Tagged: Batman

Dennis O’Neil: Much Ado About Iron Man

Iron-Man-II-Tony-StarkMaybe you’ve been on a vision quest in the Himalayas, or maybe you’ve just been in a coma, so I’ll try too negotiate the next few hundred words without dropping any spoilers. The subject is the movie that looks like it will be the summer’s monster, Iron Man 3, and by now, most of you have seen it, or are planning to see it, or have at least read reviews. As a lowly scribe who once wrote the Iron Man comic book – yes, kids, it was a comic book first – I might be expected to have an opinion about it and I do. But I did promise no spoilers and to state what I liked about it would probably constitute a spoiler…

What’s a fellow to do?

Go at the problem from another angle? Okay: What I did not like about the movie was all the kabooms. Lots and lots of fireworks. Big explosions. Then more big explosions. Hey, no elitism here: I understand the entertainment value of pyrotechnics and to complain about explosions in a film designed to be a summer blockbuster is kind of like attending the opera and bitching about all the screechy singing. But maybe a little moderation? I wearied of all the noise and shrapnel and flame coming at my 3D glasses. Enough was enough. Less might have been more. Anything stuffed down your throat will eventually make you gag.

There you have my major kvetch: the explosions.

I guess I could complain that the villain’s motivations could have been more thoroughly explained, but you might not agree. And if we got rid of a few explosions, the movie would have been been a tad shorter and that might have benefitted it. But none of this constitutes major inadequacy. You pay for your ticket and you get what you paid for, that special kind of summer respite that only happens in cool theaters on hot days. It has been significant pleasure in my life for some 40 years and it still is. (You think I’m not going to see The Man of Steel and The Wolverine and even The Lone Ranger when they grace the multiplex in a month or two? Ha!)

But superhero movies are maturing, as did westerns and badge operas and science fiction before them. While still delivering the spectacle and fantastic heroics that characterize the genre, they’re being put to other uses, too. They’re telling the kind of stories that help us define ourselves, which is something stories have always done. First, there was The Batman trilogy, which was, beneath all the swashbuckling, a tale of redemption.  Now, we have the Iron Man movies, which, if you squint a little, also constitute a trilogy and use the character of Tony Stark to…

Whoa! I promised no spoilers. So, if you haven’t already seen it, watch for the scene in which Tony mentions a cocoon and the shot of Tony standing on a cliff. They’ll tell you what I think the movie is really about.

FRIDAY: Martha Thomases

SATURDAY: Marc Alan Fishman

 

Dennis O’Neil: Old Bats Never Die

oneil-art-130502-9539867ZAP! BAM! POW!

I’ve written a lot about comics these – holy septuagenarian! – past 47 or so years, but I’ve never before used the faux sound effects lead that appears above. So. okay, why now?

I’ve always assumed and will continue to assume until the universe corrects me, that the aforementioned lead, perpetrated by a legion of journalists ever since comics have come to the attention of the multitudes, was inspired by the Batman television show that was aired on ABC from 1966 to 1968. Clever, y’know. Catchy. The video folk, in turn, got the faux onomatopoeia from old comic books; the stunt was, they superimposed these sound effects, lettered in garish display fonts, over fight scenes. The overarching agenda was to spoof Batman comics, particularly the Batman comics of the previous decade, by juggling contexts and emphasizing the goofy.

Batman as self-satirizing comedian? Okay by me.

But this form of comedy was much of a particular time and place, a brief, shimmering few years when the nation was in an experimental and iconoclastic mood. The mood changed – don’t they always, darn ‘em! – and after three seasons, Batman-the-television-star left the airwaves, and Batman-the-comedian joined the ranks of the unresurrected.

I’ll testify that comedian Batman deserves a place in the Batman pantheon and I’m sure that the show has its partisans, maybe fierce partisans. But is the world clamoring for a return of this odd form of humor? As I suggested a paragraph ago, it was unique to time/place Or so I’ve been believing.

People at DC Comics apparently believe I’m wrong. Our friends at the Comic Book Resources website inform us that “DC Comics will expand its digital-first comics line this summer with the debut of Batman 66, a series based on the classic television series.”

A number of ways this could go. Try to recreate the spoofy sensibility of the original. Do the comic as a period piece. Play Batman as a comedian using contemporary humor. Structure the stories as the old tv episodes were structured, with a cliff hanger half way through the story. Or do self-contained stories, the kind that were a staple of the old comics. Or do open-ended serials. Preserve the cast of the original. Recast with Batman’s current supporting characters. Mix and match all the preceding or – astonish and delight me with something I haven’t thought of.

I can’t help wondering how this project originated. From whence came the idea – editorial department or marketing department? Or some department in California? Not that it makes a lot of difference; there’s no mandated origin site for good stuff. But if there’s a reason to be skeptical, it might be that folk who can get projects going remember the joy that got from some entertainment when they were children and believe that the entertainment was supplying the job and not their own curiosity and innocence and, further, that they can recreate what they liked and, further still, that today’s audience will respond to the same kind of entertainment.

Let’s open our minds and see what happens.

Note: Thanks to Darren Vincenzo for alerting me to this column’s subject.

