ACT FOUR SCENE ONE sits at the Roundtable

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Big announcement time: On March 26, I’ll be on The Roundtable Podcast to talk about the upcoming revisions to ACT FOUR SCENE ONE. Afterwards, you can add your own story suggestions at the comments on their site or right here on the blog. Before that, though, enjoy part one of the show, which doesn’t have me, but does have a great interview with author Leanna Renee Hieber. Check it out!

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Want more? Check out my book, CINE HIGH, now available for the Kindle and the free Kindle app.

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Fantastic Friday: Sinkholes and fugitives

Re-reading the Fantastic Four comics from the start. Issue #31’s cover promises a surprise character revelation that will shock readers. Let’s see…

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The story begins with an earthquake striking New York, and the FF respond by Ben and Johnny wisecracking at each other. Reed says the team must investigate, but Sue is more preoccupied with something she sees in the newspaper. It’s an article about an escaped fugitive. Reed can see that this visibly upsets her, but he chooses not to say anything.

Reed, Ben, and Johnny hop aboard the Fantasticar and head out into the city, where they discover a giant sinkhole in the middle of the city. Johnny tries to fly down into it, but there’s ice blocking his path. Deep underground, we see what the cover has already spoiled, that the Mole Man is behind all this. He says he needs a hostage, and he uses his high-tech gadgets to find just the right person.

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Reed, Ben and Johnny return to headquarters and find Sue not there. Another earthquake hits. Using his advanced tech, the Mole Man has sucked another city block down into his underground kingdom. His mindless subjects (still not called “Moloids”) round everyone up. Sue is among the captives. She tries to escape while invisible, but her invisibility does no good against the Moloids, who have lost their sight by spending their entire lives underground. Now that he has Sue, the Mole Man believes the rest of the FF will do as he says.

Not so. The remaining three FFers head back down into the sinkhole in their pogo plane. They maneuver through a whole bunch of death traps, eventually crashing the plane atop one of the sunken buildings. They confront the Mole Man, who has a gun on Sue. Suddenly now his plan works, as Reed, Sue and Johnny agree to follow the Mole Man’s orders as long as he doesn’t hurt Sue.

The Mole Man sends the three heroes back up to the surface, where the Avengers are waiting. Surprise cameos! The Avengers are the same lineup we saw the last time they showed up in these pages – Iron Man, Thor, Captain America, Giant-Man, and the Wasp. The Avengers are all ready to attack the Mole Man, so now the FF have to fight back, all to protect Sue. The fight doesn’t last long, before Reed fills the other team in on what’s happening.

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Back at headquarters, Iron Man lends Reed some “transistor devices,” courtesy of his “employer,” Tony Stark. Reed then cobbles together a new (and goofy-looking) invention, the transistorized detector. It locks onto Sue’s location, where the Mole Man has her trapped in a crystal cage. Reed then unveils another new gadget, his experimental jet cycle (“with increased jet power!” Reed says).

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The Mole Man and the Moloids (that’d be a great band name) fight back, but the FF’s powers are too much for them. Sue is rescued, and Reed reverses the machines, sending the sunken city blocks back up the surface. (Where’s the Avengers during all this?) The Mole Man, though, has rigged everything to explode, which it does. Sue is injured in the explosion as the FF race back to the surface.

Sue is rushed to the hospital, where doctors say she needs a delicate operation, and only one man can perform it. Just when it looks like all is lost, that one man shows up. He’s the fugitive from the newspaper seen earlier and… he’s Sue and Johnny’s long-lost father! He performs the operation, saves Sue’s life, and turns himself in to the police – but not before saying a solemn goodbye to his son and daughter.

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Unstable molecule: Reed is all about the inventing dynamo in this one, with a number of crazy devices at his fingertips. His stretching power is enough for him to go head-to-head with Thor (maybe the thunder god was going easy on him).

Fade out: This is the lowest sort of “Sue is a captive who has to be rescued” story, as she does nothing. How much better would it have been to have her escape from that crystal cage on her  own?

Clobberin’ Time: Wave upon wave of Moloids are no match for Ben’s fists.

