Friday, October 31, 2014

Stan Lee's Comikaze Expo 2014

by Armand Vaquer

Above, the gang's all here for the Godzilla/Gamera panel.
Another successful Stan Lee's Comikaze Expo is in the record books. The convention runs through Sunday, but this was it for me this year. It was a good way to celebrate Halloween.

Our panel on the 60th anniversary of Godzilla, the 50th anniversary of Gamera and other assorted topics (such as Godzilla 2014) were discussed by the panel as well as the audience members. The number of audience members were down from last year. We were in a much bigger room and, which is the unfortunate part, further away form the stairs, elevators and escalators. The problem was probably caused by the scheduling error in which the Comikaze organizers had to reschedule us an hour earlier as they had our moderator, Jessica Tseang scheduled on two panels at the same time. I am guessing that this was the only meeting room available.

Still, we had an enthusiastic audience and a good discussion. All agreed that the Legendary Pictures/Warner Bros. Godzilla was much better than the abomination of 1998.

Following the panel, I managed to sell many copies of The Monster Movie Fan's Guide To Japan, so the trek more than paid for itself.

After this, I wandered around in the exhibit hall and there were plenty of things to see. I did a double-take when I spotted Christine Nguyen on a banner at the New York Times booth (yes, they were there selling subscriptions). I'll have to send a photo to Christine.

I did pick up a 1970s Mechagodzilla coin bank for myself.

I ran into a comic book dealer I knew in Woodland Hills (before he closed his shop in 2004), Mike Frank. We caught up on things and I gave him a copy of The Monster Movie Fan's Guide To Japan.

As usual, Comikaze Expo was an enjoyable event and I am looking forward to next year's.

Here's some photos:

Above, there were plenty of comic books for sale. I almost bought several Silver Age issues of World's Finest. Photo by Armand Vaquer

Above, Mile High Comics was represented by this booth. Photo by Armand Vaquer.

Above, there were two kaiju dealers at Comikaze Expo this year that I found. This was one. Photo by Armand Vaquer.

Above, a vacationing Godzilla waited to make a purchase at the above kaiju toy booth. Photo by Armand Vaquer.

Above, Comikaze Expo's main stage. Photo by Armand Vaquer.

Above, a cosplayer celebrates Halloween. Photo by Armand Vaquer.

Above, a display of Marvel characters. Photo by Armand Vaquer.

Above, I couldn't resist getting this Mechagodzilla coin bank. Photo by Armand Vaquer.

Above, Envy Model Management's Constance Nunes at the Muck booth. Photo by Armand Vaquer.

Above, a familiar face (Christine Nguyen) advertising the New York Times. Photo by Armand Vaquer.

For more photos from Comikaze Expo, go here.

Carrie (1976) - Did You Know?


From IMDB

Ever the stickler for authenticity, Sissy Spacek insisted that she - not a double - be the one whose hand shoots up out of Carrie's grave during Sue Snell's nightmare sequence.

The pig's blood dumped on Sissy Spacek was karo syrup and food coloring, although she was willing to have real blood dumped on her.

While filming the bloody prom sequence, Sissy Spacek's trailer was parked behind the set. After being covered in fake blood, for continuity purposes, Spacek refused to wash the effect off. She elected instead to sleep in her bloody clothes for three days of filming.

In the last scene of the film, Amy Irving's outburst so terrified her mother Priscilla Pointer, that she screamed out "Amy" instead of "Sue." She had never seen her daughter that hysterical and called out her real name in concern. However, the loud ending music covered the mistake.

Brian De Palma had to dump a scene from the novel where Carrie blows up petrol stations with her mind, setting the town on fire. The effects work would have been too expensive.

Brian de Palma' told Sissy Spacek that it was completely unnecessary for her hand to shoot out from Carrie's grave but Spacek persisted. Consequently she found herself put in a coffin and stuck underground. De Palma had her husband, production designer Jack Fisk, put her in the box as he didn't want the responsibility.

In the second-to-last scene (where Amy Irving lays flowers on Carrie's grave) to make it more "eerie", the shot was filmed backwards - then run in reverse in slo-mo - to give it a surreal effect. This is evidenced by a background automobile traversing the perpendicular intersection backwards, which the viewer can clearly observe as driving in reverse.

The script called for a model of the White home to be crushed by a hail of boulders at the end, to tie in with a scene which was cut from the beginning of the movie showing pebbles showering down on the house after Carrie has a fight with her mother. The filmmakers spent an evening trying unsuccessfully to pull off the effect, and as dawn approached, they abandoned the boulders and decided to burn it down. They liked what they saw so it stayed in the film, although internal scenes remain showing rocks coming through the roof.

For when the fire hose kills P.J. Soles's character, the water pressure actually burst her eardrums. Soles is not actually unconscious when her head rolls to the side from the force of the fire hose, but she is in terrible pain and has lost her ability to maintain equilibrium (which is governed by the ear). Brian De Palma decided to keep the shot in. Soles had no hearing in that ear for about six months afterward, though the eardrum did eventually heal.

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Salem's Lot - Did You Know?


From IMDB

Stephen King was inspired to write the book when he had his English class read 'Dracula', and became curious about what would happen if vampires came to America, specifically in a small town.

Director George A. Romero was originally approached to direct a feature film version, but after the announcements of John Badham's Dracula (1979) and Werner Herzog's Nosferatu the Vampyre (1979), Warner Bros. decided to turn Salem's Lot into a TV mini-series. Romero dropped out, feeling he wouldn't be able to make the film the way he wanted to with the restrictions of network television.

The now classic scene of the young vampire floating in the air, tapping on his brother's window, was shot in reverse to give it an eerie effect.

The exterior for the Marsten House, the film's icon, was actually a full-scale facade built upon a smaller preexisting hill-top house. In total the facade cost the production an estimated $100,000 dollars to build.

After the mini-series aired on CBS with excellent ratings there was talk of continuing it as a regular television series for a while. The idea of making Salem's Lot a TV show never materialized though.

In an interview with Reggie Nalder, the actor said that the contact lenses and heavy makeup work he had to wear for the role of Kurt Barlow was quite painful and took some time to get adjusted to.

In an interview with director Tobe Hooper, Hooper said that the makeup work on Reggie Nalder had to be constantly touched up as it would crack or fall off while the actor was performing for the camera. Hooper said that the film's finale with Barlow in his coffin required numerous takes to keep the makeup work intact during shooting.

The original novel established many motifs that Stephen King would use in his subsequent novels. It takes place in a small town in Maine, and many later stories took place in the small towns of Derry or Castle Rock. It features a much larger cast of characters than Carrie (1976) did, and most of his later books had a large cast. The main character, Ben Mears, is a professional writer, and another major character, Jason Burke, is a schoolteacher. Many of his subsequent characters were either or both. King himself also held both jobs.

