Tagged: review

RADIO ARCHIVE BRINGS HOLMES HOME! AND MORE!



August 26, 2011

Harlan Zinck, a long time member of the Radio Archives family, has moved on to take advantage of new opportunities. Radio Archives wishes Harlan all the best in his future endeavors.

Starting with this issue, the Radio Archives Newsletter will be bi-weekly and emailed to you every other Friday afternoon. Tommy Hancock, a good friend and supporter of the Archives, joins the Archives as editor of this newsletter. Tommy is one of the bright lights in New Pulp. A partner in a publishing company, Tommy is an author with many fiction short stories and one published novel to his credit. Tommy also runs a Pulp convention each year while maintaining several blogs and a podcast.


We are excited that the infrastructure of our website has been dramatically upgraded and you should see a much faster and snappier website.

Stay tuned for the same great info and quality you’ve come to know and for a few new surprises as well, all from RadioArchives.com!



The World’s Greatest Detective Back On The Case
NEW RELEASE – The New Adventures of Sherlock Holmes, Volume 2

Created by Sir Arthur Conan Doyle in 1887, the character of Sherlock Holmes was a fixture of American broadcasting almost from the beginning of network radio. First heard over NBC in the fall of 1930, Holmes and Dr. John Watson – his friend, right-hand man, and chronicler (his “Boswell” as Holmes called him) – were portrayed by a number of actors on screen and on radio throughout the 1930s. Most definitely the appearance of Basil Rathbone and Nigel Bruce in the 1939 20th Century Fox film “The Hound of the Baskervilles” created, for many, the perfect embodiment of the characters. Because of this, Rathbone and Bruce would come to be seen as Holmes and Watson in the flesh for the next six years – both on radio, in series for NBC and Mutual, and in a lengthy series of second features made for both Fox and Universal through 1945.
By the middle of 1946, however, Basil Rathbone had grown weary of playing Holmes – so much so, in fact, that he refused to sign a lucrative seven-year radio contract. And so, at the end of the 1945-46 season, the producers of “The New Adventures of Sherlock Holmes” faced the necessity of finding another actor to play the leading part – and, after considering a number of talented members of Hollywood’s British colony, happened upon the name of Tom Conway.
Born in Russia and educated in England, Tom Conway was certainly no stranger to the detective genre, having taken over the movie role of The Falcon from his brother George Sanders in 1942. His seasoned acting abilities gave him the ability to adopt a voice and delivery very similar to that of Basil Rathbone, performing his lines in much the same clipped and precise way that his predecessor had done. He quickly acquainted himself with the role and, in the company of Nigel Bruce – who opted to stay with the series in exchange for being assigned star billing in the weekly adventures – was introduced as Sherlock Holmes in October of 1946. Also, in 1946, the series moved from the Mutual network to ABC – the former Blue Network – and was given a few more production values to boost interest, as well as a new sponsor – the Semler Company, promoting their Kreml Hair Tonic and Shampoo.
Unfortunately, due to a combination of Rathbone’s departure and the inevitable loss of interest in a series that had been on the air for over six years led to both Conway and Bruce leaving the roles at the end of the 1946/47 season. “The New Adventures of Sherlock Holmes” would return the following season, moving from Hollywood to New York and recast with John Stanley and Alfred Shirley in the leading roles which is also available from RadioArchives.com.
Heard today, “The New Adventures of Sherlock Holmes”, with Tom Conway and Nigel Bruce, not only retain their entertainment value but compare quite favorably with the earlier series with Rathbone. Conway is indeed quite good as Holmes and Nigel Bruce, though often disdained by the “Baker Street Irregulars” who prefer their Conan Doyle adventures straight, is always charming as the sometimes baffled but always loyal Dr. Watson. Wisely, the producers retained the framing device of Watson introducing each story from the cozy scene of his fireside, retired (as radio would have it) comfortably in California.
This collection offers ten full length broadcasts of “The New Adventures of Sherlock Holmes” starring Tom Conway and Nigel Bruce, all taken from the original reference recordings and beautifully restored for outstanding audio fidelity. If you’re a long-time fan of “the world’s greatest consulting detective”, or if you just love a good mystery, you’ll definitely want to add The New Adventures of Sherlock Holmes, Volume 2 to your collection today priced at only $14.98 for the five Audio CD set or $9.98 for the Digital Download.
Celebrating Sherlock Means More Holmes For You!
With the debut of The New Adventures Of Sherlock Holmes, Volume 2, Radio Archives is celebrating Sherlock Holmes for the next two weeks! And you’re invited to the party!
Radio Archives, in association with Moonstone Entertainment, commissioned the beautifully rendered art for this collection from Timothy Lantz. Radio Archives is proud to offer you Moonstone’s comic take on the World’s Greatest Detective as part of a limited time promotion!
Buy any of the Sherlock Holmes products listed below from now until the next newsletter is released and RadioArchives.com will automatically include for absolutely FREE The Sherlock Holmes Mysteries, Volume One, a Graphic Novel from Moonstone, normally priced at $22.95. No coupon code required.

