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3 episodes with terror inc
3 episodes with terror inc
2 episodes with terror inc
L'émission Front Page est une revue d'actualité qui s'intéresse à tout ce qui touche le monde de la bande dessinée américaine (comics) du côté des Etats-Unis comme de la France, ainsi qu'à ses adaptations tous médias confondus. Le podcast est une série régulière chez First Print et revient au rythme de trois épisodes par mois, hors contenus spéciaux. Ce Front Page est le troisième et dernier podcast consacré à l'actualité comics du mois de février 2025.Le podcast est sponsorisé par Pulps et on vous propose un "Focus Pulps" chaque mois ! Découvrez une sélection de comics VO à prix de lancement !Le Focus Pulp's de mars 2025 : liens à venir !Si vous appréciez le travail fourni par l'équipe et que vous souhaitez soutenir le podcast, vous pouvez partager les émissions sur les réseaux sociaux et vous abonner à nos différents comptes, laisser des notes sur les différentes plateformes d'écoute, ou encore nous soutenir via notre page Tipeee. Très bonne écoute à vous, et à bientôt pour le prochain podcast !Le ProgrammeCOMICS - 04:20A soutenir : X-O Manowar : Invaincu chez Bliss et Hokus Pokus (KIDS) pour Komics InitiativeUrban Comics dévoile les détails de la collection DC PaperbackBatman Hush 2 arrive en mensuelL'édition Red Band arrivera finalement chez Panini ComicsAct4 Publishing (Scott Dunbier) débarque chez Skybound aux USBlood Type : tiens donc, revoilà Sorrentino !Bad Idea annonce plein d'équipes créatives pour 2025Free Planet : un titre de SF ambitieux (et sérieux) par Aubrey SittersonJames Tynion IV et Michael Walsh joue au jeu d'un cadavre exquis en comicsCaptain America s'offre un relaunch par Chip Zdarsky et Valerio SchitiMiles Morales retourne à l'univers Ultimate avec USM : IncursionEt Death of the Silver Surfer, ça a l'air bien aussi, non ?DC met le plein sur la Super-Family avec Supergirl et KryptoBatman repart au #1 avec Matt Fraction et Jorge JimenezZE FUCK : un nouveau crossover Marvel/DC sera publié en 2025TV - 2:13:55Trois nouvelles séries animées “jeunesse” annoncées chez DC StudiosA l'inverse, Marvel Studios met en pause Nova, Strange Academy et Terror Inc (?)Un épisode spécial Punisher avec et par Jon Bernthal sur Disney+Jared Padalecki et Misha Collins intègrent The Boys saison 5Extraction se décline en série TV avec Omar SyCINEMA - 2:42:55James Watkins réalisera le film ClayfaceUn gros point sur l'avenir de DC Studios au cinémaSoutenez First Print - Podcast Comics de Référence sur TipeeeHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.
Marvel Studios NOVA canceled? Agatha All Along Season 2 happening? Daredevil a forever show? Let's break down everything that's been going on at Marvel Television, from a second season of Agatha and Hawkeye, to the suspension of shows like Nova, Strange Academy, and Terror Inc. This is a weekly check in at New Rockstars called Marvel Sneak Peek, where we break down the latest news from the world of Marvel Studios. Learn more about your ad choices. Visit podcastchoices.com/adchoices
Marvel Pauses Development Of "Nova", "Strange Academy" & "Terror, Inc" Disney+ Shows https://whatsondisneyplus.com/marvel-pauses-development-of-nova-strange-academy-terror-inc-disney-shows/ #DisneyPlus VISIT ONLINE - http://www.WhatsOnDisneyPlus.com If you enjoy our content, please consider supporting it via our Patreon or as a YouTube Channel Membership from as little as $2 a month and get access to exclusive content and much more.
Marvel Pauses Development Of "Nova", "Strange Academy" & "Terror, Inc" Disney+ Shows https://whatsondisneyplus.com/marvel-pauses-development-of-nova-strange-academy-terror-inc-disney-shows/ #DisneyPlus VISIT ONLINE - http://www.WhatsOnDisneyPlus.com If you enjoy our content, please consider supporting it via our Patreon or as a YouTube Channel Membership from as little as $2 a month and get access to exclusive content and much more.
Marvel Pauses Development Of "Nova", "Strange Academy" & "Terror, Inc" Disney+ Shows https://whatsondisneyplus.com/marvel-pauses-development-of-nova-strange-academy-terror-inc-disney-shows/ #DisneyPlus VISIT ONLINE - http://www.WhatsOnDisneyPlus.com If you enjoy our content, please consider supporting it via our Patreon or as a YouTube Channel Membership from as little as $2 a month and get access to exclusive content and much more.
Chichester Chats Ep #39: For Love Nor Money Welcome back to the Chichester Chats! This time Phil chats with D.G. Chichester, Marcus McLaurin and Gregory Wright about their story “For Love Nor Money” from Terror Inc. #11 & #12, Cage #15 & #16, and Silver Sable & The Wild Pack #13 & #14 (May-July 1993) featuring the mercenaries vs a very “adult themed” demon. Tune in today and don't forget to review the show on Apple Podcasts, Spotify, YouTube, and anywhere else you can! Chichester Chats Links → Bluesky https://bsky.app/profile/capesnetwork.bsky.social → Twitter https://www.twitter.com/ChichesterChats → Instagram https://www.instagram.com/capeslunatics/ → Facebook https://www.facebook.com/ChichesterChats → YouTube https://www.youtube.com/c/CapesandLunatics ==================
Chichester Chats Ep #32: Terror INC #6 & #7 Welcome back to the Chichester Chats! In each episode Phil and Lilith chat with writer D.G. Chichester about one of his comic book creations. This time the group discusses Terror INC #6 & #7 (December 1992 & January 1993) featuring Terror vs the mob and the Punisher, Chichester's old stomping grounds, and an appearance of a character based on someone near and dear to Dan's heart. Tune in today and don't forget to review the show on Apple Podcasts, Spotify, YouTube, and anywhere else you can! Chichester Chats Links → Twitter https://www.twitter.com/ChichesterChats → Instagram https://www.instagram.com/capeslunatics/ → Facebook https://www.facebook.com/ChichesterChats → YouTube https://www.youtube.com/c/CapesandLunatics ==================
Hill Kaka, where militants had dug in during early 2003, became the de facto headquarters of Terror Inc. Then the Army launched its biggest pincer movement called Op Sarp Vinash.
Merry Christmas and welcome to this year's Christmas special. We decided to take a trip back in time, riffing off our recent Death and Return of Superman episodes and put together a list of Christmas comics that cover the first half of the 90s. We offer you a snapshot of the particular kind of Christmas cheer that would have been available on the stands at the time! In this episode, Greg and Leon discuss the following comics: What The-?! #10 (https://marvel.fandom.com/wiki/What_The--%3F!_Vol_1_10) The Lobo Paramilitary Christmas Special (https://dc.fandom.com/wiki/Lobo_Paramilitary_Christmas_Special_Vol_1_1) Terror Inc #8 (https://marvel.fandom.com/wiki/Terror_Inc._Vol_1_8) 1993 Marvel Holiday Special (https://marvel.fandom.com/wiki/Marvel_Holiday_Special_Vol_1_1993) Extreme Super Christmas Special (https://imagecomics.fandom.com/wiki/Extreme_Super_Christmas_Special_Vol_1_1) Spawn #39 (https://imagecomics.fandom.com/wiki/Spawn_Vol_1_39) Batman: Legends of the Dark Knight (Vol 1) #79 (https://dc.fandom.com/wiki/Batman:_Legends_of_the_Dark_Knight_Vol_1_79) 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! This winter will be tough for a lot of people in the UK because of the consistent cruelty and wilful failure of the Conservative goverment. If you would have considered donating to our Ko-fi then we would ask that instead, please consider giving to one of the following charities: -The Trussell Trust (https://www.trusselltrust.org/appeal-google-search/) -Crisis (https://www.crisis.org.uk/get-involved/donate-to-crisis-at-christmas/?gclid=Cj0KCQiAtICdBhCLARIsALUBFcGt5TN1TFyidRG9hyaxj0vm65pRwC5WW6ddVV0eAS5lBWeEWvym5Z4aArrKEALw_wcB) -Shelter (https://england.shelter.org.uk/donate?reserved_appeal_code=20220401-IG-29&gclid=Cj0KCQiAtICdBhCLARIsALUBFcH9NXqVRXUdiM2YpnfsRdx31EdUnr-FxWwj_RcMfnK70Jf6XkTodkQaAgGNEALw_wcB&gclsrc=aw.ds) -Refugee Action (https://www.refugee-action.org.uk/) -The British Red Cross (https://donate.redcross.org.uk/appeal/general-fund-appeal) Ace Comicals, over and out!#
0:00 SEG 1 Dean Devlin (https://twitter.com/Dean_Devlin) talks about season 2 of the FreeVee original series ‘Leverage' https://www.electricentertainment.com/ 11:10 SEG 2 Daredevil and Terror Inc. writer D.G. Chichester (https://twitter.com/dgchichester) breaks down ‘Andor' season 1. Check out D.G.'s substack at https://storymaze.substack.com/ 29:48 SEG 3 D.G. Chichester gives more thoughts about Andor 40:43 SEG 4 Star Wars actor Rory Ross (https://twitter.com/TheRoryRoss) joins James and D.G. Chichester to talk about Andor. Thanks to our sponsors Marcus Theatres (https://www.marcustheatres.com/), Historic St. Charles, Missouri (https://www.discoverstcharles.com/), and Bug's Comics and Games (https://bugscomicsandgames.com/) Amazon Affiliate Link - http://bit.ly/geektome Buy Me a Coffee - https://www.buymeacoffee.com/3Y0D2iaZl Patreon - https://www.patreon.com/GeekToMeRadio Website - http://geektomeradio.com/ Podcast - https://anchor.fm/jamesenstall Facebook - https://www.facebook.com/GeekToMeRadio/ Twitter - https://twitter.com/geektomeradio Instagram - https://www.instagram.com/geektomeradio/ Producer - Joseph Vosevich https://twitter.com/Joey_Vee --- Support this podcast: https://anchor.fm/jamesenstall/support
Say you're studying filmmaking. And then you bankrupt yourself on one of your student films. Where do you go for a job to make ends meet? Well, if you're D.G. Chichester, the answer is the office of Marvel's EIC, Jim Shooter! From those humble beginnings as the assistant to the assistant of Marvel's head honcho, D.G. went on to serve as editor of the creator-owned imprint Epic Comics. And if that wasn't enough, he started writing comics too, including runs on Nick Fury: Agent of SHIELD and Nightstalkers. D.G. is perhaps best known for a long stint on Daredevil, where he concocted fan-favorite storylines like "Fall of the Kingpin" and "Fall from Grace". We also get into his horror roots and fandom as illustrated by his work on Terror Inc. and Clive Barker's Hellraiser. So saddle up, Banditos, because this interview is a hell('s kitchen) of a good time!You can follow D.G. on Twitter @dgchichester and subscribe top his newsletter: storymaze.substack.com. ______________________Check out a video version of this episode on our YouTube channel: youtube.com/dollarbinbandits.If you liked this podcast, please rate, review, and subscribe on Apple Podcasts. And tell your friends!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 Twitter.
