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Carla Gugino Needs Some Help

The visual stunning Sucker Punch has a top notch line up of female stars, including Carla Gugino who is no stranger to stunning action films, yet she is a little baffled by the social media thing. Carla explains it all right here plus prepare to be ENCHANTED by the newest Lois Lane, right here.

So who do you think would be a better Lois Lane? Drop us a comment below!

Don’t forget – Pop Culture never sleeps (and neither do we). Catch the latest 24/7 on The Point Radio.

MOONSTONE MONDAY-CHICKS IN CAPES AT CLIFFHANGER FICTION!

MOONSTONE CLIFFHANGER FICTION

This week we bring you the first half of a SUPER HEROINE story appearing in the recently released Moonstone collection, CHICKS IN CAPES!  The staff behind this project, from editors through the writers, artists, and all others involved are women and put together not only super hero fiction from a feminine perspective, but also produce some of the best action, drama, and adventure you’ve read anywhere in a long time!  Enjoy Elaine Lee’s tale, MISCHIEF, this week on CLIFFHANGER FICTION!

MISCHIEF
by Elaine Lee

Her side and rearview mirrors blazed like a terrible binary star.
            The giant SUV trying to climb up Mischief’s tailpipe had three banks of retina-searing lights all trained on the back of her ’92 Honda Civic. It felt like the mothership had descended from on high and now had her tiny vehicle caught in the grip of its tractor beam.
            Mischief leaned forward over the wheel beyond the range of the blinding mirrors to peer through the windshield at the road ahead. She blinked a few times to clear the spots from her eyes, and a double yellow line swam into view. No shoulder. Well, she’d be damned if she’d let this guy push her into going faster. Didn’t he know there were large numbers of suicidal deer just waiting to leap at any car that dared to drive on this road?
Not that a crash would hurt the guy behind her. That thing he was driving looked like the box her car came in. It wouldn’t need airbags. A slave to hurl himself between the driver and the shattering windshield probably came standard. Mischief took a deep breath and tried to calm down.
In truth, a crash wouldn’t hurt her much, either. Not much could these days. But it would crush the Civic with her computers in the back seat, and those she would definitely miss. Perhaps in the event of an accident, she would have time to alter the Civic’s molecular structure as well as her own. Perhaps. But she couldn’t count on it.
Frustrated, Mischief raked the wayward bangs from her eyes and the hair touched by her moving fingers changed color from its usual nondescript sand to a shining blue-black.
How the hell did she get here? Driving down County Route 1 in upstate New York with all her earthly belongings in a rust-bucket Honda borrowed from a friend? How had her life gone so horribly awry that she felt the need to escape it entirely?

