Tagged: creators

MARC ALAN FISHMAN: “This is not MY _______!”

So, there I was, doing what I suppose I do far too often… scouring Facebook for status updates. A quick refresh, and there was an update from a friend saying how “This is not my Bucky Barnes.” He was referencing a purchase he’d recently made of a golden age Bucky figure, and how he hated the new Winter Soldier-era Barnes figure. Suffice to say, after seeing his umpteenth remark how a modern interpretation of one of the classic comic book heroes he loved so dearly rubs his rhubarb the wrong way, I had enough.

Call it being cantankerous in my own “Hey, I know you think I’m too young to form a real opinion, but screw you, I can anyways” way… but I’d like to say that this kind of general malaise towards interpretation and experimentation grinds my gears to a screeching halt. In short? Quit your bitchin’ gramps. It’s 2011. Your childhood memories remain intact, in spite of your fear that they won’t.

It’s this common thread amongst the older comic book fans that I truly find offensive. Maybe that’s not the right word. I’m not implying it’s anyone here on ComicMix mind you, but the conglomerate of silver/golden-age dick-chuggers who poop their pampers anytime anything changes in the fictitious worlds of their youth, drags us all down. We’re all entitled to our opinion, mind you, and I don’t deny anyone their right to express that opinion. See folks, I’m young, under-appreciated, and don’t know shit-about-nothing; But I’m taking this time to start a large debate. Mind you no one will answer my call, but I’ve never not had fun at screaming into the black abyss of the internet before.

This notion, that the creators of today can’t reinterpret a character because it’s not their version of the character, is a waste of breath. Ed Brubaker’s retcon of Bucky Barnes as the Winter Soldier was an amazing feat. He took a character that was long gone, and brought him back in a story that got real attention from new fans. Here was this relic of another era, repurposed for modern times, done with a deft hand. His origin remained intact. He never took away from the character who he was. Yes, he turned a once chipper, bright-eyed innocent kid (who had no problem murdering Nazis with guns) into a cold and ruthless killer.

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Table Talk: Creative Envy

Table Talk returns to http://www.newpulpfiction.com/. This week Bobby, Barry, and Mike discuss creative envy.

Someone coined the term “creative envy” a while back in response to seeing the intellectual property of another and wishing they’d come up with it first. Most, if not all creators have a particular character or property they wish they’d thought up first. This week Barry Reese, Bobby Nash and Mike Bullock discuss creative envy and take a look at their own properties they wish they had time to fully realize.
 
 
john-ostrander-8877507

JOHN OSTRANDER: Targeted Audiences

john-ostrander-8877507My Mary gets pissed-off about a lot of commercials because they’re so stupid. I remind her that, in most cases, we are not the target audience for the product. At 62, I’m rarely the target audience for most products unless they’re for erectile dysfunction or, as I like to call it, Limp Dick Syndrome.

Most products have a targeted audience, and that includes comics. In fact, it has a primary and secondary audience and it might surprise fans to know that they are the secondary audience. Who is the primary audience? Distributors and retailers – or, at least, they have been.

A quick review/primer on how comics are sold: when comics are printed they are shipped to distributors who then solicit the sale of the comics from retailers (traditionally direct sale comic book shops) who have pre-ordered the books based on how many they think they can sell. The books are then, hopefully, sold to a public who comes into the shops and buys them off the shelves.

ostrander-column-110814-art-1133233That’s the trick. If the books don’t find their ways to the shelves, they don’t get sold. The distributor has a catalog in which the books are advertised and where and how they’re placed can determine how many copies of a given book are ordered or if they are ordered. The retailers’ goal is to sell out each book each month. Why? Because they’re stuck with each book they don’t sell; the books are non-returnable. It makes better business sense to order too few than order too many especially when you look at the volume of titles out every month.

The primary goal of the comic book companies is to make money which translates into how many books they sell. They want to convince the distributor to give them bigger space in the catalog so they can attract the eye of the retailers so that they will order more or at least the same amount as the previous month. (Many retailers I know automatically reduce their order by so many percentage points every month unless the book is in the top twenty. They assume readers drop off after a certain point. Why do they assume that? Experience.)

