The Blank’s a New Pulp Hero in Town

If you are a fan of the pulp mystery men which took place during the 1930s and 1940s then you’ll want to check out Paul Kupperberg’s new novella, The Blank which is a Pulp style dime novel of the ‘30s & ‘40s. The title character, Michael Harper, is a local pharmacist by day, catering to the needs and ailments of his community on New York’s Lower East Side of New York City. However, when the sun goes down, and the streets bustle with rackets, gunmen, and dangers lurks in the shadows, he becomes the scarlet clad, masked vigilante known as The Blank.

He is a masked vigilante in the classic style of the Mystery Men of that era (The Spirit, The Clock, The Phantom Detective, and all the rest). Much like his other books (A Clockwork God, JSA Ragnarök, The Devil and Leo Persky) is an amazing story that builds a totally believable if slightly fanciful world—Where you, as the reader, are totally drawn into the “reality” that Kupperberg executes with a most profound style and flare.

What he has done here, is given us a new-yet-old tale of a hero who has risen to the cause of becoming a masked hero. By day he is Doc Harper, the neighborhood pharmacist, a quiet man with steady hands and an attentive ear behind the counter. However, when night falls, Harper dons the crimson mask that strikes fear into his criminal foes which he wears as a memorial to his father; a good cop who died in the line of duty. However, everything changes when the city suddenly explodes in a mob war. The Blank must now decide if an old man claiming to be hundreds of years old is a benevolent healer...or a criminal mastermind forcing him into a deadly confrontation with this mysterious stranger.

This mysterious stranger goes by many names, including Professor Knickerbocker, Muhhekunneuw, Thomas Dare, and others. He also claims to be hundreds of years old, an indigenous American, and a direct descendent of Virginia Dare from the lost Roanoke colony. As it turns out as “Professor Knickerbocker” he is dispensing alternative “home grown” medicine he claims were taught to him by his ancestors to Doc Harpers patients. While as Muhhekunneuw, he is directing members of the local Iroquois who used to inhabit Manhattan, to wage a war on the local mobsters that now control the lower East Side.

Our hero, as Doc Harper is concerned that the “medicine” is potentially dangerous and really isn’t effectively treating his patients’ actual ailments. As The Blank he is concerned with the fallout and potential collateral damage to innocent civilians by the excesses of the moob war Muhhekunneuw and his indigenous henchmen are waging. The closer The Blank gets to Muhhekunneuw, the higher the stakes become, until there is a full-on battle between the mobsters and the forces of Muhhekunneuw.

Needless to say, fans of Pulp-style novels should most assuredly check this book out, as Kupperberg effectively captures the style and tone of that bygone era with this intriguing novella. Currently available either direct from Kupperberg, or from Amazon (in either print or eBook form), The Blank is a fun novella that clocks in at 132 pages and provides a quick, easy read. 

Paul Kupperberg is the author of dozens of books of fiction and non-fiction for readers of all ages and an Eisner Award-nominated writer of more than one thousand comicbook stories for companies like DC, Archie and others.

A Clockwork God Review

   The world isn’t quite what we think it is. At least according to Paul Kupperberg’s new novella, A Clockwork God. In his book, he postulates a world where all of the various gods from all of the multitude of pantheons return to earth to set up shop, and rule over whatever part of the Earth that they have chosen as theirs. And now, 20 years have passed since their return, and someone is killing them. Meanwhile the G-d of Abraham, Isaac, and Jacob, is nowhere to be seen. Hence, positioning him as a “clockwork god”—that is to say, a god who set the world in motion, and then simply walked away from it allowing it to run on its own.

All of which is a little ironic as Kupperberg is a self-confessed atheistic Jew. He is also an American writer and editor with a long career in comics working at DC Comics, and other companies. He is currently a contributing author with Crazy 8 Press. After leaving DC he became the executive editor of Weekly World News. These days he spends his time writing novels, comic books, and newspaper strips. Some of his titles include The Same Old Story, the short story collection, In My Shorts: Hitler's Bellhop and Other Stories, JSA: Ragnarok, I Never Write for the Money but I Always Turn in the Manuscript for a Check, the Young Adult novel Emma’s Landing, and his latest novella, The Blank.

