Monster Madness #2 - Marvel Comics Group - January 1973 - Grade VF - $26.99
Creator: Stan Lee
Stills from classic monster movies are reprinted in full-page spreads and embellished with gag word balloons written by Stan Lee himself. The last all-stills issue; with issue #3, the format was changed to resemble Famous Monsters of Filmland. Black and white.
From IDW Comics
Join IDW Publishing for a unique celebration at SDCC!
San Diego, CA (June 29, 2017) — Next month at San Diego Comic-Con, IDW will honor both the breadth of Jack Kirby’s imagination, and his unrivaled artistic skill, in a special 100th birthday celebration panel and art show, featuring an incredible 1,300 images of original Kirby art.
Kirby, the visionary artist and creator or co-creator of such characters as the X-Men, Captain America, Silver Surfer, The New Gods, The Avengers, Kamandi, and hundreds more, remains one of the most influential comic artists of all time. Not only do his wildly imagined creations continue to inspire new media properties across the world, but his incredibly drawn pages still stand as a pinnacle of sequential art.
This birthday tribute, hosted by IDW President Greg Goldstein, will feature a multi-media display of more than 1,300 pages of Kirby’s original artwork—the largest showing ever—selected from the eight Jack Kirby Artist’s Edition books IDW has published, as well as additional not-yet-published pages that will be new to fans of the books. “There’s never been a larger or more impressive collection of Kirby visuals in public,” said Goldstein.
Comic legends Walter Simonson (Thor, Alien, Ragnarok) and Kevin Eastman (co-creator of the Teenage Mutant Ninja Turtles) will be on hand to discuss Kirby’s continued influence. Also present will be IDW PDX Creative Director Dirk Wood and IDW Director of Special Projects Scott Dunbier, the editor of IDW’s award-winning Artist’s Editions series.
“Jack Kirby was the most important comic artist of all time, and we could not be more pleased to help celebrate his enduring legacy,” said Dunbier.
In addition to his importance, Kirby was also incredibly prolific, penciling 15 pages or more each week during marathon days at his drawing board, lasting upward of 12 hours. Yet, despite the breathtaking rate at which he worked, nearly all the pages he left behind are a master class in design, layout, and imagination, made even more impressive by the fact that Kirby was almost completely self-taught.
Panel attendees will see hundreds of eye-catching pieces from Kirby’s tenure at both DC and Marvel, including selections from Fantastic Four, Mister Miracle, Thor, The Forever People, and more, printed so clearly that the whiteout, eraser marks, and blue-line notes are all visible, giving a behind-the-scenes look at some of Kirby’s biggest hits.
“One of the things that IDW is most committed to as a company is the preservation and proper display of classic comics, and we could not be more excited and proud to show off these original pages in celebration of all that Kirby accomplished,” Goldstein said. “We’re grateful to our partners at Marvel and DC, and of course to the Kirby family, for the opportunity to publish these beautiful and important books.”
The panel will on Saturday, July 22nd, from 1:00 PM – 2:00 PM in Room 25ABC. Seating is limited, and in addition to a special gift for everyone who attends, two lucky fans will be leaving with their own Kirby Artist’s Edition.
To purchase any of the IDW Jack Kirby Artist’s Edition books, which feature high-quality reproductions of Kirby’s art printed the same size it was originally drawn at, on paper similar to the actual art boards, visit your local comic shop or get them direct from IDW at:
You can learn more about Jack Kirby and his amazing legacy by visiting the Kirby Museum at kirbymuseum.org.
It's shaping up to be a busy July for 'The Hottest Band In The World' thanks to Dynamite Entertainment. The Comic Book incarnation of KISS will begin the month by rescuing Vampirella from a crazed cult in Los Angeles then they will take their show into outer pace to fight giant monsters who threaten to destroy the KISS Army.
Let's start with that monster battle in deep space. In KISS #9 it's Kaiju vs. the KISS Army in a metal death match orchestrated by the mysterious ship the Obayashi. Will the last of humankind destroy themselves, or can the language of music save everyone?
Related: KISS #1, Midtown Exclusive Jim Balent Variant Cover Signed By Amy Chu & Jim Balent - Dynamite Entertainment
Vampirella Strikes #1 - Limited Edition Variant Cover C - Dynamite Entertainment
Here's a preview:
In KISS / Vampirella #2 rock 'n' roll isn't for the faint of heart. Jet-lagged, on the verge of recording a new album and stuck in the strange heart of Los Angeles, KISS are now up against an army of mysterious strangers who've kidnapped their old friend. Vampirella has her own problems stuck in a crime scene full of satanists with swords. Dragging her new roadie with her on a ride packed with demons and explosions big enough to throw Vampi and her band into a collision course with KISS.
Here are all four covers for KISS / Vampirella #2:
Mary (Haruka) from Houston, Texas
I am cosplay/costume designer/photographer. Most of my photo shoots are costume and fantasy related. I especially love fashion photography. I am experienced in working with a Varity of photographers who have different demands in the style of photo they desire. Because I am also a photographer, I have a good perception of what poses and angles would look most flattering. I am very comfortable behind and in front of the camera. My modeling style ranges from gothic to high fashion, punk, innocent, and glamour.
Mary's website - Firefly Path
Related: Superfans - Sexy Cosplay 16 x 20 Poster
Visit the Monster Island Newsstand
In the first week of July 1947 a UFO reportedly crashed on a remote ranch outside Roswell, New Mexico. The crash, the recovery of the UFO and it's three extraterrestrial crew members and the alleged government cover up that followed are now the subject of both folklore and an overwhelming number of stories that range from pure conjecture to alleged eyewitness accounts. What many people don't know is that in the weeks prior to the event a mass wave of UFO sightings occurred across the American southwest as a sort of precursor to what was about to transpire in the remote New Mexico desert. Now some seventy years later a mass of UFO sighting reports are once again happening in the same region of this country leading many experts to ponder if history is about to repeat itself? Is a first contact situation immanent?
