Tagged: Martin Powell

All Pulp Interviews: Moonstone’s Return of the Monsters – Martin Powell

Cover: Dan Brereton

This Halloween, Moonstone heads back to their monstrous roots with the Return of the Monsters Event. Return of the Monsters features four stand-alone tales of pulp’s mightiest heroes facing off against some classic monsters. One of those titles called The Spider vs. The Werewolf by writer Martin Powell with art by Jay Piscopo. All Pulp sat down with Martin Powell about this upcoming book.

All Pulp: Tell us a little about yourself and your pulp interests.

Martin Powell: I’ve been a professional writer for over twenty-five years, and although I’ve written everything from educational science books to children’s stories, my creative roots have always been firmly set in the pulps. A neighborhood friend introduced me to the Doc Savage paperbacks when I was about eleven years old, and James Bama’s fantastic ultra-realistic cover paintings really grabbed me. I just had to see what was going on inside those books.

Art: Jay Piscopo

Finally, I found the paperbacks at a nearby department store—there seemed to be a zillion of them. My pocket contained just enough spare change for one book—about sixty cents—and it was a tough decision. Ultimately, “Devil on the Moon” came home with me, mostly because I was keenly fascinated by the Apollo 11 moon landing, and that evening I read the novel cover to cover. I was hooked.

I knew nothing whatsoever about pulp magazines, had never even heard of them. Although I did notice on the inside of the book that it had originally appeared in “Doc Savage Magazine” in 1938. I was very intrigued. I visited the big library downtown in search of back issues. No luck. Happily, I returned to the department store with some birthday money and bought six more paperbacks, but I didn’t actually find and purchase my first authentic Doc Savage pulp magazine until about ten years later. Along the way I learned more about the pulps themselves, including other great characters like The Shadow, The Avenger, and especially The Spider, through the great books of Philip Jose Farmer.

Eventually I would collect the entire series of 182 Doc Savage paperback novels, and lots from the other characters, too, and today I have a nice collection of the original pulps which I’d never ever part with.

Art: Jay Piscopo

AP: Your story for the Return of the Monsters Halloween event is called The Spider Vs. The Werewolf. What can we expect from this titanic throw down?

MP: Actually, it’s called “The Werewolf War Massacres.” I couldn’t resist giving it a more Norvell Page-inspired title. Hopefully Moonstone will go for that on the inside front cover. No one could dream up pulp titles like Norvell, and I’ve always tried to mimic him as best I can. As for the story itself, it has more depth, is more action-packed, is more vicious, and has richer characterization that most of what I’ve gotten to write for the Spider in the past, thanks to its greater page length. I had a lot more space to work with, which was a luxury. It’s a horror story, to be sure, but it’s also about how the nightmare of war has changed two men.

AP: The Spider Vs. The Werewolf has a classic pulp hero battling a classic monster, a combination that even though done in some regards hasn’t ever really been done the way Moonstone is doing it with the Return of the Monsters event. What do these genres have in common and how do they differ in ways that complement each other?

Return of the Monsters Cover Art By Dan Brereton

MP: Well, I’ve always thought of the Spider as a sort of werewolf himself, and I’ve written him that way, in that he seems to transform into an alternate personality. The real question in my Spider adventures is which is the true identity, Wentworth or his lethal alter-ego? Which one is wearing the mask? The Spider is sort of a composite of Count Dracula and Mr. Hyde. He’s one of the original monster-heroes, and can be genuinely terrifying. The major difference is the Spider actually cares about us. Sure, he’s crazy as Renfield at times, but he also has a conscience, a lot of heart, and something of a messiah complex. It was a very easy, compatible fit combining the Master of Men with a gothic supernatural element. They seemed made for each other.

Art: Jay Piscopo

AP: The Return of the Monsters Halloween event brings back several classic monster archetypes to Moonstone’s lineup. How does this version of the Werewolf compare and contrast to previous versions of the character?