But that’s not why we’re here, for the gods have returned—and they are demanding worship. Welcome to the ReDeus Event. It is the year 2032. As previously stated, it has been 20 years since the gods of myth and legend returned to Earth. Twenty years since they carved the world into territories ruled by rival pantheons. Twenty years since every man, woman, and child on the planet was forced to swear fealty to their ancestral deities—or be branded as heretics and hunted down without mercy.

And now, a man calling himself Junker George (Junker Jörg (Knight George) was the alias used by the Protestant reformer Martin Luther while he was in hiding at Wartburg Castle in Germany between 1521 and 1522) has emerged as one of the most unlikely and perhaps most dangerous individuals in this fractured new age of faith. Claiming to be neither prophet nor priest, George is actually the possessor of a most holy Relic of Christianity, a survivor who is effortlessly moving through the fault lines between gods and mortals.

    Much to his dismay FBI Special Agent Irwin Benjamin, a weary, middle-aged atheist who has spent his life trusting evidence over faith and reason over revelation is now being drawn into George’s growing insurgency. For Benjamin, it means confronting a universe that no longer makes sense...and deciding whether his disbelief could be the most powerful weapon left to rescue all of humanity.  As George moves through the various pantheons, wantonly killing various gods Agent Benjamin discovers that for him, staying neutral is no longer an option...and that the price for defying the gods may be higher than anyone imagined.

Kupperberg’s writing is both crisp and compelling as he builds this brave new world filled with gods from multiple pantheons, Greek, Roman, Norse, Egyptian, Indigenous Americans, and beyond. Truthfully, the sheer volume of research required of Kuperberg to piece together the various gods, their names, attributes, and associated pantheons must have been staggering, but just know that for someone that has been making up names, abilities, and superpowers for some 50+ years, none of the gods presented here are make believe. (Seriously, who knew so many pantheons existed?)

There are so many random details that make this story not only so amazingly compelling, but so insightful about today’s political and global situations. From the tiniest detail to random conversations by the primary characters, all building to an ending that completely surprised this reviewer. This story was not only grippingly entertaining, but seriously quite a bit of fun to read as well.

Available on Amazon

10 years of Terrificon, and finally a comicbook!

For the past 10 years, Mitch Hallock has been helming Terrificon—a super-sized comicbook convention—at the Mohegan Sun in Uncasville, on the eastern border of Connecticut. One of the things that makes the show so successful is that Mitch is first and foremost a comicbook aficionado, and his show is most assuredly comicbook-centric, concentrating on guests who have worked in or adjacent to the field of comics. He is especially adept in booking comicbook stars from the ‘80s & ‘90s. This was especially true this year when the show released its first show-related comicbook Captain Terrificon Presents: The Scarry Squad.

The comic, written by Paul Kupperberg, with art by Pat & Tim Kennedy, inks by Barbara Kaalberg, and lettering and color by the late Mortt Todd (who passed away about a month after the show). The 24-page comic has a three-page back-up strip (Harley the Terrifidog in A Study in Mylar) by Paul with pencils by Rich Maurizio, inks and colors by Ken Weaton, and colors by Robert Snyser. Interestingly enough, this comic was aided and abetted by a supporting eight-page comic strip that appeared in the convention’s program book. This supporting comic, written by Mitch, and illustrated by George Deep, tells the origin story of Captain Terrificon.

To start with Paul’s story (which was originally intended to appear in the sadly short-lived Charlton Arrow line of comics, itself a pro/fan reboot of the late great line of Charlton Comics.) The Scarry Squad is a group of four young cosplayers who keep losing the costume contest to a different group of entitled and slightly bullyish cosplayers who keep winning. After their latest loss, the squad is majorly disheartened, especially after being teased about their continuing string of losses.

After the con, the squad not only grouses about their most recent loss—which they attribute to their lack of funds to produce winning costumes—but are further disheartened over a humiliating video of them that was uploaded by the leader of their rivals. What lifts their spirits is when their leader, Ziggy Scarry, discovers the costume of a very cool character in an old Ditko story. The discover of the Winnie the Witch character leads them to discover others, including Countess Von Bludd, Baron Wearwulf, and Mr. Bones. His sister Winnie, who is also their costumer declares that she can make the new set of costumes.