See Also: Fate Magazine #85 - April 1957 Issue - We Saw A Flying Saucer / Zombies
For decades formations of mysterious lights appeared in the skies over Phoenix, Arizona and Lubbock, Texas, now similar formations are being seen over East Texas. Recently Harold Jackson of Longview noticed something strange in the sky as he was driving home:
"... I hit a stretch of highway where it was pitch black and I was thinking that I hoped that a dear or something wouldn't jump out in front of me, when something in the sky to my right caught my eye. Hovering in the sky very low maybe a hundred yards off was a triangular formation of lights, making no sound. I slowed down and blinked to double check my vision and they were still there. I kept my eyes on them as much as I could as I drove. About five minutes passed before I lost sight of them."
It seems that Texas is not the only spot where strange lights in the sky are appearing. In Albuquerque, New Mexico a strange "honey-combed collection of lights" was seen by several eye-witnesses. According to one of them:
"A strange bright light appeared directly over the city. When my mother, my best friend, his father, and myself first noticed the light we believed that it was a helicopter hovering over the center of town. Being the curious type, I ran to the garage and retrieved my father's army issue binoculars to get a better look. Upon viewing the object, I discovered that the 'light' was not a single illumination, but a honey-combed collection of lights. After about an hour or so the objects just simply vanished."
Nighttime sightings of UFOs are quite common but recently large silver cigar shaped objects have been seen in the daytime skies over Los Angeles and nearby cities. A truck driver in Riverside, California had this to say about an object he witnessed during his lunch break:
"At about 1:30 I took my normal position on top of the hill and began to eat my lunch. While I was sitting there I noticed a silver metallic object in the sky traveling from East to West.
As the object passed by, I noticed that it seemed to reflect the sunlight and I didn't notice any wings. I thought that this was an odd angle to view an airplane, which is what I assumed it was. I also noted that I hadn't ever seen a plane at this low altitude in this area of the sky before. Upon further investigation, I also noticed that this, 'plane', didn't seem to have a tail fin. It looked about the same size a commercial jet, oval, larger in the front tapering towards the tail.
As the object traveled to about 3/4 of the way across my point of view it simply vanished. Now when I say vanished, I mean it disappeared, slowly, like someone turned it off.
I sat in place for another ten minutes surveying the sky for the object and could not locate it anywhere in the heavens."
Several residents in Buckeye, Arizona recently reported seeing multiple sets of orange lights on the horizon. The lights, which were grouped in sets of two, three, and four, reportedly moved south, over the town, between interstates 8 and 10, towards the open desert. The lights would periodically blink on and off in a repeated order.
The eyewitnesses noted that during their observation, several Air Force jets attempted to follow the lights, but as they came close to them, they blinked out, making location impossible. After circling for a short period of time, to relocate the lights, the jets left the area.
Almost on cue, two minutes after the fighters had departed, the lights returned.
Reportedly two additional sets of lights appeared to the west of interstate 10. One set moved slowly towards the west in a straight line, while the other set moved in an up-and-down fashion.
A a group of students and parents were finishing an event at Dublin High School in Stephenville, Texas when they spotted a large oval object with very bright lights.
One of the students, Andy Monrreal, used his parent's video camera to film the unidentified craft for about a minute. The footage appeared on News 8 (WFAA) in Dallas/Fort Worth accompanied by statements from the Monrreal family. Andy described the UFO this way, "You could see a shape. It was like a complete circle." Likewise, his father stated, "I never seen nothing like that in my life… big lights and everything," and his mother added, "It was a round thing. You could see lights around it, flickering and changing. It was awesome. Just turning and flickering.”
In all, there were eleven witnesses to the aerial event over Stephenville that night, most of whom noted that soon after the mysterious aircraft appeared that military jets were also seen in the area. It is not known whether these jets were scrambled to intercept the UFO or they were on a training mission from a nearby Air Force base.
In January of this year it has been confirmed that fighter jets were indeed scrambled after several eyewitnesses spotted similar objects in the sky in the vicinity of the Bush Ranch in nearby Crawford, Texas.
In the decades since the alleged Roswell crash government sponsored programs like Project Sign, Project Grudge, and Project Blue Book were created in an attempt to convince the public that the UFO sightings were nothing more than simple misidentification of known celestial objects, namely the planet Venus and weather balloons from the Navy's Project Skyhook. The later was used rather frequently to explain such famous UFO events as Roswell and the death of Air Force pilot Thomas Mantell, who the government insisted was chasing a balloon, not a craft of unearthly origin, when his P-51 plummeted to the ground. Despite all the evidence that the military presented in an attempt to merely make the UFO phenomenon go away the accumulated data instead lead many military and civilian researchers to conclude that 'beings' unknown were monitoring atomic testing and bases throughout the American southwest.
Are there forces beyond our knowledge keeping track of us? Did our early atomic tests somehow get the attention of unearthly beings who now believe it necessary to "monitor" the human race so that we don't harm ourselves or any other species in the universe? Common sense would dictate that these questions wouldn't even be based in enough reality to warrant either an answer or more than a moments’ pondering. None the less reports of Unidentified Flying Objects have been a part of the human experience since ancient times. What are people actually seeing? Have we been visited by beings from other planets? Does the government really know the truth? Is it all just a cornucopia of hoaxes, lies, misidentifications and the ramblings of knuckleheads looking for their pictures in the newspaper and five minutes of fame? The evidence would truthfully point to something real happening, though the whole truth of the matter will probably never be revealed ... at least not to the general public. Not unless a UFO lands on the fifty-yard-line during the Super bowl anyway.
It seems like an eerie coincidence that the events of 1947 seem to be repeating themselves. Maybe the latest flurry of UFO sightings is leading up to something significant?
From Dynamite Entertainment
Thanks to the overwhelming success of Dynamite Entertainment's Sheena #0, the Queen of the Jungle's latest relaunch, issue #1 is set to launch September 6th, and features a wide-swath of fantastic artwork by industry legends, including artist J. Scott Campbell!
