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Category: Retro Fix


Back in September here at borg.com we predicted the November Bonhams auction of Robby the Robot and his “space chariot” from the 1956 science fiction classic Forbidden Planet would hit the $1 million mark and we even entertained the possibility of a $10 million sale.  Yesterday the hammer fell at $4.5 million at Bonham’s “Out of this World” auction of entertainment memorabilia and with the addition of a buyer’s premium resulting in a final sale price of $5,375,000, Robby and his car became the highest movie prop lot ever to sell at public auction.  Technically a costume that doubled as a prop, Robby the Robot also became the second highest sale price for any piece of entertainment memorabilia to sell at public auction, eclipsed only by the 2011 sale by auction house Profiles in History of the iconic Marilyn Monroe subway vent dress from The Seven Year Itch, which sold for $5.52 million including buyer’s premium (yesterday Bonhams and the mainstream press, including The New York Times and CBS, mistakenly claimed Robby’s sale surpassed the Monroe dress price, but their reports neglected to factor in the buyer’s premium for the dress–a fee the auction house charges bidders based on a percentage of the hammer price, and the Monroe dress had a hammer price of $4.6 million).  The Robby the Robot costume/prop was used in dozens if not hundreds of appearances over the decades, including in key episodes of Lost in Space and The Twilight Zone.

Still, top prop honors is nothing to sneeze at.  The sale of Robby and his car nudged from the top spot the sale of the 1966 Batmobile from the 1960s television series, which sold for $4.62 million in 2013, including buyer’s premium.  The rest of the pantheon of prime public auction screen-used prop and costume sales includes one of two original James Bond Aston Martins from Goldfinger ($4.6085 million/2010), one of the falcon props from The Maltese Falcon ($4.085 million/2013), Audrey Hepburn My Fair Lady and Breakfast at Tiffany’s dresses ($3.7 million/2011 and $807,000/2006, respectively), Sam’s piano from Casablanca ($3.4 million/2014), the Cowardly Lion suit from The Wizard of Oz ($3.1 million/2014), Von Trapp kids’ costumes from The Sound of Music ($1.5 million/2013), and Steve McQueen’s racing suit from LeMans ($984,000/2011), and one of four pairs of ruby slippers from The Wizard of Oz ($666,000/2000).

In the science fiction genre, the artifact to beat was another robot–an R2-D2 that was pieced together from several screen-used components, which sold this past June for $2.76 million, and a Back to the Future III DeLorean time machine sold for $541,000 in 2011.  Robby easily nudged these props aside yesterday.  Would the sale price have been the same without the space car?  You’ll need to track down the anonymous telephone buyer to get the answer to that question (the four final bidders all dueled it out via phone bids), although you might keep an eye out at Paul Allen’s Museum of Pop Culture in Seattle, as this is the kind of high-end prop he has purchased in the past.

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Review by C.J. Bunce

Axis & Allies is a classic wartime strategy board game that you’ve likely encountered either yourself or found a good friend playing over the years.  First released in 1981 by Nova Game Designs it has continued to be re-released from the likes of Milton Bradley, and it currently is a game produced by Wizards of the Coast and Avalon Hill under the Hasbro umbrella of companies.  Thirty-six years after its release it remains a fun and competitive game in various versions of play with a loyal following, continuing to be the focus of tournaments at Gen Con and other venues throughout the year.  This month Wizards of the Coast is releasing an updated edition of the game celebrating the 50th anniversary of Avalon Hill.  The company had tapped Axis & Allies original game designer and creator Larry Harris to take another look at the game and develop a special anniversary edition with updated features and gameplay.  The result is the Axis & Allies Anniversary Edition, a giant, beautifully designed edition featuring plenty of extras, including two completely different games in one box as compared to the classic standard edition–one with a scenario beginning in the Spring of 1941 (the Axis attack) and the other beginning in the Spring of 1942 (from the traditional version of the game).  The detail and complex strategy allow for an unlimited level of historicity depending on the desires of the players.  The out-of-the-box version will test players’ skill in planning, including short-term battle tactics and long-term strategy, and as with the original game there’s also room for luck to have a hand in the outcome.