How do the big companies do that? They stage events – crossovers, multiple covers, guest stars (Wolverine or Batman everywhere!), revamps, new creative teams, new directions and so on. The companies hope that the fans will get excited but the real reason is to get the primary target audience to order more. So the stories that the secondary audience – the reader – sees is largely dependent on what grabs the primary audience.

And all that’s going to change. The small independent creators are proving that they can sell their comics online or in digital form direct to the fans. And the big companies have taken notice. DC is making its book available online the same day they go on-sale in shops. If it’s successful, expect everyone else to follow and fast. The secondary audience will become the primary audience.

What will that mean in terms of story? It means things could get real interesting. More on that next week.

(Editor’s note: This column was supposed to be posted on Sunday morning. That’s what the editor set everything up for. But it didn’t happen. We think this is because the editor is an idiot. Our apologies to John and all the Ostranderites all over the globe.)

Table Talk – Go behind the table with Mike Bullock, Barry Reese, and Bobby Nash

Table Talk – Go behind the table with Mike Bullock, Barry Reese, and Bobby Nash at http://www.newpulpfiction.com/.

From Mike Bullock’s opening comments:

When you get two or more creators sitting behind a table at a signing or convention, when no one is around, they inevitably start talking shop. I’ve now done more signings and conventions than I can remember at once but the one thing they all have in common is an opportunity to gab with other creators. Despite what anyone might think, this is the thing I love most about the events. Whether it’s comparing a common love of some old character or examining the ins and outs of the latest news or talking about our creative processes, it’s always an enjoyable conversation.

When I mentioned this one time to a non-creative friend, he replied “I bet a lot of people would love to hear those conversations.”

In response to that, we dreamed up Table Talk, a semi-regular column where you can read conversations between New Pulp creators discussing things we love. Since just about every conversation starts out with a compelling question or statement, that’s the format we’ll follow here.

I asked fellow writers Barry Reese and Bobby Nash to join me in this, as I feel a solid connection to these two guys, and can only imagine if the three of us spent a weekend sharing a booth at a convention, we’d have some sterling back-and-forths about everything from old pulps to action figures to Silver Age comics and New Pulp.

To start the inaugural column off, Barry Reese suggested someone throw out a question to get the ball rolling. Bobby and I quickly nominated Barry to come up with said question.
 
You can read the conversational back and forth at www.newpulpfiction.com/2011/08/table-talk-behind-table.html

Check back each week for a new installment.

HANCOCK TIPS HIS HAT TO ‘THE WAY THEY WERE’!!

TIPPIN’ HANCOCK’S HAT-Reviews of All Things Pulp by Tommy Hancock



(I would like to extend a personal apology to Jeff Deischer, author of the book reviewed below.  I intended to have this review posted last week, but due to issues far beyond my control, I could not.  Doesn’t mean it’s right to break a promise, My sincerest apologies, Jeff.)

THE WAY THEY WERE: The Histories of Some of Adventure Fiction’s Most Famous Heroes and Villains

By Jeff Deischer


Published 2011 by Westerntainment





One of the many fantastic things about literature in general and about Pulp specifically is the richness and variety woven into the novels, stories, and tales that make up the genre.   Not only are heroes good and larger than life and villains evil and over the top, but there is a depth to these characters and the events creators thrust them into, a depth that over years has been explored in a myriad of ways. 


One of the most fun of these, in my opinion, is the work of creators and scholars to not only establish timelines for these fictitious creations and their marvelous escapades.   Although many people might find actual history boring, there’s something inventive and exciting about taking a literary character and matching their exploits to a particular year or event, tying our fantasy into our reality.  And an even cooler step beyond that is finding connections between one character and others, connections that given the right phrasing and tweaking become familial or uncover possible links that could lead to here to yet untold adventures.   Several works of this type have been written in the last several decades, including chronologies, timelines, or just full on stories bringing characters you’d never imagine being drawn together into the same realm.


Jeff Deischer, author THE WAY THEY WERE, is one of those writers and creators who not only imagines the possibilities, but sets out to establish them, not simply by telling tales, but by providing thought provoking articles and essays.  Drawing first from his own interest as a fan and reader, Deischer adds in research and analysis as he takes on several questions that have plagued Pulp fans for years and, in other articles, he poses brand new theories and brings characters to mind that at least I as a reader hadn’t given much thought to in a while.


