Courtesy of Diane C who runs the Marc Olden website comes the pretty great news, for all of us fans of Marc Olden, as well as fans of just great books, that all of Marc Olden’s long out of print Men’s Adventure novels are back in print courtesy of Mysterious Press.
Comprised of his HARKER, NARC, and BLACK SAMURAI series of books, these are in many ways the holy grail of pulp 70s men’s adventure thrillers and paved the way for such writers as James Patterson and Hugh Holton.
Now these long out of print books are finally available in affordable editions. I must admit to largely being a paper guy myself, but for those of you Ebook/Kindle converts than, this is the deal for you!
Here’s the link to Mysterious Press also:
I have to say, I think the MYSTERIOUS PRESS E-book covers are a bit artless (particularly when compared to the beautiful paperback originals), but my cover critique aside, having the content available again is what counts.
So go support and tell them HT sent ya!
First some sights of us gassing up and on the road to Philly:
So finally done with the “hard-traveling” heroes bit (i.e. the road trip pics), and I already told you about getting to the con itself, and the lines… so we can get to the meat and potatoes…onto the interviews!!!
One of the first creators I ran into at the convention, was the LOADED BARREL Studios table, which was nicely located near the entrance. Their comic, BRIELLE AND THE HORROR, was one of the first comics I picked up, and was one of the first creators I interviewed at my first convention back in 2007. (that’s a lot of firsts :))
So it was a bit appropriate after being off the convention circuit for just about five years, that the first people I should run into should be LOADED BARREL studios. Kudos to the young lady who called us over, or I would have no doubt walked past obliviously. I reviewed their first issue, on this blog years ago and was quite impressed by it. I’m a fan of photo-manipulated comics, and have never seen it done as well as the team of Jared Barel, Jordan Barel, and Alex Goz do it.
So it’s good to know they have since finished BRIELLE AND THE HORROR, and have a new series THE GREY out as a graphic novel. Definitely looking forward to picking it up and you should be too. It doesn’t appear to be available on Amazon yet but you can order it here. I’m looking forward to what the future brings for this company.
Next up, after some meandering and wandering, I talked to the gang at POWER COMIX with their new kids comic SAGA OF THE POWER HEROES. Following up on that, Spoke to Jim Demonakos of the band KIRBY KRACKLE, and listened to his latest CD.
This was Jim’s first show at Wizard World Philly, and I thought the portable players/listening section he had setup was a nice touch. However being the founder of his own quite successful convention, Emerald City Comic Con, as well as a successful band, Jim is no stranger to conventions or great ideas. The music of Kirby Krackle being proof on both fronts, and comes recommended. You can sample the music and get your CD here.
On the video front, I met Ryan Cole, the cinematographer and Joe Parascand, who plays Sheriff Tom, one of the stars of the film MARY HORROR. Again a nice setup, with a multi-display arrangement to showcase their horror film. A horror film you can find out more about at MARY HORROR.
My next interview at the con was Artist/co-creator Frankie B. Washington of the quite impressive web-comic ROBOT GOD AKAMATSU. The series done with writer co-creator James Biggie is a nice take on the Giant Robot genre that I haven’t seen before, and highlighted by great visuals, going by his gray-scale drawings.
With movement toward animation and merchandising, this is a series and a creative team to watch. And you can do so here! (One word regarding the site, the artwork there is colored a little dark, maybe even a bit muddy, so you lose the sense of the great line work and gray-scale artwork that they had on display at the convention. So my only caveat to the creators would be think about showcasing their linework/gray-scale art a bit more on the site or work on tweaking the coloring, as I feel the artist’s work gets completely gutted by the current coloring process. Other than that, well worth a look.)
