Edgar Rice Burroughs Chain of Friendship (ECOF) 2025 Gathering Recap
Welp, I have been sharing it on the news updates posts at my website here for months, and now it finally happened: The Edgar Rice Burroughs Chain of Friendship (ECOF) gathering for 2025. Or, it happened a few weekends ago. It was a great time, I got to meet some awesome folks, and even go to do a presentation about the peplum genre and Tarzan and the Lost Empire.
The monument unveiled.
I did my best to document everything I could. My write up of Michele’s and my adventures driving to Willcox (and stopping at THE THING? on the way there) and of the ECOF event proper can be read here. Do check it out!
McFarland Horror Booksale
My publisher, McFarland Books, is currently doing a book stale on all their horror books. This includes four books I am a part of:
Since I’m the co-editor of Horror Literature from Gothic to Post-Modern, purchases of this book send a few royalty dollars my way (so it is a great way to show support). But all four books are great references to purchase.
Cover of Horror Literature from Gothic to Post-Modern: Critical Essays.
Cover for Horror in Space.
When purchasing these (or other horror) books, use the code “HORROR40” at checkout to get 40% off. This sale ends Halloween, so don’t miss out!
Scholars from the Edge of Time
This upcoming Thursday Michele and I will be recording our discussion of Wrath of the Titans (2012).
Personal copy of the Clash of the Titans ’81, Clash of the Titan 2010, and Wrath of the Titans 3 Movie Blu-ray set.
Keep an eye out for the link when it goes live!
Publishing Recap
Below is a recap of my external publishing endeavors so far in 2025.
Panthans Journal #332
Comic Book Review: “The Moon Maid: Catacombs of the Moon #2″ reprinted in the National Capital Panthans Journal #332.
Panthans Journal #333
Comic Book Review: “The Moon Maid: Catacombs of the Moon #3″ reprinted in the National Capital Panthans Journal #333.
Panthans Journal #335
“Tarzan Cocktail: Deconstructed – Reconstructed” reprinted in the National Capital Panthans Journal #335.
“There’s Always Room” in Merry Creepsmas: The Red Book. Edited by Parth Sarathi Chakraborty. Wicked Shadow Press, 2025.
Burroughs Bulletin #109
“Tagliolini al Tarzan: Interview with Actress Bella Cortez on Taur the Mighty” in The Burroughs Bulletin #109. Edited by Henry Franke III. February, 2025.
Miscellaneous Tidbits
Some fun things I shared online from these past few weeks. Highlighting things from my personal collection of pop culture artifacts. Or artifacts I’m digging out of the archive. Just, general cool or unique things to show off.
Autographs from the Archive
Here are some autographed treasures I’ve shared on social media recently.
Perfect Crime Party
A graphic novel-anthology was just recently released titled Perfect Crime Party.
Personal copy of Perfect Crime Party
Speculative fiction/cult author Nick Mamatas wrote one of the stories in it! I’m a fan of Mamatas’ work, so I bought a copy from him which he signed.
The 21 Foot Rule autographed by Nick Mamatas.
Have not read it yet, but looking forward to! The cover for the book is adorbs.
Grand Theft Auto IV
One of the things I have been doing lately if I have a few moments is going back and playing some of my video games I did not 100% complete (ie. get all the achievements). Grand Theft Auto IV is one of those games I have not touched in 17 years, and only had a handful of achievements.
Personal copy of Grand Theft Auto 4 autographed by Michael Hollick.
It has been both fun and frustrating revisiting the game after so long. What is cool about the game is back in 2008 Michele and I went to SDCC where Michael Hollick, who played Niko Bellic in GTA4, was one of the celebrity guests. I brought my Xbox 360 copy of the game for him to sign and he excitedly did. A real gem in my autograph treasure.
The Brood / Rest in Peplum Samantha Eggar
Rest in Peplum to Samantha Eggar who passed away last week! Peplum-wise she voiced Hera in the Disney Hercules movie and TV show.
Personal copy of The Brood DVD signed by Samantha Eggar.
She was a guest at a Hollywood Collectors Show back in the late 2000s/early 2010s, where she autographed my copy of David Cronenberg’s The Brood.
Joanna Pacula Addendum
Back on 8/17 I posted my copy of Gorky Park that was signed by actress Joanna Pacula.
Cool kids I know have been busy lately! Here are some signal boosts I’d like to give out.
New Ride the Stream Episode
Michele and Travis have a brand new episode of their Ride the Stream vidcast online at YouTube. As they are currently recording episodes about season two of Lost, they done an in-between episode to talk about Raiders of the Lost Ark. Check it out here on YouTube or via the embedded player below:
Expect new episodes to resume being published every Friday on YouTube. Keep an eye on their YouTube channel, or give them a follow on Bluesky.