MP: This mystery-adventure is set in 1937, so the public at that time weren’t very educated on exactly what werewolves were supposed to be. The Wolf Man starring Lon Chaney, Jr. was still a few years away, so I based my monster mostly on lycanthrope mythology and folklore. Both the aspect of transforming under the full moon and being vulnerable only to silver weapons are Hollywood-created devices, so I ignored them. My werewolves change unpredictably, at any time, just like the creatures of legend. That makes them much more frightening and dangerous, and they are very tough to kill. However, I did strive to make the werewolf in this story ultimately a sympathetic character, which I think is very important. He’s a creature without any personal physical control. He can’t help himself.

AP: What appeals to you about pulp heroes battling classic monsters? What was it that excited you about pitting the Spider against a werewolf?



Art: Jay Piscopo

 MP: I’m always excited about a new Spider story, especially getting to write an adventure of this length. Also, although “The Werewolf War Massacres” is not exactly an origin tale, it does provide us with a gruesome glimpse into Richard Wentworth’s past while he was a soldier in World War One. We get to see the Spider’s personae beginning to take form. The added excitement, for me, was finally getting to work with prolific artist Jay Piscopo, who understands and loves the 1930’s period pulp atmosphere as much as I do.

AP: You’ve been spearheading the Spider’s comic book adventures for Moonstone. What’s ahead for the book and character?

MP: That’s largely up to Moonstone. We have discussed a couple ideas, both dealing with larger formats which I’d really like to do. I have an especially massive apocalyptic epic in mind, with my regular Spider artist Hannibal King, which would resurrect one of the Spider’s classic and most deadly enemies. Also, Jay Piscopo and I have had a grand sweeping adventure planned which would team-up the Spider, Operator 5, and G-8 and His Battle Aces for the very first time.

AP: What, if any, existing pulp, monster, or comic book characters would you like to try your hand at writing?

Cover: Dan Brereton

MP: People who know me well realize that my favorite fictional worlds are the original 1933 King Kong, the classic Universal monster movies, the Hammer Studios horror films, and the Dark Shadows television series. So, I felt quite at home among the Spider and werewolves. I’ve written several Dracula stories over the past twenty-five years, and I just wrote a prose filmbook of Frankenstein Meets the Wolf Man for Famous Monsters of Filmland magazine, which should be on sale before Halloween. I also have a new graphic novel reviving Dick Briefer’s classic pre-code Monster of Frankenstein horror series coming up, illustrated by Nik Poliwko, and will be published by Michael Hudson’s Sequential Pulp Comics, an imprint of Dark Horse. I have something in the works specifically for The Creature from the Black Lagoon with another publisher, too, but that’s all I can say for now. As for other pulp heroes, I’d love a shot at Doc Savage someday. The Shadow, too. And Tarzan most of all.

AP: What does Martin Powell do when he’s not writing?

MP: I’m a full-time writer, but I do have a lot of other interests. I haven’t watched commercial or cable television since 2004, and I fill some of that time with model kit building, collecting vintage books, and hunting for fossils. Some of my best times are spent playing with our beagle and three cats in our newly purchased 1925 bungalow, which we’re decorating in its proper 20s and 30s period. I suspect gardening will become another passion come next spring, now that we have our own yard. Among other things, I’m really looking forward to growing my own pumpkin patch. As Vincent Price once said, “There’s a whole world up on the stage and screen, but there’s a bigger world off of them. The person who limits their interests, limits their life.”

AP: Where can readers find learn more about you and your work?

MP: You can find me on Facebook and at my Blog.

https://www.facebook.com/martin.powell1
http://martinpowell221bcom.blogspot.com/

AP: Any upcoming projects you would like to mention?

