Monthly Archive: December 2010

NOW INTERVIEWED-JAMES PALMER, PULP WRITER!

JAMES PALMER-Creator/Writer
AP: Tell us a little about yourself and your pulp interests. 
JP:  Well, I live with my wife and two year-old daughter in Northeast Georgia.  I have a BA in English, and I’ve loved science fiction my whole life. I grew up reading comic books and watching reruns of stuff like Star Trek and Lost in Space.  I also read anything I could get my hands on, especially if it was SF-related.  I didn’t find out about the pulps until my late teens, when I really got into SF fandom and the history of the genre, and found out there used to be hundreds of magazines published every month devoted to the stuff I loved.  I started reading H.P. Lovecraft and, about two years ago, Robert E. Howard.  I wanted to write these kinds of stories, but didn’t know of anyone still publishing them.  Van Allen Plexico told me about the gang at the Pulp Factory, who extended me an invite, and the rest, as they say, is history!
AP: What does pulp mean to you?
JP:  To me, pulp is more of an attitude than a name for the cheap paper the old magazines were printed on.  It’s definitely more of a genre today.  Pulp is action, thrills, adventure, and often means there is “no story to get in the way of the plot” as Joe Bob Briggs used to say.  But just as often it rises above its own format to become Art with a capital A.  More than that, it’s a nostalgic look back at a golden time when reading was a form of mass entertainment.
AP: By day you are a freelance copywriter and by night you write fiction.  How are these styles of writing similar and different and does one style of writing impact the other?
JP:  To me, they are very different.  I feel like I’m using two different parts of my brain when writing one instead of the other.  But they do use the same skills.  Freelancing taught me the importance of sticking to deadlines, both self-imposed and those of your clients.  Freelancing taught me to treat writing just like any other business.  Freelancing also teaches you things like brevity, how to be clear and concise, and to create written works that are designed to produce certain effects in the reader (usually ‘buy this now!’).  These are important skills in fiction writing as well.
AP: You have worked on short tales for Voices For The Cure (which you also edited) and Gideon Cain – Demon Hunter, and others.  What draws you to these shorter tales?
JP:  A short story is like a brief visit from an interesting stranger, while a novel is like a relative who moves in and stays a while.  I like short works because they can come at you from out of nowhere, create a world in your head, and then leave.  I think they are often harder to write than novels, and many professional novelists share this view, but since SF and the pulps share this tradition of short fiction, I think shorts are important to keep alive just for the form itself.
AP: You edited Voices For The Cure for White Rocket Books, which raised money for The American Diabetes Association. Tell us a bit about the book, the inspiration for it, and why this charity was chosen.
JP:  I did this anthology two years ago, basically because I wanted to have something in print with my name on it in time for that year’s Dragon*Con.  Their charity auction that year raised money for the American Diabetes Association, and my wife and her parents have Diabetes, so those two facts came together in my brain as the idea for the anthology.  Another Dragon*Con attendee, a young writer named Davy Beauchamp, has done a few charity anthologies called Writers for Relief, which benefited Hurricane Katrina victims and some other worthwhile causes, so I knew there was a place for this type of anthology.  The moment I thought of it, it just felt like a great idea.
I am still blown away by how neatly all of this came together.  A photographer friend of mine did the cover, someone I found online donated the cover design, and I asked most of my favorite writers for stories.  Word even got out that I was looking for stories and husband and wife authors Gary A. Braunbeck and Lucy Snyder contacted me asking to be included.  I did the interior layout and editing and published it through Lulu.  After Dragon*Con was over, Van Plexico contacted me about publishing it through his White Rocket Books (http://www.whiterocketbooks.com/) imprint, meaning it got it’s own ISBN number and can be ordered from bookstores and Amazon.com. 
AP: Do you have a favorite genre in which to work or do you like to play the field and work in as many different genres as possible?
JP:  I like a little bit of everything, but mostly SF.  For my pulp stuff, I’ve been delving into fantasy and weird horror for some reason, but I really like to keep the H.P. Lovecraft/Robert E. Howard vibe going in my pulp stuff.  I like creating homages to those guys.  But my first love is science fiction, and I am striving to write mainstream short SF and novels.  But even within one genre, I like blending different elements together to make something new.
AP: What, if any, existing characters would you like to try your hand at writing?
JP:  I mostly like to make up my own characters, but I would love to write The Spider as well as Solomon Kane or Conan.
AP: Who are some of your creative influences?
JP: I have so many!  My favorite writers include Alfred Bester, Ray Bradbury, Harlan Ellison, Dan Simmons, Stephen King, Ernest Hogan, Robert J. Sawyer, Cory Doctorow, Charles Stross, and of course H.P. Lovecraft and Robert E. Howard.  I grew up on 1980s Marvel and DC comics so there’s a lot of that buzzing around in the background as well.
AP: What does James Palmer do when he’s not writing?
JP: I don a mask and fedora and fight crime.  Seriously though, I like to read, watch a little TV and movies, and spend time with my wife and daughter.  Family is very important to me.  If I didn’t have these wonderful women in my life, none of the writing stuff would matter.
AP: Where can readers learn more about you and your work?
JP:  My official website is http://www.jamespalmerbooks.com/.  I’m on Twitter as @palmerwriter and @jamespalmercopy (my copywriting business).  They can also find me on Facebook.
AP: Any upcoming projects you would like to mention?
JP:  I’m writing some series characters for Pro Se Productions.  Next up for them is my second Lao Fang story “The Hand of Yogul”, which will appear in the January issue of Fantasy & Fear.  I’m also writing a paranormal detective series for them called Sam Eldritch:  Occult Investigator for Hire, but I’m still working on the first story.  I have a story scheduled for the second Mars McCoy volume from Airship 27, alongside a story by Van Plexico.  The first volume hasn’t even come out yet, so I have no idea when that one will see print.  And I just volunteered to write a couple of stories for Pro Se’s new anthologies The Black Fedora and High Adventure History, as if I didn’t have enough on my plate already. Ha!
AP: Are there any upcoming convention appearances or signings coming up where fans can meet you?
JP:  I love conventions, and would like to do more in the future.  My next appearance will be at TimeGate (www.timegatecon.org) in Atlanta, Georgia May 27-29, 2011.  I also hope to do Dragon*Con (www.dragoncon.org) again next Labor Day weekend September 2-5 2011.
AP: And finally, what advice would you give to anyone wanting to be a writer?
JP:  First of all, don’t do it unless you can’t realistically see yourself doing anything else.  It’s a tough business, especially if you want to make any money.  Next, treat it like a business.  Learn how to do the type of writing you want to do, and learn your market.  Learn what sells, what doesn’t, and who the major players are.  Learn how to properly query editors and agents!  Harlan Ellison used to ask people, “Do you want to write, or do you want to have written?”  I think that’s an important distinction to make going in.  Ask yourself that question, and your honest and heartfelt answer will tell you what else you need to do.
AP: Thanks, James.

