Pulp Power

Preaching From
The Pulp Pit

Pulp Power
by Neil McGinness
Abrams Books
ISBN: 9781419756160

Before I embark on this short but, very sweet review of a wonderful book given to me by a very special friend this Christmas, I should probably warn the more educated and literate readers among you of the thing on the cover which caused paroxysms of rage to manifest upon my golden aged, chiselled features because, yeah, it’s a problem. A subtitle to this glorious tome reads... “The Shadow, Doc Savage, And The Art Of The Street & Smith Universe.” Yeah, that’s right, there’s a hideous comma before the word ‘and’. Further rage was felt when I discovered that this wrongness... I’ll say it once, you never put a comma before the word AND under any circumstances, unless you are a complete idiot... has now been perpetrated upon an unsuspecting public more than once, under the guise of a completely nonsensical creation called ‘the Oxford comma’. And this is why Oxford should always be destined to lose their boat race every year because, frankly, the King’s English shouldn’t be abused in this manner. 

Further insult to injury continues in the interior passages of this book where the writer (or perhaps it’s a wrong headed editor) has failed to realise that the full stop always comes after a passage in parenthesis and not, by any means, before. If you use it before, that means the sentence has been finished and there’s no need to put the following text in brackets. Got it? So... you know... stop teaching young children and troubled, impressionable adults to get it wrong please.

That aside, what a great book Pulp Power is! I’ve been reading 1930s and 40s pulp novels (in paperback reprint form, I’m not well paid enough to be able to buy first editions) since the release in cinemas of the Doc Savage movie in 1975 (reviewed here) and I’ve always admired the no nonsense and efficient manner these great, fast paced stories, which enthrall the reader at every twist and turn, are written. Not so much The Shadow, written by Maxwell Grant (mostly by Walter Gibson under that Street and Smith pen name) but most assuredly the sheer economical energy found in the Doc Savage tales written by Kenneth Robeson (the majority penned by Lester Dent under that house pseudonym). So a book celebrating the artwork on those 1930s/40s pulp covers was definitely something I was looking forward to cracking open in this nice, coffee-table sized wonder.

But, it turns out, this book is so much more and, while it is filled with many beautiful pages of the cover artwork, not to mention the less familiar interior, monochrome illustrations for the original pulp editions... there’s also a fair amount of text which deals with not only those two mighty heroes mentioned above but also with the origins of publishing house Street and Smith from its 19th Century birth, under founders Francis Street and Francis Smith, before passing to one of their heirs and then to its later acquisition by Conde-Naste. Following a suitably humble forward by the great Frank Miller, this companionable compendium is split into six chapters and breaks down thusly...

Section 1. The Shadow
Although named after one of their more famous heroes and certainly covering some interesting facts and figures that I was unaware of about the character, this chapter is where the bulk of the text is laid down and also deals with the company and the people who worked for it... as well, of course, as featuring lots of artwork from the interiors and exteriors of the 30s and 40s editions of The Shadow, not to mention some rare artefacts from the extensive collection of one of the many Shadow collectors in this world. It covers the birth of the character on the radio and highlights what that character was as opposed to what he became when, by demand a year later, the first Shadow pulps were launched... and a very brief glance at a couple of films and theatrical serials based on the character, although the two 1950s attempts at a TV show are not mentioned. What I did find interesting was that Walter Gibson was very quickly established as being so prolific with the character on his typewriter (and you would have to be, at a penny a word) that Smith-Corona produced a standee, endorsement of him as his pen name Maxwell Grant, as a reciprocal promotional gimmick. It also tells of the eventual cancellation of both The Shadow and Doc Savage magazines in favour of a new, glossy breed of magazine venture which became known as the slicks, in direct contrast to the pulps (also named after the quality of the paper used)... specifically a teenage girls magazine called Mademoiselle at the end of the 1940s (which was still running until sometime in the last decade).

Section 2 - Doc Savage, tells a little of the story of Lester Dent’s tales although, I have to say, that the text in this section is not as illuminating or as detailed as the first section. Nevertheless, there’s still a lot of the cover paintings and interior illustrations rendered beautifully on the page. These pages also include lots of big pull quotes from Dwayne ‘The Rock’ Johnson, presumably from around the time that he was in the running to play the character in a new film series (what the heck happened to that, please?).

Section 3 - The Super Crew looks at the other heroes created for both the Street and Smith pulps and some of their comic counterparts... dealing with The Whisperer, The Skipper (aka Captain Fury), The Avenger (along with his team, Justice Inc) and the first metatextual comic book character, Supersnipe. It also deals with the original and later, very different incarnations of a character who I saw highlighted on book shops shelves a lot during the 1970s and 1980s... namely, Nick Carter. I didn’t realise just how different the various revised versions of this character were or, just how prolific the writers were... surpassing even the extremely lengthy runs of The Shadow and Doc Savage novels (both numbering in their hundreds) by many hundreds more.

Section 4 - Paperback Revolution looks at the era of the characters I know best, especially in terms of James Bama’s dynamic 1960s and 70s Doc Savage paperback reprint covers (who I’ve mentioned many times before in articles for this web site, was modelled on Steve Holland, who played Flash Gordon in a dire TV incarnation of the character in the 1950s). There are some nice paperback covers of The Shadow included too, by comic book legend Jim Steranko.

Section 5 - Comics Evolution looks at, not just the 1930s and 1940s incarnations of these characters in their comic book equivalents but also looks at their presence in comic books over the years, especially from stables like DC and Marvel. Indeed, there’s even an interview with the great comic artist Bill Sienkiewicz about his run on The Shadow. I did notice, however, that the truly excellent Doc Savage covers for the comic books put out by Millennium Press are strangely absent from the mix... hmm... perhaps there was some politicking going on.

Section 6 - A New Future is devoted to the continued life of some of these characters. I was surprised as a big follower of Doc Savage that, not only were writers such as Philip Jose Farmer and Will Murray, who have penned some great entries in the series in modern times, curiously absent here... but also that modern popular novelist James Patterson has already released a novel apiece for both The Shadow and Doc Savage. How that got by me without any kind of publicity is beyond my understanding and they’re definitely something I’m going to have to read but, I have to say, the blurb on Amazon for the Doc Savage story is pretty dire and off the point, it seems to me. I guess I’ll have to tread carefully when I’m reading this one. DC already tried modernising him in the comics in the 1980s and, frankly, it didn't work.

And that’s that. All the way through, the writer keeps reminding the audience of something they should probably already know... that characters like The Batman and Superman certainly owe more than just a passing debt to The Shadow and Doc Savage, repeatedly emphasising the easiest ‘borrowings’ to identify their common traits and stressing that these superhero characters would never have come into existence without the groundwork laid by these specific pulps. However, despite this and a few glaring omissions (why show things like the membership badge for the 1930s Shadow Fan Club without showing the similarly charming Doc Savage Club equivalent?), I’d have to say that Pulp Power is a wonderfully illuminating and terrific tome and highly recommended as both an object of beauty and as an education, especially to those readers unfamiliar with some of the stories. The fact that I learned a lot from it and am very familiar with the characters anyway, in various incarnations (most specifically Doc Savage) says a lot, I think. A really nice book and an absolute pleasure to spend some time between the pages with, I must say.

The Crime Spectacularist

Fade To Black

The Crime Spectacularist
by Lester Dent
Fiction House Press
No ISBN marked.

It was after I’d finished reading The Complete Stories Of Doctor Satan recently (reviewed here) that I checked out the publishing house, Fiction House Press, finding they had one volume of stories by Lester Dent. Lester Dent is one of my favourite writers in that he wrote, under the Street And Smith house pen name Kenneth Robeson, almost all of the initial run of 180 plus Doc Savage novels published in the Doc Savage magazine from 1933 until 1949 (I believe he didn’t write any of The Avenger novels, also accredited to Kenneth Robeson). Sometime in his second year on the magazine, he also found time to write three stories of an original character called Foster Fade, The Crime Spectacularist but, I guess once the Doc Savage magazine proved immensely popular and was giving his nearest pulp rival, The Shadow, more than a run for his money, he didn’t bother developing the character any more past these three, initial short stories which were published in All Detectives Magazine.

And I couldn’t find any useful information about the creation and conception of this character at all, so I figured the only way to do so was to find out for myself. Alas, even this jewel of a tome contains absolutely no introduction or preface to shed light on Fade... it just reprints the stories straight and unaccompanied... so I’m afraid I can’t furnish you with any real background to the character (although I believe another book by another publisher quite recently published an anthology of newly written Foster Fade stories... so maybe if I can hunt that one down relatively cheaply I can get some insight from that).

