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Get Graphic Classics Volume 23: Halloween Classics for only $10 in October

Get Graphic Classics Volume 23: Halloween Classics for only $10 in October

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Graphic Classics Halloween Classics-smallI’m a big fan of Tom Pomplun’s Graphic Classics comic anthologies. I’ve lost track of exactly how many he’s published so far, but it’s a lot — including volumes showcasing Edgar Allan Poe, Bram Stoker, Arthur Conan Doyle, Jack London, Ambrose Bierce, Mark Twain, R.L. Stevenson, O. Henry, Rafael Sabatini, Oscar Wilde, and my favorite, H.P. Lovecraft.

Each book is 144 pages in graphic novel format, collecting some the best stories from each of the featured authors, illustrated by a stellar line-up of artists. And seriously, that Lovecraft release is the bee’s knees.

He’s also done a series of special theme volumes, including Western Classics, Fantasy Classics, Gothic Classics, Horror Classics, and Adventure Classics. As an added bonus, the most recent of these (including Science Fiction Classics, Poe’s Tales of Mystery, and Native American Classics) are in full color.

Now Graphic Classics Volume 23: Halloween Classics is just $10 for the entire month of October (reduced from $15 ). This volume features an EC-style introduction, by Mort Castle and Kevin Atkinson, and contains Matt Howarth’s adaptation of the screenplay of the classic silent film, The Cabinet of Dr. Caligari, alongside adaptations of Washington Irving’s “The Legend of Sleepy Hollow” by Ben Avery and Shepherd Hendrix, H.P. Lovecraft’s “Cool Air” by Rod Lott and Craig Wilson, Mark Twain’s “A Curious Dream’’ by Antonella Caputo and Nick Miller, and Arthur Conan Doyle’s “Lot No. 249” illustrated by Simon Gane.

We covered Halloween Classics when it was first released last September. Get more details or order a copy on their website and see the complete line-up of fabulous Graphic Classics here.

Spotlight on Fantasy Webcomics: The Dirt on Ursula Vernon’s Hugo Award Winner, Digger

Spotlight on Fantasy Webcomics: The Dirt on Ursula Vernon’s Hugo Award Winner, Digger

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Digger Volume 1 Ursula Vernon
Cover of Digger Volume 1 by Ursula Vernon from Sofa Wolf Press

I read a lot of webcomics. Back when I was writing Cowboys and Aliens II for Platinum, I started reading a bunch of the comics that were up on the now-defunct Drunk Duck and I got hooked.

What happens when you start reading webcomics is that you often follow links to other webcomics, until your bookmarks bar is full of comics you’re following on a regular basis and your inbox is full of recommendations from friends of the comics you should be following. That e-mail from a friend is how I discovered Digger by Ursula Vernon, which was the Hugo Award Winner for best graphic story and the Mythopoeic Fantasy Award winner, both in 2012.

It starts with an anthropomorphic wombat named Digger who, by page 6, has met a statue avatar of the god of wisdom Ganesh. Wombats being a race of logically minded architects and engineers, they don’t care much for gods and magic — but Digger is thrust into the middle of a story that has both. Magic has deliberately interfered with her tunnel, something no wombat takes kindly, and her sense of direction is askew, meaning she can’t get home until Ganesh helps her figure out just where home is from where she’s ended up.

While researching a trip home might seem like a harmless endeavor, it’s not as simple as it sounds, and soon Digger is up to her ears in strange characters: a young healer known only as the Hag, a shadow child who might or might not be a demon, an unnamed hyena exile who Digger calls Ed, a female warrior monk who is probably insane, and a whole tribe of hyena people who might want to eat her.

This might sound like a lot of silliness in one webcomic, and Digger has its share of humorous moments. But what happens between the words, the art, and the story is the stuff of magic — quite possibly the kind that Digger herself would approve of.

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Blogging Arak 9: Adventure on the High Seas

Blogging Arak 9: Adventure on the High Seas

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ARAK9CWith the return of Roy Thomas to the scripting helm, Arak issue 9 has our protagonists Arak and Valda resuming their quest to rescue Malagigi from his demonic imprisonment in far-off White Cathay. After having rescued Pope Hadrian and having rid the world of one Black Pope, our stalwart heroes are set for some adventure on the high seas. It’s time for a one-off pirate tale, but one in which Thomas manages to work in Vesuvius and an encounter with the lost souls of Pompeii.

