Ciencia Ficción

God Mazinger

God Mazinger is a Japanese comic book from the 1980s by Go Nagai that is a part of a long-running series, though it may easily be the most bizarre, creative, and entirely off-model, showing the influence of the American author, Edgar Rice Burroughs. A young boy from modern day Japan is transported back in time to the ancient prehistoric lost continent of Mu, where he has to defend an extremely bosomy princess from an invading empire, who uses forces made of still living giant dinosaurs.

God Mazinger is a Japanese comic book from the 1980s by Go Nagai
God Mazinger is a Japanese comic book from the 1980s by Go Nagai

The origin of the giant robot in this series is fascinating. Mu was the first civilization created when men were expulsed from the Garden of Eden into the primeval, prehistoric world. I can’t help but think that God was excessively harsh in sending the first people into a landscape with terrifiying giant dinosaurs. Either way, to atone for this, God left a statue of himself, a hundred feet tall, that would protect the first human civilization from monsters and dinosaurs. But according to the Prophecy, it would activate only when a Marty McFly/Luke Skywalker type boy protagonist from 20th Century Japan arrived to use his soul to awaken the giant statue, which becomes a robot with a giant sword.

God Mazinger is a Japanese comic book from the 1980s by Go Nagai
God Mazinger is a Japanese comic book from the 1980s by Go Nagai

Frank R. Paul, the definitive pulp scifi…

Frank R. Paul, the definitive pulp scifi...

Frank R. Paul, the definitive pulp scifi artist, did the cover of the first-ever Marvel Comic in 1939. This is because Marvel’s comic books were an extension of their already existing pulp magazine publishing empire. 

Marvel Magazines (Timely Publishing), founded by Martin R. Goodman, knew Frank R. Paul as he illustrated the cover of many of their pulp magazines, like Marvel Mystery Stories and Marvel Science Stories as far back as 1938. Marvel Comics started off as an extension of the pulps into a new medium, hence why they called the most famous 20s-30s scifi artist of all time, with whom Marvel Magazines had a strong working relationship. 

Frank R. Paul’s cover for Marvel Science Stories, a year before:

Frank R. Paul, the definitive pulp scifi...

Martin Goodman, pulp publisher and the founder of Marvel Magazines in the late 30s, was Stan Lee’s uncle by marriage, and gave Lee his first job in comics writing text stories in Captain America #3 (1942). Goodman had tickets on the Hindenburg’s final explosive flight (two years before creating Marvel’s comic publishing division), but had to cancel at the last minute. Incidentally, I am always amused by pedants who insist that Marvel “was actually called Timely Publishing in the 1930s-40s.” Technically true, I guess…but they were known as Marvel Magazines as far back as the 1930s.  

Frank R. Paul, the definitive pulp scifi...

Here’s more support for the idea that Marvel Comics grew out of the Marvel pulp publishing empire: notice that in the first-ever Marvel Comic, they mention “Ka-Zar” on the cover as if the audience should know who he is. And they did! Marvel created that character in 1937, 2 years before Marvel even started publishing comics at all, in a character pulp in imitation less of Tarzan than of the Ki-Gor series.

Many know of Ka-Zar and the Savage Land because he was, like Captain America and the Human Torch, a pre-existing hero who was revived in the 1960s. The really unusual thing is that Ka-Zar was revived in the pages of X-Men, and so was absorbed into the cast of that title and never really broke out as a solo star, though every 2 decades, he gets a solo series.

Frank R. Paul, the definitive pulp scifi...

Son of Star Wars. Battlestar Galactica

Son of Star Wars

Newsweek, September 11, 1978. Son of Star Wars. Battlestar Galactica

En 1978 se produjo uno de los casos en torno al copyright más polémicos. La productora de Star Wars, 20th Century Fox, demandó a Universal Studios, quienes a su vez eran los productores de la serie original Battlestar Galactica, por supuestamente plagiar a la obra de George Lucas. Un caso que terminó con una decisión salomónica y de sentido común.

20th Century Fox consideraba que tenía demasiadas referencias al universo creado de George Lucas, razón por la que demandó a Universal Studios por infracción de los derechos de autor. Una demanda donde alegaban hasta 34 ideas “robadas” o demasiado similares a Star Wars.

Universal Studios alegó a través de Glen Larson, el creador de la serie, que tuvo muy en cuenta no tomar claras referencias a Star Wars como los sables distintivos de la película de Lucas y que su obra estaba pensada mucho antes de Star Wars. Larson también comentaría que llegó a tener un encuentro anterior con Gary Kurtz, productor de Star Wars, donde le habló del planteamiento de Battlestar.

Al final el caso se decidió a favor de Battlestar Galactica dos años más tarde, el 22 de agosto de 1980, cuando ambas productoras deciden resolver fuera de los tribunales con una idea lógica, y es que una obra, y más aún de ciencia ficción, no deja de ser en parte una copia o derivado de otra anterior.

Para Battlestar Galactica, la solución llegó tarde y la producción ya se había cancelado. 

Annihilator (1986)

Annihilator (1986)
Annihilator (1986)
Annihilator (1986)
Annihilator (1986)
Annihilator (1986)

Annihilator (1986) Michael Chapman was essentially “Terminator: the Series” mingled with elements of Invasion of the Body Snatchers. The plot is that an everyman reporter realizes there is something wrong with his girlfriend since she took a transatlantic flight, and then figures out that everyone on the flight was replaced by a lookalike glowing-eyed unkillable alien invader, who, because of the limitations of their shapeshifted form, have to make do with local weaponry. Not believed by anyone, our hero has to kill every single person who came off the flight. Like so many unsold pilots that didn’t go to series, it aired once and only once as a “movie of the week.” (Where do you think they used to get those?) 

Películas Imposibles: Alien 5

El artista Geoffroy Thoorens ha recuperado arte conceptual del ALIEN 5 de Neill Blomkamp que nunca fue.

Neill Blomkamp, director de Distrito 9‘, ‘Elysium‘ y ‘Chappie’ se había embarcado en un proyecto para traer a los xenomorfos de regreso. La que iba a ser la quinta entrega de ‘Alien‘ contaba con el beneplácito y la implicación directa de Sigourney Weaver, dispuesta a volver a encarnar a la inmortal Ellen Ripley.

El diseñador Geoffroy Thoorens ha compartido en sus redes gran parte de sus diseños pasados para aquella ‘Alien 5‘.

Películas Imposibles: Alien 5
Películas Imposibles: Alien 5
Películas Imposibles: Alien 5
Películas Imposibles: Alien 5
Películas Imposibles: Alien 5
Películas Imposibles: Alien 5
Películas Imposibles: Alien 5
Películas Imposibles: Alien 5