New Fan2Fan Episodes
The Fan2Fan Podcast has released a lot of mini “Flash” episodes of their podcast for this Halloween season. Check these short episodes out:
The Edgar Rice Burroughs Chain of Friendship (ECOF) Gathering is a periodic, small convention of sorts, hosted by a member of the Burroughs Bibliophiles in different cities across America. It is an event that allows Bibliophiles and the public to get together to celebrate the works of Edgar Rice Burroughs, purchase books and memorabilia in the “Huckster Room”, listen to presentations, have a banquet, bestow awards, or partake in a huge event, such as the 2023 ECOF in Palm Springs that centered on the unveiling of a star on the walk of fame in Palm Springs for Burroughs.
The 2025 ECOF was held in Willcox, Arizona over the weekend of September 26th through the 28th, and was hosted by Bibliophile Frank Puncer, who had hosted a 2019 Burroughs event also in Willcox. The 2025 ECOF’s primary focus was to celebrate Burroughs’ 150th birthday and commemorate his military service as part of the 7th U.S. Cavalry at the nearby Fort Grant. The ECOF proper was held at the Willcox Elks Club, with the main attraction, the unveiling of the Burroughs monument, occurring at the Willcox city hall, that once served as the town’s train station (the very same that Burroughs arrived at), that was just a short walk away.
Michele and I have been extremely excited to attend the 2025 ECOF. Having moved to Phoenix in 2020, we have been eager to do more road trips to explore the desert lands of Arizona and see more of the Old West. The trip southeast to Willcox promised adventure. We also knew of THE THING?, a tourist trap on I10 on the way to Willcox, and we love to play tourist. We were excited to finally meet Puncer in person, who I have been in correspondence with since moving to Arizona and who has been the most welcoming individual in the Burroughs Bibliophiles since I joined. I was also invited to give a presentation, an opportunity I jumped at. There is quite a bit of cross over between the works of Edgar Rice Burroughs and the peplum genre (my specialty), so I had been working on a talk about the sword and sandal elements of Burroughs’ book Tarzan and the Lost Empire.
With all of this in mind, Michele and I counted down the days that we could get a respite from work and go on a road trip and partake in a unique, momentous event. What follows is a recap of the 2025 ECOF along with multiple photo galleries of pictures I took to document the occasion.
Thursday
We left Phoenix around 9:00 am Thursday morning, our mighty Fiat filled with our luggage, snacks, items to sell, and items to have autographed. The day started off bright and sunny with bagels in our tummies. As we got closer to Tucson, however, the horizon started to darken, with curtains of rain off in the distance. We stopped at a Pilot Express truck stop on S. Rita Rd. to get some Slushies, and we could start to see lightning and pillars of rain becoming more common.
Curtains of rain in the not too far distance.
Shortly after getting back onto I10 our radio cut out with an emergency broadcast: warnings of heavy rain, flash flooding, and hail. And we were driving right into it.
Ominous horizon.
Once the sky turned apocalyptic dark, the temperature dropped rapidly. Feeling the window on the door it was super cold. Lots of thunder in the distance, and then the sky broke with extremely heavy rain, huge globules battering the Fiat (lucky no hail). We had to pull off to the side of the freeway for a spell. We saw poor motorcyclists pull over to put on their raincoats. The rain would soon abate and stop by the time we reached Benson. For the rest of the day, however, the skyline would be perpetually dark with storm clouds and rain pillars.
When it became safe to drive and we were back on our way, the billboards along I10 decreasing stopped advertising lawyers and instead, more and more, began advertising, THE THING?.
One of the many THE THING? signed on I10.
These yellow billboards were everywhere, sometimes one right after the other. With each one we passed we got increasingly excited about checking out what THE THING? was. We hyped it up for ourselves so much, it had to be amazing.
After driving through Texas Canyon, which is filled with eroded boulders and rockscapes that make it look like a planet from the original Star Trek series, we could see just down the freeway, THE THING?, beckoning to us.
The Thing?
Pulling off I10, the outside of THE THING? looks like a large Shell station with a Dairy Queen attached to it. An aside, southern Arizona takes their Dairy Queens seriously. We saw more roadside adverts for Dairy Queens than any other fast food burger chain.
Michele stand in front of the entrance to THE THING.
Walking inside THE THING?, to the right was a bustling Dairy Queen, and to the left, a huge gift shop. This shop was filled with snacks, postcards, shirts, local artist doodads, toys, necessities, jewelry, novelties, stickers, rocks, crystals, Dinosaur things, just everything. The store could probably be said to be 1/3 devoted to THE THING?, 1/3 devoted to general Arizona trinkets, and the rest to normal travel items.
On the far back wall, a counter manned by a very disinterested youth, where it costs $5 a person or $10 for a family (reasonably priced!) was the door proper to THE THING?. Here is a slide show of the major points of interest of THE THING?:
An Alien riding a Raptor greets folks who enter THE THING.
A Jackalope hiding under a dinosaur tail.
A large triceratops.
Aliens arrive by UFO.
A huge T-Rex.
An alt-history time line wall. I’m not saying it’s aliens… but it’s aliens.
A red 1917 Ford Model-T Speedster.
Winston Churchill being chauffeured by an Alien in this Rolls Royce.
The THING? placard.
THE THING!