FRIDAY: Martha Thomases

SATURDAY: Marc Alan Fishman

 

 

 

 

 

 

 

Radio Archives News

  • News
  • April 29, 2013

RadioArchives.com Newsletter

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April 26, 2013
 
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It was the largest, most ambitious, and most successful military operation ever attempted — and radio was there to cover it.
D-Day, the invasion of Normandy. It was the turning point of the war in Europe, the beginning of the end for the Axis as the Allies started their drive towards Germany. It was a momentous event that would change not only the course of World War II, but the history of the world. Radio Archives is pleased and proud to offer the complete and continuous NBC network coverage of the events of June 6 and 7, 1944.

Noted inspirational author Dr. Norman Vincent Peale, King Haakon VII of Norway, Premier Gerbandy of the Netherlands, Premier Pierlot of Belgium, and US Senators Clark, Barkley, White, Hill and Congresswoman Clare Boothe Luce speak, as does the President of the United States, Franklin Delano Roosevelt. General Eisenhower speaks from SHAEF headquarters.
 
Regular NBC shows were included in the broadcast, “The Bob Hope Show”, “Fibber McGee & Molly”, “The Guiding Light”, “Vic & Sade”, “The Red Skelton Show”, “The Road of Life”, “Today’s Children”, “Ma Perkins”, “Pepper Young’s Family”, “Mary Noble, Backstage Wife”, “Stella Dallas”, “Lorenzo Jones”, “Young Widder Brown”, “When A Girl Marries” and “Front Page Farrell” among them.
 
Hear the events of the day as reported by Ben Grauer, Cesar Saerchinger, Charles F. McCarthy, David Anderson, Don Goddard, Don Hollenbeck, Ed Hocker, Edward R. Murrow, Elmer Peterson, George Wheeler, H. V. Kaltenborn, Herbert M. Clark, James Willard, John W. Vandercook, Louis P. Lockner, Lowell Thomas, Merrill Mueller, Morgan Beatty, Ralph Howard, Richard Harkness, Robert McCormick, Robert St. John, Tommy Traynor, W. W. Chaplin and Wright Bryan. Alex Dreier, in Chicago, recalled his experiences as the last western correspondent in Nazi Germany while Stanley Richardson offered an eyewitness account of the invasion from the Channel boats, and George Hicks reported from the beach-head itself!
These are recordings that many historians believe to be among the most valuable audio documents ever preserved. The NBC broadcasts — containing over 38 hours of continuous programming of news, music, drama, comedy, and entertainment — are history as it happened, in a special collection that is sure to occupy a special place in your radio collection. 38 hours. Normally priced at $113.98 Audio CDs / $56.99 Download, D-Day is Specially priced through the month of June at only $99.98 Audio CDs / $49.99 Download.
 
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On June 6, 2004, in remembrance of the 60th anniversary of the Normandy invasion, the ABC Radio program Perspective featured a fascinating story detailing radio’s coverage of D-Day as it happened in 1944. Written, edited, and narrated by ABC reporter Chuck Sivertsen, the feature utilized clips from the D-Day collection described above. We think this in-depth and well-presented piece provides an excellent overview of the historic content of this collection.
 
 
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Will Murray’s Pulp Classics #24
by Harold Ward, under the pseudonym of Zorro
Read by Joey D’Auria. Liner Notes by Will Murray
 
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Doctor Death and his Zombie army return for a new stab at conquering the civilized world. This time, he sets out to shrink of the size of government in Washington, D.C.—one politician at a time!
 
The horror commences when a box no bigger than a Christmas package arrives at the White House. Inside, lies the grisly corpse of the Vice President of the United States—gruesomely reduced to tiny size! With it, a chilling note:
 
Abdicate. Turn the nation over to me. Make no move against me or he who is next to you will share a like fate.
                                                                                                                                    — Doctor Death
 
In the Oval office, with the U. S. President and Jimmy Holm, head of the Secret Twelve, looking on in horror, the Secretary of State begins to shrink to the size of a doll…
 
So begins The Shriveling Murders, Harold Ward’s manic third entry in Dell’s Doctor Death series. This one has it all. Zombies. Doom rays. More Zombies. Poisoned postage stamps. Wholesale slaughter. Zombies galore! Doctor Death pulls out all the stops in this one!
 
The Shriveling Murders was published in the third and final issue of Dell’s Doctor Death magazine back in 1935.
 
Narrated with manic intensity by Joey D’Auria, The Shriveling Murders takes the reader from the nation’s capital to the sinister swamps of the South on a roller coaster ride through over-the-top terror.  6 hours $23.98 Audio CDs / $11.99 Download.
 
 
 
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RadioArchives.com and Will Murray are giving away the downloadable version of the newly released Strange Detective Mysteries audiobook for FREE.
 
If you prefer the Audio CDs to play in your car or home CD player, the coupon code will subtract the $11.99 price of the download version from the Audio CDs. That makes the Audio CDs half price.
 
Add Strange Detective Mysteries to the shopping cart and use the Coupon Code AUDIOBOOK.
 
“Strange Detective Mysteries #1 is one of my favorite pulps and I am excited to produce it as an audiobook with my good friends at Radio Archives. It leads off with Norvell W. Page’s bizarre novelette, “When the Death-Bat Flies,” and includes thrilling stories by Norbert Davis, Paul Ernst, Arthur Leo Zagat, Wayne Rogers and others. Popular Publications went all-out to make this 1937 debut issue a winner. And they succeeded!”
 
