CARTOON CUTIES: VIEWER REVIEW

I recently shared an essay detailing my appreciation of Rock Baker's Cartoon Cuties with Rock's collaborator, Mark Holmes. Mark decided to make it the first of a new YouTube spot called Viewer Views. For the sake of "bizarrechats" (and to further promote Cartoon Cuties), I thought it might be nice to share the episode's "letter" portion here: 

Hello, I'm Michael Housel, a writer who has contributed reviews on Rock Baker's Cartoon Cuties. 

Cartoon Cuties means a lot to me and reflects the reading and viewing material of my childhood and teenage years. On this basis, I believe the content works on several, nostalgic levels, as I'll now explain: 

Rock's work features sweet characters--the Annies--who are a cartoon hybrid of critters and humans, while existing in a class all their own. These characters are curvaceous and often wear bikinis. They're easy on the eyes, that is, no matter which perception one throws upon them: a swell combination of innocence and sex appeal, if ever there was. 

Contrary to the concept's carefree surface, the Annie world, as it plays out in lovely Creek Bend, is an intricate and deep one. The characters have relationships, some of an amorous sort and others based on basic, heartfelt friendships. The Annies, therefore, aren't far removed from the people we know--the people we care about and love.

In this respect, it's easy to identify with them, and when they engage in something silly, they make us laugh, for we may have found ourselves in similar situations at one time or another. 

All of Rock's ladies are special and nuanced. Crissy Carrots is their alluring lead. I hold her in high regard, but Minerva Mallen is my favorite of the bevy. To say the least, her construction is unique. She holds skunk attributes, of all things, but embodies the best traits of classic, Hollywood actresses.

Then again, all of the Annies have old-time Hollywood charms: each dignified and attractive in the best pin-up way. They don't cuss or indulge in horrifying villainy. Again, they spring from a simpler time and place and are here now (thanks to Rock's creative generosity and Mark Holmes' deft assistance) to remind us of the way things once were--and should still be. 

I'm happy as a lark to see Cartoon Cuties sway from its comic-book and short-story roots to the Static-Mation shorts featured on YouTube. That's progression, all right, with another foundation established that (fingers crossed) will lead to another and another after that. 

I've said it before, and I'll say it again, Rock's mythology is history in the making. There's no way to come away from his work without being moved. In other words, there's no way to come away from Cartoon Cuties without having become a fan. Watch the samples on this fine channel and dare tell me I'm wrong. 

Enjoy Mark's presentation at 

https://www.youtube.com/watch?v=F6JMjdAOBVE&feature=share&fbclid=IwAR3iZGEJPgiOOX1H6z8lccEmQlwL1IPy37LH2G6I5NJyaSV19L23Hy29DJk

STATIC-MATION CUTIES: MARK HOLMES INTERVIEWED

In August 2020, I had he pleasure of interviewing renown pin-up artist, Rock Baker regarding his Cartoon Cuties Static-mation shorts. As Baker confirmed, his friend and creative partner, Mark Holmes (of Femforce fame), enhances the panels' flow with delightful, musical additives. 

I had the chance to interview Holmes, at which time he elaborated on his present and future plans for Cartoon Cuties.

Mike: Your choice of music works well for the Static-Mation shorts, Mark. I'm aware that your selected music is public domain, and yet it streams with precision to Baker's stories. How do you know what to tap into for an installment? Is your process instinctual, intentional or both?

Mark: Most Public Domain music I have found was created around the turn of the last century up until the 1930s. So it inherently has an "Old Timey" and innocent feel to it. When initially searching for music I searched for "Public Domain Cartoon Music" and found a couple of sites that I tapped into. So I pointed myself in the right direction and hit the target by accident. It wasn't until later that filmmaker, Joshua Kennedy pointed out YouTube's rich library of music that spans genres and time periods. Then I started to draw from there. 

Mike: Is there a certain choice of music that stands out to you among the Static-Mation shorts: one that seems maybe tailor-cut for a tale? For example, the "hillbilly" music for "The Legend of Lover's Bridge" fits to a tee to my ears.

Mark: Yes! I like that one also. Steve Reed's original piece in "Another Reason" is just about perfect. Truth be told, when I first saw Scott Joplin's The Entertainer was available and "Sister Act" came across my screen, I knew those two had to go together. That music selection is my favorite so far. 

Mike: Some of the recent Static-Mation tracks have proven more poignant than whimsical or comical. Do you see Cartoon Cuties heading in a more earnest direction as the mythology expands? (Baker's prose stories do, in fact, feature such deeper emotions.) How might such tonality impact the scores?

Mark: Rock is an old soul and draws from many areas. He has shown to have a pretty good balance of the comedic and dramatic. I personally lean toward the comedy, but I have become a little misty-eyed putting together some of these cartoons. I try to choose the music to fit the piece so comedy gets more upbeat and romance get the sappy stuff and drama gets whatever fits the mood. 