See Also: Sheena Queen of the Jungle 16 x 20 Poster Print by J. Scott Cambell
Cover artwork for Sheena #1 spotlights the talents of not only J. Scott Campbell, but also Ryan Sook, cover artist Moritat, and Carli Ihde. Additional limited variant editions including "Black and White," "Virgin," and J. Scott Campbell's "Jungle Green," are available as retailer incentives for comic shops that support the issue by achieving stocking thresholds. Written by the creative dynamic duo including GLAAD-Nominated, New York Time's Best-selling Marguerite Bennett (Batwoman, Animosity) and newcomer Christina Trujilo, with illustrations by Moritat (Hellblazer, Teen Titans), everyone's favorite Queen of the Jungle swings back into action with ongoing series!
Writer Marguerite Bennett says, "Our story is glorious golden age pulp -- high adventure, quick wit, ancient mysteries, and daring dames -- clashing with the perils of two worlds: one, the modern world come to conquer, and one, a world of dark supernatural mystery long forgotten, awoken to anger once more. This is a fast paced, action packed kick off to more exciting adventures for Sheena!"
Marguerite Bennett is the New York Times Best-selling, GLAAD-Nominated writer of Bombshells, Batwoman, A-Force, and Animosity, and is proud to introduce co-writer Christina Trujillo.
Christina Trujillo adds, "Sheena is strong, brave, and willing to bend the rules in order to do her duty and keep her home safe. I think fans will enjoy having Sheena as a guide while they unravel the mysteries of the forest."
A former student of Scott Snyder (Batman), Trujillo received an MFA in Creative Writing from Sarah Lawrence College in 2013, has seen her works published in the literary journal Dark Phrases, and was a finalist for Galaxy Press's Writers of the Future award.
"We are incredibly proud of this series, and fans have clearly shown their excitement based on the strength of pre-orders for issue #0," says Dynamite CEO and Publisher Nick Barrucci. "The lush universe Moritat has brought to the page is complemented by the extraordinary cover art by some the greatest talents in the business. I can say with great certainty that J. Scott Campbell has once again crafted a breath-taking character that every collector is going to want to put on display!"
Sheena, Queen of the Jungle, was the first female character in comics to carry her own dedicated series beginning in 1937. Created by industry legends Will Eisner and S. M. "Jerry" Iger, this groundbreaking character saw 167 issues over the span of two decades. In this riveting relaunch, Sheena proves her prowess as the guardian of the jungle as she pursues a mysterious invader that has come to spy on the Amazon's most ancient secrets. Following the path of the trespasser, she encounters a forbidden ruin in which even more deadly dangers lie in wait -- and begins an adventure that will take her beyond her wildest imaginings!
Sheena #1 will be solicited in Diamond Comic Distributors' July 2017 Previews catalog, the premier source of merchandise for the comic book specialty market, and slated for release in August. Comic book fans are encouraged to reserve copies of Sheena #1 with their local comic book retailers. Sheena #1 will also be available for individual customer purchase through digital platforms courtesy of Comixology, Kindle, iBooks, Google Play, Dynamite Digital, iVerse, Madefire, and Dark Horse Digital.
Vampirella #98 - August 1981 Issue - Warren Magazine
Find out if sexy Vampirella can defeat the zombies - We have the magazine for sale!
Stories in this issue include: "Vampirella: Army of the Dead"; "Cassandra St. Knight: Mindwars"; "Pantha: The Haitian Connection"; "Dragon"; and "The Fox." Written by Rich Margopoulos, Esteban Maroto, and Nicola Cuti. Art by Gonzalo Mayo, Rafael Auraleon, Jose Ortiz, Esteban Maroto, and Luis Bermejo. Cover art by Enrich Torres.
Vampirella initially appeared in Warren Publishing's black-and-white horror-comics magazine Vampirella #1 (Sept. 1969), running to issue #112 (March 1983). The title was a sister magazine of Warren's horror anthologies Creepy and Eerie. Like those magazines' respective mascots, Uncle Creepy and Cousin Eerie, Vampirella hosted horror stories, though unlike them, she would also star in her own story, which would headline each issue. Vampirella was initially edited by Bill Parente. It would later be edited by Archie Goodwin (issues #7–12, 34–35), Billy Graham (#13–16), Bill DuBay (#21–50, 87–95, 101–102) and Louise Jones (#51–86).
As comics historian Richard J. Arndt describes, "Forrest Ackerman created, or at least had a strong hand in creating, Vampirella and he clearly had a major influence in shaping the lighthearted bad-girl story style of this issue as well." Her costume and hair style were designed by comics artist Trina Robbins. The character's first story artist was Tom Sutton. Artist Frank Frazetta's first-issue cover "was a substitute for the original cover by European artist Aslan."
José González became the character's primary artist starting with issue #12. Other artists who would draw Vampirella during her magazine's original run included Gonzalo Mayo, Leopold Sanchez, Esteban Maroto, José Ortiz, Escolano, Rudy Nebres, Ramon Torrents, Pablo Marcos, Jim Janes, John Lakey, Val Lakey, and Louis Small, Jr..
Backup features appearing in Vampirella included "Tomb of the Gods", "Pantha" and "Fleur". Vampirella herself also appeared in a story with fellow Warren characters Pantha and the Rook in Eerie #94–95, and with most of the Warren characters in a company crossover special in Eerie #130. The final issue of the original Vampirella was cover-dated March 1983.
Related: Vampirella #60 - May 1977 Issue - Warren Magazine
Supernatural Thrillers #8 (1972 Series) February 1974 - Marvel Comics
Cover pencils by Larry Lieber, inks by Tom Palmer.
Power Times Four!, script by Tony Isabella, art by Val Mayerik; N'Kantu is transported to the Elementals, four former rulers of Earth that wish to return; They make the mummy their slave and teleport him back to earth to destroy a scarlet scarab--an ancient weapon of magic capable of destroying them. The Little Gypsy Tea Room, script by Stan Lee, art by Steve Ditko; A criminal forces a gypsy to hide him from the police, but gets more than he bargained for when she does help him.
Of course we have The Living Mummy In Stock ... Go Check Him Out
Born 3,000 years ago, N'Kantu is the son of T'Chombi, a chief of a Northern African tribe called the Swarili of the nation of Swarilis. At the age of 21, N'Kantu must undergo the Test of the Lion, proving himself to be worthy of being called a warrior. Succeeding in this trial also means that someday N'Kantu would be worthy to succeed his father as king. Months later, his father dies in his sleep, and N'Kantu becomes the chieftain of the Swarili tribe.
