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The Point Radio: Ricky Gervais Talks Golden Globes


Ricky Gervais is one busy guy – from his new HBO Special, to his animated series and now a second shot at hosting the Golden Globes. Ricky talks about what he has planned for the second time around, plus his thoughts at being credited with “creating” the mock-umentary. Also, Mark Waid is back at Marvel – via Crossgen – and IRON MAN 3 gets a new director.

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200px-adrienneroysmalledit-8964632

Adrienne Roy, 57 (1953-2010)

200px-adrienneroysmalledit-8964632Adrienne Roy, whose colorful storytelling was a fixture throughout two decades of Batman and other best-selling DC comic books, lost a year-long battle with cancer on December 14th.

The premier DC Comics colorist during the “Bronze Age of Comics” provided dramatic coloring and storytelling for nearly all of the company’s top titles, but is best remembered for her 15-year, 189-issue run on Batman, her 16-year, 202-issue run on the company’s flagship Detective Comics, and a 14-year tenure on The New Teen Titans, plus many years coloring other Bat-titles including Brave and the Bold, Robin, Batman and the Outsiders, Gotham Knights and Shadow of the Bat.

Though her initial Bat assignments were for legendary editor Julius Schwartz, she was recruited to color the entire Batman line by editor (later DC president) Paul Levitz, who explains, “Adrienne combined the ability of a set designer to create beauty with the ability of a lighting designer to create drama and storytelling focus, and wrapped it in a sweet professionalism. No wonder we editors chose her again and again, keeping her on favorite titles like Batman literally for decades.”

Adrienne Roy’s coloring enhanced the artwork of comicdom’s top artists, from Golden and Silver Age legends like Jack Kirby, Irv Novick, Gene Colan and Superman’s Curt Swan to modern greats like George Peréz, Jim Aparo, Don Newton, Keith Giffen and Todd McFarlane.

The Verona, NJ native was a veteran of science fiction, comics, Star Trek and horror film conventions, and was one of the first female comics fans to break into the ranks of New York comics professionals. After marrying and moving to Manhattan, she briefly assisted her husband, DC Comics staffer Anthony Tollin, on his own freelance work before being recruited for solo assignments by vice president/production manager Jack Adler, who recognized by her third story that she would soon be “DC’s best colorist.” Under the tutelage of Adler and DC president Sol Harrison, Roy quickly moved into the ranks of DC’s top freelancers, with continuing assignments on a variety of titles including Superman, Green Lantern, All-Star Comics (featuring the Justice Society), G.I. Combat, House of Mystery and Batman Family. She was also the regular colorist on DC’s World’s Greatest Super-Heroes and Batman syndicated newspaper strips.

“For more than a decade, it seemed like Adrienne Roy was coloring virtually every DC comic,” recalls inker and comics historian Jim Amash, “but in truth she was only coloring most of the top sellers, the titles that everyone was reading!” Adrienne was the only DC freelancer with her own desk in the company’s Manhattan offices, and was the first colorist signed by DC to exclusive, multi-year employment contracts.

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WRITER/ARTIST/PUBLISHER/EDITOR FRANK FRADELLA INTERVIEWED!