Mike: You've presented your musical-implementation process in an excellent YouTube video, but for the sake of this interview, can you give a basic rundown of the procedure?

Mark: Basically Rock sends me the plates, and I organize them in a stand-alone folder where I can work with them. I assemble in an open-source movie-maker program at six seconds per frame. I then save the video with no sound. I isolate the video in its own player and watch the silent video and get a general feel for what I have. I then go to one of my music sources, generally YouTube Music Library these days, and search out the theme. For instance, in "Living the Dream", we start off with a relaxing dream that turns into a nightmare. I searched for Dream Music and got several choices. Most didn't fit the bill because of the severe mood swing two-thirds of the way into the video. When I listened to the song, Lucid Dreamer, it had a severe mood shift built in, but in the wrong place! I had to whack off a good bit of the opening music to get that one to line up.

Mike: Baker intends to extend the Static-Mation format into traditional animation. When that happens, how will you tackle the technique? It would be trickier to implement or am I wrong? 

Mark: There is a famous, Clint Eastwood quote: "A man has to know his limitations." Personally, I am at my limit. A traditional cartoon is the next step and would require a composer who knows what he's doing. I would gladly step aside and let someone with real musical knowledge, talent and ability take over. 

Mike: As a "sound man", I'm assuming you'd also be involved with the voice and related, audio effects for traditional animation. Any thoughts and/or hopes on such?

Mark: Once again I would pass that off to someone else with experience in the subject. 

Mike: What are your musical influences, particularly with motion-picture soundtracks? Who are the composers you hold in high regard, and would any of them suit Cartoon Cuties, if you could only employ them? 

Mark: I love music movie soundtracks. I used to play the "Star Wars" soundtrack, James Bond, "Grease", "Saturday Night Fever", Spaghetti Western themes over and over again. Anything that I could get my hands on. Music and video always went together for me. I was around 18 when MTV premiered, and boy did that hit the spot. Music and short film combined. I view every Cartoon Cuties short as a mini movie and a music video. 

Mike: What draws you to Cartoon Cuties? For that matter, what entices you about Baker's artwork and storytelling in general? The two of you share a Femforce connection, and you've each worked with filmmaker, Joshua Kennedy, so there's are evident overlaps in your tastes and creative circles. 

Mark: From 2000 to 2010, I was completely out of comics That luxury had to go as at that time money needed to go elsewhere. I was a HUGE fan of AC Comics back in the day and missed getting Femforce comics for ten years. One birthday, my wife got me the entire back order of issues I missed, and I discovered the artist, Rock Baker. He drew stunningly beautiful, busty women, and I really fell for his style. An Internet search found him on Facebook, so my kids helped me set up an account so I could contact him. We share many interest like classic tv and movies. We have been more than Facebook friends ever since. When I started writing for Femforce comics, Rock and I collaborated on many stories, including "Book 'em, Synn", my first story ever published. 

Rock and I bounce off ideas with each other all the time. I came up with Crissy Carrot's catch phrase, "Hoppin Hassenpheffer" way back there when Cartoon Cuties was a different kind of animal. 

Cartoon Cuties is Rock's baby and a labor of love for him. I point out things I like and things I don't like. We do not always see eye to eye. We have a strong enough friendship where I am brutally honest with him, and he has big enough shoulders where so he can take it.  In the end, he is the boss on this outfit, and I'm just a hired gun.  

Mike: Baker has said he plans to promote Cartoon Cuties: the Static-Mation Collection further with a DVD release, but after that happens, how long do you anticipate it will take the two of you to get to the next animation phase? 

Mark: Rock needs to find a proper animator first. I will always be there as a sounding board if he needs me. 

Mike: Do you envision a Cartoon Cuties feature-length film, and if that opportunity were to arise, would you consider original music material for it. For the sake of a wish list, what composers might you consider? 

Mark: I would like to see an anthology piece with several shorts loosely tied together in a feature. Personally, I hope Rock can find a young composer and give that person the job.

Mike: Thanks for your insights, Mark!

Mark: Thanks for having me!

One can view Baker/Holmes' Static-Mation Cuties at   

https://www.youtube.com/watch?v=69ktqR8dq_c&list=PLRPxwK10j5iR8_17DWy9y2ItfIWCSzIhp.

STATIC-MATION CUTIES: ROCK BAKER INTERVIEWED

Renowned pin-up artist, Rock Baker is determined to put Cartoon Cuties on a whole new level. With the help of his faithful friend, Mark Holmes, he's doing just that. The legendary Creek Bend and its adorable Annies have entered the process of Static-Mation  (a process wherein cartoon panels progress as music plays), and thus far, the results are an anthropomorphic triumph.

For the sake of commemorating these sensational, Static-Mation shorts, I had the pleasure of interviewing Baker to gain insight into his creative process and ultimate, Annie aspirations. 

