default it will extract to extracted.filename.
This program unpacks Playstation 3 Theme files (.p3t) so that you can touch-up an existing theme to your likings or use a certain wallpaper from it (as many themes have multiple). But remember, if you use content from another theme and release it, be sure to give credit!
Download p3textractor.zip from above. Extract the files to a folder with a program such as WinZip or WinRAR. Now there are multiple ways to extract the theme.
The first way is to simply open the p3t file with p3textractor.exe. If you don’t know how to do this, right click the p3t file and select Open With. Alternatively, open the p3t file and it will ask you to select a program to open with. Click Browse and find p3textractor.exe from where you previously extracted it to. It will open CMD and extract the theme to extracted.[filename]. After that, all you need to do for any future p3t files is open them and it will extract.
The second way is very simple. Just drag the p3t file to p3textractor.exe. It will open CMD and extract the theme to extracted.[filename].
For the third way, first put the p3t file you want to extract into the same folder as p3textractor.exe. Open CMD and browse to the folder with p3extractor.exe. Enter the following: p3textractor filename.p3t [destination path]Replace filename with the name of the p3t file, and replace [destination path] with the name of the folder you want the files to be extracted to. A destination path is not required. By default it will extract to extracted.filename.
This program unpacks Playstation 3 Theme files (.p3t) so that you can touch-up an existing theme to your likings or use a certain wallpaper from it (as many themes have multiple). But remember, if you use content from another theme and release it, be sure to give credit!
Download p3textractor.zip from above. Extract the files to a folder with a program such as WinZip or WinRAR. Now there are multiple ways to extract the theme.
The first way is to simply open the p3t file with p3textractor.exe. If you don’t know how to do this, right click the p3t file and select Open With. Alternatively, open the p3t file and it will ask you to select a program to open with. Click Browse and find p3textractor.exe from where you previously extracted it to. It will open CMD and extract the theme to extracted.[filename]. After that, all you need to do for any future p3t files is open them and it will extract.
The second way is very simple. Just drag the p3t file to p3textractor.exe. It will open CMD and extract the theme to extracted.[filename].
For the third way, first put the p3t file you want to extract into the same folder as p3textractor.exe. Open CMD and browse to the folder with p3extractor.exe. Enter the following: p3textractor filename.p3t [destination path]Replace filename with the name of the p3t file, and replace [destination path] with the name of the folder you want the files to be extracted to. A destination path is not required. By default it will extract to extracted.filename.
Superman is a superhero who appears in American comic books published by DC Comics. The character was created by writer Jerry Siegel and artist Joe Shuster, and debuted in the comic book Action Comics#1 (cover-dated June 1938 and published April 18, 1938).[1] Superman has been adapted to a number of other media, which includes radio serials, novels, films, television shows, theater, and video games.
Superman was born on the fictional planet Krypton with the birth name of Kal-El. As a baby, his parents sent him to Earth in a small spaceship shortly before Krypton was destroyed in a natural cataclysm. His ship landed in the American countryside near the fictional town of Smallville, Kansas. He was found and adopted by farmers Jonathan and Martha Kent, who named him Clark Kent. Clark began developing various superhuman abilities, such as incredible strength and impervious skin. His adoptive parents advised him to use his powers for the benefit of humanity, and he decided to fight crime as a vigilante. To protect his personal life, he changes into a colorful costume and uses the alias "Superman" when fighting crime. Clark resides in the fictional American city of Metropolis, where he works as a journalist for the Daily Planet. Superman's supporting characters include his love interest and fellow journalist Lois Lane, Daily Planet photographer Jimmy Olsen, and editor-in-chief Perry White, and his enemies include Brainiac, General Zod, and archenemy Lex Luthor.