One of the other interviews of the day, and one of my few purchases was from Shawn Alleyne’s PYROGLYPHICS Studios. PYROGLYPHICS consists of creators Joseph Currie, Koran Curtis, Stanley Weaver, Charlie Goubile, James Mason and the aforementioned Shawn Alleyne and together they’ve just launched a title called STREET TEAM. Highlighted by simply gorgeous art, their post-modern comic is equal parts martial arts, manga/anime tinged, masked heroes, video-games and good old fashioned action. Toss in they also offered a special that included two huge prints, magnets, and postcards, and it was an easy buy.
Now the comic looks like it may just be a one-shot and a spring board for the video game, but I hope not. I hope we can look forward to quarterly or annual issues of STREET TEAM. Well to get your copies of STREET TEAM and find out more go bug Mr. Alleyne himself here or the Street Team crew here.
I also had the chance to meet the talented husband and wife duo of Jerry and Penelope Gaylord. They have very distinct styles to one another, but very complimentary and very good. See for yourself at IDENTITY COMICS! Tell ‘em HT sent ya!
One of the joys for me of going to these shows is discovering a talent, an artist I was unaware of. So it’s with great pleasure that I came across the artwork of Laura Guzzo (kudos to her friend, Michael I think, who did a great job promoting her and singing her praises). Not only is she an ASTOUNDING artist, but her print prices are ridiculously reasonable.
You need to run, don’t walk to her website (well considering this is the web you don’t have to walk or run, try clicking here :)) and see her great artwork and purchase some at her Etsy store. She’s definitely going to be working for the big comic companies in no-time. Specifically she has an interesting and unique vision, that would make her a strong cover artist. I look forward to seeing her upcoming work.
Well kids, that’s a wrap for this installment. All in all a fun convention, and I hope I’ve pointed you to some talent to familiarize yourself with. And if I do help turn you on to some new talent, just let them know that Heroic Times sent ya!
Thanks again for visiting and I’ll leave you with a couple pictures from the con, most notably the Philly version of Black Widow,, which I have to tell you… is a pretty awesome version. Grrrowwlll.
In closing huge kudos to Jerry Milani of Wizard World for a fantastically well publicized, and well organized show!
And lest I forget, for anyone who I didn’t cover, please chalk that up to my head and not my heart, more than likely I didn’t have your complete contact info when time came to put this together. Just leave me a comment here, or email me if I gave you one of my business cards and we’ll get that corrected asap.
Thanks to everyone who made the show a great time for all involved! That’s all folks, go out there and be good to each other.
Just back from the Wizard World Philly Con. Due to pure economics (factors external to Wizard World, sold out hotels, exorbitant remaining hotel and parking prices) one day, Saturday, was the sole day I could be there.
But it was by all appearances a packed event, well attended. They had people lining up inside in one of the upper floors which is a nice change from other Conventions I’ve attended where the line is outside.
That said the line/lines were quite confusing and quite full. Luckily the con is staffed with helpful volunteers who are on hand to direct the stymied. Plus the lines while packed, seemed to be moving, In the future I would just suggest a clearer designation of what each line is and where it is, as they tended to run into each other and be a bit of a cluster.
However their organization for press/attendees was excellent. A helpful volunteer directed us to the press sign-in, and we were able to walk right up, get our credentials, and walk right in. It’s obvious Wizard World Philly has put some thought into their entrance process, and the interior queuing station, and the press/attendee entrance are huge improvements over your father’s con.
Once entered the hall itself is quite large, filled with a nice mix of retailers/resellers, artists, celebrity signings (The big draw of the Convention floor. The lines for Chris Hemsworth and Stan Lee were getting substantial even before 1030am), and a smattering of costume wearers (Cos-players as they are known). Two of the most impressive were a Blade and a Black Widow. Both really looked the part, the guy playing Blade would have given Wesley a run for his money, and the woman playing Black Widow, definitely had the assets to pull off the skin tight costume.
There was a 1960s era Batmobile there, recreation or real, and it was manned by a suitably out of shape TV era Batman, he made Adam West look positively herculean. But at least the female Robin and the Batgirl with him, were well fit.