All Pulp’s Frank Fradella-Writer/Editor/Artist/Publisher
AP: Tell us a little about yourself and your pulp interests.
FF: I actually started out wanting to be an artist. No kidding. I wanted to do the covers for pulp novels. I grew up on Long Island, in a little town called Hauppauge, about two blocks away from renowned fantasy artist, Ken Kelly. One day, when I was 12-years old, Ken opened his door to me and a friend and took us on a tour of his studio. There was a half-finished oil painting on the easel, original art on the walls, sketches on pads and the smell of what I have come to know as “art in the making.” There’s a distinct scent given off by the meeting of paper and eraser and it was there in that studio, along with the lingering smell of paint and turpentine. I was hooked.
AP: What does pulp mean to you?
FF: Man… there’s no short answer for that one. Pulp is the heartland for nearly every great adventure character ever written. Tarzan, Conan, the Phantom, Doc Savage, John Carter… even those who came after like Indiana Jones are staying true to the core of all pulp stories. Pulp is not high literature. It is the literature of the masses. It grew out of an era when there wasn’t a television in every home and they couldn’t churn out those books fast enough. The greatest pulp written now is blissfully relegated to that same era. It’s the best kind of time machine. There’s a certain optimism to those stories that I really love.
AP: iHero Entertainment recently released the first issue of the new I, Hero magazine. What can readers expect from the new I, Hero? How many issues will be published each year?
FF: We’ll be publishing monthly, so our readers can look forward to 12 issues this year. And that’s all they can expect. Because if iHero does anything well, it’s defy expectations. I think we’re a hard animal to describe. We’re not a comic book. We’re not solely a literary magazine. We’re the best of both worlds. That distinction seems hard to grasp for most people until they see their first issue and then it’s always, “Ohhhhhhhh. COOL!” The long and the short of it is that we tell stories about people. They just happen to be people with superpowers.
AP: I, Hero is available as an ebook as well as in traditional print. There has been a lot of debate in recent years regarding print vs. Digital books. Do you have a preference for one type or the other? Do they have to be at odds or can both mediums coexist peacefully?
FF: There’s no doubt that there are traditionalists out there who love the tactile experience of reading a paper book or magazine, but there’s something so immediately gratifying about the digital download you can buy and read anywhere. I never thought I’d get used to reading on a hand-held device, but I downloaded the iBooks app for my iPhone and I’m a believer. You just can’t beat that kind of portability. Things like the Kindle and the iPad are game-changers. With the new “I, Hero” magazine, we’ve really worked hard to make each issue a satisfying experience no matter which format you choose.
AP: Where do you (or would you) like to see the publishing industry in the next five years?
FF: I’d like to see the landscape continue to change for the independent publisher. There’s some really good work out there, and with today’s technology (like print-on-demand), it’s easier than ever to get your work into print. It’s also harder than ever to get people to see that work. It’s a huge help that there are social networking sites to help you gain an audience, but you’re also fighting for their attention with about 16 billion ads, games, pokes and blogs. I’m seeing too many big box chains suffer and go under, but it does leave room for the little guy who has far less overhead. Sometimes a thing gets too big and it grows unwieldy. It collapses under its own weight. A smart indie publisher can fill that void with the right product. We’re hoping to be that publisher, or at least one of them.
AP: You’re best known for your work on short prose tales for iHero and Cyber Age Adventures. What draws you to these shorter stories and can we expect to see more coming?
FF: I cut my teeth on short stories. That will always be home for me. Not everything has to be Doctor Zhivago. I like the brief power of a good short. It’s tight, it’s focused. It’s a writer having just one thing to say and showing up to say it. A novel can have A stories and B stories. There are sub-plots, a zillion characters, pages of exposition, and so help me… maps. I see so many books with maps on the first page. I get daunted by things like that. Seriously? Your writing is going to be so convoluted and long-winded you had to draw me a map?! My favorite part about the stories in the iHero universe is that they’re always relate-able. We’re often writing about people who can outrun bullets or fly or punch through mountains, but we always tell those stories from the human perspective.
AP: You’ve also written novels, Swan Song, Valley of Shadows, and The Absent Lover. Tell us a bit about your novels, please. Are they still available?
FF: They are still available! You can find all of my books on Amazon, and Swan Song is also available on our site at http://www.ihero.net/.
Novels are, for me, a very different beast. You can’t just write a book because you want to see your name on the cover. You’ve got to have something to say that can only be told in that format. That’s my guiding star for everything. I write until the story is done. I’m not aiming for a page count or trying to fill to make my novella a full-length novel. That’s not fair to the reader. With each of my novels, I’ve written stories that have a certain breadth and depth to them. They needed the longer format to tell the story well. What they didn’t need was maps.
AP: What came first for you, writing short stories or novels and how did one influence the other?
FF: I started writing short stories first, and I think that was an important introduction to the craft. My college professor told me, “There isn’t a novel in the world that can’t be told as a short story. And there’s not a short story that can’t be summed up in a single sentence.” I’ve always liked that. When I went on to write screenplays, I understood the importance of the logline (the one-sentence description you use to pitch studios), and now I don’t sit down to write a story of any length without being able to tell you what it’s about in just one sentence. Because if I can’t tell you what the heart of the story is in a sentence… I probably don’t know. And that’s not good.
When I do sit down to write a novel, I have that sentence sitting there to guide me. I make sure that every plot twist and character conflict brings me closer to making that statement true. Then I do the same on a smaller scale for each chapter. Generally speaking, I know how every book starts and ends, and everything in the middle takes on the same process as a short story.
AP: What, if any, existing pulp or comic book characters would you like to try your hand at writing?
FF: I’ve got a pulp character of my own that appeared in an anthology a few years ago and she’s been beating me about the brain pan to write her book. Aside from her, I’d just about kill to write a Conan or Phantom novel. And of course, that Lance Star guy is pretty cool, too!
AP: Who are some of your creative influences?
FF: Robert B. Parker is a big one for me. He taught me dialogue. Chris Claremont, for his group dynamics and foreshadowing. I owe a lot to Alan Moore’s writing on Watchmen, especially the “Under the Hood” segments. Aaron Sorkin can do no wrong in my book. Joss Whedon needs to be bronzed at some point. Oh, and that Shakespeare fella. He’s got some game.
AP: What does Frank Fradella do when he’s not writing?
FF: Professionally, I run a video production business called Paper Lantern Productions (http://www.paperlantern.tv/). I shoot and edit commercials for everybody from local businesses to national brands, like Sears.
Creatively, I make movies! I’ve got a short film in post-production right now and we recently took home a few awards for my work on my last film, Vox Angelica. I was in China last year working on my first feature film and the goal is to go back and finish that in 2011.
In my spare spare time, I host a multi-lingual music podcast called LINGO (http://www.hellolingo.net/), which features the very best in global pop music.
AP: Where can readers find learn more about you and your work?
FF: I’ve got a personal site over at Madman’s Mutterings (http://www.frankfradella.com/) and I keep that pretty up-to-date these days on all the goings on. It’s got everything from the latest episode of LINGO to doodles and sketches. It’s also got a semi-complete bibliography with appropriate links.
AP: Any upcoming projects you would like to mention?
FF: I’m excited to say that the long-awaited sequel to Valley of Shadows will be out in early 2011. It’s called A Capacity for Mercy and it’ll be followed pretty quickly by the third installment, Toil & Trouble. Valley of Shadows will also see a paperback release when Mercy comes out.
In the iHero world, we’ve got the monthly magazine, of course, but for those who missed any of my stories from our original six-year run can get them all in giant omnibus from New Babel Books called The Power Within. It’s a beast of a thing, but there was just no splitting it up. This is the definitive word on this universe.
AP: Are there any convention appearances or signings coming up where fans can meet you?
FF: I’m just now dipping my toes back into the convention circuit after being away a few years. I’ll be shaking hands and kissing babies at MegaCon in Orlando from March 25th through the 27th. After that… it’s anybody’s guess. I think I’m just going to follow you around, Bobby. You’re a convention maniac.
AP: You have served as a writer, editor, artist, and publisher. Are there any creative areas you’ve not worked in that you would like to try your hand at doing?
FF: I’ve also worked as a colorist, letterer, marketing manager, website developer and key grip. I’d honestly like less to do, thank you. The more responsibilities I can delegate, the happier I am.

AP: And finally, what advice would you give to anyone wanting to be a writer?

FF: You know, I asked Harlan Ellison that question one day, back before I’d gotten anything published myself. He smacked me across the face and told me to go be a plumber. Hard to argue with that.

But seriously, the single most important thing about being a writer is developing the discipline that goes along with your talent. Nothing is writing but writing. Attending writers groups, reading writing magazines, doing research… none of it is actually putting your ass in the chair and putting two characters at odds with one another. Nothing else is writing but writing.

The second best thing to do, if you’re not going to be writing, is reading. I’ve got a few books you can try.

AP: Thanks, Frank.

WIN SCOTT ECKERT INTRODUCES ALL PULP TO ‘THE FARMERIAN HOLMES’

Win Scott Eckert © 2008-2010
Farmerphile no. 12
Paul Spiteri and Win Scott Eckert, eds., Michael Croteau, publisher, April 2008

“The Farmerian Holmes”

by Win Scott Eckert

“These are much deeper waters than I had thought.”
—Sherlock Holmes
“The Adventure of the Reigate Squire”

Dedicated followers of this column know that Philip José Farmer’s Wold Newton Family originated in 1795 with a radioactive meteor and generations of cross-breeding, resulting in an extended tree of crimefighting adventurers, detectives, explorers, and arch-criminals. Casual followers of the mythos, however, may not be aware of the significant role the Canon of Sir Arthur Conan Doyle’s Sherlock Holmes tales plays in the Wold Newton backstory outlined in Phil’s Tarzan Alive and Doc Savage: His Apocalyptic Life.

Of course, Phil patterned his first biography, Tarzan Alive, on William S. Baring-Gould’s Sherlock Holmes of Baker Street. Phil also adopted Baring-Gould’s theory that detective Nero Wolfe was Sherlock Holmes’ son (Sherlock Holmes of Baker Street and Nero Wolfe of West 35th Street). In addition, Phil expanded the Holmes family tree by placing Sherlock Holmes as a descendant of Dr. Siger Holmes, who was present at the Wold Newton meteor strike, and postulating that Sir Denis Nayland Smith (the protagonist of Sax Rohmer’s Fu Manchu books) was Sherlock Holmes’ nephew.

The Sherlockian connections, however, are woven into the history of the Wold Newton Universe with a degree of complexity which transcends fictional genealogy. Phil’s initial tour-de-force Wold Newton essay, “A Case of a Case of Identity Recased, or, The Grey Eyes Have It” (Addendum 2, Tarzan Alive), is based on Professor H. W. Starr’s foray into Holmes-Tarzan scholarship, “A Case of Identity, or, The Adventure of the Seven Claytons” (The Baker Street Journal, New Series X, i, January 1960; reprinted in Addendum 1, Tarzan Alive). Starr sets the stage by suggesting that the hansom cab driver John Clayton from the Holmes novel The Hound of the Baskervilles, must be a member of a lineage in which all first sons are named John Clayton, and in fact the cab driver is the fifth Duke of Greyminster., Starr explains that Greyminster is the real name of the family called “Greystoke” in the Tarzan stories by Edgar Rice Burroughs; the family is also called “Holdernesse” in the Holmes tale “The Adventure of the Priory School.”

