Tagged: Marvel Comics

DENNIS O’NEIL Dons Bardo

You guys know what the word “bardo” means, right? You don’t? Oh gosh, I’m sorry. Last week I threw a Catholic factoid at you and this week I’m hitting you with something from Tibetan Buddhism which, for pity sake, isn’t even Christian! (What is wrong with me? Why can’t I just pass the test, toss the text, and cruise down to Steak’n’Shake like the rest of the kids?)

Never mind. Here is a definition of “bardo” provided by my favorite oracle, Wikipedia:

The Tibetan word Bardo means literally “intermediate state“ – also translated as “transitional state” or “in-between state” or “liminal state.” Used loosely, the term “bardo” refers to the state of existence intermediate between two lives on earth…The term bardo can also be used metaphorically to describe times when our usual way of life becomes suspended, as, for example, during a period of illness…

The jury is still out – way, way out – on the “two lives” business, but the bardo concept is a useful expression of something most of us experience, sometimes often. The in-between place. The “what-happens-next” region.

This time of year is bardo territory. Between the seasons. Between warmth and cold. Holidays are past and…now what?

My personal bardo? Well, last fall the Brigade of Evil Kidney Stones attacked and sent me to the hospital four times and resisted counterattack – we’d say “valiantly” if they were the good guys. State-of-the-art medical science has been only partially successful against them. I imagine the last one, who may or may not be still lurking in my innards – the X-Ray is yet to come – standing boldly and snarling, You throw sonic waves at me, puny mortal? I spit on your sonic waves!

Doctor Doom, eat your heart out.

I began teaching my NYU course last week, thus hauling myself from the between-semesters bardo.

The world of comic books is also emerging from a bardo, kind of. DC’s relaunch of its entire superhero pantheon is past. The new stuff is making its way apace, with, already, a few casualties and a few replacements. Both DC and Marvel seem to be doing some kind of reorganization. (Full disclosure: This is a guess – less than a guess: I couldn’t be further out of the loop if I lived on Pluto.) The effect of the new technology on our favorite narrative medium is still a big question mark. (By the way, I’m having difficulty learning about said technology. Wonder why.)

It’ll all be resolved, soon or late, and the bardos will come and go…

But look! Down there! The space between the end of this column and the beginning of the next! What the heck is that? Do you think it could possibly be…?

RECOMMENDED READING: I first encountered the word “bardo” as part of a title “The Bardo Thodal, often translated as “The Tibetan Book of the Dead.”  My sketchy understanding of it is that this is a set of instructions for the newly dead to help them negotiate the afterlife. It had a vogue among the counterculture in the fabled Sixties and then dropped off my radar. So maybe this is not a recommendation, but rather a mention; now you know the thing exists.

FRIDAY: Martha Thomases


MIKE GOLD: The Curious Case of The Ghost Rider

Last week, the Internets were all aflutter with the story about how Disney/Marvel successfully defended itself against Gary Friedrich’s Ghost Rider lawsuit. This was hardly surprising. Just ask Marv Wolfman or the ghost of Steve Gerber.

Then Disney/Marvel turned around and demanded $17,000 from Gary for the Ghost Rider prints he sold at comic book conventions – you know, just like hundreds of other artists do at every artists’ alley at nearly every comic book convention held in the past decade. This was very surprising. And quite disgusting. Not to mention overwhelmingly petty.

Well, those of us who followed Disney’s Air Pirates lawsuit weren’t surprised at all, but that’s another story.

When Gary filed his appeal and the noise went into the can for a while, I whipped out Marvel Spotlight #5.  On that very first Ghost Rider story, the credits read “conceived and written by Gary Friedrich.” (Emphasis mine.) That was unique for comics at that time. The lawyers discouraged publishers for printing creator credits lest said creators pull what is affectionately known as a “Siegel/Shuster.” I remember being a bit surprised – perhaps impressed is the better word for it – back when I read that issue back in 1972. Nonetheless, Gary lost his case.

This wasn’t the only thing that surprised me. I was also surprised that Marvel plowed over the name of their western hero, first and last seen in his own seven-issue series back in 1967. It was a clever use of recycling intellectual property.

I remembered that Ghost Rider rather fondly. It was a good, solid macabre western character told in then-contemporary Marvel style featuring some of Dick Ayers’ best art in years. So I whipped out Ghost Rider #1, cover-dated February 1967. And then I took a look at the credits.

Please note that both Ghost Rider origins were edited by the same person, a guy named Stan Lee. And Roy Thomas was involved in both – as co-dialogist on the western, and as “aider and abettor” on the motorcyclist. And Gary Friedrich was a writer on both.

