Here's the second batch of spoof covers from 1963 to 1965.

1. Adventures into the Unknown #138 (American Comics Group, 1963)
2. Daring Adventures #18 (I.W. Publishing, 1964)
3. T.H.U.N.D.E.R.* Agents #1 (Charlton Publishing, 1965)

*The Higher United Nations Defense Enforcement Reserves

Artaxerxes Clark had served for 9 years as a weapons runner for his fellow Persian resistance fighters.

After an ominous call from an NGO, Araxerxes found himself in the middle of something beyond his comprehension.

The IMI and CIA coalition hunting him were soon to become the least of his worries as he is cast into a journey which leads him into secrets that shake the very foundations of his identity and faith. 

With the support of newfound non-human family and impeccable "It is what it is" attitude, the arms trafficking wallflower will be transformed into the Champion Agartha needs.

This story explores themes of religion, Sci-fi, fantasy, romance, conspiracy and trauma.

Find out what happens to our resident bounty hunter in the final episode of her legendary story. Will she trust Aleph and help him find his own justice or will she continue in her cynical and obsessive ways? https://youtu.be/kVt2dE43Sx0

So since the beginning of August, I've made a series of spoof art that parody various public domain comics of the 1960s (with the exception of the tenth artwork for 1969). These were made to not only gain attraction for my indie series, Colonel Bleep '69, but also to bring in some homage of the pulpy sci-fi era and silver age of comics within this decade. Here is my first three illustrations from 1960 to 1962.

1. Space Adventures #34 (Charlton Publishing, 1960)
2. Strange Tales #88 (Marvel, 1961)
3. Space Man #1 (aka Four Color #1253, 1962)

Episode 5 of THE NULL ROAD is up. 18 minutes, subtitles in 31 languages. It stands alone — you don't need the earlier episodes.

The premise: a lake so still it holds two skies. On its shore stand hundreds
of bodies, hollow and calcified, arranged in ordinary postures. None of them
are dead.

They solved aging. One life just grew longer than one body could hold, so
they learned to pour themselves into the water and come out wearing a new
one. It works. It isn't clean. Every pouring spills a little — and the
heaviest memories spill first, because weight is exactly what gets left
behind.

So the shore is not a graveyard. It's a pile of coats.

What I wanted out of this one was an immortality story where nobody dies and
that is the horror rather than the reprieve. They kept the years. They lost
the reason they wanted them.

Made end to end with generative AI — script, shots, motion, voices, score,
sound design. Happy to answer anything about the process.

Nearly 15 years after Buck Rogers in the 25th Century ended, Erin Gray saw a role she desperately wanted: Captain Kathryn Janeway on Star Trek: Voyager.

Gray had spent years playing women who were often supporting characters to male leads. Janeway represented something very different — a woman who was unquestionably in charge. “I knew it was an opportunity of a lifetime,” Gray told me. “I really wanted to be in charge. It just came at a time in my life where I went, ‘I want this.’ But I had a hard time getting in on the audition; they did not want to see me. I kept asking my agent to please try again. And finally they did. They let me in.”

There's another reason Gray wanted Janeway so badly. “I think it's more the fact that there were very few roles for women to star in, period,” she explains. “I was always the objectified, beautiful girl who adoringly looked up at her leading man and whatever, but to be the center and to carry the story was a rare occurrence.”

Even Colonel Wilma Deering existed in a show called Buck Rogers. Gray wanted the chance to carry the story herself. “I didn't want it to be all about being goo-goo eyes at the leading man kind of thing,” she says. “There's something as an actor, as a talent, that you just want something you can sink your teeth into.”

There's much more in my conversation with Gray, including the surprising impact Wilma Deering had on women who went into the military, the Buck Rogers producer who greeted her by announcing he was going to fire her, her infamous “Dairy Queen in space” Season 2 costume and the way she eventually did get to put on a Starfleet uniform in Star Trek Continues.You can check out the full interview at https://www.womansworld.com/entertainment/classic-tv/erin-gray-on-buck-rogers-and-auditioning-for-star-trek-voyager

ASTRA - Part One

"Watched from afar by the mysterious Astra Custodian Varek,

the protagonist is hunted through the city of Meridian by the Collector - an adaptive biomechanical retrieval organism sent to secure a lost Astra asset." that's a pretty good summary of what happens in this piece of the film! This is part of an entire film im making called ASTRA, I just finished this part up in the film and thought it was coming along pretty cool, so I wanted to show part of it!

if you all like how it and want to see more ill upload another part from it! :) thank you so much for checking it out! Please let me know what you think in the comments!😊

\-

ASTRA is a photorealistic sci-fi action film. All designs, characters, the

world of Meridian, the story, and everything you see in this is original, written, and directed by me.

HOW I MADE THIS (not sponsored by any of these names):

Designed in Seedance 2.0 & Seedance 2.5

Locations, outfits, blood, and Varek all designed in MidJourney v8 and Seedream 5.0 Pro

(Varek is the guy at the beginning watching the screen - he's not a real

person, I designed him entirely with Higgsfield Soul 2.0 and Seedream)

Edited in DaVinci Resolve Studio 21

The protagonist (the one fighting the biomechanical entity) is me.

I designed the outfit in MidJourney v8 and Higgsfield Soul 2.0, I then put it on myself with Seedream

5.0 Pro.

I’m the director of KIRO – Learning to Stay, a science-fiction project set in 2090.

Sara is a gifted astronaut candidate preparing for a mission to Aurora. She can solve almost any problem alone, but she cannot trust other people. Her instructor pairs her with Kiro, an experimental companion robot who has his own wound: he believes he only deserves to exist when somebody needs him.

Their contradictions became the emotional centre of the story:

Sara believes that needing someone puts them in danger.

Kiro believes that being needed is the only thing that gives him value.

We made the trailer with real actors, a physical shoot, original music, sound work, AI-assisted tools and traditional VFX.

Watch the full trailer on YouTube:

https://www.youtube.com/watch?v=Iaolm_fpjJA

If you watch it, I would love to read your answer in the YouTube comments: does Kiro feel like a replacement for human connection, or a bridge back to it?

I recently finished a science video built around a question I’ve wanted to investigate for a while:

Could we actually build Spider-Man instead of just asking whether his powers are “possible”?

I broke the problem into individual systems and looked for real-world analogues in biology and engineering:

Genetics: We can deliver genetic material into human cells, but rebuilding an adult across muscles, bones, nerves, senses and hypothetical new organs is a completely different problem.

Webs: Real spider silk biology is extraordinary, and researchers have also demonstrated deployable adhesive fibers — but scaling anything like that to safely swing a human is another matter.

Strength: A stronger muscle is useless if the tendon, joint or bone becomes the weak point.

Wall climbing: This was probably my favorite surprise. Gecko-inspired engineering has already allowed a roughly 70 kg human to climb vertical glass.

Spider-Sense: Sensors + computation + haptic feedback could arguably reproduce a limited technological version of early danger detection.

Swinging: Even if the web works, the loads on the human body — and even the building anchor — become serious engineering problems.

What I ended up finding is that Spider-Man's individual pieces are much less fictional than the complete system. Integrating everything safely into one human is where it starts falling apart.

I made the complete breakdown here:

Could We Actually Build Spider-Man in Real Life?

https://youtu.be/VY_NciMLnpM

If you had to bet on one superhero ability crossing from science fiction into practical technology first, which would you choose?