ALL PULP interviews writer, editor, creator SEAN TAYLOR!

Sean Taylor, Writer/Editor/Creator
AP: Tell us a little about yourself and your pulp interests.
ST: My interest in pulps began like most of my reading habits… from comic books. I wasn’t the type to just read the superhero books. No, I also dug the war anthologies and horror and sci-fi anthologies from just about Day 1. That, of course, later grew into a love for pulp prose stories as well, mostly adventure stories for teens, and as I got older I found and fell in love with the tone of classic adventure stories featuring two-fisted heroes and great-looking dames. Because there were no girls here, mind you. They were dames.
AP: What does pulp mean to you?
ST: To me, pulp is more a tone than a genre. Pulp is a way of thinking about stories. It’s that great and grand adventure that seems to fly from old serial reels into my mind. It’s got clear heroes and villains, but not just them, there as so many more who live in the varying shades of grays. Pulp is a way of seeing a dame fighting off a thug around the next corner, a way of expecting a new adventure when you get out of the car, a way of bring the excitement of the impossible into my writing. I guess in a barebones, nuts-and-bolts fashion, to me pulp is a way of turning off the high-minded literary part of my English Lit major brain and just having fun with good guys, bad guys, and the people who populate their stories.
AP: You are known mostly as a writer of comic books.  How did you get your start? What was your first published work?

 ST: My first published comic book story was in a pulp book… of sorts, Shooting Star Comics Anthology #1. Some friends and I got together and put out a book to serve as a portfolio of work we could show editors to try to solicit work from other companies. Well, some of us were so happy with the showing and so enamored with the work that we legally formed a publishing company and kept putting out the book, aiming to keep it more like the old pulp adventure books of yore. Some heroes, some Doc Savage type action stories, some noir adventure, and even some old-fashioned sci-fi thrown in to boot. 

AP: How did your comic book interests lead to your working for Gene Simmons of KISS fame on the Gene Simmons Dominatrix comic book?
ST: Networking. Networking. And before I forget to mention it… Networking.
Seriously.
You never know when someone you work with or someone who works for you will be your boss. And that’s just what happened for Gene Simmons Dominatrix. When I was editor-in-chief at Shooting Star Comics, we published a book called Children of the Grave written by Tom Waltz. Well, IDW ended up publishing the trade paperback collection of that miniseries and Tom made his way up the ranks at IDW to become the editor of Simmons Comics Group line of books for the company. And when he needed someone to write a potentially controversial book about some potentially misunderstood content featuring a female lead… well, naturally he thought of me.
That said, that book still stands out as some of my finest work, I think. I loved being able to take what could have been a caricaturistic, one-note kind of book and injecting odd characters and fun downtimes into it that lead to one reviewer calling it the “pulpiest pulp on the stands.” That was probably the high point review for me. I just kept thinking of hot girls, insane situations, fun settings and two-fisted fighting action, and voila, the book did pretty well and hit the top 300 list from Diamond for all six issues.
AP: You have worked on short prose tales for Show Me A Hero, the Dominatrix trade collection, the new iHero magazine, and the upcoming Lance Star: Sky Ranger vol. 3 anthology.  What draws you to these shorter stories and can we expect to see more coming?
ST: That one’s easy. Short stories don’t take as long to write, and I’m at heart a lazy cuss. That and it frees me up to have fun with more than one character at a time and not have to commit so much time to one writing relationship so to speak. I’m a sort of literary quintessential bachelor that way, but I guess one day I’ll eventually have to settle down and have a long term commitment to a tale.
Actually, the story I’m writing for Lance Star: Sky Ranger vol. 3 is about twice as long as my typical story, a longer commitment for me, but since the character is so interesting and I get to introduce a new female “villain” into the mix for Lance, it’s well worth sticking around a few weeks extra in this relationship.
AP: I mentioned Show Me A Hero earlier. Tell us about this collection of stories and what separates this super hero prose from the pack.
ST: Show Me a Hero is a collection of every single short story I’ve every written for iHero Entertainment, even back when it was still called Cyber Age Adventures. With iHero and CAA we (president Frank Fradella, the rest of the staff, and I) really tried to focus on stories that didn’t feel like comic book stories (though we all love them), but we instead wanted to do the kind of stories that either the format of comics or the limitations placed on them by public perception wouldn’t allow. These are literate, adult tales of people. They just happen to be people with powers or costumes. Perhaps the highest compliment of my work for iHero has come from Dwayne McDuffie, who said it was “more human than all but the best super hero comic book work.”
We’re also relaunching the iHero magazine, now called I, Hero, and the first issue is available now. Check out http://www.ihero.net/ for more information.
AP: What, if any, existing pulp or comic book characters would you like to try your hand at writing?
ST: You know, I’ve always had an affection for the old Phantom Lady, but I’m getting to revisit a dream project right now actually with my good friend and incredible artist James Ritchey III. We’re doing a brand new story of the old Centaur character The Blue Lady for a new pulp comics anthology featuring public domain characters. I’ll have more information about that one as we get closer to the publishing date.
Other than that I’d prefer to work in genres rather than necessarily just on certain characters. Something about all those old horror and sci-fi pulp covers inspires me to write stories about strange things.
What’s really fun for me is to take characters that may not have originally been part of a true pulp type of story, and then twist it around to tell stories with them in a new, pulpy way that remains true to the character yet still brings something new to the table.
AP: Who are some of your creative influences?
ST: I’ll admit up front it’s a mixed bag of goodness and badness. Coming from an English-Lit background, I’m the kind of guy who enjoys reading Shakespeare, Flannery O’Connor, Hemingway, and F. Scott Fitgerald for fun. I’m also a big fan of Raymond Carver, Annie Dillard, C.S. Lewis, and Zora Neale Hurston.
But I’m love my thrillers too, and Ed McBain’s work is a huge influence as well as that of Donald Westlake and Christa Faust.
When I turn to sci-fi, I’m kind of old-school, and I prefer to read Vonnegut, Heinlein, and Bradbury, or sometimes Dr. Who novelisations (see that ‘s’ – that’s because it’s British… cool, huh?) from the old series.
For comics, I always inspired by books written by Chuck Dixon, Steve Seagle, Beau Smith, or Gail Simone. Those guys (and that classy lady) really deliver the goods on a consistent basis.
AP: That pulps inspired many comic book creations. Are pulps still a viable source of comic book inspiration or are the two more or less influencing/encouraging one another now idea wise?
ST: I think that today it’s more a two-way street. Perhaps it’s that comics kept the sort of pulp ideal alive long enough for the pulp revival we’re seeing today. You certainly can’t fault Alan  Moore for looking back and drawing from that well when he developed The League of Extraordinary Gentleman. And as much as I’m not in the know with the current Steampunk drive, it certainly seems to have a kind of pulpy mindset to it as well. Whatever the reason, pulp’s star certainly seems to be shining again, and we’re even seeing it in the movies. With flicks like Give ‘Em Hell Malone, The Expendables, The Spirit, and the upcoming Green Hornet, whether you like the movies or not, they’re doing a great job of keeping pulp storytelling in the public eye. And to me, like I said earlier, pulp is a lot more about storytelling than it is about genre or even finished publishing format. It may have originated with the paper, but it’s outgrown that limited definition now.
AP: What does Sean Taylor do when he’s not writing comic books and pulp stories?
ST: Whenever possible, he sleeps. When he wakes up, he watches horror movies or cartoons. When he’s tired of those, he writes. And he realizes that he should probably change the order of those priorities, but there’s probably something good on TV right now, so he’ll have to get to that later.
AP: Where can readers find learn more about you and your work?
ST: I have my official website at http://www.taylorverse.com/. I also have a Facebook page at www.facebook.com/seanhtaylor. To stay up to date on iHero Entertainment, visit http://www.ihero.net/.
AP: Any upcoming projects you would like to mention?
ST: Several, actually. Thanks. For my prose work, look for IDW’s Classics Mutilated anthology in stores now. I wrote a story for that one pitting Alice from Wonderland against Snow White, and even got to throw in some surprise villains from the Lovecraft mythos. Then in February, my first zombie story becomes available in DAW Books’ Zombiesque anthology. It’s a tale called “Posthumous” about how far a resurrected corpse who’s also a popular writer will go to keep her marriage together with her still living husband. And of course, don’t forget that new Lance Star story I’m writing for volume 3 of that series and my ongoing monthly work on the new I, Hero magazine. We’ll be revisiting lots of fan favorite characters there, from Fishnet Angel to the Fool and the Grandstander.
On the comics front, I’m writing an original sequel to the works of H.G. Wells for IDW that will be drawn by the amazing George Pitcher III. I’m also doing a weird tales kind of thriller (think Ed McBain meets Ranma 1/2) for Markosia called Quinn: The Reckoning, that will be drawn by my good friend Martheus Wade. I’m writing an indie zombie book called Zen Vs. the Zombies with a friend (more information on that one as we get closer to the date), and one of my favorite projects right now is the Jesse James in the Mayan Underworld book I’m working on for Arcana. Of course, don’t forget the upcoming pulp comics anthology story I’m doing with James Ritchey III featuring the indomitable Blue Lady. And for those fans who remember my Shooting Star Comics work, well, let’s just say that… I’ll have to stop here before the spoiler police beat down my door.
AP: Are there any upcoming convention appearances or signings coming up where fans can meet you?
ST: Sure, I’ll be at Connooga from February 18-20 in Chattanooga, Tennessee, then back home in Atlanta for Momocon for March12-13. And if you plan ahead as far as May next year, come visit me in Birmingham, Alabama for Imagicon. That one’s always one of my favorites for the year. I keep my list of conventions and other appearances updated at http://www.taylorverse.com/conventions.html so check there for new announcements.
AP: You have served as a writer, editor, and publisher. Are there any creative areas you’ve not worked in that you would like to try your hand at doing?
ST: I’ve also lettered comics digitally, which is fun. If anything I wish I could draw. I’d love to try my hand at that, but I understand my limitations and inabilities all too well.
I would love to write for films though, primarily for low- to mid-budget horror flicks. I cut my teeth watching those things and love the clichés and stereotypes of them, and would really enjoy playing in that playground. So if anyone reading this has a production company and needs a scriptwriter for some good ol’ fashioned creepy scares and hack and slash action, let me know. I’ve got a folder filled with ideas for the proverbial “just the right time.”
AP: And finally, what advice would you give to anyone wanting to be a writer?
ST: First, plumbers fix pipes and don’t stop for plumber’s block. Race car drivers drive fast in a oval and don’t pull off to the side with driver’s block. Assembly line workers assemble and don’t let assembly block slow them down. You are what you do, not what you claim to do. Writers write. It’s that simple. Don’t give me that writer’s block excuse. Write something. Anything. Then keep writing.
And second, learn to edit. Not just proofread, but edit. And whenever possible, turn off your spellchecker. It only makes you lazy.
AP: Thanks, Sean. 