Arak is about fed up with cities: “He-No take me — I’ll be glad when we’re done with the cities of your world, and I can take to the forests again.”

But first they have to pay a visit to Neapel (modern-day Naples) to find Pope Hadrian’s friend Gallio, who can provide them passage to Byzantium.  The Holy Bishop of Rome told them that they would know Gallio by the ring he wears, “which shows two hands grasping but a single cross.”

As with every past arrival at a new city, the first signs are ominous. People are packing up and leaving the port in droves, because “there’s no longer work there for free laborers — or honest seamen!”

They soon discover the reason: Gallio’s ship is now manned mostly by slaves. When they begin inquiring down at the bay, two “lecherous merchants” immediately hone in on Valda, because, as Thomas narrates, “Alas, however, in these unenlightened days, the presence of an attractive woman on the docks usually has but one meaning for the sea-rovers of Neapel…”

Need I tell you how their pawing at her ends? With her knife at the throat of one, of course, and the other one nearly skewered like the pig he is. Their lives are spared, though, in exchange for pointing the way to Gallio’s ship.

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Blogging Arak: Valda Gets Naked on Christmas Eve

Blogging Arak: Valda Gets Naked on Christmas Eve

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Arak_Vol_1_7Happy Labor Day! Here you are, (hopefully) enjoying a well-deserved break from labor to spend some time on the down low at the Black Gate.

For this Labor Day edition of Oz’s ramblings and my (if I’m counting correctly) thirty-first blog post, I’m going to kill two birds with one blog by covering issues seven and eight of DC Comics’ Arak, Son of Thunder. And I’ll keep it brief. My rationale? Series creator Roy Thomas penned neither issue of this two-part story. He provided the plots, but they were written by guest scripters Gerry Conway/Mike W. Barr (7) and Mike W. Barr (8). What I’m wondering is this: Will they be able to channel the sword-and-sorcery vernacular that is old hat for Thomas? Or will their dialogue veer into self-parodic melodrama? Will it fall flat? Will it feel too modern? Let’s find out.

Issue 7: “Behemoth from the World Below!”

The cover of issue 7 boasts the caption “Perhaps the Most Unusual Christmas Story of the Millennium!” Gotta love the hyperbole. Pope dragged into the underworld by a pale giant, then rescued from the Black Pope by a Viking Native American from the unknown New World across the sea? Pretty unusual, but perhaps not the most unusual one of the past thousand years.

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New Treasures: Knights of the Dinner Table #200

New Treasures: Knights of the Dinner Table #200

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Knights of the Dinner Table 200-smallI am thrilled to report that Kenzer & Company, publishers of the fine Hackmaster and Aces & Eights role playing games, have published the 200th issue of the world’s best gaming comic, Knights of the Dinner Table.

Knights of the Dinner Table is written and drawn by my friend Jolly R. Blackburn, with editorial assistance by his talented wife Barbara. If Jolly’s name is familiar, it may be because of last Saturday’s appreciation of his earlier publication, the much-missed role-playing magazine, Shadis, where KoDT first appeared. Or you may remember the last time I shone a spotlight on KoDT, with issue #191 last September. Or maybe you’re a fan of the KoDT spin-off The Java Joint, which appeared in every issue of the print version of Black Gate, and was finally collected (with one new strip) last April. Or perhaps you’re simply a fan of KoDT all on your own, and don’t need me telling you how brilliant it is.

The first issue of Knights of the Dinner Table appeared from AEG in the summer of 1994. With issue five it switched to its current publishers Kenzer & Company, and it has appeared regularly ever since.

I don’t think I need to tell you what an incredible accomplishment it is for a comic to reach the 200 mark in today’s market — especially with the same creator at the helm. It is, in fact, an almost unparalleled achievement (the only comparable example I’ve been able to come up with is Dave Sim’s Cerebus). To reach issue 200 under any circumstances is an amazing achievement for an independent comic.

I wrote a book review column in the back of Knights of the Dinner Table for four years, starting in the late 90s (the incredible series of coincidences that lead to that happy state of affairs are related in my introduction to the collected Java Joint). I got to meet and game with Jolly, Dave Kenzer, Steve Johansson, Brian Jelke, Barbara Blackburn, and the entire KenzerCo gang — and let me tell you, I wouldn’t trade that experience for anything.

