The Mix : What are people talking about today?

Mindy Newell: To Tell The Truth

Steven-Colbert-with-Elements-of-Style-Fourth-Edition-William-Strunk-Jr.-Author-E.-B.-White-Author-Roger-Angell-ForewordEmbellishment.

Is it a dirty word, especially when it comes to writing? Well, it depends. Simply put, there must be no embellishment when writing for a professional journal. The truth must be told.

There is a big difference between writing for a professional journal and writing fiction, or even this column. Writing for a professional journal must follow a proscribed style set by peer-reviewed organizations whose rules on grammatical usage, word choice, elimination of bias in language, the proper citation of quotes and references and the inclusion of charts and tables have become the authoritative source for all intellectual writing. This means that for me, as an RN, BSN, CNOR, I must adhere to the styles and standards set by the Publication Manual Of The American Psychologoical Assocociation (APA), which is “consulted not only by psychologists but also by students and researchers in education, social work, nursing, business, and many other behavioral and social sciences” (VanderBros, 2010) if I submit a paper or article to the Journal of the Association of Operating Room Nurses (AORN) for publication.

Does this mean that when I write fiction, or this column, I am allowed to freely embellish my stories? Does it mean that I am allowed to not to tell the truth?

Fiction writers do not really have one easily referenced professional publication in which the governance of grammar and punctuation are laid out in indisputable terms, in which the standards of style are set – though this does not mean I can sit down in front of my computer screen and write just one continuous sentence that goes on and on for pages and pages – well, perhaps I could if I was James Joyce. But all writers do need to start somewhere, and for anyone who has ever taken a creative writing course, or even tried to stay awake in their English high school class, the classic Elements Of Style, first written in 1918 by Professor William Strunk, Jr., is a good place to start. Strunk said something in that first edition that, 95 years later, has withstood the test of time and which, I believe, every writer, aspiring or published must integrate into his or her understanding of the art of writing:

Vigorous writing is concise. A sentence should contain no unnecessary words, a paragraph no unnecessary sentences, for the same reason that a drawing should have no unnecessary lines and a machine no unnecessary parts. This requires not that the writer make all his sentences short, or that he avoid all detail and treat his subjects only in outline, but that every word tell.”

Elements was first revised in 1957 by New Yorker writer E. B. White (the author of the children’s classic Charlotte’s Web), and by 1979s third edition, listed 11 rules for grammar, 11 principles of writing, 11 standards for form, and 21 recommendations for style. (A search on Amazon revealed that Chris Hong updated The Elements Of Style for Kindle readers in 2011.) But there’s a lot more advice out there. A little while ago I entered “standards for fiction writing” on Google, and got 15,400,000 hits in 0.23 seconds.

On my bookshelf I have not only Elements of Style, but also Zen in the Art of Writing – Essays on Creativity by Ray Bradbury, Write for Yourself – The Book About The Seminar and Telling Lies for Fun and Profit, both by Lawrence Block, Write in Style – Using Your Word Processor and Other Techniques to Improve Your Writing by Bobbie Christmas, How I Write – Secrets of a Bestselling Author by Janet Evanovich with Ina Yalof, Inventing the Truth – the Art and Craft of Memoir edited by William Zinsser and which includes essays by such notables as Russell Baker, Annie Dillard, Toni Morrison, and Frank McCourt, Is Life Like This? – A Guide to Writing Your First Novel in Six Months by John Dufresne, The Weekend Novelist Rewrites the Novel by Robert J. Ray, Writing Fiction from the Gotham Writers’ Workshop, and Writers on Comics Scriptwriting which includes interviews with such illustrious authors as Peter David, Kurt Busiek, Garth Ennis, Neil Gaiman, Frank Miller, Jeph Loeb and Grant Morrison.