So, what is THE THING? Despite the name, it has nothing to do with the John Carpenter movie of the same name. However, ironically enough, back up the road in Benson, there is a road that runs parallel to the freeway called Dark Star Road, which is named after Carpenter’s directorial debut. Overall, it can best be described that someone watched every single episode of History Channel’s Ancient Aliens, decided to go all in on that theme, and set up an elaborate backstory that would cumulate into THE THING?.
THE THING? can basically be divided into two large segments that each make up half of the exhibit: the dinosaur portion and the alt-history portion.
The first, dinosaur, section of THE THING? tells the story about an alien race, the RAH’thians, that came to Earth during the Dinosaur times. They used their technology to enslave the Dinosaurs. There were also cave dwellers. At some point there was a civil war between the good and bad alien factions, and the Earth got destroyed (start of ice age). This entire portion of the exhibit was over the top, with many statues of aliens, dinosaurs, fossils, and placards that went into intricate “what if” history of the aliens in the prehistoric past. Each wall was a mural depicting Jurassic times, or epic space and land battles.
The second, alt-history, portion of the exhibit focused on the aliens returning back to earth and shaping human history. The good aliens did good things, and the bad aliens did bad things, like back Hitler. The walls had timelines from ancient Greece and Roman times up to World War 2 times were everything, from atomic bombs to sunken ships, are all entwined with the aliens. This portion of the exhibit also contained many old vehicles, like stagecoaches and wagons, old Model T cars, and even a Rolls Royce purported to have been owned by Winston Churchill.
This all cumulated into a small, dimly lit room made to look like the inside of a deep mineshaft, with a glass display case hugging the wall that contains… THE THING?, which is supposed to link all this alt-history and dinosaurs and aliens and cave dwellers together. THE THING? itself looks to be a mummified woman holding a mummified baby with a hat placed atop of them. I like to think it is an actual mummy found out in the desert a long time ago, but it also might be a fake. Regardless, the whole experience was AWESOME. Getting pumped seeing the billboards, arriving at THE THING?, seeing the outlandish story of the aliens and dinosaurs, all leading to the mummy. 100% worth it.
Enthralled having experienced the awe that is THE THING?, I purchased an armload of postcards, fridge magnets, hot sauce, peanuts, and a T-shirt like the tourist I am. We were soon back on the road and heading east to Willcox which was about twenty minutes away.
Willcox Cemetery
We arrived in Willcox a shade before 2:00 pm. Since our check in at the Holiday Inn Express was at 3:00 pm, we had some time to kill, so we drove straight to the Willcox cemetery at the northeast corner of the town, more-or-less right behind the Elks Lodge that we would be hunkered in for the next few days.
The road to the cemetery was unpaved, and with the sky threatening another storm, would easily turn into mud which would no doubt trap our Fiat. Because of this, and the armies of red ants that awaited us, we could not stay long at the cemetery. Oh yes, red ants. There was probably a ratio of three red ant hills to every grave in the cemetery. The cowboy ghosts have much company.
Willcox Cemetery.
The cemetery dates from the late 1800s, so all of the graves we saw were from that time period. The area proper was overgrown with prickly weeds, which, of course, I was wearing shorts while adventuring. The majority of graves had toppled over, broken into pieces and were slowly dipping back into the earth. A few wooden markers somehow survived the century. With the thunder clouds approaching and the general quiet of the high plains of Willcox, the cemetery was indeed atmospheric.
The grave of Warren Earp.
Warren Earp’s grave was at the far end of the cemetery, forcing us to traverse through weeds, red ants, and accidentally stepping on fallen graves (sorry about that!). Warren Earp may not have been present at the infamous O. K. Corral gunfight, but he none-the-less has his own notoriety. There is even the possibility he might have driven the coach that took Burroughs to Fort Grant!
But, it was humbling standing before Earp’s grave. Right in front of us, was a legend of the Wild West, whose own history was connected to Wyatt Earp, Doc Holliday, the frontier, and so on. His grave stood out in the cemetery, as it was made of metal and seemed invincible among the crumbling ruins elsewhere.
After visiting the grave, Michele and I made our way out of the cemetery and proceeded to the Holiday Inn Express in hopes of an early check in. Awaiting in the lobby, also hoping for an early check in, was prolific author Jeffrey J. Mariotte, who was also the guest of honour at the 2025 ECOF! I had the privilege to interview Mariotte the other month in anticipation of the ECOF, and that interview can be read here. It was fantastic to finally meet Mariotte in person, he was extremely affable and quiet soft spoken.
Our room turned out to be on the top floor, lucky number 313. It was a room that had seen some wear-and-tear, with chipped wall fragments and a window leak above the AC unit. But the beds were comfy, the pillows were huge and fluffy, and we had William Shatner hosting paranormal nonsense on the History Channel, so we were all good!
The sun sets on Willcox.
Our room had a great view looking west and we got to watch some great sunsets and lightning storms during our stay.