I can tell you briefly about these stories though, which certainly seem to have some of Dent’s interests scattered throughout. The three stories collected here are Hell In Boxes (from the February 1934 issue of All Detective Magazine), White Hot Corpses (March 1934) and Murder By Circles (May 1934). And in these we are introduced to Foster Fade, who is employed by a disreputable tabloid, Planet, as their special private detective known as The Crime Spectacularist. In that he goes after the more sensational cases so that his crime companion, the platinum blonde Dinamenta Stevens (mostly known as Din) can write them up in her lurid style. The two are both paid handsomely, which is just as well because, although he seems a little rough around the edges, especially in the first tale, Fade exhibits the same personality trait that was a big part of Dent’s personae and also, of course, of his more famous ‘science detective’ Doc Savage...

Being that Fade uses a whole host of new, scientific gadgets to help him fight crime, such as a periscope set up so he can see who is outside his office door from a screen on his desk or photographing the entire area around the Empire State Buiding with an infrared camera so that, when the film is developed, he can pinpoint the location of the missing Din from the tell tale ‘glare’ from the special infra-red headlights he installed in her car. He also wears a fine steel mesh undergarment so, like Doc Savage who wears something similar, he can stop any bullets coming his way if necessary.

The character is not very likeable in the first tale but he gets less ‘wise-ass’ and more interesting in the other two. It’s clear Dent is still developing the character as, in the first tale Fade is partial to cigars and, in the second one, we are told he never smokes (indeed, he does have a cigarette in his mouth in that same story but only because he expects trouble and it has a tear gas pellet inside which he is able to bang against a wall with his mouth when his hands are tied).

Like the Doc Savage novels, Dent uses opening hooks which lead to the revelation of something truly startling happening to various murder victims (in the case of these stories) but which are all explained as the consequences of ‘something scientific’ at the conclusion of each tale. So the White Hot Death is a result of exposure to liquid oxygen and the Murder By Circles is the venom contained in the bite of certain bugs or spiders when thrown at the victim. In the first story, he kind of fudges it where it’s made clear that the ‘murders by aroma’ are some kind of un-named scientific gadget.

The Crime Spectacularist stories are entertaining enough (although the first one is not great) but although Dent’s tell-tale signature is built into the stories, I’d have to say that these still don’t hold a candle to his wonderful Doc Savage stories, by any stretch of the imagination. However, I certainly enjoyed reading them and, if you are a fan of the pulps, you’ll probably have a good enough time with them too.

My 2000th Blog Post

Missed Opportunities

My 2000th Blog Post
 

So here I am on my 2000th Blog Post already. I wanted to do something different for this but, I didn’t have anything I could pull out of my hat that I hadn’t already done before so I had nothing really prepared for this moment. I even did an online search to see what other people do for ‘special occasion’ blogs and what the ‘on blog celebration’ ideas might be but, some of them I’ve already done, some of them were just ridiculous and the one which I’d already wanted to do... which is to give away a big prize or something... well, I’m sorry but I don’t have a budget for that kind of stuff right now.

So, I’m sticking to my usual ‘post numbers blog’ format and doing something which isn’t a review and this time it’s... okay, well I have a love/hate (mostly hate) relationship with list articles but, yeah, this is kind of a list... I’d love it if some movie producer just stumbled on this one and got some ideas from it (like that would ever happen). What it is, is a list of ten cool characters who have appeared in movies either only once or, in the case of one of them here, a number of times in one-off attempts to get the character restarted... who really should have become running characters in a series of movies. I think the movie industry should maybe take a look at some of the characters on this list, many of whom could easily be played by the same acting talent in a number of sequels, because I really think these are missed opportunities in terms of creations who have a lot of legs and fictional people who I would love to see more movies made about.

There’s no ranking involved here... there’s no one character from this list of movie juggernauts (in my eyes) who need consideration over the others... I think all of these people deserve another shot at being turned into a franchise. So the order here is just alphabetical, as dictated by the first name of each character (in the case of all but one... you’ll know it when you see it). So, yeah, Happy 2000th to me, NUTS4R2 and, I hope you have an interesting time reading this. In the case of most of those listed here, if you’ve not seen the films in which they appear in some cases, maybe you should take a look at them because these characters are really cool. Most of these are reviewed here so, in most cases, if you click on the title of the movie in the subheading, it should take you into my review of the original film.

Clark Savage Jr
Doc Savage, 1975
Okay, so if you’re a longtime reader of this blog you’ll know of my love of the Doc Savage novels, kick started by seeing this movie in the cinema in 1975. This is a character who starred in over 180 original novels, published initially in the pulp magazines between 1933 and 1949, under the magazine pseudonym Kenneth Robeson (although almost all of these were written by Lester Dent) and then augmented over the years with new stories by the likes of Philip Jose Farmer and Will Murray. It’s a crime that only one movie has ever been made about him, starring Ron Ely and based on the first novel The Man Of Bronze. There should have at least been a 1930s serial based on this character and it’s terrible that I live in a universe where this didn’t happen. There was an attempt to get a movie made starring Chuck Connor’s as the character in the 1960s and you can read about what happened to that production here in my review of the Gold Key comic based on the unfilmed script. Doc has been picked up a few times over the last decade or so but still no movement on getting another film series of Clark’s 1930s adventures in sight. This needs to change.

Eden Sinclair
Doomsday,  2008
Rhona Mitra played special trooper Eden Sinclair in this post-apocaylyptic blend of Mad Max 2 and Escape From New York, where a wall has been put up outside Scotland to keep a lethal virus out of the UK. Many years later, Sinclair leads a team into what’s left of Scotland, to try and bring out a cure which might possibly be there. She’s a great character who has a bionic eye which she can take out and roll around so she can see around corners etc. I’d love to see another movie using this character and Mitra shows just how good she is at playing these kinds of roles.

Florence Cathcart
The Awakening, 2011
Florence Cathcart is a professional sceptic and debunker of the supernatural, until she runs head on into it, of course, in the supernatural thriller The Awakening. When we meet her, she’s played by the great Rebecca Hall and she’s both a tough as nails but also a fairly vulnerable character to throw into the deep end of the spiritual realm. As the film continues, a certain gift for channeling the spirits is exhibited in the character... even though she doesn’t realise it for a long time (although I’m pretty sure most of the audience will figure out just what that special talent is from very early on in the movie). I’d love to see more films where the previously sceptical Cathcart is involved in adventures in the realm of the supernatural, while trying to find a more explicable cause for them. And I’d love to see Rebecca Hall back in the part now (wow, is it ten years ago already since this one came out?).

Gary Seven
Star Trek - Season Two: Assignment Earth, 1968
Gary Seven was a human(ish) secret agent from Earth’s far future who was sent back in time to 1968 to find out why two other ‘time agents’ have failed to report in to his superiors... which is where he encounters Captain Kirk and the crew of the Enterprise, also somewhat misplaced in time. Robert Lansing played Gary Seven and this episode was originally intended as a pilot for a proper full on Gary Seven TV show but, presumably, wasn’t taken up by the studio. He had a sonic screwdriver-like device and a highly intelligent, shape changing cat of dubious origin. The episode also featured actress Terri Garr as someone who was obviously going to carry on as Seven’s new human assistant... you might remember her from such films as Close Encounters Of The Third Kind and Young Frankenstein. Although Lansing is long dead, I’d love to see the full TV series in development sometime with a bright, young star in the role.

It
It Follows, 2014
Well, I didn’t know what to call this demonic, sexual curse creature but, in some ways, I guess you can imply it’s an ‘It’ from the title, right? This was a big hit horror film when it came out seven years ago and I have no idea why we don’t have at least one sequel to it already... not to mention a franchise. It doesn’t even have to be populated by the same characters as in the first film, obviously, since the sexual chain that 'It' has to kill in descending order can be carried on for anyone, assuming the creature didn’t die at the end of the film... it’s kind of implied that there’s a possibility it’s still out there, still following the chain of sexual encounters back to their centre of origin.

Jerry Cornelius
The Final Programme, 1973
Michael Moorcock’s notorious and changeable Jerry Cornelius character has really only been in one film proper, Robert Feust’s poorly received (at the time) but absolutely incredible The Final Programme. There are a number of stories which could be easily adapted for cinema and, also, some which would not be that easy to adapt (although I believe a couple of them could be cross pollinated as a double adaptation if you wanted to go down that route). Moorcock himself hates this movie but I think it captures the character quite well in the snapshot of the first novel it’s trying to achieve (albeit with a whole load of stuff missed out but... that’s the nature of the medium). Jon Finch did a fine job of bringing Mr. C to life and I think the character, who is supposed to look somewhat like Mick Jagger, could easily be re-tapped for some more ‘truer-to-Moorcock’ on-screen adventures with someone like David Tennant in the role.