Afterwards, she and Connie Sangra go off to locate materials for the costumes, While wandering through town they discover this odd curio shop, the Arcania Boutique run by a mysterious Professor Coffin. It is in this shop that they find all of the materials that they need to construct the new set of costumes. Just as they are checking out Winnie locates Ajax, an odd golem-like plushy to which she takes a shine and keeps as well. As they walk away from the shop with their purchases, the shop itself reverts to an abandoned out-of-business location. Fully supplied with their purchases, Winnie sets about crafting a new set of costumes that the Squad then wear to the next Terrificon. When they arrive at the show, they are greeted by none other than Mitch himself, who marvels over their amazing costumes. So impressed with them that Mitch invites them into Ballroom D which houses Professor Strangelo’s House of Horror, however, just as they approach the ballroom, a hooded and robed cosplayer bursts out of the ballroom carrying the Professor’s Amulet of Cthulhu, not only is the amulet priceless, but it is claimed to be an object of great evil.

As the Squad takes off after the hooded figure, their rivals, Reid Foster’s group—not to be outdone—also take up pursuit. As both Reid and Ziggy close in on the thief, Ajax (who has mystically come to life) manages to trip the thief up causing the demonic force that possessed him to transfer to Reid. The tale winds up with the police escorting the confused thief away, Ziggy and his squad being congratulated on stopping the would-be thief, and Reid and his crew also walking off with Reid now in possession of the mystical amulet.

In the back-up tale, all of the dealers at a comic show discover that their 8.5 and higher graded comics all mysteriously reduced to dust. As Harley the Terrificdog wanders through the show, it seems that every dealer has befallen the same fate. As Mitch arrives on the scene, he discovers only one dealer, Darryl Nearmint, has any bagged/boarded/slabbed 8.5 or higher comics for sale, and he is selling them like hotcakes. However, Harley discovers that Nearmint has used a teleportation device and a mouse to swipe all of the missing comics and replace them with dust so that he would be the only dealer at the show with any high-graded comics. Needless to say, this tale also ends with the culprit being escorted out by police as Harley is being praised.

Which brings us to Mitch’s story in the program guide. Here we learn of the origin of Captain Terrificon. Kyle Kirby, a lifelong comicbook fan is cosplaying as the good captain and is headed for the Mohegan Sun to go to the Con, when he is confronted by his arch enemy, Benny the Cranky comic store owner, A.K.A. Novelty Man. Who zaps Kyle with some sort of Cosmic ray gun, throwing them both through a portal into a different dimension. This act transforms each of them into the person they are cosplaying and sets them into an epic brawl. As the two bash each other out, they wind up at the Con. The fight (and the story) ends with Novelty Man in possession of the Cosmic Comic, and Captain Terrificon changed once again.

All three comic stories are fun, engaging, and we wish that Terrificon and other major comic conventions would create comicbook tie-ins to their respective shows. Not that it actually relevant or even important, while the back-up story and the program comic were specifically created for this show, the Scarry Squad story (as already pointed out) was originally intended for a different publication. The Scarry Squad story became involved with the “magic” of a change in a couple of dialogue word balloons, as well as the addition of in-comic references to Terrificon inserted into the story. All-in-all the three stories were fun and made for a very cool piece of convention swag, especially for those of us who really love comics. Hopefully we’ll see another Terrificon comicbook next year.

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For those comic collectors and fans who are unaware of the history, Charlton was a Connecticut-based comicbook company with a publishing history that not only ran from 1944 to 1985, but through which an impressive array of legendary writers and artists got their start. Though never as popular as DC, Marvel, or even Archie, Charlton had a long run and produced a line of successful publications like. While they didn’t produce the superhero icons that other publishers did, they released a variety of titles that have become beloved by millions. When Charlton closed shop, they sold off most of their properties, (including a group of which that wound up transformed into the Watchmen), with many others left to languish in limbo. However, if anything, appreciation of those old comics and the characters that populated them, has grown over the years. 