But overall there were less costumes there than I expected, though to be fair, it was just cranking up when I was taking off, and people were still pouring in.
The big draw for me however was just walking through artist alley. The legendary George Perez was there, and from door open, had a line. Greg Capullo, was another one who was mobbed from moment one. I tended to leave the big draws alone, and was more interested in the under-patronized artist.
Next installment will bring you some of those discoveries.
But all in all WIZARD WORLD PHILADELPHIA COMIC-CON is a good local convention. If you are in Philly, it’s no reason not to show your face, unless of course you have to deal with the inexplicable gridlock caused by some good old boy/frat boy street demonstration that was bringing traffic on the way to the convention to a standstill.
But for people coming from out of town, unless money is no object, the combination of tolls, parking and inflated hotel and everything else prices, may make it a bit of a money pit. Which even the best of Conventions are, though the location and prices of downtown Philly ratchets that up into the stratosphere.
But external costs aside, which is beyond the control of WIZARD WORLD ,(with the exception of tickets, which are reasonable) it’s a well organized event. Check back for part II as I cover some of the intriguing creators met at Wizard World 2012.
Engineer Thinks We Could Build a Real Starship Enterprise In 20 Years- This person maybe more than a bit over-ambitious and slightly insane. Not that there’s anything wrong with that. . How about something simpler buddy, an effective and affordable alternative energy car so I can stop spending a fortune on petrol?
Google dealt blow in book scanning lawsuit – I have this whole despise, defend, despise thing going on with Google. I think monopolistic companies are bad, and Google is a bit too omni-present and in everybody’s business for my liking. The bastard killed my favorite search engine! (See my rant on Scroogle).
That said I think Android and their defense and support of it, is one of the most hopeful pieces of news to come out in years. And I see Android as a defense against the entrenched proprietary monopolies of Microsoft and Apple. And as a public domain advocate, I think public domain books should be readily available, where Google is getting in hot water is they were perhaps overzealous in digitizing works no longer in public domain. And a few authors are seeking a payday. Should be an interesting case.
Between Microsoft, and Oracle, And Apple, and just about every other billion dollar company in the world suing Google, I’m actually starting to feel sorry for them. Mainly because I don’t want to see Android go away, or get crippled with licensing fees to alleged software patent holders. But yeah, end of the day, it will be interesting.
New concerns over safety of arsenic in drinking water- First sign of a corrupt, despotic government… lack of trust in the utility companies. Namely local Water treatment plants for your municipality. Hence the boom in people buying bottled water, because we don’t trust our government to deliver safe, pure, clean drinking water to our taps.
That’s all the News you can use for now.
This is a work of fiction. Any resemblance to a mad tirade is a complete coincidence.
Quick update, we have the WEDNESDAYS WORDS installment scheduled for tomorrow, that’s going to be a rough one, to get out on time. And I want to get up the MONARCHS OF MAYHEM interview with Charles Saunders for Thursday, which will push part two of 15 FAVORITE PULP HEROES into the weekend. So yeah just check back this weekend for part II.
But to give you pulp fans something in the interim, I bring you… The War on the Public! A mad, slightly quixotic rant (for those of you who’ve never seen me rant before… run away. The water is deep here, and in the words of Alan Moore, “the idea of a God… a real idea.” :)) :
CONDE NAST vs BLACK MASK – This is an oldie but an interesting read nevertheless about the first significant volleys in the war to eradicate public domain.
Here are some additional public domain links:
Public domain, public domain, public domain. Why is it disappearing? And Why should you care?
Well the first question is simple, it’s disappearing because people with money can make it disappear. It’s disappearing because of greed.
‘But’, you say, ‘there have always been rich people. and there have always been greedy people, so why is it disappearing now?’
Well it is disappearing now, because business has made such inroads into having the ear of our senate and house, and our courts, that the people who previously were elected to represent the citizens, are instead representing corporations.