MP: Yes! I’m very excited to be writing a number of graphic novels for Sequential Pulp/Dark Horse Comics. Currently in the works are Martians, Go Home, The Hound of the Baskervilles, the Frankenstein book I already mentioned, plus a very cool upcoming werewolf project. Also, I’m writing several graphic novels based upon books by Edgar Rice Burroughs and licensed by his estate, including Caspak: The Land That Time Forgot, Number 13 (based on The Monster Men), and The Cave Girl, with more to come which I can’t talk about yet. All dream projects, to be sure. However, I’m most excited about the first graphic novel of my The Halloween Legion, from the same publisher. It’s a very exciting, very productive time for me. I’m very lucky.

AP: Thanks, Martin.

MP: It’s been fun. Thank you.

The Spider vs. The Werewolf is solicited in August Previews for an October in store release.

A Sneak Peek At Number 13!

On his blog, New Pulp Writer Martin Powell offers a sneal peek at Tom Floyd’s atmospheric in-progress piece for their graphic novel called Number 13, based on Edgar Rice Burrough’s The Monster Men. This authorized edition, licensed by ERB, Inc., will be published by Sequential Pulp and Dark Horse Comics.


For more information on this, and other, Sequential Pulp Comics titles, visit http://www.sequentialpulpcomics.com/
For more information on Martin Powell, visit http://martinpowell221bcom.blogspot.com/
For more information on Tom Floyd, visit http://www.tomfloyd.net/


Artwork © Tom Floyd

FAMOUS MONSTERS EDITOR INTERVIEWED BY ALL PULP!

Jessie Lilley has been publishing and editing small press magazines for 20+ years. She is the original publisher of the much acclaimed Scarlet Street: The Magazine of Mystery and Horror, Worldly Remains: A Pop Culture Review and is currently Editor-in-Chief of Mondo Cult Magazine and MondoCult.com as well as Editor of Famous Monsters of Filmland. Jessie is only the fourth editor of FM since it first published back in 1958. Her freelance work has appeared in the pages of Los Angeles’ Valley Scene Magazine and Perth, Australia’s Messenger along with a host of small press publications and websites related to horror films and music.

Jessie also edits biographies, including the memoir GLORIA by Bond-girl Gloria Hendry; an in-depth and candid look at the life of an African-American actress coming up in the extraordinary time known simply as ‘The 60s”. It is currently available at amazon.com. Another project which was completed in the fall of 2009 is the biography of character actor Paul Reed, Sr. by his son Paul, Jr. A delightful remembrance by a loving son and a retelling of the stories his father told him about making a mark in “the business” in early 20th century New York City. Entitled You Grew Up, the book is available from Bear Manor Media and amazon.com. Jessie is currently editing a series of children’s books called Rowdy and Me. The first in the series, Rowdy Comes Home, is due to hit bookstores later this year.

Jessie lives in Santa Cruz County, CA at the top of a hill at the end of the road with her husband, musician David Paul Campbell, four sleek, rescued cats and various, visiting doggies.

AP:  Jessie, first we’d like to welcome you to ALL PULP!  Thank you for taking time out of your schedule to visit.  Before we get into specifics, can you share a bit about yourself, your background and such?

 JL:  it’s my pleasure to talk with you and thanks so much for including me in All Pulp with the likes of such luminaries as Martin Powell. I’m flattered. There really isn’t much to tell. I was brought into this business via the back door, kicking and screaming all the way. Richard Valley, who had dragged me down the rabbit hole with him several times in our 20 year friendship, did it to me again with Scarlet Street. From there, things seemed to just move along to the coveted chair that I hold today. Being Editor of Famous Monsters is truly an unbelievable opportunity for me. Philip Kim flatters me with the position which I’ve held for over a year now.



 AP: You’ve been involved in the Horror arena for some time, including working with such luminaries in the horror magazine field as Forrest J.  Ackerman.  Has the field of horror changed dramatically since you became a part of it, particularly in the magazine arena?  If so, how?


