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Derrick Ferguson Hires HUGH MONN, PRIVATE DETECTIVE

Publication Date: Oct 27 2011
ISBN/EAN13: 1466481900 / 9781466481909
Page Count: 184
Binding Type: US Trade Paper
Trim Size: 6″ x 9″
Language: English
Color: Black and White
Related Categories: Fiction / Mystery & Detective / Short Stories
The hard-boiled private eye genre is one I dearly love.  The trench-coated shamus with a cigarette dangling from his lip, .45 automatic or .38 revolver in a well-worn shoulder holster, fedora pulled down low over his forehead, the faithful gum-chewing secretary and even more faithful fifth of scotch in the desk drawer…it’s a genre I never get enough of.  And since television and movies have apparently abandoned the P.I. it’s up to writers like Lee Houston, Jr. and books like HUGH MONN, PRIVATE DETECTIVE to give me my fix.
Let me explain; even though Hugh Monn lives and works on the far distant planet of Frontera interacting with many different species and using advanced technology, the tone and feel of the character and the eight stories in the book are pure 1950’s.  Lee drops in a mention here and there of some bit of sci-fi such as a character having green or purple skin or Hugh’s weapon of choice being a Nuke 653 Rechargeable but that’s just throwaways Lee lobs at us once in a while to remind us that we’re not on Earth.  But he doesn’t go into any real detail as to how this future civilization operates or how the technology works.  When the subject of detective stories crossed with science fiction comes up, I usually mention Larry Niven’s stories and novels about Gil The Arm or Roger Zelazny’s “My Name Is Legion” since in those stories, the science fiction is integral to the story.  Take out the science fiction and you wouldn’t have a story.  Not so with Lee’s Hugh Monn stories.  They could easily have been set in 1950’s Los Angeles or New York with a little rewriting.  But I digress…let’s take HUGH MONN, PRIVATE DETECTIVE for what it is, not for what it isn’t.
Hugh Monn is a Human and yes, he freely admits to his clients that his name is a gag.  But one he prefers to use as he’s got some pretty big secrets in his past he’d prefer to keep to himself.  As a detective, Hugh is capable, sharp, principled and dogged in his determination to solve his cases and get to the truth.  Hugh isn’t a pain-in-the-ass who rebels against authority and isn’t a lone wolf who doesn’t play by the rules.  Matter of fact, Hugh conducts himself as a total professional.  He doesn’t shoot when he doesn’t have to, he’s polite to everybody he meets and he co-operates with the authorities.  In particular, Lawbot 714 who he runs into in a couple of stories and who I wouldn’t mind seeing become a regular if Lee gives us more Hugh Monn cases.  He doesn’t smoke, doesn’t drink, he likes kids; he holds open the doors for old ladies.  I think you can tell where I’m going with this.  Hugh’s a fine detective but as a character I found myself wishing that once in a while he’d haul off and slug a suspect for no good reason other than he doesn’t like the fact the guy has eight eyes.  Hugh could stand to be a little rougher and not so polite.
The story “Shortages” is a good example of how Hugh Monn solves a case using his understanding of both humans and aliens and his powers of observation.  It also introduces the character of Big Louie, a Primoid.  Big Louie is the main suspect in a series of thefts being committed at a high security pier.  It’s a pretty good locked room mystery and the relationship between Hugh and Big Louie is the primary attraction in this story, as in “At What Price Gloria?”  Hugh and Big Louie have to rescue Big Louie’s wife Gloria and stop an assassination attempt.  I only wish more of the stories had been as suspenseful as this one.  In some of them, the mystery really isn’t that hard to figure out as there’s a lack of suspects so the solution comes down to either being this one or that one.  And I never got a sense of Hugh being in any real danger in any of these stories.  But Lee should be commended for trying different types of stories such as “For The Benefit of Master Tyke” which hinges more on the healing of a family than the solving of any real crime.  I picked up halfway through “Where Can I Get A Witness?” is intended as a homage to the 1944 film noir “Laura” and I enjoyed it until the very last paragraph where it felt to me as if the writer had stepped in to give his opinion of his own story and didn’t allow his character to do so.
So should you read HUGH MONN, PRIVATE DETECTIVE?  As a first book from a new writer, I’m inclined to give Lee a pat on the back.  There’s a lot to like in his writing style.  He does know how to keep a story moving but he shouldn’t shy away from rolling in the dirt and giving his characters some sharp edges.  I wouldn’t mind seeing Hugh Monn tackle some more cases but I also wouldn’t mind seeing Lee Houston, Jr. strip away the political correctness and explore the real darkness of Frontera.