MH: The CARTOON CUTIES Static-Mation shorts are an excellent way of promoting your characters. At present, YouTube is their main showcase. Do you and your production partner, Mark Holmes, have further plans to publicize the Static-Mation venue? If so, in what ways and within what formats?

RB: God willing, my plan is to produce about 30 such shorts and have them burned to a DVD which can be shopped to potential distributors interested in releasing those same shorts to an official DVD. Once that has been accomplished and the foundation has been established, I want to use that as a springboard to more complex forms of animation. The Static-Mation shorts are ideally but a sample reel to interest production of a more traditionally animated episode. Though rudimentary, the shorts should provide a flavor of what the franchise is like and act as a preview of what sort of material a more complex production could feature.   

MH: What are the general comments you've received from viewers on the Static-Mation shorts? (I suspect they're most satisfied, even if they're not familiar with your comic books and prose companion piece.)

RB: By and large, the response has been quite positive. Those commenting have seen that the focus is on sweetness and character, and some have even reported being moved emotionally by the stories and the relationships presented. As of this writing, the feedback has been fairly minimal, but it's been very encouraging. 

MH: How many CARTOON CUTIES Static-Mation shorts are queued on YouTube? How many more do you and Mark plan to produce? 

RB: As of this writing, there are 19 shorts currently "on the air" for viewing. I'm in the middle of doing coloring work for the 20th short, which could be published within the week. My aim, God willing, is to have a minimum of 30 shorts before having them burnt to a DVD. In addition, there is a behind-the-scenes video Mark put together, which I already planned to put on the disk as an extra. We also plan a special video to act as a sort of capstone to the series, one which will feature highlights of the run set to a piece of music that I own. The said piece of music was recorded by an old friend of mine, for another project which never worked out, and I've decided to make it the official theme for the CARTOON CUTIES. A sample of the tune can be heard to the soundtrack of the short, ANOTHER REASON, for those interested. 

MH: Crissy Carrots and Minerva Mallen are beyond a doubt Annie superstars, no matter the format they occupy. Are there any characters beyond them who've gotten a boost through the shorts? 

RB: I'm not sure they've proven more popular, but the Baxter sisters, Beverly and Jeannie, have taken a big step forward thanks to the cartoons. I so looked forward to featuring the characters that I made them a big part of the short stories I was writing to fill in the lag between the comic-book issues (the girls are set to appear in Issue 3 and finally grab the spotlight in Issue 4). I had to include them in the cartoons, although doing so proved an interesting challenge since from the start I found them more dialogue-based in their humor. They'd shine in a radio format, I think. As for the other characters who have benefited from the format, I was similarly able to introduce the world to Candy Sweeth prior to her comic-book arrival. She's set to appear in another short before it's over. Carole Corday is a character created specifically as a result of the shorts, developed for little more than the tag at the end of each video alerting viewers to the books being sold on Amazon. I liked the design and used her as the desk girl Candy Sweeth confronts in The SCIENCE OF LOVE. Feeling she had more potential, she finally headlined THE INVASION and has another short in the pipeline (one I'm currently doing the ink work for, actually). There are a few characters who will be first seen in the Static-Mation shorts or have been created specifically for the format to flesh out the world presented.

MH: Your "slide shows" are reminiscent of silent movies, particularly in their calculated scope and Mark Holmes' musical selections. For the sake this animation format, are there any silent movies and/or performers who've influenced your stories? (THE FAMILY WAY, for one, has a distinct, Chaplin feel about it, tugging at the heartstrings, while making one smile.)  

RB: Laurel and Hardy have influenced me to some degree. MINERVA TAKES THE CAKE is very much a conscious recall of the all-time classic THE MUSIC BOX, albeit on a much smaller scale. Ironically given that I'm working without sound for the most part, I haven't spent as much time as you might think mulling over silent films in search of inspiration. It's mostly been mulling over characters themselves, wondering what they might get themselves into, and then just running with it. I'm on record saying that I work in such a slapdash manner that any resulting structure or cleverness is credited entirely to the Holy Spirit. So it is with these cartoons. I'll generally start with a scene and go from there. THE FAMILY WAY was built from a simple opening scene of Roger dozing off as he rests his head in Crissy's lap, she looking on with contentment and love. At that point, the scene could have been used as the ending of a cartoon rather than the starting point (which is essentially how A WALK IN THE PARK developed). The telephone ringing and Crissy trying to answer it without waking Roger came from there. Though as I was drawing Crissy reaching for the telephone, I had no idea what the party on the other end of the line was going to tell her. It was imaging Crissy's beaming smile when she's told she's "that way" that really solidified the direction of the short. I basically let the characters dictate the direction their stories go in, though I do acknowledge the work of Chuck Jones in informing me of how they get where they're going. Jones made his cartoons so that they could be followed even if there was no sound, so he's been more my model than anyone else in this respect. 

