Kickin The Willy Bobo With…LUCAS GARRETT

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Derrick Ferguson: It has been a really long time since we’ve done this so we have to bring folks up to speed. Let’s start off with The Basics: Who is Lucas Garrett? Where do you live and what do you do to keep the bill collectors away?

Lucas Garrett: I am a 40-year-old Marine Corps veteran with over twenty years of experience in the security industry, and one year of experience in building engineering. I currently reside in the Lawrenceville, Georgia area where I have lived for close to 9 years. I am a security professional working in the Midtown Atlanta area for a notable security company for the last 8 years.

My personal interests include all things pulp fiction (anything considered Classic Pulp and New Pulp), superhero comic books and movies, action flicks. I am an Afrofunk, Steamfunk, and Cyberfunk book collector. I highly recommend Dark Universe by Milton Davis and Gene Peterson.

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I love cutting edge science fiction books like “Killing Time” and “The Labyrinth Key,” television showsFringe” “Eureka” and “Warehouse 13” and movies like “Dark City”, “The Thirteenth Floor” and “The Matrix.”

I’m a fan of Tokusatsu series like Go Go Sentai Boukenger and Kamen Rider Black, and I love Mecha and mature anime series like Mobile Suit Gundam 0079, Guyver, and Golgo 13.

Most importantly, I look for crossovers found in various forms of literature, television shows, movies, cartoons, anime, and video games.

DF: You are an astoundingly knowledgeable and enthusiastic fan of Comic Books/Movies/Science Fiction/Classic Pulp/New Pulp/The Wold Newton Universe. How did your interest in all things fun and fantastic come from?

LG: My love of reading goes back to the sixth grade when I read Isaac Asimov’s “The Foundation”. That book did a lot to open my eyes to the imaginative worlds of literature and possible sciences on the horizon.

And I also had my love of superhero and action comics like Ron Fortier’s and Jeff Butler’s The Green Hornet comic book series for the now defunct NOW Comics line, as well as “Classic XMen” that reprinted old issues from Uncanny X-Men for Marvel Comics.

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I still remember when Nick Fury disbanded S.H.I.E.L.D. and Steve Rogers became Captain America again back in the late 1980s. And I remember when Bruce Wayne met Tim Drake after the tragic events of Death In The Family that saw the apparent death of Jason Todd and his mother at the hands of The Joker around the same time.

All of these characters and their stories helped to shaped my young mind.

And by the time Chris Claremont and Jim Lee revamped the X-Men in 1991 that many have come to remember and revere, I was all in.

And in 1992, I was introduced to Black Panther, the Warrior King of Wakanda, and member of The Avengers, when I saw his profile on one of the Marvel Comics trading cards my brothers and I collected in the early 1990s. And I found my hero. King of the most technologically advanced society on Earth in the Marvel 616 Universe. Yes, I was definitely all in.

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And I stayed in for 18 years.

I took my first hiatus from mainstream superhero comics around the time Jeph Loeb’s Ultimatum concluded, and came back in 2010, for six years, with the release of Cable and X-Force. My current hiatus is in response to Nick Spencer’s Steve Rogers Captain America #1 and Ta Nehisi Coates run on Black Panther. You don’t make Steve Rogers a member of Hydra and you don’t turn Wakanda into Rwanda. Two big no-no’s in my book.

Now I just keep up with the latest shenanigans and story-arcs that are “so original and so edgy” from online articles that I read, and whatever praise or rants my friends post on Facebook and Instagram.

Nevertheless, there are three books that I consider required reading, and I highly recommend finding, if you want to understand the evolution of superhero comics: Marvels by Kurt Busiek and Alex Ross, Kingdom Come by Mark Waid and Alex Ross, and Planetary by Warren Ellis and John Cassaday.

And it was around the time of the release of Planetary that I realized that there was more to the modern mythology I had been reading and watching. There were stories yet to be uncovered that led to the creation of the stories I grew to love.

And as time went by, I became aware of the Wold Newton Family and Wold Newton Universe initially through websites articles by Jess Nevins, that led me to the Philip Jose’ Farmer Wold Newton Universe website ran by Win Scott Eckert. The Wold Newton Family concept was developed by the late great science fiction writer, Philip Jose’ Farmer back in 1972 and 1973 when he wrote Tarzan Alive: The Definitive Biography of Lord Greystoke (1972) and Doc Savage: His Apocalyptic Life (1973).

The premise of this concept concerns the real-life exploits of the men who would inspire the fictional Lord of Apes and the Man of Bronze.

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And here’s the thing: these men were part of an illustrious family of heroes and villains descended from a group of noteworthy historical characters who happened to be riding in two carriages in Wold Newton, East Riding, Yorkshire, England on Friday, December 13, 1795, when a bizarre event occurred that would have lasting effects for the world of literature and popular fiction.

