Tagged: comics

REVIEW: “Friends With Boys” by Faith Erin Hicks

Friends with Boys, the new graphic novel by Faith Erin Hicks (whose The War at Ellsmere I reviewed in a huge round-up month), has an oddly ill-fitting title; it’s the story of a teenager, Maggie, who is starting in a public highschool after her mother (who home-schooled her and her three older brothers — all of whom oddly seem to still be in the same school though there seems to be a few years in between her and her twin brothers and then the oldest one) ran away mysteriously. Maggie has trouble making friends with anyone, since she’s been so wrapped up in her family, but she’s a tomboy, and has been closer to boys (her brothers) her entire life. So being “Friends With Boys” isn’t really the big thing here — it’s that she’s in the company of people who aren’t family, or without her mother, or something along those lines. The title also makes her homeschooling sound more controlling or sinister, as if it were based on some controlling-young-women religion, and it isn’t like that at all.

But there’s nothing to stop Maggie from becoming friends with boys, or more than that — her brothers are friendly and supportive (if awfully rough-and-tumble) rather than over-protective, and even her father (the chief of police of their small town) is a support rather than an authority figure. Friends With Boys is somewhat the story of potential friendships for Maggie, but those friendships are with a brother and sister (Lucy and Alistair) that she meets at school, her brothers (as they work out their own conflicts), and a ghost that she’s been seeing in the local graveyard for the past seven years.

The ghost and the Alistair/Lucy friendship together drive much of the plot — Alistair, a mohawked punk, has a feud with the blond captain of the volleyball team (though, luckily, it’s not otherwise as cliched as that may sound), and Maggie is sure she knows what she has to do to put that ghost at rest. But, if Hicks has a message in Friends With Boys, it’s that things are more complicated than they look. There are several plot or thematic strands that are raised but never resolved — primarily among them the disappearance of Maggie’s mother just before the book starts — and the answers we do learn aren’t the ones we expected.

All of that makes Friends With Boys an excellent graphic novel for teens, its expected audience — it’s a story about walking out into a wider world, not entirely understanding it, making plans based on what you see — and then still not entirely understanding that world. So much fiction for teens tries to wrap everything up in one ball or another — that everything is horrible because adults, or that they can be perfect special snowflakes if they want, or some other pat explanation — that Hicks’ messy complications (and that’s without any kind of love-plot, too; how complicated will Maggie’s life get what that gets into the mix?) are a breath of cool air, like the dizzying view from a mountaintop. As this book ends, Maggie still hasn’t learned how to be friends with boys, but maybe she has learned how to be friends with her brothers, which is one step forward.

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Reminder: Today’s the last day to vote in the 2012 Harvey Awards, hosted this year by Phil LaMarr

  • News
  • August 17, 2012

new-harvey-logo-web-2012-2-5553637We want to remind you that voting for the Harvey Awards closes tonight at midnight, so get your votes in now if you haven’t already. Please remember that only comic book professionals – those who write, draw, ink, letter, color, design, and edit comic books and graphic novels – are eligible to vote. All you have to do is go to the Harvey Awards website and vote, quick and easy. Voting turnout seems healthy this year, thanks to the new online voting.

The 2012 awards will be handed out at the Baltimore Comic-Con on September 8th, in a ceremony hosted by Phil LaMarr. We hope to see you there!

Named in honor of the late Harvey Kurtzman, one of the industry’s most innovative talents, the Harvey Awards recognize outstanding work in comics and sequential art. Nominations for the Harvey Awards are selected exclusively by creators – those who write, draw, ink, letter, color, design, edit, or are otherwise involved in a creative capacity in the comics field.  They are the only industry awards both nominated and selected by the full body of comic book professionals. The awards have been presented annually since 1988.

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Phil LaMarr (Photo credit: Gage Skidmore)

Phil LaMarr is best known as a cast member of Fox’s MADtv, a sketch comedy show based on characters and situations from MAD magazine, which was founded in 1952 by Editor Harvey Kurtzman (namesake of the Harvey Awards) and Publisher William Gaines. The show first aired in 1995 and ran for 14 seasons, of which LaMarr was a cast member for 5 seasons (1995-2000).

In addition to his comedic acting, LaMarr is also an accomplished voice actor for such renowned shows as Futurama, Kaijudo, Foster’s Home for Imaginary Friends, Static Shock, Evil con Carne, Samurai Jack and Justice League Unlimited, as well as recurring roles on King of the Hill, Family Guy, Star Wars: The Clone Wars, Young Justice and The Adventures of Jimmy Neutron.