The second question, “Why should you care?” I can’t answer that for you, I can only tell you why I care.
Now as a creative person and a writer, and as a friend of writers, I believe in copyright. I think it’s a great thing. But I also believe in Public Domain, and I think that is an equally great thing.
And I think before big business stepped in with their “more, more, more” mindset we had a perfectly workable compromise.
When I was coming up, public domain was very simple, after 50 years, a concept went into public domain
It became the property of the people. Of we, the people.
The writer doesn’t stop being the creator, he is still the creator, his or her name is still on the work. It’s just that after fifty years, his creation can be used by others.
The idea being that if an idea or concept has survived for 50 years that a/ it’s enough time for the creator to profit, sans competition, from the creation and 2/if people are still talking about a character or an idea 50 years later it has become part of the cultural conversation. It has become like an urban legend or a myth or a tale of Grendel and Beowulf, something that transcends the teller. Something that is part and parcel of a larger conversation and the basis for new creations.
(And notice I said people, Public domain is about insuring people, creators get compensated in their lifetime, it is not about ensuring the perpetual unending market share for an undying corporation. Why are companies, that don’t even have the welfare of this country at heart, given the right to lobby our representatives like citizens?
Companies that I can assure you don’t pay the percentage of tax that I do. I’d love to see Disney and Exxon and Shell paying 20% of their income a year in taxes. This nation would not have a deficit.
Corporations shouldn’t in a civilized world, have more rights than citizens. They don’t care about creators, they don’t care about this nation or any nation, they care about themselves. Which is fine if they are not drafting the laws for an entire nation, but they are, so their lack of concern for what is best for anyone besides them… becomes a problem.
A corporation without a sense of cultural and social responsibility… is a mob, to be watched, to be feared, and ultimately to be put down.)
That’s how culture and art works. New things building upon the old. And old ideas being re-imagined into the new. But the coming of the 21st century saw greedy companies rather than earn customers through the new, instead adopt a policy of profit through protection rackets, through intimidation.
So you get corporations lobbying for aggressive changes in the laws of copyright and trademark and patents. And suddenly public domain is an enemy for corporations to avoid and destroy at all cost, instead of what it should be, a necessary part of making old ideas the birth ground for the new.
Art doesn’t get made in a vacuum, it’s part of a continuing conversation. And we are made better for that open resource, for Universal Studios being able to do their version of Frankenstein or Dracula, and for Hammer Studios to be able to do their version, and for any writer or indie filmmaker to be able to do their version.
Without having to clear the usage of Mary Shelly’s concepts with Disney, or Bram Stoker’s concepts with Time Warner, anyone can do a Frankenstein children’s book, or produce a Dracula song or stuffed animal. And that’s wonderful, and cute, and beautiful, and healthy. So it’s about creativity, but it’s also about healthy commerce, and true free enterprise. Companies that want to generate wealth in a country, rather than just taking wealth out. And by Wealth I mean more than money, I mean the ability of people to be able to produce and own products of cultural recognition and interest, without having to pay tribute and protection money… to monopolies.
It’s especially galling to hear from these pompous companies, when the characters they are looking to lock down are, in many cases, popular inspite of them.
Who has kept the Shadow and Doc Sampson and even Spider characters viable? It wasn’t the bloody companies. The pulps and old time radio shows exist not because of the companies, that couldn’t erase the tapes and dispose of the pulps fast enough, it was the bloody collectors. These insane, lovely human beings, who threw together out of their own pocket, these things called conventions, at a time when a company’s initial response was, “Why are they talking about that lame, dead crap, come see my latest Disco Ball action figure! Look at the nerds still talking about the Shadow and Doc Sambo, or whatever his name is! Hey Nerds, the 1930s called they want their hero back! Ha! Ha! Ha!!”
(I just made myself chuckle)
Unfortunately much to businesses’ amazement, this old stuff, due to the passion of fans, actually had staying power. And if anyone has been to a movie theater in the last couple decades, monetary value.