I also have Eisner/Miller – Interview Conducted by Charles Brownstein, which is wonderful not only for its historical perspective, but for a peep into two great creative minds, and “Casablanca – Script and Legend” by Howard Koch,” which is incredibly instructive in detailing how magic sometimes happens despite ornery studio heads, battling co-writers, and an inability to decide how the story ends. I also have Stephen King’s “On Writing: A Memoir of the Craft” on my to-buy list.

And to tell the truth, I sometimes think that all this advice is still not enough.

Reference: Vandehaus, Gary R. (2010). Publication Manual of the American Psychological Association. (6th ed., pp. xiii – xiv). Washington, D.C.: American Psychological Association.

To Be Continued…

TUESDAY MORNING: Emily S. Whitten

TUESDAY AFTERNOON: Michael Davis

 

New Who Review: “Hide”

Quite often ghosts are described as spirits who cannot bear to leave their loved ones.  That appears to be the case in this week’s Doctor Who adventure, as an old house seems to be the home of a creature (or two) that makes you want to run and…

HIDE
by Neil Cross
Directed by Jamie Payne

Caluburn House is home to a roaming spirit who has been appearing for centuries, calling for help.  A former espionage agent and his assistant are dedicated to discovering her secrets when The Doctor arrives.  It’s evident quite quickly that the ghost is not all she appears to be…and she is not alone.  The Doctor is stranded, and Clara has to get past what appears to be a resentment by the TARDIS to save him.

Bluntly, this is the story people were expecting when they heard Neil Cross was writing for Doctor Who.  An indeed, it’s the first script he wrote – he had this idea first, and came to Moffat with it.  Rings of Akhaten was good, but didn’t have the edge one would expect from the creator of Luther.  A solid story with a stellar cast, including two exemplary guests.

GUEST STAR REPORT

Jessica Rayne (Emma Grayling) Hit the ground running in her short acting career, striking gold with the role of Jenny lee in Call the Midwife.  She’ll be back for the anniversary special An Adventure in Time and Space, playing Doctor Who producer Verity Lambert.  She also appeared with the rest of the Midwife cast in a sketch on Red Nose Day this year, with a particular guest star.

Dougray Scott (Alec Palmer) Has had an impressive career, both for the roles he took and the ones he almost had.  He was originally scheduled to play Wolverine in X-Men, but when production on Mission Impossible II went long, he had to give up the role.  He was also in the race to be the next James Bond, a part that eventually went to Daniel Craig.  He’s currently appearing in the thriller mystery series Hemlock Grove.

Jamie Payne (Director) has worked mainly in television, including three episodes of Call the Midwife and several genre shows like Primeval, Askes to Ashes and Survivors. I really liked the jump-cutting from several camera angles during conversations – gave the scenes a more disjointed nature.  Even more so than the Krafaysis in Vincent and the Doctor, the beasts are just lonely for each other, and reaching out for anyone who can help them.

THE MONSTER FILES – The Crooked Man follows a theme in Doctor Who of late – he’s not actually named in the episode, and he’s not actually a bad guy. The Doctor realizes it’s not actually trying to harm anyone, it’s just rapped in the same time/space event as Hilla Tacorien.  To make its movements a bit off, they filmed the suit actor moving backwards, and then reversed the film, resulting in being a bit irregular-looking when played.

Similarly, The Caliburn Ghast is another example of a phenomenon mistaken for supernatural when it’s just super-science. Scaroth of the Jagaroth was also spread across time, manifesting itself as seven distinct beings in City of Death.

Hmmm…a being appearing at several times in history, seemingly connected in some way… Oh, never mind, just a coincidence…

BACKGROUND BITS AND BOBS – Trivia and production details

NOTHING BEATS AN ASTRONAUT – That spacesuit may look familiar – it’s the one Ten wore in The Impossible Planet / The Satan Pit.  He wears the same helmet as he enters Bowie Base One in The Waters of Mars,

STAY CLOSE TO THE CANDLES…THE STAIRWAY CAN BE TREACHEROUS – Not really a hint or anything, I just loved the way Clara hung onto the candelabra long after the candles got blown out.

