The Mix : What are people talking about today?

Happy 24 Hour Comics Day!

  • News
  • October 1, 2011

24 Hour Comics Day is here! Check with your local store for events, or stay at home and try it yourself! The rules are simple, as defined by Scott McCloud:

Create a complete 24 page comic book in 24 continuous hours.

That means everything: Story, finished art, lettering, color (if applicable), paste-up, everything. Once pen hits paper, the clock starts ticking. 24 hours later, the pen lifts off the paper, never to descend again. Even proofreading has to occur in the 24 hour period. (Computer-generated comics are fine of course, same principles apply).

No sketches, designs, plot summaries or any other kind of direct preparation can precede the 24 hour period. Indirect preparation such as assembling tools, reference materials, food, music etc. is fine.

Your pages can be any size, any material. Carve them in stone, print them with rubber stamps, draw them on your kitchen walls with a magic marker. Whatever you makes you happy.

The 24 hours are continuous. You can take a nap, but the clock keeps ticking. If you get to 24 hours and you’re not done, either end it there (“the Gaiman Variation”) or keep going until you’re done (“the Eastman Variation”). I consider both of these “Noble Failure” Variants and true 24 hour comics in spirit; but you must sincerely intend to do the 24 pages in 24 hours at the outset.

THE ONLINE VARIATION: The above applies to printed comics or online comics with “pages” but if you’d like to try a 24-hour Online Comic that doesn’t break down into pages (like the expanded canvas approach I use in most of my own webcomics) then try this: At least 100 panels AND it has to be done, formatted and ONLINE within the 24-hour period!

If you’re ready to go for it, good luck! And if you want a topic to start fresh, you can always try the Evil Overlord Plot Generator!

Stealth Comic Tie-In Move ‘Argo’ Sets Release Date For Next September

  • Uncategorized
  • September 30, 2011

jack-kirby-lord-of-light-1372847After over thirty years, we now have a release date for what could be the surprise comic-tie in movie hit for next year’s San Diego Comic-Con.

Warner Bros has set September 14, 2012 to send out its Ben Affleck-directed hostage drama Argo. Affleck stars alongside Alan Arkin, Bryan Cranston and John Goodman in the true story of a covert CIA operation to resuce six Americans trapped in Iran during the 1979 hostage crisis.

So what, you may ask, is the comic book connection in a real life story? No, it’s not Argo City… (more…)

NEW PULP AUTHOR GUEST AT FESTIVAL!

  • News
  • September 30, 2011

Crossroads Writers & Literary Festival

September 26, 2011
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The 2011 Crossroads Writers Conference and Literary Festival starts at noon on Sunday, October 2, in downtown Macon, Ga. The festival, which includes children’s activities, a writing marathon and some unique offerings, is free and open to the public with readings by many of the conference’s writers.
   Two special guests reading at the conference include best-selling novelist Joshilyn Jackson, who was recently named a 2011 Georgia Author of the Year, and Melissa Fay Greene, who was just inducted into the Georgia Writers’ Hall of Fame.
Other writers from all over the country include best-selling writers such as Rick Moody, comic book scribe Gail Simone, poet Idris Goodwin, Jay Parini, Southern writer Terry Kay, screenwriter-turned-novelist Jeffrey Stepakoff, Adam Davies and sci-fi author Jack McDevitt.
Georgia talents include Macon’s own Tina McElroy Ansa, mystery novelist Nora McFarland, comedian writer Ad Hudler, pulp fiction writer Barry Reese, memoirist John Jung, Steampunk novelist Emilie Bush, and many more.
The conference schedule will contain the Kick-off Book Launch Friday night, the Writer’s Conference all day Saturday, and the Literary Festival Sunday. For more details about the schedule, visithttps://docs.google.com/leaf?id=17kNd7aPRRRfHykOMeUpmAv09ahE2q1C8xjOrsLwj6vjHTfgXBQCMOJqHFOEx&hl=en.
For more festival information and to register, visithttp://www.crossroadswriters.org/conference/.

The Point Radio: Those BIG BANG Girls and The WAREHOUSE 13 Finale

  • News
  • September 30, 2011

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As CBS‘ BIG BANG THEORY returns this season, two recurring characters are moved to regular status and we talk to them about it all. Melissa Rauch and Mayim Bailik share their excitement about the new season, while over on SyFy, WAREHOUSE 13 closes off season three and Eddie McClintock talks about what we can expect from Monday’s finale and the upcoming Christmas episode.