Mischief’s secret identity, Wendy Webber, sat in a Williamsburg coffee shop called The Present Tense shooting skater zombies with a harpoon gun. A tester for Death’s Head Games, Wendy often drifted over to the Tense to game on her laptop while tossing back espressos, thus avoiding the acute cabin fever that came from working and sleeping in the same 10 x 12 ft. room. She had half an espresso, three harpoons, a tenth of her life force, and no resurrection draughts left. The zombies were closing in.
“Yum!” said their leader. “Ill brains, Brah!”
Bells tinkled as the front door to the Tense swung open and a young man with artfully rumpled hair, wearing skinny black jeans, a gray hoodie, and a vintage leather jacket entered and loped toward Wendy’s table. He slung a dirty canvas messenger bag over the back of a chair, fell into the seat, scanned the shop to see who was watching, and struck a pose that said, “You don’t know me yet, but you will.”
Theo always looked as though he were waiting to be discovered. She loved that about him—loved his utter lack of shame. And she had to admit that he certainly had “it,” whatever “it” was. She loved that about him, too.
Wendy had enough shame for the two of them, which would’ve been surprising to most people, had they known what she was. People with super powers were supposed to be…well…super. Tiny and flat-chested, Wendy certainly didn’t look super. Though cute as the proverbial bug’s ear, she always seemed to have a coffee stain on her shirt or a button missing. Bad hair days were the norm. Worse, she looked back on her life thus far as a horrifying daisy chain of embarrassing moments and missed opportunities.
How the hell do you get ahead in a career, any career, when you’re running off to fight crime every few minutes? Super villains were not, by and large, very accommodating and refused to confine their criminal activity to the hours between 6:00 and 11:00 pm. And a gal could hardly put “superhero” on her résumé.
She imagined the interview, “Well, yes, there is a two year gap in my work experience, but I was actually being held prisoner in an extra-dimensional warp by a space-altering super-mutant with some really nasty mommy issues.”
Don’t call us. We’ll call you.
Super villains certainly had it easier, as far as making the bucks went. Steal a priceless diamond. Hold a world leader for ransom. Hire yourself out to an evil corporation that’s wrecking the environment for fun and profit. And if all else failed, you could sell your patented death ray on eBay. There were no similar options for a superhero. If a hero charged for her heroics, could she even call herself a hero? Somehow Wendy didn’t think so.
So she had suffered through a succession of McJobs, the best of which was her current gig with Death’s Head. It was more fun than slinging hash, she could make her own hours, and nobody asked her the kinds of questions about her life she’d have to lie about. Even if they did ask, she could say something like, “I have to fly out to Montauk and defeat some super villains who are melting the beach sand into glass to make a giant lens with which to fry Manhattan,” and they would just laugh and think she was moonlighting with another company. Death’s Head didn’t care what she did when she wasn’t killing their zombies.
Currently, the zombies were munching down on the brains of Wendy’s avatar, so she quit the game without saving and turned to Theo. “I have something I want to talk to you about.”
“You should do your hair like that,” Theo said, nodding toward a girl with a shock of white hair that listed slightly to starboard atop her head.
“Good idea. I’ve always wanted to look like a toilet brush,” quipped Wendy, mentally kicking herself as soon as the words had left her mouth. “Anyway, I need to talk to you about something.”
Theo heaved a big sigh. “What have I done wrong now?”
“This isn’t about you,” Wendy said, trying hard to sound reasonable. “It’s about me.”
“Oh, wow! You’re breaking up with me. You’re breaking up with me, right!”
“No!”
“It sounds like you’re breaking up with me.”
“No, I love you, Idiot! I just need to talk to you about something important. Can we take a walk? Maybe to the park?”
Theo looked around the coffee shop. “You’re scared I’ll make a scene here.”
“I just want to tell you something that I don’t want everyone else to hear.”
“Oh, my god, you’re not…? Are you? Because that would be…”
“No, no, no, no, no, no, NO!”
This was not going well. Not at all. During the early days of their relationship, Wendy had decided against sharing her big secret with Theo. Having had several relationships with fellow superheroes go super sour, she desperately wanted something normal. As normal as any relationship could be that began with a big lie at its core. But that had been almost a year ago and, though they had thus far avoided the talk about sharing a place, most of Theo’s belongings had migrated to Wendy’s apartment. In every way that didn’t include sharing the rent, they lived together. And if things were ever going to move forward, she would have to fess up.
“Okay. I’m going to tell you, but you can’t freak out. You have to keep your voice…”
Wendy’s cell chirped, signaling a text. She held up a finger to signal “one second” and grabbed the phone. The text was from her last ex.
“Ur needed. Emp State. Stat.”
Wendy pocketed the phone, stood, slipped her laptop into her bag and gave Theo a kiss.
“This’ll have to wait. Something’s come up.”
“What?”
“Tell you later,” she said, tossing a twenty onto the table and spinning on her heels.
“Wait a minute,” Theo called as Wendy made for the door. “We were supposed to go to the flea market to look for old vinyl!”
“Surprise me!”
To the sound of tinkling bells, the door swung closed behind Wendy. Still on the move, she quickly scanned the street, looking for a place to change. There! An alley! That would do. As she ducked between buildings, she suffered a twinge of guilt about the way she’d left Theo.
“Another damn daisy for the chain,” Wendy muttered to herself. She was beginning to feel like Marley’s Ghost.
In the shadows behind a dumpster, Wendy stripped off her pleated mini and tee. Immediately, the molecules that made up the fabric of her ordinary black tights began to combine with available particles in the air surrounding her. Metamorphosing into material with the tensile strength of spiders’ silk, this supple, shining armor crawled over her body to become a revealing black costume. And as the costume manifested, Wendy’s body changed with it, becoming taller, more voluptuous, her freckles fading, while her fair hair grew and thickened, its color brightening to a shining red-gold. On her feet, the shabby Converse high tops were transforming into black boots, with white starbursts emblazoned on the sides. Within seconds, Wendy was gone—in her place stood Mischief.
Mischief reached to touch the brick wall beside her. The hard surface beneath her hand seemed to soften and give way, opening into a compartment in the building’s side. She shoved Wendy’s clothes and laptop bag into the hole and immediately, the brick surface grew over it, hiding her belongings from view. Tapping effortlessly into her power, she heated the air immediately surrounding her lower body, rose above the buildings on the resulting updraft, and took off toward Manhattan.
On her way to the Empire State Building, Mischief had a few minutes to think about how things had been left with Theo. This was the third time Wendy had tried to tell him about her super half and it was the third time she had failed. Maybe this really was a sign. Things were going pretty well, for the most part. Did she really want to risk what was, by any accounting, a pretty good thing? Why rock the boat?

