Tagged: Comic Book


Lance Star: Sky Ranger “One Shot!” artist James Burns has released his latest comic book story, Speechless. Speechless is the true story of an artist and designer who had a brush with thyroid cancer, and the fear and frustration he experienced when he loses his voice as a result of an operation.

SPEECHLESS – Written and Illustrated by James Burns, Speechless is a 40 page comic book in glorious black & white and can be purchased here for $2.99.

Speechless is not Burns’ first autobiographical book. His first comic, Detached, follows James’ experience as a visual artist who was suddenly confronted by the very real fear of blindness after suffering a detached retina. It’s not a medical story so much as a psychological one, involving fear, death, faith, and hope. Detached is a very personal story, but one that James was uniquely qualified to tell.

DETACHED – Written and Illustrated by James Burns, Detached is a 28 page comic book in glorious black & white and can be purchased here for $3.00.

You can also see sample pages from Speechless and Detached at www.lance-star.com.

Speechless and Detached are both TM and © James Burns. All rights reserved.


All Pulp sat down with Roy Thomas, writer of the upcoming Tarzan Sunday Strips about the project as well as his legendary comic book career.

AP: Tell us a little about yourself and your pulp and comic book interests.

RT: Loved the comics medium since I discovered them at around age 4 1/2, starting with things like Superman and Batman, but nowadays don’t follow the field at all… I just collect comics from the Golden and Silver Ages, plus a few other things. At age 10 or so I read a few pulps like PLANET STORIES (have already read PLANET COMICS); only pulp I have now are a complete-but-for-one collection of the magazine appearances of Conan, plus the complete Adam Link stories of Eando Binder and a couple of others.

AP: How did you get your start as a comic book writer?

RT: Wrote to letters to comics editors, esp. Julius Schwartz–and one day in early 1965 Mort Weisinger, with whom I’d never exchanged more than one or two letters, offered me a job as editorial assistant on the Superman books. I threw over a foreign relations fellowship and went to work for DC… two weeks later, for Marvel.

AP: With Tarzan’s 100th anniversary in full swing, you’ve landed the writing duties on a new Tarzan Sunday web strip along with artist Tom Grindberg. What can we expect from this new strip?

RT: Beautiful artwork from Tom and our attempt to tell stories which will be true to the classic spirit of Tarzan.

AP: Will the Tarzan strip be an on-going project?

RT: We hope so. We have to be able to make a minimum of money from it after a little while, but mostly we’re doing it for the love of it.

AP: Anything you can tease about the new Tarzan strips?

RT: The story involves the disappearance of Jane, and Tarzan’s involvement with La, who’d like to take her place. Tom had drawn several of the La sequence strips before I came aboard, so I figured we’d find a way to make everything fit as a story. At this writing, we’ve done nine “weeks,” I guess… the equivalent of nine Sunday strips, if they were appearing in newspapers… which they ought to be.

AP: Do you, as a writer, approach doing a web comic such as Tarzan any differently than if you were doing it for a newspaper or comic book?

RT: Yes, you have to write in little bursts… a climax of sorts every few panels. But you quickly get into the rhythm, and I know that whatever I come up with, Tom will draw beautifully. He, as much as Tarzan, is the reason I’m doing this, even though we really hardly know each other. But I’ve always loved his work… and the fact that he isn’t too busy right now with comic book work to even consider such a project is as damning of the present-day field as anything I could think to say about it.

AP: There seem to be many different opinions about what can be defined as pulp. How do you define pulp and what do you look for in a pulp story as a writer and a reader? Do you consider Tarzan a pulp hero?

RT: Sure. Tarzan started in a pulp, albeit a higher-class one than some… and he and ERB almost definite pulp, at least at the high end.

AP: Tarzan is not your first time stepping into the world of pulp. How does working on Tarzan compare and contrast to working on Conan?