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.

Review: Glee the Complete Second Season

  • Uncategorized
  • September 30, 2011

glee-season-2-blu-ray-300x400-1878011[[[Glee]]] is an amazing phenomenon, arriving seemingly out of nowhere and immediately capturing the interest of tweens, teens, and adults. Fox had a juggernaut on its hands and rode the wave with tremendous success during its first season.

The second season, though, proved less thrilling, largely due to co-creator/co-producers Ryan Murphy and Brad Falchuk demonstrating an inability to plan character arcs far enough in advance for things to feel organic. The sophomore slump hit this show and like many other fads, appeared ready to burn out quickly. The third season has proven stronger at the start although the ratings have yet to match last year. Similarly, their live tour didn’t fare as well and the 3-d concert movie fizzled in August. (more…)

Are The CBLDF and Bleeding Cool Promoting Censorship?

  • News
  • September 30, 2011

card-600x351-150x88-6859368The Comic Book Legal Defense Fund is currently in the middle of a massive fundraising drive, set in the middle of Banned Books Week. They’ve been auctioning off a lot of neat items, including professional development reviews with Tom Brevoort and Chris Burnham (also available for lunch) and a meet-and-greet for Saturday Night Live.

But there’s one item that leaves us scratching our heads:

The Comic Book Legal Defense Fund is auctioning off a “Get Out Of Bleeding Cool Free” card which will allow the winner the chance to remove a story that Bleeding Cool has published, or prevent one specifically from being published.

Also, in a twist, we will allow the winner to use it as a Get Into Bleeding Cool Free card, guaranteeing positive and promotional coverage for the project of your choice.

Either way, it’s a one time use, but will come with a CBLDF membership. The bidding starts at $500.

The CBLDF, until now a staunch anti-censorship organization, is auctioning off the ability to selectively censor a website?

This can’t be right. I find it very hard to believe the CBLDF would doing something so contrary to their stated goals. Nor can I believe that a journalist of Rich’s caliber is promoting that, under the right circumstances, he can be bought.

I look forward to hearing more about this.

MARTHA THOMASES: Superhero Fashion Inaction

  • Uncategorized
  • September 30, 2011

thomases-column-art-110930-3212896My pal Heidi MacDonald, has done a great job  of covering the critical discussion of DC’s depiction of female characters in The New 52. Thanks to her, I read this awesomely thoughtful analysis by Laura Hudson, and this terrific bit of snark.

So there’s not a lot I can add from a political perspective. Instead, let’s talk about the fashion.

By fashion, I don’t mean the clothes you see on the runways or in the magazines. I mean the choices humans (and, in this case, women) make every day before they leave their homes to go to work, run arounds, or hang with friends.

If you’re a woman with super-powers, and you have a public role fighting crime, or saving people from disasters, it stands to reason that you’d want to wear something eye-catching. That allows you to be seen by people who need your help. It also makes sense that you’d want to wear something form-fitting, because you don’t want a lot of extra fabric to get in the way of the work you’re trying to do. There are many who think the superhero costume was inspired by circus acrobats, and that is certainly an occupation that would require costumes that fit these criteria.

But then what?

Let’s consider Starfire, currently appearing in Red Hood and the Outlaws. I almost didn’t pick this up, because I’m not much of a fan of the current version of Jason Todd, but I looked at the first page, liked the art, and decided to be open-minded. By the time I got to page 7, I was okay.

But then there was page 8.

I’m supposed to believe that Starfire, an alien warrior, would go into battle with almost her entire body exposed, with only her calves truly protected. A woman who, for whatever reason, has enormous breasts, and who wears an outfit that offers them no support, just small metal bandaids over her nipples.

Two pages later, we see Kory again, this time in a bikini. She’s swimming, so the fact that she’s wearing a bikini isn’t surprising, but it doesn’t fit her properly. The ties that should go underneath her breasts instead circle them from the middle. Maybe they have to, because the patches of fabric attached to the ties are too small to cover her if the suit fit properly.

(Perhaps this inability to find something appropriate to wear is related to her new characterization. An alien who can’t tell one human male from another probably has trouble understanding American sizing, or fitting rooms. However, since she makes it clear that, like all her people, she’ll have sex with anyone at any time whenever she feels like it, I’d love to see what the appliance stores are like on Tamaran.)