MIKE GOLD: Comics Envy

gold-column-art-111109-6728508At the very end of 1973 I was lurking about in a Woolworth’s in downtown Montreal. I was suffering from my worst case of comics envy ever.

I was seduced by the graphic novels rack. That’s not what it was called, but that’s what it was. Dozens of titles by Jean Giraud (a.k.a. Moebius), Phillipe Druillet, and all kinds of master comics creators the likes of which we had not seen in the States. Beautiful stuff. I could follow much of the storytelling but little of the story itself.

I was also seduced by the wide range of subject material, with nary a cape in sight. Western, science fiction, private eye, romance, ennui-ridden existentialism, and stuff that seemed as though it was influenced by lysergic acid diethylamide the likes of which we never had on St. Mark’s Place. In short order I stumbled upon equally awesome material from Japan and Italy and, possibly, Mars. I experienced a beautiful work covering the widest range of subject matter imaginable. But in comics, such a range was not imaginable, not in the United States.

A couple years later the National Lampoon folks started up Heavy Metal, and while it wasn’t as interesting as it could have been, the new magazine got this material out there. At worst, it was a gallon of water brought to the desert. At best, Heavy Metal was a door opener.

One might think that a logical way of dealing with my comics envy would be to learn a foreign language – certainly French or Japanese. No such luck. Like most Americans I’m lacking in the foreign language learning gene: I took five years of Spanish and lived (and now live) in neighborhoods with or near a significant Latino population and I can barely mumble a few phrases, “perdóname” being my most heavily used.

38 years later a lot of wonderful material has been translated – but that’s not the best part. The best part is, the American comics medium has grown to the point where we now create stories that cover many of the genres that we see overseas. Not anywhere near all, but many. We still don’t have comics for senior citizen grandmothers the way they do in Japan, but we’ve gone a lot further than the 1973 diet of capes, muscles, some horror, a few klutzy teenagers, and a smattering of “children’s comics.” For one thing, we are finally seeing something of a return of children’s comics, thanks to outfits like Boom! and Ape.

Sadly, we’re not seeing a lot of sales in these categories. Most comics shops really can’t afford to risk stocking them in any depth and then promoting them to the appropriate audiences, and most publishers – maybe all of them, now that the tide has changed at DC and Marvel – really can’t afford to help them in any dramatic and useful way.

Maybe electronic distribution will change all that. Clearly, it’s the best way right now to attract new readers, but the promotion budget has to be there and that ain’t easy.

Still, it’s a start. A good start.

THURSDAY: Dennis O’Neil

Interview: Will Meugniot on “N.E.D.O.R. Agents”

n-e-d-o-r-agents-4201848With a resume that could best be described as the very definition of awesometasticness, Will Meugniot is a working legend. Given the opportunity to sit down with him–if only through these odd and twisted halls of the interwebs and Skype–I was tempted to simply pelt him with geeky question after geeky question. Allow me a quick explantion: Reading through his resume, Will Meugniot has worked on an amazing array of projects anyone in Generation X or before would swoon over. As a storyboard artist, writer, producer, and director for (amongst other things) Captain Planet, EXOsquad (aka EXO-Force as you’ll see in our next installment), Jem, Slimer and the Real Ghostbusters, and comics like Tigra, The DNAgents, and Vanity… suffice to say I had a hard time not grilling the poor man for several days.