 JL: You know, Forry had names for everyone. Brad Linaweaver was always “pal” and I was Wonder Woman. I was very lucky to have known the man and will always be grateful for the time I was able to spend with him. God, how that man loved his music. A love of all kinds of music was something he and I shared. Between us, we knew more lyrics than my husband. (Laughs) And that’s saying something! But you asked if the horror field has changed since I got into it in 1990. It certainly has. For one thing, the state of the US and world economy has removed 99% of the disposable income folks use to enjoy. These days if you’re making $75K a year, you’re just scraping by so those of us who make a lot less than that are just barely off the streets. The internet seems to have come along at just the right time for the news hungry populace that doesn’t have the extra change for a daily paper, let alone a monthly magazine at anywhere from $6 to $12 a pop. And those lower prices are amazing. I know what it costs to get one of these things printed and as I refuse to print overseas, it costs even more. Advertising has become extremely important to print mags at this point, even more than in decades past. Without the advertising income, a magazine like FM would be in a whole lot of trouble. 

Jessie with Forrest Ackerman

 And of course, the second thing that’s changed regarding the magazine arena is the aforementioned internet. There are countless web-only zines out there spreading the word and most any print mag worth its salt has a website to go with it as well as a forum where, hopefully, the magazine’s readers come to chat about the articles they’ve read and what they’d like to read about in the future.



 That part hasn’t changed. We still want to know what the reader wants information on so we can continue to have those people as readers.


 AP:  Why is horror a popular genre?  More so than most of the others, Horror seems to have a very active, committed community following and supporting it.  Why is that?



 JL: Because it’s fun. Because it’s easier to take than the evening news. Because it brings back memories of our youth, when times were better (they tell me) and life was simpler (they continue to tell me – it wasn’t you know, it just seemed that way because we were kids) and the world was new and fun. Horror helps keep the world fun. In the world we know today, that counts for a whole lot.


AP: Has the fact you’re a woman working in the Horror field been a benefit or hindrance, or maybe even both, in any way?   Do you feel like women contribute something different within Horror that men do and if so, what?


 JL: I get that question a lot and I’ve answered it a lot, but am happy to reiterate my thoughts on the matter for your readership. It’s amazingly important that people get all sides of this story. I seem to be alone in my thoughts here. There are a lot of women who really don’t like what I have to say so brace yourselves. This question always seems to generate a lot of letters.


 I wish to start by saying that my being a woman – and at the time I started in this business a rather comely wench at that (I’m old and fat now) – was never a problem for me.  God knows women have been in publishing for decades and while some may say that what I did in 1990 with Scarlet Street was no big deal because of the likes of Helen Gurley Brown (can’t imagine why they’d lump me into that august company, but there it is), the fact is that at the time I was the only female publisher in the horror market. That didn’t last long but for a short while that’s the way it was. So from the git go, my being a woman was a benefit because it was new. I had a different outlook than the boys did and Richard Valley, as editor, had a far different outlook than the other boys did. By 1990 when we put out issue 1, we were all so tired of the same writers writing the same stuff and commenting about each others’ work that we thought it might be time to shake things up a bit with some different viewpoints. We succeeded in that and after I left SS, Richard continued to shake things up in his own inimitable style. He’s gone now, but the legacy he left changed horror publishing forever and I’m proud to have been associated with that project and with him.


As to the second part of your question – and this is where the letters come from – may I say the answer is an emphatic yes. It’s called the mother instinct. Whether a woman has given birth, adopted or never had children, there is something inherent in the female of the species that nurtures. Men are not natural caregivers. Women are. Also, when it comes to beating on male monsters, women are better at it because it’s part of their natural defense mechanism. It’s the lesson life has taught many of us. Very few people out there are really interested in anyone but themselves. There are both men and women in this world that are out for whatever they can get. Being the “weaker” of the species – in theory, if not in fact – women are aware that men (and women too, let’s be fair here) will take any advantage they can and as a result, while a man meeting a man will assume an attitude of bonhomme, a woman’s defenses will always be up. A man can be blindsided by another man’s evil intent but a woman has a better chance of being prepared out of hand.


