The Mix : What are people talking about today?

Real Steel Director Shawn Levy Enters the Ring

Shawn Levy, director of Real Steel, now out on home video, is one of the most commercially successful film directors of the past decade. To date, his films have grossed over $1.6 billion worldwide. His youthfully enthusiastic approach to filmmaking is evident in the storylines and characters he creates and reflects his joyful intensity for each project at hand.

In 2010, Levy released Date Night, a film he directed and produced. Levy’s production shingle 21 Laps also produced the hit comedy What Happens in Vegas, which went on to earn over $200 million worldwide.

Levy both produced and directed the blockbuster Night at the Museum franchise. To date, the global success of this franchise has netted more than $1 billion in worldwide box office.

Previously, Levy directed the 2006 comedy The Pink Panther. Levy also directed the smash hit Cheaper By the Dozen, which went on to gross more than $200 million worldwide.

In addition to his directing slate, Levy is producing the feature-film comedy Neighborhood Watch,” and his production company 21 Laps/Adelstein is producing the ABC sitcom Last Days of Man.

Levy graduated at the age of 20 from the Drama Department of Yale University. He later studied film in the Masters Film Production Program at USC, where he produced and directed the short film Broken Record. This film won the Gold Plaque at the Chicago Film Festival and was selected to screen at the Directors Guild of America. (more…)

ECKERT TO PROVIDE BONUSES TO TITAN’S ‘OTHER LOG OF PHILEAS FOGG’ RELEASE!

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I’m very pleased to announce that I’ll be contributing two bonus pieces to theTitan Books reissue of Philip JoséFarmer’s “secret history” novel The Other Log of Phileas Fogg.

Other Log reveals the hidden events behind Jules Verne’s Around the World in Eighty Days. First published in 1973, the book is considered to be one of the first examples of elder steampunk.

The Other Log of Phileas Fogg is currently scheduled for release in May 2012, and is available for pre-order at major outlets such as Amazon andBarnes & Noble. Editions include trade paperback and digital (Kindle & Nook).

Other Log kicks off Titan’s series of Wold Newton novels, to be followed by Time’s Last Gift in June 2012. More titles will follow, so stay tuned to Mr. Farmer’s official website, and Facebook (Philip Jose Farmer | Win Scott Eckert) for more information.

As for the bonus materials, the new edition will contain the following pieces, exclusive to this edition:

  • a new afterword entitled “Only a Coincidence: Phileas Fogg, PhilipJosé Farmer, and the Wold Newton Family”
  • a timeline entitled “A Chronology of Major Events Pertinent to The Other Log of Phileas Fogg
So get over to Amazon or Barnes & Noble and get your pre-order in now!

The Other Log of Phileas Fogg – Bonus Materials

I’m very pleased to announce that I’ll be contributing two bonus pieces to theTitan Books reissue of Philip JoséFarmer’s “secret history” novel The Other Log of Phileas Fogg.

Other Log reveals the hidden events behind Jules Verne’s Around the World in Eighty Days. First published in 1973, the book is considered to be one of the first examples of elder steampunk.

The Other Log of Phileas Fogg is currently scheduled for release in May 2012, and is available for pre-order at major outlets such as Amazon andBarnes & Noble. Editions include trade paperback and digital (Kindle & Nook).

Other Log kicks off Titan’s series of Wold Newton novels, to be followed by Time’s Last Gift in June 2012. More titles will follow, so stay tuned to Mr. Farmer’s official website, and Facebook (Philip Jose Farmer | Win Scott Eckert) for more information.

As for the bonus materials, the new edition will contain the following pieces, exclusive to this edition:

  • a new afterword entitled “Only a Coincidence: Phileas Fogg, PhilipJosé Farmer, and the Wold Newton Family”
  • a timeline entitled “A Chronology of Major Events Pertinent to The Other Log of Phileas Fogg
So get over to Amazon or Barnes & Noble and get your pre-order in now!
avengers-25-aaa-gabrieledellotto-300x431-9158708

Avengers Art Appreciation Covers In April To Help You Appreciate The Movie In May

avengers-25-aaa-gabrieledellotto-300x431-9158708Ever imagine what the Avengers would look like if Van Gogh painted them? Hey, he wouldn’t be the moodiest guy to work in comics…

Marvel unveils Avengers Art Appreciation Variant Covers, which will be available throughout all of April. With everyone on the edge of their seats for Marvel Studio’s The Avengers in May, fans will have the opportunity to see their favorite super hero team in the styles of the world’s greatest artists like Rembrandt, Michelangelo, Monet, Pollock, Schielle, and Al Hirschfeld.