MH: I see aspects of I LOVE LUCY and LAVERNE AND SHIRLEY in the Static-Mation submissions. Perhaps this stems from a focus on females in humorous (and on occasion, madcap) situations. Are there any sitcom scenarios or characters who may have impacted CARTOON CUTIES in a specific way? 

RB: I think there's a bit of GREEN ACRES present. I realized that the influence of Oliver and Lisa Douglas has been something of a model for the way I write my married characters. Oliver and Lisa, whatever loony situation they found themselves in, were always very affectionate, playing out a relationship that never lost its honeymoon tingle. That's very much on display with Roger and Crissy. Though I don't think it comes through as strongly, I credit Alvin and the Chipmunks for much of the tone found in the Baxter sisters. Although Beverly and Jeannie owe much in their design to later era Disney characters, their relationship as sisters is influenced by the Chipettes (though this may not be as up front in the shorts as it is in the prose stories). I was quite taken by the way the Chipettes interacted. They have their differences and their own motivations, but that all ultimately takes a back seat to their bond as sisters. I like that and use it as a model for the way these sisters live. 

MH: I've compared CARTOON CUTIES to Disney and Warner Brothers' animated shorts and their comic-book tie-ins, but in watching the YouTube submissions, it hit me that your stories also hold a Hanna-Barbera vibe, with possible, implied references to Augie Doggie, Top Cat and Yogi Bear. Were you at all inspired by HB?

RB: Certainly to some extent. I approached the Static-Mation shorts early on as if they were being produced for 1950's television. Without doubt, that era of Hanna-Barbera is the go-to model for 50's TV animation. Their reliance on humor growing from domestic situations most certainly served as a model for how to approach the CARTOON CUTIES. I had hoped in fact we could dig up music cues which would be reflective of those shorts. Happily, our first short, PICNIC PRETTY, captured that sound and feel rather well, I thought. 

MH: Though CARTOON CUTIES projects an old-fashioned, carefree innocence, the set-ups are also darn sexy (BEACH BARED immediately comes to mind). Sometimes that sexiness feels otherworldly. There's a Trixie episode, for example, in which she turns blue and displays her exotic pigmentation in wearing a bikini. The moment brings to mind the likes of Susan Oliver and Yvonne Craig covered in green as the Orion Slave Girls on classic STAR TREK. Is that the effect you intended to emulate (give or take)?

RB: Absolutely this was an influence. That particular short was based on a story I'd originally intended for use in a comic book, though my original concept involved a married woman with a husband rather delighted by her new hue. That idea sprung from Susan Oliver's green skin, as I found myself thinking that if women could (temporarily, of course) take on a similar hue it would be much to the delight of the men in their lives. If green looks good, I had to imagine blue would look even better. (The whole affair was the result of my suddenly being allowed to develop stories with color in mind, as my earliest published work was all black and white.) It hit me that this might make a good subject for a cartoon, and it seemed a good fit for Trixie Hope. It would have more impact happening to her, since her cartoon friends already come in a variety of wild shades and they might feel they could cope with it a bit better. Basically, the entire cartoon was motivated by trying to find a scenario which could take advantage of the fact that we're working in color. 

MH: Mark Holmes does a wonderful job arranging the music for your stories. His choices seem to enhance their emotional elevations and pacing, thus enriching the flow. Does he choose the music with any input from you? 

RB: Largely, Mark selects the music himself. I let him know that I want a period sound, but it's more or less in his hands once I turn over the plates to him. He likes to find a hook upon which to frame the musical selection, provided that he can track down a public domain soundtrack that he likes. It's largely out of my hands at that point, though I did direct him to the piece of music I actually own for ANOTHER REASON, which I mentioned earlier.  

MH: Getting back to CARTOON CUTIES' further expansion, would you ever consider a longer (beyond three minutes) adventure for YouTube or DVD? Considering the in-depth nature of your Annie/Creek Bend foundation, there seems to be more than enough content for a feature-length version.  

RB: Oh, yes, certainly. I want to use these shorts as a spearhead for the production of an animated special for DVD and television. From there I want to do a Christmas special and an animated feature. Actually, two or three features at least. Following that, possibly a television series. God willing, this is only the beginning. 

MH: Thanks for the fulfilling insights, Rock. Much appreciated, my friend.

RB: Thank you very much, Mike! I really enjoyed it. 

The CARTOON CUTIES Static-Mation shorts are quite an accomplishment. I encourage all my readers to give them a view: 

https://www.youtube.com/watch?v=69ktqR8dq_c&list=PLRPxwK10j5iR8_17DWy9y2ItfIWCSzIhp.

ROCK BAKER'S CARTOON CUTIES IN STATIC-MATION & INDELLICOLOR!!!

The evolution of Rock Baker's Cartoon Cuties is breathtaking, moving from a comic-book format to a prose volume and now into amazing, motion (C.B. International/Indellitoon) cartoon shorts.  