Chichester Chats Ep #3: Terror Inc. #1-#5 Welcome back to the Chichester Chats! In each episode Phil and Lilith chat with writer D.G. Chichester about one of his comic book creations. This time the group discuss Terror Inc. #1-#5 from 1992 featuring an original Chichester character. Chichester Chats Ep #3: Terror Inc. #1-#5 Find all of our Social Media here: https://linktr.ee/capesandlunatics Follow Phil Perich on Twitter: https://twitter.com/NIghtwingpdp Follow Lilith Hellfire on Twitter: https://twitter.com/LilithHellfire Follow D.G. Chichester on Twitter: https://twitter.com/dgchichester Subscribe to D.G. Chichester's newsletter here: storymaze.substack.com Produced by: Capes and Lunatics Production Team: Phil Perich Support the Capes and Lunatics Podcast on Patreon www.patreon.com/capesandlunatics
Fecha de Grabación: Lunes 7 de febrero de 2022.Algunos temas comentados:Stephen Wacker deja Marvel para ser editor en jefe de 3W/3M, los cómics vía Substack coordinados por Jonathan Hickman. Comentamos la creciente dificultad para ordenar cómics desde USA sin volver prohibitivo el envío. Repasamos las adaptaciones de Darwyn Cooke a las novelas de Parker, de Richard Stark. Reflexionamos sobre cómo Kingpin pasó de villano de Spider-Man a némesis de Daredevil. Hablamos un poco de Asterios Polyp, de David Mazzucchelli, y Nowhere Men, de Eric Stephenson, Nate Bellegarde, Dave Taylor y Jordie Bellaire, títulos comentados hace años. También hablamos de Dial H (Miéville), Grendel (Matt Wagner), Brainiac (DC), Terror Inc. (Marvel) y Mr. Terrific (DC), además de Verotik, editorial de cómics propiedad del cantante de rock Danzig. ¡...y mucho más!Comentario de TV:Estamos Muertos (지금 우리 학교는), serie surcoreana de zombis, escrita por Chun Sung-il y dirigida por Lee Jae-kyoo y Kim Nam-su, basada en el webtoon Now at Our School, de Joo Dong-geun, que sigue las aventuras de un grupo de adolescentes tras el estallido de una infección zombi en su preparatoria. (JTBC Studios/Netflix)Comentario de Cómics:Juan Buscamares, cómic escrito y dibujado por Félix Vega, con color de Oskar y Félix Vega. (Planeta Comics)Chicken Devil, cómic escrito por Brian Buccellato, con arte y color de Hayden Sherman y rótulos de Hassan Otsmane-Elhaou. (Aftershock Comics)Pueden escuchar el Podcast en este reproductor:Descarga Directa MP3 (Usar botón derecho del mouse y opción "guardar enlace como"). Peso: 79.8 MB; Calidad: 128 Kbps.El episodio tiene una duración de 1:26:39.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 Alberto. ¡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
Happy Halloween! We're joined by comics scribe Daniel "D.G." Chichester to talk about the history of horror comics, Marvel's return to the genre in the early 1990s, and the macabre anti-hero Terror (whom Chichester co-created). ----more---- Issue 18 Transcript Mike: [00:00:00] It's small, but feisty, Mike: Welcome to Tencent Takes, the podcast where we dig up comic book characters' graves and misappropriate the bodies, one issue at a time. My name is Mike Thompson, and I am joined by my cohost, the Titan of terror herself, Jessika Frazer. Jessika: It is I. Mike: Today, we are extremely fortunate to have comics writer, Daniel, DG Chichester. Dan: Nice to see you both. Mike: Thank you so much for taking the time. You're actually our first official guest on the podcast. Dan: Wow. Okay. I'm going to take that as a good thing. That's great. Mike: Yeah. Well, if you're new to the show, the purpose of our [00:01:00] podcast as always is to look at the weirdest, silliest, coolest moments of comic books, and talk about them in ways that are fun and informative. In this case, we looking at also the spookiest moments, and how they're woven into the larger fabric of pop culture and history. Today, we're going to be talking about horror comics. We're looking at their overall history as well as their resurrection at Marvel in the early 1990s, and how it helped give birth to one of my favorite comic characters, an undead anti-hero who went by the name of Terror. Dan, before we started going down this road, could you tell us a little bit about your history in the comic book industry, and also where people can find you if they want to learn more about you and your work? Dan: Absolutely. At this point, people may not even know I had a history in comic books, but that's not true. Uh, I began at Marvel as an assistant in the mid-eighties while I was still going to film school and, semi quickly kind of graduated up, to a more official, [00:02:00] assistant editor position. Worked my way up through editorial, and then, segued into freelance writing primarily for, but also for DC and Dark Horse and worked on a lot of, semi-permanent titles, Daredevil's probably the best known of them. But I think I was right in the thick of a lot of what you're going to be talking about today in terms of horror comics, especially at Marvel, where I was fiercely interested in kind of getting that going. And I think pushed for certain things, and certainly pushed to be involved in those such as the Hellraiser and Nightbreed Clive Barker projects and Night Stalkers and, uh, and Terror Incorporated, which we're going to talk about. And wherever else I could get some spooky stuff going. And I continued on in that, heavily until about 96 / 97, when the big crash kind of happened, continued on through about 99 and then have not really been that actively involved since then. But folks can find out what I'm doing now, if they go to story maze.substack.com, where I have a weekly newsletter, which features [00:03:00] new fiction and some things that I think are pretty cool that are going on in storytelling, and also a bit of a retrospective of looking back at a lot of the work that I did. Mike: Awesome. Before we actually get started talking about horror comics, normally we talk about one cool thing that we have read or watched recently, but because this episode is going to be dropping right before Halloween, what is your favorite Halloween movie or comic book? Dan: I mean, movies are just terrific. And there's so many when I saw that question, especially in terms of horror and a lot of things immediately jumped to mind. The movie It Follows, the recent It movie, The Mist, Reanimator, are all big favorites. I like horror movies that really kind of get under your skin and horrify you, not just rack up a body count. But what I finally settled on as a favorite is probably John Carpenter's the Thing, which I just think is one of the gruesomest what is going to happen next? What the fuck is going to happen next?[00:04:00] And just utter dread. I mean, there's just so many things that combined for me on that one. And I think in terms of comics, I've recently become just a huge fan of, and I'm probably going to slaughter the name, but Junji Ito's work, the Japanese manga artist. And, Uzumaki, which is this manga, which is about just the bizarreness of this town, overwhelmed with spirals of all things. And if you have not read that, it is, it is the trippiest most unsettling thing I've read in, in a great long time. So happy Halloween with that one. Mike: So that would be mango, right? Dan: Yeah. Yeah. So you'd make sure you read it in the right order, or otherwise it's very confusing, so. Mike: Yeah, we actually, haven't talked a lot about manga on this. We probably should do a deep dive on it at some point. But, Jessika, how about you? Jessika: Well, I'm going to bring it down a little bit more silly because I've always been a fan of horror and the macabre and supernatural. So always grew up seeking creepy media as [00:05:00] a rule, but I also loves me some silliness. So the last three or so years, I've had a tradition of watching Hocus Pocus with my friend, Rob around Halloween time. And it's silly and it's not very heavy on the actual horror aspect, but it's fun. And it holds up surprisingly well. Mike: Yeah, we have all the Funkos of the Sanderson sisters in our house. Jessika: It's amazing watching it in HD, their costumes are so intricate and that really doesn't come across on, you know, old VHS or watching it on television back in the day. And it's just, it's so fun. How much, just time and effort it looks like they put into it, even though some of those details really weren't going to translate. Dan: How very cool. Mike: Yeah. Jessika: Yeah. So, but I also really like actual horror, so I'm also in the next couple of days is going to be a visiting the 1963 Haunting of Hill House because that's one of my favorites. Yeah. It's so good. And used to own the book that the movie was based on also. And seen all the [00:06:00] iterations and it's the same storyline the recent Haunting of Hill house is based on, which is great. That plot line has been reworked so many times, but it's such a great story, I'm just not shocked in the least that it would run through so many iterations and still be accepted by the public in each of its forms. Mike: Yeah. I really liked that Netflix interpretation of it, it was really good. Dan: They really creeped everything out. Mike: Yeah. There's a YouTuber called Lady Night, The Brave, and she does a really great summary breakdown explaining a lot of the themes and it's like almost two hours I think, of YouTube video, but she does these really lovely retrospectives. So, highly recommend you check that out. If you want to just think about that the Haunting of Hill House more. Jessika: Oh, I do. Yes. Mike: I'm going to split the difference between you two. When I was growing up, I was this very timid kid and the idea of horror just creeped me out. And so I avoided it like the plague. And then when I was in high [00:07:00] school, I had some friends show me some movies and I was like, these are great, why was I afraid of this stuff? And so I kind of dove all the way in. But my preferred genre is horror comedy. That is the one that you can always get me in on. And, I really love this movie from the mid-nineties called the Frighteners, which is a horror comedy starring Michael J. Fox, and it's directed by Peter Jackson. And it was written by Peter Jackson and his partner, Fran Walsh. And it was a few years before they, you know, went on to make a couple of movies based on this little known franchise called Lord of the Rings. But it's really wild. It's weird, and it's funny, and it has some genuine jump scare moments. And there's this really great ghost story at the core of it. And the special effects at the time were considered amazing and groundbreaking, but now they're kind of, you look at, and you're like, oh, that's, high-end CG, high-end in the mid-nineties. Okay. But [00:08:00] yeah, like I said, or comedies are my absolute favorite things to watch. That's why Cabin in the Woods always shows up in our horror rotation as well. Same with Tucker and Dale vs Evil. That's my bread and butter. With comic books, I go a little bit creepier. I think I talked about the Nice House on the Lake, that's the current series that I'm reading from DC that's genuinely creepy and really thoughtful and fun. And it's by James Tynion who also wrote Something That's Killing the Children. So those are excellent things to read if you're in the mood for a good horror comic. Dan: Great choice on the Frighteners. That's I think an unsung classic, that I'm going to think probably came out 10 years too early. Mike: Yeah. Dan: It's such a mashup of different, weird vibes, that it would probably do really, really well today. But at that point in time, it was just, what is this? You know? Cause it's, it's just cause the horrifying thing in it are really horrifying. And, uh, Gary