Maggie Greene is a collector of lianhuanhua (Chinese for "picture books”), and one day stumbled across a great find while visiting China: A Star Wars lianhuanhua produced in 1980. Greene, who is an assistant professor at Montana State University, wrote about it on her blog in 2014. Nick Stember, a masters student in British Columbia who specializes in translations of Chinese comics to English, fully translated all 142 pages of it. It’s worth reading through both the original and the translation to get the full effect of this puzzling but beautifully drawn little oddity.
This comic adaptation of the original Star Wars film was created around when The Empire Strikes Back was released in the States, but there was only limited exposure to any of the films in mainland China at the time. It’s obvious when looking through these pages that the artist[s] had never actually seen the film but were probably just shown a few stills and posters. Only occasionally do any of the characters look “on model" and, more often than not, the renditions are spectacularly off the mark as seen in some of these insanely great pages.
DARTH VADER IS A SUPREMELY METAL DUDE.
In this flashback to when Darth Vader turned to the Dark Side, he apparently also went totally Metal and started riding a triceratops and even grew a pair of breasts. There are a lot of pages in this comic that are obviously copied from other sources, and this one seems to rely pretty heavily on Frank Frazetta’s cover illustration of Princess of Mars.
OBI-WAN WAS A JEDI KNIGHT WITH A BITCHIN' STEED.
The artists took the whole "Jedi Knight" thing pretty literally in this flashback to the Clone Wars, combining a little bit of Spartacus with a complete swipe from the poster for the 1978 David Carradine film Deathsport.
OBI-WAN LOVES HIS J&B.
On two different pages we see prominent use of the J&B logo as decoration in Obi Wan’s home. This is pretty weird, but anyone who has a tattoo of Chinese characters but doesn’t fully know what they mean can’t poke fun at this. It just looks cool.
THE DEATH STAR TARGETS THE KENNEDY SPACE CENTER.
Apparently the galaxy isn't that far away, as the Kennedy Space Center is Vader’s target for destruction.
PRINCESS LEIA IS OBJECTIFIED LIKE NEVER BEFORE (OR AGAIN).
Princess Leia looks like a different person on every single page of this, and she’s usually drawn in a somewhat seductive pose. In her first appearance, we see her recording a holographic message for Obi Wan, but it looks like it’s about to get NSFSW (Not Safe for Star Wars).
STORMTROOPERS AND BOBA FETT ARE THE SAME THING.
Although Boba Fett does not appear in the first film, someone involved in this comic saw a picture of him somewhere because his uniform is used throughout in place of Stormtrooper attire (not knowing of course that a Fett/Stormtrooper connection would someday become canon). Also, that military-looking jet at the top of the page is supposed to be the Millennium Falcon.
CHEWBACCA IS JUST A GORILLA WITH A BANDOLIER.
It’s possible that the artists just got Star Wars mixed up with Planet of the Apes, but on some pages Chewbacca is drawn to look like this.
LUKE'S UNCLE OWEN STEPPED OUT OF A SPAGHETTI WESTERN.
Also, that tall guy with the rifle is supposed to be a Jawa.
THE SAND PEOPLE LOOK ALL WRONG.
Here, they are reminiscent of racist caricatures.
LUKE, LEIA, C-3PO, and R2-D2 SHARE A TOUCHING MOMENT.
There’s a lot of uncomfortable touching going on in this scene before Luke goes off to battle the Death Star. Leia seems to be performing some sort of blessing on him, and seeing C-3PO kiss R2-D2 and R2 actually hugging back is just not right.
THERE ARE PAPARAZZI ON YAVIN.
When Leia, Han and Luke make it to Yavin they are cheered on by adoring fans including teens taking snapshots. And yes, that short, gruff looking guy in the cosmonaut suit is Han Solo.
LEIA HAS TO SIT THROUGH A POWERPOINT ABOUT THE COST-BENEFIT ANALYSIS OF BLOWING UP THE DEATH STAR.
The whole Yavin section of this comic seems to rely on stock photos.
THIS IS WHAT HAPPENS WHEN THE DEATH STAR EXPLODES.
It's a pretty trippy ending to the Death Star battle. The guy on the left is Grand Moff Tarkin, and he looks as surprised by all this as we are.
Devoid of pants or much of a personality, cartoonist Tom Wilson’s Ziggy has been prompting pleasant chuckles out of readers since he first appeared in newspapers in 1971. The bulbous-nosed little unfortunate has, against the odds, become a highly recognizable character, extensively merchandised on everything from greeting cards to pencil erasers. Before the inevitable big-budget CGI reboot happens, check out some facts about Ziggy's history, why fans were upset when he once spoke, and the bittersweet origin of his distinctive name.