A costume can be revealing and make sense. When Amanda Connor was drawing Power Girl, I completely believed that Kara was comfortable in her outfit. Sure, it showcased her ta-tas, but Amanda emphasized the seaming enough so that I believed she had the necessary support. There is no doubt in my mind that Amanda did this because she has worn a bra.

A lot of the problems with comic book costumes for women occur because they’re designed and drawn by men, most of whom have not worn a bra. They don’t know what it feels like to run in heels. They haven’t tried to do anything when their breasts might bounce around enough to hurt. And they haven’t heard the things that other men feel entitled to say to women who flaunt their assets (or just try to keep cool in the summer heat).

I used to spend a lot of time decrying that kind of male attention. I really hated being interrupted by strangers and their opinions when I was just outside, minding my own business. “You’ll miss it when they stop,” people told me.

They were wrong. I don’t miss it at all.

If the men who used to hassle me are now distracted reading comics like Red Hood, that’s fine. Let them annoy fictional characters, and there will be no harm, no foul. I only wish DC would market the book accordingly, so I don’t think they want my money.

Dominoes Daredoll Martha Thomases thinks Spandex is just great, especially when it’s part of jeans.

SATURDAY: Marc Alan Fishman

SURF PULP-As Told to Chuck Miller!

  • News
  • September 30, 2011


AS TOLD TO CHUCK MILLER-Pulp Interviews

Chuck’s Guest today- Craig Lockwood 

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CHUCK MILLER:  Surf Pulp is something that not too many of my colleagues who have loosely banded together under the “New Pulp” umbrella have been exposed to. And it’s a wonderful thing, since we are looking to broaden the definition of “pulp fiction,” and expand its visibility and appeal. Could you just give us a brief synopsis of how you got the idea and what steps you took to see it through all the way to Hard-Boiled Surf Pulp Fiction #1?

CRAIG LOCKWOOD:  I’ve often wondered if the term “New Pulp” or “neo-Pulp” isn’t misleading. While the great pulp publishing and fiction industry died out forty years ago, Ellery Queen and Analog are still published. So at least a tenuous thread to the pulp-past was maintained. And the pulps have been an enduring and arguably profound influence on America and Europe’s popular literary culture.


What’s telling is that when I started this project with Rick we had no idea that there was anything like a pulp revival.


I’d had the idea of publishing an all-surfing-related fiction magazine for years. And I loved the old pulp form. I’d done a pulp paper book The Whole Ocean in 1986.


Twenty-three years later I’d just finished writing a big book for a publisher, and decided to see if I couldn’t put an inexpensive magazine—a real pulp—together.


Rick’s a talented illustrator who had been an aficionado of the American pulp illustrative style of the 1930s and ‘40s and ‘50s. I’d read the sci-fi pulps like Galaxy and Analog, and the mystery mags like Back Mask and Ellery Queen, as a kid and been entranced the storytelling and action. My first published fiction – and the piece was wholly an adventure pulp sory — was in SURFER Magazine—despite SURFER being a “slick.”


Both of our mutual interests and our livelihoods center around surfing and the surfing sub-culture.

 That term may seem like an anomaly, but today there is an entire sub-culture—which is something like car-culture—but based around surfing, that had been growing in California since the 1930s. And I’m not talking “Gidget.”


There’s a multi-million dollar sustaining “surfing industry” that includes surfing apparel, surfboard manufacture, surf-related destination travel, surfing fine art with prestigious museum exhibitions, surfing cinema, TV shows, surfing music, surfing literature—including surfing journalism, with books and magazines—and even occasional surfing theater, and believe it or not, a nascent surfing academia.

And of course, there’s surfing crime. Which some older readers may recall getting both national notoriety and tabloid ink during the 1960s with a Florida criminal character nicknamed “Murph the Surf.”

Rick is academically trained, and a graduate of Art Center, here in Pasadena, California, which is one of he nation’s finest art schools. I studied creative writing at the University of California, Los Angeles. Rick’s work hangs in both private collections and at McKibben Gallery in Laguna Beach as well as in Rémi Bertoche, in France.


