John Carter | ComicMix

Ed Catto: Man from Marz, Still Kicking at 103

Columns
August 24, 2015

This month’s Fast Company has a great article on Robert Kirkman’s The Walking Dead, detailing the hard work and innovative rule breaking he and his team put into managing that brand. Their backstory is as impressive as their success. And that property is just a little over ten years old. It made me wonder … just what are the struggles of substantially older properties?

So this week we shine the spotlight on long-time comics writer (and all around good guy) Ron Marz. One of the projects he’s working on now is writing the adventures of Edgar Rice Burroughs’ John Carter of Mars in the ongoing Dynamite comic series. Here’s what Ron had to say:

Ed Catto: The characters and mythology of John Carter of Mars have been around for over 100 years. What kind of challenges and opportunities does that present to you?

Ron Marz: I think it’s seen by some people as an “old” property, but that’s almost entirely because of when it was written. That’s like saying “Dracula” and “Frankenstein” and “The Three Musketeers” are old properties. They’re all classic, archetypal properties that are evergreen, and I honestly believe John Carter is no different. It’s the basis of so much of our science fiction and fantasy tradition, even if people don’t realize it. I’ve said before that writing these characters was a lifelong dream, so I couldn’t be happier than to be mining this material.

EC: The whole world knows about Edgar Rice Burroughs’ “other” creation, Tarzan. But John Carter has never enjoyed that level of recognition. Why is that?

RM: Tarzan crossed over into the movies not long after his creation, and has stayed a movie staple ever since. There’s a new big-budget Tarzan film coming next year. Everybody has seen Tarzan movies, because that concept was a lot easier to translate to film than John Carter was. Any character becomes much more a part of the popular consciousness when it crosses over into mass media. I think Tarzan, along with Sherlock Holmes and Batman and Superman, are the most recognizable fictional characters in the world.

EC: I always thought the secret of John Carter was that these stories allow the reader to imagine himself as the new kid at a new school, but as the best athlete and with the prettiest girl. What do you think makes John Carter and Barsoom so enduring?

RM: Sure, there’s a big aspect of wish fulfillment to these stories, which is why so many people discover them at that magic age of 12 or 13 years old. But I do think there’s also an amazingly rich imagination to the stories. They’re a century old, but they’re not quaint or time capsules of a bygone era. They’re still vital because there’s so fantastical, in the true sense of the word, which is why you can see John Carter’s fingerprints on everything from Superman to Star Wars to Avatar.

EC: In your first story arc, you cleverly created a bad guy who was sort of the anti-John Carter. Can you tell us about that, and does this property suffer from not having stronger antagonists?

RM: That’s why I created John’s opposite number for the first arc. Even when reading the original novels, I felt like John didn’t often get a credible challenge. He didn’t have his Doctor Doom or his Joker. So in addition to introducing the characters and concepts, that was a main goal for the initial arc. I felt like we needed someone who was John’s equal on Mars, so the obvious answer for that was another Earthman. I’m really happy with the Captain Joshua Clark character. Who knows, maybe we haven’t seen the last of him.

EC: Dejah Thoris is a wonderful character but always seemed like the adolescent idea of a beauty – to be placed upon a pedestal. The way you present the relationship between Dejah and John Carter, especially in issues 7 – 9, comes across as a much more mature relationship. Is that your intent and does that come from being a middle-aged guy?

RM: I think it comes from knowing strong women all my life, and wanting to portray that realistically, despite the fantastic setting. Dejah is still an ideal, she’s still the one everyone wants to marry, but hopefully she comes off as a little bit more of a real woman. She’s every bit the hero and warrior that John is.

EC: I really like the variant covers that are evocative of the old Marvel Comics. Can you tell us how that came about?

RM: Honestly, I have no idea. It was something that Dynamite put into place from the first issue. I’m a fan of the Marvel run, I have all of the original issues, and I actually have two copies of the omnibus hardcover collecting everything. Maybe those aren’t the best comics ever published, but they hold a place in my heart. I can remember picking one of the annuals off a spinner rack as a kid. So I’m glad the covers pay homage to that era.