1. HE WAS ORIGINALLY AN ELEVATOR OPERATOR.
Ziggy had a circuitous route to the comics pages. The character was first created by American Greetings executive Tom Wilson in the 1960s. (Wilson would later have a hand in creating the Care Bears and Strawberry Shortcake.) Doodling an elevator operator who commented on the mundane events inside his small world, when Wilson first tried to sell it as a comic strip, there were no takers. When he resurrected the character for a 1969 American Greetings humor book, When You’re Not Around, the odd little man intrigued the wife of a Universal Press Syndicate executive. By 1971, Wilson and Ziggy were in 15 newspapers, a number that would eventually reach over 500.
2. THE NAME “ZIGGY” WAS CHOSEN VERY DELIBERATELY.
Ziggy is often depicted as beleaguered and exasperated at the various obstacles life puts in front of him, from faulty ATMs to soured relationships. (He prefers to socialize with animals.) Wilson gave him the name “Ziggy” because the letter “Z” comes last in the alphabet and Wilson thought that was a proper position for his character, who often came last in life. (Another story has Wilson hearing the name from a colleague’s barber and remembering it.) In one strip, Ziggy is seen waiting for a rescue after a flood—but the responders are going in alphabetical order. In 1974, Wilson told a reporter that his full name is “Zigfried.”
3. WILSON TRAINED HIS SON TO DRAW HIM.
When Wilson died in 2011, his heir apparent was already selected. His son, Tom Wilson Jr., had been drawing the strip since 1987. Long before that, the elder Wilson would sit with his son at a table, draw Ziggy in a precarious position—a safe plummeting toward him from above, for example—and then instruct his son to draw a way out of the jam. Ziggy, Tom Jr. later said, was like his “successful little brother.”
4. HE WAS ENGINEERED TO BE LOVABLE.
Despite his general haplessness, Ziggy often draws sympathy and affection from readers. Wilson felt his large, circular nose and rotund body engendered feelings of warmth and told his son to go easy on his line drawing work. “Let’s keep Ziggy round and lovable,” the artist said. Ziggy also breaks the fourth wall, talking directly to readers, a technique Wilson felt further strengthened the feeling of companionship.
5. HE WOUND UP PAINTED ON THE SIDE OF A WATER TOWER.
For years, locals in Strongsville, Ohio have craned their necks to take in a curious sight: Ziggy appears on the side of one of their water towers. Wilson was from Cleveland, and when he heard a local sports team had painted the character up there in 1975, he offered to render a better portrait. Firefighters lifted him on a crane and allowed him to paint Ziggy next to the school’s mustang mascot. When the Cleveland Water Department threatened to cover him as part of a new paint job, residents signed a petition to prevent them from going through with the plan.
There was no limit to the kind of Ziggy product tie-ins hitting stores, including shirts, calendars, and mugs. But 1977’s A Day with Ziggy might be the most memorable. Players assumed the role of the put-upon blob, trying to avoid landing on a space that would worsen Ziggy’s day.
7. HE MET GENE SHALIT.
Ziggy first popped up in cartoon form in 1981, when he “appeared” in a segment with Today film critic Gene Shalit. Strangely, readers wrote in expressing disapproval of the spot, noting that Ziggy's voice didn’t mesh with what they had imagined he might sound like.
8. HE WON AN EMMY.
Ziggy made the jump to animation in 1982 with the ABC primetime special Ziggy’s Gift. Written by Wilson, it afforded Ziggy fans a closer look at the character’s daily life, including his sparsely-furnished apartment and a gig dressing as Santa for the holidays. At Wilson’s insistence, the character didn’t speak to avoid another Shalit situation. The special won an Emmy in 1983. Ziggy still wasn’t wearing any pants.
Two decades before he would become a two-time Oscar-winner for The Shape of Water, Guillermo del Toro set out to make a movie about his favorite superhero: a big red demon with a big gun and a heart of gold. It took years to finally get the film off the ground, but in 2004 Hellboy finally made it to theaters, adding another piece to the beloved supernatural filmography that’s made del Toro a favorite among genre fans for a quarter of a century.
Though it never rose to the box office heights of The Avengers, and it never reached the end of its planned trilogy, Hellboy remains one of the most imaginative, thrilling superhero films of the 21st century. From early script changes to an accidentally deleted scene, here are 12 facts about how it was made.
1. HELLBOY WAS GUILLERMO DEL TORO’S FAVORITE SUPERHERO WELL BEFORE HE MADE THE MOVIE.
Guillermo del Toro grew up with comic books, noting that he was flipping through them before he even knew how to read the words. That childhood fondness for the medium stayed with him into adulthood, and by the time he’d reached his early 30s he’d not only discovered the work of Mike Mignola, but began to consider the Hellboy creator one of his great comic book visual influences alongside legends like Will Eisner, Bernie Wrightson, and Richard Corben.
