The previous thread for our webcomics tournament final between Thomas Siddell’s Gunnerkrigg Court and Tarol Hunt’s Goblins has grown so large as to impact the operation of the site, not to mention the nasty tone of many comments.
We’ve shut down the comments over there, and are reopening them here. We remind you of our previous statement: referees can call technical fouls on audience members, and doing so will affect vote totals. So keep it civil here.
The finals start right now, and ends tonight, April 9, at 11:59 PM, Eastern Daylight Time.
Mix March Madness Webcomics Tournament Finals
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To see the previous divisions and how they finished, click here, or look at our directory for all the nominated webcomics.
With all the hoopla over The Avengers (or Avengers Assemble if you’re in the UK) coming to theaters on May 4, it’s worth remembering the original TV series that this was all based on, starring Chris Evans, Robert Downey Jr., Jeremy Renner, Chris Hemsworth, Tom Hiddleston, Scarlett Johansson, Clark Gregg, and Samuel L. Jackson.
I think Catwoman is the most fascinating woman in the DC universe.
I can never have a conversation about the character with men and women of a certain age about her without their mentioning Julie Newmar, who played the lithe kittenish female fatale on the Batman television series of the ‘60s as a woman whom we knew had a thing for her “arch-enemy” but loved her diamonds more. With men a certain look comes into their eyes; I wouldn’t exactly call it “leering,” but it sure comes close. With women, I think they remember Newmar’s Catwoman as an independent woman going after what she wanted – be it the Caped Avenger or the ancient Egyptian cat-stature worth millions. (And what little girl didn’t want to look like Julie Newmar when she grew up?)
Then there is Eartha Kitt, who took over the role from Ms. Newmar. She had no desire to rub her fur on the Caped Avenger – her signature purrrrrr-fectly contralto, raspy voice let us know that the only catnip she was interested in was money, and lots of it. Her Catwoman was a bit more, well, sophisticated, than Newmar’s, and I think a little off-putting to the adolescent boys – and girls – of the era; a little scarier because she was more adult.
Michelle Pfieffer, although blonde, totally understood Selina, who, in my opinion, is always straddling a psychic crevice. To paraphrase Mae West, “When I’m good, I’m very, very good. And mousy. And let people walk all over me. And dress like a frump. Barely brush my hair and rarely brush my teeth. But when I’m bad, I’m better. And proud. And strong. And smart. And sexy – my lips taste like vanilla cherry!” All those in favor of Ms. Pfieffer, raise your hands.
Halle Berry? Oi!!!! Though I’m sure there are those out there who would love to finish shredding her costume until she’s perfectly naked.
Anne Hathaway, whose breakout role as Andy Sachs (“Ahn-dreya,” as Meryl Streep – as Miranda Priestly – called her when not calling her “Emily”) in The Devil Wears Prada was absolutely luminous, is playing Selina in the next – and final – installment of Christopher Nolan’s brilliant Batman trilogy, due to hit theatres this summer.
Don’t know about you, but I can’t wait. I have a feeling that, like Vivien Leigh as Scarlett O’Hara, this is going to be perfect and dream casting. Okay, the jury is still out, but I believe that not only is Hathaway an actress who is capable of delving into her emotional and psychological shadows – see Rachel Getting Married – but she is also a sexy, talented, and intelligent player whom, I am sure, will bring all those factors into the role.
And she sings, too!
Hmm.
I could easily see Selina Kyle as a nightclub chanteuse. Singing “God Bless the Child.” And “Strange Fruit.” And “Lover Man.”
What do you think? What songs would be on Selina’s repertoire?
AS I SAID LAST WEEK AND THE WEEK BEFORE AND THE WEEK BEFORE THAT – WARNING: I’m assuming that people reading this have seen the movie and thus will be fine with my discussing elements of the plot. If you’re one of those who haven’t watched the movie, do yourself a favor and DON’T READ THIS. See the movie instead and have your own experience with it. Trust me. You’ll be glad you did. If you need a plot synopsis, imdb has a good one here.
This is the fourth and final installment in my examination of the classic Warner Bros. film, Casablanca. Not that I couldn’t go on (and on and on) about it further but I figure there are limits to the patience of all of you out there and I thank you for indulging me thus far in looking at one of my own favorite films.
Possibly yours as well. Roger Ebert has noted that, while Citizen Kane is generally respected more as the better film, Casablanca may be better loved, probably showing up on more all time best lists.