Superman is the archetype of the superhero: he wears an outlandish costume, uses a codename, and fights evil with the aid of extraordinary abilities. Although there are earlier characters who arguably fit this definition, it was Superman who popularized the superhero genre and established its conventions. He was the best-selling superhero in American comic books up until the 1980s.[2]
Jerry Siegel and Joe Shuster met in 1932 while attending Glenville High School in Cleveland and bonded over their admiration of fiction. Siegel aspired to become a writer and Shuster aspired to become an illustrator. Siegel wrote amateur science fiction stories, which he self-published as a magazine called Science Fiction: The Advance Guard of Future Civilization. His friend Shuster often provided illustrations for his work.[3] In January 1933, Siegel published a short story in his magazine titled "The Reign of the Superman". The titular character is a homeless man named Bill Dunn who is tricked by an evil scientist into consuming an experimental drug. The drug gives Dunn the powers of mind-reading, mind-control, and clairvoyance. He uses these powers maliciously for profit and amusement, but then the drug wears off, leaving him a powerless vagrant again. Shuster provided illustrations, depicting Dunn as a bald man.[4]
Siegel and Shuster shifted to making comic strips, with a focus on adventure and comedy. They wanted to become syndicated newspaper strip authors, so they showed their ideas to various newspaper editors. However, the newspaper editors told them that their ideas were insufficiently sensational. If they wanted to make a successful comic strip, it had to be something more sensational than anything else on the market. This prompted Siegel to revisit Superman as a comic strip character.[5][6] Siegel modified Superman's powers to make him even more sensational: Like Bill Dunn, the second prototype of Superman is given powers against his will by an unscrupulous scientist, but instead of psychic abilities, he acquires superhuman strength and bullet-proof skin.[7][8] Additionally, this new Superman was a crime-fighting hero instead of a villain, because Siegel noted that comic strips with heroic protagonists tended to be more successful.[9] In later years, Siegel once recalled that this Superman wore a "bat-like" cape in some panels, but typically he and Shuster agreed there was no costume yet, and there is none apparent in the surviving artwork.[10][11]
Siegel and Shuster showed this second concept of Superman to Consolidated Book Publishers, based in Chicago.[12][a] In May 1933, Consolidated had published a proto-comic book titled Detective Dan: Secret Operative 48.[13] It contained all-original stories as opposed to reprints of newspaper strips, which was a novelty at the time.[14] Siegel and Shuster put together a comic book in a similar format called The Superman. A delegation from Consolidated visited Cleveland that summer on a business trip and Siegel and Shuster took the opportunity to present their work in person.[15][16] Although Consolidated expressed interest, they later pulled out of the comics business without ever offering a book deal because the sales of Detective Dan were disappointing.[17][18]
Cover of an unpublished comic book, 1933
Siegel believed publishers kept rejecting them because he and Shuster were young and unknown, so he looked for an established artist to replace Shuster.[19] When Siegel told Shuster what he was doing, Shuster reacted by burning their rejected Superman comic, sparing only the cover. They continued collaborating on other projects, but for the time being Shuster was through with Superman.[20]
Siegel wrote to numerous artists.[19] The first response came in July 1933 from Leo O'Mealia, who drew the Fu Manchu strip for the Bell Syndicate.[21][22] In the script that Siegel sent to O'Mealia, Superman's origin story changes: He is a "scientist-adventurer" from the far future when humanity has naturally evolved "superpowers". Just before the Earth explodes, he escapes in a time-machine to the modern era, whereupon he immediately begins using his superpowers to fight crime.[23] O'Mealia produced a few strips and showed them to his newspaper syndicate, but they were rejected. O'Mealia did not send to Siegel any copies of his strips, and they have been lost.[24]
