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Rediscovering the Ubiquitous Donald F. Glut

Rediscovering the Ubiquitous Donald F. Glut

frank_kindleDonald F. Glut is best associated with his 1980 novelization of The Empire Strikes Back. Some may recall his name today if they are between the ages of 40 and 45 and the movie was a touchstone of their childhood. I was not yet nine years old when the film was first released and read and re-read the paperback over and over again at a time when Star Wars meant as much to me as The Clone Wars does to my kids. The difference was, at age eight, I already recognized the name Donald F. Glut and knew him for a mysterious individual to be respected and admired because he wrote everything I wanted to read.

I was an avid comic book junkie as a kid and adored classic horror and science fiction films of decades past like many that grew up in the 1970s. Donald F. Glut was not a name like Stan Lee or Roy Thomas or even Len Wein or Marv Wolfman that I associated with specific titles that I eagerly devoured each month. Glut appeared where I least expected to find him – which in his case was nearly everywhere.

1An early 1978 issue of Marvel’s Star Wars, a stray issue of Marvel’s adaptation of Robert E. Howard’s Kull the Conqueror that somehow made it past my Mom and into my hands, an Incredible Hulk mini-storybook that I picked up at Woolworth’s – they all bore his credit as author. It didn’t end with comic books. In those days before the internet, libraries were treasure houses for information and non-fiction books on the Frankenstein Monster or dinosaurs that I pulled off the shelf with trembling hands were also from the pen of the amazing Mr. Glut.

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Goth Chick News: Barnabas Collins Rises

Goth Chick News: Barnabas Collins Rises

image0061Though I would normally start this post by ranting about the lack of originality in Hollywood and threaten to stick my thumbs in the Black Gate blender if yet one more remake crawls into a theater near me, I’m brought up short by news of a project with a serious pedigree.

Dark Shadows is slated to start production this Spring for an early 2012 release.

If you tell me you aren’t acquainted with Mr. Barnabas Collins I will first need to inquire how the weather here compares with your home in the Congo, and did you have a pleasant flight into civilization yesterday? I would then go on to tell you that Dark Shadows was a first-of-its-kind gothic soap opera dealing primarily with supernatural themes and if, like me, you were to discover it for the first time while watching contraband reruns at a 10-year-old’s birthday sleepover, it would have scared the crap out of you.

First impressions, no matter how traumatic, can stick with a person for a lifetime and Dark Shadows clearly stuck with a large segment of the population.

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Graphic Noir: A Random Sample

Graphic Noir: A Random Sample

peter-gunn-dell-4colorNoir comics have bubbled under the surface for decades. Even the mainstream success of the Dick Tracy newspaper strip failed to bring hardboiled detectives to the forefront of the medium. Batman started off as a noir title before quickly eschewing dark corners for brightly-colored superhero theatrics for decades. TV and movie tie-in’s, usually one-off’s from publishers like Dell popped up here and there but failed to be anything more than curios.

playback1A quick look at Dell’s Peter Gunn one-shot from 1959 is a perfect example. The television series was strictly adult fare in its day with a 9:30 PM time slot so it’s strange to see a kid-friendly comic with Pete tracking down a maker of counterfeit postage stamps as the lead story.

Dell fared much better with the simultaneous publication of a TV tie-in novel by the author of the Peter Chambers series, Henry Kane. That book managed to aim for a more sophisticated audience than late fifties network television standards would allow making Dell’s dime comic all the more strange in comparison.

The advent of the graphic novel was really the medium that allowed noir titles to flourish. Darker, more adult and frequently self-contained, the graphic novel was the perfect vehicle to bring hardboiled detectives into the graphic medium. Jim Steranko may have been the first to exploit the combination with Red Tide (1976) featuring the adventures of a gumshoe named Chandler in an appreciative nod to the creator of Philip Marlowe. That seminal work was the first graphic noir in the United States, Europe having got the drop on us first.

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Goth Chick News: “Slasher Films”… Really?

Goth Chick News: “Slasher Films”… Really?

image0043I was right on the verge of having a field day with this and it couldn’t have come at a better time.

It starts with today being exactly 24 hours past my usual Black Gate deadline. The events leading up to this would appear to be insignificant, but trust me when I say their aggregated affect — culminating in the toilet set being left up (again) in the “unisex” Black Gate bathroom — had wreaked utter havoc with my normally cheery disposition.

But then a ray of sunshine penetrated the underground bunker of the Goth Chick offices; a statement so rife with possibilities that I was mentally riffing on it before the final syllable was spoken.

“Slash is starting a horror movie production company.”

Oh yes, it was going to be a good day after all.

Let me back up and color this in a bit for you.

