THROWBACK THURSDAY: Albert Pyun

Back in 2022 we lost the B-movie maven Albert Pyun.

He'd hit the ground running in 1982 with his first movie, The Sword and The Sorcerer - which gave us the legendary blade-firing Tri-Sword.

And it was through this movie, which I wrote about on a previous blog back in 2011, that he achieved a god-like status in my eyes when he made contact with me via the comments section of that post.

My write-up had concluded with a trailer for Tales of An Ancient Empire,  the long-awaited sequel to The Sword and The Sorcerer.

It so happened that I had acquired what I thought was an 'official' DVD of that sequel via eBay, but as Albert would go on to explain that was actually an unsanctioned early cut that he was not best pleased to discover was out in the wild.

He sent me a link that allowed me to view the first 18 minutes of the actual cut of Tale of An Ancient Empire... and it was such an improvement on the first version I had seen.

I've always had a preference for sword-and-sorcery B-movies, so my knowledge of the rest of Albert's vast oeuvre was very limited.

IMDB, which has a lengthy biography of Albert, says this of him:

"He is credited with pioneering the cyborg sub-genre and is considered to be a maverick and renegade in independent genre cinema. With over 50 titles to his name, he has enjoyed a prolific career spanning 30+ years and has earned himself a fevered cult following."

I did enjoy his take on Captain America, from 1990.

From our brief interactions well over a decade ago, Albert came across as a genuinely nice, and enthusiastic, film fan and it was his willingness to reach out to me all those years ago that really made an impression.

That he was keen to engage with a random small-time blogger such as I and ensure that I saw, and reacted to, the film as he had actually envisioned it spoke volumes.

Albert Pyun passed away on November 26, 2022, at the age of 69.

Captain America (1990)

I'll admit upfront that I have a soft spot for the work of late B-movie director Albert Pyun. Having had a couple of interactions with him in my previous blogging life, he came across as a lovely, genuine person.

Following on from my reviews of the last couple of days, it thus felt like time to revisit Albert's 1990 extravaganza: Captain America, featuring Matt Salinger - son of author JD Salinger - in the titular role.

Despite what you may have heard over the years, this adaptation of one of Marvel Comic's core characters isn't actually too bad. Salinger does a pretty decent job as Steve Rogers and Captain America, the costume doesn't look too silly and the production values give it the feel of Lynda Carter's Wonder Woman.

There are some odd changes to Cap's established mythology, with the most bizarre being the transformation of his legendary Nazi nemesis The Red Skull (Scott Paulin) from a German to an Italian (hand-picked as a youth by Mussolini to take part in the Nazi 'super soldier' programme).

The scientist in charge of the experiment, Dr Maria Vaselli (Carla Cassola), clearly hadn't been reading the memos and is horrified to discover that the first test subject is a young boy and so flees the country.

Seven years later, at the height of the Second World War, Vaselli is working for the American Government on its own super-soldier programme with polio victim Steve Rogers selected as the first candidate.

There's flashing lights and sparking machinery - clearly borrowed from Dr Frankenstein - before a Nazi agent kills the professor.

This is quite familiar territory for Cap fans, with him soon finding himself strapped to a Nazi superbomb heading towards the White House (which he manages to redirect at the last moment, of course) that, instead, crash lands in Alaska.

He is discovered 50 years later and refuses, at first, to believe it's now the '90s - until he meets up again with his hometown sweetheart, Bernice, and - after her death - attaches himself to her daughter, Sharon (Kim Gillingham plays both mother and daughter), who he then proceeds to drag into all kinds of danger.

The President of The United States (Ronny Cox) is kidnapped by a cartel of evil industrialists - led by The Red Skull - who opposes his pro-Green stance (they intend to stick a mind-controlling implant in him!) and Cap heads off to Italy to rescue the President from The Red Skull's castle.

There are some nice touches: such as President Kimball having been a little kid who saw Cap save The White House and was inspired by him, and the fact that The Red Skull (whose accent swings from Mafia Don to Count Dracula) mocks Cap as "his brother" (as they were both created by the same experimental science).