Friday
Early to bed means early to rise Friday morning, the first official day of the ECOF. Michele and I had breakfast in the dining area of the Holiday Inn Express, a rather small area at that. Attendees of the ECOF were not the only folks headquartered at the Holiday Inn, but The International Cessna 170 Association as well. Older folks with name tags galore: are they there for Tarzan or tailspin? Both parties present meant the breakfast area got cramped quick, so Michele and I would not linger too long. Eat and leave so other folks could have our spot. We do have to give kudos to the Holiday Inn for continental breakfast variety: hot foods (scrambled eggs, omelets, potatoes, biscuits, gravy, sausages), a pancake making Rube Goldberg machine, cinnabons, cereal, yogurt, juices, milk.
The conference’s hotel is about two miles as the crow flies northwest of the Elks Lodge, a super quick less than ten minute drive. On the way over we could see storm clouds already forming on the horizon.
We arrived perhaps a little before 9:00 am, and the ECOF’s room was probably halfway set up by the other vendors. Michele and I chose an empty table near the back, being neighbors with guest of honour Jeffrey Mariotte. Before we could get fully setup, we had to go register where we got our name tag:
When attending conferences and conventions it is always cool to get a bag-o-swag. The ECOF 2025 goodie bag was loaded with treasures. Here is a slide show of each item (use the arrows to flip through):
ECOF 2025 swag bag.
ECOF Pin with artwork done by Gilead.
ECOF 2025 poster, art by Gilead.
ECOF 2025 Postcard of the Plaque.
ECOF 2025 plaque in magnet form.
Edgar Rice Burroughs pen.
Small booklet for “Arizona Connections: In the Life and Works of Edgar Rice Burroughs” by Alan Hanson.
ERB Inc., commemorative coin of Edgar Rice Burroughs (Front).
ERB Inc., commemorative coin of Edgar Rice Burroughs (Back).
A sample bit of Mariotte’s upcoming book Beyond Thirty: A World Reborn.
Map of southeast Arizona in 1895.
Beaded keychains.
Medallions commemorating Willcox, and the Chiricahua Apache Peace Treaty (Back)
Medallions commemorating Willcox, and the Chiricahua Apache Peace Treaty (Front)
USB Stick of movies.
Included in the swag bag, which was black and adorned with the event’s poster art done by Gilead, was:
The program
A poster of the ECOF event done by Gilead
A pin of the poster
A postcard of the ERB monument
A refrigerator magnet of the monument
A Burroughs pen
A copy of Arizona Connections: In the Life and Works of Edgar Rice Burroughs by Alan Hanson
A sample chapter from Mariotte’s Beyond Thirty: A World Reborn (this was actually supposed to be part of the swag bag, but it did not arrive in time to be included, so copies were at Mariotte’s table. But I am including it here)
A black and white map of southeast Arizona from 1895
Two beaded keychains (from a local artist?)
Medallions commemorating Willcox and the Chiricahua Apache Peace Treaty
And a USD stick with Burroughs home movies
This goodie bag was set aside for the first fifty registrants to the event, and there is lots of good stuff in here!
Vendors
Goody bags procured, it was time for Michele and I to set up our table proper. This has been only the second time we have ever vended at an event, the first time being CoKoCon back in 2023.
Michele’s wares at our table.
Hard to believe that going to comic book conventions and other events for almost twenty years, we have never really vended before. So, we are total newbies at it. Rotten luck on top of it, the Elks Lodge’s wifi was not accessible, on top of there being no cellular reception, made it that our Square would not work. This turned out to be ok, everyone paid in cash and Michele wrote up receipts for everyone.
Our table!
As shown, we had a pretty good setup with a range of stuff to sell. Michele had her crafts: cards, journals, and folios (make sure to check out her Facebook page for all her work). My half of the table was all of our books, from The New Peplum to Stranger Things. Since The New Peplum has an essay in it talking about the John Carter movie, that book sold the most.
Guest of Honour Jeffrey Mariotte at his table.
As mentioned prior, we set up shop next to Jeffrey Mariotte. Mariotte is a seasoned pro at cons, with a red tablecloth and decorations like a skull with a raven on it, a pile of pens for every autographing scenario, stacks of books from all the different genres he’s written in, and some other IPs as well, and, the most important thing, a sword! Mariotte was able to bring in a replica cavalry sword from his personal collection that would have been akin to what Burroughs would have used when he was stationed at Fort Grant.
ERB Inc. Left to right: Christopher Paul Carey, Cathy Wilbanks, Llana Jane Burroughs, and Jim Sullos.
Next to Mariotte were the tables for ERB Inc. which were staffed by Christopher Paul Carey, Cathy Wilbanks, Llana Jane Burroughs, and Jim Sullos. Sullos was rocking some tiki-style shirts throughout the convention. I have not seen the ERB Inc. folks since pre-Covid, probably the last time at Wondercon, so it was great to see them all again. Their table was half books, with a focus on newer editions, such as the authorized Tarzans, and half shirts and wearables. They also had more of their commemorative coins for other ERB characters. Lots of great merch.
Scott Tracy Griffin (L) and Gary Buckingham (R) at their table.
