Fifty years ago, the Great Bookie Robbery occurred in Melbourne, Australia when a gang of well-prepared robbers made off with millions from a bookmaker that was never recovered. While the large sum of missing monies was well known, what was not as known was a secret stash of diamonds that were absconded with, their purported fate even more mysterious.
Five decades later, Gary Chance, a former soldier of the Australian army who served in Afghanistan, now turned criminal, finds himself in a botched robbery of a cult. Though the operation is a bust, he gains a new partner, Eva McCulloch, another criminal who had eyes on the cult’s hidden fortune.
Both searching for that one last job to put their respective criminal lives behind them, Chance and Eva accept a mission from Vera Leigh, an aging socialite/madame/S&M dungeon owner who needs monies to fight ruthless property developers. The new job: track down the mythical diamonds from the Great Bookie Robbery from ages past. With only sparse clues at their disposal, the duo accepts the gig, which will take them to the United States and different cities in southeast Australia, while also being pursued by former accomplices, cult members, criminals, and a retired police officer who all have eyes on the diamonds themselves.
Andrew Nette’s Orphan Road is an Australian crime novel, though with a greater emphasis on the adventure aspects of the criminal underworld rather than the criminal element proper. The protagonists of Orphan Road are “good” criminals in that their adversaries are all unsavory characters themselves, be it a ruthless developer, White Nationalists, a greedy former police officer, and so on, making the morals depicted in the novel black and white, rather than the grey area that is found in more noir-ish crime stories.
The lead protagonist, Chance, is incredibly fun to follow. He is akin to a Jack Reacher-style character: former military, nomadic, off the grid, cunning, finding themselves in the middle of bigger criminal schemes, and extremely proficient at bedding the ladies. The big difference between the two characters is that Reacher is far more noble and near invulnerable compared to Chance, while Chance is a much more grounded character and less of a Gary Stu.
The adventure/mystery of Chance trying to track down diamonds, for all purposes lost to history, it fairly exciting, especially considering the roadblocks and dead ends he and his cohorts encounter. There is a tiny bit of globetrotting, fisticuffs, and gunplay, but the forefront is the mystery. Nette crafts a new mystery (the diamonds) and anchors it to a real-world event (the robbery), which gives the story credibility and buy in from the reader. This does cause a small problem: how does one graft this new mystery when decades have passed and most historic players are long dead and leads dried up. How can in-world amateur sleuths and professionals alike fail to find the diamonds, but Chance is able to get a new trail? The clue is fairly lackluster, a newspaper clipping that, in theory, anyone else would have access to, but its serviceable to get the heroes on their adventure.
The strongest component of Orphan Road does arise from Nette trying to work within these real world confines of lapsed time inherent in old cold cases, and that is its critique on the past and nostalgia. The majority of players in Orphan Road are fairly old, in their 70s and 80s, having served in Vietnam, or East Coast American Mafia of the 80s, or lived through other events. The Melbourne that Chance remembers has been demolished and gentrified, which is supposed to be the ultimate fate of Leigh’s establishment. Leigh, herself, tries to retcon the past by positing it was a time when criminals had class, code, and honour. Chance is quick to point out this rose-coloured view of old school crime, and even confirms it firsthand when he encounters the American mafia, still holding onto their old ways as if in a Scorcese film. Everything in Chance’s mission is old: the archive of files and photos around the diamond caper, the Ford Falcon that is driven, the Luger that is the sidearm, the ruins of burnt down buildings, and even the cult at the beginning of the novel, who worship the lost continent of Atlantis. While there are many adversaries in Orphan Road, the spectre of the past is the prominent one.
The weakest component, on the other hand, is the end of Orphan Road. Not so much the end-end proper, which does nicely wrap up all loose ends of Chance’s adventure – diamonds and all, but it is the in between the book’s climax and then end revelation. After the climax, the adventure resolution is still not within hand, so the book changes its focus from a time-is-of-the-essence thriller to a leisurely explore around and let a large passage of time elapse pace, which kills the momentum. This is unfortunate because everything up to this point is a real page turner, coupled with heightened stakes as Nette is unafraid to kill off a pivotal characters.
There is a passion from Nette on display in Orphan Road, and this is no doubt due to his love of the pulp genre, police procedurals, and gritty crime cinema, all of which he has written essays and commentaries about. With Orphan Road, Nette is able to seize a historic robbery, make it even more interesting, and throw in characters like Chance that are easy to become invested in, while at the same time not resorting to the tried-and-true method of pulling rabbits out of the pop culture reference hat. Orphan Road is anchored historically, despite being contemporary, and it succeeds extremely well.
For more information on Orphan Road and Andrew Nette, check out these links:
My publisher, McFarland books, is having a Holiday sale on all of their tiles! From November 15th to December 2nd, if you use code “HOLIDAY24” during checkout, you’ll get a 35% discount.
If you want to support me, consider buying a copy of The New Peplum or Horror Literature from Gothic to Post-Modern:
Normal Price: 19.99 35% = 6.99 Price after coupon: 12.99
A Hero Will Endure Paperback Relese + Discount
Vernon Press, the publisher of A Hero Will Endure: Essays at the Twentieth Anniversary of Gladiator, has just released a cheaper, paperback version of the book, just in time for Gladiator 2!
The paperback is at the much more friendly price of $57 compared to $96 for the hardcover and $107 for an electronic version. All editions of the book can be found at the Vernon Press product page.
In addition, the publisher is offering a coupon on purchases of the collection! From now until the end of January 2025, if you use code SLZM30 at check out, you’ll get 30% off the title. So, the $57 book now becomes $39.99. Nice!
ECOF 2025
In September of 2025 there will be an Edgar Rice Burroughs Chain of Friendship (ECOF) event down in Willcox, AZ. This event is to celebrate the 150th birthday of Burroughs while also honoring him with a plaque in the town due to his stationing with there the 7th U.S. Calvary in the 1890s. (Note: another ERB convention was held in Willcox back in 2019 and an event recap of that can be read at ERBZine #7059).
Here is a flyer for the 2025 event:
I’ll share more information about the event as I find out more on my website updates. There currently is a fundraiser going on to raise funds for the ERB plaque, and details for that can be found in the QR code in the above graphic, or by checking out the donation page at the Sulphur Springs Valley Valley Historical Society. 3.8K of 5K has been raised already.
Michele and I will be in attendance for this convention, so I’ve added it to the appearances section of my website as well.
Publishing Recap
Below is a recap of my publishing endeavors so far in 2024.
Comic Book Review: “Carson of Venus: The Flames Beyond#1″ reprinted in the National Capital Panthans Journal #326.
Comic Book Review: “Carson of Venus: The Flames Beyond#2″ reprinted in the National Capital Panthans Journal #327.
Comic Book Review: “Carson of Venus: The Flames Beyond#3″ reprinted in the National Capital Panthans Journal #328.
Comic Book Review: “Carson of Venus / Warlord of Mars #1″ reprinted in the National Capital Panthans Journal #329.
“Wondercon 2019 Coverage: Tarzan, John Carter, and Edgar Rice Burroughs, Inc.: What’s New?” reprinted in the National Capital Panthans Journal #330.
Calls for Papers/Proposals
Here are some new pop culture CFPs that have crossed my paths. Links to these will also be in the CFP page on the navigation bar.
Edited by Dr. Naomi Simone Borwein and Dr. Krista Collier-Jarvis
Building on discussions in the edited volume, Global Indigenous Horror (University Press of Mississippi, 2025), this is a call for chapter proposal submissions focused on the topic of Contemporary Indigenous Horror. Beautiful, luminous and resonant moments of horror exist in the work of writers like Shane Hawk, Kim Scott, Tiffany Morris, Waubgeshig Rice, or Ambelin Kwaymullina. But Indigenous horror tales thrive in many narrative or storying forms—from fiction, plays, and music, to graphic novels, art installations, or experimental films fortified by sonic and oral manifestations.
In response to the forthcoming inaugural essay collection, Global Indigenous Horror (2025), Judith Leggatt states, “Global Indigenous Horror is a timely and welcome addition to the growing field of Indigenous Horror studies.” Over the past decade, there has been a (re)surgence in Indigenous works focusing on tales of horror, such as Anoka: A Collection of Indigenous Horror (2011; Hawk); Ajjiit: Dark Dreams of the Ancient Arctic (2011; Tinsley and Qitsualik); Never Whistle at Night: An Indigenous Dark Anthology Collection (2023; Hawk and Van Alst Jr.); Whistle at Night and They Will Come: Indigenous Horror Stories (2023; Soop); Midnight Storm, Moonless Sky: Indigenous Horror Stories (2022; Soop); Taaqtumi: An Anthology of Arctic Horror Stories (2019), Moosebumpz: Scary Stories from the Rez, and The Land Has Spoken—Tales of Indigenous Horror (2024; Hawk and Rogers), and Zegaajimo: Indigenous Horror Fiction (2024; Akiwenzie and Adler), just to name a few.