That didn’t give Gary any legal coverage, but it’s an interesting chain-of-evidence. Core to the issue of who owns what – in a moral sense but not legal – is the derivation of the original Ghost Rider. The first one. The one before the two published by Marvel Comics.

The one that was damn near exactly the same as Marvel’s western, right down to Dick Ayers’ artwork and design. The one that was published by Magazine Enterprises in various of their titles, including one called “Ghost Rider.” That one lasted twice as long as Marvel’s. The feature got its start in their Tim Holt title. This original version was, as noted, drawn by Dick Ayers and written – some say created – by editor Raymond Krank, who later replaced himself with Gardner Fox. Many of those Tim Holt covers were drawn by Frank Frazetta, who also illustrated a Ghost Rider text story.

This wasn’t the first time Marvel assumed the name of a character they did not create, as geriatric Daredevil fans know all too well. But that, too, is another story.

Ghost Rider has had an interesting history, one that isn’t over. It’s a good example of how the whole comics creation thing is a can of worms. Jerry Siegel and Joe Shuster created Superman and Clark Kent and Lois Lane, but they did not create Perry White, Jimmy Olsen, and Kryptonite, among a great, great many other vital Superman concepts. If their estates wind up owning Superman, what happens to Perry and Jimmy and the rest?

Good grief. Back in the day, nobody was supposed to take all this seriously. But I think I know how either version of the Ghost Rider would have handled it.

Screw the lawyers. We’ve got us our six-guns, and one mother of a bike.

THURSDAY: Dennis O’Neil

John Severin: 1921-2012

John Severin, Eisner Hall of Fame winner and one of the last of the legendary EC artists, died Sunday in Denver, Colorado. He was 90.

Severin was among the greatest draftsmen of the EC crew. He was especially well known for his western comics and war comics, but worked across many genres, including a 45 year stint drawing for Cracked magazine, doing numerous parodies and creating the definitive version of the company mascot, janitor Sylvester P. Smythe.

In recent years he had continued to work, with his last new material coming from Dark Horse last year on Sir Edward Grey: Witchfinder.

His family has released a statement:

Internationally acclaimed illustrator-­cartoonist, John Powers Severin (1921-­2012), passed away Sunday, February 12, 2012 at his home in Denver, Colorado with his family by his side.

He was 90 years old.

Throughout his sixty plus year career in comic illustration and cartooning, Severin gained world-­wide notoriety and is regarded by many fans, friends, historians, and colleagues as a truly distinctive and brilliant artist.

Long-time friend and former president and chairman of Marvel Comics, Stan Lee states, “He had an art style that was uniquely and distinctly his own.The minute you looked at his artwork you knew you were looking at a John Severin illustration; it could be no one else. Besides his inimitable style, there was a feeling of total authenticity to whatever he drew, whether it was a Western, a crime story, a superhero saga or a science fiction yarn. Not only was his penciling the very finest, but his inking, too, had a distinctive Severin touch that made every strip he rendered stand out like a winner”.

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JOHN OSTRANDER: Ghost Rider – What Is Owed?

Denny O’Neil used to have a T-shirt that proclaimed “Growing old is not for sissies.” As I get older, the hard truth of that keeps coming back to me. Case in point.

Two days ago, there was an article here in ComicMix about Gary Friedrich who lost his case against Marvel about participation in the monies made from the movie (now movies) of Ghost Rider, which he created at Marvel. Among other reasons cited by the judge, U.S. District Judge Katherine Forrest, was that Friedrich gave up his rights to the character when he signed checks that had, above the signature line, language requiring him to give up any rights to the character.

I’ve done that, too. You had no choice in the matter in those days. If you wanted to cash the check, you had to endorse it and you had to endorse it beneath the legal crap. There was no negotiation, there was no discussion. It was, to be blunt, coercion.

The name, Ghost Rider, had also already been used at Marvel as one of the Western characters they had – said character, again, being created by Gary Friedrich. Friedrich also had to sign a document giving up all rights – and why wouldn’t he? This was seven years before the first Superman film with Christopher Reeve showed up, six years before George Lucas made Star Wars and showed there was a ton of money to be made off of ancillary rights such as toys et al. You signed those documents because that’s what was necessary to get the work. No movies were being made, no toys were being made, there were no video games – the only money to be made was from the work itself. There was no indie market in those days where you could take your ideas. You made the deal that was there to be made.

The judge had to base her decision on what were the legal facts – and they said that Marvel owed Gary Friedrich nothing. Without Friedrich, however, the property doesn’t exist. From all reports, he’s not in good shape. He could use the money – even a taste.

What is he owed?

Injury to insult department. The judge has not only told Friedrich to stop saying he created Ghost Rider, he was ordered to pay Marvel seventeen grand in damages.