Reviews from the 86th Floor: Book Reviews by Barry Reese

DRACULA LIVES by Joshua Reynolds
2010
ISBN 978-1452817453

This is one odd book — while the cover and title would lead you to assume you’re about to embark on a Hammer Horror-style vampire story, most of the book is actually an homage to classic spy novels. The main character, Mr. Cream, is hired to locate and acquire a casket that he eventually learns contains the remains of Dracula. I’ll be up front and say that espionage novels are not generally my cup of tea. I’ve read the original James Bond stories and found them to be a bore. The Man from U.N.C.L.E. does not intrigue me. So Josh was attempting to mesh a genre that I don’t care about (espionage) with one that I do (horror).

Cream comes across as a very vividly described character and the author does a tremendous job of conveying who this individual is and how he behaves. Cream is so well defined that the reader feels like they can predict how he will behave in different situations, which is a credit to the author.

The strength of the story — and the greatest weakness — comes from the fact that the book is dialogue driven. When this works, the playful back and forth between characters seems like an elaborate verbal dance. Unfortunately, there are times in the book where it feels like one talking heads piece after another, occasionally broken by someone getting shot. Even during some scenes that I was enjoying, it was in the back of my head that I was growing a bit weary of people sitting in chairs, facing one another, showing me how clever they can be.

This is the first book in a proposed trilogy and I found the first book interesting enough to be curious where it will go from here but I did find it a flawed work.

I give it a 3 out of 5.

The Point Radio: More on COMMUNITY plus Buffy Death?

The Point Radio: More on COMMUNITY plus Buffy Death?


NBC’s COMMUNITY has had a pretty wild second season so far including trips to outer space and a zombie attack. Where can they go from here. Danny Pudi (Abed) tells us about the view from within the show – plus bad news in the BuffyVerse and Bale Says Bye To Bats. 

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MOONSTONE CLIFFHANGER FICTION-NEW STORY TODAY!

Moonstone Books and ALL PULP are proud to present the first chapter in a new tale from MOONSTONE CLIFFHANGER FICTION!!!!

Let ALL PULP know what you think of MOONSTONE CLIFFHANGER FICTION on the Comments Page!!!
Want more Moonstone??? http://www.moonstonebooks.com/ !   And stay tuned at the end of this week’s chapter for a link to purchase the collection this story is featured in!
THIS WEEK ON MOONSTONE CLIFFHANGER FICTION-
THE CLAWS OF THE CAT
BY RON FORTIER
featured in DOMINO LADY: SEX AS A WEAPON
from Moonstone Books

The Claws of the Cat
by Ron Fortier
Chapter 1

“They stole a what?” Ellen Patrick sputtered, getting fresh squeezed orange juice up her round, perfectly shaped nose. She began to cough and had to set the glass down on the stand next to her bathtub where she had been luxuriating when the irksome telephone rang. At first she gave some serious thought to ignoring it altogether. Its delicate, customized tones sounding as intrusive as any typical phone. And just as persistent. Still, to be interrupted in the middle of her bubble bath was nothing less than a capital offense, in her humble opinion.

