I finally got around to reading JONATHAN FOX IN “THE MONSTER OF EGYPT” and the first thing that immediately comes to mind is that I wish I hadn’t waited so long to do so. Don’t you make the same mistake I did. Pick this one up at your earliest opportunity. I got the digital version because…well, to be honest, I didn’t know what I was getting and if it turned out I didn’t like it I didn’t want to be stuck with the paperback. I know, I know…that sounds kinda cold. But there have been far too many times I’ve sprung for full price for a product and gotten burned. I’m delighted to be able to say that didn’t happen this time around. The day after finishing the digital version, I ordered the paperback. Because John McClellan is an artist/writer of undeniable talent with a great character who I’d like to see more of.
Jonathan Fox is a master thief who works for your typical shadow intelligence agency that doesn’t exist. He’s extraordinarily capable, resourceful and highly dangerous. He gets involved trying to prevent a devastating terrorist attack on America in a plot that for me was highly reminiscent of 1980s Action Movie and the Timothy Dalton James Bond movies. And I do mean that as a compliment as those who know me know that 1980s Action Movies are a big influence on my own work and that Timothy Dalton is my second favorite James Bond.
The story moves along a rapid pace like a man who is late picking up his paycheck. And the artwork is simply fun to look at. I myself tend to see a Steranko influence in the way the panels are laid out and in the slam-bang action action scenes which are cinematic, to say the least. This whole book might as well be the storyboard for a movie.
And it may seem like a small thing, I know…but it’s those small things that tend to make me smile while I’m reading a graphic novel and I appreciate an artist who can not only draw engaging and exciting fight scenes but also party scenes where people wear clothes that have wrinkles and hang on their bodies like clothes are supposed to hang. There’s a panel where Jonathan Fox is just standing there, wearing a white suit but dang if John McClellan doesn’t draw that suit as if it had some weight to it. Mr. McClellan also remembers that clothes flap about, tear and retain bloodstains during and after a fight.
And Mr. McClellan also remembers that he’s supposed to be telling a story. There are way too many artists out there now that are more interested in how elaborate or intricate they can get with their storytelling but John McClellan understands that sometimes less is more. He’s out to put down an Action Movie on paper and for me, he did just that. if it sometimes seems as if he’s falling back on the tropes we’ve seen in other spy/adventure thrillers of this type that’s only because in this kind of stories there’s certain tropes you expect to see. You read a Western you expect there to be six shooters and horses, right? You read a romance and sooner or later somebody gonna kiss, correct? So I see no reason to fault any other genre for exploiting the elements we read that particular genre for.
If there is any complaint I have is that while Jonathan Fox continually maintains that he’s just a thief, they guy has a set of combat/tactical/strategic skills that would make Navy Seals envious. But I’m confident that in future adventures, John McClellan will reveal Fox’s full story. But in the meantime, if you’re down for some full tilt boogie Old School spy stuff, do yourself a favor and check this one out.
You can get yourself a copy of JONATHAN FOX IN “THE MONSTER OF EGYPT” at:
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.
I love cutting edge science fiction books like “Killing Time” and “The Labyrinth Key,” television shows “Fringe” “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 “TheFoundation”. 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 TheGreen Hornet comic book series for the now defunct NOW Comics line, as well as “Classic X–Men” that reprinted old issues from Uncanny X-Men for Marvel Comics.
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.
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.
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?
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.
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.
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.
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 BlackPulp and Asian Pulp.
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.
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.
Mention The Avengers to your average Joe or Jane Punchclock and they’ll most likely assume that you must be talking about the blockbuster movies featuring a team of Marvel superheroes. And they’re right. But there’s another team of Avengers that has just as loyal following as those other Avengers ever since the 1960’s. The British TV series THE AVENGERS starred Patrick Macnee as John Steed. Originally, he wasn’t the main character. That was Dr. David Keel played by Ian Hendry. THE AVENGERS started out as pretty much a straight up crime drama but that changed once Steed became the main character and was partnered up with a succession of beautiful assistants. Women whose names soon became legendary due to their intelligence, sophistication, style, talents and abilities that made them easily as equal as their male partner out in the field. Cathy Gale (Honor Blackman) Emma Peel (Diana Rigg) and Tara King (Linda Thorson) worked with Steed for a shadowy branch of the British Secret Service (given the name of “The Ministry” in the disastrous 1998 movie) combating enemies that became more bizarre the longer the series ran.
