[Editors note: This article was originally released in the amazing Friends of the Phantom Newsletter #13 released by the late Ed Rhoades and Pete Klaus in the USA Spring of 1996. The interview was conducted Summer 1995. This article was republished with permission. Access to all Friends of the Phantom newsletters and much more can be found at our Phantom Preservation Project. This republishing of the insightful interview is in reflection to his passing 21 March 2023. You can read the family release here on Facebook.] It was Don Heck who first directed me to Joe Giella. I had known that Joe was an assistant on The Phantom as well as a legendary comic artist, and I eagerly looked forward to speaking with him. After a few phone conversations, I finally met him at a Berndt Toast Gang meeting. He invited me to visit his studio on my next trip to visit with Sy Barry. On the day I ventured to Joe’s house, the temperature was in the triple digits and I was lost driving through sweltering streets over melted tar. Twice, I stopped at phone booths to ask for directions and felt like I was stepping from my car into a furnace. His kindly, patient, reassuring voice redirected me and I learned that I had been driving the length of a street only one block in the wrong direction. I caught Joe at an incredibly busy moment, catching up for time lost in the midst of his son’s wedding. Still, he made me feel welcome and unhurried, putting his strip aside to show me an impressive portfolio, some rare mementos on classic things he had done. He answered my questions with thoughtful insight and fascinating glances into the workings behind the scenes of one of comics greats. I knew about his impressive contribution to comics, but was absolutely knocked out by his watercolors and oils painting. Besides being a major talent, Joe is a warm human being and a delight with which to spend an afternoon. Ed Rhoades: I understand that you worked on The Phantom for 17 years. Joe Giella: Right, 17 years. ER: Where did you meet Sy? JG: We went to school together in high school, the School Of Industrial Arts. That’s where I met him. ER: When is your birthday? JG: June 27, 1928. ER: Was the 17 years all at one time, or was it sporadically? JG: On the Phantom it was 17 years, but prior to that, I worked with Sy on Flash Gordon. When his brother was in Europe, Sy handled the strip. ER: Who else did you work with on The Phantom? JG: Well it was really with Sy, because it was his strip. Occasionally, he’d ask me to recommend someone, and I would. Don Heck, Frank Springer and what we’d do, we’d take their layouts, rub them down, tighten them up and then ink them and try to maintain the style. That’s the way to do it. If I asked you, “Do you want to do a week of dailies?”, you would probably say “Gee, I don’t know if I can imitate that style.” Don’t worry about it; just give us layouts, what we would do was rub them down with the kneaded eraser, tighten it up and then ink it. That’s why it looked consistent all the time. ER: Were the pencils done by Don Heck and George Olesen? JG: No, George Olesen always penciled the strip. I think from the beginning. I’m not sure. Now, I’m not talking about Wilson McCoy. ER: Actually, I believe Sy penciled the first episode himself and then Bob Forgione helped him on the Sunday. JG: Yes, see I wasn’t with him then cause I was doing my Batman strip or I was working on Sherlock Holmes. And I think it was years later, I got a call from Sy and I started working with him. ER: In the 70s, there was a while where Andre LeBlanc did the penciling instead of George Olesen when George got real busy. JG: Yes, I think you’re right. George, I believe, was working for an advertising agency. Yes, that’s true. ER: Did you do any of the pencils on The Phantom or just inking? JG: When George Olesen would go on vacation, Sy or I would pitch in with the pencils. But I was penciling all the time because I was tightening up the roughs, the backgrounds, tightening the figures. The Sunday page—believe it or not—we used to do a lot of paste-ups on the Sunday page. George would indicate the panels that he would refer to, and he’d say daily so-and- so and month and the year, we’re using that shot. So what we’d do is, we’d take that shot and we’d paste it up, embellish it, you know—add something to it, add figures—utilize it just to save time. ER: Would you trace it or cut it? JG: No, we actually cut it up. He’s got a pretty good copy machine. The blacks are black and we were able to do that. With the Phantom, he may be on a horse, we have to put him on a horse here or whatever. ER: You would cut out the talking balloons? JG: Oh yeah, just delete the balloons and just put in different footage, see? There’s another shot, see? Whenever we could do that on The Phantom... we’d have panels and panels of foliage, which is so time- consuming. It’s nothing worth swiping, I mean Sy did that so many times. We would just cut it out and put [it] in back of maybe a figure, you know, utilize it just to save a little time. The Phantom is a grueling strip. It was tough. Mary Worth is real easy because it’s mainly two panels. That’s it. It’s a soap opera. No one has thrown a punch in 65 years. [laughter] In fact the writer said to me, “Joe, you’re not going to be used to this, cause you’re used to guys flying off buildings— Batman, Superman,” he says, “This is very dead.” It does take a little bit of skill to try to make it interesting. It’s dead. It’s a quiet strip, it’s a soap opera, but you have to create layouts, expressions, characters— you know, it’s a little different. ER: More subtle. JG: You got it; that’s it. Now the Batman strip, you can see, three panels. Now this was a heavy strip, very time-consuming. I mean what you’re seeing here was every week. To answer your question, whenever we could save a little time, we would take advantage of it. ER: What observations did you make about Sy’s style when you were copying it? JG: Our styles were similar, because you see, his brother was a big influence on us. There was another fellow who had a big influence on me, my good friend who passed away, Frank Giacoia. He used to live a few blocks away, and he did Sherlock Holmes and he worked for the comic books, too. He was a very good friend of mine. Between Frank Giacoia and Dan Barry, Sy and I developed a very solid style. When we started in the comic books, comics at that time didn’t have the reproduction that they had today. The reproduction left a lot to be desired. It was very bad, and the production manager was constantly telling [us] “You guys gotta thicken your lines, you gotta put more blacks, the colors falling apart... it’s weak... it’s not standing up.” So I would put [in] more blacks and keep the lines solid. We were indoctrinated with this and we kinder developed a solid black-and-white style. Sy’s style and mine were very similar so it was very easy for me. In fact, if I needed help on Mary Worth and I asked Sy to pitch in and ink a couple weeks for me, you couldn’t tell the difference. Really, you couldn’t. It’s very close. So between the comics, because of the bad reproduction, we had to solidify our work. His brother, Dan Barry, Frank Giacoia and a couple of illustrators that we liked, Robert Fawcett and Noah Sickles, we developed our style. ER: Did you follow the Phantom strip when you were younger? JG: On and off. I liked the Phantom strips. It was very interesting. I bounced back between Dick Tracy, Smilin’ Jack and The Phantom. Yeah, I followed it, all the strips, Terry and the Pirates, Smokey Stover, Joe Palooka [laughter]. ER: How would you describe your brush and pen work? JG: My pen work is a little illustrative and I use my brush sparingly, just for solid blacks and effects, dry brush effects, or for