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3 episodes with Atlas Comics
4 episodes with Atlas Comics
3 episodes with Atlas Comics
2 episodes with Atlas Comics
3 episodes with Atlas Comics
2 episodes with Atlas Comics
2 episodes with Atlas Comics
2 episodes with Atlas Comics
2 episodes with Atlas Comics
Atlas Comics on Chicago's Northwest Side has thrived for 37 years through the industry's ups and downs. Now, with new Fantastic Four and Superman films on the horizon, nostalgia and superhero hype are fueling a surge in vintage comic book sales.
Running a business is costlier than ever - and staying afloat means constant pivots. Egg flights, creamsicles, and Filipino bakeries lead this summer's hottest food trends. Plus, we meet the man behind a comic shop that's thrived through 37 years of industry ups and downs.
WonderCon 2025 is in the books! We break down the biggest reveals, hidden gems, and what had collectors buzzing. Plus, we've got some hot comics to discuss!
Was there a DC or Marvel animated series that you wish was discussed more like The Batman, Avengers Assembled? Well, then this is the stream for you! This week, the boys provide their lists of DC and Marvel animated series that don't get discussed enough DC Comics, Inc. is an American comic book publisher and the flagship unit of DC Entertainment, a subsidiary of Warner Bros. Discovery. DC is an initialism for "Detective Comics", an American comic book series first published in 1937. Marvel Comics is a New York City-based comic book publisher, a property of The Walt Disney Company since December 31, 2009, and a subsidiary of Disney Publishing Worldwide since March 2023. Marvel was founded in 1939 by Martin Goodman as Timely Comics,[3] and by 1951 had generally become known as Atlas Comics. The Marvel era began in August 1961 with the launch of The Fantastic Four and other superhero titles created by Stan Lee, Jack Kirby, Steve Ditko, and numerous others. The Marvel brand, which had been used over the years and decades, was solidified as the company's primary brand. Like, comment, and subscribe for more content analyzing the greatest tales of DC and Marvel stories. Join this channel to get access to perks: https://www.youtube.com/channel/UCTtjdjM7N8_PLprDIdMJCWQ/join #DC #Comics #Marvel #WonderWoman Follow us on instagram: comicsleague2021 Email us: comicsleague2020@gmail.com Website: https://comicsleague.com Subscribe to the Podcast on: Apple Podcasts Google Podcasts Spotify and many other platforms. Music provided by taketones.com: https://taketones.com/track/hero
Have you ever wanted to get into comic books but were too intimidated to jump in? Well, then this is the stream for you This week, the boys provide strategies for new comic book readers to get into the hobby and thrive int he worlds of DC and Marvel. DC Comics, Inc. is an American comic book publisher and the flagship unit of DC Entertainment, a subsidiary of Warner Bros. Discovery. DC is an initialism for "Detective Comics", an American comic book series first published in 1937. Marvel Comics is a New York City-based comic book publisher, a property of The Walt Disney Company since December 31, 2009, and a subsidiary of Disney Publishing Worldwide since March 2023. Marvel was founded in 1939 by Martin Goodman as Timely Comics,[3] and by 1951 had generally become known as Atlas Comics. The Marvel era began in August 1961 with the launch of The Fantastic Four and other superhero titles created by Stan Lee, Jack Kirby, Steve Ditko, and numerous others. The Marvel brand, which had been used over the years and decades, was solidified as the company's primary brand. Like, comment, and subscribe for more content analyzing the greatest tales of DC and Marvel stories. Join this channel to get access to perks: https://www.youtube.com/channel/UCTtjdjM7N8_PLprDIdMJCWQ/join #DC #Comics #Marvel #WonderWoman Follow us on instagram: comicsleague2021 Email us: comicsleague2020@gmail.com Website: https://comicsleague.com Subscribe to the Podcast on: Apple Podcasts Google Podcasts Spotify and many other platforms. Music provided by taketones.com: https://taketones.com/track/hero
(Best Of 2024) Fantagraphics has begun to release 2 types of Hardcover collections of Marvel's years as Atlas Comics from the 1950s . Comics historian Dr Michael Vassallo joins us to talk about The First Volume featuring the art of Joe Maneely, one of the essential artists working for Martin Goodman and Stan Lee. .In this pre Marvel superhero era, Maneely co created characters like The Black Knight Jimmy Woo and The Claw. He also did a daily newspaper comic strip with Stan , many westerns and Korean War stories.
We got late books and how the affects moments when the big things are coming out on time, the latest additions to the DC Compact Comics line and why doesn't Marvel treat their back catalog with the same importance, Todd's give the history of and warning of Atlas Comics and why we'll probably never see […] The post Longbox Heroes episode 736: World's Greatest Lasagna appeared first on Longbox Heroes.
Like some of its characters, Atlas Comics is rising from the dead and ready to take over the world! Mego recently announced it's putting out the first phase of Atlas figures featuring reprints of the original comics.Jeff Rovin, who edited and put together the Atlas universe, has been working to revive the line and joins us with some breaking and exciting news!____________________Check out a video version of this episode on our YouTube channel: youtube.com/dollarbinbandits.If you like this podcast, please rate, review, and subscribe on Apple Podcasts. And if you really like this podcast, support what we do as a member of the Dollar Bin Boosters: buzzsprout.com/1817176/support.Looking for more ways to express your undying DBB love and devotion? Email us at dollarbinbandits@gmail.com. Follow us @dollarbinbandits on Facebook and Instagram, and @DBBandits on X._____________________Dollar Bin Bandits is the official podcast of TwoMorrows Publishing. Check out their fine publications at twomorrows.com.Face Your EarsExplore home recording and music creation with Rich and Justin on 'Face Your Ears'!Listen on: Apple Podcasts SpotifySupport the show
Join this channel to get access to perks: https://www.youtube.com/channel/UCkHTY1eNYHr9JoTndx_m6kA/join New T-shirts & more are now available! http://tee.pub/lic/BAMG In this week's episode of Bronze and Modern Gods, we dive into the chaos surrounding Todd McFarlane's New York Comic Con exclusive Spawn #357 variant. Is it really worth the $350-$499 price tag—or the literal fight it caused in line? We also discuss the shocking return of Atlas Comics at WalMart and react to the hype around Absolute Batman as we look ahead to Wonder Woman and Superman's upcoming launches. Plus, the Hot Book of the Week, a little Show & Tell, and our underrated books segment. Don't miss it! Follow us on Instagram and Facebook @bronzeandmoderngods, and don't forget to Like and Subscribe! Join our membership for exclusive perks and more! Bronze and Modern Gods is the channel dedicated to the Bronze, Copper and Modern Ages of comics and comic book collecting! Follow us on Facebook - https://www.facebook.com/BronzeAndModernGods Follow us on Instagram - https://www.instagram.com/bronzeandmoderngods #comics #comicbooks #comiccollecting --- Support this podcast: https://podcasters.spotify.com/pod/show/bronzeandmoderngods/support
Join this channel to get access to perks: https://www.youtube.com/channel/UCkHTY1eNYHr9JoTndx_m6kA/join New T-shirts & more are now available! http://tee.pub/lic/BAMG 100% comics, 100% of the time! Join John & Richard as they discuss the ongoing furor over CGC's bent inner wells - how widespread is the issue? The Hot Book of the Week features the return of Atlas Comics (the one from the 1970s) - then they hit the Viewer Mailbag to talk about more CGC manufacturing problems, bent books, and the meaning of a "grail". The Old Fart Rule takes us back to 1984 and the debut of Spider-Man's black costume. Finally, our Underrated Books of the Week include an obscure Marvel adventure anthology and the final issue of the Teenage Mutant Ninja Turtles! Follow us on Facebook - https://www.facebook.com/BronzeAndModernGods Follow us on Instagram - https://www.instagram.com/bronzeandmoderngods #comics #comicbooks #comiccollecting --- Support this podcast: https://podcasters.spotify.com/pod/show/bronzeandmoderngods/support
We'll look at how to best help elderly parents with their finances, there's less pain at the gas pump this Labor Day weekend and we'll introduce you to the owner of a popular Chicago comic book shop that's been in business for 36 years.
We'll look at how to best help elderly parents with their finances, there's less pain at the gas pump this Labor Day weekend and we'll introduce you to the owner of a popular Chicago comic book shop that's been in business for 36 years.
We'll look at how to best help elderly parents with their finances, there's less pain at the gas pump this Labor Day weekend and we'll introduce you to the owner of a popular Chicago comic book shop that's been in business for 36 years.
We'll look at how to best help elderly parents with their finances, there's less pain at the gas pump this Labor Day weekend and we'll introduce you to the owner of a popular Chicago comic book shop that's been in business for 36 years.
With the Infinity Saga put to bed on MVM, we head back into the archives to uncover the true history of Marvel Comics. From the Great Depression of the 1930's through the Second World War and into the Swinging Sixties! How was the company founded? What was in the very first issue of Marvel Comics? Who were the first Marvel characters? How did they find success? From Timely Comics in the 1940's with Captain America, The Human Torch and Namor The Submariner, to Atlas Comics in the Fifties, before finally becoming Marvel Comics with the Fantastic Four in 1961. This clips is taken from our special 100th Episode https://open.spotify.com/episode/6YZwG7dkppWU7hBPT2SBkQ For awesome bonus episodes visit https://www.patreon.com/marvelversusmarvel marvelversusmarvel@gmail.com https://twitter.com/marvelversus https://twitter.com/robhalden https://robhalden.com https://will-preston.co.uk
Can Lois Lane's mysterious guardian protect her from the murderous Tarantula? Join David and Peter as they cover this very Atlas Comics influenced story from Superman Family 169. Don't miss it! Email us at theearth2podcast@gmail.com Facebook www.facebook.com/theearth2podcast Instagram www.instagram.com/theearth2podcast Twitter www.twitter.com/podcast_earth2 Leave us a Voicemail at www.speakpipe.com/theearth2podcast #DCComics #Comics #AtlasComics #Superman #LoisLane #Tarantula #Batman
Atlas Comics you say? David and Peter take a look at the history of this short lived publisher from the 70s before covering the Luke Malone - MANHUNTER story from Police Action 1. Don't miss it! Email us at theearth2podcast@gmail.com Facebook www.facebook.com/theearth2podcast Instagram www.instagram.com/theearth2podcast Twitter www.twitter.com/podcast_earth2 Leave us a Voicemail at www.speakpipe.com/theearth2podcast #DCComics #Comics #AtlasComics #Manhunter
DC and Marvel Comics have been struggling int he comic book market in recent years, but what caused that struggle and how can it be mitigated? Well, the boys go over how to fix the current woes of DC Comics and Marvel Comics. DC Comics, Inc. is an American comic book publisher and the flagship unit of DC Entertainment, a subsidiary of Warner Bros. Discovery. DC is an initialism for "Detective Comics", an American comic book series first published in 1937. Marvel Comics is an American comic book publisher and the property of The Walt Disney Company since December 31, 2009, and a subsidiary of Disney Publishing Worldwide since March 2023. Marvel was founded in 1939 by Martin Goodman as Timely Comics, and by 1951 had generally become known as Atlas Comics. What do you think? How would you fix DC Comics? How would you fix Marvel Comics? Join this channel to get access to perks: https://www.youtube.com/channel/UCTtjdjM7N8_PLprDIdMJCWQ/join Nick: Back 2100 Samurai Issue 4: https://www.indiegogo.com/projects/2100-samurai-4-fall-of-a-friend/x/27943455#/ Twitter: https://twitter.com/ProjectAxis1 Instagram: https://www.instagram.com/the.phoenix.press/ Youtube: https://www.youtube.com/channel/UCI7a4sVPHLfyWEr2Vtal1NA Teladia Plays Twitter:https://twitter.com/TeladiaPlays Youtube:https://www.youtube.com/c/TeladiaPlays Instagram: https://www.instagram.com/teladiaplays/ Discussed in this episode: 1. The Problems With DC Comics 2. The Problem With Marvel Comics Chapters: 0:00 Start 0:49 How To Fix DC Comics 0:26:03 How To Fix Marvel Comics 0:45:25 Wrap Up #DCComics #MarvelComics #Superman #WonderWoman Follow us on instagram: comicsleague2021 Email us: comicsleague2020@gmail.com Website: https://comicsleague.com Subscribe to the Podcast on: Apple Podcasts Google Podcasts Spotify and many other platforms. Music provided by taketones.com: https://taketones.com/track/heros
watch the video below! listen to the podcast below! Hey there! It's me, your old pal Obnoxio the Clown. I know it's been a while but I couldn't help but crawl out of my clown hole once I heard what the Dandy Fun House had planned for this episode of their show! Not only that, but they also made the incredibly bad decision to ask ME, your old pal Obnoxio to host!They would have asked the Nebbish, but he doesn't really talk so much. Ok, by now I have to imagine about two of you are really excited but most of you are really confused, so let me bring you up to speed. I used to be the mascot for CRAZY Magazine and I'm here to tell you the story of this wacky little rag that had a pretty good run back in the 70's and 80's! So without further ado, Let's step into the Fart House! What? Oh the Fun House! Yeah that's it! Hello and welcome to the Dandy Flop House, Fun House or whatever they call it! Video Show, Podcast and Blog! I'm your old long-lost pal, Obnoxio the Clown and I'm here to tell you the story of an obnoxious humor magazine that existed from 1973 to 1983 which yours truly was honored to be the mascot for during it's final few years. But first, let me show you these crazy new t-shirts from the Dandy Fun House (did I say it right this time?) now available in the Dandy Fun SHOP! It's got a front AND a back so you don't get too cold and comes with 4 holes in it. One to crawl your body into, one to stick your head out of and two to poke yer arms through! You can find it at the Dandy Fun House website at http://www.dandyfunhouse.com or go directly to the store at http://www.dandyfunshop.com . Now back to this glorious freaking episode! Ok, CRAZY MAGAZINE! We were published by Marvel Comics believe it or not and were sort of in the vein of Mad Magazine, Cracked, Sick Magazine and National Lampoon. In the beginning back in 1953, Marvel Comics was actually called Atlas Comics and they decided to try their hand at competing with the behemoth of all novelty mags, MAD Magazine. So they published 7 issues of a comic book called CRAZY! Which skewered pop culture and included gags galore. It was a nice trial balloon, but didn't exactly take the world by storm so they shelved the idea of publishing a satire for the next TWENTY YEARS until 1973 when it was revived for the purpose of republishing some of Marvel's more wacky bits from their late-60's comic called “Not Brand Echh.” What the heck kind of a name is “NOT BRAND ECHH!?” STAN LEE MARV WOLFMAN For some reason they decided to give the old CRAZY Magazine another crack at success and kept things rolling under the guiding hand of the Marvel man, myth and legend himself… Stan Lee along with Co-Editor Marv Wolfman. Lee wanted to go for a straight up Mad Magazine and Cracked Magazine vibe while Wolfman wanted something more along the lines of National Lampoon. They came to an agreement somewhere in the middle and this gave CRAZY its own unique flavor. Kind of like sardine ala mode! It was decided that CRAZY needed a mascot, and so kicked around ideas until they came up with a small, buggy looking guy in a floppy hat and some sort of black cape-looking trench coat thing and they called this guy “The Nebbish.” Later they gave him the more proper name of “Irving Nebbish.” This Nebbish guy served as the mascot for CRAZY Magazine for seven solid years and he did a fine job I must say. I mean, I eventually STOLE his job but no hard feelings Nebby! That's show biz! STEVE GERBER Wolfman wasn't the only editor Crazy Magazine had. A man named Steve Gerber took over editing for issues #11-14 with a desire to set the magazine apart from its competition and try to convince the readers that the creators themselves were crazy. Gerber's run as editor came to an abrupt end however when he published a very dark feature called “... And the Birds Hummed Dirges” which featured high schoolers engaged in a suicide pact.