EC: Are there any plans to continue this with covers that pay homage to the old DC, Dell/Four Color etc. covers?

RM: Not that I know of, but I like the idea. There’s such a rich history of Edgar Rice Burroughs in comics, reflecting that seems like a natural direction to pursue.

EC: I know you are working on some other Edgar Rice Burroughs properties. Can you tell us about them, how fans can get them and what your plans are?

RM: I’m doing weekly strips for the official Edgar Rice Burroughs site. I’m adapting The Mucker novels with Lee Moder on art, and writing new stories of Tarzan’s son, Korak, with Rick Leonardi on art. Both strips are being colored by Neeraj Menon. They’re Sunday-style strips, updated weekly on the site, along with almost 20 other strips based on Burroughs material, everything from Tarzan to John Carter. The first four episodes of each strip can be viewed for free, and then a monthly subscription is only $1.99, so it’s a pretty amazing bargain. People can get the strips by going to http://www.edgarriceburroughs.com/comics/

EC: Great stuff, Ron. Thanks for your time!

JOHN CARTER TAKES ON THE GODS OF HOLLYWOOD

News
December 14, 2012

Michael D. Sellers’ new book, John Carter and the Gods of Hollywood, takes a look at the story that brought John Carter of Mars to the big screen.

About John Carter and the Gods of Hollywood:

It took 100 years to bring Edgar Rice Burroughs’ John Carter of Mars to the big screen. It took Disney Studios just ten days to declare the film a flop and lock it away in the Disney vaults. How did this project, despite its quarter-billion dollar budget, the brilliance of director Andrew Stanton, and the creative talents of legendary Pixar Studios, become a calamity of historic proportions? Michael Sellers, a filmmaker and Hollywood insider himself, saw the disaster approaching and fought to save the project – but without success. In John Carter and the Gods of Hollywood, Sellers details every blunder and betrayal that led to the doom of the motion picture – and that left countless Hollywood careers in the wreckage. JOHN CARTER AND THE GODS OF HOLLYWOOD examines every aspect of Andrew Stanton’s adaptation and Disney’s marketing campaign and seeks to answer the question: What went wrong? it includes a history of Hollywood’s 100 year effort to bring the film to the screen, and examines the global fan movement spawned by the film.

John Carter and the Gods of Hollywood is now available at Amazon.

TALES OF THE SHADOWMEN LIVES LA VIE EN NOIR

News
November 11, 2012

Cover Art: Nathalie Lial

COMING DECEMBER 2012 – Tales of the Shadowmen 9: La Vie en Noir, featuring the “Wold Newton Origins” story “Violet’s Lament” by Win Scott Eckert… Direct from Black Coat Press!

About Tales of the Shadowmen – La Vie en Noir:
If Edith Piaf liked to sing about la vie en rose, this volume of Tales of the Shadowmen, the first and only international anthology devoted to paying homage to the world’s most fantastic heroes and villains, is dedicated to la vie en noir, the darker side of life.

And what could be darker than the sinister brotherhood of criminals known as the Black Coats and their legendary treasure, a malignant self-aware entity that is the embodiment of greed and avarice?

You will also find gathered here stories about the evil Fantômas and the mysterious Yellow Shadow, the crafty Doctor Cornelius and the megalomaniacal Sun Koh, the ruthless Irma Vep and the frightful Bride of Frankenstein; in these pages, you will read tales of creatures and zombies, and things from otherworldly reals, and likely gasp at the most monstrous couple of parents ever imagined…