RT: We’ll have to see. They’re quite different characters… both men of action, but Tarzan is probably more introspective than Conan. When I did the TARZAN comics for Marvel, I tried too hard to keep ERB’s prose when I was adapting the novel TARZAN, LORD OF THE JUNGLE. You can’t do that as easily or as well as you can with REH and Conan, because ERB doesn’t write purple and/or poetic prose the way Howard does. ERB just tells the story… so I should’ve thrown away most of those captions I wrote for TARZAN, or severely shortened then. I don’t feel the same way about CONAN.

AP: Where do you see the comic book industry in the future?

RT: Online, probably. That’s another reason I’m less interested in it. I can get interested in writing an online strip… because it’s basically the same as writing a strip for newspapers, and I already do that by working with Stan, for over a dozen years now, on the SPIDER-MAN strip… and of course I wrote two years of a CONAN strip 30 years ago. But I’m personally less interested in READING an online strip, because I want to hold the paper in my hands, etc. I hope and trust many other readers nowadays do not feel the same, and we’ll do the best we can to deliver the kind of strip they’d like if they read it once a week in the Sunday papers, surrounded by “Dilbert” and “Classic Peanuts.”

AP: And how can we get the millions of fans that enjoy movies based on comic books to pick up the source material?

RT: If I knew that, I’d be rich. I’m not rich…but I’m comfortable.

AP: Is there a particular character out there you haven’t had the chance to work on that you would love to take a crack at writing?

RT: No characters I haven’t written that I can think of that I’m wild about writing… though I’d like to write AGAIN some of those I wrote before: Conan… the Invaders… All-Star Squadron… Infinity, Inc… Arak, Son of Thunder… Captain Carrot… Jonni Thunder… hey, even Starr the Slayer. Couldn’t do worse than THAT Marvel mini-series of a couple of years ago. It made my skin crawl. Or would have, if I’d bought it and taken it home with me instead of just skimming it at the store and putting it firmly back on the shelf. Still, somebody there was trying to be creative… I just wish they’d done it with (and TO) their own character, and not one I co-created.

AP: Where can readers find information on you and your work?

RT: In general, I can be Googled, like everybody else… but I eschew Facebook and the like, though Tom Grindberg will keep me apprised of what readers say to him on Facebook. They can reach me at roydann@ntinet.com or write me a letter at the address that’s in every issue of ALTER EGO, my heroic-comics-history magazine.

AP: What upcoming projects do you have coming up that you can tell us about at this time?

RT: No comics besides TARZAN and the ongoing SPIDER-MAN strip I work on with Stan Lee. I have a couple of comics projects, esp. One, that’s near to making a deal on…but it’s hard to find time for it, because I’ve signed a contract to write a biiiggg book about Stan’s life for Taschen, the German company that published that big DC book by Paul Levitz last year. Similar format and size… so it’ll be big and expensive, and is about to start taking up a huge percentage of my time. I’ll be lucky to keep everything else minimally afloat till I finish it, months from now!

AP: Do you have any shows, signings, or conventions coming up where your fans can meet you?

RT: Not till Heroes Con in Charlotte, NC, next June. Well, actually, there’s another big con coming up late this winter… but they’ve asked me not to mention it till they announce it, so… like I said, I’m gonna be busy with this book and my previous commitments.

AP: And finally, what does Roy Thomas do when he’s not writing?

RT: I read (though hard to find time these days)… watch a lot of TV (Netflix and Canadian, mostly) with Dann… and spend time exercising (not rigorously) and playing with our eight dogs, feeding the capybaras, etc., etc. Always something to do when you’ve got a 40-acre spread and a couple of houses… I even have to help clean up the swimming pool, though that season is about over right now.

AP: Thanks, Roy. We’re looking forward to following the new adventures of Tarzan.

You can learn more about Tarzan and the Sunday Strips at www.edgarriceburroughs.com

Also, check out All Pulp’s interview with Tarzan Sunday Strip artist Tom Grindberg at http://allpulp.blogspot.com/2012/08/artist-tom-grindberg-takes-all-pulp-on.html


All Pulp sat down with Tom Grindberg, artist of the upcoming Tarzan Sunday Strips about the project as well as his comic book career and love of pulps.

AP: Tell us a little about yourself and your pulp and comic book interests.