John Carter
Princess Of Mars, 2009
John Carter, 2012
I’ve still not seen the decidedly dodgy (by all reports), budget inadequate, 2009 straight to video, very loose adaptation of A Princess Of Mars (aka Under The Moons Of Mars) by Edgar Rice Burroughs but... I’ll get around to it (however much I’m dreading it). I love Burroughs’ series of Martian novels, many of which are headed up by either John Carter, former cavalry man and future Warlord Of Mars or his son Carthoris. The 2012 movie John Carter, starring Taylor Kitsch as the character, was not without two glaring problems... the fact that they wrote in a more scientific way of travelling between worlds rather than the accidental ‘astral projection’ of the novel and, also, the fact that the Martians in the movie wear clothes... but overall it was a pretty great movie and it was just badly marketed. This film deserved at least a couple of sequels and the character is in desperate need of a reboot... which probably won’t happen now due to the poor box office of the 2012 version.

Lilith Silver
Razor Blade Smile, 1998
Jake West’s truly brilliant movie Razor Blade Smile highlights main character Lilith Silver, as played by Eileen Daly. She’s a vampire living in modern times who has been around since she was ‘turned’ sometime in the 19th Century and who is in the thick of it against an evil cult who intend her harm. The film has a marvellous twist to it and it makes it very easy to do any number of sequels. Lilith has a lot of personality (almost like a female version of Jerry Cornelius, see above) and it shines amidst a wonderful atmosphere of blood, nudity and gore. I’d love to see more movies made about this character but, for right now, I’d settle for a decent Blu Ray transfer of this thing by some smart UK label... more people should know about this movie and character. I’m surprised there have been no comic books.

Modesty Blaise
Modesty Blaise, 1966
Modesty Blaise, 1982
My Name Is Modesty, 2004
Peter O’ Donnel’s absolutely brilliant newspaper strip character ran for a long time and, more importantly, was in a string of novels written by him which are absolutely first class ‘ex-head of crime network turns espionage queen’ novels. There have been three attempts to capture the character on screen so far and, each one has had some real problems. The first of these was the Jospeph Losey movie Modesty Blaise, which starred Monica Vitti in the title role. It’s a fantastic film if you can divorce it from the source material but, although it’s based on the first novel, it completely fails to capture the tone of the stories and instead turns it into a comedy. Monica Vitti looks perfect as Modesty... in one scene where she has her trademark black, skin tight jump suit and her dark hair... but looks completely unlike the character for the majority of the film. I can see why O’Donnell hated this one and all subsequent attempts to put her on the screen. The second attempt, Modesty Blaise in 1982, was a failed TV pilot movie and, although I haven’t seen it, the clips I have seen tell you all you need to know as to why it failed. The producers have tried to turn her into something which completely fails, again, to capture the character of the stories. I have recently come into a ‘print’ of this to watch at some stage for the blog but... I’ve not been brave enough yet to unleash that disappointment on myself. In 2004, Quentin Tarantino (who had featured a later edition of the first novel in Pulp Fiction), produced another low budget venture with My Name Is Modesty but, once again, failed to deliver the goods. Although, he and the director really made a rod for their own backs on this by making it an origin story, of sorts, so the only character from the actual stories in this one was a very young version of Modesty herself. O’ Donnel is dead now so I presume the rights to the character may well be on the market again and, seriously, we need someone to do a proper Modesty Blaise franchise of movies... especially since the actress Gal Gadot is an absolutely perfect fit for the character. This needs to happen and someone should tell her she’s perfect for this.

Scarlett Marlowe
As Above, So Below, 2014
Scarlett Marlowe is the young, rogue archaeologist who is the central protagonist in the ‘gates of hell found under the catacombs of Paris’ movie As Above So Below, as played by Perdita Weeks. She’s gutsy, persistent and unflappable... even in the face of being pursued by supernatural demons. It’s an under seen belter of the ‘found footage’ horror cycle and the ending of the film leaves it wide open for us to join the character in another adventure... presumably along the lines of a ‘horror movie meets Lara Croft’ style series of films. I would love to see her further adventures but, like the Florence Cathcart character from The Awakening (as mentioned above) the movie was presumably planned as a one off adventure and, I wish the producers would see the potential of expanding the character out into other adventures.

And that’s me done on the under appreciated, under used characters of film and television over the years... at least as I see them. I think all of the above could be mined for box office gold if done right and the fact that they haven’t been is a real head scratcher to me. Anyway, that’s 2000 posts published and... more reviews to follow. Thanks for reading.

Tales Of The Shadowmen 16 - Voire Dire

 

 

If I Were A Richleau

Tales Of The Shadowmen
Volume 16 - Voire Dire
Edited by Jean-Marc Lofficier and Randy Lofficier
Black Coat Press ISBN: 978-1612279107

For this very short look at the sixteenth volume in the Tales Of The Shadowmen collections, Voire Dire, I am once again about 16 months late in reviewing it. This is because of the December publication dates which leave me a year behind on these (I like to read them over the Christmas season). And, like all of them, this latest selection of short tales of famous fictional characters teaming up or crossing paths with one another is a bit of a hit and miss affair. For me, this year, it’s rather more of a miss but, well... we all have our favourites.

Of the fourteen stories that make up this year’s anthology, I will single out a few of which I was somewhat entertained by. The Peculiar Cats Of The Sea Of Dreams by Mathew Baugh is something which I would have found dull had it not been for my re-reading of the complete fiction of H. P. Lovecraft last year (reviewed here). I was quite up for it now, though, as a variety of characters are assisted by Randolph Carter in the dream kingdom in which he is known to be found... along with yet another incident with those powerful, battling cats which often come to the aid of their friend.

It’s often the case that I am most entertained by the stories about characters I know nothing of and I don’t know who the main protagonists from at least three sources in Nathan Cabaniss’ story Rage Of Terror are... so perhaps that’s why I enjoyed that one so much. I was, of course, familiar with the main antagonist of that story, as Fantômas makes his first (but by no means his last) appearance in this volume. It was also nice to spot a very young Kojak as a background character rookie cop (given his first lollipop in one of his two throw away appearances here) and also how the tale turned into an alternative origin story for Batman.

There’s a nice Rouletabbille tale by Martin Gately, which serves as a sequel/finale to some others which have appeared sporadically in the Tales Of The Shadowmen series and also a nice futuristic sequel story to one in another volume by Nigel Malcolm where, in a world modelled after Ridley Scott’s movie Blade Runner, The Nyctalope and Sexton Blake hack wall street and offer an exit from under their foes for the Frankenstein monster and its wife, the replicant Rachel from the aforementioned film. There’s even a nice moment in this tale where we find out the sad, future fate of the source of Doc Savage’s gold.

Captain Nemo appears in two tales... one by Travis Hiltz opposite characters such as Captain Haddock (from the TinTin graphic albums) and the Dread Pirate Roberts (from The Princess Bride?) and another, much more interesting one which kind of breaks the rules of appearing in a volume of these specific collections in that it only features one set of characters. I’m guessing that they needed a story to make up the space for this volume because its also a tale which has been published before in a different collection. This one, by Jean-Pierre Laigle purports to be (and of course it’s not) a formerly unpublished chapter from Jules Verne’s 20,000 Leagues Under The Sea and it involves the good captain telling one of his new guests of the time that the Nautilus was teleported by accident out of the ruins of Atlantis and into deep space... and how the Captain managed to get himself, his crew and his vessel back to the safety of the waters of Earth.

There’s an interesting story by Joseph Gibson where The Falcon from the 1940s, set in the 1960s and fully aware of his ‘fictional’ on screen exploits, teams up with his brother, among others, to take on Fantômas but, I was somewhat confused by the whole affair because, though it was somewhat entertaining, it’s also a fact that The Falcon’s older brother met his death in one of the earliest movies and his brother took over. What the George Sanders version is doing still alive to seek the assistance of the Tom Conway version (who was also Sanders brother in real life) is anybody’s guess.

Two more I’ll mention... both somewhat problematic for different reasons.

One of these is the very short story The Replacement by Xavier Mauméjean. In it, Bruce Wayne goes to a meeting with Doc Savage and The Shadow to seek their blessing at the start of his crime fighting career. On the way out from his meeting in the Empire State Building, he bumps into Britt Reid (The Green Hornet) and Kato, who then go up to the 86th Floor for, presumably, a similar meeting and, I have to say, I really didn’t understand the implications of some of the comments made at this meeting.

The last one I’ll specifically mention is The Stone of Solomon by David L. Vineyard. This is an exciting tale of John Silence teaming up with Dennis Wheatley’s Duc de Richleau character but, alas, the regular introduction to the story tips its hat that the version of Richleau present for the majority of the story is not who he seems. Since the reveal at the end of the short is very protracted and teased out, one wonders why the writer should have bothered when we know which character the story is supposed to be about in the tale and that, since he’s not mentoned once in the narrative until the end of the story, it’s obviously him masquerading as Richleau in this one.

