Mars Attacks (Topps)

Can you smell the Bazooka Joe bubble gum?? I swear, Abrams somehow permeated this book with Eau-de-Bazooka Joe! Fantastic!
This is one amazing book! In every way! The dust wrapper is lovingly made with a semi-transparent paper that mimics the original Mars Attacks pack wrapper. The text, mostly by Len Brown who is well-known to us card, comic and monster-mag fans, presents the most in-depth portrait of Woody Gelman (of Topps and Nostalgia Press) that I've ever read. Zina Saunders, the daughter of the painter Norm Saunders who painted most of the finished cards over Bob Powell's pencils, also contributes an excellent and touching account of the "Mars Attacks" days with her dad. And the cards... these are the finest reproductions I've ever seen. Even better than the originals. I'm a big fan of Topps' 1994 reissue set, but this book's repros are the best. The original (and 1994 reissue) cards were about 2.5" x 3.5". The repros in this book are about 3" x 4.25". Needless to say, gorgeous repros of all 55 original cards, full page, with the back of the card on the facing page, are included. The card images are crystal clear. The reason? The book's repros are shot from the ORIGINAL TRANSPARENCIES! This is the ultimate Mars Attacks book!
Also included are the 11 cards from the extended 1994 set, as well as various other random magazine premiums and Screemin' cards.
The book is a treasure. I sold my set of Mars Attacks cards in 1965 for $1, and have regretted it ever since, but this book makes up for it. Thank you, Abrams!!

Many people can still remember a time, arguably a now long lost era, when cardboard reigned supreme. Companies would simply print images on this material, organize them into some sort of thematic unity and usually individually number them to make those possessing "the collecting disease" go absolutely berserk with completion anxiety. Pursuing complete sets could become ferocious youthful obsessions for past generations. Though printed cards such as "Pokémon" and "Magic: The Gathering" still hold considerable sway over today's young and old alike, they don't possess the once nearly exclusive cultural dominance of their distant ancestors. Prior to the Internet, mobile phones, video games and other now ubiquitous electronic and digital distractions, cardboard provided a simple, and usually an inexpensive, way to bond with others via a shared maniacal euphoria of acquisition. Pocket change, now also a disappearing cultural phenomenon, exchanged and converted easily into slick and shiny wax packs containing small piles of thin cardboard renderings of anything from cultural figures to animals, historical events or even newly wrought narratives.

One of the most notorious of these new stories told through successively numbered cardboard slabs has become a modern day rarity due to its initial controversy. Released in 1962, "Mars Attacks" used lurid horror to depict a Martian invasion of Earth, complete with graphic violence that included flesh searing rays, people engulfed in flames, bloody impalings, giant insects eating people alive and scenes of mass devastation and death. Martians even killed pet dogs. Though intended for children, the artists didn't sugar coat the images whatsoever. Many of them will still horrify people today. One look at the series will likely raise the question: "how did they get away with it?" For the most part, they didn't. Yet the brutal violence had precedence in at least two other card series. Bowman released "The Horrors of War" in 1938, arguing that exposing children to war's ghastly side would ultimately promote peace. The cards even stated, in bold text, that "to know the HORRORS OF WAR is to want PEACE." True to its word, the series included numerous gruesome images of human casualties and death.

In a similar spirit, and just before "Mars Attacks," Topps released "Civil War News," which told the story of the American Civil War through outright blood and gore. Card titles such as "Flaming Death," "Crushed by the Wheels," "Painful Death," "Wall of Corpses" and "Dynamite Victim" adequately convey the corresponding imagery. Many found the cards sensationalized, and not always historically accurate, but their alleged "educational" aspect apparently made them acceptable to the public, despite their target demographic of children. Maybe the general lack of criticism to the Civil War series inspired the art department at Topps to push even further. In that same year, "Mars Attacks" appeared to nearly universal condemnation, but kids who could obtain the cards seemed to love them. After a short limited release, Topps, working under the fake company name of "Bubbles, Inc.," had to pull the cards from circulation. The series definitely pushed boundaries for its time, not only with violence, but also by including images of young alluring women in distress. This added sensual dimension arguably caused the public outrage, but the gore in many ways also far surpassed the Civil War series. Not to mention that "Mars Attacks" couldn't fall back on any kind of "educational" premise. Calling it a lesson in astronomy would have stretched credulity beyond limits.

Not surprisingly, the cards became infamous and highly desired collectibles. The first reprints appeared in 1984 and, as interest in the original series grew, in 1994 Topps reissued and expanded the set beyond the original 55 cards. 1996's feature film retelling, which then garnered mostly mixed reviews, led to a slew of new merchandise and increased hype around its cardboard origins. To celebrate the cards' 50th anniversary in 2012, Topps published reprints of all of the cards, including the updates and known set extensions up to that point, in a full color hardcover book complete with a wax pack dust jacket. Though it doesn't recreate the original tactile sensation of handling the cards themselves, it nonetheless provides a great way to view the series in handy book form. The front and back of every card in the series appears in glossy full color with commentary from the series's creators and artists. Two short essays by series co-creator Len Brown and the daughter of series artist Norman Saunders, Zina Saunders, bookend the volume.