LaMarr says: “I’m excited and honored to be a part of the Harvey Awards this year, and I am looking forward to meeting many of the people I spend every Wednesday afternoon with.”

The change in host this year from Harvey Award mainstay Scott Kurtz was due to a family conflict. Kurtz, a friend of both the Baltimore Comic-Con and the Harvey Awards, will return in the future.  “Scott worked really hard to make the show this year, and we all understand and respect that family commitments must take priority,” said Marc Nathan, Baltimore Comic-Con promoter.  “Scott is always welcome here in Baltimore!”

iVerse Adds Contraband Comics for Digital Distribtion

jbs01_launch_ad-292x450-4937903(August 15, 2012—Waco, TX) – iVerse Media, creators of some of the world’s most popular and widely used technologies for reading and distributing digital comics, announced today that the company’s Comics Plus platform has been selected as the exclusive digital distribution platform for Contraband Comics, a new independent, creator-owned comics publishing initiative.

“We’re extremely happy and excited that Contraband Comics has decided to launch with us exclusively,” said Michael Murphey, iVerse CEO. “Their creative team is outstanding and, from the work we’ve seen so far, we know that our readers are really going to enjoy their lineup.”

“iVerse’s dedication to creator-owned projects is what we were looking for in a distribution partner,” said writer/artist and Contraband founder, Jon Goff. “Their ability to deliver content on a level that meets the high standards everyone at Contraband strives for made this a very easy choice for us. We plan to utilize the Comics Plus app’s many features to their fullest, as Contraband continues to roll out titles that push the envelope of storytelling and innovation.”

The first wave of Contraband titles that will be available exclusively on Comics Plus include:

  • BLINDSIDE by Marat Mychaels (creator/illustrator) and Jon Goff (writer) – The worlds of superheroics and espionage merge head-on in an all-out, bullet-riddled, adrenaline rush blockbuster! Debuts August 22nd exclusively on Comics Plus.
  • BIG HITTERS by Travis Sengaus (co-creator/illustrator) and Jon Goff (co-creator/writer) – This science-fiction action/adventure follows the exploits of a pair of sanctioned hitmen – called “Hitters” – as they navigate the seedy underbelly of an advanced post-war universe. Debuts September 5th exclusively on Comics Plus.
  • JACK RABBIT by Jim Hanna (co-creator/illustrator) and Jon Goff (co-creator/writer) – A supernatural crime-noir thriller that follows an ex-boxer-turned-private detective as he investigates the darker corners of 1930’s Los Angeles, where truth and myth merge in a surreal mixture of violence and hope. Debuts September 19th exclusively on Comics Plus.

“A big goal for us at iVerse is to help talented creators like Jon get their creations out to millions and millions of people,” said Steve May, iVerse Director of Business Development.  “There are many amazing creator-owned books out there just needing the right distribution partner to take them to the next level.  With talent like Jon, Marat, Travis and Jim on board, I have no doubt that Contraband Comics will quickly reach that level and grow beyond it.”

About iVerse Media. LLC

iVerse Media (http://www.iversemedia.com) is a digital content distributor focused on the world of comics and popular culture. Founded in 2008, the company was one of the first to launch digital comics on Apple’s iOS platform. As of April 2012, over 12 million products in the iOS App Store have been downloaded that are powered by iVerse, making the “iVerse Engine” one of the most popular and widely used platforms for reading digital comics in the world. The company is principally located in Waco, TX. For more information, visit www.comicsplusapp.com.

About Contraband Comics

Launched in 2012, Contraband Comics is a creator-owned, independent comic book publisher with a focus on providing quality titles across multiple genres. Founded by writer/artist, Jon Goff, and featuring a talented line-up of comic book creators, including Travis Sengaus, Marat Mychaels, Jim Hanna, Fco Plascencia, Comicraft and more, Contraband’s only goal is to entertain. Contrabrand Comics are available exclusively on iVerse Media’s ComicsPlus digital platform. Learn more about Contraband Comics on their Website: http://www.contracomics.com