AP:  Horror films can be divided into many categories, one of those being classic monster movies.  Do you feel like the old Universal monsters still have a strong appeal today and if so, what do you think contributes to that?


 JL: Yes, in fact I know those old films still appeal in the 21st century. I believe they will appeal for decades, if not centuries, to come. Many things contribute to this, I think, and while this is all speculation on my part, it comes from a fairly rich education on the subject. There’s the nostalgia factor of course. When I was a kid, the ‘new stuff’ included the goodies that Roger Corman was putting out, like the Vincent Price Poe films. I saw those at the drive-ins and movie houses. At home though, on TV, I saw the classic horror flicks; those that starred Lugosi, Karloff, Chaney and later, Rathbone and Zucco to name just a few. Wonderful films in black & white, with scripts that were well-written, actors that took the roles seriously and delivered wonderful performances and directors that knew how to scare the pants off an audience – not to mention some really cool make-up.


I’m not the only Monster Kid out here you know. We are legion and many have had kids of their own. The parents still love the old movies and their kids – through the wonder of videotape and now DVD and Blu-Ray – are being exposed to these old favorites along with the new. A large enough percentage of them have fallen in love with the Universal classics and some of those kids – older now and with their own progeny – are showing the films to their kids.


 These films were very well done for the most part and the love of them will never die as long as we have recordings of them to show our children.


AP:   A current project you have in the works is a new take on FRANKENSTEIN MEETS THE WOLFMAN.  What details can you share about this, including format, creative team, where it will appear, etc.


JL: You know, of all the things I’ve worked on with Phil Kim, this project has to be my favorite. For 20 years or more I’ve simply been gaga for the artwork of Joe Jusko. I’ve had a mad fan crush on the guy just because of the spectacular renditions of the male and female forms divine. And his use of color is so wonderfully vibrant. I’ll never stop being in awe of those who paint. Jusko, Stout, Wrightson…. Can’t name them all here. There’s not enough room! These creatures come off the page at you when they turn their talents to paint and canvas, and you know that one night something is going to lumber off the wall and get you while you’re in bed… when Martin Powell started to lobby for the FMTWM project in one of the Retro issues, I – being a Powell fan – immediately started to lobby for it with Phil for Retro 71. Then Martin says to me, he says, “So Jessie. What do you think about the cover artist? I mean, do you know about Joe Jusko?” I almost died right then and there. What a perfect idea. What a spectacular choice. Oh, man! And Joe said yes. And Phil said yes. And I am one very happy camper. It’s like a dream come true. So, the format will be close to the original filmbooks from Forry’s day and that’s all you’re going to get out of me. I know Phil is hoping to have it for Comic Con, but it’s actual scheduled release is September of 2011. If we can get it done in time for Comic Con, we would be bringing a limited number for sale there. That’s’ the last I heard anyway.


AP:  We’ve talked about the appeal of the classic monsters already.  Specifically, though, what about this particular film adaptation do you think speaks to a modern audience?


JL: The fact is, there was no deep meaning in this film; not that I could see at any rate. The film says the same thing today that it said to the audience back then. Here are a couple of our monsters that you liked before. We thought we’d get them together for you and see what happens. Perhaps that statement will be seen as disrespectful by some, but it is the way I see it. FMTWM was discussed in the pages of Famous Monsters back in the day, but it never got a filmbook treatment. It struck us that it oughta have one and so Retro 71 seemed to be the logical place for it.


AP: As an editor, how do you make sure the tension and drama and fear that builds up in a horror movie translates well enough to the page to have similar effects?


JL: As an editor, you get the best writer for the project. When the writer presents the project and himself as the best writer for the job, you really don’t have to do much. Pretty much be sure all the words are spelled properly and that said writer doesn’t ramble off into areas not necessary to the project. I’ll tell you that working with Martin is quite possibly the easiest job I’ve had in 20 years. The fella knows his stuff. I guess that hardest part of the whole thing is figuring out what else goes in this issue with the filmbook.