Across from Mariotte and ERB Inc.’s tables were Scott Tracy Griffin and Gary Buckingham. Gary had a huge spread of his many Wild Adventures of Edgar Rice Burroughs books, such as Tarzan and theLion of Judah and Tarzan: Untamed Frontiers, and Griffin had copies of his ornate Tarzan film books. Together they had copies of issue one of their newly launched magazine, RevERBerate, and issue two, which they just debut at the ECOF. Michele bought the second copy of the second issue and got it autographed by the duo.
There were, of course, tables with other vendors and authors. Authors Robert Lupton, Robert Leeper, Doug Hocking, Frank Puncer (who we finally got to meet for the first time and he was incredibly friendly), had tables with their books or website posters. There was one vendor with many boxes of old pulp magazines, from Weird Tales to Amazing Stories. Robert Leeper’s write up about the event at Nerdvana (link here) contains many more photos that showcase the Elks Lodge and the vendors within.
Roughly an hour after getting set up and getting acquainted with the vendor’s room (Huckster Room) the clock struck 10:00 am and it was time to begin the presentations for the day.
Friday Presentations
The small stage on the west wall in the Huckster Room served as the presentation place, and I liked this. Many conferences, those on the larger side, typically separate presentations and panels into a side area from the vendor space. Since the ECOF was a lower key affair, everything was in one room, which allowed all of us vendors, and everyone else, to hear the presentations. The downside was the entrance to one of the bathrooms was right behind the podium.
Dr. Deni Seymour presents on the newest discoveries of the Coronado expedition found near the local area.
The first presentation given was by Dr. Deni Seymour titled “Recent Discoveries about the Coronado Expedition (1539 – 1541)”. This was a fantastic presentation detailing all the archeological finds Dr. Seymour has been encountering along the San Pedro River. The slides showed so many artifacts: cannons, pistols, arrows, spears, jewelry, and so on. She talked about how they discover where the expeditions camped and where they got into skirmishes, and then using this information to form trajectories as to where the next movement of the expedition went. She also talked a little about the clandestine nature of the work because these sites are vulnerable to being visited by others and ruined/objects taken/vandalized/etc. A great presentation with lots of awesome visuals of what Dr. Seymour is uncovering.
Nicholas Diak presenting on Tarzan and the Lost Empire. Photo by Scott Tracy Griffin.
The next presentation of the day was me! My presentation was titled “Tarzan nella valle dei Romani: Tarzan as a peplum strongman in Tarzan and the Lost Empire” (sorry folks, it was a mouthful). In the novel Tarzan and the Lost Empire Tarzan finds himself in a hidden valley in Africa that has two mini Roman empires in it, both at odds with each other. Tarzan fights Roman soldiers and eventually finds himself in the arena, becoming a gladiator, an even fighting a lion like Hercules fights the Nemean Lion. For all purposes, Tarzan becomes just like a sword and sandal strongman character (Hercules, Ursus, Maciste, Atlas, etc.) and placed in an antiquity setting. This is what my presentation deep dove into, and I will probably wind up editing it and putting it into a formal essay and submit it someplace.
At the Q&A at the end of my presentation someone asked, “who would win in a fight, Tarzan or Hercules.” In a room of full of Edgar Rice Burroughs fans, scholars, and even representatives from ERB Inc. itself, I replied with “Hercules because he is a demigod.” The boos I got were warranted, but I stand by my decision. I do concede Tarzan is much more agile, which is in alignment with neo-peplum characters, such as Perseus in the Clash of the Titans remake who can do flying spin kicks while wielding a sword.
After my presentation was an hour break time in which sandwiches, wraps, chips, cookies, sodas, and snacks were brought in. It was also a good time to mingle. Between presentations I got to talk to other folks and meet some in person for the first time, such as Robert Lupton and Jim Goodwin, who both gifted me books. Bernd Brand, one of the upcoming speakers, was extremely outgoing and complimentary toward my presentation.
Scott Tracy Griffin presents on RevERBerate #2 and deep diving into ERB’s sources.
The presentations resumed at 1:00 pm with Scott Tracy Griffin discussing his and Gary Buckingham’s new publication, RevERBerate, and its newest issue, which focuses on the Westerns of Burroughs. Griffin deep dives into the ten sources that Burroughs used as reference for his writings, of which he was able to track down eight. Per Griffin, Burroughs was able to anchor his Westerns into real life stuff by leveraging the sources he had at the time.
Bernd Brand presents on “Apache Scouts working for the U.S. Army with an overview of the life of the Apache Kid”
The next presentation was done by Bernd Brand and titled “Apache Scouts Working for the U.S. Army With an Overview of the Life of the Apache Kid.” Brand focuses on the Apache Scouts, from 1860 to 1947, and all the sorties they were involved in and their accomplishments.
At major conventions like Wondercon and San Diego Comicon, ERB Inc. usually hosts a panel showcasing all their works they have in the pipeline or have recently released. For the 2025 ECOF, Christopher Paul Carey, Cathy Wilbanks, and Jim Sullos had much to show to audience. Here is a few images from their presentation in this slideshow:
Christopher Paul Cary talks about upcoming projects from ERB Inc.
Christopher Paul Carey talks about the upcoming publication of Trailblazer.