One of the amazing things to me is,that as it was made, most of those working on Casablanca didn’t think much of it. The principle actors were not crazy about it and Ingrid Bergman had a legitimate complaint in that, as production started, no one knew with whom Ilsa was going to go – to Rick or to her husband, Victor Lazlo. By accounts, Claude Rains referred to it as “a piece of crap,” which is startling to me considering the number of classic lines he gets. Paul Heinreid, playing Victor Lazlo, fumed about his part because he felt it would undermine his viability as a romantic lead in other films. Instead, as critic Pauline Kael noted, it defined him as a very stiff actor. Ingrid Bergman found him to be a prima donna.
The script has been used by many people, including myself, as a prime exhibit of how to tell a story. Robert McKee in his amazing book, Story, uses it as an important example in story construction. Yet, there are three scriptwriters credited on the film, a fourth unaccredited writer, and the producer, Hal Wallis, came up with the closing line! What a writing hodge-podge!
Casablanca started with an unproduced, unpublished play called “Everybody Comes to Rick’s” by Murray Bennet and Joan Alison. It was bought by Warner Bros. and re-named Casablanca to play off of a previous hit for the studio, Algiers. Hal Wallis came on to produce it and, to my mind, that was key. Wallis superbly did one of a producer’s primary functions – hiring the right people for the right jobs.
He hired Michael Curtiz to direct and brought in the Epstein Brothers – Julius and Phillip – as the principal screenwriters. After the attack of Pearl Harbor, they left the job to help Frank Capra in his series Why We Fight and Howard Koch was brought in to assist, although there are those who claim little or no work of his was used in the film. Casey Robinson, who was unaccredited, added important scenes of Ilsa and Rick in Paris. The Epsteins returned to finish the script.
The Breen Office – the Hollywood Censor – had some problems with the script and so Ilsa and Rick’s love affair in Paris is never shown to be sexual (although we all know it was) nor is Captain Renault trading exit visas for sexual favors (although we all know he did). Ilsa, after all, was a married woman, although she thought her husband was dead. I think both story elements are stronger for their not being explicitly stated. Trust to the audience’s imagination: it’s bound to be filthier than anything shown.
What is also interesting to me is that Claude Rains’ character, Captain Renault, is gay. That certainly wouldn’t have been stated but, despite Renault’s compulsive womanizing, I think it’s there. In describing Rick to Ilsa the first time Renault meets her, he says “if I were a woman, I would be in love with Rick.” I think Renault is also deeply in the closet; the above described womanizing is his attempts to hide his homosexuality, especially from himself. He defends Rick to the Nazis, he covers for him, and, in the end, walks away into the night with him. For me, Renault’s sexual orientation just adds another layer to an already fascinating character.
The film is chock full of fascinating characters, right down to small parts like Sascha, the bartender, Carl, the waiter, the jilted Yvonne and on and on. Only three members of the large cast were born in America: Bogart, Dooley Wilson (Sam), and Joy Page as the Bulgarian newlywed Annina Brandel (fun fact – Page was also the step-daughter of WB studio head Jack Warner). The others were all foreign born and many were refugees from Nazi oppression in Europe, which adds to the film’s authenticity. They lived the parts they were playing.
The film was fairly successful when it first appeared and it won three Oscars: scriptwriting, direction, and best picture. Famously, Jack Warner leapt up when the latter award was announced before Hal Wallis could and claimed the prize. It so infuriated Wallis that he would soon quit Warner Bros.
The film would become more highly regarded as time went by with many of the classic icon shots and posters of Bogart coming from it. I have watched it over and over again and gotten something new from each viewing. Its lines are endlessly quoted because they continue to reverberate. It’s romantic, it’s suspenseful, and it has great characters. It was very much a film of its time but it has become a film for all time.
I would love to do something half as good. I’ll keep working at it.
Hello, all! With but a few short days before my little company, Unshaven Comics, takes C2E2 by storm, I figure I might as well abuse what little power I have to hype it up. Then I thought that you can get more flies with honey than poo. Maybe my metaphor sucks, but I think the point is clear: Hype is good, but sharing experiences is better. So, consider this the MTV’s True Life: I’m an Indie Comic Creator of articles. Except there will be 10% less talking head interviews.
The first time we crossed the aisle to become “creators” instead of “fans” the whole world was turned on its ear. Whereas I used to mill about the Artist Alley with careful consideration to not make eye-contact with the would-be pitch men, here I was in their spot muttering “How Rude!” under my breath when passersby floated past our table without so much as a nod of the head. It was a sobering experience, all in ten minutes. Luckily for me, Unshaven Comics has been and will always be a communal effort. Sitting next to my two best friends of nearly twenty years makes the cons only a pleasure, never a chore. But I digress. With every con we’ve attended, big or small, we’ve always learned a new lesson to bring to the next.