Mark Holmes (a fine chap who I've mentioned in previous posts in relation to Femforce and Joshua Kennedy's movies) is responsible for the technical aspects of these clever, musical slide shows (presented, by the way, in spiffy "Static-Mation" and "Indellicolor"). And each Holmes-spun entry is a genuine, Baker concoction, elevated by the pin-up king's peppy artwork and humble storytelling. At the moment, there are seventeen, collaborative efforts completed, with more in the pipeline. 

The cartoons run up to three minutes in length: easy to digest, but at the same time, so darn appealing that one can't help but demand more.

As expected, the cartoons' content spotlights Baker's stand-out Annies: Crissy Carrots (the franchise's mega star), Minevra Mallen (my foremost fave); the buxom Baxter Twins (Jeannie and Beverly); delightful Daisy Poise; tantalizing Trixie; yummy Yvette Pond; mesmerizing Misty Carter; cuddly Candy Sweeth; captivating Carole Corday; sultry Simone Grace; and that hot, new Creek Bend Cutie, Mala Winston. The always identifiable Roger Ralphwitt grants the gals his warm and appreciative assistance.  

It would be wrong of me to give away too much of the plots. However (if only for the sake of enticement), the stories include a cake-delivery mishap; a squirrel on the loose; a bear-clawed picnic; housework gone mad; talent-show buffoonery; a possible, alien invasion; and enough calamitous, movie mishaps to make Lucille Ball blush with envy. Naturally, there are ample, amorous hi jinks woven throughout to increase the Cutie caliber and a heap of tenderness tiered on top. (For the record, "The Family Way" is one of the most touching tales I've ever encountered.) 

To underscore the scenarios, Holmes' musical insertions abet the pacing, much as do well crafted scores for the best silent movies. Such gives each experience the perfect, melodramatic essence to ensure one's emotional investment.  

Make no mistake: Baker and Holmes' team-ups are presently in experimental mode, acting as hearty groundwork for what might someday become a series of full-fledged, traditional animation shorts. Still, what exists will satisfy all Annie fans and no doubt earn Baker and Holmes a swarm of additional admirers. 

 

One would be wise to give these sweet and endearing shorts a spin. A smile on one's face and jubilation in one's heart are assured: 

https://www.youtube.com/watch?v=69ktqR8dq_c&list=PLRPxwK10j5iR8_17DWy9y2ItfIWCSzIhp.

FEMFORCE #187/SUPER BABES #1: MORE SEXY SIRENS, MORE SIZZLING SENSATIONS!!!

The wait was lengthy, but worth it. I'm sure as heck pleased to have Femforce  #187 in my eager hands. 

The "Rad-ical in Changes" issue is another fine show piece for our super-hot ladies, including Ms. Victory, Nightveil, She-Cat, Stardust and Synn, but it's the towering Tara Fremont who dominates the forefront this time around. 

In addition to co-starring in Mark Heike and Dave Matsuoka's excellent "Rad" epic, my good buddy, Mark Holmes penned one of Tara's headlining #187 chapters. It's called "The Big Show", and boy, does it ever live up to its title. In this instance, Tara meets not only thundering lizards, but a cute, cave-girl actress named Carol Gantz. The beauties team to unravel and thwart the monstrous attacks (along with other wild surprises), abetted by Dan Gorman's dynamic, pencil work. It's B-flick wonderment taken to the titanic max!!!

Issue #187 also features Ms. Fremont in a suspenseful yarn by Andrew Haunt called "Koros, the Island Killer", with flavorful artwork by Johannes Vick. In this story, Tara comes upon a beauty named Arcana, who holds a mysterious, symbiotic relationship with the realm around her. This one is eerie and profound at the same time.

In addition to Femforce #187, I also (finally) obtained a copy of the hard-to-grab Superbabes #1!!!

Each panel of Superbabes is in blazing color and man, oh, man, does it ever enhance the subject matter. I mean, it's fiery. It's eye-popping. It's gosh-darn revolutionary, with high adventure spanning land and sea, including further giantess enchantment, thanks to the ultra leggy Garganta!!!

Nab your copy of Femforce #187 at your favorite comic shop or online vendor and keep your eyes peeled for that elusive Superbabes #1. It's well worth the hunt.

FEMFORCE #186: SUPER, SENSATIONAL SPREES!!!

AC's Femforce #186 has landed...or should I say, taken flight? After all, this one sure does soar. 

The latest issue explodes with uplifting stories, covering varying but equally exciting timelines and scenarios, with our fetching favorites in steamy action: Yankee Girl, She-Cat, Synn, Stardust, Nightveil...Ms. Victory, joined by the amazing Etherium Knights and Bill Black's stupendous Sentinels of Justice. 