Responding to the widening gap between Indigenous horror and academic responses to it, editors Naomi Simone Borwein and Krista Collier-Jarvis solicit contributions for Contemporary Indigenous Horror. Shane Hawk broadly defines horror as that which “prioritizes the fear factor, often using graphic depictions of violence, monstrous beings, or otherworldly threats to achieve its effect. The ultimate purpose of horror is to confront the reader with their deepest fears, creating an experience that is visceral and unsettling.” When taken up by Indigenous storytellers, horror often engages with a colonial past that has never really passed, and as such, it haunts contemporary Indigenous peoples and communities. Indigenous horror thus often blends traditional stories as well as Indigenous ways of knowing and being with contemporary issues. In many cases, Indigenous horror is about our lived experiences, not as the victim of ongoing coloniality, but as resistance. According to Elizabeth Edwards and Brenna Duperron, “Indigeneity is a resistance — in the usual sense of opposition, repudiation, and refusal to comply […but also] resistant to assimilation. Indigeneity is the lived and embodied experience of peoples who have participated in that resistance” (94). In many other cases, Indigenous horror is about what Scott Gordon calls “colonial whiplash,” where “white people who haven’t turned into zombies [or other monsters] are at the mercy of the oppressed”—their Indigenous saviours. And in other cases, what Indigenous horror is has yet to be revealed.
Chapters (6,000-8,000 words including bibliography) may examine modern, contemporary representations of Indigenous Horror from a variety of perspectives. With a focus on analysis of current horror (narrative) production by self-identifying artists, writers, and other creators, some areas of consideration include, but are not limited to:
the future of Indigenous Horror;
Indigenous futurisms;
Indigenous futurism in relation to Afrofuturism;
the post-apocalyptic;
after the Anthropocene (or other labels);
pre-contact/post-contact;
Indigenous “monsters”;
Indigenous identity/identities;
unsettling, activism;
love, reciprocity, and horror;
Indigenous horror and visual, digital, or textual sovereignty;
mixed media, experimental media;
virtual, embodied, extended, or augmented reality;
multisensory installation and the horror experience;
ecological discourses and horror manifestations in relation to speculative narratives;
interrogation of “rewilding” and alternatives;
decolonization of Indigenous stereotypes in mainstream Horror and their counterparts in Indigenous narratives;
authentic Indigenous horror images, visions, “metaphors” or “motifs”;
social media and h/Horror in relation to fiction marketization;
sonic landscapes of horror;
systems of Indigenous horror that move between fiction, film, music, and other media;
NDN and Horror media;
inter-tribal horror/Horror and trans-Indigeneity or pan-Indigeneity;
exploration of various land-based, place-based, sky-based, star-based, or water-based horrors in narratives by Indigenous creators;
blood, heredity, categorization, and holocaust/genocide narratives;
reconciliation;
virtue signalling, horror, media cultures and spaces;
metacommentary;
analysis of Indigenous Gothic and Horror;
Indigenous Horror fiction and ways of knowing;
reading (and teaching) Indigenous horror fiction;
horror systems as epistemologies;
Indigenous Horror fiction and scholarship;
and more.
This follow-up collection seeks contributions from self-identified Indigenous scholars in any stage of their academic journey. We also encourage submissions from allies to the community. To acknowledge the various ways in which Indigenous scholarship may emerge, we welcome both traditional as well as more exploratory approaches, including submissions of proposals for non-fiction works by self-identified Indigenous storytellers reflecting on the process of writing, or otherwise producing, horror.
Please send a 250-word abstract and a 100-word bio to editors Naomi Simone Borwein (nborwein@uwo.ca) and Krista Collier-Jarvis (Krista.Collier-Jarvis@msvu.ca) by May 30, 2025. Accepted chapters will be due June 30, 2026.
Miscellaneous Tidbits
Some fun things and shout outs from these past few weeks.
Gladiator 2 Cinemark Popcorn Bucket
Collectable popcorn buckets are becoming a big thing now. Gladiator 2 has one, of course. Thankfully this bucket could be ordered online instead of actually going to a Cinemark theater. So, of course I ordered a bucket:
Sword and Sandal Blu-rays
Coinciding with the release of Gladiator 2 in November, there’s been a handful of older pepla getting new releases on UHD/Blu-ray. In mid November three came in the mail: Steelbook edition of the original Gladiator (2000), a new cut of Caligula (1979), and a new edition of Hercules Returns (1993).
Rest in Peplum Tony Todd
Tony Todd, horror actor extraordinaire best known for his portrayal as Candyman, passed away. He starred in a handful of pepla: Xena (1995-2001), Hercules (1995-1999), Beastmaster 3 (1996), and Minotaur (2006).
Michele and I had the honor to meet him way back in 2008 at a horror con in SeaTac. He autographed my Criterion Collection edition of The Rock (1996):
When Candyman 2021 came out I did an article on bands that sample dialogue from the original Candyman (1992). Do check out that article to see some innovative ways that Todd lives on via textual sampling.
Art of Michele Brittany
Michele has started a Facebook Page devoted to her crafting and art. If you want to check out her projects or purchase some of her journals, give the page a like and follow!
The peak years of the 60s Italian peplum cycle and the 80s sword and sorcery cycle have many films with transgressive, subversive, erotic, or excessively violent content. The Italian wave of pepla presented overt sexuality with their portrayal of vamps, belly dancers, shirtless strongmen, harems, and sexual seductions. With lax attitudes of what could be portrayed in media, the 80s wave of barbarian films upped with violence with overt gore, but also turned retrospective with more meta and parodic content.
Iconoclastic writer J. Manfred Weichsel seeks to tap into these eras of subversiveness with his new edited anthology, Sword & Scandal. The volume contains twelve short stories of sword and sorcery that is on, as the title suggests, the scandalous side. In this interview Weichsel talks about his newest endeavor and the future where he wants to take the scandal formula with other genres.
Book cover provided courtesy of J. Manfred Weichsel.
What is your relationship with the sword & sandal and sword & sorcery genres? What got you into them? What are some of your favourite texts from these genres?
I’ve been reading sword & sorcery for as long as I’ve been reading books. I’ve probably read all the same stories everybody has; Conan, Fafhrd and the Grey Mauser, Kane, and stuff like that.
As for sword & sandal movies, a friend from college who first got me into world cinema, Evan A. Baker, showed me the Mario Bava Hercules movie in the late 90’s, but I didn’t do a deep dive into the Italian peplum stuff until very recently.
I’m a regular contributor to Cirsova Magazine. The publisher was doing an anthology called The Mighty Sons of Hercules, that was an homage to the old peplum movies. I was invited to contribute, so of course I did a thorough study of the genre in preparation for writing my story. And that’s how I got into it. I think my favorite one I’ve seen so far is Mole Men Against the Son of Hercules.
You’ve dabbled with the sword and sandal genre before with “Maciste in the Land of the Snakes” (from the aforementioned The Mighty Sons of Hercules anthology) and your short novel The Calydonian Boar Hunt. What was the genesis of how this story came about? What was the primary goal you wanted to accomplish with this specific book?
The Calydonian Boar Huntis actually set during the bronze age, before there was hard metal to make swords with. I know it looks like the guy is holding a sword on the cover, but it’s supposed to be a stone knife!
The book is based on the eponymous Greek myth. I became interested in The Calydonian Boar Hunt years earlier, after seeing the famous Peter Paul Rubens painting at the Getty Museum in LA illustrating a scene from the story. Years and years after first seeing the painting, I was sitting at home during the pandemic, deciding what to write next, and I realized it was the perfect time to do a deep dive into Greek mythology. I remembered the painting and the impact it had on me and began to research the myth.
The Calydonian Boar Hunt takes place shortly after the story told in the film Jason and the Argonauts, and features many of the same characters. It’s the generation before the Trojan War, and many of the Calydonian hunters also either appear in the Trojan War as older versions of themselves, or are the parents of major figures in that story. It’s a very central myth in the Greek canon, so it gave me a lot to work with.
Of course, my books are comedies, so my retelling of the myth may be a little different in tone from what modern readers are used to. Well, many of the original Greek myths, such as the Argonautica of Rhodes, were comedies too, so my retelling is also closer in spirit to the original than many modern readers might suspect.
The Calydonian Boar Hunt by Peter Paul Rubens. Public Domain image provided by The Getty Museum.
The Kickstarter for Sword & Scandal hinted it was looking for transgressive peplum-inspired stories, but the final collection is less sword & sandal and more sword & sorcery. Based on the types of submissions you were getting for the project, was there a commonality you noticed? Something like you didn’t receive as many peplum stories as sword & sorcery (that one genre is more popular than the other)? Or maybe you received a decent amount of stories from both genres but that the sword & sandal stories tended to be lacking in those transgressive elements that you were looking for when compared to sword and sorcery? Or something else?