The Anniversary Edition, originally released in limited quantities in 2008 and out of print since, includes more than 650 game pieces, including some updated sculpts of tokens compared to the standard edition.  It’s housed in a deluxe sturdy box that features a gorgeous painting when the eight game piece boxes are housed together.  The gameboard is a whopping 24 x 46 inches.  Recommended for players 12 and up, 2-6 can play, each representing one or more of the United States, the Soviet Union, and the United Kingdom for the Allies, or Germany, Japan, or Italy for the Axis.  As compared to the standard edition Italy is feature of the Anniversary Edition, which balances out the board 3 to 3 (allowing for more players than prior editions).  As with Italy during the real war, the prospects of a single player representing Italy winning the game in a six player game will be a real challenge, but we figured a cunning or lucky player may be able to make it work.  China also has a different configuration in this edition, allowing for further twists to the game depending on how it is used to manipulate the balance of power across the board.  The key update for 2017 is an updated rulebook correcting past errors.

You really get your money’s worth with the giant board, extra features, and 650+ playing pieces in the Axis & Allies Anniversary Edition.

We set aside an afternoon to try it: my friend (who is a regular gamer, but hasn’t played Axis & Allies in years) and I (new to wargame/combat board games) made it through two complete rounds in 6.5 hours, but that time included initial board set-up (punching out pieces, etc.) and reading instructions.  Those familiar with the standard game will have no problem completing 4-6 rounds in this time, which appears to be the norm for a complete game.  The winner of the game is the first to capture a set number of major city capitals.  Each side starts with a designated number of cities (based on which scenario you play) and players decide in advance whether 13, 15, or all 18 capitals is the goal, which may shorten or extend the time of gameplay.  Paper money is used as IPCs or “industrial production certificates” and each of the six major countries is paid each round to represent a rough correlation of the actual military spending during the war.  We played the Spring of 1941 scenario and this meant Germany was powerful with Japan in a good position to strike, but the United Kingdom is entrenched upfront by design as a military stronghold with resources that, along with the resources of the United States, kept the balance in favor of the Allies for the first round.

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At this year’s D23 convention, director Brad Bird and Disney/Pixar creator John Lasseter revealed a first look at the coming sequel to 2004’s The Incredibles with the return of superhero costumer Edna “no capes” Mode.  Bird suggested that Holly Hunter’s character Helen aka Elastigirl would be in the drivers’ seat for the eagerly awaited sequel, but a new teaser for the movie shows the Incredibles family baby “Jack-Jack” will get some attention of his own.

In the original film Jack-Jack revealed his powers to his babysitter.  This time father Bob Farr aka Mr. Incredible (voiced by Craig T. Nelson) learns what his baby boy is already aware of.  According to The Incredibles director Bird, who will also direct the sequel, expect a return of the same mid-century modern artistic style, shown particularly in the Parr family’s new house (the original was destroyed last time around).

Most of the original cast will be back, including Nelson, Hunter, Samuel L. Jackson (Frozone), Sarah Vowell (Violet), with Huck Milner replacing Spencer Fox as the new voice of son Dash.  Michael Giacchino will also be back with an update to his exciting original musical score.

