Wednesday, November 6, 2024

The Wicked Witch of the West: Into the Toy Hoard

 


Todd McFarlane’s Movie Maniacs ‘The Wicked Witch of the West’ (Authenticated Limited Edition of 10,000). I used to be THE Action Figure guy; you can search this blog to prove this. My collecting has slowed down dramatically; partly I think this is because I am getting old and tired, but largely it may be because no-one is making good action figures at affordable prices. Anything worth buying is not made to be played with, really; they are made to displayed on one’s shelf as a trophy, a proof of your pop cultural bona fides. The Wicked Witch cost as much as three ordinary action figures on department store shelves; if there was anything worth getting on those shelves, I might have got them instead, but there doesn’t seem to be good stuff out there anymore.

But I definitely had to get this figure, because it has a superior sculpt, an absolutely amazing likeness of Margaret Hamilton as the Wicked Witch from the 1939 classic The Wizard of Oz, that beloved classic that has been deep in my heart since almost before I could think. Todd Mcfarlane’s Movie Maniacs usually features some sort of misshapen monster, but the Witch is in a class by herself: it is her over-the-top threat of violence, her ‘wickedness’ that makes her a monstrosity, not her green skin or pointed nails. This was something I knew I would have to have eventually, and now I do.

This is a figure that I do not think I will ever take out of the box; it does not seem to have any ‘playability’ that would make it worth doing so. Because of this I regret one flaw in the package as delivered. The side of the plastic box seems to have been pinched, hard enough to dent it permanently. I can only imagine it done by some kind of mechanical claw during packaging, plucked off one of Amazon’s shelves by a robot arm. There seems to be no remedy for it. I fear this care for the state of packaging is a slip in my ideals about action figures, a concern for peripheral, even inconsequential, factors related to a toy. But that’s where I am.

And here's a witchy wideo for this Wednesday:

Sesame Street - Wanda the Witch 1969 [HQ] - YouTube



Tuesday, November 5, 2024

Greg Hildebrandt: Rest in Peace


Self Portrait by Greg


Greg Hildebrandt, the surviving half of the illustrating team of the Brothers Hildebrandt, passed away on Halloween last Thursday at the age of 82, and I would be remiss if I did not note his passing.  The Hildebrandts’ 1977 Tolkien calendar had the first substantial series of Middle-earth interpretations that I had ever seen (my Drama teacher Mr. Daryl Fleming had it hanging in his classroom; at my begging he even let me borrow it for a while). It was trying to draw in the Hildebrandt style (particularly the swirling folds of clothes and cloaks) that caused the first serious development in my own drawing. Ever after I was always on the lookout for their work; I bought the next years’ Hildebrandt Calendar (their last of three) and would always give books with covers by them close consideration. Their pictures were often the icing that sold less satisfactory offerings like The Sword of Shannara or Urshurak. After the brothers split up and pursued their own careers, I must admit I always admired Greg’s work more, although their style was almost identical; he was more prolific, I have to add. Here is a slightly edited article about them from Wikipedia; what follows that is a collection of some (but not all) of the Hildebrandt items I actually own.

Greg (January 23, 1939 – October 31, 2024) and Tim Hildebrandt (January 23, 1939 – June 11, 2006), known as the Brothers Hildebrandt, were American twin brothers who worked collaboratively as fantasy and science fiction artists for many years, produced illustrations for comic books, movie posters, children's books, posters, novels, calendars, advertisements, and trading cards.

Career

Born in Detroit, Michigan, Greg and Tim Hildebrandt studied at the Meinzinger Art School and began painting professionally in 1959 as the Brothers Hildebrandt. The brothers both held an ambition to work as animators for Walt Disney, and although they never realized this dream, their work was heavily influenced by illustration style of Disney feature films such as Snow WhitePinocchio and Fantasia. They were also influenced by the artwork in comic books and science fiction books, notably the work of Norman Rockwell and Maxfield Parrish.

The brothers are best known for their popular The Lord of the Rings calendar illustrations, illustrating comics for Marvel Comics and DC Comics, original oil paintings for a limited edition of Terry Brooks's The Sword of Shannara, and their Magic: The Gathering and Harry Potter illustrations for Wizards of the Coast.

In 1977 the brothers were approached by 20th Century Fox to produce poster art for the UK release of Star Wars. A promotional poster had already been produced in the US by the artist Tom Jung, but Fox executives considered this poster "too dark". The Brothers Hildebrandt had established a reputation working on the Lord of the Rings calendar and a concept poster for Young Frankenstein, and Fox commissioned them to rework the image. The twins had to work to a very tight deadline and worked together in shifts to produce a finished product in 36 hours.