“Mignola, in my later years, already as a young adult, fascinated me with his use of light and shadow, with his amazing bold line work, but also with the way he gave birth to my favorite superhero in my adult years, which is Hellboy,” del Toro said during the recording of the Hellboy Director’s Cut commentary track.
When del Toro and Mignola finally met during the making of Hellboy, they bonded over a mutual love of folklore and pulp fiction, becoming fast friends and collaborators.
2. THE ORIGINAL SCRIPT FEATURED INTERVIEWS WITH HELLBOY WITNESSES.
In the world of the film, Hellboy is viewed as an urban legend and tabloid story, not unlike Bigfoot. The film’s opening credits underline this with blurry photos, grainy videos, and newspaper headlines meant to depict widespread eyewitness accounts of the creature. Agent Myers (Rupert Evans) further emphasizes this point when he exclaims “He’s real!” upon meeting Hellboy for the first time.
According to del Toro, this idea was initially supposed to play out in a much more overt way through the film’s screenplay. In early drafts, parts of the film’s story were told through eyewitness interviews with characters claiming to have seen Hellboy.
“So people would be saying ‘I saw Hellboy over here. I saw him jump,’ and a kid saying, ‘I saw him on the rooftop.’ Now everybody does it, but back then it was 1997, '98, and I thought that was a great idea,” del Toro said. “That was the first thing we cut out of the shooting schedule because [the studio executives] didn’t understand it.”
3. IT COULD HAVE BEEN MADE MUCH SOONER.
Though Hellboy’s live-action debut occurred relatively early in the 21st century’s superhero movie boom, he could have been more of a comic book trailblazer than he turned out to be. According to del Toro, if it weren't for reluctant studio executives, the film could have come out as early as 1998, making it a contemporary of Blade rather than Spider-Man 2.
“The one thing that particularly infuriates me is that this movie could have been made in 1998,” del Toro said, noting that the film would have then pre-dated X-Men (2000), Spider-Man (2002), and even The Matrix (1999). At the time, though, many studio executives considered the comic book movie label “almost an insult,” and so Hellboy kept getting pushed back. In between the time it could have been made and the time it was actually released, del Toro made his comic book movie debut with another dark superhero film, Blade II, in 2002.
4. DEL TORO WROTE HIS OWN CHARACTER BIOGRAPHIES.
By the time Hellboy hit theaters, creator Mike Mignola had already been building his own mythology and supporting cast around the character for a full decade. While the film is a loose adaptation of the first major story arc of the comic, “Seed of Destruction,” del Toro couldn’t help adding his own touches to everyone’s backstory. Even before he began work on the script, del Toro wrote out detailed character biographies for each major player in the Hellboy story, which were then included on the eventual Director’s Cut DVD release.
A particularly amusing example from these backstories: The fictionalized version of historical figure Grigori Rasputin (Karel Roden) is said to have disliked “greasy food,” and while he really did die in 1916, he was resurrected in 1936 when Nazi occultists mixed his stolen ashes with the blood of the innocent.
5. HE ALSO ADDED THE LOVE STORY.
Long before his fantasy romance The Shape of Water earned him two Academy Awards, del Toro was imagining tales of unusual creatures falling in love with human women, and Hellboy was one of them. The romance between the title character (Ron Perlman) and Liz Sherman (Selma Blair) didn’t exist in Mignola’s original comics, where Sherman’s stronger connection was (ironically, given The Shape of Water’s subject matter) with the aquatic creature Abe Sapien (who is played by The Shape of Water's Amphibian Man, Doug Jones). Latching onto a particular moment in the comics in which Hellboy is enraged by the thought of Liz’s death, del Toro envisioned a story in which his demonic hero could fall in love with a pyrokinetic woman, and was particularly enticed by the image of that woman engulfed in flames kissing a fireproof creature. That particular storytelling decision made del Toro’s Hellboy significantly different from Mignola’s, who modeled the character after his father, but the creator ultimately allowed the departure in the final film.
6. RASPUTIN WAS ORIGINALLY SUPPOSED TO LOSE HIS EYES.
In several sequences throughout the film, the character of Rasputin wears a pair of small sunglasses, even in scenes set at night. This was not done simply to make him look cooler (del Toro recalls comparisons made to The Matrix), but because del Toro originally planned to take away the character’s eyes. In the film’s opening sequence, Rasputin is sucked into the very portal that baby Hellboy is drawn out of, causing him to vanish from Earth for decades until he’s resurrected in the present day. Del Toro wanted the portal to create a “cosmic eye-gouging” effect that would rip the character’s eyes out of his head, but it simply didn’t work in a PG-13 film.
“I thought the eye-gouging, the cosmic eye-gouging, was not graphic enough for people to get the point,” del Toro said.