Tarzan’s father, of course, was named John Clayton, as was Tarzan himself. While it might initially seem ridiculous that a member of the nobility would choose to spend seven years as a London cabby, Starr makes a convincing case for John Clayton as enlightened radical, abandoning his wealth and title in a gesture of support for the underprivileged. Starr also proposes the Clayton genealogy, but as Phil makes some alterations in his follow-up, we’ll focus on Phil’s version.

Phil bolsters Starr’s contention that the fifth duke was the cabdriver by conflating the duke with Sydney Trefusis, the protagonist of George Bernard Shaw’s An Unsocial Socialist. He then explains that the fifth duke was the father of John Clayton, who was married to Alice Rutherford. These were Tarzan’s parents, who were lost at sea and presumed dead in 1888, as told in Burroughs’ Tarzan of the Apes. Shortly thereafter, in 1889, the fifth duke was murdered and the title passed to his brother, the sixth duke.

In May 1901, the sixth duke’s son, Arthur, Lord Saltire, was kidnapped and Sherlock Holmes was called in to solve the case. Dr. Watson and his editor Doyle memorialized the incident as “The Adventure of the Priory School,” calling the sixth duke the “Duke of Holdernesse.” The sixth duke’s illegitimate son, James Wilder, was involved in the crime and immediately left England. Phil tells us that Arthur was later known as “William Clayton,” the seventh Duke of Greystoke and a cousin to Tarzan (John Clayton), as seen in Tarzan of the Apes and The Return of Tarzan (which collectively cover events occurring 1909-1910). In Tarzan Alive, Phil explains that his real name was William Cecil Arthur Clayton.

When William Clayton was killed at the conclusion of The Return of Tarzan, the title passed to Tarzan, the grandson of the fifth duke. Tarzan became the eighth Duke of Greystoke.

Phil also edited one of Watson’s Sherlock Holmes manuscripts, publishing it as a novel under the title The Adventure of the Peerless Peer. The novel resolves a lingering question raised by Phil’s researches in Tarzan Alive: how did Tarzan respond to the publicity surrounding the discovery that he, an English peer, had been raised by apes? The answer, as Holmes deduces in 1916, is that Tarzan avoided the issue. In order to save himself unwanted attention, he passed himself off as the late seventh duke, William Clayton, whom he resembled greatly. Thus, although Tarzan was legitimately the eighth duke, he was known to the world as the seventh duke, William Clayton.

Holmes garners a hefty fee from Tarzan in exchange for his and Watson’s silence on this matter.

In Doc Savage: His Apocalyptic Life, Phil explains that three years after the Priory School case, in 1904, the sixth duke hired Holmes to check up on his wayward son, James Wilder. Phil gives us Wilder’s real name, James Clarke Wildman, and we learn that Wildman is the father of pulp hero “Doc Savage” (James Clarke Wildman, Jr.). And the sixth duke’s estranged wife, named as “Edith Appledore” in “Priory School”? According to Phil, her real name was Edith Jansenius and she was the woman Holmes and Watson secretly observed eliminating the “worst man in London” in Watson and Doyle’s “The Adventure of Charles Augustus Milverton.”

Phil’s reprinting of excerpts from Burke’s Peerage (Addendum 3, Tarzan Alive) lists Edith as deceased, June 1907. However, a partial manuscript and outline entitled The Evil in Pemberley House, recently unearthed from a filing cabinet in the basement of Phil’s house in Peoria, demonstrates that Edith, the dowager Duchess of Greystoke, was alive as late as Spring 1973, age 103. In the manuscript, the dowager duchess encounters Patricia Wildman, the granddaughter her late husband’s illegitimate son, James Wildman. Sparks ensue. In “Further Sketches from the Ruins of My Mind!” by Robert R. Barrett (Farmerphile no. 11, January), my fellow Creative Mythographer states that Doc Wildman (or Doc Savage, if you prefer) shared his life with his cousin, Pat Savage, rather than marrying a former con-woman as stated in Pemberley House. Mr. Barrett speculates that Phil created the Pemberley House manuscript as a fictional element designed to protect Pat Savage, concluding that, “We will probably never know!”

With respect to my fellow Farmerphile contributor, I believe that we probably will know. It’s clear that Phil discovered the information in Pemberley House while interviewing Patricia Wildman during preparation of the book Doc Savage: His Apocalyptic Life. While Phil is a trickster and has been known to plant small misdirecting bits of information (such as the June 1907 death of Edith Jansenius), I doubt he would devote the time and effort to writing several false chapters and a fake outline, and then effectively bury them in his basement for thirty-plus years, with a goal of creating disinformation to protect Pat Savage. When and if the Pemberley House manuscript is completely reconstructed, readers will see that the document is consistent with the overarching Wold Newton mythos and Sherlockian backstory, and will be able to make their own determination.

It should also be noted that in Pemberley House, Patricia Wildman encounters Sherlock Holmes and Dr. Fu Manchu on the train from London to the village of Lambton in Derbyshire. Recalling that Pemberley House takes place in early 1973, it’s obvious the Royal Jelly life-extension elixir which Baring-Gould posited that Holmes developed was quite effective. Of course Fu Manchu also had his own immortality brew, called the Elixir of Life.

The Other Log of Phileas Fogg is another prominent entry by Phil which relies and builds upon the Holmesian Canon. In fact, the primary villain is none other than the man who would go on to become Holmes’ arch-nemesis, Professor James Moriarty. The premise (lifted from Professor H. W. Starr) that Professor Moriarty was also the man called “Captain Nemo” in Jules Verne’s 20,000 Leagues under the Sea is certainly controversial, as is the dismissal of Verne’s sequel, The Mysterious Island, as completely fictional. Even if one disagrees with that premise, however, the novel can still be interpreted as a Moriarty adventure, with references not only to the villainous Professor, but also his brother, Colonel Moriarty (also named James) from Watson and Doyle’s “The Final Problem.”
As long as we’re discussing Professor Moriarty, it’s worth noting here the daughter that Phil created, Urania Moriarty, to help fill a genealogical slot. In Doc Savage: His Apocalyptic Life, Phil speculated that Urania was married to John Clay from Watson and Doyle’s “The Adventure of the Red-Headed League.” Phil informs us that Clay was the son of the Countess Cagliostro and Sir William Clayton. Sir William Clayton was the uncle of John Clayton, the fifth duke and erstwhile cabby from Hound (more on the prolific Sir William later). John Clay was the same person as Colonel Clay, the master of disguise in Grant Allan’s An African Millionaire. According to Phil, John Clay and Urania Moriarty were the parents of Dr. Caber, Joseph Jorkens’ nemesis in stories by Lord Dunsany, and Carl Peterson, Bulldog Drummond’s archenemy from the novels by H. C. “Sapper” McNeile.