Check out this incredibly short teaser for The Incredibles 2:

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Review by C.J. Bunce

Many have asked:  Why make another Agatha Christie’s Murder on the Orient Express?  You could just as easily ask: Why adapt another Shakespeare play?  Or Why make another Sherlock Holmes series?  When your story is great, and becomes as classic as Agatha Christie’s famous, timeless 1934 novel, it’s sort of the point of cinema, isn’t it?  From an actor standpoint, being in one of the film versions of Murder on the Orient Express, and portraying such iconic roles, is something like being cast as King Lear.  And who better than Kenneth Branagh to inject his own vision of the story into a new snapshot of acting greats for a new era of audience members?  Of Branagh’s twenty directorial pursuits, you must go back to the early era of Dead Again and Peter’s Friends to find Branagh not serving as puppetmaster of someone else’s well-known world, whether it’s Shakespeare in Henry V, Much Ado About Nothing, Hamlet (and the list goes on), or adaptations of Mary Shelley’s Frankenstein, Marvel Comics’ Thor, Mozart’s The Magic Flute, Tom Clancy’s Jack Ryan, Branagh is the king of directing adaptations and remakes.  Add Murder on the Orient Express to that list, a faithful adaptation of the book, stylishly filmed with lavish, sweeping sets and landscapes courtesy of cinematographer Haris Zambarloukos, Branagh’s choice cameraman on four of his past films.

The year’s casting award goes to Lucy Bevan for bring filmgoers back to the age of the all-star cast, where you’d look to 1970s disaster movies (Airport ’76, Towering Inferno, Earthquake) or the odd comedy (think It’s a Mad, Mad, Mad, Mad, Mad World) for a pantheon of stars like that found in Orient Express.  Branagh as Hercule Poirot sports that classic era moustache with confidence (Christie herself called Poirot’s moustache “magnificent” and “immense”) and he adds his own quirks and humor to Christie’s legendary greatest detective, providing a new twist on the Holmes/Monk/House, M.D. frustrated genius detective archetype.  So many of the cast members appear every bit like Golden Age film stars here, including Branagh, Johnny Depp, Michelle Pfeiffer, Josh Gad, Daisy Ridley, Willem Dafoe, Judi Dench, Penélope Cruz, Derek Jacobi, and Leslie Odom, Jr., with a particularly engaging performance by Tom Bateman as Poirot’s friend Bouc, in what will no doubt be seen as a great breakout role for the actor.

The film will be best for those unfamiliar with the story.  A famous detective receives a message requiring him to squeeze onto a full train at the last minute with a little more than a dozen passengers aboard.  When one passenger who fears for his life and requests assistance from the detective winds up dead in a brutal, bloody murder, the whodunit begins.  Once a snowy avalanche blocks the path of the train, the game is afoot as the delay provides enough time for Detective Poirot to begin interviewing the passengers.  The mystery is laid out with several clues, including just enough to allow the viewer to figure out who killed the victim if he/she is paying close attention.  And Branagh stages the investigation like a game of Clue/Cluedo–including overhead angles that at times make the viewer feel like Murder on the Orient Express is indeed a virtual reality version of the board game.  We know the murder weapons and the location, but who is responsible for the death and why?

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Review by C.J. Bunce

Rarely has anyone been able to create a single work that includes so much information in such spectacular fashion about such an epic body of work.  Writer Daniel Falconer has done just that with Middle-earth: From Script to Screen–Building the World of The Lord of the Rings and The Hobbit, his new 512-page, exhaustive, encyclopedic chronicle of the making of both of director Peter Jackson’s trilogies adapting J.R.R. Tolkien’s The Lord of the Rings and The Hobbit.  Never before seen photographs, never before published recollections of cast and crew of the films that all-told would add up to nearly 24 hours of award-winning cinema, garnering seventeen Academy Awards for The Lord of the Rings films and seven nominations for The Hobbit.  Weta Workshop’s Daniel Falconer, who has written some of the best-reviewed books we have looked at here at borg.com, catches up The Lord of the Rings to the coverage he has documented in his books on the making of The Hobbit trilogy, without providing any redundant content from his prior books, including The Hobbit: An Unexpected Journey, Chronicles: Art and Design, The Hobbit: An Unexpected Journey Chronicles–Creatures & Characters, The Hobbit: The Desolation of Smaug Chronicles: Cloaks & Daggers, The Hobbit, Smaug: Unleashing the Dragon, The Hobbit: The Battle of the Five Armies Art & Design, and The Hobbit: The Battle of the Five Armies, The Art of War.  In doing so he has created the definitive resource for fans of the films, and fans of the Tolkien books now have a visual, fully-realized geographic resource guide to Middle-earth.

