Tagged: Spider-Man

PULP ARTISTS’ WEEKEND-VER CURTISS, RENOWNED COMIC/PULP ARTIST

  • News
  • October 30, 2010

VER CURTISS, Pulp/Comic Artist

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AP: Thanks for joining us, Ver! To start with, how about telling us a little about yourself — in other words, what’s the secret origin of Ver Curtiss?
VC: The secret origin? Well, if I told you, it wouldn’t be a secret! But what I can tell you is that I live in Northern Virginia with my wife Linda. My wife is the Virginia native, but I lived in Idaho, California, and Tokyo before finding myself on the East Coast. Besides doing my art, I run a small, one-man computer troubleshooting company (since art doesn’t really pay the bills). So until I find the proverbial rich “patron of the arts” who can’t live without my art, I’ll spend my days chasing virii, Trojans, worms, and other nasty data-eating critters, while producing art on weekends and between clients.
　
AP: You’re quite an accomplished artist — what mediums do you like to work in?

VC: Thanks! Though I’m not always sure what my art is really accomplishing. Actually, it would be easier to ask which media I don’t like to work in. As a self-taught artist, ink and graphite are my two oldest friends. Seems like just about every artist starts with pencils and pens, just after graduating from crayons. I also like using fine-tipped ink pens and markers. But I really love using Sumi ink and a brush. Sumi’s a Japanese ink made of soot and ash, which is much darker than standard India ink. Of course, the brush takes a lot more time than markers, but the results can be well worth it. I enjoy sculpting, though I don’t get to do it very much because of the cost of materials and the cost to my back (I live with chronic back pain, and sculpting can tend to really aggravate it; much more than the art table or easel). Photography’s always been a favorite of mine, as has painting. I’ve used acrylics and watercolors a lot in the past, but I’ve been teaching myself oils these last few years. With water-soluble oil paints, it’s easy to get some really nice results without my entire home smelling of turpentine and linseed oil. I also love using the airbrush, but the tedious cleaning of all the little parts can be a real buzz-kill. And I like my art to be fun.
As you can tell, I prefer keeping things “old skool” in my artwork, but I’m not against doing stuff digitally when appropriate. I’ve actually been using the computer to help my art for about twelve years. But unlike a lot of the “new skool” digital artists out there, I see the computer as more of a tool than an all-inclusive solution. Pure digital art just seems to lack “soul” to me, for some reason. I’d rather ink or paint by hand, but there are some things which are easier and quicker on the computer. Like any good medium, I think the computer should free the artist rather than constrain him. ANY medium should merely be a means to an end, and that end is self-expression.
Lastly, I really enjoy making art from the unexpected, what some would refer to as “found art”. For instance, a few years back, when all my clients insisted on giving me all the CDs they were getting in the mail, I found myself gifted with spindles and spindles of AOL, NetZero, Prodigy, and a plethora of other promotional CDs. As soon as the client would say something like, “I hate to just throw these away, and figured you could use them,” I knew I was going to be handed a bunch of AOL CDs. So after receiving literally hundreds of them, I decided to start making cyber-skulls out of the CDs and worthless computer components (also gifted to me). Some of the skulls would appear to grow from old motherboards, some had pulsing neon lights, etc. Just last week, I saw a picture of my CD skulls on a major Steampunk site and a German Web page; I don’t know how they found them, but it was cool seeing that they were finally being appreciated. But they aren’t the only “found art” I produce. Recently, I found a perfectly preserved dead bumble bee on the sidewalk next to my mailbox, and created what can only be called a “Cyber-Bee” or “Steampunk Bee”. It took a lot of traditional small watch parts and some very small electronics, but turned out much better than I’d even hoped for. Now the owner of the local art gallery I display at is anxiously awaiting a whole series of Steampunked insects. My good friend Ron Hanna (of Wild Cat Books fame) loved the Cyber-Bee so much, he decided to encourage my art with a gift of ten mounted exotic bugs from Thailand, and I just finished a Steampunk rhinoceros beetle from the collection Ron gave me. Part of me can’t wait to do more, and part of me is asking “What the frak am I doing, super-gluing this this watch jewel to a dead bee’s eyeball?” But I guess that’s art! So I guess you’d call super-glue, broken clockwork, and bug parts my newest media.
　

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AP: What artists inspire your work?　

VC: Now that’s quite the question! I’d have to say my earliest inspiration was John Romita (Sr.). I really started drawing when I was about eight or nine. More than anything else, I wanted a Spider-Man poster, and the only way I could get one was to make it myself. So for quite a while, Romita Sr and Ross Andru were the entire art world as far as I was concerned (I was Spidey-crazy as a kid). Not long after that, I discovered John Buscema and some of the other comic luminaries of the time. But as a teenager, I discovered Frank Frazetta, and it was like everything came into focus! Frazetta opened my eyes to the true power of art! After seeing Frazetta, it was no longer a matter of just wanting to reproduce WHAT I saw on the printed page, but now I desired whole-heartedly to learn HOW real art was made and WHY it could speak to me like it did. I wanted to learn all I could about his art which inspired me so.
Since that time, there have been a great number of artists whose work has inspired me. Michael Golden’s early work on the Micronauts taught me the value of contrast. The classic Art Nouveau artists Parrish and Mucha taught me the importance of beauty and elegance in art, etc., etc., etc.. There have been SO many since then, I could never name them all! But I try to learn as much as I can from each one. In recent years, there have been so many important artists in my life! The incredible Steve Rude, Mike Mignola, Kenichi Sonoda, Ugetsu Hakua, Samura Hiroaki, Ryan Sook, Gil Elvgren, Walter Baumhoffer, Shirow Masamune, Andrew Loomis, Dave Stevens, etc., etc., etc. And when I get a bad case of “artists’ block”, all I have to do is pull my Frank Cho books off the shelf, and the beauty and simplicity of his line-work makes me want to draw again!
I guess that’s both the curse and the blessing of being a self-taught artist. When you go to school to learn art, you may have half a dozen influential teachers. When you’re self-taught, you might have hundreds! Each new artist you discover not only touches your soul with the beauty of their work, but they ingrain a little piece of themselves into your artistic style.

AP: How did you come to develop an interest in the pulps?

VC: It seems like such a cliché answer, but I discovered the Doc Savage paperbacks as a kid, and loved them. I’d known of Doc from the short-lived Marvel comics series of the period, and just loved reading a prose novel of the same “super-hero” I was reading about in the comics. I read every Doc Savage novel I could find, and did several book reports on them. I remember one in particular. Not only did I write the report, but decided to jazz it up a bit by drawing a poster-sized reproduction of Boris Vallejo’s beautiful cover. The teacher loved it, and consequently the first A+ she ever gave a book report went to “The Boss of Terror”. After a while, I moved on to other things, as kids will. But almost twenty years later, I happened to be working/living at a group home for juvenile offenders, and discovered a Doc Savage paperback on a shelf of donated books for the kids to read. I picked it up, read it, and found that the magic was still there. Admittedly, it wasn’t the best of the Doc novels (“The Motion Menace”), but it sparked something special again, just like the books did when I was a kid. I asked my supervisor if I could keep it, and started scouring the SanJose bookstores for more Doc Savage books. When I left the group home a few years later, I took with me dozens of great Doc paperbacks, and left behind a bunch of my duplicates, just to inspire future readers. And though I have all the Bantam paperbacks now, I still have that magical first copy of “The Motion Menace”.
From there, the habit just grew. My wife gave me a beautiful copy of the original pulp “The Green Master” for our first wedding anniversary. That was the first true pulp I ever held. Little did she know what she was starting! A couple of years later, I saw Ron Hanna’s newsgroup posting looking for artists for his new pulp fanzine, and thought, “I can draw Doc!” And the rest, as they say, is history.

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AP: You have a strong connection to Ron Hanna and Wild Cat Books — can you tell us a little about that?　

VC: That first drawing I submitted to him was a real catalyst. It accomplished two things: 1. It introduced me to Ron, and we started corresponding. We met at Pulp Con a few times, and became fast friends. When he decided his life needed a change of scenery, my wife and I offered our spare bedroom to him and his cat (despite my allergies). And we’ve been best buds since. He’s a true brother to me, and we absolutely love doing projects together. 2. That first piece literally revived my art from the dead. In college, I’d worked as full-time lead artist at a graphic design company, as well as doing a twice-weekly cartoon strip for the college paper, all while providing just about any other art the small college needed (murals, graphics for the teachers, yearbook design, special event posters, etc), and trying to do paintings for my own enjoyment as well. I was so burnt out on art by the time I graduated, I didn’t want to do ANY art beyond the occasional doodle during grouphome meetings. So for about five years, my art was as dead as disco. Then when I did that first piece for Ron, I found the fun in my art again, and thought, “I’ll have to draw again sometime.” Ron liked it so much, he asked me if I’d do more work for him, and before I knew it, I was in almost every magazine he published. I look at those old pieces, and just want to gag at how primitive they were. In essence, I was teaching myself how to draw all over again. Art isn’t like riding a bike. You can’t just forget about it for half a decade and hop back on at the place you left off (at least, I couldn’t). You don’t quite start from square one, but it’s darned close!. Yet Ron saw the potential in my art, and kept pushing me to do more, while simultaneously encouraging me to do better. He has a true gift to do what I always refer to as rescuing “lost” artists and writers. A lot of his “kittens” (as he refers to the Wild Cat Books family) have shared their similar experiences with me. He sees a spark of potential, and fuels it into a full creative blaze.
I firmly believe that the creative spark is a huge part of how God made humanity in His own image. People instinctively create! Give any small child a crayon, and they start drawing (often all over the walls if you don’t watch them closely). They don’t need to be told what to draw or how to draw; they just DO it. Play music, and they’ll begin to sing along (usually with their own lyrics, made up on the spot). And if they don’t sing to the music, they’ll dance to it. That’s the Divine spark within the human heart! God is the great Creator, and being made in His image, we have a built-in need to be creative as well. Unfortunately, as we “grow up”, we seem to forget HOW to create, or we just lay that creative nature aside! It’s a real tragedy, but it happens to more people than you’d think. I truly believe the Lord put Ron Hanna on this earth to rescue “lost” creative types: artists, writers, etc. And he does that job wonderfully! Ron rescued my own creative spark, and he continues those rescues to this day.