Lesson one? You can pitch anything you want, but if you don’t believe in it, it shows. Our first con, Wizard World Chicago 2008, we had only The March: Crossing Bridges in America to sell. Don’t get me wrong, we were (and still are) proud of the work. But it was commissioned work. Educational too. 54 pages of upbeat messages, smiling, walking, and immigrant empowering narrative. Pitch that next to the guy selling the Anime Crime Noir story features boobs and guns and see where it gets you.
Simply put, we learned at con #1 that if we were to be successful, we would have to promote material that made us excited to create. For many artists in the alley, their work sits on the table as a testament to their exploration of the craft, or their desire to turn a quick dollar. But for those people pitching their wares because they truly believe what they created is something to note… those are the folks we gravitate to.
Lesson two. Presentation matters. Our first con? We had some sloppy Café Press tee-shirts, a too-long table skirt, and some books. Over time, we added to the menagerie: Business cards, higher quality tee shirts, an 8 ft. banner to sit behind us, and a black tablecloth made our little slice of Artist Alley a bit more homey. We’ve since decided to drop the massive backdrop. Trust me, carrying three paint buckets full of cement, a pile of painted PVCs, and all your materials doesn’t make for an easy trip from car to table. Still to come? A handy rack to display multiple issues. Maybe a small red carpet for those standing at our table. Heh. Artist alley showcases to the masses where you as a company (be it a one manned structure or a small self-publisher such as ourselves), and if you look like you just rolled in from Kinkos, it’ll show on the table.
Lesson three. The pitch. Simply put, we wouldn’t be a success without Kyle Gnepper. Not only a founding member of the company, lifelong friend, and contributing writer and production assistant… at the cons he becomes something far more powerful. He becomes a visceral selling machine; Fearless, hungry, and completely oblivious to whoever stops in front of his cone of selling. Like Hal Jordan facing down Darkseid, Kyle has pitched to Dan DiDio, Tom Brevoort, Mike Richardson, and numerous creators without any knowing smirk just passion to show off our wares.
Did they buy the book? DiDio did, because I guilted him into it. Now you can’t necessarily count Matt or me out of assisting in sales. We both bring our own flair to the pitching process. Matt’s steady hands produce copious commissioned sketches, delighting many passersby. I stay between Matt and Kyle… part salesman, part artist. Sometimes I’ll doodle on the iPad, other times I’ll help us market and coordinate future events, partnerships, and relationships. Don’t knock it… it’s what landed me here at ComicMix.
The final lesson. Growth. Every con we try to bring something new to the table. For C2E2 we are debuting a live action Samurnaut, as funded by our fantastic Kickstarter backers. We have three books (and one repackaged book) on sale at the table, as well as posters, and commissions. Last year we almost sold 1000 books across all the conventions we visited. This year? We plan to break that barrier, and continue making new material. As we gain new fans and followers, we’ve gain amazing friends. And while we may never grow out of the artist alley, get our shot at the big time, or graduate to ‘featured guests’ at any con… the best lesson we’ve learned puts it all in perspective:
It’s not the prize at the end of the quest you do this for… it’s the thrill of the journey.
This weekend, Marc Alan Fishman and the Unshaven Comics crew will be at Booth K19 in Artists Alley. Don’t be offended if fellow ComicMixers Glenn Hauman, Adriane Nash and Mike Gold are hanging around interfering with sales from time to time.
In response to the lawsuit filed in February by Edgar Rice Burroughs Inc., Dynamit has filed what amounts to a blanket denial to accusations of trademark and copyright infringement and unfair competition involving its Lord of the Jungle and Warlord of Mars comics.
ERB Inc., which holds the existing rights to the works of the author of Tarzan and John Carter of Mars, claims the comics Lord of the Jungle, Warlord of Mars, Warlord of Mars: Dejah Thoris and Warlord of Mars: Fall of Barsoom are likely to “deceive, mislead and confuse the public” about the source or sponsorship of the content, causing “irreparable injury” to the family-owned company. It also insists the titles were published without authorization after Dynamite Entertainment President Nick Barrucci was told that Dark Horse held the licenses for the Tarzan and John Carter of Mars books.
In its answer to the complaint, filed last week in federal court in New York City and first reported by The Beat, Dynamite points out that the Burroughs works on which the comics are based are no longer protected by U.S. copyright law. As to the trademarks, the publisher notes, “There are numerous examples of Burroughs’ novels, and other works inspired by Burroughs’ novels bearing such alleged marks or similar marks, which have been published by third parties without any reference to” ERB Inc.
“In addition, Burroughs’ public domain novel Tarzan of the Apes has been republished by numerous publishers without any attribution to plaintiff, and the basic story of a jungle-dwelling, Tarzan-like character has appeared in and film without any affiliation to plaintiff,” the document states.
