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The Statue Of Liberty was animated in Ghostbusters II by positively charged Psychomagnotheric Slime and was used by the team to make an entrance to the slime-covered museum where Vigo was about to be reborn.

"Something that appeals to the best in each and every one of us."

- Ray Stantz; Ghostbusters II

History

Primary Canon

The Ghostbusters failed to shoot their way through the Psychomagnotheric Slime shell around the Manhattan Museum of Art. They huddled at Ecto-1a and regrouped. The Ghostbusters saw the Statue of Liberty's image on Ecto's license plate and realized that was the symbol they needed to rally the city with. Ray Stantz and Winston Zeddemore used Slime Blowers and coated the interior with positively charged Psychomagnotheric Slime then the team utilized "Higher & Higher" by Jackie Wilson, as they did with a toaster to animate it. The energy from the slime surged throughout the Statue, resulting in the torch exploding and manifesting a fire. The Statue surfaced near Pier 34, where the Titanic recently appeared, and were escorted by police to the Manhattan Museum of Art.

The Statue of Liberty walked off of West 54th Street onto Fifth Avenue, stepped out from between the The Canada Building at 680 Fifth Avenue, and headed towards the Manhattan Museum of Art. People stood behind police barricades and cheered. Peter Venkman shouted it was a love fest. Ray ordered everyone to sing it out. Egon Spengler cheered the people on. Peter sang along with the song. Winston told someone on the sidewalk to sing. The Statue walked past Trump Tower at 725 Fifth Avenue. Egon noted they were running out of time. Winston asked Ray if he could speed up the Statue. Ray conceded the vibrations would shake her to pieces and confessed they should have padded her feet. Egon was confident there was not a pair of Nikes in her size. Peter was not worried and proclaimed she was a harbor chick.

The Statue stepped on a police squad car and squashed it in front of Fred's at 703 Fifth Avenue. Ray shouted an apology. Less than four minutes to New Year's, the Statue of Liberty arrived and could be see looming above the museum's skylight dome. While Janosz Poha shouted at it to go away, Dana Barrett grabbed Oscar off the altar. The Statue smashed the dome with the torch then the Ghostbusters rappelled into the building through the hole. The Statue of Liberty collapsed and fell on its back. After Vigo was defeated, the Statue was returned to its rightful place. Some time later, the Ghostbusters were honored by the city, Liberty Island. Two years later, the Psi Energy Pulse triggered by Ilyssa Selwyn passes the Statue of Liberty with no apparent paranormal reaction.

Secondary Canon

IDW Comics

A couple of weeks after the Ghostbusters' 101 pilot team used the Interspatial Teleportation Unit, evidence of two dimensions overlapping become noticeable after twin Statues of Liberty appeared in New York Harbor. NY1 News interviewed Peter, Ray, and Winston in the afternoon. They took readings and discovered it matched readings from when the teleportation unit was used by the pilot team.

The Ghostbusters confronted Connla on Liberty Island but were forced to call in teams from other dimensions when they were overrun by ghosts. Egon Spengler from Dimension 68-R, Roland Jackson from Dimension 68-E, and Abby Yates from Dimension 80-C checked their respective P.K.E. Meters and confirmed they trapped every ghost from Connla's Army and they were clear. Patty Tolan directed them to look at what they did to the Statue of Liberty's "backyard" but Peter was sure they could smooth it over.