But it’s my contributions to and relationship with KoDT that I’m most proud of during that era. KoDT has survived not simply because it occupies a unique niche in the gaming community, but because it is a singularly brilliant work from a uniquely talented creator. If you haven’t tried it yet, the massive issue 200 is a great place to come on board.

KoDT #200 was published July 2013 by Kenzer & Company. It is $8.99 for a 96-page black & white comic. The cover is by Larry Elmore; more details and order instructions are here, or try the free online strips.

Jinnrise and the Game of Life

Jinnrise and the Game of Life

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Jinnrise #1-small“The game of life’s about us all…wherever we are or wherever we’re from.” Jinnrise, my comic book series published by IDW Publishing, was inspired by this mantra and line from issue #1. The best of stories, those that resonate throughout the ages, start with the seeds of a theme.

Informed by the writer’s passions and experiences, the essence of the story springs forth. Such was the case for me.

Growing up in a mixed heritage household, I found myself drawn to novels, comics, and films that celebrated our common humanity. Fears, hopes, nightmares, and dreams: the ties that bind were what fascinated me the most. The outer trappings and vehicles of storytelling? In the short term, they didn’t really matter.

As I became a more discerning fan of genre entertainment, I grew less and less excited about the tentpole projects being announced year after year. Conventions like San Diego Comic-Com were no longer celebrations, but yearly commentaries on the growing stagnancy in science fiction and fantasy.

How many stories with zombies, vampires, robots, and wizards could one enjoy without being overwhelmed by déjà vu?

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ARAK Issue # 6: “The Stalkers of the Snows”

ARAK Issue # 6: “The Stalkers of the Snows”

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ARAK6CRight off the bat (no pun intended), the cover tips us off that this issue will feature the blood-sucking undead!

In the eerie blue glow of the full moon, a vampire swoops down on sword-drawn Arak like a bomber lugging twin torpedoes. And, oh dear, those sharp fangs aren’t the only pair of pointy objects poised to pierce Arak or poke his eyes out. (Yeah, they’re hard to miss, framed as they are by the yellow moon.)

[Okay, the adolescent male has been sent back to his room in my psyche; now let’s summarize this issue with less juvenile eyes, shall we?]

We don’t get to any vampires until 19 pages in; this issue fits a recurring pattern of narrative structure that reserves the monster-of-the-month for the last five pages or so, while the first four-fifths of the issue covers court intrigue and character development that furthers the overarching plot.

Arak returns from being demon-flung out of the sorceress Angelica’s tent the night before, arriving at Carolus Magnus’s jousting tournament just in time to reveal to the Twelve Peers that Angelica’s brother Argalia cheated by using sorcery when he defeated the champion Rinaldo last ish. Also, by the way, her demons have carted off one of the Twelve, the court magician Malagigi, to White Cathay.

Most of the Twelve (well, they’re down to ten now, since one seat has been mysteriously empty and, of course, poor old Malagigi is a hostage to goat-footed devils) dismiss the charges of the “savage heathen,” since it is his word against Angelica and Argalia, who are both nobility and allegedly Christian.

The ensuing exchange rather amusingly ticks off Arak, who lays out a good case of circumstantial evidence and shows himself to be smarter than just about all the rest of them combined. Even Valda, usually stoically silent, intervenes, telling the rest of her Peers that they should heed the words of Arak.

All this gets her is a snickering remark from the Bishop: “Well, now! It seems rave Valda is smitten with the young savage!” Another one chimes in, “Perhaps we should call her the ‘Iron Maiden’ no more, eh?” Nudge nudge wink wink. Man, and you thought I was juvenile! These guys need a serious come-uppance.

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Rocket Raccoon! Guardian of the Galaxy: The Early Years (Not in the Black Mountain Hills of Dakota)

Rocket Raccoon! Guardian of the Galaxy: The Early Years (Not in the Black Mountain Hills of Dakota)

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Rocket_Raccoon_Vol_1_1The upcoming Guardians of the Galaxy movie is the biggest risk yet for Marvel Studios. Last year’s The Avengers was a daring crossover experiment bringing together all the heroes introduced so far into the Marvel Cinematic Universe, but the five lead-in films were all financial successes and audiences had some prep for what they were about to see. But The Guardians of the Galaxy is a light-hearted space opera starring heroes few people outside of comicdom (and, honestly, quite a few within it) know no better than the main generals of the Thirty Years’ War.* The majority of the characters come from unusual alien species… and one of the heroes is a sentient, blastgun-toting raccoon.