Flame on: Johnny gets his fire snuffed out by some bizarre spores, laid out as one of the Mole Man’s death traps. He later fights back by flying in rings around the Mole Man’s deadly zeta rays.

Trivia time: In his first appearance, the Mole Man was found on a remote island. He was last seen in issue 21, just outside of New York, and now he’s moved right under the city. His fate at the end of the issue remains unknown.

Reed makes a reference to Iron Man being Tony Stark’s bodyguard. There’s no caption telling us what Iron Man’s real deal is with Tony Stark. Instead, writer Stan Lee trusts the readers to already know that, or to run out and pick up an issue of Iron Man to see for themselves.

We’ll learn more about Sue and Johnny’s dad in the next issue.

Fantastic or frightful? The basic superhero adventure part of the story is full of plot hole goofiness, but the addition of daddy Storm provides some new opportunities for character development.

Next week: Who’s invincible?

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Want more? Check out my book, CINE HIGH, now available for the Kindle and the free Kindle app.

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Ten cent movies: Morons From Outer Space

A while back, I bought this 50-movie set, Sci-Fi Invasion, for five bucks. That adds up to ten cents per movie. Morons From Outer Space, made in 1985, is the only comedy on the set. The only intentional one, that is.

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Here’s what happens: Three aliens crash-land on Earth and become overnight celebrities. Everyone on Earth believes the aliens bring new knowledge and technology with them, but the aliens are, in fact, morons. A fourth alien, Bernard, shows up in pursuit of the three, but he ends up homeless instead of famous.

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Speculative spectacle: We’re deep into social satire mode, as the humans prove themselves to be every bit as dumb as the spacey morons. It’s the classic sci-fi “We are them and they are us” thing.

Sleaze factor: The dim-bulb aliens eventually become glammed-up rock stars, with all the sex and drugs that entails.

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Quantum quotables: Earth scientist: “The planet you come from! What do you call it? What’s its name?” Alien: “I’ve forgotten.”

What the felgercarb? Out in space, Bernard hitches a ride with what appears to be a skeleton flying a spaceship. Make that a horny skeleton flying a spaceship.

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Microcosmic minutiae: The movie was directed by Mike Hodges, director of the original Get Carter and the 1980 Flash Gordon. According to never-wrong internet rumors, Hodges agreed to direct Morons From Outer Space only if the producers would also finance his dream project, a film called Mid-Atlantic. Sadly, it never got made.

Bernard is played by Mel Smith, who also co-wrote the film. Most folks probably know Smith best as the albino from The Princess Bride. Where did we put that wheelbarrow the albino had?

Worth ten cents? It’s as if Close Encounters took place in the world of Idiocracy. There are some solid laughs here, but it’s all a little too madcap for its own good.

****

Want more? Check out my book, CINE HIGH, now available for the Kindle and the free Kindle app.

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The three Rs for March 18

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This is an author’s blog, so the rules state I absolutely must post about writer-y stuff. Here are your links for (w)riting, reading, and a little bit of randomness.

(W)riting:

Fantasy-writing man-god Patrick Rothfuss has started a series of quite awesome videos, called the “Story Board,” talking with other authors about various writer-y topics. They have the occasional internet issues, but the quality of the discussion shouldn’t be missed. Yes, it leans mostly toward fantasy, but there’s enough material here that I’m confident anyone in the writing game can get something out of it.

King-killing link: http://www.youtube.com/watch?v=52khu_YJAmo

Reading:

Since I’m talking about Rothfuss, I might as well recommend his books. The Name of the Wind and The Wise Man’s Fear are the first two parts of the Kingkiller Chronicles, about a young musician with a tragic background, who, through various misadventures, becomes a legend in his own time. Rothfuss sets all the epic fantasy tropes on their ears, twisting and turning them around in surprising new ways. These are novels that will inspire debate and discussion for years to come.

Lute-playing link: http://www.amazon.com/The-Name-Wind-Kingkiller-Chronicles/dp/0756404746

Randomness

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Want more? Check out my book, CINE HIGH, now available for the Kindle and the free Kindle app.