TG: Pulps in general were their from the beginning and deserve as much place if not more importance than that other medium called comics. My interests and appreciation for the Pulps was the blend of text enhanced with pictures. So many great illustrators of that era are just being discovered by today’s artists and fans and I for one am a huge fan too. I also would love to see more publishers repackage some key stories or even lessor known works to a new audience of fresh eyes. So much material could spawn and inspire this younger crop of creators coming into the business pervaded with only superheros. The pulps have so much variety and choices for any group out there looking for newer idea’s to entertain.

AP: How did you get your start as a comic book artist?

TG: I went to both Marvel and DC comics back in 1981 when I was still 19 years old and began my career in comics. I went to Marvel and met Jim Shooter who was the EIC at the time and he basically asked which rock did I crawl from under and gave me my first assignment. It was an inventory job to test me out on. That same day I went to DC’s offices and met Ernie Colon they’re art director at the time. He offered about the same thing but did mention something about illustrating Batman, which really was not as hot as the Marvel characters at the time and since I already had a commitment from Marvel I stayed put with my first offer. Never take your first offer! Sometimes it’s best to go with your gut instincts. nuff said!

AP: With Tarzan’s 100th anniversary in full swing, you’ve landed the art duties on a new Tarzan Sunday web strip along with writer Roy Thomas. What can we expect from this new strip?

TG: Well for one thing you can bank on all new plots and art! Both me and Roy have plotted roughly years worth of material. Most of that material will happen in Africa in the 1940’s before the second world war and thus allow us to bring that element if it crosses Tarzans path to be included. Tarzan, Jane as well as the Wazuri tribe are part of the cast along with La of Opar. We also want to explore as many places within the Tarzan universe that ERB created as possible. The possibilities are endless and I hope that we can entertain old as well as new readers to keep everyone interested in the strip.

AP: Will the Tarzan strip be an on-going project?

TG: Yes, we will be doing only Sundays at this moment for as long as it is feasible for us to continue a continuity strip. Essentially, its all up to you and the readers and how much of a need there is for this centennial character.

AP: Anything you can tease about the new Tarzan strips?

TG: Not to give too much away but I have been teasing the heck out of many on FaceBook lately and have stirred up enough peoples expectations and interest enough. They what to see more and more. I’ll keep posting newer images without spoiling too much of the storyline.

AP: Do you, as an artist, approach doing Tarzan as a web comic any differently than if you were doing it for a newspaper or comic book?

TG: Not really, only thing is that if it does go to print the dimensions of the book will be more rectangular, but other than that my I approach this with the same attitude as regular comics. Though with each Sunday your more focused on keeping the readers expectations high so that they want to see next weeks installment, I think in today’s comics your allowed a bit more room to roam and not too confined. In every Sunday I am trying to give the readers as much art as possible without it looking like a pile of mini panels unless it warrants it for something narrative or cinematic. I love to create a rich and lush environment but not to overkill the entire design of each Sunday with too much or too muddy it up.

AP: There seem to be many different opinions about what can be defined as pulp. How do you define pulp and what do you look for in a pulp story as an artist and a reader? Is Tarzan a pulp hero?

TG: Initially, Tarzan was just prose written by the author with perhaps a few illustrations…In its basic form that is how I imagined pulps were then and now. I would regard pulps as text and a few pictures.

AP: Tarzan is not your first time stepping into the world of these types of pulp characters. How does working on Tarzan compare and contrast to working on Conan?

TG: Different time periods for starters. Conan world is just as dangerous as Tarzan’s. Conan’s world is full of wizards monsters and epic battles with Conan managing to come out on top with but a few scratches while Tarzan’s world is more modern and probably more realistic even if you can imagine a boy being raised by gorillas and then learning to speak there language and communicating with about every beast in the jungle which is of course both characters are based in Fantasy which is more interesting to illustrate. Action, adventure and fantasy is core reason why I love both characters so much and respect Burroughs and Howard characters and all their creations.

AP: Where do you see the comic book industry in the future? And how can we get the millions of fans that enjoy movies based on comic books to pick up the source material?