And that’s about it for Tales Of The Shadowmen 16 - Voire Dire. More characters abound and cross paths... some of whom I know very little such as Darkman and Gordon Gekko (I’ve not seen their respective movies) and others I am more familiar with such as Arsene Lupin or Anne Rice’s vampire character Lestat. There’s also a very entertaining and thorough version of Edgar Rice Burrough’s Jane Greystoke (formerly Jane Porter before she married Tarzan) and even a couple of relatives of famous characters, such as the sons of Professor Challenger and Robur The Conquerer.

Actually, I guess I was about 50/50 with this volume which, I guess is not a bad batting average considering the number of writers and the considerable number of character appearances and references which are scattered among the tales. Once again, I’ll look forward to receiving what would have been the December 2020 edition this coming Christmas release and hopefully, fingers crossed, get around to sharing my thoughts with you on that one in about a year from now.

Doc Savage (Gold Key)

Bronzed Gold

Doc Savage
Gold Key USA 1966

Back in 1966, movie history was almost about to be made…

If things had gone to plan, a certain pulp character favourite of mine may well have been a lot better known internationally than he is these days. The film was Doc Savage and it was to star TV western actor Chuck Connors in the title role and to be based on Lester Dent’s Doc Savage novel, The Thousand Headed Man. Alas, an error about certain kinds of rights residing with Dent’s widow and not solely by the company who thought they owned them meant that the producers couldn’t start shooting the film, which was already scripted, on the date they wanted. So, at the eleventh hour, they retained the cast and crew and instead rushed out a western, Ride Beyond Vengeance, instead. Looking over the cast that they ported over into this other production, you can kinda see who some of the actors might have been intended to play in the Doc Savage movie and, I have to say, there are some good facial ‘types’ that showed that the people doing the casting were actually taking their job very seriously.

Chuck Connors, for example, was a good match in looks for the James Bama version of Doc Savage. Bama was the artist who had recently been doing all those wonderful cover paintings for the 1960s Bantam reprints of the novels which were very popular at the time. Although the style of Savage’s look via Bama was very different to that of the paintings which had appeared on the original pulp printings of the novels in the Doc Savage magazine of the 1930s and 40s, they’ve pretty much defined the look of the character ever since and are still imitated in books and comics to this day. Bama’s original model for his covers was Steve Holland, who played Flash Gordon on a dreadful German/American coproduction on TV in the 1950s show of Alex Raymond's much loved character so, if you want to see what the ‘real’ Doc Savage from this period was supposed to look like, take a look at an episode of that. Connors, though, had the same kind of weathered look to him and would have been a good version, physically at least. One can also deduce from the cast that made it into the western that Claude Akins would have been, again at least in terms of facial recognition, a perfect match for Monk Mayfair (one of Doc’s five aides) and, likewise, Michael Rennie would have been a solid choice for Ham Brooks, the lawyer (someone who the film company could have used in real life if they’d wanted a quick legal fix to their problem).

Alas the movie was never made and we shall never know if it would have been a better, more well loved fit to the original material than the George Pal produced Doc Savage movie of 1975 (which I reviewed here) and how much recognition it might have brought the character. What we do have left for us though, is the Gold Key comic from the same year which was almost certainly adapted from the script of that movie (different kinds of rights issues for comics than for movies) and which may or may not have strayed from the script. Certainly it would have been a fairly condensed version of the script to fit into one tiny comic and it really isn’t a thoroughly good job of adapting the novel, for sure. But what is it like as a comic?

Well, I finally bit the bullet on this thing a few years ago on eBay when I found an issue in not bad condition for a, relatively, reasonable price. I’d always wanted to read it and, well, now I have.

The cover is magnificent, being a blown up detail of Bama’s Doc fighting a large snake lifted from the cover of the Bantam reprint of Doc Savage - The Thousand Headed Man… which is, please note, a completely different cover than was used on the UK Corgi edition of the story, where a doctored reprint of a James Bama cover painting from an entirely different Doc Savage novel in the series was used, for reasons completely unknown to me. However, whoever was responsible for the writing of the adaptation and the interior art is completely unknown. It looks to me like Gold Key, even at that time, were not crediting the writers and artists like DC and Marvel were.

What I can tell you about the interior art, however, is that it doesn't really look like the actors from the ‘movie that never was’ and more like the renditions that Bama used to characterise Doc and his crew on the back covers of those Bantam reprints. This makes sense. Many comics are made from film adaptations and usually all the writers and artists have to go on is the working script and a few stills of the characters. Think back to the original Marvel comics adaptation of the first Star Wars film for example… there were loads of scenes in that which didn’t make it into the movie and, decades later in the era of ‘extras’ like deleted scenes, it became apparent that the majority of those sequences were shot but had not made it into the final cut of the film. These things happen but at least the likenesses of the characters, in some cases, looked as they appear in the film (Don’t get me started on Jabba, okay?) so there’s that. Alas, when it came to the Doc Savage movie, the team at Gold Key obviously didn't have any stills to work with so I’m guessing that production went ahead after they knew the film project was cancelled and the rights holders, by now Conde Naste, wanted to recoup some money by letting the comic go ahead. That’s what I suspect, anyway.

And… it’s not a brilliant comic in terms of action, it has to be said. And the writing is not all that dramatic either.. For example, comic  book shorthand to introduce the characters is used and so Ham is much maligned by being referred to as ‘the toff’. Worse still, given that Clark Savage Jr, The Man Of Bronze himself is not exactly noted for an abundance of verbal commentary and, given this is a comic book and even more of a purely visual art form than a film would be, it’s amazing how verbose he is in this. Talking to himself often and using phrases completely out of character for him such as ‘I’ll bet my shirt…’. Sure, that kind of outburst might be fine coming from a few of Doc’s crew but not the man himself, I would say. I think they might have been better using descriptive boxes more on the case of the scenes where Savage is ‘flying solo’, so to speak, rather than put explanations in his mouth when he famously never explains his actions to those around him.

In addition to this, the drama is fairly flat and, though I last read the original novel back in 1975, I remember the mystery of the thing and the unusual keys that drive the story being fairly suspenseful… in other words, fairly standard brilliance that you would expect from Lester Dent writing under the house name of Kenneth Robeson. Here it’s virtually non existent and, while I concur that the whole story in just 32 four colour pages is a pretty tall order, everything here just seems a bit rushed and really doesn’t allow for any of the characters to shine through, least of all Doc, who almost seems like a guest star in his own comic at times.

The art is, fairly nice but there’s nothing too experimental or wildly interesting here. I’d say it’s pretty competent but there purely to illustrate the text, rather then enhance it. The same can be said of the design of the panels too. There’s a pretty rigid layout of mostly five panels per page (asides from the ones I’ve pictured above, obviously). The majority of pages consist of a basic, vertical two by three panel page but with one panel of each page extended either vertically or horizontally to try and break it up just a little. Looking at some other Gold Key comics from the time and others from about eight years later, this is fairly common for the company at the time and they would later on get a little more dynamic with their layouts by the time they were putting out titles like The Occult Files Of Doctor Spektor.

And… that’s about all I have to say about the Gold Key, Doc Savage one-shot based on Doc Savage - The Thousand Headed Man other than to say that, if the film had happened with that script, there’s a good chance it wouldn’t have set cinema screens ablaze but, frankly, we’ll never know how closely it would have followed that script and just how much better it may have been on screen. Still, despite the comic not being all that special, I am really pleased to finally own a copy and, it has to be said, I did learn that Croydon used to have an airport, so there’s that (although, by the time this comic was published, there hadn’t been one there for a while but, still, it’s a 1930s period piece so that’s not really an issue). This one is probably not going to appeal to casual readers, for sure but, for long standing Doc Savage readers like myself, this is pure gold and, dull as this adaptation is, it’s a little piece of both comic book and movie history regarding this character and it’s an essential piece of ephemera, as far as I’m concerned. One for the ages.

Batman The Golden Age Vol 1

Bat Out Of Hell

Batman The Golden Age Vol 1
by Bob Kane, Bill Finger + Various
DC Comics
ISBN: 978-1401263331

Okay, so I enjoyed my little jaunt into the Golden Age tales of Wonder Woman so much recently (reviewed here) that I decided to maybe start familiarising myself (and refamiliarising, to a certain extent) with some of the early strips of other characters in the DC universe. So it’s onto Batman and, though I’d read a fair few tales of the early Batman comics as part of one of the expensive The Batman Archives collections, the big stumbling block of those old, very pricey editions was that they were fixated on just one title... in that case the Batman stories that appeared chronologically in Detective Comics. However, when various superheroes became popular, fairly quickly at the dawn of the phenomenon (Batman is kind of an honourary superhero because, in fact, he has no super powers at all), there was often a second title brought out dedicated solely to the title character and also the odd special issue of something else. So, for example, Wonder Woman would have self contained stories running concurrently in Sensation Comics and, later, Wonder Woman.

