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Author: William Patrick Maynard

Husband and Father. Authorized by Sax Rohmer's Literary Estate to continue the Fu Manchu thrillers. THE TERROR OF FU MANCHU was published by Black Coat Press in April 2009. THE DESTINY OF FU MANCHU followed in 2012. Contributed short stories to numerous anthologies including GASLIGHT GROTESQUE (EDGE Publishing, 2009), TALES OF THE SHADOWMEN: GRAND GUIGNOL (Black Coat Press, 2009), THE RUBY FILES (Airship 27, 2012), FURTHER ENCOUNTERS OF SHERLOCK HOLMES (Titan Books, 2014), THE MX BOOK OF NEW SHERLOCK HOLMES STORIES (MX Books, 2015), TOWERS OF METROPOLIS (Airship 27, 2016), and THE MX BOOK OF SHERLOCK HOLMES CHRISTMAS ADVENTURES (MX Books, 2016).
Blogging Austin Briggs’ Flash Gordon – Part Eleven, “Kang the Cruel” / “The Skymen”

Blogging Austin Briggs’ Flash Gordon – Part Eleven, “Kang the Cruel” / “The Skymen”

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p101745754-3p30920910-3“Kang the Cruel” was the twenty-third installment of the Flash Gordon Sunday comic strip serial for King Features Syndicate. Originally published between February 11 and May 20, 1945, “Kang the Cruel” was the first strip without the story input of creator Alex Raymond. It was illustrated by Austin Briggs, who had succeeded Raymond as the strip’s artist the previous year, and was scripted by Don Moore.

The story gets off to a strong start with Flash, Dale, and Dr. Zarkov returning to Mingo City unaware that Prince Barin has been deposed and a usurper sits on the throne. The usurper is Kang the Cruel, the son of Ming the Merciless. This is a strong concept in the classic tradition. The only disappointment is that Austin Briggs’ artwork pales in comparison with Alex Raymond.

Zarkov’s rocketship is shot down by an air patrol led by Kagi, Kang’s lieutenant. Firefighters rush to the crash site as Kang has given orders the Earthmen are to be taken alive. Flash is spirited away by Darin, a freedom fighter who has infiltrated Kang’s air patrol. The new emperor proves he is as cruel a despot as his father, ordering the firefighter who allowed Darin to escape to be flayed, sprayed with ice, and then placed in steam until he dies.

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Three Against the Stars Blasts Off for Intergalactic Adventure

Three Against the Stars Blasts Off for Intergalactic Adventure

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3 against starsn21422Three Against the Stars is the second book I’ve read by Joe Bonadonna. Unlike his sword & sorcery work, this marks a venture into pure space fantasy. My knowledge of the genre is admittedly spotty. I was unfamiliar with the works of Edmond Hamilton and E. E. “Doc” Smith, who are both cited as influences, but part of the joy of genre fiction is that one does not need to have an encyclopedic knowledge of all that has gone before since the influences are so pervasive, much of it strikes one as easily recognizable.

This tale of space marines calls to mind the works of Robert Heinlein, while the space war itself strongly reminded me of Malcolm Hulke’s early seventies Doctor Who serial, “Frontier in Space” with the Earth Empire brought to the brink of war with the lizard-like Draconian Empire thanks to acts of terror committed by the apelike Ogrons. What sets Bonadonna’s work apart from so many others who share similar influences is that he is able to authentically capture the fun and innocence without sacrificing intelligent commentary on war and imperialism.

This is an Airship 27 publication and art director Rob Davis does his usual stellar job of ensuring that their titles stand out as the most eye-catching on the market today. Laura Givens’s cover art perfectly captures the space fantasy artwork from publishers like Ace, Lancer, Del Rey, and Ballantine from decades past. Interior black & white illustrations by Pedro Cruz have a classy retro-style that one associates more with slicks than pulps. The decision to go with a more sophisticated style of illustration is well-suited to Bonadonna’s story, which has familiar elements, but offers a more philosophical dimension than one generally finds in pulp fiction.

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Blogging Marvel’s Tomb of Dracula Magazine

Blogging Marvel’s Tomb of Dracula Magazine

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marvel_preview_vol_1_12lom1Dracula Lives was Marvel’s companion black and white companion title to the award-winning Tomb of Dracula monthly comic. As a magazine, Dracula Lives was exempt from the strictures of the Comic Code Authority, allowing for more violence and adult themes than would have been possible in the comic at the time. The Legion of Monsters #1 in 1975 and Marvel Preview #12 in 1977 collected three orphan tales – two originally slated for Dracula Lives and the other for Vampire Tales as both titles had ceased publication by this point.