THE QUESTION’S NOT WHERE…IT’S WHEN – The TARDIS didn’t used to get used in the body of an episode.  Usually it was a device for bringing the adventurers to the crisi of the week, and is them promptly forgotten about, or like in last week, taken off the table dramatically.  It’s really only in the Moffat years did it get more often used as a tool to solve the mysteries of the week.

“Member of the Baker Street Irregular, the Ministry of Ungentlemanly Warfare” – A real covert ops department in the British government during WWII, those were both nicknames for the Special Operations Executive, also known as “Churchill’s Secret Army”.  One of its members was (yes, that) Christopher Lee.

“Experience makes liars of us all” – There are SO so many lines in this episode that could easily be applied at The Doctor.  Palmer is talking about his brief life in espionage, and later laments the deaths he has caused – imagine how many times more The Doctor feels these things.

“Whiskey is the the eleventh most disgusting thing ever invented” – Ignoring the potential correctness of the phrase, this is just another passing use of the number eleventh that permeates the series, all alluding to the fact that The Doctor is in his eleventh regeneration, starting with matt’s first episode The Eleventh Hour.

“A blue crystal frm Metebelis III” – Oh boy did that one make the Whofen squee.  The planet Metebelis III was possibly the first attempt to create an arc storry on Doctor Who.  It was first mentioned in Carnival of Monsters as a planet he wanted to Take Jo Grant to after his exile was lifted.  He made a few attempts to reach it, finally succeeding in The Green Death, retrieving one of the blue crystals.  As he explains in this episode, the crystals enhance mental energy, which in that past episode, allow a group of people to break from the control of a sentient computer.  He gives the crystal to Jo as a gift as she leaves his company, only to have it reappear in Pertwee’s last adventure, Planet of the Spiders.  Here allowed a mentally handicapped man to read, and eventually to be healed of its damage that cause him handicap.

“Subset of the Eye of Harmony” – The Eye of Harmony is traditionally the name of the Black Hole that Rassilon stabilized and set in the core of Gallifrey, to use as a power source for all Time Lord technology.  In the TV movie it’s said to be on the TARDIS itself.  There’s a couple of theories to explain that, the most plausible being that each TARDIS is connected to the original Eye on Gallifrey.  But with Gallifrey now trapped in the time lock as part of The Doctor’s actions in the Time War, the Eye is likely a stand-alone power source.  It’s recharged itself lately on Rift energy, like the one found in Wales.  This is in fact the time time the Eye has been mentioned in the new series.

“In four seconds the entropy would drain my heart – in ten seconds I would be dead” – It is assumed that the conduit that Emma opens would prevent that eventuality, as they were in the pocket universe for more than four seconds.  Once the way was open, the TARDIS opened up for Clara (by itself – note that modern Clara hasn’t got a key) and made the dangerous trip.  And then again at the end of the episode.  Presumably the trip through that conduit is not as arduous as a full blown trip in the time vortex, which explains how The Doctor and The crooked Man survived it hanging onto the outside.

“Every lonely monster…needs a companion” – See earlier comment about statements not always referring to whom they’re originally said about.

BIG BAD WOLF REPORT / CLEVER THEORY DEPARTMENT

“Is she real?  as in, actually real?” – That’s another “Clarallel” – it’s very similar to a line Future Oswin spoke in Asylum of the Daleks, asking The Doctor if he wasn’t a figment of her imagination.

“Cold…warm…cold…warm” – What interesting is that it’s supposedly it’s Hilla and Emma & Alec who have the connection.  But the connection gets MUCH stronger when Clara walks through the odd manifestation The Doctor chalks off.  At first, many folks online thought it was because Clara herself was the anomaly.  That wasn’t the case, but since we learned later that the ghost was a temporal anomaly, might not another temporal anomaly also strengthen the link?

“It sticks out, like….a big chin.” – We’re not talking about Emma anymore, are we Clara?