AP: You’ve worked for Moonstone as well as other publishers — can you tell us a little about what you’ve done for them, specifically about the Black Angel character?

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VC: I’ve worked with several publishers, but Moonstone’s been a real dream come true. I’ve always wanted to work for a real comic publisher, and it’s finally happened. I started working with them when Martin Powell (writer extraordinaire) introduced Joe Gentile (Moonstone’s publisher) to some of the work I’d produced for Ron, portraying the pulp character Domino Lady. Not only was Martin involved with Wild Cat Books, but he was also one of the lead writers on the Moonstone prose collection of original Domino Lady stories. Joe Liked what he saw, I guess, and the next thing I know, I’m working on the Domino Lady prose book, providing an illustration for each of the stories. It was a lot of fun. When Moonstone decided to do a revival of “Air Fighters”, including Black Angel, they asked me if I’d be interested. They didn’t have to ask twice! And the really cool part was the fact that I got to work with Martin Powell again! He’s writing the adventures, and they’re absolutely great! I can’t wait to see the characters all develop and see what sort of surprises he has in store for us! I’m hoping we’re going to see a lot more of the Black Angel character in the near future.
I’ve read most of the stories from the original “Air Fighters” of the 1940s, and they really don’t hold a candle to what Martin’s already been able to do with the character. But don’t worry, he’s being as true to the original as possible, so don’t expect modern-day adventures. Black Angel spends her time kicking Nazi backsides! She’s a very unique character, combining both compassion toward the innocent and ruthlessness toward evil, as well as more than a little bit of sexiness. The stories are a lot of fun to do, but I have a feeling both Martin and myself are just getting warmed up! Keep watching!

AP: If you had a dream project, what would it be?　
VC: Only a handful of people know, but I’ve actually been working on my own graphic novel for about seven years now. Most of that time was spent on research and just trying to get the story right. The story takes place in ancient Japan during the Sengoku period, often called the “time of the Warring States”. It’s known as the bloodiest period in human history, and deservedly so. The story’s called “Makigari”, and I’m hoping to have the first portion of it ready to shop out to publishers soon. My dream would be for Makigari to get picked up by a comic company and distributed both here in the States and in Japan. I think American readers will enjoy it, without having to know anything about Japanese history, because a lot of the story centers around the human condition and universal experiences (loss, grief, hope, redemption, vengeance, etc.), and there’s also a lot of action and warfare (not only physical warfare on the battlefield, but psychological and spiritual as well!). I think a Japanese audience would enjoy the fact that I portray some familiar historical figures in a completely new light, and I’ll be pitting them against unfamiliar enemies and allies. There’s a HUGE twist to the story, which you’ll just have to wait to see!

AP: There’s a lot of discussion about the modernization of classic pulp heroes — what do you think about that? is it okay to update characters or do you prefer to see them as close to their original incarnation as possible?
VC: I honestly waver back-and-forth on this question. I typically prefer to see the pulp era characters kept in the pulp era. It’s such a unique period of American history! The Art Deco and Art-Nouveau influences were everywhere, making it a potentially stunning era for any good artist to portray. And a good writer should recognize all the various cultural influences of the time. America was just clawing its way out of the Great Depression, leaving millions out of work and crime on the rise. The environment was an even bigger concern than today, due to this little thing called the Dust Bowl. The big cities were all on the rise, and finding their own identities. The world was on the brink of another “Great War”, due to a frustrated little German oil painter with a silly mustache. It’s such a great era, so rich in potential stories! Yet most artists and writers barely touch on any of that, often leading to stories which are mediocre at best.
I think that’s why so many people want to modernize the pulp heroes. They think that the pulps would be more appealing if modernized, so people can relate to them easier. But I believe the real reason for wanting to modernize the pulp characters is that it’s EASIER. The writers and artists know today’s world, and are spared from having to due research if the characters are modernized. It’s very disappointing to me. As a reader, I don’t relate to a character because they happen to breathe at the same moment I do. I relate to them because they share the human experience in all its grit, grime, and glory!
On the other hand, modernization of characters CAN be quite good when in the right hands. Look at Batman and Superman, Both of these characters are originally from the tail-end of the pulp era, yet they continue to amaze and entertain audiences to this day! Why? Because they continue to portray the human experience. Superman the Kryptonian takes the “glory” to occasionally ridiculous extremes, but Clark Kent’s always there striving through life in his human guise. He’s easy to relate to for almost every guy out there. It took him… what… almost five decades just to tell the woman he loved who he really was. That’s a guy any other guy can relate to! And Batman most certainly is easy to relate to in the “grit and grime” aspect of human nature.
　
AP: Are there any “new” pulps that you really enjoy?

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VC: Not to sound like I’m playing favorites, but I’ve really enjoyed some of the “modern” pulp heroes I’ve had the opportunity to work on. Kevin Olson’s “Spring-Heeled Jack: Gunfighter” comes to mind immediately, as does Barry Reese’s “Rook”, and John French’s “Bianca Jones” character. I freely admit I don’t get to just kick back and read these days, but I will almost always insist on reading a book before I illustrate it. I’ve been impressed with these characters and their stories. The Rook stories are a bit like the mutant love-child of “Weird Tales” and the detective pulps, and I love the series because of it. Spring-Heeled Jack is based on the legend by the same name, but Kevin’s taken him from the streets of Victorian England, and dropped him smack-dab in the middle of the Old West as a gunfighter! Talk about shaking things up! and John’s character Bianca Jones is a feisty little police detective who tracks down and kills some big monsters in the streets of modern Baltimore! I guess I like characters and stories that mix together things you’d never expect to be combined. It’s that whole peanut butter and chocolate idea, but with monsters, maidens, and a fare share of madness (at least in Jack’s case).
　
AP: What’s coming down the road from you? Any new projects you’d like to mention?
VC: I’m hoping and praying that Makigari will be done sometime in the coming year (finally!). I think my friends and family are all sick of hearing about it! I’m also hoping for more Black Angel stories. And anything else Moonstone (or other publishers) cares to throw my way would be welcome. I have to admit, my life is the very definition of the word “freelance”. I never know what each new week will hold. It might be filled with a bunch of computer clients with serious virus problems, or a publisher looking for artwork, or a gallery looking for something unique to display. I guess only the Lord knows what you’ll see from me next. I certainly don’t!
　

MAJOR PRESS RELEASE FROM MONSTERVERSE!!

  • News
  • October 24, 2010

MONSTERVERSE, BELA LUGOSI’S TALES FROM THE GRAVE HORROR COMIC and FILMS EVENING at the AMERICAN CINEMATHEQUE in Hollywood, CA.
AN EVENING WITH BELA LUGOSI at the AMERICAN CINEMATHEQUE.
Celebrating the career of horror icon Bela Lugosi and the launch of MONSTERVERSE’s new horror anthology comic book, BELA LUGOSI’S TALES FROM THE GRAVE.

Thursday, 7:30 PM
October 28th, 2010
The Egyptian Theaterhttp://www.americancinematheque.com/egyptian/egypt.htm
Two Feature Films starring Bela Lugosi in THE BLACK CAT and THE RAVEN. With Boris Karloff.
Mainstream news coverage will be in effect for the Halloween weekend in Los Angeles, the media capital of the world. This is a major launch for the first issue of BELA LUGOSI’S TALES FROM THE GRAVE horror anthology comic book.

Special Guests from Hollywood and the Comic Book Industry will be announced. Other featured guests are Bela Lugosi, Jr., and Kerry Gammill including contributors to BELA LUGOSI’S TALES FROM THE GRAVE horror anthology comic book series.

There will be a Special Panel on Lugosi examing his career and the new comic book between films and a MONSTERVERSE Comic Book Display with contributors featured in the lobby.

An Exclusive Preview Trailer will be screened with art of the upcoming MONSTERVERSE graphic novel, FLESH AND BLOOD, written by Robert Tinnell and illustrated by Neil Vokes. To be unleashed Halloween 2011.

TRAILERS FROM HELL. Commentaries from directors Mick Garris and Joe Dante on Bela Lugosi and his films.

Poster design by artist Charlie Largent.

This exclusive event image may be Tweeted with:http://twitpic.com/2mxwhx
MONSTERVERSE is a new independent comic book company with a horror anthology book coming out in October 2010 and entitled, BELA LUGOSI’S TALES FROM THE GRAVE.

Here is a direct link preview of the book and its pages posted on YouTube.
<a href=”

rel=”nofollow noopener” target=”_blank” title=”This external link will open in a new window”>LUGOSI HORROR COMIC YOUTUBE PREVIEW
The comic will be available at comic shops everywhere and online and is distributed by Diamond. For a new independent transmedia company MONSTERVERSE enjoys having the top talents in the world such as John Cassaday, Bruce Timm and the legendary Basil Gogos creating covers for its books. Writer/director (of the upcoming THE WALKING DEAD), Frank Darabont, gave this quote about cover artist Basil Gogos.
“Basil Gogo doesn’t paint pictures of monsters, and never has. What he does is conjure their essences on canvas like a magician. More than that, he conjures our love of these subjects in a manner that defies description or analysis. How does an artist infuse an entire fan community’s love of a whole genre into his brushstrokes? I’ll never be able to explain it, but I know I’ll always be grateful for it. Seeing Gogos’ portraits is revisiting the best friends of my childhood.” – Frank Darabont
Monsterverse was chosen the FEATURED COVER STORY on COMIC SHOP NEWS 1207 a few weeks back (distributed to over 500 of the top comic book shops nationwide and given out to customers with purchases). This article beat out the top comic companies in America, an impressive feat for a new independent publisher.
Take a look at our official website. We are quite proud of the amazing talents involved.
http://monsterverse.com/
MONSTERVERSE and BELA LUGOSI’S TALES FROM THE GRAVE will receive special coverage in the upcoming double-sized Halloween issue of RUE MORGUE.There is a feature story on MONSTERVERSE and BELA LUGOSI’S TALES FROM THE GRAVE also being prepped for their special Halloween issue of FAMOUS MONSTERS MAGAZINE.
MONSTERVERSE publisher Kerry Gammill is creating a terrific new feature cover for the January FAMOUS MONSTERS.
BELA LUGOSI’S TALES FROM THE GRAVE is published by Kerry Gammill who is internationally known for his artist work at Marvel and DC Comics on titles like MARVEL TEAM-UP, INDIANA JONES, POWERMAN/IRON FIST and SUPERMAN. Kerry has also worked as a make-up effects designer on studio genre films such as VIRUS and TV programs such as STARGATE and THE OUTER LIMITS. Here is a link to Kerry’s professional art website:http://gammillustrations.bizland.com/monsterart/
This FANBOY PLANET article can give you a quick update on what is going on with the history of the company and its future plans:http://www.fanboyplanet.com/interviews/mc-monsterverse.php
This link takes you to our first issue cover by the legendary FAMOUS MONSTERS cover artist, Basil Gogos.http://twitpic.com/1doadj
Our variant cover is by one of the hottest artists working in American comic books today, John Cassaday, and who recently directed an episode of Joss Whedon’s DOLLHOUSE television series. Whedon has been tapped to direct Marvel Studios’ epic feature film, THE AVENGERS.http://twitpic.com/25v1o3
The back cover is by Warner Brothers animation executive producer and Emmy-winning designer/artist Bruce Timm.