Phil also edited another manuscript of a Holmes adventure, but one not originally set down by Watson. Rather, this tale was recorded by master cracksman A. J. Raffles’ amanuensis, Harry “Bunny” Manders. The case is “The Problem of the Sore Bridge—Among Others” and it provides the solution to the disappearance of “Mr. James Phillimore, who, stepping back into his own house to get his umbrella, was never more seen in this world.” Phillimore’s vanishing act is mentioned in Watson and Doyle’s “The Problem of Thor Bridge.” Both Peerless Peer and “Sore Bridge” were recently reprinted in the collection Venus on the Half-Shell and Others (Subterranean Press, 2008).

Phil also began to edit another Holmes manuscript, but sadly never completed the process. Typed and handwritten notes (again from the treasure chest that is the filing cabinet in the basement) indicate that the untold tale “Sherlock Holmes in Mecca,” taking place during the period of Holmes’ global travels from May 1891-April 1894 known as “the Great Hiatus,” was a whopper, which Holmes teaming with Ludovick “Sandy” Gustavus Arbuthnot’s uncle on an Arabian mission assigned by Sherlock’s older brother, Mycroft Holmes. Sandy Arbuthnot is from the Richard Hannay series of novels by John Buchan. The “Mecca” case may have involved the Islamic holy relic, the Black Stone. In typically humorous fashion, Phil’s notes contain some possible alternate titles: “The Adventure of the Meccan Mechanic”; “The Adventure of the Mute Meccan”; “The Adventure of the Huge Haji”; “The Adventure of the Copped Kaaba”; and “The Adventure of the Half-Arsed Hafiz” are but a few examples. Perhaps some day an intrepid Farmerian Sherlockian will piece this case together.

Mixed in with Phil’s notes for “Mecca” is a final page which reads: “SH & JW investigate the Loch Ness Monster.” Intriguing, although this would not have been related to the “Mecca” case, since during the time of the Great Hiatus, Dr. John Watson thought Holmes was dead. An elderly Holmes and Watson also make a small cameo appearance in Doc Savage and the Cult of the Blue God (originally titled Doc Savage: Archenemy of Evil), the screen treatment Phil wrote in the 1970s for the second, and unfilmed, Doc Savage motion picture.

One of Phil’s more outré Sherlockian outings is the short story “A Scarletin Study.” Here, he edits Jonathan Swift Somers III’s manuscript of the first case of the genius talking canine detective Ralph von Wau Wau. Wheels within wheels, Somers is also an editor, the case actually being written in first person by Dr. Weisstein. The beginning of the tale parallels in humorous and exacting detail Watson and Doyle’s first Holmes novel, A Study in Scarlet, with Ralph standing in for Holmes and Weisstein filling the Watson role. The Ralph von Wau Wau stories take place in the Wold Newton Universe, as Phil incorporated the canine genius in Doc Savage: His Apocalyptic Life. Both Cult of the Blue God and “A Scarletin Study” were most recently published in the collection Pearls from Peoria (Subterranean Press, 2006).

Although Phil devoted several volumes of writing to his heroes Tarzan and Doc Savage, his lifelong fascination with Sherlock Holmes obviously runs through many of his works. It’s a fascination he’s passed on to many post-Farmerian Wold Newton writers as well.

In my own “Who’s Going to Take Over the World When I’m Gone?” (Myths for the Modern Age: Philip José Farmer’s Wold Newton Universe, MonkeyBrain Books, 2005), I devote a whole section to the lineage of “The Malevolent Moriartys.” Dennis E. Power reconciled two different version of Phil’s Sherlock Homes crossover novel (the Holmes-Tarzan Peerless Peer and the Holmes-Mowgli The Adventure of the Three Madmen) in his essay “Jungle Brothers, or, Secrets of the Jungle Lords” (Myths). Rick Lai added characters from the works of John Buchan and Robert Louis Stevenson to the Moriarty family in “The Secret History of Captain Nemo” (Myths). Brad Mengel’s “Watching the Detectives, or, The Sherlock Holmes Family Tree” (Myths) goes a few steps further, creating a whole tree for the Holmes family, using Phil’s work as the jumping-off point.

Speaking of Myths for the Modern Age, and returning to Phil’s own investigations into the Sherlockian Canon, another brief but effective bit of research is his “The Two Lord Ruftons” (originally published in the Baker Street Journal, December 1971; reprinted in Myths). In this essay, Phil discusses the Lord Rufton who is the father of the title character in Watson and Doyle’s “The Disappearance of Lady Frances Carfax,” and the Lord Rufton in Doyle’s Brigadier Gerard story “How He Triumphed in England.” Phil concludes that the Lord Rufton in the Gerard tale is the grandfather of Lady Frances Carfax. The Wold Newtonian connections should be noted. In Doc Savage: His Apocalyptic Life, Phil placed Brigadier Gerard as a distant (and non-Wold Newton irradiated) ancestor of James Bond. The Carfaxes also appear in the reproduction of the Greystoke lineage from Burke’s Peerage (Addendum 3, Tarzan Alive):

He [Sir William Clayton] m. 4th 1832 Lorina, dau. of Lord Dacre by Jane Carfax, dau. of Lord Rufton, and by her had issue,

1. Phileas, b. 1832, and

2. Roxana, b. 1833.

His wife divorced William in 1835 and m. Sir Heraclitus Fogg [Bt.], an eccentric inventor and owner of a vast estate, Fogg Shaw, in Derbyshire. Sir Heraclitus adopted his two stepchildren, William not objecting.

Additionally, in Phil’s novel Traitor to the Living, Professor Gordon Carfax (who is the same person formerly known as private detective “Herald Child” in Phil’s Image of the Beast and Blown) has an uncle named Rufton Carfax. Rufton Carfax is likely descended from Lord Rufton from “Lady Frances Carfax.”

I would be remiss indeed if I didn’t mention Phil’s short essay “What Happened to Black Michael?” (Addendum 4, Tarzan Alive; based on an original idea by Dale L. Walker; developed by John Harwood; additional notes by Farmer). In this piece, Phil reconciles the sailor Black Michael from Burroughs’ Tarzan of the Apes with a ship’s captain, Black Peter Carey, from Watson and Doyle’s “The Adventure of Black Peter,” providing yet another connection between the Canon and the Tarzanic Epic. Phil also informs us that Peter Michael Carey was responsible for the murder of the fifth Duke of Greystoke.

Phil concludes with the following paragraph:

Be it also noted that Holmes, strong as he was, could not drive a harpoon all the way through the body of a pig. He concluded that the man who pinned Carey to the wall with a harpoon was very strong and probably a professional harpooner. Cairns [a character in “Black Peter”] was such, but he would have had to use both hands to do it. Tarzan, of course, could have performed the feat with one hand and without drawing on all his strength.

“The Adventure of Black Peter,” in which Holmes investigates Black Peter’s murder, takes place in July 1895. Tarzan was born in November 1888. On the one hand, Phil’s final remark is meant to reinforce our image and understanding of Tarzan’s enormous strength. On the other hand, it seems odd for him to mention that Tarzan “could have performed the feat” when Tarzan was less than eight years old and living undiscovered in the African jungle, being raised by apes. My fellow Creative Mythographer, Christopher Paul Carey, has remarked on this curiosity to me and is currently probing his family records for further information on his infamous relative. A mystery remains, one worthy of Holmes himself.