a very large figure like that poster, like that [pointing to a dramatic action poster of Batman]. I don’t use a brush on something this size [showing smaller strip rendering], but when you take the strip, I use the pen as a brush. ER: Would you tell us about the licensing you did on the Phantom? JG: Yes. Allison Manufacture had two T-shirt companies. They were both based in the Empire State Building. They liked what I did and they sought me out and they asked if I would be willing to work on some projects for them. I went up to see them and both of them were in one week. ER: It wasn’t through King Features? JG: No, it was through Wilke Brothers and Allison. They had the licensing. They were children’s apparel, pajamas, T-shirts. ER: Do you have any of the designs around? JG: Yeah. [He showed me an outstanding action scene of a karate figure.] ER: That was painted with those dyes? JG: Yeah, but now the Phantom and the characters - they had a whole array of characters and that was for, I think Wilke Brothers, but they looked like these. ER: I’d love to see some of those Phantom shirts. JG: I wish I had them. I have no idea where they ended. I’m lucky I got these. ER: They look terrific. JG: And those dinosaurs you saw in the book, they were on here too. Somebody stole those paintings. They were big and they were supposed to give them back to me. He felt so bad. He said, “Joe, I’m not gonna lie to you; somebody stole them.” Now the Phantom and the comic characters, it’s similar to these. These are proofs. That’s the way they come out. If it was approved I had to make some changes. It’s a dye cut. There were 21 of these, similar to this for Walt Disney. ER: Do any of the Phantom stories that you did stand out in your memory? JG: There were so many. Lee Falk was such a great writer. I enjoyed every one. That same was true of James Saunders; he was a TV anchor man, but he could write. It amazes me how he could create interest in a supposedly low key strip. But the Phantom, there was one story where he built something up in a tree, a treehouse, there was a name for it too, but I forget. It’s been awhile since I’ve drawn the Phantom now. ER: Andre LeBlanc designed that treehouse. I have the first drawing of it. JG: I liked that. ER: I was wondering what years you worked on the strip. JG: Year from the 1970s on. I did the Batman for four years. Probably in the 1970s sometime, right after the Batman, I started working with Sy. ER: When did you last work on it? JG: Maybe one of those will have a date [pointing to Phantom artists proofs]. 1984. ER: So you did it from late 1960s to mid 1980s? JG: Yeah. Whenever I started it was 17 years. [Looking at Batman work] You see Bob Kane’s name here, penciling and inking. You won’t see Joe Giella’s. My kids used to watch TV every Saturday, and Bob Kane, what he would do was draw on a pad and he did a figure, that was my drawing lightly [done] in pencil. I’d sketch the Batman figures on the big pad and just went right over my line. And my kids were so perturbed. I said it’s not my strip. But things have changed, but what are you gonna do? That’s the way it is. ER: I think they have changed for the better. How long did you work on Mary Worth? JG: Mary Worth will be four years this June. In fact, they just renewed my contract. ER: You’ve done a number of other syndicated strips. JG: Yes. I did a strip called Character Clues. It was sort of a one panel deal. If a person has like beady eyes, maybe it means that he’s devious or whatever, or a long nose or a wide face. These were all character clues. It was a feature that was run with the Batman. And then I worked on Flash Gordon, Batman, Johnny Webb, Sherlock Holmes, and then Mary Worth. ER: And you worked on the biggest Superheros: Superman, Batman, Wonder Woman, the Flash. JG: Oh yeah. Mostly inking for the comics, but for the licensing, it was penciling and inking. ER: Did you work for DC alone? JG: I started at Marvel, but it was called Timely Comics then at the Empire State Building. I was around 17 and I remember I had to leave school a few months before I graduated, because my mother was losing her house. All my brothers are educated but me [laughter]. But we saved the house. I started at Timely Comics and then Frank Giacoia said, “Come over to DC, it’s a better deal here.” But it took them three years to convince me to leave and I left Timely Comics to DC. But Stan Lee and I were still friends even thought I left. At the first Superman movie, me and Stan went together. We went to see the opening together. As we were approaching the theatre, I remember mentioning to Stan, look at all these cops here, cops on horses, we walked into the theatre and we sat down and Stan says to me "Joe, know what all these cops are here for?" We looked down in front and there was Mayor Koch and Governor Carey. They were at the opening about four or five rows ahead of us. I’ll always remember that when Stan and I went together. ER: They should have been protecting you and Stan. [laughter] Did you know Carmine Infantino did one Sunday of The Phantom? JG: Yes. He also did one week of the Batman, but they didn’t like it. ER: You and he designed the new look of the Batman for the 60s. How did that come about? JG: Well, see, this was the old style. The reason I have this here [showing me old original Batman art] is because my son is a comic buff. This is by Sheldon Moldoff & this was the old style. We got together and we gave it a little more of a modern style, a different look. Along came Neil Adams and he even embellished it a little more, and gave it a nicer look, see. A lot of people are jealous of Neil Adams, but I always felt that the guy is a talented man. Talented! There’s no reason to be jealous. It’s like a singer you know. Forget about the guy’s personality altogether and go by the art work. Neil Adams is a terrific artist. ER: Did Carmine always do the pencils and you the inking? JG: Yes. I used to pencil and ink, but Carmine was strictly a penciler. I’m not saying he didn’t ink a few jobs, he did, but he wasn’t really an inker. His strength was really in his layouts. He was a terrific layout man. Terrific! And I think he put the drawing secondary. He really concentrated mostly on the layouts. I loved his layouts. Terrific layouts! I really did. ER: What other comics have you worked on? JG: Well for Timely (Marvel) Captain America, Human Torch, Submariner, Mighty Mouse. Would you like to see the first comic book I ever worked on? ER: Oh I’d love to! JG: I’ll show it to you, it was called Captain Codfish, I penciled and inked it. It’s falling apart. [The comic was indeed falling apart from years of wear.] I worked on practically all the characters. At DC, I worked on Hopalong Cassidy, The Flash, Batman, Superman and Wonder Woman. Many times I’d get a call here, early in the morning—an artist would call and say, “Joe, can you pitch in?” Many times my wife would serve coffee to sober them up. She’s Irish but I taught her how to make Italian coffee real quick. [laughter] It used to wake you up. I worked on all the characters though. ER: And for animation? JG: The Disney characters, Woody Woodpecker, I’m not an animator, just for the licensing. That was a little more lucrative for me, you know. For the animation, the studios were in California and I couldn’t go out there. Oh, you know what else I worked on? Captain Marvel for Beck Costanza in New Jersey. I worked on Captain Marvel before I went to Marvel (Timely Comics). ER: I read Captain Marvel as a little kid. JG: That was a good character. I loved Captain Marvel, good head, great head. ER: Fred MacMurray, I believe was the model. JG: Yes. Right, right, that’s what I heard. ER: Did you consciously make it look like him? JG: No. You couldn’t deviate from