To reserve a copy of the Lugosi comic book at a comic shop you need to supply them with the Diamond Item # Code, AUG101080, with the title, BELA LUGOSI’S TALES FROM THE GRAVE. The first issues of the Lugosi comic book will be shipped in October to celebrate both Halloween and Lugosi’s 128th birthday. A special celebration of Lugosi films, the new comic book and its contributors is set for the American Cinematheque in Hollywood at its Egyptian Theater on Thursday, October 28th.
BELA LUGOSI’S TALES FROM THE GRAVE  will be a double-sized 48-page color quarterly and retailing for $4.99 and with no ads (except for a house ad announcing a serial adaptation of the novel DRACULA and starring BELA LUGOSI by Kerry Gammill and beginning in issue two). It is pure comic book fun and frights from front to back with a brief article on Lugosi.

BELA LUGOSI’S TALES FROM THE GRAVE  will feature some of the most talented storytellers working today in comic books and horror films. No other comic book series has this kind of industry talent nor do other comic book companies have these kinds of horror film heavyweights working on any comic book. This is a first in comic book publishing and dedicated to the fun and classic horror of Bela Lugosi but made for today’s audiences.
Movie directors like John Landis (An American Werewolf In London, Burke And Hare) and Joe Dante (Gremlins, The Howling) along with make-up genius Rick Baker (American Werewolf In London, Michael Jackson’s THRILLER, Men In Black), will be providing stories and art for future issues. More Hollywood horror film creators are also working up stories.
The most acclaimed creators in comics will be writing and drawing stories such as Steve Niles (30 Days Of Night), artist John Cassaday (Planetary, Astonishing X-Men) and Mike Mignola (Hellboy).

The first issue contains stories and art by such notables as Kerry Gammill (SUPERMAN and SPIDER-MAN ), James Farr (whose XOMBIE online animated and comic book series is being brought to theater screens by Dreamworks in a live-action production by top writer/producers Orchi and Kurtzman), Chris Moreno (WORLD WAR HULK), John Cassaday, Rob Brown (voted online as horror artist of the year for BANE OF THE WEREWOLF), Derek McCaw, Rafael Navarro (creator of the Xeric Award winning series SONAMBULO), Martin Powell and Eisner Award- winning artist Terry Beatty (THE BATMAN STRIKES), Brian Denham (IRON MAN, ANGEL), Bruce Timm and more. The book also features an article by leading Lugosi researcher and author Gary D. Rhodes.

MONSTERVERSE ENTERTAINMENT is a transmedia company headed by its publisher and editor, the comic book and film design artist, Kerry Gammill.

Keith Wilson, formerly of DC Comics, is an editor and writer/artist.

Producer/screenwriter Sam F. Park is the west coast editor and a writer/artist.

We’re very proud of BELA LUGOSI’S TALES FROM THE GRAVE  and what has been accomplished within our growing independent publishing venture, MONSTERVERSE. This is our first comic book project with several more in development. We plan to make MONSTERVERSE the go-to company for horror projects in all media.

I’ve included links below to help with graphics, photos or information. Please contact me with any questions.
Sincerely,
Sam F. Park
West Coast Editor
MONSTERVERSE ENTERTAINMENT
“Bela Lugosi’s Tales From The Grave”http://monsterverse.com/
park@monsterverse.com
818-605-2181
Links:

Basil Gogos cover for Monsterverse’s “Bela Lugosi’s Tales From The Grave” http://twitpic.com/1doadj

John Cassaday variant cover for Monsterverse’s “Bela Lugosi’s Tales From The Grave” http://twitpic.com/25v1o3

Pre-order FORM to order BELA LUGOSI’S TALES FROM THE GRAVE horror comic! Print/Send to your fav comic shop NOW! http://twitpic.com/2bxj2u

MONSTERVERSE ENTERTAINMENT’S “BELA LUGOSI’S TALES FROM THE GRAVE” is both a FEATURED ITEM and rated CERTIFIED COOL by Diamond Distribution’s PREVIEWS August magazine!http://www.facebook.com/pages/Dallas-TX/Comics-from-the-MONSTERVERSE/118838267124?ref=mf

MONSTERVERSE Official Sitehttp://www.monsterverse.com/

MONSTERVERSE on TWITTERhttp://www.twitter.com/monsterverse

MONSTERVERSE PROJECTS BLOGhttp://monsterverseblog.blogspot.com/

MONSTER KID ONLINE HORROR MAGAZINE:http://gammillustrations.bizland.com/

INTERVIEW WITH ANDREW SALMON, WRITER/CREATOR!

  • News
  • October 12, 2010
 AP:  Andrew, it’s a real treat that you dropped by to visit with ALL PULP.  Can you share a little background on yourself?
AS: It’s a real pleasure to be here! All Pulp may be relatively new but it has already become THE place to be for all the latest breaking pulp news. As for my background, I was born and raised in Montreal, Canada but moved to Vancouver with my wife in the hopes of becoming a professional writer. I’m also a lifelong movie fan and work as an extra in the thriving film industry here, being a small part of such films as WATCHMEN, the first Fantastic Four and the A-Team along with numerous TV shows/movies over the years. I’m a voracious reader of pulp and hardboiled fiction. I have a massive Spider-Man collection which I won’t be adding to any time soon since Marvel has ruined the character for me. I’m a diehard Montreal Canadiens fan. And I love classic rock: AC/DC, Dio, CCR, Beatles and a whole host of others.
AP:  Your name graces the covers of several books that are making the rounds amongst pulp fans?  Can you give us a rundown of the work you’ve done in the pulp world, including books, short stories, etc.?
AS: Sure. I’ve had the great good fortune to work with Airship 27/Cornerstone Book Publishers and have been part of a number of their fantastic pulp anthologies. I have tales in Secret Agent X: Volumes One and Three, Jim Anthony Super Detective: Volume One, Dan Fowler G-Man: Volume One, Black Bat Mystery: Volume One and still can’t believe that I’ve been part of both volumes of their Sherlock Holmes Consulting Detective series. And how could I forget collaborating with the great Ron Fortier on Ghost Squad: Rise of the Black Legion! I’ve also just had a short story appear in Pro Se’s Masked Gun Mystery #1.
AP:  You have done quite a bit of work on established Pulp characters? What is the appeal of working on characters created sometimes more than a century ago for a modern writer?

AS: They are great characters. That’s pretty much it. They are fun, dynamic and the non-stop action pacing is too good to pass up from both a reading and writing standpoint. Also, unlike the pulp writers of the Golden Age, we have the benefit of hindsight and can explore historical themes the original pulp writers were not aware of or were unable to write about. For instance, my Dan Fowler tale (“The League of Dead Patriots”) deals with the Japanese internment camps of WW2 in a way that the pulps of the day would never have tried. And it doesn’t even have to go as far as the complete plot. Having that period be historical for us modern writers gives us great freedom to include little details here and there for attentive readers to catch. It can be something as simple as a nostalgic touch or historical name dropping. Plus with all these characters in the public domain, we can do the odd team up every now and then and really go to town! And there’s also the opportunity to grow the genre. Read the first Doc Savage and then the last novel from 1949, the characters are not the same. They have changed, evolved. Perhaps not for the better in some cases but that evolution is unmistakeable. I love all the great elements that go into a good pulp story. I wouldn’t write pulp if I didn’t. However with this new era of unprecedented pulp creation going on today, all of the modern day writers and artists are the new vanguard of the genre and it’s up to us to continue to grow the art form. That said, I feel I should stress that the classic elements have to be in place. That’s a must! But just like that subtle evolution from the 30s to the 40s, pulp needs to push the envelope a little. Being a small part of this new pulp revolution is one heck of a lot of fun. The myriad titles published in the 1920s, 1930s and 1940s demonstrate that there really are no boundaries when it comes to pulp and I’m curious to see where the genre is going. I think the genre can be experimented with and yet still be authentic to pulp readers young and old. It’s a great time to be a pulp creator and I wouldn’t miss it for the world!