When the voice on the other end turned out to belong to Maxwell Campion, star reporter for the Los Angeles Sentinel, she was somewhat placated. Max was a devilishly handsome fellow in his own roguish way, what with his wavy dark brown hair, trim mustache, and tall, slim masculine physique. They had met in Berkeley during their college days. Besides a major in journalism, Campion was also star quarterback for the football team. The lovely Miss Patrick of course was the lead cheerleader. They had dated often.

“Max darling!” she squealed delightfully while running a sponge over a long, shapely leg rising out of the clouds of floating bubbles. “It’s been ages, lover. What’s been keeping you away from my doorstep?”

At which point a laughing Campion had begun relating the story of a string of robberies that had been plaguing Hollywood recently. The police were baffled. It seemed a group of criminals had targeted the rich and famous of the district in their heists of a particularly peculiar nature.

Ellen picked up the half finished glass of cold juice and began to sip after asking the loaded question, “What’s so strange about these robberies?”

Then, as the chilled, sweet liquid was splashing against her throat, Max Campion voice replied, “The hoods are stealing cats.” Which was when Ellen choked.

“Hey, you all right, Ellen?” Max’s voice was sincerely concerned.

“Sorry,” Ellen managed to gasp. “I swallowed the wrong way.”

“What, a champagne breakfast pick-me-up?”

“Very funny, but no. If you must know I was enjoying some fresh squeezed orange juice while taking a bubble bath.”

There was a pause on the line and Ellen wondered if they’d been disconnected. “Max? Are you still there?”

“Oh, I’m here,” he responded. “I just had a wonderful mental image of you covered only by bubbles. Now that’s something I’d like to squeeze.”

“Still the same old dirty-mind, lover,” Ellen laughed.

“I thought that’s why you liked me, sweetheart.”

“Be that as it may, Mister Campion, can we please get back to the reason for your call. You are serious about someone stealing cats?”

“On my boy’s scout honor. Been going on for about two months now. All total four have been snatched.”

“Funny, I don’t remember reading anything about this in the papers.” Ellen scrunched her pretty face as she tried to recall the last week’s worth of local headlines.

“That’s because the cops don’t want us to write it up and all the animals have been safely returned, except for the one taken yesterday.”

“Really. You say all the cats were returned.”

“Uh-huh. Seems each of the victims paid off the ransoms promptly and actually got the little critters back safe and sound.”

“How much was the ransom for?”

“Well, that’s the other odd thing. Like I said, all these folks were the well-to-do around town. They all have bank accounts that would make the King of Siam jealous. But in all the heists, all the cat-nappers wanted was a few thousand bucks.”

“That is strange.”

“Oh yeah. Problem with the cops was each of these past victims didn’t report the crime until after they’d paid the ransom and reclaimed their pets. You can bet the coppers were none too happy about that. That’s why they want the lid kept on.”

“Okay, Max, it all sounds perfectly bizarre, but you still haven’t told me why this would be of interest to little ole me? I don’t even like cats, let alone own one.”

“No, but your big time charity matron does and had her precious fur-ball snatched yesterday morning in the park just outside her apartment.”

Ellen sat up in the tub, her playful banter forgotten, as she clutched the ivory handle receiver tighter. “Who was it?”

“Constance Miller. From what I hear she’s a mess along about now and could probably use a friendly shoulder to lean on.”

********

One hour later, the elevator doors opened on the fifth floor of the Palisades Tower and through them emerged a vision of patriotic splendor. Ellen Patrick had finished her bath, dried off and finished her toilette by adding a judicious amount of talcum powder and then applying a generous dose of expensive French perfume. Once done, she chose a particularly bright outfit that would help cheer her friend, Constance Miller.

Her hourglass figure was poured into a navy blue dress that barely touched the tops of her lovely knees. Her stocking feet moved gracefully into red velvet pumps with three-inch heels and a slim ankle strap. This cherry hue was matched by three other spectacular accessories; a big, wide belt, a cocky little hat riding atop her curly blonde tresses, and last but never least, her heart-shaped, bee-stung lips. Added to this ensemble were a small white handbag and a matching silk scarf giving her the appearance of an ultra-chic beauty draped in the American flag.

As she walked through the long corridor, the elevator operator and his remaining two male passengers were unable to take their eyes off her winsome shape, the hips rocking provocatively from side to side with each balanced step of her high heels. And for all her doll-like appearance, there was a distinct purpose to her walk that belied a hidden strength beneath a superficial exterior. There was a lot more to Ellen Patrick than met the eye, although what met the eye was altogether memorable as well.

As Ellen neared apartment 521, she encountered a group of uniformed police officers all milling about the open door to the suite. She didn’t pause a second and continued to move past them as if they weren’t even there. Of course they noticed her, and then some. For the most part they parted out of her way, their chattering stopped by her presence and obvious effect on them.

“Excuse me, ma’am,” a burly, square-jawed sergeant appeared in front of her, arms folded over his chest, effectively blocking entry. “And where do you think you’re going, now?”

“Good morning, Sergeant,” Ellen smiled her most charming smile. “I’m here to see my friend, Mrs. Miller. If you’ll kindly step aside and allow me to proceed.”

Everyone in the hall watched silently wondering who would win the confrontation, the lady or the bulldog copper? The decision was taken out of their hands by a familiar voice inside the rooms.

“Clancy, let the lady in. She’s okay.”

The seasoned cop looked over his shoulder, shrugged, then stepped aside with a barely heard grunt.

“Thank you,” Ellen said sweetly as she moved passed him. “You’re a dear.” That last jibe was for the benefit of his men, still gathered about and they immediately broke out into loud, raucous laughter. Clancy’s face turned a nice shade of pink.

“Detective Bishop, isn’t it?” Ellen had identified the young investigator’s voice immediately.

“Hello, Miss Patrick. Nice to see you again,” the handsome, sandy-haired detective smiled, his boyish good looks beaming.

“What, no Inspector McCarty?” Ellen knew the lanky, 5’ 10” Bishop was usually following after her friend’s coat tails most of the time.

“Actually, I’m in charge here,” Bishop announced proudly, his chest almost rising as the words came out of his mouth. “It’s my first big case.”

Looking up at him, Ellen cocked a pretty eyebrow realizing what the naive Bishop hadn’t. The cat snatchings were not a top priority to the downtown brass. The mere fact that they’d assigned it to the rookie was evident of that. But Ellen did not wish to belittle the earnest fellow and decided her own plans would be best served by her appearing noticeably impressed.