Order one of the following Audio CDs or DVD:

The New Adventures of Sherlock Holmes, Volume 1
The New Adventures of Sherlock Holmes, Volume 2
Sherlock Holmes, Volume 1 from Nostalgia Ventures
Sherlock Holmes, Volume 2 from Nostalgia Ventures
Sherlock Holmes (Classic Television Series) DVD
And with your order, you’ll be able to thrill to the World’s Greatest Detective combating Dracula and the Invisible Man in Sherlock Holmes Mysteries, Volume One from Moonstone for FREE! Offer good for the next two weeks. (The bonus offer does not apply to the Download versions of these products)
New Digital Downloads Now Available
Laugh out loud at the lovable neighbor Harold Peary made famous – The Great Gildersleeve!
RA006 The Great Gildersleeve, Volume 1
RA035 The Great Gildersleeve, Volume 2
Dive into the original Medical Drama with The Story of Dr. Kildare!
RA018 The Story of Dr. Kildare, Volume 1
RA048 The Story of Dr. Kildare, Volume 2
Ride the Vocal Range with America’s Singing Cowboy – Gene Autry’s Melody Ranch!
RA104 Gene Autry’s Melody Ranch, Volume 1
RA126 Gene Autry’s Melody Ranch, Volume 2

Follow Ann Sothern’s antics as that Jill-of-all-trades – The Adventures of Maisie!

RA157 The Adventures of Maisie, Volume 1
RA197 The Adventures of Maisie, Volume 2

Find Mystery, Intrigue, and Espionage in The Adventures of Frank Race!
RA170 The Adventures of Frank Race, Volume 1
RA191 The Adventures of Frank Race, Volume 2
Fighting his way from Dime Novels to Radio – The Adventures of Frank Merriwell!
RA101 The Adventures of Frank Merriwell, Volume 1
RA203 The Adventures of Frank Merriwell, Volume 2
Digital Downloads from RadioArchives.com literally give you the best of everything. The same sparkling high quality audio content as our compact disc collections at a reduced price; Delivery immediately upon payment and the ability to play them on your phone, computer, iPod or portable device! Purchase the audio collections you love and enjoy them in a whole new way. Click here to see all the sets available for download.

New in Pulp Fiction: Doc Savage Volume 50 and The Shadow Volume 52

Anyone living in the world today knows that true heroes are very hard to come by. But, in the pulp fiction world of the 1930s and 1940s, heroes were always on watch to fight the criminals and evildoers that threatened our way of life. You’ll find proof of this in the two new double-novel pulp reprints now available from RadioArchives.com, featuring the top heroes from this Golden Age of literary entertainment:

Doc Savage Volume 50
The Pulp Era’s greatest superman journeys to the American West in classic pulp thrillers by Lester Dent writing as “Kenneth Robeson.” First, a bequest from a dying scientist leads Doc Savage to Death Valley in search of a long-dead pirate’s legendary treasure. Can this amazing invention allow The Pirate’s Ghost to speak from beyond the grave? Then, the Man of Bronze goes undercover at a Wyoming dude ranch to solve the bizarre puzzle of a strange Green Eagle with lead feathers. This special anniversary edition showcases the original color pulp covers by Emery Clarke, Paul Orban’s classic interior illustrations and an intriguing article by The Shadow’s famous raconteur, Walter B. Gibson. Priced at $14.95.

 

The Shadow Volume 52

Who knows what evil lurks in the hearts of men? The Shadow knows! The Knight of Darkness wages war on criminal masterminds in two thrilling pulp novels by Walter Gibson and Theodore Tinsley writing as “Maxwell Grant.” First, The Shadow executes a deadly chess game with The Crime Master, an underworld kingpin whose amazing superbrain rivals his own. Who will have the last laugh? Then, the Master of Darkness seeks to unmask The Fifth Napoleon, the master plotter who commands New York’s four most powerful crime lords. This instant collectors’ item features both classic cover paintings by George Rozen, the original interior pulp illustrations by Tom Lovell, historical commentary by popular culture historian Will Murray plus a biographical article by Anthony Tollin on Frank Readick,.”The Man with The Shadow’s Laugh.” Available for only $14.95.



Knowing The Shadow
Reviews Of The Shadow Pulp Tales By John Olsen

“The Golden Vulture” was published in the July 15, 1938 issue of The Shadow Magazine. It was actually written much earlier, in July of 1932. And it was written, not by Walter Gibson, but Lester Dent – the same Lester Dent who would begin writing the adventures of Doc Savage a few months later. It is the only Shadow pulp mystery ever written by Lester Dent, and was greatly revised by Walter Gibson before its 1938 publication, all which makes it a unique collaboration between the two.