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Tomb of Dracula (1972 1st Series) #33 - June 1975 Issue - Marvel Comics

Tomb of Dracula (1972 1st Series) #33 - June 1975 Issue - Marvel Comics

$4.00 USD - Order Here

Script by Marv Wolfman, pencils by Gene Colan, inks by Tom Palmer. Gil Kane/Palmer cover.

Quincy Harker has Dracula dying at his feet, however two of Dracula's vampires have Rachel van Helsing as their hostage and they are offering Quincy an ultimatum: Free Dracula, or Rachel will die. Quincy ponders the situation and his thoughts go back to the evening that his wife was laid to rest in the year 1955. He remembers how his young daughter Edith tearfully asked her father to make sure she never becomes a vampire, something that Quincy had promised.

He tells Dracula about a time earlier still in 1945, when the vampire lord attacked Quincy and his wife Elizabeth at a theater. It was that night that Dracula threw Quincy from a the balcony, crippling him and then making off with his wife. Quincy would relate to how the police found his wife two days later half drained of her blood. Quincy would explain how his wife never fully recovered from the attack and one night four years after their daughter was born, she would take her own life. Quincy would go on to tell Dracula that although he vowed on that day to kill Dracula once and for all, he cannot do it at the cost of Rachel's life, and pulls the killing arrow from Dracula's heart allowing the vampire lord to be restored to his full vitality.

With Dracula no longer at risk, the two female vampires let Rachel go who is more than upset that Quincy wasn't willing to sacrifice her to kill Dracula. Dracula then demands that Quincy reveal the knowledge of how he is going to be destroyed. Quincy tells him that all he knows is that someone is stealing his power and that Dracula has only two weeks to live before he is destroyed. Dracula senses that Harker is telling the truth, but refuses to believe that he will meet his end and warns the old vampire hunter that he will return in three weeks to kill him once and for all. Dracula would then boast about all those who attempted to kill him throughout his 500 years of unlife, and boasts about how they have all met their deaths. As a final insult, when Quincy demands that Dracula not touch the urn holding the ashes of his daughter and dashes it on the ground before leaving Quincy's mansion.

Meanwhile, in India, with their son destroyed by the villages, Taj Nitall and his wife put their son to rest. Taj decides to stay with his wife and they both head on to what is hopefully a happier life.

Back in England, Dracula returns to his mansion home and ponders on the idea that his powers are fading. He realizes that people have been able to resist his will such as the Russian vampire Gorna, detective Hannibal King, and Lord Henry. He then also realizes that his strength has also been fading since his encounter with Gorna, Dracula vows to learn who is sapping his powers and vows to destroy them.

While back at he home of Quincy Harker, the old vampire hunter considers his condition and the state of his home and wonders if he's getting too old to continue fighting Dracula. The next day Quincy pays a visit to his lawyer Mr. Prescott to get his will in order. Prescott asks Quincy why he is now changing his will, Quincy responds by telling his friend that he believes he will die soon.

That night in a London pub, a man named Snitcher begins telling the bartender about a recent murder where a woman was drained of all her blood. He tells the bartender how he's heard that it was done by a vampire, and is promptly thrown out of the bar. A man listening in at the bar however takes an interest in Snitcher's story, and confronts the drunk in the street. When Snitcher turns to tell the man his suspicions about vampires running the government, he's horrified to find that the interested party is a vampire himself who quickly feeds upon Snitcher.

Meanwhile, after much consideration Dracula has realized that the only person who could possibly be responsible for his waning powers is the only man who ever posed a serious threat to Dracula: Doctor Sun. Dracula decides to seek out his foe and destroy him once and for all, changing into bat form and going into the sky. As he flies across the city, Dracula deduces that Sun must have been draining Dracula's power ever since their first encounter when Sun attempted to transfer all his knowledge into the body of Lucas Brand.

As Dracula flies across the city, he is spotted by a police officer who reports the bat sighting to Inspector Chelm who follows after Dracula and orders for back up. Dracula commands his last parliamentary thrall, a man named Bennington to steal a file on Dracula from Lord Singleton's office. Bennington manages to do so, but has to kill a police officer stationed outside Singleton's office to do so. Bennington then goes to rendezvous with Dracula, the two completely unaware that Inspector Chelm is waiting for the right moment to shoot Dracula with special cross engraved silver bullets.

This story is continued next issue... - Marvel Comics

Freddy vs. Jason Jason Voorhees Bishoujo Statue


Freddy vs. Jason Jason Voorhees Bishoujo Statue

Price: $69.99 - Order Here

The Jason Voorhees Bishoujo Statue completes the diabolic duo of Freddy vs. Jason. Wearing the iconic hockey mask and carrying her favorite weapons, Jason Voorhees has never looked better than this bishoujo statue standing on a base the color of the murky depths of Crystal Lake! Measuring about 8 3/4-inches tall with her ripped, torn clothing, muscular physique, and gory blood effects, the figure is based on a character interpretation by famed Japanese illustrator Shunya Yamashita. In your dreams or in your nightmares, Jason Voorhees is sure to make a big impression! Read more on our blog! Order Jason Voorhees and Freddy Krueger today!

Jason Voorhees never looked so good!
The bishoujo-styled statue is a bold twist on the classic horror icon.
Kotobukiya returns to Freddy vs. Jason!
Character interpretation by famed Japanese illustrator Shunya Yamashita.

With this Freddy vs. Jason Jason Voorhees Bishoujo Statue, Kotobukiya returns to Freddy vs. Jason to complete the diabolic duo. Wearing the iconic hockey mask and carrying her favorite weapons, Jason Voorhees has never looked better as she stands on a base the color of the murky depths of Crystal Lake. Standing about 8 3/4-inches tall with her ripped, torn clothing, muscular physique, and gory blood effects, the bishoujo-styled statue is based on a character interpretation by famed Japanese illustrator Shunya Yamashita. It's a bold twist on the classic horror icon that makes an impressive display!

This Freddy vs. Jason Jason Voorhees Bishoujo Statue looks great on her own and even better alongside the Freddy Krueger Bishoujo Statue (sold separately), completing the full Freddy vs. Jason theme!

Size: 8 3/4-inches tall

Wonder Woman ArtFX Statue


Wonder Woman ArtFX Statue

Price: $119.99 - Order Here

This Wonder Woman ArtFX Statue is based on the designs of famed illustrator Jim Lee. She stands ready for battle in a dynamic pose, with a beautifully sculpted and focused face. The Wonder Woman ArtFX Statue showcases her The New 52 costume design in vibrant colors with meticulous paint application. Measuring about 12-inches tall in 1:6 scale, Wonder Woman is exquisitely sculpted by Kouei Matsumoto and comes packaged in a window box. Get yours today!