This issue contains stories by some of New Pulp’s finest, including…
Matthew Baugh: Tournament of the Treasure starring Steve Costigan, Townsend Harper, The Black Coats.
Nicholas Boving: Wings of Fear starring Harry Dickson, Bulldog Drummond.
Robert Darvel: The Man With the Double Heart starring The Nyctalope.
Visions of the Nyctalope (illustrated portfolio)
Matthew Dennion: The Treasure of Everlasting Life starring Allan Quatermain, Dr. Miguelito Loveless, The Black Coats.
Win Scott Eckert: Violet’s Lament starring Sir Percy Blakeney’s daughter, Countess Nadine Carody, The Black Coats.
Martin Gately: Wolf at the Door of Time starring Doctor Omega, Moses Nebogipfel, The Nyctalope.
Travis Hiltz: What Lurks in Romney Marsh? starring Doctor Omega, Doctor Syn.
Paul Hugli: As Time Goes By… starring Doctor Omega, Rick Blaine.
Rick Lai: Gods of the Underworld starring The Black Coats, Vautrin, Doctor Lerne.
Jean-Marc Lofficier: Dad starring Glinda.
Nigel Malcolm: To Dust and Ashes, in its Heat Consuming starring Harry Dickson, Professor Quatermass.
David McDonald: Diplomatic Freeze starring Flashman’s son, The Nyctalope’s father, The People of the Pole.
Christofer Nigro: Death of a Dream starring The Phantom of the Opera, The Black Coats, The Domino Lady.
John Peel: The Benevolent Burglar starring Maigret, J.G. Reeder, The Saint
Neil Penswick: The Conspiracy of Silence starring Fantômas.
Pete Rawlik: Professor Peaslee Plays Paris starring Pr. Nathaniel Wingate Peaslee, Hercule Flambeau, The Black Coats.
Joshua Reynolds: Nestor Burma Goes West starring Nestor Burma, Jim Anthony, Irma Vep.
Frank Schildiner: The True Cost of Doing Business starring Mr. Big, The Black Coats.
Bradley H. Sinor: The Silence starring Michel Ardan, Colonel Moran, John Carter.
Michel Stéphan: Vampire in the Fist starring Irma Vep.

Edited by J-M & R. Lofficier
Cover by Nathalie Lial

Learn more at www.blackcoatpress.com.

TARZAN NEWS!

News
September 24, 2012

Art: Joe Jusko

Edgar Rice Burroughs’ Tarzan turns 100 this year, but don’t think celebrating his centennial has slowed down the Lord of the Jungle. Quite the opposite. Here are a few odds and ends from Tarzan’s world happening in 2012 and beyond.

Art: Tom Grindberg


Art: Tom Grindberg

EDGAR RICE BURROUGHS COMIC SERVICE-
By signing up for the new Edgar Rice Burroughs Comic Service, you will be able to view New and Coming Tarzan comics as soon as they leave our artist’s desk!

Read the recent All Pulp interviews with Tarzan 2012 comic strip writer Roy Thomas and artist Tom Grindberg.

Art: Sterling Hundley

TARZAN ART TO APPEAR ON NEW USPS POSTAGE STAMP-
CHESTERFIELD, VA – Edgar Rice Burroughs, the author who created Tarzan and a host of other sci-fi heroes a century ago, didn’t get much respect for what was considered pulp fiction at the time. Now, the work of a Chesterfield artist commemorating the prolific author is taking a licking literally.

A brand-new postage stamp showing Burroughs and Tarzan is set to take off around the world. It’s the second U.S. Postal Service stamp drawn by Sterling Hundley, an artist, illustrator and Virginia Commonwealth University art professor. (His first was Oveta Culp Hobby, the first woman to hold a presidential cabinet position.)

Learn more about Sterling Hundley and the new Tarzan stamp here.

OFFICIAL TARZAN STATUES NOW AVAILABLE FOR PRE-ORDER-
Details here.

Art: Joe Kubert

JOE KUBERT’S TARZAN OF THE APES: ARTIST’S EDITION COMING IN SEPTEMBER-

Art: Joe Kubert

Joe Kubert is one of the most lauded artists in the history of comics, a true living legend. He has been a vital creative force since the 1940s and remains so to this day. He has had defining runs on Hawkman, Enemy Ace, Tor, Sgt. Rock, and many others. Among his career highlights is Tarzan of the Apes, and Kubert’s rendition could arguably be called the definitive comic adaptation of the Ape-man.