AP:  Sherlock Holmes.  You’ve written a bit about the Master Detective for Airship 27.  Why Holmes?  What does this particular character touch in you as a creator?
AS: No one is more surprised than I am by how much I love to write Holmes and Watson adventures! When the opportunity first presented itself, I passed on it because I felt I was not qualified to play in that particular sandbox. Although I was fully aware of the characters and the rich legacy that has grown around them for more than a century, I had not actually read many of the stories. I think my Holmes exposure was limited to The Sign of Four and A Study In Scarlet, which I had read for a college course in mystery fiction. The 2 novels plus the odd story were pretty much it as far as my exposure to pure Holmes went. So who was I to try my hand at a tale?
Well, after I slapped myself silly and woke up, I realized that I’d been offered the chance to write, arguably, the two most popular characters in the history of pop culture! How could I say no? This lead straight to Doyle and a thorough reading of almost all of the original Holmes tales. And they won me over! I became an instant fan. This plus my love of writers like Charles Dickens and Thomas Hardy meant I was already steeped in the Victorian vernacular so to speak. So I sat down and started writing and had so much fun crafting a mystery with that beautiful language and those wonderful characters that I was finished the tale before I knew it. And I’m just getting started with Holmes and Watson! Watch out world! The game’s afoot!
AP:  You’ve left your mark on several other Public Domain characters as well. Any favorites?
AS: First of all, thank you for suggesting I’ve added to the rich history of these already great characters. I take writing these public domain characters very seriously and consider it an honor to be able to do so. Favorites? Well, Holmes and Watson of course. And I love Secret Agent X! Fowler, Jim Anthony and the Black Bat are also great but if pressed for favorites, I’d have to go with the great consulting detective and the man of a thousand faces. 
AP:  What about public domain territory you’ve not yet ventured into. Any characters you want to write about in the future?
AS: Honestly, all of them! As for a list, well, the Green Lama comes to mind. Adam Garcia is having a Lama-fest these days and I can’t resist the urge to get in on the fun. Domino Lady guest-starred in my Fowler tale and she also great. Let’s see, Moon Man would be a lot of fun, Captain Hazzard (though my intrepid editor Ron Fortier will see that anyone who undertakes a Hazzard tale will meet with an unfortunate accident, cue organ music), the Scarlet Pimpernel, Allan Quartermain, Ebenezer Scrooge, the Masked Rider and a bunch more. The more the merrier! Writing pulp is just too much fun! 
AP:  A work that you co-wrote that has gotten a bit of buzz is THE GHOST SQUAD: RISE OF THE BLACK LEGION, co written with Ron Fortier for Airship 27. Can you give us a brief outline of this book?
AS: Working with Ron was one of the highlights of my writing career to date. Actually I should back that up. Just being ASKED to work with Ron was the true highlight. At the time, I’d only written 2 or 3 pulp tales and, out of the blue, the King of Modern Day Pulp asks me if I want to collaborate with him. Yeah, I had to think about that one for a nanosecond. The Ghost Squad consist of Lazarus (yes, that Lazarus from the bible), Lady Arcane, the mistress of the mystic arts, Alan Hale, pilot and brawler extraordinaire and Professor Andreas Vantassel who has more medical and scientific degrees than you can shake a stick at. The immortal Lazarus has become aware of a terrible threat to world peace, the Black Legion, and has put the Ghost Squad together as a top secret fighting team with government backing to combat this threat. The first novel introduced the characters and the menace of the Black Legion and had as much action as Ron and I could jam into it. The buzz you mentioned has been most welcome and truly appreciated by everyone involved with the book. With an amazing cover by comic artist Chad Hardin and interior illustrations by the incomparable Rob Davis, the first book kicked off the Squad in style and it’s immensely gratifying to hear that folks have enjoyed the book. And Book Two is in the works!
AP: How about co-writing?  Some writers absolutely love to work on books with other authors, other writers absolutely detest it.  How do you feel about it and what is the process you prefer to use when co-writing?
AS: I suppose it depends on who you are collaborating with. When Ron contacted me, I had never collaborated before so it was all new to me. And I had a blast! Ron implemented a method where one of us would do a chapter or two, then pass the book on to the other to whip up a chapter or two and this back and forth was a lot of fun. Watching the pages grow, finding emails with attached chapters of the novel already done so you don’t have to… it was great! I have nothing but good memories of working with Ron and can’t wait to do it again!
AP: You have your own creations as well.  Can you list a few of those for our audience?
AS: Okay. Well, I self-published a long short story of mine called The Forty Club as a gift book since it dealt with the trials and tribulations of reaching that milestone. And my first full-length novel, The Dark Land, was also as self-published effort though a new, revised edition is coming from Airship 27/Cornerstone hopefully next year. The Dark Land is a near-future science-fiction mystery where a terrible pandemic has wiped out most of the world’s population, plunging the survivors into chaos. With the death of billions, the governments have resorted to cloned policemen grown from samples stored for just such a global emergency. The hero of the tale, C-Peter Reilly, is a clone but he remembers the life of his source material and that is a big no-no so while he’s on the case, he’s plagued by memories of loved ones he never really had but who are more dear to him than anyone. I have a superhero serial running in A Thousand Faces magazine featuring Fred Brand and Project X – as an unlikely a duo as you’re liable to find anywhere. I’ve sprinkled a few other stories around here and there in Storyteller, TBT, Thirteen Stories magazines and others. And I just had my very first pulp short story appear in Masked Gun Mystery #1 from Pro Se Productions. The story is called “Run” and it is very dear to my heart because it was the story I sent to Ron as my audition for joining the ranks of Airship 27. And it got me the gig! My biggest non-pulp work is The Light Of Men, the response to which has been nothing short of staggering and humbling. 
AP:  Talk a little about THE LIGHT OF MEN, about the story itself and whether or not you feel it is pulp.
AS: The novel took me a little more than 12 years to research and write as it is set in a Nazi concentration camp and I wanted to get all the details right. The tale is set in the dying days of the war and a strange prisoner is admitted who appears to have his own agenda, his own reason for being there aside from being arrested. I can’t really say more without giving away too much of the tale but I will say that there is a science-fiction element in the novel and we’ll leave it at that. The book has been added to the Holocaust Memorial Museum Library in the US, has received very good reviews, and was even a book club read for a group of bloggers – all of which has been simply amazing. As you might imagine from the subject matter, it is not a light-hearted tale. My goal was to give modern readers the genuine experience of what it was like to be in one of those horrible camps and I pulled no punches. I’ve heard from readers that this was the experience they had reading the book which has been immensely gratifying because it means all those endless hours of research paid off. Although there is action in the novel, I would not classify it as pulp. It’s more of a literary work though there is a good dose of action along with that science-fiction element I mentioned. Unlike writing pulp, writing this novel was not a lot of fun, but it is the work I’m most proud of to date.
AP:  Can you share anything about the super hero serial you’re creating for A Thousand Faces Magazine?
AS: Sure, I’d be happy to. The Brand/X serial took on a life of its own with me. The first tale, “Soar”, was supposed to be the only tale. It dealt with the general fascination we all have, as comic and pulp fans, with flying. Wizard used to have a monthly poll where fans could vote on the super power they most wanted to have and flying won month in and month out. So I came up with the idea of a two-bit crook whose greatest high is to be carried by a superhero in full flight. Flying, or soaring, becomes a full-blown addiction with him. Thing is, the only way to fly with a hero is to commit a crime and get carted off to jail. Thus poor Fred’s life becomes reduced to doing time until being released from jail so he can commit a crime and get that high when a hero scoops him up to send him back to prison. The pay off for this was that, like most junkies, more is always needed to fix and the short flights no longer do it for him. So he comes up with an idea for the longest and best flight of his life, which is also supposed to be his last. Fred Brand was supposed to commit suicide in achieving this ultimate high, going out in one final blaze of glory. However when it came time to write that scene, something just clicked in my head and Fred survived that first tale. I sent it off to the magazine, crossed my fingers, and moved on. To my delight the story was accepted and was published in issue #0. Well, a few readers wrote in expressing their fondness for Brand and speculating on what would happen next with him. This blew me away, because I certainly hadn’t thought that. But their discussions got me thinking and I found myself asking, “Yeah, what does happen to him?” and now I’m on a journey with Fred and Project X to find out. Six tales have appeared to date, the last just a few months ago. And they are all still available in issues #0, 2, 3, 5, 7 and 12. With more to come…
AP: You’ve been nominated for at least two awards and won one of those.  What awards were those and how does that sort of attention affect you as a writer?
AS: My second published tale, “A Turn of the Scrooge” was nominated for an Arthur Ellis Award, which is the Canadian equivalent of the Edgar. It didn’t win, but coming so early in my career I really could say that it was truly and honor and thrill just to be nominated for so prestigious an award. Last year my novelette, “The Adventure of the Locked Room”, won the Pulp Factory Award for Best Pulp Short Story of the Year. The story was part of Airship 27’s first Holmes anthology (Sherlock Holmes Consulting Detective: Volume One) and the book also took home awards for Best Pulp Cover (Mark Maddox) and Best Pulp Interior Art (Rob Davis).
The awards were presented at the Windy City pulp show in April and to say I’m still on Cloud 9 would be the understatement of the year! I was, and still am, completely bowled over by winning the award. As I’ve only been reading pulp for about 10 years and writing it for only 3 or 4, I still consider myself the new kid on the block with a lot still to learn so to win one of these beautiful awards so early in my pulp career, well, there are simply no words to truly express the feeling. What affect did it have on me? Well, it showed me that I’m on the right track with my pulp work. The awards are voted on by pulp writers, artists and fans. Getting the nod from a group like this covers all the bases, doesn’t it? Also, as a writer, you never know if your work is good or not until someone reads it. You can think it is, convince yourself it is, but the only way to truly know is to hear from people who know the genre, have read your story and enjoyed it. Hearing positive feedback from readers through reviews or emails is a precious reward in itself. Being voted an award by your peers is just the icing on the cake. And it is a humbling experience. You think: “Wow! Folks actually read my story and liked it! It affected them!” It’s what every writer works towards.  For those of you who don’t know, the awards are presented annually by the Pulp Factory to recognize outstanding achievement in pulp writing and art and any new published work set in 1940 or earlier is eligible for nomination in a given year. So get scribbling pulp creators, you could be the next winner!
AP:  Anything coming in the near future from the mind and pen of Andrew Salmon you want to talk about?
AS: Well, I’ve just learned that my third Sherlock Holmes tale has been accepted by Airship 27 and will appear in Volume Three of that bestselling series. Look for that in January. Mars McCoy Space Ranger is also about set to blast off from Airship 27 and I’ve got a tale in that along with a bunch of other great pulpsmiths. There’s that revised edition of The Dark Land looming. And I’ve just finished a collaboration on a novelette with pulp fan Mark Halegua who created a hero called the Red Badge. Readers can look for that in an upcoming Airship 27 release. As for works in progress, well, I’ve got some novel ideas… literally. I’m currently working on a novel featuring German pulp heroes which I think is going to knock a few folks for a loop. I’ve also been given the nod by Air Chief Ron to write a full-length Sherlock Holmes novel and was press-ganged by Ron and artist Rob Davis at the Windy City show a couple of years back to write a Secret Agent X novel. Believe me, no arm twisted was involved. Ha! I kicked ideas around for an epic X tale and I think I’ve hit on one that will work. Along with all that, I’d like to do more Fred Brand tales, and maybe throw in a pulp novelette along the way. Also, I sit daily with fingers crossed as I await word on the Green Hornet tale I submitted to Moonstone for the upcoming Green Hornet Casefiles anthology. Working with Joe Gentile and Moonstone was a lot of fun and I’ll gladly do it again if they want me. As I’m a huge Operator 5 fan, and, I believe, they are now doing 5 stories, I’ll say a prayer every night that Joe gives me the go ahead to do one. I guess to sum up my plans I can just say: pulp and more pulp! I’m having the time of my life here!
AP:  Andrew, thanks again and come back to visit ALL PULP anytime.
AS: It’s been my sincere pleasure! Thanks for having me. I’d love to do it again sometime. Hey! I check All Pulp every day and so should every pulp fan. Pulp fiction is back, big time! There’s a lot of truly great stuff being created today to stand shoulder to shoulder with the great work of the past giants. All Pulp celebrates that. If you’re a pulp fan, what more could you ask for?
Links:
http://www.amazon.com/Andrew-Salmon/e/B002NS5KR0/ref=ntt_athr_dp_pel_pop_2.
http://stores.lulu.com/airship27
www.lulu.com/AndrewSalmon
www.lulu.com/thousand-faces