Returning from a hunt, N'Kantu finds that his village has been ransacked and the entire tribe of Swarili rounded up by Egyptians as slaves. N'Kantu fights to rescue his people, but is overwhelmed and captured by the Egyptian soldiers.
N'Kantu and the Swarili are then taken to Egypt, and put to work building monuments to the current Pharaoh, Aram-Set. Recognized as the strongest, and most dangerous of the Swarili, N'Kantu is isolated and forced to work the hardest in an attempt to break his spirit. But at night he and the other Swarili people plot a rebellion, though unbeknownst to them their plotting is being reported to Aram-Set and his chief priest, Nephrus. At the completion of the current monument project, the Egyptians take their slaves into its catacombs in preparation for a mass execution. But N'Kantu signals for the revolt and the Swarili slaughter their would-be executioners.
N'Kantu slays Aram-Set with his spear and then turns to Nephrus, but the evil priest had prepared, and he sprays N'Kantu in the face with a mysterious paralyzing liquid. N'Kantu is then strapped and bound to a special altar, his body wrapped in papyrus, and his blood is drained and replaced with an unknown alchemical preservative. N'Kantu, who remains conscious through the entire ordeal, is then placed inside a stone sarcophagus.
In modern times, the paralyzing fluid finally wears off and N'Kantu escapes from his tomb. Deranged from being paralyzed in a dark tomb for several millennia, he digs himself free and goes on a rampage in Cairo, Egypt. He later recovers from his insanity and discovers Doctor Alexi Skarab, one of Nephrus' surviving descendants. N'Kantu was electrocuted into unconsciousness. His lifeless body is shipped to a New York City museum, where he is revived. He is teleported to the dimension of the Elementals, who ordered him to find the ruby scarab. While searching, he battled Professor Abdol the Living Pharaoh. N'Kantu then battled the Elementals, and vanquished them with the aid of the Scarab he had found. During later travels N'Kantu befriends Ulysses Bloodstone. Some time after that N'Kantu is kidnapped by the Grandmaster for the Contest of Champions, but the Grandmaster doesn't consider him worthy enough to be a combatant and so N'Kantu returns to Earth.
See Also: Where Monsters Dwell (1970) #1 - January 1970 Issue - Marvel Comics
Godzilla: Kingdom Of Monsters #4, Regular Eric Powell Cover - IDW Comics
Cover A by Eric Powell. Eric Powell & Tracy Marsh (w) o Phil Hester (a) o Eric Powell, Jeff Zornow (c)
You wanted the best and you can have the best! - We have a lot of Godzilla stuff just for you!
France is in danger when the mysterious egg that washes ashore begins to hatch, but should the military be worried about what's inside the egg or those creepy kids who found it? Also, a community of monks has a religious experience of the 3-headed variety. And all the while, Godzilla seems hell-bent on coming to America...but hasn't Anguirus already claimed it as his turf? Fight! Fight!
See Also: Godzilla: Kingdom Of Monsters #5, Regular Eric Powell Cover - IDW Comics
I think that it is safe to assume that Darth Vader (aka Anakin Skywalker) may have had a few 'issues'.
He left his mother at a tender age to join the Jedi only to seek her out as a teen, he finds her after she was captured by Sandpeople then she dies in his arms. He got a little upset and went on a killing spree. He always thought that his fellow Jedi were holding him back so he turned to the dark side and slaughters his comrades, kills his own wife and tries to barbecue his best friend and mentor only to end up becoming a half-machine half-man monster with a bad Asthma problem.
Most people may be a little off center after experiencing stuff like that.
Related: Star Wars - Darth Vader - 20 X 30 Poster Print
Now some bored French researchers have spent some quality time watching the "Star Wars" films over and over again with pen and paper in hand to figure out just what was eating at the elder Skywalker.
Their conclusion, Vader continually displayed six of the nine criteria for borderline personality disorder.
Borderline personality disorder? Borderline? Um ... the guy used to like to choke people for fun.
What were the signs doc? Well according to the French, Vader suffered from extreme mood swings, had unstable relationships and was easily influenced by others, namely Emperor Palpatine. Oh, and his use of the dark side of The Force could have been like an addiction to medication or hard-core drugs for Vader.
The researchers that conducted the evaluation of the 'Dark Lord of the Sith' concluded that if the Jedi had gotten the young Anakin Skywalker some therapy he probably wouldn't have turned to evil and may have had a relatively 'normal' Jedi life. You know, gone fishing with Obi Wan and Yoda, celebrated Life Day on Naboo with his in-laws and family, taught Luke and Leia how to fly a speeder or use a lightsaber to promote peace, and helped Jar Jar with his English.
Sort of Norman Rockwell in an intergalactic way.
Why would a bunch of French doctors waste valuable time and money to put a fictional character on a hypothetical couch? Well to promote awareness of BPD (borderline personality disorder) and teach young psychology students to understand and diagnose the symptoms of this serious problem that effects both men and women.
Now, analysing Darth Vader seems like a relatively easy one, try The Joker from the "Batman" comics. Now that would be a challenge worthy of French psychologists!
Oui he is a crazy clown person no? Le bonkers ...homicidal no?
Star Wars At 40 - Carrie Fisher – Lunch With Monsters At A Chinese Restaurant
Star Wars At 40 - Mark Hamill - Star Wars Press Conference
Adventures Into The Unkown #130 - February 1962 - ACG Comics
We have a copy of this comic book in our online store - HERE
For as Long as You Live!" (script by Richard Hughes as "Shane O'Shea," art by Paul Reinman); "White Streak" (art by John Forte); "What's Behind That Superstition?" (script by Hughes as "Greg Olivetti," art by Ogden Whitney); and "The Boy With Second Sight.
Adventures Into the Unknown was an American comic-book magazines series best known as the medium's first ongoing horror-comics title. Published by the American Comics Group, initially under the imprint B&I Publishing, it ran 174 issues (cover-dated Fall 1948 - Aug. 1967). The first two issues, which included art by Fred Guardineer and others, featured horror stories of ghosts, werewolves, haunted houses, killer puppets and other supernatural beings and locales. The premiere included a seven-page, abridged adaptation of Horace Walpole's seminal gothic novel The Castle of Otranto, by an unknown writer and artist Al Ulmer.