Fantagraphics has begun to release 2 types of Hardcover collections of Marvel's years as Atlas Comics from the 1950s . Comics historian Dr Michael Vassulo joins us to talk about The First Volume featuring the art of Joe Maneely, one of the essential artists working for Martin Goodman and Stan Lee. .In this pre Marvel superhero era, Maneely co created characters like The Black Knight Jimmy Woo and The Claw. He also did a daily newspaper comic strip with Stan , many westerns and Korean War stories.
From comics to the Weekly World News, Jeff Rovin has put together an incredible career. Besides working at DC, Jeff pretty much ran Atlas Comics in the 1970s, handling a variety of titles from some of the biggest names in the business. From there, he's written video game guides and biographies, worked with Tom Clancy and took a top position at the Weekly World News!_____________________Check out a video version of this episode on our YouTube channel: youtube.com/dollarbinbandits.If you like this podcast, please rate, review, and subscribe on Apple Podcasts. And if you really like this podcast, support what we do as a member of the Dollar Bin Boosters: buzzsprout.com/1817176/support.Looking for more ways to express your undying DBB love and devotion? Email us at dollarbinbandits@gmail.com. Follow us @dollarbinbandits on Facebook and Instagram, and @DBBandits on X._____________________Dollar Bin Bandits is the official podcast of TwoMorrows Publishing. Check out their fine publications at twomorrows.com.Support the show
How many people can say they worked with the legendary Neal Adams and wrote a 1980s horror film? Well, Steve Mitchell can! From getting a job at DC by being a frequent visitor to being the production manager at Atlas Comics, he's had an incredible comics career. On top of that, he co-wrote the film Chopping Mall along with working on other films. _____________________If you like this podcast, please rate, review, and subscribe on Apple Podcasts. And if you really like this podcast, support what we do as a member of the Dollar Bin Boosters: buzzsprout.com/1817176/support.Looking for more ways to express your undying DBB love and devotion? Email us at dollarbinbandits@gmail.com. Follow us @dollarbinbandits on Facebook and Instagram, and @DBBandits on X._____________________Dollar Bin Bandits is the official podcast of TwoMorrows Publishing. Check out their fine publications at twomorrows.com.Support the show
In 1973, John A. Mozzer, lover of pop culture interviewed 6 people in Reading, Pennsylvania to track down the history of Jim Steranko. The 6th person was Western/Kid Colt and Hot Rod comic artist, Jack Keller who worked in comics since the Golden Age for companies like Quality, Fawcett, Atlas/Marvel, Charlton and more who went into detail into the history of his comics career as well as discussing meeting a young impressionable Jim Steranko as well as Stan Lee, Dick Giordano and Sal Gentile. John was gracious to share these files with the world and CBH from his soundcloud, so the first 5 were given a massive audio restoration treatment by Alex Grand and are located and transcribed at the interview section of comicbookhistorians.com, and the 6th one, Jack Keller is digitally restored and audio engineered by Alex Grand and presented here. John A. Mozzer also provided great imagery of these encounters located both at the CBH website, his flickr and as the thumbnail image for the recording presented here. Support the show
Welcome to our tenth installment of our Artist Spotlight. Today we bring you an artist who created TDJ Comics and present to you the hero known as Atlas. In this interview we speak to Tarik about where his influences for Atlas came from, gaming, collecting, favorite comic book artists. 0:00 Show Intro 1:40 Tarik Holmes Introduction 2:00 How did you he get into Comics/Creating? 2:53 Who Publishes the Work? 3:43 Tell us about Atlas and other Characters 5:50 Art Work/Comics/Characters 12:00 Collaboration with Zayarts21 14:09 5 Different Covers for Issue 1 19:08 How do you come up with new concepts? 21:50 What is your 'Holy Grail' Comic? 24:07 Top 3...or 5 Anime/Manga 25:27 How many characters are in the 'Atlas' Universe? 25:55 Thoughts on AI Art (Longer Conversation on Issues in the Comic Community and AI Generated Art) 36:33 What's the Future for Atlas/TDJ Comics? 37:30 Upcoming/Future Events where people can pick up the Comic? 38:19 Closing Remarks/Social Media Mention ---------------------------------
This week, we talk about the 1980s Marvel Cinematic Universe that could have been, and eventually was. ----more---- TRANSCRIPT From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today. The Marvel Cinematic Universe is the undisputed king of intellectual property in the entertainment industry. As of February 9th, 2023, the day I record this episode, there have been thirty full length motion pictures part of the MCU in the past fifteen years, with a combined global ticket sales of $28 billion, as well as twenty television shows that have been seen by hundreds of millions of people worldwide. It is a entertainment juggernaut that does not appear to be going away anytime soon. This comes as a total shock to many of us who grew up in the 1970s and 1980s, who were witness of cheaply produced television shows featuring hokey special effects and a roster of has-beens and never weres in the cast. Superman was the king of superheroes at the movies, in large part because, believe it or not, there hadn't even been a movie based on a Marvel Comics character released into theatres until the summer of 1986. But not for lack of trying. And that's what we're going to talk about today. A brief history of the Marvel Cinematic Universe in the 1980s. But first, as always, some backstory. Now, I am not approaching this as a comic fan. When I was growing up in the 80s, I collected comics, but my collection was limited to Marvel's Star Wars series, Marvel's ROM The SpaceKnight, and Marvel's two-issue Blade Runner comic adaptation in 1982. So I apologize to Marvel comics fans if I relay some of this information incorrectly. I have tried to do my due diligence when it comes to my research. Marvel Comics got its start as Timely Comics back in 1939. On August 31, 1939, Timely would release its first comic, titled Marvel Comics, which would feature a number of short stories featuring versions of characters that would become long-running staples of the eventual publishing house that would bear the comic's name, including The Angel, a version of The Human Torch who was actually an android hero, and Namor the Submariner, who was originally created for a unpublished comic that was supposed to be given to kids when they attended their local movie theatre during a Saturday matinee. That comic issue would quickly sell out its initial 80,000 print run, as well as its second run, which would put another 800,000 copies out to the marketplace. The Vision would be another character introduced on the pages of Marvel Comics, in November 1940. In December 1940, Timely would introduce their next big character, Captain America, who would find instant success thanks to its front cover depicting Cap punching Adolph Hitler square in the jaw, proving that Americans have loved seeing Nazis get punched in the face even a year before our country entered the World War II conflict. But there would be other popular characters created during this timeframe, including Black Widow, The Falcon, and The Invisible Man. In 1941, Timely Comics would lose two of its best collaborators, artists Joe Simon and Jack Kirby, to rival company Detective Comics, and Timely owner Martin Goodman would promote one of his cousins, by marriage to his wife Jean no less, to become the interim editor of Timely Comics. A nineteen year old kid named Stanley Lieber, who would shorten his name to Stan Lee. In 1951, Timely Comics would be rebranded at Atlas Comics, and would expand past superhero titles to include tales of crime, drama, espionage, horror, science fiction, war, western, and even romance comics. Eventually, in 1961, Atlas Comics would rebrand once again as Marvel Comics, and would find great success by changing the focus of their stories from being aimed towards younger readers and towards a more sophisticated audience. It would be November 1961 when Marvel would introduce their first superhero team, The Fantastic Four, as well as a number of their most beloved characters including Black Panther, Carol Danvers, Iron Man, The Scarlet Witch, Spider-Man, and Thor, as well as Professor X and many of the X-Men. And as would be expected, Hollywood would come knocking. Warner Brothers would be in the best position to make comic book movies, as both they and DC Comics were owned by the same company beginning in 1969. But for Marvel, they would not be able to enjoy that kind of symbiotic relationship. Regularly strapped for cash, Stan Lee would often sell movie and television rights to a variety of Marvel characters to whomever came calling. First, Marvel would team with a variety of producers to create a series of animated television shows, starting with The Marvel Super Heroes in 1966, two different series based on The Fantastic Four, and both Spider-Man and Spider-Woman series. But movies were a different matter. The rights to make a Spider-Man television show, for example, was sold off to a production company called Danchuck, who teamed with CBS-TV to start airing the show in September of 1977, but Danchuck was able to find a loophole in their contract that allowed them to release the two-hour pilot episode as a movie outside of the United States, which complicated the movie rights Marvel had already sold to another company. Because the “movie” was a success around the world, CBS and Danchuck would release two more Spider-Man “movies” in 1978 and 1981. Eventually, the company that owned the Spider-Man movie rights to sell them to another company in the early 1980s, the legendary independent B-movie production company and distributor, New World Pictures, founded and operated by the legendary independent B-movie producer and director Roger Corman. But shortly after Corman acquired the film rights to Spider-Man, he went and almost immediately sold them to another legendary independent B-movie production company and distributor, Cannon Films. Side note: Shortly after Corman sold the movie rights to Spider-Man to Cannon, Marvel Entertainment was sold to the company that also owned New World Pictures, although Corman himself had nothing to do with the deal itself. The owners of New World were hoping to merge the Marvel comic book characters with the studio's television and motion picture department, to create a sort of shared universe. But since so many of the better known characters like Spider-Man and Captain America had their movie and television rights sold off to the competition, it didn't seem like that was going to happen anytime soon, but again, I'm getting ahead of myself. So for now, we're going to settle on May 1st, 1985. Cannon Films, who loved to spend money to make money, made a big statement in the pages of the industry trade publication Variety, when they bought nine full pages of advertising in the Cannes Market preview issue to announce that buyers around the world needed to get ready, because he was coming. Spider-Man. A live-action motion picture event, to be directed by Tobe Hooper, whose last movie, Poltergeist, re-ignited his directing career, that would be arriving in theatres for Christmas 1986. Cannon had made a name for themselves making cheapie teen comedies in their native Israel in the 1970s, and then brought that formula to America with films like The Last American Virgin, a remake of the first Lemon Popsicle movie that made them a success back home. Cannon would swerve into cheapie action movies with fallen stars like Lee Marvin and Charles Bronson, and would prop up a new action star in Chuck Norris, as well as cheapie trend-chasing movies like Breakin' and Breakin' 2: Electric Boogaloo. They had seen enough success in America where they could start spending even bigger, and Spider-Man was supposed to be their first big splash into the superhero movie genre. With that, they would hire Leslie Stevens, the creator of the cult TV series The Outer Limits, to write the screenplay. There was just one small problem. Neither Stevens nor Cannon head honcho Menachem Golan understood the Spider-Man character. Golan thought Spider-Man was a half-spider/half-man creature, not unlike The Wolf Man, and instructed Stevens to follow that concept. Stevens' script would not really borrow from any of the comics' twenty plus year history. Peter Parker, who in this story is a twenty-something ID photographer for a corporation that probably would have been Oscorp if it were written by anyone else who had at least some familiarity with the comics, who becomes intentionally bombarded with gamma radiation by one of the scientists in one of the laboratories, turning Bruce Banner… I mean, Peter Parker, into a hairy eight-armed… yes, eight armed… hybrid human/spider monster. At first suicidal, Bruce… I mean, Peter, refuses to join forces with the scientist's other master race of mutants, forcing Peter to battle these other mutants in a basement lab to the death. To say Stan Lee hated it would be an understatement. Lee schooled Golan and Golan's partner at Cannon, cousin Yoram Globus, on what Spider-Man was supposed to be, demanded a new screenplay. Wanting to keep the head of Marvel Comics happy, because they had big plans not only for Spider-Man but a number of other Marvel characters, they would hire the screenwriting team of Ted Newsom and John Brancato, who had written a screenplay adaptation for Lee of Sgt. Fury and His Howling Commandos, to come up with a new script for Spider-Man. Newsom and Brancato would write an origin story, featuring a teenage Peter Parker who must deal with his newfound powers while trying to maintain a regular high school existence, while going up against an evil scientist, Otto Octavius. But we'll come back to that later. In that same May 1985 issue of Variety, amongst dozens of pages of ads for movies both completed and in development, including three other movies from Tobe Hooper, was a one-page ad for Captain America. No director or actor was attached to the project yet, but comic book writer James L. Silke, who had written the scripts for four other Cannon movies in the previous two years, was listed as the screenwriter. By October 1985, Cannon was again trying to pre-sell foreign rights to make a Spider-Man movie, this time at the MIFED Film Market in Milan, Italy. Gone were Leslie Stevens and Tobe Hooper. Newsom and Brancato were the new credited writers, and Joseph Tito, the director of the Chuck Norris/Cannon movies Missing in Action and Invasion U.S.A., was the new director. In a two-page ad for Captain America, the film would acquire a new director in Michael Winner, the director of the first three Death Wish movies. And the pattern would continue every few months, from Cannes to MIFED to the American Film Market, and back to Cannes. A new writer would be attached. A new director. A new release date. By October 1987, after the twin failures of Superman IV: The Quest for Peace and Masters of the Universe, Cannon had all but given up on a Captain America movie, and downshifted the budget on their proposed Spider-Man movie. Albert Pyun, whose ability to make any movie in any genre look far better than its budget should have allowed, was brought in to be the director of Spider-Man, from a new script written by Shepard Goldman. Who? Shepard Goldman, whose one and only credit on any motion picture was as one of three screenwriters on the 1988 Cannon movie Salsa. Don't remember Salsa? That's okay. Neither does anyone else. But we'll talk a lot more about Cannon Films down the road, because there's a lot to talk about when it comes to Cannon Films, although I will leave you with two related tidbits… Do you remember the 1989 Jean-Claude Van Damme film Cyborg? Post-apocalyptic cyberpunk martial-arts action film where JCVD and everyone else in the movie have names like Gibson Rickenbacker, Fender Tremolo, Marshall Strat and Pearl Prophet for no damn good reason? Stupid movie, lots of fun. Anyway, Albert Pyun was supposed to shoot two movies back to back for Cannon Films in 1988, a sequel to Masters of the Universe, and Spider-Man. To save money, both movies would use many of the same sets and costumes, and Cannon had spent more than $2m building the sets and costumes at the old Dino DeLaurentiis Studios in Wilmington, North Carolina, where David Lynch had shot Blue Velvet. But then Cannon ran into some cash flow issues, and lost the rights to both the He-Man toy line from Mattel and the Spider-Man characters they had licensed from Marvel. But ever the astute businessman, Cannon Films chairman Menahem Golan offered Pyun $500,000 to shoot any movie he wanted using the costumes and sets already created and paid for, provided Pyun could come up with a movie idea in a week. Pyun wrote the script to Cyborg in five days, and outside of some on-set alterations, that first draft would be the shooting script. The film would open in theatres in April 1989, and gross more than $10m in the United States alone. A few months later, Golan would gone from Cannon Films. As part of his severance package, he would take one of the company's acquisitions, 21st Century Films, with him, as well as several projects, including Captain America. Albert Pyun never got to make his Spider-Man movie, but he would go into production on his Captain America in August 1989. But since the movie didn't get released in any form until it came out direct to video and cable in 1992, I'll leave it to podcasts devoted to 90s movies to tell you more about it. I've seen it. It's super easy to find on YouTube. It really sucks, although not as much as that 1994 version of The Fantastic Four that still hasn't been officially released nearly thirty years later. There would also be attempts throughout the decade to make movies from the