“Oh, great!” Mischief thought.
The fog was rolling in and the SUV’s three banks of lights were creating an envelope of glowing mist around her car that was impossible to penetrate with normal human sight. And normal human sight was all she had to work with, as her powers didn’t include X-ray or Infrared or any type of Thru-Fog vision. She couldn’t see anything until she was practically past it. What was it with fog lights? It was Mischief’s experience that fog lights only served to illuminate the fog, while great numbers of large ruminant mammals hid safely on the far side of the glow, biding their time. Was there a shoulder now? She couldn’t tell.
Mischief realized she was clenching her jaw and tried to relax it.
It would be easy to blame her current problems on Theo but, truth be told, she had never been lucky in love. As was the case with most female superheroes, Mischief had always had problems with her personal life. Several relationships with male heroes had turned into nasty competitions as, she’d been told, when a writer marries another writer or actor dates an actor—only worse. You live together, you work together, you accidentally rip the fabric of the space-time continuum together. It gets tense.
And what do you do when an affair with a super-jock is over? Changing the apartment locks is a joke when your ex can walk through walls.

Still fretting about the way she’d left things with Theo back in Brooklyn, Mischief circled the Empire State Building and spiraled down toward the 102nd floor observatory. She’d only had this new power, something akin to flight, for the past few months. Though it might be more correct to say she’d only realized she had it a few months ago. Her power was constantly revealing itself. Initially an ability to alter her own substance, which included shifting shape to mimic other beings, it had gradually expanded into the power to alter any object in physical contact with her—in this case, the air beneath and around her.
Cooling the warm updraft that held her aloft, she lightly touched down on the observatory deck. As she looked out over the borough of Manhattan from the vantage point of its tallest building, she was slightly shocked to realize that this was her third or fourth battle with super villains at this very location. What was it about the Empire State Building that attracted this sort of thing? She vaguely remembered once thinking that superheroes primarily caught bank robbers and foiled assassination plots. But ever since her own powers had manifested, Mischief just seemed to fight other beings with superpowers with all the resulting destruction of private property. No wonder so many “normals” hated them!
            “Look! It’s Mischief!”
            Speaking of normals, the tourists had spotted her and were calling that name. God, she disliked that name! A mishearing of her chosen hero name, Ms. Shift, printed several years past in the Daily News, had been picked up and endlessly reiterated by mainstream media hacks and Internet bloggers alike, resulting in a moniker that hinted at a less-than-forthright character. Once the name had stuck, she had never been able to shake it off.
            “Mischief! Where? Over there!”
            Tourists were surrounding her now, cameras clicking, instant images snapped with cell phones already speeding through cyberspace toward various news and networking sites. Tomorrow would be hell, but there was no time to think about it now.
            “Where’s the fight,” Mischief thought, realizing she could feel the building trembling beneath her feet. This wasn’t good.
            “Get down!” she shouted to the crowd, “Cover your heads!”
            The crowd scattered, some screaming, others running in circles, all doing anything other than getting down. The building’s trembling became a violent shaking, and most of the uncontrollable mob was thrown to the observatory deck. There was a weird half-moment of perfect silence, then the wall before Mischief exploded, and Amp walked through the falling rubble.
            “Lookin’ good, hot stuff,” he said, brushing cement dust from the bright red spandex that made the most of his natural attributes. “Glad you could make it.”
The guy knew how to make an entrance, she had to give him that. How many men were there who could pull off red Spandex? Though Amp’s power to drive bursts of concussive force into anything he touched didn’t require that he have an inordinate amount of muscle, the skin-hugging outfit certainly did. So, when Amp wasn’t engaged in thwarting super villains, he pretty much lived at the gym; just one of the things that annoyed her about him back in the days when they were dating.
“Happy to see me, babe?”
“Not especially,” Mischief said flatly, “but you’re certainly happy about something.”
The interesting bulge in Amp’s Spandex was a byproduct of his talent for amplifying and focusing available energy. In short, blowing up walls gave him wood. It had been a problem during their brief relationship, as Mischief had never known when he was truly interested in her or when he just needed to work off some excess energy. She’d begun to feel like his exercise bike.
            “You know, you could help me with this,” he grinned.
            Mischief was about to tell Amp just what it was she’d like to help him with, when a giant tentacle burst through the hole in the wall, grabbed Amp, lifted him high into the air, then tossed him high over the barbed wire coils at the top of the observatory wall.
“Cephalopod!” Mischief yelled, as a second tentacle wrapped around her waist.
In an instant, she had stretched herself thin as a strand of linguini, slid from the Cephalopod’s grasp, then bounced back into her previous shape, leaping over a third tentacle to hurl herself over the wire just as Amp was passing her on his way to a date with the street below. Mischief dove, compressing her substance into a lead-dense arrow. Once past him, she turned in the air, returning her body to Mischief form and grabbed him.
“Gotcha!”
Marshalling her power, she tried her trick of heating the air to achieve an updraft beneath them, but the Spandex-wrapped hunk in her arms was far too heavy to get much of a lift. What a lousy time to learn the limitations of her new ability!