Beginning with a fabulous map of Middle-earth that includes cross-references to the pages of the book where each location is discussed, the reader can take his or her own tour across the film (and book’s) fantasy realm and real-life New Zealand filming locations.  The journeys of Frodo and the Fellowship of the Ring from The Lord of the Rings and Bilbo, Gandalf, Thorin and the other Dwarfs in The Hobbit are overlaid so that the reader’s tour sweeps across the landscapes and environments created entirely by concept artists, artisans, and skilled workers of every imaginable category, required to faithfully reflect Tolkien’s and Jackson’s visions.  Even more exciting are accounts, including descriptions and photographs, of places that Jackson filmed, but did not make it to the final cut of the film.  The weight of this task–the task of creating the films and also in creating this hefty document–are reflected in the artistry and organization of every single page.

Along with the primary narrative focusing on selection, planning, building and filming each environment, readers will discover several sidebars covering topics like key characters, races, and creatures, and a veritable how-to guide to making an epic film series that takes readers through breaking down a script, set conceptualization, set drafting, use of “big rigs”–a twist on forced perspective filming, sound design, location scouting, art direction, set construction, set decoration, cinematography, performance/motion capture, building model miniatures, previsualization, aerial and scenic photography, organic sets, the greens department (charged with plant life set dressing), talismans and props, set and prop finishing, post-production, color grading, lighting, shooting on location, using locations responsibly, and creating digital environments.

Throughout the book readers will learn what materials and settings could be re-used from The Lord of the Rings for The Hobbit.  Initially environments were not built to last, but after the success of various filming locations in New Zealand as tourist attractions when filming wrapped on The Lord of the Rings: The Return of the King, many sites were rebuilt to survive past production for The Hobbit films.  This included the creation of 44 Hobbit holes that can be visited today among many other sites.  The journey across the map of Middle-earth will take readers to The Shire, Lands of Arnor, Rivendell, The Misty Mountains, Khazad-dûm, Wilderland, Mirkwood, Lothlórien and the River Anduin, Realms of Rhovanion, Rohan, Enedwaith & Calenardhon, Realms of the North & Wastes of the East, Ithilien & the Morgul Vale, and Mordor and the Shadowed South.

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Review by C.J. Bunce

Kim Newman’s Anno Dracula is a series of novels and short stories that began in 1992, showcasing an elaborate and detailed parallel history of Earth set between 1888 and 1990 (so far), where Bram Stoker’s Dracula is seen as a true biographical account of the real Count, and the Count controls England by winning the hand of Queen Victoria.  Anno Dracula is a steampunk mix of fictional characters and real people spanning a century in a bit of a The League of Extraordinary Gentlemen and Legenderry construct.  Gunga Din, Fu Manchu, Sherlock and Mycroft Holmes, Lestat de Lioncourt (from Interview with the Vampire), Prince Mamuwalde (from Blacula), Doctor Moreau, Allan Quatermain, and even Carl Kolchak from The Night Stalker all show up in Newman’s fantasy world, alongside real people of the past like Billy the Kid, Catherine the Great, Joseph Merrick, William Morris, Beatrix Potter, and Orson Welles.  Newman’s entirely new story is in the form of a comic book series, Anno Dracula–1895: Seven Days in Mayhem, published by Titan Comics and illustrated by Paul McCaffrey, and it is now available in a collected trade edition from Titan Comics.