(What? Marvel ripping off talented artists to increase their profits on the Avengers? That would never happen…)

MIKE GOLD: The Paperless Chase

gold-column-art-120125-7780743According to Pew Research, one out of every five adult Americans now owns a tablet or an e-book reader. That was before Apple announced its new e-textbook initiative.

Imagine buying all your college textbooks for about a hundred bucks and then carrying them around in a 1.33 pound device. You’ll never need your locker again. Students won’t pop their spines carrying a backpack that is so heavy PeTA wouldn’t let you strap one onto a mule.

And if you’re a comics fan, you’ll never need to schlep around a couple hundred long boxes. Well, not unless you want to.

So people should just stop bitching about electronic comic books. It’s not controversial any more. It doesn’t begat bootlegging; certainly not now that the government is shutting down bootleg sites. Just as soon as publishers start releasing their books at a fair price point – there are no printing costs, no paper costs, no shipping, no returns, and no alternate covers, so $2.99 (let alone $3.99) is a rip-off.

“But I like the feel of the paper,” you might whine. Yes, and I enjoy hearing the crack of the buggy-whip. Deal with it. Stop cutting down trees and milking our ever-dwindling oil supply to print and distribute all those books and magazines you read once – if at all. Publishing is an ecological nightmare; e-publishing doesn’t cure the problem but, like the hybrid and electronic engines, it helps. A lot.

The other by-product is even more interesting: we are breeding a new generation of readers. People are buying e-books and magazines and newspapers and we’re reading them on our iPads and Kindles and such. For a full year now, adult hardcovers and paperbacks, adult mass market books, and children’s/young adult hardcover and paperback have exceeded hard copy sales. In the past year, Borders finally bit the dust, Barnes and Nobles continues to cough up blood, and tablet/e-reader sales skyrocketed.

Tell me where our future lies.

If sales slow down considerably – forgetting how Apple’s sold zillions of iPads to schools and to businesses, forgetting how the iPad 3 is coming within the next 10 weeks, forgetting textbook sales – then it’ll take as long as, oh, maybe three years before over half of the population of American families have one.

Yes, you don’t have to use the device for reading. You can do a lot of other things with your tablet: play games, surf the Internet, write stuff, listen to music, watch teevee, even make phone calls via Skype. All I need is a comfy chair, a toilet, a shower stall, a refrigerator, a microwave and a great pair of headphones and I’m set for life.

Comics store owners – the smart ones – are beginning to adjust. They’re filling in the vacuum created by Borders’ vaporization by expanding their trade paperback and hardcover racks. They’re getting involved in more comics-related tchotchkes, more heroic fantasy movie stuff, and more innovative and distinctive product in general. They no longer have to endure as much terror as they go through the monthly Diamond catalog to guess which non-returnable pamphlets are going to put them out of business.

So, again I ask you – as comics readers, as book readers.

Where does our future lie?

THURSDAY: Dennis O’Neil

 

PULP 2.0 PRESS BRINGS YOU A THRILLOGY OF TITANIC TALES!

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Cover Art: Douglas Klauba

PRESS RELEASE:

You want a bargain? You got it: 3 brilliant novels by the Master of Adventure himself, Edgar Rice Burroughs – A PRINCESS OF MARS, TARZAN and THE MUCKER. Featuring cover and interior illustrations by none other than Doug Klauba (http://www.douglasklauba.com/). All for the low, low price of ONLY 99¢ on your Kindle or Nook. Coming to you soon. Read it before the new movie, JOHN CARTER hits theaters.

For more on Pulp 2.0 Press, please visit http://pulp2ohpress.com/

Pandemonium

Pandemonium
Written by Chris Wooding, Art by Cassandra Diaz
Scholastic Graphix, 160 pages, 12.99 (softcover)/$22.99 (hardcover)

Chris Wooding is a successful young adult writer who has been carefully dipping his toe into the graphic novel world. In 2009, he blended words with illustrations in the largely successful Malice and is back this month with his first full-fledged graphic novel, Pandemonium. Clearly the first in a series of stories, the book creates an all-too-familiar fantasy world, populates it with stereotypes and tries to have some fun along the way. Instead, it all feels creaky and done better before.