So, the shot of Rasputin losing his eyes was cut from the theatrical release, but restored for the director’s cut, along with a deleted scene in which the character is given a set of glass eyes.
7. LABYRINTHS ARE A RECURRING THEME IN THE FILM.
Del Toro is a director known for his keen attention to detail. As a result, various recurring visual themes appear in all of his films. For Hellboy, he focused on the idea that “a man is made a man by the choices he makes,” and while the film’s story conveys that as Hellboy must choose between the ideologies of Rasputin and Professor Broom, he also sought to convey it through visual metaphor. To do this, del Toro settled on the recurring motif of the labyrinth. It first appears as part of the opening credits sequence, when the entire logo becomes a kind of maze, then reappears as Ilsa (Bridget Hodson) and Kroenen (Ladislav Beran) weave through mountainous terrain to find Rasputin’s resurrection site. To bookend the metaphor, Rasputin’s mausoleum in Moscow also functions as a kind of labyrinth. Even the metal gates leading to the BPRD’s headquarters resemble the lines of a maze.
8. ONE SCENE WAS ACCIDENTALLY DELETED BY SEVERAL PROJECTIONISTS.
While several scenes from del Toro’s Director’s Cut were left out of the theatrical release, even the version of Hellboy shown in theaters wasn’t always complete. As del Toro later recalled, some “careless” projectionists in “dozens” of theaters accidentally removed one key sequence from the film’s final act as they were assembling the reels. At the end of the scene in which Liz activates her fire powers to burn the Sammael creatures away, a rock flies directly at the camera lens, creating a brief blackout. That scene is supposed to be followed by a shot of an unconscious Myers waking up on the ground to find Ilsa and Rasputin standing over him. The blackout confused some projectionists into skipping over the scene of Myers waking up, so some theatrical audiences were taken directly to the scene that followed, in which Myers has already been captured and chained up. According to del Toro, he set up an email contact form for moviegoers to report this misstep and got numerous replies, though the studio was not able to correct all of the errors.
9. IT FEATURES MANY FREQUENT DEL TORO COLLABORATORS.
Beginning with Cronos (1993), del Toro has built a large and diverse company of frequent collaborators, many of whom continue to work with him to this day. Several of these collaborators contributed to Hellboy, both in front of and behind the camera, including actors Ron Perlman (Cronos, Pacific Rim, Blade II) and Doug Jones (Mimic, Pan’s Labyrinth, The Shape of Water, and more), composer Marco Beltrami (Mimic, Blade II), and cinematographer Guillermo Navarro (Cronos, The Devil’s Backbone, Pan’s Labyrinth, Pacific Rim and more).
10. IT SUFFERED BACKLASH BECAUSE THE WORD “HELL” IS IN THE TITLE.
During the Director’s Cut commentary for Hellboy, del Toro praised the film’s marketing team for finding ways to sell the film to the public, noting that it wasn’t always easy to attract audiences to a film called Hellboy. Some theaters refused to show the movie, while others retitled it Helloboy in an effort to calm potentially offended patrons. The problem was exacerbated by the presence of Mel Gibson’s The Passion of the Christ, which opened a few weeks earlier and remained a big box office draw during the Easter holiday.
“Especially on Easter, some theaters mysteriously dropped the movie when it was still making money,” del Toro recalled.
11. IT WAS SUPPOSED TO BE THE FIRST FILM IN A TRILOGY.
Hellboy opened on April 2, 2004 to strong reviews and a box office return good enough to merit a sequel. Just weeks after the first film hit theaters, Hellboy II was a go, with del Toro, Perlman, Blair, and Jones returning. With the knowledge that he would get to continue the story, del Toro envisioned a superhero fantasy trilogy, which moved closer to becoming a reality when Hellboy II: The Golden Army opened in 2008 to more critical acclaim. As time passed, though, a third film began to seem increasingly unlikely, with Perlman in particular noting that the epic scope of del Toro’s plans could be too taxing on the budget as well as Perlman’s own physical health. After years of holding out hope that the trilogy could be completed, del Toro finally announced in 2017 that all plans for Hellboy 3 had been scrapped.
12. BUT A REBOOT IS IN THE WORKS.
Del Toro might not get to finish his version of the Hellboy story, but that doesn’t mean Big Red won’t hit the big screen again. In May 2017, just months after del Toro announced an end to his version of the tale, Mignola revealed that the character would be rebooted as part of a new film franchise. Directed by Neil Marshall (The Descent) and starring David Harbour (Stranger Things) in the title role, the new Hellboy film is set to hit theaters on January 11, 2019.
Additional Sources: Hellboy: The Director’s Cut special features (2004) Guillermo del Toro: Cabinet of Curiosities (2013)