Behind the Scenes

Dan Aykroyd and Harold Ramis originally conceived the idea of the Statue of Liberty as a force of evil used by Vigo. Out of respect to the Statue, it was decided she would be a positive influence. Bringing the Statue to life took some doing. Miniatures, a larger head sculpture for close up shots, a costume worn by Jim Fye for full length views, and large scale full scale set pieces such as water tanks were used. The earliest shots done were in a larger-than-life-full-size-replica of the crown constructed on a sound stage at Burbank Studios. If the crown were built to scale, the actors faces would be obscured and there would be little room to move around with the Proton Packs on. The replica was 30% larger than the original and the glass was left out of the windows since they got in Ivan Reitman's way.[1][2][3] The crown was placed on a gimbal mechanism in order to simulate movement of the Statue.[4] The gimbal used dated back to the 1940s and broke down during the first day of shooting. A second was brought in from CBS but it too was old. New cylinders were flown in overnight and the gimbal was restored to working order. During shooting, Ivan Reitman had the actors tilt down even further than usual in order to capture real fear on camera. Bill Murray recalled it was "quite a ride - nausea, sea legs, the whole thing."[5][6]

It was very difficult rotowork combining live action plates from New York because it included crowds of people.[7] The Fifth Avenue scenes were done with matte painting out of practicality. It was virtually impossible to shoot at night and get good exposure above street level. Mark Sullivan and Caroleen Green worked on the matte painting. Green had to rework the left side because Ivan Reitman wanted to see the city go on for miles to create a sense of openness and grandeur.[8] The exploding torch was done on a separate stage then matted into shots with Fye in costume. The Statue's torch exploding in a fireball was a rare case of serendipity. On the first take, a piece of the rig, flew up into frame. It was a mistake but Ivan Reitman liked it and he cut it in.[9]

A real-sized foot and standard eight-inch car was used for the scene when the Statue steps on a police car. Charlie Bailey placed a small tube filled with margarita salt into the car. When the foot stepped on the car, the salt would shoot out the window and simulate broken glass. In New York, crews shot a plate with real police car and one without the car but still with people standing behind where the car was. At ILM, the real car was rotoscoped out and inserted into the other plate. The Statue's sandal crushing the car was filmed in against bluescreen. The sandal was matted into the plate and the model was dissolved in for the real car.[10][11][12][13][14][15] The last shot done during filming in New York was of the Statue of Liberty marching through Fifth Avenue scene. With two cameras, at 2 am, the Industrial Light & Magic crew filmed around 460 extras yelling and singing at vacant air. The Statue of Liberty would be later added.[16][17] The shot of the Statue of Liberty breaching the slime shell was a combination of the restoration room interior set at the Burbank Studios in Los Angeles, compositing in Jim Fye as the Statue of Liberty at ILM, the crown gimbal at Burbank Studios, and the exterior outside the Alexander Hamilton U.S. Custom House at 1 Bowling Green in New York City. For the part when the Statue of Liberty strikes the skylight, Chuck Gaspar and his team threw debris, breakaway glass and foam beams down from the top of the set.[18]