First of all, the premise is straight out of The Prince & The Pauper but has done far better as the movie Dave. Here, teenage Seifer Tombchewer is plucked from his backwoods village and summarily brought to the castle so he could impersonate the missing Prince Talon and keep the kingdom of the Darkling Realm safe until he has been returned. Of course, in their royal arrogance, they never bothered to explain his absence to the worried family, nor did they take the time to properly instruct Seifer before his first public appearance. While intended for comic relief, it just shows how poorly thought through much of the story has been.

It’s hard to take the story and characters seriously when they have absurd names like Lumbago or Snaggleface, from the land of Fang. Really.

Seifer has to play Talon and in so doing, proves to one and all how his simple village ways make him a better ruler and heir to the throne than the prince himself. Ho hum. Where the story really gets interesting is the relationship he forges with Talon’s younger sisters, especially when they learn the truth. Additionally, he falls for Carcassa, daughter of gambling addict Baron Canasta Malefica, come to court to beg for help and gets it with interest. Meantime, the prince’s fiancée is due back soon which will only complicate things but first he has to survive the machinations of those who kidnapped the prince and scheme to bring down the government.

Wooding makes things somewhat interesting by giving the people bat-wings and some have the natural born ability to conjure magika. But he then goes and spoils it with anachronisms so Seifer worries about being a “wuss” and Cassie sends a letter “economy”.

He is not well served by Cassandra Diaz, making her professional debut. Her Manga-inspired art is stiff and simplistic with no real style of her own coming through. Like the story itself, we’ve seen this art before and done better. The advance reading copy from Scholastic only has the first 16 pages in color and she uses a nice subdued palette which helps differentiate the characters far better than her line art does.

While some may like the humor and tongue-in-cheek approach, I merely wish that the 8-12 year olds this is aimed at actually were given better material.

MICHAEL DAVIS: Static Cling

davis-column-art-120124-5820895It’s not a black or white world. The world is made up of many shades of gray.

Yet somehow when something happens to a black character “racism” always clings to the debate.

There has been a flurry of activity since DC cancelled Static Shock. The DC official line is the book was cancelled because of sales. Some fans think DC should have kept the book alive by whatever means necessary and only canceled the book because they did not think enough of the character to change direction.

Some think that DC cancelled the book because Static was black.

What do I, co-creator of Static, think?

I don’t care why they cancelled the book. I care that they cancelled the book.

A guy once put a gun to my head and pulled the trigger. The gun jammed. I didn’t care why the gun jammed, I cared that the gun jammed.

Sometimes the reason for something is not nearly as important as the thing.

In the almost 20 years that Milestone, I company I co-founded, has been around I’ve never publicly commented on the direction of the Milestone universe. Never a word on the management rather I was with the company or not. I’ll do it here, but just to make a point.

I did not like the book.

Moving on…

I mentioned in a post on ComicMix last week that there are some who think that DC cancelled the book because Static was black but somehow fail to acknowledge that DC published the book in the first place.  I love people who don’t let little things like the facts get in the way of a good conspiracy theory.

Over on my website, Danny Donovan wrote an amazing piece about the cancellation called “Not shocked.” A reader wrote a wonderful comment making the case that DC’s actions regarding the Static cancellation had strong overtones or racism.

I do not believe DC cancelled the book because of some racist agenda.

So why do I say the writer’s comments were “wonderful?” Because he presented his case, backed up his thoughts and wrote them in a clear concise way. I don’t have to agree with someone to acknowledge they make a good case.

A few years ago during The Black Panel at Comic Con International I addressed one of the many rumors about Milestone Media by telling the audience how Denys Cowan started Milestone and I co-signed, period. Milestone was Deny’s baby and without Denys Milestone never would have happened.

Never.

Ever.

Ever!

Soon after Comic Con, a blogger went on line and wrote that “his sources” told him that my “version” of Milestone’s origin was not the way Milestone started and because Denys (who was on the panel with me) didn’t say anything after I made my comments, somehow that meant I was lying.

Like I said, I love people who don’t let little things like the facts get in the way of a good conspiracy theory.

So, me being me, I went online and told this guy that his “sources” were wrong. He came back with “these are very good sources” and he was standing behind them.

He was standing behind “very good sources” instead of giving me (who was there) the benefit of the doubt. What I did next was tell him I’d give him ten thousand dollars if he could prove what he was telling thousands of people on the net.  If he didn’t prove it then he should give me ten grand or shut the fuck up.

He shut the fuck up.

The comment on MDW made by the guy who suggests racism had a hand in the cancellation of Static gave a few examples of DC purposive prejudice towards black characters and creators.