I recently watched an episode of Nature titled “Raccoon Nation.” The scientists interviewed on the program theorized that living in urban environments has pushed raccoons to rapidly evolve higher intelligence. “In a hundred years, they may be running the cities,” one scientist joked. If this pattern continues, the reality of a jet-boot propelled sentient raccoon armed with laser guns is not so far-fetched after all. Rocket Raccoon is already on his way to movie screens in 2014, so how long until his raccoon brethren on Terra follow his example?

Rocket Raccoon, a character introduced in an offhanded way in the mid-‘70s, may turn out to be the popular lynchpin of The Guardians of the Galaxy. Although the furry black-masked space opera hero has gone through publishing dry-spells, he has a loyal following and love that exceeds the other Guardians. (Sorry, Groot.) According to director James Gunn in an interview at SDCC, “Rocket is the heart of this movie. If Rocket doesn’t work the movie’s not gonna work. If Rocket does work the movie’s gonna work.”

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HEROIC: An Interview with Andrew Collas

HEROIC: An Interview with Andrew Collas

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HEROIC #1There’s been much discussion lately on Black Gate about Kickstarter: about projects that have reached fruition thanks to crowdsourced funding and projects that have failed to deliver on their promises. Kickstarter’s a way to get stories out that might not otherwise exist and from the outside looks like an interesting way to make one’s passion real. As it happens, I know someone working through that process right now. Andrew Collas is a longtime friend who’s brought plans for his first comic, HEROIC, to Kickstarter. He’s got a copy of the first script online: a mix of super-hero story and spy thriller, beginning with the mysterious death of a hero — and a young woman’s escape from a secret base. I know he feels strongly about the material he’s working with and I thought it’d be interesting to discuss his plans and experiences so far. What follows is an e-mail interview I did with him about heroes, comics, and Kickstarter, all subjects that seemed of interest to this blog.

An Interview with Andrew Collas

Conducted by Matthew David Surridge

What is Zenith Comics, and what is Heroic? What are your plans for the company, the project, and the story?

Zenith Comics is the brainchild of my fever dreams and childhood fantasies. I took the words of Superman to heart when he said [in the Geoff Johns-written Justice Society #1, 2006], “The world needs better good guys,” and Zenith Comics represents my attempt to answer that challenge. HEROIC is the manifestation of that. HEROIC is my story, that starts us in the darkness of today’s comics and (hopefully) moves us through the actions of the protagonists to a brighter future where heroes are once again the ideal and have feet of marble, not clay!

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Vintage Treasures: The Comic Times

Vintage Treasures: The Comic Times

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The Comic Times 4-smallJust check out that 1980 Charles Vess cover at right. Isn’t it neat? I sure thought so, when I accidentally stumbled across it on eBay.

It is now mine. Mine mine mine. Because, Charles Vess. Also, poor impulse control.

Strange thing happened when it arrived, though. I thought I was buying an early issue of The Comics Journal. As soon as I unpacked it — and stopped cooing over the Charles Vess cover — I noticed that it was not an issue of The Comics Journal. It was something called The Comic Times.

I’m embarrassed to admit that I never heard of The Comic Times. Had to look it up and everything.

I’m embarrassed because the early 80s was when I was pretty much completely immersed in the comics scene. I was buying and reading comics by the truckload, from Arthur’s Place in downtown Ottawa. Frank Miller’s Ronin, Cerberus, Love and Rockets, Alan Moore’s Swamp Thing, Keith Giffen’s Legion of Super Heroes, Howard Chaykin’s American Flagg, Pacific Comics… I didn’t need something called The Comic Times. I was living The Comic Times.

I’m sure enjoying reading it now, though. It’s a fun and informative little zine, and I bet I would have gotten a lot out of it back in 1980. Near as I can figure out, it only lasted six issues. It was edited by Dennis Cieri and Mark Gasper, and published out of New York. Like The Comics Journal, it was printed on newsprint and looks like it was typeset with a Smith Corona.

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