When I read The Batman Archives Volume 1 around a decade ago, this really foxed me because when The Joker popped up in the Detective Comics reprints, it was clear that he’d already had at least one (it turns out a fair few) appearance against Batman before, which weren't part of that same reprint tome. What these new Golden Age reprints do is to republish the stories involving the title character from all the comics which carried them in a chronological order... so if something refers back to a previous story (as I know it will here in a specific story in volume 2 or 3 when they get to it), you’ve definitely already read that one. So Batman - The Golden Age includes chronological reprints from Detective Comics, Batman and, in this case, a story featured in a promotional comic of collected stories to tie in with the 1940 New York Worlds Fair showcasing various DC heroes. Batman - The Golden Age reprints all the Batman stories from roughly the first year of his appearance, spanning 1939 - 1940.

Now, a few years ago people on Twitter were getting kinda irked that the version of Batman at the cinema was not a kid friendly version... that he was a darker character. Well, kid friendly these days is a very relative term and I got quite annoyed by people saying this stuff on Twitter (they didn’t feel they could take their kids to see movies like Batman Vs Superman - Dawn Of Justice... reviewed here) because my memory of Batman was that he always was the dark, vigilante of the DC universe and it was people like Frank Miller in the 1980s (with his much celebrated The Dark Knight Returns) who were merely trying to return him to his roots.

Now let me make something clear here. The other day I was thinking about all the stuff which used to be pitched to general family audiences on 1970s TV and I realised there’s no way on Earth half of the stuff I watched as a youngster would get passed by the censors these days, when everything at the moment seems to be veering towards a much more prudish, dreadfully PC and somewhat Victorian set of values (underground reaction and alternatives to those values, also, it seems). And it strikes me when I read something like pulp novels written in the 1930s or, indeed, these old Batman comics from the 1940s, that kids back then were even less bothered by, or mollycoddled to, the bleak, violent realities of life... which were obviously plundered for their entertainment value and reflected back in the art form. So these comics were more than kid friendly enough... they were just very grim and violent (for a while, there’s a big sea change within the first year here) and... maybe that’s the way things should be today. Who knows? However, somebody obviously didn’t think these were good reading for youngsters (in more than a decade before the comic book witch hunts of the 1950s which would lead to the creation of the Comics Code Authority) as you’ll see when I get to the introduction of a certain character. It all makes for very interesting ‘in between the lines’ reading though...

In Batman's very first appearance in Detective Comics Issue 27, we have a somewhat different looking character from the one most audiences are more familiar with these days. The masked head is more rounded with longer ears and a generally more sinister, edgy and well defined look to him. This look would remain for around half a year or more and it’s easily my favourite version of the character. This isn’t an ‘origin’ story in any way, shape or form... with the writer wisely deciding to hit the ground running to see if the character was successful before going into the more convoluted origins, I would expect. Actually, I wish this practice of eschewing where the character came from was something more modern movies did with these kinds of figures. After all... nobody seems to have much trouble accepting antagonists with no explanation in zombie movies.

It’s not until his seventh appearance in November 1939, The Batman Wars Against The Dirigible Of Doom, that we get the first crack at his origin story... which doesn’t really differ much from modern retellings (as it does with some famous comic book characters) although he definitely had no Alfred The Butler around to help him in this instance. That character doesn’t appear at all in this first year.

And, in his first story, his secret identity is kept a complete secret from the reader for a while, building up the mystery until, on the very last panel of the last page, he is revealed as Bruce Wayne. And, for some reason, it’s very rare in the stories that, once Batman is knocked unconscious (as he often is), anyone thinks to take his mask off and see who he really is. It just doesn’t seem to cross anyone’s mind at this point. But there’s a lot of other interesting stuff going on with this ‘dark’ character in this and subsequent stories...

In the first issue, for example, the villain accidentally falls backwards into a vat of acid and, while The Batman is not exactly responsible for his death this time around, he does make the comment that it was... “A fitting end for his crime.” In his second story, he casually summersaults an attacking villain off a rooftop to his death. In another adventure he deliberately throws one heavy onto another bad guy’s sword to kill him. In yet another story, he is feigning unconsciousness and is left with a guard while the main villain brings a disintegrator gun to melt him. When he is alone with the guard, he knocks him out, changes costumes with him and deliberately allows the guard to be melted to death in his place. So, yes, this is a much darker avenger than even people like Frank Miller in the 1980s were getting away with for a while.

As you would expect, various elements of the Batman mythos we recognise today are either not present or are not yet fully formed. It takes a fair few issues, for instance, to name the police chief as Commissioner Gordon. Another missing component is the Batmobile, as it came to evolve into. Here, he seems to sport a number of different cars, over the first year, of differing colours... often alternating between red and black. In Batman’s fourth appearance, the red car is drawn a little longer and is referred to as... “his specially built, high-powered auto.” So they were getting there.

Oddly enough, he had a batplane from very early on but, directly contradicting the accompanying text, the plane was more often than not a helicopter or autogyro. It took a little while over this first year for the Batplane to be rendered as... well... a plane. That being said, the way he uses his helicopter is somewhat questionable in regards to the story dynamics. For example, in a completely cloudless sky, he sets his ‘plane’ to hover above the villain’s lair and ‘disguises’ it by billowing a big black cloud of smoke to hide it. Conspicuous much? The villains react thusly... Villain 1: “A black cloud.” Villain 2: “Yeah, looks like rain.” Oh... so that’s alright then.

There’s also a Metropolis Insane Asylum rather than Arkham Asylum and the city is not once referred to as Gotham City as yet. Given the name of the asylum, one wonders if these early stories were meant to be set in the same city as Superman or whether that was merely a coincidence and the writers were just looking at an alternative term for a city.

Even from fairly early on, the art and practice of the early comic book industry, where I guess they thought people really weren’t paying that much attention and throwing them out after reading them, is in evidence. They’re already recycling exact poses copied from earlier issues several times in that first year, and placing them in panels in new stories. Also, the first two pages of Batman Issue 1 is a complete steel, being a straight reprint of the origin story already run in Detective Comics but with different colours used.

Another take away from this first year is that the earlier stories were full of non-scientific phenomena. For instance, we have a monk who keeps a giant gorilla and pet werewolves. We have a shape shifting vampire villain. We have a man with literally no face at one point and, when Batman enters the gardens of the villains who have stolen this man’s face, he sees flowers with living human faces on them. So I think it’s fair to say that these stories were not written with a worry about straying from a good, scientific foundation... which is something Batman was more known as in later decades... something of a ‘science detective’ like Doc Savage.

And then, in Batman’s 12th appearance, we have the first story featuring Robin The Boy Wonder and the tone of Batman comics are completely changed. Someone must have thought these things were getting too mean spirited because, once Robin becomes a regular feature of the strip, it’s not just the look of the Batman character which changes into something more like the Batman we know today. This is a Batman and Robin team with a big commitment to not taking life where possible... so a complete sea change for the character, it seems to me (although, to be fair, Robin does kick a guy off a metal girder to his death at one point, in self defence). Sometimes the violence still does happen and Batman seems somewhat contradictory in his responses. After happily letting two asylum patients maul each other two death earlier in the same issue, he later states at one point... “Much as I hate to take human life, I’m afraid this time it’s necessary.” What the heck? This is from a story where Batman is gunning down a giant man with a very strong cultural reference to the ending of King Kong. Interestingly, this is a solo Batman story which had been advertised a few issues before but was delayed for publication until after the addition of Robin, by the looks of things. It’s one of the few post-Robin stories here without The Boy Wonder in it. So I wouldn’t be surprised if that bizarre character contradiction comes from adding different text in the speech bubble to what had originally been in there for the original scheduled publication.

I hate to use the language of the Batman’s foes here but this newer, conscientious version of the Batman really was a boy scout. In Batman Issue 1, he breaks the fourth wall to deliver to the readers this message... “Well, kids. There’s your proof. Crooks are yellow without their guns! Don’t go around admiring them. Rather, do your best in fighting them and all their kind.”  Which is definitely a comic with a strong moral message methinks. I also found it very interesting how the writers keep pushing the idea of building gyms and other community centres for youths to keep them occupied and stop them getting into crime. This is exactly the same kind of thing I’m hearing now in London as the crime rate rises over here due to various issues... spend more money on keeping the kids occupied and focused (not that there’s any money left to be able to do that with over here).