TG: I think I see comics moving more on line and less standing in lines. I believe computers have been a very important tool for us to get information from and that its much cheaper to operate and get your message out to millions across the world. I think this is next evolution in the world of comics and self-publishing. If it sells well online then by all means produce it in trade paperback form. I still like holding the finish product in my hands. If Hollywood and comics could join forces in a project it might create a whole new genre. I imagine motion comics or animatics may be this new direction. Static pictures are not enough for this American audience who wishes to be amazed and not bored.

AP: Is there a particular character out there you haven’t had the chance to work on that you would love to take a crack at drawing?

TG: I would like to illustrate Raymond’s Flash Gordon or Foster’s Prince Valiant…So far, I have a real gem on my hands right now, that being TARZAN…I’m not complaining at all!

AP: Where can readers find information on you and your work?

TG: For right now, I am on FaceBook and would encourage anyone becoming friends with me and wanting to see more of what I do this is the one stop spot for the time being. Later on, I imagine I’ll be needing my own website but that’s down the road.

AP: What upcoming projects do you have coming up that you can tell us about at this time?

TG: I have been offered a shot at Bruce Jones return to his book Alien Worlds and hope to be collaborating with him very soon on a few short stories produced by RAW Publications. I always, loved his collaborations in the past as well as his own art and look forward to putting both feet into something more suited to what I really like to do best which is Science Fiction Fantasy. I have been doing a few covers a year for Moonstone’s licensed character Airboy but not nearly enough of anything with Dark Horse, Marvel or DC.

AP: Do you have any shows, signings, or conventions coming up where your fans can meet you?

TG: No, but I really need desperately to get out more often and seek out my readers and art lovers. Its a funny situation when you don’t produce enough material yearly to warrant going to shows to show off a few covers but, that will change once the Tarzan strip gets up and running. I live in the Brooklyn New York area and will try to be at the next Comic Con.

AP: And finally, what does Tom Grindberg do when he’s not drawing?

TG: I spend most of my time with my wife and our little daughter Katie who is now 18 months old. They are best things in my life right now and deserve so much attention for all the joy they give me.

AP: Thanks, Tom. We’re looking forward to the premiere of the Tarzan Sunday Strips.

You can learn more about Tarzan and the Sunday Strips at www.edgarriceburroughs.com
You can learn more about Tom Grindberg at www.facebook.com/tom.grindberg


Art: Graham Nolan

As a promotion for the upcoming release of Graham Nolan‘s MONSTER ISLAND, Pulp 2.0 Press is running the comic strip version of the graphic novel on the Pulp 2.0 Facebook page.

The strip will run until August 15th. During that time you will have the opportunity to pre-order the book for $9.99 postage paid!

The comic strip version of MONSTER ISLAND has never been seen before and is one of the many bonus features you’ll find in the new edition. Our 80 page book has over 30 new pages of material including commentary from Graham, an interview, sketches, layouts and a few notes by the Mad Pulp Bastard himself, Bill Cunningham.

Story and Art: Graham Nolan

Later in the year, Pulp 2.0 Press will be following this comic strip promotion up with a brand new strip by Chris Ecker and Steve Skeates featuring Big Bang Comics’ The Knight Watchman.

About Monster Island:

Monster Island is the story of two pilots who crash land and become stranded on a lost island that serves as the holding area for an alien consortium that removes problem monsters from other worlds for a fee. Now our two heroes – Mac, a feisty female with two fists that do her talking for her, and Duke, a macho fighter jock with a soft spot for Mac – must learn not only how to survive in this deadly alien zoo, but escape it before Monster Island is drawn back through time and space to another point in the universe!

Story and Art: Graham Nolan

Monster Island features all of those things you loved about 1950’s classic monster movies – monsters, mysterious islands, aliens, flying saucers, and half-naked alien queens, but in a fresh, new way that piles on the fun with the fantastic! This comic is Graham Nolan’s love letter to 12¢ comic books, Aurora model kits, BUZ SAWYER comic strips, 1950’s monster movies, Ray Harryhausen and FAMOUS MONSTERS magazine. Self-published 15 years ago, Monster Island is one of those books that you can hand anyone of any age and they will immediately “get it.” Those are the kinds of projects we adore here at Pulp 2.0 – and we know you will too!