In 1981, the Hildebrandts had another film poster commission, for the Greek mythological heroic fantasy film Clash of the Titans. Together, the brothers developed a concept for a fantasy movie, Urshurak; although this never went into production, the Hildebrandts collaborated with author Jerry Nichols to publish Urshurak in the form of an illustrated fantasy novel in 1979.

The lack of success with Urshurak may have contributed to their decision to work independently of each other, and in 1981 the brothers began to pursue separate careers.[12] Greg painted cover artwork for the magazines Omni and Heavy Metal, and illustrated a number of books including Mary Stewart's Merlin TrilogyThe Wonderful Wizard of OzAladdinRobin HoodDracula, and The Phantom of the Opera. Tim also created cover art for books such as The Time of the Transference and The Byworlder, as well as for Amazing Stories magazine, along with illustrated calendars based on fantasy themes such as Dungeons & Dragons. After 12 years the Brothers reunited to collaborate on work for Marvel ComicsStan Lee, and numerous book projects.

Greg Hildebrandt Jr. also made major contributions to the production of a book entitled Greg & Tim Hildebrandt: The Tolkien Years, which gave an overview of the Tolkien genre artworks produced by Greg and Tim in the 1970s.

Greg's solo work and family

Individually, Greg contributed to the art for the Trans-Siberian Orchestra's albums and concert merchandise. He also provided the cover art for Black Sabbath's 1981 Mob Rules album. 

During the 1980s and 1990s Greg illustrated a number of classic books. These range from Greg Hildebrandt's Favorite Fairy TalesAlice in WonderlandPeter Cottontail's SurprisePeter Pan and Robin Hood to DraculaPoe: Stories and Poems and The Phantom of the Opera. During this time Greg also illustrated the holiday books Christmas Treasury and Treasures of Chanukah.

Greg married his first wife, Diana F. Stankowski, in 1963.Diana assisted in his art projects and was the model for Princess Leia on the Star Wars movie poster. They had two daughters and a son. In 1991 Greg began living with longtime colleague Jean Scrocco. The couple married in 2009. Greg died on October 31, 2024, at the age of 85.

Tim's solo work and family

Tim Hildebrandt illustrated children's books, two Dungeons & Dragons calendars, and the poster for the 1982 film The Secret of NIMH. He was associate producer of the 1983 horror-themed science fiction film The Deadly Spawn, filmed in Tim and Rita's Victorian home in Gladstone.
Tim married Rita Murray, who went on to design and create the costumes for the Lord of the Rings works.[ Together they had a son. Tim Hildebrandt died on June 11, 2006, at the age of 67, due to complications of diabetes. -Wikipedia 


































Monday, November 4, 2024

The Lord of the Rings: The Passing of the Grey Company (Part Five and Last)

 


The Tale

‘The light was still grey as they rode, for the sun had not climbed over the black ridges of the Haunted Mountain before them.’ Aragorn and the Grey Company (and Legolas and Gimli) pass through a line of ancient stones and so come to the Dimholt and a stand of ancient trees so black and gloomy that even Legolas (who was raised in Mirkwood, remember) cannot stand it very long. Passing through they come to a hollow place at the mountain’s root and a single tall stone like a warning finger.

‘My blood runs chill,’ said Gimli’ but his voice falls dead in that silent place. The horses will not pass the stone until the riders dismount and lead them around. And behind the stone in the sheer rock wall of the mountain is the Dark Door, gaping like a black mouth of night. ‘Signs and figures were carved above its wide arch too dim to read, and fear flowed through it like a grey vapour.’

All hearts quail ‘unless it were the heart of Legolas of the Elves, for whom the ghosts of Men have no terror.’ Halbarad, who may have some of the foresight of the Dunedain, predicts his death lies beyond the Door, but he will go through nonetheless. But he does not think the horses will go. Aragorn says they will need them once they pass through, so go the horses must. Every lost minute would aid Sauron’s victory.

Aragorn leads the way in, and his great will that the Rangers and their horses follow him. But Arod, the horse of Rohan, won’t enter, trembling and sweating, until Legolas sings some soft words, calming him, and then Legolas leads him through the Door. ‘And there stood Gimli Gloin’s left all alone.’



The Dwarf’s knees shake and he’s angry with himself that he does not go in immediately. ‘Here is a thing unheard of! he said. ‘An Elf will go underground and a Dwarf dare not!’ His pride stung, he plunges in. But his feet drag heavily over the threshold, ‘and at once a blindness came upon him, even upon Gimli Gloin’s son who had walked unafraid in many deep places in the world.’