Actually, the breaking the fourth wall thing becomes more of a thing too, on occasion. For example, at the end of the story in the 1940 New York Worlds Fair Comics issue, Bruce and Dick talk directly to their readers to urge them to visit the New York World’s Fair. The power of 'in-panel' advertising.

Funnily enough, one of Batman’s most vicious villains also makes his debut in Batman Issue 1. The Joker is, by my count, the third regularly occurring villain in these comics, after Hugo Strange and Catwoman. Actually, Catwoman is known only as 'The Cat' in early issues and she hasn’t yet acquired the name of Selina Kyle (or any fixed identity, it has to be said). Funnily enough, even from The Cat’s first appearance, Batman was already ‘accidentally’ letting her escape and making his sexual attraction to her known to the readers. Which is much earlier than I’d expected. In her second appearance she also manages to make an enemy of The Joker, which is kinda interesting.

One of the great things about reading these early comics is trying to catch the cultural references of the time and how they influenced the strip or were cherry picked to be a part of them. I’ve already mentioned the King Kong homage in one issue but when a character called Boss Zulch is introduced, he seems to finish almost every sentence he utters with the word “see?” which is obviously picked up from Edward G. Robinson’s character in the film Little Caesar. Also, one reaction to a pirate radio broadcast by The Joker goes thusly... ““Haw! That’s just a gag - like that fellow who scared everybody with that story about Mars the last time. Ha! Ha! Pay no attention to it dear.” So Orson Welles’ ground breaking documentary style radio adaptation of H. G. Wells’ War Of The Worlds, which panicked half of America, was obviously still very much on everybody’s minds at the time.

Also in regard to influences, you can see just how one of my favourite pulp characters, Doc Savage, directly impacted on and influenced the Batman character by this point, as the supernatural stuff is mostly dropped and scientific stuff starts. Mention of brain surgery to cure criminal ways, for instance, or using an infra red lamp to read invisible markers left on a villain’s footprints to trail him. This would eventually lead to Batman’s later title as The World’s Greatest Detective, at some point, I guess... was that the 1970s or before then? I can’t remember.

Anyway, that’s the first year or so of Batman encapsulated in Batman - The Golden Age Vol 1 and, honestly, if you’re a Batman fan and want to know more about the character’s roots and how he evolved and changed, even in his first 12 months, then this is a really good place to start. Essential reading for me and I shall definitely be picking up the second volume at some point to re-read one of my favourite Batman stories from that era (which I have reprinted in an old 1970s Detective Comics Giant)... The Case Of The Carbon Copy Crimes.

Doc Savage - Mr. Calamity/Valley Of Eternity

Repel Without A Cause

Doc Savage - 
Mr. Calamity/Valley Of Eternity
by Will Murray writing as Kenneth Robeson
Altus Press ISBN: 978-1618273185

So in the latest, quite hefty, volume of The Wild Adventures Of Doc Savage, with Will Murray once again writing as ‘the new Kenneth Robeson’, we have not one but two new tales of the bronze giant and his companions. I was kinda puzzled as to why the company did not just put this out as two separate novels of, roughly, 400 pages and 200 pages apiece as people would surely have paid for these as separate novels. 

I can only assume the answer to that is that this book must be, in some ways, an homage to the old Bantam reprints of the original Doc Savage pulps, when they were printing some of the stories from when the magazine started cutting down the cost and going with tales which were slightly shorter than what might qualify as a ‘full length’ novel. What they used to do was to put two issues into one novel to make up an impressive and highly collectable range of two-in-one stories (although they’re quite expensive now, I think... I have only one or two of the original ‘double reprints’). What was so interesting about these was that the original cover art on those old reprints was a straight vertical split between two entirely different paintings, each illustrating a different story. Now, since it’s apparent from a black and white illustration opening the second novel in this tome that cover paintings were produced for both titles, I kinda wish the publishers had made good on this analogy (if, indeed, that was their idea) and gone for an old style, two-in-one, split painting to give it a feel for those. This avid reader would certainly have appreciated the nod. 

The other way this volume differs from those old reprints is that, like pretty much most of Murray’s tales of Clark Savage Jr, it’s quite a huge page count compared to those old stories. Indeed, this one runs to around 600 pages and, in the first story featured here, Mr. Calamity, Doc doesn’t even enter the story until around 100 pages into it. Also, both the stories in this volume are, in some ways, sequels to some of the original Doc Savage stories. Mr. Calamity is a sequel in terms of the strange force which is causing people to fly into the air to their deaths, which turns out to be the element Repel, first discovered by the man of bronze and his team in the 1937 novel Repel (sometimes known as The Deadly Dwarf). This is not Murray’s first sequel to Repel, as others of his novels have featured a specific character from that story too. The second novel here, Valley Of Eternity, is in some ways, a sequel of sorts to both the first Doc Savage adventure, The Man Of Bronze and also two others, if memory serves, where Doc Savage returned to the Ancient Mayan civilisation which affords him his wealth to do his life’s work and which features Princess Monja (played in the 1975 movie by Pamela Hensley, who would go on to play Buck Rogers' nemesis Princess Ardala a few years later). Valley Of Eternity is also a partial sequel to Murray’s own Doc Savage adventure The Secret Of Satan’s Spine (which I reviewed here) as well as mentioning a huge cast of one off characters from various Doc Savage adventures over the decades... which he thankfully verifies and clarifies in footnotes at the bottom of the appropriate pages. 

Mr. Calamity is set in the hills of Wyoming and is expertly written by Murray, as the majority of his Robeson tomes are. I especially like the way he no longer tries to fool his readers when his characters are in disguise in this one... at least I don’t think he’s trying to do that. For instance, in Mr. Calamity, you know straight away when a woman travelling through Wyoming sees a man swimming for his life in the sky that she’s none other than Doc’s cousin Patricia Savage in disguise, even though Murray doesn’t actually reveal that for a few chapters... I’m pretty sure he’s not trying to hide the fact from his readers. Ditto when Doc Savage is ‘killed’ later in the book and a new 'giant sized' character turns up without mentioning that he’s really Doc for a good many chapters. I’m glad he’s not trying to pull the wool over his readers eyes like he does with his other characters in this as it can sometimes be irritating when you think he’s deliberately holding back on you. 

There’s a nice moment in Mr. Calamity when Doc survives an experience which nearly does take his life and finds himself stranded on top of the summit of The Devils Tower in Wyoming, where Murray goes into the history of the monument and reveals, among other things, its original name. Readers might remember The Devils Tower as the very prominent plot device used by Steven Spielberg in his movie Close Encounters Of The Third Kind. The book reads, in some ways, very much like an old Western serial and it’s not a globe hopping adventure, as many of the others have been. This story is refreshing in that it features Pat, Long Tom, Renny and Johnny but doesn’t, for once, include the two of Doc’s most popular companions, Monk and Ham... although they were back for the second story here (although none of the companions, aside from Pat Savage, have a prominent role in Valley Of Eternity). It’s a nice pulpy adventure yarn though and up to Murray’s usually excellent standard. 

Valley Of Eternity is an adventure of a very different sort, with a letter received from Doc’s long dead father which forces Doc to go seeking the ultimate adventure, something which he has never cared to dabble in before and which could well be his undoing... matrimony. Yes, Doc Savage is charged with producing an heir to carry on his deeds for future generations and the majority of this story is definitely played for laughs... which is fine, as it happens. Mr. Calamity ends with a sentence which actually made me laugh out loud and he manages, in Valley Of Eternity, to walk a fine line between humour and ‘the Doc Savage brand of adventure’ which few have dared and certainly never succeeded as much as Murray does here. The story is an eye opener, very funny and somehow simultaneously threatening to throw everything about Doc’s adventurous lifestyle out the window and put the future of him and his companions in jeopardy. Now I’m not going to tell you what happens here but I will say that, by the end of the story, Mr. Murray does contradict, quite significantly, the current, additional Doc Savage timeline as established in comics over the years. I can't really tell you how without ruining the ending of this one but I wonder how people feel about this milestone.

One thing I will say though... and this is something I've gotten used to in the last few years, is that Murray confidently adds to the existing mythology in a respectful and, almost as importantly, highly entertaining manner which doesn't detract from the original tales. One thing I appreciate is when he adds something into little details of a long established character to help make them more plausible while similarly pushing their particular traits to the forefront. For example, we've always known that Renny has huge hands, almost bigger than his head and that his favourite trick is to punch out oak panels from doors with his strong fists but, here this is further enhanced by showing that Renny has a specially custom built candlestick style telephone to allow for his large fingers. This is nice stuff and much appreciated by this reader, for sure.