Of the twelve stories in the anthology, most can be described as falling into various subgenres of sword & sorcery. For example, “Kai-zur the Godless” by David Carter is a pretty pure barbarian story. But “Windblades” by C. L. Werner is a samurai tale, and a really violent one too, like a 70’s Toei movie. And “Flesh and Ink” by Rebecca Buchanon has a really unique premise. It’s about a female assassin whose tattoos leap off her body and kill her victims.
There are also a few folk tales in the mix. For example, “The Baron with a Thousand Cats” by Gary Every is a retelling of an Italian tale about a groom who must save his bride from suffering prima notte with a grotesque baron. And “The Harem of Al’Azeri” by Jasiah Witkofsky is set in the Arabian world in 1,001 Nights. There’s even a weird tale the anthology in “Vermina’s Creature,” by Bitter Karella.
I really only received two submissions that read like peplum movies, and while both were great, they shared the same problem, which was that I was looking for stories that placed their focus on sex, and these stories placed their focus on the violence. So, they were good, but they weren’t great fits for the anthology.
Sword & Scandal is overt in its want to feature stories heavy on sex, nudity, and violence. Aside from these facets, there other means to push genre boundaries to their limits. What are other transgressive and avant garde elements featured in Sword and Scandal?
The most subversive element you can put into fiction nowadays is humor. If you look at old books and movies, even if they weren’t comedies, they still had humorous elements, such as, for example, irony. But nowadays, humor is so absent from popular entertainment that audiences don’t know what to do when they encounter it. And because they don’t know what to do, they become frustrated, and respond by getting angry at the book or movie for frustrating them. This had led to a pervasive idea in our culture that if something is funny, that must mean it’s bad.
I want to help society get beyond this prejudice. This shouldn’t be terribly hard a task. It’s such an ingrained part of human nature, that it should be obvious what you are supposed to do when you encounter humor. You’re supposed to laugh! So, I actively looked for stories that were funny, in order to reintroduce humor into popular entertainment.
One of the funnier stories in Sword & Scandal is “Abduction from the Seraglio” by David J. West. This is about a sellsword who is hired by a man to rescue his girl from a harem, but… well… I don’t want to give the punchline away. Another funny story is “Shaven Beards” by Ross Baxter. This one is full of rude British humor!
Were there any specific stories in Sword & Scandal that blew you out of the water because you had never read anything as uncompromising/perverted/graphic/etc. before?
Every single story in Sword & Scandal was one that, the moment I read it, I knew I needed it in the anthology. Many of the stories contain graphic sex, but not all of them. That wasn’t a prerequisite. A few were chosen not because they have sexual content, but because they have sexual themes. I was looking for stories that were dangerous in some way, and I think that describes all the tales in the book, whether they are graphic or not.
But, to answer your question, the sex scenes in “The Gateway of Pleasure” by Jim Lee are insane, like, really hardcore. This is a story where a knight rescues a damsel in distress, and she rewards him with a blow job and a lot of sex. “The Snow Princess” by Pip Pinkerton is, in part, an outrageous porn parody of Disney’s Frozen, with a great scene where the girls use magic to create an Ice Golem and then have sex with it. There’s lot of lesbian sex in this one too. And “He Who Sows” by Austin Worley is about two female thieves who break into a temple to steal the stone phallus from a fertility God, only to become enchanted by it and start playing with it.
In 80s sword & sorcery cinema terms, on a scale of Deathstalker I (for sex and nudity) to Deathstalker II (for irreverent humour), how would you situate Sword and Scandal?
I love both the Deathstalker movies for different reasons. Jim Wynorski has a few movies like Deathstalker II, where they were sequels to bigger budget movies, but instead of going for a cheap cash grab like other directors in such situations would, he created really unique movies that, while they don’t have much to do with the original, are a lot of fun. 976-EVIL II is probably my favorite out of these.
As for your question, there is a lot of sex and a lot of irreverent humor in Sword & Scandal. Enough to satisfy fans of either film.
Sword & Scandal was financed via a successful Kickstarter campaign. What were some of the obstacles you encountered while running the Kickstarter? Will crowdfunding be a model you will use go forward for other entries in your Scandal series?
I got the idea to use Kickstarter because Cirsova used it to raise money for The Mighty Sons of Hercules, a book I mentioned above. I made sure to play an active role in the Kickstarter, both to help that anthology happen, but also to learn about fundraising so I could run my own campaign one day.
Kickstarter was great because it allowed me to do so much more than I would have been able to otherwise. I mean, without Kickstarter, I wouldn’t have been able to offer payment to the writers or have interior illustrations! I would have just written the book myself like I normally do, which was my actual backup plan had the campaign failed. So, I will definitely use Kickstarter for any future anthologies I do, including my next one, Jungle Scandals.
My process was a little different from Cirsova’s. He asked the writers to write stories up front, and then used the table of contents in his fundraising campaign as he raised the money to pay us. I ran the Kickstarter first and then had an open call for submissions. I like doing it this way because it gives me the greatest flexibility in choosing the stories that are best for the anthology.
Author photo provided courtesy of J. Manfred Weichsel.
Your contribution to Sword and Scandal, “Confessions of a Wicked Harpastum Player,” was the result of one of the Kickstarter perks where the pledger could design their own story. That pledger, Alexander Joyner, wanted “a tale with a female protagonist, about women’s soccer, with torture and lesbians.” That is quite the order – how did you go about tackling this compared to stories you pen yourself?
Well, instead of soccer, I used Harpastum, which is an ancient ancestor of modern soccer. Then I added a lot of sword & sorcery elements, such as having them play the game with a severed head instead of a ball. I came up with a sexy plot involving torture and lesbians, and voila.
Overall, writing it was a fun experience. I often start outlining a story with an image or a few images in my head, so outlining one where the images were given to me didn’t change my process very much. If anything, it forced me to be more creative and to think outside the box. It was a fun experience, and one I hope to repeat in the next book.
Aside from your introduction to the book, you also gave space for your artist, Apolonster, to share his musings and importance of working on the project. How did you connect with Apolonster? How did you two collaborate on the interior artwork, juggling artistic asks, feedback, and so on.
When I want to hire an artist, I usually go onto websites like DeviantArt and search artists until I find one that is already doing what I want to do. Then, I contact the artist to see if they are looking for work.
I found Apolonster when I was looking for somebody to do the cover to my novel Into the Bush. The moment I saw his portfolio, I knew I wanted to hire him, because he had some pictures that were exactly in the style I wanted.
I knew Sword & Scandal would be a much more complex project than that one was, because it needed a painted cover as well as interior illustrations. Apolonster is a talented and versatile artist who was classically trained at a European art academy, so when I started thinking of people to ask to do Sword & Scandal, he was my first choice.
My process for working on illustrations is that I write a worksheet that usually ends up being a couple of pages describing for the artist what I want, and then the artist gives me concept sketches. I pick one, and the artist makes the art.
Unfortunately, Apoloonster won’t be available for the next anthology for personal reasons. I already have the painting for the cover, and I’m looking for somebody right now to do the interior illustrations.
The next anthology in your Scandal series is going to be Jungle Scandals. What is some news you can share about that project? And aside form Jungle Scandals, what can folks expect to see from you in the near future?
I’m currently writing a science fantasy book called Space Escapades, which I plan to be the final book in my Action Girls trilogy of books about three ditzy wannabe Hollywood starlets.
I am creating the Kickstarter campaign as we speak. I hope to launch it early next year. I’m also working on a novel for the first time since my last one came out in March. Exciting things are on the horizon.
Do you see yourself revisiting the sword & sandal genre? If so, where would you like to take it next?
I want the “scandal” to be its own genre. I get into this in the introduction to Sword & Scandal. So, I want to do a bunch of differently themed books in the Scandal anthology series. The next one is Jungle Scandals, and then after that I want to do a science fantasy themed book, maybe called Planet Scandals or Outer Space Scandals. I’m going to do one called Scandal & Sorcery at some point, and might also do one called Sword & Scandal vol. II. I’m really taking them one at a time right now, so we will see what the future holds!
I do know that Cirsova is thinking of doing another Mighty Sons of Hercules anthology, and I really want to be a part of that if he ends up doing it.
I’ll probably revisit peplum at some point regardless. The thing is, if you look over my website, I have a pretty restless imagination and my books tend to all fall into different genres. I never really know what I am going to write next until I finish the book I’m working on.
Sincere appreciation to Weichsel for his time for this interview. For more information on Sword & Scandal, J. Manfred Weichsel, and Apolonster, check out the following links:
A brand new Scholars From the Edge of Time vidcast is online!
For the spooky month of October Michele and I revisit the world of sword and scary with a horror-filmed Neo-peplum film, The Head Hunter!
The episode can be viewed on YouTube here – check it out!
