Altus Press has announced that Shake-Down: The Complete Cases of MacBride and Kennedy Volume 2: 1930-33 by Frederick Nebel, introduction by David Lewis will be released one month after Volume 1.
Official Release:
Shake-Down: The Complete Cases of MacBride & Kennedy Volume 2: 1930-33 by Frederick Nebel introduction by David Lewis
This is Black Mask at its best—slam-bang action, crackling dialogue and the keenest wit this side of Dashiell Hammett. Frederick Nebel was a master of the hardboiled school, and the nine-year saga of Captain Steve MacBride and Kennedy of the Free Press was his finest body of work. This second of four volumes presents the next ten novelettes, complete with the original illustrations by Arthur Rodman Bowker, and a new introduction by Evan Lewis. Hold onto your seat. It’s going to be a wild ride.
Wise Guy (April, 1930)
Shake-Down (July, 1930) Ten Men from Chicago (August, 1930) Junk (March, 1931) Beat the Rap (May, 1931) Death for a Dago (July, 1931) Some Die Young (December, 1931) The Quick or the Dead (March, 1932) Backwash (May, 1932) Doors in the Dark (February, 1933)
Then, coming a month after Volume 2 Too Young to Die: The Complete Cases of MacBride & Kennedy Volume 3: 1933-35 by Frederick Nebel introduction by David Lewis
This is Black Mask at its best—slam-bang action, crackling dialogue and the keenest wit this side of Dashiell Hammett. Frederick Nebel was a master of the hardboiled school, and the nine-year saga of Captain Steve MacBride and Kennedy of the Free Press was his finest body of work. This third of four volumes presents the next ten novelettes, complete with the original illustrations by Arthur Rodman Bowker, and a new introduction by Evan Lewis. Hold onto your seat. It’s going to be a wild ride.
Rough Reform (March, 1933) Farewell to Crime (April, 1933) Guns Down (September, 1933) Lay Down the Law (November, 1933) Too Young to Die (February, 1934) Bad News (March, 1934) Take It and Like It (June, 1934) Be Your Age (August, 1934) He Was a Swell Guy (January, 1935) It’s a Gag (February, 1935)
James Palmer has shared the cover for his latest anthology from Mechanoid Press, Strange Trails. The cover was designed and illustrated by James Burns, who also did the cover for another project James was involved in, Blackthorn: Thunder on Mars from White Rocket Books.
Palmer also shared the table of contents for Strange Trails:
Mr. Brass and the Master of Serpents by Josh Reynolds
Sins and Lillies by Tommy Hancock & Morgan Minor
The Mechanical Heart: A Tale of Julia Holst and the Weird West by Barry Reese
The Akeldama Dig by Edward M. Erdelac
Mummy Train by James Palmer
The Eye of Ulutoth by Joel Jenkins
And here’s the equally snazzy back cover:
STRANGE TRAILS will be available in both print and e-book formats. Coming soon from Mechanoid Press
The Golden Age of Hollywood is filled with shining stars, brilliant directors and pioneering films that built a foundation for all to follow. As a result, films from those first decades are viewed with nostalgia and fondness, making us consider them all to be wonderful, especially the ones form the Big Name Stars. The magic of those early years was nicely captured by Martin Scorsese in Hugo and the bets of the best are restored and released on Blu-ray waiting to be rediscovered.
While we bemoan the justifiably bemoan the bloated nature of films, hoping they would be trimmed by 15-20 minutes and emphasis character over mindless action, we cite the classics in the field. And then come along older films that sound promising, look interesting and ultimately show they have not aged at all well. 20th Century Home Entertainment just released Tyrone Power’s Blood and Sand on Blu-ray and despite it being about a bullfighter, does not make you cry, “Ole!”
The 1941 release was shot in color and it is lovely to look at, earning Oscars for cinematographers Ernest Palmer and Ray Rennahan. Based on the 1909 novel by Vincente Blasco Ibanez, it tells the story of a cocksure son of a legendary bullfighter, determined to follow in his father’s footsteps. Sure enough he does, becoming the toast of Spain much to his mother’s regret, who has seen this all before. He marries Linda Darnell but falls for temptress Rita Hayworth. You pretty much know where this is all going since the script lays it all out like a series of tracks to carry the train.
Power’s Juan Gallardo leaves home as a promising teen and returns home a champion, ready for fame and stardom, He is at first mocked then loved then abandoned by the great matador critic Curro (Laird Cregar) who seems to represent the adoring and fickle public. As Gallardo’s star rises, he pays less attention to his craft, indulging in life’s luxuries and does everything to excess. Along the way, the illiterate never takes time to educate himself or pay attention to who handles his money, a situation exacerbated when he enters into the fiery affair.