In June 1934, Siegel found another partner: an artist in Chicago named Russell Keaton.[25][26] Keaton drew the Buck Rogers and Skyroads comic strips. In the script that Siegel sent Keaton in June, Superman's origin story further evolved: In the distant future, when Earth is on the verge of exploding due to "giant cataclysms", the last surviving man sends his three-year-old son back in time to the year 1935. The time-machine appears on a road where it is discovered by motorists Sam and Molly Kent. They leave the boy in an orphanage, but the staff struggle to control him because he has superhuman strength and impenetrable skin. The Kents adopt the boy and name him Clark, and teach him that he must use his fantastic natural gifts for the benefit of humanity. In November, Siegel sent Keaton an extension of his script: an adventure where Superman foils a conspiracy to kidnap a star football player. The extended script mentions that Clark puts on a special "uniform" when assuming the identity of Superman, but it is not described.[27] Keaton produced two weeks' worth of strips based on Siegel's script. In November, Keaton showed his strips to a newspaper syndicate, but they too were rejected, and he abandoned the project.[28][29]
Siegel and Shuster reconciled and resumed developing Superman together. The character became an alien from the planet Krypton. Shuster designed the now-familiar costume: tights with an "S" on the chest, over-shorts, and a cape.[30][31][32] They made Clark Kent a journalist who pretends to be timid, and conceived his colleague Lois Lane, who is attracted to the bold and mighty Superman but does not realize that he and Kent are the same person.[33]
Concept art c. 1934/1935. Note the laced sandals, based on those of strongmen and classical heroes.[34]
In June 1935 Siegel and Shuster finally found work with National Allied Publications, a comic magazine publishing company in New York owned by Malcolm Wheeler-Nicholson.[35] Wheeler-Nicholson published two of their strips in New Fun Comics #6 (1935): "Henri Duval" and "Doctor Occult".[36] Siegel and Shuster also showed him Superman and asked him to market Superman to the newspapers on their behalf.[37] In October, Wheeler-Nicholson offered to publish Superman in one of his own magazines.[38] Siegel and Shuster refused his offer because Wheeler-Nicholson had demonstrated himself to be an irresponsible businessman. He had been slow to respond to their letters and had not paid them for their work in New Fun Comics #6. They chose to keep marketing Superman to newspaper syndicates themselves.[39][40] Despite the erratic pay, Siegel and Shuster kept working for Wheeler-Nicholson because he was the only publisher who was buying their work, and over the years they produced other adventure strips for his magazines.[41]
Wheeler-Nicholson's financial difficulties continued to mount. In 1936, he formed a joint corporation with Harry Donenfeld and Jack Liebowitz called Detective Comics, Inc. in order to release his third magazine, which was titled Detective Comics. Siegel and Shuster produced stories for Detective Comics too, such as "Slam Bradley". Wheeler-Nicholson fell into deep debt to Donenfeld and Liebowitz, and in early January 1938, Donenfeld and Liebowitz petitioned Wheeler-Nicholson's company into bankruptcy and seized it.[3][42]
In early December 1937, Siegel visited Liebowitz in New York, and Liebowitz asked Siegel to produce some comics for an upcoming comic anthology magazine called Action Comics.[43][44] Siegel proposed some new stories, but not Superman. Siegel and Shuster were, at the time, negotiating a deal with the McClure Newspaper Syndicate for Superman. In early January 1938, Siegel had a three-way telephone conversation with Liebowitz and an employee of McClure named Max Gaines. Gaines informed Siegel that McClure had rejected Superman, and asked if he could forward their Superman strips to Liebowitz so that Liebowitz could consider them for Action Comics. Siegel agreed.[45] Liebowitz and his colleagues were impressed by the strips, and they asked Siegel and Shuster to develop the strips into 13 pages for Action Comics.[46] Having grown tired of rejections, Siegel and Shuster accepted the offer. At least now they would see Superman published.[47][48] Siegel and Shuster submitted their work in late February and were paid $130 (equivalent to $2,814 in 2023) for their work ($10 per page).[49] In early March they signed a contract at Liebowitz's request in which they gave away the copyright for Superman to Detective Comics, Inc. This was normal practice in the business, and Siegel and Shuster had given away the copyrights to their previous works as well.[50]