Aragorn leads the company with a torch and Elladan (one of Elrond’s sons) brings up the rear with another. Gimli stumbles along, trying to catch up. If the company stops, he can hear a whisper of voices all around them in an unknown tongue. He knows there is no turning back.

There is a glint in the darkness and Aragorn turns aside to investigate. Gimli would go to look for gold any other time, but now he just wants to let it lie. It turns out to be a corpse clad in gilded armor, with a belt of gold and garnets. He is clawing at a closed door and his broken sword lies next to him, as if he died clawing trying to open that closed door.



Aragorn guesses who he is, one of the Kings of Rohan, but here no flowers will ever grow on his mound. No one will ever know what he was trying to find beyond the door, what treasures or secrets. Aragorn raises his voice and turns to face the whispering darkness behind them. For that is not why they are here! They only seek to pass through. He summons the Dead to the Stone of Erech!

The whispering falls into an even more dreadful silence, and a blast of wind blows out the torches. They cannot be kindled again. They pass on, and Gimli cannot tell how long they went on in the dark. He is always in the rear, pursued by blind horror that seems to grope at him. Finally, he is crawling along, thinking that he must either escape or turn and face the following fear.

Suddenly he hears the tinkle of water. The light grows, and he finds they are following a rill of water out of another door to outside to a steep road between sheer cliffs. So deep is the cleft that he can see stars above them, although it is still not sunset of the day they entered. It has seemed a timeless journey.



The company gets back on their horses and ride down through the deepening dusk in single file. Still the fear pursues them. Gimli rides behind Legolas again. When the Elf turns back to talk to the Dwarf, he sees Elladan bringing up the rear, but he is not the last behind them.

‘The Dead are following,’ said Legolas, ‘I see shapes of Men and of horses, and pale banners like shreds of cloud, and spears like winter-thickets on a misty night. The Dead are following.’ Yes, says Elladan. ‘They have been summoned.’



The Company come at last out of a ravine and into the uplands of a great and rich vale before them. Gimli asks ‘Where in Middle-earth are we?’ and Elladan answers they are in the Morthond Vale, carved out by the chill Blackroot river as it wends its way past Dol Amroth down to the sea. The vale is rich and many Men dwell there.



Aragorn turns and cries to the Company that they must ride in haste to the Stone of Erech before the day passes. They pass like a wild hunt down through the land, and the inhabitants flee before them, crying that the King of the Dead is upon them. They come to the Stone just before midnight. It is ‘a black stone, round as a great globe, the height of a man, though its half was buried in the ground. Unearthly it stood, as though it had fallen from the sky, as some believed; but those who remembered still the lore of Westernesse told that it had been brought out of the ruin of Numenor and there set by Isildur at his landing.’ Nobody from the valley gets near it, as it is said to be a meeting place of ‘the Shadow-men’.

When they get there, Aragorn turns and blows a silver horn that Elrohir (Elrond’s other son) hands him, and he is answered by dim horns like an echo in a mountain pass. The Company is aware of a great host all around them and ‘a chill wind like the breath of ghosts came down from the mountains.’ Aragorn dismounts, stands by the Stone and cries out ‘Oathbreakers, why have ye come?’



A voice answers, as if from far away: ‘To fulfil our oath and have peace.’

Aragorn says the hour has come at last. If they will follow him and clean the land of the servants of Sauron, he will hold the oath fulfilled, and they can depart and have peace. For he is Elessar, Isuldur’s heir of Gondor.

He bids Halbarad unfurl his standard, and in the darkness, it looks completely black; whatever is on it is hidden by darkness. There is a silence from the ghostly host. The Company camps by the Stone that night, and not a noise is heard from the Dead, but there is little sleep for dread.

When the dawn comes Aragorn raises the Company, and urges them forward, though they are still weary. They ride, and ‘only his will held them to go on. No other mortal Men could have endured it, none but the Dunedain of the North, and with them Gimli the Dwarf and Legolas of the Elves.’

They pass Tarlang’s Neck, and come to Lamedon, then to Calembel upon Ciril. The land before them is deserted; many have gone to war, and others have fled before the terror of the Dead. The Company stay overnight at the fords of Ciril. ‘But the next day there came no dawn and the Grey Company passed on into the darkness of the Storm of Mordor and were lost to mortal sight; but the Dead followed them.’

Bits and Bobs

Halbarad is a kinsman of Aragorn and has some of the foresight of the Dunedain; unfortunately, his premonition of his death comes true on the Pelennor Fields. He is, however, staunch and heroically faces his doom as necessary.