Friedrich owes Marvel $17,000.00!

He’s not the only freelancer in this position. Years ago, I saw Gene Colan and his wife at a convention and I steeled myself up to go say hello to someone I thought (and think) was one of the unique great talents in the industry. He was having eye troubles at the time (with which I would come to completely empathize) and he was, to be honest, a little angry and bitter. Like other old pros, he felt cast aside and forgotten by the industry and he warned me to make sure I had money in the bank or find something else I could do. I wish now I had taken his advice more strongly.

This is not to say there are not groups like the Hero Initiative out there who do tremendous work in helping people who have given to the industry but there are financial limits to what they can do. There is no equivalent to a union or a guild in this industry; if you even think of starting one, you’re gone. John Broome, fabled writer in the Silver Age, found that out.

What is owed to any of those who built a company, built this industry, and then got left behind?

I won’t pretend; I’m more or less in that boat and it scares me. I’m luckier than some; with Amanda Waller, who I created, I’ll see some participation for her use in the Green Lantern movie, just as I did for her use in Smallville and Justice League Unlimited. I think that’s fair and, fortunately, legally binding. Thank you, Paul Levitz.

But what about others, like Gary Friedrich, who worked before there was any such notion? There is, as always, a wide distance between what’s legal and what’s right.

What is owed to those who came before, who did the work on which later, more lucrative, works are built? The contracts, the law, says nothing is owed.

Does that seem right to you?

It doesn’t to me.

If you agree, tell Marvel, tell their parent company, Disney, that they owe the creator something, contract or no contract. Fans can do something and it can be effective. Gary Friedrich isn’t one of the big, great names in comics. But he created Ghost Rider and, legally or not, they owe him.

It’s what’s right.

MONDAY: Mindy Newell

 

MARC ALAN FISHMAN: Fantastic Flop – How I’d Reboot Marvel’s First Family

So I found myself with a bit of time to kill while my wife and mother-in-law went out and about for lunch. My week-old son and I decided it was time to enjoy a bit of cable TV goodness. A quick surf left with me few options. Food Network was showing yet-another cupcake show… USA was playing that episode of Everybody Loves Raymond where his wife is a shrew and his mother annoys him, and TBS was on Tyler Perry’s Black People Watch Everything I Put Out, Not That It’s Good. And FX? Callooh-Callay! They had on the Fantastic Four movie from a few years back. Given that I was still sporting half a nerd-boner for the Super Bowl Avengers spot, and the recent web-release of The Amazing Spider-Man trailer, FF seemed like the perfect way to wet my whistle for a bit of comic goodness.

Granted, I’ve seen the movie a few times. Saw it opening weekend, and didn’t hate it. Didn’t love it either, but somehow, it was one of those guilty “Hey, if it’s on, it’s really not that bad is it?” pleasures. A few hours later, my favorite ladies returned to a house with both their boys rife with a case of the cranky pants. I’m pretty sure my son Bennett had pooped himself. I didn’t have a mess in my trousers, but I had a tear in my eye. Seems I crossed that threshold where the movie stopped being “worth” the free cable viewing, and slid right into “Good lord, people paid money for this crap?” zone.

I could spend the remainder of this column dissecting how putrid the FF movie ended up being. But it’s old-hat, right? So, why not make this a turn for the positive. I’d like to outline four things Marvel can do to reboot the familial franchise into something… dare I say… more fantastic.

1. Explore the emotional origins as well as the basic plot points. We all know the bullet points by now, don’t we? On an outer space adventure… they got hit by cosmic rays. And that moment changed forever… in the most fantastic ways. No need to fear, their here… just call the four! Sorry, it was a damn catchy theme song. Suffice to say, the rocket ride with Kirby dots isn’t ALL that the origin of the FF is. You have romance between Sue and Reed. You have Ben, the stalwart pilot. Johnny, the joker, and comic relief. While these points were hit on in the last iteration, we miss the history. Use flashbacks (ala Batman Begins) to enhance our emotional ties to the characters. It’s not a race to the whiz-bang-special effects, when you have solid characterization. And each of the Four present a solid opportunity for fun beats.

2. Ditch the “We’re learning to use our powers until it matters at the end” montage. Face it. What killed Green Lantern (OK, one of the things that killed it…) was the age-old power development plot line. A solid 45 minutes of the last FF movie spent time building the revolvers it would later shoot at the movie’s climax. It’s just not needed. When you cross over into the sci-fi, plausibility takes a backseat to adventure. If we took time to dissect the fact that Luke Skywalker was able to get a shot into a teeny hole on a battle station that decimated nearly all of his backup (who were all far more experienced fighter pilots)… we’d go mad. Once you accept that “Comic Rays” can turn one man into a walking pilot light, and another into silly putty, you don’t need to spend an hour back-peddling to make us “believe” they’ll know what to do when it’s clobbering time.