aforementioned Fantastic Four, the X-Men, Daredevil, the Incredible Hulk, Silver Surfer and Iron Man, from companies like New Line, 20th Century-Fox and Universal, but none of those would ever come to fruition in the 1980s. But the one that would stick? Of the more than 1,000 characters that had been featured in the pages of Marvel Comics over the course of forty years? The one that would become the star of the first ever theatrically released motion picture based on a Marvel character? Howard the Duck. Howard the Duck was not your average Marvel superhero. Howard the Duck wasn't even a superhero. He was just some wise crackin', ill-tempered, anthropomorphic water fowl that was abducted away from his home on Duckworld and forced against his will to live with humans on Earth. Or, more specifically, first with the dirty humans of the Florida Everglades, and then Cleveland, and finally New York City. Howard the Duck was metafiction and existentialist when neither of these things were in the zeitgeist. He smoked cigars, wore a suit and tie, and enjoy drinking a variety of libations and getting it on with the women, mostly his sometimes girlfriend Beverly. The perfect character to be the subject of the very first Marvel movie. A PG-rated movie. Enter George Lucas. In 1973, George Lucas had hit it big with his second film as a director, American Graffiti. Lucas had written the screenplay, based in part on his life as an eighteen year old car enthusiast about to graduate high school, with the help of a friend from his days at USC Film School, Willard Huyck, and Huyck's wife, Gloria Katz. Lucas wanted to show his appreciation for their help by producing a movie for them. Although there are variations to the story of how this came about, most sources say it was Huyck who would tell Lucas about this new comic book character, Howard the Duck, who piqued his classmate's interest by describing the comic as having elements of film noir and absurdism. Because Universal dragged their feet on American Graffiti, not promoting it as well as they could have upon its initial release and only embracing the film when the public embraced its retro soundtrack, Lucas was not too keen on working with Universal again on his next project, a sci-fi movie he was calling The Journal of the Whills. And while they saw some potential in what they considered to be some minor kiddie movie, they didn't think Lucas could pull it off the way he was describing it for the budget he was asking for. “What else you got, kid?” they'd ask. Lucas had Huyck and Katz, and an idea for a live-action comic book movie about a talking duck. Surprisingly, Universal did not slam the door shut in Lucas's face. They actually went for the idea, and worked with Lucas, Stan Lee of Marvel Comics and Howard's creator, Steve Gerber, to put a deal together to make it happen. Almost right away, Gerber and the screenwriters, Huyck and Katz, would butt heads on practically every aspect of the movie's storyline. Katz just thought it was some funny story about a duck from outer space and his wacky adventures on Earth, Gerber was adamant that Howard the Duck was an existential joke, that the difference between life's most serious moments and its most incredibly dumb moments were only distinguishable by a moment's point of view. Huyck wanted to make a big special effects movie, while Katz thought it would be fun to set the story in Hawaii so she and her husband could have some fun while shooting there. The writers would spend years on their script, removing most everything that made the Howard the Duck comic book so enjoyable to its readers. Howard and his story would be played completely straight in the movie, leaning on subtle gags not unlike a Zucker/Abrahams/Zucker movie, instead of embracing the surreal ridiculousness of the comics. They would write humongous effects-heavy set pieces, knowing they would have access to their producer's in-house special effects team, Industrial Light and Magic, instead of the comics' more cerebral endings. And they'd tone down the more risqué aspects of Howard's personality, figuring a more family-friendly movie would bring in more money at the box office. It would take nearly twelve years for all the pieces to fall into place for Howard the Duck to begin filming. But in the spring of 1985, Universal finally gave the green light for Lucas and his tea to finally make the first live-action feature film based on a Marvel Comics character. For Beverly, the filmmakers claimed to have looked at every young actress in Hollywood before deciding on twenty-four year old Lea Thompson, who after years of supporting roles in movies like Jaws 3-D, All the Right Moves and Red Dawn, had found success playing Michael J. Fox's mother in Back to the Future. Twenty-six year old Tim Robbins had only made two movies up to this point, at one of the frat boys in Fraternity Vacation and as one of the fighter pilots in Top Gun, and this was his first chance to play a leading role in a major motion picture. And Jeffrey Jones would be cast as the bad guy, the Dark Overlord, based upon his work in the 1984 Best Picture winner Amadeus, although he would be coming to the set of Howard the Duck straight off of working on a John Hughes movie, Ferris Bueller's Day Off. Howard the Duck would begin shooting on the Universal Studios lot of November 11th, 1985, and on the very first day of production, the duck puppet being used to film would have a major mechanical failure, not unlike the mechanical failure of the shark in Jaws that would force Steven Spielberg to become more creative with how he shot that character. George Lucas, who would be a hands-on producer, would suggest that maybe they could shoot other scenes not involving the duck, while his crew at ILM created a fully functional, life-sized animatronic duck costume for a little actor to wear on set. At first, the lead actor in the duck suit was a twelve-year old boy, but within days of his start on the film, he would develop a severe case of claustrophobia inside the costume. Ed Gale, originally hired to be the stuntman in the duck costume, would quickly take over the role. Since Gale could work longer hours than the child, due to the very restrictive laws surrounding child actors on movie and television sets, this would help keep the movie on a good production schedule, and make shooting the questionable love scenes between Howard and Beverly easier for Ms. Thompson, who was creeped out at the thought of seducing a pre-teen for a scene. To keep the shoot on schedule, not only would the filmmakers employ a second shooting unit to shoot the scenes not involving the main actors, which is standard operating procedure on most movies, Lucas would supervise a third shooting unit that would shoot Robbins and Gale in one of the film's more climactic moments, when Howard and Phil are trying to escape being captured by the authorities by flying off on an ultralight plane. Most of this sequence would be shot in the town of Petaluma, California, on the same streets where Lucas had shot American Graffiti's iconic cruising scenes thirteen years earlier. After a month-long shoot of the film's climax at a naval station in San Francisco, the film would end production on March 26th, 1986, leaving the $36m film barely four months to be put together in order to make its already set in stone August 1st, 1986, release date. Being used to quick turnaround times, the effects teams working on the film would get all their shots completed with time to spare, not only because they were good at their jobs but they had the ability to start work before the film went into production. For the end sequence, when Jones' character had fully transformed into the Dark Overlord, master stop motion animator Phil Tippett, who had left ILM in 1984 to start his own effects studio specializing in that style of animation, had nearly a year to put together what would ultimately be less than two minutes of actual screen time. As Beverly was a musician, Lucas would hire English musician and composer Thomas Dolby, whose 1982 single She Blinded Me With Science became a global smash hit, to write the songs for Cherry Bomb, the all-girl rock group lead by Lea Thompson's Beverly. Playing KC, the keyboardist for Cherry Bomb, Holly Robinson would book her first major acting role. For the music, Dolby would collaborate with Allee Willis, the co-writer of Earth Wind and Fire's September and Boogie Wonderland, and funk legend George Clinton. But despite this powerhouse musical trio, the songs for the band were not very good, and, with all due respect to Lea Thompson, not very well sung. By August 1986, Universal Studios needed a hit. Despite winning the Academy Award for Best Picture in March with Sydney Pollack's Out of Africa, the first six films they released for the year were all disappointments at the box office and/or with the critics. The Best of Times, a comedy featuring Robin Williams and Kurt Russell as two friends who try to recreate a high school football game which changed the direction of both their lives. Despite a script written by Ron Shelton, who would be nominated for an Oscar for his next screenplay, Bull Durham, and Robin Williams, the $12m film would gross less than $8m. The Money Pit, a comedy with Tom Hanks and Shelley Long, would end up grossing $37m against a $10m budget, but the movie was so bad, its first appearance on DVD wouldn't come until 2011, and only as part of a Tom Hanks Comedy Favorites Collection along with The ‘Burbs and Dragnet. Legend, a dark fantasy film directed by Ridley Scott and starring Tom Cruise, was supposed to be one of the biggest hits… of 1985. But Scott and the studio would fight over the film, with the director wanting them to release a two hour and five minute long version with a classical movie score by Jerry Goldsmith, while the studio eventually cut the film down an hour and twenty-nine minutes with a techno score by Tangerine Dream. Despite an amazing makeup job transforming Tim Curry into the Lord of Darkness as well as sumptuous costumes and cinematography, the $24.5m film would just miss recouping its production budget back in ticket sales. Tom Cruise would become a superstar not three weeks later, when Paramount Pictures released Top Gun, directed by Ridley's little brother Tony Scott. Sweet Liberty should have been a solid performer for the studio. Alan Alda, in his first movie since the end of MASH three years earlier, would write, direct and star in this comedy about a college history professor who must watch in disbelief as a Hollywood production comes to his small town to film the movie version of one of the books. The movie, which also starred Michael Caine, Bob Hoskins, Michelle Pfieffer and screen legend Lillian Gish, would get lost in the shuffle of other comedies that were already playing in theatres like Ferris Bueller and Short Circuit. Legal Eagles was the movie to beat for the summer of 1986… at least on paper. Ivan Reitman's follow-up film to Ghostbusters would feature a cast that included Robert Redford, Debra Winger and Daryl Hannah, along with Brian Denny, Terence Stamp, and Brian Doyle-Murray, and was perhaps too much movie, being a legal romantic comedy mystery crime thriller. Phew. If I were to do an episode about agency packaging in the 1980s, the process when a talent agency like Creative Artists Agency, or CAA, put two or more of their clients together in a project not because it might be best for the movie but best for the agency that will collect a 10% commission from each client attached to the project, Legal Eagles would be the example of packaging gone too far. Ivan Reitman was a client of CAA. As were Redford, and Winger, and Hannah. As was Bill Murray, who was originally cast in the Redford role. As were Jim Cash and Jack Epps, the screenwriters for the film. As was Tom Mankewicz, the co-writer of Superman and three Bond films, who was brought in to rewrite the script when Murray left and Redford came in. As was Frank Price, the chairman of Universal Pictures when the project was put together. All told, CAA would book more than $1.5m in commissions for themselves from all their clients working on the film. And it sucked. Despite the fact that it had almost no special effects, Legal Eagles would cost $40m to produce, one of the most expensive movies ever made to that point, nearly one and a half times the cost of Ghostbusters. The film would gross nearly $50m in the US, which would make it only the 14th highest grossing film of the year. Less than Stand By Me. Less than The Color of Money. Less than Down and Out in Beverly Hills. And then there was Psycho III, the Anthony Perkins-directed slasher film that brought good old Norman Bates out of mothballs once again. An almost direct follow-up to Psycho II from 1983, the film neither embraced by horror film fans or critics, the film would only open in eighth place, despite the fact there hadn't been a horror movie in theatres for months, and its $14m gross would kill off any chance for a Psycho IV in theatres. In late June, Universal would hold a series of test screenings for Howard the Duck. Depending on who you talk to, the test screenings either went really well, or went so bad that one of the writers would tear up negative response cards before they could be given to the score compilers, to goose the numbers up, pun only somewhat intended. I tend to believe the latter story, as it was fairly well reported at the time that the test screenings went so bad, Sid Sheinberg, the CEO of Universal, and Frank Price, the President of the studio, got into a fist fight in the lobby of one of the theatres running one of the test screenings, over who was to blame for this impending debacle. And a debacle it was. But just how bad? So bad, copywriters from across the nation reveled in giddy glee over the chances to have a headline that read “‘Howard the Duck' Lays an Egg!” And it did. Well, sort of. When it opened in 1554 theatres on August 1st, the film would gross $5.07m, the second best opener of the weekend, behind the sixth Friday the 13th entry, and above other new movies like the Tom Hanks/Jackie Gleason dramedy Nothing in Common and the cult film in the making Flight of the Navigator. And $5m in 1986 was a fairly decent if unspectacular opening weekend gross. The Fly was considered a massive success when it opened to $7m just two weeks later. Short Circuit, which had opened to $5.3m in May, was also lauded as being a hit right out of the gate. And the reviews were pretty lousy. Gene Siskel gave the film only one star, calling it a stupid film with an unlikeable lead in the duck and special effects that were less impressive than a sparkler shoved into a birthday cake. Both Siskel and Ebert would give it the dreaded two thumbs down on their show. Leonard Maltin called the film hopeless. Today, the film only has a 14% rating on Rotten Tomatoes with 81 reviews. But despite the shellacking the film took, it wouldn't be all bad for several of the people involved in the making of the film. Lea Thompson was so worried her career might be over after the opening weekend of the film, she accepted a role in the John Hughes movie Some Kind of Wonderful that she had turned down multiple times before. As I stated in our March 2021 episode about that movie, it's my favorite of all John Hughes movies, and it would lead to a happy ending for Thompson as well. Although the film was not a massive success, Thompson and the film's director, Howard Deutch, would fall in love during the making of the film. They would marry in 1989, have two daughters together, and as of the writing of this episode, they are still happily married. For Tim Robbins, it showed filmmakers that he could handle a leading role in a movie. Within two years, he would be starring alongside Kevin Costner and Susan Sarandon in Bull Durham, and he career would soar for the next three decades. And for Ed Gale, his being able to act while in a full-body duck suit would lead him to be cast to play Chucky in the first two Child's Play movies as well as Bride of Chucky. Years later, Entertainment Weekly would name Howard the Duck as the biggest pop culture failure of all time, ahead of such turkeys as NBC's wonderfully ridiculous 1979 show Supertrain, the infamous 1980 Western Heaven's Gate, Warren Beatty and Dustin Hoffman's Ishtar, and the truly wretched 1978 Bee Gees movie Sgt. Pepper's Lonely Hearts Club Band. But Howard the Duck, the character, not the movie, would enjoy a renaissance in 2014, when James Gunn included a CG-animated version of the character in the post-credit sequence for Guardians of the Galaxy. The character would show up again in the Disney animated Guardians television series, and in the 2021 Disney+ anthology series Marvel's What If… There technically would be one other 1980s movie based on a Marvel character, Mark Goldblatt's version of The Punisher, featuring Dolph Lundgren as Frank Castle. Shot in Australia in 1988, the film was supposed to be released by New World Pictures in August of 1989. The company even sent out trailers to theatres that summer to help build awareness for the film, but New World's continued financial issues would put the film on hold until April 1991, when it was released directly to video by Live Entertainment. It wouldn't be until the 1998 release of Blade, featuring Wesley Snipes as the titular vampire, that movies based on Marvel Comics characters would finally be accepted by movie-going audiences. That would soon be followed by Bryan Singer's X-Men in 2000, and Sam Raimi's Spider-Man in 2002, the success of both prompting Marvel to start putting together the team that would eventually give birth to the Marvel Cinematic Universe we all know and love today. Thank you for joining us. We'll talk again soon, when Episode 102, the first of two episodes about the 1980s distribution company Vestron Pictures, is released. Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Howard the Duck, and the other movies, both existing and non-existent, we covered this episode. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.