Deischer tackles well-traveled ground by covering points various and sundry about Doc Savage and The Avenger.  He also takes on famous characters from horror literature, tying Dracula and Frankenstein and the Phantom of the Opera to timeframes and situations.  Surprises lurk within these pages as well, including a multi article study of the works of Jules Verne and a most excellent essay about the use of Antarctica and Mars in early Pulp fiction.   Regardless of it being James Bond or Gullivar of Mars, Deischer brings new life to old characters, breathing into them questions and theories that show a different light on them.   One of Deischer’s strongest points is his willingness to present ideas that run totally the opposite of established concepts and then go on to back them up.   Add to that a writing skill that is both engaging and entertaining, THE WAY THEY WERE reads as much like a multi chapter pulp tale as it does a collection of essays.


FOUR OUT OF FIVE TIPS OF HANCOCK’S HAT-Insight and detail add to the education into these fantastic characters that THE WAY THEY WERE provides.

PULPFEST-MUNSEY WINNER, NEW PULP, AND MORE!

Pulpfest 2011 has been another rousing success according to reports from many creators attending.  The winner of the 2011 Munsey has also been announced.  Congratulations to Anthony Tollin of Sanctum Books, the man responsible for reprints of THE SHADOW, THE AVENGER, and THE WHISPERER being available to fans today.  For full Pulpfest coverage on the Munsey this year, go to

http://www.pulpfest.com/2011/07/31/munsey-goes-to/

And for a bit more on the floor coverage from the viewpoint of one of the leading creators of New Pulp, Artist Rob Davis, Partner and Co-Publisher of Airship 27 Productions stated-

“Hey, to all our pals who aren’t in Columbus, Ohio for PulpFest. We are having a blast selling books and greeting people who come by the table. We had our best Friday ever sales-wise and Saturday was a very good day as well. Some old pals and new dropped by the table. I’d try to list them all, but I’m sure I’ll miss someone– Ron’s much better at remembering who he chatted with than I am. I’d venture to guess that this show is pulling bigger attendance than Windy City (no mean feat!) and sales are brisk for the dealers. Ron and I attended the “What is SteamPunk” panel Saturday night and couldn’t find seats! “

And from Win Scott Eckert-
I’m at the airport now, ready to head home. What a great show!

Friday night, although it was late, folks hung in there for FarmerCon’s Philip Jose Farmer/Wold Newton panel/presentation. Technology willing, we’ll have some video up on YouTube soon.

Ron did a fantastic job moderating the New Pulp panel on Saturday (thanks Ron!), and Duane, Bill, Greg, Wayne, and Art added a lot of insights to the writing process and why we love writing pulp, which the audience seemed to appreciate. My New Fictioneering reading was nerve-wracking, but fun.

The rest of the programming was great, with several presentations on the Shadow for the 80th anniversary, a presentation on steampunk, and on legendary pulp writer C.L. Moore.

The dealer room was excellent, and Meteor House did quite well with THE WORLDS OF PHILIP JOSE FARMER, volumes 1 & 2.

Although I made the list of final nominees for the Munsey Award, I knew I had no chance against the other great nominees, and the award went to a very deserving Anthony Tollin for his work on The Shadow, Doc Savage, Whisperer, and Avenger reprints. Anthony joined us for dinner a couple nights and regaled us with many stories. :-)

I brought a bunch of back stock of my various books, and they went like hotcakes. The PulpFest attendees were very gracious and extremely interested and supportive. I’ll definitely be back.
CONGRATULATIONS TO ANTHONY TOLLIN AND TO ALL THE VENDORS AND CREATORS FINDING SUCCESS AT PULPFEST 2011!  AND A TIP OF THE ALL PULP HAT TO THE ORGANIZERS OF THIS SEMINAL FANTASTIC PULP EVENT!

NEW PULP ORGANIZES, EXPANDS AND TAKES OFF RUNNING!