Panthans Journal #330
The newest issue of the The National Panthans Journal has been published. This issues contains a re-print of my convention coverage of the Edgar Rice Burroughs, Inc. panel at Wondercon 2019.
Paraphrased from the zine: The National Capital Panthans Journalis a monthly publication issued as a .PDF file on the Saturday before the first Sunday of each month. Contribution of articles, artwork, photos and letters are welcome. Send submissions to the editor: Laurence G. Dunn at laurencegdunn@gmail.com in a Word document for consideration.
ECOF 2025
In September of 2025 there will be an Edgar Rice Burroughs Chain of Friendship (ECOF) event down in Willcox, AZ. This event is to celebrate the 150th birthday of Burroughs while also honoring him with a plaque in the town due to his stationing with there the 7th U.S. Calvary in the 1890s. (Note: another ERB convention was held in Willcox back in 2019 and an event recap of that can be read at ERBZine #7059).
Here is a flyer for the 2025 event:
I’ll share more information about the event as I find out more on my website updates. There currently is a fundraiser going on to raise funds for the ERB plaque, and details for that can be found in the QR code in the above graphic, or by checking out the donation page at the Sulphur Springs Valley Valley Historical Society. 3.5K of 5K has been raised already.
Michele and I will be in attendance for this convention, so I’ve added it to the appearances section of my website as well.
Publishing Recap
Below is a recap of my publishing endeavors so far in 2024.
Comic Book Review: “Carson of Venus: The Flames Beyond#1″ reprinted in the National Capital Panthans Journal #326.
Comic Book Review: “Carson of Venus: The Flames Beyond#2″ reprinted in the National Capital Panthans Journal #327.
Comic Book Review: “Carson of Venus: The Flames Beyond#3″ reprinted in the National Capital Panthans Journal #328.
Comic Book Review: “Carson of Venus / Warlord of Mars #1″ reprinted in the National Capital Panthans Journal #329.
“Wondercon 2019 Coverage: Tarzan, John Carter, and Edgar Rice Burroughs, Inc.: What’s New?” reprinted in the National Capital Panthans Journal #330.
A side note, I’ve done some organizing on my bibliography page. The magazines/zines/etc. section was getting rather long so I broke it up into a section for Exotica Moderne, a section for Panthans, and a section for the rest. In the future, when a particular outlet starts to appear more than a few times I’ll parse it to its own area as well.
Calls for Papers/Proposals
Here are some new pop culture CFPs that have crossed my paths. Links to these will also be in the CFP page on the navigation bar.
Metal Music Studies Retrospectives
In celebration of the 10th year of Metal Music Studies, we (Ross Hagen and Edward Banchs) are compiling a section of short retrospectives on foundational and important publications for the reviews section. We are aiming for a mix of titles that includes books aimed at general audiences in addition to academic monographs and edited collections. We are looking for short retrospectives of around 1000-1500 words that would address the following threads of inquiry:
What is the significance of the work?
What did it contribute to Metal Studies?
What aspects of the book still seem most relevant today?
Are there aspects of the book that you are critical of?
The tone of the writing does not need to be rigorously academic; we are looking for more personal sorts of reminisces about these publications.
If you are interested in writing a retrospective, please reply with up to three titles you are interested to write about. We’re operating on a “first-come, first-served” basis so it will be good to have some alternative titles in case your first choice is already spoken for. We would like to have the first drafts by Dec. 1 – it’s a quick turnaround but since these will be short and less academic hopefully that won’t be too much of a discouragement.
We have reviews lined up already for the following:
Christie, The Sound of the Beast
Dawes, What are You Doing Here?
Kahn-Harris, Extreme Metal
Moynihan, Lords of Chaos
McNeil, Please Kill Me
Clifford-Napoleone, Queerness in Heavy Metal Music
Roccor, Heavy Metal. Die Bands. Die Fans. Die Gegner.
Hein, Hard Rock, Heavy Metal: Histoire, cultures et pratiquants
We would like to get 5–10 more pieces to round out the section. We’d be particularly interested in reviews of some of the early collections like Scott & von Helden’s Metal Void: The First Gathering (2010)along with other edited collections and special issues of journals.
Some fun things and shout outs from these past few weeks.
Autographed Crawlspace
The folks at RedLetterMedia recently did a two-part episode on Full Moon’s Puppet Master series of films. They briefly brought up Puppet Master one’s director David Schmoeller and how he did a movie called Crawlspace with Klaus Kinski who was a nightmare to work with – so much so that Kinski became the inspiration for the Blade puppet.
Back in the late 2000s I contacted Schmoeller and asked him if I could post him my copy of Crawlspace to be autographed and he said sure! So, pictured here is my copy of Crawlspace, signed by Schmoeller (and producer Charles Band), along with a copy of “Please Kill Mr. Kinski” that Schmoeller sent as a gift.
Art of Michele Brittany
Michele has started a Facebook Page devoted to her crafting and art. If you want to check out her projects or purchase some of her journals, give the page a like and follow!
Folks probably know that I am a big fan of the Margheriti film Yor, the Hunter from the Future. I was excited a month or so ago when I stumbled upon that Antarctic Press was reprinting the comic in English! You better believe I ran to my local comic book store and put it on my pull list.
It’s been a while since I’ve had some citation news, but here is a new one, fresh off the presses!
My essay, “Lost Nights and Dangerous Days,” was cited by Gabrielle Berry in her essay “[Bones cracking]: Reading and listening to Foley and captions” which was published in the journal The Soundtrack, vol 16, Sept 2024 by Intellect. Super flattered!
Panthans Journal #329
The newest issue of the The National Panthans Journal has been published. This issues contains a re-print of my review of Carson of Venus / Warlord of Mars #1.
I love the cover by Mark Wheatley!
Paraphrased from the zine: The National Capital Panthans Journal is a monthly publication issued as a .PDF file on the Saturday before the first Sunday of each month. Contribution of articles, artwork, photos and letters are welcome. Send submissions to the editor: Laurence G. Dunn at laurencegdunn@gmail.com in a Word document for consideration.
Scholars from the Edge of Time
The September episode of Scholars from the Edge of Time is online!
For this vidcast Michele and I discuss the early 80s cult sword and planet film, Krull. How we have gone our entire life without watching this film is near criminal because it ruled.
Personal copies of the Krull Blu-ray and the soundtrack.
The episode can be watched on YouTube, have a listen/watch!
Below is a recap of my publishing endeavors so far in 2024.
Comic Book Review: “Carson of Venus: The Flames Beyond#1″ reprinted in the National Capital Panthans Journal #326.
Comic Book Review: “Carson of Venus: The Flames Beyond#2″ reprinted in the National Capital Panthans Journal #327.
Comic Book Review: “Carson of Venus: The Flames Beyond#3″ reprinted in the National Capital Panthans Journal #328.
Comic Book Review: “Carson of Venus / Warlord of Mars #1″ reprinted in the National Capital Panthans Journal #329.
Calls for Papers/Proposals
Here are some new pop culture CFPs that have crossed my paths. Links to these will also be in the CFP page on the navigation bar.
Roger Corman’s Horror Movies: Collected Essays
Edited by Sue Matheson
Part of theseries edited by Carl Sederholm
Indie filmmaker Roger Corman is known for producing and directing hundreds of B-movies, discovering industry stars (like Jack Nicholson, Martin Scorsese, and Robert de Niro), anticipating Hollywood’s New Wave, and founding a profitable empire that included New World Pictures and Concorde/New Horizons. Entertaining, literate, and campy, his fast-paced, low-budget genre films, aimed at the youth market and generally shot in less than two weeks, included horror movies, horror comedies, and sci-fi/horror. The Beast With a Million Eyes(1955), It Conquered the World (1956), The Undead (1957), Not of This Earth (1957), A Bucket of Blood(1959), The Wasp Woman (1959), The Little Shop of Horrors (1960), Creature from the Haunted Sea (1961), The Intruder (1962), The Terror (1963), The Man With X-Ray Eyes (1963), The Haunted Palace(1963), and Dementia 13 (1963) helped make Corman “The King of the Drive-in” and the “King of Cult.” Cult classics, the gothic horror films of his Edgar Allan Poe cycle (House of Usher [1960], The Pit and the Pendulum [1961], Premature Burial [1962], Tales of Terror[1962], The Raven [1963], The Haunted Palace [1963], The Masque of the Red Death [1964] and The Tomb of Ligeia [1964]) also revived the careers of Boris Karloff, Vincent Price, Basil Rathbone, and Peter Lorre. As the “Orson Welles of the Z movies,” Corman was not only an auteur filmmaker and influencer; he was also a producer and distributor of horror movies. The last movie he directed was the under-appreciated Frankenstein Unbound (1990). Corman’s better-known works have been taught in courses on the history of the horror genre and cult films, while many others deserve critical reexamination.