This week, we talk about the 1980s Marvel Cinematic Universe that could have been, and eventually was. ----more---- TRANSCRIPT From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today. The Marvel Cinematic Universe is the undisputed king of intellectual property in the entertainment industry. As of February 9th, 2023, the day I record this episode, there have been thirty full length motion pictures part of the MCU in the past fifteen years, with a combined global ticket sales of $28 billion, as well as twenty television shows that have been seen by hundreds of millions of people worldwide. It is a entertainment juggernaut that does not appear to be going away anytime soon. This comes as a total shock to many of us who grew up in the 1970s and 1980s, who were witness of cheaply produced television shows featuring hokey special effects and a roster of has-beens and never weres in the cast. Superman was the king of superheroes at the movies, in large part because, believe it or not, there hadn't even been a movie based on a Marvel Comics character released into theatres until the summer of 1986. But not for lack of trying. And that's what we're going to talk about today. A brief history of the Marvel Cinematic Universe in the 1980s. But first, as always, some backstory. Now, I am not approaching this as a comic fan. When I was growing up in the 80s, I collected comics, but my collection was limited to Marvel's Star Wars series, Marvel's ROM The SpaceKnight, and Marvel's two-issue Blade Runner comic adaptation in 1982. So I apologize to Marvel comics fans if I relay some of this information incorrectly. I have tried to do my due diligence when it comes to my research. Marvel Comics got its start as Timely Comics back in 1939. On August 31, 1939, Timely would release its first comic, titled Marvel Comics, which would feature a number of short stories featuring versions of characters that would become long-running staples of the eventual publishing house that would bear the comic's name, including The Angel, a version of The Human Torch who was actually an android hero, and Namor the Submariner, who was originally created for a unpublished comic that was supposed to be given to kids when they attended their local movie theatre during a Saturday matinee. That comic issue would quickly sell out its initial 80,000 print run, as well as its second run, which would put another 800,000 copies out to the marketplace. The Vision would be another character introduced on the pages of Marvel Comics, in November 1940. In December 1940, Timely would introduce their next big character, Captain America, who would find instant success thanks to its front cover depicting Cap punching Adolph Hitler square in the jaw, proving that Americans have loved seeing Nazis get punched in the face even a year before our country entered the World War II conflict. But there would be other popular characters created during this timeframe, including Black Widow, The Falcon, and The Invisible Man. In 1941, Timely Comics would lose two of its best collaborators, artists Joe Simon and Jack Kirby, to rival company Detective Comics, and Timely owner Martin Goodman would promote one of his cousins, by marriage to his wife Jean no less, to become the interim editor of Timely Comics. A nineteen year old kid named Stanley Lieber, who would shorten his name to Stan Lee. In 1951, Timely Comics would be rebranded at Atlas Comics, and would expand past superhero titles to include tales of crime, drama, espionage, horror, science fiction, war, western, and even romance comics. Eventually, in 1961, Atlas Comics would rebrand once again as Marvel Comics, and would find great success by changing the focus of their stories from being aimed towards younger readers and towards a more sophisticated audience. It would be November 1961 when Marvel would introduce their first superhero team, The Fantastic Four, as well as a number of their most beloved characters including Black Panther, Carol Danvers, Iron Man, The Scarlet Witch, Spider-Man, and Thor, as well as Professor X and many of the X-Men. And as would be expected, Hollywood would come knocking. Warner Brothers would be in the best position to make comic book movies, as both they and DC Comics were owned by the same company beginning in 1969. But for Marvel, they would not be able to enjoy that kind of symbiotic relationship. Regularly strapped for cash, Stan Lee would often sell movie and television rights to a variety of Marvel characters to whomever came calling. First, Marvel would team with a variety of producers to create a series of animated television shows, starting with The Marvel Super Heroes in 1966, two different series based on The Fantastic Four, and both Spider-Man and Spider-Woman series. But movies were a different matter. The rights to make a Spider-Man television show, for example, was sold off to a production company called Danchuck, who teamed with CBS-TV to start airing the show in September of 1977, but Danchuck was able to find a loophole in their contract that allowed them to release the two-hour pilot episode as a movie outside of the United States, which complicated the movie rights Marvel had already sold to another company. Because the “movie” was a success around the world, CBS and Danchuck would release two more Spider-Man “movies” in 1978 and 1981. Eventually, the company that owned the Spider-Man movie rights to sell them to another company in the early 1980s, the legendary independent B-movie production company and distributor, New World Pictures, founded and operated by the legendary independent B-movie producer and director Roger Corman. But shortly after Corman acquired the film rights to Spider-Man, he went and almost immediately sold them to another legendary independent B-movie production company and distributor, Cannon Films. Side note: Shortly after Corman sold the movie rights to Spider-Man to Cannon, Marvel Entertainment was sold to the company that also owned New World Pictures, although Corman himself had nothing to do with the deal itself. The owners of New World were hoping to merge the Marvel comic book characters with the studio's television and motion picture department, to create a sort of shared universe. But since so many of the better known characters like Spider-Man and Captain America had their movie and television rights sold off to the competition, it didn't seem like that was going to happen anytime soon, but again, I'm getting ahead of myself. So for now, we're going to settle on May 1st, 1985. Cannon Films, who loved to spend money to make money, made a big statement in the pages of the industry trade publication Variety, when they bought nine full pages of advertising in the Cannes Market preview issue to announce that buyers around the world needed to get ready, because he was coming. Spider-Man. A live-action motion picture event, to be directed by Tobe Hooper, whose last movie, Poltergeist, re-ignited his directing career, that would be arriving in theatres for Christmas 1986. Cannon had made a name for themselves making cheapie teen comedies in their native Israel in the 1970s, and then brought that formula to America with films like The Last American Virgin, a remake of the first Lemon Popsicle movie that made them a success back home. Cannon would swerve into cheapie action movies with fallen stars like Lee Marvin and Charles Bronson, and would prop up a new action star in Chuck Norris, as well as cheapie trend-chasing movies like Breakin' and Breakin' 2: Electric Boogaloo. They had seen enough success in America where they could start spending even bigger, and Spider-Man was supposed to be their first big splash into the superhero movie genre. With that, they would hire Leslie Stevens, the creator of the cult TV series The Outer Limits, to write the screenplay. There was just one small problem. Neither Stevens nor Cannon head honcho Menachem Golan understood the Spider-Man character. Golan thought Spider-Man was a half-spider/half-man creature, not unlike The Wolf Man, and instructed Stevens to follow that concept. Stevens' script would not really borrow from any of the comics' twenty plus year history. Peter Parker, who in this story is a twenty-something ID photographer for a corporation that probably would have been Oscorp if it were written by anyone else who had at least some familiarity with the comics, who becomes intentionally bombarded with gamma radiation by one of the scientists in one of the laboratories, turning Bruce Banner… I mean, Peter Parker, into a hairy eight-armed… yes, eight armed… hybrid human/spider monster. At first suicidal, Bruce… I mean, Peter, refuses to join forces with the scientist's other master race of mutants, forcing Peter to battle these other mutants in a basement lab to the death. To say Stan Lee hated it would be an understatement. Lee schooled Golan and Golan's partner at Cannon, cousin Yoram Globus, on what Spider-Man was supposed to be, demanded a new screenplay. Wanting to keep the head of Marvel Comics happy, because they had big plans not only for Spider-Man but a number of other Marvel characters, they would hire the screenwriting team of Ted Newsom and John Brancato, who had written a screenplay adaptation for Lee of Sgt. Fury and His Howling Commandos, to come up with a new script for Spider-Man. Newsom and Brancato would write an origin story, featuring a teenage Peter Parker who must deal with his newfound powers while trying to maintain a regular high school existence, while going up against an evil scientist, Otto Octavius. But we'll come back to that later. In that same May 1985 issue of Variety, amongst dozens of pages of ads for movies both completed and in development, including three other movies from Tobe Hooper, was a one-page ad for Captain America. No director or actor was attached to the project yet, but comic book writer James L. Silke, who had written the scripts for four other Cannon movies in the previous two years, was listed as the screenwriter. By October 1985, Cannon was again trying to pre-sell foreign rights to make a Spider-Man movie, this time at the MIFED Film Market in Milan, Italy. Gone were Leslie Stevens and Tobe Hooper. Newsom and Brancato were the new credited writers, and Joseph Tito, the director of the Chuck Norris/Cannon movies Missing in Action and Invasion U.S.A., was the new director. In a two-page ad for Captain America, the film would acquire a new director in Michael Winner, the director of the first three Death Wish movies. And the pattern would continue every few months, from Cannes to MIFED to the American Film Market, and back to Cannes. A new writer would be attached. A new director. A new release date. By October 1987, after the twin failures of Superman IV: The Quest for Peace and Masters of the Universe, Cannon had all but given up on a Captain America movie, and downshifted the budget on their proposed Spider-Man movie. Albert Pyun, whose ability to make any movie in any genre look far better than its budget should have allowed, was brought in to be the director of Spider-Man, from a new script written by Shepard Goldman. Who? Shepard Goldman, whose one and only credit on any motion picture was as one of three screenwriters on the 1988 Cannon movie Salsa. Don't remember Salsa? That's okay. Neither does anyone else. But we'll talk a lot more about Cannon Films down the road, because there's a lot to talk about when it comes to Cannon Films, although I will leave you with two related tidbits… Do you remember the 1989 Jean-Claude Van Damme film Cyborg? Post-apocalyptic cyberpunk martial-arts action film where JCVD and everyone else in the movie have names like Gibson Rickenbacker, Fender Tremolo, Marshall Strat and Pearl Prophet for no damn good reason? Stupid movie, lots of fun. Anyway, Albert Pyun was supposed to shoot two movies back to back for Cannon Films in 1988, a sequel to Masters of the Universe, and Spider-Man. To save money, both movies would use many of the same sets and costumes, and Cannon had spent more than $2m building the sets and costumes at the old Dino DeLaurentiis Studios in Wilmington, North Carolina, where David Lynch had shot Blue Velvet. But then Cannon ran into some cash flow issues, and lost the rights to both the He-Man toy line from Mattel and the Spider-Man characters they had licensed from Marvel. But ever the astute businessman, Cannon Films chairman Menahem Golan offered Pyun $500,000 to shoot any movie he wanted using the costumes and sets already created and paid for, provided Pyun could come up with a movie idea in a week. Pyun wrote the script to Cyborg in five days, and outside of some on-set alterations, that first draft would be the shooting script. The film would open in theatres in April 1989, and gross more than $10m in the United States alone. A few months later, Golan would gone from Cannon Films. As part of his severance package, he would take one of the company's acquisitions, 21st Century Films, with him, as well as several projects, including Captain America. Albert Pyun never got to make his Spider-Man movie, but he would go into production on his Captain America in August 1989. But since the movie didn't get released in any form until it came out direct to video and cable in 1992, I'll leave it to podcasts devoted to 90s movies to tell you more about it. I've seen it. It's super easy to find on YouTube. It really sucks, although not as much as that 1994 version of The Fantastic Four that still hasn't been officially released nearly thirty years later. There would also be attempts throughout the decade to make movies from the aforementioned Fantastic Four, the X-Men, Daredevil, the Incredible Hulk, Silver Surfer and Iron Man, from companies like New Line, 20th Century-Fox and Universal, but none of those would ever come to fruition in the 1980s. But the one that would stick? Of the more than 1,000 characters that had been featured in the pages of Marvel Comics over the course of forty years? The one that would become the star of the first ever theatrically released motion picture based on a Marvel character? Howard the Duck. Howard the Duck was not your average Marvel superhero. Howard the Duck wasn't even a superhero. He was just some wise crackin', ill-tempered, anthropomorphic water fowl that was abducted away from his home on Duckworld and forced against his will to live with humans on Earth. Or, more specifically, first with the dirty humans of the Florida Everglades, and then Cleveland, and finally New York City. Howard the Duck was metafiction and existentialist when neither of these things were in the zeitgeist. He smoked cigars, wore a suit and tie, and enjoy drinking a variety of libations and getting it on with the women, mostly his sometimes girlfriend Beverly. The perfect character to be the subject of the very first Marvel movie. A PG-rated movie. Enter George Lucas. In 1973, George Lucas had hit it big with his second film as a director, American Graffiti. Lucas had written the screenplay, based in part on his life as an eighteen year old car enthusiast about to graduate high school, with the help of a friend from his days at USC Film School, Willard Huyck, and Huyck's wife, Gloria Katz. Lucas wanted to show his appreciation for their help by producing a movie for them. Although there are variations to the story of how this came about, most sources say it was Huyck who would tell Lucas about this new comic book character, Howard the Duck, who piqued his classmate's interest by describing the comic as having elements of film noir and absurdism. Because Universal dragged their feet on American Graffiti, not promoting it as well as they could have upon its initial release and only embracing the film when the public embraced its retro soundtrack, Lucas was not too keen on working with Universal again on his next project, a sci-fi movie he was calling The Journal of the Whills. And while they saw some potential in what they considered to be some minor kiddie movie, they didn't think Lucas could pull it off the way he was describing it for the budget he was asking for. “What else you got, kid?” they'd ask. Lucas had Huyck and Katz, and an idea for a live-action comic book movie about a talking duck. Surprisingly, Universal did not slam the door shut in Lucas's face. They actually went for the idea, and worked with Lucas, Stan Lee of Marvel Comics and Howard's creator, Steve Gerber, to put a deal together to make it happen. Almost right away, Gerber and the screenwriters, Huyck and Katz, would butt heads on practically every aspect of the movie's storyline. Katz just thought it was some funny story about a duck from outer space and his wacky adventures on Earth, Gerber was adamant that Howard the Duck was an existential joke, that the difference between life's most serious moments and its most incredibly dumb moments were only distinguishable