Green Lantern – Page 8

Dwayne McDuffie by Glen Muramaki & Andrew Pepoy

Dwayne McDuffie tributes

News
February 22, 2011

From all corners of the comics internet, the only word to describe the reaction to Dwayne McDuffie’s death has been shock… although dammit is running a very close second. His passing has become a trending topic on Twitter, which only partially shows how far his influence really was.

Andrew Pepoy sent the image above, which he inked over Glen Muramaki’s pencils. Dwayne liked it a lot and used it on his blog and Facebook page, it’s nice to see the original at a decent size.

From Peter David:

I will never forget sitting in his office as we worked out storylines. There was more than just his physical presence (he was well over six feet tall). He seemed to radiate confidence in his abilities, which was entirely warranted, and he was determined to roll with whatever curves Cartoon Network might throw his way and turn them into the best stories possible. He had boundless enthusiasm not only for his work, but for the sheer creative process. To say he will be missed is to understate it. I offer condolences not only to his family, but to the entirety of fandom for losing one of the great ones.

Geoffrey Thorne:

he was a great man. he was good friend to me. he was the only person in my life i’d refer to as a mentor. i can’t fucking believe it. i really am not a person right now.

(more…)

Nathan Fillion Takes to the Skies in ‘Green Lantern: Emerald Knights’

News
February 8, 2011

BURBANK, CA, (February 8, 2011) – Primetime television stars Nathan Fillion (Castle) and Elisabeth Moss (Mad Men) lead a diverse array of performers as the voices behind Green Lantern: Emerald Knights, the
next entry in the popular, ongoing series of DC Universe Animated Original Movies. Building up to the release of the highly anticipated live action film, Green Lantern, in theatres June 17, Green Lantern: Emerald Knights arrives on Blu-Ray™, DVD, On Demand and for Download June 7 from Warner Premiere, DC Entertainment and Warner Bros.
Animation.

Fillion provides the voice of the animated film’s central character Hal Jordan, the human Green Lantern assigned to Sector 2814 (which includes Earth). Fillion has starred in several primetime television series including Desperate Housewives, Two Guys, a Girl and a Pizza Place and Buffy the Vampire Slayer. He has also developed a popular
cult following as a pair of Joss Whedon’s heroic captains: Capt. Mal Reynolds in the space-western series Firefly and follow-up film, Serenity; and Captain Hammer in Whedon’s internet sensation Dr. Horrible’s Sing-Along Blog. Fillion returns to the DC Universe after his successful turn as Steve Trevor in the animated film Wonder Woman, and has performed voice work on Justice League, Robot Chicken, The Venture Bros., and several Halo video games.

Moss gives voice to Arisia, a young recruit forced into her first mission on just her third day as a Green Lantern. Prior to starring as the ever-evolving Peggy Olson in AMC’s ground-breaking series Mad Men, Moss was featured on The West Wing, Invasion and Picket Fences. Moss has been active in voiceovers for animation with previous roles in
Steven Spielberg Presents Animaniacs, Freakazoid! and It’s Spring Training, Charlie Brown!.

The voice cast for the animated Green Lantern: Emerald Knights also features actor/spoken word artist Henry Rollins (Sons of Anarchy, The Henry Rollins Show) as Kilowog, Jason Isaacs (the Harry Potter films) as Sinestro, legendary professional wrestler “Rowdy” Roddy Piper (They Live) as Bolphunga, Arnold Vosloo (The Mummy) as Abin Sur, Kelly Hu (The Vampire Diaries) as Laira and Wade Williams (Prison Break) as Deegan. Radio Hall of Fame commentator/talk show host Michael Jackson voices the esteemed Guardian, Ganthet.
Bruce Timm is executive producer of Green Lantern: Emerald Knights. Directors are Lauren Montgomery, Jay Oliva and Christopher Berkeley.The full-length animated Green Lantern: Emerald Knights complements the Warner Bros. theatrical release of the highly anticipated live-action major motion picture Green Lantern,Green Lantern: Emerald Knights will be distributed by Warner Home Video as a Blu-Ray™ Combo Pack and 2-Disc Special Edition DVD, as well as single disc DVD. The film will also be available On Demand and for Download.

ALL PULP INTERVIEWS KPSB!

News
February 8, 2011

Kevin Paul Shaw Broden –Writer/Creator

AP: Tell us a little about yourself and your pulp interests.

KB: All my life I wanted to tell stories, and most of those stories were and are about masked mystery men and super heroes. From an early age I did what I could to make that my career. I began with the plan of being a comic book artist, though as I went through my education I discovered my passion was more about the story than the art.

I’m still an artist. My first professional comic assignment was drawing backgrounds and doing color comps for the early issues of SUPREME for Image Comics. I want to continue to draw more in comics, but I’m really a writer at heart. Maybe not the greatest of scribes, but I write the best stories I enjoy and hope others will too.

As a young kid I had trouble reading, but after starting to read comic books the teachers encouraged me to keep at it. It was helping. Yet it was even before comics that my love for the MASK began. Late at night our local news radio station would play their “old time radio theater” introducing me to the Green Hornet, The Shadow, Lone Ranger, and many others.

In comics I found myself far more interested in the Golden Age heroes that were then appearing in All Star Squadron, instead of their modern day counter parts. There was so much mystery in those heroes that had started it all.

I may not have regularly been reading the pulps, but I was drawn to them and I was drawing them far more than the current models.

Alan Scott is Green Lantern to me, not Hal Jordan.

AP: What does pulp mean to you?

KB: I suppose it was discovering the mysteries of what was in those pulp heroes that excited me, just as much as when I dug through the secrets hidden in my grandparents’ basement. It was the same magic. I remember the first time I bought a Comic Book Price Guide. The cost of the old books was staggering, but what I really got out of it was discovering the names of characters I had never heard of before; who was this Blue Beetle, Black Terror, Spy Smasher, Phantom Lady, Air Boy, and so on. I wanted to know each and every one of them.

On a more scholarly line, which the child in me would never have thought of, the pulp authors continued the thread of the pedestrian ‘dime novel’ going back to Arthur Conan Doyle and Charles Dickens with the same magic and mystery for less than a penny a word. Which in my mind makes the pulps and comics very much literature.

I didn’t begin to read the actual pulp novels until much later, but with that same childlike love for them.

Which led to about six months ago and an idea for a pulp style mystery man of my own.

AP: Tell us about your serialized pulp novel, Revenge of the Masked Ghost. Where readers can find it?