HALLOWEEN SPOOKLIGHT: MAN-THING


From Marvel Comics

One of Marvel's most fearsome creatures trudged his way out of the swamp in the pages of SAVAGE TALES #1 thanks to Stan Lee, Roy Thomas, Gerry Conway and artist Gray Morrow. The 1971 comic debuted the mysterious Man-Thing who soon set up shop in ADVENTURE INTO FEAR with issues #10 through 19.

A monster comic reprint book up to that point, FEAR soon gave way to the silent, skulking protector of the Nexus of All Realities. ADVENTURE INTO FEAR #16 featured a story written by Steve Gerber with artwork by Val Mayerik. Much like his work in the pages of HOWARD THE DUCK, Gerber used the medium of comics to tell stories about some of the injustices going on in the world.

In the case of “Cry of the Native,” which hit stands in 1973, the story revolves around a group of Native Americans defending their land against construction workers tasked with building there. In true Gerber fashion, the issue remains as complicated and diverse as real life with both sides expressing understandable points.

In the end though, one of the workers went too far and tried to attack head on. Jake Simpson scooped Man-Thing up in a bulldozer, buried him under the earth and drove over the spot with heavy machinery. Of course, that’s no way to stop Man-Thing. He grew himself out of the soil, confronted Jake, made him burn with fear and then left him in the path of an oncoming dozer which quickly sealed his fate.

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HALLOWEEN SPOOKLIGHT: DRACULA


From Marvel Comics

Technically, Dracula entered the Marvel Universe with 1951’s SUSPENSE #7, but the vampire lord really made a splash in 1972 with TOMB OF DRACULA #1. Thanks to a slackening of the Comics Code Authority rules, comics could finally feature monsters in the title again, hence the man formerly known as Vlad scoring a new series penned by Gerry Conway with art by Gene Colan.

TOMB OF DRACULA started off like many a horror classic with people driving around in the rain looking for a creepy castle. In this case, the group consisted of Frank Drake, his girlfriend Jean, and his friend Clifton who also happened to be Jean’s ex. Heading to Transylvania, Frank planned to cash in on a family castle that allegedly belonged to the legendary vampire Count Dracula.

After arriving at the spooky locale, the shifty Clifton took a tumble through some old floorboards that inevitably lead him to Dracula’s tomb. Having removed the stake sticking out of the skeleton’s chest, Clifton inadvertently resurrected the lord of the vampires, getting thrown down a well in the process.

Unleashed and hungry, Dracula presented himself to Frank and Jean, hypnotizing the latter. Frank brutally knocked Jean out to save her from becoming one of Dracula’s mindless minions, but their initial confrontation with the monster ended when a silver compact came into play. Not wanting the trouble, Dracula flew into town and tried to feast on a local, but did not enjoy her taste.

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HALLOWEEN SPOOKLIGHT: MORBIUS


From Marvel Comics

Though super heroes take center stage in the Marvel Universe, the darker corners house some of the creepiest monsters around. Morbius the Living Vampire remains one of the more complicated ghouls of the bunch.

A scientist-turned-blood sucker, the character made his first appearance with AMAZING SPIDER-MAN #101 in October of 1971 thanks to writer Roy Thompson and artist Gil Kane. Appropriately, the issue included a variety of classic horror references including a general mad scientist vibe and specific mentions of Frankenstein, Dracula and Alfred Hitchcock.

Morbius first popped up as a scared, strange looking man traveling on a ship suspected of killing the captain halfway through the issue. He avoided the angry mob until night set in along with his vampiric powers and then spent the entire eve quenching his thirst on every last one of them.

Feeling guilty, Morbius dove into the ocean and wound up sleeping through the day in Dr. Curt Connors’ house in the Hamptons. It just so happened that Spider-Man—sporting six arms thanks to a potion he took in issue #100 intended to cure him of his powers—had holed up in the same spot in an effort to cure himself.

As night fell, Morbius stumbled down the stairs, set eyes on the Wall Crawler and attacked, looking to satiate his monstrous hunger. Luckily for Spidey, Dr. Connors appeared just in time to save him from becoming a snack—but the stress of the situation turned him into The Lizard!

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Thursday, October 30, 2014

Godzilla Was Very Different 60 Years Ago


From The Wall Street Journal

TOKYO—Godzilla has come a long way in 60 years.

When the original film opened in Japan on Nov. 3, 1954, Godzilla was made from bamboo, cloth, paper, wire and whatever was available, says Eizo Kaimai, the 85-year-old chairman of Kaimai Productions.

This was long before digital wizards came along to create a T-Rex or Transformer, before Star Wars, Jurassic Park or Avatar.

“Back then, when we first created monster movies, we didn’t even have plastic or urethane material available,” says Mr. Kaimai, one of the few surviving members from the team that created the first Godzilla film. “It was hard work.”

This isn’t to say that the special-effects team for the new Gareth Edwards-directed “Godzilla,” which opened world-wide this year, had it easy. According to London-based Moving Picture Company, which rebooted the monster, creating the living creature from concept artwork took seven months, working up his body—from the underlying bones, fat and muscle structure to the thickness and texture of his scales. The new movie has brought in $525 million world-wide, according to Box Office Mojo.

Mr. Kaimai gives the Hollywood remake high praise, saying he is glad to have lived long enough to witness the digital revolution breathing new life into his monster. “They’re good. They really did something extraordinary,” he says. “They are so good, we will end up losing our jobs.”

But the octogenarian takes pride in the fact none of it would have existed if it wasn’t for his team’s efforts in the summer of 1954.

Before signing with Toho Studios, Mr. Kaimai made a living creating life-size dolls, including those used in haunted houses in theme parks. Godzilla was his first job collaborating with a film actor. On his first day, he says, he was presented with a miniature clay model of what the beast might look like and told to get to work.



The exterior of Godzilla’s body was manufactured with rubber material. For its feet, the team came up with the idea of remodeling rubber boots. World War II had ended just nine years earlier and the only place such gear was available at the time was the Tsukiji Fish Market in Tokyo, Mr. Kaimai says.

Directors, designers, actors and producers all came up with requests and their ideas on what the beast should look like. Mr. Kaimai would add or reduce bumps on Godzilla’s skin.

“It wasn’t a fun process, to be honest. Everything was done on a trial-and-error basis,” Mr. Kaimai says. The finished prototype was a failure as well. “I knew the moment we were done, the first Godzilla suit had failed. The joints were too stiff and no one could move in it,” he says. “Plus, it weighed 100 kilograms [220 pounds].”

