The Mix : What are people talking about today?

When The Hulk Wasn’t Green Or Red, But Black

Allan Cole, continuing his stories of writing for The Incredible Hulk TV series, reveals a fact I never knew about the show…

After all, it was Lou Ferrigno who played the Hulk, right?

Right.

But Lou didn’t do his own stunts. The guy who actually crashed through buildings, jumped off cliffs, and generally beat the hell out of the bad guys, was Manny Perry, one of the premier body builders and stunt men of his era. He was also black.

It seems they cast seventy or eighty guys to stand in for Lou, but only Manny was big enough to double Ferrigno and athletic enough to do the stunts. As Manny once told an interviewer, “They figured green is green and who could tell the difference?”

via MY HOLLYWOOD MISADVENTURES: LOU FERRIGNO AND THE HARLEY HULKOUT.

DENNIS O’NEIL: “I Am An Artist”

oneil-column-art-111110-1959899Percy looked up from the newspaper he had liberated from his neighbor’s welcome mat and had an epiphany. He knew what had been missing. He knew what he needed. About time.

The story, in the paper’s arts and leisure section – the only section Percy ever bothered with – concerned a major comic book publisher’s revision of its product line. It was a straightforward news piece, with no snarky asides, and it was the third or fourth such piece the paper had run in the last month or so – further proof that comics were an accepted and respected part of the arts community. Which, since Percy was a comic book penciler and inker, made him an Artist. In his imagination, he saw that word – Artist – in neon letters as big as a Times Square Billboard, with a brass band playing beneath them, and Mom and Dad there too, beaming, and also the little hottie from across the alley who had always ignored him, fluttering her eyelashes.

“I’m an Artist,” he said to the empty apartment. Not too convincing. The problem was, Percy had gotten a lot of attention with a self-published comic that he’s written, penciled and inked and then made copies of on the machine in his dad’s office after everyone had gone home.

“That’s nice, dear,” Mom had said when he’d given her a copy.

“Uh huh,” Dad said, nicely disguising his enthusiasm.

His buddies told him the book was cool.

“Yer a frickin’ artist, guy,” an uncle said.

And he was, no doubt about it. But he’d been in New York for six months and hadn’t gotten past any publisher’s reception desk and he’d taken his samples to all the comics publishers and a lot of other kinds of publishers because, well, you never know.

Okay, he was an artist. But, given his lack of success, he must be missing something. What? Then he remembered the art history class he’d taken during his one semester at the community college…what had the instructor said? Artists had…influxes? No – influences!

Epiphany, Part Two: Percy needed influences.

He wouldn’t find them in his apartment, unless they came in the form of roaches, so he put on his Yankees baseball cap – bill aimed behind him, of course – and emerged from his building into a sunny August afternoon. He turned left – south – and began walking. Would he recognize an Influence when he found one? He had to assume that he would.

He turned east on Chambers – no particular reason – and continued to the river. Turned south and soon found himself at the South Street Seaport. On a fine summer afternoon like this, the area was crowded with tourists ogling the Nineteenth Century sailing ship and drifting in and out of the restaurants and shops and glancing up at the steel-and-glass skyscrapers to the west and buying mystery meat from the food carts. Percy joined the few people who were watching a mime doing the usual mime stuff – being inside a box, walking against the wind and some other action Percy couldn’t decipher.

Suddenly the mime stopped whatever he was doing, stared directly at Percy and asked, “Looking for an influence, numb nuts?”

To be continued

FRIDAY: Martha Thomases

DYNAMITE ENTERTAINMENT LAUNCHES WARRIORS OF MARS IN FEBRUARY 2012!

PRESS RELEASE

THE NEWEST HIT-SERIES IN DYNAMITE’S WARLORD OF MARS LINE OF COMICS!

Cover Art: Joe Jusko

November 9, 2011, Runnemede, NJ – After the incredible critical and commercial success of Dynamite’s Warlord of Mars, Warlord of Mars: Dejah Thoris, and Warlord of Mars: Fall of Barsoom series, comes Warriors of Mars #1! Before John Carter another earthman visited the Red planet: Lt. Gullivar Jones. Now these legendary warriors are brought together for the first time! When Lt. Guillivar Jones happens upon a mysterious old man with a beautiful carpet he soon finds himself transported through space and time to the planet Mars where he meets the beautiful Princess Hera and a ferocious tribe of Red Martians bent on capturing her! Warriors of Mars is written by Warlord of Mars: Fall of Barsoom writer Robert Napton, drawn by Jack Jadson, with covers by the legendary Joe Jusko and will hit comic stores February 2012!

“Gullivar was written first, but Carter cornered the market and became a legend,” says writer Robert Napton. “It’s Gullivar Vs. John Carter-let the battle begin! It’s a thrill to bring these two southern gents together on the same stretch of red turf and let them have at it. But it won’t be all blood and guts. There’s a story to be told. Many have heard of Gullivar of Mars, but don’t know who he is and how he’s a different sort of man from Carter despite being caught in the same otherworldly circumstances. This is one mash-up fans of pulp won’t want to miss.”
“We’ve found a smart and clever way to tie these two pulp heroes together and rescue Gullivar from relative obscurity and place him up on the dais among the greats,” adds Dynamite Editor Joe Rybandt. “We’re going to explore more of the eras of Mars with Gullivar, the past, present and future and Robert Napton has proven himself more than capable of spinning some excellent Barsoomian tales and we’ve paired him with a great new artistic find in Jack Jadson.”