Happy listening,
Will Murray
 
By Derrick Ferguson
 
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It’s been said before and the reason it gets said so much is because it’s true: your imagination is the best special effects studio ever created. Give your brain the proper stimulus and it can create terrifying images that no amount of CGI can match. And I can think of no better stimulus than the voices of Joey D’Auria and Michael C. Gwynne as they read the stories in Terror Tales, a truly interesting audiobook for Radio Archives.
 
It’s interesting because it’s a step outside of their usual fare that I’ve been listening to and enjoying, such as the Doc Savage audiobooks and the ones featuring heroes like The Spider, The Green Lama, Operator #5 and others in two-fisted tales of white-hot action. The stories in Terror Tales are stories of horror that hooked me in mainly because of the unique approach to the telling of these tales by Mr. D’Auria and Mr. Gwynne.
 
Joey D’Auria starts off his stories in a calm, measured tone but as he gets more involved in the telling, his voice becomes more insistent, ever more excited as if he himself is caught up in the escalating nightmare of his own story. There’s a couple of stories that end up with Mr. D’Auria on a near hysteric note that conveys the hideous trauma of the characters in the story very well indeed. Listening to Mr. D’Auria tell his stories is like watching a marathon runner who starts out at a gentle jog and ends up crossing the finish line dripping sheets of cold sweat, crazy-eyed and barely able to breathe.
 
Michael C. Gwynne relates his stories in a more laid back manner, keeping his deep and stentorian voice level. And at certain moments he actually lowers his voice even more which had the effect of making me lean in even closer. You would think that by keeping his voice so even and steady, the story wouldn’t be very suspenseful but it’s actually the opposite. He wants you to pay close attention to the horrors he’s relating for maximum effect. And believe me, it works.
 
As always I’m thrilled by the production values of this latest audiobook as they easily are equal to the rest of the terrific Radio Archives audiobook line. Having Joey D’Auria and Michael C. Gwynne alternate on the stories is a wonderful idea and I hope that if there are more audiobooks of Terror Tales to come, they’ll be part of it.
 
 
 
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New Will Murray’s Pulp Classics eBooks
 
The best of timeless Pulp now available as cutting edge eBooks! Will Murray’s Pulp Classics brings the greatest heroes, awesome action, and two fisted thrills to your eReader! Presenting Pulp Icons such as the Spider and Operator #5 as well as wonderfully obscure characters like the Octopus and Captain Satan. Will Murray’s Pulp Classics brings you the best of yesterday’s Pulp today!
 
Through the chill darkness a deluge of death swept over New York — and men died mysteriously with their brains battered in as the terror struck! For a new, frightful master of the underworld had risen, to paralyze the police and empty the city’s treasure coffers. Over a long period, Richard Wentworth, with the Spider’s weird weapons, had fought those master criminals whom the law could not reach. But never before had he been compelled to challenge the rule of a ruthless raider who left a great metropolis sacked and plundered as he rose to the heights of an emperor, evil and powerful — invincible in his systematic scheme of slaughter and destruction! Total Pulp Experience. These exciting pulp adventures have been beautifully reformatted for easy reading as an eBook and features every story, every editorial, and every column of the original pulp magazine. $2.99.
 
 

To the teeming city of the Golden Gate the sinister Doctor Yen Sin had transferred his base of operations — and there, under cover of the fog-shrouded Frisco night, he set loose the most ghastly weapon in his whole armory of mysterious torture devices — the curse of the Singing Mummies. In ten minutes by the clock, to the accompaniment of that insidious, eerie music, living men and women underwent their ghastly metamorphosis, became fit occupants for the coffin-cases of ancient Egypt. How could the saffron-skinned crime-emperor accomplish the change? How could even Michael Traile, the Man Who Never Slept, hope to cope with the devilish Thing?Total Pulp Experience. These exciting pulp adventures have been beautifully reformatted for easy reading as an eBook and features every story, every editorial, and every column of the original pulp magazine. $2.99.

 
In 1934 a new type of magazine was born. Known by various names — the shudder pulps, mystery-terror magazines, horror-terror magazines — weird menace is the sub-genre term that has survived today. Terror Tales magazine was one of the most popular. It came from Popular Publications, whose publisher Harry Steeger was inspired by the Grand Guignol theater of Paris. This breed of pulp story survived less than ten years, but in that time, they became infamous, even to this day. This ebook contains a collection of stories from the pages of Terror Tales magazine by Frances Bragg Middleton and Raymond Whetstone, reissued for today’s readers in electronic format. $2.99.
 
99 cent eBook Singles
Each 99 cent eBook Single contains a single short story, one of the many amazing tales selected from the pages of Terror Tales and Rangeland Romances. These short stories are not included in any of our other eBooks.
 
What would you do if you knew the ones you loved were doomed to die horribly in your defense? In 1934 a new type of magazine was born. Known by various names — the shudder pulps, mystery-terror magazines, horror-terror magazines — weird menace is the sub-genre term that has survived today. Terror Tales magazine was one of the most popular. It came from Popular Publications, whose publisher Harry Steeger was inspired by the Grand Guignol theater of Paris. This breed of pulp story survived less than ten years, but in that time, they became infamous, even to this day. This ebook contains a classic story from the pages of Terror Tales magazine, reissued for today’s readers in electronic format. $0.99.
 