Readers of ALL PULP saw it announced here first.  An initiative to bring creators and publishers of what many consider the modern version of Pulp fiction together under one banner, a branding plan that would make Pulp publishers and creators easily identifiable, regardless if it was a Western pulp tale or a sci fi pulp opus, something that would link these various modern Pulpsters together.  A way to advertise, to unite, to push what Pulp is today without concerns of competition, sales, and who writes what for who.  A true recognition of ‘If it helps one of us, it can help all of us.’ that was first expressed in a statement on ALL PULP and not only gained quick support, but led to a brand that is now sported on books from various publishers, including Moonstone, Airship 27, Pro Se Press, Pulpwork Press, and others.  A brand and an idea that has grown quickly into a Movement.

New Pulp.

In an effort to capitalize on the support and involvement New Pulp has garnished since the man who initiated the organization of the Movement, Tommy Hancock, announced it, Hancock announces today a next step in the evolution of New Pulp.  While in many ways nothing will change, in other areas, improvements are being made and plans moving forward to insure that the New Pulp Movement isn’t just something among like minded fans, but a major part of literature and social consciousness.

“New Pulp is still New Pulp,” Hancock states, “just as it was outlined in my original statement and just as its sort of organically developed since then.   It’s that development, that growth, that has sort of spurred the next step.  We could let New Pulp basically remain this open source thing that just anybody can pick up and use as a brand on their products and have a ‘New Pulp’ project here and there and most likely it would limp along forever and be okay that way.  But that’s not what this whole thing was about, jsut sort of doing it halfway.  It’s about getting recognition for creators and publishers of modern Pulp.  It’s about increasing awareness, readership, and involvement in New Pulp, so creators can get their stories told, publishers and producers can get their product sold, and society as a whole can experience some of the best durned literature for the masses anyone could read.

“What’s going to be happening as far as the Movement is concerned is some extra hands have been brought on and given formal positions within New Pulp to help facilitate more exposure, more material, more chances for New Pulp and all of us involved to get noticed, and more ways to make any creator’s or publisher’s association with New Pulp a positive and successful experience.  One thing New Pulp is committing to is that New Pulp will attend all three major Pulp Cons next year-Pulp Ark (The only official New Pulp Convention’Conference), Windy City, and Pulpfest.  Also, since people pretty much have already been asking me before they can use the New Pulp logo, that’s a practice we’re going to formalize for a couple of reasons.  One, so we can keep up with everybody who is involved in New Pulp and two, so we can at least have a say in quality control and make sure that the New Pulp logo is being applied appropriately.  It’s still free and being a part of the whole New Pulp Movement still doesn’t require you to take on extra work (unless you want to help out) or to sign your first born away.   This is just part of the evolution.”

Provided below is the roster of Staff of the New Pulp Movement.  Hancock points out that, “This list is incomplete, although that’s only by one or two spots.  And there can be more of almost everything on here as well, so if you want to help out, we can put you somewhere.  But remember, even when we start selling merchandise or producing books or whatever, that money doesn’t go into anyone’s pockets.  It goes back into New Pulp or to a charity New Pulp has partnered with.”

NEW PULP STAFF-
Tommy Hancock-Coordinator
Megan Smith-Coordinator’s Assistant
Sean Ali-Design/Advertising
Barry Reese-Online Promotions
Joshua Reynolds-Recruitment
Derrick Ferguson-Recruitment
Andrew Salmon-Merchandising
Mike Bullock-Editor in Chief, www.newpulpfiction.com
Columns Editor – Hank Brown
Columnists –
Michael May “Pulptacular”
Jim Garrison “Pulp Magnet”
Sean Ellis – Title to be determined
Reviewers –
Andrew Salmon

The New Pulp Movement also has a Staff of Advisors, a board of three that will provide advice and insight to Hancock as needed and provide a vital support in that fashion.   Two of the three positions have been selected and accepted.

NEW PULP BOARD OF ADVISORS
Ron Fortier
Wayne Reinagel

“New Pulp is about the creators and publishers that make it up,” Hancock states.  “We’re just trying to make it something they benefit from and are glad they are a part of.”