KB: My Masked Ghost character came out of a question I asked myself one day. How do the families of our heroes handle them putting on masks and running off into the night and to certain death? Which led to the next question: What happens when the family discovers what he’s been doing only upon his gruesome death?

That was the kernel of an idea that in the next few hours grew into a two-page outline and what I thought would turn into a pretty good story. Working from there I knew it had to take place in the “golden age” of the pulp heroes and not in modern day.

While I have been working on a novel, I didn’t want this new story to take a back seat and wait. So I decided to put it on the web chapter by chapter as I completed each one.

So the REVENGE OF THE MASKED GHOST began.

Our hero stumbles into the apartment of his sister and brother-in-law and dies in their arms of multiple gunshots. Shocked to discover he had been going about town as this masked vigilante, they must find out why and who killed him. It may require that Masked Ghost come back from the dead to do so. Someone must wear the mask.

I began posting the chapters once a week, but now because of employment I am posting them every other week. I have warned my readers that what they are reading is a first draft, with all the grammatical errors that go with it. I’ll be making corrections on the early chapters over the next few weeks.

You can follow the story at: http://revengeofthemaskedghost.blogspot.com/

This past week I also provided what I hope to be the first of many illustrations to go along with the story. This first image has the feel of an old movie serial.

AP: You’re the co-writer and artist for the webcomic, Flying Glory and the Hounds of Glory, which has been running for nearly ten years. Tell us about it.

KB: As stated earlier I fell in love with masked heroes from childhood and it isn’t surprising I came up with many of my own. As Marvel and DC had their own universes I soon had notebooks and three ring binders full of my own heroes and story ideas, which I labeled “My Universe”.

Later, I joined an online writers group, on the GEnie bulletin boards, that included writer workshops, and one focused on comic book scripts. So I grabbed one of the heroes from of my notebook and turned it into a full script.

This would be the first story about the wartime super heroine known as Flying Glory.

I was surprised by the positive responses I received, some from well-established professional writers. Because of that, a while later I assembled a pitch package and brought it to the San Diego Comic Convention with the hope that someone might be interested in publishing a FLYING GLORY comic. It was a long shot, being really impossible to have meaningful long conversations with anyone in that crowded arena. However, I did get to hand out a few copies of my pitch.

Surprised once again, a few months later I heard back from one of the publishers. We had a few phone conversations about the property and what could be done with it. Unfortunately the publisher eventually passed on it. They closed shop within the year, so maybe it was a good thing nothing came from it.

Yet Flying Glory refused to go back into the folder quietly.

About the same time I had met up with fellow animation writer Shannon Muir through GEnie, and she happened to be moving to the Los Angeles area. Together we began looking for a way to update Flying Glory for a ‘modern audience’ (whatever that really means), including development plans for a movie and animated TV series, as well as a comic.

We soon learned that we needed more exposure on our own first, and decided after exploring several options (including the more traditional ‘ashcan’ sampler format), the best way for us both time and money wise was to tell the story as a webcomic. Our initial release only ran as a full color four-page mini-comic, at that point we didn’t envision posting a page a week coming up on a decade.

With that, the granddaughter of the original heroine put on the mask and FLYNG GLORY AND THE HOUNDS OF GLORY began their musical entry on to the stage.

Shannon and I co-write every issue; she provides song lyrics included in each tale, and I draw every page of art using my computer, Corel Painter, and a Wacom tablet. I also do fully painted color covers for each issue.

The webcomic is about teenager Debra Clay who already has dreams of becoming a rock star when she discovers she has inherited the super powers of her grandmother the wartime super heroine Flying Glory. Convinced that it will help her celebrity status; Debra puts on the mask and gets her fellow high school band mates to also become super heroes as they perform on the stage. But they soon discover that they must become real heroes in and out of the mask.

AP: What’s the secret to keeping the webcomic going for nearly ten years and keeping it fresh?

KB: After the first story, we soon learned to listen to what our characters wanted to do. There was a plan of course, an outline of where we intended the stories to go, but that wasn’t always where they ended up.

We also decided to shorten the stories so that they could be published in single issues or collected together.

With each issue we tried something new and the characters went where they wanted.

In issue five we had our band of heroes meet a Japanese schoolgirl heroine. I attempted to switch back and forth between my own “western” art style to a manga style. As an artist, I will be the first to admit that it was a failed experiment. However, the story still told us a lot about our characters. Several secondary characters in the story have made their presence known.

As we were working on that Shannon pitched a story for Issue 6. She had recently returned from a convention in Las Vegas. Her experiences there gave her an idea for a far more serious story. I wasn’t too keen on the idea at the start. After bouncing it back and forth we found a story we both liked and could work with. It involved the pull and temptation of the celebrity life, which our heroine was already falling for, and the terrible things that could happen. It involved a potential date rape, which her friends save her from. We discovered that the best way to expand and grow our characters was to force our lead to her lowest point and shake her to the core and then follow her journey as she re-emerges as a stronger woman and hero. We also worked hard to make sure every page was done right carefully in both story and visuals. Even with my earlier reservations, we are both very proud of this story, and the resulting consequences are still affecting our characters now over half a dozen issues later.

We have a lot planned for FLYING GLORY AND THE HOUND OF GLORY, and even TALES OF FLYING GLORY about the original patriotic heroine and other characters around her. These characters have a lot more to tell us, and they could for years to come. Am looking forward to people following along whether it’s on the web or in printed form.

AP: In addition to pulp and comics, you’ve also worked in animation and film. Creatively, how different did you find each medium?

KB: Creatively, they all begin at the same point: with an idea that becomes a story. The medium has its own rules, but if you can’t start off with the story it doesn’t matter if there are pictures, sounds, or cave paintings. There are some animators who believe they can do great cartoons without a writer, but they don’t realize they themselves are writers with their art. We are all storytellers first, no matter the media used.

I certain wouldn’t say that either a prose story or a script is easier to write. With a script you rely on an artist to draw the comic or storyboards and the writer sets the stage on which they work. But they still need to understand the scene and the story they’re drawing. So the writer better have a good idea of what the artist is expected to draw because if they don’t understand you’re either going to get tons of e-mail questions, or the final production is going to be miles off from originally intended.

AP: Where do you (or would you) like to see the publishing industry in the next five years?

KB: Publishing more of my work from the previous five. Is that a good answer?

Truthfully, I don’t know where publishing will be in five years or in one year.