One of the most interesting scenes in the film is when the two women meet and talk not fight, about the man they both love. It’s subtle and underplayed so is remarkable.
The stars are well supported with some terrific character actors early in their careers such as J. Carroll Nash (Man from U.N.C.L.E.) and the theatrical John Carradine. Accompanying Hayworth and sporting a cheesy Mandrake mustache is young George Reeves and he’s given precious little to do but cock an eyebrow at Power.
The bullfighting scenes are genuinely boring and you never are made to understand what makes Gallardo so special. And of course there’s one of his childhood friends who is now his rival, played with verve by Anthony Quinn. As The New York Times wrote during the film’s initial release, “In themselves they are good calendar art; as film drama they are as hopelessly static as Jo Sterling’s adaptation is puerile. Most of the fancy capework in Blood and Sand occurs in the script.
“For there is too little drama, too little blood and sand, in it. Instead the story constantly bogs down in the most atrocious romantic clichés, in an endless recital of proof that talented young bull-fighters are apt to become arrogant and successful; that Curro, the critic, will sing their praises, and that thereafter their love life becomes very complicated.”
Jo Swelring’s script is thin and given his credentials I expected far better. Director Rouben Mamoulian keeps the pacing deliberate and stretches things adding a dollop of heavy handed religious imagery. At 2:05, I wanted more story or a faster pace or something because this just plodded along, creaky in terms of dialogue and performance.
The film transfers wonderfully to high definition with good audio. The sole extra on the disc is a commentary from Richard Crudo, former President of the American Society of Cinematographers. His background and anecdotes are sometimes more interesting than the film itself.
Way back on August 26, 2010, Futurama gave us a look at the San Diego Comic-Con that will be held one thousand years later. Of course, everything about San Diego grew during the ensuing millennium – except for the San Diego Convention center. Oh, and the number of comics-related guests was reduced… to one.
Fittingly, that one was Sergio Aragones. I have no doubt that somebody will still be uncovering unpublished Aragones art in 3010.
More than a quarter of a million people pay to attend the annual SDCC. Yes, they have a registered trademark on the word “Comic-Con,” but since that term had been in common usage long before they applied for the mark, and is still being used by other shows across America, in my opinion this is theft. As a former promoter of a “Comicon” – the Chicago Comicon, from 1976 through 1985 – I will gladly testify on behalf of anybody who chooses to challenge this mark.
The show is supposed to be about comic books. It is a non-profit show, and it is a tax-deductible 501(c)(3) organization. Its mission statement is: “Comic-Con International: San Diego is a nonprofit educational corporation dedicated to creating awareness of, and appreciation for, comics and related popular artforms, primarily through the presentation of conventions and events that celebrate the historic and ongoing contribution of comics to art and culture.”
This is a boldfaced lie. SDCC – I refuse to call it Comic-Con – has very, very little to do with comics. “Related popular artforms,” maybe, but that’s so nondescript it could cover flip books and porn. SDCC is about Hollywood. It’s about movies and movie producers. It’s about television and cable television networks. It’s about DVDs and Blu-Rays and phony mass-produced Hollywood collectibles and aging former celebrities desperately and sadly trying to be remembered. It is barely about “the historic and ongoing contribution of comics to art and culture.”
All those people, along with the press, the guests, the celebrities, and the exhibitors, occupy a building built to safely house a fraction their number. How the fire department certifies them is beyond me. Sardines would feel crowded on that convention floor, and if you suffer a heart attack or a stroke while there you had better have filed a will.
It comes as no surprise that I do not go to SDCC any longer. It’s not just because the hotels and the restaurants massively jack up their prices during the show, it’s not because of the crowds, it’s not because of the lack of sufficient plumbing and it’s not even because the San Diego Comic Con has precious little to do with comic books.
It’s because the next time some clown slaps me in the face with his backpack, I am going to take said backpack and shove it up his ass while loudly singing the Super Chicken theme song.
Not that we won’t be well-represented at the convention. ComicMixers in attendance will include Michael Davis (who will hate me for writing this column), Glenn Hauman, Adriane Nash, Marty Pasko, Sara Raasch, and Emily S. Whitten. I’m not certain about Denny O’Neil and Bob Greenberger. The rest of us are staying put… although Martha Thomases will be travelling over 6,000 miles in order to stay put. That’s a neat trick.