“Hey, babe, try to land under me, will ya? I just replaced the suit!”
Mischief briefly considered dropping Amp and flying back to Brooklyn, but thought better of it. She concentrated on expanding the fat cells in her body and prepared herself for impact.
“AUMmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm!” came the awesome sound, as though all the world’s Hindus and Buddhists were chanting the sacred word at once and in perfect harmony.
The numinous tone reverberated in Mischief’s ears, filling her head with light, surrounding and buoying her up, and slowing her velocity until she found herself, Amp still in her arms, bouncing on a spongy cushion of sound. Her first thought, “I’m alive,” was followed quickly by, “Oh, crap!
With a high-pitched whine the sonic pillow deflated, dumping Mischief and Amp unceremoniously onto the sidewalk. Mischief scrambled to her feet, not an easy task at her current size and density, and spun to face The Vibe, a large part of her mass hurrying to catch up with the rest of her so that she appeared to undulate. He stood before her, glowing with violet light, his “aura of self-righteousness” Mischief sometimes thought when she was in a particularly bitchy mood.
“Thanks,” she said, meaning it.
            The Vibe gazed at her with that maddening look of concern, so favored by mainstream newscasters when they wanted to convey empathy for whatever person they were eviscerating on air. Head tilted. Slight smile. Tiny, vertical line between the brows.
“I hope you understand that this is said with love, but you need to lose some weight,” crooned The Vibe, flicking a speck of orange light from his otherwise pristine violet aura. “Just for your health. I’m worried about your health.”
Flushed with embarrassment, Mischief glanced down to see great mounds of flesh pushing over, rolling under and poking out through the formerly sexy cut-outs and plunging neckline of her skimpy costume. She looked like a ten-pound sausage in a five-pound skin.
Embarrassment and guilt were the emotions Mischief most associated with the time she had spent in domestic less-than-bliss with The Vibe. He just seemed to have that effect on her, though he would surely say “no one can make you unhappy but you,” which would serve to make her just that much more unhappy. It had taken her nineteen months to realize that the source of her misery was the gentle, thoughtful guy in her bed. He was classically passive-aggressive, which had finally sent her running toward Amp, a more straightforward soul.
Directing energy through the repulsive gelatinous mass encasing her, Mischief quickly diminished the fat cells, returning her body to the voluptuous figure she preferred while in super-persona, then turned toward The Vibe, perky breasts aimed at him like twin torpedoes.
“Healthy enough for you?”
“Sarcasm is the lowest form of humor,” The Vibe admonished.
“Maybe ‘low’ is what I’m going for!”
“That makes me so sad,” The Vibe professed, oozing sincerity.
“Heads, up!” Amp yelled. “Incoming!”
A beam of energy tore across the sidewalk to explode a nearby hydrant, and water burst from the hole.
“It’s Blast!” Mischief shouted, throwing herself sideways to avoid a second beam.
As she hit the sidewalk, the pavement beneath her gave way, becoming pliable foam that bounced her back to her feet as a taxi behind her burst into flames.
Blast, a truck-sized Neanderthal with shoulders like goalposts, stepped from the building’s entrance, psionic fire in his crazy red eyes. Amp dropped to his knees and, hands on the pavement, sent a shock wave into the concrete that ripped a jagged path of rock-like debris straight toward Blast. With a laugh like a donkey’s bray, Blast loosed a beam of psionic flame that stopped the advancing rock, blasting it to gravel and ash.
“Amp be’s a silly little man!” Blast chortled.
Behind the stretched Spandex, Amp’s manhood shrunk visibly. His face turned as red as his suit. Aura humming like a fluorescent tube on steroids, The Vibe inhaled from his diaphragm, preparing to loose an acoustic blitz.
“AUMmmmmmm…” he began, his sound-force swelling toward the inevitable crescendo.
Ka-Blam!
The Vibe was knocked off his feet, his sound bomb dying mid-hum. Encased in his aura, now a fear-tinged green, he rolled backward like a pill bug, knees to chin, away from the heart of the battle.
“Vibe fight like girl!” Blast guffawed, his gargantuan shoulders heaving up and down.
“I’ll show you how a girl fights, you lumbering dimwitted hunk of meat!”
Mischief sprang forward, dodging a psionic flare by stretching her substance around it as it passed. The Blast hurled another. She deflected it with her belt buckle, which she stretched into a mirror, and kept advancing. Another blast knocked her feet from under her, but her bones were rubber by the time she hit the street. She rolled upright and began to run at the Blast once again.
“Get back! I’ll take care of him!” both of her exes shouted at once, dashing past her straight at the Blast.
As different as her superexes were, they had one thing in common—super-sized egos. As she tore through the space between them determined to get to Blast first, Mischief thought warmly of her very normal boyfriend, Theo. When she got back to Brooklyn, she would tell him everything, the whole shebang. They would laugh about it then make love. Then they would…
            Something hit Mischief’s head. Time wobbled and the world spun. As the ground rushed toward her in slow-motion, she could feel herself losing control of her power, her costume going crazy, swarming like insects over her numbing skin. Its super-strong fabric ripping itself to pieces, the costume slithered and wriggled like a thousand blacksnakes on crack, finally disintegrating, as her semiconscious body morphed into shape after shape, running through its entire repertoire of colors, contours, and sizes, to finally settle into the form of Wendy Webber. Wendy Webber on a bad hair day, naked as the day she was born.
“Naked!” was Mischief’s last thought, as she slipped into unconsciousness to the accompaniment of many clicking phones.
END OF PART ONE, Come back next week to catch the conclusion to this super heroine funfest at MOONSTONE CLIFFHANGER FICTION!!