About Jon Goff

Jon Goff has developed content for comic books, action figures and video games while working with many of the top companies across the entertainment industry, including The McFarlane Companies, 343 Industries, Microsoft Game Studios, Marvel Comics, MEGA Brands, Gentle Giant Studios, WETA Workshop, ABC Studios, Tor Books, DK Publishing, Prima Games and more. Jon’s credits include Tor Books’ Halo-themed anthology, Halo Evolutions, the monthly Spawn comic book title and The Adventures of SPAWN online comic. Follow Jon on Twitter: @Jonathan_Goff

About Marat Mychaels

Marat Mychaels (Grifter, Deadpool Corps) is a veteran of the comic book industry, having provided artwork for Marvel Comics, DC Comics, Image Comics and more. Marat’s current focus is the launch of his creator-owned title, Blindside, as part of Contraband Comics, along with steady work on DC Comics New 52 titles, including Hawk and Dove and Grifter.  Follow Marat on Twitter: @MaratMychaels

About Travis Sengaus

Travis Sengaus is an illustrator and animator from Calgary, Alberta, who has provided artwork for various comic, video game and animation projects. His credits include The Adventures of SPAWN online comic book and production work for Table Taffy Studios. Follow Travis on Twitter: @TravisSengaus

About Jim Hanna

Jim Hanna is an artist/writer based in Mesa, Arizona. He has provided art for Arcana Studio, Upper Deck, Red 5 Comics, Cryptozoic Entertainment and Marvel/The Hero Initiative. Jim’s newest project is the creator-owned title, Jack Rabbit, part of Contraband Comics’ initial wave of titles. Follow Jim on Twitter: @jimhanna

Join the CBLDF Website Team!

  • News
  • August 15, 2012

join-the-cbldf-website-team-8176584Just last week, the CBLDF website was recognized by Tom Spurgeon with The Comics Reporter for our “content explosion,” and we want to do more! CBLDF is looking for contributors to add to our already spectacular roster of bloggers. Whether you’re a journalism student looking for experience, a passionate fan of comics and Free Speech, or an educator and librarian who wants to share your experiences, CBLDF is looking for your voice!

Each member of our website team will be asked to identify and/or generate content about relevant Free Speech issues for www.cbldf.org on a weekly or semiweekly basis under editorial guidance from the Web Editor. The Web Editor may assign specific articles for coverage, but contributors will otherwise have flexibility in choosing what they write about. Our current contributors cover stories and generate original posts that run the gamut from the history of comics censorship to the international suppression of cartooning voices.

The blogging positions are voluntary. Articles will be seen by visitors to www.cbldf.org and cross-posted on CBLDF’s Facebook page, Twitter feed, and weekly newsletter, ensuring that several thousand people will see the articles. Contributors will be able to work from anywhere, set their own schedules, build writing and blogging experience, and boost their resumes. In doing so, contributors will support the important First Amendment work of CBLDF.

If you are enthusiastic about the First Amendment, a good writer, and able to take editorial direction, you’re a perfect candidate — apply today!

To apply, please send your resume and a writing sample to betsy.gomez@cbldf.org.

ABOUT THE COMIC BOOK LEGAL DEFENSE FUND
Comic Book Legal Defense Fund is a non-profit organization dedicated to the protection of the First Amendment rights of the comics artform and its community of retailers, creators, publishers, librarians, and readers. The CBLDF provides legal referrals, representation, advice, assistance, and education in furtherance of these goals.

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The Point Radio: BBC Gives A Shiny New COPPER


This week, BBC America premieres their new detective series COPPER and we have star Tom Weston Jones to explain why you won’t want to miss it, plus SyFy unleashes a new reality show that hits a little close to most of us – COLLECTION INTERVENTION. When do our hobbies become unhealthy. Host Elyse Luray explain. And, a sad start to the week with the passing of a true comic book great.

GO HERE to see our EXCLUSIVE video with COPPER’s Tom Weston Jones and while you are at it, subscribe to our new YouTube Channel!

Don’t miss a minute of pop culture news – The Point Radio  – 24 hours a day of pop culture fun for FREE. GO HERE and LISTEN FREE on any computer or on any mobile device with the Tune In Radio app – and follow us on Twitter @ThePointRadio.

Martha Thomases: Fanboys In Congress

Because it is an election year and I’ve given money to candidates in the past (and foolishly included my phone number with the donations, because I’m an idiot and also it’s required by law), I get phone calls from people looking for more money. Most often, these calls are from organizations or PACs, but sometimes the actual candidate picks up the phone to call me.