And… he made some good points. I know of one instance when he was on the right track. He did not give particulars so I cannot say for a fact that he was talking about the following incident but it fits the general description.

When Milestone started negotiations with DC there was one meeting in which an important high-ranking DC executive said that when it came to black characters in the market place, black meant death. He went on to suggest we don’t show the characters in any ads so as not to turn off the public. He finished once again with, “black means death.”

At that moment one more racist word out of his mouth may have meant death if the looks on the faces of Dwayne McDuffie, Denys Cowan, Derek Dingle and myself meant anything.

Here’s my two cents. That guy was an asshole and people in the industry generally accept that he was out of touch and yes I felt at the time he was racist.  I was in his office once admiring a photo of a sports car he had on the wall. “Maybe one day with a lot of hard work you can have a car like that,” he said with a smile.

I reached into my pocket and showed him my car keys. “I already have one.”

The look on his face was well worth the distain he showed me from that moment on. He never spoke to me again unless he had to.

I believe he was racist and because he was a high-ranking member of the DC staff I believe he could be a problem. Was he a problem? I can’t say for sure.

Jenette Kahn and Paul Levitz were his bosses and they believed in Milestone from day one, so fuck him. I saw him once after he left DC, he was very pleasant and so was I. Why be decent?

As Denys says, “too small, throw it back.”

That was then, this is now…

Hey Bruce! How you living? Guess how many sports cars I have now!

Here’d something that’s never addressed in these “DC is racist claims” concerning Milestone.

The founders.

No founder of Milestone would stand for any Jim Crow shit. Not now, not then.

It will never happen and if some people would just look at the backgrounds and resumes of the founders they would know that Milestone is made up of people that Ice Cube famously said are ‘the wrong niggas to fuck with.’

Has race been an issue at DC?  Yes!  Race is an issue everywhere. The question is when race becomes racism. DC did not cancel Static because they were racist; they cancelled Static because the fans did not want to see one of the greatest characters ever created fighting a giant fish.

A giant fish??

Really?

Lastly, DC took a risk with Milestone but almost twenty years later Milestone is still here, still a topic of conversation still a great universe with great characters and I’m sure that Static is a risk they will take again.

As Captain Kirk said, “Risk? Risk, is our business!”

Good job Danny… for a white boy. ;-)

WEDNESDAY: Mike Gold

Exploring The Power Of The Centipede with Chuck Miller

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One of the great things about being part of the all pulp staff is the ability to read great pulp.  The Black Centipede was given to me generously by Chuck Miller, and the book is a fascinating read.  This doesn’t have a very one dimensional approach to it.  Heroes could very easily be villains, and even the staunchest villain has some heroic qualities to them.  The dark side of humanity is made commonplace, and Chuck Miller does it seamlessly.  The characters are believable and they feel human, much more so than many other stories.
 Chuck himself is a fascinating man.   I discuss with him Black Centipede, his other projects and the nature of man.
All Pulp:  Who were your writing influences growing up?
Chuck Miller:  I guess comic books would be a major one, since i’ve been reading them since literally as far back as I can remember. When I was 8 years old, I was given a copy of the Complete Sherlock Holmes, which made a huge impression on me. I’m a die-hard Holmes fan to this day. And not just the Conan Doyle stories– I really love a lot of the pastiches that have sprouted up, beginning with The Seven Per-Cent Solution and The West End Horror by Nicholas Meyer. I loved the way Meyer involved Holmes with genuine historical persons and events, and I do the same thing with the Black Centipede. In Creeping Dawn,  he has encounters with Lizzie Borden, H.P. Lovecraft, Frank Nitti, and William Randolph Hearst.
I also started reading the paperback reprints of the Shadow and Doc Savage stories when I was still a pre-teen, and those stuck with me. I very much preferred the Shadow, because he was so mysterious and had an air of the supernatural about him, though there was never any hint of the occult in any of the stories. Later on, I got into the Nero Wolfe books by Rex Stout, and those would become a major influence in terms of narrative voice. I was really captivated by the way Archie Goodwin’s personality came across in the writing, and I try to do the same thing myself, as best I can. Just about everything I do is in first person. I like to get really deep inside a character’s head, and I’m really not very comfortable as an omniscient third person.
There have been a huge number of influences on my writing, in terms of both style and content. Hunter S. Thompson, Philip Jose Farmer, Flannery O’Connor, William S. Burroughs, Dorothy Parker, Raymond Chandler, Philip K. Dick… it just goes on and on, really. I have taken a little something from each of them. And not only books, but movies and music as well. I bring in a lot of very diverse elements. It has been said that my work is very unique and original. The fact is, the Centipede is very derivative character, but he is derived from so many wide-ranging sources that he appears to be completely original.
AP:  Why pulp?
CM:  That happened sort of by accident. About 20 years ago, I came up with an idea for a comic book called  The Optimist.  It never went anywhere, but I had a huge cast of characters I had created for it, and they continued to simmer in my head after the project was finally abandoned completely back in 2001.