Dynamite, of course, asks the court to dismiss the lawsuit, which will likely be watched closely by those concerned with what’s been characterized as an effort to use a trademark to, effectively, prolong the duration of copyright.
Soap operas popped up early as radio dramas initially became popular. Sponsored largely by soap companies, these shows aimed at a primary audience listening every day, scores of housewives across the country, ready to tune in every day just to see what happened next.
In 1947, Claudia debuted and was far more quiet and gentle and down-to-earth than its strife-ridden forbears. Claudia was the tale of Claudia and David Naughton, newlyweds, just beginning their married life. Young, enthusiastic, and very much in love, they weren’t suffering from any medical maladies or suspicions of infidelity. Instead, they were simply facing the many challenges of any new marriage – finding an apartment, getting used to each other’s quirks, and learning to live together on a daily basis.
With very few of the “tune in tomorrow” hooks that most soaps used to lure listeners back the next day, people returning to Claudia instead came back for the interesting, fully developed characters, the light-hearted banter between them, and the familiarity of their day-to-day situations. Rather than suffering with or feeling superior to them, the characters were, instead, simply the sort of people you enjoyed spending time with.
Radio Archives has restored the entire eighteen-month run of Claudia allowing you to enjoy the complete series on a day-by-day basis. Claudia, Volume 11 is one more piece of a program that will be collected in its entirety that will be a real treasure for radio enthusiasts to enjoy for many years to come. Get Claudia, Volume 11 on Audio CDs for $17.98 from Radio Archives!
Many shows from the classic age of Radio drama survive only as a handful of episodes or in some cases as pieces of episodes. Claudia, however, exists today in its entirety and is now being presented at the highest restored audio quality possible in multiple volumes by Radio Archives. This show stands out for other reasons, including being a rather unique soap opera.
Claudia was based on the literary works of Rose Franken, a writer, novelist, playwright, and theatrical director who had first written about the Naughton’s in the mid-1930s. After becoming a Broadway Play and two successful movies, the radio version tells the tale of Claudia and David Naughton, newlyweds, just beginning their married life. Young, enthusiastic, and very much in love, they weren’t suffering from any medical maladies or suspicions of infidelity. Instead, they were simply facing the many challenges of any new marriage – finding an apartment, getting used to each other’s quirks, and learning to live together every day.
Heard today, Claudia remains wonderful entertainment, notable for both its light-hearted tone and the believable interplay between its characters. As seen in this twelfth volume, Claudia matured over the run of the program into a unique mixture of enthusiasm, incompetence and over-confidence — deeply in love with her somewhat older husband David but frequently naive and too likely to trust her insecurities rather than her instincts. Truly a historic program for several reasons, radio enthusiasts will find much to enjoy in Claudia, Volume 12 from Radio Archives for only $17.98 on Audio CDs!
Following World War Two, The United States was seen as a protector of the world and a bringer of peace. Even though that proved to be true on the surface, there was still an underlying worry that spies and villains were out to threaten the prosperity that typified the late 1940s and early 1950s. This concern bordering on paranoia proved a fertile field for radio shows. New heroes arose almost daily it seemed, to combat the encroaching threat of evil forces on America. One such hero was Frank Race!
The Adventures of Frank Race, Volume 1 spotlights the escapades of Race, a former attorney turned action-seeking investigator after a stint in the O.S.S. during the Second World War. Hungry for excitement beyond the courtroom, Race week after week threw himself into new mysteries, usually focused on some sort of insurance fraud turned dangerous, and sleuthed his way to the solution. Accompanying Race on the cases was Mark Donovan, who began as a raucous New York City cab driver before eventually graduating to more or less be Race’s partner.
All of the aspects of a good pulpy tale are in each episode of The Adventures of Frank Race, Volume 1, but this show goes a bit farther than what’s typical. Race is most definitely two fisted and hard boiled when necessary, but he also brings with him a sophistication that few of his radio peers had. Edgy and dark when he had to be, Race also had the ability to blend in with higher society and be diplomatic and even suave when called for. His background in the O.S.S. was also more than just an interesting background piece. That aspect of the character made each tale feel as if it walked that fine line between detective mystery and spy story, adding tremendously to the level of excitement in each episode.
Excellent voice talent, interesting stories with at least one fistfight and twist in the plot somewhere along the way, and quirky music to set the mood makes The Adventures of Frank Race a blast to listen to. The blend of classic private detective with the rising fear of Evil threatening Good and a hint of James Bond that definitely shows up in Frank Race makes this an overall hoot for both collectors and casual fans to enjoy. And you can get The Adventures of Frank Race, Volume 1 today for $29.98 from Radio Archives!