Lester Emery feared that his body remained in the laboratory, while his disembodied spirit was driven forth to murder — slave to the grim genius of a madman… In 1934 a new type of magazine was born. Known by various names — the shudder pulps, mystery-terror magazines, horror-terror magazines — weird me most popular. It came from Popular Publications, whose publisher Harry Steeger was inspired by the Grand Guignol theater of Paris. This breed of pulp story survived less than ten years, but in that time, they became infamous, even to this day. This ebook contains a classic story from the pages of Terror Tales magazine, reissued for today’s readers in electronic format. $0.99.
 
From nowhere came the hand — bringing with it a lingering death… In 1934 a new type of magazine was born. Known by various names — the shudder pulps, mystery-terror magazines, horror-terror magazines — weird me most popular. It came from Popular Publications, whose publisher Harry Steeger was inspired by the Grand Guignol theater of Paris. This breed of pulp story survived less than ten years, but in that time, they became infamous, even to this day. This ebook contains a classic story from the pages of Terror Tales magazine, reissued for today’s readers in electronic format. $0.99.
 
 
Blonde Truly couldn’t keep her kiss-ban against that cowboy Dave — not even when sultry Garnet ran engaging interference. She thought Dave’s kisses delightfully habit-forming — and so did his sultry fiancee. One of the most popular settings for romance stories was the old west, where men were men and women were women. As many a swooning damsel could attest, “There’s something about a cowboy.” The western romance became one of the most popular types of magazines sold during the early and mid-twentieth century. $0.99.
 
To cover the escapades of her willful young sister, beautiful Donna let herself be branded a ruthless heart thief. One of the most popular settings for romance stories was the old west, where men were men and women were women. As many a swooning damsel could attest, “There’s something about a cowboy.” The western romance became one of the most popular types of magazines sold during the early and mid-twentieth century. $0.99.
 
All eBooks produced by Radio Archives are available in ePub, Mobi, and PDF formats for the ultimate in compatibility. When you upgrade to a new eReader, you can transfer your eBook to your new device without the need to purchase anything new.
 
Find these legendary Pulp tales and more in Will Murray’s Pulp Classics, now available at:
 
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Search for RadioArchives.com in iTunes.
 
 
 
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Receive an exciting original Spider adventure FREE! Part of the Will Murray Pulp Classics line, The Spider #11, Prince of the Red Looters first saw print in 1934 and features his momentous battle with The Fly and his armies of crazed criminal killers.
 
For those who have been unsure about digging into the wonderful world of pulps, this is a perfect chance to give one of these fantastic yarns a real test run. With a full introduction to the Spider written by famed pulp historian and author Will Murray, The Spider #11 was written by one of pulp’s most respected authors, Norvell W. Page. Writing as Grant Stockbridge, Page’s stories included some of the most bizarre and fun takes on heroes and crime fighting in the history of escapist fiction.
 
Even today Page’s scenarios and his edge-of-the-seat writing style are still thrilling both new and old fans everywhere. For those who have never read one of these rollercoaster adventures, you are in for a thrill. If you already know how much fun a classic pulp is, make sure you get a copy of this classic.
 
See what the Total Pulp Experience is for yourself. These exciting pulp adventures have been beautifully reformatted for easy reading as an eBook and features every story, every editorial, and every column of the original pulp magazine.
 
Send an eMail to eBooks@RadioArchives.com and start reading your FREE copy of  the Spider #11 within seconds! Experience The Best Pulps the Past has to offer in the most modern way possible!
 
 
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A special issue celebrating the origin of the Master of Men! First, it’s the story that started it all: “The Spider Strikes”, from “The Spider Magazine”, Issue #1, released in October of 1933. In this epic adventure, join Richard Wentworth III (alias The Spider), along with his fiancee Nita van Sloan and his faithful servants, as they struggle to save the nation from a criminal genius. Introduced here is the secret of The Spider’s seal and many of the tricks and devices that will serve him so well in the many stories to come. Next, in “Satan’s Workshop” (1937), who is kidnapping and extorting money from the city’s wealthiest men and most beautiful women? Was it science or sorcery that gave an ordinary and healthy man a severe case of leprosy? While the police close in on The Spider’s secret identity, the villainous Doc seems immune from police prosecution, but not from web of The Spider! These two exciting pulp adventures have been beautifully reformatted for easy reading and feature both of the original full color covers as well as interior illustrations that accompany each story. On sale for $12.95, save $2.00

80th Anniversary Commemorative Special. Commemorating the Man of Bronze’s anniversary with two expanded novels, restored from Lester Dent’s original manuscripts with never-before-published text! First, a Wall Street scandal sets the Man of Bronze on the golden trail of “The Midas Man,” who plots to control the global financial system. Then, while recovering from a serious head wound, a disoriented Doc Savage battles modern-day pirates and murderous zombies in “The Derelict of Skull Shoal.” PLUS: “80 Years of Doc Savage”: a Pictorial History of the Pulps’ Greatest Superman! This landmark collector’s edition features the original color pulp covers by Walter M. Baumhofer and Modest Stein, Paul Orban’s original interior illustrations and new historical commentary by Will Murray, writer of eleven Doc Savage novels. $14.95.

