Two rival tent boxing troupes clash over a territorial dispute in the Outback town of Birdsville. In the sweltering heat, tensions simmer, tempers flare, and as things reach boiling point, a boxing tent is burned to the ground.
Fighting men know only one way to solve their disputes, and that’s in the ring. The solution, a show-down, smack-down, winner take all bout between the two rival outfits.
In the blue corner, representing ‘Walter Wheeler’s Boxing Sideshow’ is Tommy King, a young aboriginal boxer with a big heart and iron fists.
In the red corner, representing ‘Arnold Sanderson’s Boxing Show’, is ‘Jumpin’ Jack Douglas, a monstrous wrecking machine from the city – a man who’ll do anything to win.
The fight – brutal. In the world of Tent Boxing, in the harsh Australian Outback, weight divisions and rules don’t count for much. It’s a fight to decide, who is indeed, King of the Outback!
Mechanoid Press Goes to the Robots ATLANTA, GA—Mechanoid Press, a small imprint specializing in science fiction and New Pulp e-books is about to be invaded by robots.
The young publisher is releasing an e-book only title called ROBOT STORIES, featuring three tales of mechanized mayhem. Included in this volume will be work by Joel M. Jenkins, James R. Tuck (author of the Deacon Chalk: occult bounty hunter novels), and Jim Kinley.
“With this many Jims involved, it’s sure to be a winner,” jokes Mechanoid Press editor James Palmer. “I’m super excited to have these gentlemen on board. It’s going to be a blast.”
ROBOT STORIES is scheduled for a mid-summer release, and will sport a classic cover by Rondo award-winning artist Mark Maddox.
About Mechanoid Press Mechanoid Press is a new imprint specializing in science fiction, New Pulp, and steampunk e-books and anthologies. For more, visit www.mechanoidpress.com or follow the robot revolution on Twitter. You can also like Mechanoid Press on Facebook.
When I started my first term at DC Comics back in 1976, DC’s then-VP of production Jack Adler told me the story of the biggest comic book the company never published: Blockbuster. It was purported to be a mammoth reprint book, not unlike their 100-Page Spectaculars but maybe five times bigger.
But it was a set-up. Jack said there had been this young artist – now a major comics legend – who had been coming into DC’s bullpen towards the end of the day to work at space vacated by one of the production artists. When nobody else was around, he’d poke around the production product to see what was happening. He would then leak noteworthy events to the fan press… and this pissed DC off. So in order to confirm their suspicions they mocked up a gargantuan reprint book called “Blockbuster” and left stuff lying around when only said leaker was around to see it. He did, he ratted the company out, and DC confirmed his guilt.
I won’t tell you who this artist was for two reasons. Number one, I was young once myself (I am now a 14 year old boy trapped in the pathetic body of a 62 year old who deserves it back). Number two, were I in that position at that time, I probably would have done the same. Actually, I might do that today as well, but I’d do it for ComicMix. The title name was later resurrected for a weekly title featuring revivals of the Charlton heroes, but they changed it to Comics Cavalcade Weekly and commissioned a lot of work before deciding not to do it after all.
You might ask what this has to do with Archie’s thyroid. A couple weeks ago Archie Comics came out with a digest comic with serious glandular issues entitled Archie 1000 Page Comics Digest. This book, of course, reminded me of Blockbuster – except it is real.
Don’t go expecting it on the checkout racks of your neighborhood supermarket. The book is an inch and three-quarters thick. In comic book terms, that’s about, oh, 1000 pages. It retails for $15.00, which is quite a bargain, and places like Amazon have it for a hair over ten bucks. It’s also available digitally in three parts for retail price which, given the cost of printing and shipping and returns, is comparatively a rip.
Unlike Archie Comics’ other recent, slimmer tomes, Archie 1000 Page Comics Digest is mostly limited to fairly recent stories. I enjoy the early stuff quite a lot, but Dark Horse and IDW have been covering those bases with several coats of paint. No cover repros, no intros, the only additions were creator credits. 1000 pages of pure story.
I’m reminded of a time when I was even younger and the saints were battling dinosaurs. My parents would buy me one or two of those Harvey 25-centers (thinking the Archie annuals were gender-inappropriate) or maybe one of those Dennis The Menace or Disney vacation specials, plop me in the back seat of the car next to my sister (who did get those gender-inappropriate Archie annuals, which I also read) and drive off to visit my grandmother in Indiana or maybe to a wooden vacation shack in western Michigan alongside the Burma-Shave signs. They were right: those big bargain books kept me quiet for most of the trip.