However, as I’ve said before, it was the people, the collectors, the very obsessive types who corporations seek to criminalize today as filesharers, infringers, etc.,, that have saved and preserved much of the culture we now are able to still enjoy, that without them would have been lost.
I love the Old time Shadow radio shows, along with many other radio shows. Those shows, those great pieces of not just entertainment, but of art and culture and history largely exist, not because of Conde-Nast, or insert corporation here… those shows exist because rabid collectors, copied them off the air, made copies, and shared them down the years.
Same with the pulps. Same with silent movies, and sound movies, and film noir.
In the absence of companies finding a monetary value for something they destroy it. They erase over the tape of Doctor Who, they throw out the audio tapes of the Shadow, they burn original artwork of cartoonists.
Why? Because the number crunchers at companies, are not the creative people, they weren’t then and they aren’t now. They make decisions based solely on dollars and cents, and that tunnel vision is always flawed when dealing with work that is also about the imagination of man.
An ‘only Dollars and cents’ mentality will let what is quirky, and manic, and fun, and childish, and challenging in this world die. So these gentle angels of our nature survive because of people who love them. People like the owner of BLACK MASK. Rather than suing that man, Conde-Nast should have got down on their knees and thanked him.
Because he and his kind, collectors preserve these things, when Conde-Nast could not see financial gain to them. But in the wake of renewed interest from Hollywood at the end of the 20th century, and the gangbusters showing of comic and pulp related properties, suddenly everybody wants to sweep in and be the owner of old things made new.
Here’s the thing about public domain. It doesn’t stop you from making money if you have a good idea and a good product. So you don’t need to take Doc Savage or Shadow or Spider out of public domain, to do a book, or a movie, or a audio drama or a cartoon.
No one is stopping you. Build it and they will come. I don’t need to buy Spider Books or Shadow Books, however I do so all the time, when I see a great packaged product. However, if you’re a morally bankrupt company, that has no intention of putting out an attractive product, I can see how competition may not be for you. And you try to sue yourself into business rather than earning business.
And that is where we are at with these companies. They are so petty and greedy for every single penny, it is sickening.
Those…. bloodsuckers!! (Sorry, couldn’t resist! )
Disney’s one of the biggest companies in the world, they can throw around 200 million dollar movies, like you and I throw around nickles, and yet they are afraid to death if a grade school kid creates and passes out her mickey mouse comic.
You can not have it both ways. You can not want something to be culturally iconic and generational, yet remain proprietary and exclusionary. No. We are creatures raised to spread stories over an open flame and for that story to travel from person to person, being changed by each person, owned by each person, passed on by each person, and becoming changed and new and different with each telling.
If you look at all the martial arts, they are pretty much the same art, changed over time, and over region. And we as a culture are better and stronger and richer for that migration, that cross pollination, that cross ownership… we are better for having silat, kung-fu, aikido, hapkido, capoeira, savate, kenpo, krav maga, systema… etc., we are better for free association, no fences, open source, public domain.
We have always been better for it. But now in the last few decades, fences are being put up by a few gatekeepers, on everything. And that cannot stand.
It is an unsupportable policy/mindset, utter control of the culture, art, and interactions of a mass of people by a few outside those people. There is a name for that, and it has always been the same name.
Because if you think that it is a nightmare and an outrage just getting rights to a song to use in your film or project or play, imagine wanting to do your short film of Poe’s TELL TALE HEART, and being told you have to get that approved through Disney, and if they approve you, fees start at $500000.
You wouldn’t have a filmmaker like Roger Corman, if the copyright and trademark environment of today was in existence yesterday. And then you lose all his Poe films, you lose all his collaborations with Vincent Price, you lose his part in the ascension of creators like Nicholson and Howard and Coppola. And who knows what we all lose for loss of those mad, creative cranked out Gothic films.