So feel free to approach any of these folks – most of us don’t bite, unless you’re wearing a backpack – and tell ‘em what you like about ComicMix and what you don’t like and what you’d like to see. Ask about ComicMix Pro Services, but do your homework: click on that big ol’ button up there at the top of this page.
But there’s another reason I’m staying out east this week. Those of us staying behind in New York City?
Artist Diana Leto shared in-progress preview art for the upcoming Cave Girl online comic strip, premiering Friday, July 19th and coinciding with the ERB Inc. San Diego Comic Con panel and the original novel’s centennial celebration. Diana Leto and writer Martin Powell will have promo cards, sketch cards, and a painting to raffle off at the convention.
The Ruby Files cover artist, Mark Wheatley loves reading. He will be offering the poster above for FREE at the San Diego Comic Con this weekend, with the purchase of any other item from his booth! Get an extra for your local library!
Mark’s a fantastic artist. You’re sure to find all manner of cool items at his booth.
A new site has debuted, featuring tales from noted authors written very much in the style of classic drive in and B movies, bringing together all the campy horror, mystery, and suspense that once haunted Drive in screens and late night television… Complete with its own hostess. As she introduces herself on the site…
I’m your hostess, Mistress Evili (pronounced Eh-vah-lee). Get that straight or I’ll introduce you to a specialty meat shoppe where you’ll become a nice chunk of ground round. Or, speaking of organ grinders, maybe you’d like to become one of those cute monkeys with the little hats and little cups?
Welcome to the theater of my mind, where all the little ghosts and ghoulies were sent packing because they weren’t scary enough!
I’ve put together a selection of twisted tales designed to channel your inner sociopath. What? You think those thoughts you have about killing and maiming were yours alone to think? Well, think again, munchkins. I’ve been witness to every dark dream you’ve ever dreamt! I’m here to reward that twisted little demon that you try to safeguard in the back of your mind. These “movies” are here to entice, tantalize, and scandalize the darkness that resides within you.
I’ve assembled cannibals and creatures, butchers and behemoths, evil scientists and dark-hearted wizards. They’re all here for you to enjoy.
You do enjoy the darkness, don’t you? Featured writers currently include Eric Beetner, Kyle Bergersen, Sean Dalton, and J. E. Mooney Get your ticket for the B Movie experience of The Schlock Zone Drive-In at http://schlockzone.blogspot.com!
Almost thirty years after his critically acclaimed Blood & Judgment series, fan-Favorite writer/artist Howard Chaykin returns to The Shadow for a new Dynamite Entertainment mini series, The Shadow: Midnight in Moscow.
Official Press Release:
Dynamite is proud to announce that legendary writer/artist Howard Chaykin will write his first new tale of The Shadow in nearly thirty years. The Shadow: Midnight in Moscow will take place three decades prior to the events of his critically acclaimed Blood & Judgment series. Chaykin will reprise his creative role both as writer and artist for this new venture.
“I’m delighted and grateful to Dynamite for the opportunity to work once again on so legendary a character as The Shadow,” says Chaykin. “My new miniseries, The Shadow: Midnight in Moscow, tells the secret story behind the Shadow’s disappearance in 1949.” While this new series marks his return to Shadow storytelling, he hasn’t strayed far from the character in recent years, contributing gorgeous cover artwork for Dynamite’s variety of Shadow series.
Blood and Judgement
“The Shadow: Blood & Judgment is one of my favorite comic series of all time,” says Nick Barrucci, CEO and Publisher of Dynamite. “It absolutely blows my mind, still to this day. I can’t even begin to express how much this means to me as the publisher of the series and how much as a fan of Howard’s series. Howard Chaykin’s return to the character is going to be phenomenal. And in a move that will certainly keep his fans on their toes, he’s setting Midnight in Moscow up not as a direct sequel to his earlier work, but years and years beforehand, at an exciting and critical moment in the Shadow’s history. I have such tremendous respect for Howard as a storyteller, a true modern master of the comic book medium.”
Howard Chaykin is a modern legend in the comics industry, with an exceptionally respected body of work spanning four decades. He is perhaps best known for American Flagg!, a series published by First Comics in 1982. Chaykin wrote and illustrated the first twelve issues exclusively, and was praised by critics and readers alike. In 1985, Chaykin wrote and drew The Shadow for DC Comics, the acclaimed run that would later be collected by Dynamite as The Shadow: Blood & Judgment. He is the recipient of Inkpot and Eisner Awards. His extensive library of comics work includes such titles as Star Wars, Black Kiss, American Century, Challengers of the Unknown, Blackhawk, Hawkgirl, Blade, Punisher War Journal, and Satellite Sam. He was also executive script consultant for The Flash television series on CBS, and later worked on action-adventure programs such as Viper, Earth: Final Conflict, and Mutant X.