Trivia

  • The Stay Puft Marshmallow Man was originally scripted to rise up by the Statue of Liberty in Ghostbusters.[19]
  • In the Ghostbusters II August 5, 1988 draft:
    • Vigo animates the Statue of Liberty with negative psychomagnetic energy and rides it to the city in pursuit of Lane Walker and their son.[20]
    • The Statue of Liberty is defeated after the Ghostbusters patch their Proton Packs into 500 kilovolt amp Con Edison transmission lines and open fire.[21][22]
    • On page 111, the Ghostbusters blasted the Statue of Liberty with 2 million kilowatts of electricity. The statue heated up red hot, steam was released, the polarity reversed, and Vigo exploded into dust.
    • On page 112, the Statue of Liberty hurls her torch at the Ghostbusters before she topples over.
  • In the Ghostbusters II September 29, 1988 draft:
    • On page 103, Ray and Peter hose the interior of the Statue of Liberty.
      • In the movie, Ray and Winston hose the interior.
    • On page 104, "Everything is Beautiful" is played. The torch bursts into flame. Winston admits he never visited the Statue of Liberty.
    • On page 106, the Statue goes up Broadway and turns on Fifth Avenue. After stepping on a car, Peter says the Statue of Liberty is new in town.
  • In the Ghostbusters II November 27, 1988 and February 27, 1989 drafts:
    • The opening scene starts with an aerial shot of Manhattan starting with the Statue of Liberty and drifting towards Greenwich Village.
    • On page 115, Egon tells Peter there is 300 tons of iron and steel under the Statue of Liberty's toga.
    • On page 118, the Statue of Liberty's head suddenly lurches forward. Winston admits he never visited the Statue.
    • On page 122, Ray muses there aren't Reeboks in the Statue's size.
    • On page 129-130, the Statue of Liberty is back on Liberty Island but the Ghostbusters realize the torch is in the wrong hand.
    • On page 131, Slimer flies out of the Statue of Liberty's torch to the screen.
  • Liberty Island and the interior of the statue was filmed on a sound stage at Burbank Studios in Los Angeles.[23]
  • Peter alludes to the Statue of Liberty's origins as a gift from the France as a monument to the Americans' independence.
  • The Statue of Liberty's torch is constructed of stone and copper, but shatters and is replaced with real flames when the Mood Slime animates it.
  • The scene of the Statue's torch exploding in a fireball was a rare case of serendipity. On the first take, a piece of the rig, flew up into frame. It was a mistake but Ivan Reitman liked it and he cut it in.[24]
  • The shot of the Statue lifting its right foot is erroneous. In the shot, it is depicted as being flatfooted. In reality, her right foot is in a raised stance, depicting her moving forward away from oppression and slavery.
  • When the Statue of Liberty comes off of West 54th Street onto Fifth Avenue, she steps out from between the The Canada Building at 680 Fifth Avenue then her massive foot steps on the street in front of Trump Tower at 725 Fifth Avenue then steps on a police car in front of Fred's at 703 Fifth Avenue.[25]
    • The car is crushed at 703 Fifth Avenue but that would have been before she walks past the Trump Tower.
  • The crew shot three takes of the scene of the Statue of Liberty stepping on the police car.[26]
  • Dan Aykroyd voiced regret in committing so much to the Statue of Liberty during the writing of the Ghostbusters II script.[27]
  • The Statue of Liberty appeared in the New Ghostbusters II game for the NES. It had the power to shoot fireballs from its torch at ghosts and the book it carries is used as a bomb to clear the sky.
  • The Statue of Liberty is mentioned on page 12 of Ghostbusters Issue #1.
  • In Ghostbusters Issue #2 page 19, Zac mentioned he wanted to go see the Statue of Liberty.
  • On page 18 of Ghostbusters 101 #6, the eighth image is from Chapter 24 when the team looks out from the head of the Statue of Liberty. Jillian Holtzmann, Patty Tolan, and Abby Yates appear in place of Peter, Winston, and Ray.
  • On page 28 of Ghostbusters Annual 2018, Egon alludes to the two Statues of Liberty that appeared in Ghostbusters 101 #3.
  • On page 28 of Annual 2018, Winston alludes to when they animated the Statue of Liberty in Ghostbusters II.
  • On Cover B of Transformers/Ghostbusters Issue #5, a billboard on the left references the Statue of Liberty.
  • On page 11 of Transformers/Ghostbusters Issue #5, Ray mentions the Statue of Liberty and the team animating it in Ghostbusters II.