Unlike many American horror comics of the Golden Age, it weathered the public criticism of the early 1950s and survived the aftermath of the Senate Subcommittee on Juvenile Delinquency hearings of April and June 1954 when the comics industry attempted self-regulation with a highly restrictive Comics Code.
Related: Adventures Into The Unkown #152 (1948 Series) - November 1964 - ACG Comics - Grade VG
From Comet TV
Big Trouble in Little China remains one of my favorite movies to come out of the ’80s, which is why I’m happy to report that a sequel is in the works from original writer/director John Carpenter… though it’s probably not what you had in mind.
A new limited comic book series, Big Trouble in Little China: Old Man Jack, is on the way from BOOM! Studios. Carpenter is penning the four issues alongside Borderlands 2 writer Anthony Burch, with art by Jorge Corona. The new series is set to take place in the year 2020 at a time when Ching Dai — the unseen God of the East from the original film — has unleashed the forces of Hell on Earth. 60-year-old Jack Burton is the only one who can save the world, and he sets out from Florida for his final ride aboard the Pork-Chop Express in order to do so. The first issue premieres this September, and you can check out the awesome cover below.
With talk of the Dwayne Johnson-led reboot going cold as of late, here’s hoping that 20th Century Fox decides to adapt this sequel for the big screen instead. I’d love to see Kurt Russell and John Carpenter revisit the crazy world of Big Trouble in Little China, and the idea of Old Man Jack sounds like an absolute blast. Hollywood decision makers, you are officially on notice!
Fate Magazine #85 - April 1957 Issue - We Saw A Flying Saucer / Zombies
We have a copy of this magazine in our online store - Check It Out
This is an original issue of FATE Magazine, Issue No. 85, publication date April 1957. Sporting the byline "True Stories Of The Strange And The Unknown". FATE Magazine was the world's first leading magazine of the paranormal. Started in 1948, it has published expert opinions and personal experiences relating to UFOs, psychic abilities, ghosts and hauntings, cryptozoology, alternative medicine, and Fortean phenomena for a devoted readership worldwide. All stories in this magazine are purported to be factual. This is not a collection of science fiction stories. This magazine measures 5 1/2" wide and 7 1/4" tall. It is complete and in good condition. There are many interesting articles and advertisements in this issue, including:
"Do Zombies Exist?", by William B. Seabrook
"Nikola Tesla's Missing Pigeon", by Fred Korotkin
"We Saw A Flying Saucer", by Mary Mann & Amey Hoag
"Music in the Storm", by E. Emma Robinson
"I Have Healing Hands", by Arthur J. Burks
"A Summer Theatre's Phantom Players", by Frank Reeds
As well as many others.
Check out more vintage magazines - Here
Power, grace, wisdom and wonder: inspiring qualities intrinsic to one of the greatest Super Heroes of all time, known the world over as Wonder Woman. A revered and enduring DC archetype and a global symbol of strength and equality for more than 75 years—how and when did she come to be, and why did mankind’s welfare become so important to her?
Director Patty Jenkins’ larger-than-life hero’s journey “Wonder Woman” tells the long-awaited origin story of Diana, the only child of Themyscira, a secret island gifted to her people from the king of the gods himself, Zeus. Hailing from the world of Amazons, Diana has been preparing for combat her whole life. But to become a true warrior, she will need to carry the courage of her convictions—and an arsenal like no other—onto the most harrowing battlefield the world has ever known.
“The time is absolutely right to bring Wonder Woman to movie audiences,” says Jenkins. “Fans have been waiting a long time for this, but I believe people outside the fandom are ready for a Wonder Woman movie, too. Superheroes have played a role in many people’s lives; it’s that fantasy of ‘What would it be like if I was that powerful and that great, and I could go on that exciting journey and do heroic things?’ I’m no different. I was seven years old when I first read Superman, and it rocked my world because I felt like Superman. The character captured exactly what I believed in then and still do: that there is a part of every human being that wishes they could change the world for the better.”
See Also: Wonder Woman #245, July 1978 Issue - DC Comics
Then came Wonder Woman. “I watched the TV show, and she was everything a girl could aspire to be: strong and kind, exciting and stylish, powerful and effective, and just as fierce as the boys. She’s a badass, and at the same time she stands for love, forgiveness and benevolence in a complicated world. I feel so honored to be making a movie about a Super Hero who stands for such important values.”
The film’s screenwriter, Allan Heinberg, wrote the Wonder Woman comic for DC in 2006 and 2007 and was thrilled to be part of the film. He states, “Wonder Woman has been my all-time favorite Super Hero since I was a first-grader watching ‘Super Friends’ on Saturday mornings in Tulsa, Oklahoma. To have had any part at all in bringing her story to the screen—and to have done so alongside a creative team that includes Patty Jenkins and Geoff Johns—is a lifelong dream come true.”
Much like her director, “Wonder Woman” star Gal Gadot says, “What attracted me so much to this character is that she is so many different things, and they live within her in such a beautiful way. And because this is the first time we’re telling the story of this icon on film, Patty and I had many creative conversations about her. She’s the greatest warrior in the comics, but she can also be vulnerable, sensitive, confident, and confused…everything, all at once. And she never hides her intelligence or her emotions.”
Though creator William Moulton Marston first introduced Wonder Woman to readers in the midst of World War II, the film is set in 1918, at the tail end of the First World War. Charles Roven explains the filmmakers’ thinking behind the time shift, noting, “Juxtaposing this commanding female character who hails from a race of equally strong independent women with the early days of the suffragette movement was really interesting.
“Secondly,” he continues, “from a visual perspective, the subtleties of the era better convey the true horrors of modern war. It was the first war where fighting went from close range in hand-to-hand combat, or if you shot somebody you had to be relatively close and face your adversary, to being fought from a distance. You could bomb some place without even knowing what your foe looked like, or who it is that you might be killing. It actually became easier to kill. We wanted that new dynamic of war to be fresh for our character, Wonder Woman, because she is used to warriors being people you looked up to, and now she’s looking at a war where there’s no such thing as a hero, really, because you can’t be a hero if you don’t know who you’re fighting.”