The year is 1988 and a hair band out of Los Angeles called Guns n’ Roses finally scores a number one hit with “Sweet Child o’ Mine.” There’s a guy with a wild mass of long, frizzy black locks, banging away on lead guitar who was christened Saul Hudson when he was born in Hampstead, England but was now know by the far cooler name “Slash.”

Yep, that Slash.

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Wizard and ToyFare Magazines Cease Publication

Wizard and ToyFare Magazines Cease Publication

wizard-issue-234Longtime comic magazine Wizard, once one of the most popular publications in the industry, has folded. Its sister magazine ToyFare, dedicated to pop-culture toys and action figures, has also ceased publication. Both magazines were owned by Wizard Entertainment.

Wizard was launched in 1991, near the height of the “speculator boom,” fueled by the arrival of Image Comics and the rise of superstar artists such as Todd McFarlane and Jim Lee. Dedicated to covering news, pricing trends, and personalities in the field, Wizard quickly captured a large readership and brought real production values — including glossy paper, full-color interiors, and rock-star journalism — to comic fandom for the first time.

With its regular Wizard Top 10 and Market Watch columns, which reported on the “hottest back issues” of the month and predicted future price trends, Wizard catered to a new generation of fans and buyers who purchased comics chiefly for their collectability and perceived future value.

It also shared much of the blame when the comic marketplace collapsed as those speculators, burned by numerous bad investments, fled the market in the late 90s.

toyfare-16111Two-thirds of comic book stores across the country closed between 1993 and 1997,  many major publishers were driven out of business, and even Marvel Comics declared bankruptcy in 1997.

For most of its life every issue of Wizard also had a price index, allowing collectors to track the price of their latest hot comics month-to-month (but I only read it for the articles).

At the peak of its popularity Wizard sold over 110,000 copies/month through Diamond alone.  With its final issue, that number had dropped to 17,000.

Publisher Wizard Entertainment made this announcement yesterday:

Wizard Entertainment is ceasing publication of the print magazines Wizard and ToyFare. Wizard World, Inc. will begin production of the online publication ‘Wizard World’ beginning in February. We feel this will allow us to reach an even wider audience in a format that is increasingly popular and more readily accessible.”

Wizard Entertainment continues with its other ventures, including the Chicago Comic Con and many other conventions. Their website is here.

The Best KULL Comic Ever: “Demon in a Silvered Glass”

The Best KULL Comic Ever: “Demon in a Silvered Glass”

kullsmall-1Happy Birthday, Robert E. Howard…

I am a huge Conan fan, but I have to admit that I like Howard’s King Kull stories even better. The Kull tales are more poetic, more lyrical, more mystical … and they reveal more of Howard’s Shakespearean influence than any of his Conan tales.

All of those terrific Kull tales are collected in a terrific illustrated volume from Del Rey entitled Kull: Exile of Atlantis.  If you want the true Kull experience, this book has it all. Yet of all the Kull and Conan comics produced by Marvel Comics in the 70s and 80s, there is one that stands head-and-shoulders above them all: Bizarre Adventures #26, featuring Kull the Barbarian. John Bolton’s dark, lush artwork brought Kull, Brule, and the City of Wonders alive in a work of timeless excellence.

Kull always had it rougher than Conan in the comics world. When the fantastically talented Barry Windsor-Smith put his unique stamp on the Conan character in 1971’s Conan the Barbarian #1, he and writer Roy Thomas ensured it would become a Marvel mainstay. Yet when Marvel added a Kull the Conqueror comic a few years later, they weren’t lucky enough to strike gold again. Various artists did the Kull series, and despite a terrific run by Marie Severin and a couple of great Mike Ploog issues (and later work by Alfredo Alcala and Ernie Chan), the series never approached Conan in popularity or longevity. However, in 1981 King Kull finally got his due in a true masterpiece of sword-and-sorcery: “Demon in a Silvered Glass.”

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Scott Pilgrim vs. A Second Viewing

Scott Pilgrim vs. A Second Viewing

Earlier this week, Andrew Zimmerman Jones posted a review of Scott Pilgrim vs. The World. I’m here to provide a different take on the film…

Scott Pilgrim vs. The World is, in my opinion, one of the best movies of 2010. I’d even go so far as to say it’s one of my favourite films of the past five years, but after its lackluster release last August, viewers seem divided as to whether or not they enjoyed the whole Scott Pilgrim experience.

Scott gets a life
Scott gets a life

Some have said that it’s mostly style with very little substance or, as Mike Allen put it, “the cinematic equivalent of a box of Nerds – fizzling sweetly on the tongue, then gone and forgotten!” But I disagree, staunch Scott Pilgrim fan that I am, and I’m here to tell you why, if you found yourself wholly underwhelmed by the film, you should give it just one more chance. If you know where to look, Scott Pilgrim vs. The World will surprise you with its intricacies.