Appearances

Primary Canon

Secondary Canon




References

  1. Eisenberg, Adam (November 1989). Ghostbusters Revisited, Cinefex magazine #40, page 34. Cinefex, USA. Line reads: "The earliest shots completed involved a larger-than-full-scale replica of the crown constructed on stage at the Burbank Studios."
  2. Eisenberg, Adam (November 1989). Ghostbusters Revisited, Cinefex magazine #40, page 34. Cinefex, USA. Bo Welch says: "When you are up inside the real crown in New York, it's shocking how small it is. If we had kept ours to the exact same scale, you would only be able to see a little of the guys' faces and they would not have had enough room to stand up and move around with their backpacks on. So we made ours a good thirty percent larger than the real one so that we could accommodate the four Ghostbusters and see their faces and shoulders through the windows. We also left the glass out of the windows. That was Ivan's choice simply because the glass got in his way."
  3. Eisenberg, Adam (November 1989). Ghostbusters Revisited, Cinefex magazine #40, page 34, 37. Cinefex, USA. Bo Welch says: "We altered the scale, but everything else is extremely accurate--the colors, the finish, the hair and the underside of the structure. The other license we took was with the base of the statue. The stair that goes up to the head is really a double-helix--it goes up and right underneath it is the stair coming down. We just did a single spiral stair. Basically it's the impression that was important. It felt like the Statue of Liberty."
  4. Eisenberg, Adam (November 1989). Ghostbusters Revisited, Cinefex magazine #40, page 37 footnote. Cinefex, USA. Line reads: "A larger-than-full-size replica of the Statue of Liberty crown was constructed for closeups of the actors inside. Mounted on a gimbal mechanism in front of giant photo transparencies, the set piece was able to rock back and forth and from side to side in passable simulation of movement down the street."
  5. Eisenberg, Adam (November 1989). Ghostbusters Revisited, Cinefex magazine #40, page 37. Cinefex, USA. Line reads: "The full-scale crown was built on top of a gimbal so that it could be rocked back and forth to simulate the movement of the statue walking. Unfortunately for production, the gimbal broke down during the first day of shooting on the head set. "In the past," Gaspar explained, "gimbals were used a lot in Hollywood. But there are not many left today, and the ones that still exist are old and have not been well maintained. The first one we used for the statue's head was the Burbank Studios gimbal that was probably built around 1940. It has been sitting on the backlot for years. One of the movements that Ivan wanted was a realy heavy jolt when she looks down at the ground, and the rocking put too much of a load on the old casters. We tried to remedy the problem, but then something started to break in another section of the gimbal and I realized that we needed to get another one. I hated to do that because I knew how much it would cost us, but the old gimbal just was not safe. So we got another one from CBC and remounted the head on that. It too was old and some of the swivel joints had cracks in them, so we had new cylinders flown in overnight and repaired it. From then on, we had no problems--the gimbal was better than it had ever been." Riding inside the crown proved to be a unique experience for the actors."
  6. Eisenberg, Adam (November 1989). Ghostbusters Revisited, Cinefex magazine #40, page 37. Cinefex, USA. Bill Murray says: "Actually, it was a little scary. The rig would do strange things and would pitch and turn in ways that even the effects guys did not expect. At one point, Ivan told them to tilt it down even further than usual because he wanted us to be really surprised. Well, that was real fear you see on the screen. It went down so far we thought it had broken again. It was quite a ride--nausea, sea legs, the whole thing."