The original Godzilla film was shot between August and October in the scorching summer of 1954. Actor Haruo Nakajima remembers what it was like inside Mr. Kaimai’s remodeled suit, which still weighed about 60 kilograms.

“The temperatures inside reached 140 degrees,” says Mr. Nakajima, 85 years old. He would pop out of the rubber monster after each take, with sweat dripping from his shirt. In Mr. Nakajima’s view, Ken Watanabe, the actor who plays scientist Ishiro Serizawa in the latest Godzilla film, is “still inexperienced.”

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Halloween Flashback: "KISS Meets the Phantom of the Park"


From Movie Pilot

In 1978, there were two things on the minds of boys ages 5 to 16. OK, maybe three. They were KISS, "Star Wars," and girls. You pick the order they were in for you personally. I was 6, so girls really hadn't figured into the equation yet.

Girls were on boys' minds for the obvious reasons. "Star Wars" was popular because it had just been released the year before and blew everyone away with its groundbreaking, never-before-seen special effects and imagery. After only being around since 1973, KISS was the hottest band in the world because of their shockingly explosive on-stage spectacle and look. They had already released several best-selling studio, live, and solo albums. They had t-shirts, stickers, belt buckles, and everything else you can think of with their logo and likenesses plastered on them. The band even had a comic book that featured the members as superheroes that was published through Marvel Comics.

Their manager, Bill Aucoin, could only see one other area KISS could move into that hadn't been explored yet. The band needed to make a movie. And not just any movie: a movie that put the band into the status of superheroes they were raised to in their comic book.

KISS needed to be seen as superheroes each with individual powers that reflected their different personae. Singer/guitarist Paul Stanley (the Starchild) could control and read minds. Singer/bassist Gene Simmons (the Demon) had super strength and could breathe fire. He also had a reverberating voice that commanded people listen to him and animal-like growls. Singer/lead guitarist Ace Frehley (the Spaceman) could shoot lasers and teleport. Drummer/singer Peter Criss (the Catman) had superhuman agility and leaping powers.

Horror director Gordon Hessler helmed "KISS Meets the Phantom of the Park." He had worked on several films with Vincent Price and on "The Alfred Hitchcock Hour." There was the monster movie element Gene Simmons would be happy about. The film was produced by Hanna-Barbera, which probably gave manager Aucoin a feeling of comfort that it would be kid-friendly and made to appeal to that demographic. Hanna-Barbera was known for hit shows like "Scooby-Doo," "The Jetsons," and "Johnny Quest." "KISS Meets the Phantom of the Park" debuted on October 28, 1978.

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Wonder Woman: Can You Find the Fake?

From DC Comics

Today, Wonder Woman fans will be treated to an explosive finale that’s been over three years in the making, as Brian Azzarello and Cliff Chiang wrap up their acclaimed run on the title with WONDER WOMAN #35.

Kicking off in September, 2011, with the launch of The New 52, Azzarello and Chiang have brought a surprising level of mythology to the book, expanding Diana’s supporting cast dramatically, adding in a dose of New Gods and re-envisioning some classic villains in astonishing new ways (most notably, Ares, who is far from the giant warrior of books past). It’s been an amazing run. One that has brought new fans to the comic, while invigorating the title for longtime fans. Over the years, Diana’s battle with her family and the monstrous First Born has taken her to some unexpected places, and played out in some truly surprising ways. So surprising, in fact, that even devoted readers may have a hard time remembering some of the more unusual twists.

Four of the five storylines below actually took place in Brian Azzarello’s Wonder Woman. The fifth is completely made up on the spot. Can you find the fake?

1) When battling her eventual ally Orion, Wonder Woman is defeated by a magical swarm of houseflies.

2) In an attempt to make her his queen, Hades shoots Wonder Woman through the heart with Eros’s pistols. Later, Diana returns the favor by shooting Hades as he’s looking at his own reflection.

3) In a tale told in classic Golden Age style (with thought balloons a-plenty), Diana angers Ares by refusing to fight to the death, but wins the respect of a minotaur.

4) Wonder Woman successfully retrieves baby Zeke from the clutches of Apollo by using a special tube of sunscreen created for her by Hephaestus.

5) Diana is rescued in a battle against Hermes by a boom tubing Orion, who is able to find her because he had slapped her on the bottom earlier.

Go here for the answer…

Girls and Corpses captures Ivonna Cadaver and Chanel Ryan for Comikaze Expo booth 1209

This weekend, October 31st to Nov 1st, Girls and Corpses booth #1209 at Comikaze Expo will feature Corpsy signing along with IVONNA CADAVER (Macabre Theater host) and Actress/Scream Queen CHANEL RYAN (Circus of The Dead). 

Girls and Corpses will also be holding a drawing each day for a Universal Classic Monsters complete 30 Film Collection including movies: Dracula, Frankenstein, The Wolfman, The Mummy, The Invisible Man, Creature from the Black Lagoon and Phantom of the Opera all complete legacy collection. They are gorgeous box sets curtesy of Macabre Theater and Universal Studios.

G&C news:

- Girls and Corpses has just released their Winter Medical Marijuana issue of Girls and Corpses: www.girlsandcorpses.com
- Girls and Corpses Channel coming soon on Movie and Music Network: http://www.movieandmusicnetwork.com/
- Girls and Corpses Presents label now at TomCat Films: http://tomcatfilmsllc.com/

- Watch Ivonna Cadaver on new episodes of her Macabre Theater show on the YooToo America Network: https://www.youtoo.com/
- Chanel Ryan will soon be seen in Circus of The Dead and hair raising other films: http://www.www.chanelryan.com/indexx.html

For more info and directions on Comikaze Expo visit: http://comikazeexpo.com/
 
 

Friday, October 17, 2014

Godzilla/Gamera Anniversary Panel At Comikaze Expo October 31


by Armand Vaquer

Note: The time has been changed. Our panel begins at 5:00 PM.

Stan Lee's Comikaze Expo 2014 schedule is now out and a panel on Godzilla's 60th anniversary and Gamera's 50th anniversary will be held at 5:00 PM on Halloween, October 31 in Room 404AB of the Los Angeles Convention Center.




The participants, along with yours truly, will be the same as last year's panel and will be headed up by Jessica Tseang. I will have copies of The Monster Movie Fan's Guide To Japan available following the panel discussion. Our panels on Japanese monsters have been some of the best-attended (standing-room-only) at Comikaze, so make sure you get there early enough to get a seat.