                                                _______________________

INTERVIEW-ELIZABETH BISSETTE, RELATIVE TO THE MAN WHO CREATED THE SPIDER!

  • News
  • October 12, 2010

ELIZABETH BISSETTE, Writer/Performer/Relative of Pulp Icon

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Elizabeth Bissette, wearing Norvell Page’s fedora and holding his .22

AP:  Elizabeth, ALL PULP is really excited that you have time to sit down with us.  Before we talk about your very special connection to Pulp, can you give us some background on yourself?

EB: I guess Southern Gothic Renaissance woman might sum it up best. I’m a music, art and culture writer and one day had the privilege of talking with Mike Seeger (http://mikeseeger.info/), a folk archivist and musician Bob Dylan credits with being the reason he wrote his own songs. It changed my life. I spent the past five years or so since then doing a Lonesome Liz (http://www.myspace.com/lonesomeliz) version of what he did; traveling and learning as much as I could from other artists and musicians I ran into; writing about them along the way.

Through the course of all this I’ve become an Outlaw Americana singer-songwriter and visual artist, with the official Outlaw nick-name Lonesome Liz. (Hellbilly Outlaw authority and filmmaker Cuzn Wildweed (http://www.myspace.com/cousinwildweed)  told me Outlaws had nicknames and that was bound to be mine; I figured he knew more about it than I did and have kept it ever since.) I also play a little banjo; had the good fortune of learning a little from a man in Appalachia named Bill Garvin, who played with Bill Monroe early on.

There’s more to it than that, but that’s the backbone of it. Mr. Seeger died last year and my interview was the last he did. I can’t thank him in person anymore for how our talks were so pivotal for me and how other artists have told me since they’ve in a way been important for them to0. He centered a lot of his work academically so I’m putting together a Masters Thesis of Thank You -  I’m going to put all the research, some done with his feedback, into a Public Folk Studies thesis. I majored in Religious studies so there’s going to be a Folk Belief track too. I’m the only person I’ve heard of who’s getting an MA in Hoodoo.

AP:  Now, let’s get to that special connection to the Pulp field.  You are related to a key figure in Pulp fiction.  Would you elaborate on that, please?

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One of only two existing photos of Norvell Page


EB: Norvell Page was my Great-Uncle and the funny thing is my family never talked about him. I grew up hearing stories about this mysterious and intriguing figure who “wrote something to do with Spider-man” ,but that’s about it. Well, one day I was sitting at home; I was about 22 I guess, and I turned to my room-mate and said, “You know, my family always said my Great-Uncle wrote something to do with Spiderman and I really don’t think they would have made that up, but I’ve not heard anything else about it, I wonder what that was?” The response to that was, “Well, if it’s really true then you could just write Stan Lee and ask him.”  I said, “Well, I guess you’re right.”

At the time, Mr. Lee was still with Marvel so I just looked at the website, found what appeared to be the right e-mail for him and wrote, “Dear Mr. Lee, I’m the Great-Niece of Norvell Page and I have heard that my Great-Uncle wrote something about Spiderman, but have no idea if it’s true or even what it was.”

Well, it may not surprise you but it sure surprised me to receive an e-mail back from Mr. Lee in I think maybe 10 minutes, saying “Great Gotham! We’ve been wondering what happened to Norvell Page since 1943!” Not in those exact words of course but it was rather overwhelming to discover that, not only had I been looking for the truth behind Norvell’s Spider but Spidey apparently had been looking for the truth behind Norvell. It was every bit as life changing as that phone call to Mike Seeger.
 

AP:  Can you share a brief biography of Norvell Page with us?

 EB: Norvell was a remarkable man. He seems to have really been like his characters in more ways than one. While writing Pulps he dressed like the Spider sometimes, drove a Dailmer, lived for a time on Riverside Drive, he was very Wentworth in day to day life. In 1943 he left Pulp writing for a government career that was pretty heavy, to say the least. He seemed, for example, to truly want to save the world and I think tried to. In some ways maybe he came close, hard to tell. Sounds incredible, but we are talking about the Spider.

He grew up in an old Southern family, the Pages arrived in Virginia very early on, 1652. Their first land grant became Williamsburg eventually and they had a lot to do with the founding of some of the major sites there, William and Mary, (which he briefly attended) and Bruton Parish Church are the main ones. A long line of revolutionaries, statesmen and writers as well. The popular Ante-Bellum novelist Thomas Nelson Page, for example, was a close relative.

Norvell started out as a journalist and wound up in New York after his writing had started taking off enough to make a move there make sense. He wrote for the Times and also the World Telegram, where Varian Fry, who spearheaded the International Rescue Committee, an operation that got a number of major artists and thinkers out of occupied Europe, was an editor at the time. Family rumor has it and considering his later government career it’s certainly plausible, that he got his start in intelligence work helping Mr. Fry. I’ve not yet been able to fully substantiate it but he was right there with Varian, was later an official intelligence worker as fellow writer Ian Fleming was and maintained a lifelong friendship with Max Ernst, the husband of Peggy Guggenheim, who funded the committee.

As you and your readers know, he became a tremendously influential and prolific Pulp writer; ‘the Batman’ first appeared in a Spider story (editor’s note-A character, different from the later, more famous one, named ‘Bat-Man’ appeared in the Spider Novel DEATH REIGN OF THE VAMPIRE KING, published approximately six years prior to the debut of DC Comics’ Batman) and he later also wrote two ‘Black Bat’ tales. He also wrote what’s considered a classic, ‘But Without Horns’, a story that explores the concept of a ‘superman’ but this time as a villain, and, of course, he created the Spider. It’s hard to imagine what comics would be like today without the vast imagination of Norvell Page playing such a heavy role in Pulp Fiction.

His career with the Government would probably be boring to read in an outline but he moved from Committee to Committee, clearly trying to make the world a better place as best he could; you can find an outline of that in his obituaries at my Norvell Page blog. He was one of the only members of these committee who remained in the Executive Offices of the President which I guess translates to real close to where all the action was. At the time of his death he was the Editor in Chief for the Atomic Energy Commission, and he was also one of the first six people appointed to that Commission. He died, unquestionably suspiciously, around the time of the Bay of Pigs invasion.

AP:  What sort of family stories are there about Norvell Page?  Can you share some insight into how he was as a man, a writer, a relative?
EB: Oh yes and the tales are as wonderful as his stories! The best one is that his parents had tickets for the Titanic and didn’t go at the last minute because, according to my Grandmother, Norvell, who I guess was 11 or so at the time, begged and insisted that they not. Good call.

Another tells of him rescuing all of them again from certain destruction. He was home for Christmas from college and it was back in the days when candles were still used for the trees. Well, I guess everyone had too much eggnog and someone forgot to put the candles out. The house caught on fire and Norvell somehow woke up. He didn’t panic but instead threw his mattress out his window, ran and grabbed my grandmother and my Great-Uncle Roger, then infants, shouted through the halls to wake everyone up and jumped with one of them under each arm out the window.

Last but not least, by the next Christmas he couldn’t bear to be away from Audrey, his high school sweetheart who the family didn’t approve of. He left William and Mary to elope with her. To keep his parents in the dark about what they’d done, he left letters with his room-mate describing how he was doing in college to be mailed, one a week, over the remainder of the semester. He then went to nearby Norfolk and told the editor of the paper there that he was 18 and had already been writing for the Times Dispatch in Richmond. They gave him, I believe, an editing job. And so his writing career began.

AP:  Just how much was THE SPIDER a part of Page’s life?

EB: As far as I can tell he WAS the Spider. 

AP:  Was Page’s connection to THE SPIDER and to pulp in general an overall positive or were there any negative things as well?

EB: Positively positive! He seems to have made such wonderful friends and had such a fantastic time. It was probably also a huge outlet for all of the stress he must have been under, considering his probable role in the IRC and who knows what else; (he was, for example, on a German liner on its way to Austria when WWII broke out.)

The family, however, did not approve of Pulp Fiction or consider it a worthwhile use of his writing ability; that’s part of the reason no one ever talked about it. His father had wanted him to be the next Poe (who was also from Richmond and who had worked with my Great-Great Uncle, Lawrence Page on the Southern Literary Messenger), and seems to have been disappointed. He was too close to it to realize he actually sort of was the next Poe I suppose. So, in a way, that was probably a negative.

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AP:  How are you involved with THE SPIDER?   How are you working to further the legacy of this character that you have a family tie to?
EB: I have a theater background as well as the aforementioned music and art and recently merged the three in a multi-media event I produced called Lonesome Liz’s Mojo Sideshow. The show was a tribute to and celebration of the 50th Anniversary of the death of Norvell Page and the 75th Anniversary of his ‘Spider’ Series.