This all started when the lovely and mysterious C.S.E. Cooney posted as her Facebook status: “Didn’t like Scott Pilgrim VS the World as much as I wanted to. Entertaining, though.”

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A Novel Superman

A Novel Superman

The Last Son of KryptonMedia tie-in novels are common nowadays, and people have debated how good tie-in novels are and how good they can be. I don’t have any strong opinions, other than to note that a) the usual conditions under which tie-ins are written don’t seem encouraging; b) on the other hand, great books can be and have been written under much less encouraging conditions and much greater restrictions; and c) I’m really looking forward to reading Michael Moorcock’s Doctor Who novel.

But I will say this: when the question of the quality of media tie-in novels arises, there are two books I think of as both tie-in novels and excellent fiction in their own right. There may be more, but these two have stuck with me from a young age, and every time I re-read them (as I do every few years), I find they’re still powerful and resonant work. The language is tight, terse and moving. The characters are strong. The world is well-conceived, feeling fresh and new.

The books are Superman: Last Son of Krypton and Superman: Miracle Monday, by Elliot S! Maggin (follow the link to uncover the mystery of the exclamation point). Published to accompany the release of the first two Superman movies, the books have little to no connection with the movies as such, being instead original and utterly fascinating stories.

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Blogging Alex Raymond’s Flash Gordon, Part Five: “The Witch Queen of Mongo”

Blogging Alex Raymond’s Flash Gordon, Part Five: “The Witch Queen of Mongo”

flashgordon2_1cvr1“The Witch Queen of Mongo“ was the fifth installment of Alex Raymond’s Flash Gordon Sunday comic strip serial for King Features Syndicate. Originally printed between April 21 and October 13, 1935, “The Witch Queen of Mongo” picked up the storyline where the fourth installment, “Caverns of Mongo” left off with Flash and Dale setting out to conquer the cave kingdom that was awarded to Flash following the tourney held by Ming and Vultan.

Writer/artist Alex Raymond benefitted greatly from the contributions of ghost writer Don Moore who developed characterization to bring much-needed balance to the nonstop parade of cliffhangers. The serial quickly sets the tone with Dale’s mounting frustration with Flash’s preference for continued adventures over settling down and marrying her. This development coincides with the introduction of Azura, the titular Witch Queen of the Kingdom of Syk.

azuracomicsAzura is the second of Alex Raymond’s stunning exotic women of Mongo and rivals Aura in complexity and appeal. The Witch Queen’s descent from the heavens on a stair of flames is an iconic image that may have influenced Frank Frazetta’s cover art for Conan the Freebooter three decades later. Likewise, Flash’s Nordic-style horned helmet suggests the strip was a vital inspiration on the depiction of Robert E. Howard’s barbarian pulp hero.

From the very start, the point is made that the Witch Queen’s “magic” is nothing more than advanced technology. The continued juxtaposition of the futuristic with medieval fantasy remained a potent formula for success with the stip.

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Gods and Monsters

Gods and Monsters

nammahs-kissJacqueline Carey’s third Terre d’Ange trilogy, the Moirin books, seem to be in general better liked than the books about Imriel. I can’t agree with this opinion. It might be because I read them first, and therefore had gone pretty far into Naamah’s Kiss before I got a satisfactory translation of “diadh-anam“. From context, I was forced to conclude that “”diadh-anam” was Cruithne for “plot”. As in “Jehanne, I adore you, but I find that the plot is telling me I must go to China.”

Of course all the main characters in the Terre d’Ange books have been a singularly god-ridden bunch. However, Phèdre and Imriel and their cohorts had to deal more with powers and inclinations that they received from their gods in much the same way that other heroes have received them from radioactive spiders. The actions they take are to help friends, or make bargains with enemies, or act for their country, or earn a living, or do stupid things because of lust or youth or stupidity.

Moirin, on the other hand, has a goddess that micromanages her every action. Go to Terre d’Ange. Date a hot magician. Learn tai chi. Etc., etc. The Maghuin Dhonn winds up being a character as present in the book as poor, sexy, silly Moirin herself, only a lot less interesting. It’s the Q problem. How do you use a god among mortals as a character? Alan Moore did it with Dr. Manhattan, but that worked because he let us into Dr. Manhattan’s brain, showed us what the world looked like to him. But all you ever see of the Maghuin Dhonn is just her moving her favorite character around like a chess piece; and why would you ever want to read a book about the adventures of a chess piece, when you could read about the mind behind the chess game?

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