“Well, how exciting, Detective. I’m sure you’ll solve the case in no time at all.”

“Hmm,” Bishop’s face took on a sour note as he tipped back the brown fedora on his head. “I sure hope you’re right, Miss Patrick. The kidnappers haven’t made any calls yet.” He indicated a small writing table in the corner of the spacious, lavishly appointed living room. There, two older detectives, their jackets off, sleeves rolled up, were sitting around a telephone wired into another twin box receiver whose line ran into earphones draped around one of the bulls.

“As soon as they do, we’ll be able to get a trace on them.”

“I see,” Ellen nodded approvingly. “Tell me, where is Constance… ah… Mrs. Miller. I came here to give her some moral support.”

“Oh, right. Mrs. Miller is really busted up about losing her cat,” Bishop elaborated. “Her doctor was here last night. He gave her something to calm her nerves a bit. She was a real mess when we got here yesterday afternoon.”

“I wish I’d heard about it sooner myself,” Ellen confessed, biting her lower lip gently.

“Say, how did you get wind of this?” Barney Bishop was suddenly all detective. “No one was supposed to know about these pet abductions.”

“Relax,” the brown-eyed temptress said, patting Bishop’s arm like a big sister. “For all its stars and money, Hollywood is still a small community, honey. There was no way this was going to stay a secret for very long.”

“I guess you’re right. Still, if McCarty and the Chief get wind of this, it won’t look good for me.”

“You have my solemn vow, I won’t say a word of this to anyone.”

“Thanks, Miss Patrick, I appreciate that.” He reached into his jacket pocket and withdrew a packet of Beaman’s. “Would you like a stick of gum?” he asked, as he slipped one out for himself. It added to his childlike charm.

“Ah, no thank you. May I see Mrs. Miller now?”

“Right,” Bishop pointed to the door beyond the grand piano, as he began chewing the gum. “She’s in her bedroom.”

“Thank you.”

**************

At the door, Ellen knocked and called out, “Hello, Constance. It’s Ellen Patrick. May I come in?”

“Ellen!” The door flung open and the stout, weary Constance Miller, attired in an oversized, purple bathrobe, stood looking a frightful mess. Dried tear tracks lined her cheeks and her eyes were still puffy and red. “You’ve come.”

The rich widow threw her arms wide and gave her young friend a desperate hug. “Oh, Ellen, it’s been awful. They took my precious Snowflake.”

“I know, dear,” Ellen said, disengaging herself. “Come, let’s sit down. You poor thing, you look a fright. Have you had breakfast yet?”

As they walked back to the bed and the stuffed chair beside it, Constance indicated the rolling cart with the silver tray. “They brought it up a little while ago, but I simply don’t have any appetite.”

The big woman sat back on her unmade bed and reached over to a framed picture on the night table next to an expensive porcelain lamp. It was of Snowflake. “My poor baby. What have they done to you?”

Ellen put down her purse and lifted the food cover to reveal bacon and eggs and two slices of buttered toast. There was a glass of orange juice and next to this a carafe of coffee. She began to pour some of the black liquid into a small, china cup. “Here, at least have some coffee, then we’ll see about getting some of this food into you.”

“Oh, it’s so horrible,” Mrs. Miller sobbed, “I don’t know what I’ll ever do without my precious Snowflake! She’s a pure white Persian. Did you know that?”

“No, I didn’t,” Ellen said, taking the photograph from her friend’s hand and replacing it with the hot coffee. “Here, come now. Drink a little. It will make you feel better.”

“You don’t have any pets, do you, dear?”

“No,” the lovely blonde answered, removing her cap as she reclined in the straight-back chair. She crossed her lovely legs and looked at the picture. “You got her right after Harry died, didn’t you?”

“Yes, she saved my life, Ellen.” Mrs. Miller took a sip of coffee and sniffled slightly. “If it had not been for my Snowflake, I might have gone mad with loneliness.”

Ellen Patrick thought the world of Constance Miller and she hated seeing her is such a distraught condition. But for the life of her, she simply couldn’t understand the time, love, and attention people like Constance could give a dumb animal. Many of her rich associates treated their pets better than some people cared for their own children. They spent extraordinary amounts of money on toys, gourmet food, and sleeping beds. So, although she couldn’t fathom the relationship herself, it was no surprise to Ellen that someone with a criminal frame of mind would resort to kidnapping, or “catnapping” as the case may be, the beloved pets of wealthy high society patrons. Not only would it guarantee these nefarious criminals a healthy ransom, but they had to know the police department would give them very little attention.

“Well, I’m here now, dear,” Ellen smiled happily to see the older woman finishing her drink. “So why don’t you tell me all about it. And take your time. I want to know the entire story.”

For the next ten minutes, between bites of food, Constance Miller composed herself enough to relate the events of the previous day. As was their routine, the hotel doorman always took Snowflake for a walk in the park after lunch. It was there he was assaulted by two men who knocked him down and ran off with the pure white cat.

“Did the doorman give the police a description of the two men who attacked him?” Ellen asked when the story was finished.

“Indeed, the poor man. He was in such a stupor when I came home. Kept saying it was all his fault and he should have been more careful. The hotel manager sent him home and told him to take today off.”

“And you’ve received no ransom note yet?”

Constance Miller’s eyes seem to freeze. She looked toward the door to the living area and then leaned over towards Ellen and whispered. “Shhh… you must be quiet.”

“What?”

“This was folded in the front page of the morning paper that came with the food tray,” Miller explained as she withdrew a small, folded piece of paper from her bathrobe. She handed it to Ellen Patrick. “I haven’t told Detective Bishop about it yet.”

Ellen’s eyebrow arched as she opened the note and read it. In block letters, the note ordered the wealthy widow to bring ten thousand dollars to a garage in West Hollywood at midnight that evening. She was to come alone or the cat would be destroyed. The address for the rendezvous was written beneath the instructions. Ellen was familiar with the area.

“Oh, Ellen, I couldn’t tell that nice Detective Bishop. The note says I’m not to inform the police, and that I have to bring the ransom alone. Oh, what ever shall I do?” Mrs. Miller put a hand over her heaving bosom, exasperated. “I don’t even drive.”

“Relax, Connie,” Ellen advised, folding the paper and tapping it on the knuckles of her hand. “You won’t have to.”

“I don’t understand? What do you mean?”

“Do you have the money?”

“But of course. I can draw a check for it this second.”

“Then do so and make it out to my name.”

“But why… oh, no, Ellen. I can’t ask that of you? It’s much too dangerous.”

Ellen Patrick shrugged. “No more than a late night dinner date with half a dozen studio lotharios I’m acquainted with. And lord knows I’ve survived enough of those. Ha!”