The Golden Vulture is an unseen master criminal who extorts millions from wealthy men of society. He controls a vast empire of gangsters who do his every bidding. He communicates his instructions to his minions via small golden statues of a vulture which can receive and transmit radio and television signals. Who is The Golden Vulture? Who will be his next victim? And who can stop him? Only The Shadow can stop this super fiend’s quest for power and wealth!
Many of Lester Dent’s famous touches are evident in this story — little things that would later show up in his Doc Savage stories. Great strength, for example. The Shadow, as described by the pen of Lester Dent, is capable of great strength. Even Walter Gibson’s Shadow was exceedingly strong, but Dent’s description of The Shadow’s display of strength seems quite familiar to anyone who has read Doc Savage. His grip is that of steel bands. He easily overpowers a foe of tremendous strength and throws him through a door, reducing it to splinters. And then, there’s the gadgets. Lester Dent loved to use gadgets in his stories. And although Walter Gibson enjoyed using them in his Shadow stories as well, he employed far fewer of them than did Dent. In this story, the coolest gadget of all is the actual statues of The Golden Vulture. Most are small statuettes of under two feet tall. But their insides contain enough electronics to receive and transmit both audio and video as well as enough explosive charges to create tremendous destruction.
We also see the touch of Walter Gibson in this story. He keeps the character of The Shadow true to the version readers had come to recognize in 1938. The Shadow creates a temporary sanctum in Miami, where he puts his thoughts to paper with pen and disappearing ink. The Shadow has strange but vague powers to compel others to do his wishes. He communicates secret messages by the use of slightly emphasized words in otherwise seemingly innocent announcements. He disappears from the back of taxi-cabs, leaving a five dollar bill on the seat. He is a master of disguise, who can make himself faultlessly appear as others.
I really enjoyed reading this partial collaboration of Dent and Gibson, and I think you will too. You’ll appreciate the exotic locations and gadgets typical of Doc Savage, mixed with the moody atmosphere and frenetic action of Walter Gibson’s Shadow. A very unique story, and one that is definitely recommended!

Read The Golden Vulture and another Shadow tale when you get your copy of The Shadow, Volume 1 available at RadioArchives.com for only $12.95.

AUDIOBOOKS



Special Collectors’ Editions of Audiobooks
Attention collectors and autograph seekers! Here’s a special offer just made for you.

RadioArchives.com’s two new audiobooks, Python Isle and White Eyes, are now available in special signed limited editions, available only from RadioArchives.com!

Each Special Edition CD set is autographed by the entire production team including author Will Murray, producer/director Roger Rittner, and the voice actors and recordist. They come with a special bookplate to certify their authenticity.
There are only 50 copies of each set available. There will be no more.
These special collector editions are available for just $45.98 for Python Isle, and $51.98 for White Eyes. That includes the complete set of CDs, plus the autographed case, and certified bookplate.



White Eyes Reviews Are Stunning

Reviews are starting to come in for White Eyes, the latest audiobook from RadioArchives.com. And they’re just as enthusiastic as the reviews for our first audiobook, Python Isle.

Stephen Brandt at Audiobook Heaven says:

“The whole idea behind these Doc Savage productions is to give them the feel of an old-time radio program. Richard Epcar achieved this with his radio-announcer voice, and his melodramatic characterizations. White Eyes is narrated in 3D stereo, with Epcar’s narration coming through the center channel, and his character voices coming from the right or left, putting the listener right in the middle. Add to this Radio Archive’s crystal clear reproduction technology, and you have a cinema quality extravaganza.”

At The Retroist, Vic Sage says:

“… you can really tell how much work the likes of Roger Rittner and of course Radio Archives puts into these audiobooks. The sound is crisp and clear and they make sure to get a narrator that can not only portray the Man of Bronze and his “fabulous five” but EVERY character in the tale as well, and they’ve chosen wisely with Richard Epcar.



I have to say that in Chapter 28 “Gangdom’s Long Arm” I was pacing the floor in front of the radio, since this is a chapter where Doc Savage’s skyscraper headquarters comes under siege by the united criminal underworld. That I think is the greatest compliment I can give to Radio Archives and Will Murray, the writing and production is so strong that I actually got nervous for Doc Savage and his friends!”

http://www.retroist.com/2011/08/17/radio-archives-doc-savage-white-eyes-review/

And don’t miss narrator Michael McConnohie’s exclusive “Python Isle” promotional video, including a number of dialog excerpts (scroll to the bottom of the page):

http://www.radioarchives.com/Doc_Savage_Python_Isle_Audiobook_p/401.html 

Deal of the Day – Great Quality Great Price


Radio Archives not only offers the finest Audio and Pulp Products, but we also give you awesome bargains with the RadioArchives.com Deal Of The Day! You can take advantage of Three Deals at All Times with the Deal of the Day!
Every Day a Different Item is available at 10% Off. If you’re into Pulp, Tuesdays and Thursdays are the days to pick up a great Pulp deal at a 10% discount!
Every two weeks as the newsletter comes out, a different item is available at 25% off from RadioArchives.com
Each month, one item is 50% off for the entire month!
Enjoy Quality. Enjoy Savings. Take advantage of the Deal of the Day from RadioArchives.com!