Above, the panel at last year's Comikaze Expo.
Stan Lee's Comikaze Expo will be held October 31 through November 2.

For the full schedule for Friday, October 31, go here (.pdf format).

To access Stan Lee's Comikaze Expo's website, go here.

Wednesday, October 15, 2014

Gamera 2 SH MonsterArts Action Figure


Gamera 2 SH MonsterArts Action Figure

Price: $80.99 - Order Here

Gamera comes to the SH MonsterArts series!
Highly detailed version of the classic Godzilla monster.
Measures 5 1/2-inches tall!

From Bandai Tamashii Nations. Imported from Japan. Drop everything and get your hands (or claws) on this amazing articulated 1966 Gamera collectible figure from SH MonsterArts! This spectacular rendition of Gamera was brought to life by famous kaiju sculptor Tomoo Haraguchi. Create flying and Ultimate Plasma attack poses with the plethora of accessory parts! Posing Gamera is easy with the expertly placed articulated joints. Set comes with plasma effect parts with supports, flying pose support piece, interchangeable flying appendage parts, and display base! Measures 5 1/2-inches tall.

Fantastic Four (1961 1st Series) #71, February 1968 Issue - Marvel Comics


Fantastic Four (1961 1st Series) #71, February 1968 Issue - Marvel Comics - Grade VG

$18.00 USD - Order Here

1st printing.

This comic book is in used condition. Comic is complete with cover and all pages attached. This comic has a few flaws that warrant a VG grade.

Note torn piece missing from top right corner of cover.

Comic Book will be shipped bagged and boarded!

Cover pencils by Jack Kirby, inks by Joe Sinnott. ...and So It Ends..., script by Stan Lee; Jack Kirby (co-plot), pencils by Jack Kirby, inks by Joe Sinnott; Ben, with his mind restored helps the others defeat the Thinker's android. Crystal (of the Inhumans) appearance.

Flash DC Comics Icons 1:6 Scale Statue


Flash DC Comics Icons 1:6 Scale Statue

Price: $84.99 - Order Here

The Fastest Man Alive takes a split second to pose!
Limited edition statue showcases the Flash.
Sculpted by Gentle Giant Studios.

Here's a Flash for you! Sculpted by Gentle Giant Studios, The Fastest Man Alive takes a split second to pose, joining his Justice League counterparts in the DC Comics Icon statue line. A limited edition of 5,200 pieces, this Flash DC Comics Icons 1:6 Scale Statue stands approximately 10-inches tall. Catch him if you can! Other statues sold separately.

Size: 10-inches tall
Edition Size: 5,200

Fantastic Four (1961 1st Series) #77, August 1968 Issue - Marvel Comics


Fantastic Four (1961 1st Series) #77, August 1968 Issue - Marvel Comics - Grade Fine

$30.00 USD - Order Here

1st printing.

This comic book is in used condition. Comic is complete with cover and all pages attached. This comic has a few flaws that warrant a Fine grade.

Comic Book will be shipped bagged and boarded!

Cover pencils by Jack Kirby, inks by Joe Sinnott. Shall Earth Endure?, script by Stan Lee and Jack Kirby (co-plot), pencils by Jack Kirby, inks by Joe Sinnott; Reed, Ben, and Johnny battle Psycho-Man in the Microverse. Letter to the editor from comics writer Tony Isabella. Reprinted in Marvel's Greatest Comics # 59.

DC Comics: A Visual History Updated Edition Hardcover Book


DC Comics: A Visual History Updated Edition Hardcover Book

Price: $49.99 - Order Here

The DC Comics: A Visual History Updated Edition Hardcover Book highlights the debuts of iconic super heroes like Superman and Batman and the geniuses that invented them. The DC Comics: A Visual History tells of the real-life events, like the Vietnam War, the atom bomb, and the Space Race, that shaped the atmosphere of the times. DC Comics: A Visual History follows the characters' foray into the real world through TV series and blockbuster movies. The DC Comics: A Visual History Updated Edition Hardcover Book features a slipcase design along with 2 prints packed inside. 376 pages.

Zombie Maid - Walking Dead - Sexy Zombie - Framed Photo Artwork Print


Zombie Maid - Walking Dead - Sexy Zombie - Framed Photo Artwork Print

$50.00 USD - Order Here

This is an original 8.5 x11 print framed (10x13) and matted to 8 x 10. Our idea is to put the undead to work ... cleaning your house. The print looks amazing matted and framed and will make a great addition to your movie memorabilia collection. A must for horror fans!

This image was created by renowned California artist Ken Hulsey.

The image is printed on professional studio grade matte paper by a professional photography studio not a home printer.

Fantasy Figure Gallery Hajime Sorayama Lady Ninja 1:4 Scale Resin Statue


Fantasy Figure Gallery Hajime Sorayama Lady Ninja 1:4 Scale Resin Statue

Price: $349.99 - Order Here

Would you dare approach this scantily laden warrior? As you stare at this beauty, you will not be capable of taking your eyes off of her! But alas, she is Lady Ninja and if you stare too long your mind and heart will be penetrated by her lustful appearance and Ninjato sword. Hajime Sorayama's Lady Ninja makes her way to the Fantasy Figure Gallery. Combining Sorayama's erotic and fetish styles, this dominating 1:4 scale resin statue stands roughly 17 1/2-inches tall, including the authentic Japanese Tatami floor-style base. Limited to just 500 pieces the Fantasy Figure Gallery Hajime Sorayama Lady Ninja 1:4 Scale Resin Statue comes with an art card, certificate of authenticity, and serial numbered nameplate.

A Monster of Creation's Dawn Breaks Loose in Our World Today! - King Kong - King Kong (1933) - Framed 8.5 x 11 Original Photograph Art Print


A Monster of Creation's Dawn Breaks Loose in Our World Today! - King Kong - King Kong (1933) - Framed 8.5 x 11 Original Photograph Art Print

$50.00 USD - Order Here

This is an original framed and matted (10x13) 8.5 x 11 artwork created by renowned California artist Ken Hulsey.

The image of everyone's favorite 40ft tall romeo King Kong.

The image is printed on professional studio grade matte paper by a professional photography studio not a home printer.

History:


KING KONG (1933)

Named as one of the "100 Best Films of All Time" by Time Magazine, King Kong premiered in New York City in 1933. The film was an instant success, breaking box-office records to become one of the top moneymakers of the 1930s.

King Kong's state-of-the-art visual effects, entertaining story and touching conclusion captivated audiences and started a worldwide love affair with the giant ape. The film has also been included in seven of the American Film Institute's Top 100 lists, including the "100 Years...100 Movies" list.