If I were in my parents’ position today, I’d buy my kid this Archie 1000 Page Comics Digest in a heartbeat. Evidently Archie thinks highly of the format: they’ve got sequels set for October and December.
More power to them. At this price, you just can’t go wrong.
Neil Gaiman’s latest work, The Ocean at the End of the Lane, began as a short story and unexpectedly grew into a novella and then a novel. Neil also wasn’t sure at first whether it was going to be a story for children or adults, since much of the story, while narrated by an adult, takes place when the protagonist is seven years old. Finally the marketing dial landed on “adult;” and that makes sense, for the most part.
There is a lot of darkness in this book, which is also of a more personal or intimate nature than some of Neil’s more fantastical works. There is more of “Neil” (himself) in it as well; not in that it is his autobiographical experience, but in that it was born more truly from his personal history. This makes Ocean feel more solidly rooted in, not the almost-realistic fantasy world of many of his stories, but an almost-fantastical reality instead. The fantasy elements are tied so tightly into some pretty ugly human truths that it might be easier to view this book as reality through the eyes of an imaginative child now grown into adulthood than as a fantasy adventure.
And yet, despite the darkness and ugliness that are frequently present, there is light in this book as well, and comfort. In the Hempstocks, a solidly reliable family of women who “know things,” and are comfortably situated on the side of all that is warm and good and naturally right; in an adult’s memories of childhood haunts, which can be as bright as they are at other times dark; and in the more lighthearted flights of fancy, such as the discovery of some very unique kittens in a field. This is a book that faces darkness but also “takes pleasure in small things, even as greater things crumble.” It reminds adults of a time when they were children and took a child’s pleasure in the small things.
Yes, this is a book that will be enjoyed by adults; and yet despite, or in fact possibly because of some very intense and disturbing scenes, mostly involving the narrator’s father or Ursula Monkton, this is indeed also a book that I would have enjoyed as a child. Children’s worlds are not always made of sunshine and unicorns, much as we’d like them to be. They are often at least a little dark and twisty – whether that darkness originates in the home, or in the schoolyard, or elsewhere. From experiences like a childhood birthday party which none of our classmates attend; to the frustrations and helplessness of dealing with a controlling adult; to the threatened or actual dissolution of a nuclear family, children often experience darkness without any prior experiences to ready them for it, or guidance on how to deal with it.
For children who read, books can serve as a guide; or an assurance that one is not alone in the darkness, and that there is someone else out there who understands what it’s like to be a child in a world of adult things that are as yet only half understood. Books can be an escape, but they can also help children face realities. And books can be a comfort, when the darkness inherent in the story is balanced by light. This is one of those books that might serve these functions; for the right sort of child.
So is this a story for adults or children? Well, both. It is a book of many layers that can be approached from many angles. It is a thought-provoking story, and one that is worth re-reading and thinking about. It is a book that could be about a wondrous and frightening adventure; or about looking back at childhood through the eyes of an adult and realizing how past experiences have shaped you; or even a reminder to adults of the way our actions will impact our children, who are our responsibilities. It might also be an assurance that even if you’ve been through a childhood that gave you a hole in your heart – in which adults fought children, and the adults won, or in which your kitten was lost to you and any replacement for it was never your kitten again – you can bear it, and gradually heal, and never stop becoming a little more whole again.
There is so much substance to this short novel that I could write about what it is or is not for a long time. Instead, I recommend that you go and read it.
The Revelry
As I’ve mentioned before, this is a particularly prolific year in the life of Mr. Neil Himself. Possibly in reaction to all of the busyness, Neil decided to do a massive signing tour for The Ocean at the End of the Lane, after which he plans to take a long and well-deserved break from such events.
Washington, DC was the fourth stop on the tour, and fortunately I was able to attend. It was a great event, organized by Politics & Prose Bookstore but held at the Lisner Auditorium on The George Washington University campus. The auditorium was packed, with somewhere around 1,500 fans in attendance.