Norvell’s Ken Carter stories were released at that time and they included my favorite tale of his, ‘Satan’s Sideshow’ and also one called ‘Hell’s Music’, which I thought touched in an odd way my connection with the Hellbillies, (and I had the good fortune of having Hellbilly artists Cuzn Wildweed and J.B. Beverley (http://www.myspace.com/waywarddrifters) as performers). It wasn’t a play of his stories but inspired by the way both of our imaginations unwittingly went in the same direction. The play was a Southern folklore interpretation of ‘Faust’ at its core, with the ghosts of Sideshow workers and historic figures, including Norvell, playing a part in my (the ‘Faust’) damnation.

There was an accompanying visual art exhibit to the Sideshow, which featured artists from all over the world, everywhere from Hazard, Kentucky to London! I was fortunate to have some amazing people participate – including Molly Crabapple (http://www.mollycrabapple.com), a visual artist and entrepreneur who founded Dr. Sketchy’s Anti-Art School, (she’s also done some work with ‘Weird Tales’ and Marvel, the earth shattering ‘Scarlet Takes Manhattan’, for example), Katelan Foisy (http://www.katelanfoisy.com), another New York artist, painted me as ‘Faust’ for the exhibit, Wes Freed (http://www.wesfreed.com), who’s best known for his Drive by Truckers album and poster art  was part of it; and many others.  It was fantastic. A local sculptor contributed a giant black widow spider they hung from the ceiling with a banjo instead of a violin.

All of those remarkable creative minds, and many others, joined together in what was, I think a remarkable tribute to him. What’s so lasting about Norvell isn’t just his work but his influence on other artists and what I love most about the show is that it reflected that, albeit in perhaps an unexpected way.
 
I’d love to write Pulp stories or comics myself, maybe something that included 5 stories in 5 genres as a tribute to him. I’ve been turning ideas over for a while. The characters are there though. There’s a Lonesome Liz Hoodoo Detective, Katelan Foisy inspired a character named Penny Dreadful, a Western based on the Dodge City Gang; I’m sure it will happen in time.
 

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AP: You are a writer yourself as well as a multimedia performer.  Has The Spider influenced your own creative process at all, shown up in any of your work, etc.?
EB: He’s always there. I don’t quite know how to explain how he’s always there except we were raised with the same stories I suppose; have the same sort of brain. I think he probably shows up to some extent in all of the characters I’ve made up but some are more like him than others. The Goblin King, a central character in a fantasy series I’ve written, has elements of the Spider and the Batman that were deliberate, choosing Faust as the center of the Sideshow play was definitely because of his life and writing, he was very Faust in a way and making that production a Vaudeville style one was definitely due to Ken Carter, the idea of making Lonesome Liz a detective came from his detective stories, he’s all of it I think.
AP: Now, part of your background is in the paranormal field.  Ever encountered anything that makes you think Page is looking in on things?  Anything SPIDER related in your life or family you can’t really explain?
EB:  Well, he was doing séances with a woman from the Dominican Republic, L. Ron Hubbard and Arthur Burks for years so I’m not surprised that there are odd things that occur from time to time. Family members and a few other people have seen a man in black standing by me a time or two, and they’re not family members who usually talk about or even believe in ghosts. One even described him as wearing a cape and I have to admit it did sound like the Spider. Funny thing was that was a relative who hadn’t read any of the stories and didn’t know what he looked like.
AP:  Why do you think THE SPIDER has such appeal to the reading public?
EB: Because it was great writing. You care about the characters, they have depth, conflict, and they’re very alive. And it was so extreme! It was the bloodiest, most dire, most deadly Pulp fiction of all Pulp fiction! It was also the most bizzarre at times. Pulps were an escape, something to empower the powerless and what did that more, who did that more than the Spider?
 
AP:  What about the rest of Page’s work?  Can you discuss some of his other pulp work beyond THE SPIDER?
EB: It’s a wonderful tapestry of imagination. Whatever you’re into you’ll find it in Norvell’s stories. G-men, detectives, weird menaces, magicians, westerns, swords and sorcery, I have a hard time thinking of what sort of story he didn’t write! The Spider just happens to be what someone kept in print. There are other characters, other stories I think are a lot better or at least a lot more intriguing.
 
AP:  Do you have anything past, current, or in the works, our audience might be interested in checking out?  Any music, writing, work on Page’s life, anything at all?
EB: There’s a new blog in progress! The Norvell Page Page http://www.norvellpagepage.blogspot.com and the Mojo Sideshow can be seen in part here: http://mojosideshow.blogspot.com
 
AP:  Elizabeth, it’s truly been a pleasure!

MOONSTONE MONDAY-INTERVIEW WITH NEW CAPTAIN ACTION WRITER AS ANNOUNCED AT NYCC!

  • News
  • October 11, 2010
MIKE BULLOCK, New writer, Captain Action: Season Three, Moonstone Books

AP:  Mike, thanks for stopping by ALL PULP again, especially after your busy weekend.  Tell us a little about New York Comic Con?

 Mike Bullock: The show was a lot of fun. We started off Friday night with the Lions, Tigers and Bears panel put on by the fine folks at our new publisher Hermes Press where I was able to spend time with some great fans of the books. The convention wasn’t too crowded on Friday and it was pretty easy to find your way around and see some of the wild things going on.

Saturday, I think half of NYC crammed into the building, or so it seemed. I spent some time in artist alley talking to a lot of fine folks, then did several interviews and finished off the day by signing Phantom, Captain Action and Savage Beauty swag at the Captain Action booth.

My lovely wife and I spent Saturday night and Sunday bopping around Manhattan and Brooklyn, doing the tourist thing. I can certainly see why so many writers want to live in NYC. I can’t imagine ever running out of story ideas when you can walk through Time’s Square, Chinatown, Central Park, SoHo and Brooklyn Heights all in the same day.

AP:  Now, you weren’t at NYCC just for fun and giggles?  Share with our audience the major announcement that concerned you.

MB: Well, there were several. First was the news that my all-ages series, Lions, Tigers and Bears has moved over to Hermes Press as the flagship title in their new line of original graphic novels. We’re putting out the long awaited LTB volume III in March of ’11 and artist Michael Metcalf and I are already laying the groundwork for volume IV. Pulp fans should certainly have Hermes on their radar already, as Hermes is putting out the Phantom and Buck Rogers newspaper strip reprints, among other things. They debuted an awesome John Buscema book at the con, also. It’s something every comic art fan should own.

Next up was the announcement of the format for Savage Beauty #1, which is now an oversized 40-page book, featuring a 22-page main story, a golden age Sheena back up tale and other goodies all for the low cover price of $2.99. There was a great buzz for the book going on, which was certainly exciting. I think I signed more SB shwag than anything else.

The third announcement was that I’ll be taking over the writing on the main Captain Action title beginning with #1 of season III that should hit shops later on in 2011. Steven Grant, the writer for season II has done some really incredible things (wait until you read #3 & 4) and I’m excited to build off that for the future of the A.C.T.I.O.N. Directorate’s top agent.

AP:  That’s fantastic!  Getting a new gig is always a big deal, but is there something special for you about getting to write the further adventures of Captain Action?

MB: As a kid, I missed the Captain Action boat by a few years (I was a die-hard Big Jim kid) but when I discovered it later on in life I felt like I really lost out on something special. I mean, what kid in the ‘70s wouldn’t want an action figure that could turn into the Phantom, Spider-Man, Flash Gordon or Batman? Once the Captain Action comics started coming out through Moonstone, I really liked what they were doing and loved the premise of the character that Fabian Nicieza had crafted. Then, when I got my turn to write a story with Cap (The Phantom/Captain Action miniseries) it really seemed like writing Captain Action would be a lot of fun. He lands somewhere between James Bond, Big Jim and all my favorite superheroes mixed into a giant vat of little boy wish-fulfillment, which are all things right up my alley. So as you can imagine, I’m pretty jazzed to write this book.

AP:  As a writer, what do you think you bring to Captain Action that will make it stand out as similar, but different from what’s come before?

MB: Honestly, I don’t know that I’d ever thought of it in those terms, so I’m not sure I can give you an answer that suits the question. But, the 8-year old inside me will certainly have a blast playing with the original A.C.T.I.O.N. hero in the pages of comics. I’ve never done spy stories, so I’ll have to stretch myself/challenge myself, which is good, too.

AP:  Any major plans (or even hints and teasers) of what’s to come for Captain Action and crew from the pen of Mike Bullock?

MB: Well, you can expect to see new villains, new heroes, new threats, the return of some familiar faces and a mission that’s out of this world, literally.

AP: Thanks, Mike!  Can’t wait to see what happens with Captain Action!

MB: Thanks for having me!
                                           ________________________ 

ANNOUNCING THE FIRST EVER ALL PULP Pulp Artist Weekend!!! Lead off interview-Tamas Jakab!

  • News
  • October 2, 2010
That’s right, Pulpsters!  In a last minute inspired decision ALL PULP is now dedicating weekends (as long as material and artist types last anyway) to that often unsung pulp creator, the ARTIST.  Each weekend, ALL PULP will endeavor to post interviews, columns, news, etc. that focuses on the work of artists of all types in bringing pulp to life!   

With the short notice of this (sorry, ALL PULP just works that way sometimes), if you have any art you’d like to share, make sure you have permission of the artist and send it on for the first ever ALL PULP P.A.W. Gallery to debut ON SUNDAY.  This will occur every weekend and will include art submitted for the Gallery each week!

First up for ALL PULP’s P.A.W., an interview with Tamas Jakab, artist and co-creator on EL GORGO!!!

TAMAS JAKAB, Artist/Letterer/Colorist/Co-Creator on El Gorgo!