Robotics, time travel, mind control, invisibility, super computers wanting to take over the world, The Hellfire Club (a concept borrowed for Marvel Comics “X-Men” series) mad scientists…THE AVENGERS had all that and more, incorporating elements of science fiction, satire, parody, droll British wit flavored with eccentricity into an entertaining one hour package that ran from 1961 to 1969. There also was “The New Avengers” which ran from 1976 to 1977 that saw John Steed with two new partners played by Joanna Lumley and Gareth Hunt.
We won’t talk about the movie, okay with you?
But what I would like to talk about is THE AVENGERS: TOO MANY TARGETS. Judging from the date I’m assuming it was published to compliment the feature film. One has to wonder why there wasn’t a proper movie tie-in novelization but in this case I’m glad there wasn’t. THE AVENGERS: TOO MANY TARGETS is just fine the way it is. It’s not a masterpiece and it’s not a book that I insist that you actually have to read but if you’re a long-time fan of the series then you’ll have a good time with this.
Somebody is going around killing agents of The Ministry. Somebody that looks a whole lot like John Steed. And he’s not a fake. Thanks to computerized voice analysis there can be no doubt. It actually is Steed. And considering his knowledge and experience, a rogue Steed is the greatest threat imaginable to British Intelligence. A reluctant Tara King is giving the assignment to eliminate him.
But while this is going on, Steed is contacted by a retired colleague who gives Steed a special assignment that comes right from The Prime Minister himself: Steed’s superior, codenamed ‘Mother’ has apparently gone rogue and is killing his own agents. Steed is given the assignment to eliminate him.
Now believe it or not, this all ties in with a wild gorilla roaming the English countryside being hunted by Cathy Gale and Dr. David Keel’s investigation into a lethal plague rampaging through the African nation of Katawa. All of these diverse threads lead everybody to Knight Industries, owned and run by Mrs. Emma Peel as apparently Knight Industries is the new birthplace of the deadliest foes The Avengers ever faced: The Cybernauts. Before, Steed and Mrs. Peel barely survived their encounters with the murderous robots. Now they have to face a new generation of Cybernauts that are faster, smarter and more powerful than their predecessors. Even with Dr. Keel, Cathy Gale and Tara King on their side, can they once again defeat the insane genius who has given The Cybernauts new life and save the world?
I trust you see the main attraction this book had for me. For the first time, Steed is working with all his former partners on the same case. There are a couple of others that don’t appear here such as the nightclub singer Venus Smith and Dr. Martin King but they only appeared in a handful of episodes each and they’re nowhere nearly as well known. A lot of the enjoyment I got out of the story was seeing how Steed’s partners interacted and worked together. Tara King isn’t very happy about Mrs. Peel so obviously enjoying the adventure and working with Steed again. Dr. Keel and Cathy Gale discover that they’re quite the formidable team of brains and brawn. And it’s downright comforting and touching to see that Steed seems to be taking an almost fatherly pride in the way his former partners mesh their talents and skills together.
And I also liked how the book is set in period. There’s a part where Mrs. Peel and Tara are talking and Mrs. Peel makes a reference that it’s been a year since she and Steed’s partnership ended. So apparently Steed and Tara managed to get that spaceship they accidentally flew off in at the end of the final episode back to Earth. Being set in period gives the writers a chance to have fun with the technology, terminology and British eccentricity of the 1960’s. It’s also pretty funny at times, especially the scene where a poor Russian agent is harassed by one Avenger after another, all looking for information on Steed’s whereabouts. It’s also appropriately bizarre in the scenes where Cathy Gale battles a gorilla and where Steed and Mrs. Peel have to fight off Cybernauts disguised as flying stone angels in a graveyard.
So, should you read THE AVENGERS: TOO MANY TARGETS? Like I said, if you liked the TV series and you’re a fan then I don’t see why you wouldn’t want to. It’s a light, breezy read and the characterizations of Steed, Mrs. Peel and Tara are as I remember them. And even though I’m not familiar with Cathy or Dr. Keel, the writers sold me on them being worthy partners of Steed and just as deserving to be called Avengers. Well-written action scenes and you can’t beat a cyborg Neo-Nazi mad scientist with an army of killer robots as bad guys. It’s a fun read.