Chapter Seven of Roy Thomas and Dick Giordano’s masterful adaptation of Bram Stoker’s classic was salvaged from Dracula Lives to appear in the debut issue of The Legion of Monsters. The story advances to the point where Professor Van Helsing is brought in by Dr. Seward in an ill-fated effort to save Lucy Westenra’s life. This would be the last installment to see print until the two legendary comics creators reunited decades later to finish the project for Marvel as previously covered in detail in our earlier article on comic adaptations of the Stoker novel.

“Profits are Plunging” was a Steve Gerber solo tale of Lilith, Daughter of Dracula that made its way from Vampire Tales to Marvel Preview. Frank Springer’s artwork is strictly run of the mill, but Gerber’s solid story offers an effective criticism of 1960s idealism giving way to 1970s corporate greed. Martin Gold, the series’ resident Greenwich Village hippie, accepts a PR job to help provide for his pregnant girlfriend, Angel O’Hara. Of course, the conservative capitalists at the chemical company whose compound Martin is supposed to successfully sell to the youth of America are well aware their product will harm both the environment and animal life and are willing to off Martin when he decides to play whistle-blower. This gives Lilith an opportunity to take over her host form of Angel O’Hara to save Martin and take vengeance on the men whose corrupting greed outweighs their respect for life.

Doug Moench’s lost Dracula Lives tale, “Picture of Andrea” is an effective variation on the film noir classic Laura, aided and abetted by the gorgeous artwork of Sonny Trinidad. His depiction of the Lord of Vampires is the equal of Gene Colan. It is appropriate that a story so concerned with the beauty of the human form be graced with an artist capable of illustrating it to perfection.

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Blogging Marvel’s Dracula Lives – Part Two

Blogging Marvel’s Dracula Lives – Part Two

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dracula_lives_vol_1_8Dracula Lives was Marvel’s companion black and white companion title to the award-winning Tomb of Dracula monthly comic. As a magazine, Dracula Lives was exempt from the strictures of the Comic Code Authority, allowing for more violence and adult themes than would have been possible in the comic at the time.

Issue #8 gets underway with Doug Moench’s “Last Walk on the Night Side,” a two-part gritty urban police drama with a cop on the verge of retirement who runs afoul of Dracula. The shock ending, where the officer returns home to discover Dracula has taken his revenge on him by attacking his wife is startling. Tony DeZuniga’s artwork is first-rate throughout.

Len Wein’s “The Black Hand of Death” continues the gritty urban feel with a Roaring Twenties tale of gangsters in Rome. Gene Colan’s artwork lends immediate authenticity by providing stylistic continuity with the monthly series.

Chris Claremont’s “Child of the Storm” is a lengthy text piece. I had forgotten how these were such a fixture of the magazine. Dracula works surprisingly well as a pulp character and these stories prove that the thread between pulps and comics runs deeper than superheroes.

The fourth chapter of Roy Thomas and Dick Giordano’s faithful adaptation of Bram Stoker’s classic rounds out the issue. This chapter has the infamous portrayal of Dracula as a baby snatcher who feeds the stolen infant to his blood-starved wives with the promise they can have Harker once he is finished with him. Jonathan makes a valiant, but unsuccessful, effort to slay Dracula while he sleeps in his coffin during the day. The chapter ends with Harker despairing that he has failed to prevent the plague of the vampire from spreading to England. He knows he will never see his beloved Mina again as he awaits the fall of night, not knowing if this is the night he will meet his death at the hands of Dracula’s brides.

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Blogging Marvel’s Dracula Lives – Part One

Blogging Marvel’s Dracula Lives – Part One

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dracula-lives-smallDracula Lives was Marvel’s black and white companion title to the award-winning Tomb of Dracula monthly comic. As a magazine, Dracula Lives was exempt from the strictures of the Comic Code Authority, allowing for more violence and adult themes than would have been possible in the comic at the time. From the magazine’s launch in 1973 with a stunning Boris Vallejo cover displaying voodoo imagery and undead nudes, readers knew they were in for something decidedly different.

Issue #1 gets underway with the excellent “A Poison in the Blood.” Gerry Conway’s contemporary tale of Dracula in New York, suffering from withdrawal after drinking the tainted blood of junkies easily measured up to the high standard set by Marv Wolfman in the monthly comic series. Assigning the monthly’s art team of Gene Colan and Tom Palmer the artistic chores for the story only reinforced the fact that what was to follow would be every bit as good as the award-winning parent series. More importantly, “A Poison in the Blood” began the Cagliostro story arc which would weave its way through history in subsequent issues.

Roy Thomas’s “Suffer Not a Witch” is the first historical tale and also the first Dracula story to team Thomas with artist Dick Giordano. The pair would later embark on a celebrated adaptation of the original Stoker novel. “Suffer Not a Witch” steers the series into Nathaniel Hawthorne territory with the Lord of Vampires visiting 17th Century America and becoming embroiled in the conflict between hypocritical Puritans and the persecuted witches.