I went in depth in my last interview, however, I would much rather have new readers find and read these books than spoil them.

Trust me, for anyone who is a fan of fictional biographies, and television series like “The X Files”, The Pretender” and Heroes, and if they are a fan of crossovers, they owe it to themselves to read these two books, and then seek out other books in the Wold Newton series.

Part of the fun is the hunt for these books and seeing how they connect to one another. You will not be disappointed.

DF: You hit the lottery and win $100 million. What’s the one movie you would make and why?

LG: Planetary.

Because it’s long overdue. And the movie will shake things up a bit. However, it will need a director like Zack Snyder, Matthew Vaughn, or Christopher Nolan to make Planetary work on the big screen or small screen.

A lot of new directors and producers will find a lot in Planetary to be problematic from their point of view. They will not have the stomach for it.

And I would have the films stream on Amazon Prime or Google Play as a series of six 90-minute films. The scope of Planetary is too big to contain in the theaters. At least, for what I would do with that particular project. And I would have Warren Ellis and John Cassaday as Executive Producers on the film series.

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I even have my own fan casting for the film if it is ever made. You can find my fan cast on my Facebook page or in the Comics on Screen Facebook group.

Unfortunately, Warner Bros. and Hollywood would need to strike the iron while it’s hot. The actors I have chosen the project are not getting any younger. And the superhero comic movie bubble is bound to burst in the near future. Many don’t want to believe it, but it’s coming. That train will not be late. So, for now, it’s best to get out as much superhero live action content as possible. Because it will be on the decline sooner than many think.

DF: What are your favorite Comic Books; past and present.

LG: Planetary by Warren Ellis and John Cassaday remains my favorite comic book series of all-time, with the recent run of The Ultimates by Al Ewing and Kenneth Rocafort, and the always on hiatus S.H.I.E.L.D. (2011) series by Jonathan Hickman and Dustin Weaver coming in as the second and third tier series I love to read. Right now, Mark Millar’s Prodigy series might be joining that exemplary group of excellent comic book series. The jury is still out. But it’s looking like it might be.

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DF: You’ve been reading Comic Books for a long time. What’s wrong with them? How can we fix them? And does the Comic Book industry as a whole have a future?

LG: To be frank, half-ass political posturing and pandering, and the need to reboot comic book universes are becoming the death nails for superhero comic book industry at the moment.

The writer’s personal political agenda should service the story, not the other way around, as it currently is. And right now, that’s a lot of comics these days. Furthermore, I don’t think that these writers actually care for the characters they are writing about.

And sadly, I don’t see this changing anytime soon. The current crop of writers and artists are riding the wave of outrage culture, and the bandwagon they are riding on has been losing traction and is about to go over a cliff. And instead of fixing the mess they started, they reboot.

That’s why I hate trends. And I hate to say it, but it needs to be allowed to go on until it’s no longer a thing. When the readers become completely immune to these trends, then matters will correct themselves. But we aren’t out the woods yet. We have a way to go before we are in the clear. But we will get there.

The future of comic book publishing resides with the independent publishers.

Disney is going to eventually shut down publishing at Marvel Comics, and Warner Bros. will follow suit with DC Comics. And it will happen in the next few years. It’s no longer profitable for Disney and WB to keep their comic book publishing divisions going. They are losing revenue yearly, and from a financial standpoint, it is better for Disney and Warner Bros. to maintain control of the licensing for their catalog of characters than to continue publishing comics that are being bought by retailers who are having a hard time selling those comics to readers at the price tags they are currently selling them at.

That’s why smart readers, like myself, wait for the trade paperbacks of the series that interest us.

DF: Why does it seem that the Comic Book industry and Hollywood has such a problem getting Classic Pulp right?

LG: It comes down to present day prejudicial mindsets about Classic Pulp.

Some of these mindsets are justified, while others border on juvenile.

There’s a rugged no-nonsense masculinity that Classic Pulp has that, for the most part, has little traction with current generation. Some get it, while others will not only not get it, but will refuse to even look at it.

Mostly, because if it hasn’t been a thing for the last forty years, then why bother looking at it? It’s a sad way of looking at pop culture enthusiasm, or lack thereof, but that’s the world we live in at the moment. And that’s why we had a Doc Savage film planned by Shane Black who had Dwayne “The Rock” Johnson, the actor who would have played Doc Savage, thinking that Doc Savage is a “weirdo.” Apparently, Shane Black and Dwayne Johnson don’t understand The Man of Bronze or the world he and his colleagues inhabit.

Therefore, what they can’t relate to, they lampoon. Because lampooning is allowed and encouraged. That seems to be acceptable behavior in Hollywood for some reason. Just look at the recent Sherlock Holmes film with Will Ferrell, The Lone Ranger film with Johnny Depp, or The Green Hornet film with Seth Rogen. There’s definitely a pattern.