AP:  Specifically about the creative team behind this project, what do Martin Powell and Joe Jusko bring to the process that makes them the best for the job?


 JL: I think other than what I’ve already stated earlier, they bring the thing back to life through the eyes of the children that they once were. Both of these men were so completely overjoyed to be doing this for Famous Monsters that it was almost laughable. Almost, but not quite – because I knew exactly how they felt. I felt the same way when someone told me that, yeah, I was the editor of Famous Monsters now.

AP:  Are there any projects for the magazine or yourself personally that you can or want to let our readers know about coming up in the near future?



JL: Oh absolutely! My favorite personal project is issue 3 of Mondo Cult, the magazine I edit for Brad Linaweaver. It’s a completely different gig from FM. I’m looking forward to being able to write about music again, and in a publication that is written for adults. FM is written as a strictly family friendly magazine, which is only proper as that’s where it started out and the idea was to bring FM back in the same vein as it always was. Mondo, on the other hand, started out as a magazine of which I am Editor-In-Chief and I don’t censor my writers. I never pretended the thing was for kids so the language you will find in the pages of Mondo is usually a bit more ripe than that which you will find in FM.


This issue of Mondo Cult is going to rock. I’m really excited about it because I’m finally putting my piece on Black Zoo together. I’ve wanted to write about that film for years and now I have my chance. I think I’ve got a little something to discuss about this film that hasn’t been touched on before. It has to do with women again. What a surprise. Ron Garmon is going after DeSade and Medved and Brad Linaweaver is going after the world in general. Paul Gaita is back as Music Editor and all is right with the world. The best thing though, is the cover. It’s by L.J. Dopp but that’s all I’m going to say about it. You’ll just have to be surprised along with everyone else. We’ll have it on the stands by the end of the year.


 AP:  Thank you so much for your time, Jessie!


 JL: As I said before, it’s my pleasure. Thanks again.

ALL PULP INTERVIEWS PULP ARTIST JOE JUSKO!