This anthology seeks previously unpublished essays that explore Roger Corman’s body of horror films and mashups. It is open to submissions on films belonging to his Edgar Allan Poe seriesfranchise and his well-known cult horrors, but will particularly welcome interdisciplinary approaches that can illuminate overlooked films like The Beast With a Million Eyes (1955), It Conquered the World (1956), The Undead (1957), Not of This Earth (1957), Attack of the CrabMonsters (1957), Night of the Blood Beast (1958), Attack of the Giant Leeches (1959), The Intruder (1962), Tower of London (1962), The Man With X-Ray Eyes (1963), and Frankenstein Unbound (1990).
This volume will be interdisciplinary in scope, including approaches from philosophy, literary studies, film studies, gender studies, history, psychology, popular culture studies, hauntology, ecology, etc. The chapters will be peer-reviewed, scholarly, and written at a high academic level.
Contributions could include, but are not limited to, the following topics:
Thematic and structural analysis of one or more films
Visual style
Notions of evil
Photography and cinematography
The supernatural
Corman as an auteur and/or influencer, producer, distributor
Mash ups and updated horror
Soundscapes and music
Film as philosophy/philosophy in film
Failed parenthood
Comedy, black humor, and irony
Social and cultural contexts
American youth and youth culture
Drive-in film culture
Landscapes as sites of horror
Literary and gothic adaptations
Exploration of the sub- and unconscious
Class, sexuality, abject, gender and queer readings
This anthology will be organized into thematic sections around these topics and others that emerge from submissions. It is open to works that focus on other topics as well. Prospective authors are welcome to contact the editor with any questions, including potential topics not listed above. Please share this announcement with anyone you believe would be interested in contributing to this volume. Please submit a 250-word abstract of your proposed chapter contribution, a brief CV / bio, current position, affiliation, and complete contact information to Sue Matheson (smatheson@ucn.ca) by the 30th of December 2024. Full chapters of 6,000-7,000 words are likely due in June/July 2025 after signing a contract with the publisher.
Note: Acceptance of a proposed abstract does not guarantee the acceptance of the full chapter.
Yor, the Hunter from the Future is a 1983 Italian Barbarian film directed by Antonio Margheriti (Castle of Blood [1964], Ark of the Sun God [1984]) and starring Reb Brown (best known as the lead protagonist in the MST3K-riffed Space Mutiny [David Winters, 1988]). The movie is a strongman/sword and sorcery film that came during a wave of similar other films (Ator, the Fighting Eagle [1982, Joe D’Amato], Conquest [Lucio Fulci, 1983], The Barbarians [1987, Ruggero Deodato], and so on), that were capitalizing on the success of Conan the Barbarian (1982, John Milius), though the added Star Wars-esque elements at the film’s end edge Yor into sword and planet territory. The film has enjoyed cult status, no doubt due to the presence of Brown and Margheriti’s special effects.
The film was adapted from a series of Argentinian comics titled Yor the Hunter that was created in the mid-70s by writer Ray Collins (Eugenio Juan Zappietro) and artist Juan Zanotto. For decades the comic has been inaccessible to an English-speaking audience, however Antarctic Press (Gold Digger and Ninja High School) is remedying this situation by publishing a translated edition of the original Yor comics. Slated to be released across four issues, the first was released in late August/September.
One thing that becomes apparent when comparing the two version of Yor is just how closely the film follows the plot of the original comic book incarnation. Issue one of Yor, divided into three episodes, corresponds to the first thirty minutes of Yor the movie. All the major narrative events and characters are there.
Film Yor vs. comics Yor:
Brown’s Yor is more lighthearted with a strong helping of naivety. Comics Yor is much more grimdark and serious. Film Yor is an outsider to the initial tribe depicted in the film while comics Yor is already part of the tribe and becomes a leader of it when he exposes a false god – a woolly mammoth encased in ice. Both are strong barbarians that wear a medallion and wield a stone axe.
Film Kalaa vs. comics Kalaa:
Film Kalaa is played by Corinne Cléry (Bond girl Corinne Dufour in Moonraker [Lewis Gilbert, 1979] and O in The Story of O [Just Jaeckin, 1975]) who is both the love interest of Yor and the damsel in distress of the film. Film Kalaa does not have as much character development as comics Kalaa who is much more strong willed. Comics Kalaa initially rebuffs Yor when he selects her to be his wife, not holding a high opinion of him. Comics Kalaa is also a damsel character, who must be rescued by Yor.
Film Pag vs. comics Pag
Cinematic Pag is played by Antonio Margheriti regular Luciano Pigozzi (Beetle in Ark of the Sun God, Francesco in And God Said to Cain [1970]) and pretty much is a one to one of comics Pag. Both are confidents/guards of Kalaa, proficient with a bow, and full of sage-like advice.
The major plot beats of the comic are present in the film.
Both the comic and film features a dino battle early in the story. In the film, Yor is introduced by him saving Kalaa and Pag from a triceratops. In the comic Yor saves Pag from a T-rex.
Ukan and his Blue People attacks Yor and friends, kidnap Kalaa and steal Yor’s medallion.
And after the battle throws Yor over a cliff, where he survives.
Afterwards Yor and Pag enter the caves of the Blue People in order to save Kalaa. In the film Yor rides a pterodactyl in to make a grand entrance while in the comic Yor and Pag battle the pterodactyls en route to the caverns. An epic battle ensues and in both media versions end with Yor destroying a dam and flooding the caves of the Blue People.
While the film adapts the plot of the comics fairly faithfully, where it really deviates is in tone. The filmic version of Yor is much more lighthearted. Even though it has a fair amount of blood (from when Yor slays the triceratops), the overall atmosphere of the film is fantasy-adventure, akin to Caravan of Courage: An Ewok Adventure (John Korty, 1984) with a bit of spear and fang thrown in for good measure. Conversely, the comics version of Yor is much more dark, grittier, and violent. There are executions, rape, and the violence is less cartoonish. The comics version of Yor also narrates the inner feelings of Kalaa and Yor, and they ponder the nature of love in the hostile, primitive world.
After comparing the two iterations of Yor, it is interesting to note just how faithful Margheriti’s adaption was to the source material, save for the tone. It is an interesting case study in how the same story can be told the same textually, but differ greatly in atmosphere and mood. Both film and sequential art incarnations of Yor compliment each other quite well. Fans of the film may not find the camp element in present in the comics version, but can certainly appreciate seeing the original source material of Yor and how it all came about. On its own, the comics version of Yor is fun, and feels like it could have been published in the early years of Heavy Metal.
Yor, the film, definitely derails itself as it progresses and veers into Star Wars territory, so it will be interesting to see if it continues to be faithful to the comics when issues two through four are published.
Being a Yor superfan, I’ve accumulated some Yor artifacts over the years, and the publishing of issue one of the comic is a perfect opportunity to show off a bit of the collection, which include different home video editions (including a German version of Yor on DVD signed by Reb Brown himself) and soundtracks. Check everything out in the slide show:
I had the opportunity to talk about Yor on the Fan2Fan Podcast, which can be streamed at the Fan2Fan Libsyn.
For more information on the Yor comics, check out the following links:
After a few months hiatus Michele and I are back with H. P. Lovecast!
We have some interviews with folks we will need to connect on and get out the door, but we are going to slowly transition back into a normal schedule.
In the meantime, here is our first episode in a while! We talk about the 2022 cosmic-horror/dark comedy film, Glorious, directed by Dr. Rebekah McKendry. Check it out here, via the embedded player below, or through your podcast app of preference.
The August episode of Scholars from the Edge of Time is also online. For this episode we take a gander at the 2017 sorta-Templar film, Pilgrimage, which we both really dug.
For September we are looking to do Krull (1983). If you have suggestions for sword and sandal/sorcery/planet movies you’d like us to cover, let me know!
Panthans Journal #328
The newest issue of the The National Panthans Journal has been published. This issues contains a re-print of my review of Carson of Venus: The Flames Beyond #3.
Publishing Recap
Below is a recap of my publishing endeavors so far in 2024.
Comic Book Review: “Carson of Venus: The Flames Beyond#1″ reprinted in the National Capital Panthans Journal #326.
Comic Book Review: “Carson of Venus: The Flames Beyond#2″ reprinted in the National Capital Panthans Journal #327.
Comic Book Review: “Carson of Venus: The Flames Beyond#3″ reprinted in the National Capital Panthans Journal #328.
Calls for Papers/Proposals
Here are some new pop culture CFPs that have crossed my paths. Links to these will also be in the CFP page on the navigation bar.