Hearing From You!
Comments From Customers!
Greg Burton listened to Let George Do It and writes:
I am so glad you have made the radio shows available as downloads. I started collecting old radio shows in mp3 format in 1995 and have listened regularly (daily) since that time. Last year I purchased a CD from you (“Let George Do It”), and since you have been making shows available as a download, I have purchased three items from you. I have been amazingly surprised how much more I enjoy listening to your top-quality productions. I did not think it would make that big of a difference, but it does. I can’t thank you enough. There are many more that over time I will purchase. I get on your site regularly to see if you have any new releases.
Find out for yourself what Greg is talking about! Pick up an Old Time Radio Classic, on CD or by Digital Download, today from RadioArchives.com!

Phineas and Ferb The Movie: Across the 2nd Dimension

When Peter and Kathleen David rave about something, I tend to pay attention. In this case, it was the Disney animated series, Phineas and Ferb, which they explained, featured two boys — Phineas Flynn (Vincent Martella) and Ferb Fletcher (Thomas Sangster) — on summer vacation. Every episode has them do some over-the-top activity that catches the attention of Phineas’ older sister Candace (Ashley Tisdale), left to babysit them, and she tries to bust them ala Ferris Bueller. Each episode ends with her failing. But wait, there’s more! Apparently, the boys have a pet platypus, Petey, who is secretly an espionage agent who devises ways to perform his missions without being discovered by the boys. Invariably, the boys’ activity and that of Agent P dovetail in imaginative ways.

Since 2007, this tightly template show has been enchanting adults and children alike, bringing in high ratings and tons of merchandise dollars. While the name was familiar to me, I had no idea it would be so fresh, cool, and original. When the opportunity to review this week’s release of Phineas and Ferb The Movie: Across the 2nd Dimension arrived, I couldn’t resist. The 77 minute movie takes the normal 12-minute premise and blows it up, letting everything that can’t happen on a typical episode occur. For example, not only is Petey’s secret revealed to the boys, but Candace finally learns the truth and catches the boys in the act.

Some act. The evil Dr. Heinz Doofenshmirtz (Dan Povenmire) has completed work on a device that accesses a parallel world despite Agent P’s efforts. And you know what happens when parallel worlds meet – chaos ensues. A chaotic show in short snippets becomes a sprawling, chaotic story that has doubles meeting, worlds crossed over, secrets revealed, flaws exposed, and regardless of world, oblivious parents.

The entertaining and at times hilarious story does overstay its welcome. The concept is stretched just beyond its limits with songs and action sequences and grew tedious towards the end. I gather the telefilm, which first aired this summer to astonishing ratings, has visual and verbal cues to armloads of previous episodes, although that did not diminish the charm of the adventure. There are many hilarious bits for the adults and plenty of slapstick hijinks for the young at heart. It’s chock full of music, too, with many many songs, about half of which are on the commercial CD and ten more can be found on a Walmart exclusive version. (more…)

FORTIER PLAYS A REVIEW DOUBLE HEADER WITH HARD CASE CRIME!

ALL PULP REVIEWS-Reviews by Ron Fortier

GETTING OFF
By Lawrence Block
(Writing as Jill Emerson)
Hard Case Crime
335 pages
Release Date 20 Sept 2011

One of the classic traits of a noire crime story is the protagonist being an unsympathetic character. The history of American literature took a sharp left turn when this new genre came into its own, evolving from the hardcore crime pulps of the 1930s. Till then, the majority of books generally portrayed the central figures as worthy of the readers’ admiration when the behaved in true heroic style, or sympathetic when they did not. But either way, one was able to identify with the characters.

Noire changed all that and GETTING OFF is a truly fitting example of the genre as the lead character is a female sociopath without a conscience. Early in the tale we learn that Kit Tolliver was sexually abused by her father from a very young age. But whether that abuse caused her unrelenting psychosis is not argued in the slightest, as her personal response to it is to coldly murder total strangers. Block does make it clear that Kit is in some bizarre mentally deranged way killing her father over and over again with each new man she sleeps with. What he does not do his judge her for it and therein lies the perspective that is truly unsettling.