Deep waters, indeed.

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What’s Wrong With Comic Books?

I’ve seen a lot of dissatisfaction online with Joe Straczynski’s Superman storyline, the one where he ambles across the nation. Well, that’s show business; I rather like it, at least thus far. I think if JMS were to have done this story as a
graphic novel, say around 120 pages, it would have gone over better with the
bloggers. The basic idea worked for Thornton Wilder in his play Our Town, and taking this energy into
the superhero myth is a clever idea. But watching it unfold in monthly
installments – with fill-ins – does not do this concept justice.

However, Joe’s story reveals the major, overwhelming problem with today’s mainstream comics. It simply takes too damn long to tell a story.

Whereas I enjoyed Brian Bendis and Mark Bagley’s Ultimate Spider-Man, it’s convenient for me to point out that the initial origin story only took Stan Lee and Steve Ditko 11 pages to pull off and Brian and Mark took five full issues. Different times, different storytelling techniques, but still we’re talking about a ten-fold increase in story length.

For me, this makes most “Big Event” stunts unreadable. I liked Marvel’s Shadowland, but my interest waned with each successive tie-in and mini-series. Same thing with Marvel’s Civil War / Dark Reign stunt, only multiplied by Warp Factor Four.

DC iced me with their Crisis on Infinite Final Crises event. What did they publish, about four thousand issues there? As for Brightest Day, I got burned out early on during Blackest Night so I never sampled the sequel. I don’t know who these characters are; DC keeps on changing its mind with each Big Event.

Yes, I understand – these Big Events do “quite well” in the marketplace. I respond, “Oh yeah? Compared to what?” Big-name comics publishers with big-name characters with big-time movie support are selling only to a small circle of friends in numbers so inadequate that 1960s Marvel publisher Martin Goodman and 1960s DC publisher Irwin Donenfeld would drop dead at the sales reports, if they weren’t dead already. Several years ago, I told Donenfeld – whose office was about a mile from my house – what Superman was selling, and he refused to believe it. “It’s Superman!” he said, shaking his head.

The sad fact is, the American comic book medium is no longer a mass medium. Nor is the rest of the publishing world. Readers are part of an ever-shrinking elite.

Will the Internet change that? Maybe. Will tablet computers with auto-subscriptions change that? I sure hope so. Otherwise, we’re in the buggy whip business.

There’s a lot of exciting stuff going on in comics today.
There’s a lot of solid writing from publishers both mainstream and otherwise.
Some great art, although with so many titles the great stuff is buried beneath
a ton of crap. There’s some wonderful concepts and some illuminating, even
inspirational stories. Sadly, very little of that is coming from the two
publishers who dominate what little market we’ve got left; the so-called
independent publishers (traditionally defined as “not Marvel or DC”) have
limited promotional resources, and direct sales comics shops can’t afford to
take much of a risk. They’ve got to order the Big Events, and as these stunts
get even bigger and segue directly into other Big Events, retailers have very
little money left over to take a chance on these independents.

That’s a shame. I go to conventions and I see more hopeful
wannabes than ever. I see more new kids with real talent, proportionately
speaking, than ever before. The interesting stuff that goes on at the larger
conventions isn’t at the major publishers’ showbooths, it’s in Artists Alley
and people you have never heard of are producing it.

So I gaze at the rapidly encroaching new year and I hope. I’d rather read good comic books, but at least I have hope.

Bill Pullman Joins Torchwood

The actor who starred in such movies as Ruthless People, Sleepless in Seattle, While You Were Sleeping, Spaceballs, Casper, and, of course, Independence Day has joined the cast of the Doctor Who adult spin-off, Torchwood.

Pullman will be playing Oswald Jones, a psychotic murderer and pedophile. Oddly, he’s not a nice guy, defined by the BBC as “repentant yet boiling with lust and rage.”

He should fit in nicely.

The fourth season of Torchwood will be broadcast in the United States on the Starz cable network beginning this summer.

SARGE PORTERA TAKES PULP ‘BACK TO THE BASICS’!!

BACK TO THE BASICS-by SARGE PORTERA 
In this column from the esoteric Sarge Portera, he will endeavor to give us the basic ‘just-the-facts’ approach on whatever pulpy goodness tweaks his fancy…. and we kick this off with…
THE AVENGER
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“The Avenger” was published as a magazine by Street & Smith for 2 years from September 1939 to September 1942. All twenty-four cover stories in “The Avenger” were written by Paul Ernst under the house name of Kenneth Robeson. Most issues of “The Avenger” even sported a byline that read “Complete mystery novel by the Creator of Doc Savage” or something like it on their covers.

“Justice, Inc.” was the cover story for Volume 1, Number 1, September 1939 issue of “The Avenger.” This was the issue where Richard Benson was transformed into The Avenger, met Mac & Smitty, and established Justice, Inc. as his crimefighting organization.

“The Yellow Horde” was the feature story in Vol. 1, No. 2, October 1939 issue. It was in this issue that Nellie Gray joined Justice, Inc. This edition’s cover carried a byline which read “Presenting a sensational New Character by the Creator of Doc Savage.”

“The Skywalker” was the lead story in Vol. 1, No. 3, November 1939 issue.

“The Devil’s Horns” the featured mystery in Vol. 1, No. 4, December 1939 issue.

“Frosted Death” was the lead mystery in Vol. 1, No. 5, January 1940 issue.

“The GlassMountain” was the cover feature in Vol. 1, No. 6, February 1940 issue.

“The Blood Ring” was the lead feature in Vol. 2, No. 1, March 1940 issue.

“Stockholders in Death” was feature story in Vol. 2, No. 2, April 1940 issue.

“Tuned for Murder” was the featured mystery in Vol. 2, No. 3, May 1940 issue.

“The Smiling Dogs” was the leading mystery in Vol. 2, No. 4, June 1940 issue.

“The River of Ice” was the lead story in Vol. 2, No. 5, July 1940 issue.

“The Flame Breathers” was the cover story in Vol. 2, No. 6, September 1940 issue.

“Murder on Wheels” was the cover mystery in Vol. 3, No. 1, November 1940 issue.

“The Three Gold Crowns” was the featured story in Vol. 3, No. 2, January 1941 issue.

“House of Death” was the lead feature in Vol. 3, No. 3, March 1941 issue.

“The Hate Master” was the cover story in Vol. 3, No. 4, May 1941 issue.

“Nevlo” was the feature story in Vol. 3, No. 5, July 1941 issue.

“Death in Slow Motion” was the lead story in Vol. 3, No. 6, September 1941 issue.

“Pictures of Death” was the featured mystery in Vol. 4, No. 1, November 1941 issue.

“The Green Killer” was the lead mystery in Vol. 4, No. 2, January 1942 issue.

“The Happy Killers” was the cover mystery in Vol. 4, No. 3, March 1942 issue.