A film ahead of its time, King Kong defied the technological limitations of the 1930s. Special effects pioneer Willis O'Brien's revolutionary stop-motion animation was not only technically brilliant but also highly imaginative and continues to impress even in today's era of computer-generated wizardry.

Directed and produced by Merian C. Cooper and Ernest B. Schoedsack, with a rousing score by Max Steiner (who also scored Gone with the Wind), King Kong stars Robert Armstrong, Bruce Cabot and Fay Wray, whose memorable performance as damsel in distress Ann Darrow cemented her place in pop culture and earned her the nickname "The Queen of Scream."

Carl Denham is a producer and director of adventure films specializing in remote and exotic locations. He sets off to a remote island, uncharted except for a map he purchased from a seaman. He hires a ship and with the star of his film, Ann Darrell, he sets off to Skull Island where there supposedly lives a large ape known as Kong. Thie island itself is is divided and the giant ape lives behind a great wall. Whe the local islanders kidnap Ann to offer her as a sacrifice, Denham and John Dricsoll set off to rescue her. It's obvious that Kong is fascinated with Ann and means her no harm but Dehnam gasses the beast and transports it to New York where he puts it on display. When it manages to escape, it terrorizes the city, climbing to the top of the Empire State building where it must confront air force planes trying to shoot it down. - IMDB

"It wasn't the airplanes. It was beauty killed the beast." —Carl Denham (Robert Armstrong) - http://www.monsterislandnews.com/

Tuesday, October 14, 2014

DC ENTERTAINMENT ANNOUNCES THREE NEW DIGITAL FIRST TITLES AT NEW YORK COMIC CON

From DC Comics

During DC Entertainment’s “DC DIGITAL: DOWNLOAD THIS!” panel on Sunday, three exciting new titles were announced: MORTAL KOMBAT X, WONDER WOMAN ’77 and FABLES: THE WOLF AMONG US, which was also highlighted during the Vertigo panel at NYCC. Panelists included Bruno Redondo, Bryan Q. Miller, Cat Staggs, Hank Kanalz, Kyle Higgins, Marc Andreyko, Marc Guggenheim, and Shawn Kittelsen. In addition to the newly-announced titles, panelists discussed an unprecedented line-up of Digital First titles including INJUSTICE: GODS AMONG US, ARROW: SEASON 2.5, THE FLASH: SEASON ZERO, SMALLVILLE: SEASON 11, BATMAN ’66, and BATMAN BEYOND 2.0.

MORTAL KOMBAT X, in development by NetherRealm Studios and to be published by Warner Bros. Interactive Entertainment, is the next installment in the critically acclaimed game franchise which continues 25 years after the events of 2011’s MORTAL KOMBAT. The new comic book series of the same name will serve as a prequel to the game and will feature many favorite characters and the next generation of Kombatants. The series is being written by Shawn Kittelsen with interior art by Dexter Soy and covers by Ivan Reis. The series will debut in January 2015.

On the heels of the SENSATION COMICS FEATURING WONDER WOMAN launch will be WONDER WOMAN ’77, a new series based on the popular 1970s television show starring Lynda Carter. The series will be written by Marc Andreyko with several covers drawn by Nicola Scott. Additional artists for the project will be named in the coming weeks. WONDER WOMAN ’77 will debut digitally in December with six consecutive weekly chapters. These will be collected in two print issues to be released early in 2015. The series will then resume in the spring and appear periodically throughout the year.

The first-ever Digital First Vertigo title will be FABLES: THE WOLF AMONG US, based on the critically-acclaimed episodic game series from Telltale Games licensed by Warner Bros. Interactive Entertainment. The story will be written by Matthew Sturges and Dave Justus with art by Steve Sadowski, Travis Moore, and Shawn McManus. The cover artist for the series is Chrissie Zullo. FABLES: THE WOLF AMONG US will be a weekly Digital First series and is set to debut in December 2014 with print collections to follow in 2015.

NYCC 2014: Spider-Gwen

From Marvel Comics

Debuting in the second issue of EDGE OF SPIDER-VERSE, Gwen Stacy: Spider-Woman immediately developed a passionate cult following. Those fans will be rewarded in February 2015 with the exciting new SPIDER-GWEN ongoing series!

Marvel.com caught up with writer Jason Latour, artist Robbi Rodriguez, and colorist Rico Renzi who revealed some of what they love about Spider-Gwen as well as what they have percolating for the book.

Marvel.com: Were you surprised how much the EDGE OF SPIDER-VERSE issue and Spider-Gwen resonated with readers? What is it you think hooked people?

Jason Latour: Well, there just seemed to be this groundswell from day one, and that was certainly a little surprising. It changed my expectations a little, but as a writer you learn pretty quickly that you can’t really control how things are going to be received. All you can really do is focus on creating a story that speaks to you and your collaborators and just hope that you’re all excited about that. If you it turns out you’re in tune with the larger world, that’s amazing. But it’s also always a little lucky.

I know for me, when I sit back and think about the response I try to step back and look at the bigger picture as much as possible. So I do think a lot it just has to do with Gwen Stacy herself. I’ve been reading Spider-Man off and on since I was a small kid, but by the time I came around Gwen Stacy really only mattered by virtue of the fact that she’d impacted Peter so much. But even so that impact had been severely diminished, he’d kind of seemed to get over it and moved on to Mary Jane in a way he’d never have been able to do with Uncle Ben. She’d just become kind of a watered down plot point, and not a character. In the worst hands she was just a lost possession.

But you jump forward to today and fortunately you’ve got Gwen sort of re-emerging in other media, finding a very real voice again, [and] even bringing new readers into the books. So suddenly that death has meaning again and for a lot of people it’s pretty hard to swallow. Maybe in part because we’ve slogged through the decades of copycat “fridgings” that’ve followed “The Death of Gwen Stacy”; maybe there’s just that much demand for diversity in these books. I can’t say for sure—but the idea of what she represents and who she is has kind of burst free of the borders of the page.

So I think there’s clearly a lot of catharsis in seeing her get to be Spider-Woman. And it was important that she get that chance earnestly and with the same sense of impetus that Peter had when he first put on the suit. It couldn’t be treated like a lark or a cheap novelty; it’s not “I’ll give you your powers back later, honey.” So that was where Robbi and Rico and I really tried to make hay and make it our own. Approach it like it’s new and make it all matter. Fortunately the audience seems to agree with us so far.