And that is something Wonder Woman struggles to comprehend. Producer Zack Snyder relates, “There’s a purity to Wonder Woman that I love. She doesn’t have a broken past, she’s not seeking revenge on the people who wronged her and she isn’t coming from a dark place. She had an idyllic childhood and was taught to value life. She can be a hero purely from a place of wanting to do what’s right in the world, which is really cool, and I think both Patty and Gal found the perfect way to convey that in the movie.”
Producer Deborah Snyder felt that Jenkins completely shared that vision for the film, but, more importantly, had an unparalleled passion for the character. “Patty’s excitement followed her all through shooting,” Snyder recalls. “She looked up to the character, and she felt a great responsibility, as did the rest of the team, to make sure she brought Wonder Woman to the screen in the most honest way possible. This is a figure who came before us and will outlast us, who fights for freedom and justice but also believes in love. I think that makes her enormously compelling.”
See Also: Wonder Woman #229, March 1977 Issue - DC Comics
When a man—the first one Diana has ever seen—comes to shore, he opens her eyes to the larger world outside of her sheltered island, an undertaking he begins quite by accident, by crashing off Themyscira’s shores. Producer Richard Suckle notes, “She saves his life and, in turn, it’s Steve Trevor who teaches Diana about man’s world. They’re a great couple in the canon, but I really love the way they are in this film. There is chemistry, and the movie does allow for that to play out within this huge action adventure, and without a damsel or a dude in distress. They need each other, they learn from each other, and they’re equals.”
Jenkins adds, “From the moment they meet, there is a spark, and the way their love story unfolds is captivating and unique, especially for this kind of movie and for the time in which it’s set.”
Chris Pine, who plays Captain Steve Trevor, enjoyed the parity between them, and appreciated what Steve is able to learn from Diana as well. “I felt part of something very special, making this film, which I think is much more than a superhero movie. It’s using the global medium of film and this bold manner of storytelling to depict the actions of this very powerful woman in a violent, male-driven world. She shows my character—who has been a spy, who has seen evil up close and been fully immersed in the morally gray, toxic universe of war—that there is still room for idealism and for an earnest desire to do right by others. It’s a story that resonates and that’s very a propos to today.”
“Every superhero has his or her strong points,” Jenkins contends, “but I think the greatest thing about Wonder Woman is how good and kind and loving she is. Yet none of that negates her power; it enhances it!”
“When we first meet Diana in the story, she’s a curious little girl who’s very courageous but also sassy and a little bit naughty,” Gadot smiles. “She admires the Amazon warriors she sees all around her, and she wants to be like them, to fight. However, Diana’s mother, Queen Hippolyta, is very protective of her young daughter, and does not allow her to train. But Diana has a spark in her, and a fire in her eyes. It’s clear that she will get her way, she will get what she wants, somehow.”
Newcomer Lilly Aspell plays the eight-year-old Diana, and Emily Carey plays her at age 12, before Gadot takes over the role. “Both girls did a fantastic job portraying a younger Diana,” Gadot says, “giving the audience insight into the determination she has from the very beginning, which I think is so helpful to understanding the woman she becomes.”
But it’s Gadot, Jenkins attests, who fulfills the image of the Wonder Woman the world has been waiting for, inside and out. “Gal is literally the nicest, most beautiful, most dedicated individual you’ll ever meet. All she wanted out of this whole process was to do justice to the character. She genuinely wanted to embody the Diana everyone expects.”
And it wasn’t always easy, thanks to cold weather, extensive training, heavy action and the fact that Gadot appears in nearly every scene. “When times would get rough on the shoot, it was Gal we looked to,” Jenkins states. “She has such inner strength, such an iron temperament, that she could work through anything and always keep an upbeat attitude. She’s a pretty amazing person.”
Gadot credits her director with keeping her spirits high. “I am so lucky that Patty was directing me on this movie,” she says. “She is so funny and warm, such a brilliant and talented person, and her vision and her passion were completely in line with mine. I remember the first time we sat together, we talked about the film but we also talked about life, our families…everything was so similar. To be able to work with someone you agree with creatively about almost everything is special. And even if our ideas conflicted, we would have a fair debate and I think we not only evolved from the discussion, but the result was that we got the best we could out of the scene. I’m grateful for her guidance and her friendship.”
The spirited and determined Diana instinctively knows her place is among the many warriors in her midst, and is not of a mind to be swayed—proving she is, indeed, her mother’s daughter. Hippolyta did not become queen through inheritance but through valor.
Connie Nielsen, who plays the most regal of all the Amazons, affirms, “Hippolyta is very brave. Justice and truth guide her belief system completely. And she is raising her daughter to behave the same way.”
Nevertheless, there is one truth Hippolyta is at first reluctant to accept: that Diana is destined to be a great warrior. She does not want Diana to fight. She knows what it really means to go to war, so of course she doesn’t want that for her daughter. But her daughter wants to be like her mom and, in Diana’s case, even more so like her aunt, General Antiope, the greatest Amazon warrior of them all. To make matters worse, Antiope openly questions her sister’s refusal to allow her to train Diana in the art of combat. She begins secretly training her niece.
Robin Wright takes on the role of the one Amazon willing to go against her queen. “Antiope’s motives are practical and pure,” Wright argues. “She wants to adhere to the law laid down by her sister, to do as her queen commands. But she’s also a realist, and because she has a sixth sense that war is coming, she wants to make sure Diana is fully prepared.”
Regardless of the sincerity of Hippolyta’s maternal love, there is something hypocritical in the silencing of her sister. “Hippolyta knows that silence equals oppression,” Wright attests. “Antiope sees her obsessive protection of her daughter as understandable but myopic. And Antiope, unlike her sister, recognizes and respects the power within Diana that is aching to be acknowledged.”
“The Amazons have seen a lot of loss, a lot of pain, all of it due to war. Hippolyta remembers how they were betrayed, despite their enormous service to the world, because they were feared by men,” Nielsen says in defense of her character. “She knows that where there is one man there are more, so she is worried for the safety of the entire colony of Amazons, including her daughter.”