“We’re all ghosts to you” – Here we see the sum total of Earth’s history, from its fiery origin to its fiery end.  And Clara can’t cope with it.  She imagines how insignificant humans must look like to him.  Wilf had a similar conversation with The Doctor, saying “We must look like ants to you”: The Doctor replied “I think you look like giants”

“You are the only mystery worth solving” – As before, The Doctor may well be talking about Humanity as a whole…but he may well be looking straight at Clara and talking to her specifically.

“It doesn’t like me” – Clara’s belief that the TARDIS “doesn’t like” her was first referenced in Cross’ last story, and it was easy enough to wave off as worry.  Here’s it’s placed flat in the middle of the room and has a lampshade on.  Theories have abounded that Clara may be an anomaly of time, as Captain Jack became when Rose made him a living Fixed Point.  More than a few people have drawn more than a vague connection there, suggesting that Clara may be related to Jack in some way.

The interaction between Clara and the TARDIS is priceless, from Clara called her a “cow” to the TARDIS choosing Clara’s own image, because it’s programmed to project an image the viewer will trust and esteem, and realizing the only person that means for Clara is herself.  Considering the title and plot of next week’s episode, it’s clear this plot thread will be followed quite a bit more.

“You need a place to keep this” – The Doctor’s confusion is understandable – there’s been either an umbrella stand or a hat rack in the control room for almost every iteration of either the ship or the Doctor.  It’s almost conspicuous in its absence.  I earlier posited the theory that what we’re seeing as the control room now is the default design, the design for a person who couldn’t care anymore about how it looks, and one who wasn’t expecting guests, so they wouldn’t need a hat rack.

“Clara – what is she?” – As in The Almost People, The Doctor is ostensibly just out for an adventure when he’s actually looking for information about his companion from an expert source.  Emma has nothing but good to say about her, which should please The Doctor, but likely only makes him more curious.

“Don’t trust him…there’s a sliver of ice in his heart” – but is it at all possible that based on this statement from earlier in the episode that she’s lying?  She’s a powerful enough psychic empath that The Doctor seeks her out to get a reading on Clara – odds are she’s right about what she sees in him. She just may not understand the whys and wherefores that cause d it, and assumed the worst.

NEXT TIME ON DOCTOR WHO – One of the more promising titles in the series – Journey to the Center of the TARDIS – in one Saturday hence.

John Ostrander: Flood of Opinion

imagesMy late wife Kim Yale had a very tender heart; if someone was critical of her or didn’t seem to like her, it would tear her up. She would take it very personally. I told her that not every opinion matters and sometimes it registered with her.

I think it was Steven Grant who I first heard say that opinions were like assholes; everyone has one. Opinions can also be a conduit for a whole lot of crap.

Not every opinion matters. Not to me. Do I listen to my fans? I should and I do but, as I’ve said to different people at different times, just because I’m not doing what you’re telling me doesn’t mean I’m not listening to you. Fans, as a rule, want the same thing again next time only different. If you try to give fans what you think they want, half of them will get angry because it wasn’t what they wanted. I once heard J.K. Rowling of Harry Potter fame say on a video interview (I’m paraphrasing but it’s close), “Should I listen to my readers? Absolutely. Should I allow what they say to change one word of what I do? Absolutely not.” QFT.

When I listen to readers, it’s because I’m looking to get an idea of what is effective in my work, what is not, what may be in it that I didn’t even realize, and – if they’re saying nice things – I like getting my ego stroked as well as the next narcissist. What I’m listening to is their impressions of what I’ve done. Often as not it will tell me more about the person giving that opinion than it will about the work itself.

If you’re a young writer or artist and you want someone to give you an opinion of what you’ve just done, be careful who you ask. Do you really want an opinion or do you just want them to tell you that the work is wonderful and so are you? Do they know anything about the work you’re doing? Is it an informed opinion or just a “gut feeling?” There are people that I trust, who I know, and their opinions matter to me. Others – not so much. I often have no context for the value of their opinions.