Carey talks about the reprint of Monster Men and the new story Return of the Monster Men.
Carey talks about Mariotte’s upcoming novel Beyond Thirty: A World Reborn.
Carey and Wilbanks talked about the Taschen book of Tarzan Sunday strips.
Carey and Wilbanks show off the Woola plushie.
Carey and Sullos talk about the Victory Harben animated series.
Some of the major releases from ERB Inc. include
Trailblazer, the Edgar Rice Burroughs autobiography
Concluding the Authorized Library editions of Tarzan and now moving on to editions for John Carter
Jeffrey Mariotte’s sequel, Beyond Thirty: A World Reborn
Sequel to the “Dead Moon Arc” of Korak at Earth’s Coredone by Win Scott Eckert (coming 2026)
New Victory Harben tales in 2026 with a possible TV deal
The Land that Time Forgot: Kingdom of Skulls by Mike Wolfer (2026)
Chris Adams’ Gauntlets of Mars(the 14th book in the Wild Adventures of Edgar Rice Burroughs series) which made its debut at the ECOF. This book will reveal how Barsoom became a dying planet.
A Return to Pellucidar story, which will be a follow up to a Joe Lansdale story
A huge tome from Taschen which will reprint the Hal Foster Sunday Tarzan comics, edited by Dian Hanson
Jim Sullos talked a bit about film and television projects that were outstanding and waiting for actions:
A Korak adult anime series
A John Carter Warlord of Mars animated series (per Sullos, younger folks are more interested in Carter than Tarzan)
Victory Harben animated series in conjunction with Flying S Films (the hope here is to use Victory Harben as the glue to hold together a true ERB universe)
An option on The Land Time Forgot
An option on Carson of Venus, which has been held up due to requirements demands of streaming services (need a director, a writer, a screenplay, the actors, etc.)
After some small technical difficulties and a computer swap later, ERB Inc. ended their presentation showing an AI generated clip of Burroughs, speaking to the audience and thanking his readers.
The final presentation of the day was from Gary Buckingham, who compliments Griffin’s talk about their RevERBerate endeavor. Buckingham also gave some insight into his time of being a writer, the woes he encounters getting his books printed, and how he goes about researching to make sure his period pieces reflect the times appropriately such as lingo used. Buckingham talked about how he used his story, Tarzan: Untamed Frontiers, to plug the narrative holes in Burroughs’ canon.
And with that, the presentations for Friday came to a close. The next activities for the ECOF where a board meeting for the Bibliophiles followed by a screening of Tarzan and his Mate. Michele and I, however, were famished and weary from the day’s events, so we called it early. We had dinner in downtown Willcox at Isabel’s South of the Border. Michele had a quesadilla and I had a chile relleno and two margaritas. Bellies bursting full, we headed back to the Holiday Inn to call it a day.
Saturday
Saturday began with a continental breakfast in the downstairs dining area of the Holiday Inn Express, mingled in with the ECOF attendees and the Cessna Club folks. We got to the Elks Lodge at around 9:00 am when it opened up and killed time talking with others and table browsing before walking to the train station/city hall for the big event at 10:00 am: the monument unveiling!
Monument Dedication
For the monument unveiling, the section of the street, S. Railroad Ave., in front of the train station / city hall was blocked off. Two canopies and foldout chairs were placed underneath, though thankfully this Saturday was a sunny day, a respite from the last two days of rain and thunder.
Post office setup, selling stamps and doing cancellations.
Set up on the deck of the city hall was an impromptu postal station, with postal workers selling stamps and performing cancellations using a special ERB commemorative stamp for the event:
Close up of an envelope, stamp, and cancellation.
There was quite the queue of folks who wanted their stamps cancelled! It was a neat service and definitely added a unique, “you-had-to-be-there”, aspect to the whole ceremony/ECOF.
After a bit of milling about, with folks taking photos of other folks guissied up, the dedications began. Here is a slide show of the speakers:
The crowd gathers outside the monument at the train station/city hall.
L to R, Doug Hocking, Kate Bonnaud, unknown, Patrick Quilter, Mayor greg Hancock, Llana Jane Burroughs, Floyd Gray.
Mayor of Willcox Greg Hancock.
Burroughs Bibliophile and Bulletin editor Henry Franke III.
Guest of Honour Jeffrey J. Mariotte.
Scott Tracy Griffin.
Kate Bonnaud and Llana Jane Burroughs.
Tracy Scott Griffin, Frank Puncer (seated), Llana Jane Burroughs, Kathy Klump (seated), Kate Bonnaud.
Kate Bonnaud.
Floyd Gray.
The monument unveiled.