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Fantastic Friday: An origin for the ages

Re-reading the Fantastic Four comics from the start. When I started this re-read, annual #2 was one of the comics I wanted to spotlight, in the hopes that it might, finally, was away the two live-action films from my mind, and that maybe, just maybe, I can make my case as to a better direction they could have gone.

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It begins with Dr. Doom sitting on his throne brooding, as is his wont, when an old man named Boris walks in and says, “The time has come.” Doom mysteriously says it’s only on a night like this that “she” would want him to visit her.  The old man leads Doom through the castle and out into the Latverian countryside, which the caption tells us is located in the Bavarian Alps. There, Doom and the man stop on a moor, where Doom quietly reflects, thinking that this is where it all began…

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From there, we flash back to ye olden times, where gypsies had once made camp on that spot, someone comes running, with a warning for young Victor Von Doom, that soldiers have come to seize his father. We meet Werner Von Doom, who is the gypsies’ medicine man. The soldiers order man away from his tribe, even as he argues the tribe needs him. He assures his young son that all will be well, and that he will not be harmed. The little boy, our very own Victor Von Doom, doesn’t believe this, and it’s a teary farewell.

The local baron demands that Werner treat his ailing wife. The woman is dying, and beyond help, but the baron believes that Werner’s gypsy magic can cure anything. Knowing there’s nothing he can do, Werner flees in the night. The baron’s wife is dead by morning, and the baron blames Werner. The Baron’s troops destroy the gypsy camp, with Werner and Victor on the run. In the harsh wilderness, Werner sacrifices himself so that Victor may survive. Werner dies back at the reunited gypsy camp. His mother having been murdered when he was infant, young Victor swears revenge, not just against the baron and his soldiers, but against all mankind.

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Victor learns of his father’s many healing potions. He then gets into his mother’s old things and discovers she was once a powerful sorceress. Years pass, and we see Victor get wealthy by pulling off a series of elaborate plots, scheming money away from the wealthy. He even invents a mechanical duplicate of himself to face a firing squad in his place. Eventually, he’s contacted by an American, who offers him a scholarship at State University. Victor takes him up on the offer. Once there, Victor meets another student, one Reed Richards.

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Reed makes several attempts to be friendly, including an offer to be roommates, but Doom won’t have it, believing him to be superior. Reed instead rooms with a young football star, Ben Grimm. Reed does a little snooping, and finds Doom has been researching dimension warps. Reed says Doom needs to re-check his figures, but Doom still doesn’t want anything to do with Reed. Doom builds a machine to contact the “nether world,” and he hooks himself up to it. Too bad for him that Reed was right about the equation needing more work, and the machine blows up in Doom’s face, permanently scarring him. He’s also expelled from school for his reckless ways.

Doom travels to Tibet, where some mysterious monks take him in, teaching him the ways of dark magic. In a giant furnace, he builds his armor and mask, declaring himself Dr. Doom, and making a promise that he, a son of a gypsy and sorceress, will prove his superiority and become master of all mankind. Back in the present, Doom marches back to his castle, as the Latverians regard him with gratitude, but also with fear. Doom retires to his lab, as the old man Boris wonders what technological wonder he’s working on this time.

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Meanwhile, in New York, the Fantastic Four (Remember them? It’s their book) are taking the Fantisticar out for a spin, where they get into a fender-bender with a car, and we get three pages of comedy shtick about Ben and the motorist arguing.

Then, the scene abruptly shifts to outer space, where Doom is where we left him at the end of issue #24, floating all alone in the cosmos. (No idea when the first part’s frame story was supposed to take place.) He’s rescued by a passing spaceship, which just happens to be piloted by Pharaoh Rama-Tut, last seen in issue #18. They compare notes, with Rama-Tut revealing he pulled off his time traveling antics with Dr. Doom’s time machine. They speculate that Rama-Tut might be an ancestor of Doom’s or that they might even be the same man, from two different spots on the timeline. They both want revenge (of course) against the FF, but don’t dare attack together, as to not disrupt the timeline. Doom will stay in the present and Rama-Tut will travel – wait for it – back to the future.