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DF: Do you think that New Pulp is doing a good job in terms of addressing issues of race, sexism and stereotypes that Classic Pulp gets criticized for?

LG: In my opinion, New Pulp is the avenger and saving grace of Classic Pulp, cleaning up the outdated customs, practices, and prejudices that gave birth to that genre, all the while providing more depth and gravitas to Classic Pulp. Especially when you look at anthology series like Black Pulp and Asian Pulp.

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People of color were more than racial stereotypes seen as either servants, savages, or nefarious. We were adventurers, explorers, inventors, detectives, soldiers, sailors, and spies. We were there when America and the world needed us. But very few back then were mindful or brave enough to translate real life heroism as pulp adventure fiction for the people to read. Finding a Black Pulp hero back then was like finding a needle in a field of haystacks. Good luck finding one.

These anthologies redress those issues and correctly brings them to light, and inspired the creation of Pulp heroes and adventurers who could have stood shoulder to shoulder with Tarzan, Doc Savage, The Avenger, The Shadow, The Spider, G-8, Operator #5, and Secret Agent X back in the Golden Age of the Pulps. No joke. I am very serious.

And some of the strong female characters I have read come from New Pulp. They are not to be underestimated. Do so at your own peril.

My advice to new readers is to search online for New Pulp books, read and enjoy these books, and go back and read the book series that made up Classic Pulp. And include international titles as well so that you understand the world of Classic Pulp. America wasn’t the only country producing pulps back then. France and Germany were big on pulp literature for a while before the Second World War.

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DF: Where do you see New Pulp right now? And where should it be going?

LG: New Pulp is in Phase 3 of its development. This is an important time for the genre and the movement that brought it into existence. Where it goes next is the key.

In order for New Pulp to thrive in the new age, New Pulp needs to expand into graphic novels, comic books, video games, and tabletop RPG’s. Continue to publishing amazing stories, however, the future of New Pulp will be boundless and have a lasting impact when it branches out into these markets.

And now is the best time to start this transition.

DF: I’m still waiting to see your name on a book/novel. Are you working on anything now? What are your plans (if any) for a writing career?

LG: Projects are in the incubation phase right now.

But it’s not over. Not by a longshot.

I’m working on something that combines my love of espionage pulp, spypunk, cyberpunk, Tokasatsu armored heroes and villains, and Mecha. And it will all be set twenty-five years from now.

It’s a Hail Mary opportunity. But it’s one I have to take. And it’s a story I have to write. Now I have to make the time to truly start and finish it. And that is why, other than sending Birthday greetings, and prayers for those in need, my time on social media will be limited substantially very soon.

DF: What’s a typical Day In The Life of Lucas Garrett like?

LG: Mostly working, there’s a lot of hours to go around at my worksite because someone either got fired, quit, or had to take medical leave for personal or family medical emergencies.

What free time I have is spent writing, editing, researching, and assembling Mecha plastic model kits for frame of reference, 111and Facebook. I’m about to use Facebook a lot less. It’s a time waster. As much as I love using it, that’s what it is.

Derrick Ferguson: Anything else we should know?

Lucas Garrett:  I  think that about covers it.

You can check out my WordPress website: Luc’s Speculations – https://garrettluc.wordpress.com/ for my fan fiction head canon crossover theories and analysis. And like my writing, I need to post something new in the very near future.

And you can find me on Facebook and Instagram.

Thanks again for interviewing me, Derrick. I appreciate your friendship and support.

 

You Say You Know I Have A Patreon Site But You Don’t Know If You Want To Be A Patron Of Mine? Is THAT What’s Troubling You?

I suppose that out of the many reasons that I’m not yet rich and famous, the fact that I’m notorious lousy at promotion is either #1 or #2. I seem to have this unreasonable faith/belief that those who want to find my work will find it, one way or another. That includes my Patreon site. And while you may know I have one you may not know exactly what content is available to you there and if it would be worth your time and money. Okay, we can take care of that right now and hopefully the information I’m about to impart to you will assist you in making an informed decision as to you becoming a Patron of mine or not.

Let’s start with the crown jewel of the lot, shall we? I always have a brand-new Dillon adventure serial running as the main attraction and the one currently going full steam is Dillon and The Island of Dr. Mamuwalde. I beg your kind indulgence for a few minutes while I go into the backstory of this one:

Remember when the SyFy Channel was doing all those weird monster movies with outlandish creatures fighting each other? Like “Dinocroc Vs. Supergator”? “Piranaconda Vs. Frankenfish”? “MegaPython Vs. OctoShark”? Don’t front. You know you watched them. And if I can ‘fess up to watching them, you can. Anyway, I’m watching one of these movies one night with my wife and as I often do, I say; “I could write a better movie than that” And Patricia responded as she always does; “So why don’t you?”