A lot of people are concerned for the future of book publishing, especially when reports are being made that Amazon now sells more e-books than actual hardback or paperbacks. But isn’t that an answer into itself, there are hardback books, paperback books, and e-books, what is important there is that they are all books. Books are being published in one form or another.

In the last two years that I have been on Twitter I found more and more authors online to network with. I’ve followed as many of them have published, some even their first books. Some go the traditional way, others through online companies doing print on demand, and still others go directly to the e-book form. Because of the computer and the Internet we are now in an age that anyone can publish his or her own stories. I know that my webcomic and my serial aren’t making me any money, but I do it out of pure joy knowing that even a few people will see what I have created. I would warn people however of the so-called ‘vanity presses’ out there, which you have to pay to publish, or take more rights from you than they should.

I don’t think the book, or even the comic book, will completely go away, someone will publish them, but now we just have more ways to get our creations out there.

As to digital comics, I have two concerns. The first out of ego: what happens to the collector? Maybe that’s a good thing, and we won’t have a speculator’s market again. What does it do to Comic Conventions? The second concern is; do I really own my copy of the comic when it’s just out there in the ‘cloud’ and I have access to look at it when I want but not really hold?

AP: What, if any, existing pulp, comic book, or other media characters would you like to try your hand at writing?

KB: I’d love to sink my creative teeth in to a whole assortment of characters, but most of all as mentioned earlier; would love to write the original Green Lantern, Alan Scott. The mystical magic lantern holds a close connection to many other pulp fantasies of the time, and I think there is still a lot there to be mined, both in the magic as well the man.

Writing the Shadow would be fun, I think, though in my mind he exists as this voice from the radio than from the pulps. Recently I thought about taking a crack at a Flash Gordon type character. I found it interesting that the ‘present day’ world existed while he fought on Mongo as well. I’d love to do something with that. Do it in the time of the original comic strips and pulps, not like the poor TV series from a few years ago.

AP: Who are some of your creative influences?

KB: My influences began in comics with artists Jerry Ordway and George Perez. Their art was perfect to show the difference between the Golden Age magical based stories on Earth 2 and the modern scientific stories on Earth 1. So they became a perfect pair on CRISIS ON INFINITE EARTHS when Ordway inked Perez, the combining of the worlds and the art.

In writing it started the same with Roy Thomas on ALL STAR SQAUDRON, and Marv Wolfman on THE NEW TEEN TITANS. Everything else was compared to the measuring stick these men handed me as a child.

In prose writing, my first and major influence comes from Ray Bradbury. For many years I saw myself as him while I read his stories and about how he got started. Mr. Bradbury once wrote me about a story of mine, and took the time to point out what I had done wrong and how to improve it. Harlan Ellison is also a big influence on my work, but more so in my non-fiction, even my blogs.

During college, I was also influenced by Douglas Adams, but I found that my humor was overpowering the story when I attempted to emulate him.

So there’s this melting pot of influences in my mind and what comes out is me. Maybe not the greatest artist or writer, but it’s me and I’m pretty happy with everything I write and draw. Hope people like it too.

AP: What does Kevin Paul Shaw Broden do when he’s not writing?

KB: What do I do when I’m not writing? The answer is I write.

Currently I am working for my local community college writing and designing their alumni newsletter. Starting in the next week or so, I maybe writing and designing two other projects for them. So I’ve been blessed to have a nice “day job” for a few months. Though I continue pursuing an ongoing job in the entertainment industry at one of the animation or television studios. The important thing is that this gives me the opportunity to write. Maybe writing will be my career after all.

AP: Where can readers find and learn more about you and your work?

KB: Much of my work can best be found here on the internet.

FLYING GLORY AND THE HOUNDS OF GLORY:www.flying-glory.com

REVENGE OF THE MASKED GHOST: http://revengeofthemaskedghost.blogspot.com/

FOUR NAMES OF PROFESSIONAL CREATIVITY is my blog on writing, comics, and employment, can be found: http://kevinpsbroden.blogspot.com/

The online comic news site www.ComicBooked.com did an article on me at the new-year.

Suppose if you’re ever in Japan you might find a DVD of the series MIDNIGHT HORROR SCHOOL, which I co-wrote several episode of. Unfortunately it never aired here in the U.S. I’ve been told it’s shown up in Europe. (http://www.milkycartoon.co.jp/official/mhs/eng/op.html)

Other samples of my writing and art can be found in GARDNER’S GUIDE TO WRITING AND PRODUCING ANIMATION and GARDNER’S GUIDE TO PITCHING AND SELLING ANIMATION both books written by my partner and now fiancée Shannon Muir. You can find information about her books here: http://www.duelingmodems.com/~shan/books.htm

AP: Any upcoming projects you would like to mention?

KB: I wish there was something I could shout out and say to keep an eye on in the future, but right now there isn’t. Am currently finishing up a contemporary fantasy novel, but it doesn’t have a publisher yet, and I don’t have an agent. Soon, I pray, soon.

FLYING GLORY AND THE HOUNDS OF GLORY which will be celebrating its 10^th anniversary starting this summer with a special year-long ‘annual’ style story that will let us in on the background of several of our main characters and give hints of our future stories, preceded this Spring by as a mini Issue 0 showing a bit of Debra and her friends before the powers awaken. We are looking at ways of publishing the early issues as a trade.

Am also pitching a new comic about pulp style mystery men existing in the current economic recession.

AP: Are there any convention appearances or signings coming up where fans can meet you?

KB: That would be nice. Years ago I got to participate at the signing booth for Image Comics, back when Image and the ATM were the longest lines at Comic-Con. Seen nothing like it since; maybe soon.

AP: You have served as a writer and an artist. Are there any creative areas you’ve not worked in that you would like to try your hand at doing?

KB: Besides being a writer and artist, not much. Doubt I’d make a very good actor.

I’m a storyteller. I’m looking forward to writing for television someday (would love to write for Castle), but no more so than writing a book, comic, or animation. Just give me the opportunity to write. Paying me would be nice too.

AP: And finally, what advice would you give to anyone wanting to be a writer?

KB: The best advice is also the simplest, but a lot of writers don’t want to hear it. The advice is write and write all the time.

Write about anything, even if you don’t have a story yet.

Several months ago, when I began my blog about writing (http://kevinpsbroden.blogspot.com/), I made the suggestion to look around you and find something, anything, and write about it and discover the story in it. At the time, over ripe fruit was falling from a tree outside my window. So I wrote about the sound it made rolling down off the roof as an example for the blog. The resulting story, which I posted to the blog the next week, was about a woman being stalked by an ex-boyfriend, it doesn’t end well for either of them.