A glance through the cards themselves reveals what enraged parents and authorities of 1962 (Len Brown said that a Connecticut District Attorney had warned him about the set). Full of what a lot of adolescent boys would probably consider "gory fun," and what some today would consider "shock" entertainment, many of the cards depict true horror. Card number three "Attacking an Army Base," shows multiple men on fire and one reduced to a skeleton in a Martian ray. Card number nine, "The Human Torch," as well as card number nineteen, "Burning Flesh," remain self-explanatory. Card number eleven, "'Destroy the City'" features piles of smoldering human bodies. "Burning Cattle," card number twenty-two, shows even cows in flames. Some of the most terrifying cards feature the giant insects that Martians "scientifically enlarged" to help subdue humans. None of the insects look very biologically correct, but that doesn't keep cards twenty-eight, "Helpless victim," and card twenty-nine, "Death in the Shelter," both featuring humans in the bloody jaws of enormous insects, from inspiring true terror. They will still make many spines today curdle with horror and disgust.

More comically, many of the Martian robots look right out of clunky 1950s science fiction, though they still do unspeakable things to people. This almost perfect combination of actual horror with pulp fiction camp probably explains the series's enduring appeal. Not to mention its attempt to stretch the envelope a bit too far for its time. Along those lines, card thirty-six, "Destroying a Dog," apparently proved too much for Topp's executives, who demanded that the original art showing the dog's seared skeleton get painted over with fur. A Martian frying a dog aptly demonstrated their true inhumanity, especially as the dying dog's "young owner" pleads with the heartless Martian. Card thirteen, "Watching From Mars," emphasizes this point by showing joyous Martians happily watching the Earthly carnage. They even drink celebratory martinis. What brutes!

Each card back contains a description of the scene on its front, along with some background information. 54 cards complete the story, which makes for an interesting variation on the serial. Depending on the cards first obtained, kids might know the end of the story before the beginning, or just scattered fragments of it. This added another dimension to completing the set, since it also completed the story. In any case, the checklist and final card of the series provided a brief summary of the entire narrative. The first card of the set, "The Invasion Begins," not only provides the most memorable image of the series, but the back also explains the origin of the attack. Apparently, Martian scientists had discovered that their planet will erupt with an "atomic explosion" in perhaps weeks or days, so they need to attack the Earth to survive. So much for diplomacy. The plot has many holes, of course, - and as expected - but overall the series holds together thanks to its artwork and its generally over the top approach to its very fictional subject matter. Its creators very likely didn't intend kids to take it too seriously. They probably hoped that the violence would appeal to their young sensibilities and imaginations and inspire purchasing more packs to see more "gory stuff." Pop culture has produced many other such artifacts for many similar reasons.

The 50th anniversary book continues up to card 66. Some may find these welcome additions, others may find them extraneous or unnecessary. They continue the tradition of shock and gore, but they inevitably lack the original series's now quaint charm. The rest of the book features comic art, sketches and often hilarious early attempts to "clean up" the original series. Many of these replace the seductive women with men and remove the blood, flames and corpses. Not surprisingly, they also have far less impact than the originals. Concerning the women depicted on the cards, Topps apparently made the artists paint over far more slinky and revealing clothing and even over bare skin. The commentary to card twenty-one, "Prize Captive," points out the paradox: "We could show skeletons of dead human beings or people in flames, but we couldn't show the rounded, pretty flesh of a woman's shoulder."

Cardboard will likely never reign again in the way that it did in the early twentieth century. Despite this, many still collect cardboard relics and many rare specimens still fetch thousands or even millions of dollars at auction. Original 1962 "Mars Attacks" cards can demand nearly unimaginable prices today given their short release time and their subsequent genuine rarity. Those possessing only limited means who want to see the series up close need to purchase either a reprint set or the Topps "50th Anniversary Collection" volume. The latter completely removes the fear of soiling or degrading any actual cards. Plus, it provides additional information about the series, though it arguably could have provided more. Perennial morbid curiosity and a need to understand why society often rejects things from some kind of moral perspective, not to mention why some people keep trying to push that envelope, will probably keep "Mars Attacks" on the cultural radar for some time to come. It provides yet another example that censorship, in the long run, often only increases interest in the censored item.

In 1962 I was 8 years old and my downstairs neighbor (a wise and wizened 10 yr old) showed me this cool thing he had gotten-Mars Attacks cards! I was riveted and bought em up at every opportunity. They horrified me and I loved it-I laid awake at night convinced that passing traffic was the beginning of the invasion. Burning flesh, giant bugs, ice rays too much! "Burning Flesh" was the most popular card on Ocean Parkway.

At any rate when the internet was born my first search brought me to Zina Saunders Mars Attacks page. How cool was that-but still I wondered how come no coffee table book?

Well this aint a coffee table sized tome but it sure is grand-nostalgia pangs aside its a loving production that does justice to my inner 8 yr old still terrified of impending invasions from outer space-still mightily in love with Mars Attacks! Many thanks to all concerned.