Blood and Judgement
The Shadow began its existence in 1930 as a narrative voice on the Street and Smith radio program Detective Story Hour. The audience thrilled to the serialized adventures of this mysterious figure, whose mythos expanded to include Occidental mysticism, hypnotic powers over weak criminal minds, and twin .45 caliber handguns. With a keen intellect and relentless drive, The Shadow hunted criminals without mercy in an era when gumshoe detectives and bootlegging mobsters was a thrilling yet fearsome reality. The character’s popularity has endured for over 80 years, bolstered by appearances in radio serials, novels, comic books, films, and more. In recent years, Dynamite published a groundbreaking and well-received Shadow series launched by comic writer Garth Ennis (Preacher), with further tales crafted by Victor Gischler and Chris Roberson. Lamont Cranston’s grim alter-ego has also appeared in such related series as The Shadow: Year One, Masks, and The Shadow / Green Hornet: Dark Nights.
Blood and Judgement
About Dynamite Entertainment: Dynamite was founded in 2004 and is home to several best-selling comic book titles and properties, including The Boys, The Shadow, Vampirella, Warlord of Mars, Bionic Man, A Game of Thrones, and more. Dynamite owns and controls an extensive library with over 3,000 characters (which includes the Harris Comics and Chaos Comics properties), such as Vampirella, Pantha, Evil Ernie, Smiley the Psychotic Button, Chastity, Purgatori, and Peter Cannon: Thunderbolt. In addition to their critically-acclaimed titles and bestselling comics, Dynamite works with some of the most high profile creators in comics and entertainment, including Kevin Smith, Alex Ross, John Cassaday, Garth Ennis, Jae Lee, Marc Guggenheim, Mike Carey, Jim Krueger, Greg Pak, Brett Matthews, Matt Wagner, and a host of up-and-coming new talent. Dynamite is consistently ranked in the upper tiers of comic book publishers and several of their titles – including Alex Ross and Jim Krueger’s Project Superpowers – have debuted in the Top Ten lists produced by Diamond Comics Distributors. In 2005, Diamond awarded the company a GEM award for Best New Publisher and another GEM in 2006 for Comics Publisher of the Year (under 5%) and again in 2011. The company has also been nominated for and won several industry awards, including the prestigious Harvey and Eisner Awards.
Milestone was the idea of Denys Cowan. Denys, Dwayne McDuffie, Derek Dingle, Christopher Priest and I sat in a room (a few rooms actually, sometimes at someone’s home, sometimes at a dive restaurant a lot of times in a dive diner) and we sat and planed for weeks creating the original universe of Milestone main characters Icon, Rocket, Static, Hardware and Blood Syndicate.
Priest left right before we signed our publishing & distribution deal with DC. For a very long time Priest was the Pete Best of Milestone. Pete Best’s claim to fame is that he was the original Beatles drummer before Ringo. Pete left to get a real job. That’s pretty much it. His music career amounts to little but a trivia question.
Christopher Priest, on the other hand…
That mofo did just fine without Milestone. He’s writing movies, novels and just about anything he else he wants to write. However, for a very long time Priest was our trivia question. Few people knew he had anything to do with the Dakota Universe.
Now, few people think the original Milestone partners were just four, most fans and all the industry know that Priest was there at the start.
Most people are aware that Derek Dingle was there from the start of Milestone, few people know and even fewer believe Derek Dingle was a major co-creator on the original universe of Milestone main characters.
Translation, Derek came up with many ideas that made it into the Milestone Bible his contribution was just as valued as anyone sitting at the creative table.
I remember how much Derek Dingle had to do with creating Static’s powers and costume. I remember that very clearly because I wrote the Static Bible (meaning I created his family, backstory, supporting characters, etc.) I ran many an idea passed Mr. Dingle for as long as I could.
It’s easy to understand how Derek was casted in non-creator role by the fans. As Milestone went from idea to business plan to universe bible to joint venture with DC Comics, Derek’s visibility as a creator became less and less.
We were all equal partners but we all had separate roles in the company. Derek’s role was President of Milestone. You wouldn’t call the President of Milestone at 4 in the morning to run possible names of Static’s dog sidekick pass him.
Well you wouldn’t… but you know me…
Oh, you didn’t know that Static had a dog sidekick? Well he did for about 35 seconds until the genius that thought it was a good idea was laughed out of the room.
Who’s bad Idea was it?