So write, write every day. It doesn’t have to be good. That will come later. Just write.

Now I need to go write about more masked mystery men.

AP: Thanks, Kevin.

NINE FOR THE NEW spotlights KEVIN RODGERS

News
January 20, 2011

NINE FOR THE NEW (New Creator Spotlight)

KEVIN RODGERS-Writer/CreatorWriter/Creator

AP: Kevin, welcome to ALL PULP! First, can you tell us about yourself, some personal background?

KR: I’ve been writing stories since I was 6 years old. I remember when my parents let me use their typewriter. I created a series called “The Ancient Tomb”. Each episode would end with a cliff-hanger that would be resolved in the next installment. I included a synopsis and front cover art work for each one. I’d distribute them to my grandparents and other relatives. It was fun! Over the years, my stories got longer and more complicated. I’m 39 years old now, and I can still remember writing “The Ancient Tomb” stories and realizing just how much I enjoyed writing.

AP: As a writer, what influences have affected your style and interests the most over the years? Do you have a particular genre/type of story you prefer to write?

KR: I enjoy writing fantasy and dark fiction, or horror. Some of my work contains science fiction elements. As a boy, I was fascinated by “The Tell Tale Heart” and “The Fall of the House of Usher” by Edgar Allan Poe. A 1978 miniseries based on Stephen King’s novel, ‘Salem’s Lot, also left a lasting impression on me. I’ve always been a big fan of comic books as well, and “The Green Lantern” is still at the top of the list in that category. I was always amazed by how such enormous powers could be contained in a ring! In the last few years, I’ve become intrigued by the work of Arthur Machen and H.P. Lovecraft.

AP: What about genres that make you uncomfortable? What areas within pulp are a little bit intimidating for you as an author?

KR: I’d say I’m most intimidated by mysteries, due to the fact that I haven’t tried it much. I gave it a try with a story called “Tomahawk Mountain”, which I recently submitted to Pro Se Productions. I hope I did a good job! But until I get more comfortable with that genre, I think mysteries will intimidate me the most.

AP: Are you a pulp fan? If so, how has that affected you as a writer of pulps. If you aren’t a longtime fan, then why pulp?

KR: As mentioned earlier, I’m a big fan of comic books, specifically “The Green Lantern”. I love the fast-paced action and the outlandish situations! I think the original “Star Wars” trilogy and the “Indiana Jones” films also got me hooked on action and adventure. Another film that resonates with me is the original “Batman” movie with Jack Nicholson, Kim Basinger, and Michael Keaton.

AP: What do you think you bring to pulp fiction as a writer?

KR: I want my stories to resonate after the final page has been turned. I try to keep the stories fast-paced and free-flowing, which I think is an important element of pulp. I want to place my characters in bizarre situations that will leave the reader wondering: “What would I have done in that situation?”

AP: Your work has been published recently with PRO SE PRODUCTIONS in their various magazines. First, tell us about HELLHOUND, both about the story and what inspired you?

KR: At the facility where I’m employed, there is an officer tower. There are rumors that strange things happen on the sixth floor of the tower (unexplained footsteps, odd music, and radios that turn on without warning). After hearing some of these rumors, I had a nightmare in which I stepped off an elevator, became paralyzed, and felt electricity flowing through my body. I woke up, jotted notes on a piece of paper, and finished “Hellhound” two days later. Many of my ideas come from dreams, but none have ever been as vivid and disturbing as the one that resulted in “Hellhound”.

AP: You wrote an interestingly titled tale that was published recently by PRO SE. What can you tell our readers about DEMOLITION?

KR: “Demolition” resulted from a much shorter dream, which involved a recurring image of a wall in a basement…that was infested by a swarm of insects. Before I had this dream, I’d been brainstorming about having a character trapped in the basement of a house while it was being demolished. I decided to incorporate the insect wall into that idea…and then it only took me three days to finish the story. Originally, I wanted the title to be “Wrecking Ball”, but I changed it at the last moment.

AP: What is your creative process as far as creating a story and writing? What techniques or steps do you take?

KR: Sometimes I like to go all out and create an outline and synopsis before I get started. But lately, I’ve just been pulling up MicroSoft word on my computer and going with the flow. I think I’m learning that making a story so structured and pre-planned isn’t always best…because being spontaneous allows the story to grow on its own. And I always have to listen to music when I write. Sometimes it’s Beethoven and sometimes it’s Three Days Grace. I was jamming to Nine Inch Nails when I wrote “Demolition”.

AP: What’s coming from Kevin Rodgers? Any projects you want to discuss?

KR: I recently submitted two of my stories, “The Citadel of the New Moon” and “Tomahawk Mountain”, to Pro Se Productions. Hopefully they’ll appear in the months to come! I reworked a couple of old, unpublished stories and submitted them to Dark Valentine Magazine and Weird Tales Magazine. I’m working on a few projects that I hope to complete soon and submit to Pro Se Productions. At the same time, I am polishing and editing a huge novel (900 manuscript pages) that will hopefully generate some interest!

AP: Kevin, it’s been a pleasure!

PULP ARK WEEKEND-GUEST INTERVIEW WITH MARK HALEGUA

News
January 14, 2011

PULP ARK GUEST PREVIEW INTERVIEW

PULP ARK has a host of guests planning to attend in May. ALL PULP will be posting interviews of some of these guests throughout ALL PULP WEEKEND, some of them interviewed for the first time time here, others interviewed specifically about their part in PULP ARK! To kick this off, we have…

Mark Halegua-Collector/Writer/Entrepulpneur

AP: Mark, its really great of you to take time out to sit down with ALL PULP! First, tell us a little about yourself?

MH:OK, I live alone, except for my pet Sun Conure, Apollo, in Queens County NYC. Born in Alaska, came to NYC when 1 year old. Love to read, and generally prefer SF and fantasy, action/adventure (what some might refer to as new pulp like the Destroyer, Gunsmith, and others), and collect comic books. My favorite comic characters are Green Lantern, the Batman, Flash and mostly DC comics, used to have a complete set of Batman, golden age to current. Sold off a lot of the early issues. Like SF and action/adventure TV.

AP: Your involvement in Pulp is from a few different angles.
We’ll get into them, but can you give an overview of what you have done/do/are doing that relates to the field of Pulp?

MH: Well, I collect pulps, I’ve organized the Gotham Pulp Collectors Club, which meets once a month, I sell digital pulp cover images in sets from my big DVD with over 23,000 images to smaller CD genre sets for westerns, Detective and Mystery, Hero and Villain, Anthology titles, Air and War, and others to come., and I write pulp stories of which I’ll write more later.