Folks who introduced the event and talked about Burroughs and the community included:
Frank Puncer, who was the master of the ceremonies
Greg Hancock, the mayor of Willcox, who talked about growing up with Tarzan
Kathy Klump, the president of the Sulphur Springs Valley Historical Society
Henry G. Franke III who talked a bit about Burroughs’ military career
Jeffrey Mariotte, the guest of honour
Scott Tracy Griffin, who introduced the Burroughs great-grand daughters
Floyd Gray, a Buffalo Soldier historian who talked about what Burroughs would have seen his first nights under the open sky
Kathy Bonnaud
Llana Jane Burroughs
Before unveiling the plaque, it was revealed that the boulder it was installed in was brought down all the way from Fort Grant, so it very well could have been a boulder that Burroughs had laid eyes on. Periodically during the speeches, a train would pass behind the station, halting the ceremony temporarily, but definitely adding to the ambience and the lore of Burroughs getting off the train station, right there, at Willcox.
The Burroughs family lifted the covering of the monument, and like the amazing photographer I am, did not take a clear picture of it. But, Robert Leeper took many, so take a look at his coverage at Nerdvana. There are also photos of the dedication and monument at the Cochise County Voice.
After the dedication, we would be remiss if we did not check out the interior of the train station/city hall, which had its public area converted into a museum. Here are a couple of pictures:
An exhibit inside the city hall.
Photographs, including the train station in a dilapidated state.
Old liquor bottles.
It was neat seeing the restoration effort done on the train station, the glow up from being run down to the restored building it is today.
Saturday Presentations
The canopies and the chairs began the breakdown process and it was time to wander off. Michele and I spent some time walking around downtown Willcox, exploring an antique store where we ran into ERB Inc. folks doing their own shopping.
Henry Franke III speaks about Burroughs’ military career.
The ECOF presentations resumed at 2:00 pm, with three scheduled for the day. The first was Henry Franke III giving a speech on Burroughs’ military career. Though Franke had mentioned Burroughs’ service during the dedication earlier in the day, this talk went into greater detail, covering his time in the cavalry to his time in World War 2 as a war correspondent. An interesting fact Franke shared was that Burroughs had spent much of his life signing books to others that he flipped the tables during the Pacific Campaign and started collecting autographs of the servicemen he encountered.
Floyd Gray talks about Buffalo Soldiers.
The martial-themed presentations continued with Floyd Gray talking about the history of the Buffalo Soldiers and how integral, yet unacknowledged, they are in United States history. He spoke of why folks joined the Buffalo Soldiers, how they were confined to the west, and their accomplishments.
Robert Leeper talks about possible locations of John Carter’s cave.
The final presentation for the day, and for the ECOF, was from Robert Leeper titled “Geography vs. John Carter’s Arizona Cave”. Leeper talked about being in attendance at a pop culture event in Arizona, talking about John Carter, and having many folks question him as to where the location of the cave that John Carter found was. Leeper had a giant map of the south and east portions of Arizona and went through likely locations of where the cave could be. Using text from one of Burroughs’ books, he settled on the cave being located near the White Mountains in Eastern Arizona.
And with that, the presentations of the ECOF came to an end and the Huckster Room closed. Michele and I, and everyone else, packed up our tables to clear the area. It had been a fun two days headquartered in the vending/presentation room for the ECOF, but it was time to transition to the finale of the event: the banquet!
Banquet
The last bit of official programming for the ECOF was the banquet from 6:00 pm to 8:00 pm. The banquet was held in a dining area of the Elks Lodge, with a buffet style dinner: BBQ pulled pork sandwiches, beans, and vegetable lasagna. Kathy Klump brought in a homemade pineapple cake that was the centerpiece for the first part of the banquet: the Edgar Rice Burroughs birthday celebration. Pictures of folks going up to talk about Burroughs can be viewed in this slide show:
Banquet room at the Elks Lodge.
Llana Jane Burroughs wishes Edgar Rice Burroughs a happy birthday.
Kate Bonnaud speaks about Burroughs.
Jeffrey Mariotte speaks about swords and how he is honored to be part of the event.
Henry Franke III speaks about Frank Puncer organizing the event.
Frank Puncer is presented with an outstanding achievement award by Jim Goodwin and Mike Conran.
Jim Sullos concludes the banquet.
Llana Jane Burroughs wished Edgar Rice Burroughs a happy birthday, which lead to the room singing the birthday song. Jeffrey Mariotte took the mic stand to talk about his youth and getting into fencing and sword collecting, and also his encounters with speculative fiction writing luminaries while he worked at various bookstores in California.
The last portion of the banquet was devoted to honouring Frank Puncer, who was bestowed an Outstanding Achievement Award by the Burroughs Bibliophiles for all the work he had done, not just for putting on the 2025 ECOF, but all his prior Burroughs centric endeavors (which are many). The award was truly well deserved. Puncer worked super hard to make sure everyone had a memorable and successful ECOF. Michele and I certainly did.
Autographed Treasures
When I attend events like comic book conventions or horror cons I love to bring things to be autographed (just look at any of my social media or news posts at this website and you will see me often sharing my autographed treasures). The 2025 ECOF was no different as Michele and I brought a box of books and comics to get signed by folks at the event. Here is some of that loot.
Christopher Paul Carey
The last time I saw Carey I had an armload of then-recently published ERB comics put out by American Mythology. In the years since I have gotten more books and comics he’s had his paws in. Here is a gallery of what I brought to be signed:
Personal copy of Before They Were Giants.