For the sake of the magnificent Yankee Girl, my ultra-talented pal, Mark Holmes tells a tale called "Make a Splash", with super-sultry artwork by Dan Gorman, Jeff Austin and Mark Heike. This time our cheerful champion seeks a stolen, swimsuit-show necklace. You can bet your bottom dollar that Yankee Girl will do everything in her power to retrieve it from the thieves, while delighting readers with her comely traits...

As a spirited companion piece, Holmes gives us a big "Bang for Your Buck", starring Ms. Victory (in one of three adventures to grace this issue) with fantastic imagery by Paolo Bodini and Mark Heike. The Southeast Asia, missile-based thrills are destined to blast one's libido into orbit, as the statuesque goddess springs forth to right a dangerous wrong. If this one doesn't keep one at the edge of one's seat, what will?

To further the Ms. Victory commemoration, Roy Richardson and Mark Heike pit our heroine against terrorists during the sizzling '80s. Heike's excellent artwork captures the tense essence of the time, matched by a fierce sexiness that'll leave one clamoring for more...

Last but not least, Ms. Victory (or perhaps she should be called Miss in this instance?) appears in a racy exploit entitled "A Romp in the Black Forest", scripted and penciled by Gianluca Cerritelli and Mark Heike. For this entry, we get ample, aerial thrills and WWII, Nazi-bashing battles. The patriotic zeal runs high, just as it should, enough to prompt any reader stand up and salute...

Nightveil also occupies a significant portion of #186, represented by a breathtaking Mark and Stephanie Heike cover. The blazing Bill Black offerings will please and provoke with their wild and weird scenarios, fueled by Johannes Vick's incredible illustrations.  

Pick up Femforce #186 today at your local comic shop. You'll be ecstatic over the ravishing results.  

FEMFORCE #185: FANTASTIC FUN FROM THE WORLD'S MIGHTIEST WOMEN!!!

Thanks to AC's Femforce #185, Miss/Ms Victory is back, facing plenty of size-shifting, old-time vim in "Battle of the Micro Men". Bill Black's throwback concept and masterful layout are wonders to behold in this reprinted tale, enhanced by David Jacob Beckett's quality pencils and inks. (Mark and Stephanie Heike's colorful cover is also a real Victory treat!!! What an explosive blastoff!!! Wow!!!)

Of course, Ms. Victory isn't the only curvaceous crusader on board. My good buddy, Mark Holmes re-enters the fetching Femforce scene with a terrific Tara Fremont tale, which includes crisp dialogue by the Heikes and sensuous artwork by new-kid-on-the-block Samrat Das, enlivened by Jeff Austin's stylish inks. 

I'm not exaggerating when I say that Holmes' powerhouse plot results in the sexiest, jungle-girl, serpent-attacks adventure to come along in years. Holmes gives the clever scenario great gusto, making it a delight for both fans of gorgeous gals and colossal beasts: a major win-win on both far-out fronts. 

In addition, #185 offers other sensational sweeties, including Nightveil, She-Cat, Stardust, Stormy Tempest and Synn, each in stupendous, no-holds-barred escapades supplied by AC's acclaimed, artistic contributors.     

Femforce #185 can't be missed. Grab a copy at your favorite comic-book shop or through any number of reliable, online sources. 

FEMFORCE #183: BEAUTY, BRAWN & HEROICS, STACKED TO THE MIGHTY MAX!!!

Hot Diggity!!! AC Comics has unleashed Femforce #183, granting readers more beauty, brawn and heroics, stacked to the mighty max in one pretty, powerful package!!!

My buddy, Mark Holmes offers three, stimulating stories for this issue, including a new She-Cat sojourn, entitled "Night to Howl", illustrated by Silvano Beltramo, where a wolf-worshiping villainess puts our stealthy heroine to the test. This is accompanied by Holmes' feisty Black Phantom yarn "Hang 'Em High", where our whip-snapping desperado defends a teacher accused of cold-blooded murder, with imagery by Eric van Elslande, inked Jeff Austin. Last but certainly not least, Holmes gives us "The Big Breakthrough, where Yankee Girl battles the diabolical Dr. Yvette Alain in a matter of skewed justice, with artistic assistance from Gianluca Cerritelli, also inked by Austin. (BTW: the diligent Austin supplies most of the inking this time out.)

My dear pal (and legendary pin-up artist), Rock Baker supplies the chilling "The Head of Hitler", starring the marvelous Miss Masque. As told and penciled by the ultra-talented Baker, the story (originally published in Miss Masque Strikes Back #1) captures the essence of those far-out, drive-in/girl-spy romps of the past, though enhanced with a distinct, surreal flavor that'll hold one's attention from beginning to end. This one is tip-top and darn sexy all the way. Baker fans are guaranteed to be in cartoon-cutie heaven.

Issue #183 also contains Andrew Hawnt's nifty, inter-dimensional Nightveil encounter, "Tornado of Souls", brought to life by newcomer, Alessio Mariani. "Tornado" acts as a nifty, thematic companion piece of sorts to Baker's tale, in that it holds an old-school, psychedelic bent that's certain to delight fans of Julian Roffman's 3D exploitation gem, "The Mask". 