ORDER YOUR COPY OF CHICKS IN CAPES HERE-
http://moonstonebooks.com/shop/item.aspx?itemid=688

AND AN ALTERNATIVE COVER HERE-

Amy Adams Cast As Lois Lane For New ‘Superman’ Movie

This time around, L.L. will be played by A.A.

Three-time Oscar nominee Amy Adams will play Lois Lane in the new Superman movie, according to the LA Times’s Hero Complex blog.

Director Zack Snyder reportedly called Adams yesterday in Paris to congratulate her. Somewhat surprisingly, Snyder did not use any of the actresses from his new film Sucker Punch, a $82-million action flick that made $19-million in its opening this weekend.

Earlier this year, Henry Cavill was announced as the Man of Steel. Kevin Costner and Diane Lane were recently cast as Superman’s adoptive Earth parents, the Kents.

This isn’t Adams’s first time with an on-screen Clark Kent; in 2001, she appeared in the first season of Smallville… because somebody from Smallville should make it into the movie.

Lois Lane has previously been played on screen by such actresses as Phyllis Coates, Noel Neill, Leslie Anne Warren, Margot Kidder, Teri Hatcher, Erica Durance, and Kate Bosworth; and has been voiced by Anne Heche, Christina Hendricks, Dana Delany, Kyra Sedgwick, Ginny McSwain, and Joan Alexander.

Joanne Siegel, the inspiration for Lois Lane and wife of Superman co-creator Jerry Siegel, passed away last month at age 93.

The Warner Bros. film is scheduled to be released in December 2012.

Muppet Wizard of Id pilot

Monday Mix-Up: ‘The Wizard of Id’ meets The Muppets!

muppet-wizard-of-id-1895701In the late 1960s, Jim Henson and cartoonist Johnny Hart teamed up to produce a pilot for a TV series based on Hart’s and Brant Parker comic strip The Wizard of Id. According to the Henson Company blog, the response was pretty positive, but by the time ABC made the decision to move on it in 1970, Henson had already moved on himself to work on Sesame Street.

Take a look and see what you think. Although it does remind me a bit of King Friday XIII from Mister Rogers’ Neighborhood, it works suprisingly well, doesn’t it?

Hat tip: cartoonbrew.

Review: All Good Things

Kirsten Dunst is a strong actress in need of a breakthrough part to live up to the promise she showed in her earlier work. [[[All Good Things]]] should have been that production, but the troubled film, out on Blu-ray this week from Magnolia Home Entertainment, failed her and the audience thanks to director Andrew Jarecki staying on the surface throughout the story of a marriage gone wrong. Jarecki is a documentarian best known for [[[Capturing the Friedmans]]] and he intended this movie to be based on the true life story of Robert and Kathleen Durst.

Robert Durst was the second son of the powerful Seymour Durst who ran the Durst Organization, which own lucrative, if shady, real estate in Times Square. In fact, the film suggests the Dursts were the reason the center of midtown remained squalid for so long was because they were resistant to change, butting heads with City Hall. Durst married dental hygienist Kathleen when she was just 19 and knew little about her husband’s tortured past. In 1982, she vanished and the manhunt sent Robert running. He has been implicated in several killings and his clear psychological issues made ripe fodder for a storyteller.

(more…)

Lois Lane, Girl Reporter

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This may be one of the best proposals I’ve heard in a while– which of course means that DC will have to be shamed into actually doing it.

Here a pitch for Lois Lane, Girl Reporter illustrated young adult novels written by Dean Trippe, with art by Daniel Krall.

Growing up with two younger sisters, I’ve often found myself attracted to cool female leads whose stories I could share with them (Nancy Drew, Veronica Mars, etc.), but while the superhero industry has always done good by me in providing excellent male heroes (chief among them, Batman and Superman), its treatment of their similarly iconic female heroes like Wonder Woman, Supergirl, and Batgirl has always been mixed at best. Too often these spandex-clad heroines have been marketed towards post-adolescent men rather than to their own gender. There’s room for this in the spectrum of superhero fiction, of course, but without a positive female role model for me to share with my sisters, that they could see themselves in, they both grew up with only a portion of my comics fandom. (Don’t get me wrong, they both still dig Batman!)