  7. Eisenberg, Adam (November 1989). Ghostbusters Revisited, Cinefex magazine #40, page 41-42. Cinefex, USA. Tom Bertino says: "Anything that involved the Statue of Liberty with a crowd meant very difficult rotoscope work. I remember when the plate crew came back from New York. One by one as they met me in the hall, the first thing they would say to me was: 'Hi, Tom. Just remember it wasn't my fault.' I didn't quite know what they meant by that until I saw the dailies in the screening room, and I thought 'Oh, my God!' There were scenes where the statue had to be put behind a crowd and there were all these little waving hands--and everybody was dressed for winter so they had tassles and scarfs and little mittens hanging off their hands. Since this was set to occur on New Year's Eve, there were also balloons and flying confetti. One guy was even waving a crutch in the air. They were all so small in the frame that it looked like the ultimate rotoscope nightmare. But some of our star people just did an incredible job. Barbara Brennan did the first scene where the statue is seen walking in Manhattan--where her foot comes out from behind a building. The foot had to be places behind a small crowd that was in the foreground, and the rotoscoping on that was as close to seamless as anything I've ever seen. There were nearly two hundred frames that had to be rotoscoped just in that one shot, and everything had to match from frame to frame."
  8. Eisenberg, Adam (November 1989). Ghostbusters Revisited, Cinefex magazine #40, page 41-42. Cinefex, USA. Tom Bertino says: "The main reason Fifth Avenue was done as a painting was because it is virtually impossible to shoot in New York at night and get a good exposure above street level. There is just no way to light up all the buildings. Caroleen Green did all the matte painting, and she not only had to work with the buildings that were there in reality, but she also had to rework the left side to open up the view. Ivan did not want the city to appear claustrophobic. He wanted to see it go for miles so the shot would have an openness and grandeur about it."
  9. Wallace, Daniel (2015). Ghostbusters The Ultimate Visual History, p. 173. Insight Editions, San Rafael CA USA, ISBN 9781608875108. Ned Gorman says: "On the first take, a piece of the rig-a circuit, or a ring that was retaining the explosion-flew up into the frame. It was a mistake, but it looked good. We showed it to Ivan and he cut it in."
  10. Eisenberg, Adam (November 1989). Ghostbusters Revisited, Cinefex magazine #40, page 42. Cinefex, USA. Line reads: "Several shots did not involve background plates. For one closeup of the statue turning the corner of Fifth Avenue, Jim Fye was filmed in costume walking among model buildings."
  11. Eisenberg, Adam (November 1989). Ghostbusters Revisited, Cinefex magazine #40, page 42. Cinefex, USA. Mark Sullivan says: "The main reason Fifth Avenue was done as a painting was because it is virtually impossible to shoot in New York at night and get a good exposure above street level. There is just no way to light up all the buildings. Caroleen Green did all the matte painting, and she not only had to work with the buildings that were there in reality, but she also had to rework the left side to open up the view. Ivan did not want the city to appear claustrophobic. He wanted to see it go for miles so the shot would have an openness and grandeur about it."
  12. Eisenberg, Adam (November 1989). Ghostbusters Revisited, Cinefex magazine #40, page 42. Cinefex, USA. Line reads: "The view of the torch exploding to life--and then subsequent where it is seen burning--involved shooting pyrotechnic elements on a separate stage and then matting those into either shots of a double-sized torch or shots with Fye in his costume."
  13. Eisenberg, Adam (November 1989). Ghostbusters Revisited, Cinefex magazine #40, page 42. Cinefex, USA. Bill George says: "We wanted to build a big foot and a big car thinking, of course, that the larger the scale the more successful the crush would be. But Dennis was concerned about a big foot looking mechanical, so he wanted us to use a real-sized foot and build the car to match the scale. We figured out what scale would be, and it turned out to be the size of a standard eight-inch long model car. We located a car kit that matched reference photos we had of the real police car in the plate. Then we made a mold of it and cast a bunch of them out of wax that were hollow inside and without windows. Charlie Bailey--who built the cars--put a small tube inside each one and filled it with margarita salt. Then , when the foot came down and crushed the car, he blew through the tube and margarita salt would shoot out the window areas and simulate broken glass."