I’ve been a journalist and editor since college, mainly surfing but in the beginning the pickings were slim so I also worked as a lifeguard and deputy sheriff. Later I served as a war correspondent in Southeast Asia, Balkans, the Middle East and Afghanistan, a crime reporter, and a surfing historian whose last book “Peanuts” An Oral Biography Exploring Legend, Myth and Archetype In California’s Surfing Subculture” was reviewed last year by surfing’s most prestigious magazine, The Surfer’s Journal, as “This year’s Best book on Surfing, 2010.” Currently I serve as co-chair of the Oral History Committee of the Surfing Heritage Foundation, which is an endowed institution and museum. But I also shape surfboards and racing paddleboards – it’s all handwork – as a hobby/business.


We were well into the project when we started discovering you guys.


We looked at each other and went “Wow! Here’s real talent, good writing, and great storytelling.”

And you—the pioneers—were all out there taking great waves and cranking these stylish pulpy bottom turns and looking good. 


It was like wandering through the desert thirsty and alone and discovering this well-supplied big wagon train with the Bonanza cast at the reins.

CHUCK:  What would you say to potential readers who might be leery of your work because of their unfamiliarity with surf culture and the perception that this is a very specialized area that they just wouldn’t “get?” I think this could be really significant in terms of opening up new connections and exposing people to familiar concepts in a new context. That can be a difficult barrier to break through, which is sad because I think there are far more things in common than not.


Chuck, you nailed it. There are definitely more things in common in pulp fiction than not. To paraphrase Marshall McLuhan: The medium is the milieu.


I suspect we both see pulp fiction as a wonderful dimensional door through which readers are transported by writers into other realities. The vehicle of transmission is the combination of the author’s words and the reader’s imagination.


Surfing, and surfing fiction does reflect aspects of surfing’s specialization, just as espionage fiction is specialized. But specialization need not be exclusionary, and it’s never a reason to neglect the opportunity of an exciting read.


The English mystery writer Dick Francis, himself a jockey, set all his stories against a background of horse racing—which is like surfing, a kind of sub-culture. I’ve only been to one horse track in my life, and know nothing about horse-racing, betting on horses, or horse-racing as an occupation. But I’ve read and enjoyed at least a dozen Dick Francis mysteries, full of racetrack jargon, and enjoyed them.  


Reading masters of a specific genera—such as spy fiction’s John Le Carre´, or Alan Furst—means being immersed in that specific fictional world. This is a world the author has created. And when the author is good, and when the narrative’s coherent and the drama compelling we’re exposed and become both intellectually and emotionally involved in a very specialized environment—say Carré’s Cold War London in 1965, or Furst’s Eleventh Arrondissement in 1940 Paris, during the Nazi Occupation.


And in that fictional environment the magic of a reader’s imagination, a skilled author’s description, narrative and dialog—all provide enough information for the reader to understand and personally assimilate the  political climate, the geography, the tradecraft and techniques, the idiom and argot of espionage.


Compared to this kind of complex arcana, surfing’s lexicon is relatively easy. Especially when the format’s a short-story or novella. Here the author is going to be focusing less on some incidental technical aspect—such as a specific surfboard’s design limitations in a given wave—than say, on the protagonist’s efforts to get to the exotic location where a previously un-ridden but fabled wave exists. And—as in all adventure fiction—that requires an author’s commitment to narrative and a reader’s exercise of imagination.

And, if the author is skillful, he or she provides the reader sufficient expository detail so their imagination takes over. This, after all, is how we are able to read and immerse ourselves in—and find credible and enjoyable enough, and thus continue reading—our pulp fiction superheros.

Surfing is an activity rooted in American culture. Surfing comes out of that culture, and so much of what surfing authors are writing about is at least familiar. Most of us have either been to a beach, or seen film or stills of the ocean, and waves, and surfers. We have a sense of the beauty, power and grandeur of the sea. 

I’m not a skier, have never skied, hate snow, don’t know the precise meaning of terms like “mogul” or “screamin’ starfish” or “slow-dog noodle turn” and have never experienced the thrill of flying down a mountainside in deep powder. Yet I’ve read and enjoyed skiing-related fiction. So it wasn’t what I knew that entertained me, it was the author’s skill in creating a literary door through which I could venture in imagination.


I didn’t have to be an anthropologist like Colin Trumbull, living with the m’Buti, in the Congo and having to learn an entire non-cognate language to figure out the sub-culture. If I didn’t know the terminology, the story carried me along.