3. The big villain? Mole Man. Follow me down the rabbit hole if you will. Batman Begins took a venerable B-Lister in Ra’s Al Ghul as its first antagonist. It was a smart choice. As Nolan said in countless interviews, the villain suits the arc the hero takes across the movie. In Spider-Man 2 (easily the best of Raimi’s Marvel contributions), we got a brilliant update on a pretty mort-worthy villain. And because Peter was learning to have balance in his life during the course of the movie, Doc Oc was a perfect foil. The Fantastic Four have a pretty decent rogues gallery. It’s easy to want to jump immediately to Doom or Galactus. But the first in a franchise needn’t aim so high. In both cases, those villains would outshine the stars of the film. First and foremost, it’s the FF that people should be ooohing and aaahing over. With Mole Man you have an obvious foe who will test the Four and their ability to become this odd family unit of world-savers. The villain fits the arc, as it were. Plus, it gives us a chance to recreate that iconic first issue cover on the big screen. And you know that’d be the bee’s knees.

4. Casting. Most every comic book film lands an amazing cast… even if they don’t get utilized properly. I didn’t hate anyone in the last FF iteration per say, but let’s be honest – Ioan Gruffudd looked OK but lacked the cockiness-by-way-of-supreme-intelligence. Jessica Alba was there for eye-candy only. Chris Evans stole the show, Michael Chiklis looked the part, but had no Yancy Street swagger. Ole’ Blue Eyes needs have a definitive balance between boisterous banter and tragic pathos. Some of this could easily be the scripting, but let’s say I was a casting agent? I’d cast accordingly: Jon Hamm as Mr. Fantastic. Uma Thurman as Sue Storm. Breaking Bad’s Aaron Paul as Johnny Storm. And Brendan Fraser as Ben Grimm. Hamm can pull off “the smartest man in the room, with ease. Thurman is equally weighted when on screen (and can pull off shorter hair, and heroic). Paul can sling insults, and certainly could look the part… And Fraser, who I know most would say is a stretch, is built big, can pull off a New York accent, and has more potential than most nerds give him credit for. And as my Mole Man? Paul Giamatti. He’s damn good in everything.

So there you have it. I know a new FF movie is already in the works… here’s hoping someone over at Marvel is trolling my articles, and a few of my hopes and dreams gets swept into the pre-production fracas. What do you think? Voice your opinion below, true believers!

SUNDAY: John Ostrander

A Petition to Nicolas Cage: Support Ghost Rider’s Creator Even If Marvel Won’t

A Petition to Nicolas Cage: Support Ghost Rider’s Creator Even If Marvel Won’t

  • News
  • February 10, 2012

Cover of "Ghost Rider (Extended Cut) [Blu...Karalyn Johnson has started the following petition:

Dear Nicolas Cage,

I have read that you are very dedicated to making Ghost Rider II a success, so much so that you have taken a hefty pay cut in order to get this film made. Unfortunately Marvel Enterprises has won a settlement of $17,000 from artist Gary Friedrich (I am sure you know Mr. Friedrich is one of the creators of the Ghost Rider character).

Marvel winning a lawsuit against a financially destitute and unemployed senior citizen who helped create the iconic character that is the subject of the movie you care so deeply about has created a distinct antipathy toward your project. The negative effect Marvel’s lawsuit has caused is perhaps far greater than you know. Facebook and Twitter are aflame with negative comments, petitions and people urging others not to see your film solely because of Marvel’s treatment of Mr. Friedrich. You stand to lose millions because of the public relations disaster Marvel has caused.

Mr. Cage, I know how you can personally overcome this PR nightmare, save your movie and make yourself a true hero in the eyes of the comics and movie-going public. Do you want that and more positive publicity than you have ever had? All it would take for you to be a true hero to millions of people is $17,000. That’s less than the price of a car. Give $17,000 to Mr. Friedrich so that he can pay Marvel. Save your movie by saving Mr. Friedrich.

My best regards to you, Mr. Cage. I hope to see you at the movies.

Sincerely, Karalyn Johnson

ComicMix supports this wholeheartedly. As Marvel would put it themselves, ‘Nuff Said. (And now Marvel can sue us too.)

 

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MICHAEL DAVIS: David

When I was a kid around 12 years old I met another kid around the same age while at the library. This was a big deal because I was black and he was white and I had no white friends, so at the time this was an historic meeting for me at the time.