The main flaws with Captain America come from the fact that it looks really dated and while there are some stunts and effects they are nothing spectacular. And the same can be said of the script, by Stephen Tolkin. It's very pedestrian and despite the odd moment of inspiration it really isn't much better than a cheap, Saturday afternoon television movie, peppered - for the most part - with clunky, corny dialogue and enormous plotholes.

It even introduces us to The Red Skull's daughter, but she's a total drip compared to Sin, from the Captain America comics, which was a major disappointment as well.

However, Captain America is only 97-minutes long and while great chunks of logic and believability are sacrificed to keep the pace up, it races through the story like a steam train and carries you along quickly to its blissfully cheesy ending.

Nick Fury, Agent Of S.H.I.E.L.D. (1998)

When international terrorist group HYDRA steal the cryogenically-frozen body of their dead leader, Baron Von Strucker (Campbell Lane) from a S.H.I.E.L.D. facility, it's time to bring grizzled Cold War veteran Nick Fury (David Hasselhoff) out of retirement.

HYDRA wants to use the "Death's Head" virus in Strucker's body to hold Manhattan to ransom, but Fury and his team are determined to shut them down.

Unfortunately, Fury falls foul of a trap set by Strucker's daughter, Andrea (Sandra Hess) aka Viper, and now only has 48 hours to save the world before the deadly toxin in his system claims his life.

Nick Fury, Agent Of S.H.I.E.L.D. was a TV movie from 1998 (the same year that Blade was released, the first comic book superhero film that 'got it right' in my opinion, and still several years ahead of the mainstream acceptance of superheroes as valid movie fodder with Sam Raimi's Spider-Man in 2002) that has finally been released on DVD over here - albeit a cheap-and-cheerful, vanilla, no-frills release.

Written by comic book fanatic David S Goyer, who also wrote the Blade trilogy and TV series, Dark City, the Dark Knight trilogy, Ghost Rider: Spirit Of Vengeance, Man of Steel, Da Vinci's Demons etc, the plot is solid TV fare - and clearly setting itself up as a possible pilot for a series - although the dialogue leaves a lot to be desired, lurching from arch and melodramatic to cheesy and clichéd.

This telemovie has taken a lot of flak over the years, but it needs to be a considered as a artefact of its time.

It stays pretty faithful to the comic book origins of Fury and S.H.I.E.LD., featuring a lot of recognisable character names as well as an impressive rendition of the helicarrier (more industrial than the current incarnation in the big budget movies, more like a flying battleship, but at least it doesn't keep falling out of the sky) as well as Life Model Decoys and smaller bits of spy-fi kit that add nice detail to this 90-minute action-adventure.

Not sure why the HYDRA goons looked like the Observers from Fringe, but it's a striking and memorable look, so why not?

Nick Fury, Agent Of S.H.I.E.L.D. is also clearly a kid-friendly movie, designed for watching over a family meal around the television, so everything is very heightened and larger than life (Andrea Von Strucker is basically a pantomime villain with an outrageous accent and a propensity for over-the-top 'evil laughter').

While it takes itself seriously, it isn't a film to be taken seriously.

The Hoff is great as Nick Fury, a towering presence and wholly convincing, tough, deadpan, one-eyed and cigar-chewing like he was in the comics I read growing up.

Personally I wouldn't have been disappointed if this had spawned a TV show back at the turn of the century - it's a hell of a lot better than the Spider-Man series with  Nicholas Hammond, and even the Incredible Hulk (which usually skates by on rose-tinted nostalgia) from the late '70s.

There wasn't any other real live-action, superhero material on TV when Nick Fury, Agent Of S.H.I.E.L.D. was released originally and, for its time, I still rate this as a success.

Dr. Strange (1978)

With the official Marvel Cinematic Universe iteration of Doctor Strange now well established and part of the general public's consciousness (thanks, in large part, to casting Benedict Cumberbatch as the titular Sorcerer Supreme),  I thought it was time to set the Wayback Machine to the 1970s and fall under the spell of the original Dr. Strange movie.

