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Real Steel’s Hugh Jackman Talks Boxing Bots

  • News
  • January 27, 2012

charlie-coaching-300x200-1649725Hugh Jackman stars in Real Steel, out on home video this week, and the native Australian is best known to ComicMix fans for his work as Wolverine in  X-Men, X2 and X-Men: The Last Stand before spinning off into X-Men Origins: Wolverine and cameoing as the canucklehead in X-Men First Class.

In the fall of 2009, Jackman made a return to Broadway in the Keith Huff-penned A Steady Rain.

On February 22, 2009, Jackman took on the prestigious role of hosting the 81st Annual Academy Awards live from the Kodak Theater, he wowed those in attendance and helped ABC score a 13% increase in viewership from the previous year. Previously, Jackman served as host of the Tony Awards three years in a row, from 2003-2005, earning an Emmy Award for his 2004 duties at the 58th annual ceremony and a nomination for his 2005 appearance at the 59th annual ceremony.

In 2008, Jackman was seen in Twentieth Century Fox’s Deception opposite Ewan McGregor and the romantic action-adventure epic Australia, directed by Baz Luhrmann.

Jackman has also starred in Darren Aronofsky’s The Fountain, Christopher Nolan’s The Prestige and Woody Allen’s Scoop. He has lent his voice to the animated features Happy Feet and Flushed Away. Other films in which he has had leading roles include Someone Like You, Swordfish, Van Helsing and Kate and Leopold, for which he received a 2002 Golden Globe nomination.

For his portrayal of the 1970s singer-songwriter Peter Allen in The Boy From Oz, Jackman received the 2004 Tony Award® for Best Actor in a musical as well as Drama Desk, Drama League, Outer Critics Circle and Theatre World awards.

Previous theater credits include Carousel at Carnegie Hall, Oklahoma! at the National Theater in London (Olivier Award nomination), “Sunset Boulevard” (for which he won a Mo Award, Australia’s Tony Award) and Disney’s Beauty and the Beast (Mo Award nomination). (more…)

ALL PULP INTERVIEWS PULP FANTASY AUTHOR NANCY HANSEN ON LATEST BOOK AND IMPRINT!

  • News
  • January 27, 2012

ALL PULP: Nancy, share some background with our readers, both personal and professionally.

NANCY HANSEN: I’ve been an avid reader since a very young age. Writing was always something I was good at; I was that lone kid in the classroom who actually looked forward to the essay questions on the test. When my sons were young and I was a stay-at-home mom, I took that opportunity to explore a lot of creative endeavors in arts and crafts areas. I eventually settled on writing because it worked the best with my busy home life. Once I knew what I wanted to do when I grew up, I never looked back.

I took a couple of writing correspondence courses over those years, and put the insight and instructions to good use. Along the way, I taught myself to use a computer, and once we finally got internet (we’re rural) I started looking for like-minded souls. I spent the better part of 5 years as a volunteer moderator for first a big software company’s gardening and landscaping forums, and then Prodigy Internet’s Books and Writing Bulletin Board. In the first forum set I learned quickly how to explain complex ideas and instructions within the context of a limited space, and with the second position honed my writing skills while learning from the pros and helping a lot of new writers get started. From that latter experience came some long lasting friendships with other writers that remain to this day, as well as a lot of the story material I am mining now. I wrote a lot of poetry back then also, and managed to win a couple of local awards. So I was living the writing life, though the mainstream publishing field was always a dead end for me.

I have a very diverse household with three generations under one roof, and it gets hectic. Now that my sons are adults, I have more time to pursue writing. Because of that, most of my professionally published work has happened in the last couple of years. I’m another one of those overnight success stories that only took 20+ years in the making…
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AP: THE TALES OF THE VAGABOND BARDS, your latest release, is a short story collection.  What can you share about the characters and tales found within its pages?