Doctor Death is back for second clash with supernatural detective, Jimmy Holm, and his team. When a Zombi strangles a wealthy and influencial Egyptian in his New York apartment, Holm and Police Inspector Ricks knows it signals that Doctor Death is opening up a strange new front on his sworn war against modern man. Master of many forbidden sciences, servant of Satan, Death—in reality disgraced Yale psychologist Rance Mandarin—has assembled a legion of living dead and unclean elementals to do this wicked bidding. But Death wants more. Much more.
The trail of dead and undead alike leads to Egypt, land of a million mystical mysteries. There, lies the tomb of Anubis, the jackal-headed Lord of the Underworld. Thought to have been a god, in reality he was once a wizard. And in his sarcophagus rests the long-lost secret of reanimating an unstoppable new army to do Death’s bidding. For Doctor Death will not rest until he has resurrected all of Egypt’s entombed mummies!
Only Jimmy Holm and the strange alliance of power political leaders and Underworld kingpins known collectively as the Secret Twelve possess the will to stand against Death and his Undead things. But to win, Holm must ally himself with the mysterious Egyptian ruler known as Queen Charmion. Can she be trusted? More importantly, how do you defeat a human monster who can implant his soul in the body of any living person at will? Can anyone be trusted if they might be in reality…Doctor Death? Buy the second audiobook of one of our most popular titles for only $17.98 on Audio CDs from Radio Archives.
Much as I love Doc Savage, the Shadow, the Spider and the rest of their near-superhuman brethren, I have a special place reserved for Dan Fowler: G-Man. Maybe it’s because I grew up on those great black-and-white gangster movies from the 30’s and 40’s that studios like Warner Brothers, Monogram and Republic Pictures cranked out by the truckloads. One of the things that made these great gangster movies so much fun was that the cops could play as dirty as the crooks since there was no such thing as Miranda or firing warning shots or getting a warrant before kicking down a door. Back in those days, law enforcement was akin to open warfare. Being a big fan of those movies and of the old “The Untouchables” TV show with Robert Stack, listening to “Snatch!” was like revisiting an old friend.
Dan Fowler is given the job of combatting The Gray Gang, as vicious a bunch of mugs you never want to run across who have been terrorizing The Midwest. The gang’s latest activities have taken them near the part of that region where Dan was born and raised and where his father is still sheriff. With his partner, the resourceful Larry Kendall by his side, Dan sets out to smash The Gray Gang. His job is made more difficult due to The Gray Gang just having pulled off a kidnapping involving a child. It’s up to Dan to accomplish his task and get the child back safely.
Dan Fowler, G-Man In Snatch! Is a good change of pace if you’ve been listening to Radio Archives’ excellent series of audiobooks featuring masked crimefighters and want to switch up. Dan Fowler is a down-to-earth guy doing a down-to-earth job. There’s no bombastic, speech-making super villains here with doomsday devices trying to take over or destroy the world. But that doesn’t mean the story lacks any in suspense or excitement. The excellent voice work by Richard Epcar is just as hard-boiled, gritty and no-nonsense as the story he’s narrating. Another winner from Radio Archives that’s perfect for listening to on a slow Sunday afternoon. After listening to this one, I sincerely hope there’s more Dan Fowler on the way. Buy it today on Audio CDs for only $14.98.
For a limited time you can now download an exciting original Spider adventure for just one thin penny! Part of the Will Murray Pulp Classics line, The Spider #11, Prince of the Red Looters first saw print in 1934 and features his momentous battle with The Fly and his armies of crazed criminal killers. Their motto? Why “KILL THE SPIDER!” of course.
For those who have been unsure about digging into the wonderful world of pulps this is a perfect opportunity to give one of these fantastic yarns a real test run. With a full introduction to the Spider written by famed pulp historian and author Will Murray, The Spider #11 was written by one of pulp’s most respected authors, Norvell W. Page. Writing as Grant Stockbridge, Page’s stories included some of the most bizarre and fun takes on heroes and crime fighting in the history of escapist fiction.
Even today Page’s scenarios and his edge-of-the-seat writing style are still thrilling both new and old fans everywhere. For those who have never read one of these rollercoaster adventures, you are in for a thrill. If you already know how much fun a classic pulp is, make sure you download this bargain.
All eBooks produced by Radio Archives are available in ePub, Mobi, and PDF formats for the ultimate in compatibility. When you purchase this eBook from RadioArchives.com you receive all three formats in one ZIP file. When you upgrade to a new eReader, you can transfer your Spider novels to your new device without the need to purchase anything new. Use the PDF version when reading on your PC or Mac computer. If you have a Kindle, the Mobi version is what you want. If you have an iPad/iPhone, Android, Sony eReader or Nook, then the ePub version is what you want.