 “The Black Death” was the leading story in Vol. 4, No. 4, May 1942 issue.

“The Wilder Curse” was the cover feature in Vol. 4, No. 5, July 1942 issue.

“Midnight Murder” was the featured mystery in Vol. 4, No. 6, September 1942 issue.



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Here’s some questions for the trivia buffs who are reading this:

1. What Avenger mystery introduced Josh & Rosabel Newton?

2. Six short stories featuring The Avenger appeared in “Clues Detective” & “The Shadow” after his character pulp folded.  Who wrote them?

3. Who reprinted The Avenger’s original twenty-four stories?

4. Who wrote twelve new Avenger paperback novels for this publisher?

5. Who published The Avenger anthology in 2008?
(Here’s the answers: 1. The Skywalker, 2. Emile C. Tepperman, 3. Warner Paperback Library, 4. Ron Goulart, 5. Joe Gentile’s Moonstone Books)

GOING BEHIND THE SCENES-INTERVIEW WITH PRO SE’S FORMAT/DESIGN/GRAPHIC GURU

Ali-Designer/Formatter, Writer, Artist
AP: Ali, ALL PULP really appreciates you taking a few minutes downtime to answer a few questions. First, can you introduce yourself, some personal background and such?
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Ali: I could go with the classic Dr. Evil line, “The details of my life are quite inconsequential”, but that’s a heck of a spot to leave an interviewer in so let’s see if I can cliff note it. By day I labor quietly at a wonderfully dead end job I’m going leave as soon as politicians quit playing football with the economy and people’s lives; by night I’m a working graphic designer who happily gets a chance to do what he loves. If I’m really lucky I occasionally get paid at one profession or the other. So far the dead end day job’s in the lead on stable payments, but I live in hope for the rest.
I’ve been fortunate to be a working designer for the better part of two decades, I’ve been involved in the print business for the better part of three and have a practical working knowledge of prepress and print related workflows. I’ve worn a few hats and if pressed can actually take a project from concept to design, to production and finishing before I have to turn it over to another set of hands. I’m basically a one man digital print shop and I’m also an illustrator to boot when I get a second to actually sit down at a drafting table and sketch. The only thing I don’t have any major experience to be effective on is web work, building sites and whatnot; I’d kill, okay maybe maim, alright seriously annoy someone to get versed on that stuff.
I’ve freelanced and spent a decade doing event and convention graphics where I worked for practically every type of client imaginable. In case you’re curious, worst convention/client/group? a tie between a convention of Christians and Catholics and the X Games; best convention/client/group? an international convention of Coroners. Coroners are some of the best people on the planet and given the nature of their jobs, they’re pretty fun to be around. They have a great sense of humor as a group, bar none.
But I digress…
I usually pull off miracles of design and prepress in the wilder side of the San Francisco Bay Area, known to locals as Oakland, California, which is generally a nicer place to live than our press clippings would lead you to believe. At least once a month, usually while waiting for a bus headed home for a quiet weekend, someone tosses a bag over my head, tosses me onto the bus I was waiting for and insures I’m locked up in my own home for roughly three days to produce whatever Pro Se magazine is due on the stands. My only companion during those periods is Miles, their mighty watch cat. Apparently he’s underpaid because Miles naps the bulk of the time and insists I feed him when he’s not asleep. I think he’s the waterboarding workaround. So during my captivity, they usually run DVDs to keep me from calling Amnesty International. I’m hoping for Inception this month, I missed that one at the movies…
…oh, and a note to my Pro Se abductors: could we get the Mint Milano cookies? I’d like some to dip in my milk, thanks.
Should I say that I tend to be pretty tongue in cheek, or is that obscured by my sparkling wit and obvious modesty?
Okay I’ll try to be more serious from here on out, next question!
AP: As far as pulp is concerned, let’s talk about you as a fan first. Are you a fan of the pulp genre and, if so, what are your interests pulpwise and some of the bigger influences on you, both character and author wise?
Ali: Well I sort walked into pulp  at an early age and was a fan and didn’t know it. I was encouraged to read at an early age and books were generally given to me more than toys so while other kids were struggling to get to the “See Dick run” stage I was reading the Gold Bug, Murders in the Rue Morgue, the Three Musketeers and Robin Hood. I was basically that strange quiet kid you’d find on the Twilight Zone or the Outer Limits who has this spooky maturity thing going on who’s reading Conan Doyle and understanding world news situations at the age of three. I was also a fan of golden age comic book characters and a huge Batman fan. It was a good time, you got the Justice Society teaming up with their modern day counterparts in the Justice League, Denny O’Neil, Irv Novick, Neal Adams and others were doing some fine work over in the Batman books and it was there that I first encountered Maxwell Grant’s (or Walter Gibson’s if you prefer) signature character, the Shadow. That was my first encounter with the character and it was a DC Comics interpretation so there was some modification on the character, but it was good enough to follow the guy over to his own book by O’Neil and the amazing work of Mike Kaluta and I was hooked on the Shadow.
At that same time I was reading Conan and Doc Savage and the Avenger over in Justice, Inc. but didn’t even realize they were considered pulp fiction because they were all tied to comics I had been reading. I looked at Dash Hammett as mystery and crime fiction which is where the Shadow and the Avenger fell in my estimation. Doc and Conan were riding shotgun with the high adventure tales of guys like Jack London or Howard Pyle. For me, pulp was never really something that was concrete as a specific style of literature, it was just another form of fiction.
I can’t say if I’m really influenced as much as an appreciative fan of certain writers. The older I get, the less purple the prose gets. I have a healthy love for science fiction, espionage and crime fiction and a great respect for the works of Raymond Chandler, Dash Hammett, Rex Stout, Ray Bradbury, Poe, Oscar Wilde, Agatha Christie, Ellery Queen, Isaac Asimov, Ed Brubaker, Matt Fraction, Matt Wagner, Robert B. Parker, Rod Serling and Harlan Ellison to name more than a few.
I think because my inclination is more visual and the artists from the comics I grew up with, and graphic novels and such I still follow, I’m a fan of great artists from back in the day like Wally Wood, Alex Raymond, Gil Kane Alex Toth, Mike Kaluta, Marshall Rogers, Mac Raboy, Carmine Infantino, Curt Swan, Steranko, Frank Robbins, Ditko, Frazetta, Brent Anderson, Dave Stevens, Neal Adams, Will Eisner, Don Newton and Kirby and some of the modern guys who are bringing back the pulp style with their work like Darwyn Cooke, Michael Lark, Mitch Breitweiser, Francesco Francavilla, Keiron Dwyer, Paul Smith and Athena Voltaire’s Steve Bryant.
I like the trend away from the whole anime/manga and fusion style. It’s nice to see people that look like people and not some Sailor Moon variation. It would be nice to see art trend back into what it was before the cookie cutter anime era or the all flash gimmick days of Image where you had illustrators delivering solid storytelling which works in concert with strong writing as opposed to serving as an eye candy distraction. I know I sound like one of those crabby old guys who complain about change, but that’s not it at all, I just want artists who strive to be unique in such a way that when you see their work you know the story’s going to be that much stronger because the artist isn’t riding their ego, they are practicing their craft and enjoying every minute of it. In an age where any bloke with a laptop and a drawing tablet can call themselves an artist, I’d like to see a person who really knows what they’re doing and makes it work without a ton of fanfare.