Dimholt translates as ‘the obscure, secret (dim) wood.’

The passage through the Paths of the Dead is told through Gimli’s eyes, who might be considered the ‘lowest’ of the Company, and so the most affected by the fear. It is only his Dwarvish pride that compels him to enter the caves.

The corpse they find is that of Baldor son of Brego, grandson of Eorl, who boasted he would take the Paths of the Dead and was never heard of again. That was 450 years ago. Tolkien wrote in a later note that the door that his body was found in front up was to an evil temple; it was shut in his face and the Dead broke his legs and left him to die.

It is said that when they finally emerge into a steep valley that it is so deep that, although it is still daylight, Gimli can see the stars. This so-called ‘chimney effect’ has since been disproved to exist. I think (and I’m not absolutely sure) that when Gimli uses the term Middle-earth that this is the first time it occurs used by a character in the story itself; at least it is the first place I ever noticed it.

The Stone of Erech seems like a strange artifact to lug all the way from Numenor; perhaps it had some significance that was never explained. Pelargir is ‘the Garth of Royal Ships’ where the Men of Westerness first landed and was the haven of the Faithful of the Numenoreans. Tolkien wrote of Tarlang’s Neck that it was named after one of the legendary Giants who built those mountains; when he died, he was built into the mountain wall, his neck becoming the ridge. He also said it could have been named because it was a difficult way for ‘stiff-necked’ people to take who would brook no delay. Calembel (Greenham’, ham as in town) sits on the Ciril, a river that cuts through the land (cir = cleaves).

Pippin sees the same sun go down redly from the walls of Minas Tirith; Sam and Frodo have seen it as they pass from Minas Morgul to Osgiliath. Now we are reminded of where most of the players are on the board.


Sunday, November 3, 2024

Christmas in November?

 


As this Peanuts comic from October 23, 1959, shows, the expansion of the 'Christmas season' has been going on for a long time. The reason for it is not far to find: big business and stores want the longest buying period possible at the end of the year, to bring their balances into the black. They have a way to force compliance with this plan; if people don't start consuming quickly and early, by the time the actual Christmas season rolls around (traditionally held to begin after Thanksgiving) the best presents, the best decorations, sometimes even the best food is already sold out. The result is that by Christmas day everyone (especially adults) is tired out and ready for it all to end. One cannot be kept at an emotional boil for two months and not be somewhat exhausted by the whole thing. It is a situation from which there seems to be no escape, not for society as a whole. One can only strive personally to keep an even keel and not be drawn too much into the feeding frenzy. Decorations, sales, and carols over the radio and in store Muzac are already everywhere. But being aware of the hard sell grants one some degree of objectivity, and allows one to reserve some Christmas cheer for the actual day.






Into the Archive: The Book of Bill

 


I came back yesterday from a family party and found The Book of Bill (by Alex Hirsch, Hyperion Books) waiting in our mailbox. It had only come out in July of this year; at first I wasn’t aware of it, and then I waited awhile before ordering, which saved me a good chunk of change because the copy was sold as Used Very Good. Still, I might not have bought it even yet, if I had not believed I needed it for Free Delivery (read those details carefully, kids!). Still, I don’t regret having it.

The book is another volume connected to the popular and amazing Gravity Falls series, purported to be written by the series’ main villain, Bill Cipher, a bow-tied, top-hat wearing triangle with one eye, an interdimensional dream-demon with designs on our world.

Hoped to be dead, but long rumored to still be alive, “The demon that terrorized Gravity Falls is back from the great beyond to finally tell his side of the story in The Book of Bill, written by none other than Bill Cipher himself.

Inside, Bill sheds light on his bizarre origins, his sinister effects on human history, the Pines family’s most embarrassing secrets, and the key to overthrowing the world (laid out in a handy step-by-step guide). This chaotic and beautifully illustrated tome contains baffling riddles, uncrackable ciphers, lost Journal 3 pages, ways to cheat death, the meaning of life, and a whole chapter on Silly Straws. But most importantly, The Book of Bill is deeply, deeply cursed.

Alex Hirsch, #1 New York Times bestselling author, resuscitates this infamous villain and invites fans to a Bill’s eye view of the Gravity Falls universe. There are many who believe this book is too dangerous for human hands. But if you can’t resist, just know this: Once you make a deal with Bill, it’s not so easily undone . . .” – Amazon.