The best of timeless Pulp now available as cutting edge Ebooks! Will Murray’s Pulp Classics brings the greatest heroes, awesome action, and two fisted thrills to your E-Reader! Presenting Pulp Icons such as the Spider and Operator 5 as well as wonderfully obscure characters like Doctor Death and more, Will Murray’s Pulp Classics brings you the best of yesterday’s Pulp today!
Five new golden age Pulp tales exquisitely reformatted into visually stunning E-books!
Over New York’s Finest — the police organization without equal in the world — fell the blight of lunacy, sweeping on like wildfire until it had turned Manhattan into a chill, whimpering madhouse and released the helpless city’s wealth to a wild carnival of crooks and vandals! What was that incredible, unseen force which, in a split-second, could transform sane men into drooling maniacs? No human being could stand against that Mask of Madness, and yet Richard Wentworth, in the Spider’s strange vestments, took up the fight — to strike blow for blow against the merciless emperor of idiocy who had captured a metropolis by addling its brains! Another epic exploit of America’s best-loved pulp-fiction character of the 1930s and 1940s: The Spider — Master of Men! As a special Bonus, Will Murray has written an introduction: “Meet the Spider” especially for this series of eBooks.
In the name of Humanity, young Doctor Gilmuir bravely faced execution for a ghastly murder he didn’t commit! And Richard Wentworth, the only man who could save him, must first crush the slaves of the Man in the Red Mask — the master-killer whose nation-wide terror plague was calculated to monopolize all life-giving drugs! The Spider walks through thirty-six breathless, death-strewn hours! Another epic exploit of America’s best-loved pulp-fiction character of the 1930s and 1940s: The Spider — Master of Men! As a special Bonus, Will Murray has written an introduction: “Meet the Spider” especially for this series of eBooks.
Out of the blue it struck – that dread, mysterious force, dealing death, destruction and misery to millions. America found herself stripped of her strongest defenses as battleships, huge guns, skyscrapers, factories and transportation systems crumbled to dust before the voracious flame. No one could tell where it came from; where it would next strike; no one was safe from its hot, devouring maw. An entire nation stood crippled, paralyzed by panic as Operator 5, alone, fought to save America from the red ruin loosed upon it. As a special Bonus, Will Murray has written an introduction especially for this series of Operator #5 eBooks.
Follow the quest of Curtis Newton, wizardman of science, as he scours the worlds of tomorrow in the hunt for the greatest interplanetary outlaw of all time! A creeping menace invades the galaxy in a sweep of interplanetary conquest— and Captain Future meets his most powerful enemy… the Space Emperor!
Captain Future… the Ace of Space! Born and raised on the moon, Curt Newton survived the murder of his scientist parents to become the protector of the galaxy known as Captain Future. With his Futuremen, Grag the giant robot, Otho, the shape-shifting android and Simon Wright, the Living Brain, he patrols the solar system in the fastest space ship ever constructed, the Comet, pursuing human monsters and alien threats to Earth and her neighbor planets.
Curtis Newton, wizard of science, and his trio of Futuremen blaze a trail across the stars to forestall the coup of Dr. Zarro — leader of a legion of peril!
Captain Future… the Ace of Space! Born and raised on the moon, Curt Newton survived the murder of his scientist parents to become the protector of the galaxy known as Captain Future. With his Futuremen, Grag the giant robot, Otho, the shape-shifting android and Simon Wright, the Living Brain, he patrols the solar system in the fastest space ship ever constructed, the Comet, pursuing human monsters and alien threats to Earth and her neighbor planets.
When you purchase these beautifully reformatted eBooks from RadioArchives.com you receive all three formats in one ZIP file: PDF for PC or Mac computer; Mobi for Kindle and ePub for iPad/IPhone, Android, Sony eReader, and Nook. When you upgrade to a new eReader, you can transfer your eBook novels to your new device without the need to purchase anything new.
Find these legendary Pulp tales and more in Will Murray’s Pulp Classics, now available in the Kindle store and the Barnes and Noble Nook store! The best Pulp eBooks now available for only $2.99 each from Radio Archives!
Join the eBook Team!
Radio Archives is seeking motivated, excited people to add to our eBook staff! Will Murray’s Pulp Classics line of eBooks continues to rapidly grow and we are looking to add two people to read the stories and correct any errors before the eBooks are published.
If you have a love for classic Pulp tales as well as a good grasp of spelling, punctuation, capitalization and basic formatting, then you may be just the person we’re looking for! Send an email inquiry to Service@RadioArchives.com for more details!