Gadot quickly bonded with her Amazon relations. “We had a natural way of getting into our characters and immediately felt comfortable around each other,” she says. “They both share a number of traits with the women they play, Connie being very knowledgeable, confident, charismatic like Hippolyta, and Robin being vivacious, very easygoing, and so good with the youngsters on set, because she’s young at heart. And of course Antiope is the one the little Diana turns to as a mentor.”
Antiope does train her niece in secret, until they are caught in the act. When a furious Hippolyta confronts her, Antiope defiantly justifies her actions, even evoking the name that Hippolyta fears most of all: Ares. Antiope is convinced it is only a matter of time till the god of war returns, and Hippolyta, unable to argue further, at last concedes.
“Can you ask for a better villain?” asks Deborah Snyder. “He’s mythic and complex, a name we all know and who naturally instills fear in anyone who understands the role of the Greek gods.”
But it is not Ares who breaches the Amazons’ serenity. That intrusion comes instead from American military pilot Captain Steve Trevor, the man fated to take Diana away from the safety of the island and the watchful eye of her mother.
Commenting on the film’s take on the well-known character, Chris Pine observes, “He’s a classic kind of early 20th-century depiction of masculinity. He’s rough and roguish. He’s got a sense of humor about himself, and is realistic without being righteous, romantic without being saccharine. He’s earnest about his mission and wants to do right by those he serves, but he doesn’t have to please everyone. He’s a great maverick.”
Coming to grips with the fact that he’s landed in the middle of an island of strong warrior women, Steve is respectful of them amidst his general confusion about them. And despite his protestations, he reveals his status as a spy and outlines his mission in great detail to the Amazon council, thanks to the Lasso of Hestia or, as it’s more commonly known, the Lasso of Truth.
Once aware of the war raging in the outside world, Diana insists the Amazons take up arms against this great evil, for it can only be Ares’ doing. “But when the idealistic Diana realizes her mother doesn’t want to do anything about it, she is surprised and shocked,” says Gadot.
Diana had been raised on the story of Ares, how the god of war had corrupted men, how it was the responsibility of the Amazons to destroy him and everything he stands for, that it is their mission to bring peace and love to mankind. For Amazons, she will later tell Steve, are the bridge to the greater understanding between all men.
“Queen Hippolyta has already taken this journey,” Jenkins explains. “History has taught her that mankind may not be worth saving, or at least not worth dying for. But Diana is still young; she has that rectitude of youth where you really think that what you believe in is something purer and more incredible than your parents ever knew.”
In addition, Gadot relates, “Diana has this urge to help, to fulfill the Amazons’ destiny in a proactive way. When Steve arrives on the island and reveals what’s happening in the world, it’s a huge catalyst. She can’t stand aside while millions of innocent lives are lost.”
She will go. She must go. She can make a difference, of that she is certain.
Such wide-eyed optimism is wholly unfamiliar to Steve. “The war has stripped him of any of that,” Pine asserts. “He’s a jaded realist who has seen the absolute nadir of morality that human beings can have, such as the need to kill needlessly, often mercilessly. And here is this woman with her wonderful hope in what humankind could be, and he just cannot relate.”
Zack Snyder says Steve’s critical perspective of Diana is important to the story “because we need to be able to look at Wonder Woman through the eyes of the audience. In a way, Steve represents the status quo, and he has to be changed by Wonder Woman just as, hopefully, we will be. He has to begin to see the world through her eyes.”
“What Diana brings to Steve Trevor—to this man who has seen the worst of the world—is that there’s still room for idealism,” says Pine. “That no matter how ugly the world that we live in is, no matter how much desolation we encounter, there is still hope that in the best parts of ourselves we will protect and do right by one another. That’s what we should hold onto, and that’s what she represents.”
Diana is equally affected by Steve. Gadot notes, “She’s very curious about who he is, and even more so about the world he comes from. When she first gets to London, she’s a fish out of water, overwhelmed by all that she sees. I think she expected to see something that is more similar to Themyscira, so she must therefore rely on Steve to help her navigate this new world.”
Gadot also felt a bit of a parallel between the storyline and her own journey. “I felt very comfortable working with Chris,” she says fondly. “That worked to my benefit because Chris has so much experience, but this was my first lead role ever. There he was guiding me through London as Steve Trevor, but also guiding me through this experience in such a nice way. He is very much a leading man—talented and smart, and totally hilarious. I’m not sure people know how funny he is; we ruined so many takes because he made me laugh.”
Pine says he enjoyed the collaboration as much as Gadot, expressing great admiration for her command of the title role. “Gal knocked it out of the park. She’s physically perfect for it and she’s got a work ethic like no one I’ve ever met before. She’s a tremendous actress and I was so glad to play opposite her.”
Pine was also thrilled with his other “leading lady”—director Jenkins. “Patty is a pretty incredible human being,” he states. “When we first met about the part of Steve, she sat across from me and essentially acted out the entire film over the course of a two-hour lunch. She was so specific, so articulate, and so ardent. I would’ve said yes just for Patty alone.”
Once Diana and Steve reach London, it’s even clearer that Diana does not fit in. Despite being wrapped in a cloak, the decidedly underdressed, statuesque stunner is getting strange looks from those around her. Luckily for the both of them, Steve had called for his very capable, very dependable secretary, Etta Candy, to meet them and help Diana disguise herself as an everyday woman.
“Etta Candy is a great character who has been around throughout the history of Wonder Woman, in various capacities, including as Diana’s best friend,” offers Jenkins. “A great version of Etta, and one that suited our needs, is that of Steve’s secretary, a go-to, reliable character in his uncertain world, who is also an example of a modern woman—in 1918, that is.”
Lucy Davis plays the role of the feisty gal who, like many women of her day, can only fight by using their principles. “I spoke about Etta with Patty over Skype, and then I looked her up and found out what a fun character she is, and she really resonated with me,” Davis recalls. “At first glance, Etta is very different from Diana: she looks different physically, and she comes from an entirely dissimilar environment. Diana has been brought up in this all-female world that’s about equality, and Etta lives in what’s very much a man’s world.”