I’m also an avid fan of audio dramas which started, oddly enough, with the Shadow and Sherlock Holmes. There was a great radio station that ran the old time radio shows on Saturdays and around the age of eleven, I noticed them as something other than background noise. My dad would occasionally listen to CBS Radio Mystery Theater in the 1970s, but I got hooked directly on a Shadow and Sherlock Holmes broadcast. The Shadow show was “the House that Death Built”, involving a crazy hanging judge type who rigged his house with all these execution gimmicks and was killing people who either escaped him or turned against him. The Holmes show was probably one of the best of Conan Doyle’s stories, the Speckled Band. It began a love affair with audio dramas that I have to this day and I follow the BBC regularly when I’m not sitting through a Johnny Dollar marathon or something…
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AP: As far as your current involvement in Pulp, you are the designer/formatter/guru for Pro Se Productions. How did that association come to be?
Ali: Bus Stop. Bag over the head. I guess that’s not enough? Okay, I guess I can expand my answer a bit. 
There was a fad online sometime ago called fan fiction, it’s not as heavy as it once was but it allowed a lot of writers (good, bad and needs their hands chopped off) a forum to express themselves by writing adventures of their favorite characters that probably wouldn’t have seen the light of day any other way. Among these groups was a little band called DC Futures headed by Erik Burnham. It was sort of DC Comics, the Next Generation, without the annoying android guy. At any rate it was there that I found a piece written by Tommy Hancock that dealt with the new generation of my Golden Age heroes and it was some really great writing. Somehow we got together in a conversation, I think I sent him an email praising him as the next best thing to sliced bread or something and we traded emails back and forth and found we had quite a bit in common. When he started a fan fic group of his own dealing specifically with those great old heroes, I pitched a couple of ideas and eventually did some very forgettable (in my humble opinion) writing on a few pieces. One of them, Gotham Knights, featuring Batman and other guys that were working Gotham City in the 30s and 40s was basically my War & Peace, and put the two of us on a path that’s led to a great friendship and creative collaboration.
We trod through a few trenches creatively, mostly with Tommy starting with “I’ve got this idea…” or “Got a sec?” which usually means a few hours later we’ve hammered out points, brainstormed and refined things first thought he had and he runs off six to ten alternate thoughts in the process. Most guys get one, maybe two brilliant ideas a week, Tommy gets something like a dozen in about an hour, every hour, all day, every day. I’ve been pretty fortunate to watch the writer Tommy is develop from the writer Tommy was.  He was exceptional then and he’s only gotten better since. So he and I have always had a venture on the backburner where he’d eventually get around to doing something where my contribution would be more in my field of design like a magazine or something.  During the fan fic days, I made the mistake of doing an ebook for one thing and it led to a sort of one off set of ebooks which didn’t really go anywhere.  That might have been a good thing at the time, neither one of us were exactly where we needed to be in our respective skill sets.
As time went on, I’d do the occasional logo or comp together a piece of art for Tommy, but one day he came online in usual Tommy mode with “I’ve got this idea AND I want you to be a part of it.” Since he altered the script, I asked what he needed and he laid out the concept for what is now Pro Se Productions. Initially I had a small part in the thing, he needed logos for what was to be a series of audio dramas so I said, “Sure, no problem.” Confident he had me hooked, our hero moved on to the next phase of his plan which was a damn sight more ambitious, he springs on me that Pro Se is going to also have a print/publishing branch. So of course he asks, yours truly to lend a hand.
So of course with no guarantee of payment any time in my immediate future, and the knowledge that every month was going to be a grinder of pulling together all the disparate elements that make up the layout of an anthology book, I asked myself what any sane man would say to such a prospect…
…then I said yes anyway.
I’m a horrible businessman where my friends are concerned, so Pro Se’s my pro bono gig. I don’t take a check for it so the talent gets paid for their work. To be honest, Pro Se is the kind of seat of the pants design on the fly project that makes life fun, so I just enjoy the ride and add the credit to the resume. In another life I’d be Scotty on the Enterprise, doing wild things at the last minute just to see if I can pull it off before the Klingons blow us out of space…
AP: What exactly do you do as a formatter and designer? Walk us through the process of putting together one of the Pro Se magazines, if you would.
Ali: Well to be honest and in all seriousness, there’s not really a good way to answer that one. 
I could be lightly technical and tell you that I use the Adobe Creative Suite software programs to get my job done. I work in Photoshop to process and format the images properly for what we do. some need to be tweaked more than others, occasionally I add something to an image or take it away, but it’s basic image prep work and file conversion since my images show up in any form from a jpeg to multiple page pdfs I have to pull apart and make separate images. In Illustrator, I create logos, cover layouts, and set up most of the ads I create on the fly. The actual book layout is set up as a template in InDesign where I do all the typesetting for the stories sent to Tommy, add in the visual elements and plug up major white spaces with house ads if we don’t have other folks plugging their products. We stir, say a few kind words and pray as I set up proof copies in pdf form for Tommy to review and note corrections, and we go back and forth until he says it’s good.
I upload files to Tommy and voila it’s soup!
We’ve gotten the process down from the first nightmare month where we actually ran through a few print houses and had to reformat files from an image based workflow to a pdf workflow. and the first month we did all three books together and it took weeks as we went back and forth with one printer then another and then we’d go somewhere else and have to redo the whole thing for those guys. I think during that whole challenge, Tommy and I were trying not to hang ourselves in an unspoken suicide pact, but it was a learning experience and there are things we know we wouldn’t do the same way again.
Now it’s a fairly quick process. The templates are streamlined, I redesigned the book so image placement is not as essential to the text and it made what used to take almost a week into a two day process.  If I have everything and no interruptions, I can knock out the entire book from unrelated elements to finished product in about 12 hours. I’m competing with myself though, so I’m always trying to beat my best time and make it look better than it did before.
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AP: Is your design influenced by any particular style, either derived from pulp or outside of that genre?
Ali: Not intentionally. I like the art deco look and feel of things, probably more from watching Agatha Christie’s Poirot than anything else. That look sort of played into the current direction of the Pro Se books house style. So much of the Pro Se look is supported by the way text is displayed that I’m in a constant state of refining things, so I try not to be married to anything because I may need to drop it down the road for something that might work better. There are some great font foundries out there like Nick Curtis, his fonts capture the look and feel of a bygone era while being a little more polished. He’s got great work over at My Fonts and it’s pretty reasonable. Of course my other go to font house is Nate Piekos and the wonderful folks over at Blambot, and their free fonts are so great that it makes typesetting and text design work a breeze. 
In other aspects of my work, I try not to work in any particular style, that’s usually dictated by the client or the job. The more freedom I get on a project, the more I throw myself into it. Pro Se was a blank check design wise, so a lot of me is on each page.
When I’m doing my own art, I try not to follow any particular style but I’m getting back to studying artists Ilove and I’m hoping their work will continue to guide my own.