And I did plan on doing one. I even had a title for it; “Flying Great White Shark Vs. Albino Amphibian White Tiger.” But outside of jotting down notes and characters sketches, I never got past the planning stages. One thing I did know that I wanted to have in the story was a mad scientist. And I wanted him to be black. I absolutely love mad scientists and since there were no great black mad scientists in popular fiction, I decided to create one in the grand tradition of Dr. Frankenstein (Peter Cushing version, natch) and Dr. Fu Manchu. I would model his physical appearance, demeanor and voice on the Great, Great Man, William Marshall and in further tribute, name my mad scientist Dr. William Mamuwalde (students, fans and scholars of Blaxploitation will know where the Mamuwalde name comes from) Clear so far? Okay. We move on.

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The idea for “Flying Great White Shark Vs. Albino Amphibian White Tiger” stayed in my notebooks and subconscious for an obscenely long time, lemme tell you. The concept of Dr. Mamuwalde was one that wouldn’t go away and in my development of the character he gained a son who is a master of over 100 Martial Arts since because Dr. Mamuwalde was in part a homage to Dr. Fu Manchu then he needed a son who is a homage to Shang-Chi, Master of Kung Fu. He also gained a nagging, shrewish, alcoholic wife always scheming behind her husband’s back to sell his inventions on the black market simply because the idea of a mad scientist with a nagging wife tickled the hell outta me.

But still, I just could not find the right story for Dr. Mamuwalde to make his debut. The problem was I was not happy with none of the protagonists for the story I had in mind. None of them were formidable enough to present a challenge to the character I conceived and I definitely wanted to have Dr. Mamuwalde to have a worthy challenge to his intellect and his talents. I knew I wanted to have a film crew stumble upon his island (in homage/tribute to 1933’s “King Kong”) but the characters that presented themselves to me didn’t turn my crank. They weren’t alive. They weren’t vital.

Until I happened to re-read “Dillon and The Bad Ass Belt Buckle.” One of the major characters in the story is Jenise Casile, an actress who has won an Academy Award and when Dillon meets her, she is in the middle of filming an epic science fiction trilogy directed by the eccentric director/producer Rigoberto Orr. Dillon and his partner Eli Creed have been hired to rescue Jenise from kidnappers and that’s all I’ll tell you about the story. You wanna know more, go read it.

Anyway, switches clicked in my brain and I realized that I could marry Jenise, Rigoberto and their current film project with my Dr. Mamuwalde character. In addition, by throwing Dillon in the mix I could satisfy my desire to have Dr. Mamuwalde go up against a foe worthy of him. And what better way for a character in my universe to make his debut by going toe-to-toe with Dillon?

There’s some other things thrown into the mix of the story such as Dr. Mamuwalde experimenting with African Cryptids which came out of when I had planned on doing “The Island of Dr. Mamuwalde” as an “Island of Dr. Moreau” homage for the “Cryptid Clash” project my good buddy Josh Reynolds is associated with and briefly talked me into it. And yes…that most definitely is a whole other story.

But once I got Dr. Mamuwalde, Dillon, Jenise and Rigoberto and the whole idea of Dillon rescuing a film crew from a war zone where they were trying to shoot authentic footage and then finding themselves the captives in a “Dr. Moreau” like situation in my brain…everything just sorta fell into place. And this now concludes my long winded Behind The Scenes of Dillon and The Island of Dr. Mamuwalde

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One Night in Denbrook is a work in progress going back to 2009. The origins of the story are mainly because I wanted to see if I could do a prose version of a 1980s Action Movie. That’s all. My aspirations as a writer on this particular piece really don’t go any further than trying to put a movie on paper. Most of you who have been following me for a while and know that I usually say that I consider myself a frustrated film director so One Night in Denbrook is my shot at writing a story visual as I possibly could, throwing in all kinds of off-the-wall characters and situations.

The plot is simple: Denbrook’s criminal element is hunting for the heart of Toulon The Magician, Denbrook’s #1 crime lord and one of the main characters of “Diamondback” Some characters who appear in Diamondback also appear in this one as the events of One Night in Denbrook take place about a year before the events of “Diamondback.” The heart of Toulon falls into the hands of one J. Cadwallander, a cab driver who turns out to have an eclectic and incredibly lethal skill set that no respectable cab driver should have and he spends one wild night trying to stay alive while everybody and their mother is trying to kill him for the heart.

The city of Denbrook was created by one of the most imaginative and creative writers I know. Mike McGee is flat out brilliant. That’s the best I can say about him. I truly appreciate the fact that he created the city of Denbrook and then just turned it over to a bunch of writers to use as we please.