AP: You are the organizer/driving force behind Gotham Pulp Collectors. What is the purpose of this group? Is there an overall mission or is this simply a gathering of enthusiasts?

MH: I guess you could say getting pulp fans is the mission. NYC and the metropolitan/Gotham area has a lot of collectors and we meet once a month, the 2^nd Saturday, to share our common affliction um, hobby. For anyone interested they can go to the gothampulpcollectors.com web site.

When we get together we talk about old pulps, we sometimes have a show and tell showing our new acquisitions, we talk about pulp adaptations in film, radio, comics, and what ever other media. One of our members, Ed Hulse, is a film and serial aficionado and the Windy City film expert, playing pulp related films during the convention. Another, Chris Kalb maintains a couple of web sites on the Spider and other pulp heroes. He’s also involved in pulp reprints called Age of Aces and did the reprint of the Spider versus the Black Police. Robert Lesser collects pulp cover original art, has written some books on that subject. David Saunders is the son of pulp artist Norman Saunders, a pulp art historian (written books on his father and H. J. Ward). We have other members as well.

We sometimes play pulp related movies, TV, and radio. We don’t charge to attend or be a member. We just share a common insanity … er … like for pulps.
　
AP: Do you think organizing pulp fandom as you have with the Collectors and through other ways, like fanzines, blogs, etc. is important to the existence and future of pulp? If so, why?

MH: I haven’t done anything in fanzines or blogs other in response to the yahoo groups I’m part of, PulpMags and others. I did create a Google group for pulp collectors, but, since PulpMags already existed, I really haven’t done anything with it. One of the purposes of the GPCC is to try and get younger people involved in the hobby. It’s been a (very little) successful in that. Most pulp magazine collectors are in their late 40s and later. I do know of a very few younger, a couple attend the meeting (Chris Kalb is one)

AP: You show a definite interest in pulps, covers especially. So much so that you’ve turned it into a business, Pulps 1st. A couple of questions about this. What is it about pulp covers that draws you and others as fans?
MH: I wouldn’t say I’m interested in covers particularly. I do like them. Frankly, my main interest is reading them. How I accumulated the images is interesting. Initially I did it for recognition purposes. I wanted to know what the covers I wanted looked like so I’d recognize them at conventions.

One day I wondered how many covers I’d gotten from the and other places. I had over 5,000! I thought to myself others might want to see them as well, and PulpCon was coming up in a few months, perhaps I could sell CDs of the images there. I’d already take tables at PulpCon in the past to sell pulp cover t-shirts. There are issues with doing that, so I wanted to change what to sell.

In the next few months before the convention I collected another 6,000 images, put together a disk, made my own cover for the disk, and went to the con. I sold 20 disks for $50 each. There was obviously a market for it.

Over the years I continued getting images and improving on images I already had. The current DVD now has over 23,000 images, including complete sets of Doc Savage, Shadow, Phantom Detective, and others and long runs of other titles (over 1,500 Argosy, nearly complete Weird Tales), this disk is the Pulp Image Library version 7. A few years after my first disk people started asking for single genre disks. They didn’t collect everything, only Western titles, or hero, or … well you get the idea. So, I’ve been adding them to the mix.

The market isn’t as big now. Anyone who has wanted a disk has one, so I don’t sell that many at conventions anymore.

Now, the question is, who has bought them? Well, artists, pulp collectors, people who like good cover art.
If anyone is interested, http://pulps1st.com. It needs updating, but they can enquire what I have for sale.
One thing I have done is add images scanned from my collection. Those are generally scanned at 150 and 300 DPI. I’d like to replace all my images with this kind of resolution, but I don’t own more than a couple three thousand pulps.

AP: What goes into turning an interest in pulp covers into a business? Is there a market for this and if so, who/what is it?

MH: I think I answered this above. There is a market, but it’s not a big one. I do all the work myself, from the DVD/CD covers to manufacturing the disks. One thing, I generally make enough money selling the disks and pulp mags I sell at my table to pay for the table and travel.

AP: You are a collector. Do you collect pulps in general or do you have a genre or character(s) you prefer? What draws you to the particular favorites you have?

MH:I started off collecting mostly hero and SF. I have widened my scope and have pulps in all genres. I started collecting Thrilling Western because the early covers were just beautiful. Ed Hulse got me more interested in Blue Book and Adventure (I’d already had some Argosy because of Zorro, Johnston McCulley, and Ray Cummings), and Earle Stanley Gardner stories got me into Detective Fiction Weekly. I love his Lester Lieth stories in particular, and pretty much anything he has written.

I also have, limited, samples of romance, sports, and railroad pulps.

AP: You are a creator and writer as well and have an original pulp character appearing soon. Just who/what is The Red Badge?

MH:Red Badge was born in tragedy and rage. A young woman was raped and beaten and left for dead. Someone didn’t like that. In the first story, Red Badge Attacks, he goes after one particular gang in a mid-western city (Central City) and. Like the Spider and Shadow) kills them. Unlike those two he also aims to cripple, shooting or knifing some of the gang in the joints. He wants the thugs to fear him more for the crippling than the killing.

The setting is the mid-1930s, a rather lawless time, where there are corrupt politicians and police.

This first story is scheduled for Airship 27’s Mystery Men and Women, vol 2, coming out sometime in mid year.

After submitting my bible for the characters and a short story, Ron Fortier asked me to add 10,000 words, which I did, and then Andrew Salmon helped me put a shine on it.

The mystery of the story is not what Red Badge or who he’s after is. The mystery is who is he behind the mask.

If you want to see one interpretation of how he looks, go to http://red-badge.com/
AP: When creating a character that you want to be considered pulp, what goes into that, sort of like ingredients? What does a good modern pulp character need to have to be good and pulpy?

MH:Writing in a pulp style is interesting. It’s getting to the action quickly, not getting verbose and flowery. I’ve heard some say it’s a punch in the nose.

You want action! You want the protagonists to get in each other’s face and duke it out! It’s like a heavy weight prize fight with the fighters going toe-to-toe and trading punches! You do want a good story and plot, but action drives the story.

I think that comes out in the two pulp stories I’ve completed, the Red Badge, published later this year, and a story I wrote for Christmas and put on the group for pulp writers and artists thepulpfactory. This story, titled the Night Before Christmas, was also published here on All Pulp. It’s about Santa Claus as a crime fighter on Christmas Eve.