We were both at the same table at the library both working on a book report. We regarded each other only with sly looks while trying to avoid eye contact with each other. I lived in a housing project and I just knew that David lived in the real nice houses that were not to far from the projects in distance but light years away in lifestyle. For about an hour we played that cat and mouse “look, don’t look” game.

We played that game until David put away his notebook and replaced them with a stack of comics that could choke a horse. I’d never seen that many comics outside of my home. Never had I seen anyone carry that many comics around.

Then I noticed something incredible. All the comics were brand new. I’ve carried comics around with me on many an occasion: grandma’s house, dentist’s office, car trip (which I only did once because I can’t read in a car; it gives me the worst headache, even now) or to a friend’s house to trade.

Whenever I’ve carried comics around, they were never a stack of new comics – never. At 12 I don’t think I’ve ever brought more than three comics at one time. Not that I didn’t want too; I just could not afford it. Now, here in front of me were at least 30 brand new comics that this snot nose white kid was showing off.

I did not want to stare but I could not help it. I was mesmerized by the wealth of comics this kid had in his possession.

I hated that kid.

I hated that I had one comic on me that had no cover.

I hated that I wanted to ask to read some of his.

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MARTHA THOMASES: Copyrights … and Copywrongs

MARTHA THOMASES: Copyrights … and Copywrongs

Last week, ComicMix, along with most of the Internet, protested against SOPA and PIPA, two bills that would have seriously compromised our ability to use the web to share information … and gossip … and pictures of cats.

The protests were so widespread that Congress backed down and sent the bills back to committee. It was a victory for those of us who spend all day enthralled by our computer screens, and, more important, it was a victory for the free exchange of ideas.

Still, I can understand the motivation behind the bill, despite how crudely and ham-handedly it was written. The purpose was to protect intellectual property. As a writer, I enjoy getting paid for my work. It would make me grumpy if someone else made money from my efforts and didn’t include me in the payday.

If anything, this hubbub shines a light on our wonky and unfair copyright laws. The purpose of copyright is not only to protect the rights of creators, but also to encourage creativity in a capitalist system. If my writing can make me money, I’ll be encouraged to write more. The same is true for songwriters, artists, choreographers, filmmakers, and comic book crews.

Unfortunately, our particular version of the capitalist system doesn’t work that way.

Songwriters, for example, collect royalties from those who record (and then sell) their songs. In many, many cases, they are not able to get their work published without giving away a large percentage (usually as a co-writing credit) to the publisher. As a result, a lot of musicians don’t care if their work gets downloaded illegally, because it increases their audience and they can make more money – which they don’t have to share – on tour.

On a larger scale, this is true in movies and television. We’ve all heard the stories about actors, directors or screenwriters who supposedly have profit participation in their films, but the studios claim there are no profits.

In comics, at least in so-called mainstream comics, the price for a chance to work for a company that would distribute your creation was your copyright. The most famous example is Siegel and Shuster’s Superman. Things have improved, and if you work for Marvel or DC as a creator, you can now get health insurance and a contract (so you can get a mortgage), but you will still most likely have to agree to work for hire.

The major media corporations try to defend their anti-piracy efforts by saying they are protecting creative people. If only. As Kyle Baker  recently explained, the entertainment conglomerates treat creative people as interchangeable widgets. If one artist wants a living wage, ship the job overseas.

[youtube]http://www.youtube.com/watch?v=1zJVnmpYR7U[/youtube]

The Internet should make it easier for artists to communicate directly with their audiences, without paying the toll of working for a Disney or a Murdoch. It should level the playing field for all entrants.

It should also reduce the price of an admission ticket. Just ask Louis CK.

SATURDAY: Marc Alan Fishman

MARC ALAN FISHMAN: Make Mine Valiant

So, I’ve spent the last few weeks ranting and raving about DC. And face it, there’s still plenty there to mine. From their recent canning of six titles and announcing six more (none of which I think will last a year) to their recently leaked ”sticker logo”… I could have a field day continuing to bash and dash. But alas, I grow weary of being hypocritical. I bitch and moan about them a ton, yet the majority of the cash flowing out of my pocket to frivolity generally concerns a majority of DC books, and related merchandise. So, for now, I’m waving a white flag, and turning my gaze elsewhere. Somewhere dashing, daring, and dare I say… Valiant.