  14. Eisenberg, Adam (November 1989). Ghostbusters Revisited, Cinefex magazine #40, page 42. Cinefex, USA. Line reads: "The key to the shot was the manner in which the wax car was inserting into the plate. In New York, the crews shot a plate of the real police car on the street. Then they shot the exact same setup without the police car, but with people standing behind where the car had been. At ILM, the real car was rotoscoped out of its plate and inserting into the other so that it looked as though it was now in front of people. The next step was to film the Statue of Liberty sandal against bluescreen as it stepped down and crushed the wax model . Next the foot was matted into the plate. As the foot came down, the real car fell under its shadow. At that instant, the wax car was slowly dissolved in over the real car so that by the time the foot made contact, it appeared to be crushing the real car though it was actually the wax one. Then the foot lifted back up and continued on its way, leaving the crushed wax car in the plate with people reacting behind it. To help add to the realism of the shot, the wax model was built with a light bar on top and an additional flashing element was laid over the completed scene."
  15. Eisenberg, Adam (November 1989). Ghostbusters Revisited, Cinefex magazine #40, page 42. Cinefex, USA. Michael Gross says: "The whole effect was life sleight of hand. The foot did not step on the real car, but it looks like that to your eye in the final shot. Originally they had people running across the front of the scene to help hide the switch of the cars, but Ivan said, 'I can't have guys running in front of it.' We laughed about it. It was like they were trying to pull a magician's trick--a little misdirection to conceal the switch. But if we had shot a real car being crushed, we would never have had people walking in front of the action, so Ivan said the people had to go. Of course, the ILM guys changed it and it worked wonderfully. It was really just one example of the entire Liberty sequence. We never had any doubts that ILM's statue would look like the real thing and be perfect. And in the end, our confidence was justified. The Statue of Liberty sequence is the one I am most proud of. One shot that I doubt anyone will know is an effects shot is the one where they guys are first seen inside the statue. You see them inside and then the camera pulls away until you see the whole head and shoulders. It looks so real you would think it was a helicopter shot pulling away from the real statue, but it was a bluescreen shot of the boys and the model--an amazing composite."
  16. Bernard, Jami (July 1989). "Prime Slime with Ghostbusters" Fangoria #84, page 28. Fangoria Publishing, Atlanta, USA. Line reads: "Lady Liberty is stalking up Fifth Avenue, and boy, is she big. As big as, say, the Stay-Puft Marshmallow Man. "Bigger than Stay-Puft!" hisses a publicist protectively. It's a frigid night near Manhattan's Grand Army Plaza, and the same folks who brought you the megahit ectoplasmic comedy Ghostbusters are filming the piece de resistance FX scene of their sequel. Hundreds of bemittened extras search the skyline expectantly for Lady Liberty to appear looming over Trump Tower, ready to save the Free World from the River of Slime biding its time in the maze of New York's sewer system. Of course, you can't really see Lady Liberty. Two cameras from Industrial Light & Magic film an empty Fifth avenue at 2:00 a.m. while the extras sing their lungs out to the vacant air. Later, when they finish rotoscoping, animation, matte work and other trickery, it will look as if these 460 extras really saw something that night."
  17. Bernard, Jami (July 1989). "Prime Slime with Ghostbusters" Fangoria #84, page 28. Fangoria Publishing, Atlanta, USA. Michael Gross says: "This story picks up after the last story," offers Gross at the Lady Liberty location, the last one before moving the tight 67-day shoot to Los Angeles for interiors."
  18. Eisenberg, Adam (November 1989). Ghostbusters Revisited, Cinefex magazine #40, page 44. Cinefex, USA. Line reads: "To help create the illusion that the Ghostbusters were crashing through the skylight, Chuck Gaspar and his crew threw debris, breakaway glass and foam beams down from the top of the set as the actors slid down their ropes and landed firmly on the floor."
  19. Shay, Don (November 1985). Making Ghostbusters, p. 184. New York Zoetrope, New York NY USA, ISBN 0590336843.