I’m working on a second Red Badge story, a Secret Agent X story, and a couple of other characters I’m creating, one called Crescent Moon and the other … well, I’m deciding between two names for him. Stay tuned.

AP: Pulp lately seems to be divided into three camps-The Purists who want new pulp to pretty much be in the vein of the classic pulps and for original pulp characters to be treated with respect and their original directions maintained…The Modernists who want to bring in new themes, take characters different directions, and explore broader horizons through the venue of pulp…Then there’s those who don’t really fit either category or waffle back and forth. Where do you fall and why?

MH:In most ways I’m a purist, however, I don’t agree with your concept of three adversarial camps. What I don’t like is people making radical changes to characters. For example, what DC has been doing to Doc Savage and the Avenger. First, they exist in some unidentifiable time period that includes jets, cell phones, TVs, autogyros, zeppelins, and such.

Next, they have people call the Avenger, Richard Henry Benson, Benny? And have Josh Newton be an inveterate gambler, owing big money to bookies, with his hair in cornrows?

These show a lack of respect for the characters.

In trying to integrate this indiscriminate time period with some of the rest of the DC universe, Doc Savage and Batman are teamed. Batman has and uses guns (I know Batman used guns in his first year, 1939, but since then he doesn’t and abhors them. You’re going to forget 70 years of a character for one year most people don’t remember or know about?).

Plus, the story was lame, vanilla, and plot-less. It just seemed like a vehicle, a bad one, to get these two together. It made no use of the things they have in common (and they do have things in common) or the things which are totally different about them.

To fix this, at least for myself, I wrote a comic script teaming them and, did exactly what DC didn’t do. The story is available for pulpfactory members in the files section.

Moonstone seems to be following a similar path. I’ve only just read the semi-graphic novel teaming Black Bat, the Phantom (Detective), Domino Lady, Secret Agent X, and G-8, and I wasn’t impressed. I’d like to see at least one issue of the individual characters before I continue further.

To get to the question posed, I do like new stories about the old pulp characters. But radical changes no. I don’t want my pulp characters gaining super powers. There were only 3 such published– 4 if you count Captain Hazard and his telepathy – in the Black Bat being able to see in the dark, even when there was no light; Richard Henry Benson – The Avenger – when he could manipulate his face; Captain Zero, who could uncontrollably turn invisible (from midnight to 7AM).

I’m not including real magic.

And I don’t want their personalities to radically change either, or at least not without a period of time for it to happen.

But, I can see making gradual changes, with good reasons.

I’m not a fan of giving the Black Bat a costume, for example. He wore a business suit with a cowl (to hide his facial scars) and his ribbed cape (those stories need be before he was given a dog by Lt. McGrath). His guns were in shoulder holsters.

There’s enough good characters out there with good back stories radical changes are unnecessary. Use what’s given. There’s a lot given.

AP: What’s coming up on all fronts pulp wise for you?

MH: What I’ve just expounded on isn’t enough?

My real job is as a Computer Consultant or Information Technologist (no, I’m not related to cousin It!). I try to keep up with technology and install and maintain it for small business and home users in New York.
That’s how I integrated my love for pulps and pulp covers into selling the disks. I combined my knowledge of one with my passion for the other.

I’m scheduled to attend the Windy City convention in April, Pulp Ark in May, and PulpFest in July.

I might come up with an update for vol 8 of my Pulp Image Library DVD and one or more of the genre CDs.

And I hope to have more pulp stories finished and published.

Whew, I’m tired just thinking about it.

AP: Mark, thanks for dropping by!