Mostly I dismiss the calls from organizations because they are annoying and I don’t want to encourage them to keep calling me. However, ever since my pal, Ed Sedarbaum, ran for office and told me how difficult it is to make those calls, and how great it is when someone will listen, I cut the individual candidates some slack. I listen. I engage. And, when I can, I make a pledge.

What does this have to do with comics? I recently got a call from Nate Shinagawa who is running for the U.S. Congressional seat for the 23rd district in New York. I’m sure he got my name from Eric Massa’s list, because Massa is from the same aea and I liked him a lot before his shenanigans got him into trouble.

Anyway, he introduced himself, and then we started to talk about Superman.

It turns out that Nate is a big old fanboy. He started reading comics around the time the Death of Superman story was playing out. He explained this to me in case I didn’t feel old enough.

We chatted for a far longer time than I suspect he allotted for me. We talked about comics, and I explained to him my theory that Superman is, at heart, a New Deal Democrat. To put it in a perspective more appropriate to the 21st century, he’s a superhero, sure, but he also demonstrates that the things that make us different from each other are what make us valuable, and we should use those things to make the world a better place.

So I’m not surprised that people who like superhero comics are occasionally inspired to live a life of public service. Most famously, Vermont Senator Patrick Leahy is a Batman fan. I’m sure there are Marvel fans in politics, and conservative candidates who are comic book fans, but its unlikely I would come across them. I hope they found something equally valuable in the stories they love.

My point is that, like all art forms, graphic storytelling can inspire people. And the more commercially successful it is, the more people it reaches, and the more it can inspire.

Sometimes, a candidate will even set himself on a campaign against a super-villain.

Saturday: The Return of Marc Alan Fishman?

 

Harvey Awards website updates, now with online voting!

  • News
  • August 8, 2012

new-harvey-logo-web-2012-2-6860226We’re very happy to announce that the Harvey Awards have upgraded their web site (with a little help from us) and is now able to take votes directly online instead of downloading a ballot and emailing (or even just mailing, shudder) it back. It is hoped that this will increase the voting turnout tremendously.

The final ballot for 2012 closes next Friday, August 17th, so get your votes in now if you haven’t already. Please remember that only comic book professionals – those who write, draw, ink, letter, color, design, and edit comic books and graphic novels – are eligible to vote.

The 2012 awards will be handed out at the Baltimore Comic-Con on September 8th. We hope to see you there!

Named in honor of the late Harvey Kurtzman, one of the industry’s most innovative talents, the Harvey Awards recognize outstanding work in comics and sequential art. Nominations for the Harvey Awards are selected exclusively by creators – those who write, draw, ink, letter, color, design, edit, or are otherwise involved in a creative capacity in the comics field.  They are the only industry awards both nominated and selected by the full body of comic book professionals. The awards have been presented annually since 1988.

REVIEW: Whatever Happened to the World of Tomorrow?

Whatever Happened to the World of Tomorrow?
By Brian Fies
208 pages, $14.95, Abrams ComicArts

whatever-happened-to-the-world-of-tomorrow-292x450-6945886The future never turns out like people predict. Nostradamus was wrong. Authors, philosophers, painters, and clergy have all been wrong about what the world of tomorrow will turn out to be. Depending upon when you were born and where you were raised, the future is either shockingly surprising or deeply disappointing. Brian Fies’ Whatever Happened to the World of Tomorrow? falls into the latter category.

The 2009 book is now out in softcover and a personal essay on what the world has become since the 1939 World’s Fair, which also parallels the development of geek culture since, after all, that was the first place Superman made a personal appearance as his popularity was just beginning to soar. The sky was the limit, it seemed, and the World’s Fair promised peace and prosperity at a time that war was already being fought in Europe and Asia. The fair seemed to be willing to war to stay away from our shores.

The promise of space adventures, which first appeared monthly in the pulp magazines, took off at this same period thanks to adventure serials in newspapers, radio exploits doled out in fifteen minute installments and then fifteen chapter serials shot on a shoestring but told at a such a breakneck pace you just had to come back next week to learn what happened next. At the same time, war shook America out of the Depression doldrums and forced manufacturing, technology, and science to stay one step ahead of the Axis powers.

Whatever Happened to the World of Tomorrow?, the long-awaited follow-up to Mom’s Cancer, is a unique graphic novel that tells the story of a young boy and his relationship with his father.