As Dracula’s tenth jubilee approaches, an assassination plan is underway from radical forces in Great Britain.  Newman’s powerful lead Kate Reed–journalist, free thinker, and vampire–has joined a council of revolutionaries, but when Dracula’s secret police come crashing in she turns to a familiar old friend to try to save herself and the Count himself, but she must first get through Count Graf Von Orlok of Nosferatu fame.  As with past entries in the series, this is not a tale about Dracula, but more about every other living and fictional famous face of the day.  And my favorite piece of a Kim Newman story is his use of fantastic characters and historical figures sometimes only for a single page or, as with his new graphic series, in a single panel, but always for a reason, and often for a joke (Twilight books, you are not exempt).  So keep a lookout for a steampunk cyborg Thomas Edison and a ship captain with a striking similarity to Lon Chaney’s Phantom of the Opera.  Artist McCaffrey’s artistry is a great pairing with Newman’s classic prose.

Few authors have a such a command of their subjects as Newman has of vampire lore and film.  Check out my interview with Newman back in 2013 here at borg.com, as well as our reviews of his sequels to the novel Anno Dracula:  Dracula Cha Cha Cha here, and Johnny Alucard here.  Fans of Alan Moore’s several adaptations of classic characters will love Newman’s works, but be prepared:  Where Moore puts a few characters together to have an adventure such as in The League of Extraordinary Gentlemen, Newman has deftly woven easily more than a thousand into his world.  Anno Dracula–1895: Seven Days in Mayhem is proof that the entire Anno Dracula series should be adapted to the graphic novel format.  An exciting, rousing tale, it’s too good to pass up.

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Kansas City Comic Con 2017 wrapped after three days yesterday, full of great opportunities to meet comic book and other genre creators, celebrities, and participate in all sorts of activities from how-to classes on cosplay armor building to LEGO building, and several panels covering a variety of topics.  For regular convention attendees the best part is the ability to see friends you’ve known for sometimes decades, and forging new bonds with other like-minded, positive and fun people.

What came as a surprise for many this year was the enormous participation of attendees in their favorite cosplay.  On Saturday the open areas of the convention floor were often so filled with cosplayers and others getting photographs that you could hardly move through without bumping into someone.  That’s a pretty great feat, because Bartle Hall in downtown Kansas City is a major sized venue.

So let’s take a look at a few of the hundreds of great characters found at this year’s show:

   

To my left above is one of the first people to create Obi-Wan Kenobi as designed by Mike Mayhew in Star Wars Issue #15, written by Jason Aaron.  He really nailed the look with the great backback, rifle, and goggles.  This wins my “I am definitely going to borrow this idea” award.  This is the version Sideshow is expected to release in 1:6 scale in late 2018:

Here is Jennifer and Nicholas Forrestal with their Morticia and Gomez Addams from The Addams Family:

  

And a great Uncle Fester was on-hand as well.  The best ad lib physical humor award goes to Kevin Dilmore for his quick rendition of Thing.

I was surprised by all the Rogue One cosplayers that Elizabeth Bunce (as Jyn Erso in Imperial disguise) and I (as the Blue Squadron X-Wing pilot general) were able to get some photos with, including our boss, Mon Mothma:

… and a soldier from the Battle of Scarif (where we both met our doom):

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Kansas City Comic Con 2017 has been an event full of fun for both visitors and the creative guests the attendees came to meet.  One of the show highlights was a Green Arrow Quiver/Sounds of Violence reunion of writer Kevin Smith and artists Phil Hester and Ande Parks.  The trio delved into the impetus for bringing Oliver Queen/Green Arrow back from the dead back in early 2001 after the character had been killed off and replaced with Connor Hawke as the Green Arrow for a generation of readers.  “I was a big fan of the character going back to the day.  I loved Grell’s Longbow Hunters and I loved the book that followed Longbow Hunters.  It was like a Vertigo book, but wasn’t technically a Vertigo book, but it was very grown-up.”  When Smith was visiting the DC Comics offices discussing a Superman screenplay back around 1996, Smith said he popped his head into Green Arrow editor Darren Vincenzo’s office and said, “Hey, man, if you ever want to put Green Arrow in the Top 10, let me write the book.  I think I got a story.”  A year later when Smith was working on Daredevil, Vincenzo recalled the conversation and asked if Smith was serious about Green Arrow. 