On May 2nd, Valiant Comics will be reborn. Their flagship title, X-O Manowar, will hit the shelves. I will admit freely to you all that I know nothing of the Valiant universe. Let’s quickly Wikipedia that, for those in a similar boat. Wow, what a story! In 1989, Jim Shooter, one of the Allman Brothers crew, and some other financiers tried to buy up Marvel. They didn’t get it. Thus Valiant was born! They got a few heavy-hitters, and released a line of books. In 1994, they got dumped by their initial investors, scooped up by then-important video game creator Acclaim, and died a slow and boring death as their continuity-heavy line became too heavy a load to bear. Legal battles and the like kept things grounded for a while, but as you’ll now note: it’s all been solved, and the line will reconvene with Free Comic Book Day 2012. And due largely to some lackluster books by DC, and Marvel’s Next-Big-Waste of Time, I’m at a loss for why I shouldn’t take this as a sign to give Valiant a shot.

A recent press release for the budding brand hyped the announcement of the creative team for X-O. Surrogates scribe Robert Venditti and Conan artist Cary Nord will unite to bring us a tale of a time-lost ancient warrior given amazing future technology and plopped on the populace in 2012. Color me intrigued. I happen to love the Surrogates original graphic novel, and sneak peaks at the pencils of Nord show me that the book will look amazing to boot.

But this leads me to the bigger question. What is Valiant’s battle plan? Will they rise up and be a contender with the Big Two? I doubt it. The marketplace is crowded as it is. Image, Dark Horse, IDW, Dynamite, Avatar, and Boom! all struggle to keep a cohesive line. Face it, each of those aforementioned second stringers all have one or two big fish, and then spread themselves thin on bargain-bin fodder from licensed properties that appeal to the niche audiences. Well… the niche of this niche, if you get my drift.

Mind you, I’m not trying to poop on the parade, I’m just wary for any “line launch” in a continually crowded comic rack. And a subsequent Google search doesn’t even have the company site at #1 in the rankings. What appears to be a company website is just a form with “Notify Me!” on it. Bad mojo my friends.

Let us consider Boom! Studios’ Stan Lee line, launched in 2010. Four books with solid concepts released very close to one another. The critics didn’t quite rave about any of them, and I rarely hear anyone discuss them at the shop when I pop in on new comic book day. Valiant certainly has picked a good time to strike, but I’m hoping it’s done more intelligently. Case in point?

Boom’s other cash cow, the Irredeemable universe. Launched as a single amazing comic, smartly spun off into a single other title that has refrained for years before crossing directly into one another. Join that to a solid base of fans consistently purchasing the book due to high standards of art teams and consistent writing… and you have something worth copying. While I myself have recently stopped my subscription to Irredeemable, I don’t knock those still following on. It’s the kind of model I hope Valiant is paying close attention to.

Ultimately, X-O Manowar‘s release got me genuinely excited for a new title to latch on to. With a strong creative team announced, and DC and Marvel knee-deep in their own crapulence, Valiant stands to gain a following again. If they stick to releasing solid books, refrain from event-driven releases, and put their books out on time… I see no reason why they won’t stick around for a long while.

Also, they should hire Unshaven Comics.

SUNDAY: John Ostrander

PULP ARK AWARD VOTING HAS BEGUN!

  • News
  • January 19, 2012

Tommy Hancock, Pulp Ark Coordinator, announced the end of nominations and the release of the ballot for the second Pulp Ark Awards to be given out at Pulp Ark 2012 in Batesville, AR, April 20-22, 2012.

“We had a fantastic turn out in terms of nominations again this year,” Hancock stated.  “More than 25 publishers represented across the board, this is a ballot that truly reflects not only the popularity that Pulp has today, but also the variety and creativity within the field.”

Listed below is the Ballot qualified voters received today.  Only those who nominated a work or individual in one of the categories are qualified to vote.  Voting will end on February 20, 2012 with winners announced soon after.

If you did nominate someone and did not receive a ballot, please email Hancock at proseproductions@earthlink.net and this will be corrected.

There will also be a Pulp Ark 2012 Lifetime Achievement Award given. This will be selected by a committee already chosen and results will be announced on or before February 21, 2012.

Best Novel Nominees

Yesteryear by Tommy Hancock-Pro Se Productions

Deadly Games by Bobby Nash-BEN Books

The Damned Thing by Barry Reese-Wildcat Books

Wake of the Red Mistress by Teel James Glenn-Eternal Press

Sentinels: Stellarax by Van Allen Plexico-White Rocket Books

Damballa by Charles Saunders-Airship 27 Productions

Hammered by Kevin Hearne-Random House

Viktoriana by Wayne Reinagel-Knightraven Studios

Misty Johnson, Supernatural Dick in Capitol Hell by R. P. Steeves-Seven Realms Publishing

Truly Deeply Disturbed by Andrew Nienaber-Postmortem Press

The Halloween Legion by Martin Powell-Wildcat Books

Dark Destiny by Jeff Melton-Jeff Melton

The Wild Adventures of Doc Savage-Desert Demons by Will Murray-Altus Press

Fortune’s Pawn by Nancy A. Hansen-Pro Se Productions

Challenger Storm: Isle of Blood by Don Gates-Airship 27 Productions

The Myth Hunter by Percival Constantine-Pulpwork Press (?)