Busey's son, right, plays the evil ghost and he is just trippy, off the wall, you know, horrifying. [00:09:00] Mike: Yeah. And it starts so silly, and then it kind of just continues to go creepier and creepier, and by the time that they do some of the twists revealing his, you know, his agent in the real world, it's a genuine twist. Like, I was really surprised the first time I saw it and I - Dan: Yeah. Mike: was so creeped out, but yeah. Dan: Plus it's got R. Lee Ermey as the army ghost, which is just incredible. So, Mike: Yeah. And, Chi McBride is in it, and, Jeffrey Combs. Dan: Oh, oh that's right, right. right. Mike: Yeah. So yeah, it's a lot of fun. Mike: All right. So, I suppose we should saunter into the graveyard, as it were, and start talking about the history of horror comics. So, Dan, obviously I know that you're familiar with horror comics, Dan: A little bit. Mike: Yeah. What about you, Jess? You familiar with horror comics other than what we've talked about in the show? Jessika: I started getting into it once you and I started, you know, talking more on the [00:10:00] show. And so I grabbed a few things. I haven't looked through all of them yet, but I picked up some older ones. I did just recently pick up, it'll be more of a, kind of a funny horror one, but they did a recent Elvira and Vincent Price. So, yeah, so I picked that up, but issue one of that. So it's sitting on my counter ready for me to read right now. Mike: Well, and that's funny, cause Elvira actually has a really long, storied history in comic books. Like she first appeared in kind of like the revival of House of Mystery that DC did. And then she had an eighties series that had over a hundred issues that had a bunch of now major names involved. And she's continued to have series like, you can go to our website and get autographed copies of her recent series from, I think Dynamite. Jessika: That's cool. Mike: Yeah. Jessika: Nice. Mike: Speaking of horror comedy Elvira is great. Jessika: Yes. Mike: I recently showed Sarah the Elvira Mistress of the Dark movie and she was, I think really sad that I hadn't showed it to her sooner. Jessika: [00:11:00] That's another one I need to go watch this week. Wow. Don't- nobody call me. I'm just watching movies all week. Dan: Exactly. Mike: It's on a bunch of different streaming services, I think right now. Well it turns out that horror comics, have pretty much been a part of the industry since it really became a proven medium. You know, it wasn't long after comics became a legit medium in their own, right that horror elements started showing up in superhero books, which like, I mean, it isn't too surprising. Like the 1930's was when we got the Universal classic movie monsters, so it makes a lot of sense that those kinds of characters would start crossing over into comic books, just to take advantage of that popularity. Jerry Siegel and Joel Schuster, the guys who created Superman, actually created the supernatural investigator called Dr. Occult in New Fun Comics three years before they brought Superman to life. And Dr. Occult still shows up in DC books. Like, he was a major character in the Books of Magic with Neil Gaiman. I think he may show up in Sandman later on. I can't remember. Jessika: Oh, okay. Dan: I wouldn't be surprised. Neil would find ways to mine that. [00:12:00] Mike: Yeah. I mean, that was a lot of what the Sandman was about, was taking advantage of kind of long forgotten characters that DC had had and weaving them into his narratives. And, if you're interested in that, we talk about that in our book club episodes, which we're currently going through every other episode. So the next episode after this is going to be the third episode of our book club, where we cover volumes five and six. So, horror comics though really started to pick up in the 1940s. There's multiple comic historians who say that the first ongoing horror series was Prized Comics, New Adventures of Frankenstein, which featured this updated take on the original story by Mary Shelley. It took place in America. The monster was named Frankenstein. He was immediately a terror. It's not great, but it's acknowledged as being really kind of the first ongoing horror story. And it's really not even that much of a horror story other than it featured Frankenstein's monster. But after that, a number of publishers started to put out adaptations of classic horror stories for awhile. So you had [00:13:00] Avon Publications making it official in 1946 with the comic Erie, which is based on the first real dedicated horror comic. Yeah. This is the original cover to Erie Comics. Number one, if you could paint us a word picture. Dan: Wow. This is high end stuff as it's coming through. Well it looks a lot like a Zine or something, you know it's got a very, Mac paint logo from 1990, you know, it's, it's your, your typical sort of like, ooh, I'm shaky kind of logo. That's Eerie Comics. There's a Nosferatu looking character. Who's coming down some stairs with the pale moon behind him. It, he's got a knife in his hand, so, you know, he's up to no good. And there is a femme fatale at the base of the stairs. She may have moved off of some train tracks to get here. And, uh, she's got a, uh, a low, cut dress, a lot of leg and the arms and the wrists are bound, but all this for only 10. cents. So, I think there's a, there's a bargain there.[00:14:00] Mike: That is an excellent description. Thank you. So, what's funny is that Erie at the time was the first, you know, official horror comic, really, but it only had one issue that came out and then it sort of vanished from sight. It came back with a new series that started with a new number one in the 1950s, but this was the proverbial, the shot that started the war. You know, we started seeing a ton of anthology series focusing on horror, like Adventures into the Unknown, which ran into the 1960s and then Amazing Mysteries and Marvel Tales were repurposed series for Marvel that they basically changed the name of existing series into these. And they started doing kind of macabre, weird stories. And then, we hit the 1950s. And the early part of the 1950s was when horror comics really seemed to take off and experienced this insane success. We've talked about how in the post-WWII America, superhero comics were kind of declining in [00:15:00] popularity. By the mid 1950s, only three heroes actually had their own books and that was Superman, Batman, and Wonder Woman. Which, I didn't realize that until I was doing research. I didn't, I just assumed that there were other superhero comics at the time. But we started seeing comics about horror and crime and romance really starting to get larger shares of the market. And then EC Comics was one of those doing gangbuster business during this whole era. Like, this was when we saw those iconic series, the Haunt of Fear, the Vault of Horror, the Crypt of Terror, which was eventually rebranded to Tales from the Crypt. Those all launched and they found major success. And then the bigger publishers were also getting in on this boom. During the first half of the 1950s Atlas, which eventually became Marvel, released almost 400 issues across 18 horror titles. And then American Comics Group released almost 125 issues between five different horror titles. Ace comics did almost a hundred issues between five titles. I'm curious. I'm gonna ask both of you, what [00:16:00] do you think the market share of horror comics was at the time? Dan: In terms of comics or in terms of just like newsstand, magazine, distribution. Mike: I'm going to say in terms of distribution. Dan: I mean, I know they were phenomenally successful. I would, be surprised if it was over 60%. Mike: Okay. How about. Jessika: Oh, goodness. Let's throw a number out. I'm going to say 65 just because I want to get close enough, but maybe bump it up just a little bit. This is a contest now. Dan: The precision now, like the 65. Jessika: Yes. Mike: Okay. Well, obviously we don't have like a hard definite number, but there was a 2009 article from reason magazine saying that horror books made up a quarter of all comics by 1953. So, so you guys were overestimating it, but it was still pretty substantial. At the same time, we were also seeing a surge in horror films. Like, the 1950s are known as the atomic age and media reflected [00:17:00] societal anxiety, at the possibility of nuclear war and to a lesser extent, white anxiety about societal changes. So this was the decade that gave us Invasion of the Body Snatchers The Thing from Another World, which led to John Carpenter's The Thing eventually. Um, and the Creature from the Black Lagoon. Hammer horror films also started to get really huge during this time. So we saw the beginning of stuff like Christopher Lee's, Dracula series of films. So the fifties were like a really good decade for horror, I feel. But at the same time, violent crime in America started to pick up around this period. And people really started focusing on juvenile criminals and what was driving them. So, there were a lot of theories about why this was going on and no one's ever really come up with a definite answer, but there was the psychiatrist named Frederick Wortham who Dan, I yeah. Dan: Oh yeah, psychiatrist in big air quotes, yeah. Mike: In quotes. Yeah. [00:18:00] Yeah. And he was convinced that the rise in crime was due to comics, and he spent years writing and speaking against them. He almost turned it into a cottage industry for himself. And this culminated in 1954, when he published a book called Seduction of the Innocent, that blamed comic books for the rise in juvenile delinquency, and his arguments are laughable. Like, I mean, there's just no way around it. Like you read this stuff and you can't help, but roll your eyes and chuckle. But, at the time comics were a relatively new medium, you know, and people really only associated them with kids. And his arguments were saying, oh, well, Wonder Woman was a lesbian because of her strength and independence, which these days, I feel like that actually has a little bit of credibility, but, like, I don't know. But I don't really feel like that's contributing to the delinquency of the youth. You know, and then he also said that Batman and Robin were in a homosexual relationship. And then my favorite was that Superman comics were [00:19:00] un-American and fascist. Dan: Well. Mike: All right. Dan: There's people who would argue that today. Mike: I mean, but yeah, and then he actually, he got attention because there were televised hearings with the Senate subcommittee on juvenile delinquency. I mean, honestly, every time I think about Seduction of the Innocent and how it led to the Comics Code Authority. I see the parallels with Tipper Gore's Parent Music Resource Center, and how they got the Parental Advisory sticker on certain music albums, or Joe Lieberman's hearings on video games in the 1990's and how that led to the Electronic Systems Reading Board system, you know, where you provide almost like movie ratings to video games. And Wortham also reminds me a lot of this guy named Jack Thompson, who was a lawyer in the nineties and aughts. And he was hell bent on proving a link between violent video games and school shootings. And he got a lot of media attention at the time until he was finally disbarred for his antics. But there was this [00:20:00] definite period where people were trying to link video games and violence. And, even though the statistics didn't back that up. And, I mean, I think about this a lot because I used to work in video games. I spent almost a decade working in the