AP:  Joe, Welcome to ALL PULP.  First, tell us a little about yourself please, sir!
JJ: Thanks! I’ve been a professional illustrator since 1978 when I sold my first cover to Heavy Metal magazine at the age of 18. Since then I’ve worked for just about every major comic company producing everything from covers to posters, trading cards, and fully painted sequential stories.
AP:  You are involved in the FRANKENSTEIN MEETS THE WOLFMAN project coming up in FAMOUS MONSTERS OF FILMLAND magazine.  How did you get to be a part of this adaptation?
JJ: Facebook is a wonderful thing! Martin Powell and I follow each other’s pages and realized we both had a love all things monster in common, particularly the old Universal Monsters films and Famous Monsters of Filmland magazine. Martin contacted me to inquire as to my interest in painting the cover to his filmbook adaptation for FM and I jumped at the opportunity! I have wanted to see that Famous Monsters masthead over a piece of my art since childhood. I can’t believe after all these years it’s actually happened! Cross one more thing off of my bucket list!
AP:  The cover you’ve done for the magazine the adaptation will appear in looks fantastic.  Was there any particular scene or maybe even other influence you drew inspiration from for that cover?
JJ: Well, when you think of that film the (much too brief) climactic fight is invariably the first thing that comes to mind. If you were going to paint one image to represent the movie that would have to be it! I had seen it painted before but without the surging water from the exploded dam. That is such a dramatic element I knew from the very start I’d be including it in the painting. I had thoughts about showing the dam blowing up through a window but decided against it for compositional and narrative reasons. If you know he film you know where the water is coming from and if you don’t maybe you’ll want to find out.
AP:  As an artist, can you outline your process of creating a painting or drawing for a project?  Are there any steps you go through, any particular techniques you use each time?
JJ: Geez, that is such an involved answer. Actual steps vary from piece to piece but in general I first try to determine what scene will make the most effective and eye catching image for the cover. It’s my job to get the potential reader to pick up the magazine in the first place. Once I decide on a scene I’ll work up a quick layout or two to see if my idea will work. I very seldom do more that one or two because my instincts are pretty well honed by now and I pretty much feel my first idea is always my best. Ninety percent of the time, at least.  I’ll then send the sketch the editor/AD for approval and then proceed to the final art. I either photograph or gather the reference I’ll need for a particular job (in this case I scoured the internet and shot screen grabs from a DVD) and refine the initial idea before proceeding to paint. I work exclusively in quick drying acrylics which I find suits my temperament as I’m a very impatient painter and dislike waiting for stages to dry. I then scan the final art, clean it up in Photoshop and send it off to the client.
AP:  What appeals to you as an artist about the monsters like Frankenstein and the Wolfman?
JJ: For me it’s the nostalgia and visual interest of the films. I think the Universal Monster series had some of the most imaginative set design and atmospheric cinematography that gave them a very unique look and feel. Many have tried to emulate them but never really seem to come close. Jack Pierce’s make up also set the standard for how those creatures should look. When you think of Frankenstein you think of Boris Karloff, not Kiwi Kingston.
AP:  One question some might ask about this project is relevance.  Is this a project aimed at old fans of classic monster movies or is it a project that hopes to bring in new fans?  What role do you feel art plays in that?
JJ: Let’s face it, Famous Monsters has a fairly classic, older fan base. While I truly hope the revised magazine and the art will generate new interest among a younger demographic, based on how little interest my fiancee’s 18 year old son has in reading magazines of any kind, B&W movies or anything not digitally enhanced I’m not sure. I know that many of my friends who are painting covers for FM’s current incarnation are doing it for the coolness factor and some very fond childhood memories. We are just beside ourselves to be on the cover!
AP: Art plays a major role in Pulp Fiction, both historically and even in New Pulp work.  Do you consider yourself a pulp artist and if so, why?
JJ: In many ways I do, and I often lament the fact that I was not working in the 60’s when pulp art was so prevalent in paperbacks. I am the biggest fan of artists like Robert McGinnis, Bob Abbett, Robert Maquire and Mitchell Hooks (among many others). I would be content painting pulp and genre covers all the time. I’ve done a lot of superhero work over the years but my real love is pulpy, noirish material. All the Conan covers I’ve done as well as the Edgar Rice Burroughs work definitely falls into that category to be sure.
AP:  What other projects do you have in the works that might be of interest to our Pulpy audience?
 JJ: Harkening back to the previous question I’m actually producing a series of faux 60’s style paperback images for a proposed calendar, and Im having a blast! I’m also currently painting the monthly covers for Dynamite Entertainment’s adaptations of Edgar Rice Burroughs’ Barsoom series. You can’t get much pulpier than that! I also may be illustrating the first two Tarzan novels for the 100th anniversary but that is still uncertain as of this time.
AP:  Joe, thanks for your time!
JJ: My pleasure!

SPIDER Comic Writer Offers Body Count Contest!!!

Martin Powell, writer of THE SPIDER comic series from Moonstone, offered readers and chance at an unique prize this week. This contest was set up in celebration of Moonstone’s THE SPIDER #1 hitting the stands this week. 

From Powell-

SPIDER Contest! Win an official SPIDER insignia ring! Okay, for all of you following my new SPIDER comic book series (first issue on sale today!), here is the challenge: Guess the body count! That’s right. Whichever reader comes the closest to numbering the SPIDER’s fallen prey–after issue # 6, concluding the first year’s storyline–will win this cool SPIDER insignia ring, polished up and packaged by Nita Van Sloan herself! So buy THE SPIDER # 1 and start paying attention to those falling, bleeding bad guys!

At the conclusion of THE SPIDER # 6, the body count should be sent to me on Facebook. Whoever comes closest to my own calculations wins the ring!