“But sweetheart, these are brutish criminals capable of anything.”

“They only want money, Constance. If what Bishop told me is true, I’ll have your Snowflake back safe and sound before you know it.”

Constance Miller’s face was filled with concern for her friend. “Very well, Ellen. But you must promise me you’ll be extremely careful. If anything were to happen to you on my account, I could never forgive myself.”

“Don’t worry, I’ll be the model of caution.” Still, even as she said the words, Ellen Patrick could not disguise the merry twinkle in her eyes. She wondered what Constance would have thought had she realized she had just acquired the services of Hollywood’s most famous celebrity, the Domino Lady.

 

Chapter Two

After leaving Mrs. Miller, Ellen Patrick drove to the First Bank of Hollywood, cashed the check, and left for home with a bag full of money. She put the green burlap sack into her bedroom wall safe and then sat down to plan her strategy. Since it was midday and the money drop was not scheduled until midnight, she saw no reason to curtail her planned activities. Her biggest challenge would be how to keep her anxiety in check until then.

Luckily one of her sorority sisters, Dolores Colquitt, was in town and the two of them were to have lunch together at the Brown Derby. Dolores, who had moved to New York after graduation, was now romantically involved with the famous detective-adventurer, Jim Anthony. The blonde, blue-eyed socialite was in town on business and Ellen was thrilled to see her again. Catching up would be great fun and hopefully take her thoughts away from what the night would entail.

********

It was ten minutes of twelve when the beams from Ellen Patrick’s sporty Auburn Convertible Cabriolet fell on the darkened Sunoco sign centered above the small gas station at the end of Dawson Street in West Hollywood. It was a residential neighborhood covered with white plaster houses that all looked the same, their roofs shielded with red Spanish tiles. Except for a solitary streetlight on the far corner, the place was painted in shadows.

The garage wasn’t anything out of the ordinary. Two gas pumps stood like silent sentinels near the quiet, empty boulevard. Behind them, the storefront was situated between two closed-up working bays. There was a stack of old tires to the right of the building and beyond them several autos in various stages of disrepair. The dirt road skirted around the building in a half loop and Ellen had a hunch that was where the cat-nappers would be waiting. She parked her car, shut off the lights and the engine. A full white moon was moving through an almost cloudless sky and illuminated the station all around her.

Now it was wait-and-see time. Ellen smoothed her green skirt and drummed her fingers on the steering wheel. Beside her on the passenger seat was a wire-mesh animal cage. On top of the cage was the moneybag.

“Alright, lady, you can get outta the car,” a gravely voice barked from the shadows behind the garage.

Ellen took a deep breath and climbed out into the warm night air. In her arms was the burlap sack.

“Where are you?”

“Over here, in the back.” A flashlight beam winked on and stabbed at her face. She blinked and tried to cover her face. Ellen was wearing a matching toreador jacket the same color as her skirt and soft leather gaucho boots. On her head was a flat-brim pillbox hat of the same green shade. Her long flowing hair was tied in a severe bun behind her head. It was all an illusion of appearance. She did not want these characters to remember her long, yellow tresses.

“Hey! You ain’t that Miller dame!”

“How astute of you,” Ellen said dryly, free hand still in front of her face. “Can you please shut that thing off or get it out of my face?”

The light moved to the ground as hoods materialized before her. Through the fading spots in her eyes, she identified two big men, similarly dressed in stylish suits and wearing wide brimmed hats. The one to her left had a mean scar over his right cheek and was holding a .45 automatic in his hand. It was pointed at her and he looked very upset. The fellow on the right had a brush mustache and thick eyebrows. In his hands was a balled up cat.

“The Miller dame was to bring the cash,” the gun-wielder repeated. “No one else!”

“You must be joking,” Ellen chuckled. “Have you ever seen Constance Miller? There is no way in heaven she could make it out here in the middle of the night like this by herself. And what difference does it make?” The pretty blonde lifted up the sack. “I have your money right here.”

The man with the gun looked confused, but his gaze was clearly on the bag. His partner, petting the sleeping feline looked from Ellen to his pal anxiously. “Aw, come on, Eddie. She’s got the dough. Let’s just give her the damn cat and get out of here before a radio car goes by.”

Eddie made a grimace and shook his head reluctantly. “Alright. Alright. Give me the bag.”

Ellen approached him calmly and handed over the heavy sack. Ten thousand dollars was not light pocket change.

“It better be all here,” Eddie warned hefting the sack while at the same time putting his gun away in a shoulder rig. “Okay, Jack. Give her the cat.”

The second hood gently handed Ellen the dozing Snowflake. “She’s just sleeping.”

“Thank you.” Ellen cradled the cat in her arms. The animal moved its head, opened her eyes, looked up at her and then snuggled back into the crook of her arm.

Eddie had opened the top of the sack and was shining the flashlight into it, an ugly smile spreading over his face.

“Can I go now?” Ellen asked.

“Sure, doll. Beat it. And tell your friend not to go blabbing to the coppers if she knows what’s good for her.”

“I’m sure,” the blond sneered as she returned to her car. Once inside she carefully placed Snowflake into the cage before starting her engine. When she turned on the headlamps, both men were gone. They must have their automobile parked in the back, she surmised as she stepped on the gas and rolled onto the deserted road.

Ellen raced down the street to the corner, spotted a billboard and quickly pulled off the road and rolled to a stop behind it. She shut off her lights but kept the engine purring. From where she was parked, she could look into the rearview mirror and see the gas station. She crossed her fingers that the hoods hadn’t departed while she was finding this hiding spot. A few minutes ticked by and then headlights cut across the dark street from behind the garage. A gray Buick sedan appeared and turned in her direction. Ellen let out a sigh. She took her foot off the brake and allowed the Cabriolet to roll forward a few more yards wanting to make sure she was not visible when the crooks drove past.

The sedan rocketed by and she counted to five before putting on her lights again and returning to the road. She could just make out the receding glimmer of the car’s lights as it headed into the distant landscape that was the Beverly Hills countryside. She fed gas to the Auburn’s efficient engine and took off after the unsuspecting pair. As she drove along, maintaining a good distance between them, Ellen pondered over events back in the gas station lot. It was obvious that Eddie and Jack between them didn’t have a single working brain cell. They were hired thugs doing the bidding of a third, as yet unknown, party. But who was that person and what was the real purpose behind the cat-heists? Again the logic was skewed in that any of the victims, to include Constance Miller, would have paid three times the ransom that had been demanded of them. If the crimes were solely for monetary gains, then the requested sums just didn’t make any sense at all.

Digging into her purse set on the dashboard, while steering with one hand, Ellen pulled out a pack of cigarettes and using her mouth, tugged one free. Using the same hand, she fished into the purse and found her silver plated lighter, the one with the domino design on it. Lighting the smoke, she had a thought that some day car manufacturers would be smart to install battery charged lighters into their consoles. It sure would make things easier for people to light up while driving.