“To have the Tarzan stories I drew commemorate the 100th anniversary of a strip I fell in love with as a kid is the thrill of a lifetime,” said Joe Kubert, writer and artist of all the stories in this Artist’s Edition.

This Artist’s Edition collects six complete Kubert Tarzan adventures, including the classic four-part origin story. Each page is vividly reproduced from the original art and presented as no comics readers have seen before. For fans of Kubert and Tarzan, this new entry in the Eisner-winning Artist’s Edition line must be seen to be believed!

2012 is the centennial year for Tarzan. Created by master storyteller Edgar Rice Burroughs, Tarzan is instantly recognizable to countless fans around the globe. Other notable creations of Burroughs’ include John Carter of Mars, Korak, Carson of Venus, and At the Earth’s Core.

“I first read these comics when I was 10 years old, and they remain some of my favorite stories ever,” said Editor Scott Dunbier, “this is Joe Kubert at his absolute best.”

What is an Artist’s Edition? Artist’s Editions are printed the same size as the original art. While appearing to be in black & white, each page has been scanned in COLOR to mimic as closely as possible the experience of viewing the actual original art—for example, you are able to clearly see paste-overs, blue pencils in the art, editorial notes, and art corrections. Each page is printed the same size as drawn, and the paper selected is as close as possible to the original art board.

JOE KUBERT’S TARZAN OF THE APE: ARTIST’S EDITION ($100, hardcover, black and white, 156 pages, 12” x 17”) will be available in stores September 2012.
Visit IDWPublishing.com to learn more about the company and its top-selling books. IDW can also be found at http://www.facebook.com/#!/idwpublishing and http://tumblr.idwpublishing.com/ and on Twitter at @idwpublishing.

Art: Tim Burgard

SEQUENTIAL PULP/DARK HORSE COMICS PRESENT TARZAN AT THE EARTH’S CORE-
Coming 2013 – TARZAN AT THE EARTH’S CORE Adapted by Martin Powell and illustrated by Tim Burgard. Tarzan At The Earth’s Core © Edgar Rice Burroughs Inc., Tarzan ® TM owned by Edgar Rice Burroughs Inc. and used by permission. Coming soon from Sequential Pulp/Dark Horse Comics.

Not bad for a guy turning 100, eh?

Baltimore Comic-Con Debuts Major Pulp Collection

News
September 12, 2012

At the 2012 Baltimore Comic-Con, Basement Comics began offering for the first time a new-to-market, original owner 1920s-1950s science fiction pulp collection.

“This collection is literally farm – or should I say, barn-stored fresh,” said Basement Comics’ Al Stoltz.

“We recently purchased over five hundred pulps with lots of bed sheet size and regular pulp size great reads. Fantastic early sci fi and rocket covers and some of the best writers ever presenting in some cases their first published work like Ray Bradbury, L Ron Hubbard, Alfred Bester and more,” he said.

One pulp even features a letter to the editor from a then-17-year-old Jerry Siegel, co-creator of Superman, Stoltz said. “This is really a piece of comic history!”

Also included in the offerings are the second appearance of Buck Rogers and even some John Carter covers and stories.

“We are pricing and getting ready as many as we can for the show and we hope pulp collectors will be pleased with the selection,” he said.

Thanks to SCOOP for the scoop.

Is “The Avengers” Director’s Cut Theater-Bound?

News
June 12, 2012

I’d believe that Disney and Marvel would re-release The Avengers if for no other reason that doing so could be the spur to get Joss Whedon’s film even higher in the rank of all-time money makers– and as much as Disney wants the money, they want the ego boost and bragging rights even more.

The interesting question is whether or not it would count as a re-release, or whether The Avengers will stay in theaters from now until then. The follow-up question: will this be a 3-D IMAX director’s cut?

There’s a rumor that’s rapidly growing on the internet that Marvel Studios is going to release a three-hour director’s cut of The Avengers in theaters this August!