Neil took the stage at 7 p.m. and kept everyone enthralled for the next hour-and-some; first discussing the genesis of the book, which contains more “feelings” than some of his other works. “I don’t do feelings very much, being both English and male,” joked Neil. He then read from Chapter 4 of the novel, in which the narrator and Lettie Hempstock meet a very scary Thing. It is quite creepy.
After the reading, Neil answered questions collected from the audience beforehand. Some he answered with humorous efficiency:
“What was it like to work on Doctor Who?”
“It was enormously fun.”
“Do you choose your audience (adults or children) before writing?”
“Mostly!”
“Once someone has written things, what is your advice for getting published?”
“Sell the things you’ve written!”
Others he devoted more time to. A question about where the idea of the Hempstock family (members of which have also made appearances in Stardust and The Graveyard Book) originated resulted in a story about when Neil was young and his mother told him that the farm nearby was in the Domesday Book, which meant it was about a thousand years old – “and it didn’t occur to me that it would have been a hovel at that time. I just assumed that the red brick farmhouse had always been there, and that the same family would have been living there for a thousand years as well.” Neil named that imagined family the Hempstocks, and in reference to their appearances in other books, said “it just made sense that some of them would have gone off into the world.”
After answering a plethora of questions, Neil closed with a short reading from a more humorous bit of Ocean, and then stated that he would sign for us “until my hand falls off.” And so he would have, I am sure, but thankfully, despite signing well into the night, I believe he still has both of his hands. Which is good, because it’s much easier to write with hands, and I want Neil to keep on writing more amazing stories like The Ocean at the End of the Lane for a long time to come.
If you haven’t read the novel yet, I highly recommend it. And until next time, Servo Lectio!
Renowned science fiction, fantasy, and horror writer Richard Matheson died June 23, 2013 at his home at the age of 87. Matheson is the author of classic SF novels I Am Legend (1954) and The Shrinking Man (1956), among numerous other books. Many of his iconic works have become abiding parts of popular culture, and many of them have been adapted into comics by IDW Publishing. Adaptations of his works included I Am Legend, adapted by Steve Niles and Elman Brown, Blood Son, adapted by Chris Ryall and Ashley Wood, and Duel by Ryall and Rafa Garres.
Matheson’s writing has always been popular for film and TV adaptations, with several of Matheson’s works being adapted, notably film versions of I Am Legend including The Last Man On Earth, The Omega Man, and I Am Legend. The Shrinking Man was filmed as The Incredible Shrinking Man (adapted by Matheson and winner of a Hugo Award for Outstanding Movie). Other novels that inspired films include A Stir of Echoes, Hell House, World Fantasy Award-winning romance Bid Time Return (filmed as Somewhere inTime), and What Dreams May Come.
His horror story “Duel” was the basis for one of the first films directed by Steven Spielberg, with a script by Matheson. He also wrote 14 episodes for The Twilight Zone, including classics “Nightmare at 20,000 Feet” and “Steel”; the latter was adapted again as film Real Steel. He adapted his story “The Box” (1970) for an episode of the revived Twilight Zone in the ’80s called “Button, Button”, and the story also inspired film The Box (2009). He also wrote episodes for Star Trek (“The Enemy Within”) and Night Gallery, plus TV and feature films, including horror movies with director Roger Corman.
Matheson was a prolific author of horror, SF, fantasy, Westerns, suspense, and mainstream novels. His most recent books are Other Kingdoms and autobiographical novel Generations.
Matheson’s first genre story was “Born of Man and Woman” in 1950, winner of a Retro Hugo in 2001. His short work and scripts have been collected in many volumes, notably Born of Man and Woman: Tales of Science Fiction and Fantasy and World Fantasy Award winner Richard Matheson: Collected Stories.
Richard Burton Matheson was born February 20, 1926 in Allendale NJ. He grew up in Brooklyn and served in the infantry during WWII. He earned a journalism degree from the University of Missouri in 1949, and relocated to California in 1951. He married Ruth Ann Woodson in 1952, and they had four children, three of whom are writers — Chris Matheson, Richard Christian Matheson, and Ali Matheson.
Matheson won the World Fantasy Award for Lifetime Achievement in 1984 and a Stoker Life Achievement award in 1991. He was named a World Horror Grandmaster in 1991, an International Horror Guild Living Legend in 2000, and in 2010 was inducted into the Science Fiction Hall of Fame in 2010.