industry, but you know, it's that parallel of anytime there is a new form of media that is aimed at kids, it feels like there is a moral panic. Dan: Well, I think it goes back to what you were saying before about, you know, even as, as things change in society, you know, when people in society get at-risk, you know, you went to Invasion of the Body Snatchers, Right. Which is classically thought to be a response to communism, you know, and the feelings of communist oppression and you know, the different, you know, the other, and it's the same thing. I think every single one of these is just a proof point of if you want to become, suddenly well-known like Lieberman or Wortham or anything, you know, pick the other that the older generation doesn't really understand, right? Maybe now there are more adults playing video games, but it's probably still perceived as a more juvenile [00:21:00] thing or comics or juvenile thing, or certain types of movies are a juvenile thing, you know, pick the other pick on it, hold it up as the weaponized, you know, piece, and suddenly you're popular. And you've got a great flashpoint that other people can rally around and blame, as if one single thing is almost ever the cause of everything. And I always think it's interesting, you know, the EC Comics, you know, issues in terms of, um, Wortham's witch hunt, you know, the interesting thing about those is yet they were gruesome and they are gruesome in there, but they're also by and large, I don't know the other ones as well, but I know the EC Comics by and large are basically morality plays, you know, they're straight up morality plays in the sense that the bad guys get it in the end, almost every time, like they do something, they do some horrific thing, but then the corpse comes back to life and gets them, you know, so there's, there's always a comeuppance where the scales balance. But that was of course never going to be [00:22:00] an argument when somebody can hold up a picture of, you know, a skull, you know, lurching around, you know, chewing on the end trails of something. And then that became all that was talked about. Mike: Yeah, exactly. Well, I mean, spring boarding off of that, you know, worth them and the subcommittee hearings and all that, they led to the comics magazine association of America creating the Comics Code Authority. And this was basically in order to avoid government regulation. They said, no, no, no, we'll police ourselves so that you don't have to worry about this stuff. Which, I mean, again, that's what we did with the SRB. It was a response to that. We could avoid government censorship. So the code had a ton of requirements that each book had to meet in order to receive the Comics Code Seal of Approval on the cover. And one of the things you couldn't do was have quote, scenes dealing with, or instruments associated with walking dead or torture, which I mean,[00:23:00] okay. So the latter half of the 1950's saw a lot of these dedicated horror series, you know, basically being shut down or they drastically changed. This is, you know, the major publishers really freaked out. So Marvel and DC rebranded their major horror titles. They were more focused on suspense or mystery or Sci-Fi or superheroes in a couple of cases, independent publishers, didn't really have to worry about the seal for different reasons. Like, some of them were able to rely on the rep for publishing wholesome stuff like Dell or Gold Key. I think Gold Key at the time was doing a lot of the Disney books. So they just, they were like, whatever. Dan: Right, then EC, but, but EC had to shut down the whole line and then just became mad. Right? I mean, that's that was the transition at which William, you know, Gains - Mike: Yeah. Dan: basically couldn't contest what was going on. Couldn't survive the spotlight. You know, he testified famously at that hearing. But had to give up all of [00:24:00] that work that was phenomenally profitable for them. And then had to fall back to Mad Magazine, which of course worked out pretty well. Mike: Yeah, exactly. By the end of the 1960s, though, publishers started to kind of gently push back a little bit like, Warren publishing, and Erie publications, like really, they didn't give a shit. Like Warren launched a number of horror titles in the sixties, including Vampirilla, which is like, kind of, I feel it's sort of extreme in terms of both sex and horror, because I mean, we, we all know what Vampirilla his costume is. It hasn't changed in the 50, approximately 50 years that it's been out like. Dan: It's like, what can you do with dental floss, Right. When you were a vampire? I mean, that's basically like, she doesn't wear much. Mike: No, I mean, she never has. And then by the end of the sixties, Marvel and DC started to like kind of steer some of their books back towards the horror genre. Like how some Mystery was one of them where it, I think with issue 1 75, that was when they [00:25:00] took away, took it away from John Jones and dial H for Hero. And they were like, no, no, no, no. We're going to, we're going to bring, Cain back as the host and start telling horror morality plays again, which is what they were always doing. And this meant that the Comics Code Authority needed to update their code. So in 1971, they revised it to be a little bit more horror friendly. Jessika: Scenes dealing with, or instruments associated with, walking dead or torture shall not be used. Vampires, ghouls and werewolves shall be permitted to be used when handled in the classic traditions, such as Frankenstein, Dracula, and other high caliber literary works written by Edgar Allen Poe, Saki, Conan Doyle, and other respected authors whose works are read in schools around the world. Mike: But at this point, Marvel and DC really jumped back into the horror genre. This was when we started getting books, like the tomb of Dracula, Ghost Rider, where will finite and son of Satan, and then DC had a [00:26:00] bunch of their series like they had, what was it? So it was originally The Dark Mansion of Forbidden Love, and then it eventually got retitled to Forbidden Tales of the Dark Mansion. Like, just chef's kiss on that title. Dan: You can take that old Erie comic and throw, you know, the Dark Mansion of Forbidden Love as the title on that. And it would work, you know. Mike: I know. Right. So Dan, I'm curious, what is your favorite horror comic or comic character from this era? Dan: I would say, it was son of Satan, because it felt so trippy and forbidden, and I think comics have always, especially mainstream comics you know, I've always responded also to what's out there. Right. I don't think it's just a loosening the restrictions at that point, but in that error, what's going on, you're getting a lot of, I think the films of Race with the Devil and you're getting the Exorcist and you're getting, uh, the Omen, you know, Rosemary's baby. right. Satanism, [00:27:00] the devil, right. It's, it's high in pop culture. So true to form. You know, I think Son of Satan is in some ways, like a response of Marvel, you know, to that saying, let's glom onto this. And for a kid brought up in the Catholic church, there was a certain eeriness to this, ooh, we're reading about this. It's like, is it really going to be Satanism? And cause I was very nervous that we were not allowed even watch the Exorcist in our home, ever. You know, I didn't see the Exorcist until I was like out of high school. And I think also the character as he looks is just this really trippy look, right. At that point, if you're not familiar with the character, he's this buff dude, his hair flares up into horns, he just wears a Cape and he carries a giant trident, he's got a massive pentacle, I think a flaming pentacle, you know, etched in his chest. Um, he's ready to do business, ya know, in some strange form there. So for me, he was the one I glommed on to the most. [00:28:00] Mike: Yeah. Well, I mean, it was that whole era, it was just, it was Gothic horror brought back and Satanism and witchcraft is definitely a part of that genre. Dan: Sure. Mike: So, that said, kind of like any trend horror comics, you know, they have their rise and then they started to kind of fall out of popularity by the end of the seventies or the early eighties. I feel like it was a definite end of the era when both House of Mystery and Ghost Writer ended in 1983. But you know, there were still some individual books that were having success, but it just, it doesn't feel like Marvel did a lot with horror comics during the eighties. DC definitely had some luck with Alan Moore's run of the Swamp Thing. And then there was stuff like Hellblazer and Sandman. Which, as I mentioned, we're doing our book club episodes for, but also gave rise to Vertigo Comics, you know, in the early nineties. Not to say that horror comics still weren't a thing during this time, but it seems like the majority of them were coming from indie publishers. Off the top of my head, one example I think of still is Dead World, which basically created a zombie apocalypse [00:29:00] universe. And it started with Aero comics. It was created in the late eighties, and it's still going today. I think it's coming out from IDW now. But at the same time, it's not like American stopped enjoying horror stuff. Like this was the decade where we got Friday the 13th, Nightmare on Elm street, Evil Dead, Hellraiser, Poltergeist, Child's Play, just to name a few of the franchises that we were introduced to. And, I mentioned Hellraiser. I love Hellraiser, and Dan, I know that you have a pretty special connection to that brand. Dan: I do. I put pins in my face every night just to kind of keep my complexion, you know? Mike: So, let's transition over to the nineties and Marvel and let's start that off with Epic Comics. Epic started in the eighties, and it was basically a label that would print, create our own comics. And they eventually started to use label to produce, you know, in quotes, mature comics. So Wikipedia says that this was your first editorial job at Marvel was with the [00:30:00] Epic Line. Is that correct? Dan: Well, I'll go back and maybe do just a little correction on Epic's mission if you don't mind. Mike: Yeah, yeah. Dan: You know, first, which is it was always creator owned, and it did start as crude. And, but I don't think that ever then transitioned into more mature comics, sometimes that just was what creator-owned comics were. Right. That was just part of the mission. And so as a creator-owned imprint, it could be anything, it could be the silliest thing, it could be the most mature thing. So it was always, you know, part of what it was doing, and part of the mission of doing creator-owned comics, and Archie Goodwin was the editor in chief of that line, was really to give creators and in to Marvel. If we gave them a nice place to play with their properties, maybe they would want to go play in the mainstream Marvel. So you might get a creator who would never want to work for Marvel, for whatever reason, they would have a great Epic experience doing a range of things, and then they would go into this. So there was always levels of maturity and we always looked at it as very eclectic and challenging, you know, sometimes in a good [00:31:00] way. So I'll have to go back to Wikipedia and maybe correct them. My first job was actually, I was on the Marvel side and it was as the assistant to the assistant, to the editor in chief. So I would do all of the grunt work and the running around that the assistant to the editor in chief didn't want to do. And she would turn to me and say, Dan, you're