Smith, Hester, and Parks had each worked with editor Bob Schreck, who had just moved to DC from Oni Press, where Schreck had been co-founder.  Schreck wanted Smith for the Green Arrow project idea and asked who he’d like for his artistic team, and Smith suggested Hester and Parks in part because of their work on Swamp Thing.  “I fell in love with it deeply,” Smith said.  The team was solidified and they moved forward with the project.  “Having these two dudes enabled me to go where I wanted to go,” Smith added.  Already established artists at the time with a catalog of works, Hester and Parks expressed gratitude to Smith for selecting them for the project and Smith said the collaboration with Hester and Parks on the project helped cement his position in the comic book industry as a creator who is now regularly tapped for insight into the comics industry in documentaries on comics, among other things.  “The only reason I get to be in that stuff is because I have credibility in the comic book community because of stuff like Quiver.  Quiver was the one particularly,” Smith said, further noting the book won national awards.

And speaking of Mike Grell, Grell was also a guest at KCCC this year. Always great for a conversation, Grell was busy working on sketch commissions for attendees this weekend.

Smith also discussed working with Dynamite Comics to bring together later projects with Phil Hester and artist Jonathan Lau on Green Hornet and The Bionic Man.  Hester said there was much back and forth communication in creating the story, and Smith emphasized the collaborative effort, “I used to be a guy that was like ‘oh, I just want to write it myself–I don’t want any input.  And then one day you work with people who add something, and then it’s ‘God, that’s incredible!'”  He used as examples contributions from Chris Rock in his film Dogma and Will Ferrell in Jay and Silent Bob Strike Back–both actors who made contributions to the script but didn’t ask for or want any writing creditsand creator David Mandel in the animated Clerks.  When fans reference great lines that Smith didn’t write he said he makes sure to credit the writer.  “It’s important for collaborators to cite those people who are your collaborators.”  The panel was hosted by the Worst Comics Podcast Ever’s Jerry McMullen (shown above after the panel with Hester, Parks, and Smith).

Lee Meriwether and Doug Jones at KCCC 2017.

In the celebrity autograph area at KCCC 2017, a reunion and momentous meet-up involved actress Lee Meriwether and actor Doug Jones.  Both Meriwether and Jones worked together on the film The Ultimate Legacy, which also starred Raquel Welch and Brian Dennehy.  Meriwether and Jones are unique in that they represent contemporaries in acting but also represent bookends of a sort for the 51-year Star Trek franchise.  In addition to her many famous roles in series like Barnaby Jones, All My Children, and Batman, Meriwether played the character Losira in the original Star Trek series episode, “That Which Survives.”  Jones, an actor who has performed both as creature characters where he is often unrecognizable–a Lon Chaney of today as one fan referred to him–as well as more standard roles, has performed in more than 150 films and TV series (from one of the creepy Gentlemen in the Buffy the Vampire Slayer episode “Hush” to the creature in next month’s new Guillermo del Toro release The Shape of Water).  Plus Jones has appeared in 100 commercials, including as the classic McDonald’s moon-shaped mascot “Mac Tonight.”  And Jones currently plays the alien leading character Lieutenant Saru on this year’s latest Star Trek incarnation, Star Trek Discovery.

Gary Fisher and his family meet attendees at KCCC 2017.

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Aardman Studios is that British animation company known for director Nick Park and his stop-motion clay animation films, most notably the Academy Award winning Wallace & Gromit, and the groundbreaking series Creature Comforts.  Its full length feature Wallace & Gromit: Curse of the Were-Rabbit also won an Academy Award for best animated feature.  And the studio produced the popular Chicken Run, Shaun the Sheep, and Pirates! Band of MisfitsDirector Hayao Miyazaki, widely considered one of the best animators of all time, counts himself as a fan of the Aardman movies.