As ever, this 1978 TV movie needs to be considered on its own merits, taking into account the budgetary and technological restrictions of its time.

The Ditko-verse

Five hundred-year-old sorceress Morgan LeFey (Jessica Walter) is tasked by her nameless, demonic master (a giant, mist-enshrouded puppet, voiced by David Hooks) to slay Earth's current sorcerer supreme, Thomas Lindmer (John Mills... yes, THE John Mills) within an arbitrary timeframe of three days. I suspect he's supposed to be Dormammu.

The legendary Arthurian villianness has been hanging around the "higher levels of the Astral plane", a set clearly influenced by the iconic artwork of Dr. Strange comic book artist Steve Ditko. This opening sequence gave me hope that the film would be treating its source material with some respect.

Morgan's scheme involves mind-controlling beautiful student Clea Lake (Eddie Benton aka Anne-Marie Martin) to push Lindmer off a bridge.

Lindmer survives, but Clea is traumatised by the event and ends up in hospital under the care of psychiatrist Doctor Stephen Strange (Peter Hooten), who wears his father's ring that bears the same symbol as seen on Lindmer's window and on a painting in his Sanctum Sanctorum.

Strange finds himself drawn to Clea and Lindmer offers to help out in her treatment, convincing Strange to come to his home where he sends the doctor off on an astral voyage to save Clea's soul.

Astral Tripping

This 2001-style, kaleidoscopic light-show - complete with a phantom horseman in the form of the demon Balzaroth (voiced by The Addams Family's Ted Cassidy) - is the visual highlight of the film, being surprisingly imaginative and trippy despite the limitations of '70s TV special effects.

After this, Strange declares he doesn't want anything more to do with Lindmer's magic, but Morgan isn't listening and after bitch-slapping Lindmer's chum Wong (Clyde Kusatsu) and then seemingly doing the same to the old man, she turns her attention to Stephen Strange.

It turns out that Morgan has a bit of a cougar-thing going and wants to use her womanly wiles (which apparently haven't seen much action during her centuries in The Dark Dimension) to seduce the good doctor. He, of course, is having none of this - as his eyes are focussed on Clea.

Dr. Strange is quite a dialogue-heavy piece, but still manages to break this up with some flashy light shows and demonic summonings, so that even in the many hospital scenes the pace never sags too badly.

However, things go bizarrely off the rails in the film's denouement - presumably these were meant as plot hooks if this pilot spawned a TV show - when Clea and Strange repeat (almost verbatim) a conversation they had earlier in the film, but neither notice, and then neither seem that perturbed by Morgan popping up on TV as a self-help guru!

There are a lot of changes from the source material in Dr. Strange, most of which I can understand for the sake of brevity, such as stripping out Strange's adventures in Tibet and making him a psychiatrist rather than a surgeon to tie him in to Clea's sub-plot.

What were they thinking?

It's a bit of a shame that in removing the Eastern aspects of Strange's backstory (thus explaining why Lindmer becomes Strange's mentor, rather than The Ancient One - who, confusingly, makes a vocal appearance during Strange's transformation sequence) they also decided to Westernise Wong and change Clea to a normal human being.

But I guess they didn't want to overload a mainstream audience with too much extraneous weirdness in a 90-minute television show about dimension-hopping sorcerers battling demons for the fate of humanity.

The worst change though is the inexplicable reworking of the classic Dr Strange look into a kitsch superhero costume with a bizarre starburst on the front.

Thankfully this only appears briefly towards the end of the film, after Morgan has magically dressed him in robes that do a far better job of emulating his comic book look.

Overall, Dr. Strange - as you would expect - is a product of its time. A bit slow in parts and very cheesy, but with some great touches along the way that suggest the people behind it had ambitious plans should it have been picked up to run as a series.