Princess of Mars is an Edgar Rice Burroughs science fiction novel, the first of his famous series, which initially began publication in serialized form within the pages of All-Story Magazine in February 1912. It is also Burroughs’ first novel, predating his Tarzan stories. Full of swordplay and daring feats, the story is considered a classic example of 20th century pulp fiction.

Edwin Lester Arnold’s Gullivar of Mars novel, originally published as Lieutenant Gullivar Jones: His Vacation in 1905, bears a number of striking similarities to Burroughs’ Princess of Mars. Both Gullivar and Burroughs’ protagonist John Carter are Southern United States soldiers who arrive on Mars by apparently magical means (magic carpet in the case of the former, astral projection in that of the latter) and have numerous adventures there, including falling in love with Martian princesses. Gullivar is a more hapless character, however, paling beside the heroic and accomplished Carter. Gullivar, in contrast, stumbles in and out of trouble and never quite succeeds in mastering it.

Robert Napton has written hundreds of comics. He is currently writing WARLORD OF MARS: THE FALL OF BARSOOM for DYNAMITE. In 2008, he adapted Terry Brooks’ DARK WRAITH OF SHANNARA as a graphic novel and wrote the new BATTLESTAR GALACTICA.
Join the conversation on Twitter with #WarriorsOfMars

To learn more about Dynamite Entertainment, please visit: www.dynamite.net

In Stores Today – Moonstone Books Return of the Monsters!

Moonstone Books’ Return of the Monsters titles are available in better comic shops everywhere today. If for some reason your local comic shop doesn’t have them on hand, they can still order them through Diamond or you can order direct through http://www.moonstonebooks.com/ or wherever you buy your favorite comic books on-line.

Titles include Domino Lady vs. The Mummy, Black Bat vs. Dracula, and The Spider vs. Werewolf.

Domino Lady vs. The Mummy
a1-dlmonster-4968406

The Egyptian sorceress Nephthys has promised to build her mummified mistress the perfect mate. Together, they cut a bloody swath across 1930’s Hollywood in search of the last few perfect bodies to harvest to complete the process. The last thing Nepthys or the mummy expected to run across was The Domino Lady, a perfect body that fights back.

Story: Nancy Holder, Bobby Nash
Art: Rock Baker, Jeff Austin
Cover: Dan Brereton
40 pages, grayscale, $3.99
Direct Link: http://moonstonebooks.com/shop/item.aspx?itemid=917

Black Bat vs. Dracula

a1-batmonster-8328256

For the first time in history three eras collide in one place as Pulp Fiction’s newest heroine, Death Angel joins forces with Pulp’s enduring vigilante The Black Bat to battle the eternal face of horror, Dracula. Mike (The Phantom) Bullock and rising star Eric Johns bring this spine-tingling tale of darkness, lust and fear to you, wrapped in a visceral cover crafted by horror comic legend Dan Brereton.

Story: Mike Bullock
Art: Eric Johns
Cover: Dan Brereton
40 pages, grayscale, $3.99
Direct Link: http://moonstonebooks.com/shop/item.aspx?itemid=918

The Spider vs. Werewolf

a1-spidermonster-5878534

A seething, ferocious nightmare from the Spider’s dark past invades New York City, preying upon the innocent and the helpless. Mutilated victims are strewn in the blood-slick streets, and once normal men have become murderous monsters. The Master of Men must face the deadly demons alone. Not even his beloved Nita Van Sloan can be trusted when everyone—including the Spider himself—may not be what they seem.

Story: Martin Powell
Art: Jay Piscopo
Cover: Dan Brereton
40 pages, grayscale, $3.99
Direct Link: http://moonstonebooks.com/shop/item.aspx?itemid=916

For more information on Moonstoen Books, please visit them at http://www.moonstonebooks.com/.

Bil Keane, creator of “The Family Circus”: 1922-2011

bil_keane_1990-8435032

There’s one more ghost looking over Billy, Jeffy, Dolly, and P.J. The AP is reporting that Bil Keane, who started drawing the one-panel cartoon The Family Circus in February 1960, died Tuesday at age 89 at his longtime home in Paradise Valley, near Phoenix.

Jeff Keane, Keane’s son who lives in Laguna Hills, Calif., said that his father died of congestive heart failure with one of his other sons by his side after his conditioned worsened during the last month. All of Keane’s five children, nine grandchildren and great-granddaughter were able to visit him last week, Jeff Keane said.

“He said, ‘I love you’ and that’s what I said to him, which is a great way to go out,” Jeff Keane said of the last conversation he had with his father. “The great thing is Dad loved the family so much, so the fact that we all saw him, I think that gave him great comfort and made his passing easy. Luckily he didn’t suffer through a lot of things.”

Jeff Keane has been drawing “Family Circus” in the last few years as his father enjoyed retirement. His comic strip is featured in nearly 1,500 newspapers across the country.

via Bil Keane, creator of ‘Family Circus’ that entertained for nearly half-century, dies at 89 – The Washington Post.

Our condolences to his family.

New Pulp’s Table Talk – Who’s God? Whose dog?

This week, Table Talkers Barry Reese, Bobby Nash, and Mike Bullock toss out their ideas of what’s helping and hindering the New Pulp movement and discuss what they would change if they pulled all the strings.

New Pulp’s Table Talk – Who’s God? Whose dog? is now available at http://www.newpulpfiction.com/ or at the direct link: http://www.newpulpfiction.com/2011/11/table-talk-whos-god-whose-dog.html

Join the conversation. Leave us a blog comment at and let us know your thoughts on this topic.

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!

(more…)

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.