There was little traffic through the rolling hills at this late hour and Ellen had no trouble following the Buick as it wound its way further from the center of the famous community with its million dollar mansions. Eventually the scenery opened to long empty stretches and she started wondering how much further she was going to have to drive. No sooner had the thought crossed her mind than the lights in front of her veered off the road and disappeared. Ellen sat up straighter and slowed down as her car went past a dirt road by which a sign was erected: Carson Lumber and Construction. She spotted the gray Buick rolling through stacks of cut timber and hastily pulled off the road. Through the trees, she could just see the sprawling lumberyard beyond. There were several huge structures at the middle of the site and it was amidst these that the gray car had disappeared. In the stillness of the night she could hear the slamming of car doors. So, they had reached their destination. What came next was going to be the tricky part. But she still felt confident that with just the right amount of courage, and a little luck, she could pull it off.

Now stealth was called for and her headlamps were again extinguished. She shifted into reverse and carefully backed up along the road and into the dirt entrance. The moonlight was sufficient enough for her to carefully weave her way past several rows of hewn lumber rising to twenty feet on both sides of the road. She was approaching the yard’s buildings and deftly eased the little convertible backward into a gap between two towers of planks.

Two minutes later she was standing beside the open car door and preparing herself for action. She hastily removed the short jacket and threw it into the back seat. This revealed her tunic to be the top of a satin white evening gown that exposed her pink arms and was cut daringly low in the front. Next she unclasped a button clip on her dark gown and peeled it off her hips. Off came her boots to be replaced by silver pumps with two-inch heels. Generally she preferred sexier stilettos, but a crime-fighter had to be practical as well as smartly outfitted. She picked up her reversible dress, spun it inside-out and refastened it around her tiny waist. Voila, she was now attired in a flowing white gown to match her top; with two long slits along the sides that revealed her graceful legs as she moved.

Finally she unhooked the pins in her hair and shook it free to cascade down her bare shoulders. Ellen’s hair curled at the ends and was a distinctive trademark of the persona she was now adapting. From behind the driver’s seat, she produced a black cape, throwing it over her bare shoulders and from the car’s glove box the last two items to complete her transformation. One was a black domino mask that fitted snuggly about her eyes and the last was a small, silver-plated automatic with a six-round clip.

“This shouldn’t take long, Snowflake,” she told the sleeping cat.

Ellen Patrick had driven into the lumberyard. Now the Domino Lady was on the prowl.

THE END OF PART ONE OF THE CLAWS OF THE CAT!!
Want more Domino Lady?  Then order the collection that includes this story today at http://moonstonebooks.com/shop/item.aspx?itemid=104!!
And tune in next week for Part Two of this tale from MOONSTONE CLIFFHANGER FICTION!

The Best Present You Can Give A Kid This Year

The Best Present You Can Give A Kid This Year

This is a longbox full of random comics. Your local comic book store has tons of them– various stuff he’s picked up and hasn’t filed yet, or overstock that he couldn’t sell, or low grade books, what have you.

My father used to go to Port Comics, a little store off of exit 64 of the Long Island Expressway (the same store where I first met Tom Brevoort, when we were both young punk fans) and every so often he’d buy a longbox or two from Bill the owner and give them to me.

And as you’d expect from someone who now runs a site like this, I devoured them. I had no idea what I might find– DC horror books, Marvel reprints, Archie superhero titles. Didn’t care. It was all new to me, it was all neat to read, and it got me discovering wondrous stories and characters and art and more, and getting even more involved in a medium that I loved.

And right now, you can probably pick up one for around $30 and give it to a kid this holiday season. Or you can wait until he’s home sick with a bad cold this winter and give it then, when he’ll have time to read. Or drop it off at your local Toys For Tots drive, and imagine the look on the volunteer’s face who first tries to pick it up.

So go to your local comic store and ask for a longbox or two filled with random stuff. Be sure to ask for few duplicates, you don’t need 200 copies of Spawn #1. If you don’t know where your nearest comic store is, go to the Comic Shop Locator to find out. Or go to eBay and search for “comic lot” and find something in your price range.

Just be prepared to answer questions:

“Who’s this Darkhawk guy?”

“Where does the Black Widow know Daredevil from, I thought she hung around with Iron Man?”

“How does Cosmic Boy keep his uniform up?”

And hopefully you’ll get the best question of all– “Hey, when can I get some more?”

MOONSTONE MONDAY- Artist Silvestre Syzilagyi interviewed!!

Silvestre Syzilagyi-Artist, Moonstone

AP: Silvestre, thanks for taking time to sit down with All Pulp.  Before we jump head first in, how about telling us a little bit about yourself?

SS: I’m just a guy who loves drawing cars, trains and telling stories
in comic book form, but I love all kind of story-telling, mainly with
images (Movies, TV Shows, even some advertisement.) I’ve been drawing
ever since I was a kid, and began drawing amateur at thirteen and pro
at twenty, in local companies, in Argentina.

AP: What inspired you to become an artist? Who or what styles have
influenced your work the most in your career?

SS: Mainly (Carmine) Infantino’s Flash 113 (the first one I’ve got) and Gil Kane-Murphy Anderson’s Green Lantern 4 (got it together with Flash 113), both in Mexican editions. Plus James Bond’s Dr. No and
Goldfinger. Though I’ve been trying to do super-characters in Wayne Boring’s style way earlier.

Then came Curt Swan with John Forte’s inking, Russ Manning’s Magnus, Fujitani’s Doctor Solar, Dan Barry, Alex Toth’s Eclipso, and again Infantino and Anderson with Adam Strange, Edgar Pierre Jacobs with Profesor Mortimer, Carl Barks, Wilson Mc Coy and Sy Barry on Phantom… But mainly and mostly Alex Raymond on Rip Kirby and Al Williamson with Secret Agent X-9.

Plus lots of movies (John Ford, William Wyler, Robert Bresson, Sergio Leone, and many more). And novels, and real life stories… And Classic painters Van Gogh, Vermeer, Caravaggio… Some local artists: García Lopez (when he was here), Alberto Breccia, Arturo Del Castillo, Ruben Marchionne… Someone has said that everything you see or hear has an influence on you, and I believe it’s true.

AP: How did you break into the ‘art’ business, and by that we mean,
how did you break in in general and specifically into the comic end of
things?

SS: I began going to local publishing companies with samples. It took me almost four years to land my first story, done in team with my friend Gaspar Gonzalez.

AP: Is comic art your preferred type of art? If so, why, what appeals to you about the sequential form of comics?

SS: Yes, I like comics over other kinds of storytelling. Maybe because we were poor and you can manage comics with just paper and pencil.

AP: You’ve worked or are working on several characters for Moonstone. What properties have you drawn?