I was put in mind of all this by the recent death of Roger Ebert. Over the years, I read his reviews and I knew from experience that he could be a good guide for me. When it came down to Ebert and Siskel, I knew Roger Ebert’s opinion of a film would more likely be like mine than would Siskel’s. Ebert could alert me to films I might not have seen and warned me away from ones that would probably waste my money and my time.

The world is full of crap-filled opinions and the Internet overflows with them like the Deep Tunnel project in Chicago during this last week’s floods. A lot of times the opinions masquerade as “fact” but they really are just one person’s opinion and often a skewed one at that. Often, they are written by Anonymous or Pseudo-anonymous. How can I decide whether an individual’s opinion is worth anything to me if I know nothing about them?

It boils down to this – not everyone’s opinion matters whether be about work, about politics, about people, about art, about society – about anything. There’s wheat and there’s chaff out there – lots and lots of chaff.  Discern which is which for yourself and you’ll be a happier person.

In my opinion.

MONDAY: Mindy Newell

TUESDAY: Emily S. Whitten

 

Marc Alan Fishman: An Open Letter To Bob Wayne

100_5476Dear Bob,

For as long as I’d been a stalwart attendee at the DC Nation Panel (or whatever you wanted to call it in yesteryear) wherein you and Danny D would layout the next quarter or two of books… you would always tell the crowd that “you vote with your dollars.” Or in other words… if there’s a character we’d want to see or not want to see in the pages of our favorite books, we need only buy or not buy material with them in it. For a long time, this was a satisfactory response for many of my quibbles with the direction of my then favorite comic book publisher. But as I sat this evening – stroking my beard as I do when I contemplate nerd life – I realize that this ‘line’ isn’t good enough anymore.

Perhaps in the 90s, prior to the world adopting the internet as the premium instant communication medium, voting with dollars was easier to swallow. The concept is sound. You like something, you throw money at it. The company who put it out gets richer, and spends its new found riches on making that thing again. Tada!

But, Bobbo, it’s 2013. We no longer vote with just money. We vote with our data. Our views. Our shares. Our opinions. It all adds up to a visceral tableau of reach. It’s how a company like Facebook became a billion dollar entity in the same amount of time it took you to reboot the universe. And while you could end up like Marvel – who probably could care less if their comics tank so long as their movies keep Mickey swimming in dough – your films are basically at break even right now. But I digress. Let’s only concern ourselves specifically to the books, and your knee-jerk retort.

At 31, I am simply not wise enough to connect the dots. I pray you help me. If I purchase an issue of Swamp Thing, and I loathe it, how has my money ‘voted’? I could then choose to not purchase the next issue of the book, but if you’ve changed creative teams (something you tend to like to do often), I’m apt to at least give it a try. Perhaps I’m not indicative of the average comic purchaser. More likely though? I absolutely am. Because as you’ll note above: I am a man of 2013. When I read a terrible issue of Swamp Thing? I tweet about it. I update my facebook about it. I create a vine video of me using the issue to clean up my son’s dinner disaster. And when I review it on MichaelDavisWorld, or ComicMix? I tell people that “I’ll remain on the series, to see where it goes, but I don’t have high hope.” And does that help or hurt your business?

Can you see the issue? Voting with just money doesn’t add up. As it stands, thanks to Diamond Previews and the Internet at large, much of your fan base is spoken for long before an issue hit the stands. And once a book makes it that far? The blogosphere/message boards help cement public opinion before your creators are hitting the bricks due to “creative differences.” The truth, Bob, is that comic readership remains largely “older” than you may want to believe. And the fact is we scour the interwebs day in and day out practically begging our favorite entertainment facilitators to listen to us. Now, we don’t get it right all the time… but I don’t blame the masses for formulating an asinine opinion now and again. I do blame the multi-billion companies that choose not to vet those opinions and marry them with spin doctors who know how to read contextually instead of literally.