But then I found a secret window into the DCU that I don’t think anyone else knows about: Pulitzer Prize winning journalist, Lois Lane…at eleven years old.

At eleven years old, Lois has discovered her calling: investigative journalism. She sets out to right wrongs and help out her friends. This series explores Lois’s character, reveals her surprising early influence on the future Man of Steel, and introduces fun new elements into this enduring character’s back story.

In each book, Lois will tackle a problem or mystery affecting the members of the community she finds herself in as she travels around the country. The investigations in this series will not be mystical or supernatural (though some characters may suspect such sources), but real world problems that Lois works to set right.

Read the entire proposal. Then ask why DC isn’t doing this one. Somehow, I don’t think Zack Snyder will find a way to work it into the next movie.

Mix March Madness, Round 4: Quarter-Finals Play-by-Play! Polls close in Four Hours!

comicmixmarchmadness550x681-8822691This month we took sixty-four popular webcomics and put them head to head in a single-elimination tournament. We’re now in round four– the Quarter-Finals!

We’re down to the Elite Eight… Penny Arcade, Kawaii Not, A Distant Soil, Gronk, Erfworld, Wondermark, Girls With Slingshots, and Questionable Content! Erfworld is continuing to clobber all comers, and the closest contest is between A Distant Soil and Gronk, with Gronk ahead by a 3-2 margin.

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Remember– polling closes at 11:59 Eastern Standard Time Saturday, March 26! That’s four hours from now, so get those votes in!

20th Promotes Black Swan DVD With Screenings

20th Century Fox is going all out to promote the Tuesday release of their hit Black Swan on DVD and Blu-ray. First, you can see what sort of Swan you are by checking out the Black Swan Experience, a fun interactive website.

On April 2, there will be interactive midnight screenings, The Black Swan Experience, April 2nd in Los Angeles, New York, San Francisco and Chicago. Those living in these cities and interested, can find details here, which will redirect you to a dedicated RSVP site to print their free passes.

We salute the film and its star, who genre fans can next see this spring first in the comedy Your Highness and then May’s Thor.

VAN ALLEN PLEXICO AVENGED…ER…INTERVIEWED!

VAN PLEXICO-Writer/Creator/Publisher
by Chuck Miller, ALL PULP Staff Writer

AP:  Van, it’s good to have you in the interviewee’s seat at ALL PULP again!  In your view, are superhero comics a linear descendant of pulp adventure magazines, or do they represent different evolutionary tracks?

Van: Same genus, different species, maybe?  I think that a lot of the comics writers that came along and made superheroes (and superhero comics) big again in the 1960s and beyond would have been pulp adventure writers if they had been born a few years earlier.  The two have similar appeal, and (for the most part) similar audiences, but maybe slightly different flavors. And I also think comics have been able to go into a lot of different areas that the pulps weren’t, such as the whole “cosmic” phenomenon of guys like Kirby and Starlin and now Abnett and Lanning.  With a few notable exceptions, pulps tended to be more grounded in the real world, or in history, for the most part.


AP: Your affection for Marvel’s Avengers series is well known, and your own “Sentinels” series features a super-team. What is it about the team dynamic that appeals to you, both as a fan and as a writer? What are your thoughts on other teams, like DC’s Justice league or even Doc Savage’s Fabulous Five?

I like big casts.  I like lots of different characters rotating in and out of a story.  You tend to get the potential for lots of fireworks that way.  Of course, it’s nice to have a well-defined set of “core characters”– the few that pretty much always hang around the Mansion or the Satellite or Hall of Justice or what-have-you.  But beyond that core, it’s neat to see how other, diverse individuals interact with them–and with each other.  How will Character X get along with… the android?  the mutant witch?  the Amazon?  the dark loner?  the god?

As a writer, a big cast gives you a lot to work with, in terms of various powers as well as various personalities.  And it’s simply not as boring.  Get tired of writing the acrobat guy? Focus on the super-scientist or the armored guy or the radioactive lady–or bring in someone new. 

There’s plenty to appreciate about the Justice League, but–at least for me– the DC characters have always worked better individually than as a team.  They just don’t fit together well, at least for me.  I’d make an exception for the Legion of Super-Heroes, of course, because they were mostly created as a team and have always had that dynamic.

The Avengers are my favorites and always have been, partly because they seem to mesh together, story-wise, so well– even when the characters themselves are squabbling (or especially when they’re squabbling, because that’s when their real personalities come roaring out!).

AP: You’ve also tackled Sherlock Holmes. How far back does your interest in the Great Detective reach? Do you see Holmes as a sort of forerunner to the pulp heroes of the 1930s, and even the modern superhero?