by a moment's point of view. Huyck wanted to make a big special effects movie, while Katz thought it would be fun to set the story in Hawaii so she and her husband could have some fun while shooting there. The writers would spend years on their script, removing most everything that made the Howard the Duck comic book so enjoyable to its readers. Howard and his story would be played completely straight in the movie, leaning on subtle gags not unlike a Zucker/Abrahams/Zucker movie, instead of embracing the surreal ridiculousness of the comics. They would write humongous effects-heavy set pieces, knowing they would have access to their producer's in-house special effects team, Industrial Light and Magic, instead of the comics' more cerebral endings. And they'd tone down the more risqué aspects of Howard's personality, figuring a more family-friendly movie would bring in more money at the box office. It would take nearly twelve years for all the pieces to fall into place for Howard the Duck to begin filming. But in the spring of 1985, Universal finally gave the green light for Lucas and his tea to finally make the first live-action feature film based on a Marvel Comics character. For Beverly, the filmmakers claimed to have looked at every young actress in Hollywood before deciding on twenty-four year old Lea Thompson, who after years of supporting roles in movies like Jaws 3-D, All the Right Moves and Red Dawn, had found success playing Michael J. Fox's mother in Back to the Future. Twenty-six year old Tim Robbins had only made two movies up to this point, at one of the frat boys in Fraternity Vacation and as one of the fighter pilots in Top Gun, and this was his first chance to play a leading role in a major motion picture. And Jeffrey Jones would be cast as the bad guy, the Dark Overlord, based upon his work in the 1984 Best Picture winner Amadeus, although he would be coming to the set of Howard the Duck straight off of working on a John Hughes movie, Ferris Bueller's Day Off. Howard the Duck would begin shooting on the Universal Studios lot of November 11th, 1985, and on the very first day of production, the duck puppet being used to film would have a major mechanical failure, not unlike the mechanical failure of the shark in Jaws that would force Steven Spielberg to become more creative with how he shot that character. George Lucas, who would be a hands-on producer, would suggest that maybe they could shoot other scenes not involving the duck, while his crew at ILM created a fully functional, life-sized animatronic duck costume for a little actor to wear on set. At first, the lead actor in the duck suit was a twelve-year old boy, but within days of his start on the film, he would develop a severe case of claustrophobia inside the costume. Ed Gale, originally hired to be the stuntman in the duck costume, would quickly take over the role. Since Gale could work longer hours than the child, due to the very restrictive laws surrounding child actors on movie and television sets, this would help keep the movie on a good production schedule, and make shooting the questionable love scenes between Howard and Beverly easier for Ms. Thompson, who was creeped out at the thought of seducing a pre-teen for a scene. To keep the shoot on schedule, not only would the filmmakers employ a second shooting unit to shoot the scenes not involving the main actors, which is standard operating procedure on most movies, Lucas would supervise a third shooting unit that would shoot Robbins and Gale in one of the film's more climactic moments, when Howard and Phil are trying to escape being captured by the authorities by flying off on an ultralight plane. Most of this sequence would be shot in the town of Petaluma, California, on the same streets where Lucas had shot American Graffiti's iconic cruising scenes thirteen years earlier. After a month-long shoot of the film's climax at a naval station in San Francisco, the film would end production on March 26th, 1986, leaving the $36m film barely four months to be put together in order to make its already set in stone August 1st, 1986, release date. Being used to quick turnaround times, the effects teams working on the film would get all their shots completed with time to spare, not only because they were good at their jobs but they had the ability to start work before the film went into production. For the end sequence, when Jones' character had fully transformed into the Dark Overlord, master stop motion animator Phil Tippett, who had left ILM in 1984 to start his own effects studio specializing in that style of animation, had nearly a year to put together what would ultimately be less than two minutes of actual screen time. As Beverly was a musician, Lucas would hire English musician and composer Thomas Dolby, whose 1982 single She Blinded Me With Science became a global smash hit, to write the songs for Cherry Bomb, the all-girl rock group lead by Lea Thompson's Beverly. Playing KC, the keyboardist for Cherry Bomb, Holly Robinson would book her first major acting role. For the music, Dolby would collaborate with Allee Willis, the co-writer of Earth Wind and Fire's September and Boogie Wonderland, and funk legend George Clinton. But despite this powerhouse musical trio, the songs for the band were not very good, and, with all due respect to Lea Thompson, not very well sung. By August 1986, Universal Studios needed a hit. Despite winning the Academy Award for Best Picture in March with Sydney Pollack's Out of Africa, the first six films they released for the year were all disappointments at the box office and/or with the critics. The Best of Times, a comedy featuring Robin Williams and Kurt Russell as two friends who try to recreate a high school football game which changed the direction of both their lives. Despite a script written by Ron Shelton, who would be nominated for an Oscar for his next screenplay, Bull Durham, and Robin Williams, the $12m film would gross less than $8m. The Money Pit, a comedy with Tom Hanks and Shelley Long, would end up grossing $37m against a $10m budget, but the movie was so bad, its first appearance on DVD wouldn't come until 2011, and only as part of a Tom Hanks Comedy Favorites Collection along with The ‘Burbs and Dragnet. Legend, a dark fantasy film directed by Ridley Scott and starring Tom Cruise, was supposed to be one of the biggest hits… of 1985. But Scott and the studio would fight over the film, with the director wanting them to release a two hour and five minute long version with a classical movie score by Jerry Goldsmith, while the studio eventually cut the film down an hour and twenty-nine minutes with a techno score by Tangerine Dream. Despite an amazing makeup job transforming Tim Curry into the Lord of Darkness as well as sumptuous costumes and cinematography, the $24.5m film would just miss recouping its production budget back in ticket sales. Tom Cruise would become a superstar not three weeks later, when Paramount Pictures released Top Gun, directed by Ridley's little brother Tony Scott. Sweet Liberty should have been a solid performer for the studio. Alan Alda, in his first movie since the end of MASH three years earlier, would write, direct and star in this comedy about a college history professor who must watch in disbelief as a Hollywood production comes to his small town to film the movie version of one of the books. The movie, which also starred Michael Caine, Bob Hoskins, Michelle Pfieffer and screen legend Lillian Gish, would get lost in the shuffle of other comedies that were already playing in theatres like Ferris Bueller and Short Circuit. Legal Eagles was the movie to beat for the summer of 1986… at least on paper. Ivan Reitman's follow-up film to Ghostbusters would feature a cast that included Robert Redford, Debra Winger and Daryl Hannah, along with Brian Denny, Terence Stamp, and Brian Doyle-Murray, and was perhaps too much movie, being a legal romantic comedy mystery crime thriller. Phew. If I were to do an episode about agency packaging in the 1980s, the process when a talent agency like Creative Artists Agency, or CAA, put two or more of their clients together in a project not because it might be best for the movie but best for the agency that will collect a 10% commission from each client attached to the project, Legal Eagles would be the example of packaging gone too far. Ivan Reitman was a client of CAA. As were Redford, and Winger, and Hannah. As was Bill Murray, who was originally cast in the Redford role. As were Jim Cash and Jack Epps, the screenwriters for the film. As was Tom Mankewicz, the co-writer of Superman and three Bond films, who was brought in to rewrite the script when Murray left and Redford came in. As was Frank Price, the chairman of Universal Pictures when the project was put together. All told, CAA would book more than $1.5m in commissions for themselves from all their clients working on the film. And it sucked. Despite the fact that it had almost no special effects, Legal Eagles would cost $40m to produce, one of the most expensive movies ever made to that point, nearly one and a half times the cost of Ghostbusters. The film would gross nearly $50m in the US, which would make it only the 14th highest grossing film of the year. Less than Stand By Me. Less than The Color of Money. Less than Down and Out in Beverly Hills. And then there was Psycho III, the Anthony Perkins-directed slasher film that brought good old Norman Bates out of mothballs once again. An almost direct follow-up to Psycho II from 1983, the film neither embraced by horror film fans or critics, the film would only open in eighth place, despite the fact there hadn't been a horror movie in theatres for months, and its $14m gross would kill off any chance for a Psycho IV in theatres. In late June, Universal would hold a series of test screenings for Howard the Duck. Depending on who you talk to, the test screenings either went really well, or went so bad that one of the writers would tear up negative response cards before they could be given to the score compilers, to goose the numbers up, pun only somewhat intended. I tend to believe the latter story, as it was fairly well reported at the time that the test screenings went so bad, Sid Sheinberg, the CEO of Universal, and Frank Price, the President of the studio, got into a fist fight in the lobby of one of the theatres running one of the test screenings, over who was to blame for this impending debacle. And a debacle it was. But just how bad? So bad, copywriters from across the nation reveled in giddy glee over the chances to have a headline that read “‘Howard the Duck' Lays an Egg!” And it did. Well, sort of. When it opened in 1554 theatres on August 1st, the film would gross $5.07m, the second best opener of the weekend, behind the sixth Friday the 13th entry, and above other new movies like the Tom Hanks/Jackie Gleason dramedy Nothing in Common and the cult film in the making Flight of the Navigator. And $5m in 1986 was a fairly decent if unspectacular opening weekend gross. The Fly was considered a massive success when it opened to $7m just two weeks later. Short Circuit, which had opened to $5.3m in May, was also lauded as being a hit right out of the gate. And the reviews were pretty lousy. Gene Siskel gave the film only one star, calling it a stupid film with an unlikeable lead in the duck and special effects that were less impressive than a sparkler shoved into a birthday cake. Both Siskel and Ebert would give it the dreaded two thumbs down on their show. Leonard Maltin called the film hopeless. Today, the film only has a 14% rating on Rotten Tomatoes with 81 reviews. But despite the shellacking the film took, it wouldn't be all bad for several of the people involved in the making of the film. Lea Thompson was so worried her career might be over after the opening weekend of the film, she accepted a role in the John Hughes movie Some Kind of Wonderful that she had turned down multiple times before. As I stated in our March 2021 episode about that movie, it's my favorite of all John Hughes movies, and it would lead to a happy ending for Thompson as well. Although the film was not a massive success, Thompson and the film's director, Howard Deutch, would fall in love during the making of the film. They would marry in 1989, have two daughters together, and as of the writing of this episode, they are still happily married. For Tim Robbins, it showed filmmakers that he could handle a leading role in a movie. Within two years, he would be starring alongside Kevin Costner and Susan Sarandon in Bull Durham, and he career would soar for the next three decades. And for Ed Gale, his being able to act while in a full-body duck suit would lead him to be cast to play Chucky in the first two Child's Play movies as well as Bride of Chucky. Years later, Entertainment Weekly would name Howard the Duck as the biggest pop culture failure of all time, ahead of such turkeys as NBC's wonderfully ridiculous 1979 show Supertrain, the infamous 1980 Western Heaven's Gate, Warren Beatty and Dustin Hoffman's Ishtar, and the truly wretched 1978 Bee Gees movie Sgt. Pepper's Lonely Hearts Club Band. But Howard the Duck, the character, not the movie, would enjoy a renaissance in 2014, when James Gunn included a CG-animated version of the character in the post-credit sequence for Guardians of the Galaxy. The character would show up again in the Disney animated Guardians television series, and in the 2021 Disney+ anthology series Marvel's What If… There technically would be one other 1980s movie based on a Marvel character, Mark Goldblatt's version of The Punisher, featuring Dolph Lundgren as Frank Castle. Shot in Australia in 1988, the film was supposed to be released by New World Pictures in August of 1989. The company even sent out trailers to theatres that summer to help build awareness for the film, but New World's continued financial issues would put the film on hold until April 1991, when it was released directly to video by Live Entertainment. It wouldn't be until the 1998 release of Blade, featuring Wesley Snipes as the titular vampire, that movies based on Marvel Comics characters would finally be accepted by movie-going audiences. That would soon be followed by Bryan Singer's X-Men in 2000, and Sam Raimi's Spider-Man in 2002, the success of both prompting Marvel to start putting together the team that would eventually give birth to the Marvel Cinematic Universe we all know and love today. Thank you for joining us. We'll talk again soon, when Episode 102, the first of two episodes about the 1980s distribution company Vestron Pictures, is released. Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Howard the Duck, and the other movies, both existing and non-existent, we covered this episode. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.
This week, Billy and Ian did some shopping! Thrill to the sounds of them discussing some of the new books they bought this week, why they made the buying decisions they did and what appeals to them about their selections. This episode includes discussion of Cosmic Con 2023, Bootleg Spider-Man, the 1992 Faust Tour Book, Slow Death #4, copper age Justice League of America, Mark Waid's writing, Superman and Batman, Marvel Vs. DC, Glenn Danzig's Verotik line, Ian gets exceptionally nerdy about Rom: Space Knight, Atlas Comics and lots more. Follow us on Instragram @queenscomicpodcast Check us out online at http://www.queenscomicparty.com
Werewolf By Night is the latest Special Presentation from Marvel Studios to appear on Disney Plus.it's also the name of a character from Marvel Comics and the name of a comic series dating back to Marvel's predecessor Atlas Comics.So the Nerdtastic Duo and the Nerdsquatch decided this would be a great topic for their Halloween SpecialSo put away your weapons and grab your favorite Halloween candy from the bowl as we discuss his spooky topic.Enjoy!Support the Show!Patreon: https://www.patreon.com/TheBearandTheBeardSpring Store: https://bearded-bear-store.creator-spring.comTalk Nerdy To Us!Facebook Page: https://www.facebook.com/thebearandthebeard/Website: http://thebearandthebeardpodcast.com/Reddit: https://www.reddit.com/user/Bearded-Bear-Pod/Nerd-line: (769) 208-4079Email: thebearandthebeardpodcast@yahoo.comAnd for Video episodes find us on YouTube:https://www.youtube.com/channel/UCO-sZG3PG1hiexmZxKKoDbg**DISCLAIMER: WE DO NOT OWN THE RIGHTS TO THE SOUND OR VIDEO BITS USED IN THIS EPISODE. ALL RIGHTS BELONG TO THEIR RESPECTIVE PRODUCTION COMPANIES OR ORIGINAL CREATORS. THESE SOUNDBITES ARE TAKEN FROM YOUTUBE VIDEOS AND THEN ADDED IN FOR ENTERTAINMENT PURPOSES ONLY**
How does a comic company boasting the top talents in the business vanish inside 2 years time? Adams! Ditko! Wood! Chaykin! The sad demise of Atlas Comics is examined in this concluding episode. Plus, an all new Rob's Recommendations!