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Shadows Over Cymande takes place in another city, one in South Carolina. And it’s something of an experiment as in this one I’m trying to mash-up my love of Soap Operas with a genre that I personally call The Little Town With A Big Secret. You know what I mean if I mention fictional towns such as Peyton Place, Collinsport and Twin Peaks. These are towns that on the surface seem like such happy, idyllic places to live and raise a family. But strangers come to each one of these towns and discover that they all have frightening, hair-raising subcultures and dark underworlds of crime, madness and even the supernatural.

In Shadows Over Cymande just such a stranger comes to Cymande in response to a very lucrative job offer. Alexandrea Ainsley thinks that Cymande is just another sleepy Southern town but she soon discovers it is home to two enormously wealthy and influential black families; the Jalmaris and the Redferns. Two families who have roots and rivalries going back to The Civil War and maybe even before then.

Growing up I got hooked on Soap Operas such as “All My Children” “One Life To Live” “Days of Our Lives” and “General Hospital” especially during that period in the 1980s when “General Hospital” was a batshit insane daily cliffhanging pulp adventure serial. And of course, I loved “Dark Shadows” which is without a doubt the greatest Soap Opera ever. I wanted to see if I could take the elements of the Soap Opera and throw in horror, science fiction, pulp, black humor/comedy and even vintage 1980s Grindhouse and see if I could make it work. Do I succeed? There’s only one way for you to find out.

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So that’s it. That’s what up there right now. From time to time I throw up a short story I dig out of my digital files just as a treat and from time to time I offer a freebie just for the fun of it. By all means, if there’s something I can do that would entice you to sign up and become a Patron of mine, by all means let me know here or by email: DerrickFerguson@gmail.com

And RIGHT HERE is the link that will take you directly to my Patreon page. There’s another link here somewhere right to the right but why aggravate you by making you look all over the joint for it?

As always, I thank you for your time and kind patience. Blessings on you, your household and all that live there and I’ll talk to you again soon.

 

Three More Examples of Today’s New Pulp

Hopefully you will have read my previous article where I presented three examples of what I consider to be prime examples of New Pulp in today’s popular media. You didn’t? Pfui. Don’t worry. I gotcha. Go here and check it out. I’ll go get myself a sandwich and a Coke while you do that.

You done? Cool. I can continue then. My purpose with these articles is to hopefully show  that the Pulp tradition never really went away and is alive and well. It’s just that the tropes of Pulp have been conscripted by Action Adventure, Horror, Science Fiction and many other genres. But there’s New Pulp aplenty all around. You just have to look for it:

CONGO: This is one of the most spectacular examples of New Pulp. And when I say spectacular I’m talking about the sheer audacity of the story which is primarily a jungle adventure with a diverse and eccentric band of explorers looking for The Lost City of Zinj and the diamond mines located there. It’s a strictly 1930’s plot successfully transplanted to the 1990’s and enhanced with modern day technology.

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The movie is directed by Frank Marshall, who frequently collaborated with Steven Spielberg and written by John Patrick Shanley. It’s based on the novel by Michael Crichton but take it from me, the movie is way better than the novel. Which is the case with most of Crichton’s novels. Probably because Crichton really wasn’t interested in characterization. Crichton was more interested in the technology and the effects of science going wrong. But CONGO is the stuff of Saturday afternoon cliffhangers way more than most of his other stuff and that’s what Marshall and Shanley wisely decided to focus on. ‘Cause trust me, this movie moves. There’s enough fights, captures, escapes, close shaves with death and breathtaking action to give Lester Dent on his best day a run for his money.

That’s not to say they throw out the technology entirely. One of Our Heroes is Dr. Peter Elliott (Dylan Walsh) a primatologist who has taught a gorilla named Amy how to speak using sign language. Her sign language is translated into digital speech by means of a special backpack and glove. Peter decides to return her to Africa and is funded in this endeavor by Herkermer Homolka (Tim Curry) a shady character who has led unsuccessful expeditions to Zinj in the past and thinks that Amy may be the key to this one being successful.

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Also joining the expedition is Dr. Karen Ross (Laura Linney) a communications expert who needs to get to the Congo to find her fiancé (Bruce Campbell) who was looking for a rare blue diamond that can only be found near volcanoes. Guess where the Lost City of Zinj just happens to be in the neighborhood of?

Along with The Great White Hunter Munro Kelly (Ernie Hudson) And yes, I do know he’s black. But that’s how he always introduces himself and it leads to one of the movie’s funniest lines later on, they set off to find the Lost City of Zinj which is guarded by killer gorillas.

There’s no adequate way I can tell you just how much sheer fun CONGO is. Just let me say that if you don’t want to see a movie where Laura Linney is blasting away with a laser at killer gorillas while fleeing from an exploding volcano, then we obviously have nothing in common.