Knight Moves by John G. Hartness-Falstaff Books

Arron of the Black Forest: The Haunting of Dragon’s Cliff by Phil Athans and Mel Odom-Arron of the Black Forest Partnership

Best Collection/Anthology Nominees

The Adventures of Fortune McCall by Derrick Ferguson-Pro Se Productions

Lance Star: Sky Ranger Volume 3 by Various-Airship 27 Productions

Blackthorn: Thunder on Mars by Various- White Rocket Books

Hugh Monn, Private Detective by Lee Houston, Jr- Pro Se Productions

Shadows of New York by Teel James Glenn- BooksforaBuck.com

The Adventures of Lazarus Gray by Barry Reese-Pro Se Productions

How the West was Weird II by Various-Pulpwork Press

The Game by Various -Seven Realms Publishing

The Beer Chronicles: Tales from the Paddy Rodriguez Pub by Scott Lange-Postmortem Press

The Avenger: The Justice Inc. Files by Various-Moonstone

The Rook Volume Six by Barry Reese-Pro Se Productions

Sherlock Holmes Consulting Detective Volume 3 by various-Airship 27 Productions

Mystery Men and Women Volume 2 by Various-Airship 27 Productions

Four Bullets for Dillon by Derrick Ferguson-Pulpwork Press

Dreams of Steam II: Brass and Bolts by Various-Kerlak Publishing

Best Short Story Nominees

 “Sting of the Yellowjacket” By Howard Hopkins from the Green Hornet Casefiles-Moonstone

Red Badge Attacks by Mark S. Halegua and Andrew Salmon from Mystery Men and Women Vol II-Airship 27 Productions

Sherringford Bell: The Scandal of the Bohemian by Ken Janssens from Pro Se Presents #1-Pro Se Productions

A Bargain with Bandit Ping by Teel James Glenn from Tales of Old Magazine-Tales of Old


The Adventure of the Towne Manor Haunting by Andrew Salmon in Sherlock Holmes, Consulting Detective, Volume 3-Airship 27 Productions
Gunmen of the Hollow Earth by Joel Jenkins from How the West Was Weird: Campfire Tales-Pulpwork Press

Vengeance is Mine by Ron Fortier from the Avenger: The Justice Inc Files-Moonstone

Storms of Blood and Snow by Derrick Ferguson from How the West was Weird Volume II – Pulpwork Press

Misty Johnson and the Monsters of the Caribbean by R. P. Steeves from The Game- Seven Realms Publishing

Sewer Rats-C. Bryan Brown from Dark Doorways: Best of Post Mortem Press-Post Mortem Press

Death with a Glint of Bronze by Sean Taylor from Dreams of Steam II:Nuts and Bolts-Kerlak Publishing

Bastion of the Black Sorcerer by Van Allen Plexico from Blackthorn: Thunder on Mars-White Rocket Books

Summer of Death by Barry Reese from The Green Hornet Casefiles-Moonstone

Clockworks by William Preston from Asimov’s-Asimov’s

The Devil’s Workmen by Barry Reese from The Avenger: The Justice, Inc. Files-Moonstone

Shortages-Lee Houston Jr. from Hugh Monn, Private Detective-Pro Se Productions

Dock Doyle by Adam Garcia from Mystery Men and Women volume 2-Airship 27 Productions

The Hunter Island Adventure by Wayne Reinagel from Pro Se Presents #3-Pro Se Productions

Felony Fists by Paul Bishop-Fight Card

Romney Marsh, The Scarecrow of Space by Phil Bledsoe-Phil Bledsoe

Dillon and the Bad Ass Belt Buckle by Derrick Ferguson from Four Bullets for Dillon-Pulpwork Press

The Real Magic by H. David Blalock from Dreams of Steam II-Kerlak Publishing

Beast of the Black Hills by Tony Wilson from How The West was Weird II-Pulpwork Press

Best Cover Nominees

Challenger Storm: The Isle of Blood by Wm. Michael Kaluta – Airship 27 Productions

 The Adventures of Lazarus Gray by Anthony Castrillo-Pro Se Productions

Hugh Monn, Private Detective by David Russell-Pro Se Productions

Pro Se Presents #3, ‘The Hunter Island Adventure’ by Wayne Reinagel-Pro Se Productions