At times the book’s heavy handedness slips into black comedy territory and the prevailing humor is twisted in its perversity. Along Kit’s journey of life, and death-dealing, she logically encounters partners who are just as sick as she is. In those scenes it is all too easy to start rooting for her as if she is somehow more worthy of survival then the other monsters she has crossed paths with. The last noire thriller to have bothered me this much was Jim Thompson’s classic THE KILLER INSIDE ME. And like that book, this one is not for the faint of heart.

In the end, GETTING OFF is a cautionary tale about the sexual mores of our times and the dangerous waters singles, and cheaters, swim in. Let them read GETTING OFF and I guarantee you they will think twice about their next plunge into those dark depths where the toothy sharks prowl.

QUARRY’S EX
By Max Allan Collins
Hard Case Crime
211 pages

Available 20 Sept.2011

Review by Ron Fortier

Max Allan Collins started writing his Quarry books back in 1976 with The Broker. It was the first time we were introduced to the Vietnam vet turned paid assassin. In that tale, we learned how Quarry, not his real name of course, came home to find his wife in bed with another man. He murders the guy by dropping a car on him and then, because of his service record as a war hero, is acquitted by jury. Shortly thereafter he is recruited by a man known only as the Broker to become a professional killer.

In the books that have appeared since that stellar debut, that opening scenario has often been retold many times to bring the new readers up to speed. Recently, since becoming affiliated with Hard Case Crime, Collins has begun filling in specific details of Quarry’s life, each more compelling than the last. In this particular book, we are told what happened to Quarry’s ex-wife after they divorced and parted. But Quarry’s personal life is, as always case, only the subplot of the story.

Quarry has come to a small Arizona town where a movie studio is shooting an action B movie. When he discovers that the director of the film is the target of a hit, Quarry approaches the man and offers his own lethal services to both eliminate the threat and discover who put out the contract in the first place. It is this neat little twist combination of mystery and crime thriller that makes this series so original and fun. Quarry is no knight-in-shining armor private eye out to save the world. He’s a killer who makes a good living taking out other killers.

Once the first part of his contract has been efficiently resolved, Quarry is a master of death-dealing, he then becomes a detective chasing down the person who put out the contract on the moviemaker. As always, there are plenty of juicy suspects from the mob boss who is financing the project to the director’s wife who inherits all if he dies. The problem is the woman is Quarry’s ex-wife. The second he lays eyes on her, old familiar feelings he thought long dead begin to resurface, complicating an already precarious situation.

Paying homage to the potboilers of the 40s and 50s, Collins laces his tale with the most outrageous sexual encounters; all done with a sly, sharp wit that is ingratiating. At the same time he balances that adult humor with explosive violence that is as mesmerizing as it is ugly. His prose falls into place with the deft touch of a contemporary poet, each line awakening a new possibility in how we see the world. Reading Quarry is an education in human psychology taught from the barrel of a silenced automatic.

(Postscript – This review was written and posted last year when the book was first published by Dorchester Press. Shortly thereafter Hard Case Crime parted company with that firm and this new edition is now being released by their new British publisher, Titan Books.)

Guest Reviewer Doc Hermes on DESERT DEMONS!

Guest Reviewer Doc Hermes on DESERT DEMONS!

 
In November 1993, the last of Will Murray’s new Doc Savage novels, THE FORGOTTEN REALM, was published. I wrote in a review a dozen years later, “It has been twelve years since THE FORGOTTEN REALM was published. Right now, it looks like we will not see a new Doc Savage novel on the stands ever again. But…. that’s what we thought in 1949, too.”

And against the odds (as we might expect from him) the Man of Bronze has returned yet again. Will Murray has begun a new “new” series of Doc adventures and I’m signing up for the ride. I had to order a copy from Altus Press: Barnes & Noble were no help and I’m not much for using Amazon or eBay. (And frankly, $24 is a bit of a gouge for a trade paperback this size but of course I’ve paid more than that for an old pulp or out-of-print books, it’s my choice).

THE DESERT DEMONS is just fine. It’s not as good as the very best of the original pulp stories like METEOR MENACE or THE SARGASSO OGRE, but then neither were most the pulps. There were many original Docs that ranged from passable down to atrocious, and DEMONS is a lot more fun than most of the wartime issues. The book is based on an unused outline Lester Dent left behind. I appreciate the respect Will Murray shows for Dent and understand why he incorporates as much Dent material as he can. But I would be perfectly willing to read a new book that is all Murray, I have trust in his integrity and his own storytelling.