that head. They’d give you the head and, man I’ll tell you, you had to come up with that head. There was only one studio that was more of a stickler on the the characters than Beck Costanza and that was Walt Disney. I gotta tell you, I bled on those tee shirts. I thought I had that character, I traced every line. I’d submit it for approval and sure enough it came back. And they were justified ... little subtleties, little things you just wouldn’t get unless you were doing it constantly. ER: What other kinds of illustration have you done? I noticed some oil here. JG: Yeah, mostly for advertising agencies, for publishing companies, brochures. ER: You’ve been an art instructor at C. W. Post College ? JG: Yeah an adjunct teacher for C. W. Post. ER: What kind of art background do you have. Any formal studies? JG: You know something? I picked it up on my own, self taught. I went to the School of Industrial Arts, then I went to the Art Students League, then I took courses in layouts at Long Island University. I don’t want to give you the impression that I teach there [C. W. Post]. I’m an adjunct teacher. If someone’s on vacation they call me, the same with the Institute of Technology. I went to the School of Industrial Arts, a fine school, and I spent quite a few years in the Art Students League at 57th Street. Three years ago I was still going on Friday nights. And I took a couple of courses at Hunter College, art courses. I wanted to get into different fields, because the writing was on the wall. You have to diversify. That’s the name of the game. So that’s my education, but I taught myself. ER: Do you ever use markers? JG: Occasionally, I’ll use a marker. I’ll use them on compos; my son is a comp artist. He uses markers. I’m not too crazy about using them. I like the older [mediums] but I use them for effects, but oil is my favorite. And watercolor, Dr. Martin’s Dyes. ER: Where did you first develop your technique? JG: You know you don’t develop it right away. It takes years to work to develop it. You know there wasn’t a job that I did, well there were a few jobs but most of the jobs I did, I wished I could do over - even from last week. You’re constantly learning and your style improves as you go along. I like my style to be loose and solid. ER: Do you use any photographic refences? What’s your morgue like? JG: Yes. I use reference, stored in three file cabinets. I see something interesting. I pull it out. You can see I’m doing Mary Worth [showing some fashion advertisements], bathing suits around the pool. You have to be up-to-date. It’s a dead giveaway if you bomb out on the styles. Look at hair styles and see what they’re wearing: a touch like this, a haunting look. Occasionally I’ll delete them and go with something new. ER: Do you retain many originals of your work? JG: Now I do. Years ago, they destroyed them, but now they send all the originals back. ER: Do you do any comic shows like the Great Eastern? JG: I attend a few and walk around, but I don’t do them. But they’re trying to get me to one in San Diego 1996. But they don’t want me there as a Batman artist; they want me there as a Mary Worth artist. I thought for sure because of my affiliation with Batman and the comics and everything. He said, “I know, but they want to get into the syndicates now. They like what you’re doing, you came recommended and they are going to try to get you in as a Mary Worth artist.” Every Saturday in front of my house there was a row of bikes lined up. The kids, they used to come from all over every Saturday. My brother, John, lives across the street. He says “Joe, what do have, a bike store?” I said, “Now it’s kids from Levittown, Hicksville,” and I used to look at their work. A few of them became editors, like Marv Wolfman at DC. These were comic fans. Lynn Wein, he’s a writer. He was a fan of mine and he became an editor. ER: Do you collect any art or comics? JG: No, my son does. I don’t go near it. [laughter] ER: What are your hobbies or interests outside the art field? JG: Well, I’m a cabinetmaker. I built all of Sy’s furniture in his office. I built all this. I used to build furniture for artists, custom furniture. I make all the stuff, cabinets etc. I have a woodshop and that’s what I enjoy doing. This house was a shell. I built this house. ER: Where were you born? JG: I was born in Manhattan. ER: Did you serve in the military? JG: Eight years, mostly reserve. ER: When you worked with Sy, was it in his studio or was it separately? JG: It was both. I would take the work, bring it home, rub them down, tighten them up, do the inks and then bring them over to his house. Then he would do the heads, and touch them up and whatever he wanted to add and that was it. I worked at Sy’s house about two days a week. ER: How has your family responded to growing up around illustration? JG: Oh, they loved it. Especially my wife. She was my biggest fan. She loves when I do the comics. ER: And your children, have they gone into it? JG: Yes I have four children, three boys and a girl. My son Danny is an artist, he paints and he is an art director in an advertising agency in Manhattan. My son, Frank, is a school teacher. He draws and is very good and he also teaches an art class. He teaches American history, but he also teaches an art class in school. He likes to draw. Those plaques are his; he won those plaques. Both boys can draw. My first son is Joe, he is one of the top salesman in the country, he’s won many awards, a computer salesman. He also has his own business, a neon business. He knows quite a few people. My daughter, Maryanne, is an executive. She’s a regional manager. She’s been on TV many times on commercials. ER: What are your plans for the future? JG: I want to do a little more fishing, less work, and I want to continue more carpentry. Right now, I’m fixing my daughter’s house - the windows, doors, whatever. And I want to do a little more painting. ER: Do you find time to paint things for yourself? JG: Not too much. Not too much time with the strip. Most of the painting I do now is for the advertising agency, commercial jobs. I like to go in the back yard and just paint with nobody around. ER: What advice would you give young aspiring artists? JG: You have to feel it. Work hard and feel it. Like I tell my kids, it’s like a bank: put nothing in, you get nothing out. Just study, work, read, ask questions, and just keep doing it. Keep working hard and you can’t miss. ER: Do you have any messages you’d like to impart to your fans? JG: I want to thank them all. They call me. They write me. I can’t answer all of them, but I try to answer most of them. Especially now with Mary Worth, I get thirty letters per month. It’s not that I’m a slob or anything, I just don’t have the time. I thank them and I love them. ER: Do you have any stories to add for your readers? JG: They wrote this up in a periodical when I was at the Jacob Javitz Center, because they asked me the same thing. When I first started at Timely Comics, I had a lot of trouble getting in there because you know you have no experience, and how are you going to get experience when nobody gives you a chance? Me and Frank Giacoia went in as inkers because his family was in bad shape too. We could ink two pages [instead of] penciling one, so monetarily, it was a little better for us. So that’s why we kind of sought out the inking. So Stan Lee says, “Okay, I’m going to give you a chance.” He gave me a story to take home, a night job. So guess what? I left it on the train. I didn’t sleep that whole night, my mother was crying all night. I couldn’t sleep. I went in the next day and Stan Lee, oh my God, he was blowing his stack. I was 17 years old. He called up the BMT, the RIT, the subways ... nothing. And that was the end of the job. Then