As we mentioned previously, Will is writing and drawing a brand new comic with an old school feel. The N.E.D.O.R. Agents will be hitting your local comic shop shelves, today (November 9th, 2011), and Will was nice enough to sit down with me to give all you ComicMixers the 411. And don’t worry, we totally dish on his work in animation, later this week. Read on!

COMICMIX: Before we get ahead of ourselves, could you tell me, and all of those butchering your name from above how we pronounce your last name?

WILL MEUGNIOT: It’s pronounced Min-Ee-Oh. I think many people have [butchered my name] in the past. Mark Evanier and I used to dub ourselves “The most unpronounceable team in comics!”

CMIX: First and foremost, let’s talk about what brings you here today… the N.E.D.O.R. Agents… Give the ComicMix readers the ‘elevator pitch’ of the project.

MEUGNIOT: First and foremost, it’s a piece I myself would want to be reading right now. N.E.D.O.R. Agents is a period piece; taking these characters from the 40s and reviving them into 1965. I’m treating them the same way other publishers treated revival characters like Captain America, Green Lantern, Flash, and characters of the period were. This is an update for the atomic age. It places these classic characters of the 1940’s in the world of 1965, and the race to space. Of course the race is interrupted by aliens who are already invading Earth!

CMIX: And are the characters being “retconned” here into starting their careers in 1965, or have they simply been elsewhere?

MEUGNIOT: Well, actually the reason these characters haven’t been seen since the 40’s (as you’ll find within the story) is because they have been secretly forming a covert team of superpowered individuals to fight an impending invasion. Now 20 years after the creation of that agency, we’re catching up with them and their super kids!

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Julie Taymor Suing ‘Spider-Man: Turn Off The Dark’ Producers

Meanwhile, Spider-Man co-creator Steve Ditko still doesn’t see a single dime from the show. Or the movies. Or the comics. Or any of a thousand different licenses of the character he co-created. So if we’re going to start talking about copyright infringement, let’s go back a bit, hmmm?

NEW YORK (AP) — Director Julie Taymor sued the producers of “Spider-Man: Turn off the Dark” Tuesday, saying they violated her creative rights and haven’t compensated her for the work she put into Broadway’s most expensive musical.

Charles Spada, an attorney who filed the suit on behalf of the Tony Award-winning director, said Tuesday in a statement that “the producers’ actions have left her no choice but to resort to legal recourse to protect her rights.”

Rick Miramontez, the show’s spokesman, was not immediately aware of the copyright infringement lawsuit, filed in U.S. District Court in Manhattan. Taymor was not available to comment.

The lawsuit seeks half of all profits, gains and advantages derived from the sale, license, transfer or lease of any rights in the original Spiderman book along with a permanent ban of the use of Taymor’s name or likeness in connection with a promotional film without her written consent. It also seeks a jury trial to determine her share of profits from the unauthorized use of her book, which the lawsuit said was believed to be in excess of $1 million.

via Julie Taymor sues ‘Spider-Man’ producers – Yahoo! News.

The Point Radio: HAROLD & KUMAR Do Christmas Wrong


Here’s an interesting holiday recipe – take a popular stoner comedy franchise, toss in some claymation and even a musical number. It’s A VERY HAROLD & KUMAR 3-D CHRISTMAS, destined to burn up DVD shelves after it escapes theaters. We talk to John Cho & Kal Penn about how they’ve changed even if their movie counterparts haven’t. Plus more with Ed GHelms on how THE OFFICE still owes so much to Steve Carrel, and DC breaks even bigger comic sales records in October.

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 Facebookright here & toss us a “like” or follow us on Twitter @ThePointRadio.

MICHAEL DAVIS: The Art of the Deal

A long time ago in a galaxy far, far away…

That line has nothing to do with this column. I just love starting a piece with “A long time ago in a galaxy far, far away…” I mean how cool is that?