SS: I’ve only done Twilight Crusade’s Succubus, The Phantom and Honey West so far.

I did lots of work for local and Italian publishing companies, plus
ghosting for fellow artists, even with stories for Marvel, DC and
Eclipse.

AP: The Phantom is a major character, not just because of its long
history, but because it has a dedicated fan base. How much did that
history and those fans influence how you handled your art chores on
the Ghost Who Walks? Did you make any design changes in the Phantom?

SS: I’ve followed and collected local editions of Phantom as a kid
Wilson Mc Coy and Sy Barry, later, plus Gold Key’s Phantom by Bill
Lignante, I loved them all, and when I began drawing Phantom for
Moonstone, I just tried to get as near as I could to those great
artists.

AP: In your opinion, why is The Phantom so popular? What keeps people reading this guy in purple tights who lives in the jungle?

SS: Well, I sure don’t know that. Should I know the answer, I’d use the formula to get rich.

AP: You’ve also done some work on Captain Future? How, if it does at all, does the style and technique you use for Captain Future differ from what you did on The Phantom?

SS: So far I’ve only been sketching and gathering Captain Future references, but I’ll try to get all together and see if Mike, Joe and readers like it. I hope so. I’ll enjoy drawing him, for sure.

As a reference, I’ll say that I did some SF stories for local companies some years ago. As a matter of fact, I did almost all kind of stories: war, western, historical, romance, police action-detective, you name it.

AP: Honey West is another Moonstone property that you’ve graced with your skills. Do you approach a story differently with a female protagonist artistically than you would any other piece?

SS: At local companies, I’ve worked on romance stories for almost
three years, some 300 pages. Many of those stories had female
protagonists.

AP: Can you tell us about your general technique? When you sit down to draw, do you have a particular process or regimen you go through in
completing work?

SS: I read the story three or four times to be sure about the whole story, try to get what the writer tried to do and get as near as I
can with the mood. Then, I go sketching in small size, very loose sketches. I get the sizes of the things on the panels and a general view of the action. Then I pencil, working most on whatever I should have some doubt, then comes the inking. I believe it’s most regular work, once you get into the right mood.

AP: Do you have any projects coming up in the future that you can share with ALL PULP?

SS: Yes. I work on anything I can as long as editors, writers and readers like it.

AP: Thanks so much, Silvestre, for stopping by at ALL PULP!

SS: Thank YOU, and ask anything more you want. There is some more information in Wikipedia and some other local interviews: they are in internet. But feel free to ask anything you need to know.
Silvestre

ALL PULP NEWSSTAND-BULLDOG EDITION, MOONSTONE MONDAY!

ALL PULP NEWSSTAND
BULLDOG EDITION
12/6/10

SAVAGE BEAUTY CREATORS SET BAR HIGH FOR MOONSTONE TITLE!!!

SAVAGE BEAUTY, the upcoming jungle heroine title from Moonstone has received quite a bit of buzz lately for a variety of reasons.   ALL PULP asked creators Ed Catto and Mike Bullock about their intentions, their goals for this title since it has appeal from several angles.  Catto and Bullock replied with the following-

As creators, our primary objective is to tell a good story. Savage Beauty must provide good stories in every issue or else the series fails. Beyond that, we want to serve up great artwork. We want to  thrill our readers.   We want to help our retailer partners sell a few more copies of a comic and keep their customers engaged and returning.

But more than all that, we’ve set some ambitious goals for Savage Beauty.

First there’s a global perspective.  We want to help readers know and understand, even if it’s just a little, current events in Africa. In 2010 it’s a fascinating place full of heartache and heroism. There’s barely a day that goes by when you can’t pick up the paper and read something about Africa, and shake your head in amazement. The headlines tell us all about evil men who impose their will on the good people in Uganda, Kenya, Somalia, DR Congo and the rest of the continent, but we also want to shed some limelight on the good people who call these places home as well.

Our other ambitious task is to provide exposure to some of the many wonderful organizations that are working to make these nations, and the world, a better place. These include a variety of groups who aid children, battle modern-day slavery, help villages with infrastructure issues such as drilling wells and even just “doing a good deed”.  We’re not making a political statement and we’re not saying these are the only solutions.  But in each issue we’ll donate one page to one such organization. Its our hope  that our readership will say “That looks interesting. I should learn a little more about it.”

We find that our readers are smart folks with many interests.  Many are highly analytical and have a natural curiosity.  If we can light a few sparks with a simple comic book, while still entertaining readers, that’ll be a big win.
Interested in ordering SAVAGE BEAUTY? Then print out the form below and get it to your comic retailer TODAY!

ComicMix Six: Who You Want On Your Side When Zombies Attack

ComicMix Six: Who You Want On Your Side When Zombies Attack

If there’s one thing I’ve learned from watching and reading
enough stuff about zombies, it’s that you need a good bunch of guys with you
when the crap hits the fan. Guys who will last. Guys who know how to handle
themselves.

So in light of The Walking Dead marathon on AMC today leading up to the season finale, these are the guys I want with me when Hell is full up, and
the dead walk the earth.

  1. FLINT MARKO/SANDMAN
    Zombies love munching on flesh, but what if you put them up
    against a guy who’s made of sand? What the Hell are they gonna bite into? While
    sensitive to moisture, he can turn his body into glass. That’s gotta come in
    handy in close quarters. Flint is super strong and can take on crowds and send
    them reeling with a giant sledgehammer fist.

2. SOLID SNAKE
A veteran of many armed conflicts, this iconic video game
character has proven himself to be a top covert operations and infiltration
operator. He is a master with melee weapons, hand-to-hand combat, firearms, and
high explosives. Snake is one of the best guys to go to when you have to take
out a zombie quietly.

3. TED KACZYNSKI
Everyone’s favorite anarchist may not be the first guy you’d
want to get mail from, but he’s proven that he can live off the grid. When
electricity and running water are unavailable, knowing how to live and survive
become the same thing. He’s also pretty good at making dandy booby traps, so
that can come in handy with setting up a camp perimeter better than empty cans
on string.

(more…)

NEWSSTAND NIGHTHAWK EDITION!!!!

ALL PULP NEWSSTAND

NIGHTHAWK EDITION
12/4/10

DAMBALLA IS COMING!

The news of Airship 27 preparing to publish a brand new African American pulp hero by best selling fantasy author, Charles Saunders has captured the imagination of pulp fans everywhere.
Reaction throughout the pulp community has been immediate and exciting. “This is news that truly has me tingling all over. Mr. Saunders has been one of my major influences for years now. The news that he will be creating new heroes and stories for AIRSHIP 27 continues to cement my faith that AIRSHIP 27 is the major publisher for Pulp in the 21st Century.” Derrick Ferguson. (Author of Dillon & the Golden Bell)
Look for DAMBALLA, the first in a new original pulp series from Airship 27 Productions in the Spring of 2011.