this big fellow comes in, Mike Sekowski, he was some artist. He helped Dan Barry many times, he helped Frank Giacoia with Sherlock Holmes, and he must have recognized poverty on me, I’m telling you, because he said, "Don’t worry about it, Stan, I’ll take care of the job. Keep the kid. Don’t get rid of him." I go to him and I says “I don’t even know your name.” "Mike Sekowski." “I can’t pay you back.” I had no money. I had nothing. But I said, “I will, I’ll give you a little bit from my check each week.” He wouldn’t take a dime. We became good friends. We went to plays together, drinking buddies, a wonderful man. And I went to work for DC and he went to work for DC. And a few years back he passed away, he passed away in California, and I was like destroyed. [Editors note: This article was originally released in the amazing Friends of the Phantom Newsletter #13 released by the late Ed Rhoades and Pete Klaus in the USA Spring of 1996. The interview was conducted Summer 1995. This article was republished with permission. Access to all Friends of the Phantom newsletters and much more can be found at our Phantom Preservation Project. This republishing of the insightful interview is in reflection to his passing 21 March 2023. You can read the family release here on Facebook.]

In Fantomen 6-7/2023 we get a preview of the next Fantomen issue with a story titled "I Radslans Skugga" ("The Shadow of Fear") which is written by a new writer Jörgen Karlsson. If you are like us, we want to know who he is, his history on the Phantom and what we may get from his stories. As you will find out, Jörgen is not new to readers of the magazine. Chronicle Chamber: First of all, thanks for your time Jörgen Karlsson, can you please tell us a bit about yourself? Jörgen Karlsson: My name is Jörgen Karlsson, I live in Luleå, a city in the northern part of Sweden. I'm 48 years old and work as a graphic designer, mostly making ads for news paper printing. In 2016 I began publishing my own indie comic book called Karl Kämpe The Adventurer. CC: Do you have a history with the Phantom? If so, can you please tell us? JK: As most kids in Sweden growing up in the 80's I read Fantomen. As you probably know The Phantom is by far the most popular superhero comic in Sweden, beating Superman, Batman, Spider-Man, The Hulk and all the other comics by a landslide. When I moved from my home town of Boden to Luleå I gave away all my Phantom comic books and albums to a collector I meet at a stag party. I thought that would be the end of my relationship with The Phantom, how wrong I was. CC: How did you go full circle and get the opportunity to write adventures of our costumed hero? JK: Many years later I was writing a still unpublished book about a 18th century adventurer called Karl Kämpe. I thought at the time that the book needed a companion piece to introduce my protagonist. I decided to make a comic book and in that process I got to know Andreas Eriksson, editor of Fantomen. Just for fun I wrote a script for The Phantom and after getting some critique from Andreas I trashed about 10 pages and rewrote the whole thing. The new script was accepted by the publisher and I can't wait to see it in print. CC: We cannot either. What can we expect from your first story? JK: As a comic book with over 2,000 stories The Phantom sometimes can get a little repetitive. We always follow the story from the perspective of The Phantom. For once I wanted to change that. In my story we follow the perspective of a young man called Ashan and The Phantom is more of a secondary character. The Phantom still play a big part but more as a legend than a real person. I think writers sometimes forget this part of The Phantom lore. The Phantom isn't just a crime fighter, he is also a boogeyman to criminals and evil doers. The Phantom walks in shadows and is the man that cannot die. CC: Have you written your next story yet? JK: Yes, I have written a second script called "The Iron Snake". It's an exciting adventure in the life of the 18th Phantom. Dealing with the Scramble for Africa (Find out more about that era here) and Bangalla in particularly. Bangalla is being connected to the Uganda Railway but evil forces do not want the new railway line to be built. The Phantom must solve the mystery and save the day. I hope the Swedish publisher will accept it but the ball is still in the air on that one. CC: Who is your favourite character from the Phantom. JK: Hard to say, there are so many good "one-shot" characters. Not including the Phantom himself I must say Kigali Lubanga who is a foe worthy of any superhero. CC: If you had free reigns to change / update / add something permanent to the world of the Phantom what would it be? JK: In my opinion, time should pass in real time, so as a year passes in life, a year passes in the comic. That way The Phantom would get a mini reboot every 20 years or so when the old one die (in some dramatic fashion) and his son/daughter takes over and takes the comic in a slightly new direction. CC: Will we see any Karl Kämpe references in your story? JK: No, I don't think I have enough clout to get away with something like that (yet). CC: For those who want to learn more about Karl Kämpe or yourself, do you have some social media profiles for us to follow your work at? JK: Thank you for your time. Hope you all enjoy my story and look forward to watching Mikael Lyck's review. You can follow my work at the following places. Website for my comic book (Swedish) Website for my small business (English) Facebook Instagram

It's been a tough time for small enterprises of late, facing a number of challenges impacting their ability to thrive. Unfortunately, it appears that Reapers' Quest (formerly Wulfric Media), an Australian company that has been producing high-quality merchandise and collectibles for phans of The Phantom, has become the latest victim of these challenges. Recently, the company announced that they would be relinquishing their Australian KFS license for the production of The Phantom merchandise and high-end collectibles, with this expiring at the end of March. This news will come as a disappointment to fans who have enjoyed or aspired to the products created by proprietor Kelby Wooldridge, who has been on the radar for Phantom fans for many years. Over the last few years, Reapers' Quest has produced and sold a variety of Phantom merchandise, including "Jungle Patrol" caps and beanies, and more recently bespoke Phantom jewellery (Skull Mark and Good Mark rings, as well as Good Mark pendants/necklaces). Over time they have proposed comic storage boxes and last year also launched a sadly unsuccessful Kickstarter campaign for a range of Phantom Country miniatures with map. However, the group's recent email to subscribers and past customers confirmed that they will no longer be producing merchandise due to rising costs, world changes, and the impact of COVID-19. Kelby writes, "It was wonderful to be part of the Phantom world for a short time and interacting with other Phans to share their passion." While phans may be disappointed to hear this news, they still have one final opportunity to purchase a personalized high-quality piece of Phantom jewelry. The company will be fulfilling all orders until the end of March 2023, so fans must act quickly to place their orders by contacting Kelby via email at wulfricmedia@outlook.com. In addition, fans can also purchase cardboard jewelry boxes for $2.50 each plus $1.50 for postage and handling. Each purchase will put them in the running to be gifted the last Good Mark pendant worth $220.00. On behalf of all Phantom fans, the team at Chronicle Chamber would like to thank Kelby for his contribution to our Phantom collections, and we wish him all the best in his future endeavors.