News
January 14, 2011

ALL PULP INTERVIEW-Mark Halegua-Collector/Writer/Entrepulpneur
AP: Mark, its really great of you to take time out to sit down with ALL PULP! First, tell us a little about yourself?
MH:OK, I live alone, except for my pet Sun Conure, Apollo, in Queens County NYC. Born in Alaska, came to NYC when 1 year old. Love to read, and generally prefer SF and fantasy, action/adventure (what some might refer to as new pulp like the Destroyer, Gunsmith, and others), and collect comic books. My favorite comic characters are Green Lantern, the Batman, Flash and mostly DC comics, used to have a complete set of Batman, golden age to current. Sold off a lot of the early issues. Like SF and action/adventure TV.
AP: Your involvement in Pulp is from a few different angles. We
MH: Well, I collect pulps, I’ve organized the Gotham Pulp Collectors Club, which meets once a month, I sell digital pulp cover images in sets from my big DVD with over 23,000 images to smaller CD genre sets for westerns, Detective and Mystery, Hero and Villain, Anthology titles, Air and War, and others to come., and I write pulp stories of which I’ll write more later.
AP: You are the organizer/driving force behind Gotham Pulp Collectors. What is the purpose of this group? Is there an overall mission or is this simply a gathering of enthusiasts?
MH: I guess you could say getting pulp fans is the mission. NYC and the metropolitan/Gotham area has a lot of collectors and we meet once a month, the 2^nd Saturday, to share our common affliction um, hobby. For anyone interested they can go to the gothampulpcollectors.com web site.
When we get together we talk about old pulps, we sometimes have a show and tell showing our new acquisitions, we talk about pulp adaptations in film, radio, comics, and what ever other media. One of our members, Ed Hulse, is a film and serial aficionado and the Windy City film expert, playing pulp related films during the convention. Another, Chris Kalb maintains a couple of web sites on the Spider and other pulp heroes. He’s also involved in pulp reprints called Age of Aces and did the reprint of the Spider versus the Black Police. Robert Lesser collects pulp cover original art, has written some books on that subject. David Saunders is the son of pulp artist Norman Saunders, a pulp art historian (written books on his father and H. J. Ward). We have other members as well.
We sometimes play pulp related movies, TV, and radio. We don’t charge to attend or be a member. We just share a common insanity
　
AP: Do you think organizing pulp fandom as you have with the Collectors and through other ways, like fanzines, blogs, etc. is important to the existence and future of pulp? If so, why?
MH: I haven’t done anything in fanzines or blogs other in response to the yahoo groups I’m part of, PulpMags and others. I did create a Google group for pulp collectors, but, since PulpMags already existed, I really haven’t done anything with it. One of the purposes of the GPCC is to try and get younger people involved in the hobby. It’s been a (very little) successful in that. Most pulp magazine collectors are in their late 40s and later. I do know of a very few younger, a couple attend the meeting (Chris Kalb is one)
AP: You show a definite interest in pulps, covers especially. So much so that you
MH: I wouldn’t say I’m interested in covers particularly. I do like them. Frankly, my main interest is reading them. How I accumulated the images is interesting. Initially I did it for recognition purposes. I wanted to know what the covers I wanted looked like so I’d recognize them at conventions.
One day I wondered how many covers I’d gotten from the and other places. I had over 5,000! I thought to myself others might want to see them as well, and PulpCon was coming up in a few months, perhaps I could sell CDs of the images there. I’d already take tables at PulpCon in the past to sell pulp cover t-shirts. There are issues with doing that, so I wanted to change what to sell.
In the next few months before the convention I collected another 6,000 images, put together a disk, made my own cover for the disk, and went to the con. I sold 20 disks for $50 each. There was obviously a market for it.
Over the years I continued getting images and improving on images I already had. The current DVD now has over 23,000 images, including complete sets of Doc Savage, Shadow, Phantom Detective, and others and long runs of other titles (over 1,500 Argosy, nearly complete Weird Tales), this disk is the Pulp Image Library version 7. A few years after my first disk people started asking for single genre disks. They didn’t collect everything, only Western titles, or hero, or
The market isn’t as big now. Anyone who has wanted a disk has one, so I don’t sell that many at conventions anymore.
Now, the question is, who has bought them? Well, artists, pulp collectors, people who like good cover art.
If anyone is interested, http://pulps1st.com. It needs updating, but they can enquire what I have for sale.http://red-badge.comAP: When creating a character that you want to be considered pulp, what goes into that, sort of like ingredients? What does a good modern pulp character need to have to be good and pulpy?
MH:Writing in a pulp style is interesting. It’s getting to the action quickly, not getting verbose and flowery. I’ve heard some say it’s a punch in the nose.
You want action! You want the protagonists to get in each other’s face and duke it out! It’s like a heavy weight prize fight with the fighters going toe-to-toe and trading punches! You do want a good story and plot, but action drives the story.
I think that comes out in the two pulp stories I’ve completed, the Red Badge, published later this year, and a story I wrote for Christmas and put on the group for pulp writers and artists thepulpfactory. This story, titled the Night Before Christmas, was also published here on All Pulp. It’s about Santa Claus as a crime fighter on Christmas Eve.
I’m working on a second Red Badge story, a Secret Agent X story, and a couple of other characters I’m creating, one called Crescent Moon and the other
AP: Pulp lately seems to be divided into three camps-The Purists who want new pulp to pretty much be in the vein of the classic pulps and for original pulp characters to be treated with respect and their original directions maintained
MH:In most ways I’m a purist, however, I don’t agree with your concept of three adversarial camps. What I don’t like is people making radical changes to characters. For example, what DC has been doing to Doc Savage and the Avenger. First, they exist in some unidentifiable time period that includes jets, cell phones, TVs, autogyros, zeppelins, and such.
Next, they have people call the Avenger, Richard Henry Benson, Benny? And have Josh Newton be an inveterate gambler, owing big money to bookies, with his hair in cornrows?
These show a lack of respect for the characters.
In trying to integrate this indiscriminate time period with some of the rest of the DC universe, Doc Savage and Batman are teamed. Batman has and uses guns (I know Batman used guns in his first year, 1939, but since then he doesn’t and abhors them. You’re going to forget 70 years of a character for one year most people don’t remember or know about?).
Plus, the story was lame, vanilla, and plot-less. It just seemed like a vehicle, a bad one, to get these two together. It made no use of the things they have in common (and they do have things in common) or the things which are totally different about them.
To fix this, at least for myself, I wrote a comic script teaming them and, did exactly what DC didn’t do. The story is available for pulpfactory members in the files section.
Moonstone seems to be following a similar path. I’ve only just read the semi-graphic novel teaming Black Bat, the Phantom (Detective), Domino Lady, Secret Agent X, and G-8, and I wasn’t impressed. I’d like to see at least one issue of the individual characters before I continue further.
To get to the question posed, I do like new stories about the old pulp characters. But radical changes no. I don’t want my pulp characters gaining super powers. There were only 3 such published
I’m not including real magic.
And I don’t want their personalities to radically change either, or at least not without a period of time for it to happen.
But, I can see making gradual changes, with good reasons.
I’m not a fan of giving the Black Bat a costume, for example. He wore a business suit with a cowl (to hide his facial scars) and his ribbed cape (those stories need be before he was given a dog by Lt. McGrath). His guns were in shoulder holsters.
There’s enough good characters out there with good back stories radical changes are unnecessary. Use what’s given. There’s a lot given.
AP: What
MH: What I’ve just expounded on isn’t enough?
My real job is as a Computer Consultant or Information Technologist (no, I’m not related to cousin It!). I try to keep up with technology and install and maintain it for small business and home users in New York.
That’s how I integrated my love for pulps and pulp covers into selling the disks. I combined my knowledge of one with my passion for the other.
I’m scheduled to attend the Windy City convention in April, Pulp Ark in May, and PulpFest in July.
I might come up with an update for vol 8 of my Pulp Image Library DVD and one or more of the genre CDs.
And I hope to have more pulp stories finished and published.
Whew, I’m tired just thinking about it.
AP: Mark, thanks for dropping by!
One thing I have done is add images scanned from my collection. Those are generally scanned at 150 and 300 DPI. I’d like to replace all my images with this kind of resolution, but I don’t own more than a couple three thousand pulps.
AP: What goes into turning an interest in pulp covers into a business? Is there a market for this and if so, who/what is it?
MH: I think I answered this above. There is a market, but it’s not a big one. I do all the work myself, from the DVD/CD covers to manufacturing the disks. One thing, I generally make enough money selling the disks and pulp mags I sell at my table to pay for the table and travel.
AP: You are a collector. Do you collect pulps in general or do you have a genre or character(s) you prefer? What draws you to the particular favorites you have?
MH:I started off collecting mostly hero and SF. I have widened my scope and have pulps in all genres. I started collecting Thrilling Western because the early covers were just beautiful. Ed Hulse got me more interested in Blue Book and Adventure (I’d already had some Argosy because of Zorro, Johnston McCulley, and Ray Cummings), and Earle Stanley Gardner stories got me into Detective Fiction Weekly. I love his Lester Lieth stories in particular, and pretty much anything he has written.
I also have, limited, samples of romance, sports, and railroad pulps.
AP: You are a creator and writer as well and have an original pulp character appearing soon. Just who/what is The Red Badge?
MH:Red Badge was born in tragedy and rage. A young woman was raped and beaten and left for dead. Someone didn’t like that. In the first story, Red Badge Attacks, he goes after one particular gang in a mid-western city (Central City) and. Like the Spider and Shadow) kills them. Unlike those two he also aims to cripple, shooting or knifing some of the gang in the joints. He wants the thugs to fear him more for the crippling than the killing.
The setting is the mid-1930s, a rather lawless time, where there are corrupt politicians and police.
This first story is scheduled for Airship 27’s Mystery Men and Women, vol 2, coming out sometime in mid year.
After submitting my bible for the characters and a short story, Ron Fortier asked me to add 10,000 words, which I did, and then Andrew Salmon helped me put a shine on it.
The mystery of the story is not what Red Badge or who he’s after is. The mystery is who is he behind the mask.
If you want to see one interpretation of how he looks, go to ’ll get into them, but can you give an overview of what you have done/do/are doing that relates to the field of Pulp?… er … like for pulps.’ve turned it into a business, Pulps 1st. A couple of questions about this. What is it about pulp covers that draws you and others as fans?… well you get the idea. So, I’ve been adding them to the mix.… well, I’m deciding between two names for him. Stay tuned.…The Modernists who want to bring in new themes, take characters different directions, and explore broader horizons through the venue of pulp…Then there’s those who don’t really fit either category or waffle back and forth. Where do you fall and why?– 4 if you count Captain Hazard and his telepathy – in the Black Bat being able to see in the dark, even when there was no light; Richard Henry Benson – The Avenger – when he could manipulate his face; Captain Zero, who could uncontrollably turn invisible (from midnight to 7AM).’s coming up on all fronts pulp wise for you?