All that because one man was allowed to follow his muse without crippling interference or exorbitant costs imposed by ‘rights’ holders. How many possible Cormans are we killing, in multiple fields, today? Killing them because we are allowing dinosaurs to sit on our shared cultural conversation and art like a dragon sitting on eggs.
Doc Savage is public domain. Superman is Public domain as much as Robin Hood. Batman is public domain. The Shadow is public domain. Fifty years is a good run for exclusive rights to profits. None of this nonsense about renewal of copyrights, or trademark used to get around expired copyright.
[And speaking of trade-mark. MARVEL and DC have 'jointly' trade-marked the term 'Super-Hero". What is that about? So tomorrow do you trade mark the term 'hero' or 'myth' or god'? Do you trademark the term God? Who is at the trademark office just handing out the rights to every word in the dictionary to the highest bidder?
They haven't begun invoking it yet, their 'super-hero' trademark, largely because I think they are waiting for some of the smaller comic companies to fold up shop, and don't want a challenge to come up when their hand isn't strong enough. But Like Microsoft, make no mistake, they will give it away for free today, to set themselves up to own the market share and charge you through the teeth tomorrow.
All you small comic-book companies need to come together and publish one big omnibus anthology called 'Best Super-hero Tales' or something, and get that trademark challenged and thrown out today. Now while the challenging is good. and all the old creators they are waiting to die before they can bring evidence, are still around. Because if you don't, mark my words, ten years from now anyone who wants to use the term 'Super-hero', in the title to anything, will have to pay for the pleasure.]
I’m not saying companies can’t continue to sell and market their items past the 50 year mark, but what I am saying is that everyone else can produce their take on that idea as well.
(Quick aside here… A word on this copyright extended to 70 years after a writer’s death nonsense. Who the heck does that benefit, if not the money grubbing corporations? Did someone just say ‘the family’?
This isn’t about your family, fool!
Your family can make money, sell books, shoot movies, whether or not your book is in the public domain. We all know, the rights to a writer’s work ends up snatched up by the publisher. And with only about half a dozen conglomerates owning all the book publishing divisions as it is, that’s a troubling proposed consolidation of intellectual property.
See, what we’re talking about is every work after 1923 [that is the date today, tomorrow they might push it back to works in copyright being only stuff before 1823], all the accumulated wisdom, and hopes, and dreams, and pathos, and joy, and horror, and striving, and yes fighting against oppression of millions upon millions of writers, being owned, with this continued push toward extermination of public domain, the wealth of the world… owned by half a dozen oligarchies. What greater betrayal could there be? To any writer, to every writer. To have the work of the most imaginative, and moral people (which is what on a whole, I find writers to be), owned by people bereft of either imagination or morality.
And to that plan, of mad, sick twisted companies, their dream of a world devoid of public ownership, I say the only thing I can say, the only thing a life-time of loving books has taught me to say to such over-arching presumption and tyranny. I say… no. )
Public domain can work for all
Disney will still have Mickey Mouse, but if Tarantino or Seth Green or anyone wants to do a Mickey Mouse movie, they can. I’m not saying DC/Time Warner can’t still make Batman or Hulk comics or movies, but I’m saying past 50 years from date of creation, so can everyone else. How about a Batman movie by Werner Herzog or a Superman tv series by the Hughes Brothers?
Both those ideas just made me chuckle.
I can’t say you won’t get your share of train wrecks with such freedom, but you’ll also get get your share of wonders. You’ll get Baz Luhrmann’s Shadow next door to Branagh’s Doc Savage. And we are made richer when we can build on the culture we grew up in, rather than this new corporate policy of paying tribute to entrenched monopolies, Disney’s Culture or Time Warner’s culture.
This is very much a land grab, but not land rights this time, not water rights, not airwave rights (which they recently removed from Americans), this is about dreams… being fenced off.
We are on a perilous path. When I think of how much we have lost in the 6 years since Conde Nast sued BLACK MASK out of existence, it gives me pause. Because it is very much a culture where only the few will own anything, that we are pushing toward.
