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Martin Pasko: City On The Edge of Forgetaboutit

Pasko Art 130815If you follow this column regularly (in which case I apologize for the feelings of loneliness and alienation), you might remember me mentioning that I now reside in Los Angeles, which is the perfect city to move to if you’re really desperate to live in a comic book. It’s so colorful and exciting and full of funny-looking noises. Like when the valet at Jerry’s Deli on Ventura slides that new car you haven’t even started making the payments on yet into a parking space narrower than its wheel base – at 120 mph – because he thinks he’s Batman.

So I am thrilled to report I’m serene, I tell you, serene as I continue to sit around, keyboarding like this. Only now I do it for fun because the keyboard I’m using is the digital one on my smartphone, and it’s now in my lap as I write this, with the vibration intensity on the haptic feedback set to “Maximum.”

Sorry.

I am, however, finding it somewhat more lonely here than I’d anticipated.

Many of my old friends – the kind who keep insisting I refer to them on social media as “not-old-that-way” – don’t get out much. They glide about their palatial homes in motorized tricycles which have to be loaded into their very tiny cars when a group of us goes out to lunch. Whereupon the one who still has enough use of his legs to actually drive a car keeps asking the voice on the GPS to speak louder, so he can hear her replies to his inappropriate comments about how hot she sounds and what time she gets off work.

Meanwhile, the other three beg me to push their motorized tricycles out into freeway traffic while they are still in them, because their fingers are too arthritic to use a trackpad and none of them has mastered SEO well enough to Google for the guy who inherited Jack Kevorkian’s equipment.

Thus I find myself in the rather odd position of actually looking forward to inviting to lunch Stan The Man, who, as you know, lives in Beverly Hills. And is not too busy to see me because there are no animation studios or comic book companies left out here with whom he can jointly announce a project that will be completed after you and I are dead.

 (“Just came back from The Mansion and I’m way stoked, ‘cause Hef an’ I are This Close to launchin’ that whole Spider-Bunny thing.”)

I’ll have to find a way to break it gently to Mr. Man that Mr. Hefner no longer sits around all day in his pajamas and bathrobe because he needs to be ready at a moment’s notice to fuck a smokin’-hot babe, but because sitting around all day in your pajamas and bathrobe is just what you do when you’re 187 years old.

But, of course, as Bill Maher knows how to say with much better fake sincerity than I, I kid Mr. Man. I have every confidence that he really will be with us many years hence. That’s because, as he has helpfully informed us, he has a pacemaker but no need whatsoever for a motorized tricycle. I am, however, inviting Mr. Man to lunch in my home, where absolutely no effort will be made to point out that he’s standing too close to the microwave.

And, in what passes here in Hollywood for truth, Mr. Man has announced a strategic relationship with Archie Comics, for whom he will be writing Just Imagine Stan The Man Asking You To Believe He Actually Wrote This Comic Book Himself About What It Would’ve Been Like If He’d Created That Really Swell, Groovy Homo Kid We Came Up With That’s Putting Us Out Of Business Because It’s Pissing Off All Those Loudmouthed Jesus People Who For Some Reason Are Still Under The Impression That They Can Buy “Age-appropriate” Comic Books At Wal*Mart.

I, for one, am looking forward to chatting Mr. Man up about that book. I may be totally off-base on this, because I haven’t actually seen Mr. Man in the 20 years since the announcement, but I think Archie is a perfectly natural “fit” for him because, at least at that time, the back of Mr. Man’s head was orange, too.

Now, as we come to the conclusion of what I know all you reverential fanboys, with your keenly developed senses of humor, will have understood was meant as Just Jokes rather than the gratuitous and mean-spirited rant you, you hero-worshiping little cretins, you, mistook it for … I leave you with just these humble thoughts:

Apparently, here in The City On The Edge of Forgetaboutit, the way you fight ageism is by making fun of people who are even older than you are. If you can find any.

And so it is that I whistle past Forest Lawn and rage, rage against the dying of the light from my smartphone.

OK, so I’m a little cranky, too.

Some asshole just totaled my motorized tricycle, trying to park it at 120 mph because he thinks he’s Batman.

FRIDAY: Martha Thomases

SATURDAY: Marc Alan Fishman

 

Dennis O’Neil: Graphic Storytelling… and Excess

O'Neil Art 130815A big black hole –

The galaxy’s bowl?

Captain Power’s goal?

Enough poesy. What we’re dissertating on today is not verse, which I’m pretty sure I don’t quite understand, but goals.