Henrik Salhstrom is a very popular artist and has five best Fantomen covers of the year awards. Coming out from Vice-Press.com and BottleNeckGallery.com are four posters with two different new and unique designs. Vice-Press.com and BreakNeckGallery.com are based in the U.K and U.S.A respectfully. The logo branded poster is limited to 125 and the virgin posters are limited to 100. Each is hand numbered. The size of the posters are 16 x 20 inches and printed on Fine Art Pigment Print On 270gsm Mohawk Paper. The prints are £24.99 / $30US for the logo branded poster and £29.99 / $35US for the virgin design. Henrik Sahlstrom has worked with Vice-Press.com before on other fine art prints and has nothing but praise for their work. He told Chronicle Chamber that phans will not be disappointed with their work. Both ship internationally for the Swedish and Australian phans.

Some say that mysterious are best left unsolved - Not me. For example, I want to know what happened to the New York gangster Fats Morgan? What is the Sunda Trough that the Phantom and Achmed Singh talk about before he is skull marked? These are two questions I have always had since reading the first ever Phantom newspaper story "The Singh Brotherhood". Lee Falk obviously had Sunda Trough mentioned for a reason and Fats was built up as a mainstay character before suddenly disappearing for good. Achmed Singh is the same. These two bad guys with so much time spent on them, were never seen and or mentioned again after the focus was turned to the next bad guy - Kabai Singh. It seams I was not the only one who wondered similar questions. Thanks to some sneak peaks posted on his instagram page, phan phav creator Matt Kyme has strongly hinted that the story he is working on at the moment could well answer these questions that have been asked for the past 80+ years. Matt Kyme would not tell us everything as we do have to buy the comic but he did have this to say: Attempting to keep things strictly canonical is near impossible because Lee Falk himself made numerous revisions to the Phantom's early years. I've tried to construct a story that is faithful to Phantom lore and to popular Falk stories. I present to you the first time in my life I have ever drawn Fats Horgan, Lucy Walker, Dave and Lily Palmer and Rama Singh.... all on one page! I will add a Sunda Trough scene which shows Prince Ahmed’s first encounter with the 20th Phantom. This can tie into a scene in the Childhood of the Phantom where a young Kit sees his ‘seldom seen’ father brought to the deep woods on a stretcher. For Those Who Have Come In Late. Fats Morgan is the first villain introduced in the Phantom universe, on the same day as Diana and even features before the Phantom himself. After Diana leaves the ship SS Trotter, we never seen him again. However we know Fats knows of the Phantom as one wise guy cracks a joke about being scared of ghosts and is almost killed for his joke. On the 10 March 1936, we see the last of Fats as he and his henchmen disappear for good and are never seen again - until now! The other piece that Matt Kyme is exploring is the story of Sunda Trough which featured in the conversation between the Phantom and Achmed Singh after the Phantom parachutes from a plane onto a speed boat. Now it is very likely Lee Falk was making up Phantom Lore as he was going. The Ghost Who Walks and Oath of the Skull first mentioned here fast becomes lore but the Sunda Trough is never mentioned again. When Diana asks Dr Dodd about The Phantom, she mentions The Ghost Who Walks and Oath of the Skull but not Sunda Trough. It has never been mentioned again until now... The obvious question most will ask is what is a Sunda Trough. Glad you asked. A trough (or trench) is a geology term for a long, narrow depressions on the seafloor. These chasms are the deepest parts of the ocean—and some of the deepest natural spots on Earth (wiki link). What is interesting is there is actually a Sunda Trench off the coast of Java & Sumatra (Indonesia) which is where the fiction place of Luntok is described as being located (wiki link). This trench is the deepest part of the Indian Ocean and experiences many earthquakes including the 2004 earthquake that saw 300+ deaths and many left homeless. There was also a 1935 7.7 magnitude earthquake (wiki link) which has me asking, was this caused by the Phantom and the reference to the incident between Achmed and the Phantom? Guess we will wait and see. Are you looking forward to seeing how Matt Kyme explores these forgotten pieces of Phantom history in his new story? Below is a gallery of some of the snippets that have been posted previously on Matt's Instagram along with the page featuring Fats Horgan, Lucy Walker, Dave and Lily Palmer and Rama Singh.... all on one page and shared for the first time here.