How The West Was Weird II by Jim Rugg-Pulpwork Press

Mars McCoy, Space Ranger by Chad Hardin-Airship 27 Productions

Strange Gods of the Dire Planet by MD Jackson-Pulpwork Press

These Trespasses by Philip R. Rogers-Post Mortem Press

The Halloween Legion by Danny Kelly-Wildcat Books

Blackthorn: Thunder on Mars by James Burns-White Rocket Books

The Wild Adventures of Doc Savage: Desert Demons by Joe DeVito-Altus Press

The Avenger: The Justice Inc. Files by E.M. Gist-Moonstone

Creeping Dawn: Rise of the Black Centipede by David Russell-Pro Se Productions

Mystery Men and Women Volume 2 by Mike Fyles-Airship 27 Productions

The Damned Thing by Jason Levesque-Wildcat Books

Arron of the Black Forest: The Haunting of Dragon’s Cliff- by Keith Birdsong-Arron of the Black Forest Partnership

Dreams of Steam II: Brass and Bolts by Darrell Osborn-Kerlak Publishing

Best Interior Art Nominees

Blackthorn:  Thunder on Mars-Chris Kohler-White Rocket Books

The Rook Volume Six –Anthony Castrillo-Pro Se Productions

Yesteryear-Pete Cooper-Pro Se Productions

Robin Hood: Arrow of Justice-Rob Davis

Challenger Storm: Isle of Blood-Wm. Kaluta-Airship 27 Productions

The Damned Thing-Kevin Duncan-Wildcat Books

Lance Star Sky Ranger, Volume 3-Shannon Hall-Airship 27 Productions

Sentinels: Stellarax-Chris Kohler-White Rocket Books

The Adventures of Lazarus Gray-George Sellas-Pro Se Productions

Sherlock Holmes, Consulting Detective, Volume 3-Rob Davis-Airship 27 Productions

Creeping Dawn: The Rise of the Black Centipede-Pete Cooper-Pro Se Productions

Green Lama: Case of the Final Column-Mike Fyles-Altus Press

The Hunter Island Adventure-Wayne Reinagel-Pro Se Productions

The Silver Pentacle-Peter Cooper-Pro Se Productions

Best Pulp Related Comic Nominees

Green Hornet Year One-Dynamite

Domino Lady Vs. The Mummy-Moonstone

All-Star Pulp Comics #1-Airship 27 Productions

Warlord of Mars-Dynamite Comics

Atomic Robo: Deadly Art of Science-Red 5 Comics

Beware…The Frog Men from Neptune!-215Ink Comics

Mystery Men-Marvel Comics

The Lone Ranger-Dynamite Comics

The Spirit-DC Comics

Vic Boone-215Ink Comics

Kolchak The Night Stalker-Moonstone

Best Pulp Magazine Nominees

Startling Stories- Wildcat Books

Pro Se Presents-Pro Se Productions

Dark Worlds –Rage Machine Press

Best Pulp Revival Nominees

Green Hornet Year One-Dynamite Comics

More Tales of Zorro-Moonstone

Return of the Monsters-Moonstone

The Wild Adventures of Doc Savage: Desert Demons-Altus Press

 Jim Anthony-Mark of Terror -Airship 27 Productions

The Return of The Originals-Moonstone

Best New Character Nominees

Dr. Dusk created by Mike Bullock

John Blackthorn created by Van Plexico

Hairy Khetar created by Teel James Glenn

Nicholas Saint created by Tommy Hancock

Damballa created by Charles Saunders

Dock Doyle created by Adam Garcia

Misty Johnson created by R. P. Steeves

Doc Thunder created by Thomas Deja

Vic Boone created by Shawn Aldridge

Jeremiah Courage created by Jeff Melton

Violet Cambridge created by Barry Reese

Challenger Storm created by Don Gates

Red Badge created by Mark Halegua

The Black Centipede created by Chuck Miller

Elisa Hill, The Myth Hunter created by Percival Constantine

The Impostor created by Richard Lee Byers

Bubba the Monster Hunter created by John G. Hartness

Arron of the Black Forest crated by Phil Athans and Mel Odom

Best Author Nominees

Tommy Hancock

Howard Hopkins

I.A. Watson

Nancy Hansen

Teel James Glenn

Kevin Hearne

Joshua Reynolds

Derrick Ferguson

Martin Powell

Van Plexico

Ed Brubaker

Barry Reese

William Preston

Adam Garcia

Wayne Reinagel

Richard Lee Byers

John G. Hartness

Allan Gilbreath

Paul Bishop

Percival Constantine

Best New Writer Nominees

Danny Wall

Mark S. Halegua

MD Perkins

Don Gates

R.P. Steeves

Sean Taylor

Shannon Hall

Jeff Melton

Chuck Miller


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