Who knows what evil lurks in the hearts of men? The Shadow knows! The Shadow’s underworld agents Hawkeye and Cliff Marsland take center stage in two thrilling pulp novels by Walter Gibson writing as “Maxwell Grant.” First, what is the strange secret of “The Green Box” that is worth human life? The Shadow seeks the deadly secret in a masterpiece of misdirection that introduced aides Hawkeye and Tapper. Then, the Master of Darkness and his underworld operatives investigate “The Getaway Ring,” a racket that helps mobsters evade capture via a modern-day “underground railway.” BONUS: “The Crawling Death,” a lost thriller scripted by radio Shadow Bret Morrison! This instant collector’s item reprints the classic color cover paintings by George Rozen and Graves Gladney and the original interior illustrations by Tom Lovell and Edd Cartier, with historical articles by Anthony Tollin and Will Murray. Buy it today for $14.95.
TRIPLE NOVEL SPECIAL Tarzan’s influence on the Man of Bronze is examined in three action-packed adventures by Lester Dent writing as “Kenneth Robeson.” First, a giant “Dagger in the Sky” materializes from thin air and disappears after bizarre murders, leading Doc Savage to a South American war started by Earth’s wealthiest men. Then, the Man of Bronze is asked to locate an heiress who disappeared into the Brazilian jungles years earlier. Finally, while attempting to license one of Monk’s chemical inventions, Henry Jones comes into possession of “The Monkey Suit” that leads into a strange adventure, narrated in the first person. This triple-novel collector’s edition showcases the original color pulp covers by Emery Clarke and Walter Swenson, the classic interior illustrations by Paul Orban and Edd Cartier and historical commentary by Will Murray, writer of nine Doc Savage novels. Priced at only $14.95.
Pulp fiction’s legendary Master of Men returns in two classic novels from the Golden Age of Pulp Fiction, written by Norvell Page under the pseudonym of Grant Stockbridge. First, in “Overlord of the Damned” (October 1935), the Boss unleashes horrible death with his demonic acid guns… with a vat of the same deadly corrosive reserved for those who talk too much! With his beloved Nita van Sloan a hostage to a terrible doom, the Spider faces the soul-tearing prospect of planting the Spider seal on his friend Stanley Kirkpatrick, Commissioner of Police! Then, in “Dictator’s Death Merchants!” (July 1940), The jaws of death gape open when El Crocodilo feasts! With uncanny skill, he forestalls even the Spider’s best attempts to trap him. Striking without mercy, this menace from the past rises anew by demolishing a banking institution each night, in a mad scheme to take control of nothing less than all of America’s finances! This volume is available in two editions and features the original artwork from the October 1935 or the July 1940 edition of “The Spider” magazine. Both versions feature reformatted text and original interior illustrations to accompany each story. Available now for $14.95!
Who is The Black Falcon? That’s what the underworld wonders, as it admires the audacity of this master criminal. That’s what the wealthy social class wonders, as it barricades itself seeking safety from the brutal kidnapper. And that’s what the New York police department wonders as it attempts to unmask the strange mastermind behind the high-profile kidnappings.
Even his evil minions don’t know his identity. Yet they readily accept his payments, packets of money banded along with a single black feather. The law receives taunting letters from the crime master, affixed with another of those black feathers.
The Black Falcon boasts of his ability of kidnap wealthy society members and return them at will. And he makes good upon his boasts! Who will be next? None other than Lamont Cranston! Yes, The Black Falcon has confirmed that Cranston is The Shadow, and determines to kidnap him. The Black Falcon means to eliminate the threat from the black-cloaked avenger!
Featured in this classic early story are underworld-agent Cliff Marsland, reporter Clyde Burke and long-time agent Harry Vincent, with Burbank and Rutledge Mann in brief appearances. And representing law and order are Commissioner Weston and Joe Cardona.
This story features the appearance of those unique rubber discs. The Shadow uses the concave suction cups to scale the sheer outside wall of a tall apartment house. These strange cups were a popular feature in the early Shadow novels.
In these early stories, The Shadow was apparently a bit of an inventor. In this one, Harry Vincent uses a wireless sending set, secreted in the rumble seat of his coupe. The equipment, it is mentioned, was The Shadow’s own invention.
Another feature of the early Shadow novels that disappeared after time was The Shadow’s “horror face.” It was suggested that the true face of The Shadow was so horribly disfigured that he always kept it hidden beneath the collar of his cloak and beneath his slouch hat. In later years, the horror face was discarded, but in this novel, however, The Shadow has his horror face, and reveals it to The Black Falcon in the exciting climax of the story.
Yes, this is The Shadow at his finest. It’s a thrilling early pulp novel and you can get it and another classic Shadow novel for $12.95 in The Shadow Volume 5 from Radio Archives!
Comments From Our Customers!