In simpler terms: we vote with our voices. And you and DC editorial continue to choose to jam your thumbs in your ears while we grow hoarse. Your creators are out on the internet telling the truth everyday. Their fans grow legion, and only then do you backpedal. Last month the top 10 comics (in terms of sales; the language you speak)… only 3 were DC titles. You may think the forthcoming Trinity War will shift that around. It’ll boost sales for sure. And it may lure you into that trap that thinks we’re voting with our dollars. I sense I may be repeating myself. To be a jerk about it? You’re old. You’re hearing isn’t what it used to be. It’s time to look towards the future.

Hiring your C-Level staff to write your books, when there are literally tons of talented independent ones beating down your door? Promising creative control only to smash it into the ground before ink can even hit paper? Canceling titles, moving teams, and all the while watching only the bottom line? I vote no to all of the above.

It’s not how the world works anymore. If you want to fight Mickey Mouse anytime soon… you’ll have to look at more than the receipts coming in. You’ll have to look your fans in the eyes, and open your ears to what they’re saying. The will of the people, and the leap of faith to trust your talent is the way comics are succeeding in the marketplace.

And that Bob… you can take to the bank.

SUNDAY: John Ostrander

MONDAY: Mindy Newell

 

The Point Radio: Can ABC Give Us HAPPY ENDINGS?

 

PT0451913

ABC’s HAPPY ENDINGS has always been the “little show that could”. Surviving a first season cancellation, and now ending a third with an uncertain future. We talk to stars Elisha Cuthbert and Eliza Coupe about how things are on the set – with two new episodes airing tonight (8pm ET) on ABC. Plus more on the unorthodox methods of the guys on DEEP SPACE PARANORMAL, and can it be true? HEROES coming back to TV?

Take us ANYWHERE! The Point Radio App is now in the iTunes App store – and it’s FREE! Just search under “pop culture The Point”. The Point Radio  – 24 hours a day of pop culture fun for FREE. GO HERE and LISTEN FREE on any computer or on any other  mobile device with the Tune In Radio app – and follow us on Twitter @ThePointRadio.

Martha Thomases: Transgender Mindbender?

Thomases Art 130419While I was out of the country, there was apparently a media kerfuffle about the introduction of a transgender character in the pages of Gail Simone’s Batgirl. There were stories in the LGBT press, in USA Today, and on comics sites (here) (and here too).

A lot of these stories said that this was the first transgender character to appear in a mainstream comic, and I don’t think that’s true. There was a transgendered character in Mike Barr and Brian Bolland’s Camelot 3000, published by DC. The lead in Milestone’s Deathwish from the 1990s was transgendered, and that book was distributed by DC, which to my mind makes it mainstream. It was also quite a beautiful mini-series, and I really can’t recommend it highly enough. There were also several transgender characters in various Vertigo series.

However, I’ll accept that these were seen by fewer people than a Batbook.

The reaction by the audience for these books has, for the most part, been better than I predicted. Relatively few people are calling it a “publicity stunt,” and those who do seem to not understand what a publicity stunt actually is. For example, I seriously doubt that DC’s publicist went to Gail Simone and asked her to introduce a transgendered character.

When I was DC’s publicist, I would have been fired for trying to influence a storyline. The closest I came was suggesting to Neil Gaiman that he might enjoy the chance to do a public service comic about HIV. And even then, there were lots and lots of corporate hoops through which I had to jump, not because of any political controversy but because of a corporate culture that respected the separation of editorial and marketing.

And then there are the people who get defensive. For example, in the second article to which I linked above, there is this in the comments thread:

• I think all DC characters should become lesbians,gay and transgendered.

• Why?

• Because the majority of DC’s audience is.

• Mainstream America stopped reading DC comic books a long time ago. Respectfully, “The Amazing Stam,” Make Mine Marvel!