It was clearly going to be a very different superhero show to The Incredible Hulk, Spider-Man and Captain America that were making similar, difficult, transitions from the comic book page to the television screen at that time.

Supernatural Rises From The Grave As A Dynamite Comic

Main cover art for issue one by Clayton Crain

Five years after the final episode of Supernatural's 15th season, the popular monster-hunting TV show returns in October... as a new comic book series from Dynamite.

With its initial storyline set between the events of seasons one and two, Supernatural will be written by Greg Pak, with Eder Messias on art detail.

From Dynamite's promotional blurb:

The brothers Winchester return! Get ready to hit the road again with Dean and Sam as they prowl the highways and byways of small-town America in search of demonic wrongdoing to put right!

Set between the foundational first and second seasons of the landmark television series, this brand-new title from acclaimed author Greg Pak (Darth Vader) and preternaturally gifted artist Eder Messias (Sam Wilson: Captain America) brings readers back to where the dark magic first began - and reveals a disturbing new threat that the bickering brothers will have to face before they can return to hunting down the demon who killed their mother.

In this first issue, the monster hunters must uncover the entity responsible for a series of mysterious fires in a decaying rust belt town - attacks that begin with a Windler Industries factory burning down, and then escalate to several Windler employees themselves going up in flames.

But finding the malevolent force behind the otherworldly arsons may not be as straightforward as it might seem - especially once the suspiciously well-prepared CEO Steff Windler gets personally involved! 

Variant cover art for issue one by David Cousins

Variant cover art for issue one by Eder Messias

Cast photo variant cover for issue one

As well as a number of licensed spin-off novels and an excellent selection of "in-universe" guides to the show's world, long-running horror show Supernatural (2005-2020) earned itself a handful of comic book miniseries over the years and a wonderful RPG that, sadly, didn't gain the traction it deserved.

However, when the 13-episode Winchesters prequel series also failed to set the world alight (in 2022) in quite the same way as the original show had done I thought that was the last gasp for this franchise.

Let's hope there are enough die hard - or potentially returning - Supernatural fans to breathe life into this new comic book series and reignite the thrill of those early years of the show.

Batman v Superman - Dawn Of Justice, Ultimate Edition (2016)

My race through the Snyderverse continues with probably its most divisive entry, but for all its faults (and they are plentiful), Batman v Superman: Dawn Of Justice - in all its three-hour, ultimate edition glory - is a surprisingly good superhero movie.

The further we get from the initial hullaballoo around this film, and the more times I watch it, the more I find I get from it.

Like Man of Steel, it suffers from some egregious missteps that, as with the original curate's egg, were allowed by many to spoil the enjoyment of the whole.

But as I grow older, that one troublesome dialogue exchange that spawned a million memes (which we will get to later), doesn't bother me so much. Yes, it's still a dreadfully contorted - and unconvincing - exchange, but is, ultimately, small potatoes in a bombastic three-hour film.

A deranged Lex Luthor (Jesse Eisenberg) turns the world against Superman (Henry Cavill), then engineers a fight between the Son of Krypton and Batman (Ben Affleck), before unleashing a CGI Kryptonian monster, Doomsday, on Metropolis for reasons that aren't exactly explained.

Jesse Eisenberg is a fantastic actor and his young Luthor blends the modern age comic book take on the character with the mad scientist version in the older comics - with a heavy emphasis on the "mad" part.

I think we're supposed to take it that Lex is jealous of Superman's powers, but, despite his Machiavellian machinations, the one part of his scheme that is never truly made clear is his motivation.

While Ben Affleck's Bruce Wayne/Batman is impressive, the stand-out character of Dawn Of Justice is Gal Gadot's Wonder Woman.

Although her presence is only slightly more justified here than Spider-Man's introduction in 2016's Captain America: Civil War, her grin-inducing impact on the audience is about the same.

Her all-too-brief appearances are certainly helped by the incredible Wonder Woman theme performed by cellist Tina Guo, that still make me tingle with geeky excitement every time I hear it.

There are a couple of sequences that felt superfluous, when looked at just in the context of BvS.