Haven’t seen this kind of animation before?  It’s the style every kid in the 1960s grew up with.  Start with the three Wallace & Gromit shorts A Grand Day Out, The Wrong Trousers, and A Close Shave featuring a cheese loving British inventive chap named Wallace and his smart, loyal, and cynical dog Gromit.  The animation, and the quick speeds of certain segments, are simply stunning.  Then try Creature Comforts, a half-hour television series that aired in both the UK and USA, where every day folks were interviewed on the street, then their voices were dubbed into farm and zoo animal characters.  The result is laugh-out-loud funny.

Just released is the preview to the next stop-motion, full-length film, Early Man.  It features the voices of Eddie Redmayne (Fantastic Beasts and Where to Find Them), Tom Hiddleston (Thor), Maisie Williams (Doctor Who, Game of Thrones), and Timothy Spall (Harry Potter series).  Check out this trailer for the film:

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Today thousands of sci-fi, fantasy, and superhero fans will converge on Kansas City as Kansas City Comic Con returns to Bartle Hall.  The show again has booked several comic book and fiction writers and artists as well as some great movie and TV guests.  This is the third annual Kansas City Comic Con event and the show boasts one of the largest assemblages of nationally known as well as local writers and artists, with hundreds of creators to be featured.

The star attraction of this year’s show is a reunion of actors from director Richard Donner’s Superman as an early celebration of next year’s 40th anniversary of nearly everyone’s all-time favorite superhero movie and Superman–the late Christopher Reeve.  Film co-star Margot Kidder (Lois Lane) returns to Kansas City, plus several supporting cast members including Sarah Douglas (Ursa), Jack O’Halloran (Non), Aaron Smolinski (Baby Clark Kent), Jeff East (Young Clark Kent), Diane Case (Young Lana Lang), and via SKYPE, a live video appearance by actress Valerie Perrine (Miss Teschmacher).

  

Fans of classic television can meet one of the original actresses who played the Catwoman in the 1960s Batman series, Lee Meriwether, plus Robin himself, Burt Ward.  Star Trek Discovery star Doug Jones, also known for hundreds of roles in films like Hellboy, Pan’s Labyrinth, and Fantastic 4: Rise of the Silver Surfer, will be making his first appearance in Kansas City.  Disney fans can meet Eva Bella, the actress who voiced the young Elsa, and Livvy Stubenrauch, the actress who voiced the young Anna, in the animated film Frozen.  Stuntman and actor Hamid Thompson (Jurassic World, Spider-man: Homecoming) will be on hand, as well as two Lucasfilm Star Wars animated series voice actors: Tom Kane (Yoda) and David Ankrum (Wedge), plus two of the Power Rangers performers: Karan Ashley (Yellow Power Ranger) and Walter E. Jones (Black Power Ranger).  And convention staples Kevin Smith and Jason Mewes are also returning to Kansas City for the show.

Last minute additions for the show include Colin Cantwell–the concept art designer of the original Star Wars Death Star, X-Wing Fighter, TIE Fighter, and more, and Gary Fisher–that’s right Carrie Fisher’s beloved dog who accompanied her on the PR and convention circuit continues to tour to visit the crowds that became commonplace for him over the past few years.  Nationally known comic book creators featured at KCCC include legendary writer/artist Mike Grell as well as Star Wars writer and Eisner winner Jason Aaron, artists Phil Hester and Ande Parks (along with Kevin Smith this may be the first time all three of the Green Arrow “Quiver” era creators have appeared together at a convention since a San Diego Comic-Con appearance when the book was first released), writer Jai Nitz, authors Dayton Ward, Kevin Dilmore, Holly Messinger, Jason Arnett, and Nicholas Forrestal, artist Johnny Desjardins, artist David Finch, artist Mark Sparacio, artist Art Thibert, artist John Davies, writer Frank Tieri, writer James Tynion IV, and comics legend Bob Hall.  But that’s only scratching the surface–check out the full list of national and local creators here.

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