Expanding Our View of Sherwood: Exploring the Matter of the Greenwood in Comics
Sponsored by Medieval Comics Project and International Association for Robin Hood Studies (IARHS)
Organized by Michael A. Torregrossa and Carl B. Sell
60th International Congress on Medieval Studies
Western Michigan University (Kalamazoo, Michigan)
Hybrid event: Thursday, 8 May, through Saturday, 10 May, 2025
Please Submit Proposals by 15 September 2024
Session Information
According to a recent search of the Grand Comics Database, creators of comic books and graphic novels have produced approximately five thousand comics directly based on or inspired by the Robin Hood tradition. These comics span over one hundred years and come from at least ten countries; however, the true scope of Hood’s influence on the medium appears much larger. A variety of archers, both heroes and villains, also feature within the pages of comics, and some, such as DC Comics’s Green Arrow, have even made the transition to the screen. In addition, Hood and his fellows have also frequented cartoons, comic strips, and manga, although their adventures there remain largely uncatalogued.
Of this vast array of comics and related media, relatively little of the corpus seems known to enthusiasts of the Matter of the Greenwood. Although Robin Hood scholars (working since the 1990s) have started to share some comics, much work still remains to be done to more fully assess the world of Sherwood Forest depicted in their panels. Therefore, in this co-sponsored session, we hope to create a deeper connection between Robin Hood Studies and Comics Studies to highlight items from this rich corpus and provide ideas and reflections on how to find, access, and employ Robin-Hood-themed comics in our classrooms and research.
Applicants to the roundtable are invited to revise their work for publication in a special issue of the open-access journal The Bulletin of the International Association for Robin Hood Studies.
Thank you for your interest in our session. Please address questions and/or concerns to the organizers at Comics.Get.Medieval@gmail.com. A full PDF version of this call can be accessed from Academia.Edu.
Submission Information
The process for proposing contributions to sessions of papers, roundtables and poster sessions for the International Congress on Medieval Studies uses an online submission system powered by Confex. Be advised that submissions cannot be accepted through email. Rather, access the direct link in Confex to our session at https://icms.confex.com/icms/2025/round/papers/index.cgi?sessionid=5826. You can also view the full Call for Papers list at https://wmich.edu/medievalcongress/call.
Within Confex, proposals to sessions of papers, poster sessions and roundtables require the author’s name, affiliation and contact information; an abstract (300 words) for consideration by session organizer(s); and a short description (50 words) that may be made public. Proposals to sessions of papers and poster sessions also require a title for the submission (contributions to roundtables are untitled).
Proposers of papers or contributions to roundtables for hybrid sessions should indicate in their abstracts whether they intend to present in person or virtually.
If you need help with your submissions, the Congress offers some resources at the Participating in the Congress page at https://wmich.edu/medievalcongress/participating-congress. Click to open the section labeled “Propose a Paper” and scroll down for the Quick Guide handouts.
Be advised of the following policies for participating in the Congress:
You are invited to propose one paper (as a sole author or as a co-author) for one session of papers. You may propose a paper for a sponsored or special session or for the general sessions, but not both. You may propose an unlimited number of contributions to roundtables and poster sessions, but you will not be scheduled to actively participate (as paper presenter, roundtable discussant, poster author, presider, respondent, workshop leader, demonstrator or performer) in more than three sessions.
A reminder: Presenters accepted to the Congress must register for the full event. The registration fee is the same for on-site and virtual participants. For planning, the cost for the previous year’s event is posted at the Congress’s Registration page at https://wmich.edu/medievalcongress/registration.
If necessary, the Medieval Institute and Richard Rawlinson Center at Western Michigan University offer limited funding to presenters. These include both subsidized registration grants and travel awards. Please see the Awards page at the Congress site for details at https://wmich.edu/medievalcongress/awards.
Miscellaneous Tidbits
Want to give some appreciation and shoutouts to some friends who have big projects that just came out or are about to come out.
Ian Welke’s Messing With Mr. In-Between
Ian Welke, friend who has been on both Scholars from the Edge of Time and H. P. Lovecast, has a new book out called Messing with Mr. In-Between.
Global Indigenous Horror is an upcoming collection edited by Naomi Simone Borwein, who has been a presenter at the Ann Radcliffe Academic Conference and also published in Horror Literature form Gothic to Post-Modern.
Composter Philippe Gerber, who creates music under the John 3:16 moniker and also did the theme song, “Azathoth,” for the H. P. Lovecast Podcast, has been scoring films lately! There’s two of them right now from SRS Cinema.
Check them out, consider backing/ordering the films!
Brenda S. Tolian’s Bestial Mouths
Friend and H. P. Lovecast interviewee alumnus Brenda S. Tolian has a new book coming from Raw Dog Screaming (aroooo) Press: Bestial Mouths. It’s a poetry collection! RDSP just did a cover reveal:
The collection is slated to come out November 14th and can be pre-ordered at the Raw Dog Screaming Press product page. The cover is wicked cool with all the mushrooms.
Ripple Effects Kickstarter
FanBase Press is about the launch their very first Kickstarter. This will be for a deluxe edition of Jordan Hart’s Ripple Effects.
I take a look at Becca Boo issue 2. I had previously reviewed issue 1 and enjoyed it (read my review here), and issue 2 definitely kept up the quality. My issue 2 review can be read here.
Note: A while after publication of my review, Obscura Comics sent over the missing Kickstarter swag. I’ll be updating my review to reflect this.
Publishing Recap
Below is a recap of my publishing endeavors so far in 2024.
Comic Book Review: “Carson of Venus: The Flames Beyond#1″ reprinted in the National Capital Panthans Journal #326.
Comic Book Review: “Carson of Venus: The Flames Beyond#2″ reprinted in the National Capital Panthans Journal #327.
Calls for Papers/Proposals
Here are some new pop culture CFPs that have crossed my paths. Links to these will also be in the CFP page on the navigation bar.
Phantom of the Paradise Edited Collection
Editor: Sean Woodard Contact: phantomparadisebook@gmail.com Abstract Deadline: Friday, November 15, 2024 Chapter Drafts Deadline: June 15, 2025
Essays sought for a peer-reviewed edited collection focused on Brian De Palma’s film, Phantom of the Paradise.
Brian De Palma’s 1974 film Phantom of the Paradise, starring William Finley, Paul Williams, and Jessica Harper remains a cult classic of 1970s American independent cinema and popular culture. A throwback to the legend of Faust and Gothic narratives such as Gaston Leroux’s Phantom of the Opera (1910), and Oscar Wilde’s The Picture of Dorian Gray (1890), the film satirizes the modern music industry. The musical prominently features a stellar soundtrack by Paul Williams and many of De Palma’s trademark filmmaking techniques and Hitchcockian homages that he would perfect in further genre fare like Carrie (1976), Dressed to Kill (1980), and Blow Out (1981).
Furthermore, Phantom of the Paradise has a devoted fan base around the world. For example, a fan-made preservation website called “The Swan Archives”—devoted to detailing the film’s production history and cataloging and preserving its physical promotional materials and merchandise—was the subject of a 2013 Bright Lights Film Journal essay. In addition, filmmaker Guillermo del Toro owns an extensive collection of Phantom of the Paradise memorabilia, while director Edgar Wright specifically cast Paul Williams in a cameo role in Baby Driver (2017) out of his affinity his role in De Palma’s film. The film’s growing popularity has also led to sold-out repertoire screenings, shadow cast events, and fan cosplay at horror conventions. In an archived 2019 interview with The Globe and Mail, Williams commented on the film’s resurgence and its overall legacy: “Isn’t it bizarre? You can’t be quick to write something off as [a] failure. . . . I am beyond grateful.”
While academic research has been focused broadly on De Palma’s filmography, there has not been a singular scholarly text devoted to the film. The celebration of Phantom of the Paradise’s 50th anniversary in 2024 makes it an appropriate time to celebrate and re-evaluate the film.
The purpose of this edited collection is to place Phantom of the Paradise into a cultural and theoretical context, as well as critically analyze the film, its connections to other genre films, its place in Brian De Palma’s filmography, and its continued influence.
We seek proposals for chapters that approach the subject matter with theoretical concepts that will appropriately meet the rigorous expectations of an academic work, but through a prose style that shall be accessible for both an academic audience and a general readership.
Topics may include, but are not limited to:
Brian De Palma as an Auteur
Paul Williams’ Career
Film and Literary Adaptation and Intertextuality (Phantom of the Opera, The Picture of Dorian Gray, Faust, etc.)
Narrative, Thematic, or Structural Analysis of the Film
Audio/Visual Style
The supernatural and the Gothic
Body Horror
Monstrosity/Abjection
Class, Gender, Sexuality, and Queer Readings
Psychoanalytic Film Theory
Philosophy in Film/Film as Philosophy
Voyuerism and “the gaze”
Mirrors, Screens, Foils, and Doubles
Genre Hybridity
Soundtracks and Film Scoring
Horror Musical Film Cycles (including Phantom of the Paradise; The Rocky Horror Picture Show [Sharman, 1975]; Shock Treatment [Sharman, 1981]; Little Shop of Horrors [Oz, 1986]; Sweeney Todd: The Demon Barber of Fleet Street [Burton, 2007]; Repo! The Genetic Opera [Bousman, 2008]; and Dr. Horrible’s Sing-Along Blog [Whedon, 2008])
Cult Cinema, Fandom, and Popular Culture
Please send abstracts of 300 – 500 words with a working title and five (5) keywords, accompanied by a short third-person author bio (100 words max), to phantomparadisebook@gmail.com as a Word document.