In one of our Vol. 1 No. 1 issue’s stories, “Sorcerer of Siargao” by Susan Chaplin, her surfer-protagonist is described this way:


“Marla was tall, with big shoulders and clear blue eyes. At forty-seven and recently divorced she was living out some pre-divorce impulse to surf her way around the world.”


There is nothing very exclusionary here for a non-surfing reader. You get her logline. Restless middle aged woman seeks adventure. The rest is storytelling—through a surfer’s eyes.


In “The Big Deep” hard-luck hard-boiled surfing private eye Sam Sand tells  surf syndicate enforcer Gang Lopez who’s bringing him an impossible-to-solve case: “Gang, you been laminating without a mask?”


Now a non-surfer may not have a clue that this wisecrack refers to the manufacturing process of saturating the “laminate,” the two fiberglass layers of a hand-shaped surfboard blank’s skin with catalyzed polyurethane resin, but you know he’s skeptical—and is obviously saying it in a colorful way.


One thing those of us who are attracted to the pulp milieu share is that we love imaginative storytelling. So if Hard-boiled Surf Pulp which is aimed at a primarily surfing audience has any chance of attracting non-surfing readers we think it will be because our writers can tell stories well.


CHUCK:  Name two or three of the biggest influences on your writing. Not necessarily limited to authors, but including ANYTHING that you think has shaped your style and the worldview that your fiction is built on.


My biggest initial influences in desire to be a writer were genetic, i.e., my mother and father.


My dad was a hard-boiled, hard-core, hard-bitten, hard-case WW I combat veteran—a newspaperman/journalist, war correspondent, and occasional pulp writer during the 1920s and ‘30s. He became a wire-service bureau chief, in Lisbon. My parents had lived in the same Paris neighborhood as Ernest and Hadley Hemingway and were part of the same literary and artistic circles.


My mother was an artist, a sculptor of some renown, and the daughter of three generations of newspaper men. And she had the storyteller’s gift. She’d been a fashion illustrator for Vogue Magazine, so her artist’s eye missed nothing. Decades after an event she could recall the most precise details, inflect the tone of voice of someone who’d been speaking, mimic accents, and connect everything to the weather, the political climate, how the women and men were dressed, how the food was prepared, was served and tasted.


Just before World War Twice they returned to California and Hollywood where he became a screenwriter for Fox. I came along soon after. Then the war came along and my father was killed, soon after Pearl Harbor.


As a child without a father—growing up in Hollywood during the war—my mother would tell stories about her early life. I was fascinated with her accounts of her famous family’s history, of my father’s life, their travels—including some exciting adventures with narrow escapes—and the now all-but-forgotten literary figures they’d known such as John Dos Passos, Sinclair Lewis, Theodore Dreiser, Sherwood Anderson, Sylvia Beach, Gertrude Stein, Ford Maddox Ford, James Joyce, Raoul Whitfield, and Dashiell Hammett.


When I was very young my mother would tell me serial stories of characters she’d invent. Then, taking a big drawing pad and using charcoal pencils, she’d quickly illustrate them while she was telling the story, drawing the characters—horses, boats, cars, guns—and the most outrageous and weirdly costumed arch-villains. We had a house full of books, and a beach house in Laguna Beach and so I grew up reading and surfing.


Pulp magazines were still on the newsstands when I was a kid and I became interested in reading and collecting science fiction magazines. Without question, much of my interest in writing fiction came from that early pulp exposure.


Going to the local newsstand with my weekly allowance was a ritual. What a visual feast! There were dozens of lurid covers, adventures, detective mysteries, westerns, romances, creepy shudders, and the ones in the back at the top—beyond kid’s reach—the spicy pulps.


So I pictured myself being able to write for these kinds of exciting magazines. I was just learning to type and submitted a few science fiction shorts in my early teens—which were promptly rejected. 

Unfortunately, by the time I had begun to write well enough to perhaps be accepted, the pulps were approaching extinction, and everyone in my college writing classes was trying to write like Jack Kerouac, J.D. Salinger, Kurt Vonnegut or Joseph Heller.


Ray Bradbury’s fiction was a strong early influence, and he spoke frequently at Robert Kirsch’s Art of Fiction course and workshops at UCLA where I was a student. I’ve never forgotten his closing words at one of his lectures:

“Always quit while you’re hot. And don’t forget to put the cover on your typewriter.”