Okay, it’s 1936 again and yet another mysterious menace has surfaced for our hero to investigate. Out in Hollywood, a phenomenon called the Copper Clouds has been killing people. They’re a sort of red cyclonic masses that swoop down from the sky as if targetting individuals, then turn black and evaporate, leaving only white ash, bleached brittle houses or cars and an occasional piece of glass. This is exactly the sort of threat Clark Savage Sr raised his little boy to handle. All five of the aides are on hand, plus Patricia and even Chemistry and Habeas Corpus, and there are enough “hair-raising thrills, breath-taking escapes and blood-curdling excitement” (as the old Bantam paperbacks promised) to more than satisfy. The gadgets are fired off with abandon, science detection is used and there’s even a dirigible. It’s Thirties to the core. References to the then-new phenomenon “smog” and the then-recent Florida land-bust add to the atmosphere.

Of COURSE I have a few complaints. It’s inevitable, there are always a few flaws in any piece of work. Coming in at 239 pages, this is more accessible than the unweildy 300-pagers like THE FORGOTTEN REALM or THE WHISTLING WRAITH. I like my pulp novels around 120 to 150 pages, enough to finish off on a snowy Sunday afternoon without real breaks. They seem to work best when you plow through them at a good clip like riding a roller coaster. Even so, while THE DESERT DEMONS is well paced and doesn’t drag, it can’t be as crisp and headlong as the original pulps. With the extra space available, I hoped to see Renny or Long Tom get a few chapters to themselves with room for them to shine but instead we got more incidents and incidental characters. The other place where I think THE DESERT DEMONS misstepped is that nearly all the story takes place in Hollywood and at the very end we go to Florida for the wrap-up. My preference is for the classic two-part structure with mystery and intrigue in New York, then a trip to Tibet or Brazil or Samoa for a blast of all-out action. So I’d like to see that structure return, but it’s not mandatory for every adventure.

And the menace turns out to be more outright science fictional than usual. I’m good with this. The original series, after all, featured everything from genuine invisibility to fifteen-foot tall Monster Men to the Blue Meteor and earthquake-making machines. The wilder more implausible stuff was usually explained away as hoaxes and misinterpretations (“so the giant spider was a marionette?” “Fraid so,”) but Doc Savage was always borderline science fiction. I think I would draw the line at time travel as going too far, but I’d be fine with seeing Doc tackle things like someone rediscovering Dr Jekyll’s serum. Nothing of the outright supernatural, though… I think Doc Savage’s world just wouldn’t have real werewolves or vampires.

I have come to count on Will Murray to throw in many delightful bits almost as asides. Ham Brooks shows some actual legal knowledge for once. (He says,”In the absence of a corpse, California law allows a grace period of a year before someone may be declared dead.”)Doc can look at a revolver held on him and see that it’s loaded with blanks. Long Tom finally gets useful application for his electronic bug-repelling machine he always seemed to be getting nowhere with. When Doc grapples with someone, the person’s actions seem to be in slow-motion because the bronze man is moving so quickly. (This has the ring of classic Lester Dent to it!)

That’s it, I’m convinced. It would take an awful lot to keep me from getting the next book in the series. I’m so glad how things have turned out for Doc Savage fans. The pulp ended in 1949, which was then thought to be the last the characters would ever be seen. Then in 1964, Bantam started a few reprint paperbacks and the usual event would be to see a handful appear but no… eventually all 181 of the original novels were available, as well as a previously unpublished story. Ah well, that was good but it had to be the end. No. Then Philip Jose Farmer wrote ESCAPE FROM LOKI and starting in 1991, Will Murray turned out seven new books. In 1993, putting down THE FORBIDDEN REALM, I hoped that I would live long enough to see a few more authorized Doc Savage adventures come to be, and here we are.

REVIEW: Everything’s Okay

Everything’s Okay: My Journey to Building a Joyous Life After Surviving Childhood Cancer
by Alesia Ellen Shute
80 pages

If you’re lucky, you won’t get this book because you need it.

Don’t get me wrong.  It’s really good.  Maybe even great.  You should hunt it down.  But it’s about something very scary – childhood cancer – and it doesn’t pull any punches, emotional or physical.

Alesia Shute was diagnosed with colon cancer when she was 7 years old.  She went through years of surgeries, hospital stays, discomfort (which is the polite way to describe pain) and tests.  Lots and lots of tests.  She also grew up, fought with her siblings, fought with her parents, dated, fell in love, fell out of love, fell in love some more, got married, and had a child.  Oh, and she got cancer again after she found out she was pregnant.

Several years ago, she wrote a book about her experiences, which she self-published.  With the money raised she raised, she started a non-profit organization, which raises funds for the Children’s Hospital of Philadelphia (which she affectionately calls CHoP), her alma mater.

This fall, to coincide with Childhood Cancer Awareness Month, Round Table Comics is publishing a graphic novel adaptation of her book, which is available at Hudson Newstands and through Amazon at the link above.  All proceeds will be donated to CHoP.