Mort Todd Talks About Making Comics

This is another of my older articles from a website that I am no longer associated with, so I wanted to repost it here. This article is from 2015

Mort Todd has made his career in comics, animation, and entertainment. As a youth, he began drawing and writing comics and working as editor of his camp newspaper. Then in high school he drew ads and record covers for local clubs and bands. As a teen, he moved to New York City and began creating classic garage punk album covers from Crypt Records. At 23 he became the Editor-in-Chief of Cracked magazine working with legendary artists like John Severin, Bill Ward and Steve Ditko. Todd went on to make headlines by getting renowned Mad Magazine artist, Don Martin, after a 32-year career to jump ship from Mad to join Cracked.

Currently, Mort’s media company Comicfix develops licensed properties for publishing, film, TV and animation. For the last year, Comicfix has been putting out an eclectic variety of comics, mixing the classical aspects of the comics people grew up with, along with a modern sensibility. The incredible talent involved ranges from legends of the comics industry, to some very familiar names as well as promising new talent. We personally got the opportunity to meet Mort when he headed up Marvel Comic’s music comic division (pitching him a possible adaptation of Meatloaf’s Bat Out of Hell II: Back into Hell album), and recently got to chance to ask Mort about Comicfix and some of his other on-going projects, including resurrecting Charlton Comics with the help of his friends, including Roger McKenzie and Paul Kupperberg.

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Robert J Sodaro: You have a long history in comics ranging from editor-in-chief of Cracked magazine, and Marvel Music to having worked on Superman, Spider-Man, Barbie, and Looney Tunes. Now you are the owner of Comicfix, a media company. How did you go from one to the other, or is your work with Comicfix merely an outgrowth of your earlier comicbook work?

Mort Todd: Ever since I was a youngster, I’ve been interested in every kind of media: TV, film, animation, music and print, and I’ve been fortunate to dabble in all of it. Comicfix is indeed an outgrowth of what I’ve done and an outlet to create the above mentioned media.

RJS: You recently launched a crowd-sourcing fund-raiser on patron.com entitled Mort Todd is creating comic books and graphic novels, where you are seeking funding for a couple of distinct lines of comics. Tell us what that is all about.

MT: I started Comicfix in 2000 to develop comic properties for TV, film, and licensing. Over the years I’ve collaborated with a variety of creators with the same goal. While initially Comicfix featured all my own properties, I’ve launched some distinctive other imprints under the Comicfix umbrella. Writer Brad Hamlin had created a full line of characters, the Secret Society, for the web and print that I’ve visualized under the Mystery Island brand. I did some work in the ‘80s for publisher Ron Frantz and his B&W ACE Comics line and we’ve partnered up to re-release some of those titles in color and create new ones. And a group of like-minded nuts have come together to reanimate the spirit of Charlton Comics with our Charlton Neo line. There’s a lot of cost in creating these comics and not a lot of reward until you make some progress. The Patron campaign is to attract fans of what we’re doing and to help operating costs until we can reach a wider audience.

RJS: How can people contribute to that, and how is that campaign going?

MT: Like a lot of grass-root campaigns it’s had a slow start, but is growing as people hear about it. Those interested can go to the link you mentioned above and donate whatever they want, from $1.00 up, to be a patron of the comic arts. For a dollar they get access to our Pix-c web comic site where we have over a dozen strips with new episodes posted weekly by a bunch of talented creators doing comics ranging from heroes to horror and humor. Donate more and you get print comics, posters, t-shirts and even original art.

RJS: What do you think is the fascination with a company like Charlton Comics? Sure, a bunch of creators came out of the company, when it was operating years ago, but why do people (pros and fans alike) seem to care so much about this company and its characters?

MT: Charlton was always the underdog when compared to bigger publishers like Marvel and DC. As a smaller company they were more willing to experiment with their titles and try out concepts the larger companies wouldn’t do. And the creators had the freedom to do more wild stuff than they would be able to with the big guys.

RJS: With the help of guys like Paul Kupperberg and Roger McKenzie the Charlton line really seems to be taking off, you have three titles either out or in the works and have more on the way. Do you think that you’ll actually be able to resurrect the company as a going concern, or do you just plan on publishing “Charlton-themed” comics?