For Femforce serial connoisseurs, #183 includes the final phase in Eric Linberg's tasty, She-Cat exploit, "Taming the Shrew", illustrated by Javier Lugo; a new entry in Bill Black's pugnacious, Miss Victory, Cold War adventure, "The Fiendish Plot of Dr. Noah Khan Do", drawn by Dan Gorman; Femforce publisher, Mark Heike's extending excursion, "Life in Wartime", starring the gorgeous, undercover RAD, with artwork by Dave Matsuoka; plus jungle siren, Nyoka in another segment of the serpentine thriller, "The New Perials of...", costarring the Blonde Bomber, visually rendered by Larry Nodolsky.

All in all, #183 is one helluva, juicy jaunt!!!

Grab a copy today at your local comic shop or order from any number of reliable, online dealers. Femforce #183 is an undeniable must-have!!!

FEMFORCE #182: FANTASTIC FEMS TO THE RESCUE!!!

Another stream of sensational beauties flows our way in AC's FEMFORCE #182!!!

The latest issue features Nightviel in a dark, foreboding excursion; Dinosaur Girl facing new, towering threats; plus sexy She-Cat; stunning Synn; scintillating Stardust; terrific Tara; noble Nyoka; and marvelous Ms. Victory in explosive exploits. In addition, there's more than a dash of cool, '50s miniaturization sci-fi; chilling, classic horror; and chapter-play thrills to be found in this magnificent, jam-packed release. 

Good ol' Femforce author, Mark Holmes fashioned the Nightveil "Knightveil" story. I must confess I'm biased when it comes to my friend's work, but that's only because he never fails to spin a clever yarn. "Knightveil" is as gripping as any EC or Warren escapade could hope to be: charged with a creepy-crawly content that's certain to cause many sweat-drenched nightmares. Then again, Nightveil's inebriating beauty might eclipse all that, for David Matsuoka's illustrious illustrations are every bit as enchanting as they're unnerving. 

My dear buddy, Rock Baker revisits his curvaceous creation, Dinosaur Girl, combining titanic appeal with monstrous danger, as his size-shifting female teams with a special, knightly guest. Baker's tall tale and stylish penciling give "Return" a sense of crossover, dimensional depth that's guaranteed to keep one glued from start to finish. Indubitably, those who appreciate the likes of "Attack of the 50 Foot Woman" and "The 30 Foot Bride of Candy Rock" are destined to go gaga over Baker's gorgeous giantess!

Femforce is an acclaimed, long-running publication, which offers the most striking, super-gal action available on the market. 

Femforce #182 is on sale now at comic shops and online sources, so be sure to catch a copy before they're gone. (Further details on the latest issue can be found at ... https://www.previewsworld.com/Catalog/JAN181091.)

FEMFORCE #181: FROM THE JUNGLE TO OUTER SPACE...FUN FOR EVERYONE!!!

AC Comic's Femforce #181 supplies more gorgeous excitement, with such lovely favorites on board as Miss Masque, Ms/Miss Victory, Nightveil, She-Cat, Stardust, Stormy Tempest, Synn, Tara and even that old, movie-serial siren, Nyoka!!!

The imaginative stories take our ladies through a wide range of turf: dangerous water, the steamy jungle, and in the case of a story penned by my Facebook buddy, Mark Holmes, sprawling outer space!!! 

Let me tell ya, Holmes' "The Pain of Command" is one helluva raucous space opera, with renegade Stormy Tempest leading the right-over-wrong charge, accompanied by the faithful Dee Lee 2. This one is fast-paced beyond belief and features snappy chatter and some spirited fighting, when invaders cross the ladies' path. Silvano Beltramo's terrific artwork helps bring it all to gutsy life!!!

Femforce #181 has just hit the scene and is available from a wide range of Internet sources (though is selling fast), so search away and be sure to place your order for this 80-page spectacular today!!!

FEMFORCE #179: NIGHTVEIL RETURNS!!!

Femforce #179 arrives in the nick of time, to enchant us with more voluptuous escapism!!!

Nightveil is the special focus this time out, featured in a spectacular double spree and represented no less by a stunning cover from Jacob Bear!!!

The first story, "New World Record", comes from Stephanie Heike and illustrator Scott Shriver, detailing our vixen's long-awaited homecoming. Thereafter, Nightveil enters a downtown nightclub for a far-out encounter in "Some Girls Wander", written by Andrew Hawnt, with imagery by Jeff Austin and Eric Van Elslande. (These tales pack a one-two punch and will surely satisfy Nightveil's many admirers.)