Did you originally miss out on your Games by Lyck Phantom Card Game? Thanks to Mikael Lyck who has some Australian stock he wants to move, we have a Chronicle Chamber exclusive with FREE SHIPPING for Australian postage orders. There is limited stock available and this sale is only around for a short period of time so do not delay! It is also worth noting that this free shipping exclusive does not include the "Terror in Mawitaan" and "Stamus Contra Malum" extension card packs. It is for the Deluxe and regular game packs. CLICK HERE TO GET YOUR FREE SHIPPING ON AUSTRALIAN ORDERS “It’s incredible how well he’s knocked it out of the park and made a game that stands toe to toe with the best card adventure game that Fantasy Flight has ever put out” -Richard Ham of Rahdo Runs Through If you are unsure whether or not you'll like the game, or can’t wait for the game to end up in your hands, they offer ways of playing through the first adventure. Print and play for the handy person who likes to cut out cards and tokens, more info can be found here If you are more of a tech savvy person and you own a copy of Tabletop simulator, this is the option for you If reading rule books is your passion you can access it directly here

After the success of the 2022 Perth Mint Phantom coin that was released in late 2022, they have released a new Phantom coin for 2023. The 2022 Perth Mint was originally limited to 1,000 pieces and they completely sold out of them. You can buy the coin from Perth Mint here for $88.98AU plus postage ($60US, €55, £50, 630 nok/sek & 4,800 INR). Eventually resellers will also list the coin on their websites as well. This is also limited to 1,000 pieces. At first glance most would think it features the exact same design and it may turn off some from buying the 2023 coin release. However, it features a few small changes that may cause most phans to also buy this coin. We will complete a video review of the two comparing them soon but for now, we can list the following differences between the 2022 and 2023 design. The coin design is the same except the Phantom is coloured which in my opinion makes the new design much more presentable. The front design of the card is also different without the punching Phantom but a background image of a classic Sy Barry design of the Skull Cave. Features the Queen Elizabeth II Memorial Obverse Can you spot any other design changes? Will you be buying a coin for your collection? What do you think of the new Phantom style guide designed by artist Amelia Vidal that was designed in 2020?

While listening to the X-Band: The Phantom Podcast, have you ever started talking back and agreeing or disagreeing? Have you ever wanted the world to hear your input on the Phantom? Well now is your chance. On Sunday 12th March the Chronicle Chamber team will be having an open mic for phans to join us on a Phantom discussion. This podcast participation is however only open to 20 phans plus the Chronicle Chamber team. If you would like to join, please email us at chroniclechamber@gmail.com. First in, first served! We are aware the time wont suit everyone but with a large phan community on 5 continents, dozens of countries it is hard to try and find a time that suits all. Fear not, we will be planning on doing more during 2023. If you would like to figure out your timezone that is not attached below, visit here. The open mic session will be recorded and then released as our next X-Band: The Phantom Podcast. Please note, that our patreons are first invited and as patreons who support the running of the website and everything we do, they do get first dibs on participation podcasts plus much more. If you would like to know how to become a patreon, please visit here.

Like all elections it is important to vote! It is once again a really tough year. The covers for 2022 were all an amazing high quality. If you want to hear what me and the guys in the X-Band: The Phantom Podcast thought was the best covers you can listen to Our best of 2022. The prize is for a limited print featuring art of the winning cover. This is open for international phans with the winning prize sent free of charge to your address. You can vote until 7th of April and the result will be announced in Fantomen 16/2023 with a poster of the winning cover as a supplement. GO AND VOTE NOW!!

Kelby Wooldrige from Reapers Quest (Wulfric Media) has posted on social media that they are selling their jewellery boxes singularly without the jewellery for only $2.50 plus postage. Many have admired the quality of their work and maybe have not had the money to purchase them for their collection, so this is your chance to add something from this company to your collection. If you are interested in buying one or more of the boxes, please contact them directly at their website here. If you would like to learn more about the company and the top quality jewellery we would recommend watching our X-Band: The Phantom Podcast #174 with Kelby Wooldrige.

Mikael Lyck from Chronicle Chamber reviews two issues of the Fantomen comics featuring the following stories: Contents from Fantomen 4/2023: "Kit & Katya" by Philip Madden and Janusz Ordon Contents from Fantomen 5/2023: "De vandödas näste" ("Nest of the Undead") by Pidde Andersson and Joan Boix Cover by Janusz Ordon. Have you noticed that there seems to be a larger range of cover artists for Fantomen 2023? In this story Kit has a romance in the Himalaya's with Katya, a daughter to a Russian criminal. As mentioned in the editorial part of this issue the editorial team have been in contact with Tony DePaul during the creation of this story to make sure it does not create any inconsistencies with Tony's plans for the future. It is another situation of the two creative teams working together to bring some unity. Fantomen 5/2023 features an amazing cover by Luca Erbetta. "De vandödas näste" ("Nest of the Undead") by Pidde Andersson and Joan Boix was first published in Frew 1902 in 2021. It feels very much like a Fantomen created story. Presented in black and white we learn how a small village gets terrorised by none other than Dracula. The Phantom gets there and starts to investigate the mysterious circumstances. Do you like the story presented in black and white? Side comic is Kriss of Valnor which seems like a Thorgal spin off. Did the Fantomen readers like it? Preview of the next issue includes the second part of the Belle Epoque suite. A late Lee Falk, George Olesen and Keith Williams strip and a new side comic. Until next time, Happy Phantoming! All Fantomen reviews will be included in our monthly X-Band: The Phantom Podcasts. You can find out more at our website and or subscribe to our YouTube channel for more videos.