NH: The initial story, The Arcane Codex, was the first and it was based on a vivid dream I had. My dreams tend to be in color and very cinematic, like movie trailers, and they even have background music. I did what you’re supposed to do if you’re a serious writer; I sat up in bed, and jotted it all down. It was just the very beginning of a tale, but it was enough to build upon. Later on, I decided to set it in that familiar sword & sorcery fantasy world I had created years ago where many of my stories—including my novel FORTUNE’S PAWN—take place. Since music was part of the dream, the idea of roving bards as teachers and keepers of the history of their land became appealing, and I just ran with it. Little by little I’ve been fleshing our their part of the overarching world, giving each bard a tale of his or her own, with a common thread binding them all. That’s what this book is, an introduction to the world of these restlessly footloose musicians, poets, singers, and keepers of the lore. Within those pages you will find three distinct stories about the adventures of three different bards.

AP: This is also the debut of your own author based imprint via Pro Se-Hansen’s Way.  First, tell us how it feels to have such a body of work that you’ve been given your own imprint?

NH: There are times when it is mindboggling, and I’m surprised I can keep the details straight. I keep wondering if the well will run dry, but I never seem to run out of ideas. It does help to have some series diversity amongst the stories so that if X doesn’t seem appealing, or I’m stuck for an idea, I can go write something for Y or Z.

Over the years I have kept writing down story concepts and shoving them in files, with the idea I would sit down someday and flesh them all out. Some were actually finished tales, others no more than a few sentences. I remember when I first hooked up with Pro Se back in the spring of 2010, I told Tommy Hancock I had lot of mothballed stories I could write up and send him, and he said bring it on! I don’t think he was expecting 21 short stories from me that year! LOL He was a very good sport about it, and encouraged me to keep sending them in. Many of them were set in that same world, just different places and characters.

When I was approached about having my own imprint—which is an honor for someone who previous to 2010 was an unknown writer—I immediately thought about all those Terran World short stories, and bringing them in under one banner. I have 5 different series amongst those right now; each series with its own unique setting and recurring characters, and there have been some crossover characters and settings between them. It just makes more sense to keep them under one flagship imprint than scattering them hither and yon in other publications. I have other series that I write outside this world setting that will still be appearing elsewhere, as well as full length novels and other projects. So I’m going to be quite busy!

AP: What is the direction or guiding mission of Hansen’s Way?  What do you hope to do with the imprint?
NH: The main thing for now is getting these 5 story lines off the ground and establishing characters and settings, and hopefully a loyal following of readers. What I hope to do down the road is interest other authors in contributing stories that fit within the concepts of each separate series title and the overall Terran World. For the present time I have enough backlog of work that I can fill anthologies fairly easily. When the time comes that I can’t keep up, and I feel enough reading material is out there that interested writers should have a good grasp of how to handle these series, I’ll send out the call for submissions. It’ll be a while though! I have not yet plumbed the depths of my files.
AP:   You’re fairly a newcomer to Pulp.  What about Pulp appeals to you, a fantasy writer.
NH: I am relatively new to both pulp writing and the published work, though I have been a big Robert E. Howard fan for many years. I didn’t really know anything about pulp per se, just that I loved Howard’s breathless pacing and direct approach to getting a story told. I’ve always been an avid fan of the epic/heroic swashbuckling adventure fantasy—could never get enough of that. It’s the kind of thing that works so well for pulp, which is big on action and heroes. If it’s got magic and swordplay, mythological creatures and a big otherworldly backdrop, I’m in!

Now that I’ve written on both sides of the line, I can say that the fundamental difference between mainstream fantasy and pulp fantasy is that pacing. The mainstream books tend to be very long, with convoluted plots and some sort of hero’s quest involved. Pulp is generally shorter, more straightforward, and a simpler plot that is easily satisfied in 200 pages or less. Both share a tendency for recurring characters in series stories, and that ‘larger than life’ hero opposing some arch villainous force over the course of the story.

Now that I’ve had a chance to write to a pulp audience, I find I prefer that quick pacing with shorter intervals between action scenes. Even reading mainstream fantasy now, I get impatient when the story plods through some long introspective moments. I don’t mind those sections as long as the action doesn’t bog down while our heroine is discovering her destiny. Keep that bow twanging during the breathless chase across the tundra while you’re soul searching and it makes for a far more exciting read, and you still get the point across.