  20. Aykroyd, Dan & Ramis, Harold (1988). Ghostbusters II (August 5, 1988 Draft) (Script p. 104). "Paragraph reads: "A greenish glow starts to emanate from the base of the statue, then starts rising up the body as the colossal Lady is infused with evil energy. Then Vigo dashes up the stairs and enters the sculpture."
  21. Aykroyd, Dan & Ramis, Harold (1988). Ghostbusters II (August 5, 1988 Draft) (Script p. 105). "Egon Spengler says: "If we could reverse the polarity of the energy mass, theoretically the magnetic force would become repellent and dissipate into the atmosphere."
  22. Aykroyd, Dan & Ramis, Harold (1988). Ghostbusters II (August 5, 1988 Draft) (Script p. 105). "Ray Stantz says: "With a strong electrical current. The Statue is copper; it's highly conductive. In this area, the Con Ed transmission lines carry about 500 kilovolt amps. If we run that much current through our proton packs, it should produce more than enough juice to do this job."
  23. Ivan Reitman (2019). Ghostbusters II- Commentary (2019) (Blu-ray ts. 1:26:50-1:27:01). Sony Home Entertainment. Ivan Reitman says: "This is us building the interior of the Statue of Liberty on a stage for us to do this scene. They wouldn't let us go into the real Liberty and do this."
  24. Wallace, Daniel (2015). Ghostbusters The Ultimate Visual History, p. 173. Insight Editions, San Rafael CA USA, ISBN 9781608875108. Ned Gorman says: "On the first take, a piece of the rig-a circuit, or a ring that was retaining the explosion-flew up into the frame. It was a mistake, but it looked good. We showed it to Ivan and he cut it in."
  25. Spook Central Filming Locations Fifth Avenue
  26. ebay Tim Lawrence "Ghostbusters 2 (1989) Orig. Prod. Artifact: “Crushed Police Car” - Liberty Scene" retrieved 9/16/16 Tim Lawrence says: "This is the miniature wax car from 'Take 2' of the shot where Liberty's foot crushes a police car with her foot (in closeup). We shot 3 takes. I don't remember which 'Take' wound up in the movie, but it could have been this one."
  27. Shapiro, Marc (1991). "Fantasymaker" Starlog #164, page 40. Starlog Group, Inc , USA. Dan Aykroyd says: "I think we made a big mistake in the writing of Ghostbusters II by committing ourselves so heavily to the Statue of Liberty thing. There could have been a better way out. I believe everybody connected with the film regrets the way we did it."
  28. Winston Zeddemore (2011). IDW Comics- "Ghostbusters Volume 1 #1" (2011) (Comic p.12). Winston Zeddemore says: "...Remember the thing on New Years a ways back with the Statue of Liberty?"
  29. Zac (2011). IDW Comics- "Ghostbusters Volume 1 #2" (2011) (Comic p.19). Zac says: "Can we go check out the Statue of Liberty now?"
  30. Ghostbusters 101 Class Notes (2017). IDW Comics- "Ghostbusters 101 #3" (2017) (Comic p.24). Ghostbusters 101 Class Notes reads: "Can animate the inanimate (statues, toasters, etc.)."
  31. Narrator (2017). IDW Comics- "Ghostbusters 101 #4" (2017) (Comic What Came Before page). Narrator says: "After finding straight proof that something crazy is going on -- the city of New York is justifiably worried about more supernatural shenanigans!"
  32. Janine Melnitz (2017). IDW Comics- "Ghostbusters 101 #4" (2017) (Comic p.23). Janine Melnitz says: "The government is getting concerned with the two Statues of Liberty."
  33. Reporter (2017). IDW Comics- "Ghostbusters 101 #5" (2017) (Comic p.1). Reporter says: "We have had it confirmed that the same situation that gave us two Statues of Liberty has increased in severity over the last few days."
  34. Walter Peck (2017). IDW Comics- "Ghostbusters 101 #5" (2017) (Comic p.1). Walter Peck says: "They've told me that aside from some so-called "spatial anomalies" -- such as the two Statues of Liberty the Mayor mentioned - and a greater-than-normal influx of ghosts, which they are seeing to, the danger is minimal and the matter is well in hand."
  35. Ray Stantz (2019). IDW Comics- " Transformers/Ghostbusters Issue #5" (2019) (Comic p.11). Ray Stantz says: "We did get the Statue of Liberty moving with it."


Gallery

Primary Canon

Secondary Canon

NOW Comics images provided by Ectocontainment (Fan Site) and NOW Comics Deleted pages images provided by Alex Newborn (Original Source: James Van Hise).

Behind the Scenes

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