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DIRK PITT: Described by his creator, Clive Cussler as a modern day homage to Doc Savage, I’ve always admired Cussler’s unashamed love of Classic Pulp and his enthusiasm for it. A good case could be made that Cussler was writing New Pulp long before the title was ever coined. He’s certainly the most successful at it and the character of Dirk Pitt is by now as well-known as Doc Savage and James Bond, another fictional grandfather of Pitt’s.

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So far there have been 25 Dirk Pitt novels written. The last 8 Cussler co-wrote with his son Dirk. No mystery there who he was named after.

When it comes to branding Dirk Pitt as New Pulp one has only to check out a few of the novels to see that he comes by that legitimately. Despite working as marine engineer for the National Underwater and Marine Agency, in every novel Pitt finds himself battling megalomaniacal supervillains with world conquering schemes that would wring gasps of envy from Fu Manchu or Ernst Stavro Blofeld. In the course of his adventures Pitt has recovered Captain Nemo’s ‘Nautilus’, raised the ‘Titanic’, discovers the existence of a secret base on the moon, finds Atlantis, stops a plot by a race of genetic supermen to destroy civilization and create a Nazi empire… need I go on?

Dirk Pitt hasn’t had much success outside of the novels. He’s been in two movies so far. He was played by Richard Jordan in 1980’s RAISE THE TITANIC! which you should avoid as if it were Ebola.

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But 2005’s SAHARA with Matthew McConaughey as Pitt and Steve Zahn as his sidekick Al Giordino is way better and even though Cussler was very unhappy with the movie I think it’s a lot of fun and great Saturday afternoon entertainment. Only thing I can complain about it is that McConaughey and Penelope Cruz have zero chemistry together on screen.

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THE SIMPSONS Episode #150: “RAGING ABE SIMPSON AND HIS GRUMBLING GRANDSON IN ‘THE CURSE OF THE FLYING HELLFISH’”

Written by Jonathan Collier and directed by Jeffrey Lynch this is not only an hilarious SIMPSONS episode but an outstanding pulp action adventure story as well. Don’t believe me? When was the last time you saw an episode of an animated show where the plot hinged on Nazi art treasures and a tontine?

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We find out in this episode that Abraham J. Simpson was the commanding officer of “The Flying Hellfish”, a gung-ho infantry squad in WWII whose members included the fathers of Chief Clancy Wiggum, Seymour Skinner and Barney Gumble. The laziest and most cowardly member of the squad is Corporal Montgomery Burns.

During the final days of WWII, The Flying Hellfish take a German castle and discover it’s full of priceless artwork. Through quick talking, Burns convinces the others to enter into a tontine. Upon the death of the others, the treasure, now called The Hellfish Bonanza goes to the last survivor.

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Burns and Abe Simpson are the last two survivors and Burns hires Fernando Vidal, the world’s most devious assassin to kill Abe. Naturally pissed off by this, Abe, with the help of his grandson Bartholomew J. Simpson determines to go get the Hellfish Bonanza before Burns gets his hands on it.

From start to finish this is a delightful episode that plays out like a miniature summer action movie. And it’s downright touching how Bart and Abe bond together while on this wild treasure hunt and see Bart gain a new found respect for his grandfather who he had previously only thought to be a nutty old coot.

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That’s three more examples of New Pulp for you and I hope you enjoyed them. If any more occur to me, you’ll be the first to know. Peace!

From The “Making An Impression” File by Sean E. Ali

So, FINALLY, Tommy Hancock over at Pro Se has done his reveal of three author imprints where I got to do the initial logo designs…

The plan was to reveal them over the weekend at the convention that hosts the annual Pulp Factory Awards in Chicago.

Not that I’ve ever been, but I’ve won one to my complete surprise.

So the three authors involved with this part of the reveal were Kimberly RichardsonFrank Schildiner and my good friend and partner-in-virtual crime Derrick Ferguson. All three are authors in something called “New Pulp” but really that’s kind of a narrow definition of their particular brands of storytelling. All three are well regarded, they’re unique in their own rights, they all have their followings who eagerly await their latest projects and all of them have happened to be offered a chance to exercise their prodigious imaginations under their own brands with Pro Se.

And lucky me, I get to contribute by building the first part of that brand with these imprint logos…

So, though you’re probably not asking, how does that work? Well I’m glad you didn’t ask, let me tell you the intricate planning that went into each one of these and the meticulous work we in the independent publishing game go through to make our talent shine…

Last weekend, Tommy hits me up on Facebook with no warning whatsoever and says he needs some author imprint logos for this show in Chicago: “can you do it?” I ask for details because obviously I’m just getting to a party already in progress, and he kicks out the rough ideas for Kimberly and Frank…

…which, BTW, for a guy so full of ideas and stories and plans was woefully light on details just generalities, and he turns me loose after I inform him I’ll talk to Derrick who had already contacted me. Derrick and I do all our stuff more like a couple of guys shooting the breeze on the front stoop on a Sunday afternoon. Yeah we work, it’s just more of a relaxed thing where we kick back and chat and at some point we, usually accidentally, hit on the right thing. I love our process because when we do chop it up, I never fail to end our conversation without a smile at the end and at least two good belly laughs from the soul.