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DYNAMITE EXPANDS ITS HIGH-END ART EDITION PROGRAM WITH JOSE GONZALEZ'S VAMPIRELLA, WALTER SIMONSON'S BATTLESTAR GALACTICA, AND EDGAR RICE BURROUGHS' JOHN CARTER: WARLORD OF MARS - THE MARVEL YEARS


From Dynamite Entertainment

Dynamite Entertainment proudly announces the expansion of their Dynamite Art Edition line to include three new high-end collections that meticulously reproduce the actual storyboard and cover artwork from classic 1970s comic books. Jose Gonzalez's Vampirella Art Edition and Walter Simonson's Battlestar Galactica Art Edition celebrate the seminal work of two master storytellers, while the John Carter: Warlord of Mars - The Marvel Years Art Edition showcases the artistry of numerous industry legends, including Gil Kane, Carmine Infantino, Dave Cockrum, and many more. Scanned in high-resolution color and printed at the original size of the artwork, these gorgeous hardcover collections preserve every detail of the prestigious artists' meticulous skill and hard work.

The process of creating each oversized Art Edition format involves high-resolution color scanning of original storyboard artwork, capturing the look of the artwork as originally illustrated, with all blue lines, corrections, pasted letters, editorial notes, and other distinctive creative elements intact. Each scan is then printed on heavy stock paper to give readers the most realistic experience of what it would be like to hold actual storyboard pages.

Jose Gonzalez's Vampirella Art Edition honors an illustrator whose mesmerizing and macabre interpretation of the raven-haired heroine established him - in many readers' minds - as the definitive Vampirella artist. Introducing an unparalleled level of sophistication to the visual storytelling of Warren Publishing's Vampirella Magazine in the 1970s, Gonzalez transformed the one-time horror hostess into a layered protagonist and industry icon. Longtime fans will thrill to see his mesmerizing and macabre artwork in the Art Edition's high-quality reproductions, representing ten complete stories selected from throughout his entire body of Vampirella work, including "Resurrection of Papa Voudou" (as written by Archie Goodwin), "The Blood Queen of Bayou Parish" (Steve Englehart), "An Eye for an Eye" (Bill DuBay), "Spawn of the Star Beast" (Rich Margopoulos), and more.

"For me, the initial exposure to Jose Gonzalez's lush artwork was eye-opening," says Steven Morger of Big Wow Art. "The reproduction of the original stories in black and white allowed for a subtlety which was never approached in four color comics. I was lucky enough to be able to acquire a number of stories from the original series over the years. I am looking forward to Dynamite Entertainment's efforts to expose new readers to the artwork that I love and to give longtime fans access to the work as it was originally created."

Walter Simonson is one of the most prolific artists ever to work in the comic book medium, a universally admired innovator whose work - on Manhunter, The Fantastic Four, The Mighty Thor, Jack Kirby's Fourth World, the list goes on - leaves a mark in the hearts and minds of readers for years afterwards. Walter Simonson's Battlestar Galactica Art Edition commemorates the master draftsman's senses-shattering work on the Battlestar Galactica comic book series, published by Marvel Comics from 1979 to 1981. Truly, the adventures of brash pilots Apollo and Starbuck were never so epic as they were under Simonson's skillful hand, as demonstrated in the scanned storyboard art of the complete stories contained therein. While Simonson himself assumes writing chores in many of the Art Edition contents, contributing writers also include Steven Grant, Roger McKenzie, and Bill Mantlo.

"Marvel's Battlestar Galactica comic will always hold a special place in my heart," says Simonson, artist and frequent writer on the series. "I'd been penciling the series for a year in the late 1970s when I was given the opportunity to write a few issues. It was my first professional writing gig, and I loved it. I wrote four of the title's last five issues. I knew the characters as they had developed in the comic quite well, and as a fledgling writer, I had no idea what I was doing, and consequently, no fear. I got reference from every Galactica book or magazine I could find at the time, and I studied video tapes of the episodes my pal, Allen Milgrom, had made on what have been one of the earliest home video tape machine. The late Archie Goodwin, one of the finest writers and editors the comics business has ever seen as well as a friend, was very complimentary about the writing and offered me my next writing gig when Galactica wrapped. My career as a writer/artist in comics had been launched, thanks in large part to Adama, Apollo, Starbuck, and the rest of the doughty crew of the Battlestar Galactica and their bitter enemies, the Cylons. Thanks, guys. I don't know that I could have done it without you."

The John Carter: Warlord of Mars - The Marvel Years Art Edition is the product of a recent and comprehensive licensing agreement between Dynamite Entertainment and Edgar Rice Burroughs, Inc., a fruitful arrangement that opens the vaults of the Burroughs library for the enjoyment of science fiction and fantasy fans everywhere. This Art Edition collects high-end reproductions of stellar artwork from a huge assembly of industry pioneers, including Gil Kane, Rudy Nebres, Bernie Wrightson, Alan Weiss, Ernie Chan, Sal Buscema, Larry Hama, Ernie Colon, Carmine Infantino, Dave Cockrum, Alex Nino, George Perez, John Byrne, Bob McCleod, Ricardo Villagran, and Mike Vosburg. The cover artwork and interior pages are drawn from throughout the 1977-1979 run of John Carter: Warlord of Mars originally published by Marvel Comics.

"We are very pleased that our new licensing agreement with Dynamite Entertainment not only creates a fully new John Carter: Warlord of Mars comic book line, but also encompasses the reproduction of the rich, vibrant art of earlier periods by many masters of the medium", says James Sullos, President of Edgar Rice Burroughs, Inc. "These are some of the legendary artists who contributed so much to comic art. I know that fans everywhere will want to add this beautiful edition to their collections".

Tom Fleming of Fanfare says, "I was thrilled to hear that Dynamite is doing a John Carter of Mars art edition. I have a great fondness for the original novels and the Marvel comic book series was released shortly after I had finished reading the books. The series boasted work by some of the true giants in the industry and seeing the original art at its full size will be such a treat. I acquired my first John Carter original art page more than 30 years ago and continue to collect to this day. I am happy to be sharing art from my collection and I am also looking forward to seeing all of the other contributions."

"Words cannot begin to express how delighted I am that we're able to announce the expansion of our Art Edition program," says Nick Barrucci, Dynamite's CEO and Publisher. "With timeless classics like Jose Gonzalez's Vampirella; to showcasing one of my heroes, Walter Simonson, on one of his earliest works; and finally, an Art Edition that features Gil Kane, Carmine Infantino, and many other great artists from the Marvel years of John Carter; these are great high-end collectibles for fans, and just the tip of the iceberg for what we have in store for 2015!"

The Dynamite Art Editions are solicited for retailer orders in Diamond Comic Distributors' Previews catalog, the premiere source of merchandise for the comic book specialty market. Comic book fans are encouraged to place preorders through their local comic book retailers or online booksellers.