AP:  Readers of Fantasy and/or Pulp, what will they find that they love in TALES OF THE VAGABOND BARDS?
NH: In all my fantasy writing these days, I tread a tightrope between what I know the mainstream fantasy readers are looking for and what the pulp world expects. I don’t want to alienate either camp, because at the end of the day, all I want to do is tell a good story well. With the Vagabond Bards, which are not necessarily a fighting group, it’s been a real test of skill to make the stories appeal to the mainstream fantasy reader, who will have certain expectation; and yet maintain that headlong excitement throughout that pulp fans crave. Mainstream fans want a complex world setting with plenty of details and characters they can relate to and cheer along. Pulp readers want a wild ride with lots of action and adventure. So since I already have that big world behind all this, it comes down to characters and plot.

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What this book has is three unique and separate tales of three different bards doing what they do best—using their talents and knowledge to help and educate the folks around them. I think what really shines in these is the characters themselves, and their dedication to what they do, and to each other. Each bard has a distinct personality, some claim to fame, and a background history, and yet they are brought together by a common cause. The three adventures are very different and not at all tame: a desperate attempt to secure a handwritten book of history before it is confiscated, a frantic search for a talented young boy before something happens to him that will alter his life forever, and a rather comical and poignant ‘rescue’ attempt for a local thief by the man who loves her and the bard who gets dragged into the whole sordid mess. If you love good old fashioned adventures in a world where magic and religion are often at odds, you’re not going to want to miss this book.
AP: What are your future plans for the Bards?
NH: Definitely more tales! I’ve barely begun to plumb their depths yet. I’ve brought in some new bard characters along the way that are begging for their own stories. What works well about these is that because they are not your typical fantasy action hero out swinging a sword or flinging spells, there is room for all ages and abilities to have a starring role. For instance, within this book, I have mentioned both a senior female bard and a young boy who will be joining them in the not distant future, and both could easily be featured in their own adventure stories. I see no reason why I can’t use a blind or disabled character, someone with a checkered past (done that once already in fact), bards with varying ethnic or gender identities, or addiction issues (ditto, though it’s outlined in another series). That’s one thing that is fun about these characters; they open a lot of possibilities.

I’ve already mentioned the idea of bringing in other writers to the imprint at some point, and it’s very likely that the Vagabond Bards series is going to be the first place that happens. I think the whole nature of having a rotating cast works very well for that. This is the one series under the imprint where other writers would have a good opportunity to create a brand new character. I’m really looking forward to seeing what others can come up with when we get that far.
AP:  If you had to point out one thing about your writing that you hope readers take away from reading one of your books, what would that be?
NH: Actually, I have a couple of goals…

First of all, I like to make the point that everyday people can still do extraordinary things. Throughout my writing, many of my heroic characters don’t fit the mold of ‘superb physical specimen’ that you see quite often in pulp. Some of them have nagging emotional issues, less than ideal appearance, there are various vices mentioned—and a few are downright flawed. I do that on purpose, because I want these characters to resonate with readers, so that instead of seeing someone whose looks and personality are superhuman and unattainable, they remind you of someone you know, and can feel comfortable with. So when the character does rise to the occasion, you’re right there with them, wrapped up in that situation, cheering her or him on.

I want my villains to have real motivation, something that while it might be skewed thinking, is understandable. That’s how it is in the real world. We’re judged on our deeds today, but our background plays a long way into what we’ve become. Don’t worry, these scoundrels are nasty and you’re going to want to see them get their due, but it’s understood there is more reason to their madness than this is someone who is pure evil incarnate.

Most important of all, I want to tell some rousing good tales. While a story can uplift, enlighten, and make you think, it should also be entertaining. That’s the most important part of fiction writing as far as I’m concerned. I want you to shut that cover at the end of a book feeling good about what you read, and a little sad that it’s over. If I can accomplish that, then I’ve done what I set out to do: write the kind of stories I love to read.