(Now its time for a respectful movie-that includes giant bugs!)

Everything about this book oozes production value and attention to detail, from the semi-translucent paper stock chosen for the dust jacket, to the quality of reproductions inside. Has to be seen to be believed, much like the Mars Attacks series itself! A fitting tribute to the original cards and the artwork of Norman Saunders. Obviously a labor of love by someone at Abrams Books.

Dying Breath: 5.0 out of 5
This book is perfection, I can not sum it up any better than that. Collecting the original trading card series, the second series and some more amazing artwork, this book preserves a fantastic piece of horror history. A huge plus on why this book is so good, is because not only do you get to read the original trading card set, but you also get some commentary about what was going on when the series was created. That commentary had to be my favorite part of this book. Learning about what was allowed to go on this GORE-Geous card set and what wasn't is often time silly to read by today's standards. As a designer myself I have to talk about the layout of this book as well. The interiors are clean and crisp. The cards, if scanned, are perfect. The dust jacket is possibly the coolest I have ever seen. Mimicking a pack of the cards, I honestly tried to open it from the back, I thought it was real. Also there is a secret surprise I won't ruin printed on the book itself under the dust jacket. Overall I can not recommend this book more. Collecting everything Topps put out with the original card set and more, this book has it all. So glad to have this in my collection, it is just what I needed.

Artwork: 5.0 out of 5 * Story: 5.0 out of 5

The book is really cool but what I did not like was I received a book that I feel was pre owned I say this because some one wrote in the back of it in script using a pencil I will upload a photo to show what I am talking about to me this is total BS I paid for a book NEW and I got what I wrote here about

When these came out for sale, we combed our entire small town on Halloween night and by focusing only on Mars Attacks cards offered as treats we were able to collect the entire set! We spent two hours sorting through probably a hundred packages and towards the end of them, when we were fearing coming up short, we found the one we lacked. All four of us kids leaped, whomped and hollered for fifteen minutes that we'd completed the entire set. After several moves they were never seen again, except for Zelda's (?) website. When Topps released it, I had to get it.

Mars Attacks, one of the most violent, lurid and outrageous cards sets ever produced. Back then we wouldn't show our Moms what they were.

"Destroying a Dog" was the card that made me hate the Martians the most. I felt bad for the kid attacking the Martian because you knew he'd be fried next. As most have stated, this is the next best to having an original card set!!

Loved the cards then, love the book now. I love it all the more because, seeing the cards presented this way, in sequence, one to a page, I noticed something I had not noticed before, something I might not have noticed in any other way. Back around 500 years ago, a popular subject for picture books was [[ASIN:0486228045 The Dance of Death]]. This was a series of vignettes of men and women from all walks of life, farmers, mechants, princes, beggars, encountering and being led away by the skeletal figure of Death. In effect it was a pictoral sermon on the topic of human mortality. Now come forward 500 years and look at Mars Attacks, a series of pictures of men and women from all walks of life being incinerated, crushed or otherwise done to death by skull-faced, big-brained aliens! Surely it is the same sermon all over again, re-imagined for the mid-twentieth century, infused with less piety, more violence and a hellofalot more giant bugs!

At first, I was disappointed with this book's physical dimensions, but I soon got past that as I took a closer look at the contents.

The entire Mars Attacks card series is reprinted, along with Len Brown's prose descriptions. Each card, front and back, is printed on facing pages, a stroke of genius that allows the reader to study each in its entirety without flipping the page.

The book also reprints newer cards released as part of a 1994 series, seldom-seen "sanitized" images from an aborted reboot, and loads of preliminary sketches from the legendary Wally Wood, one of the artists charged with brainstorming the visual look of the cards and the aliens.

In addition, you get an insightful introduction by Brown -- a truly humble guy who was instrumental in the series' creation (I had the pleasure of phone-interviewing him many years ago) -- and an afterword by Zina Saunders, daughter of Norm Saunders, who painted the original cards.

I knocked off one star (and would have deducted only a half-star if Amazon allowed it) because the book lacks any of the newspaper articles concerning protests over the series. As these were instrumental in Topps' decision not to release the cards nationally, they're an important part of the Mars Attacks saga. I also wouldn't have minded some card-to-film comparisons to Tim Burton's movie adaptation.

Really, though, you can't go wrong with the handsome production values and attention to detail presented here. This is a fitting fiftieth anniversary tribute to Mars Attacks, modestly priced, that keeps the focus where it ought to be: the original card series. Recommended.

I remember buying these delightfully, unbelievably gory cards at the corner candy store when I was in grade school. I only had a few but they are still vividly embedded in my mind, as any images of dogs and sailors being vaporized should be.

This book features every card in the series in full color, many that I had never seen before, along with preliminary sketches, alternate versions and modern homage designs. The backstory, the history and development of the series, insights into the processes and the artists all come together to complete a wonderful understanding of this peculiar series.

My only gripe is that the book has a fairly small page size and uses a smaller type size than I would like, making reading all of the yummy copy a bid of a drudge. Buck up, Zippy, get some reading glasses if you're older 50, and buy this book!