Artwork © Jamie Chase
Art: Jamie Chase

The secret history of the inner world of Pellucidar is discovered by our heroes in this sneak peek page from the new upcoming graphic novel of Edgar Rice Burroughs’ classic sci-fi adventure, AT THE EARTH’S CORE, written by Martin Powell with art by Jamie Chase.

At Earth’s Core is fully authorized by ERB, Inc. and is coming soon from Sequential Pulp/Dark Horse Comics.

You can learn more about Sequential Pulp Comics at www.SequentialPulpComics.com

Dennis O’Neil: Of Trilogies and Kindles

Based on…oh, I don’t know – some observation? A hunch? An angel whispering in my ear? Anyway, based on some darn thing, I hereby guess that some comics writers aren’t as aware of story structure as they might be – not as much as, say, their artistic first cousins, screen writers who, I’m told, are generally very aware of it, particularly if they’ve studied the craft in some college-level course, or read a few of the many books on the subject.

Well, although I do address the structure stuff in the courses I teach, I won’t burden you with it here and now. Not the time, not the place. However, maybe just a teensy bit of structure blather might not be amiss.

But first:

Have you noticed that trilogies seem to be the publishing rage? (Okay, not rage. Whimper?) There was the Girl in the Dragon Tattoo, which was twice a trilogy, as novels and as movies, and may be moving into a third trilogyhood because there’s been an English language film adaptation of the first novel – the other movies were in (I think) Swedish and were directed by (I’m sure) a Dane. (A great dane? Time will tell.)

Did I write “a third trilogyhood?” Yes I did. Wanna make something of it, buddy?

The other trilogy which is crowning the New York Times bestseller lists is Fifty Shades of Grey and its two sequels. I haven’t read more than a handful of the books’ words, but, ahem, somebody in this house has it on her Kindle and we have it on good authority that these novels are smut! (What’s on my Kindle is Walter Issacson’s bio of Steve Jobs, which is not in any way smutty, at least so far. Probably just as well.) I ask you: does such a thing belong on the Kindle of someone who attended Catholic schools, clear through to a university degree?

And while we’re on the subject of Kindles: the ninja fairies who work for Amazon snuck into my Kindle the other day and left a message informing me that the voodoo-hoodoo that runs the cyberworld has been upgraded, or at least fiddled with, and pretty soon I’ll be able to read comic books on the gadget. In two formats, if my understanding is good. Am I rejoicing? Moaning with happiness? Doing a celebratory dance? Nope. Still don’t trust technology, despite the fact that I’m really digging the Steve Jobs book. But I’ll probably give Kindlecomix a try when the ninja fairies make the machine hospitable to them, if only to demonstrate that, while you may not be able to teach an old dog new tricks, some old dogs are at least willing to try jumping through the friggin’ hoop.

But weren’t we discussing story structure? Well, consider yourself taught by bad example because this column is ill-structured, at least for story purposes – indeed, it’s structured only by association of topics. Not the best approach to dramatic storytelling. But maybe one of you can make it work.

RECOMMENDED READING: Save the Cat, by Blake Snyder. If you want to learn something about story structure, give this a try.

THURSDAY AFTERNOON: Mike Baron Tells Us A Story

FRIDAY MORNING: Martha Thomases Gets Worldly


Mike Gold: Where’s Our Next Buck Coming From?

There was a time when if you were reading comics as an adult, it was generally assumed you were too stupid to understand real literature. Many of us wouldn’t read comics in public venues for this very reason.

Not me; I couldn’t care less. When it first came out, I even read Hustler Magazine on Chicago’s vaunted “L” trains. But many of my friends felt that way, and that’s why Phil Seuling’s early New York Comicons were so liberating. In the late 1960s there would be less than one thousand of us talking to one another in an elegant Manhattan hotel ballroom, and each and every one of us were awestruck by the fact that there were so many of us.