Spanning the period from the 1939 New York World’s Fair to the last Apollo space mission in 1975, it is told through the eyes of a boy as he grows up in an era that was optimistic and ambitious, fueled by industry, engines, electricity, rockets, and the atom bomb. An insightful look at relationships and the promise of the future, award-winning author Brian Fies presents his story in a way that only comics and graphic novels can.

Interspersed with the comic book adventures of Commander Cap Crater (created by Fies to mirror the styles of the comics and the time periods he is depicting), and mixing art and historical photographs, this groundbreaking graphic novel is a lively trip through a half century of technological evolution. It is also a perceptive look at the changing moods of our nation-and the enduring promise of the future.

Fies, best known for his award winning Mom’s Cancer, followed up with this look back at the promises of the past and the failure of the future to deliver. The story stretches from the World’s Fair to the final Apollo mission in 1975 and is told entirely from the point of view of Pop and Buddy and thanks to the miracle of comic book storytelling, the two age incredibly slowly while the world moves ahead in real time. It’s a conceit, using them as metaphors not actual characters, that doesn’t entirely work despite an Author’s Note up front, but it’s at worst a minor annoyance.

Interestingly, the book also tells the story of American society by showing the mindset as world events changed around us, going from the anything is possible 1940s to the disillusioned 1960s. Also reflective of this evolution are a series of faux comics featuring Commander Cap Crater and the Cosmic Kid. Imitating the styles of the 1940-1970s, these stories also show how comic books have grown ever more sophisticated in reaction to the changing readership. Fies does a terrific job matching the bad color registration and subtly adjusts the paper yellowing to reflect the ages as well as the ever more complex indicias.

The book also nicely integrates actual photography from space or of the fair along with images taken from the great futurist artist Chesley Bonestell. The storytelling, artwork, layout, pacing, and color are terrific and does a nice job taking us era to era even as our main characters oh so slowly grow and age. Dad remains representative of an American society whose time has passed and maintains his conservative stance which ultimately causes conflict with Buddy, who yearns for the future to be here now.

It’s the 1960s when everything changes as the Russians reach space before the Americans and it has become clear that the promises of the 1930s will not be kept. There’s a sense of anger and loss at this realization which also makes the 1970s a sad period when there’s little to believe in.

Still, Fies offers up an optimistic ending, pointing out the current technology boom of the last 10-15 years has once more awakened the endless possibilities offered in the years ahead. We may not be getting jet packs and interplanetary travel any time soon, but we are reminded there is a lot to look forward to.

Mike Gold: Four-Color Friendships

gold-column-art-1208012-5014667It was an interesting party. Held in a Mason lodge, I got to hang out with The Point’s Mike Raub, former ComicMix columnist and book writer and moviemaker Ric Meyers, and Adriane Nash, the one woman condemned to be both a ComicMixer and an employee of arrogantMGMS. And a whole bunch of old friends, about 72 of which used to be in the comic book retail business.

It’s not that I would be friendless if not for the comics racket. Since I spend a healthy amount of time in politics, social services, broadcasting and more dubious endeavors, I know a few folks who couldn’t tell the several dozen current Spider-Men apart – and politely couldn’t care less. They humor me nonetheless.

But it is safe to say most of my enduring friendships are comics-related. I’ve known Mr. Raub for, damn, three-dozen years. Glenn Hauman and I met when he was a “small” child hiding in DC’s darkroom, back when the Earth was still cooling. John Ostrander and I have been buddies since before Watergate; we met through Chicago theater connections and were both herded into a corner at a party in those ancient days because, as comics fans, we “had something to talk about.” Ah, those days when geeks were treated like… geeks.

The list goes on and on. I’ve had the privilege and honor to work with my friends and that has worked out wonderfully more than 99% of the time. There are maybe only two or three people I regret working with – I’ve mended fences with others; creative egos are a mixed blessing and I’ve got one that’s louder than a Sousa march. There’s only one person in comics I actually wish to murder; I’ve spent less time and energy in broadcasting and that list is both longer and older.

So this comics donut shop, to paraphrase Chico Escuela, has been berra berra good… to me.

I’m all backward-looking because this Saturday is my birthday – I turn real, real old; I mean, Mel Brooks old – and seeing all these old friends in one room was a heady event.