However, knowing now that these were planting seeds for the Zack Snyder's Justice League movie (we shall ignore the Josstice League iteration, even though officially it remains the canon version of the film for the DCEU), we can appreciate that moments like Batman's striking 'vision' of the future, complete with Darkseid mise-en-scène and parademons are more than just great fan service

When BvS was first release, I read a number of industry people championing director Zack Snyder's love of comics, which is as nebulous a comment as saying someone "loves books", but whatever the truth of the matter it's clear that he just doesn't really get Superman.

Snyder is on record as saying he likes dark comics with sex and violence in them. And, while I suspect he may have been 'playing this up' for the expected shock value, that just isn't my (and a lot of people's) idea of Superman.

As, hopefully, you read earlier, I enjoyed his Man Of Steel as spectacle, but it didn't deliver a Superman that I recognised or could relate to.

While still quite moody here, Superman is certainly given the space to become a bit more like his positive and heroic comic book portrayal.

His Clark Kent alter ego shines (despite butting heads with a a very negative Perry White in Laurence Fishburne), but Synder's penchant for darker, anti-heroes comes to the fore in his presentation of Batman.

Again, a lot is left unexplained (Batman's been operating in Gotham for 20 years but the Daily Planet is unaware of him? Why - oh why - does he go round branding villains?), but he's got the tech, the brains, the charisma, and the drive to bring the Dark Knight to life.

One of the positive things about Batman v Superman is that it doesn't try to obfuscate the 'secret identities' of its leads for the audience, it's just a given that Bruce Wayne is Batman, Diana Prince is Wonder Woman, Clark Kent is Superman etc, without trying to explain it all (again).

Like Man of Steel, this initially appears to be a triumph of spectacle, but, again, in Batman v Superman (the Ultimate Edition anyway) we have a story that justifies the action and - generally - everyone stays reasonably true to the comic book source material.

However, rising above all the plot holes and strange character choices, the most awful, groan-worthy moment in the whole script is the "Martha" scene.

I'll be honest, if I'd tried to present that - with a straight face - in one of my scripts at university I'd have been laughed off my Scriptwriting degree course.

There was enough cheese in that scene to choke all the mice in North America. Especially coming in such a "serious" and "realistic" take on the superhero genre, it totally takes you out of the moment.

It's bizarre that amidst all the explosions and property damage, all the spectacular superheroics and tension, the line that stays with you - because it grates so much - is something so mundane and corny.

But that aside (and it could so easily have been avoided by changing the line to something about his "mother", which Bruce would have reacted to in much the same way) Batman v Superman - Dawn Of Justice is definitely a step in the right direction from Man of Steel and paves the way for Zack Snyder's Justice League.

The Return of Tonbridge Comic-Con

"I could do this all day!"

Tonbridge Comic Con & Toy Fair has returned, with (I believe) different people running it, eschewing celebrity signings for more cosplayers, more photo ops, and more traders.

It must be a good five years since there was a Comic-Con at the Angel Centre in Tonbridge (that time I got flustered meeting Hannah Spearritt from Primeval and S Club 7 and got her to sign my copy of the Primeval roleplaying game), but this was quite a different affair.

In a strange - but comforting - kind of way, this fresh iteration reminded me a lot of Cavalier (our annual wargames show), but with people dressed as superheroes and anime characters and staged cinematic photo opportunities in lieu of wargaming displays.

The time we spent at the comic-con was really enjoyable, I got to chat to a load of people (stall holders and cosplayers) and - as you can see - Rachel took loads of pictures.

Today's event was 'nicely busy' (enough people to make me think it was a success for the organisers, but not so many that it felt claustrophobic or made getting to any particular place a struggle).

This definitely helped me adjust to the situation, and I surprised myself with how conversational I was with the many people I spoke to. Normally, I hold back, for fear of my aphasia tripping me up, but this felt really relaxed.