As we became the first generation since Fredric Wertham torched the medium to get into the business, we used this feeling of isolation from society to promote the level of storytelling. Comics became more character-driven and less Pow! Biff! Bam!. Before long adult fans would be able to point to a more mature level of story and art. We believed our medium was becoming sophisticated.

In retrospect, I take issue with that. We’re telling stories about people with ludicrous abilities who dress up in fantastic, gaudy costumes to either commit or fight crime and/or evil (to borrow from Dick Orkin’s Chickenman). There’s a limit to that “sophisticated” brand that we were too proud to notice.

Popular culture works like a snowball atop a mountain: by the time you hit ground level, that snowball has grown to a boulder the size of Colorado. Grim and gritty – a term I came up with to help sell GrimJack ­­– became dark and disgusting. Heroes became as ugly on the inside as the villains were on the outside. We evolved to excess.

Before long the American comic book medium, still overwhelmed by heroic fantasy, had driven out all the stories that work for the younger audience while limiting the older audience to a steady diet of redundancy. It is possible to create a story that works for 12 year-olds (and their precocious younger siblings) as well as for 24 year-olds, 36 year-olds, and even 61 year-olds. Off the top of bald pate, I can think of a few writers who did just that, and did so brilliantly: Steve Englehart, Marv Wolfman, Len Wein, Steve Gerber, Louise Simonson, Archie Goodwin, and our own Denny O’Neil… to, indeed, name but a very few.

All too-many comic book store owners became the villains of their own childhood: “Hey, kid, this ain’t a library!” Driven by admonitions from certain of the larger comics distributors in the 1980s, kids were perceived as not having enough money to be worthwhile customers. They took too much time making their purchases. They didn’t know what they wanted. They couldn’t engage in a conversation about who stole what from whom when it came to The X-Men and The Doom Patrol.

Kids were shooed out of comic book shops, and publishers – again, at the insistence of certain comics distributors – pulled away from producing comics that were marketed towards the younger audience. Instead we started cranking out a steady diet of R-rated superhero comics, many of which were quite good and worthy of publication. But they became the snowball that ate the comic book shops.

I always thought this was a mistake, and I thought so for one simple reason: if you chase away today’s 12 year-olds, who’s going to be your customer or reader in five or ten years?

Today, we have a small fraction of the number of brick-and-mortar comic book shops we had just one generation ago. Go figure.

But, today, it appears we’re beginning to see some drift towards retro-expansion. More on this next week.

THURSDAY: Dennis O’Neil




The Lance Star: Sky Ranger comic book, “One Shot!” by Bobby Nash and James Burns arrives on Apple’s iTunes store for immediate release at

About Lance Star: Sky Ranger “One Shot!”:
November, 1941. Ace Air Adventurer Lance Star accepts a dangerous mission into an enemy stronghold to stop the Nazi’s from uncovering plans for a weapon long believed destroyed. Lance flies a solo mission to Kiev where he is to plant explosives and destroy a weapons facility when he runs into an old enemy. Now, Lance is faced with a choice. Complete the mission? Or take down the Sky Ranger’s greatest adversary?

He’s only going to get one shot at this. Will he choose the mission or revenge?

Featuring high-flying adventure, aerial dog fights, explosive action, and stunning artwork, Lance Star: Sky Ranger “One Shot!” is pure pulp fun from start to finish.

You can find Lance Star: Sky Ranger “One Shot!” at http://itunes.apple.com/us/book/lance-star-sky-ranger-one/id505101665?mt=11

Lance Star: Sky Ranger “One Shot!” is exactly the sort of high-flying, action-packed air war yarn I really enjoy. It’s fine pulpish fun from start to finish. Bobby Nash and James Burns are aces! –James Reasoner

Clean, straight, refreshing. Really good. How do you go wrong with Nazis, dogfights, revenge, secret weapons? Check it out. –Flint Dille

Dynamite responds to ERB Inc. lawsuit over John Carter, Tarzan

Originally posted at http://robot6.comicbookresources.com/2012/04/dynamite-responds-to-erb-inc-lawsuit-over-john-carter-tarzan/

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.

More to come on this case.