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AP: Who is Tamas Jakab?
TJ: Tamas Jakab is a person (presumably, though he may actually be a clone or a robot), who lives in Cleveland, Ohio with 2 cats, a dog and a girl. I had a brief career doing cover and design work for the late, great Frontier Publishing, as well as various freelance gigs. I am the co-creator, artist, letterer and colorist on EL GORGO! On the side I work a day job unrelated to comics.
AP: What are your artistic influences and aspirations?
TJ: From comics, Jack Kirby, because all superhero comics are Jack Kirby, whether they realize it or not. Also Grant Morrison, because he goes for the big, crazy ideas, and superhero comics work best when they’re big and crazy. Otherwise, the list could go on and on – Los Bros Hernandez, Darwyn Cooke, Steve Ditko, Mike Allred…
AP: What do your think your strengths as an artist are?
TJ: Certainly not inking. I think I’m barely adequate as an inker, which can be frustrating, because I really love the aesthetics of comic book inking. I do think I have a really good eye for color, design and typography though.
AP: What’s your dream project?
TJ: Currently, EL GORGO! I’m really not the type of person who just wants to draw BATMAN or SPIDER-MAN. I prefer working on original concepts where I’ve got a lot of creative freedom and can play with different styles and genres.
AP: How did you get involved with Mike McGee and end up co-creating EL GORGO! ?
TJ: I’ve known Mike since 1987. We first collaborated on an adaptation of one of his short stories for the FRONTIER PUBLISHING PRESENTS comic back in 2005, and we’d been trying to get a new project going for 2 years with little success. EL GORGO! was a happy accident that came from a proposal to do a throwaway story for a comics anthology. We pretty much had the basic character of El Gorgo worked out in about an hour. We quickly realized we had a really fun, high-concept character and kept at it after the anthology didn’t work out.
AP: Who is EL GORGO! ?
TJ: EL GORGO! is a super-intelligent luchador gorilla scientist who saves the world on several occasions, plays in the world’s greatest surf-rock band, Gorgo-A-Go-Go, and is an historical novelist on the side. He’s pretty much Reed Richards, Captain America, Indiana Jones and Doctor Who rolled into one.
AP: Where do you see EL GORGO! as a character and as a comic book going?
TJ: Optimally, EL GORGO! would be in the mind and heart of every living being on Earth. Right now we’re just getting issues out as we can, which isn’t as frequently as it should be, and I’d like to see us move away from print and entirely into digital publishing.
As a character, we’ve really just gotten started…
AP: What do you and Mike have planned for EL GORGO! ?
TJ: We have way more things planned out than we will probably ever get to. Currently we have the book plotted out to about issue 13 or so, which would run through the Secret Origin of El Gorgo. In between, there are still some major characters to introduce, but I can’t give spoilers. Should we ever get to it, we have a good idea what the last EL GORGO! story would be, and I know exactly what’s on the very last page.
In a perfect world, we’d find the time to go at least 40 issues, which seems to be the sweet spot for good comic runs.
AP: You did the cover for DILLON AND THE LEGEND OF THE GOLDEN BELL.  What was the concept for that cover?
It was based on a cover from DOC SAVAGE MAGAZINE in 1933, “The Red Skull” by Walter Baumhofer, which is featured in the great collection PULP ART. Given Dillon’s pulp roots, particularly Doc Savage, I figured I’d go right back to the source for inspiration.
TJ: How did you achieve that aged look that makes the cover look like an old paperback?
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Additionally, on the EL GORGO! back covers, I used halftone patterns to simulate old-school color separation by hand. I love the fact that I can use expensive modern technology to simulate cheap printing methods that were replaced by better technology.
AP: What’s your method of working? 
TJ: I work 100% digitally these days. I reached a point where it made no difference if I worked on paper or on the computer, except it’s easier to fix mistakes on the computer. I work primarily in Adobe Photoshop and Adobe Illustrator, and I now use Manga Studio to draw and ink EL GORGO! The cover for DILLON AND THE LEGEND OF THE GOLDEN BELL was created in Corel Painter and then finished in Photoshop. 
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AP:  What’s a typical Day In The Life of Tamas Jakab like?
TJ: Very hectic and yet unspectacular.
AP: Where should we go to see other examples of your work?
TJ: The covers for Frontier and some pre-EL GORGO art projects are still hosted on my old website, http://rednever.com. I’m no longer maintaining the site, and eventually the art projects will find a new home.
AP: Anything else we should know about you?
TJ: I haven’t forgotten about EL GORGO! issue #4! I have some other non-art projects I have to work on, but I’ll be back on it as soon as I can!

MOONSTONE MONDAY INTERVIEW-Shannon Denton

  • News
  • September 20, 2010

SHANNON DENTON, Writer of G-8 for RETURN OF THE ORIGINALS, MOONSTONE BOOKS

AP: I think it’s safe to say you can be considered a Renaissance Man given the diversity of your creative output.  To what do you attribute your success is so many different, yet related fields?


SHANNON ERIC DENTON: Thanks! I do like the occasional Renaissance fair and I’m pretty certain I have ADHD. So I guess that may cover the Renaissance aspects as well as the diversity. To be honest, I have no idea. I like to try new things. It’s not always a success but there’s a definite satisfaction in looking at some new field, psyching yourself up to give it a try, and then through grit and luck finding a way to do it.
 AP: Tell us about Komikwerks
　
SHANNON ERIC DENTON: Komikwerks originally came together as a conduit for a collective of professional artists and writers from many different creative fields, who wanted to publish their creations free of editorial and corporate restraint, as well as not being confined to the standard 22 page format comic. Lately it’s morphed into the publishing arm for our ACTIONOPOLIS line of books. At the end of the day, it’s a home base for Patrick Coyle, Rob Worley, and I to pursue our pet projects.　

AP: I’m a major Western fan so naturally I’m interested in “Graveslinger” Tell us what that’s all about.

SHANNON ERIC DENTON: Graveslinger is a fun supernatural western (and nominated for a 2010 Harvey Award to boot). The story centers around an prison undertaker on his quest to put 117 of the West’s worst killers back in their graves. After a supernatural mishap, these 117 formerly executed killers rose up en mass and set out to plunder anew. Now only one man, our undertaker hero, has what it takes to put them down for good. We have another Graveslinger book set to come out from IDW too so be on the lookout for an announcement on that.　SHANNON ERIC DENTON: G-8 is an ace pilot and a master spy. He’s an adventure junkie with a heroes heart. I’m hoping in our run to establish a bit of why he’s so driven to do what he does without taking away anything from the original run. I’m a big believer in not reinventing stuff that’s already working. Instead I’m hoping it’ll be more like getting sneak peaks between the stuff you already know.

AP: So why Pulp?  Have you always harbored a secret desire to be a pulp writer?　

SHANNON ERIC DENTON: I have. In my public library as a kid, I had access to a lot of classic old pulps. Come summer, I’d pour through those books. I loved superheroes but ya had to have money to buy comics so that was a once a month purchase for me. 　These were free at the library so they’d tie me over till I could get my monthly dose of Spider-Man and Teen Titans at the 7-11.　

AP: You’re writing G-8 for Moonstone as part of their “Return of The Originals” project.　　How’d you get G-8, did you request to write him?　

SHANNON ERIC DENTON: I expressed an interest in the line and they suggested G-8. 　My AiT book ACES was partially inspired by G-8 along with Spy Smasher, Black Sheep Squadron, Air Wolf and a million other aviation heroes…including my dad who was a Naval aviator. I just always grew up around pilots and on air bases so it’s always going to be fascinating to me.　
AP: Who is G-8?　

AP: Why do you think there’s such an interest in pulp adventure and pulp characters now?

SHANNON ERIC DENTON: As long as folks continue to like high adventure and the world still has bad guys that need clobbered by men with the wherewithal to do so, I think Pulps will always have an audience.

AP: What’s a Day In the Life of Shannon Denton like?
SHANNON ERIC DENTON : We just had a baby so these days it’s 15 minute naps, no sleep at night, and making comics in between all of that. Oh, and it’s football season. Luckily because I’m not sleeping anyhow, I’m finding more time for football as well as work this year so who knows. On the weekends I try and take my boys hiking to as many of the National Parks and National Monuments as I can.　
AP: Here’s your chance for a shout out or to recommend something.  Go.=an>
SHANNON ERIC DENTON : If you like adventure, please check out our www.actionopolis.com books!  Great stories from a ton of great writers!
AP: Anything else we should know about  =an>Shannon Denton?
SHANNON ERIC DENTON: I am always available for freelance! (freelancers motto). Outside of that, i just hope everyone enjoys what I have coming up this year and feel free to follow me on the Twitter and Facebook.  =n>It’s always nice to hear from folks. Be sure and let your comic shop know about G-8 also!