Major kudos to the Captain America cosplayer who we met before we got inside the event. He embodied the spirit of Cap nicely and, after he remarked on my t-shirt, we talked enthusiastically about James Gunn's impending Superman movie.

Meanwhile, inside the Angel Centre, the chap who'd 3D printed then built the array of animated Star Wars droids was clearly a Doc Brown-level genius.

Huyang moved (he didn't walk though!) and spoke with David Tennant's voice

These are the droids I was looking for

Deadpool dance class

"You now have fifteen seconds to comply." Robocop's ED-209 was quite threatening

"Beam me up!"

"This is The Way!"

Rachel snuck into Andy's room to play with Woody and Buzz

"The claw! The claw!"

Just chillin' with Thanos before we destroy the Universe

Radio-controlled baby droids to play with

Lightning McQueen

Our shockingly conservative haul from the day

Much to my (and Rachel's) amazement I didn't actually buy anything at the show (although there was some great art, action figures, and prop replicas that caught my eye), although I did get a free 28mm goblin from a man promoting promoting his self-published fantasy novel.

Rachel treated herself to a "Trust Me, I'm A Dogtor" pin badge to go on her NHS lanyard.

We may have stayed for only an hour, but we had a great time.

The only minor quibble I would point out is that for a COMIC convention, there was no one selling actual comics, which was a shame.

TALES FROM THE VAULT: Marvel Team-Up #127 (1983)

There's a strong suggestion in Marvel Team-Up #127 that this is the first time Spider-Man has encountered the enigmatic Watcher. Not only does Peter Parker not recognise Uatu, but he doesn't know his name or understand The Watcher's enigmatic modus operandi.

To be honest, Small Miracles isn't a great story, scripted by JM DeMatteis and drawn by Kerry Sammill, but it's odd enough to merit inspection.

While a Christmas-themed tale, it's certainly no Christmas Carol or It's A Wonderful Life.

That said, although it might not tie-up all its loose-ends, it stands as a festive reminder of when comic book stories were 'one-and-done', a single story in a single issue, with none of this 'writing for the trades' padding plots that should have been wrapped in 20 or so pages out to four or six issues.

Throughout this story, Spider-Man essentially acts as The Watcher's sock puppet, being led - almost by the nose - from point A to point B, with only the semblance of free will.

It's Christmas Eve and Peter has dropped in on Aunt May and her wheelchair-bound fiancé Nathan Lubensky, and their friends, for some seasonal celebrations.

Unfortunately, the usually jovial Mr Chekov is rather down as his granddaughter, Bette, hasn't put in an appearance. Her parents were killed in a plane-crash, as were Peter's (although, sadly, nothing is made of this, or a subsequent 'fllashback'-potential moment towards the end of the story), and she has become distant with her grandfather.

Peter tries to be positive, but then his spider-senses go off and he races outside into a snowstorm.

Suddenly he is wearing his costume and standing before him  is the taciturn, bald giant, Uatu The Watcher, offering him a spherical jewel... in which is an image of Bette Chekov.

Spider-Man has the sudden feeling that he is supposed to find her, but no idea of how.

Eventually he resorts to "directory assistance" (remember that, kiddies?), which sends him to an address in Brooklyn Heights.

Arriving there, Spidey discovers the police and ambulance service removing the dead body of Bette's flatmate. A very Sgt Bullock-like detective tells Spider-Man that there was "a few thousand bucks worth of cocaine" in the apartment.

Spider-Man still has no clue where to find Bette, or any idea of what she is tangled up in, and just as he's losing his usual confidence, he bumps into Captain America on a rooftop:

Cap gives him a good, morale-boosting, talking-to and once Spidey's bucked his ideas up, Uatu beams him another clue through the magical ball, sending him to a dive bar called Jimmy's Corner.

After rousting the patrons of the bar uncovers no leads, Spidey overhears a couple arguing in an apartment above Jimmy's Corner, and realises it's Bette and a thug called Buck Todd.

Buck had stolen the cocaine from The Mob, and the gangsters had come looking for it, killing Bette's flatmate and trailing Bette to Buck's place.