 

80th Anniversary Commemorative Special. Commemorating the Man of Bronze’s anniversary with two expanded novels, restored from Lester Dent’s original manuscripts with never-before-published text! First, a Wall Street scandal sets the Man of Bronze on the golden trail of “The Midas Man,” who plots to control the global financial system. Then, while recovering from a serious head wound, a disoriented Doc Savage battles modern-day pirates and murderous zombies in “The Derelict of Skull Shoal.” PLUS: “80 Years of Doc Savage”: a Pictorial History of the Pulps’ Greatest Superman! This landmark collector’s edition features the original color pulp covers by Walter M. Baumhofer and Modest Stein, Paul Orban’s original interior illustrations and new historical commentary by Will Murray, writer of eleven Doc Savage novels. $14.95.

 
 
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The Master of Darkness explores mansions of murder in two thrilling pulp mysteries by Walter Gibson writing as “Maxwell Grant.” First, in Spoils of The Shadow a mastermind plots five super-crimes, but innocent victims will be murdered if The Shadow intervenes! Then, the Master of Darkness sheds light on the terrible secret of the House of Silence in one of Walter Gibson’s most atmospheric mysteries. This instant collector’s item showcases both classic pulp covers by George Rozen and the original interior illustrations by Tom Lovell, with commentary by popular culture historian Will Murray. $14.95.
 

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The original “Man of Steel” returns in three action-packed pulp thrillers by Paul Ernst and Emile Tepperman writing as “Kenneth Robeson.” First, The Avenger is blamed when massive power outages black out North America. Can Dick Benson locate the mastermind called Nevlo in time to prevent a deadly final blackout? Then, Death in Slow Motion cripples an American industry, and Justice, Inc. must find an antidote in time to save hundreds from the deadly paralysis plague! Finally, a defeated crook returns to plot Vengeance on The Avenger in an exciting novelette by Spider-wordsmith Emile Tepperman. This classic pulp reprint includes both color covers by Graves Gladney, Paul Orban’s dynamic interior illustrations and commentary by pulp historian Will Murray. $14.95.
 
This is an authentic replica of an original pulp magazine published by Girasol Collectables. This edition is designed to give the reader an authentic taste of what a typical pulp magazine was like when it was first issued – but without the frailty or expense of trying to find a decades-old collectable to enjoy. The outer covers, the interior pages, and the advertisements are reprinted just as they appeared in the original magazine, left intact to give the reader the true feel of the original as well as an appreciation for the way in which these publications were first offered to their avid readers. To further enhance the “pulp experience”, this edition is printed on off-white bond paper intended to simulate the original look while, at the same time, assuring that this edition will last far longer than the original upon which it is based. The overall construction and appearance of this reprint is designed to be as faithful to the original magazine as is reasonably possible, given the unavoidable changes in production methods and materials. $25.00
 
Will Murray’s Monumental New Novel
Doc Savage vs. King Kong!
 
Eighty years ago in February, 1933 the Street & Smith company released the first issue of Doc Savage Magazine, introducing one of the most popular and influential pulp superheroes ever to hit the American scene. Doc Savage was the greatest adventurer and scientist of his era, and while his magazine ended in 1949, he influenced the creators of Superman, Batman, Star Trek, The Man from UNCLE and the Marvel Universe—to name only a few.
 
While that first issue of Doc Savage was fresh on Depression newsstands, RKO Radio Pictures released one of the most important fantasy films of all time. Everyone knows the story of how King Kong was discovered on Skull Island and hauled back to New York in chains, only to perish tragically atop the world’s tallest skyscraper, the Empire State Building.
 
As it happened, that was where Doc Savage had his world headquarters. For decades, fans have wondered: Where was Doc the day Kong fell?
 
On the eightieth anniversary of these fictional giants, Altus Press is proud to release the first authorized clash between The Man of Bronze and the Eighth Wonder of the World—Doc Savage: Skull Island. Written by Will Murray in collaboration with Joe DeVito, creator of KONG: King of Skull Island, Doc Savage: Skull Island is a new pulp epic.
 
The story opens when Doc returns from his secret retreat in the North Pole to discover the cold corpse of Kong lying on his doorstep.
 
“I know this creature,” Doc tells his dumbfounded men.
 
Tasked to dispose of the remains, the Man of Bronze then relates the untold story of his epic encounter with Kong back in 1920, after Doc returns from service in World War I, long before Kong became known to the civilized world as “King” Kong.
 
Doc Savage: Skull Island is a multi-generational story in which Doc and his father—the man who placed him in the hands of scientists who made him into a superman—sail to the Indian Ocean in search of Doc’s grandfather, the legendary Stormalong Savage, whose famous clipper ship has been discovered floating, deserted, her masts snapped by some incredible force.
 
The quest for Stormalong Savage leads to the fog-shrouded Indian Ocean and—Skull Island! There, Doc Savage faces his first great test as he encounters its prehistoric dangers and tangles with the towering, unstoppable Kong.
 