Doom lands in New York, and struts down the street, heading for the Latverian embassy, where the ambassador is conducting an interview, denying that a mysterious masked man really runs the country. This establishes that outside of Latveria, no one yet knows Doom runs the place.  Doom instructs the ambassador to prepare a letter, announcing that the embassy is throwing a party. At the Baxter Building, the FF are delighted to be invited, not just for the party, but because the Latverians are offering Reed a science fellowship.

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At the fancy party, the ambassador treats the FF to a special Latverian “berry juice,” which makes them a little loopy, and causes them to hallucinate. Johnny thinks he sees Ben provoking him, and Sue thinks she sees Reed cheating on her. A fight breaks out among the four, but unlike their usual wacky bickering, this time it’s more like they’re really trying to hurt each other.

While our heroes fight each other, Doom takes a moment to ruminate, wondering what it will be like once he finally defeats Reed. He undoes his mask and sees his own face in the mirror (We don’t see it, though. Some things are best left unseen, of course). Doom freaks out, saying his scarred face is even worse than he remembers, and destroys the mirror. “No triumph can ever restore my normal face to me!” Doom says. “No conquest can make me the man I once was!”

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Enraged, Doom attacks Reed and Sue, revealing himself as the leader of Latveria. Sue uses her invisible force fields to toss Doom out a window. Reed deduces that the “berry juice” is making them hallucinate. He and Sue track down Ben and Johnny and break up their fight. Our heroes take the fight back to Doom at the Baxter Building, where Doom intends to take over the place. He now has a force field of his own, which is too strong for Ben to punch through. Reed hands Johnny a rod wired to the building, and instructs Johnny to fly up above the city and unleash his nova flame. Johnny does so, lighting up the sky over New York. All the energy from the nova blast shorts out Doom’s force field. Unfortunately, it leaves Johnny too weakened to fly to safety. Reed catches him, burning his hands in the process.

Ben has Doom restrained, but Doom fights back with a miniature paralysis ray. Sue tries to stop him with invisibility, but his armor’s built-in radar catches her. Reed stops the fight and offers Doom a challenge to determine once and for all whose is the superior intellect. They drink to it, and then Reed pulls out the Encephalo-Gun. This is a weird-looking thing that hooks up to Reed’s and Doom’s heads at once. The one with the inferior brain, Doom says, will be banished to limbo. It’s a tense standoff, ending with Reed vanishing before everyone. Doom declares his victory, and walks out, leaving the other three to wallow in their shame, knowing that they’ve been defeated.

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Reed reappears, revealing that he gave some of Doom’s own Latverian “berry juice” to him, so Doom merely hallucinated defeated him. The best way to be rid of Doom is to let Doom think he’s won. The others know it won’t last and Doom will eventually be back, but they have a respite from him for now. “I can’t help feeling pity for him,” Reed says. “Something terribly tragic must have occurred in his life to make as he is!”

Unstable molecule: Reed outsmarts the baddie again, but his real hero moment is when he rescues Johnny, knowing he has to burn himself severely to ensure his teammate’s survival. It’s a powerful scene.

Fade out: Reed is kind of a jerk to Sue in this one, at first not noticing her romantic advances, and then by insisting she sit out the final fight. Her other two teammates back her up, though, and she stays by his side throughout. Just before Reed takes on Doom at the end, he tells Sue he loves her, so I guess he comes around.

Clobberin’ time: During the Fantisticar fender-bender, Ben crunches up the jerk’s car and then sells it some guy as “pop art.” Because it’s the ‘60s.

Flame on: I always love it whenever Johnny unleashes the nova flame, and that it’s a device used sparingly by the creators. This is a big one, as he lights up the entire sky over New York in flame. (Possible precursor to Galactus?)

Trivia time: This is the first appearance of Latveria, and this pretty much sets the stage for the rest of Doom’s appearances from here on out. Before this, he was more or less a mad scientist with an arcane background, pulling off a bunch of elaborate stunts. Now, with a ruler of his own nation added onto that, the writers suddenly have a lot more to play with. Doom isn’t just a scary villain, he’s a world leader who happens to be a scary villain.