A long time ago in a galaxy far, far away…

I started to look at comics differently. Up until that moment, comics were just a great vice in my life. Sure, I wanted to work in comics. Sure I loved comics but until that moment, comics to me were a simple, can’t do without, pleasure.

But… One day I was sitting in my study…what? yes, I had a study! That’s where I went to… study. So, one day I was sitting in my study when a bat smashed through my floor to ceiling window. At that moment I knew my path. My path was clear… That freakin’ bat must die!

Have you any idea how much a floor to ceiling window costs? A lot!

The bat was bouncing off my very expensive walls! Hey! When you see this shit in the movies and by this shit I mean people chasing a bat, rat, bird or whatever around their house, it’s all bullshit. In the movies the point is to get rid of the nuisance and provide comedy relief. The reality? It’s about killing the nuisance and avoiding bat blood on the walls of your Manhattan loft. After securing the bat, I started to…

Oh, you want to know what happened to the bat? Look, PeTA would be up my ass if I wrote what happened to that bat. I really don’t need to hear from those people so I’ll just say this, my .38 is missing a bullet and replacing a door is not that hard.

However, none of that is important. What is important is, at the very moment when my bat problem was over I realized that comics were not just a way to spend another lonely night after masturbating.

What? Oh, like you don’t!

At that moment I stuck upon an idea.

That idea?

The Art Of The Deal.

To put it another way, a step-by-step overview of a comic book deal.

So… starting next week I’m going to share with you in detail the inner working of one of my comic book deals. From idea to printed graphic novel.

I’ll use an existing but not yet finished deal from start to finish so if it goes south you will know why.

So fasten your seat belts, it’s going to be a realistic ride.

WEDNESDAY: Mike Gold

Preview: “Darkwing Duck” #18 — Like A Fenton From The Ashes!

HEAR ME, DUCKBURG! NO LONGER AM I THE WATERFOWL YOU KNEW! I AM FIRE! AND LIFE INCARNATE! NOW AND FOREVER…

…oh, we lose the Disney license after this issue? Maybe not so much on the forever, then.

The DARKWING DUCK/DUCKTALES crossover event twenty years in the making continues right here! Picking up from DUCKTALES #6, this issue marks Part 4 of “Dangerous Currency.” This is it fans — the last Disney single issue from KABOOM! has arrived. It’s the end of an era as we say goodbye to Disney at KABOOM! Don’t miss this landmark final issue from the relationship that put kids comics back on the map!

DARKWING DUCK #18
Written by Ian Brill
Drawn by James Silvani
SC, 24pgs, FC, SRP: $3.99
COVER A: James Silvani
COVER B: Sabrina Alberghetti
Diamond Code: AUG110926

NOMINATIONS NOW OPEN FOR PULP ARK 2012 AWARDS!