There's a big showdown, during which Bette appears to be fatally shot while fleeing. Spidey is heart-broken - no doubt having Gwen Stacy/Uncle Ben-level flashbacks - until The Watcher appears... and "tricks" Spidey into putting things right:

It turns out that every Christmas Eve, Uatu allows himself to help humanity ("One night to be... as a brother to them") in ways his fellow Watchers might deem insignificant and beneath their notice.

In this case, he was steering Spider-Man to help Bette Chekov escape the life she had stumbled into and return to the loving bosom of her family.

Small Miracles leaves us with plenty of unanswered questions. For instance, the pivotal cocaine theft, and Bette's involvement with it, isn't clearly spelled out (What's her connection to Buck? Were they planning to sell it on or snort it? Was this lack of judgement on Bette's behalf a result of the death of her parents?).

And while Uatu's involvement in the plot takes enigmatic to a whole new level, it makes me miss the character's iconic role in the Marvel Universe.

Hopefully with his key role in the recent Disney Plus series What If...? this means the character will be restored him to his rightful place... in the 'Blue Area', on the dark side of The Moon, looking out for us all down here on planet Earth.

THROWBACK THURSDAY: Monster Mag #1

I've finally got round to scanning in the first of my treasured self-made Monster Mag comics, written and drawn by yours truly when I was only nine.

Self-published, with a print run of one, I thought I had lost these treasures from 1976, so when I found them last year after we had moved I couldn't believe my good fortune.

Fragile homemade artefacts, held together with sellotape older than Rachel (honestly, she wasn't even born when I drew these comics), I carefully scanned issue one this week and cast a critical eye over my work.

I was clearly influenced by the oddly-shaped, art-distorting, black-and-white British reprint titles, such as The Titans, which explains the horizontal page orientation of Monster Mag, and quite possibly the prevalence of Marvel characters within its pages (Thor, Hulk, Doctor Strange, Nick Fury to name but a few).

These big hitters were mixed in with characters of my own creation, such as the delightfully cheesy Ray-Kid, who, without his protective helmet, found his entire head transformed into ball of energy.

The presence of several Universal monsters (the Wolf-man, Frankenstein's Monster, The Mummy, and the Invisible Man) also seems quite random, as I have no idea how I glommed on to them.

Perhaps I was watching those movies far earlier than I remember.

Given that I believe it was my gran who took me to see The Amazing Mr Blunden at the cinema around this time, and scarred me for life with a hypersenstive fear of dying in a house fire, it's quite possible that she was letting me watch Universal horror movies on her black-and-white TV as well (along with the Saturday afternoon wrestling that preceded Doctor Who).

I think it was also my gran who wrote the date (February 26, 1976) on a couple of the pages, because that's clearly not my handwriting, and I have a vague recollection that I drew these comics during a couple of my regular Saturday sleepovers at her house.

Please enjoy the dreadful drawing and appalling spelling of Monster Mag #1:

I, now, just have to scan in issue two...

In 2025 We Can Look Up Again...

Now this is what I want from a superhero picture: inspirational and optimistic. 

And Krypto!!!

It's looking like 2025 is going to be a great year for superhero films, but, truth be told, I have no particular interest in seeing Marvel's pair of military-fetish offerings - Captain America: Brave New World and Thunderbolts* - at the cinema.

I can comfortably wait for the Blu-Rays (or Disney Plus release) of those.

However, then we get to July and it's a double-hit of my favourites getting (hopefully) the treatment they deserve.

First we have James Gunn's Superman on July 11 (my favourite character in DC Comics) and then on July 25 The Fantastic Four: First Steps (my favourite superhero team finally earn their place in the MCU).

I rarely go the cinema these days (I think the last time was in late 2023 to see The Marvels), but I really feel as though July is going to see a couple of carpe diem days as I really need to see both these pictures on the silver screen.

As bleak as the world is probably going to be by then, these two films should prove the ultimate fillip in the dark days ahead.