MT: We’ll be putting out at least six Charlton Neo titles a year, and hope to increase the output if response warrants it. Like the original Charlton, we’re such a small concern that creators are free to do their own thing, and all the features are creator-owned. The Charlton Arrow is an anthology book featuring a mix of genres. Charlton Wild Frontier is a Western comic featuring some Charlton characters like Cheyenne Kid and Kid Montana along with new ones. Paul Kupperberg’s Secret Romances is an oddball romance title with all stories written by Paul and a bunch of different artists. In the works are Charltoons, a funny animal book, and Roger McKenzie’s Total Frenzy Comics and Unusual Suspense. The last two titles are print versions of some Pix-C strips, including revamps of some Charlton characters. Also with ACE Comics, we’re reprinting Charlton’s Hot Rod comics from the ‘60s. Ron Frantz acquired the rights and we are printing from Charlton’s silver prints, used to publish the original comics.

RJS: Who currently owns the licenses to those characters, and how do you get to use the Charlton name and characters if you guys don’t own the license?

MT: Charlton went out of business in the late ‘80s, so a lot of the material is in the public domain. They did sell off some of their assets to others, most notably their action heroes like Blue Beetle and Captain Atom to DC Comics, so we stay away from those and utilize their less well-known, but still beloved, characters.

RJS: In addition to Charlton, you are also publishing ACE Comics and comics under the Comicfix logo, can you tell us what those comicbook lines are about, and how they differ from the Charlton titles.

MT: ACE features the properties owned by Ron Frantz, including Skyman and the Face, which were drawn by Steve Ditko in the ‘80s. We’re also reprinting some of those character’s Golden Age stories to celebrate their 75^th anniversary this year. Ron also has many great titles that were scheduled but never released back then that we’ll be putting out, like an incredible graphic novel by C.C. Beck. A few of the ACE titles are reprints, like the Classic Hot Rod and Racing Car Comics, but we have some new material planned as well. Comicfix does a little of everything, from horror to photo comics and tend to be the properties I’ve personally created or own.

RJS: Do you think your ability to attract both seasoned pros and newbie creators to these titles has to do with the overly-corporate nature of the current state of comics?

MT: Sure. Comics are mostly superhero titles now, with stifling continuity. Our books offer creators the opportunity to expand the comic medium with different concepts and characters and try out things you couldn’t do at the “majors.”

RJS: It seems that the Big Two are allowing seasoned pros with extraordinary talent to slip out of their grasp, do you think that has to do with a perception that “older” creators are simply passé, and perceived (either by the corporations or by the fans) as no longer being relevant?

MT: When I got into the industry in the ‘80s it appeared that if you had been doing comics for the last 20 years, Marvel and DC weren’t interested in using you and they were in search of the “hot” new talent. People like Steve Ditko and Gene Colan couldn’t find regular assignments and I was glad to work with them. And it hasn’t changed since then; the “hot” artists of the ‘80s & ‘90s now find it hard to get work. Again, I’m more than happy to work with anybody that has talent.

RJS: Do you see the revival of Charlton, Ace Comics, and Comicfix to be viable concerns and that you’ll be able to increase your audience share as you move forward?

MT: For sure! Comics are more popular than ever, but more limited than ever. Mainstream comics aren’t too attractive to a wide audience as they are all about superheroes and have a vast continuity with never-ending chapters that potential customers can’t just dip into. Our books have shorter stories, more variety, usually told in under 10 pages, so the casual reader can read a complete adventure without having to buy 50 issues of crossovers. There is a wider potential audience for these kinds of comics than the current hardcore comic fan market attracts.

RJS: Any plans of getting Diamond distribution?

MT: Indeed. That is one of the goals of the Patron campaign, to be able to fund print runs and sell via Diamond.

RJS: Given that distribution for Independent, small press, and “non-corporate” comics is so difficult (and that Diamond’s rules and regulations are so restrictive) do you foresee any chance of a new distributor stepping up to handle the comics that Diamond doesn’t or won’t distribute?

MT: Possibly. We’re also looking into alternate distribution to reach those who wouldn’t normally enter a comics shop. Of course it would help to have a property that is also exposed on other media platforms like TV, film, or animation and we’re working on that, too!