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A couple of years ago, I decided to really get serious about the writing. I’d always wanted to do it, and I was in a position where I could devote a lot of time to it, so I did. For subject matter, I went back to The Optimist. The original concept was a post-glory-days superhero saga, vaguely similar to The Watchmen. I didn’t want to do a comic book– and had nobody to draw it even if I had– so I just did it as an ordinary prose piece. The protagonist, Jack Christian, was a grown-up superhero kid sidekick whose mentor had died under dodgy circumstances 12 years earlier. Jack, a down-on-his luck alcoholic by this time, returns to the city of Zenith, where the tragedy took place. He encounters a number of retires heroes and other oddballs. Among these was the Black Centipede, who was originally intended to be a fairly minor character. I wanted him to be a genuine oddball– he is based in part on William S. Burroughs– and he was the only character cast in the mold of a traditional pulp action hero from the 30s.
So, anyhow, I wrote this novel, and the Centipede started stealing scenes. He ended up with a much bigger role. When I finished, I started promoting it myself on the web, making it available for free in hopes of attracting a publisher. It really didn’t stir up much of anything, though.
At one point a friend of mine told me she didn’t think many people would want to sit and read an entire novel online, and suggested I do some shorter pieces if I really wanted to get noticed. Since The Optimist didn’t lend itself to that, I decided to explore the past of one of the supporting characters. The Centipede was the obvious choice for this. I wrote a story set in 1957, “Wisconsin Death Trip.” I enjoyed doing it, so I went ahead and wrote a novella called Gasp, Choke, Good Lord, an homage to the EC horror comics of the 1950s, guest-starring the infamous Doctor Fredric Wertham, author of Seduction of the Innocent, and EC publisher William M. Gaines. And I posted all of this for free on a blog I put together. I created a rather elaborate history for the Centipede, which included him being not only a “real-life” crime fighter, but also the star of a highly-fictionalized pulp adventure magazine published by William Randolph Hearst.
Well, to cut a long story short, I got noticed by Tommy Hancock of pro Se Press, who was very enthusiastic about my work. After a bit of back and forth, it was decided that I should write a novel for Pro Se, which I did. That novel was Creeping Dawn: The Rise of the Black Centipede.
AP: What did writing Creeping Dawn teach you as an author?

CM: I’m not entirely sure. I guess I learned to tell a story with a specific word count. Now that it’s published, and I have read it in book form, I noticed several things I really didn’t like about it, and i have tried to avoid those while writing the next one.

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AP: One of the things that I really found fascinating with Creeping Dawn was how you write about the more monstrous parts of people.  From Lizzy’s past to William’s own acceptance of things.  You make it seem so normal.  I’m kind of jealous, but also wondering where those ideas came from.  Is this something you’ve always thought?  Or did it just fit the context of your story?

CM: All of that comes from my own life.  My mother died when I was very young, and my father just sort of went nuts after that. He deteriorated mentally and emotionally for about five years, and then ended up killing himself. And I had a front row seat for the whole thing. So I have always been conscious of this darkness in the world, that seems to be just under the surface of everything. That is somewhat analogous to what the Black Centipede refers to as the “Dark Power,” though in his fictional world, it is more literal and manifests itself in more overt ways. But, in my own life, I’ve always been aware that things and people are not really what they seem to be, not exactly. And if you look even just a little way beneath the surface, you’re apt to find a nasty surprise.

But I don’t think you have to give in to it. I think there is good in the world, too, but sometimes you have to wade through some pretty toxic sludge to find it. In “Creeping Dawn,” the young Centipede seems to believe that the darkness is the true power, the only thing worth striving to understand. But, being the kind of person he is, he doesn’t want to give himself over to it. Instead, he decides to oppose it, as a way of measuring its scope and capabilities. In the beginning, he isn’t motivated by a desire to see justice done. He is simply curious. He wants to understand the world in a way nobody else ever has. Quite a bit of hubris on his part, really.