In episode #242 of X-Band: The Phantom Podcast, released February 2023, the Chronicle Chamber team interviewed Ash Nicholls, owner and director of Art of Play, about some of the most thrilling news in the Phantom world this year - their new project The Phantom Game. In this post, we look to summarise the key takeaways from that conversation for you to read through, remind yourself of, and get excited about! If you haven't watched or listened to the podcast yet, do yourself a favour and check it out at the bottom of the page - it's worth hearing the passion! Background Art of Play is an award-winning game development studio specialising in online and app-based games. The company has created games for well-known franchises such as Clone Wars, Transformers, Teenage Mutant Ninja Turtles, Spider-man, Spongebob Squarepants, and Paw Patrol, producing 70 games across 7 years immediately prior to the pandemic. This means they have worked with major players in the industry such as Nickelodeon, Hasbro, Viacom, Sony Pictures, and Paramount, and have produced a range of styles of 2D and 3D games, typically employing designs from the original shows. In the interview, Ash revealed that The Phantom Game will be Art of Play's first console game, marking a new chapter in the company's journey. Of course the game is based on our beloved comic book character, and the team is eager to bring the iconic hero to life in a new and exciting way for phans of the franchise, but in a way that respects the history and traditions of the existing universe - and satisfies existing phans! According to Ash, the team is using traditional methods combined with the latest technology and design techniques to create a high-quality gaming experience for players. Basics Ash shared the following details about the game and its development: Inspired by the release of the NECA figurines, he reached out to King Features Syndicate (KFS) in early 2022 and had positive conversations with them over the course of the next six months to explore the concept and planning approach of the game. In December 2022, Ash signed the necessary contracts with KFS after visiting their offices in New York. The game will be created using the Unity 3D engine, with a mix of traditional animation and modern lighting effects. The environment is 3D, while the characters will be 2D. Art of Play aims to sell at least 20,000 units of the game, starting with digital downloads and later offering physical collector’s copies. The game will be playable on popular gaming consoles Nintendo Switch, Playstation, and xBox as well as on desktops/laptops via Steam. A mobile app version is also in the works. Ash estimates that the digital version will be priced at $39 AUD, while the physical copy will be sold for $60 AUD, and the collector’s box will be around $80 AUD (all prices very preliminary only). The development of the game will cost over $500,000 AUD, which will be entirely funded by Art of Play. Playing the game The game play will be a classic action 2D side-scrolling 'beat em up' with an added layer of depth provided by the Phantom's unique morality. There will be two playable characters, the 21st Phantom and Diana, with Devil accompanying the player throughout the entire game. One level will even feature Hero as a rideable option. The game is divided into 5 chapters with 3 levels each, so 15 levels total. While the main objective is to work through the storyline chapter by chapter, some levels will be able to be extracted and played as a separate game mode, such as the Phantom in a boxing ring which can be used as a training ground for combat skills. There will be a couple of cooperative levels when you play as both Diana and Phantom, or take on the action together if in 2-player mode. It is expected that the main storyline could be completed in 2-3 hours, with high replayability due to alternate endings, multiple game modes, and collectible elements. In terms of combat skills, players will have access to grappling, strangle-holding, a huge range of punches and kicks, and of course the Phantom's sidearms. There will also be stealth modes for sneaking up on enemies. The Phantom's morals are a key aspect of the game and will impact the way it ends. Players will have the freedom to play as they choose, but the ending of the game will be affected by their actions. This morality clause has led to a lot of planning. “The use of his guns, specifically, and how to integrate that into the game play so that we’re not restricting the player but keeping in line with the fact that the Phantom uses his guns pretty much as a last defence … killing too many people on one level will require the player to go back and replay it," Ash explains. "Finding the balance between action and morality is important in defining who we want the Phantom to be and staying true to the rich history of the comics." A potential collecting aspect of the game (pending approval from KFS) would be finding images of classic comic book covers to add to a personal gallery. Art of Play will work with the Chronicle Chamber team to ask phans to suggest and vote for their favorite covers, with the suggestion of including a top 50 in the game. Ash wants the game to be accessible to all ages, both long-time phans and new gamers, young and old. Repeat plays will yield different results and add to the replayability of the game. The Story The plot for the game is being written by Ash in collaboration with Australian phan-favourite author Matt Kyme. KFS has approved the structure of the story, with dialogue still awaiting approval. The story is a key part of the game and will be influenced by the player's choices, with multiple endings possible depending on how the game is played. Ash was understandably reluctant to give too much away about the plot, but did confirm that the main storyline is set in the 1930s and takes the Phantom on a journey around the world, starting in Bangalla and traveling to “the main areas of the world where The Phantom is popular.” Under duress from the CC team, Ash confirmed that Australia would be one of those (specifically, the docks of Sydney Harbour). You don’t have to read between the lines too much to see it likely that India, Sweden, USA, and Brazil will also be on the itinerary. The main foes will be the Singh Brotherhood, with each level featuring a set of Singh members to fight against. However, each area will also have a unique group of geographically specific mercenaries. As the Phantom, players will try to resolve conflicts through diplomacy, but the roughnecks won't be inclined to listen. “This game will require some strategy, but it's not a mindless brawler … It will be fun, and that's the most important thing," says Ash. Ash explains, “The morality clause to the whole game means that if you play the game a certain way you’re going to see an ending. If you play a different way you’re going to see a different ending. We want players to think about how they tackle combat and how they tackle the game as they play through. This is a key part that King Features are digging as well. What a player does has an effect on the outcome of the game.” The plot has a strong emphasis on the innocence and traditions of The Phantom, which comes across as being vitally important to Ash. “The story has a lot to do with lineage and family … that sort of stuff hits home. That’s a very strong narrative point throughout the game. Family, lineage, generations, it all comes into play and then the ending is gangbusters. It gave me chills. I’m hoping that phans will get as much out of it as we have just in writing it … It’s a corker, it really is.” The complete story will be shared a few days after the game's digital launch, and there will also be a tie-in comic book. The Art As for the art style of the game, this has been inspired by the dynamism of comic book covers and will feature frame-by-frame animation. Ash and the lead artist on the project, Anthony Spay, have already spent months on character design with Anthony overseeing the artistic style and supplying concept art. Art of Play’s internal artists and colorists are working on traditional hand-drawn animations, and will maintain the balance between realism and comic book style. The game will feature agile and athletic movements for the Phantom to suit the brand and the character; this process has already taken over a month to develop . Ash sees it as important to get the Phantom’s agility and movement just right. "He will not cumbersome and lumbering like The Punisher, or too nimble and agile like Spider-Man." Ash and Anthony are working to find the balance of a perfectly muscular character in a completely skin-tight costume who moves athletically. “The Phantom needs to feel legit.” The game will also include cut scenes and comic panels that pop up in the corner of the screen during the action. The aim is to make the game feel like a comic book and, while time-consuming to produce, the traditional hand-drawn animation will allow for ease of playability on a range of platforms without drawing high levels of computing power. The game will even include small easter eggs and maybe a cameo from Mandrake or other Defenders of the Earth characters, with the hope that after this game, Art of Play might shift into the DotE universe for the sequel. Audio The soundtrack for The Phantom Game will be created by Clark Aboud, with plans to include geographically distinct music for the various countries that the Phantom visits. Excitingly, Ash is hoping to get Billy Zane to narrate the “For Those Who Came In Late” opening of the game and potentially even voice the Phantom character. The quality of the animation, game screens and story will soon be shown to Billy as part of the pitch to get him on board for the voiceover. Promotion Promotion plans for the game includes a Kickstarter event in July 2023 to help fund the collector's box set version of the game. High-level rewards may include original art and wrapped arcade games. In October 2023, the game will be showcased at the New York Comic Con. The team also hopes to organize events in Sweden and India and plans to engage in guerrilla and grass-roots marketing initiatives. Cosplayers may also be utilised to promote the game. Ash is eager to involve phans in the process and wants to keep them updated on the development of the game by releasing information and images over time. In the next few weeks, preview images of the Phantom character and his moves will be released, followed by in-game teaser images at the end of February. The core parts of the story will be revealed around the middle of 2023 and concept and finished art will be shared, along with videos from the creator discussing the progress of production. All of these will be available to Chronicle Chamber patreons a few days before they appear on the official game website ThePhantomGame.com and Art of Play’s social media platforms. Make sure you've visited the website and signed up for all future updates. Release The first release of the game will be digital-only. Pending technicalities like approvals and the ratings process, this should be in the middle of 2024. By the end of 2024, a mobile app version will be available, as a cut-back version at a lower resolution and missing some features, but still including all 15 levels. A second Kickstarter may be employed to assist with this, but Ash is hopeful that the game will be self-funding. The physical boxed version will be published and distributed globally, with a strong presence in the US market through Limited Run Games. Pre-orders for the boxed version will open when the digital game is released, with discounts for those who have already bought the digital version. There are also plans for limited edition collectible box sets with special art, likely signed and limited to 500-1000 copies. A comic book version of the game is also being considered, which will be available as part of the box set. There will be YouTube playthroughs posted a few days after the digital game is released, with the creator discussing their decisions throughout the game. DLC (downloadable content) expansion packs are being considered, depending on the success of the game, and the possibility of merchandise such as t-shirts and statues is being discussed. As you can see, Ash did not hold back and is being entirely transparent with the phans as to the process behind the game. We hope that you are as excited as we are. Bring on mid-2024!