New Pulp publisher, Big Pulp has released their June newsletter.
Big Pulp Newsletter June 24, 2013 LGBT Collection now in print and for the Kindle! + Big Pulp Summer 2013 and APESHIT!
Looking for great fiction? Visit the Big Pulp Store on Amazon!
Every issue of Big Pulp magazine is available for the Kindle for just $2.99!
But there’s more! You can also find links to short stories, novels, and story and poetry collections by our Big Pulp authors, in either print or ebook editions.
There are literally hundreds of thousands of books competing for your dollars on Amazon. Let us help you find the good stuff! Though these collections are not published by us, these authors have all received the Big Pulp thumbs up, appearing at least once in our pages. Why gamble when we’ve gone through the slush pile for you?
Like Big Pulp, our Amazon Store has a wide range of work – SF, adventure, horror, fantasy, mystery, and romance. Check it out! You’ll be glad you did!
NEW RELEASES!
Clones, Fairies
& Monsters in the Closet
Gay warlocks, lesbian warriors, bi-curious neighbors, super-queeroes, prison bitches, freedom fighters, and drag queens occupy this collection of LGBT-themed SF, mystery, horror, fantasy, and romantic fiction! Available now in print and for theKindle on Amazon!
Support our IndieGoGo campaign!
Big Pulp can’t survive on submissions alone! Check out our newest IndieGoGo campaign to get copies of our Summer 2013 issue, our LGBT book, our upcoming monkey-themed anthology, original art, Jankies, and other goodies!
Big Pulp Summer 2013: Catskin
The son of a smalltown sheriff takes crime prevention into his own hands, but curiosity may kill the cat, in Arley Sorg’s “Catskin”, the cover feature to the Summer 2013 issue of Big Pulp! This issue has a spooky cateye cover by Phil Good and more than 20 SF, Horror, Fantasy, and Mystery stories and poems!
APESHIT
Who doesn’t love a monkey? This collection is chock-full of 200+ pages of giant apes, detective chimps, helper monkeys, gun-toting gorillas, occult orangutans, militant marmosets, time-traveling capuchins, zombie fighters, winged servants, astronauts, missing links, ice cream treats and infinite monkeys at infinite typewriters!
Big Pulp’s latest submissions period closed on May 31. We are reading and selecting work for publications scheduled for 2014. If you submitted during this period and haven’t heard from us, be patient! We’re reading and re-reading and making tough decisions from among the great work we received.
We plan to announce our next themed collections soon! Join ourFacebook page or follow us on Twitter to be sure you get the news!
Big Pulp is available in print directly from the publisher. Click here for our online store, including links to each issue’s contents and samples stories published online.
Big Pulp is open to trading ads or web links with other small press publishers. If you publish a fiction or poetry magazine,
either in print or on the web, and would like to trade ads or links, please contact us at editors@bigpulp.com.
Big Pulp also is expanding its outreach through small press festivals and genre conventions. If you’d like to share space withBig Pulp at an event, please contact us for details.
Alongside the heralded Speed Racer and Kimba: The White Lion, MARINE BOYwas one of the original handful of imported television seriesthat captured youngsters’ imaginations and put Japanese anime in the stateside consciousness.
Now fans of the 1960s series, and an entire new generation of anime appreciators, can experience the undersea hero’s aquatic adventures as Warner Archive Collection distributes MARINE BOY: THE COMPLETE FIRST SEASON.
Produced in Japan but intended for first-run syndication in the United States during 1966-67, Marine Boy was one of the first color cartoons to come from Japan. A teenager with some amazing inventions at his disposal, Marine Boy battles evil on and under the seas on behalf of the Ocean Patrol, aided by his father, Dr. Mariner, and the brilliant Professor Fumble. Joining Marine Boy in his missions are his white dolphin, Splasher, young mermaid friend Neptina, and fellow Ocean Patrol agents Bullton and Piper.
The series even shared some pedigree with Speed Racer, most notably featuring several members of the rival series’ voice cast – like Corinne Orr, the voice of Marine Boy, Neptina and Clicli (as well as Trixie on Speed Racer); Peter Fernandez as Piper and Dr. Mariner (and the original voice of Speed Racer) and Jack Grimes as Professor Fumble and Splasher (Chim-Chim). Jack Curtis provided the voice of the narrator for both series.