Absolutely, because the one thing that Holmes and all of those later characters share is some sort of special ability that sets them apart from the average man and woman.  I think that’s one reason why things like “League of Extraordinary Gentlemen” have broad appeal within the comics community.  It’s not just the novelty of “Victorian super heroes”—it’s recognizing that these characters share that one key element with modern superheroes:  the “Extraordinary.” 

Watson really is the perfect foil, because he’s a normal guy (not a buffoon, as so many later interpretations made of him).  You need someone like Watson to relate the stories to the reader, because Holmes himself is so antisocial.  He’s not a likeable guy personally, but he’s terrific fun to follow as he does his thing.  He’s the original anti-hero superhero—you may not like him, but he’s the best there is at what he does!

When a couple of years ago Airship 27 offered  me the chance to write Holmes stories, it was one of those strange twists of timing where I had just the previous month or so finished reading the entire original Holmes collection, just for fun.  My brain was fully saturated with the style and structure of those stories.  Even so, they were extremely difficult to write, but enormously satisfying.


AP: Obviously, pulp in the 21st century isn’t going to be exactly like pulp in the 1930s. There’s a whole different perspective, and more than half a century of scientific and cultural progress. There was a certain simplicity and innocence to those early stories that one cannot really take seriously today, as a reader or a writer. What are your thoughts on that?

I think that as modern pulp writers, we have to be very careful.  As you say, there are elements to the classic pulps that simply cannot be replicated today—and shouldn’t be.   Conversely, a big part of what we’re doing is trying to recreate at least something of the experience of reading a classic pulp. We want to give the readers that feeling you would have gotten by reading the classics in their day.  It’s a tricky proposition.  The best modern pulp writers can pull it off. 

AP: What led you to this particular kind of storytelling? What do you find attractive about heroic adventure? What is it you want to convey to your readers that can be done better in this genre than any other?

I want to tell stories that are fun, that are successful as fiction, and that incorporate ideas that are important to me.   I work extremely hard on them, writing and rewriting.  I spend a great deal of time and effort on the “musicality” of words and phrases and sentences and paragraphs, inserting as much of a lyrical nature as I can get away with.  It is very important to me that stories “sound” good to the ear, as well as being good stories in general.

I study other writers’ work constantly, tearing it apart to figure out what they did that worked so well and sounded so good.  I read in a very wide range of genres and styles, from Japanese poetry to science fiction to pulp noir and crime fiction to British nautical and historical adventures, as well as history, politics, economics, and then superhero comics.  I think every bit of it helps—it all goes into the mental hopper, and you never know what will conglomerate together and come out.

For the Sentinels books, as an example, I want to tell a huge, vast saga that covers many worlds and covers centuries of time. As a kid, I was utterly enthralled by the big, brain-melting conglomerations like Jack Katz’s FIRST KINGDOM, where cavemen and robots and mutants and starfleets all coexist and interact, or Jim Starlin’s “Metamorphosis Odyssey,” blending science and magic and hordes of aliens and the death of galaxies.  Thus you will find that kind of thing in the Sentinels books.  I love stuff like “Babylon 5,” where the very fate of the galaxy hinges on the decisions of a few individuals at key moments in history, played out across this epic backdrop.  To do that as an actual comic book would have taken me a hundred years.  As novels, I can fit a stack of comics installments into each novel, and move the big story along—while also digging much deeper into the heads and the motivations of the main characters than comics would generally allow, given limited space.  It all sort of became pulp when I started actually writing the stories and that was the natural form they took, right from the start.

AP: Human beings seem to have a natural affinity for storytelling, for a great many purposes. What kind of connection do you see, in cultural terms, between contemporary superhero/pulp fiction and epics like “The Odyssey” and “Beowulf?”

These are the cultural touchstones of each society, generation after generation.  They define what each society and each generation considers good or bad, right or wrong, desirable or detestable.  These kinds of stories, for every generation in every age, shape the very people that then go on to shape the society itself.  You have to have this—a society with no mythology is culturally destitute and rudderless.

AP: What do you like to read, and what have you taken from it over the years? Is there any writer or character in particular that inspired you and helped you shape your own narrative voice? What about movies, radio dramas and TV programs?

I am the product of a childhood spent reading whatever science fiction and comics I could get my hands on.  My reading preferences, as I have said, broadened out considerably as I grew up, but there’s little doubt the core of my narrative voice was shaped by the prose poetry and recurrent themes of Roger Zelazny.  I’m afraid there is a touch of his Corwin of Amber in nearly every main character I write.

Zelazny was aided and abetted in shaping my writing style and interests by the technical imagination of Larry Niven, the cosmic concepts of Jim Starlin and Jack Kirby, the superheroic alchemy of Doug Moench and Jim Starlin, and the voice and perspective of Carl Sagan.