Anyone interested in helping out with New Pulp or using the New Pulp logo can email Hancock at proseproductions@earthlink.net

NEW PULP PARTNERS WITH STAN LEE FOUNDATION

NEW PULP ANNOUNCES ROUND ROBIN TO BENEFIT STAN LEE FOUNDATION

New Pulp, a recently organized Branding Movement to unite creators and publishers of modern Pulp fiction under a collective banner, announces today its first collective New Pulp publication. According to New Pulp founder Tommy Hancock, this project is a twenty chapter novel currently being written in a round robin style, that meaning each chapter is written by a different author. This multiple author narrative, entitled PARIAH AND THE PURPLE PRINCE, is the inaugural project of writers and publishers under the New Pulp Banner.

“New Pulp,” according to Hancock, “is a designation that applies to creators and publishers who, having found their inspiration in the stories and style established by the writers of classic Pulp stories in the early Twentieth Century, are continuing to write, draw, and publish tales of action and adventure in that tradition. New characters, new stories, new ideas, all owing a debt to the Pulp greats, but also written to be the two fisted, high octane adventure stories of today and the New Pulp classics of tomorrow.”

“This current project,” Hancock states, “actually sprouted out of the first New Pulp convention, Pulp Ark, held this past May in Arkansas. Possibly the single largest gathering of New Pulp creators to date, more than 25 creators representing at least nine publishers attended this convention and, of course, many ideas and concepts were discussed and debated. One of those discussions centered around how this collection of writers, artists, and publishers, now standing together under the banner of New Pulp could not only present and produce a unified product, a work representative of all the variety that New Pulp has to offer, but also a way that we could contribute something worthwhile, not just great stories. That desire quickly became an idea for a novel, round robin style.”

PARIAH AND THE PURPLE PRINCE is a novel in progress that started with a bare bones minimalist plot suggested by Hancock. Twenty authors were invited to participate in this project, their names being written individually on single strips of paper. As these names were drawn, each writer was assigned a chapter in the order their name was selected, the first writer getting Chapter 1 and so forth. Each writer gets a month to complete their chapter, although Hancock reports that the fourth writer is nearly done with Chapter Four and the project is just over a month along. “We are all taking this very seriously,” Hancock reports, “not only because we want the world to see what New Pulp is about, but also we are excited about the opportunity to give of ourselves, our time and effort and whatever money this novel might raise to not only a worthy cause, but toward something we all have a stake in-Improving education and literacy.”

All proceeds resulting from the sale of PARIAH AND THE PURPLE PRINCE will go to The Stan Lee Foundation. Founded to carry on the legacy of Stan Lee, the creative genius behind Marvel Comics and creator of a literal universe of iconic characters, the Stan Lee Foundation’s primary goal is to make literacy, education, and involvement in the arts accessible across America. A non-profit organization, The Stan Lee Foundation develops, designs, and sponsors programs and events with the singular purpose of bringing literacy, knowledge, and artistic enrichment to Americans from coast to coast.

“It is an honor,” Hancock states, “for each and every writer and creator involved in this project to be a part of giving something to an organization started by a man that has given us as fans and the world itself so much. The chance to contribute to The Stan Lee Foundation, to help this group further the fantastic efforts into education it has already initiated, to be just a little part of the progress and success that its various endeavors will see, is the best payday any of us could receive. With the opportunity of New Pulp working with the Stan Lee Foundation in other ways in the future also being possible, we truly want to give our best to this novel project and intend for this work to benefit future artists, learners, and readers everywhere.”

PARIAH AND THE PURPLE PRINCE will be published by Pro Se Press, the New Pulp publisher Hancock is a partner in. The writers contributing a chapter each to the novel include Hancock, Joshua Reynolds, Ron Fortier, Barry Reese, Thomas McNulty, Megan Smith, Wayne Skiver, Terry Alexander, Sean Ellis, Van Allen Plexico, Derrick Ferguson, Nancy Hansen, Adam Garcia, Wayne Reinagel, Mike Bullock, Andrew Salmon, Jim Beard, Bill Craig, Rich Steeves, and Tim Byrd. Collectively, these writers represent work in nearly every genre imaginable, from western to science fiction to crime to horror and beyond within New Pulp and as a group have worked with multiple prose and comic publishers producing the finest New Pulp has to offer.

For more information concerning New Pulp or the round robin novel PARIAH AND THE PURPLE PRINCE, contact Hancock at proseproductions@earthlink.net and follow New Pulp on http://www.newpulpfiction.com/.

