In 1978, there were two things on the minds of boys ages 5 to 16. OK, maybe three. They were KISS, “Star Wars,” and girls. You pick the order they were in for you personally. I was 6, so girls really hadn’t figured into the equation yet.
Girls were on boys’ minds for the obvious reasons. “Star Wars” was popular because it had just been released the year before and blew everyone away with its groundbreaking, never-before-seen special effects and imagery. After only being around since 1973, KISS was the hottest band in the world because of their shockingly explosive on-stage spectacle and look. They had already released several best-selling studio, live, and solo albums. They had t-shirts, stickers, belt buckles, and everything else you can think of with their logo and likenesses plastered on them. The band even had a comic book that featured the members as superheroes that was published through Marvel Comics.
Their manager, Bill Aucoin, could only see one other area KISS could move into that hadn’t been explored yet. The band needed to make a movie. And not just any movie: a movie that put the band into the status of superheroes they were raised to in their comic book.
KISS needed to be seen as superheroes each with individual powers that reflected their different personae. Singer/guitarist Paul Stanley (the Starchild) could control and read minds. Singer/bassist Gene Simmons (the Demon) had super strength and could breathe fire. He also had a reverberating voice that commanded people listen to him and animal-like growls. Singer/lead guitarist Ace Frehley (the Spaceman) could shoot lasers and teleport. Drummer/singer Peter Criss (the Catman) had superhuman agility and leaping powers.