“When Joe DeVito brought this idea to me,” says Will Murray, “I knew it had to be written with reverence for both of these immortal characters. So I used the locale of Skull Island to tell a larger story, an untold origin for Doc Savage. It all started back on Skull Island….”
 
“Pulling off the first ever face-off between Doc Savage and King Kong was both challenging and exhilarating,” adds DeVito. “Will’s unique take on the tale scatters the primordial mists surrounding Skull Island long enough to reveal secrets of both classic characters hidden since their creation.”
 
Doc Savage: Skull Island has already been hailed as “The Doc Savage novel that Doc fans have been waiting on for 80 years!”
 
Doc Savage: Skull Island is the fifth entry in Altus Press’ popular Wild Adventures of Doc Savage series. Cover by Joe DeVito. $24.95.
 
 
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Review of The Corpse Cargo from The Spider, Volume 10
By Andrew Salmon
 
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I’ll admit that when I first dove into The Corpse Cargo I did not have high hopes. The Spider novels are grim, gritty, lean and mean action adventure tales with a pace that moves at a steady clip whether it be an action sequence, dialogue or character moments. Everything happens with frenetic verve so giving Richard Wentworth a boy sidekick did not seem to this reader to be in keeping with the intense maelstrom of addictive chaos typical of any of the truly great Spider yarns. However, after the first couple of chapters, I knew that I was in familiar Spider territory.
 
This one was heavy stuff. By the time I was finished, The Corpse Cargo had catapulted into my Top 5 Spider adventures of all time!
 
The action is unrelenting in this one, unwavering and the modern-day (1930s) pirates, led by a beautiful and deadly sociopath who calls herself Captain Kidd, are some of the most heinous villains the Spider has ever faced. Their plan is simple: having harnessed electricity, they are using it to electrify passing trains and planes, killing all aboard, then looting the corpses. Hence the title. And, in the case of the trains, then hurtling the train full of corpses full speed into stations for the sake of inflicting as much damage as they can. The pirates’ raid on one train load full of people is one of the best sustained, most unforgettable action sequences in the history of pulp fiction, new or old, and it is one no reader will ever forget.
 
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This adventure also sees the Spider and his love, Nita, fall into the gang’s clutches, leaving them with only deadly decisions before them and no chance of escape. The intensity level, always high in a Spider yarn, gets ratcheted up here to epic proportions. Emotions run high and you will be on the edge of your seat as you tear your way through the yarn.
 
Norvell Page, writing under the house name Grant Stockbridge, was one of the best pulp fictioneers of the day and his style is as fresh today in our world of grim, in-your-face action as anything modern masters can muster. The Corpse Cargo hits the ground running and does not let up.
 
This novel enthralls. It’s as simple as that. Do. Not. Miss. It. My highest recommendation.
 
Girasol Replica #GC181 $35.00 / eBook #RE027 $2.99 / Double Novel reprint #10 #5510 $14.95 On sale for $12.95, save $2.00 / Audiobook Audio CDs $27.98 / Audiobook Download $13.98
 
 
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When I am driving around these days, I energize the Captain Zero stories. The phrasing and modulation of the pulp-like adjectives totally capture my brain. That’s how it starts. But then, I get drawn into the story line, and I find myself stalled at my destination with the engine running, unable to leave my vehicle while Captain Zero is trapped on a ledge adjacent to a roof garden. Finally he makes it home just as the sun is emerging. I resist the temptation to proceed to the next chapter and switch off the player. It’s really good stuff, Mr. Gwynne.
 
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Utterly WOW! Oh my goodness!!! Have Gun, Will Travel has forever been one of my favourite radio classics and I’m very familiar with every episode from constant re-listening over the years. Some have been decent sound others pretty bad but I grew to love them despite this, “knowing” that’s the best there was available. Then THIS!
 
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Justice League: The Flashpoint Paradox is the next DC Video Release in July

justiceleaguetheflashpointparadox-finalboxart-e1366215358693-3568225This is the comic book event that either propelled DC Comics towards the New 52 paradigm or sent the company spinning off the rails, alienating the very core audience they sought to retain. Now it is being adapted into animated form from Warner Home Entertainment in July. Some speculate this direct-to-video movie will transition the animated heroes towards New 52 incarnations but that has not been confirmed. Here’s the release:

BURBANK, CA (April 17, 2013) – The world is turned upside down as one of earth’s greatest super heroes – Flash – wakes up devoid of his super powers in the all-new Justice League: The Flashpoint Paradox – the next entry in the popular, ongoing series of DC Universe Original Animated Movies. Produced by DC Entertainment and Warner Bros. Animation, this all-new, PG-13 rated film arrives July 30, 2013 from Warner Bros. Home Entertainment on Blu-Ray™ Combo Pack ($24.98 SRP), DVD ($19.98 SRP) and Digital Download. The Blu-ray™ Combo Pack will include UltraViolet™*.

When time travel allows a past wrong to be righted for Flash and his family, the event’s temporal ripples prove disastrous, creating a fractured, alternate reality where the Justice League never formed, and even Superman is nowhere to be found. Amidst a new world being ravaged by a fierce war between Wonder Woman’s Amazons and Aquaman’s Atlanteans, Flash must team with a grittier, more violent Batman and government agent Cyborg to restore the continuity of Flash’s original timeline.