When I first heard about this project, I thought, in my condescending way, that it was for children, a way for parents to talk to their sick child (or her siblings) about cancer.  I was wrong.  This book is too intense to give to a young child.  While neither bloody nor gory,  Nathan Lueth’s artwork conveys Alesia’s pain and fear, and the loneliness she feels because she’s so different from other kids.  It is, however, a great way for parents and other concerned adults to know what a child with cancer is going through.

There is none of the sentimentality that so often accompanies stories about cancer survivors.  Instead, there are real emotions (not just the noble ones) that reinforce Alesia’s humanity, and make her experiences believably real.

As I write this, Diamond is not distributing this book.  Perhaps if enough of us ask our local comic shops, they might reconsider.

Reviews from the 86th Floor: Barry Reese Looks at The Black Bat Graphic Novel



The Black Bat

Written by Mike Bullock

Art by Michael Metcalf and Fernando Peniche

Letters by Josh Aitken

Moonstone Books

ISBN 978-1-933076-96-6

$8.99

Longtime readers of my review column know that I’m a big fan of Mike Bullock’s run on The Phantom. So when Moonstone announced their “Return of the Originals” projects, I was intrigued to see Bullock’s name on both a revival (The Black Bat) and a new creation (Death Angel). This collection collects stories of both characters, though the cover is a bit misleading — it prominently features The Black Bat, with a relatively small “Also Starring Death Angel” logo on the lower right. There aren’t enough Black Bat pages to make it a graphic novel on its own so I understand the inclusion of Death Angel but I would have preferred a title that made it clearer that this was, in fact, a book with equal amounts of both heroes.

The front and back covers are by Tom Grindberg and are absolutely gorgeous. I really, really liked both images and I think the cover will definitely help sell a few copies. Super stuff.

Inside the book we get alternating Black Bat & Death Angel stories (both comic and prose), with one short teaming the two. In both cases, the heroes are tracking down drug pushers and the like. I was a little confused about the era these stories were set in — some things in the Black Bat stories definitely made me think this was set in the 1930s (fashion, the language used, etc.) but Death Angel seemed more modern, both in design and in terms of her hi-tech nano-fiber tachyon-shooting power suit. The two characters interact, so obviously they are in the same era, whenever that may be.

Let’s tackle The Black Bat first. This is not your father’s Black Bat. As in the original stories, this is District Attorney Anthony Quinn. Blinded by a criminal’s attack, Quinn later gets his vision restored and takes to the night as a vigilante. But in this version, The Black Bat suffers from multiple personality disorder and is as bloodthirsty as The Spider. While interrogating criminals, he uses various legal terms to question them, all the while arguing with himself for leading the witness, etc. It’s an interesting take on the character but purists will feel that this is not The Black Bat and perhaps should have been a new character instead. I’m okay with updating characters and this one retains enough of the original for me to recognize him but his willingness to kill (and kill graphically) was shocking. I wish there had been more time to show The Black Bat in his civilian identity, though. The profile that’s included implies that he’s relatively normal in his day-to-day affairs and that it’s only as The Black Bat that his mental instability comes to light. I’m curious how that would have played out. There were places in the story – and I’m not sure if the fault lies with the script or the art, or both — where things felt very, very disjointed and the scene jumps made me pause and flip back a few page to see if I’d missed something. It kinda felt like I was reading the Cliff note’s version of much cooler stories.

From an art standpoint… Hmm. Michael Metcalf does all but one of the Black Bat stories (Fernando Peniche does the one that teams The Black Bat with Death Angel) and I have to admit… I did not like it. The art is far too scratchy and actually looked unfinished in places. It detracted from the story. There were individual panels that looked kind of cool but overall, the story was not served well by this. The Peniche art was a step up and I liked it much better.

Death Angel is a far stronger package overall — perhaps because the burdens of our past expectations are not challenged here. With The Black Bat, pulp fans are constantly comparing and contrasting this version to the original — but Death Angel is a new character and is free from that. Strangely, Michael Metcalf does the art on these sections, as well, but the art looks much, much better. I can only assume that Metcalf deliberately used a different style on The Black Bat stories — this artwork is much stronger.

As with The Black Bat, Death Angel is a vicious character. Her stories all revolve around two things: drugs and sexual abuse. This latter plays well off her origin but I would have liked to have seen a little more variety in the threats she faces here. I found the Death Angel stories to be more interesting and would definitely like to see more.

The overall package… I will say that taken as a whole, this is probably my least favorite of Bullock’s works to date. If I separated out the character arcs, I’d give much higher marks to the Death Angel portions of the book.

Do I think it’s worth your time and money? If you’re looking for the classic Black Bat or if you like your heroes to be of the “don’t kill, but bring the bad guys in for justice” variety… No. If you’re looking for bloodthirsty vigilante types or want to sample a genuinely interesting New Pulp hero in Death Angel, I’d say yes.