Fantastic or frightful? Attention, people in Hollywood who are working on a Fantastic Four movie reboot: THIS IS THE TYPE OF THING WE WANT. Sure, the “berry juice” and the Encephalo-Gun are silly, but look beyond that. The first half of the issue is not superhero action, but a character study, a portrait of a talented yet flawed man with huge ambitions. This detailed origin puts us inside his head, and shows us where these ambitions come from. We better know who Doom is now. Add to that the visuals, with Doom lurking in his gothic castle or wandering the moors at night. Then, add to that him turning the FF against each other, bringing their emotional crises to the surface and exploiting them for his gain. THEN, add to that Doom’s moment of weakness all alone, too horrified to stare upon his own damaged face, which both humanizes him and makes him frightening at the same time. This is the type of rich, complex characterization we want, need, and deserve from an FF movie.

Next week: We’re going down, down, down, down…

****

Want more? Check out my book, CINE HIGH, now available for the Kindle and the free Kindle app.

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Ten cent movies: Primal Impulse

A while back, I bought this 50-movie set, Sci-Fi Invasion for only $5. That adds up to ten cents per movie. Today it’s a return to badly-dubbed Italian thrillers with 1974’s Primal Impulse (originally titled Le Orme and alternatively titled Footprints on the Moon).

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Here’s what happens: Alice is an ordinary woman is haunted by dreams of an astronaut stranded on the moon, with no way home. Fearing these are more than dreams, and experiencing gaps in her memory, she investigates.

Speculative spectacle: Turns out there really was a stranded astronaut, left behind on the moon as part of a secret and highly unethical science experiment. His “mental screams” have somehow psychically traveled across the void and into the mind of our heroine. Sure, why not?

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Sleaze factor: Less than five minutes into the movie and there’s a gratuitous shower scene. Alice later gets it on with a hunky guy she meets during her investigation.

Quantum quotables: Little girl: “Your pin says ‘Alice.’” Alice: “My name is Alice.” Little girl: “Not true.” (One of our first indications that something freaky is happening.)

What the felgercarb? Alice’s journeys take her to an exotic seaside resort, where we get a lot of tourist-y shots of her walking around the place. Is this the old “Let’s film the movie where we want to have our vacation” thing?

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Microcosmic minutiae: Actor Klaus Kinski, who has a habit of showing up in weird movies, makes an appearance in this one as a professor. The mysterious little girl is played by Nicoletta Elmi, who apparently has a huge cult following, based on the vast amount of not-creepy-at-all YouTube clips of her.

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Worth ten cents? This one’s kind of interesting, but the slow pace and unnecessarily artsy tone make it a chore to sit through.

*****

Want more? Check out my book, CINE HIGH, now available for the Kindle and the free Kindle app.

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The three Rs for March 11

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This is an author’s blog, so the rules state I absolutely must post about writer-y stuff. Here are your links for (w)riting, reading, and a little bit of randomness.

(W)riting

Author and former agent Nathan Bransford runs a popular blog about writing and publishing. He doesn’t post as often since he left agenting for a day job in social media, but since he just announced his next book will be a non-fiction book on novel writing, now’s a good time to revisit his blog. Dig through his archives and you’ll find some great thoughts and discussion on writing and publishing.

Space monkey/corndog link: http://blog.nathanbransford.com

Reading

Aurorarama by Jean-Christophe Valtat is a challenging book, sometimes overgrown with flowery language, but stick with it and you might find it rewarding, as I did. It’s kind of like steampunk in how it imagines an alternate past that’s technologically advanced, with a gleaming city built in arctic, which turns to crime and ruin over time. There’s a lot of characters and concepts, and it deals with big, big ideas.

Northwest passage link: http://www.amazon.com/Aurorarama-Jean-Christophe-Valtat/dp/1935554131

Randomness

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Want more? Check out my book, CINE HIGH, now available for the Kindle and the free Kindle app.

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Fantastic Friday: Let’s all get diabolical

Re-reading the Fantastic Four comics from the start. Thirty issues in, and things are about to get diabolical.