But first, a brief look at what are widely considered the seven basic plots. I’ll be courteous enough to add, under each one, an example of what it is. This I will do in italics.

Here we go:

Overcoming the Monster – Gilgamesh

Rags to Riches – Cinderella

The Quest – Lord of the Rings 

Voyage and Return – Wizard of Oz

Comedy – Modern Times

Tragedy – Oedipus Rex

Rebirth – Christmas Carol

Most of what I’ve just tossed at you are narrative germs that involve somebody trying to get or accomplish something – somebody with goals to achieve. (Tragedy and Rebirth are hereby excused. And Comedy can take a nap, if it wants.)

That’s mostly the stuff we see at the monsterplex and it is a sturdy beast that’s been transfixing audiences for…I don’t know – fifteen centuries?

But, I shall now claim, to be as effective as they can be, goalish-stories must have clarity: the goal itself must be clear and the obstacles between the hero and his goal must also be clear. In order to pull us to the edge of our seats, the storyteller has to let us see and know exactly what the hero has to overcome and in so doing, generate and the suspense and thrills and chills that we’ve paid for.

And here comes the kvetch: Some of our storytellers are failing, just a bit, by giving us too much. You’ve probably seen it: Good guy has to rescue good girl and to accomplish this he must get past the head villain’s henchman. Okay, fine. But – we don’t know who these henchmen are, how many there are, what they’re capable of. So good guy stalks through someplace that’s badly lit and has a lot of corners, and maybe a lot of door and-what the hey? let’s throw in a balcony or two, and a skylight would be nice. Now, the big action: out pops a bad guy and bangbangbang. Out pops a bad guy and bangbangbang. Out pops a bad guy and bangbangbang. Out pops a bad guy and bangbangbang. Out pops a bad guy and bangbangbang. And bang bang bang…We don’t know how many of these faceless nasties the hero has to vanquish so we can’t tell exactly what he’s overcoming, nor what progress he may be making. And he does pretty much the same couple of things to achieve his victories: a trio of shots from his Glock, with the occasional lethal martial arts move for lagniappe. Finally, he confronts the chief stinker and do we doubt that, after the hero’s dispatched legions, he’ll be stymied by this loser?

Are you bored yet?

Two words, Mr. Filmmaker: rising action. It’s part of your medium’s basic vocabulary and it is still as potent an audience-transfixer as when, way back, Laurel and Hardy used it to get laughs.

The same act of mayhem repeated and repeated does not constitute rising action.

And who the hell is Captain Power, anyway?

THURSDAY AFTERNOON: Martin Pasko

FRIDAY MORNING: Martha Thomases

 

Grind Pulp Podcast Ep06 – The Epic Conan of Cimmeria Episode!

BY CROM!!!

In the latest episode of the Grind Pulp Podcast, the team discuss three Conan stories and three Conan movies. Things start slow but soon escalate as we get deeper into the stories and dive headlong into the Conan films. The Howard stories have become public domain and are available for free. This episode includes a special appearance of a Warlock and is the most epic Conan podcast ever!

Stories:
1. “The People of the Black Circle” (1934) by Robert E. Howard
2. “Legions of the Dead” (1978) by Lin Carter and Sprague de Camp
3. “The Tower of the Elephant” (1933) by Robert E. Howard

Movies:

1. “Conan the Barbarian” (1982) – directed by John Milus. Starring Arnold Schwarzenegger, James Earl Jones, and Max Von Sydow.
2. “Conan the Destroyer” (1984) – directed by Richard Fleischer. Starring Arnold Schwarzenegger, Grace Jones, and Wilt Chamberlain.
3. “Conan the Barbarian” (2011) – directed by Marcus Nispel. Starring Jason Momoa, Ron Perlman, and Rose McGowan

This Epic Conan Episode clocks in at an hour-and-a-half, and we didn’t even scratch the surface. That adventure will be up to you.

You can listen to Grind Pulp Podcast Episode 06: Conan of Cimmeria aka The Epic Conan Episode here or via itunes.

Fight Card: Barefoot Bones Cover Revealed!

Fight Fiction Publisher, Fight Card Books has released the cover to Fight Card: Barefoot Bones. Fight Card: Barefoot Bones is a novella by Pulp Ark Award-Winning Author Bobby Nash writing under the Fight Card house name of Jack Tunney. The cover was designed by David Foster and the book was edited by Paul Bishop, co-creator of Fight Card.

Learn more about Fight Card: Barefoot Bones here.

Read Author Bobby Nash’s thoughts on crafting Fight Card: Barefoot Bones and see what it was like strapping on Jack Tunney’s gloves here.