Joss Whedon may have already cut this longer version of the film for the upcoming Blu-ray, but by releasing that cut in theaters Marvel, Disney, and Paramount will be able to not only promote the Blu-ray, but they will make even more money at the box office! The Avengers currently sits in third place as one of the highest grossing movies of all time. Releasing a Director’s Cut could give the movie the box office boost it needs to rise to the top!

via THE AVENGERS Director’s Cut Coming to Theaters in August!? – News – GeekTyrant.

Alternate theory: Disney is padding their balance sheet because somebody thinks The Odd Life Of Timothy Green is going to do even worse than John Carter.

Joss Whedon Promises 30 Minutes Of New Footage For Three-Hour ‘Avengers’ Blu-Ray(screencrave.com)

REVIEW: John Carter

Reviews
June 4, 2012

The problem with being a trendsetter is that if you’re successful, you get imitated time and time again. Such was the fate that befell Edgar Rice Burroughs’ pulp heroes Tarzan and John Carter. The thriller-seeking readers of pulp magazines were enthralled by ERB’s pulse-pounding, straight-forward prose, which was strong in ideas and weak in word craft. A century ago, Burroughs, writing as Norman Bean, serialized his first Martian saga in All-Story between February and July 1912. It found an eager audience and was later collected in book form as A Princess of Mars. Through the years, there came more adventures with and without Carter set on the red planet natives named Barsoom.

I discovered the stories through the compelling Frank Frazetta covers on the Science Fiction Book Club editions and thought the stories were interesting. Clearly I was not alone because time and again, people in comics tried to adapt the stories with varying degrees of success. Similarly, Bob Clampett in the 1930s and then others tried to mount a screen adaptation. While Barsoom proved inspirational to countless writers, artists, and filmmakers, the planet remained elusive. Over the last century, many a story has been set on Mars — from swashbuckler pastiche Gulliver of Mars to Philip K. Dick’s “I Can Remember it for you Wholesale” (a.k.a Total Recall) – meaning our celestial neighbor has been well-mined. (more…)

Joe Kubert’s Tarzan of the Apes: Artist’s Edition coming in September from IDW

News
May 21, 2012

Cover Art: Joe Kubert

IDW Publishing has shared the following press release with All Pulp.

Celebrate the 100th anniversary of Edgar Rice Burroughs’ classic creation.

San Diego, CA (May 18, 2012) – Joe Kubert is one of the most lauded artists in the history of comics, a true living legend. He has been a vital creative force since the 1940s and remains so to this day. He has had defining runs on Hawkman, Enemy Ace, Tor, Sgt. Rock, and many others. Among his career highlights is Tarzan of the Apes, and Kubert’s rendition could arguably be called the definitive comic adaptation of the Ape-man.

“To have the Tarzan stories I drew commemorate the 100th anniversary of a strip I fell in love with as a kid is the thrill of a lifetime,” said Joe Kubert, writer and artist of all the stories in this Artist’s Edition.

This Artist’s Edition collects six complete Kubert Tarzan adventures, including the classic four-part origin story. Each page is vividly reproduced from the original art and presented as no comics readers have seen before. For fans of Kubert and Tarzan, this new entry in the Eisner-winning Artist’s Edition line must be seen to be believed!

2012 is the centennial year for Tarzan. Created by master storyteller Edgar Rice Burroughs, Tarzan is instantly recognizable to countless fans around the globe. Other notable creations of Burroughs’ include John Carter of Mars, Korak, Carson of Venus, and At the Earth’s Core.

“I first read these comics when I was 10 years old, and they remain some of my favorite stories ever,” said Editor Scott Dunbier, “this is Joe Kubert at his absolute best.”

What is an Artist’s Edition? Artist’s Editions are printed the same size as the original art. While appearing to be in black & white, each page has been scanned in COLOR to mimic as closely as possible the experience of viewing the actual original art—for example, you are able to clearly see paste-overs, blue pencils in the art, editorial notes, and art corrections. Each page is printed the same size as drawn, and the paper selected is as close as possible to the original art board.

JOE KUBERT’S TARZAN OF THE APE: ARTIST’S EDITION ($100, hardcover, black and white, 156 pages, 12” x 17”) will be available in stores September 2012.