Håkon Aasnes may not be an artist many outside of Norway know but in the last 50 odd years he has drawn over 440 different comic stories including Disney, Egmont and his own creations including Seidel og Tobram, Vi på Eiketun, Annika, Gråtass and Olsenbanden. We are led to believe Håkon was the very first Norwegian to work for Disney with his Donald Duck stories. 13 February 2023, he turns 80 and to celebrate his legacy on comics this book is released published by Egmont Norway. The book is 80 pages and includes much of his work. You can purchase via this website for 249nok ($35Au, $25US / EU and 260sek). His only official Phantom work, "Revealed" written by Idi Kharelli was originally published in Fantomen 1/1982 (Bastei #207, Fantomet 10/1982 and Mustanaamio 10/1982). He also wrote an unlicenced story in a Norwegian fanzine Bobbla 1/1978. A scanned copy can be found on our Phantom Preservation Project. According to rumours and traditions, it is told that due to Aasnes wanted to draw the Phantom in a style closer to Wilson McCoy, rather than to Sy Barry, he never came to do another story. In the last decade or so, he has produced some amazing commissions for phans from around the world celebrating his favourite era of the Phantom universe. You can see two such examples below.

Better late than never! It's taken longer to upload than it should have, but here is Chronicle Chamber's review of the 2023 Diary, Wall Calendar & Limited Edition Print produced by Mallon, featuring beautiful art by Australian artist Jeremy MacPherson. As you can see in the above video, the set is themed around "Mr Walker" scenes. Mallon have commissioned Jeremy for a pair of linked images to front the cover of each item. He has brilliantly captured a pair of stills of the Phantom, captured surveying the streets in his Mr Walker garb with Devil at his heels. Internally, the calendar is a high-quality, stylish and functional stationery item that is perfect for hanging on your office wall or near the breakfast station to keep your family organised. The monthly images are Mr Walker covers from around the world over time. The spiral-bound diary features week-to-an-opening pages with ample space for brief note-taking and scheduling, if you're going to use it! In that case, you'll be pleased to know that the cover is made of durable materials and will survive knocking around in your briefcase or backpack. Collectors will also love the Limited Edition print. It is a beautiful rendition of Jeremy's artwork that can make a point of difference among all the purple (or blue, or red, or grey...) already hanging on the wall. Mallon have continued their annual tradition of producing a functional and collectible Phantom item. They are a little pricey, and it is certainly a shame that they were not more widely available in brick-and-mortar stores in the lead up to Christmas. However for devoted phans, completist collectors, or as a gift for a loved one, you cannot look past one or more of these items. They remain available by emailing info@mallon.net.au Until next time, Happy Phantoming! All reviews will be included on our YouTube channel.

Lion - Muthu Comics produced an excellent series of Hardcover books containing stories of characters like The Phantom, Mandrake The Magician, Rip Kirby etc last year. This year they are back with volume two of their hardcover books. This Phantom book like the previous one, is hardbound and has a cover done by Turkish artist Ertuğrul Edirne with the cover taken from the book 'Kizilmaske 7'. It is also kept in the original colours like the last cover. The first and last pages of the book features artworks by Ertuğrul Edirne, Norm Breyfogle, Eugenio Mattozzi, Antonio Lemos and of course Sy Barry with a picture of him. The book features a total number of ten Lee Falk and Sy Barry Sunday and Daily stories. Eight stories are Sundays, while two are Dailies. The stories featured in the book are as follows: "எல்லாம் கேளிக்கையே" (romanized as "Ellam Kelikkaiye"; The Lions of Kukhan") by Lee Falk and Sy Barry. "விண்ணில் ஒரு எத்தர் கும்பல்" (romanized as "Vinnil Oru Eththar Kumbal"; The Super-Jet Gang") by Lee Falk and Sy Barry. "காதலுக்கு உயரமில்லை" (romanized as "Kathalukku Uyaramillai"; The Little Ones") by Lee Falk and Sy Barry. "கறுப்புத் தங்கக் கொள்ளை" (romanized as "Karupputh thangak kollai"; The Black Gold Pirates") by Lee Falk and Sy Barry. "ஹைட்ரா படலம்" (romanized as "Haitra padalam"; The Hydra") by Lee Falk and Sy Barry. "முன்னோரின் கதை" (romanized as "Munnorin kathai"; Walker's Table") by Lee Falk and Sy Barry. "கடத்தல் படலம்" (romanized as "Kataththal padalam"; The Hijackers") by Lee Falk and Sy Barry. "மலையில் ஒரு மர்மம்" (romanized as "Malaiyil oru marmam"; The Missing Link") by Lee Falk and Sy Barry. "வெறியர் நகரம்" (romanized as "Veriyar Nagaram"; Luaga's Undercover Tour") by Lee Falk and Sy Barry. "மோசடி மன்னன்" (romanized as "Mosadi Mannan"; The Mission") by Lee Falk and Sy Barry. The book is a great production as the first one. It is good for any Phantom collectors especially the Tamil readers. The book can be purchased by contacting Lion-Muthu Comics on their Facebook page or WhatsApp. I also recommend to get in touch with a Tamil Phantom fan to obtain it.