Final essays should be 5,000 – 6,000 words in length, inclusive of endnotes and bibliography. Citations and references shall be formatted according to the Chicago Manual of Style, 17th edition. No images. A formal proposal for the collection will be submitted for consideration to a leading academic press.
Proposed Timeline
August 1, 2024 – November 15, 2024: Call for Papers
December 15, 2025: Notification of abstract acceptances sent to authors
December 15 – June 15, 2025: Book chapters drafting period
June 15 – July 31, 2025: Initial editorial review of submitted chapter drafts; editing/revision remarks sent to writers
August 1 – September 15, 2025: Contributor revision period
September 15 – September 30, 2025: Second editorial review
October 1 – October 15, 2025: Contributor revisions, as neede
October 15 – December 15, 2025: Finalize full manuscript
December 15, 2025: Submit full manuscript to press for editorial board consideration and peer review process
Miscellaneous Tidbits
Elysian Fields Kickstarter
Michael Oden is revamping/rebooting his Neo-peplum comic, Elysian Fields, with a Kickstarter campaign. You can sign up to get notified when the campaign launched at this link.
I had the honor to interview Oden a few years ago about the original incarnation of Elysian Fields, and if you’re curious, it can be read here.
Back in December 2022 after Pyun had passed away I shared my autographed copy of Cyborg (check it out here). McBride podcast appearance totally made me remember that I had a copy of Arcade signed by the awesome cult director. So, here it is!
Nick,
We shot this in 12 days and I actually got into a fight with Charles Band on the final cut and left the film. But I really liked the Cast and David Goyer’s script.
Best, Albert Pyun
Thanks for all the memories Pyun!
Alien Quadrilogy Autographs
Alien: Romulus is out in the world now. Despite not caring for Prometheus and Covenant, I’ll give Romulus a shot since I’m always curious were the Alien/Predator universe lore takes off into. But for now, since the movie is out, it’s a good enough time as any to share my autographed copy of the Alien Quadrilogy boxset.
This is signed by Veronica Cartwright (Alien) and Lance Henriksen (Aliens). I recall buying this boxset back in 2004 from a Fred Meyer I lived across the street from in University Place, WA. I was so excited to scrimp some monies to buy this set and all the supplemental goodies in it. The set is two decades old, and I’ll probably someday buy some 4K versions of the movies on it, but this will remain one of my prized gems in the library.
In Gowan Ring Concert 2007
Speaking of old, old Washington memories, while categorizing my music and getting everything imported onto my Mac, I came across a copy of Webs Among the Din 2 by folk project In Gowan Ring.
Michele and I actually got to be concert organizers and promoters and have In Gowan Ring (Patreon link) perform a tiny concert at the University Bookstore at the University of Washington – Tacoma Campus. It was a lot of fun! Michele did up posters, and I did the green room and made my custom onion cheese tart. Michele also made a recording of the event, so perhaps we will find it while we continue to unpack, and see if something can be done with it.
After In Gowan Ring concluded their tour they did a commemorative release called Webs Among the Din 2, which features a map and a listing of all their performances.
So, 17 years ago this month we got to host a folk band at our school. Very cool!
The Neverending Streamer – More Fallout Write Ups
Travis Lakata has some new Fallout episode write ups on his Substack, The Neverending Streamer.
My friend Evan Jordan (one of the editors of Footage Fiends, the zine I got to contribute an essay about Caltiki to last year) is doing a crowdfunding endeavor for his feature-length movie debut, Florida, Man.
Per the Indiegogo campaign:
Florida, Man aims to explore the [..]paranormal encounters I had in addition to the rest of my weird past in the state of Florida through archival footage, re-enactments, interviews with surviving family members and other involved parties, as well as ending with a full paranormal investigation of the rural home where everything occurred all those years ago.
Becca Boo, the ditzy bombshell who awoke one morning in a grave and deduced that she was a ghost, finds herself as an actual ghost when she is hit by a truck. Though Death comes for Becca, he becomes distracted at the prospect of hooking up with a talented lady, and takes off. Becca looks through Death’s book and reads that she is bound for Hell, and uses the opportunity to flee.
Over the next few months Becca finds herself haunting mirrors, where adolescent men summon her by repeating her name. However, urban legend icon Bloody Mary takes umbrage at Becca infringing on her turf. Bloody Mary’s anger is short lived as Becca Boo is able to charm and bed her. As the two undead ladies become acquainted with each other, a knock as the door announces someone sinister has arrived for Becca.
The ending of issue one put Becca Boo in a narrative crossroad. The story of Becca Boo could have continued with the idea of Becca not actually being dead, but maintaining her insistence that she is a ghost, and interacting with the world accordingly. The second option is to have Becca become a ghost and influencing the living world in comedic ways, going the route of movies such as Beetlejuice (1988), Bill and Ted’s Bogus Journey (1991), and Frighteners (1996). The former would have been much more challenging to write but it would have kept the comic exploring an iteration of ghost-comedy that is not often done. The latter is the safer and easier option, so it is understandable that the writers of Becca Boo decided to go the route of making Becca a ghost.
Issue two of Becca Boo maintains the comedic tone of issue one with some fun delighters. Becca Boo dips into parody territory by having a Ringu-esque Bloody Mary, covered in blood and tattered clothing, becoming an erotic apparition. Becco purrs to Mary “You know what happens when you change a few ingredients in a Bloody Mary? You get a cosmopolitan.” She is technically not wrong, (take out everything but the vodka and replace with cranberry juice, Cointreau, and lime juice), she just has a different grasp on what “few” means. But in a strange, Becca Boo sort of way, there is some insight to be had in her proverb.
The cast of characters in the second issue is broadened with the introduction of Bloody Mary and Death, providing Becca more opportunities to interact with others, be them living, dead, or undead, providing more venues for comedic dialogue and situations.
The art maintains the same consistency as with issue one, with all the characters looking fleshed out and detailed. The majority of issue two takes place indoors, but attention has been paid to make sure the rooms, walls, et al. look interesting and not generic. Where a time-pressed artist would simply have an empty wall to save time, Bloody Mary’s flat is adorned with weird-circular art pieces (gold records?) and plants. Unlike issue one, issue two of Becca Boo only contains one scene of sexual intercourse, but it is stretched longer over more panels, adding an underscored element of intimacy between Becca and Bloody Mary.
As with issue one, issue two of Becca Boo was a crowdfunded endeavor. The campaign met almost all the stretch goals of cards, magnets, etc., but the publisher, Obscura, failed to include the bonus items with my pledge, so I unfortunately cannot comment on them as I typically do with these indie comic reviews. Fun comic, but terrible fulfillment, which is waved away under the risks of pledging to a Kickstarter, and that these items are simply “extras.”
Disappointing fulfillment aside, the product proper of Becca Boo is what matters. Becca Boo continues to be fun and sexually playful. Despite Death’s notes indicating she has lived a “vapid..drunk..driven by libido” life, Becca’s heart is in the right place, giving readers a worthwhile character to latch onto and worry about what will happen to her as she negotiates the afterlife looking for redemption.
More information on Becca Boo can be found at the following websites:
Back in 2018 I did an interview with poet Fred Phillips that was published at the Witch Haunt. However the website has been shuttered.
Because of this, I have republished the interview here at my website. It can be read here.
Panthans Journal #327
The newest issue of the The National Panthans Journal has been published. This issues contains a re-print of my review of Carson of Venus: The Flames Beyond #2.
If you’re interested in receiving copies of Panthans, contact Laurence Dunn at laurencegdunn @ gmail dot com (sans spaces).
Scholars from the Edge of Time
For the July episode of Scholars from the Edge of Time Michele and I decided to look at a film that is pretty new: She is Conann (2023) by Bertrand Mandico.
Here are some new pop culture CFPs that have crossed my paths. Links to these will also be in the CFP page on the navigation bar.
Occult Detectives
Edited by Michael Goodrum, Kris Mecholsky, and Philip Smith
The occult detective has a long history. Depending on how one defines the genre, occult themes coincide with the earliest detective fiction and theatre, 公案小說 (gong’an, or crime-case) stories from the Song dynasty (13th-14th century), which often featured supernatural appearances and interventions. To Anglophone audiences, however, the figure is, perhaps, most closely associated with the decades that followed the founding of the Society for Psychical Research in London in 1882. While Sherlock Holmes dedicated much of his efforts to exploding notions of the supernatural, most famously in The Hound of the Baskervilles (1902), other detectives both drew on and fought against the occult. Making his debut in 1898, Flaxman Low is perhaps the first to fit the (inevitably) loose model of the occult or psychic detective. Driven by a late Victorian interest in the occult and ghost-hunting, though, Low was rapidly followed by a stream of successors, a connection that continues to the present with new detectives appearing well into the 21st century in a wide variety of media (including novels, short stories, comics, theatre, television, film, games, and more). Horror and crime fused in weird fiction in the pulps; in comics such as Hellblazer and Dead Boy Detectives; in video games such as Alan Wake and Alone in the Dark; in TV shows such as Twin Peaks and True Detective; and in films such as The Exorcist III and The Sixth Sense, to name just a few.