The first issue concludes with Steve Gerber’s “To Walk Again in Daylight,” illustrated by Pablo Marcos. This 18th Century tale set in Vienna is well done, but the central concept (Dracula is seeking an alchemical cure from vampirism) contradicts the established continuity for the series and flies in the face of Marvel’s portrayal of the Lord of the Vampires as a truly Satanic unrepentant figure who embraces evil for his own sake.

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Pro Se Presents – the Eclectic Voice of New Pulp

Pro Se Presents – the Eclectic Voice of New Pulp

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psp15Pro Se Press is one of several New Pulp specialty small presses that have sprung up over the past few years to give voice to new writers. While Pro Se publishes pulp novels like their peers, they have largely set themselves apart in the field by also publishing a monthly print magazine, Pro Se Presents. Issue 15 was just published and presents five diverse examples of New Pulp from five very talented writers. The periodical is also published as an e-book each month and is affordably priced in keeping with traditional pulp titles of decades past – something most small presses are unable to otherwise do thanks to the economics of print on demand or small print runs.

208894_334665373281612_920378856_n1Sean Ali’s striking cover art and moody interior illustrations do an excellent job of capturing the unique feel of each tale. The magazine’s stellar editorial staff [Tommy Hancock, Lee Houston, Jr., Frank Schildiner, Barry Reese, and Don Thomas] has done an excellent job of capturing the mix of genres that were found under the pulp banner in the heyday of the 1920s and 1930s. From a modern standpoint, there is a bias to favor the superhero prototypes (such as Doc Savage, The Shadow, The Spider, etc.) or the more famous offshoots of the pulps, the hardboiled detective and the sword & sorcery barbarian hero. This tends to shortchange the many boxing stories, westerns, romances, and humorous tales that were also staples of the pulp world. Happily, Pro Se Presents restores this balance.

Issue 15 gets underway with David White’s “Doc Panic.” While the title may recall Doc Savage, White has crafted more than the simple knock-off it might suggest in this clever blend of pulp archetypes and Japanese martial arts. Phineas Montgomery is the man behind the mask. An heir to a fortune, Montgomery grew up scarred as a witness to his Satanist parents’ murderous rituals involving the human sacrifice of abducted children and derelicts. A Japanese servant stole young Montgomery away from his parents’ house of madness and smuggled him to Japan, where the boy was trained in the arts of Ninjitsu and Akido. Along the way, the young man also picked up an addiction to certain illegal powders that help him manage his pain. White has achieved an interesting balance between the masked vigilantes of the Golden Age and the Men’s Adventures paperback originals of the 1970s with their mix of martial arts and gritty urban crime. There is little doubt that this is only the first of many appearances for the character. White has stumbled upon a winning formula here that makes Doc Panic a character worthy of commanding the cover slot for his debut.

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Blogging Austin Briggs’ Flash Gordon, “The Menace of Mysta” / “Home”

Blogging Austin Briggs’ Flash Gordon, “The Menace of Mysta” / “Home”

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flash_gordonflash20gordon_briggs149911171“The Menace of Mysta” was the tenth installment of Austin Briggs’ daily Flash Gordon comic strip serial for King Features Syndicate. Originally published between March 27 and April 25, 1944, “The Menace of Mysta” is a very brief episode that starts off with Flash and Dale and their nameless Elvin guide crossing Lost Lake when they pass through a patch of fog and become embroiled in a spider web. A giant spider rises from the lake to attack them. Flash dispatches the creature easily enough and the trio soon comes ashore on a strange beach where they quickly find themselves among the invisible kingdom of Queen Mysta.

Mysta’s kingdom appears to function magically with visibility and seemingly inter-dimensional passage under the beautiful but mysterious Queen’s control. Dale and their Elvin guide are taken captive. Flash passes through the invisible portal into the kingdom and eventually fights his way into Mysta’s castle. Once Mysta determines that Flash poses no real threat, but is an honorable man fighting for Dale’s freedom, she pulls aside a curtain to unveil the scientific genius that allows her kingdom to operate on what seems to be magical principles. The genius is none other than Dr. Zarkov.

Readers were doubtless as flummoxed as Flash and Dale at this revelation and no sooner are they reunited with their old friend then he is bustling them off into a rocket ship on a secret mission he refuses to tell them anything about, which leads this curious and very brief penultimate adventure into the final storyline of Austin Briggs’ daily strip.