Pacific Rim 2 & Godzilla Crossover Rumors Abound


From JBGNews

There have been a few recent giant monster movies worthy of your attention, and two of those are Pacific Rim and the new Godzilla. Both films were incredible in their own rights, but what would make them better? Apparently, the answer to that question is a crossover between Pacific Rim 2 and the new Godzilla. Both films are within the same genre – monster movies – and both did quite well at the box office, so it would make sense to tie them in together at some point.

Legendary Pictures, at one point, admitted to the world that Godzilla and Pacific Rim would be completely separate from each other. However, that doesn’t seem to be the case anymore, as new rumors have been spreading around the Internet, claiming the two will join together at some point in the near future.

The Movie News Hound reports that the success seen in Godzilla 2014 and positive reaction towards Pacific Rim 2 has Legendary Pictures considering a crossover between the two movies. Unfortunately, this type of crossover won’t happen until after Godzilla 2 and Pacific Rim 2 have concluded, so perhaps in a third film within one of the franchises.

The new Godzilla film earned around $93 million in ticket sales during its opening weekend, and another $103 million total in overseas markets. This makes it the best international debut this year, which Legendary is sure to capitalize upon in the near future with more films in the franchise. A lot of the sales came from IMAX theaters, where massive screens portrayed Godzilla in all his wonder. These theaters earned around $40,057 on average per showing.

A crossover would be plenty of confusing, as fans would be voting for both Godzilla and the Jaegers to win the ultimate battle. However, we desperately want to see this crossover happen, as it would combine two impressive films into one experience. Pacific Rim 2 cannot get here soon enough, then we can discuss the potential for a new film between the two in earnest.

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Batman V Superman: ‘Wonder Woman’ Origin Revealed?


From Screen Rant

When Zack Snyder’s Man of Steel hit theaters, audiences didn’t need to notice the Wayne Enterprises logo within the film to know that DC and Warner Bros. had created a Superman universe in which a character like Batman could exist. Those suspicions were later confirmed when Batman V Superman: Dawn of Justice was announced, with Snyder having shown that the story of a superpowered alien really could be cast in a grounded, rooted, believable light.

But the confidence of even optimistic fans was somewhat shaken when it was announced that Wonder Woman (Gal Gadot) would be featured as well. Aliens are one thing, but a mystical princess from a hidden island of Amazons, worshipers of the ancient Greek deities – even clothed in some classical armor – is a stretch. Now, Diana’s movie origin has become clearer, casting the princess as the daughter of Hippolyta, Queen of the Amazons, and Zeus, ruler of the gods.

There’s a chance that some may not be familiar with the story of Wonder Woman’s birth, since it tends to be out-shined by her superheroics. To make a long story short, Hippolyta, Queen of the Amazons desires a child, fashioning one out of clay, and begging the gods to bless it with life. The gods hear her request, and grant it. Since the society is one of only women, Diana takes on the title of not just princess, but Daughter of the Amazons.

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Zombie Stormtrooper - Star Wars - Zombies - Stormtroopers - Framed Original Artwork Print


Zombie Stormtrooper - Star Wars - Zombies - Stormtroopers - Framed Original Artwork Print

$50.00 USD - Order Here

This is an original framed and matted (10x13) 8.5 x 11 print featuring an image of a Zombie Stormtrooper from the expanded Star Wars universe. The print looks amazing matted and framed and will make a great addition to your movie memorabilia collection. A must for Star Wars and Horror fans!

Note: Stand not included.

This image was created by renowned California artist Ken Hulsey.

The image is printed on professional studio grade matte paper by a professional photography studio not a home printer.

The item will be shipped in an acid free bag with a protective board to prevent folding or creasing.

Stormtroopers were the elite soldiers of the Galactic Empire. Like Imperial-class Star Destroyers and TIE fighters, stormtroopers served as ever present reminders of the absolute power of Emperor Palpatine. These faceless enforcers of the New Order were considered an extension of the Emperor's will, and thus they often used brutal tactics as a way to keep thousands of star systems throughout the galaxy in line. At the height of the Empire, stormtroopers had effectively become symbols of brutality and terror. With few exceptions, they were distinguished from all other military units by their signature white armor.

The Imperial stormtroopers were the evolution of the clone troopers of the Grand Army of the Republic. By the end of the Clone Wars in 19 BBY, the Galactic Republic was reorganized into the first Galactic Empire. As a result, the Grand Army was reformed into the Stormtrooper Corps and the clones were renamed "stormtroopers." Under the Empire, stormtroopers operated alongside Imperial Army and Navy units, and some were stationed on Naval ships where they served as marines. Although the Corps was overseen by Stormtrooper Command, a military agency that was independent from Imperial High Command, all stormtroopers ultimately answered to Emperor Palpatine with unconditional loyalty and subservience. - Wiki

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Wednesday, October 8, 2014

Bandai 18 Inch Long Godzilla PVC Figure - Very Rare


Bandai 18 Inch Long Godzilla PVC Figure - Very Rare

$100.00 USD - Order Here

$50 OFF!!! Was $150 ... $250 on Ebay!

Bandai 18 Inch Long Godzilla PVC Figure - Very Rare

This 18 inch long figure was produced in Japan for the release of Godzilla x Mothra x Mechagodzilla: Tokyo S.O.S.

The figure is rare in Japan due to it's large size.

The figure comes with it's original tag and has never been played with.

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Avengers (1963 1st Series) #65, June 1969 Issue - Marvel Comics


Avengers (1963 1st Series) #65, June 1969 Issue - Marvel Comics - Grade VG/F

$15.00 USD - Order Here

1st printing.

This comic book is in used condition. Comic is complete with cover and all pages attached. This comic has a few flaws that warrant a VG/F grade.

Comic Book will be shipped bagged and boarded!

Last 12-cent issue. The Swordsman attacks in "Mightier Than the Sword?" Script by Roy Thomas, pencils by Gene Colan, inks by Sam Grainger. Avengers roll call: Goliath, Yellowjacket, the Wasp, the Vision, and the Black Panther. Colan/Grainger cover.

Avengers (1963 1st Series) #44, September 1967 Issue - Marvel Comics

Avengers (1963 1st Series) #44, September 1967 Issue - Marvel Comics - Grade G/VG

$13.00 USD - Order Here

1st printing.

This comic book is in used condition. Comic is complete with cover and all pages attached. This comic has a few flaws that warrant a G/VG grade.

Comic Book will be shipped bagged and boarded!

Hercules and the Black Widow guest appear in "The Valiant Also Die!" Script by Roy Thomas, pencils by John Buscema, inks by Vince Colletta. Avengers roll call: Hawkeye, Goliath, the Wasp, Quicksilver, and the Scarlet Witch. Buscema/Colletta cover.