In more recent years I’ve been heavily impacted by the writing of Patrick O’Brian (the Master and Commander series), Dan Abnett (elevating media tie-in fiction and military prose to an art form), James Clavell (big, sprawling Asian epics) and the prose styles of Donald E. Westlake (Parker) and Robert E. Howard (Conan and Solomon Kane).  They all have taught me valuable lessons about how to properly tell a story and tell it effectively and in an exciting fashion.

AP: You are a history professor as well as a writer of pulp/superhero adventures. These are obviously two subjects about which you are passionate, so there must be a few connections between the two. How does your interest in, and knowledge of, world history inform your fiction writing? You have said that you prefer big, epic sagas to short stories. What is the connection there, between the writer of
fiction and the professor of history?

Probably the main connection and appeal for me is in digging around in the background of big, important historical events and being able to root out the various intertwined causes—why things happened, who caused or contributed to them, what the consequences were, and why.  Once you have done that a few times as a historian, you start to see commonalities—causes and effects that are similar across different eras and different parts of the world.  Those kinds of things translate well into stories set in the future as well as in the past because, at their core, all stories are really the same, whether they’re set a long time ago or a long time from now.

AP: Suppose you were approached by the richest man or woman in the world, whoever that might be, and he or she offered to bankroll any project you wanted to do. You would have complete creative freedom, you could obtain the rights to any character or characters you wanted to use—there would be no legal obstacles, you could freely use anything you wanted, your own characters and/or any others—in a novel, comic book, TV series or movie. What would you do?

The Sentinels in every medium!  Seriously, I’d love to see a series of movies based on the Sentinels, in the vein of what Marvel’s doing with its Avengers-related characters right now.  I think it would work very well, because it’s as much a sort of big-budget space opera saga as it is a superhero story.

Lots of folks have asked about the possibility of seeing a comic book series based on the Sentinels, and I’m not opposed to the idea.  It does seem like a natural, since many of the main characters are essentially super heroes and super villains.  It’s not a big priority for me, though, at least for now, simply because I worry that converting them into comic books might cause them to kind of blend in and lose a big part of what (I think) makes them special; they might be seen as just another comic book super-team. 

The property would work well as a television series, I think—it would look a lot like “Heroes” (which I didn’t watch until after the first three books were finished), but with a serious cosmic angle; sort of “Heroes” meets “Babylon 5,” you might say.

As far as properties that don’t belong to me, I’d love to produce a live-action movie or TV series based on Roger Zelazny’s “Amber” novels.  I’ve even gone so far as to write an outline for a screenplay.  (I think it’s out there on my web site, somewhere.)  Corwin and his scheming royal brothers and sisters seem like a natural fit for an HBO series.  This needs to happen!

AP: You seem to always have a great deal going on. Have you got anything new coming up that you’d like to talk about?

I sure do, and I sure do.  First up, the premiere volume of Mars McCoy: Space Ranger just came out from Airship 27.  This is a very cool retro-SF throwback character in the vein of Flash Gordon and the Lensmen, complete with spaceships and blast-cannons and space pirates and robots.  I helped create the character’s supporting cast and I co-edited the book, so I’m certainly hoping it will find a large and appreciative audience.  The second volume, which I hope will be coming along soon, will contain a 45,000-word Mars McCoy novella that I wrote and that I think is one of my more entertaining efforts of the past couple of years.  For that one, I tried to channel Dan Abnett writing 1950s space opera as if it were Warhammer 40,000. We’ll see what people think of that!

The next volume in the Sentinels series, Stellarax, is very close to being finished.  I try to get one of these out every year, and the announced publication date for this one is July 12, 2011. We will see if I can meet that deadline.  This is going to be a big book—at least 100,000 words—and will wrap up the second major story arc of the series, called “The Rivals.”  It’s the most “cosmic” one yet, with vast, Kirby-esque space gods threatening to devour the Earth, in one fashion or another.  Our heroes are trapped in Earth orbit and have no clue how they’re supposed to deal with a menace on this scale—and that’s before the alien nano-virus shows up and starts turning everyone, human and alien and robot alike, into zombies!  Can’t wait to wrap it up and get it out to the growing Sentinels fan base and see what they think.  Chris Kohler returns with his signature interior art (I can hardly imagine a Sentinels book anymore without Kohler art accompanying it!) and Rowell Roque again supplies the fantastic cover—which completes a three-panel mural when you lay it and the two previous volumes down next to each other.

I also have a story in the upcoming Lance Star-Sky Ranger, Vol. 3 anthology, called “Thunder Over China.”  It was fun to get to play with Bobby Nash’s 1930s air-ace characters a little bit, and I think I got ol’ Lance into a pretty good fix. 

There are a bunch of other things simmering on the back burner, but that’s probably enough for now.  Make sure to give Mars McCoy a try, and look for the Sentinels in Stellarax, coming (I hope) in July!