“Justice League: The Flashpoint Paradox has all the elements of another great film – dynamic forceful villains, treacherous twists and turns and internal tensions amongst heroes,” said Mary Ellen Thomas, Warner Home Video Vice President, Family, Animation and Partner Brands
Marketing. “Showcasing a cast that brings together some of today’s popular primetime television actors with many fans’ favorite voices from the original series, Warner Bros. Home Entertainment is proud to release this title as the next DC Universe Animated Original Movie.”

Primetime television stars Justin Chambers (Grey’s Anatomy) and Kevin McKidd (Grey’s Anatomy), the voices of Barry Allen/Flash and Thomas Wayne/Batman, respectively, unite with numerous greats of television and film to fashion the famed animated roles. Adding to the celebrity-laden voice cast and providing thrilling additions to the Justice League series are Michael B. Jordan (Fruitvale, Friday Night Lights, Chronicle) as Cyborg, C. Thomas Howell (Southland, The Outsiders) as Thawne/Professor Zoom, Nathan Fillion (Castle) as Hal Jordan/Green Lantern, Ron Perlman (Hellboy) as Slade and Deathstroke, Dana Delany (Body of Proof) as Lois Lane, Cary Elwes (The Princess Bride) as Aquaman, Danny Huston (Magic City) as General Lane, Sam Daly (The Office, The Daly Show) as Superman, and Kevin Conroy (Batman: The Animated Series) as Batman.

Screenwriter Jim Krieg delivers an action-packed vision of the legendary comic book miniseries Flashpoint, by Geoff Johns & Andy Kubert, adding to the over 13 million DC Universe video units produced to date. Jay Oliva (Batman: The Dark Knight Returns) is director and
James Tucker (Superman: Unbound) is producer.

Justice League: The Flashpoint Paradox Blu-ray™ has over three hours of exciting extra content, including:

  • A Flash in Time: Are there other dimensions?  Can time travel get us there?  And if The Flash existed, could he really travel through time?  Interviews with experts in mythology, theoretical physics and top DC writers will examine the science and legacy of the storytelling behind the fiction.
  • My Favorite Villians! The Flash Bad Guys: Acclaimed DC Comics writer Geoff Johns and others share their favorite Flash villains in this short film that gives viewers a glimpse into the Flash’s world through the eyes of some of the nefarious characters he has encountered over the past 70 years!
  • A Sneak Peek at the next DC Universe animated movie:. An in-depth look into the next DC Animated feature film, spotlighting the cast and crew.
  • From the DC Comics Vault:  Bonus cartoon episodes
  • The Flashpoint Paradox Audio Commentary

John Ostrander: Details, details, details…

ostrander-art-130407-8570674There’s a saying that goes “The devil is in the detailsl, but so is character, whether writing, drawing, or acting. I had the opportunity of teaching at the Joe Kubert School a few times (and the inestimable pleasure of getting to know not only the legendary Joe Kubert but so many others working at the school) and I had the maybe unenviable task of teaching writing to a bunch of art students. Some didn’t take to that right away; after all, they were there to learn how to draw. From talking to some of the graduates over the years, however, I think most found it worthwhile and I enjoyed it.

For me, everything in comics is about character and storytelling. Design to me means nothing unless it is tied to those two points. I’m not interested in a mask or costume whose design is simply “cool” or its what the artist wants to draw.  The character has chosen to make or wear a given mask, costume, or uniform. What does that tell us about him or her? Famously, Batman wants to invoke a bat because criminals are (supposedly) a cowardly and superstitious lot. He wants to invoke fear in them.

One exercise I gave the students was to create their own mask – not for a character but something that would express and freeze some aspect of themself. It would both reveal them and, because it was a mask, it would also conceal them. They were safe behind the mask. It was and was not them.

When the masks were completed, I asked them to wear them. Masks in many societies have power; often, they represent a god and the wearer (supposedly) channels the power of the god. I asked the students to let the mask act upon them; how did they act, how did they feel, how did they move? What – if anything – changed in them?

The purpose was to get them to understand the affects that the masks the characters they wore had upon the characters they were writing and/or drawing. Spider-Man, for example, certainly reacts differently than Peter Parker. Batman, on the other hand, becomes more of who he is when he wears the cowl; his true mask may be Bruce Wayne, as perceived by others.

We do the same thing with what we choose to wear. We say something about ourselves, about who we perceive ourselves to be, of how we want to be perceived by others. Even a careless choice – “whatever is clean” or “whatever I grab” says something. Even if the message being sent out, “I can’t be judged by my clothes; I’m deeper than that.” that is still making a statement. Maybe the message is – I don’t want to be noticed. That is also still a statement. That’s a choice being made and that tells us something about a person – or a character.

What kind of clothes does your character wear? Bruce Wayne may wear Armani; I asked my students if they knew what an Armani suit looked like. Peter Parker is going to shop off the rack. Which rack?

In movies and TV, they have a whole team of people deciding what the rooms look like. Bedrooms, offices, desks, kitchens – depending on the person and what room is most important to them, what are the telling details about them that personalize the space, that say something about the character?