Superman's debut
The duo's revised version of Superman appeared in the first issue of Action Comics, which was published on April 18, 1938. The issue was a huge success thanks to Superman's feature.[1][51][52]
Siegel and Shuster read pulp science-fiction and adventure magazines, and many stories featured characters with fantastical abilities such as telepathy, clairvoyance, and superhuman strength. One character in particular was John Carter of Mars from the novels by Edgar Rice Burroughs. John Carter is a human who is transported to Mars, where the lower gravity makes him stronger than the natives and allows him to leap great distances.[53][54] Another influence was Philip Wylie's 1930 novel Gladiator, featuring a protagonist named Hugo Danner who had similar powers.[55][56]
Clark Kent's harmless facade and dual identity were inspired by the protagonists of such movies as Don Diego de la Vega in The Mark of Zorro and Sir Percy Blakeney in The Scarlet Pimpernel. Siegel thought this would make for interesting dramatic contrast and good humor.[59][60] Another inspiration was slapstick comedian Harold Lloyd. The archetypal Lloyd character was a mild-mannered man who finds himself abused by bullies but later in the story snaps and fights back furiously.[61]
Kent is a journalist because Siegel often imagined himself becoming one after leaving school. The love triangle between Lois Lane, Clark, and Superman was inspired by Siegel's own awkwardness with girls.[62]
The pair collected comic strips in their youth, with a favorite being Winsor McCay's fantastical Little Nemo.[58] Shuster remarked on the artists who played an important part in the development of his own style: "Alex Raymond and Burne Hogarth were my idols – also Milt Caniff, Hal Foster, and Roy Crane."[58] Shuster taught himself to draw by tracing over the art in the strips and magazines they collected.[3]
As a boy, Shuster was interested in fitness culture[63] and a fan of strongmen such as Siegmund Breitbart and Joseph Greenstein. He collected fitness magazines and manuals and used their photographs as visual references for his art.[3]
The visual design of Superman came from multiple influences. The tight-fitting suit and shorts were inspired by the costumes of wrestlers, boxers, and strongmen. In early concept art, Shuster gave Superman laced sandals like those of strongmen and classical heroes, but these were eventually changed to red boots.[34] The costumes of Douglas Fairbanks were also an influence.[64] The emblem on his chest was inspired by heraldic crests.[65] Many pulp action heroes such as swashbucklers wore capes. Superman's face was based on Johnny Weissmuller with touches derived from the comic-strip character Dick Tracy and from the work of cartoonist Roy Crane.[66]
The word "superman" was commonly used in the 1920s and 1930s to describe men of great ability, most often athletes and politicians.[67] It occasionally appeared in pulp fiction stories as well, such as "The Superman of Dr. Jukes".[68] It is unclear whether Siegel and Shuster were influenced by Friedrich Nietzsche's concept of the Übermensch; they never acknowledged as much.[69]
The cover of Superman #6 (Sept. 1940) by Joe Shuster, the original artist and co-creator
Since 1938, Superman stories have been regularly published in periodical comic books published by DC Comics. The first and oldest of these is Action Comics, which began in April 1938.[1]Action Comics was initially an anthology magazine, but it eventually became dedicated to Superman stories. The second oldest periodical is Superman, which began in June 1939. Action Comics and Superman have been published without interruption (ignoring changes to the title and numbering scheme).[71][72] A number of other shorter-lived Superman periodicals have been published over the years.[73] Superman is part of the DC Universe, which is a shared setting of superhero characters owned by DC Comics, and consequently he frequently appears in stories alongside the likes of Batman, Wonder Woman, and others.