Despite its massive expansion (says the man who refers to the San Diego convention as the “black hole of media shows”) and the generational differences and the public’s near-acceptance of geekdom, there remains a closeness in the comics community that, to my experience, is unparalleled elsewhere. Even people who truly hate each other are on a first name basis.

I highly recommend it. This is one hell of a donut shop.

THURSDAY: Dennis O’Neil

 

GUEST REVIEW-SALMON REVIEWS PRESTON’S ‘UNEARTHED’!

  • News
  • July 31, 2012

BURIED TREASURE

A Review of William Preston’s “Unearthed”

by
Andrew Salmon
asimovs-sept2012-4325230
     “Unearthed” by William Preston (Asimov’s, Sept. 2012, in stores now) is the third story to feature his “Old Man” character. The first two: “Helping Them Take The Old Man Down” and “Clockworks” also appeared in Asimov’s (the pair are now available as an ebook) and are already New Pulp classics.       
     This third tale is the best yet.
     As the first two took place in the modern day and the 1960s respectively, “Unearthed” is set in 1925 – right in the meat of pulp’s Golden Age. It begins with a Mohawk woman in South America studying a local people who are working a mine for an unnamed owner. When a cave-in occurs, the men stagger out suffering from phantom ailments, and one man is missing. The woman, nicknamed “Qwerty” by her people, must call the mine’s owner for help. The owner’s simple reply is that he is sending his son, “Little Boss”, to deal with the situation.
     For those of you fresh to Preston’s work, now might be a good time to mention that the “Little Boss” here and the “Old Man” of the first two tales is one and the same person.
     That person, in no uncertain terms, is Doc Savage.
     Walking a razor’s edge of legality, Preston has given us three new Doc Savage stories – the best Doc tales of the New Pulp era – and the character is never mentioned by name.
     Yes, you did read the above statement correctly. And I know what you’re thinking: “Hey, isn’t Will Murray doing Doc?” Mr. Murray’s Doc Savage novels are great reads and each can easily be tacked onto the existing canon of tales, which ended in 1949, and not be out of place. He is to be commended for his ability to channel Lester Dent and provide us rabid New Pulp fans with more classic Doc adventures.
     However, William Preston is giving us a Doc Savage for the 21st Century. Forget the travesty that was First Wave or the plethora of comics (good and bad) which came before. Preston’s Old Man tales are not only great Doc stories, they are also the best New Pulp tales being written today. Period. And I say that with all due respect to my colleagues who, along with myself, are currently crafting heaps of purple prose for the ever growing audience out there.
     In “Unearthed” we meet the “Little Boss” (Doc in his twenties) and Preston captures all of Doc’s majesty and imposing presence as soon as he steps onto the stage. In a few lines, he gives Doc more personality than the first 50 Doc novels and this still-learning-the-ropes Doc is as captivating as always. Everything about him is just, well, different than most folks. First we see his medical abilities as he tries to diagnose the strange illness affecting the miners, then he leads Qwerty down into the collapsed mine where they encounter something that will forever shape their destinies. The result is a tale you won’t soon forget.
     Amidst the action, there is also a deeper layer. During their encounter with the things in the earth, “Little Boss” gets visions of the future and Preston makes the connection between this first, chronologically-speaking, story and “Helping Them Take The Old Man Down” – the first Old Man tale to see print. With a fourth tale in the works, that tie will no doubt be strengthened. With the course of his life now set, “Little Boss’s” odyssey truly begins and we are all along for the ride.
     “Unearthed” is a great read. Action, heart, and literary prose abound. Preston takes us into the hearts of the characters as deeply as they descend into the bowels of the earth and the pages fly by. The story is everything New Pulp should be: a captivating, larger-than-life adventure yet filled with a wealth of characterization and a evocation of setting the greats of yesteryear could never dream of pulling off as they raced deadlines decades ago. Preston’s prose is clean and powerful, demanding close reading to truly appreciate the craftsmanship that went into the tale’s construction.
     With three unforgettable tales, William Preston has set the standard for New Pulp excellence. Once a publisher rips the stories from the pages of soon-to-be musty magazines and returns them to print in book form, this collection will be the cornerstone of any fan’s New Pulp library.
     Until that happens, we get to read them they way the first generation of fandom got their pulp thrills, one at a time in magazine form. Pick up the September 2012 issue of Asimov’s, then sit back and enjoy a wonderful adventure. “Unearthed” gets my highest recommendation. Expect it to get serious consideration come award season. It is a gem.

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