Did the owner of Marvel Comics really start a rival comic company after feeling betrayed by Stan Lee? Did he assemble top flight creators to launch his new label? Neal Adams! Steve Ditko! Wally Wood! Howard Chaykin! Larry Hama! The saga of Atlas Comics demands your attention!
Did the owner of Marvel Comics really start a rival comic company after feeling betrayed by Stan Lee? Did he assemble top flight creators to launch his new label? Neal Adams! Steve Ditko! Wally Wood! Howard Chaykin! Larry Hama! The saga of Atlas Comics demands your attention!
Latest on today's big government jobs report, the recently hot real estate market is cooling down and we meet the owner of a Chicago comics store that's been in business since the 1980s.
In this episode, Greg and Leon discuss the following comics: TERROR ILLUSTRATED (https://www.darkhorse.com/Books/3007-091/The-EC-Archives-Terror-Illustrated-HC) CLEMENTINE (https://imagecomics.com/comics/series/clementine) EAT MY FLESH, DRINK MY BLOOD (https://dauntlessstories.com/emfdmb) available here! (https://dauntlessstories.com/emfdmb) https://dauntlessstories.com/emfdmb MARVEL MONSTER GROUP: TALES OF THE ZOMBIE (https://marvel.fandom.com/wiki/Zombie_Vol_1_1) NOTES: Some of the resources/ sources used in Greg's discussion of Horror Magasines - LOSTSOTI.ORG a site that is full of information and resources pertaining to the anti-comics campaign of the 40s and 50s (http://www.lostsoti.org/) - Transcripts of the 1954 Senate Subcommittee Hearings into Juvenile Delinquency (https://www.thecomicbooks.com/1954senatetranscripts.html) A couple of great articles about the return/ resurgence of Horror comics in the 1970s and the relaxation of the Comics Code Authority's rules. The 1970s Horror Comics Boom Part 1 (https://blog.gocollect.com/the-1970s-horror-comic-boom-part-1/) and The 1970s Horror Comics Boom Part 2 (https://blog.gocollect.com/the-1970s-horror-comics-boom-part-2/) Send any questions or feedback to (mailto:acecomicals@gmail.com) acecomicals@gmail.com. And also please subscribe (http://www.acecomicals.com/subscribe) and leave us a review! If you like what we do please consider donating to us (https://ko-fi.com/acecomicals) at https://ko-fi.com/acecomicals. All contributions will be used to defray the cost of hosting the website. Ace Comicals, over and out!#
This episode chronicles the alternate history of Atlas Comics, the interesting but short-lived mid-70's comic book company that tried to go head-to-head with Marvel Comics, but who ended up going ass-to-mouth instead. In OUR reality. In my rummy ruminations, Atlas never crapped out and continued to publish for decades to come due to my keen editorial skills and delusional psyche. Fan fiction at it's finest from the NEW house of ideas!
Fecha de Grabación: Domingo 29 de agosto de 2021Algunos temas comentados:Webtoon, Tapas y Graphite, ¿Cómo funcionan estas plataformas de cómic digital? ¿Que buenas historias hay ahí?Falleció Ed Asner, veterano actor famoso por su labor en series de drama y comedia y como actor de voz en series como The Batman Animated Series, Justice League Unlimited y Young Justice, o películas como Up.Cómics de guerra, sobre todo los publicados en los 1950 por Atlas Comics.Las novelas gráficas de Raina Telgemeier, ¿son buenas? ¿por dónde empezar?¡...Y muchísimo más!Comentario de TV:What If... the World Lost Its Mightiest Heroes?, tercer episodio de la serie animada del MCU, escrito por Matthew Chauncey y A.C. Bradley y dirigido por Bryan Andrews, con las voces de Samuel L. Jackson, Lake Bell, Jeremy Renner, Mark Ruffalo y Tom Hiddleston, entre muchos otros. (Marvel Studios/Disney+)Comentario de Cómics:Ringside, cómic escrito por Joe Keatinge y dibujado por Nick Barber, con color de Simon Gough y rótulos de Ariana Maher. (Image Comics)Echolands #1, cómic coescrito por J.H. Williams III y Haden Black, con arte de Williams, color de Dave Stewart y rótulos de Todd Klein. (Image Comics)The Joker War, cómic escrito por James Tynion IV y dibujado por Jorge Jiménez, con color de FCO Plascencia y rótulos de Steve Wands. (DC Comics)Pueden escuchar el Podcast en este reproductor.Descarga Directa MP3 (Usar botón derecho del mouse y opción "guardar enlace como"). Peso: 90,1 MB; Calidad: 128 Kbps.El episodio tiene una duración de 01:38:00.Además de nuestras redes sociales (Twitter, Facebook, Instagram), ahora tenemos una nueva forma de interactuar con nosotros: un servidor en Discord. Es un espacio para compartir recomendaciones, dudas, memes y más, y la conversación gira alrededor de muchos temas además de cómics, y es una forma más inmediata de mantenerse en contacto con Esteban y conmigo. ¡Únete a nuestro servidor en Discord!También tenemos un Patreon. Cada episodio del podcast se publica allí al menos 24 horas antes que en los canales habituales, y realizamos un especial mensual exclusivo para nuestros suscriptores en esa plataforma. Tú también puedes convertirte en uno de nuestros patreoncinadores™ con aportaciones desde 1 dólar, que puede ser cada mes, o por el tiempo que tú lo decidas, incluyendo aportaciones de una sola vez.También puedes encontrar nuestro podcast en los siguientes agregadores y servicios especializados:Comicverso en SpotifyComicverso en iVooxComicverso en Apple PodcastsComicverso en Google PodcastsComicverso en Amazon MusicComicverso en Archive.orgComicverso en I Heart RadioComicverso en Overcast.fmComicverso en Pocket CastsComicverso en RadioPublicComicverso en CastBox.fm¿Usas alguna app o servicio que no tiene a Comicverso? En la parte alta de la barra lateral está el feed del podcast, el cual puedes agregar al servicio de tu preferencia.Nos interesa conocer opiniones y críticas para seguir mejorando. Si te gusta nuestro trabajo, por favor ayúdanos compartiendo el enlace a esta entrada, cuéntale a tus amigos sobre nuestro podcast, y recomiéndalo a quien creas que pueda interesarle. Hasta pronto.Deja tus comentarios o escríbenos directamente a comicverso@gmail.com
In this mischievous episode, Andrew and chrs sort through six episodes of multiversal madness with a roguish recap and review of the Disney+ Loki show.Follow us on instagram @truebelieverspod, on twitter @truebelieversp (yes, the name was too long), and on facebook @truebelieverspod (facebook.com/truebelieverspod)If you want to speak to us directly, feel free to DM us on social media or email us at 1truebelieverspod@gmail.comNotes: The actress who plays Hunter B-15 is the gorgeous Oluwunmi “Wunmi” Mosakuchrs definitely knows how to pronounce Mjölnir, she was just joking.Sylvie Laufeydottir is based on two characters - Lady Loki (Loki taking a female form after being reincarnated post-Ragnarök) and Sylvie Lushton (a human girl enchanted by Loki to believe she was an Asgardian who styled herself after the first Enchantress, Amora ("Dark Reign: Young Avengers")"Journey into Mystery" is the name of a series published by Atlas Comics and later Marvel that ran “The Mighty Thor” by Lieber, Lee, and Kirby starting in issue #83. It was renamed for it's breakout superhero star from issue #126 on, and has been revived as Journey into Mystery at least three times in the decades since.The Journey into Mystery Storyline chrs references is written by Kieron Gillen and starts with "Journey into Mystery vol. 1: Fear Itself"The Great Sphinx of Giza has a missing nose. No one knows exactly why the nose is missing, but many people believe that it was shot off with a cannonball by the French army under Napoleon Bonaparte.The Beyoncé song chrs references is called “BLACK EFFECT”.I refuse to recap Throg, Frog of Thunder. If you want to know? Google it.Alligator teeth of the lower jaw can not be seen when the jaw is closed. Crocodile teeth of the lower jaw can be seen when the jaw is closed. In crocodiles, the upper and lower jaw are about the same size. So, the upper and lower teeth interlock or interdigitate when the mouth shuts.Kid Loki, or KING Loki (as chrs would say) is the oldest variant in the Nexus, and has just never aged - that's why it's his kingdom.
This week on the Geek Gossip, your hosts, Jack and Artie review the two new villain led Marvel series, Loki, the Marvel Cinematic Universe's most mind bending series yet and Marvel's MODOK, a Hulu original starring Patton Oswald as a super villain dreaming of world domination but has other problems to deal with in the meantime. In Tales from the Dollar Bin, our dad joins us when he reviews Squadron Supreme #4&5 from Marvel Comics as well as Starfire #1 from DC and the Morlock: 2001 series from Atlas Comics while Artie reviews Comics' Greatest World titles from Dark Horse such as Hero Zero and Into the Nexus, plus Jack reviews Cyber Force #1 from Image. This week for the Battles, Geek Gossip fan favorite Uncle Russ returns to the show to debate on this clash of villains between Marvel mastermind MODOK and Cybertronian warlord Megatron. Who will win, the leader of the Decepticons or the leader of A.I.M.? You decide! Cast your vote now by clicking this link: https://www.thegeekgossip.com/the-battles We hope you enjoy you enjoy this episode as much as we did making it! Huzzah, Mega Geeks!
Quarter-Bin Podcast #169Police Action #2, Atlas Comics, cover-dated April 1975."Taxi 2147 is Missing," by Gary Friedrich, with art by Mike Sekowsky & Al McWilliams. and "Whatever Happened to Luke Malone?" by Gary Friedrich, with art by Mike Ploog and Frank Springer.What happens when Professor Alan visits New York City in 1975? Does he get mugged? Taken hostage? Does he make it out alive?Listen to the episode and find out!Click on the player below to listen to the episode: Right-click to download episode directly You may also subscribe to the podcast through iTunes or the RSS Feed. Promo: What the Frell?Next Episode: Six from Sirius 1 & 2, Epic Comics, cover-dated July and August 1984. Send e-mail feedback to relativelygeeky@gmail.com "Like" us on Facebook at https://www.facebook.com/relativelygeekyYou can follow the network on Twitter @Relatively_Geek and the host @ProfessorAlanSource: World's Greatest Comics
Neste episódio, Fabiano “Prof. Nerd” Silveira, Daniel HDR, Rogério DeSouza e Rafael “Algures” Rodrigues (MDM & Uarevaaa) comentam sobre os 90 anos safados que o mítico STAN “THE MAN” LEE completa neste mês de Dezembro! Um retrospecto de seu histórico profissional, como jovem editor na Timely Comics, seus tempos de roteirista na Atlas Comics, passando a elaborar o que todos conheceriam como Marvel Comics. Porém, a Marvel não surgira sozinha: este episódio mais do que nunca procura não esquecer quem ajudou à construir o Universo Marvel: conheça mais sobre as parcerias de Stan Lee com JACK KIRBY, STEVE DITKO, JOHN BUSCEMA, JOHN ROMITA Sr., DON HECK e tantos outros que foram co-criadores dos celebrados personagens que os leigos teimam em creditar somente à Mr. Lieber.
Quarter-Bin Podcast #168The Cases of Sherlock Holmes 14, Renegade Press, cover-dated July 1988."The Navel Treaty, Part 2" by Sir Arthur Conan Doyle, illustrated by Dan Day. What happens when Professor Alan invites not one, but TWO guests on to the show? What was his motive? What was he thinking? Who rang the bell in his office? Can anyone solve the mystery?Listen to the episode and find out!Click on the player below to listen to the episode: Right-click to download episode directly You may also subscribe to the podcast through iTunes or the RSS Feed. Promo: Prairie JusticeLink #1: The RaD Adventures NetworkNext Episode: Police Action #2, Atlas Comics, cover-dated April 1975. Send e-mail feedback to relativelygeeky@gmail.com "Like" us on Facebook at https://www.facebook.com/relativelygeekyYou can follow the network on Twitter @Relatively_Geek and the host @ProfessorAlanSource: Half Price Books
This week on The Geek Gossip, our news segment is just as much of an adventure as ever when we review the two new installments onto the Spongebob universe, the Sponge on the Run feature film and the Kamp Koral animated series finally released to us fans in the states via Paramount Plus and the epic WandaVision series finale. We're also joined by our dad, Ryan L. Higgins, for Tales From the Dollar Bin in which he reviews a bunch of foundational issues of the short lived Atlas Comics universe with weird characters like the Grim Ghost, Tiger Man, Wulf the Barbarian, the Destructor and the Tarantula while Jack reviews All New the New Phantom #62 (one hell of a title if you ask me), Judge Dredd: the Early Cases #1 plus Magnus Robot Fighter #23-24, while Artie reviews Iron Man #177, the first appearance of the Flying Tiger (you heard me correctly). Uncle Russ joins us for the battles in which we put two new gladiators into the ring: the Black Panther and the Phantom. Will the Ghost Who Walks fall at the vibranium claws of the 2 Million Year Man or has the King of Wakanda finally met his match? You decide! Vote now by clicking this link: https://www.thegeekgossip.com/the-battles
Weird Suspense: The Tarantula #1 (1975)Its not Halloween until you read a comic about a Dark Ages curse that turns men into tarantula-based men. This week in our FOURTH (!!) book from Atlas Comics, we meet Count Lycos Search Engine, who must now satiate his “unnatural lust” for paralyzed human meat on the regular. Thankfully, comedian Kyle Kinane and friends have just shanked some prison guards with an icepick and are looking for refuge in a creepy mansion.Continue the conversation with Shawn and Jen on Twitter @angryheroshawn and @JenStansfield and email the show at worstcollectionever@gmail.com
Alex Grand and Jim Thompson interview David Anthony Kraft from his humble beginnings in the late 1960s becoming the agent of the Otis Adelbert Kline, Publisher of Fictioneer Science Fiction Books, his early 1970s Marvel work with Roy Thomas, his work at Atlas Comics in 1975 with Chip and Martin Goodman, Giant Size Dracula with Marvel new comer John Byrne, working under Gerry Conway at DC Comics, his editing run on FOOM under Sol Brodsky, his Marvel Defenders run under Stan Lee working with Keith Giffen and Carmine Infantino all discussed in this first part of a 2 parter. Images used in artwork ©Their Respective Copyright holders, CBH Podcast ©Comic Book Historians. Thumbnail Artwork ©Comic Book Historians. Support us at https://www.patreon.com/comicbookhistoriansSupport the show (https://www.patreon.com/comicbookhistorians)
Josh asks what first got you into Science Fiction, talks about nostalgia, Atlas Comics, and HP Lovecraft.As always, if you enjoyed the show, follow us and subscribe to the show: you can find us on iTunes or on any app that carries podcasts as well as on YouTube. Please remember to subscribe and give us a nice review. That way you’ll always be among the first to get the latest GSMC SciFi Podcasts.We would like to thank our Sponsors: GSMC Podcast NetworkAdvertise with US: http://www.gsmcpodcast.com/advertise-with-us.html Website: http://www.gsmcpodcast.com/sci-fi-podcast.htmlITunes Feed : https://itunes.apple.com/us/podcast/gsmc-sci-fi-podcast/id1119783301 GSMC YouTube Channel: https://www.youtube.com/watch?v=5fNSp5YIejA&list=PLF8Qial15ufqLUPDUdsmYcmEhqyO-MGxSTwitter: https://twitter.com/GSMC_SciFiFacebook: https://www.facebook.com/GSMCSciFi/Disclaimer: The views expressed on the GSMC SciFi Podcast are for entertainment purposes only. Reproduction, copying or redistribution of The GSMC SciFi Podcast without the express written consent of Golden State Media Concepts LLC is prohibited.