MARTHA THOMASES: Copyrights … and Copywrongs

  • News
  • January 27, 2012

Last week, ComicMix, along with most of the Internet, protested against SOPA and PIPA, two bills that would have seriously compromised our ability to use the web to share information … and gossip … and pictures of cats.

The protests were so widespread that Congress backed down and sent the bills back to committee. It was a victory for those of us who spend all day enthralled by our computer screens, and, more important, it was a victory for the free exchange of ideas.

Still, I can understand the motivation behind the bill, despite how crudely and ham-handedly it was written. The purpose was to protect intellectual property. As a writer, I enjoy getting paid for my work. It would make me grumpy if someone else made money from my efforts and didn’t include me in the payday.

If anything, this hubbub shines a light on our wonky and unfair copyright laws. The purpose of copyright is not only to protect the rights of creators, but also to encourage creativity in a capitalist system. If my writing can make me money, I’ll be encouraged to write more. The same is true for songwriters, artists, choreographers, filmmakers, and comic book crews.

Unfortunately, our particular version of the capitalist system doesn’t work that way.

Songwriters, for example, collect royalties from those who record (and then sell) their songs. In many, many cases, they are not able to get their work published without giving away a large percentage (usually as a co-writing credit) to the publisher. As a result, a lot of musicians don’t care if their work gets downloaded illegally, because it increases their audience and they can make more money – which they don’t have to share – on tour.

On a larger scale, this is true in movies and television. We’ve all heard the stories about actors, directors or screenwriters who supposedly have profit participation in their films, but the studios claim there are no profits.

In comics, at least in so-called mainstream comics, the price for a chance to work for a company that would distribute your creation was your copyright. The most famous example is Siegel and Shuster’s Superman. Things have improved, and if you work for Marvel or DC as a creator, you can now get health insurance and a contract (so you can get a mortgage), but you will still most likely have to agree to work for hire.

The major media corporations try to defend their anti-piracy efforts by saying they are protecting creative people. If only. As <a href=”

Baker  recently explained, the entertainment conglomerates treat creative people as interchangeable widgets. If one artist wants a living wage, ship the job overseas.

The Internet should make it easier for artists to communicate directly with their audiences, without paying the toll of working for a Disney or a Murdoch. It should level the playing field for all entrants.

It should also reduce the price of an admission ticket. Just ask Louis CK.

SATURDAY: Marc Alan Fishman

BSG’s James Callis Guest Stars on Tomorrow’s Merlin

  • Uncategorized
  • January 26, 2012

james-callis-plays-julius-borden-300x200-7068138For six seasons, he played the traitorous Gaius Baltar on Battlestar Galactica.  This Friday, James Callis brings his acting talents to the international hit series MERLIN, playing the equally unscrupulous Julius Borden.

And in his first scene in this Friday’s episode, titled “Aithusa,” Callis comes face to face with the man who was once his mentor – fittingly, court physician Gaius.

Once the pupil of MERLIN’s Gaius, Borden left Camelot during the Great Purge, but in the darkness returns to Camelot looking for the third part of the Triskelion – an ancient object that promises to reveal the location of the last dragon egg.

knights-arthur-merlin-300x200-8456860Despite a stern warning from Gaius, Merlin offers to help Borden if it means he can fulfill his obligation as the Last Dragonlord to ensure the survival of the species.  But the task turns deadly when Merlin realizes exactly why Borden wants the egg.

Although the Great Dragon, Kilgharrah (voiced by John Hurt), figured prominently in the first season of MERLIN, in the last two seasons his primary function has been to give advice to Merlin and help him in times of greatest threat.  It was Kilgharrah, for instance, who cautioned Merlin that “your determination to see goodness in people will be your undoing.”