Fight Card: Barefoot Bones will be available for purchase next week.
 

Review: “Kick-Ass 2”

http://www.comicmix.com//wp-content/uploads/2013/08/Kick-Ass-2-Poster.jpg

Well. This might be the easiest review I’ve written.

If you liked the first Kick-Ass movie, you’ll like this one. If you would have liked the first film if it didn’t have Nicolas Cage in it, you’ll be even happier.

If you are a fan of the Mark Millar/John Romita Jr. comic book series, you’ll like this movie. It’s a fairly faithful adaptation of Kick-Ass 2 and the Hit-Girl prequel series, hitting most of the points and only making cosmetic changes (no final battle in Times Square, for example.)

If you are a fan of Chloe Grace Moritz, you’ll love this film. Even more fun this time around, yet still growing up. Between this and the upcoming Carrie remake, we have learned one very important lesson: Do. Not. Mess. With. Her.

If you think that the story is a decent examination and a snappy satirical commentary about trying to be a superhero in the real world, you are completely right. If you happen to think that the first film and/or the comic book is overwrought and overviolent and expect the sequel to be the same, you are completely right too.

If you think this is a way for comic book movies to keep things simple and get decent returns on their original investments by controlling costs instead of making R.I.P.D., you’re correct. If you think this is a cynical attempt to cash in on an easily extendable franchise, you’re right as well.

If you’re looking for surprises– well, there we have a problem. There really aren’t any if you’ve seen the first film, and especially if you’ve already read the source material. There are only two real areas for surprise here: will they keep all the levels of violence from the comics in the films, even the hyper-brutal and the completely ludicrous, and is it still going to be fun to watch knowing what’s coming next? The answer to both questions, BTW, is “yes”.

So go. Have fun, if this is the sort of thing you like. You know pretty much exactly what you’re going to get, and it’s going to be well-executed executions. It doesn’t quite live up to its title, it doesn’t quite kick ass too. But it’s not a bad way to spend an evening.

The Book Cave Presents Panel Fest Episode 28: Pulpfest 2013 Hero Pulp Premiums

PulpFest website designer Chris Kalb hosted the Hero Pulp Premiums and Promotions panel at PulpFest 2013. The panel was recorded by The Book Cave’s Art Sippo.

You can listen to Panel Fest Episode 28: PulpFest 2013 Hero Pulp Premiums here.

About Hero Pulp Premiums and Promotions:
How did pulp magazine publishers keep readers coming back month after month? Of course the best way was to publish excellent stories. Regardless of genre, the leading pulps–Adventure, Astounding Stories, Black Mask, Blue Book, Dime Western, Doc Savage, Love Story, The Shadow, The Spider, Sports Stories, Startling Stories, Weird Tales, Wings–attempted to do just that, issue after issue.

Another method that publishers employed to lure dimes on a regular basis from buyers with thin wallets was to create a club and offer premiums. For a few cents or by clipping coupons from a favorite pulp magazine, a devoted fan could become a member in good standing of the Doc Savage Club, one of the Friends of the Phantom, or Adventure Magazine’s Camp-Fire Club. Also available were rings, pins, and other items such as the Spider Pencil, a celluloid mechanical pencil with rubber eraser of The Spider seal, produced in very limited quantity during 1941-42.

On Saturday, July 27th, PulpFest website designer Chris Kalb took us back to a time when a few cents not only bought a pulp magazine filled with thrills, but also an Operator #5 ring, a G-8 Battle Aces Club pin, or a membership in the Green Lama Club. Chris will be presenting Hero Pulp Premiums and Promotions, an event that you cannot afford to miss.

For a look at some other pulp premiums, please visit Pulpster editor Bill Lampkin’s The Pulp.Net website and do a search for “premiums.” Bill has photographs of rings, membership cards, pins, and other items on his highly informative website.

You can listen to Panel Fest Episode 28: PulpFest 2013 Hero Pulp Premiums here.

Full Metal Shadow

The Shadow Fan returns for Episode 44! This week, Barry Reese reviews two tales that are sure to stir up strong emotions from fans. First up: Reign of Terror, one of Bruce Elliott’s Shadow novels (1948). In Elliott’s final stab at the character, we finally get to see how the author would have handled the “traditional” version of the hero. Our second review: the final issue of Andrew Helfer’s controversial run on the DC Comic puts The Shadow’s head on top of a robot body! The Shadow # 19 (1988) can either be seen as one of the most unique moments in the character’s long history — or, perhaps, its absolute darkest.