And that's me done with the new Kenneth Robeson's latest Doc Savage adventures, Mr. Calamity and Valley Of Eternity. Both are immensely entertaining and fit right in with the spirit of the original novels. My only worry now is that, with Murray seemingly concentrating on new 'Wild Adventures' of such characters as Tarzan and The Spider, that this may be the last Doc Savage adventure we see for a while. I hope not but only time will tell. In the meantime, I think regular readers of this much loved pulp adventure hero would do well to pick this one up.

Doc Savage - Empire of Doom

Bronze Shadows

Doc Savage - Empire of Doom
by Will Murray writing as Kenneth Robeson
Altus Press ISBN: 978-1618272850

Empire Of Doom is the 20th of the new Doc Savage novels written by Will Murray, under the original name that Lester Dent used when he wrote the bulk of the series in the 1930s and 40s - Kenneth Robeson. This one is also the second literary work (unless you count other media such as various comic books over the years) to feature both Dent’s Man Of Bronze and another famous pulp character, Walter Gibson’s The Shadow (who was written by him and various others under the name of Maxwell Grant).

Now, for the most part I love Murray’s forays into the mind of Dent in these novels and, as it happens, this one is no exception... however, I read the last one where he tried to team up these two characters (who are as tonally different as night and day) in his tale Doc Savage - The Sinister Shadow (which I reviewed here) and I was somewhat disappointed. I think that disappointment stemmed from the writer being closer to Gibson’s prose in that one than he was to Dent’s and, frankly, I never found Gibson’s The Shadow novels to be anything near as readable as Dent’s Doc Savage tales. So it was well done to Murray for effectively evoking the style of The Shadow in that but, yeah, it didn’t find it nearly as entertaining as the majority of his other Doc Savage works.

That being said, I have to say that Empire Of Doom reads like a full on ‘Kenneth Robeson does Doc Savage’ tale and... yeah, it’s excellent. The Shadow fits right in here and I got a lot of enjoyment out of it. The book starts off strongly with the theft of a Navy Destroyer during the Second World War by The Shadow’s arch enemy, Shiwan Khan (who was the villain of choice opposite Alec Baldwin’s version of The Shadow in the 1994 movie). He immediately uses it to launch two missiles into the skyscraper where he knows The Shadow’s Inner Sanctum to be. Midst all the confusion, as the local fire service try to combat the resultant blaze, some of Khan’s minions infiltrate The Shadow’s lair disguised as firefighters and make off with all of the terrible, fantastical weapons the dark avenger has confiscated from criminals over the years.

While Doc Savage tries to track down the stolen destroyer, one of his five companions, Long Tom, is taken over by Khan’s mind control and kidnapped, The Shadow also tries to track Khan’s progress and, inevitably, the two heroes join forces in an uneasy alliance against the army of darkness that this evil nemesis is recruiting.

And that’s about all I’m going to say regarding the specific content of the novel but, if the plot hook sounds a little familiar to longtime Doc Savage readers, it’s pretty much lifted from the 1938 Doc Savage novel, Fortress Of Solitude. That’s the one where Doc’s one and only arch enemy Johnny Sunlight, who would return for his second and final appearance in The Devil’s Ghenghis, manages to infiltrate Doc’s secret lair and abscond with all the weapons which are ‘too dangerous to remain in the hands of mankind’. So some readers should feel right at home with the opening of Empire Of Doom.

It’s a romp and a half and, though not all of Doc’s ‘Amazing Five’ are present (Johnny is off somewhere on an archaeological dig), it manages to pack in the rest of them quite credibly and it even has a very brief cameo, of sorts, by Doc’s famous cousin Pat Savage, although I would have liked to have seen more of her in here. It also has the ‘other’ Lamont Cranston and this book is helpful to those of us who are not big readers of The Shadow and who are somewhat hazy as to the nature of his secret identity. Is The Shadow Lamont Cranston or Kent Allard or both... or neither? Hard to say because the point seems to be that The Shadow can impersonate them whenever he wants to and, of course, he and ‘the real Lamont Cranston’ use this trick to confound and confuse Doc and his companions as the book goes on.

Other than that, the novel is pretty much business as usual... Murray knows how to spin a good, globe hopping yarn and this one is another real humdinger containing mind control, buckets of severed fingers, brain washed warriors with almost impervious armour and electrocution fingers, wingless planes, a black ray that brings a darkness over everything it touches and which kills electrical power and... oh yeah... there’s even a giant, mechanical robot that can crush you if you let it get near you. The book is full of the usual thrilling escapes, treachery and scenes of combat that are a hallmark of the Doc Savage adventures.

Also, a nice touch in this one, is that Murray finds a way to turn the weird trilling sound that Doc unconsciously makes in times of intense, penny dropping thought into a useful plot point towards the end of the novel. I won’t say too much about that but it comes in very useful when it seems that all the chips are down for our two heroes and death is creeping nearer.

Another thing which was interesting to me and which I didn’t realise before was that The Shadow has a couple of islands where he tries to rehabilitate certain criminals that he captures and it’s obviously a ‘common ground’ between him and Clark Savage Jr, who also has his own methods for the ‘cure’ and rehabilitation of the villains he captures. Now I believe Doc’s ‘Crime College’ was infiltrated on at least one occasion in the past (I think it might well have been the Doc novel The Annhilist from 1934) but this time it’s the turn of The Shadow to have his ‘rehabilitation scheme’ invaded and his subjects converted into loyal followers of his arch nemesis. It’s all good stuff and I appreciated the way Doc and The Shadow interacted with each other here, with Doc never really trusting the invisible avenger or Cranston completely through the tale. It’s even uncertain as to what Doc is going to do with The Shadow at the end of the book, once the super villain’s account has been settled. Although, of course, there’s the obvious ‘incident’ which takes place at the end of the novel which makes any speculation with regards to the fate of Cranston's sometime alias redundant.

Anyway, that’s me caught up for a bit in terms of Murray’s new and, hopefully, continuing adventures of the Man of Bronze. I’m hoping he’ll be releasing at least another one of these sometime this year but I’ve got no idea if or when that will be happening. I would also like to see him write the second of his solo Pat Savage adventures too, after his first one, Six Scarlet Scorpions, was so well handled (reviewed by me here). In the meantime I will have to content myself in saying that, if you’re a Doc Savage fan, then Empire Of Doom is another of Murray’s better entries into the series and you should definitely take a crack at this one. It’s a pretty exciting tale that Murray/Robeson spins here.

Pat Savage - Six Scarlet Scorpions

Bronze Veneris

Pat Savage - Six Scarlet Scorpions
by Will Murray writing as Kenneth Robeson
Altus Press ISBN: 978-1618272744

Will Murray is back, writing under the old Street and Smith Kenneth Robeson pen name to create another epic tale in the Doc Savage series, except Doc isn’t actually in this one and, I’m happy to say, doesn’t get too many mentions in it either (I’ll explain while I’m kinda happy about that a little later). Pat Savage - Six Scarlet Scorpions is the first of Murray’s ‘solo’ adventures detailing the stand alone exploits of Doc’s, almost fearless, cousin Patricia Savage... known by many as The Woman Of Bronze or, if you go by the very enthusiastic back cover blurb here, “the golden-eyed Girl of Bronze”.

Pat Savage was always one of my favourite characters in the pantheon of Doc’s wonderful ‘brothers’ in arms although, he really never liked her getting involved in any of his adventures for fear for her safety. She only appeared in 39 of Kenneth Robeson’s 181 published (in his lifetime) Doc Savage novels but she was always a stand up character in my book, starting off in her first adventure in the Doc Savage tale Brand Of The Werewolf and sporadically after that... whenever she found an opportunity to horn in on the action. Over the last 20 or so years, Will Murray has been writing new Doc Savage tales, many of them reviewed here, and he’s seen fit to include Pat in a fair number of them. Well, I guess she must be a popular character because he’s now written Six Scarlet Scorpions which is her first official stand alone adventure. At least in prose form... I believe Millennium Press released a one-shot Pat Savage comic in the 1990s, an issue which has continued to elude me to this day as I wait for that strange mix of art and magic phenomenon which I like to call... the right price.

Now, let me define what solo adventure means here. In the case of Pat Savage, it doesn’t mean that she’s going it alone for this one, it just means Doc Savage himself is never in the picture and, although I was expecting him to turn up towards the end of the story, he doesn’t actually do that and I think that’s right and proper for the first time Pat goes it alone. I’d welcome guest appearances from her cousin in future novels in this new range (I’m assuming there are going to be some because this one rips all the roars and roars at all the rips) but she needs to fly under her own wings the first time out, I reckon..., so I’m pleased that Murray made that decision.

That being said, she does have the companionship, throughout the story, of Doc Savage’s most regular assistant from The Amazing Five, Monk (aka Andrew Blodget Mayfair), the chemist who is more known for his apish looks and physical strength than he is for his unquestionable excellence in his chosen field of science. There’s also a couple of appearances from his lawyer friend, Ham, but the majority of the action in this one is covered by Pat and Monk working as a team.