MARC ALAN FISHMAN: Flash Fact – Barry Allen Sucks!

Flash (Barry Allen)

Image via Wikipedia

Hello all you crazy-awesome ComicMix fans. For those who don’t know me (and when you share a space with guys like Mike Gold, John Ostrander, Martha Thomases, Michael Davis, Denny O’Neil, and Mindy Newell? I don’t blame you!) allow me to introduce myself by way of witty, snarky banter. I figured if I am to come out of the gate anew with a comic focused op-ed piece, I might as well start by swinging for the fences. So, let me point to the rafters over center field, and take the biggest swing I can.

Simply put: DC’s Flashpoint is a ten-pound turd in a five gallon bowl.

I use this nasty language, mind you, because I “covered” the event for a podcast I do from time to time… and have spent my hard earned dollars on this bloated excuse to sell toys, and piss off fans.

In June, DC boldly told the world they are “star-wiping” their universe to engage the next era of fans, by removing that pesky continuity. So, while those new and shiny number ones are getting printed, why not release yet-another-epic-that-will-change-the-universe-as-we-know-it™ event? “Flashpoint” was to turn the DCU on its ears. It chortles in every issue with its logo emblazoned on the title card, that it gives us a world where “everything you know has changed in a flash…” My ass. What they’ve done instead, is created an unnecessary mega-crisis for no better reason than “going out with a bang”. So for all us fans who don’t mind a little history to go with our comics… we’re treated to DC choosing to end their current universe’s life on yet-another-Crisis.

In a nutshell, Flashpoint is DC’s attempt at taking an obvious Elseworlds story and shoehorning it into continuity. I honestly don’t care how many well-produced interviews they have Dan DiDio do celebrating the ‘ground breaking’ idea. I don’t care how many Newsarama, Comic Book Resources, or Bleeding Cool articles are written kissing the ass of all the creators involved (and yes, all three have since reviewed many of the series’ minis very poorly). To tell the fans that this event will matter, is akin to the DCU toking up a massive joint, and blowing the Funion fumes right in our face in hopes we’ll get the munchies. I’ve not seen better hype for a dumber product since The Phantom Menace.

On DCU’s “The Source” blog, they asked some hard hitting questions to this effect:

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Flesk Prime Spotlights Classical Artists

With all the attention paid to the flashy artists of the moment at the major publishers, it’s always refreshing to see that the talented and reliable artists also get their due. Flesh Publications can usually be counted on for classy packages featuting artists who deserve your attention even if they don’t illustrate your favorite monthly titles. Check out this new announcement:

Flesk Publications is proud to announce their latest art book, Flesk Prime.

Flesk Prime serves as a fresh look into the imagery of five exceptional artists: Craig Elliott, Gary Gianni, Petar Meseldzija, Mark Schultz and William Stout. The essence of each craftsman is captured here to satisfy their fans as well as individuals who are enjoying their first glimpse. The section on each artist begins with an introduction and a biography written by Flesk publisher John Fleskes. The five were invited to handpick their pieces for inclusion, to showcase the best representation of their works.

Furthermore, new quotes have been obtained to capture the artists’ own thoughts. Each chapter shows the dynamic range of styles and illustrations and the unique diversity of these five creators. Almost all of the artwork has been reproduced direct from the originals.

Flesk Prime is a full-color 64 page hardbound book with jacket at 8.5 x 11 inches. The cover price is $24.95. ISBN: 978-1-933865-38-6. Pre-orders are being accepted at the Flesk online store. The book will premiere at Comic-Con International in San Diego at the Flesk booth (#5019) on July 20. There you can have Elliott, Gianni, Schultz and Stout sign your copy. All pre-orders will begin shipping on July 26. This title is an exclusive item only available direct from Flesk Publications.

Elliott’s section contains an assortment of fine art, much of it centered on the female form. Also featured are editorial assignments and an enlightening look into the process behind one of his most recent paintings.

Gianni is represented by oil paintings, a pencil sketch, finished pen-and-ink drawings, comic book pages, a Sunday newspaper strip and book illustrations that span the last twenty years. (more…)