going to go run around the city and find this thing for Jim Shooter. Now, then I did that for about five or six months, I was still in film school, and then left, which everyone was aghast, you don't leave Marvel comics, by choice. And, but I had, I was still in school. I had a summer job already sort of set up, and I left to go take that exciting summer job. And then I was called over the summer because there was an opening in the Epic line. And they want to know if I'd be interested in taking on this assistant editor's job. And I said, it would have to be part-time cause I still had a semester to finish in school, but they were intrigued and I was figuring, oh, well this is just kind of guaranteed job. [00:32:00] Never knowing it was going to become career-like, and so that was then sort of my second job. Mike: Awesome. So this is going to bring us to the character of Terror. So he was introduced as a character in the Shadow Line Saga, which was one of those mature comics, it was like a mature superhero universe. That took place in a few different series under the Epic imprint. There was Dr. Zero, there was St. George, and then there was Power Line. Right. Dan: That's correct, yep. Mike: And so the Shadow Line Saga took his name from the idea that there were these beings called Shadows, they were basically super powered immortal beings. And then Terror himself first appeared as Shrek. He's this weird looking enforcer for a crime family in St. George. And he becomes kind of a recurring nemesis for the main character. He's kind of like the street-level boss while it's hinting that there's going to be a eventual confrontation between the main character of St. George and Dr. Zero, who is kind of [00:33:00] a Superman character, but it turns out he has been manipulating humanity for, you know, millennia at this point. Dan: I think you've encapsulated it quite well. Mike: Well, thank you. So the Shadow Line Saga, that only lasted for about what a year or two? Dan: Probably a couple of years, maybe a little over. There was about, I believe, eight to nine issues of each of the, the main comics, the ones you just cited. And then we segued those over to, sort of, uh, an omni series we call Critical Mass, which brought together all three characters or storylines. And then try to tell this, excuse the pun, epic, you know story, which will advance them all. And so wrapped up a lot of loose ends and, um, you know, became quite involved now. Mike: Okay. Dan: It ran about seven or eight issues. Mike: Okay. Now a couple of years after Terror was introduced under the Epic label, Marvel introduced a new Ghost Rider series in 1990 that hit that sweet spot of like nineties extreme with a capital X and, and, you know, [00:34:00] it also gave us a spooky anti heroes like that Venn diagram, where it was like spooky and extreme and rides a motorcycle and right in the middle, you had Ghost Rider, but from what I understand the series did really well, commercially for Marvel. Comichron, which is the, the comic sales tracking site, notes that early issues were often in the top 10 books sold each month for 91. Like there are eight issues of Ghost Rider, books that are in the top 100 books for that year. So it's not really surprising that Marvel decided to go in really hard with supernatural characters. And in 1992, we had this whole batch of horror hero books launch. We had Spirits of Vengeance, which was a spinoff from Ghost Rider, which saw a Ghost Rider teaming up with Johnny Blaze, and it was the original Ghost Writer. And he didn't have a hellfire motorcycle this time, but he had a shotgun that would fire hell fire, you know, and he had a ponytail, it was magnificent. And then there was also the Night Stalkers, [00:35:00] which was a trio of supernatural investigators. There was Hannibal King and Blade and oh, I'm blanking on the third one. Dan: Frank Drake. Mike: Yeah. And Frank Drake was a vampire, right? Dan: And he was a descendant of Dracula, but also was a vampire who had sort of been cured. Um, he didn't have a hunger for human blood, but he still had a necessity for some type of blood and possessed all the attributes, you know, of a vampire, you know, you could do all the powers, couldn't go out in the daylight, that sort of thing. So, the best and worst of both worlds. Mike: Right. And then on top of that, we had the Dark Hold, which it's kind of like the Marvel equivalent of the Necronomicon is the best way I can describe it. Dan: Absolutely. Yup. Mike: And that's showed up in Agents of Shield since then. And they just recently brought it into the MCU. That was a thing that showed up in Wanda Vision towards the end. So that's gonna clearly reappear. And then we also got Morbius who is the living vampire from [00:36:00] Spider-Man and it's great. He shows up in this series and he's got this very goth rock outfit, is just it's great. Dan: Which looked a lot like how Len Kaminsky dressed in those days in all honesty. Mike: Yeah, okay. Dan: So Len will now kill me for that, but. Mike: Oh, well, but yeah, so these guys were all introduced via a crossover event called Rise of the Midnight Sons, which saw all of these heroes, you know, getting their own books. And then they also teamed up with Dr. Strange to fight against Lilith the mother of demons. And she was basically trying to unleash her monstrous spawn across the world. And this was at the same time the Terror wound up invading the Marvel Universe. So if you were going to give an elevator pitch for Terror in the Marvel Universe, how would you describe him? Dan: I actually wrote one down, I'll read it to you, cause you, you know, you put that there and was like, oh gosh, I got to like now pitch this. A mythic manifestation of fear exists in our times, a top dollar mercenary for hire using a supernatural [00:37:00] ability to attach stolen body parts to himself in order to activate the inherit ability of the original owner. A locksmith's hand or a marksman, his eye or a kickboxer his legs, his gruesome talent gives him the edge to take on the jobs no one else can, he accomplishes with Savage, restyle, scorn, snark, and impeccable business acumen. So. Mike: That's so good. It's so good. I just, I have to tell you the twelve-year-old Mike is like giddy to be able to talk to you about this. Dan: I was pretty giddy when I was writing this stuff. So that's good. Mike: So how did Terror wind up crossing into the Marvel Universe? Like, because he just showed shows up in a couple of cameos in some Daredevil issues that you also wrote. I believe. Dan: Yeah, I don't know if he'd showed up before the book itself launched that might've, I mean, the timing was all around the same time. But everybody who was involved with Terror, love that Terror and Terror Incorporated, which was really actual title. Love the hell out of [00:38:00] the book, right. And myself, the editors, Carl Potts, who was the editor in chief, we all knew it was weird and unique. And, at one point when I, you know, said to Carl afterwards, well I'm just gonna take this whole concept and go somewhere else with it, he said, you can't, you made up something that, you know, can't really be replicated without people knowing exactly what you're doing. It's not just another guy with claws or a big muscle guy. How many people grab other people's body parts? So I said, you know, fie on me, but we all loved it. So when, the Shadowline stuff kind of went away, uh, and he was sort of kicking out there is still, uh, Carl came to me one day and, and said, listen, we love this character. We're thinking of doing something with horror in Marvel. This was before the Rise of the Midnight Sons. So it kind of came a little bit ahead of that. I think this eventually would become exactly the Rise of the Midnight Sons, but we want to bring together a lot of these unused horror characters, like Werewolf by Night, Man Thing, or whatever, but we want a central kind of [00:39:00] character who, navigates them or maybe introduces them. Wasn't quite clear what, and they thought Terror, or Shrek as he still was at that point, could be that character. He could almost be a Crypt Keeper, maybe, it wasn't quite fully baked. And, so we started to bounce this around a little bit, and then I got a call from Carl and said, yeah, that's off. We're going to do something else with these horror characters, which again would eventually become probably the Midnight Sons stuff. But he said, but we still want to do something with it. You know? So my disappointment went to, oh, what do you mean? How could we do anything? He said, what if you just bring him into the Marvel Universe? We won't say anything about what he did before, and just use him as a character and start over with him operating as this high-end mercenary, you know, what's he going to do? What is Terror Incorporated, and how does he do business within the Marvel world? And so I said, yes, of course, I'm not going to say that, you know, any quicker and just jumped into [00:40:00] it. And I didn't really worry about the transition, you know, I wasn't thinking too much about, okay. How does he get from Shadow Line world, to earth 616 or whatever, Marcus McLaurin, who was the editor. God bless him, for years would resist any discussion or no, no, it's not the same character. Marcus, it's the same character I'm using the same lines. I'm having him referenced the same fact that he's had different versions of the word terrors, his name at one point, he makes a joke about the Saint George complex. I mean, it's the same character. Mike: Yeah. Dan: But , you know, Marcus was a very good soldier to the Marvel hierarchy. So we just really brought him over and we just went all in on him in terms of, okay, what could a character like this play in the Marvel world? And he played really well in certain instances, but he certainly was very different than probably anything else that was going on at the time. Mike: Yeah. I mean, there certainly wasn't a character like him before. So all the Wikias, like [00:41:00] Wikipedia, all the Marvel fan sites, they all list Daredevil 305 as Terror's first official appearance in. Dan: Could be. Mike: Yeah, but I want to talk about that for a second, because that is, I think the greatest villain that I've ever seen in a Marvel comic, which was the Surgeon General, who is this woman who is commanding an army of like, I mean, basically it's like a full-scale operation of that urban myth of - Dan: Yeah. Mike: -the dude goes home with an attractive woman that he meets at the club. And then he wakes up in a bathtub full of ice and he's missing organs. Dan: Yeah. You know, sometimes, you know, that was certainly urban myth territory, and I was a big student of urban myths and that was the sort of thing that I think would show up in the headlines every three to six months, but always one of those probably friend of a friend stories that. Mike: Oh yeah. Dan: Like a razor an apple or something like that, that never actually sort of tracks back. Mike: Well, I mean, the thing now is it's all edibles in candy and they're like, all the news outlets are showing officially [00:42:00] branded edibles. Which, what daddy Warbucks mother fucker. Jessika: Mike knows my stand on this. Like, no, no, nobody is buying expensive edibles. And then putting them in your child's candy. Like, No, no, that's stupid. Dan: No, it's the, it's the, easier version of putting the LSD tab or wasting your pins on children in Snickers bars. Jessika: Right. Dan: Um, but but I think, that, that storyline is interesting, Mike, cause it's the, it's one of the few times