I give it 3 out of 5 stars.

REVIEW: Griff the Invisible

REVIEW: Griff the Invisible

Where do you draw the line between fantasy and reality? Can that line be the same for everyone, or can it be redefined from person to person? Those questions are addressed in the charming and quirky Griff the Invisible, opening nationwide this Friday.

Griff lives in a fantasy world, one with electronic surveillance and a red hot line phone connecting the costumed Griff with the commissioner of police. He is an athletic threat to the scum and villainy that prowl the streets of an unidentified British city. The real Griff literally blends into the scenery as shown early on by the writer/director Leon Ford. He works in a nondescript job, trying to keep to himself but becomes the butt of jokes from office bully Tim.

His only friend appears to be his older brother Tony, who has protected his brother and intimations are made that Griff has suffered in the recent past, forcing his sibling to relocate his life in order to keep an eye on him. Tony, though, has met Melody and is besotted despite her own shy and quiet ways. She lives in her own fantasy world, certain she can find the exact point where her molecular structure can line up with that of a wall allowing her to pass right through the seemingly solid barrier. While Griff has trouble interacting with the exterior world, Melody functions better but is clumsy and apt to trip over her own feet with amazing regularity.

[youtube]http://www.youtube.com/watch?v=iVZdQE93Jkw[/youtube]

When Griff and Melody meet, it is also the meeting of two complementary fantasy worlds, igniting a truly unique love story. (more…)

john-ostrander-8877507

JOHN OSTRANDER: Targeted Audiences

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

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

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

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

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

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

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

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

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

REVIEW: Will Eisner’s P.S. Magazine: The Best of The Preventive Maintenance Monthly

[[[Will Eisner’s P.S. Magazine: The Best of The Preventive Maintenance Monthly]]]
By Will Eisner, selected and with an overview by Eddie Campbell
272 pages, Abrams ComicArts, $21.95

As far back as 1940, during the publicity campaign for the launch of The Spirit Sunday section, Will Eisner spoke of the potential for comic books to do more than entertain but to educate. Within a decade, he got to put theory into practice by winning the contract to package P.S. Magazine: The Preventive Maintenance Monthly for the United States Army. After over 700 issues, the magazine continues to chug along with the likes of Murphy Anderson and Joe Kubert following in his might footsteps.

Anyone reading a biography of Eisner knows that he took on P.S. in part because he wearied of the weekly grind required of The Spirit and because he was restless but unless we’ve enlisted, getting to see the legendary magazine proved problematic. Thanks to Abrams’ ComicArts imprint, that is being readied with this volume, a sampler of Eisner’s work from 1951-1971. Cartoonist Eddie Campbell gleefully took on the herculean task of sifting through thousands of pages to find representative work decade by decade. Apparently, he was contracted for an overview and got deep into the research so what we got to read is based on his enthusiastic efforts. (more…)

REVIEW: Bad Island

bad-island-300x450-7891215[[[Bad Island]]]
By Doug TenNapel
224 pages, Scholastic Graphix, $10.99

Author/artist Doug TenNapel impressed me last year with his Ghostopolis, a fresh graphic novel for young adult readers. He’s back this month with Bad Island and I am less impressed. He has an ambitious story to tell, actually two stories that parallel and intertwine at times, but the execution leaves a lot to be desired.

The biggest problem I have is that this family of four castaways on a mysterious island react unlike real people, constantly taking me out of the story to scratch my head and wonder how that happened. The family set out on an enforced bonding vacation that the eldest child, teenage Reese objects to. What aspires to be a three hour tour finds the tiny ship tossed by a storm that leaves the shipwrecked and the crew left on a deserted island.

Their efforts at survival are given incredible short-shrift with dad, Lyle, proving fairly inept. There’s an unrealistic calmness among the quartet with way too much focus from younger daughter Janie’s obsession over her pet snake.  That dad allows her to carry the snake corpse around is inexcusable.

When there is evidence that alien life exists on the planet, they accept this way too calmly so there’s a lot of running, screaming and activity without a great deal of rational reason.

On the other hand, the other story involves aliens but it’s still a story about a father and son. The tension between them remains the same as Lyle and Reese, but both are not well-developed enough to make you care.  He gives us an unbelievable human family contrasted with an alien reality that is woefully underdeveloped.

As hinted at on the cover, there island itself is a character in the story but I don’t want to give away some of the book’s obvious fun.

While the writing fails to work this time around, TenNapel’s art and storytelling remains engaging. The color, from Katherine Garner and Josh Kenfield and an army of ten, works exceptionally well, making the graphic novel pleasing to the eye. He and the colorists differentiate the island antics and the outer space thread making it clear to readers where we are and what is happening.

I wanted to like this more than I did, but the poor characterizations and leaps from logic robbed the book of its potential power.