In the second section of “Creeping Dawn,” which is set six years after his experience with Lizzie Borden, we see how he becomes a crime fighter, and how he goes about establishing himself in the city of Zenith, in a series of events that revolve around the rise of a shadowy new crime lord called Doctor Almanac. In the beginning, the Centipede is very ruthless and reckless and he ends up in trouble with the law and the press. But his cause is taken up by newspaper magnate William Randolph Hearst. Hearst is a fascinating historical figure, whose public and private life make him a great cast member for the Black Centipede series. Through some devious and underhanded maneuvering, Hearst transforms the Centipede– in the mind of the public, anyhow– from a dangerous, psychotic vigilante into a national hero. In addition to this, Hearst launches a Black Centipede pulp adventure magazine, featuring highly fictionalized accounts of our hero’s adventures. This is another example of how things appear to be a certain way, but are really something entirely different. The real Black Centipede is not the Doc Savage-style paragon the public perceives.

bloodofbluexcopy-6151069
The Centipede is a celebrity akin to Doc Savage and other classic pulp.
Nothing is black-and-white. But there is right and wrong, I believe. Sometimes it takes even a good person a long time and a lot of mistakes to make the distinction and choose one or the other. Most of my villains have some heroic qualities, and most of my heroes are criminals at heart. They do kind of believe they are somehow above the rest of society, and have a right to disregard the rules. Life is a process, a constant parade of choices. A villain can choose to be noble, a hero can choose to act deplorably.

In “Blood of the Centipede,” the next book in the series, the Centipede gets a bit of a moral compass in the form of Amelia Earhart, who has been asked by President Roosevelt to keep an eye on our hero. I don’t want to go into any more detail about that now, except to say that, as the series progresses, we will see our hero evolve in some interesting and unexpected ways.

AP: If you had to pick just one scene, what was your favorite in Creeping Dawn and why?

CM: I guess the one I had the most fun writing was the Centipede’s accidental invasion of doctor Almanac’s secret headquarters. I got a kick out of
 describing his sort of gleeful approach to lethal violence. And then, of course, that whole episode led up to his first encounter with Stan Bartowski, a Zenith police officer who becomes a friend. He’ll be an important mainstay character throughout the series. He’s also sort of a comic foil, since a lot of things the Centipede says to him sail right over his head. I put a lot of humor in the stories, and strive to strike a good balance.

AP: Can you tell us a bit of where you want to take the Black Centipede. He’s gone from supporting character to a mainstay.  Would you be happy to continue writing him or are there are other things you like to work on?

CM: I don’t think I’ll ever tire of the Centipede. He’s pretty versatile, and I have lots of plans for him. But I do have a number of other characters I want to develop into their own series. “The Incredible Adventures of Vionna Valis and Mary Jane Kelly” is one of these. http://theblackcentipede.blogspot.com/2011/09/their-first-adventure.html

It deals with a peculiar pair of “psychic detectives.” I’ve done a couple stories that I posted on my blog, but they have yet to be officially published. However, they live in the same world as the Black Centipede, and they appear briefly in the second Centipede novel. So does Doctor Unknown Junior, a very businesslike sorceress whose adventures I want to get out there one of these days.


AP: Are you working on anything else at the moment?

CM: I have something coming out in February from Pacific-Noir Press. “The Bay Phantom Chronicles Episode One: The Return of Doctor Piranha” is the first tale of the Bay Phantom, a 94-year-old, retired pulp-era masked hero based in my old home town of Mobile, Alabama. In this one, he is befriended by Janie Marie Colson, a young college student who is helping him write his memoirs. Complications arise when the Phantom’s arch-foe, 98-year-old Doctor Piranha, is released from federal prison after serving a 70-year sentence.  Piranha, of course, swore revenge– no matter how long it took…

And I am involved in the Pulp Obscura project from Pro Se and Altus Press, which will be coming out throughout 2012.

The Point Radio: Kate Beckinsale Back In The UNDERWORLD

UNDERWORLD AWAKENING pulled in a 25 million dollar box office and we sit down with Kate Beckinsale who says she was more than glad to return too her role in the franchise, plus we begin our farewell to the NBC series CHUCK, as Ryan McPartlin and Yvonne Strahovski talk about wrapping it all up.

The Point Radio is on the air right now – 24 hours a day of pop culture fun for FREE. GO HERE and LISTEN FREE on any computer or mobile device– and please check us out on Facebook right here & toss us a “like” or follow us on Twitter @ThePointRadio.