If you love The Shadow, then this is the podcast for you!

Listen to The Shadow Fan Podcast Episode 44 now at
http://theshadowfan.libsyn.com/full-metal-shadow

REVIEW: “Duck Tales Remastered” – Ah-HOO-oo!

Duck Tales Remastered is out, and it is glorious perfection.

The original gameplay of the original Capcom NES classic (largely considered the finest platformer on the system) is reproduced perfectly.  Nothing has been “improved”, nor need it be.Yes, there are difficulty settings now, but if you want to reproduce the original in its infuriating awesomeness, it is there for you.

Note that I only said the gameplay had not been improved.  The rest has been catapulted into the 21st century by spectacular game developers WayForward, makers of the Mighty Switch Force series, and also just reinvigorated Shantae.  The graphics are still 2-D, but they are as sharp as the animation from the series, and thanks to the advances in technology, includes voiced narration and dialogue…by the original cast, wherever possible. Almost everyone is back; June Foray as Magica deSpell, Chuck McCann as Duckworth and half the Beagle Clan, and Frank Welker as the other half of the Beagle Boys,  Hal Smith, original voice of Flintheart Glomgold, passed some years back – voice and character actor Brian George has stepped in expertly, and Eric Bauza steps in for the late Hamilton Camp as Fenton Crackshell, AKA Gizmoduck.

And as for the hero of the game…I will not lie to you, once again hearing Alan Young as Scrooge McDuck brought tears to my eyes.  There have been others to voice the world’s richest duck, but none so often, and as long as the illustrious Mr. Young.  It’s a voice he’s used often, most famously in The Time Machine as various members of the Filby family.

I look forward to hours of maddeningly reliving the frustration of my…well, not quite my youth, more like my early married days.  I beat this thing one, I can do it again.

[youtube]http://www.youtube.com/watch?v=6N0PzqF9gWY[/youtube]

Mike Gold: Let’s Get Small!

Gold Art 130814First, the bad news: According to Diamond Distributors, Marvel and DC combine to dominate about two-thirds of the total comic book hardcopy sales.

And now, the good news: According to Diamond Distributors, Marvel and DC combined possess only about two-thirds of the total comic book hardcopy sales.

Everybody else shares in that last third: Diamond, Image, Dark Horse, IDW, Archie, Boom and about, I dunno, maybe three thousand others. But they’ve achieved something that a decade ago would have daunted Sisyphus. Even at one-third of the market, these folks have torn down the wall. It wasn’t that long ago when DC and Marvel enjoyed a duopoly in excess of 80% of the market.

The really cool thing about this news is that these “other” publishers have succeeded by doing the types of comics that The Huge Two haven’t done successfully in decades. Dynamite’s line of pulp and pulp-inspired characters is exciting and largely of solid quality. Image brings to life the independent comics myth, often with material produced by some of The Huge Two’s top talent. Dark Horse and IDW have pulled a couple chapters out of the old Dell Comics textbook. Archie continues to let their renown characters grow and adapt to contemporary times; they don’t compete with Marvel, they cooperate with Glee. And Boom has the courage to industriously pursue the younger end of the market, establishing a desperately needed next generation for our medium.

Of course, timing is everything and the Little Guys are thriving as The Huge Two are pissing their readers off left and right. I believe the only Marvel Comic published in the past six months that didn’t feature Captain America, Wolverine and/or Iron Man was the Modeling With Millie Summer Spectacular… and somehow they manage to publish what seems like 75 monthlies with the word “Avengers” in the title that read exactly the same.

DC’s Few52 has become a dizzying game of musical chairs, with talent not being allowed to put any substantial creative investment in their work. Of course, we all read about Paul Pope being told by Co-Publisher Dan DiDio DC produces comics for 45 year olds, as though such a ridiculously narrow focus is the way things should be. Correct me if I’m wrong, but hasn’t DC launched 104 titles in the Few52 line over the past two years? It sure seems like it.

All this is great news for American comics readers. We have a greater diversity of material in the stores and available for e-books. Add the graphic novel publishers and we’re finally approaching the broad spectrum of material we’ve seen in Europe and Asia the past 70 years.

We’ve got a long way to go, but I’m finally beginning to feel as though the promise of the so-called independent comics movement that started in the early 1980s is finally planting some roots. Maybe this whole thing has a future after all.

 (A tip of the brainpan to my pal JimWiz for inadvertently supplying the art.)

THURSDAY MORNING: Dennis O’Neil

THURSDAY AFTERNOON: Martin Pasko