I too translated the Kryptonian into English, and kept a print out of it in the bag behind the board in case I needed to read it again.
Superman/Batman #8, May 2004 - the issue that introduced the new Supergirl, with art by the late Michael Turner.
And yes, I’m that big of a nerd that I actually translated the Kryptonian spoken by Superman and Supergirl. Luckily the Kryptonian alphabet exactly matches English! (It’s pretty simple if you know basic cryptography)
Tales Of Suspense #80, August 1966, cover by Jack Kirby, Don Heck, and Stan Goldberg.
Edward Gorey Illustrations from a 1960 edition of War of the Worlds by H.G. Wells, published by Looking Glass Library.
Yes. That’s right, you heard me right the first time.
Indiana Jones And The Fate Of Atlantis #3, July 1991, cover by Dave Dorman
That’s why any and every son-of-a-bitch we find wearin’ a Nazi uniform, they’re gonna die.
INGLOURIOUS BASTERDS (2009) dir. Quentin Tarantino
Star Trek Coloring Book (1978)
Faux novel covers for Jake Hunter franchise
I own this issue.
Now that David Letterman is retiring, perhaps he can score a role in the next Avengers movie.
The best of the Encyclopedia of Pulp Heroes: Audaz.
Audaz. Audaz was created by Messias de Mello and appeared in the Brazilian comic strip “Audaz, O Demolidor” (Gazetinha, 1937-1938); the strip was reprinted in Spain in 1949. Audaz is a gigantic crime-fighting robot controlled and piloted by the brilliant scientist Dr. Blum and his friends Gregor and the child prodigy Jacques Ennes. He takes on a variety of ordinary human criminals, albeit with an occasional Mad Scientist included.
Yes, folks, the first heroic giant robot piloted by humans was not Japanese, but was Brazilian. Not the first giant robot of science fiction—you can find predecessors in the American pulps. But the the first giant robot with human pilots, of the kind that Japanese science fiction later specialized in—that, as far as I’ve been able to tell, was a Brazilian creation. Interesting, especially in that Brazilian science fiction, as a national genre, didn’t tend toward the pulpish until the mid-1930s, so “Audaz, O Demolidor” was quick work.
This is my inner monologue while standing in line at Dunkin Donuts.