I had a plotline utterly just completely rejected by an editor because I think I was doing so much horror stuff at the time. Cause I was also concurrently doing the Hellraiser work, the Night Breed work. It would have been the beginning of the Night Stalkers work, cause I was heavily involved with the whole Midnight Sons work. And I went so far on the first plot and it was so grizzly and so gruesome that, Ralph Macchio who was the editor, called me up and said, yeah, this title is Daredevil. It's not Hellraiser. So I had to kind of back off [00:43:00] and realize, uh, yeah, I put a little too much emphasis on the grisliness there. So. Mike: That's amazing. Dan: She was an interesting, exploration of a character type. Mike: I'm really sad that she hasn't showed back up, especially cause it feels like it'd be kind of relevant these days with, you know, how broken the medical system is here in America. Dan: Yeah. It's, it's funny. And I never played with her again, which is, I think one of my many Achilles heels, you know, as I would sometimes introduce characters and then I would just not go back to them for some reason, I was always trying to kind of go forward onto something new. Mike: Yeah. Jessika: Is there anything about Terror's character that you related to at the time, or now even. Dan: Um, probably being very imperious, very complicated, having a thing for long coats. Uh, I think all of those probably, you know, work then and now, I've kind of become convinced weirdly enough over time, that Terror was a character who [00:44:00] and I, you know, I co-created him with Margaret Clark and, and Klaus Janson, but I probably did the most work with him over the years, you know? So I feel maybe a little bit more ownership, but I've sort of become convinced that he was just his own thing, and he just existed out there in the ether, and all I was ultimately was a conduit that I was, I was just channeling this thing into our existence because he came so fully formed and whenever I would write him, he would just kind of take over the page and take over the instance. That's always how I've viewed him, which is different than many of the other things that I've written. Mike: He's certainly a larger than life personality, and in every sense of that expression. Jessika: Yes. Mike: I'm sorry for the terrible pun. Okay. So we've actually talked a bit about Terror, but I [00:45:00] feel like we need to have Jessika provide us with an overall summary of his brief series. Jessika: So the series is based on the titular character, of course, Terror, who is unable to die and has the ability to replace body parts and gains the skill and memory of that limb. So he might use the eye of a sharpshooter to improve his aim or the arm of an artist for a correct rendering. And because of the inability for his body to die, the dude looks gnarly. His face is a sick green color. He has spike whiskers coming out of the sides of his face, and he mostly lacks lips, sometimes he has lips, but he mostly lacks lips. So we always has this grim smile to his face. And he also has a metal arm, which is awesome. I love that. And he interchanges all of the rest of his body parts constantly. So in one scene he'll have a female arm and in another one it'll sport, an other worldly tentacle. [00:46:00] He states that his business is fear, but he is basically a paid mercenary, very much a dirty deeds, although not dirt cheap; Terror charges, quite a hefty sum for his services, but he is willing to do almost anything to get the job done. His first job is ending someone who has likewise immortal, air quotes, which involves finding an activating a half demon in order to open a portal and then trick a demon daddy to hand over the contract of immortality, you know, casual. He also has run-ins with Wolverine, Dr. Strange Punisher, Silver Sable, and Luke Cage. It's action packed, and you legitimately have no idea what new body part he is going to lose or gain in the moment, or what memory is going to pop up for him from the donor. And it keeps the reader guessing because Terror has no limitations. Mike: Yeah. Dan: was, I was so looking forward to hearing what your recap was going to be. I love that, so I just [00:47:00] want to say that. Jessika: Thank you. I had a lot of fun reading this. Not only was the plot and just the narrative itself, just rolling, but the art was fantastic. I mean, the things you can do with a character like that, there truly aren't any limits. And so it was really interesting to see how everything fell together and what he was doing each moment to kind of get out of whatever wacky situation he was in at the time.So. And his, and his quips, I just, the quips were just, they give me life. Mike: They're so good. Like there was one moment where he was sitting there and playing with the Lament Configuration, and the first issue, which I, I never noticed that before, as long as we ready this time and I was like, oh, that's great. And then he also made a St. George reference towards the end of the series where he was talking about, oh, I knew another guy who had a St. George complex. Dan: Right, right. Right, Mike: Like I love those little Easter eggs. Speaking of Easter eggs, there are a lot of Clive Barker Easter eggs throughout that whole series. Dan: [00:48:00] Well, That's it. That was so parallel at the time, you know. Mike: So around that time was when you were editing and then writing for the HellRaiser series and the Night Breed series, right? Dan: Yes. Certainly writing for them. Yeah. I mean, I did some consulting editing on the HellRaiser and other Barker books, after our lift staff, but, primarily writing at that point. Mike: Okay. Cause I have Hellraiser number one, and I think you're listed as an editor on it. Dan: I was, I started the whole Hellraiser anthology with other folks, you know, but I was the main driver, and I think that was one of the early instigators of kind of the rebirth of horror at that time. And, you know, going back to something you said earlier, you know, for many years, I was always, pressing Archie Goodwin, who worked at Warren, and worked on Erie, and worked on all those titles. You know, why can't we do a new horror anthology and he was quite sage like and saying, yeah. It'd be great to do it, but it's not going to sell there's no hook, right? There's no connection, you know, just horror for her sake. And it was when Clive Barker [00:49:00] came into our offices, and so I want to do something with Archie Goodwin. And then the two of them said, Hellraiser can be the hook. Right. Hellraiser can be the way in to sort of create an anthology series, have an identifiable icon, and then we developed out from there with Clive, with a couple of other folks Erik Saltzgaber, Phil Nutman, myself, Archie Goodwin, like what would be the world? And then the Bible that would actually give you enough, breadth and width to play with these characters that wouldn't just always be puzzle box, pinhead, puzzle box, pinhead, you know? And so we developed a fairly large set of rules and mythologies allowed for that. Mike: That's so cool. I mean, there really wasn't anything at all, like Hellraiser when it came out. Like, and there's still not a lot like it, but I - Jessika: Yeah, I was going to say, wait, what else? Mike: I mean, I feel like I've read other books since then, where there's that blending of sexuality and [00:50:00] horror and morality, because at the, at the core of it, Hellraiser often feels like a larger morality play. Dan: Now, you know, I'm going to disagree with you on that one. I mean, I think sometimes we let it slip in a morality and we played that out. But I think Hellraiser is sort of find what you want out of it. Right. You go back to the first film and it's, you know, what's your pleasure, sir? You know, it was when the guy hands up the book and the Centobites, you know, or angels to some demons, to others. So I think the book was at its best and the movies are at their best when it's not so much about the comeuppance as it is about find your place in here. Right? And that can be that sort of weird exploration of many different things. Mike: That's cool. So going back to Terror. Because we've talked about like how much we enjoyed the character and everything, I want to take a moment to talk about each of our favorite Terror moments. Dan: Okay. Mike: So Dan, why don't you start? What was your favorite moment for Terror [00:51:00] to write or going back to read? Dan: It's a great question, one of the toughest, because again, I had such delight in the character and felt such a connection, you know, in sort of channeling him in a way I could probably find you five, ten moments per issue, but, I actually think it was the it's in the first issue. And was probably the first line that sort of came to me. And then I wrote backwards from it, which was this, got your nose bit. And you know, it's the old gag of like when a parent's playing with a child and, you know, grabs at the nose and uses the thumb to represent the nose and says, got your nose. And there's a moment in that issue where I think he's just plummeted out of a skyscraper. He's, you know, fallen down into a police car. He's basically shattered. And this cop or security guard is kind of coming over to him and, and he just reaches out and grabs the guy's nose, you know, rips his arm off or something or legs to start to replace himself and, and just says, got your nose, but it's, but it's all a [00:52:00] build from this inner monologue that he's been doing. And so he's not responding to anything. He's not doing a quip to anything. He's just basically telling us a story and ending it with this, you know, delivery that basically says the guy has a complete condescending attitude and just signals that we're in his space. Like he doesn't need to kind of like do an Arnold response to something it's just, he's in his own little world moments I always just kind of go back to that got your nose moment, which is just creepy and crazy and strange. Mike: As soon as you mentioned that I was thinking of the panel that that was from, because it was such a great moment. I think it was the mob enforcers that had shot him up and he had jumped out of the skyscraper four and then they came down to finish him off and he wound up just ripping them apart so that he could rebuild himself. All right, Jessika, how about you? Jessika: I really enjoyed the part where Terror fights with sharks in order to free Silver Sable and Luke Cage. [00:53:00] It was so cool. There was just absolutely no fear as he went at the first shark head-on and, and then there were like five huge bloodthirsty sharks in the small tank. And Terror's just like, what an inconvenience. Oh, well. Mike: Yeah. Jessika: Like followed by a quippy remark, like in his head, of course. And I feel like he's such a solitary character that it makes sense that he would have such an active internal monologue. I find myself doing that. Like, you know, I mean, I have a dog, so he usually gets the brunt of it, but he, you know, it's, it is that you start to form like, sort of an internal conversation if you don't have that outside interaction. Dan: Right. Jessika: And I think a lot of us probably relate to that though this pandemic. Mike: Yeah. Jessika: But the one-liner thoughts, like, again, they make those scenes in my opinion, and it gave pause for levity. We don't have to be serious about this because really isn't life or death for Terror. We know that, and he just reminds us that constantly by just he's always so damn nonchalant. [00:54:00] Dan: Yeah. He does have