As an actor, I needed to know what my character wore, how he walked, how he used his hands when talking (or did he?). What sort of shoes did he wear? I compared knowing this to an iceberg; the vast majority of the iceberg is under water and only the tip shows. However, for that tip to show, the bulk of the iceberg had to be there. (One of these days I’m probably going to have to explain what an iceberg was.) I have to know far, far more about a character than I’m actually going to use just to be able to pick the facts that I feel are salient to a given moment or story. When Tim Truman and I created GrimJack, we had a whole vast backstory figured out, some of which was revealed only much later; some of it may not have been revealed yet.

Generic backgrounds create generic characters. To be memorable, there have to be details. The more specific they are, the more memorable the character will be. That’s what we want to create; that’s what we want to read.

MONDAY: Mindy Newell

TUESDAY MORNING: Emily S. Whitten

 

Mike Gold: The Superhero Ideal

gold-art-130327-3288409Why doesn’t Batman use a gun?

Because his parents were shot down? Really? I mean… really?

That’s weak. Even for an obsessive-compulsive who’s borderline psychotic, that’s just silly. He’s got a belt full of lethal weapons, he’s got more in his car, and even more in his cave. And, speaking of OCD, they all have the same first name.

So, why doesn’t Batman use a gun?

Because it’s boring. It’s visually boring, and comics is a visual storytelling medium.

If the Joker comes running at him, he can whip out his Batgun and splatter the walls with green hair. Or he can start off a nifty three-page fight sequence.

Well, he can also whip out his Batarang and separate the crown from the clown, but that’s just one long panel. It might be entertaining if we were in one of those once-every-generation 3-D fads, but those fads never last long.

Let’s try it again.

The Red Skull is out after Captain America. Cap whips around and:

A)  Shoots him, obviously in self-defense and likely saving the lives of dozens if not hundreds of innocents to come, or

B)   Frisbees his mighty shield across the page and leaps upon the evil bastard and pummels the poo out of the guy, who even in defeat, manages to escape.

Yeah. What would Jack Kirby do?

Superheroes are not anti-gun because they are possessed by the liberal media. Superheroes don’t use guns because it’s unexciting storytelling. Gunplay in superhero comics is visually boring.

Police use guns because they are not paid by the panel and they have some concern over what their spouses are making for dinner. Taking the longer view, our military uses guns for much the same reason. In their world, visual excitement will likely get them killed.

You know who else uses guns?

Gun nuts. But that’s only in the real world.

THURSDAY: Dennis O’Neil

FRIDAY: Martha Thomases

 

REVIEW: Hair Shirt

Hair Shirt
By Patrick McEown
Abrams/SelfMadeHero, 119 pages, $24.95

hairshirt_cvr_978-1-906838-27-0-e1361808098602-1092383A second chance at love or happiness is often cause for celebration, but as Patrick McEown explores in his graphic novel Hair Shirt, it is not always for the best. From the murky cover color through the final page, the book’s emotional spectrum tends towards the dark and troubled.

We’re in a non-descript, unnamed city when John, a college student seemingly scared of everything, chances upon Naomi, a childhood friend who always represented the promise of more. As they take up with one another again, their other connections with the world drop away and McEwon tightly focuses on what they bring to the relationship and what they bring out of the other.

Growing up, John and Naomi’s older brother were best of pals, doing everything together. That is, until the family relocated across town for some unexplained by clearly sinister reason. Chris and John reconnected in high school and by then the damage was done; they were completely different people with little in common. Chris was a troubled adolescent, hinting at abuse which was masked through obnoxious behavior. As a result, John drifted towards a deeper, more interesting relationship with the shy, and equally damaged Naomi.

After Chris dies, a victim of a car accident, the mother and Naomi flee for the west coast and she vanishes from John’s life. McEown shows us that neither can fully let go of their personal demons but merely hints at them, without really showing us what makes them tick. As a result, the hair shirt he metaphorically knits, the symbol of penance, makes little sense. We’re at least given hints what happened to Naomi; what made turned John into an introspective loner is never explored or explained.

Similarly, McEown, whose work captured our attention with Grendel: Warchild and went on to a varied career that stretches from Disney Adventures Magazine to storyboarding Batman Beyond uses a very muted color palette from beginning to end. Despite the heavy paper stock, some of the pages are just too dark to properly make out what’s happening. The various flashbacks probably could have benefitted from

Neither character appears to have a direction with their studies, nor do they seem to attend classes or do homework, but instead try to figure out what has happened to them. Naomi is nowhere near as annoying or self-destructive as her brother, but the trauma she endured in the past also prevents her from properly loving John. Instead, she keeps egging him into a physical relationship with Shaz, a zaftig mutual friend.

Additionally, the razor thin balloon tails can disappear inside the dark colors so some of the conversations between characters can be difficult to follow. There’s a lot left unsaid and open for interpretation so this emotionally wearing story could benefit from clarity wherever possible.

This is anything but your typical romance given how damaged both protagonists are but it’s also hard to find someone to root for given how dysfunctional they are. For John at least, the story’s conclusion offers us a glimmer of hope while poor Naomi is left with her inner demons, the one person who understood her now driven away.

This is bleak, difficult territory and despite the dark colors, McEown’s artwork is emotionally evocative and his dialogue has a nice natural ring to it. Love is never simple but it’s clearly what most everyone is seeking, even in the dismal city where memories are as vivid as the people close by.

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