Superman has sold more comic books over his publication history than any other American superhero character.[74] Exact sales figures for the early decades of Superman comic books are hard to find because, like most publishers at the time, DC Comics concealed this data from its competitors and thereby the general public as well, but given the general market trends at the time, sales of Action Comics and Superman probably peaked in the mid-1940s and thereafter steadily declined.[75] Sales data first became public in 1960, and showed that Superman was the best-selling comic book character of the 1960s and 1970s.[2][76][77] Sales rose again starting in 1987. Superman #75 (Nov 1992) sold over 23 million copies,[78] making it the best-selling issue of a comic book of all time, thanks to a media sensation over the supposedly permanent death of the character in that issue.[79] Sales declined from that point on. In March 2018, Action Comics sold just 51,534 copies, although such low figures are normal for superhero comic books in general (for comparison, Amazing Spider-Man #797 sold only 128,189 copies).[80] The comic books are today considered a niche aspect of the Superman franchise due to low readership,[81] though they remain influential as creative engines for the movies and television shows. Comic book stories can be produced quickly and cheaply, and are thus an ideal medium for experimentation.[82]
Whereas comic books in the 1950s were read by children, since the 1990s the average reader has been an adult.[83] A major reason for this shift was DC Comics' decision in the 1970s to sell its comic books to specialty stores instead of traditional magazine retailers (supermarkets, newsstands, etc.) — a model called "direct distribution". This made comic books less accessible to children.[84]
Beginning in January 1939, a Superman daily comic strip appeared in newspapers, syndicated through the McClure Syndicate. A color Sunday version was added that November. Jerry Siegel wrote most of the strips until he was conscripted in 1943. The Sunday strips had a narrative continuity separate from the daily strips, possibly because Siegel had to delegate the Sunday strips to ghostwriters.[85] By 1941, the newspaper strips had an estimated readership of 20 million.[86] Joe Shuster drew the early strips, then passed the job to Wayne Boring.[87] From 1949 to 1956, the newspaper strips were drawn by Win Mortimer.[88] The strip ended in May 1966, but was revived from 1977 to 1983 to coincide with a series of movies released by Warner Bros.[89]
Initially, Siegel was allowed to write Superman more or less as he saw fit because nobody had anticipated the success and rapid expansion of the franchise.[90][91] But soon Siegel and Shuster's work was put under careful oversight for fear of trouble with censors.[92] Siegel was forced to tone down the violence and social crusading that characterized his early stories.[93] Editor Whitney Ellsworth, hired in 1940, dictated that Superman not kill.[94] Sexuality was banned, and colorfully outlandish villains such as Ultra-Humanite and Toyman were thought to be less nightmarish for young readers.[95]
Mort Weisinger was the editor on Superman comics from 1941 to 1970, his tenure briefly interrupted by military service. Siegel and his fellow writers had developed the character with little thought of building a coherent mythology, but as the number of Superman titles and the pool of writers grew, Weisinger demanded a more disciplined approach.[96] Weisinger assigned story ideas, and the logic of Superman's powers, his origin, the locales, and his relationships with his growing cast of supporting characters were carefully planned. Elements such as Bizarro, his cousin Supergirl, the Phantom Zone, the Fortress of Solitude, alternate varieties of kryptonite, robot doppelgangers, and Krypto were introduced during this era. The complicated universe built under Weisinger was beguiling to devoted readers but alienating to casuals.[97] Weisinger favored lighthearted stories over serious drama, and avoided sensitive subjects such as the Vietnam War and the American civil rights movement because he feared his right-wing views would alienate his left-leaning writers and readers.[98] Weisinger also introduced letters columns in 1958 to encourage feedback and build intimacy with readers.[99]
Weisinger retired in 1970 and Julius Schwartz took over. By his own admission, Weisinger had grown out of touch with newer readers.[100] Starting with The Sandman Saga, Schwartz updated Superman by making Clark Kent a television anchor, and he retired overused plot elements such as kryptonite and robot doppelgangers.[101] Schwartz also scaled Superman's powers down to a level closer to Siegel's original. These changes would eventually be reversed by later writers. Schwartz allowed stories with serious drama such as "For the Man Who Has Everything" (Superman Annual #11), in which the villain Mongul torments Superman with an illusion of happy family life on a living Krypton.
Schwartz retired from DC Comics in 1986 and was succeeded by Mike Carlin as an editor on Superman comics. His retirement coincided with DC Comics' decision to reboot the DC Universe with the companywide-crossover storyline "Crisis on Infinite Earths". In The Man of Steel writer John Byrne rewrote the Superman mythos, again reducing Superman's powers, which writers had slowly re-strengthened, and revised many supporting characters, such as making Lex Luthor a billionaire industrialist rather than a mad scientist, and making Supergirl an artificial shapeshifting organism because DC wanted Superman to be the sole surviving Kryptonian.
Carlin was promoted to Executive Editor for the DC Universe books in 1996, a position he held until 2002. K.C. Carlson took his place as editor of the Superman comics.
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