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The issue begins our heroes on vacation… in Transylvania. Ben wonders why they can’t just go to the beach like everyone else, and I’m thinking that’s a damn good question. The FF are lost in the woods, after villagers have warned them not to go wandering off. It’s as if the forest is alive, trying to trap them. They come across a giant abandoned castle. A fellow named Baron Hugo arrives, and exposits that this is the castle of Diablo, a local legend.

Hugo explains that Diablo was an alchemist, obsessed with finding the secret to prolonging human life. The castle is now under Hugo’s protection, and he invites the FF to stay the night. In the dark of night, a strange voice calls out to Ben. He follows it, not sure why, and comes face to face with a cloaked figure, Diablo.

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The next morning, Reed, Sue and Johnny investigate the disappearance, and find Diablo transforming Ben into a new form that is half Thing, half human. Reed is suspicious, fearing that Diablo’s chemicals have affected Ben’s mind, making him perfectly loyal to Diablo. This proves to be correct, as Ben attacks Reed for besmirching Diablo. Rather than keep fighting, Diablo allows Reed, Sue, and Johnny to leave, as Ben stays behind. Reed manages to secretly swipe one of Diablo’s potions on the way out.

Word about Diablo’s prowess spreads fast, and people from all over the world come to him seeking his anti-aging formula. He makes plants grow in the desert, and he gives the military an impenetrable substance for defense. Back at Hugo’s castle, Reed experiments on Diablo’s formula and discovers it is a fraud. Hugo arrives, and admits that his ancestors sealed Diablo away in the castle for a reason all those years ago.

Ben sees Diablo meeting with generals and raising an army. Then, the potion wears off, and he becomes the Thing again. He tries to attack Diablo, but Diablo uses a sleeping potion and knocks Ben out.

Word gets out throughout the world that the effects of Diablo’s potions are only temporary, and everyone is outraged. Reed decides to move in before a full-blown world war breaks out. Fighting! First, Reed, Sue, and Johnny get past Diablo’s troops, and then past Diablo’s deadly chemicals. They make it past Diablo and find Ben, sealed up and trapped in an unbreakable glass cage. Diablo shows up again and knocks everyone out with more sleeping gas.

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Ben wakes up, and summons all his strength to break free of the glass cage. (Hero moment!) Ben totally trashes the place, with Diablo on the run the whole time. He eventually destroys the entire castle, trapping Diablo under it and freeing his teammates at the same time. Johnny uses his flame to seal Diablo away from the rest of the world once more. (We’re not told what happened to Hugo and his crew. Hope they’re not dead.) As Ben apologizes to his teammates, there’s a laugh as they got lost in the woods again.

Unstable molecule: Reed gets beaten up a lot in this one, both by Ben and Diablo. He figures out Diablo’s trick, but so does everyone shortly afterward.

Fade out: There’s a funny bit where Sue turns Diablo invisible, and he nearly gets trampled by his own soldiers another example of Lee and Kirby always thinking of new ways for the characters to use their powers.

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Clobberin’ time: This one’s a showcase for Ben. Although Diablo defeats the other three, he’s no match for Ben when Ben really cuts loose.

Flame on: When under attack by Diablo’s army, Johnny does the old “outfly-the-heat-seeking-missiles-by-making-them-fly-into-a-cliff-at-the-last-minute” gag.

Trivia time: This is the first appearance of Diablo. He’s appeared sporadically throughout Marvel history, but never became a major player.

Fantastic or frightful? It’s frustrating how sometimes Diablo’s potions work and sometimes they don’t, which caused for a “Hey, wait a minute” moment every couple of pages. On the plus side, though, the whole issue has this great Universal monster movie feel to it, which makes for a fun change of pace.

Next week: Not all origin stories are created equal.

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Want more? Check out my book, CINE HIGH, now available for the Kindle and the free Kindle app.

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Ten cent movies: Battle Beyond the Sun

A while back, I bought this 50-movie set, Sci-Fi Invasion, for five bucks. That adds up to ten cents per movie. 1962’s Battle Beyond the Sun was originally a ponderous Russian sci-fi movie with a ton of anti-U.S. sentiment, reedited into a “rah-rah hooray for America” adventure movie. The result is about as incomprehensible as you’re imagining.