Nominations for the PULP ARK Awards are now open and will close January 15th, 2012. The awards are given in conjunction with Pulp Ark, the convention/creators’ conference and the official New Pulp Convention to be held in Batesville, AR, April 20-22, 2012!  The Awards are given for excellence in the field of Pulp, including books, stories, comic books, magazines, and characters as well as creators. 
To determine if a work or creator qualifies for these awards the definition for works that qualify is as follows-New Pulp is fast-paced, plot-oriented storytelling of a linear nature with clearly defined, larger than life protagonists and antagonists, creative descriptions, clever use of turns of phrase and other aspects of writing that add to the intensity and pacing of the story.
Tommy Hancock, Coordinator of Pulp Ark explains additions to the Awards this year.  “We have,” Hancock stated, “added two awards, both by popular requests and thanks to our donor who supports and provides the awards.  Best Book has now been broken into two separate awards-Best Novel and Best Collection/Anthology.  Also, there is now a category for Best New Character.  This can include any New Pulp character created in 2011.”
Hancock also states, “We will also give a Lifetime Achievement Award again this year as well.  A Ten Person committee selected from well-known Creators in New Pulp currently will decide the recipient of this award.  This award is given to someone who has contributed to Pulp, not simply New Pulp, but to the continuation of the interest and promotion of Pulp in all its forms.” Last year’s winners of the first Pulp Ark Lifetime Achievement Award were Tom and Ginger Johnson.
The only works eligible for the Pulp Ark 2012 Awards are those produced between January 1, 2011 and December 31, 2011. Anyone can make a nomination and anyone that makes a nomination will receive a ballot. The only people voting in these eleven awards will be those who made a minimum of one nomination. Also, each individual is allowed only ONE NOMINATION PER CATEGORY. A person may nominate someone in all nine categories, but may only nominate once in each category. All nominations are confidential and sources of nominations will not be revealed. All nominations should be mailed to Tommy Hancock at proseproductions@earthlink.net.The categories open for nomination are (in no particular order and this can be cut and pasted for your nominations ballot):
1. Best Novel (This includes E-books as well as print books)
2. Best Collection/Anthology (This includes single author story collections and multi author anthologies.  This includes E-publications as well as print books)
3. Best short story (this includes stories that appear in short story collections, anthologies, magazines, and e magazines. If from an e-mag, the story must appear on a site identified as an e-magazine, not simply be posted on a site or blog. It includes e-publications as well as traditionally printed works.
4. Best Cover Art (This is restricted to prose book publications, including e-books)
5. Best Interior Art (This is restricted to prose book publications, including e-books)
6. Best Pulp Related Comic (This refers to a series, complete run, one shot, etc. This award is for art, writing, and all other work associated with the nominated comics and the winner. This includes e-publications as well. )
7. Best Pulp Magazine (This award is for art, writing, and all other work associated with the nominated comics and the winner. This includes e-publications as well, but the e-publication must be identified as an e-magazine on the site supporting it. )
8. Best Pulp Revival (The Revival nominated must be published within the calendar year of 2010. This includes epublications as well.)
9.  Best New Character (This must be a character that debuts in a New Pulp work published in 2011.  This included e-publications as well)
10. Best Author (This reward refers to the author and any published author is eligible, including novels, short stories, etc. This includes e-publications as well).
11. Best New Writer (To be nominated, a writer must have been published for the first time in the pulp field in the calendar year of 2011. This includes e-publications as well).

Preview: “Daredevil” #6

It’s Daredevil vs. the Bruiser: Round One, as Marvel is pleased to present your first look at Daredevil #6! From the critically acclaimed creative team of Mark Waid and Marcos Martin, Daredevil must go head to head against a contract fighter who can’t be put down and making Matt’s life a living nightmare. How Daredevil survives, you’ll  have to read to find out.. but the result makes him the most dangerous man in the Marvel Universe. Get in on the action this November in Daredevil #6!

DAREDEVIL #6 (SEP110560)
Written by MARK WAID
Art & Cover by MARCOS MARTIN
FOC – 11/7/11, ON SALE 11/30/11

Win a Copy of “Griff the Invisible”

Back in August, I told you about Griff the Invisible, a small indie film about a would-be super-hero feature the terrific Ryan Kwanten. The movie opened and closed in the blink of an eye, probably while you were on line to see Rise of the Planet of the Apes, and you missed out.

Vivendi Entertainment is releasing the film on Blu-ray and DVD on November 15 so you get a second chance at catching this charming film.

Better, we have been given three DVDs to give away. Here’s what you need to do in order to win:

By 11:59 p.m., Saturday November 12, tell us what super-power you most desire and how you would use it to fight for truth and justice. The final decision of the ComicMix judges will be final.

In case you missed it, here’s the trailer.

Synopsis

Griff (Kwanten), a shy and awkward office worker by day, finds escape from his ordinary life by assuming the identity of a fantastic superhero each night. Griff’s secret is jeopardized when he meets Melody (Dermody), a cute but unconventional daydreamer. She quickly becomes fascinated by his idiosyncrasies, which are equal only to her own. In the face of mounting pressure to live in the “real world,” it’s up to Melody to rescue GRIFF THE INVISIBLE for the sake of herself, Griff and their newfound love for each other.

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