In “Aithusa,” however, the Great Dragon assumes a much more prominent role in the story.  In the last two seasons, MERLIN “has shown his separation, his independence from the Dragon,” says actor Colin Morgan, who plays Merlin. “At the beginning of Season One, the Dragon was a confidante, someone Merlin needed help from.  Slowly and slowly, they grew apart, and the Dragon’s motives became slightly unclear, so there has been a question of trust between them.” (more…)

DENNIS O’NEIL’s Crystal Ball

  • Uncategorized
  • January 26, 2012

oneil-column-art-120126-1496127Arm back, arm forward, release the ball and…three it goes, down he lane, heading for the pocket and…Kerflunkl –

Strike!

But uh-oh. Look what happened. Somehow, instead of rolling a bowling ball we rolled our magic crystal ball and sure, we knocked down all the pins, but we also smashed the ball to smithereens. Dozens of shards scattered on the polished wood.

Well, we won’t be using that crystal ball to peer into the­­­­­ – or some – future and let the prophecies issuing therefrom provide fodder for this week’s blather. Nope. And there are things we’d like to know about the forthcoming comics world, like will DC be able to continue the success of its reworking of the superhero pantheon (lookin’ good so far, guys!) and just how damn digital will comics get and if they get any digitaler will the comic shops cope? Will their income really be seriously affected?

(I mean, they’re closing the Blockbuster I’ve been patronizing for the past dozen years or so. Nothing is sacred, or certain, and of course we know that, but it can still kick us in the shins.)

Where was I? Oh yeah. Things we’d like to know. On a personal note…will I finish the book I’ve been futzing with for…is it three years now? And will somebody publish it? (And if our crystal ball had a literary critic app, I’d ask just how smelly a garbage heap the book is, anyway.) And back to comics-related matters: Will the Batmovie really knock everyone’s socks off? (And hey, Warners – must I pay for my own ticket or will one of you folks be kind to the ancient, doddering, mostly-retired, septuagenarian funny book hack and put him on a screening list? And not one for a screening in Los Angeles, please. He’s already scheduled to get on more airplanes than he cares to this year.)

Maybe we could pick up a shard and catch a glimpse in it if what the crystal ball would have revealed if we hadn’t stupidly mistaken it for athletic equipment. But what good would that do? Without a context – without the big picture – what we glimpse in a shard wouldn’t provide much information. Come to think of it…the whole and uncompromised crystal ball, pre-bowling fiasco, wasn’t really all that useful, was it? Not for what counts, not for what we really want to know. (Mostly: will I get what I want? How will it all turn out? And oh yeah…will I get what I want?) That ball was always pretty murky, wasn’t it? The images it presented were fuzzy and soft-edged and weirdly distorted, the colors all wrong, the backgrounds bizarre, and when time had passed and we were existing in the reality of those images, they never meant what we thought they’d mean.  There were also smells, which the ball couldn’t show.

Once, when I was interviewing the great Alfred Bester for a magazine piece, he showed me a statuette, a Hugo, the award bequeathed by science fiction fans for outstanding work – the first Hugo ever awarded for best novel of the year. He was using it as a doorstop because, he said, that’s what it’s good for.

Maybe crystal balls make good bowling balls.

RECOMMENDED READING: Alfred Bester received his Hugo for The Demolished Man in 1953. If you’d like to compare your preferences with those of readers of yore, you can probably find a copy of the novel.­­­

FRIDAY: Martha Thomases

PRO SE ANNOUNCES NEW BOOK AND IMPRINT-PULP FANTASY DONE ‘HANSEN’S WAY’!

  • News
  • January 26, 2012
Pro Se Productions

Press Release for Immediate Release-

FANTASY DONE ‘HANSEN’S WAY’-NEW IMPRINT AND NEW BOOK FROM PRO SE!

Pro Se Productions, a leading Publisher in the New Pulp Movement, announced its latest release today!  A three story collection entitled ‘Tales of the Vagabond Bards’ written by Nancy Hansen is now available.   Hansen, a prolific author in Pulp Fantasy, follows up her first novel, “Fortune’s Pawn” with this trio of tales set in the same world as the novel, but looking at events through a different set of eyes.