      

Vanguard Publishing announces Strange Worlds of Science Fiction – The Science Fiction Comics of Wally Wood

  • News
  • September 29, 2011
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The Science Fiction Comics of Wally Wood

PRESS RELEASE:

Vanguard Publishing announces
Title: Strange Worlds of Science Fiction
Subtitle: The Science Fiction Comics of Wally Wood
Series: Vanguard Wally Wood Classics

Tales from the Crypt and Weird Science publisher Bill Gaines
called Daredevil, THUNDER Agents, and Mars Attacks co-creator,
Wally Wood “the greatest Science Fiction artist of all time.”
Strange Worlds collects rare 1950s Wood sci-fi comics Strange Worlds,
Space Detective, Capt. Science, Space Ace, and more. If you like Vanguard’s Frazetta Classics, try Vanguard’s Wood Classics.
—
Partial list of Contents:
The Flying Saucers,
An Earthman On Venus,
Spawn of Terror,
Winged Death On Venus,
The Monster God of Rogor,
The Martian Slayers,
The Insidious Doctor Khartoum,
Time Door of Throm,
Death in Deep Space,
Bandits of the Starways,
The Opium Smugglers of Venus,
Trail to the Asteroid Hideout,
The Weapon Out of Time,
Kenton of the Star Patrol,
Sirens of Space,
Rocky X: Operation Unknown
—
Author-Illustrator: Wallace Wood
Editor: J. David Spurlock
Cover: Steranko & Wood
Hardcover: 200 color 8.5 x 11 pages
HC Retail: $39.95
Publisher: Vanguard
Release: October 31, 2011
Language: English
HC ISBN-10: 1934331406
HC ISBN-13: 978-1934331408
Printed in: China
http://www.vanguardpublishing.com

FORTIER TAKES ON STRANGE GODS!

  • News
  • September 29, 2011

ALL PULP REVIEWS- by Ron Fortier
STRANGE GODS OF THE DIRE PLANET
By Joel Jenkins
Pulp Work Press
263 pages
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Writer Joel Jenkins is one of the most prolific, exciting and talented members of the New Pulp movement today.  Through his association with Pulp Work Press, an outfit he started with fellow writers Joshua Reynolds and Derrick Ferguson, Jenkins has produced some of the most amazing, fast-paced pulp adventures ever to hit print.  The originator of several series in various traditional genres, STRANGE GODS OF THE DIRE PLANET, is the fifth book in this homage to Edgar Rice Burrough’s classic Martian books.
Having not read the previous four, I really appreciated Jenkins’ understanding that new readers would need a little extra background exposition to bring them up to speed on where the action was taking place and who all these characters were; while at the same time moving the story along at a breakneck pace to satisfy those fans who had been along for the ride from the beginning.  That he accomplishes this wonderfully is no small achievement and a big reason I enjoyed the book so much.
Here’s what any new reader will learn upon entering Garvey Dire’s world.  Dire is a modern NASA astronaut who, by some cosmic snafu, had his space craft hurled through an anomaly that sent him back in time millions of years to a Mars inhabited by humans like himself and all manner of beasts and fauna.  Realizing this is a one way trip; Dire accepts his fate and sets about making a new life for himself amongst the female dominated tribes of the giant red planet.  Jenkins has created a truly exotic social background that is fascinating with paying scrupulous attention to what each of these customs means to the entire culture he has created.
On Dire’s Mars, men are in short supply so they are protected and treasured and it is the abundant female sex that handles the affairs of state, commerce and warfare.  Obviously this is a different world than Dire is comfortable with, especially when adapting he realizes he must accept polygamy and marry several women to assume an active role in this society.  Like Burrough’s books, Jenkins’ Martian civilization is crumpling and the population struggling daily against both the forces of nature and time to survive.
The crux of this fifth volume centers about a long kept secret of an occult group of fanatics known as the Technopriests and Dire and his allies attempt to uncover it.  There is bloodshed galore, non-stop action and great heroic characters battling against truly beautifully crafted background.  It also ends on one of the most dramatic cliffhangers this reader has ever encountered.  Over the many years since Burroughs created his interplanetary pulp classics there have been dozens of imitators who have attempted to recapture the magic he wielded but none has ever come as close as Jenkins with the Dire Planet books.  These books rock!

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