AP: Pulp seems to be having a resurgence currently. What are your thoughts on the reason for that and what part do you think design/format of material plays in that?
Ali: Everything comes back in style eventually, you just have to wait for it. I think in a world of global terrorism, political polarization and financial uncertainty we find ourselves pretty much in the same shoes as the generation who ushered in the pulp era. We’re looking for a bit of escapism where problems are solved in relatively short order,  or someone plays the hero, or we enter world of high adventure that removes us from the overwhelming concerns of the world we actually live in for just a little while. Not necessarily a world of snap brim fedoras, or over the top heavies, but just something that starts out quietly enough before it hits you in the gut and catapults you to a “wow” finish. You leave feeling entertained and you want to come back for more later.
So what some are seeing as a rebirth of pulp is really just a recognition of what’s been with us the whole time.  Sometimes we renamed it because the vehicle it was delivered in changed like, film noir, but pulp’s influence is in a lot of our entertainment and literature.  There was pulp before pulp in penny dreadfuls and boys’ own stories across the pond, Sherlock Holmes is basically Doc Savage with a drug habit and fewer friends, Dorian Gray preceded the weird tale with a built in object lesson and morality play, heck you could look at Shakespeare and make a serious argument that he wrote a number of murder stories that would lay the framework for everything this side of Philip Marlowe, Sam Spade and Frank Miller’s Dark Knight Returns. I realize that might offend pulp purists, but we are in a constant state of change and growth as we age, why should pulp be a static thing in a specific niche? In its heyday, pulp ran the gamut in its chosen subject matter and pretty much every category of fiction you look at in Borders or Barnes & Noble has been used in pulp magazines, so to look at it now and say “Pulp is…” and you push in your view then you eliminate the possibility of it evolving into something else. Cyberpunk? It’s pulp. Steampunk? It’s pulp.. Harry Potter? It’s pulp. Twilight? Okay, maybe there are a few limits we should set, but the point is pulp fiction was simply an avenue to deliver entertainment to the masses relatively cheap and it encompassed a lot more than guys like the Shadow and Doc Savage.
It’s a trend that’s starting to return in comics where heroes are actually heroic. It’s returning to film where we are starting to see more masked avengers, or wrong men who have to clear themselves, we’ve fantasy stuff like Avatar and sci-fi thrillers like Inception. Pulp’s not just on the rise so is the concept of the heroic ideal. Some of these are executed well and you get novels like “It’s Superman!” which is the closest we’ve ever gotten to a pulp Superman novel which is one part superhero, one part pulp novel with a healthy dose of John Steinbeck thrown in. Or it’s executed awkwardly and you find an off beat version of Doc Savage or the Shadow falling short of its potential because you lose sight of the heart of the character. We don’t need to reinvent the wheel, we need to put those babies on the car and see where the road takes us next.
AP: You are a writer as well with a background in fan fiction. Any plans to try your hand at published pulp fiction?
Ali: I’ve been away from writing for the better part of a decade. I’ll see what happens when I shake the rust off my writer’s cap and take a stab at a new tale or two.  Writing’s something I enjoy, but it requires time and a certain amount of peace and quiet for me. My life has been on the move nonstop since the fan fic days, so fact I’m even considering authoring a new story much less actually executing same is extraordinary. I’m rusty and will probably give whoever edits me the biggest headache this side of California, but Tommy has this idea I should give it a shot and it’s hard not to listen to that kind of coaxing.
I live by the motto of “Everything’s possible”, so I rule nothing out. 
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AP: You are a renaissance man as well. Designer/formatter, writer…and artist. What pieces have you done for Pro Se’s magazines and has your art work appeared elsewhere?
Ali: I’m also a pretty decent tenor, no one ever brings up the singing, sigh…
What pieces have I done for Pro Se’s magazines? You mean besides the magazines? This is a tough room! 
I’ve done the bulk of the house ads that are currently in the books. I pinch hit on a couple of art pieces Let’s see in Fantasy and Fear (FnF) #1 I was lucky enough to get Ron Fortier’s “Beast of the Mountains”. It was a rush sketch, all pencil, that I had to complete in 20 minutes because we were on the absolute last day in our first month and were short one sketch. It never got inked but I played with it in Photoshop so it was close to the more finished art work we had for the other stories. In Masked Gun Mystery (MGM) #1, I got a piece of Tommy Hancock’s “Murphy’s Wake”, which was fun because it was from an earlier idea Tommy had about a book where everything was presented as newspaper clippings and diary entries and such, so the story was laid out the reflect that using fonts that changed with the material being viewed. I think I did a photo of the burning house in a newspaper clipping and an idealized appearance of the hero that was supposed to invoke the imagery of a great series of comic book stories in the 1970s featuring a ghostly hero called the Spectre. Finally over in Peculiar Advenutres (PA) #2 I contributed a piece to a story by Sean Ellis, “The Sorceror’s Ghost” which featured a scene from the story where I tried to capture this awesomely huge zeppelin in the skies over London. That was another fast sketch where inking, filters and lighting effects were done in Photoshop to cover up just how rough a piece it was.
I’m hoping to do some actual art that isn’t required five minutes after I get a story on press day, y’know just for kicks…
AP: With the myriad of talents you have, does pulp appeal to you because it can utilize all of them or is there something more that draws you to throw yourself into this sort of work?
Ali: I’m an artist and designer, so I’m always up for a project where I can exhibit and refine my skills. Pro Se covers that need in me because it’s an evolving work even with everything in place, I look at a piece and say to myself something can always be tightened or improved. The writer in me has sort of awakened cranky and hungry so I’m the process of completing a story for the first time in years which is really exciting because it’s another way to be artistic. Pro Se is open to the ideas I have, so occasionally it’s good to do favors, it opens up doors you didn’t even realize were in the building of your life. I’m even getting back to sketching so Pro Se has sort of drawn me back to skills I’ve left dormant for too long. Creatively, it’s a great place to be.
But really the appeal, the draw, the kick is to take up the challenge and see if you’re going to pull it off. It’s a rush that can’t be beat by anything when I’m in the zone and everything is falling into place. Nothing is greater than just living in that moment where you’re unstoppable and know you’ve nailed it.
AP: What about the future? What do you have in the works that might appeal to the ALL PULP audience?
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Ali: Well I am constantly badgering Tommy to get some of my favorites in his bag of tricks (GIVE ME MY JOHNNY CRIMSON!) on the page…
…Oh, you mean from me specifically?
I’ve pitched a concept for Masked Gun Mystery using the magazine’s title for the story which will hopefully spawn a series of stories under that umbrella. I won’t spoil it at all other than to say it allows me to play in my favorite sandbox writing wise: crime, noir, espionage and detective fiction.  I’m hoping to get the first installment into MGM’s next issue in February.
That’s the only definite thing on the horizon, though Tommy and I are constantly talking about projects. It would be nice to pull off an adventure tale or two over in PA and I have a couple of guys from some old ideas that might fit well there. So after I get my first installment in the can I’m open to more writing on top of the design work I do for Pro Se at least.
AP: Ali, without those people like you, writers and artists today would be suffering. Thanks so much for what you do for pulp fiction!
Ali: Thanks for having me!