News
January 14, 2011

ALL PULP INTERVIEW-Mark Halegua-Collector/Writer/Entrepulpneur

AP: Mark, its really great of you to take time out to sit down with ALL PULP! First, tell us a little about yourself?

MH:OK, I live alone, except for my pet Sun Conure, Apollo, in Queens County NYC. Born in Alaska, came to NYC when 1 year old. Love to read, and generally prefer SF and fantasy, action/adventure (what some might refer to as new pulp like the Destroyer, Gunsmith, and others), and collect comic books. My favorite comic characters are Green Lantern, the Batman, Flash and mostly DC comics, used to have a complete set of Batman, golden age to current. Sold off a lot of the early issues. Like SF and action/adventure TV.

AP: Your involvement in Pulp is from a few different angles. We’ll get into them, but can you give an overview of what you have done/do/are doing that relates to the field of Pulp?

MH: Well, I collect pulps, I’ve organized the Gotham Pulp Collectors Club, which meets once a month, I sell digital pulp cover images in sets from my big DVD with over 23,000 images to smaller CD genre sets for westerns, Detective and Mystery, Hero and Villain, Anthology titles, Air and War, and others to come., and I write pulp stories of which I’ll write more later.

AP: You are the organizer/driving force behind Gotham Pulp Collectors. What is the purpose of this group? Is there an overall mission or is this simply a gathering of enthusiasts?

MH: I guess you could say getting pulp fans is the mission. NYC and the metropolitan/Gotham area has a lot of collectors and we meet once a month, the 2nd Saturday, to share our common affliction um, hobby. For anyone interested they can go to the gothampulpcollectors.com web site.

When we get together we talk about old pulps, we sometimes have a show and tell showing our new acquisitions, we talk about pulp adaptations in film, radio, comics, and what ever other media. One of our members, Ed Hulse, is a film and serial aficionado and the Windy City film expert, playing pulp related films during the convention. Another, Chris Kalb maintains a couple of web sites on the Spider and other pulp heroes. He’s also involved in pulp reprints called Age of Aces and did the reprint of the Spider versus the Black Police. Robert Lesser collects pulp cover original art, has written some books on that subject. David Saunders is the son of pulp artist Norman Saunders, a pulp art historian (written books on his father and H. J. Ward). We have other members as well.

We sometimes play pulp related movies, TV, and radio. We don’t charge to attend or be a member. We just share a common insanity … er … like for pulps.

AP: Do you think organizing pulp fandom as you have with the Collectors and through other ways, like fanzines, blogs, etc. is important to the existence and future of pulp? If so, why?

MH: I haven’t done anything in fanzines or blogs other in response to the yahoo groups I’m part of, PulpMags and others. I did create a Google group for pulp collectors, but, since PulpMags already existed, I really haven’t done anything with it. One of the purposes of the GPCC is to try and get younger people involved in the hobby. It’s been a (very little) successful in that. Most pulp magazine collectors are in their late 40s and later. I do know of a very few younger, a couple attend the meeting (Chris Kalb is one)

AP: You show a definite interest in pulps, covers especially. So much so that you’ve turned it into a business, Pulps 1st. A couple of questions about this. What is it about pulp covers that draws you and others as fans?

MH: I wouldn’t say I’m interested in covers particularly. I do like them. Frankly, my main interest is reading them. How I accumulated the images is interesting. Initially I did it for recognition purposes. I wanted to know what the covers I wanted looked like so I’d recognize them at conventions.

One day I wondered how many covers I’d gotten from the and other places. I had over 5,000! I thought to myself others might want to see them as well, and PulpCon was coming up in a few months, perhaps I could sell CDs of the images there. I’d already take tables at PulpCon in the past to sell pulp cover t-shirts. There are issues with doing that, so I wanted to change what to sell.

In the next few months before the convention I collected another 6,000 images, put together a disk, made my own cover for the disk, and went to the con. I sold 20 disks for $50 each. There was obviously a market for it.

Over the years I continued getting images and improving on images I already had. The current DVD now has over 23,000 images, including complete sets of Doc Savage, Shadow, Phantom Detective, and others and long runs of other titles (over 1,500 Argosy, nearly complete Weird Tales), this disk is the Pulp Image Library version 7. A few years after my first disk people started asking for single genre disks. They didn’t collect everything, only Western titles, or hero, or … well you get the idea. So, I’ve been adding them to the mix.

The market isn’t as big now. Anyone who has wanted a disk has one, so I don’t sell that many at conventions anymore.

Now, the question is, who has bought them? Well, artists, pulp collectors, people who like good cover art.

If anyone is interested, http://pulps1st.com. It needs updating, but they can enquire what I have for sale.

One thing I have done is add images scanned from my collection. Those are generally scanned at 150 and 300 DPI. I’d like to replace all my images with this kind of resolution, but I don’t own more than a couple three thousand pulps.