MOONSTONE MONDAY-ED CATTO INTERVIEW

  • News
  • September 20, 2010

Ed Catto, Retropeneur, C & A Enterprises, LLC, partnered with Moonstone Books

AP: Ed, welcome to ALL PULP and to Moonstone Monday!  Tell us about yourself, some personal as well as professional background?
EC: Sure, thanks for having me!
 I’m a marketing professional and have spent my career building brands such as OREO, Snuggle, Chips   Ahoy!, Lysol, KIA and Napa.  But I’m also a long-time comic fan, and have worked with Marvel, DC, Valiant and Reed Expo’s New York Comic Con developing strategy and marketing initiatives.  Developing Captain Action Enterprises, LLC, with my partner Joe Ahearn, seems a natural extension of both my marketing skills and my passion for comics.
AP: What is your involvement with Moonstone Books?
EC: We shopped our first property, Captain Action, around a bit when we were looking to develop the new comic series.  Moonstone was really the best place for us to find a solid partner committed to working together to build an engaging series. 
We work closely with the whole Moonstone team to develop our series, manage the monthly ebb and flow of producing the comics, and to develop new initiatives. Examples include our digital relationships with ComiXology and Panelfly and our new partnership with Overdrive, the group that manages digital comics and books for libraries worldwide. Some of the other programs have been more straight forward, like the enamel/cloisonné pins we created for The Phantom and for Captain Acton.
We’ve been thrilled with our partnership with Moonstone. It’s been a great place to be creative and work with fantastic talent.  And now our titles with Moonstone are growing to include Zeroids, Savage Beauty, Lady Action and Captain Action Classified, the new 60’s series featuring the “original” Captain Action.
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AP: Captain Action seems to be your primary property. Can you give us some background on Captain Action as a character?
EC: After the success of G.I. Joe, Stan Weston created the Captain Action toy line for Ideal.  Just as G.I. Joe could change into an army soldier or an astronaut, Captain Action could change into superheroes.  Originally he could change into a plethora of heroes including Spider-Man, Captain America, Batman, Superman…even The Green Hornet and Buck Rogers.
On the very basic level, Captain Action is all about imagining the possibilities of oneself.  The idea is that “you can be anything you want to be” but always tempered with “being yourself is pretty cool too.”  We try to bring that into our Moonstone series.
He has a rich cast of characters too, including his arch-enemy, Dr. Eville, his sidekick, Action Boy and his amazing amphibious car, the Silver Streak!
AP: Can you talk about the process of how you came to be involved with Captain Action on a business level?  This is also probably a good place to have you explain the term you use on your facebook page to refer to yourself..Just what is a retropreneur?
EC: Our company, CAE, LLC is based on the idea of taking old properties that still have appeal or a nostalgia value, polishing them up and getting them out there once more – both for original fans and a whole new audience too.
So –we’re kind of entrepreneurs with throwback/retro perspective. We get a lot of positive feedback when we offer our business cards to folks and they see Retropreneur. It’s a little whimsical, but it’s memorable!
AP: Why Moonstone for Captain Action?  What about Moonstone appeals to you to help get the legend of Captain Action out to the masses.
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EC:  Moonstone has been a great place to serve as a launch pad for many of our own ideas, but publisher Joe Gentile also provides great guidance and insight.  Plus, he’s a tireless worker, so there’s always a sense that he’s working hard for us and our books.  The Moonstone extended family, with Dave Ulanski, Lori G and the whole crowd, including solid folks like Marshall Dillon have been a joy to work with.   And Mike Bullock, the Phantom/Black Bat/Lions, Tigers and Bears writer, has been a great compadre.  We worked with him on our Phantom/Captain Action miniseries and are working even more closely developing our upcoming Savage Beauty Series!
Moonstone’s also a publisher with a big tent. We’re publishing a superhero comic, and robot/Zombie/Sorority Girl comic and a jungle comic..and they all seem to fit perfectly under the Moonstone banner.
In 15 years, Moonstone’s been good and honest with creatives too.  So when we call up our favorites to say, “Hey, wanna work with us”, they know that Moonstone is a reliable outfit.
AP: How do you make a concept like Captain Action, one that started as a toy decades ago, relevant to the modern audience?
EC:  We ask ourselves that every day. And I’m not sure if there’s an easy answer. But we’ve worked hard to  be true to the characters, while finding fresh voices and innovations.  We want to keep the core of what made the toy interesting in the first place (otherwise, why bother with it?) and yet spin it out so you’ll be pleasantly surprising the old fans and still providing engaging, welcoming entertainment for new fans.
AP: Do you have any other projects with Moonstone currently?
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EC: Zeroids was another Ideal property from the sixties. They were a sort of early Transformers – robots from space.   We’ve brought that back with a vengeance. The first issue just met huge critical acclaim and the second issue will be out in about 2 weeks.   Then we’ll continue on in 2012 with an ongoing Zeroids monthly comic.    For this one, we worked with writer Aaron Schapps to create a SciFi mash up of several concepts, including robots, zombies, aliens and, of course, sorority girls.  In fact, the series real protagonist is a college sophomore named Destiny Zero. She has sort of a Dorothy-in-Oz relationship  to the Zeroids!
After that we have a Captain Action Winter Special! And what a special this is! It’ll include:
A classic Captain Action tale of a beautiful French double-agent and a communist Yeti penned by Beau Smith and expertly rendered by the great Eduardo Baretto. 
1.       Lady Action in “The Spy Who Snowballed Me” by our favorite British madman, Tony Lee with art by Reno Maniquis.
2.       For the first time ever, Green Hornet will team up with Captain Action in a prose story by Matthew Baugh.
3.       Covers are by Mark Wheately and Ruben Propocio – it’ll be a quite a package.
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Then we’ll debut Savage Beauty in February! This is a re-imagining of the old Jungle Girl Comics, but with a modern day twist.
Starting with a generous sneak peek at New York Comic Con, we’ll be inviting readers to take a walk on the wild side with Savage Beauty, our new comic series that tells the stories of sisters Lacy and Livvy Rae. This series focuses on their travels throughout modern-day Africa as they are called upon to help right wrongs, protect the innocent and punish evildoers. As reporters for Africa Adventures Online, the Rae sisters are guided by the mysterious Mr. Eden to assume the identity of the mythical goddess Ayana. Disguised as this “Savage Beauty”, the two girls fight modern-day pirates, hard corps militias, corrupt politicians and various other real-world adversaries torn from today’s headlines.

Savage Beauty will take you on an exciting journey as the Rae sisters discover their purpose in life, even as they make a real difference in the world.

Plus the comic book series intends to make a difference too – each issue will donate a full page to partner causes such as Oxfam, Just A Drop and Invisible Children, among others.

And our first issue will be oversized, with a Savage Beauty story, a classic reprint of the first Jungle Girl – Sheena, and special features including lost promotional art to 60’s Raquel Welch Jungle Girl movie pitch…and we’ll be offering it all for just $2.99.
And future covers read like a who’s who of comics – Paul Gulacy, Mark Wheately, Dave Hoover, Chris Short and even a few non-traditional surprises!  Series write and co-creator Mike Bullock has a long list of hot stories that we can’t wait to publish.  We’re really excited for this project!
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So much else going on too: Our Phantom-Captain Action Hardcover is coming out and it looks gorgeous.  Wait till you see the wonderful John Byrne cover on issue #1 of Captain Action Classified. Future storylines in that title include a Berlin Wall story with Nazi’s and LSD, and a story that features the Beatles in Paris right before their historic Ed Sullivan appearance.  And be on the lookout in November when that British Bombshell, Lady Action appears in the prose collection of short stories in the anthology: Chicks in Capes, edited by Lori G!  Look for the lovely Nicola (Wonder Woman/Secret Six) Scott cover!
And convention-wise, we have two more this season. I’ll be a guest of Honor at the 35th Annual Ithacon in Ithaca, NY September 25th, and then we’ll have strong presence again at booth #2380 at New York Comic Con October 8-10th.
AP: What is the appeal of reviving old toy characters/lines and giving them new life in the modern era? 
EC:  In one sense, it’s a big-boys-big-toys kind of thing.  We like to play with entertainment properties and get down to their essence, and then build them back up again in an engaging story.
In another sense, it’s what every kid does with every Imagination-based toy. They make their own story up. We’re doing just that- with a talented group of collaborators- and it’s a great challenge to put it out there and see if anyone likes it!
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AP: Any future projects you care to let the ALL PULP pulpsters in on?
 EC: Our biggest news isn’t quite ready yet, but it’s so very, very close. We’ll be making a big toy announcement soon – hopefully before New York Comic Con – that both new and old fans will be jump-out-of-their-seats excited about!
AP: Thanks a lot, Ed!
EC: It’s been a pleasure – thanks for having me!

Review: ‘Prince of Persia: The Sands of Time’

I found myself interested in seeing Prince of Persia: The Sands of Time
entirely based on the trailer, and the engaging banter between Jake Gyllenhaal and Gemma Arterton. Not being a game player, I had no frame of reference and therefore no preconceived notions when I sat down to watch the Disney production.  The visuals, largely CGI-generated, are enticing, with enough period costuming and countless extras to make it feel like a timeless Persia of story and legend.

The movie was considered a disappointment, opening weakly and garnering mixed reviews. Now, Disney Home Entertainment is releasing the film Tuesday as a single-disc Blu-ray or a combo pack. Gyllenhaal’s acrobatics makes it clear he would have been an excellent replacement for Toby Maguire in the second [[[Spider-Man]]] film, as he leaps, jumps, and acrobatically performs as Prince Dastan. While he does not at all look Persian, he also is the most empathic member of the cast, constantly looking at people with gentle eyes.

An orphan whose bravery impressed the King, he was taken into the palace and made a brother to the King’s sons. As we open the film, they have been manipulated to attack Alamut to end their treachery. Dastan, though, discovers Princess Tamnia (Arterton), attempting to hide a special dagger. From that point on, the story becomes a standard high-octane adventure story mixed with the Princess’ spiritual responsibilities. Of course, the twin themes mesh into a noisy climax set at the Hourglass of the world, or whatever it’s called.

The film is populated with stock types, the wise father, treacherous Uncle (Ben Kingsley, phoning it in), cannon fodder brothers — Tus (Richard Coyle) and Garsiv (Toby Kebbell) — and comic relief in the form of a gambler (Alfred Molina) who rails against taxes. Dastan’s greatest obstacle seems to be surviving the central casting figures to defeat the leader of the Hassansins in an overly drawn out set piece.

All the banter that appealed in the trailer was never expanded upon or deepened in the actual film and Tamina rarely acts like a princess or the keeper of a legendary trust. She certainly cowers well, though.

Director Mike Newell seemed to go out of his way to give us anything fresh and original, so scenes were reminiscent of many other genre features or even other video games. None of the characters rise above their roles so the end result is a mediocre popcorn experience.

On blu-ray, the film looks lovely, especially the exterior settings of the various kingdoms. This is one of the strongest video transfers I‘ve seen in a while. The single blu-ray contains one extra: a 1:30 deleted scene while the version in the combo pack also comes with the CineExplore feature. The Sands of Time offers up about two hours of extra material, some 40 behind-the-scenes tidbits about how the film was constructed. The annoying aspect, though, is that you have to literally sit through the film and look for a dagger icon, which triggers that moment’s video tidbit. There’s no other way to access it as there should be which makes it quite vexing. The standard DVD in the combo pack contains the obligatory Making Of featurette, which reuses much of the same material.

Nine years on, I am hereby declaring it’s okay to watch this trailer again

No, we aren’t going to forget– but we aren’t going to let it paralyze us any longer either, or keep us from being kind.

If you feel like paying your respects, go watch 110 Stories. Or give a pint of blood today. Or help a scout troop. Give two Korans for every one that’s burned. Or just build something. Illegitimis non carborundum.

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