Visit IDWPublishing.com to learn more about the company and its top-selling books. IDW can also be found at http://www.facebook.com/#!/idwpublishing and http://tumblr.idwpublishing.com/ and on Twitter at @idwpublishing.

About IDW Publishing
IDW is an award-winning publisher of comic books, graphic novels and trade paperbacks, based in San Diego, California. Renowned for its diverse catalog of licensed and independent titles, IDW publishes some of the most successful and popular titles in the industry, including: Hasbro’s The TRANSFORMERS and G.I. JOE, Paramount’s Star Trek; HBO’s True Blood; the BBC’s DOCTOR WHO; Nickelodeon’s Teenage Mutant Ninja Turtles; Toho’s Godzilla; Wizards of the Coasts Magic: The Gathering and Dungeons & Dragons; and the Eisner-Award winning Locke & Key series, created by best-selling author Joe Hill and artist Gabriel Rodriguez. IDW is also home to the Library of American Comics imprint, which publishes classic comic reprints, and Yoe! Books, a partnership with Yoe! Studio.

IDW’s critically- and fan-acclaimed series are continually moving into new mediums. Currently, Jerry Bruckheimer Films and Disney are creating a feature film based on World War Robot, while Michael Bay‘s Platinum Dunes and Sony are bringing Zombies vs. Robots to film.

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

News
April 6, 2012

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.

DENNIS O’NEIL: Ode To John Carter

Columns
March 29, 2012

Let the laments commence; it’s official – John Carter is a flop. Looks like the movie’s makers will take a $200,000,000 bath.

We finally trekked north to the monsterplex and settled ourselves to witness a showing of the flop before anyone was certain of its flophood. We did, and we left the theater and got into Mari’s car and drove south and were home.

We’d seen the film. And felt very little. We’d seen it and there didn’t seem to be a whole lot more to say.

Why?

Leaving the theater, I wasn’t irritated, or insulted. If I wanted to write a quibbly review I probably could – look ye hard and ye can find garbage, brethren; yeah, the writing was flattish and somehow the fabricated world seemed to be just a jot too fabricated. But nothing on the screen was godawful. The shots were in focus. The effects were okay. The acting was serviceable, except for that of Lynn Collins, whose performance was pretty interesting. (What would she do with Lady MacBeth?) The rest of it was what it was and –

Maybe that’s my problem. What it was was a heaping of déjà vu. I wonder how I would have enjoyed the flick if I hadn’t seen Star Wars in all its manifestations. I guess I can no longer be entertained by cinematic spectacle movies merely as spectacle, even when it’s in 3D. I’m sated with exploding spacecraft and after the baddies did in a whole planet in the first Star Wars…well, pretty hard act to follow, no?

Like a kid who’s been taken to one magic show to many, I’m jaded. (Another friggin’ rabbit?)

Here’s a scenario wrapped in a question: What if a temporal glitch moved John Carter back in time…oh, say, 65 years – moved it to the screen of a small neighborhood picture show (and there were a lot of them, back then.) The stuff we take for granted – exploding planets and the like–would have been absolutely astonishing because nobody would have ever seen anything remotely like it. What effect would seeing even a reel or two of a modern sci-fi film have on the minds of those who paid their money to see Dick Tracy’s Dilemma? (And isn’t that Joe O’Neil’s kid in the third row?) Would they immediately start a new religion? Would they go collectively bonkers? Or would they all go into a fugue state from which they would emerge only after Dick Tracy had reclaimed the screen and when they got home remember only Dick, believing that nothing had interrupted the detective’s pursuit of The Claw?

But wait! How do we know that this didn’t happen?

Allow me one more speculation: What if the memory of the time traveling flick wasn’t entirely erased, but survived as a nugget deep deep deep in some subconscious, a nugget that influenced the life of its host and drove him into a degraded life of writing science fiction and comic books? Wouldn’t that be strange? But – wouldn’t it explain an awful lot?

Wouldn’t it? Oh good lord in heaven..wouldn’t it?

FRIDAY: Martha Thomases

Tagged: John Carter