The editors seek essays of ~4,000 words. Topics should include occult detectives and any text which sits at the intersection of detective and horror narratives. Texts can be of any medium or time period. Some possibilities include, but are not limited to, the following figures, genres, or texts:
Gong’an (Judge Dee and/or Judge Bao in any medium)
Abraham Van Helsing (in any medium)
Flaxman Low
John Silence
Luna Bartendale
Carnacki the Ghost-Finder
Fantastic/horror noir (e.g., Night Has a Thousand Eyes, Angel Heart)
Hellblazer and John Constantine (in comics and film)
Hellboy (in comics and film)
The Exorcist series (in novels and film)
Stephen King (in any medium)
Buffy the Vampire Slayer and Angel (in television, film, and comics)
The X-Files
Twin Peaks
Supernatural
Alan Wake
Ed Brubaker’s Fatale
Essays should be accessible but touch on big ideas, using a single text, author, artist, or director as a lens to comment on the genre(s) and themes at play. We particularly encourage contributions that take an international, cross-cultural perspective, and/or touch on topics of queerness, ethnicity, gender, and disability.
Proposals of up to three hundred words due by 29 September 2024 to occultdetectivesbook@gmail.com Final drafts for accepted proposals will be due by 30 March 2025. Each essay will be subject to editorial review; authors should expect to undertake at least one round of revisions before final acceptance.
Genre and Video Games
We are seeking short chapters of approximately 2,500-2,700 words for an edited collection on literary genres in video games. We invite submissions for all five of the genres: Fantasy, Historical fiction, Romance, Horror/Gothic, and Science Fiction, that the collection endeavours to explore.
The collection fits into an ongoing genre studies series and will examine how literary genres function in video games, thereby bringing video games into the existing literary canon of genre studies. Each subsection will explore key themes in the existing canon while expanding on the interactive elements of video games that update and/or alter existing conversations about genre. The essays will be educational and accessible in nature with the aim of producing a comprehensive teaching companion for future courses in game studies, game development, or the digital humanities. This call addresses all five general genre areas the collection seeks to address. These are meant to be general categorizations, but we encourage submissions that also move into inter- or cross-genres, as many of these genres overlap and share different features in both games and literary studies.
Topics that might be considered (but are not limited to):
Fantasy
The Prominence of Fantasy Games and Nostalgia
Fantasy Race and Colonization
Non-Western Fantasy
Resource-Gathering and Digital Landscapes
Pseudo-Medievalism in Fantasy Game World
Historical Fiction
(Pre)Industrialism & economy and/or class dynamics
Feudalism
Monarchy and/or Empire
Colonialism
Myth and Storytelling (written, oral or otherwise)
Gender and/or sexuality
Disability
Romance
Player Character (PC) and Non-Playable Character (NPC) Agency
Queer Romance Routes
LGBTQ2IA+ Representation
Digital Sex, Consent and AI Romance
Romantic Subplots Across Genres
Horror/Gothic
Queer Horror and the Monstrous ‘Other’
Gothic Games and the Undead Past
Haunted Digital Landscapes
Consumption Horror: Parasites, Vampires, and Cannibals
Speculation and Apocalyptic Horror
Science Fiction
Digital Posthuman Landscapes and Mitigating Climate Nihilism
Human/Technology Interactions and the Rise of Artificial Intelligence
Space Exploration and Colonization
Speculative Dystopias and Projected Futures
Alternative Futurisms
Particular interest will be paid to pieces that engage with Indigenous and Non-Western perspectives in the chosen game or through the chapter’s proposed scholarship.
Please submit an abstract of 250-300 words alongside a brief (100 word) bio to genreandvideogames@gmail.com by the date below. Abstract due by: August 15, 2024
Prospective draft due date: December 15, 2024
(Re)Animating the Middle Ages: Adapting the Medieval in Animated Media
Co-organizers Michael A. Torregrossa, Karen Casey Casebier, and Carl B. Sell
Sponsored by Association for the Advancement of Scholarship and Teaching of the Medieval in Popular Culture
56th Annual Convention of Northeast Modern Language Association (NeMLA)
Philadelphia Marriott Downtown (Philadelphia, PA) On-site event: 6-9 March 2025
Submission Instructions
In this panel, we seek in particular to build upon the pioneering work of medieval-animation scholar Michael N. Salda and provide additional insights into the ways medieval-themed animation has impacted our contemporary world. Presenters might explore anime, cartoons, films, games, shorts, and videos produced through traditional ink-and-paint, stop-motion, claymation, or computer-generated imagery. Selections should represent and/or engage with some aspect of the medieval, such as artifacts, characters, settings, themes, etc., presented as central to the narrative, tangential, or appearing solely as cameos.
All proposals must be submitted into the CFPList system by 30 September 2024. You will be prompted to create an account with NeMLA (if you do not already have one) and, then, to complete sections on Title, Abstract, and Media Needs.
Notification on the status of your submission will be made by 16 October 2024. If accepted, NeMLA asks you to confirm your participation with the session chairs by accepting their invitations and by registering for the event. The deadline for Registration/Membership is 9 December 2024.
Thank you for your interest in our session. Please address questions and/or concerns to the organizers at MedievalinPopularCulture@gmail.com.
For more information on the Association for the Advancement of Scholarship and Teaching of the Medieval in Popular Culture, please visit our website at https://medievalinpopularculture.blogspot.com
The Dark Side of Lego: The Gothic Fantastic, and the Uncanny Pleasures of Lego
Lego is everywhere. The ubiquity of the children’s building is both a marvel at its popularity but also the kinds of financial muscle and cutthroat business practice that has seen Disney approach, what sometimes feel, as world domination of the entertainment and leisure industry — there’s no surprise that the Lego and Disney frequently work together.
Unsurprisingly Lego is not all fun and play and whilst much of the “dark side” of Lego can be seen to come making toys for all ages of “children” with no age restriction on who buys or plays with them (other than a “age suggestion” on the box) there is much of it that purposely Gothic in tone and intent. In part this comes from the other franchises that Lego partners with such as Star Wars, Jurassic Park, DC Superheroes, and Harry Potter, but they also have their own dedicated series using such themes as Ninjago, special Halloween and monsters series, as well as those promoting villains and even shark attacks in the crossover brands.
Equally unsurprising are the various compromises and missteps that have occurred over gender and ethnicity within the franchise with concerns over inclusion, the “yellowness” of the toys, cultural appropriation, and sets such as Jabba the Hutts’ Mosque/Palace. Some of this can be seen to stem from an under appreciation of the kinds of troubling identity and inclusion issues that are part of the franchises they choose to deal with and the fandoms that follow them — Lego too has it’s more extreme fandoms amongst the faithful.
With this is what we might term real-world Lego in terms of theme parks (Legolands), shops, conventions and the parent company itself. The kinds of aggressive sales models that power Lego’s increasing global reach often pays little regard to those who work for them, other local businesses in the areas they move in to, or legal action against those deemed to be infringing on their copyrights.
This collection is interested in any aspect of the above or the suggestions below:
Gothic aspects of any of the series such as Harry Potter, DC Superheroes, Jurassic Park, Star Wars, Disney Princesses, Mario Brothers (Luigi’s Haunted House), Lord of the Rings, Marvel Superheroes, Ninjago, Scooby Doo, etc.
The story arcs of any characters within those Batman, Joker, Lord Garmageddon, Darth Vader etc.
How any of the above play out over different platforms, bricks, books, games, accessories, theme parks, conventions, etc.
Gothic aspects of standard sets, Lego City, Creator, Dots and portraits, special editions etc.
Special sets/figures of vampires, monsters, Halloween, picture books of Dracula & Frankenstein, gothic castles, villains, dinosaurs, sharks etc.
Gothicism and play, mash-ups, and fluid Identity in self-creation.
Inappropriate Lego or fan interventions: The Simpsons, Lego Rifle, terrorist figures, Lego death camp, Breaking Bad, etc.
Lego fandom — Brickipedia, Legopedia, Wiki-Lego — and intersections with toxic fandoms from other franchises (ie Star Wars).
Issues around gender and ethnicity.
Ihe gothic nature of the company itself.
Any other areas that seem gothic in nature or outcome.
Send ideas and/or 300 word abstracts for a prospective collection of essays by 30th November 2024 to Simon Bacon: baconetti@gmail.com