And it’s a pretty good team.

Murray start things off with a plane crash in the desert in Oklahoma and the whole story is set in the relatively near vicinity of a few towns and a mountain range. Anything within a short plane ride away, in fact. The story involves the ‘vinegarroon’ scorpions of which there are more than six... although the title of the story makes for a nice alliterative attraction... and a chemical substance which causes either heavy disease or death. Of course, with a chemist in tow, Pat should be able to solve this one easily so the writer throws Monk’s portable chemistry lab out with the bathwater and we have a story based on a mystery disease which can’t suddenly be solved and cured within a couple of hours. Especially since Pat and Monk soon find themselves fugitives from the law and its harsh brand of Oklahoman justice. So the two have a lot on their plate as they try and stay away from the police and investigate the strange mystery of the head of a bunch of criminally ambitious indians, lead by a character ripped almost from the silver screen’s theatrical serials and known as the masked mastermind, The Standing Scorpion. And it’s exactly the identity behind this mysterious villain which takes a lot of our two main protagonists collective brain power to  find out, just like it always used to do in those old 1930s - 1950s serials.

The book is loaded with cliffhanger action, as you’d expect from something which is trying to emulate the pulps. One of the initial qualms I had when I started reading this was that, without the curious quirks of the Doc Savage character to describe and work into the main narrative, this felt less than a Doc Savage novel and more like something else. Which, of course, it is. Monk and Ham comply to their character traits and it’s just something that I had to accepts. Pat is not Doc and the experience is never going to be quite the same as reading one of those Man Of Bronze adventures... and nor should it.

All in all, this is a pretty strong opener for the first of the stand alone Pat Savage tales and I really have to slap Murray on the back here and say that he’s done a grand job with the lady. There were, of course, a couple of things I didn’t like about the novel (isn’t there always?).

My first problem with it was the way in which Pat and Monk treated an aircraft pilot to steal his plane. Seems to me this is not the best way forward and it seems unnecessary and pretty out of character for any of Doc Savage’s associates to behave the way they do here. No comments are made to redress the balance about what happens to the fellow later and how he can be compensated. This just seemed a bit off kilter in terms of the way the characters would conduct themselves and I would have liked a bit of an explanation for it.

The other thing which bothered me was something which happens at the end of the novel. The stories usually take place at some point in the existing Doc Savage timeline from the early 1930s to the late 1940s and it’s often pinpointed exactly where the adventure fits in with all the others in the chronology. This one, from some things which are said, I take to be set somewhere in the mid to late 1930s. However, without giving anything away, in as much as you know that Pat, Monk, Ham and Monk’s pet pig Habeas Corpus will have to survive the adventure due to their later, published exploits... something happens which forces the three two legged adventurers into a month of quarantine. Now I can’t say myself that any of these three characters were out of action for a month in the original books or not but, if they were, I’d like to know about it and find out which two Doc Savage yarns this story fits itself between.

However, when all is said and done, these are really minor grumbles here and, as usual, Will Murray does an outstanding job of carrying on the Kenneth Robeson name. I’m hoping this tale is as popular with other readers and as fun to write for Murray as it was for me to read it because I’m really hoping these ‘new adventures’ of Pat Savage will be a regularly scheduled literary event every year. Whether they are or not, though, fans of Doc Savage and his merry colleagues could do a lot worse than picking up Pat Savage - Six Scarlet Scorpions and giving it a good reading. I’m glad I did.

Doc Savage - Glare of the Gorgon

Stone With The Wind

Doc Savage - Glare of the Gorgon
by Kenneth Robeson (Will Murray)
ISBN: 978-1618272386

When a man goes to the 86th Floor of Doc Savage’s skyscraper to enlist the help of the man of bronze, he suddenly shows signs of distress and collapses dead. His brain has been turned to stone and an icon of the Gorgon is found, burned onto the corridor’s wall in green.

So begins another of Will Murray’s more-hit-than-miss adventures of Doc Savage, writing under the old Street and Smith house name Kenneth Robeson, once more. This one, it has to be said, is absolutely dynamite but I may be reacting to this particular humdinger of a tale in this way because it’s dealing with my favourite period of Lester Dent’s* writing of the character. Specifically, his early career. It’s set not long after the events of the December 1934 tale The Annihilist and it reminded me a lot of those very early Doc Savage novels I read whenever I could find them. Thus adding fuel to my flame that, as I’ve stated in past reviews of Murray’s work with this character, the author changes his writing style subtly to make it fit in with how the original writer might have written it at that point in his career.

Doc was a lot more of a simpler character then, of course, but even at this point of his career, specifically in the aforementioned tale The Annihilist (if I’m remembering correctly), certain moral issues of his special Crime Clinic, the secret place where Doc cures his enemies of their evil nature by performing brain surgery to take away their memories before rehabilitating them and sending them back into the world as honest citizens, were already being called into question. Murray picks up on this an reiterates it in certain parts of this cracking adventure yarn, even bringing back a policeman who is ‘in the know’ from that earlier Dent novel, here.

It’s interesting the way he uses the dialogue in this story to place it this early in Doc’s career. Such as his utterance “Come brothers, let us explore”... the term ‘brothers’ not being a turn of phrase I remember the character keeping for long in the originals. The characterisations of various characters in this book are very rich too... perhaps more fitting to the longer novels of Docs early career as opposed to the shorter novellas, due to page cuts in the original pulp magazines, after a certain point in the character’s life. Like he has time to imbue everyone with their own small personality sketch rather than just hit the action without consequence. For example, a couple of crooked henchmen in the early stages of the novel called Blackie and Blue are almost a 1930s equivalent of Ian Fleming’s Wint and Kidd hit men from his novel Diamonds Are Forever and Murray’s command of the prose used to describe these two was so strong that I assumed they would be around for the whole book when, in fact, their criminal career as far as Doc Savage and his aides are concerned, is finished very quickly.

Those early 30s novels could also be quite brutal and dark when they wanted to be and, even though Doc himself didn’t believe in killing, this didn’t exclude the addition of a very dark thread that could be pulled when things got rough and Murray has some of this darkness injected into this novel at various points... most pointedly when a regular character actually commits suicide over certain facts of the case and then the real criminals use this death to muddy the waters and point the finger of suspicion elsewhere. I can genuinely say i didn’t expect something that happens to one of the characters in this and so, as far as I’m concerned, if you can catch me off guard then you’re doing something right.

One again, the current Savage chronicler is having a lot of fun with the characters and, I think I mentioned in an earlier review of his books that he has now become extremely poetic when finding new ways to describe the unconscious trilling sound that Doc makes when he’s figured something out or found something to be genuinely puzzling. In this one Murray describes it thusly: “A searching wind slipping serpentine over shifting sand dunes could conceivably produce such a susurration.” This is getting nicely surreal now but certainly entertaining, it has to be said.

My one real question about the novel is in the fact that two of Doc’s aids, Renny the engineer and Johnny the archaeologist, are absent from the shenanigans here. Now I know Dent used to regularly strip down the crew in the novels, presumably because there were too many people to have to try and include in the dynamics of the story, but I didn’t think Dent started doing this until much later in the day in terms of the decades he was writing these things. However, I could be wrong and, even if I’m not, it doesn’t really matter. A cracking yarn is a cracking yarn and not much else matters as long as it all makes sense and the continuity is good.

Murray even manages to get in an element to the story that I had forgotten was sometimes an ingredient of some of those very early days of the character. Namely, being hounded by the police who mistakenly believe that either him or one of his aides are to blame for whatever villainy is afoot. In this one, Doc Savage is being hunted for the last quarter or so of the book by the Chicago police, who believe he might have something to do with the death of the various gangland characters who are having their brains turned to stone by the mysterious gorgon of the title. I don’t seem to remember any of Murray’s earlier Doc Savage novels including this kind of ‘police VS Doc’ element so I’m really pleased he resurrected it for this novel, taking place at a time in the bronze adventurer’s career of ‘righting wrongs’ when it would still be a credible incident.

And there you have it. A short review for Glare Of The Gorgon, another near perfect Doc Savage adventure from the creative mind that is the new Kenneth Robeson, Will Murray. I know he’s started writing new Tarzan books now but he does such a good job with Lester Dent’s creation that I hope he still finds his way to writing more Doc adventures. In the meantime, he’s written the first stand alone (in a novel format, at least) adventure of Doc’s cousin, Pat Savage. So, yeah, you can expect a review forthcoming on that one sometime in the New Year, for sure.


*Who wrote the majority of the 181 original Doc Savage novels under the Kenneth Robeson byline.