In spite of the restrictions placed on women of the era, Davis appreciated taking a step back in time. “When I was young, I loved my history lessons, and in particular World War I, so when I learned ‘Wonder Woman’ was set in during that time, I was excited. The next thing I knew, we were filming on location in London, with carriages and cars from 1918 on the street, and everywhere people walking around in period wardrobe. I couldn’t see anything from today, and it was fabulous. Magical.”
However, one of the most memorable scenes for Davis came near the end of the sequence during which Etta takes Diana shopping. “She gets to look after the sword, which was one of my favorite scenes to film because we were all laughing a lot that day, and I found it difficult to keep a straight face,” she says.
The sword in question is Diana’s most prized possession. It is called the godkiller, and she plans to use it to kill Ares—for only the fiercest Amazon can—as soon as Steve takes her to where the fighting is the most serious: the front. In addition being to being entrusted with this sacred weapon, Steve trusts Etta to manage their secret operation, which he undertakes without the authorization of the war office.
Or perhaps just not officially. Played by noted British actor David Thewlis, the eminent Sir Patrick is Steve’s superior, and he is adamant that Steve not do anything to upset the coming cease-fire he and his colleagues are working so hard to negotiate, with the hope of at last ending the war.
“Sir Patrick’s entire drive is to bring about the signing of the armistice,” Thewlis says of the statesman he portrays. The actor looked to historical characters to inspire his performance, mainly Sir Arthur Balfour. “Patty and I talked about Balfour, who was a labor politician of the day and who certainly had the look we liked. I also looked to Clement Attlee, a post-Second World War prime minister.”
When Diana first meets Sir Patrick, she has followed Steve, uninvited, into a roomful of men debating the possible peace accord. “She’s drawn to him as one of the only people talking any sense, in her opinion,” Thewlis offers, “and he sees in her somebody sympathetic to his cause, and quite vehemently so, which suits his agenda.”
Therefore, Sir Patrick offers to support a clandestine mission, run by Steve in the field with Etta managing from his office in order to avoid suspicion. Thanks to the funds he provides, Steve can afford to go to Belgium in search of two of the war’s most dangerous proponents: General Ludendorff and his favorite chemist, Dr. Isabel Maru.
But first, in order to get where they need to go, Steve will need to recruit reinforcements. And he knows where to find them. Steve takes Diana to a seedy pub where he hooks up with two old buddies: the multilingual Sameer, a former Moroccan soldier turned top undercover man; and Charlie, a former crack sniper who has been discharged from duty and who now spends his days fighting in the ale houses. Upon meeting them, Diana realizes that Charlie is somebody who kills people from a distance, which she finds incredibly dishonorable, and that Sameer is a con artist. She doesn’t quite understand how Steve can trust these men. In fact, she wonders, are they even good men?
As they say, war makes for strange bedfellows, and in this case, perhaps, even stranger allies.
“In an ideal world Sameer would have been an actor and an artist,” says Saïd Taghmaoui, who plays the role. “He never wanted to be a soldier, so he approaches his military service as if it were one big acting job. He’s very quick, he can make up stories, and he’s a master of many languages. And these skills prove really useful to the team.”
Charlie’s may prove less so, for when his sniper skills are called upon, his hands shake, and so does his confidence. “Charlie was sent home as unfit for battle, due to what we now call Post Traumatic Stress Disorder,” explains Ewen Bremner, who plays him. “At that time, it was known as shell shock. Contrary to Charlie’s boasting and his chutzpa, he goes to pieces on the battlefield at a critical moment.”
Deep in the Belgium countryside, under the cover of darkness, Diana is introduced to the last dubious member of the team, a towering Native American black marketeer simply called The Chief. A neutral player in the hostilities, he operates as an independent businessman with the odd freedom that only a war can bring, finding his niche as one who ferries goods across enemy lines.
Eugene Brave Rock plays the even-tempered man who is content to be on either side, so long as he decides. “He’s the go-to guy who can get you anything you need,” says Brave Rock. “And he’s a free man there, whereas back in America, he would not be.”
The character was based on men like him, who fought overseas during WWI by choice. Jenkins notes, “It was so profound to me to learn that Native Americans, who had lost everything to violence and unfairness in the U.S., were volunteering for a war to escape the horrors at home.”
The Chief can also see in Diana what others cannot. “Everybody else just sees this beautiful woman,” Brave Rock observes. “The Chief is the only one who sees her for what she really is, who sees into her spiritual eyes.”
Another who has suffered unspeakable horrors but who has chosen instead to embrace them, to even devote herself to furthering the evil in men’s hearts, is Dr. Isabel Maru. Her genius, fostered by the German army, is in developing chemical warfare, which would allow for killing on an almost incomprehensibly massive scale.
Elena Anaya, who plays the poisoner, says, “Dr. Maru hates the weak, and hates to be weak. She loves her job, the marriage of science and war, so much it seems to entertain her. She could work day and night, completely focused on inventing these new formulas that can destroy mankind.” Dr. Maru is outwardly scarred, but the biggest damage is deep inside her. “She has no empathy,” Anaya continues. “Hers is a crazy mind and a dark soul. So she and Ludendorff complement each other quite well.”
Actor Danny Huston plays the film’s formidable villain, the maniacal General Ludendorff. Huston says of his dark-hearted character, “Ludendorff possesses a dogmatic, stubborn, committed, unfailing desire to win. He lacks all compassion for the individual, and is more than willing to have great losses to achieve victory. So he’s quite a force to contend with.”
Standing proud in his uniform adorned with medals, Ludendorff “represents our fascination with decoration, with pomp,” adds Huston. “The attitude, his sense of empire…if you look at First World War Germans, they wore the red and gold colors of imperial Rome. All these elements are historically part of our larger culture, and I don’t think we can ignore them entirely, even today, which made him very intriguing to play.”
When Ludendorff approaches Diana, he claims the night is for celebrating victory, the impending accord notwithstanding. “War,” he explains, “is a god who demands human sacrifice. In exchange, war gives man purpose, a chance to rise above his petty moral life and be better than he is.”
His words stir Diana. She knows she must stop him or the war may never end.
Wonder Woman: An Angel In A World Of Darkness
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