Latest on the spike in coronavirus cases, a visit with the owner of Atlas Comics and a look into the Twitter hack with cyber-security expert Adam Levin. See omnystudio.com/policies/listener for privacy information.
Hour 1: + Lindsay Welbers, Chicago Transit Hikes Hour 2: + John Stangland, Atlas Comics Hour 3: + Best TV Sidekicks Hour 4: + 14 year old girl earns her Master’s degree +Classic Carson: Garry Shandling Hour 5: + You Big Dummy + Straight Outta Context + Nick D Show Spies + Fly Jamz Friday
Serving the Northwest side of Chicago for three decades, Atlas Comics (5251 N. Harlem Ave.) has been a community meeting place for people of all ages to talk about their every day lives and shared love of comics. In order to make it through a rough period for small business, owner John Stangeland has turned […]
Maybe we should have called this one "Atlas by the Month"? In the decade before Stan and Jack blew the doors off of the comics world with Fantastic Four #1, the company then known as Atlas Comics tried to relaunch their three biggest superheroes of the 1940's: Captain America, the Human Torch, and the Sub-Mariner! Our pal Joe Keatinge (Shutter, Ringside, Stellar, Marvel Knights: Hulk, Morbius: The Living Vampire) takes us on a tour of how these WWII heroes were retrofitted for the Red Scare in a pre-Comics Code world! Reading List: Captain America's Weird Tales #74, Young Men #24-28, Captain America Comics #76-78, Sub-Mariner Comics #33-42, Human Torch Comics #36-38, Men's Adventures #27-28. (Thanks to Tom Brevoort for his website articles and his chapters in Marvel Chronicle, which provided invaluable information.) "Marvel by the Month" theme by Robb Milne, sung by Barb Allen. All incidental music by Robb Milne. Visit us on internet at marvelbythemonth.com.
Longbox Crusade: 12 Days of Crusademas 2019 Day 05: Five Vampires Vampiring Issue: Planet of the Vampires #1 Day 5 of CRUSADEMAS brings just us nuts rolling back to the 70s with Chris (@btoandbatbooks) and the early work of Larry Hama and Pat Broderick with Atlas Comics’ PLANET OF THE VAMPIRES! Be sure to check out all the other Longbox Crusade shows at: www.LongboxCrusade.com Check out Jarrod Alberich, The Yard Sale Artist website at: https://theyardsaleartist.bigcartel.com/ Let us know what you think! Leave a comment by sending an email to: contact@longboxcrusade.com This podcast is a member of the Longbox Crusade Network: Follow on TWITTER: https://twitter.com/LongboxCrusade Follow on INSTAGRAM: https://www.instagram.com/longboxcrusade Like the FACEBOOK page: https://www.facebook.com/LongboxCrusade Subscribe to the YouTube Channel: https://goo.gl/4Lkhov Subscribe to the podcast on iTunes at: https://itunes.apple.com/us/podcast/the-longboxcrusade/id1118783510?mt=2 Thank you for listening and we hope you have enjoyed this episode of the Longbox Crusade: 12 Days of Crusademas 2019.
Were you planning on fearing the reaper? Well, don't! Blue Öyster Cult references abound when we read Defenders #58! Topics include: Atlas Comics; The Garfield Club; initial based super powers, and of course, bears. All this, plus the surprising origin of a popular baseball mascot! Beaky coming! If you like the show, consider supporting us at patron.com/ttwasteland
This week we talk about John Wick 3 (no spoilers, Savage Avengers, Assassin's Creed Odyssey, Sonic the Hedgehog, The Dungeons and Dragons cartoon, Wicked Pictures presents: Power Pack, Waititi Akira, Dark Crystal: Age of Resistance, Eyes of the Dragon, The Long Walk, the Atlas Comics cinematic universe, and Rick and Morty vs Dungeons and Dragons. So Wick it up, it's time for a Geek Shock!
Episode 510 - Contest Winners, Atlas Comics, 4 Kids, April Sales, FOC, Sneak Peek at Next Week w/ Kyle & Drew. Retweet our Episode twitter posts w/feedback & questions @comicsfunprofit to enter our comics giveaway contest. Spec Picks For Next Week: Sham #1 (Drew), Batman-Last Knight on Earth #1 (Kyle). Need an LCS or FOC Access: http://eepurl.com/du7Wwf or Eric@KowabungaComics.com Email us at: Comicsforfunandprofit@gmail.com - questions, comments, gripes, we can't wait to hear what you have to say. Shop Kyle/Drew Ebay Stores from our website - www.comicsfunprofit.com. Follow us on Twitter: @ComicsFunProfit Like us on Facebook.com/ComicsForFunAndProfit. Subscribe, rate, review on itunes. We are on Stitcher. Thank you so much for listening and spreading the word about our little comic book podcast. https://comcsforfunandprofit.podomatic.com/
It's taken its sweet time - nearly six years! - but Bong Joon-Ho's 2013 post-apocalyptic epic is finally available legally to UK viewers, courtesy of Netflix. We might have considered it for inclusion on the podcast purely based on the number of previous comic-book-movie stars featured within, but happily, it is actually based on a comic - Jacques Lob's La Transperceneige - so it counts entirely on merit. And what merit it has.Over in news, meanwhile, we give our thoughts on the Robert Battinsonman news, explain to Joe what the heck Atlas Comics is and whether they have any remotely worthwhile IP whatsoever, and Seb laments the cancellation of The Tick. You bastards.00:00 - Intro/Explain Something15:42 - News46:04 - Snowpiercer discussionCinematic Universe is supported by the generosity of our backers on Patreon, who also get to hear episodes ad-free along with occasional bonus content! Check out our page and consider subscribing at patreon.com/cinematicuniverse See acast.com/privacy for privacy and opt-out information.
Allen, Tori, and EJ discuss S8, E5 of Game of Thrones, Paramount's questionable acquisition of Atlas Comics, the trailer for Maleficent: Mistress of Evil, Jonathan Hickman's hostile takeover of the X-Men line of comics, Brightburn, John Wick: Chapter 3 - Parabellum, and the potential casting of Robert Pattinson for the titular role in Matt Reeves's The Batman. See acast.com/privacy for privacy and opt-out information.
In aflevering 95 doen we het zonder showhost. Nils is namelijk op vakantie. Robert Pattison is voor 99% kans gecast als Batman. Steven Paul heeft een meerderheidsaandeel in de bibliotheek van Atlas Comics gekocht. De Nederlandse regisseur Ate de Jong gaat een boek over Anne Frank verfilmen. Chris Rock wil samen met Lionsgate de horrorfilmreeks Saw nieuw leven in blazen. We bespreken de trailers van Angel Has Fallen, The Dead Don’t Die en Once upon a time in Hollywood. Deze week willen we wel naar de nieuwe Disneyfilm Aladdin en eventueel de horrorfilm Brightburn. Vergeet je niet te abonneren op ons kanaal, laat een review achter via iTunes of Apple Podcasts en volg ons op Facebook: www.facebook.com/filmfanspodcast en Instagram: www.instagram.com/filmfanspodcast. Voor meer reviews, filmnieuws en afleveringen ga je naar www.filmfanspodcast.nl. Voor vragen en opmerkingen mag je ons altijd mailen via mail@filmfanspodcast.nl. Wil je ons steunen? Ga dan naar www.filmfanspodcast.nl/doneren.
Alex Grand, Somber Bill Field and guest co-host, Peter Coogan, PhD discuss 1950, the changing tide as American's get more domestic, and other non superhero genre's became much more in demand like Westerns, Romance, Humor, etc. The birth of the DC Comics editorial fiefdoms, Martin Goodman chasing genre comics, and the rest of the industry (mostly) says goodbye to Superheroes. The gang also says goodbye to Stan Lee, on the week of his death. Music - Standard License. Images used in artwork ©Their Respective Copyright holders , CBH Podcast ©Comic Book Historians. Support us at https://www.patreon.com/comicbookhistorians Podcast and Audio ©℗ 2019 Comic Book HistoriansSupport the show (https://www.patreon.com/comicbookhistorians)
***The Following Contains Explicit Language and Adult Content*** AJ OUM Episode 62 - Excelsior! A Stan Lee Tribute Monday, November 12, 2018 on Veteran’s Day the world lost a great man. Stan Lee, one of the great comic book writers of all time and the face of Marvel Comics passed away at the age of 95. He became an editor at Timely Comics in 1941. Timely Comics would eventually be renamed “Atlas Comics” in the 1950s and was re-branded again as “Marvel Comics” in 1961. He has had a hand in creating some of comics most popular characters like Spider Man, Hulk, Doctor Strange, Fantastic Four, Iron, Daredevil, Thor, The X-Men and so many more. I sit down with “The Authentic” Brandon Lewis and we talk the life and trials of the late, great Stan Lee. If you have a Stan Lee story and how he influenced your life, feel free to let us know! As always, any comments, suggestions or conversation starters for the host to read on the show email me at: ajorsini96host@gmail.com Thank you to the good folks over at Lower Track Productions for the Orsini's Uncensored Mind Opening Theme Songhttps://www.facebook.com/LowerTracks-Productions-367972864014/ You can follow me on here: Facebook, Twitter, Tumblr, Instagram, Wordpress & Youtube You can follow Brandon Lewis here: FB.com/LuiBTorres Twitter: @Mr_BrandonLewis IG: @mr_luis_brandon All new Episodes of OUM on ajoum.podbean.com every Saturday at 9pm! You can also catch the show on: ITunes, Spotify, iHeart Radio, Stitcher Radio, Google Play Music, Tune In Radio, Castbox.FM & Listen Notes! Want to support the show? Check out the Orsini’s Uncensored Mind T Shirt!!www.prowrestlingtees.com/ajoum
In this special episode, Brian digs even deeper into Devil Slayer's origins with an in-depth look at Atlas Comics's short-lived Demon Hunter.
Alex Galahad Grand, Sir Billiam Field, and Jim the Bright Knight Thompson discuss Atlas Comics from 1955 Knights through 1956, to 1957, when Atlas shrugged. Why was Atlas the rising comic book company star of 1956? What brought Jack Kirby, Steve Ditko and Joe Maneely to work there along with a good chunk of the EC Comics artists? Why were Knights so popular in 1955 and how did the comics code shape this genre? What factors around this year and the next set course to later create Marvel Comics? How did the flood at Charlton push Ditko to work at Atlas? Should we start paying each other in meat balls? Jack Kirby, Steve Ditko, Joe Maneely, Stan Lee, Wally Wood and more! EC Comics ©Gaines, Adventures of Superman ©Warner Bros, Astro Boy ©Tezuka, No Sense Remix - Standard License. Support us at https://www.patreon.com/comicbookhistoriansPodcast and Audio ©℗ 2019 Comic Book HistoriansSupport the show (https://www.patreon.com/comicbookhistorians)
NICHOLAS KNICKERLESS IN A NICKEL NECKLACE ON A RHINOSOROUSOUS The year is 2099. Blurbs have been outlawed by the totalitarian US government. Luckily we’re not in America so it’s fine. Welcome to another sodding episode of SILENCE! your heroes Gary Lactus and The Beast Must Die are here with their unique brand of jealousy inducing chat from their aspirational lives. After we celebrate The Beast Must Die’s Birthday they discuss anxiety dreams which look like they might be coming true. There’s some chat about the now dead Mark E Smith which segues into a moving song about music called Music Song. SILENCE! Because The Film’s Started this week actually has something to do with the nominal point of the podcast, comics as Beasty done watched The Image Revolution. The Reviewniverse revels in Doom Patrol, Days Of Hate, BatMan: Creature Of The Night, more Atlas Comics, LIFE Brigade, Frank Miller’s Tales To Offend, Tainted, Dissonance, Valerian and the City Of A Thousand Planets, Vinegar Teeth, Legion, The Further Adventures of Nick Wilson, Assassinistas and Tales Designed to Thrizzle That’ll do, surely.
Atlas Comics era la editora de historietas que luego se transformaría en Marvel Comics. Atlas era previamente Timely Comics. Su editor, Martin Goodman, utilizó el nombre de Atlas para su división de Comic-Books durante los años 50's. Pero... ¿porqué fue la época más difícil para los dibujantes de superhéroes?
Atlas Comics era la editora de historietas que luego se transformaría en Marvel Comics. Atlas era previamente Timely Comics. Su editor, Martin Goodman, utilizó el nombre de Atlas para su división de Comic-Books durante los años 50's. Pero... ¿porqué fue la época más difícil para los dibujantes de superhéroes? La entrada 56 – Marvel, la era Atlas Comics se publicó primero en Gcomics.
En el programa de hoy el señor Cabrera y el señor Parra repasaremos la historia de Atlas Comics y la silver age (edad de plata) de los cómics. Como cómic de la semana os traemos Marvels, que repasa la historia de los prodigios que habitan el universo Marvel abarcando la edad dorada y edad de plata de los comics desde el punto de vista de un reportero fotográfico. Os hablaremos también de sus creadores el guionista Kurt Busiek y el dibujante Alex Ross... Nuestras recomendaciones son: Kingdom Come, Tierra X y Astro City. En este programa han sonado: Portrayal y Josh Woodward.
En el programa de hoy el señor Cabrera y el señor Parra repasaremos la historia de Atlas Comics y la silver age (edad de plata) de los cómics. Como cómic de la semana os traemos Marvels, que repasa la historia de los prodigios que habitan el universo Marvel abarcando la edad dorada y edad de plata de los comics desde el punto de vista de un reportero fotográfico. Os hablaremos también de sus creadores el guionista Kurt Busiek y el dibujante Alex Ross... Nuestras recomendaciones son: Kingdom Come, Tierra X y Astro City. En este programa han sonado: Portrayal y Josh Woodward.