a very, I'm not going to say suave, but it's, uh, you know, that sort of very, I've got this, you know, sort of attitude to it. Mike: I would, say that he's suave when he wants to be, I mean, like the last issue he's got his whiskers tied back and kind of a ponytail. Dan: Oh yeah. Jessika: Oh yeah. Dan: Richard Pace did a great job with that. Mike: Where he's dancing with his assistant in the restaurant and it's that final scene where he's got that really elegant tuxedo. Like. Dan: Yeah. It's very beautiful. Mike: I say that he can be suave and he wants to be. So I got to say like my favorite one, it was a visual gag that you guys did, and it's in issue six when he's fighting with the Punisher and he's got this, long guns sniper. And he shoots the Punisher point blank, and Terror's, like at this point he's lost his legs for like the sixth time. Like he seems to lose his legs, like once an issue where he's just a torso waddling around on his hands. And so he shoots him the force skids him back. [00:55:00] And I legit could not stop laughing for a good minute. Like I was just cackling when I read that. So I think all of us agree that it's those moments of weird levity that really made the series feel like something special. Dan: I'm not quite sure we're going to see that moment reenacted at the Disney Pavilion, you know, anytime soon. But, that would be pretty awesome if they ever went that route. Mike: Well, yeah, so, I mean, like, let's talk about that for a minute, because one of the main ways that I consume Marvel comics these days is through Marvel unlimited, and Terror is a pretty limited presence there. There's a few issues of various Deadpool series. There's the Marvel team up that I think Robert Kirkman did, where Terror shows up and he has some pretty cool moments in there. And then there's a couple of random issues of the 1990s Luke Cage series Cage, but like the core series, the Marvel max stuff, his appearance in books like Daredevil and Wolverine, they just don't seem to be available for consumption via the. App Like I had to go through my personal [00:56:00] collection to find all this stuff. And like, are the rights just more complicated because it was published under the Epic imprint and that was create her own stuff, like do you know? Dan: No, I mean, it wouldn't be it's choice, right. He's probably perceived as a, if people within the editorial group even know about him, right. I was reading something recently where some of the current editorial staff had to be schooled on who Jack Kirby was. So, I'm not sure how much exposure or, you know, interest there would be, you know, to that. I mean, I don't know why everything would be on Marvin unlimited. It doesn't seem like it requires anything except scanning the stuff and putting it up there. But there wouldn't be any rights issues. Marvel owned the Shadow Line, Marvel owns the Terror Incorporated title, it would have been there. So I'm not really sure why it wouldn't be. And maybe at some point it will, but, that's just an odd emission. I mean, for years, which I always felt like, well, what did I do wrong? I [00:57:00] mean, you can find very little of the Daredevil work I did, which was probably very well known and very well received in, in reprints. It would be like, there'd be reprints of almost every other storyline and then there'd be a gap around some of those things. And now they started to reappear as they've done these omnibus editions. Mike: Well, yeah, I mean, you know, and going back the awareness of the character, anytime I talk about Terror to people, it's probably a three out of four chance that they won't have heard of them before. I don't know if you're a part of the comic book historians group on Facebook? Dan: I'm not. No. Mike: So there's a lot of people who are really passionate about comic book history, and they talk about various things. And so when I was doing research for this episode originally, I was asking about kind of the revamp of supernatural heroes. And I said, you know, this was around the same time as Terror. And several people sat there and said, we haven't heard of Terror before. And I was like, he's great. He's amazing. You have to look them up. But yeah, it seems like, you know, to echo what you stated, it seems like there's just a lack of awareness about the character, which I feel is a genuine shame. And that's part of the [00:58:00] reason that I wanted to talk about him in this episode. Dan: Well, thank you. I mean, I love the spotlight and I think anytime I've talked to somebody about it who knew it, I've never heard somebody who read the book said, yeah, that sucks. Right. I've heard that about other things, but not about this one, invariably, if they read it, they loved it. And they were twisted and kind of got into it. But did have a limited run, right? It was only 13 issues. It didn't get the spotlight, it was sort of promised it kind of, it came out with a grouping of other mercenary titles at the time. There was a new Punisher title. There was a Silver Sable. There was a few other titles in this grouping. Everyone was promised a certain amount of additional PR, which they got; when it got to Terror. It didn't get that it like, they pulled the boost at the last minute that might not have made a difference. And I also think maybe it was a little bit ahead of its time in certain attitudes crossing the line between horror and [00:59:00] humor and overtness of certain things, at least for Marvel, like where do you fit this? I think the readers are fine. Readers are great about picking up on stuff and embracing things. For Marvel, it was kind of probably, and I'm not dissing them. I never got like any negative, you know, we're gonna launch this title, what we're going to dismiss it. But I just also think, unless it's somebody like me driving it or the editor driving it, or Carl Potts, who was the editor in chief of that division at that point, you know, unless they're pushing it, there's plenty of other characters Right. For, things to get behind. But I think again, anytime it kind of comes up, it is definitely the one that I hear about probably the most and the most passionately so that's cool in its own way. Mike: Yeah, I think I remember reading an interview that you did, where you were talking about how there was originally going to be like a gimmick cover or a trading card or something like that. Dan: Yeah. Mike: So what was the, what was the gimmick going to be for Terror number one? Dan: What was the gimmick going to be? I don't know, actually, I if I knew I [01:00:00] can't remember anymore. But it was going to be totally gimmicky, as all those titles and covers were at the time. So I hope not scratch and sniff like a, uh, rotting bodies odor, although that would have been kind of in-character and cool. Mike: I mean, this was the era of the gimmick cover. Dan: Oh, absolutely. Mike: Like,that was when that was when we had Bloodstrike come out and it was like the thermographic printing, so you could rub the blood and it would disappear. Force Works is my favorite one, you literally unfold the cover and it's like a pop-up book. Dan: Somebody actually keyed me in. There actually was like a Terror trading card at one point. Mike: Yeah. Dan: Like after the fact, which I was like, shocked. Mike: I have that, that's from Marvel Universe series four. Dan: Yeah. we did a pretty good job with it actually. And then even as we got to the end of the run, you know, we, and you can sort of see us where we're trying to shift certain aspects of the book, you know, more into the mainstream Marvel, because they said, well, we'll give you another seven issues or something, you know, to kind of get the numbers up. Mike: Right. Dan: And they pulled the plug, you know, even before that. So, uh, that's why [01:01:00] the end kind of comes a bit abruptly and we get that final coda scene, you know, that Richard Pace did such a nice job with. Mike: Yeah. I mean, it felt like it wrapped it up, you know, and they gave you that opportunity, which I was really kind of grateful for, to be honest. Dan: Yeah. and subsequently, I don't know what's going on. I know there was that David Lapham, you know, series, you did a couple of those, which I glanced at, I know I kind of got in the way of it a little bit too, not in the way, but I just said, remember to give us a little created by credits in that, but I didn't read those. And then, I know he was in the League of Losers at one point, which just didn't sound right to me. And, uh. Mike: It's actually. Okay. So I'm going to, I'm going to say this cause, it's basically a bunch of, kind of like the B to C listers for the most part. And. So they're called the Legal Losers. I think it's a really good story, and I actually really like what they do with Terror. He gets, she's now Spider Woman, I think it's, Anya Corazon, but it was her original incarnation of, Arana. And she's got that spider armor that like comes out of her arm. And so she [01:02:00] dies really on and he gets her arm. And then, Dan: That's cool. Mike: What happens is he makes a point of using the armor that she has. And so he becomes this weird amalgamation of Terror and Arana's armored form, which is great. Dan: Was that the Kirkman series? Is that the one that he did or. Mike: yeah. That was part of Marvel Team-Up. Dan: Okay. Mike: it was written by Robert Kirkman. Dan: Well, then I will, I will look it up. Mike: Yeah. And that one's on Marvel unlimited and genuinely a really fun story as I remembered. It's been a couple of years since I read it, but yeah. Dan: Very cool. Mike: So we've talked about this a little bit, but, so
Chichester Chats Ep #3: Terror Inc. #1-#5 Welcome back to the Chichester Chats! In each episode Phil and Lilith chat with writer D.G. Chichester about one of his comic book creations. This time the group discuss Terror Inc. #1-#5 from 1992 featuring an original Chichester character. Show notes: Chichester Chats Ep #3: Terror Inc. #1-#5 Find all of our Social Media here: https://linktr.ee/capesandlunatics Follow Phil Perich on Twitter: https://twitter.com/NIghtwingpdp Follow Lilith Hellfire on Twitter: https://twitter.com/LilithHellfire Follow D.G. Chichester on Twitter: https://twitter.com/dgchichester Subscribe to D.G. Chichester's newsletter here: storymaze.substack.com Produced by: Capes and Lunatics Production Team: Phil Perich Support the Capes and Lunatics Podcast on Patreon www.patreon.com/capesandlunatics
Welcome to another episode of the Momming Autism podcast! This week we are pleased to bring to you one of Jackson's buddies and a dear friend of ours Coach Travis Clark. Travis “the terror” Clark is a trained MMA fighter, champion boxer, and a trainer at his gym Terror Inc. Travis has developed programs and works side by side with individuals with special needs to help them reach their goals. Travis also is the board president for A Special Wish Ohio Valley. Join us for a conversation about his work with children and adults with different abilities and the impact they have left on his life, as well as the impact Travis has left on theirs. You can learn more about Travis and his programs on his website teamterrorfitness.com and on his Instagram at Tcterror. The Momming Autism podcast is a place to provide a positive platform for parents to share their stories about raising special needs children. Momming Autism is hosted by Amanda DeLuca and Katie Emde. Find Katie between episodes on Facebook at A Journey for Avery. Find Amanda on Facebook between episodes at Jackson's Journey, Jackson's Voice and Advocate.Out.Loud- Amanda DeLuca.