Which is pretty much how his brand POWER PLAY! was done. I, in the course of our discussion run an idea of what I’d like to use as his look and he shows me the very thing I had in mind, which in an odd bit of coincidence was sitting on his desk: a gold clenched fist with that 1960s/70s Soul Brother/grindhouse film vibe as the logo. In my head, what you see as the POWER PLAY! logo was a black light velveteen poster stuck to a ceiling between some mirror tiles with a fish net full of fake starfish.

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It was the 70s, you had to be there.

So he was easy and POWER PLAY! was done in one. There are colored variants and, as a last minute thing, I added the tag line “Old School New Pulp” which is what Derrick does. He’s got an updated Men’s Adventure/Action Hero/Thriller feel to a lot of his projects, so it felt right.

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Now Kimberly’s came with the most detail from Tommy. Crossed guns, gothic mansion, emboss this, something something that…

So I did that first and like an old “Men On Film” sketch: “Hated it!” It didn’t matter how many ways I crossed the 20 pistols I put together, none of them looked right. So instead I went to work on the manor house bit and abandoned the guns. Nice… but generic. The house was sitting on a cliff, so I pulled the cliff, threw in a really basic shield, colored it all black… better, but still needed something. I uncrossed the guns, used them as a frame and was there.

But then I wanted to make it hers. Any schmuck could build a lady a house but it needs to be HER house. So I took a look at the lady I was building the house for since I’ve never had the pleasure IRL or online of getting to know her. First thing I noticed, which is the first thing I notice about a lot of women in photos, were her eyes…

…that, kids was the hook, she’s got great eyes. I stared at those eyes and attempted to be as accurate as I could be despite simplifying them for an illustration. Stared at them for so long, I think I owe her dinner and one failed rom-com running through the airport scene. I tossed an oversized moon in the background added the eyes and I was in love…

…with the final product.

So PULP GOTHIC gave me the Lady of the House, a touch of Stephen King in the mansion, got the guns in and it all was an echo of the old paperbacks that used to come with the mapback covers telling you about the location of the story.

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Last, but not least, came Frank Schildiner. His was done first, I really didn’t like it but I took Tommy’s rough idea too literal. Frank and I aren’t online running buddies, but he and I enjoy decent fight techniques, he’s a martial artist and instructor (in addition to being an author) and I’m immensely impressed by his focus and skill. Unfortunately the logo I came up with didn’t really reflect Frank or his work. It was sort of a hero shot that reminded me of a rejected logo for the old fitness guru Jack LaLanne. It was passable, but it wasn’t Frank. As Friday rolled around I still wasn’t happy with it and it’s hard to put out something I’m not in love with as I send it out. Tommy’s looking for logos and I’m one short. But it was also something Tommy said that sparked an image early on: “Frank’s work goes everywhere.” The image that invoked was pure Jack “The King” Kirby. If you don’t know Jack and his work in changing the face of comics as we know them with Stan Lee…

…move out of that cave so I can get you some help.

So the image I came up with was a complete re-do which is inspired by guys like Kirby and the late Darwyn Cooke and we had something worthy of Frank in particular and his work in general.

And I FINALLY learned how to DIY the famous “Kirby Krackle”…

…yeah, whatever, it’s a big deal to me.

So SCHILDINER’S WORLDS final look is probably more due to Tommy’s summation of Frank’s work than anything else. I had the image in my head, but thought I had to do the other thing based on his explanation of what he said the look should be.

So I did what he said over what he asked.

I submitted both though, as I did with the manor only version of PULP GOTHIC, because you should give a guy options…

I’m glad he chose the ones he did.

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Bet you’re wondering where that planning aspect went that I mentioned at the start, right?

Tommy and I refer to this as the “Butch and Sundance”…

If you’ve ever seen how BUTCH CASSIDY AND THE SUNDANCE KID ends for them, you’ll get it.

Sometimes we just have to take a leap, man…

So, if you follow these folks and missed Tommy’s press releases…

…big things are coming from some of your favorite folks…

Get ready to have your minds blown.

The rest of you, as you were…

…and move out of that cave so I can get you help.

Be good to yourselves and each other.

Dispatches From Windy City #4: A Last Series of Images

And actually that title is downright misleading because I’ve been back from Windy City for a week already. So this dispatch isn’t coming to you from Windy City but from the good old Ferguson Ponderosa in Brooklyn.