Bob Anderson:
I received your latest newsletter today. Over the years I have sent you many orders for audio productions. I have never been disappointed with the quality of your offerings or the speed with which they reached my mailbox. I’m thankful for what you’ve resurrected. I wish you could find more NIGHTBEAT. Keep up the good work; keep digging!
Barney McCasland:
I finished The Green Lama and really enjoyed both stories. As always, Michael McConnohie was great! He really is one of the best
narrators I’ve ever heard. Looking forward to many more audio pulp treats this year.
Guy Montgomery:
I’ve enjoyed all your pulp audio books, How about some more Doc Savage audiobooks.
If you’d like to share a comment with us or if you have a question or a suggestion send an email to Service@RadioArchives.com. We’d love to hear from you!
The products you’ve read about in this newsletter are just a small fraction of what you’ll find waiting for you at RadioArchives.com. Whether it’s the sparkling audio fidelity of our classic radio collections, the excitement of our new line of audiobooks, or the timeless novels of the pulp heroes, you’ll find hundreds of intriguing items at RadioArchives.com.
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UPDATE: Comments here are closed and a new thread for comments has been started here. You can vote at either page.
It’s here– the final battle of our webcomics tournament between Thomas Siddell’s Gunnerkrigg Court and Tarol Hunt’s Goblins!
Both strips pulled off tremendous upsets in the last round, beating such webcomics as Homestuck and Order Of The Stick, to make it to the final showdown. We remind you that the second place winner will get $50, with the grand prize winner walking away with $100. (We’d also like to point out that if you’re a fan of either of these strips, you may enjoy our own GrimJack: The Manx Cat by John Ostrander and Timothy Truman and Demons of Sherwood by Robert Tinnell and Bo Hampton. End of soft sell.)
The finals start right now, and ends this Monday night, April 9, at 11:59 PM, Eastern Daylight Time. (Yes, we’re making allowances for Good Friday, Passover, the sabbath, and Easter). Go vote! (more…)
It’s the job every little boy fantasizes about – designing cool cars and other vehicles for TV and movies. Marc and Shannon Parker do it daily and each week you can watch the process on SyFy‘s DREAM MACHINES. We talk to the brothers on what inspires them and what they haven’t tried…yet. Plus meet Jessica St Clair and Lennon Parham, talented comics who have taken their tight friendship to be the basis of NBC‘;s new comedy, BEST FRIENDS FOREVER.
My last two columns generated a certain amount of off-topic political discussion, which is 1) exciting and 2) frightening. The fright stems from the fact that political discussions got us kicked off this site four years ago.
The excitement comes from proving something I have always believed. Feminists claim the personal is political. I think the arts are political, too. You may have a different opinion. It depends in your definition of art. I think art is something created by an artist that makes you see the world in a new way.
Forty years ago I had surgery, and was lying on my parents’ couch zonked on major pain killers. I was reading Dune, watching the Olympics and the political conventions. I couldn’t tell which was which. Maybe that’s because Dune is a mind-blowing book. The sequels never moved me as much. Perhaps it was the drugs, or maybe they need world-class diving in the background.
Different people with different perspectives can find enjoyment in the same entertainment. The Hunger Games, which seemed to me to be a reasonably populist and feminist fable, has made over $200 million as I write this, and I doubt all those ticket-buyers are part of the Occupy Wall Street crowd.
Comic books would seem to be an All-American form of entertainment. Especially superhero comics. Truth, justice and the American Way. Upholders of the law who best criminals and ne’er do wells. And yet, those of us who consider ourselves rebels and/or leftists have found plenty that resonates.
Superman is an undocumented alien. The X-Men are scorned because they are a minority, born different from the rest of us. The Legion of Super-Heroes imagines a future in which we not only survive, but learn to use science to live in peace. Mostly.
Often it is the sensibility of the writer that makes a story resonate politically. Twenty years ago, when Bill Clinton was running for his first term, Louise Simonson and Jon Bogdanove supported his candidacy. Dan Jurgens did not. If you were reading Superman comics then (when one storyline ran through four different titles, each published a different week of the month), you might have been able to pick out their different points of view.
There are people who share my political beliefs whose work I don’t like, and people with whom I disagrees whose work I read avidly. There are writers like Jamie Delano, who I mostly love but whose work I like less the more I agree with him.
We have an election ahead of us this year, and I hope that, as a nation, we can debate issues on their merits, and not descend into the kind of lies and distortions that frequently foul our discussions. And I hope comics do their part, presenting different issues and different perspectives through the prism of graphic fiction.
The previous thread for our webcomics tournament final between Thomas Siddell’s Gunnerkrigg Court and Tarol Hunt’s Goblins has grown so large as to impact the operation of the site, not to mention the nasty tone of many comments.
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