I’ll never tell, unless at SDCC I’m asked during the Q&A session of the Milestone panel, Friday July 19th Room 5AB (Shameless Plug!) 11:30-12:30!
Ask me then and I’ll spill like a drunken gossip columnist on TMZ.
Look, all of the Milestone partners had horrible ideas at one time or the other. Sometime a bad idea becomes a terrible idea when the person who’s idea it was starts to defend the idea. Trust me, that’s never pretty.
There were plenty of heated exchanges at Milestone but I’d have to say the one person who always kept his cool was Derek. In fact, the only time I ever saw Derek lose his cool was not over anything creative or corporate.
It was over a Kitty.
Kitty was her name and she was (is) one beautiful woman or as we say in the hood, she’s Super Fine. How fine is she? Stevie Wonder could see how fine Kitty is.
One day I was having lunch with Kitty so I had her meet me at Milestone. That was the only time I saw Derek a bit rattled. When I introduced Kitty I swear it took him a full hour before he could say ‘hi’ Kitty is that fine.
OK, it wasn’t an hour his hesitation was maybe 2-4 seconds and wasn’t really noticed by anyone but me, but a 2-4 second delay from Mr. Cool-As-Ice Dingle is rare and you know me, give me an inch…
So, to recap, Derek Dingle was just as involved, I’ll say it again, Derek Dingle was just as involved as anyone in the creation of the core Milestone Universe. Since the day Milestone began there has been reams of wrong information, misinformation and outright bullshit about our company. Believe it or not that continues to this day.
It’s Milestone’s 20th Anniversary and our fans, which I sincerely believe are the greatest and most loyal fans in the history of comics; deserve to celebrate with the truth.
I hope to see many of you in San Diego. As a guest this year I’ll have a space in Artists Alley thanks to the kind people at SDCC!
If you come by and I’m not there someone should be there to tell you when I’d be back. As much as I’d like to hang out there all day, I’ll be a weeeee bit busy expanding my media empire… and scoping out Asian girl cos players.
Come on by! I’ll be more than happy talk to you about my ComicMix columns and upcoming novels. Yeah, I’ll be talking about writing in Artists Alley.
That Michael Davis, what a rebel!
If you miss me at the booth you can catch me here:
The Black Panel Room 5AB 10-11:30 am Friday July 19th
The Milestone 20th Anniversary Panel 11:30-12:30 am Friday July 19th
*The Milestone 20th Anniversary Party Friday 9pm July 19th
*You need an invite for the party I’ll have a few on me during the Milestone Panel and if you mention ComicMix and hit me up before they are gone I’ll hook you up.
Lastly, Derek I’m keeping you to your promise. This is your moment my friend, enjoy it! No work! Have fun!
Piccadilly Publishing has added Gordon Davis’ The Sergeant to their ebook reprint catalog.
PRESS RELEASE:
I’m delighted to announce that we have acquired the ebook rights to one of the great series of the 1980s — THE SERGEANT by Gordon Davis. Beginning in October we’ll be issuing all nine books in the series, this time under the author’s real name, and all featuring covers painted by Tony Masero!
About Piccadilly Publishing: Piccadilly Publishing is the brainchild of longtime Western fans and Amazon Kindle Number One bestselling Western writers Mike Stotter and David Whitehead (a.k.a. Ben Bridges). The company intends to bring back into ‘e-print’ some of the most popular and best-loved Western and action-adventure series fiction of the last forty years.
Series fiction (the most popular genre was always the Western, but it also encompassed war stories, tales of pillaging Vikings, life in the Roman arena and action-adventure set in the far-flung future) was at its most popular throughout the 1970s and 80s and is still fondly remembered and avidly collected by die-hard fans even today. Some books are now so hard to come by that it’s not unusual for them to change hands for astronomical amounts.
“We got to know a number of the authors when we were teenagers,” remembers Mike. “Although they mostly wrote Westerns, they often joked that they had never been further west than Piccadilly, in London’s West End.”
Thus Piccadilly Publishing was born. One of its aims is to bring back titles for new and old readers alike. Great care is taken over the production of each title, and each one has a specially-commissioned cover from Westworld Designs that recreates the feel of the originals, at the same time giving them a fresh and more modern look.
At the moment all Piccadilly Publishing titles are available for download from Amazon’s platforms in the UK, US, Spain, France, Germany and Italy, with more titles are set to follow on a regular basis. There are also plans to expand their availability on other electronic platforms.
“We’re adding authors and series to our catalogue almost every day,” reports Whitehead. “Over the coming years I think we’ll surprise and delight our fellow fans with what we have to offer.”