In addition to the Nightveil jaunts, Mark Holmes (my faithful Facebook buddy) supplies a terrific yarn called "Take My Breathe Away", which teams the beautiful Blue Bulleteer with the mesmerizing Miss Masque in a shady, medical case, with artwork by Jeff Austin and Dave Matsuoka. Holmes' story is full of joyous intrigue and incorporates his superb, signature depth of character.

To add further to the thrills, Rock Baker, pin-up man extraordinaire, gives us the initial chapter in an imaginative saga entitled, "War and Rumors of War", where the eye-catching Kitten (spouse of the mighty Cat-Man) battles the evil Dr. Hong. Baker's story and illustrations capture all the explosive action of the old-time chapter plays, though with a generous spurt of sex appeal, as only Baker can render it. (Chapter 2 can't come fast enough!)

In addition, Baker's wonderful, new heroine, Super-Cutie (aka, Cindy Sue Carter) returns to face Black Tigress Woman and Spots in "The Cat and the Coffin". If you didn't experience, Super-Cutie's intro in #178, do yourself a favor and check it out, but be assured, this new tale more than delivers the gorgeous goods in its own right and is capped by a nice, little tribute to a famous female, dynamic duo. Sorry, folks, but you'll just have to buy the issue to learn their identities. (For what it's worth, "Cat and the Coffin'"s inclusion hints that Super-Cutie is on her way to becoming a well deserved Femforce regular. Fingers crossed...)

Oh, incidentally, fans of Ms. Victory, She-Cat, Stardust, Synn and Tara needn't fret, for the amazing actioneers appear in a variety of sensational scenarios throughout this issue, making it as tasty as any cheesecake connoisseur could crave. 

Purchase Femforce #179 at your local comic shop or any number of reliable, online stores. Don't delay! This one is a sure-fire winner all the way!!!

I saw Joshua Kennedy's Alpha Omega Man...

There's good reason why I praise Joshua Kennedy as a filmmaker. As I indicated in my review of "The Return of Sherlock Holmes" (see March '17), Kennedy remembers--remembers the style and structure of movies of the past, and time and again, he recaptures their essence to an impeccable degree in each of his Gooey Film Productions.

Kennedy just released another marvelous example of his sterling skills (now present on YouTube) in his Pace University thesis project, "The Alpha Omega Man": a tribute to Boris Sagal's 1971 adaptation of Richard Matheson's "I Am Legend", about a "futuristic", vampire plague, or in this instance, a ghoulish, hippy-zombie sect that the dynamic hero, Robert Neville, seeks to destroy (and perhaps even cure). 

Though "Omega Man" may not be the most faithful adaptation of Matheson's 1957 novel, it's considered among many (myself included) to be the most entertaining (and I guess, therefore, the best) version of the tale, from its Ron Grainer score to its astute inclusion of Charlton Heston.

Sagal's film has a memorable style, and because this style is so specialized, so iconic, it's ideal for spoofing, which is what writer/producer/director Kennedy does whenever the occasion arises, particularly through his gutsy, Heston impersonation. On the other hand, Kennedy's comedic flair never becomes nasty or snobbish, remaining respectably subtle and heartfelt throughout as he recaptures the moody, lonesome feel of the '71 original. He even allows Grainer's rousing score to saturate the atmosphere: a wise choice, indeed, that any "Omega Man" fan will surely savor.

The film also contains quality supporting performances, which includes Laura Laureano as Kennedy's spunky, leading lady (paying impressive homage to Rosalind Cash's legendary Lisa), along with Xander Pretorius; Nick Ries; Dexter John Scott; Traci Thomas; and good, ol' Femforce contributor, Mark Holmes in sturdy supporting roles. Kennedy's sister, Kat Kennedy, also empowers the action, giving a magnificent reinterpretation of Anthony Zerbe's Matthias, a ghoulish guru. Her performance comes across as steady, intellectual and creepy, adding an air of credibility to her interactions with not only Neville, but to those she rules. 

What I always appreciated about the Sagal film was its emphasis on irony, which though prevalent in the other "I Am Legend" adaptations, rises higher in "Omega Man", accentuating the concept of Neville as a perceived monster among the actual monsters. Kennedy obviously understands this distinction and through a series of beautifully articulated scenes, emulates the idea that screenwriters John William and Joyce Corrington nailed so well decades past.

That Kennedy so expertly rekindled the original film's essence is just further proof of his talented sensibility. I can only image what he would do with a completely original, big-budget story in the '70s vein, for this film (like others he's produced) demonstrates his varied and masterful insight toward cinematic lore: the foundation upon which his greatness will assuredly expand.

I highly recommend fans of the original film to give this one a whirl, and even if one hasn't seen the Sagal movie, "Alpha Omega Man" is still worth a view: a guaranteed, slick, fast-paced hour of fulfillment by an extraordinary, up-and-coming filmmaker. 

You can view "Alpha Omega Man" presently at...
https://www.youtube.com/watch?v=Pt3bdvtoVpE.  Trust me, folks, you won't be disappointed.