RJS: With Hollywood looking at comics as its new source material, do you think that Indy comics stand a chance against corporate comics in that marketplace?

MT: Yes. Good story-telling will always sell. And a surprising number of independent, non-superhero comics are making it to the theater and TV screens.

RJS: What (else) are you doing to get attention and distribution for your line(s) of comics? And what else do you think is a viable way to get your comics out into the marketplace.

MT: Licensing is the best way to get your product known outside of comic fandom. We’re close to signing a film deal for one of our titles Sadistik, The Diabolikal Super-Kriminal, which is a photo comic with a worldwide cult following. I’m confident that with a successful release it will open the floodgates with others looking at our properties and in turn attracting readers to our books.

RJS: How difficult is it for Indy/Small Press comics to get out into comic shops?

MT: It’s mostly an issue of capital. It takes a bit of money to get the ball rolling what with having to bankroll editorial, printing, and promotional costs for a while before you see any return. And it also helps to have some content that people will actually like and look forward to with continued release!

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Charlton Arrow, Charlton Neo, Pix-C, all artwork displayed, as well as all material mentioned in this article is © & TM 2024 their respective copyright holders. All rights reserved.

Funnybook City is © 2024 Robert J. Sodaro, D.B.A. Freelance Ink. All rights reserved.

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Robert J. Sodaro is a noted comicbook historian and journalist who began reading comics during the early ‘60s while sitting on the newsstand in his Uncle’s “Mom & Pop” grocery store. He has written about them for virtually every print comicbook publication published during the ‘80s & ‘90s. 

The Fantasy has Arrived!

 

Hey kids, it ;looks like my latest published work is finally here! Yup, that’s right, The two-volume set anthology Writers Unite! Dimensions of Fantasy has dropped, and is is officially available on Amazon in both print and ebook formats (vol. 1). The links for vol. 2 are here both print and ebook formats. 

My short story There Be Dragons appears in Volume #1.

Needless to say, you can either purchase the book(s) online, or directly from me (for vol. 1 only; you’ll need to go online for copies of v2).

This is the third time this year that I've had a short prose story of mine published. The first time was in InDELLiprose #2, the second time was in Writers Unite Dimensions of the Wild West Vol 2.

And that doesn't even count my illustrated story in Crackerjack Comics #3! or even the several magazines and books I've produced for my clients. So yeah, I'm having something of a very cool year. 

If you want copies of my stuff, you can either contact me directly (and I'll provide autographed copies of whatever I have (prices vary), or you could search them out online, or from the original publishers (like the most amazing Jim Main (jmain44@aol.com) or  Paul Kupperberg. 

So there you have it. although there is more stuff to come including (hopefully) a webpage dedicated to selling off books I've produced as well as books and magazines that I've written for over the years. 

Talk to all'y'all next year effendis! 

Returning to the Old West and More

 

How totally cool is this?

No sooner did my prose story Ghost Dance wind up in the Writers Unite anthology Dimension of the Wild West (Vol. 2) than a second Western tale of mine (this time an illustrated story) show up in InDELLible Comics publication, Crackerjack Comics #3. 

The story American Eagle: Wülf in the Fold was illustrated by the ever-grumpy John Orlando, and the always-terrific, Tom Ahearn. Both of these guys are amazingly creative (In fact, not only is John an incredible artist, but he and his lovely wife comprise the musical duo The Flushing Queens).

Tom, on the other hand, has previously illustrated more than just a couple of my stories for comics published by the Ever-jaunty Jim Main’s Main Enterprises (a portfolio of my work for him can be found here). The folder contains not only publications where stories and articles I’ve written for him, but numerous publications where I produced the interior design, layout, and prepress for him. Check it out (go ahead, I’ll wait).

Needless to say, that’s not all I’ve been doing these days. I have also been producing a number of books for the prolifically-talented Paul Kupperberg. These books include (but are not limited to) Direct Comments, JSA: Ragnarok, Emma’s Landing, and others (if you’re looking for a graph production artist, feel free to contact me). 

Oh, and if you want to see some of the art that John and Tom did for my 2nd Western, check it out. (I did the duotone coloring, and the lettering). 

That's all for now, kids, more coolness when it happens.