Starfire and Harley's Little Black Book by Amanda Conner, Jimmy Palmiotti, Emanuela Lupacchino, and John Timms, Drax #4 by CM Punk, Cullen Bunn, and Scott Hepburn, Robin: Son of Batman by Patrick Gleason, Mick Gray, and John Kalisz, Heavy Metal #278-279: Gene Kong by Pepe Moreno, Adult Swim, Headlopper #3 by Andrew Andrew MacLean from Image, Wacky Races, Psi-Force and Tex, Paul Ryan and D.P.7, Alex Saviuk, Crossgen, Chuck Dixon, Crisis on Infinite Earths, Chris Claremont, Saturday morning cartoons, Iron Jaw #1 by Gary Friedrich and Pablo Marcos from Atlas Comics, C2E2, Space Family Robinson, Haunted Love #1 from Craig Yoe and IDW, Rumble by John Arcudi and James Harren from Image, Guy Davis, OA, and a whole mess more!
We kick the week after our first movie review the right way: By reviewing the comic book that inspired it. Fantastic Four #1 represents the start to Marvel's long line of super heroes under the Marvel imprint. "Hey, technically, Marvel Comics existed since 1939, but they existed under a different imprint name of Atlas Comics. Fantastic Four represents the first..."SHUT UP, NERDS!Daniel Brown, Norm de Plume, Special Guest Matt Moseley, and Mrs. Special Guest Courtney Moseley join together to talk about the insanity of a 1960's comic book. If you've heard our previous podcasts about Superman's Girlfriend Lois Lane then you know what you're in for in this episode of Comics Talk Comics. gmail - comicstalkcomics@gmail.com reddit - comicstalkcomics Facebook - Comics Talk Comics Facebook Page
Season Zero Episode Three: Giant Monsters! This time we look at what type of comics Atlas/Marvel were creating at the end of the 50s and why the giant beasts and alien invaders of the Monster Age became a crucial component of the formation of the Marvel Universe. It's these types of fantasy and SF comics that brought together the Marvel architects: Stan Lee, Jack Kirby and Steve Ditko. 0:00:00 - “I say there are better things left unsolved!” 0:01:00 - monsters: the context 0:03:01 - monster movies of the 50s 0:04:28 - SF movies of the 50s 0:06:23 - Atlas Comics joins the monster craze 0:08:30 - monster names 0:09:42 - Strange Worlds (December 1958) 0:11:13 - Monstroso attacks! 0:13:06 - Strange Tales #70 (The Sphinx) 0:15:44 - Tales of Suspense #8 (Monstroso) 0:17:53 - Strange Tales #75 (Taboo) 0:20:29 - Tales of Suspense #15 (Goom) 0:24:11 - Strange Tales #83 (Groog) 0:27:18 - Amazing Adventures #1 (Torr) 0:30:57 - Strange Tales #89 (Fin Fang Foom) 0:35:53 - monster comics become super-hero comics 0:38:12 - thanks for listening "Something Happens" by NICOCO (www.jamendo.com) "Le Beau Blaireau" by NICOCO (www.jamendo.com) "Come Here (Piano)" by NICOCO (www.jamendo.com) Stan Lee talking about Fin Fang Foom from “Stan Lee’s Amazing Marvel Universe” Trailers for: It Came from Beneath the Sea, The Beast from 20,000 Fathoms Twitter: @MarvelUMpodcast Website: www.marvelunstablemolecules.com Email: marvelumpodcast@gmail.com
In this episode we don't look at any individual issues or stories. Instead we take a look at the events in Martin Goodman's company during the 1950s: the type of comics Atlas produced, the distribution crisis and "Atlas Implosion", the death of Joe Maneely and Steve Ditko and Jack Kirby's return to the company. 0:00:00 - Take a peek! 0:01:15 - Martin Goodman's comics 0:02:16 - 1949 Goodman closes the Timely Bullpen 0:03:03 - Sales of comics in the 1950s & Atlas Distribution 0:04:04 - The Comics Code and its effect 0:05:00 - Westerns 0:05:44 - Horror comics 0:06:03 - Romance and Teen Girl comics 0:06:13 - The Black Knight 0:06:34 - Yellow Claw 0:07:06 - 655 Madison Avenue 0:08:15 - Budget cuts! 0:09:05 - Distribution crisis 0:10:40 - 16 bi-monthly titles 0:12:13 - Death of Joe Maneely 0:13:07 - Lee hires Ditko and Kirby 0:13:50 - The "real start of Marvel"? 0:15:04 - Thanks for listening "Something Happens" by NICOCO (www.jamendo.com) "Le Beau Blaireau" by NICOCO (www.jamendo.com) "Come Here (Piano)" by NICOCO (www.jamendo.com) Twitter: @MarvelUMpodcast Website: www.marvelunstablemolecules.com Email: marvelumpodcast@gmail.com
In this episode we depart from our recent reminiscing of our comic book pasts to discuss the great comic book artist Joe Maneely! Joseph "Joe" Maneely was an American comic book artist best known for his work at Marvel Comics' 1950s predecessor, Atlas Comics, where he co-created the Marvel characters the Black Knight, the Ringo Kid, the Yellow Claw, and Jimmy Woo. Listen to Doug tell the story of discovering Maneely's original art discarded by Marvel. Original music by Adam Bernstein.
E você ACHAVA que o ARGCAST ia deixar passar esse assunto? Mesmo tendo sido em Fevereiro, o ArgCast homenageia o REI DOS COMICS, o IMORTAL JACK KIRBY! No dia 6 de Fevereiro de 1994, (a 20 anos atrás) morria um dos maiores nomes (se não o maior) dos quadrinhos de super-heróis! A trajetória de Jacob Kurtzberg, o jovem judeu que aprendeu a desenhar sozinho e usou as HQs para lutar contra a pobre infância. Aquele que entrou em brigas para ajudar o colega de estúdio Will Eisner. Aquele que criou, junto com Joe Simon, o Capitão América! Inventor dos gênero dos quadrinhos de guerra, de romance, co-criador da Marvel Comics (sim, ele CO-CRIOU, juntamente com o lendário Stan Lee). O artista que misturou mitologia, ficção científica e aventura com os Novos Deuses e os Celestiais. Com casa cheia, venha dizer "HAIL TO THE KING" com Daniel HDR, Rogério DeSouza, Rodjer Goulart, Luis Garavello (Quadrim), Rafael Eunuco (BdE), Victor Vaughan (O Santuário), Zweist (Superamiches) e Bruno Costa (Cinecast). Links relacionados: - Rose, Ben e o pequeno Jacob (Jack) Kurtzberg (Kirby) - em 1920; - Um Kirby moleque, de várzea, com sua modesta Gangue da Rua Yancy; - Kirby pinta de galã; - Kirby começa a namorar Rosalind "Roz" Goldstein nos anos 1940; - Joe Simon e Jack Kirby montam estúdio juntos; - A estréia de Captain America Comics, pela Timely Comics (Dezembro de 1940); - Kirby vai para a guerra. Foto de Kirby e Roz no dia que Kirby viajava para servir no front; - Kirby era um soldado de infantaria de combate, alé de soldade de reconhecimento do campo inimigo; - Kirby e Simon criam o Fighting American, (Março de 1954); - Kirby e Simon criam Young Romance: hqs de romance, gênero praticamente criado pela dupla; - Kirby vira editor - like a boss; - Kirby na ATLAS COMICS (antes desta virar MARVEL): HQs de ficção com monstros loucos como o Dragão de sunga FIN FANG FOOM; - Nasce Quarteto Fantástico; através do talento criativo de Kirby e Lee; - Logo em seguida, Thor e Hulk; - O Coisa: diálogo do autor e criação, com detalhes biográficos; - Surfista Prateado, criado por Kirby, aparece nas páginas de Fantastic Four #50; - Jack quando ainda trabalhava nas dependências da Marvel Comics, em Nova Iorque. Desenhar 5 revistas por mês, mais direção de arte de capas não te dá tempo para ser garoto propaganda da editora; - Kirby passa a trabalhar mais em casa. Mesmo quando mudou para a California, no inicio dos anos 1970, Kirby manteve até o fim de sua vida o modesto espaço de trabalho, com sua velha prancheta, cadeira e mesa auxiliar; - E mesmo desenhando o tempo todo, Kirby sempre esteve presente com sua família: veja fotos 1, 2, 3, 4, 5, 6 - Kirby vai para a DC COMICS, salvando a torpe revista de Jimmy Olsen! A ida de Kirby para a DC foi um evento! - O Guardião: o conceito original criado por Kirby para o ressurgimento do Capitão América, aqui apresentado na DC; - Algumas das alterações na arte de Kirby durante sua fase desenhando Superman: 1, 2, 3; - Kirby inicia o QUARTO MUNDO, seu projeto autoral, com controle absoluto no roteiro e arte; - Os Novos Deuses, Forever People e Sr. Milagre: 3 ttulos feitos ao mesmo tempo; - Darkseid a lá ´Seu Madruga´: "Chavinho, vem cá!"; - Big Barda tomando um belo banho; - Funky Flashman - qualquer semelhança com Mr. Lee não é mera coincidência; - Corredor Negro: a morte anda de esquí no Quarto Mundo; - Demon; - Omac; - Kamandi; - Kirby volta para Marvel Comics, com desenho e roteiro na revista do Capitão América; - Kirby cria OS ETERNOS, para muitos a continuação do seu Quarto Mundo; - Mark Evanier, co criador de GROO - O Errante, na epoca em que foi auxiliar de estúdio de Kirby; - Mark Evanier e Kirby, ja nos anos 1990 - amizade e respeito etterno! Evanier é uma das maiores autoridades sobre a obra de Jack Kirby no mundo; - Kirby como artista conceitual de animação, aqui na serie THUNDARR, o BÁRBARO; - Quadrinhos e artes de licenciamento da série de brinquedos SUPERPOWERS;
Journey into Mystery is an American comic book series initially published by Atlas Comics, then by its successor, Marvel Comics. Initially a horror comics anthology, it changed to giant-monster and science fiction stories in the late 1950s. Beginning with issue #83 (cover dated Aug. 1962), it ran the superhero feature "The Mighty Thor", created by writers Stan Lee and Larry Lieber and artist Jack Kirby, and inspired by the mythological Norse thunder god. The series, which was renamed for its superhero star with issue #126 (March 1966), has been revived three times: in the 1970s as a horror anthology, and in the 1990s and 2010s with characters from Marvel's Thor mythos. The title was also used in 2019 for a limited series as part of the "War of the Realms" storyline.
Neste episódio, Fabiano "Prof. Nerd" Silveira, Daniel HDR, Rogério DeSouza e Rafael "Algures" Rodrigues (MDM & Uarevaaa) comentam sobre os 90 anos safados que o mítico STAN "THE MAN" LEE completa neste mês de Dezembro! Um retrospecto de seu histórico profissional, como jovem editor na Timely Comics, seus tempos de roteirista na Atlas Comics, passando a elaborar o que todos conheceriam como Marvel Comics. Porém, a Marvel não surgira sozinha: este episódio mais do que nunca procura não esquecer quem ajudou à construir o Universo Marvel: conheça mais sobre as parcerias de Stan Lee com JACK KIRBY, STEVE DITKO, JOHN BUSCEMA, JOHN ROMITA Sr., DON HECK e tantos outros que foram co-criadores dos celebrados personagens que os leigos teimam em creditar somente à Mr. Lieber. Links Relacionados: O pequenino Stanley Martin Lieber; Stan Lee em serviço militar, e já como jovem editor na Timely Comics, nos anos 1940; A dupla Joe Simon e Jack Kirby desenvolvendo Captain America; Fighting America, criado por Simon e Kirby ao sairem da Timely; Destroyer, primeiro personagem de Lee nos comics; Lee, nos anos 1950; Lee e Kirby em Happy Hour (provavelmente da Atlas Comics) nos anos 1950; Strange Tales, uma das revistas Terror/Ficção da Atlas (ex-Timely) anos 1950; Lee cria a linha editorial da Marvel Comics; O Surfista Prateado nos traços de Jack Kirby e John Buscema; John Buscema e Stan Lee na vídeoaula "HOW TO DRAW COMICS IN MARVEL WAY"; O verdadeiro Peter Parker, Steve Ditko (no colegial, em 1944); Versão inicial de Jack Kirby para Spider-Man; Flo Steinberg, secretaria de Lee, paixão secreta de Steve Ditko; Betty Brant, secretaria de J.J.Jameson em Spider-Man, igual a Flo; Desabafo gráfico feito por Ditko sobre o não credito na criação de Spider-Man; "In Search Of Steve Ditko": ótimo documentário sobre o recluso co-criador do Aranha; Stan Lee e John Romita Sr. trabalhando nos anos 1960 e nos dias de hoje; Stan Lee vira o "garoto propaganda" da Marvel; Dá-lhe pílula azul: Stan Lee e Adrianne Curry de Slave Leia; ArgCast #71 - A Era de Ouro; Este episódio é a Parte 1 de um crossover especial com os praças do website Melhores Do Mundo, e parte de um grande PodCast Mob idealizado pelo Quadrim, onde os amigos do EnxutoCast , ComicPod , Inominata 616, Podcast MDM , Mutação em Debate , Ovos Zumbis , Paranerdia , Pipoca & Nanquim , Quadrimcast , Transmissão Fantasma , Uarevaa também farão podcasts sobre co-criações e trabalhos desta Lenda Viva dos comics! E NÃO PERCA O RASTRO DO ARGCAST na INTERNET! SIGA-NOS no TWITTER: @cursodehq ou @Argcast CURTA NOSSA PÁGINA no FACEBOOK Baixe AQUI o Episódio 106, ou escute no nosso player abaixo!
Reviews: Kodiak One-Shot, 25 to Life #1, X-23 #1, Justice Society of America Special One-Shot The boys are joined by Todd Stashwick to discuss his webcomic, Devil Insider, and his numerous TV/film appearances on Heroes, Buffy the Vampire Slayer, Angel and others! News includes: the big DC move, Mark Millar's movie, All-Star Superman animated, King Con, Matt Fraction wins a PEN, Atlas Comics returns, Rock Comic-Con and more! A special guest (Michael Emerson) sneaks in at the end of the show to chat as well.
News. Latest purchases. Review of The Scorpion #1 and Atlas Comics. Review of Son of Ambush Bug #3. Gooba Mooba Kabooby Poo! (23:49) All cover images are copyright their respective copyright holders. Link:http://www.atlasarchives.com/
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