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Blogging Austin Briggs’ Flash Gordon, Part Nine “The Isle of the Elvins”

Blogging Austin Briggs’ Flash Gordon, Part Nine “The Isle of the Elvins”

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966521austinbriggs“The Isle of the Elvins” was the ninth installment of Austin Briggs’ daily Flash Gordon comic strip serial for King Features Syndicate. Originally published between April 22, 1943 and March 25, 1944, “The Isle of the Elvins” follows on directly from “The Royal Hunt” with Queen Tigra of Forestia accidentally losing her way back to the capitol and leading Flash and Dale into Lost Lake, where a fabled treasure stolen from Forestia long ago is believed to be buried. The trio finds a rowboat and set out to cross the lake when the boat’s owner overtakes them and capsizes the boat. Flash is overcome by the stranger and nearly drowned and has to be rescued by Dale and Tigra. The stranger takes possession of Flash’s ray gun and takes them captive. He introduces himself as Doron, King of the Elvins who live on an island in Lost Lake. Soon they are joined by the diminutive form of the Elvin General Krom.

At long last with the introduction of the Elvins, Austin Briggs steps out of Alex Raymond’s shadow and produces a storyline with characters worthy of the strip, without seeming like pale imitations of what has gone before. Arriving on the island as slaves, they are surrounded by the Elvins, who hop up and down excitedly repeatedly shouting, “More girls!” Clearly, Briggs was enjoying himself with this strip. General Krom takes a shine to Tigra, calling her “curly-top” (one can’t help but think of Shirley Temple’s movie of the previous decade), while the indignant Queen of Forestia dismisses her captor as “monkey-face.” Flash comes to Tigra’s defense, but is quickly overwhelmed by the sheer number of Elvins in a scene that recalls the Lilliputians of Gulliver’s Travels.

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Blogging Austin Briggs’ Flash Gordon, Part Eight “The Royal Hunt”

Blogging Austin Briggs’ Flash Gordon, Part Eight “The Royal Hunt”

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flash-gordon-4-27lf“The Royal Hunt” was the eighth installment of Austin Briggs’s daily Flash Gordon comic strip serial for King Features Syndicate. Originally published between November 27, 1942 and April 21, 1943, “The Royal Hunt” follows on directly from “Queen Tigra of Forestia” with the Queen decreeing they all take part in a lion hunt. She makes sure that Dale is given an untamed horse in an effort to injure her rival for Flash’s affections. Meantime, her former consort, Prince Cugar, manages to escape from his cell while the others are otherwise occupied.

While Briggs is no match for Alex Raymond when it comes to illustrating the splendor and pageantry of Mongo, his scenes of Flash’s bare-handed battle with the lion, when he breaks the cat’s back, are as exciting as anything found in the contemporaneous Tarzan newspaper strip. The incident itself seems out of character for Flash and more suited to Edgar Rice Burroughs’s celebrated jungle lord, as much as Flash’s punching out a horse seems better-suited to a western pulp hero.

More troubling for contemporary readers is the continued sexism, unique to Briggs’s take on the character, with the fiercely independent Queen Tigra finding she enjoys having a man give her orders. While Alex Raymond’s dichotomy between virtuous Dale and the exotic, sexually liberated women of Mongo may have been rooted in classical virgin/whore stereotypes, his seminal Sunday strip never demeaned his female characters as Briggs regularly did in the daily strip. This is unfortunate and, coupled with Briggs’s relatively inferior art and plotting, serves to undermine his success as Raymond’s heir once the series’ creator departed the Sunday strip.

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Blogging Austin Briggs’ Flash Gordon, Part Seven “Queen Tigra of Forestia”

Blogging Austin Briggs’ Flash Gordon, Part Seven “Queen Tigra of Forestia”

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briggs_flashgordon1945bbriggsu“Queen Tigra of Forestia” was the seventh installment of Austin Briggs’s daily Flash Gordon comic strip serial for King Features Syndicate. Originally published between July 13 and November 26, 1942, “Queen Tigra of Forestia” gets underway with Flash and Dale leaving Zarkov behind in the radium mines of Electra to pay a visit to Mongo’s capitol, where President Barin welcomes his old friends. Barin is troubled that the last three diplomatic missions to the kingdom of Forestia have failed, with the party disappearing each time, never to be heard from again. Flash and Dale immediately volunteer to investigate.

Flash and Dale’s rocketship speeds along the Great River of Forestia until it encounters a hydra. Dispatching the dragon with ease, they discover the abandoned rocketships of Barin’s three missing ambassadors. After searching the ships for clues, Flash and Dale are cornered by a giant millipede. They are rescued in the nick of time by a mysterious feline girl who has been watching them from the trees. Flash sends Dale back to their ship for safety and then sets out in pursuit of their rescuer. The feral girl leads Flash on a chase through the forest until he falls prey to an arborial version of a Venus fly-trap. The feral girl reveals herself as Queen Tigra and offers to free Flash if he agrees to be her slave. Flash refuses and fights his way free, but is left dazed from his efforts.

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