Not software, not hardware, not books, not houses, not music, not comics, not land, not our airwaves, perhaps not even our food or our air, do we get to own. Where everything we interact with is rented to us, is timed, our reactions to it… judged, to insure they are in acceptable non-infringing levels.
That is the end of culture my friends.
Fiction you say?
Yes… Fiction, I say.
Want to learn more?
Want to fight? You? Want to fight? After all I told ya Boy, ya want to fight the dragons of the world?! Swing at windmills like your uncle HT?!!
Aye, you bring a tear to an old man’s eyes. Aye, if I had five more like ya, I could ride into hell and put out all the fires!
Well get ya some education first boyo, read the following takes on public domain:
It’s a start.
CR Fight Article – Yet another Brit! Where the hell are the Americans working to repeal copyright extension! Hold on, I’m still looking.
EFF- Ah, here’s the beloved Yanks! Over there! Over there! And the Yanks are coming! The Yanks are coming! Over there! WHAT??? Don’t you guys watch James Cagney musicals?!!
After Dark known for its film festival VOD horror movies, has expanded into the action genre. And films DRAGON EYES and TRANSIT are two of their first films. And from the trailers they look pretty darn good. DRAGON EYES is a fun 80s tinged Marital Arts film that guest-stars Jean Claude VanDamme.
TRANSIT looks to be a white-knuckled crime/pursuit thriller. Both are really action-packed trailers, and if the movies are as good as the trailers, should be a fun view.
Check the trailers here:
And if you like what you see you can view the films on demand, and possibly the DVD may already be out.
TRAILER NEWS: James Bond SKYFALL Teaser Trailer!
It’s a teaser trailer, so it’s okay, but not really as riveting, exciting as the previous Craig Bond Trailers. A bit difficult to get a read on the film from such a subdued trailer, but definitely still looks interesting, and will hold audience attention till a better trailer lands.
Quick update on some of the stuff this blog has percolating:
I was quite pleasantly surprised to receive Oracom Editions GRAPHISTES WORLD ARTBOOK 01, beautiful French language art-book in the mail today. Just in time for tomorrow’s WEDNESDAYS WORDS. Mentioned in a previous WEDNESDAY WORDS, I’ll be bringing you a full review of this art-book of the fantastic.
I’m rounding the bend on finishing Norvell Page’s pulse pounding SPIDER novel, THE CITY DESTROYER. So far Page’s prose lives up to its hype. It’s intense and ambitious and writ large and moves at a breakneck pace. However, I’ve read warnings that that intensity comes at the price of the endings tending toward the train-wreck nonsensical variety. I’ll see if THE CITY DESTROYER avoids that pitfall, and then toss up my review.
I haven’t forgotten the MONARCHS OF MAYHEM posts, I’m trying to elicit funding to keep these posts coming. To that end you can do your part by utilizing the purchase links and patronizing the sponsor links. And definitely purchase the Epub articles when you see them listed ( such as the Sherlock Holmes one to your left)
In addition to the MONARCHS OF MAYHEM installments, funding would also allow this blog to pursue short story audio recordings of specific under-appreciated writers.
The comic book cover postings have been very popular, so I’m working up another one that should go up tonight.
And I’m working up a favorite podcast post that should go up this week.
And I’m working on a comic strip for the blog, a bit unlike any other strip you’ve seen.
So lot’s of fun stuff on the agenda! Keep checking in and supporting! Thanks!
Podcast of the Day: Agony Column interview with Walter Mosley!
A great interview by Rick Kleffel with Walter Mosley in full on brilliant mode discussing his new GIFT OF FIRE omnibus novels. Covers everything from Philip K. Dick to Hegel to Christ to creation myths to Darwinism to Jazz to the American Prison System. Listen to it here and thank me and the Agony Column later!
Subscribe to the Agony Column podcast here.