But this is the first time I’ve had to sit down at my desktop computer since I’ve been back (don’t ask…it’s a long story) since I had to unceremoniously flee from Chicago due to a freak snowstorm on Sunday morning. Which meant I had to miss a panel I was to sit on and for that I apologize to one and all. If I can make it up to you, please let me know.

But I wanted to cap off my Wind City adventure with some final images of the good time I had and share them with you good folks. So please enjoy and as always, thank you for your kind indulgence and support.

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Dispatches From Windy City #2

Tumbling through a thousand centuries

You don’t know where you’ll land

It’s so dark in mythology

Treasures of history to be found

Near the legends of time

All the handiworks remain there

Only a dream away

Those are lyrics from “Dream Away” The theme song to TIME BANDITS, one of my favorite movies of all time and they occurred to me because of the conversation I had this morning over breakfast with Ron Fortier and Rob Davis.

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Oh, we talked of many things. Of family, of our craft, of movies…and if you ever invite Rob Davis to your house, please watch YOUNG FRANKENSTEIN with him, okay? I’ll let him tell you why.

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But then we started talking about the art and craft of storytelling. And I told Ron and Rob my theory that if aliens ever did visit us it would be because they would be fascinated by the fact that we humans are a Race of Storytellers.

Think about it. You come home at the end of a long hard day from work or school or whatever. You sit down to dinner with your family and you say to them; “Tell me about your day.”

And then they tell you a story.

Because it is now a story because they have had time to think about it, to process it through their emotional and intellectual matrixes. It isn’t events as it actually happened.

It is A STORY.

And if there is any gift that we have as The Human Race is that we know how to tell A STORY.

Which is what a lot of today was about. I had breakfast with Ron and Rob and we told stories. Then we went to the venue and met up with Tommy Hancock and Aubrey Stephens and we told more stories. Then I met Gordon Dymowski and even more stories were shared. Gordon and I had a really good conversation about how much the subconscious plays in the creative process. Don’t sleep on this guy. I learned a LOT speaking to him in just fifteen minutes than I do in three hours with other folks.

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We’re having a good time and I hope you are as well. Tonight, it’s dinner at Fuddruckers, the New Pulp Awards and then the drinking and whoring.

Wait…scratch that last part.

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And here’s a picture of Aubry Stephens along with a link to the video of Blues Traveler singing “Hook” for no other reason than every time I see Aubry, this song plays in my Personal Soundtrack:

 

 

Dispatches From Windy City #1

Whenever I’ve talked about trips I’ve taken in the past (especially to Florida) you’ve usually heard me talk about driving down there. And driving is usually how I do travel. I’ve driven down to Florida and back to Brooklyn at least a dozen times. Which has led some people to think that I don’t like to fly or am scared to fly. Actually, I’m not. I’ve flown many times in the past. Flying’s cool. I just prefer driving because I like to take my time to get to where I’m going and I like to run on my own schedule. I start taking planes and bam! everything is out of my hands. I gotta be here at this time and I gotta do this and I gotta do that. All of a sudden, it’s as if all the fun has gone out of travelling because now it’s more about meeting schedules that others have set for me rather than me just jumping in my car and going wherever I please and doing whatever I want.

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So why did I jump on a plane and come to Chicago for the 2019 Windy City Pulp & Paper Convention?

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Simple. I thought it would be fun and there were people here I hadn’t seen in awhile and I wanted to see again.

Such as Ron Fortier and Rob Davis, the Captain and Chief Engineer of Airship 27. I haven’t seen these cats since the first Pulp Ark many moons ago and it was high time I hung out with them again.

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And I never pass up a chance to harass Tommy Hancock. I’ve been doing it for twenty years. Why should I stop now?

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And doubtless there are many more people I will resume an acquaintance with here and those I will meet for the first time. And that’s really what it’s about, isn’t it? Or at least it should be. It most certainly is for me. Making connections. Meeting new people. Renewing friendships with fellow writers, colleagues and enthusiasts of Pulp, be it Classic or New.  Talking about the things we love in Pulp and how we can make it better and how we can expand the audience and share it with the world.

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I’ll be here in Chicago at the Windy City Pulp & Paper Convention this weekend so get used to seeing these dispatches for the next couple of days. Like those war correspondents you see in those old Black & White WWII movies who went out on the front lines during the day and then at night filed stories about what they had heard and seen? Yeah, this will be kinda like that. You guys know how I be.

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Tommy and I have already talked about major Dillon and Fortune McCall stuff. Ron and Tommy are going to be making major announcements tomorrow as Friday is the actual day this shindig starts. We just got here early because there’s a whole LOT of stuff that has to go on behind the scenes before the jump-off jumps off. I may even do a Facebook Live from the floor of the convention. Anything to show you guys how much fun we’re having.

We haven’t even really gotten started yet and we’re already having a ball.

Watch this space.

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