According to Pro Se, “In a time of upheaval, where magick and religion often collide, those who keep the old ways are increasingly shunned and ridiculed. The Vagabond Bards, a dedicated group of musicians, singers, actors, poets, and teachers of the unwritten oral folklore of the Terran Worlds, are finding themselves coming under pressure to disband or face probable imprisonment—even death. For generations these roving men and women have spread throughout the population, dedicating their lives to educating and assisting their fellow Humans while recording and preserving their knowledge and experiences, making sure the tales of the past are kept alive throughout the mostly illiterate masses. Sworn to Understand, Love, and Keep the Truth, they now face strong opposition from the upstart religion of Helios the Sun God, whose belief is sweeping the countryside, rewriting history and changing views of the past in the most alarming manner. These are the tales of those heroic troubadours, who fight for justice not with weapons, but with words.”

This exciting collection of fantasy fiction from one of New Pulp’s brightest stars in the genre not only debuts a whole new cast of characters and tales from Hansen, but is also the first volume in Pro Se’s latest author focused imprint-Hansen’s Way!

There are times when it is mindboggling,” commented Hansen concerning her work leading to her own imprint, “and I’m surprised I can keep the details straight. When I was approached about having my own imprint—which is an honor for someone who previous to 2010 was an unknown writer—I immediately thought about all those Terran World (the home of the Vagabond Bards) short stories, and bringing them in under one banner. I have 5 different series amongst those right now; each series with its own unique setting and recurring characters, and there have been some crossover characters and settings between them. It just makes more sense to keep them under one flagship imprint than scattering them hither and yon in other publications.”


“Nancy is a hit,” stated Tommy Hancock, Partner in and Editor in Chief of Pro Se, “both with the company and readers eager to follow her work.  “Fortune’s Pawn” had a great showing as a debut novel and Nancy has so many stories bubbling and ready to boil over, stories that appeal to all sorts of readers-Pulp fans, fantasy followers, and more!  And now they can all easily find her work by following ‘Hansen’s Way.’”


Hansen’s Way is the latest Pro Se imprint.  Following the announcement mid 2010 of Reese Unlimited, the first Pro Se imprint, Hansen’s Way is the second Author Focused Imprint from the publisher.  “When an author,” Hancock commented, “presents not only with a large, but a solid body of work, such as the imaginative worlds of fantasy whirling around in Nancy’s mind, it makes sense to put them in a package, in a sense.  Especially when the stories hit a vein with fans as Nancy’s obviously have.” 


“Tales of the Vagabond Bards” is available via Amazon as well as via Pro Se Pulp’s CreateSpace store (https://www.createspace.com/3778916) in print and will be available via Smashwords and Amazon as an ebook within the next week!


For more information on this title or any Pro Se publication, email Hancock at proseproductions@earthlink.net and check out Pro Se at www.prosepulp.com!


ILLUSTRATING THE EARTH’S CORE!

  • Uncategorized
  • January 25, 2012
Tarzan ™ ERB, Inc. Artwork © Tim Burgard.

Sequential Pulp Comics shared this beautifully elegant preview page by artist Tim Burgard for the Martin Powell penned graphic novel, TARZAN AT THE EARTH’S CORE. The graphic novel is licensed and authorized by Edgar Rice Burroughs, Inc. and published by Sequential Pulp/Dark Horse Comics.

Look for TARZAN AT THE EARTH’S CORE coming in 2012 as part of the 100th Anniversary celebration of pulpdom’s favorite Ape-Man.

Tarzan ™ ERB, Inc. Artwork © Tim Burgard.

You can learn more about Sequential Pulp Comics at http://www.sequentialpulpcomics.com/
You can learn more about Dark Horse Comics at http://www.darkhorse.com/

Real Steel Director Shawn Levy Enters the Ring

  • Uncategorized
  • January 25, 2012

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!

  • News
  • January 25, 2012
Frpm Win Scott Eckert-

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!

  • News
  • January 25, 2012

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!

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