If sea-faring adventure is your brand of fun, then Warner Archive Collection has a vault filled with entertainment made for you. From live-action thrillers like Man From Atlantis, City Beyond the Sea and Captain Nemo and the Underwater City to the animated dramas SeaLab 2020 and The Pirates of Dark Water to the silliness of Jabberjaw and Snorks, there’s something for every aquatic fan … including special discounts during the current “Harpoon Sale.” Dive into http://shop.warnerarchive.com/home.do today.
New Pulp Author Ron Fortier returns with another Pulp Fiction Review. This time out Ron takes a look at The Big Clear by Christopher Harris.
THE BIG CLEAR By Christopher Harris Short Cypher Press 275 pages
Mason “Dub” Storm was a Special Forces sniper in the first Gulf War and then worked in East African locales such a Somalia with an elite secret platoon. In the end Storm began to question his own justifications for his assignments and just who his puppet masters really were. Ultimately he left the service and returned to his home base of Austin, Texas to pick up the pieces of whatever remained of his soul.
As the book opens, Dub, is a two bit stoner working, whenever he can get a customer, as a private investigator. Because of his drug connections, he comes in contact with Angela Easley, the strung out youngest daughter of one of the richest men in Texas. Her three year old son, Hunter Parsons, has been kidnapped and she begs Dub to find him for her. Well aware he is venturing into a world as alien to him as the foreign battlefields of his past, the weary private eye agrees to help out until the police take over. It all seems easy enough.
Right. Until Dub recalls Angela’s older sister, and her Daddy’s chief business assistant, is none other than the high school sexpot from his youth, Heather Easley. One look at her in her expensive mannish business suit over her hour glass, trim body and Dub finds himself floating in ancient dreams that were never ever going to come true. Then, a friend named Kid, who had been helping him with surveillance, is brutally murdered and Dub’s hands are once again covered in other people’s blood. Gunfights, steamy sex and a mystery with enough twists to give us a queasy stomach abound in these pages.
Harris’s style is a mix of traditional noir and punk giving the narrative a smooth jolt throughout and becomes quickly addictive. He deftly mixes Dub’s confused present with his hellish past and when the two collide viciously towards the finale, it is a satisfying resolution though still an ambiguous one. Dub Storm is one of the most complicated heroes I’ve encountered in a long, long time and one I’m hoping to see in action again soon. This is a well-executed thriller by a writer worth keeping an eye out. Go pick up “The Big Clear” and prove my point.
BOOM! Studios, the comics and graphic novel publisher, has acquired indie label Archaia Entertainment. BOOM! Studios will be the surviving company and the Archaia brand shall be maintained as a distinct imprint of BOOM!.
The addition of Archaia positions BOOM!’s catalog of intellectual property as the largest independent company-controlled comic book and graphic novel library, behind only industry titans DC Entertainment (Warner Bros.) and Marvel Entertainment (Disney).
BOOM! Studios was co-founded by Ross Richie and Andrew Cosby in 2005, and is known for Irredeemable, various licensed properties like Planet Of The Apes, The Muppet Show, Farscape, and the upcoming Sons Of Anarchy, their KaBOOM! all-ages imprint with Adventure Time, and their BOOM!Town imprint with various literary comics. Archaia, established in 2002, is known for graphic novels Mouse Guard, Jim Henson’s Tale of Sand, Rust, Spera, Cowboy, and Gunnerkrigg Court.
BOOM!’s foray into feature films launches this summer with Universal’s August 2 release 2 Guns starring Denzel Washington and Mark Wahlberg, based on industry veteran Stephen Grant’s original comic. BOOM!’s also prepping to shop two more Grant properties in the works: Damned, Grant’s 1997 miniseries with Mike Zeck which BOOM! is re-releasing in July, and new comic The Deceivers which boasts a set-up akin to 2 Guns with spies. Meanwhile BOOM! is currently prepping its next feature Jeremiah Harm, based on the comic book by Keith Giffen, Alan Grant, and John Mueller, which Timo Vuourensola (Iron Sky) will direct. Archaia also has a number of titles previously optioned or in development including Rust (Fox), Lucid (Warner Bros.), Bolivar (Warner Bros.), and Feeding Ground (Pressman Films).