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Here’s what happens: In the far-distant future of 1997, which is after the nuclear devastation of World War III, the Earth is divided into two factions, North Hemis and South Hemis, which are both in a race to put the first man on Mars. One of the ships crash, and its rival sets out on a rescue mission, only to have both crews under siege by ferocious alien creatures.

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Speculative spectacle: Although they seem to threaten the astronauts, the aliens are more interested in fighting each other. One is this one-eyed creature with an uncomfortably suggestive sideways mouth, and the other looks like a headless body with big eyeballs at the end of its arms, where hands should be.

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Sleaze factor: None. This is one stodgy, starched-shirt movie.

Quantum quotables: The opening narration states, “The motion picture you are about to see can be called today a fantasy of the future. But one day, maybe not too far distant, audiences will be able to look back on it in the same spirit which we view pictures about the first covered wagons crossing the plains.”

What the felgercarb? At a space station, one guy loses control of the artificial gravity and floats around like a goofball, but why is it just him without gravity and no one else? Am I missing something?

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Microcosmic minutiae: Legendary filmmaker Francis Ford Coppola shows up in the credits as “associate producer.” Here’s how that happened: Roger Corman (Who else?) obtained the rights to a Russian sci-fi film called The Sky is Falling, and he hired Coppola, who was still in film school at the time, to dub and re-edit an Americanized version of the movie. Coppola and equally-legendary-but-for-other-reasons filmmaker Jack Hill worked together on the project, filming some new footage as well. All the stuff with the aliens came from Coppola and Hill, not the original film.

Worth ten cents? The Coppola-Corman-Hill collaboration makes this a novelty item, but mostly it’s tedious viewing.

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Want more? Check out my book, CINE HIGH, now available for the Kindle and the free Kindle app.

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Ten cent movies: The Brother from Another Planet

A while back, I bought this 50-movie set, Sci-Fi Invasion, for five bucks. That adds up to ten cents per movie. Unlike others on this set, 1984’s The Brother from Another Planet has real actors, real production value and a real director.

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Here’s what happens: An alien, identified only as “Brother,” crash lands on Earth just outside New York City. He makes his way to Harlem to start a new life for himself. Unfortunately, he runs afoul of some drug dealers and is pursued by mysterious men in black.

Speculative spectacle: Our alien is mute, which definitely puts him in observer mode as he interacts with humans. He has some limited psychic powers, but what really makes him alien is his big ol’ hobbit feet.

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Sleaze factor: The movie starts out light and funny, with some slightly E.T. style antics, but with an inner city twist. As night falls, though, we’re plunged abruptly into a world of streetwalkers and drug dealers. Who, exactly, was the target audience for this?

Quantum quotables: “Walter, my man, you’re a space shot. Cruisin’ the stratosphere!” – My favorite character, Fly, says all kinds of stuff like this while playing the ‘80s-era coin-op video game inside the bar.

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What the felgercarb? Because Brother doesn’t speak, this somehow has everyone else opening up to him, with big dramatic speeches about how tough life is. Obvious social commentary is obvious.

Microcosmic minutiae: Lots of talent in this one: The movie was written and directed by John Sayles, who’s had a long and varied career in the movie biz, crafting great films such as Passion Fish and Lone Star. Joe Morton plays the Brother, and he too has had a successful acting career, most famously appearing in Terminator 2 and Eureka, among many other roles. Character actor David Straithairn plays one of the men in black, and he too has had a huge career of mostly dramatic roles. An impossibly young Fisher Stevens appears as a card shark Brother encounters on the subway.

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Worth ten cents? The plot often takes a back seat to the philosophizing, so don’t expect a lot of chases or special effects. Still, it’s worth seeing, as the whole thing is drenched in metaphor and discussion prompts. It might not be the best movie on this set, but it’s probably the smartest.

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Want more? Check out my book, CINE HIGH, now available for the Kindle and the free Kindle app.

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