From what I’ve read so far, the added caution “Beware: This book travels to dimensions meant for older readers,” might not be so frivolous as it seems. Though warned at the beginning that Bill is a lying liar, he espouses opinions that just might appeal to the cynical and rebellious, opinions seriously held by many today. “A human is an organic machine made out of blood and anxiety, designed to deliver a random bundle of genetic material into the future and then turn to dust … it was designed by random mutation…” is professed to be believed by many today, though few strictly live their lives by it (usually only when they don’t want to do something that is contra-indicated socially or morally).

What The Book of Bill reminds me of is The Book of the Subgenious, hilarious and amusing in the fact that it often says the quiet part out loud, the feared opinions and conclusions of the hopeless and isolated. These might sound quite reasonable to the despairing, with the promise that if you abandon normal beliefs and accept that reality is an illusion and love is a trick, you will lose anxiety, ‘go with the flow’ of Chaos, and quit struggling.

Quite a dark philosophy to be presented to a so-called tween audience, if you remember the grasping and flailing emotions of that stage in life. Although Bill is portrayed as a liar and an ultimate loser in the end, only seeking a way to return to power, I wonder if his philosophy is quite the thing to dangle in front of the impressionable, or if they are guaranteed to take away the right message from what is, after all, a tie-in to a Disney show. What with figures like Maleficent and Cruella DeVille being re-invented as understandable heroes of their own tales, is it impossible that some kids might embrace Bill as their own?

In the meantime, it is comical and entertaining, and probably quite safe if you have a resistance to taking it seriously, and a little skipping ahead shows that Bill does not ‘win’ with his attitudes. Scorn is the best reaction to a villain’s villainy. And in the end, who would take it seriously except an old toot used to dissecting literary works (no matter how humble) for their philosophical underpinnings? Jokingly, of course, though no joke is ever without its serious side.

Friday, November 1, 2024

Friday Fiction: The Yearhorn


YEARHORN NOTES

[The Yearhorn was planned as an anthology "magazine,", a booklet not unlike The Arena, a place for fantasy and horror stories set in the land of Alben (or Albenn). John and I would write alternate tales. The framing device was a group of monks who gathered to drink and tell strange stories. We worked on this off and on (never very diligently; it was more of a wistful idea than a project) during the early Eighties, straddling my high school and college years.]

1. To The Bridge - Man out hunting, storm, Holders come pick him up, he limps, they talk, drink, reach bridge, driver tells of demon, they go out, he finally joins them, shoot blessed arrow at him, Holders get him, as he is wounded he disappears, he leaves them, limps no more. (I seem to remember 'the Holders' were an order dedicated to 'holding back the Darkness')

2. Vintage Year

3. The Old Boy

4. Black Candle

4. Fate's Trophy(?)

5. J[ohn] C[raft] Story- Young woodcutter's son, John Craft godfather, secret names, names, words, years pass after JC leaves, woodcutter dies, son takes over, goes through old study, finds ring JC gave him, puts it on, transport to Elfland, finds out as kid he had become great king and come back as a kid again, doesn't accept second lordship, goes back, lives long, finally puts on ring and leaves this world.

TALES TOLD BY:

#1. Father Merry - To The Bridge [by Bryan]

#2. Brother Grones - Black Candle [by John]

#3. Brother Crowberr - The Old Boy [by Bryan]

#4. Brother Bellmon - Vintage Year [by John]

#5. Brother Horace - Fate's Trophy [by Bryan]

#6. Brother Weatherstone (John Craft) - JC Story [by John] 

 

THE PLAYER AND THE SONG

THE YEARHORN

THE GOOD KING DOLBIN

 

[I know that at least "The Old Boy" and "Vintage Year" were actually written; not so sure about the others. A picture by me for a cover for The Yearhorn, drawn on a Mr. Gatti's sub paper, survives.]



Thursday, October 31, 2024

Our Three Childhood Prayers

 




The 'Come Lord Jesus' grace before meals is the translation of an old Lutheran prayer in German: " Komm, Herr Jesu; sei du unser Gast; und segne, was du uns besecheret hast". It may have come down to us from Pop's side of the family. I always wondered what would have happened if Jesus suddenly was our guest; would our scant meals stretch to another at table? I never considered that He could miraculously multiply the fried chicken and cheese noodles. We never actually prayed the 'Angel of God' prayer, but it always hung on one of the back bedroom walls and was never taken down, even in the JW years. I have the plate even now, safely tucked away, not sure if I could hang it securely. 'Now I Lay Me Down To Sleep' was of course in the cultural air, even repeated in several old cartoons.
An alternate grace before meals:


Though we always used interlaced fingers, not steeples.