There are so many things wrong with this. For one thing, I don’t think Marvel’s audience is significantly larger than DC’s, and, in fact, I suspect there is a tremendous amount of overlap. For another, there are transgender characters on television shows like Glee, which have a larger audience than DC and Marvel combined. And, finally, it is disturbing that in 2013, this moron still thinks it is an insult to suggest that DC’s audience is queer.

Whenever a character is introduced who is not a straight, white Christian male, there is inevitably someone who complains that this is done because the creative team is being “PC.” It is impossible for these critics to imagine that creators could find diversity interesting in and of itself, or want to reflect the world in which they live. Perhaps the creators want to challenge themselves to imagine different ways of being human. I never hear anyone complain that someone who writes stories about straight, white Christian people is pushing a political agenda.

Because I’m still jet-lagged, I haven’t read Batgirl #19 yet, as I write this. I plan to get it this week, when I go to Forbidden Planet for my regular fix.

I hope it’s not sold out.

SATURDAY: Marc Alan Fishman

SUNDAY: John Ostrander

 

Robert Morales: RIP

Truth_Red_White_BlackRobert Morales, the comic book writer best known for 2002’s Truth: Red, White and Black which introduced Isaiah Bradley, the black Captain America, has died at the age of 54.

Morales also had a run on the main Captain America title in 2004, and contributed text pieces to Heavy Metal.

This was completely unexpected, we’re all in a bit of shock here at the moment. We will update with more details as they become available.

Earth Station One Episode 159 – Exploring the 25th Century with Buck Rogers

Buck Rogers season 2

On this episode, the ESO podcast crew wake up to find themselves in the 25th century! Mike Faber, Mike Gordon, the award-winning New Pulp Author Bobby Nash, and special guest Joe Crowe (RevolutionSF.com) discuss the pulpy futuristic world of Buck Rogers. Joe also is this week’s victim in The Geek Seat and cries for Col. Wilma Deering to save him! All this, plus the usual Rants, Raves, Khan Report, and Shout Outs!

Bobby also gives a shout out to the winners of the 2013 Pulp Factory Awards and The Scribe Award nominees.

Join us for yet another episode of The Earth Station One Podcast we like to call: Exploring the 25th Century with Buck Rogers at www.esopodcast.com
Direct link: http://erthstationone.wordpress.com/2013/04/17/earth-station-one-episode-159-exploring-the-25th-century-with-buck-rogers/

Next on Earth Station One…

Pulp Factory Awards

The Earth Station One crew continues their director spotlight series with a look at the career of writer, director, producer, the Award-Winning Stanley Kubrick.

ESO wants to hear from you. What are your favorite Stanley Kubrick movies and why? Let us know at www.esopodcast.com, Facebook, Twitter, or Google+. We just might read yours on the show.

Happy Diamond Anniverary, Superman!

Seventy-five years ago on this day in 1938, the Golden Age of Comics began with the release of Action Comics #1, where Jerry Siegel and Joe Shuster introducing us to a strange visitor from another planet with powers and abilities far beyond those of mortal men– Superman! Who can change the course of mighty rivers– bend steel in his bare hands– and who, disguised as Clark Kent, mild-mannered reporter for a great metropolitan newspaper, fights a never-ending battle for truth, justice, and the American way!

And now, here are some scenes from the adventures of Superman*:

Superman-Origin

  • Sorry about that– reflex.

 

THE WHITE SAVAGE COMES TO ALTUS PRESS

Altus Press announced another new release today.

The White Savage: The Complete Tales of Matalaa

by E. Hoffmann Price
introduction by Will Murray

The Jungle Lord… of the South Pacific? Thrill to the adventures of Warren Steele, Jr., the only survivor of a South Seas shipwreck who was raised by a witch doctor to battle evil.

Written by pulp master E. Hoffmann Price, this series has never been properly reprinted, until now.

368 pages, approx. 6″x9″

Learn more about The White Savage: The Complete Tales of Matalaa here.