Hey!! Welcome to Episode 433 of The Podcast That Goes SNIKT! Flashback! Killing Time! We slice and dice our way through a bunch of 1993 comics featuring Wolverine! Hang on to your hats! Excalibur #64, Alpha Flight #121, Marvel Comics Presents #123-130, Wolverine: Inner Fury, Terror Inc. #9-10 and Wolverine: Killing. This podcast is about all things Wolverine, specifically focusing on his Marvel Comics appearances. I'll be offering comic reviews and commentary. Warning, this podcast features spoilers, so if that worries you and you haven't read the preceding issues, you may want to check back later... Enjoy, Share, and please come back!! Next up...more SNIKT! e-mail sniktcast@yahoo.com www.facebook.com/sniktpodcastfanpage https://twitter.com/sniktcast
D.G. Chichester (https://twitter.com/dgchichester) talks about what he wished he could have done with Daredevil, his time working on Bloodshot and Sliders, and his new life in advertising. Thanks to our sponsors Marcus Theatres (https://www.marcustheatres.com/) and Historic St. Charles, Missouri (https://www.discoverstcharles.com/)! 0:00 SEGMENT 1: D.G. on the Bloodshot comic/movie and the Sliders comic/TV show 9:00 SEGMENT 2: D.G. on Daredevil never getting much love from Marvel and his mindset going into beginning his run 21:02 SEGMENT 3: D.G. on a time-traveling Daredevil, working in advertising, and missing comic books 35:10 SEGMENT 4: D.G. on what kind of Kickstarter he would do, his website https://www.capitalistfiction.com/, and needing a Terror Inc. promo poster from James 42:39 SEGMENT 5: DC Fandome day 1 recap Amazon Affiliate Link - http://bit.ly/geektome Buy Me a Coffee - https://www.buymeacoffee.com/3Y0D2iaZl Patreon - https://www.patreon.com/GeekToMeRadio Website - http://geektomeradio.com/ Podcast - https://geektomeradio001.podomatic.com/ Facebook - https://www.facebook.com/GeekToMeRadio/ Twitter - https://twitter.com/geektomeradio Instagram - https://www.instagram.com/geektomeradio/
D.G. Chichester (https://twitter.com/dgchichester) talks about his career at Marvel, working with Clive Barker, co-creating the character of Terror, and his thoughts on the Netflix Daredevil series. Thanks to our sponsors Marcus Theatres (https://www.marcustheatres.com/) and Historic St. Charles, Missouri (https://www.discoverstcharles.com/)! 0:00 SEGMENT 1: D.G. on going to NYU film school, working with Marvel editor-in-chief Jim Shooter, hanging out in the Marvel bullpen, answering fan phone calls, and what titles he wished he’d gotten the chance to work on 14:50 SEGMENT 2: D.G. on breaking new ground with Clive Barker 27:03 SEGMENT 3: D.G. on working with artist Bill Sienkiewicz and co-creating the character Terror 35:33 SEGMENT 4: D.G. on bringing Terror Inc. back, casting the Terror movie, and whether he enjoyed the Daredevil Netflix series 46:40 SEGMENT 5: D.G. on Daredevil’s 90’s armor look, artist Scott McDaniel’s ability to get the armor right, and running to KB Toys to buy the action figure when it came out Amazon Affiliate Link - http://bit.ly/geektome Buy Me a Coffee - https://www.buymeacoffee.com/3Y0D2iaZl Patreon - https://www.patreon.com/GeekToMeRadio Website - http://geektomeradio.com/ Podcast - https://geektomeradio001.podomatic.com/ Facebook - https://www.facebook.com/GeekToMeRadio/ Twitter - https://twitter.com/geektomeradio Instagram - https://www.instagram.com/geektomeradio/
Due to quarantine, I got back into video editing and made a promo for this episode. Check it out! Introduction – Like every other content creator, Jake and I discuss how we are surviving the apocalypse. [32:20] News – We discuss the collapse of the comics market, and some new upcoming guest appearances! [49:00] Mail Call– We catch up on some mail we missed last episode (sorry) and talk about how we would handle writing Punisher 2099. [1:17:25] Bullet Points – Jake and I finish off Punisher: Soviet #4 and #5, and continue reading Revenge of the Cosmic Ghost Rider #3 as Frank goes through a galactic mid-life crisis. [1:53:52] Flashbacks – Due to fan demand, we check out Terror Inc. #6 and #7, a bittersweet story about an awesome character in a lackluster story. [2:16:48] Discharge Papers – Jake and I get on the same page with High Rise Invasion and I recommend Bloodshot, because that is where we're at in this contentless hellscape we now call earth. Send us your Punisher questions or comments at punisherbodycount@gmail.com or call in at (347) 878-6474.
It's The End Of The World As We Know It..... But Who Will Feel Fine When The Smoke Clears Tonight? Uncle Frank Defends The World Heavyweight Championship Against Claymore of Terror Inc, Strangleheart Looks To End The Legendary Midnight Hobo Title Reign Of Mithras The Title Machine, And So Much More!!
Tonight Uncle Frank defends the World Title against The Great Red Dragon! Terror Inc. try to capture The Platinum Dragon, Mens, and Tag Team Titles! And two more members will be inducted into the RAWF Hall Of Fame!!
Richard Pace is a long-time veteran of the comic book industry, having either been written or drawn for every major comic company in the industry. Career highlights include his mainstream comics art debut on Terror Inc. for Marvel, writing Pitt Crew and the last few issues of Dale Keown's Pitt and co-writing Batman: The Doom that Came to Gotham with Hellboy creator Mike Mignola. He also had the honour of bringing the legendary Alan Moore's songs to life as one of the artists on Alan Moore's Songbook.More recently, he's the well-known cover artist for the DC/Vertigo series Imaginary Fiends and with soon be launching an ongoing series on which he takes care of the art duties called, Second Coming featuring a story where Jesus rooms with a Superman archetype. The series is to be released on July 10, 2019, by Ahoy Comics.In an exclusive interview with Speech Bubble, Richard explains why Second Coming was canceled by DC/Vertigo and picked up by Ahoy. He also reveals how he avoided the slush pile at Marvel Comics and why he became a primary target of the alt-right Comicsgate movement. This episode is sponsored by Hairy Tarantula.Richard's Instagram@rpaceOriginal art from RichardSecond Coming Comes to Ahoy ComicsImaginary FiendsBatman: The Doom that Came to GothamSponsorHairy Tarantula
EPISODE 86: FEATURING TOP 4 BOOKS BY HIGH PRIEST OF KHONSHU REY A very different episode this week, with another one of the High Priests - Rey - giving us his ISLA RA books....this time Rey is in the hot seat! Alongside hosts High Priest Connor(Shu) and Loony 'The Power of' Chad, the trio venture from Grant Mansion, to Gena's Diner...then to the Aussie Outback! How Rey got into comics (in the crazy time, the 90's) ; his introduction into Moon Knight; and what takes up his time outside of comics too...all this is revealed in this very episode! Below are links to his Isla Ra books - click on the links if you want to read the issues before listening in on the podcast; or keep it a surprise and click on them after the show, to find out more about Rey's top picks! REY'S TOP 4 ISLA RA BOOKS: Rey's Top Pick Rey's 2nd Pick Rey's 3rd Pick Rey's 4th Pick SHOW NOTES: Astro Boy - The Greatest Robot in the World Pluto (Manga) Captain America Vol. 1, #316 Punisher Vol. 2 #59 Nomad Vol.1 Terror Inc. Vol. 1 Sleepwalker Vol. 1 Silver Sable + the Wild Pack Netflix Daredevil Soundtrack Philip Glass The Pixies Tchaikovsky's 1812 Overture Namor The Sub-Mariner Hercules Multiple Man Spider-Woman by Dennis Hopeless Black Knight by Frank Tieri Hasbro Marvel Legends Figures Forge Christ Claremont Peter David Marc Silvestri The Darkness Peter David's X-Factor Garth Ennis' Punisher MAX Shadowman (Valiant Comics) WHERE TO HEAR US: Podcast Page Apple Podcast Google Play Music Spotify Overcast SoundCloud Stitcher Tunein Podbean Into the Knight RSS Feed YouTube DROP US A LINE: Blog: www.intotheknightpodcast.wordpress.com Podcast Page: http://intotheknight.libsyn.com Email: itkmoonknight@gmail.com FB Page: Into the Knight- A Moon Knight Podcast Page FB Group: Into the Knight- A Moon Knight Fan Base FB Chat: The Loony Bin Twitter: @ITKmoonknight Instagram: ITK Moon Knight Tumblr: Knight Shifts Blog Discord ITK Server: ITK Server Twitch: Coming Soon! CREDITS: Music Written, Performed and generously provided by Deleter: https://deleter.bandcamp.com/ ITK Logo Graphic Design by The High Priests of Khonshu ITK Graphic Design produced and assisted by Randolph Benoit: https://twitter.com/randolphbenoit https://www.youtube.com/randolphbenoit Proud Member of The Collective The music for this episode contains excerpts from various songs and is copyrighted by Deleter. The music agreed for use on Into the Knight - A Moon Knight Podcast is licensed under an Attribution License;
On this episode we talk about The Jungle Book, Dog Tooth, Brain Damage, Terror Inc., and Joe picks between Steve and Jefferson. Check out Tom’s [...]
On this week's show, Jen and Shawn discuss: Terror Inc #11 (1993) Highlights include: - Married...with Children in COMIC BOOK FORM - Rage Against the Machine's "Freedom" Adventures of Superman #458 (1989) Highlights include: - GTA Gotham City - spaghetti on a spork - Lee Greenwood salutes Superman And much more! Please rate, review, subscribe and tell a friend! Continue the conversation on Twitter @angryheroshawn and @JenStansfield
More gore than you can shake a limb at. Marc and Tim were joined by the famous Jeremiah Lambert to discuss Terror, Inc. by David Lapham and Patrick Zircher. Follow Us On Twitter @supertim82@personman44 @jlambertart Follow Us on the Internets (giving us ratings is super dope):iTunesStitcher Listen to Other Awesome BenView Podcasts:BenViewNetwork.com is the where you can discover the wonder of BenView! Love the Theme Song?The Fantastic Plastics are rad! #comics
It's tricky! We wander aimlessly all over the comics map, occasionally stopping to collect our thoughts on the Comics Buyer's Guide, the shrinking size of Diamond's Previews catalog, the BOOM! Disney comics publishing strategy, Blackest Night #4, Warren Ellis and Planetary, even more laments from Chris over Gutsville, Wood talks cartoons (Batman: Brave and the Bold and the Wonder Woman feature film), more from David on Darkness/Pitt #1 from Top Cow, Daredevil #501, Thunderbolts, Andy Parks' original art collection, Terror Inc. from Marvel Max, X-Men: Die by the Sword, ideas for Diamond's December skip week, Parker: The Hunter, Alan Davis, Library Binding, and, try as he might, no one shares Vince's love for Dark Reign - The List: Punisher by Remender, Romita JR, Janson, and White. Forever cold and alone. So sad. Also, the requisite amount of Hotline hocum! Remender RULES!
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