Before They Were Giants front matter page signed by Christopher Paul Carey.
Front matter page signed by Christopher Paul Carey.
Personal copy of Victory Harben: Ghosts of Omos, signed by Christopher Paul Carey.
Personal copy of Victory Harben: Warriors of Zandar, signed by Christopher Paul Carey.
Firstly, going old school, many moons ago Carey worked at Paizo and one of the lines he worked on was the Planet Stories series of books, which were reprints of classic sword and planet stories along with other sci-fi fare. I love the sword and planet genre and I have been collecting these books when I happen across them. Two of the books I have, the anthology Before They Were Giants, and the double book that contains Sojan the Swordsman by Michael Moorcock and Under the Warrior Star by Joe Lansdale, were edited by Carey. I really love Under the Warrior Star, so much so that I may have designed a cocktail based on the story which is slated to be printed in an upcoming issue of a certain fantasy magazine. (Shhh! Secret!).
Next, going new school, are my Kickstarter copies of two Victory Harben graphic novels: Ghosts of Amos and Warriors of Zandor. Apparently, Carey had never signed the Kickstarter editions of these comics before, so that was cool I got to be the first. I like Victory Harben, and I think her stories are the future of ERB Inc. I know Tarzan is the company’s bread and butter, but Victory Harben feels much more modern and connected to today and she does not have the baggage that Burroughs’ work carries. I really hope her cartoon series happens because I have a feeling it will be amazing.
Jeffrey J. Mariotte
While conducting my interview with Mariotte I tried to get my paws on as many books and comics he had his hand in as possible. A writer as prolific across so many genres and mediums as he, there is so much out there to check out! So, I brought my modest collection of items for him to sign (I wish I could have procured his Conan books!). Here is the gallery:
Hardcover of Tarzan and the Forest of Stone
Bookplate for Tarzan and the Forest of Stone.
Personal copy of Tarzan and the Forest of stone, personalized by Jeffrey J. Mariotte.
Personal copy of Star Trek: Divided We Fall #1 signed by editor Jeffrey J. Mariotte.
Personal copy of Star Trek: Divided We Fall #2 signed by editor Jeffrey J. Mariotte.
Personal copy of Star Trek: Divided We Fall #3 signed by editor Jeffrey J. Mariotte.
Personal copy of Star Trek: Divided We Fall #4 signed by editor Jeffrey J. Mariotte.
Personal copy of Gene Roddenberry’s Andromeda: the Attitude of Silence.
Title page of Andromeda: The Attitude of Silence signed by author Jeffrey J. Mariotte.
Firstly there is Tarzan and the Forest of Stone, Mariotte’s first contribution to the Burroughs canon. I bought my copy directly from the ERB website and it came with a bookplate already signed by Mariotte, Douglas Klauba, and Chris Gardner. However, I wanted my copy personalized and Mariotte gladly did so. It is the perfect book for the 2025 ECOF as it mixes Tarzan and the Wild West.
Next are the four issues of the Star Trek: Divided We Fall run that was published by Wildstorm. The story is a crossover comic of The Next Generation and Deep Space Nine and all four issues were edited by Mariotte. I am not a huge Trekkie, but I did watch a lot of Next Generation in the 90s when I was a teenager. I had gotten into the series when I started collecting the Star Trek: Next Generation CCG that Decipher was putting out. I was not able to watch much DS9, but probably my favourite episode I ever saw was the one where they time traveled back to the “Trouble with Tribbles” episode of the original series. I was able to find copies of these comics at my local comic bookstore, High Score Comics.
Finally, and related to Star Trek, is Andromeda: The Attitude of Silence. I recall in my college years, going home to visit my parents, and catching a few episodes of Andromeda, but I am far from familiar with the series. This was a random purchase: I was at Bookmans, browsing about looking for Mariotte’s Conan books in the sci-fi IP section of the store and happened upon this tome, so I plucked it up.
Burroughs Bulletins
One of the perks of being a member of the Burroughs Bibliophiles is you get copies of their journal, The Burroughs Bulletin. The journal publishes writings done by Bibliophile members and range from interviews to essays to galleries to retrospectives and other types of articles. My interview with pepla starlet Bella Cortez and her work on the Italian unofficial Tarzan film, Taur the Mighty, was published in issue 109. Since some of the attendees of the 2025 ECOF had articles published in the Bulletin, I brought a stack of issues, getting many of them signed by contributors. Here is a gallery of those issues:
The Burroughs Bulletin, issue 100-102.
Burroughs Bulletin 100-102 with Frank Puncer’s autograph.
Burroughs Bulletin 100-102 with Gary A. Buckingham’s autograph.
The Burroughs Bulletin, issue 104-105.
Burroughs Bulletin 104 with Gary Buckingham’s autograph.
The Burroughs Bulletin, issue 107.
Burroughs Bulletin 107 with Gary A. Buckingham’s autograph.
The Burroughs Bulletin, issue 108.
Burroughs Bulletin 108 with Gary A. Buckingham’s autograph.
Burroughs Bulletin 108 with Scott Tracy Griffin’s autograph.
Issue 100-102 signed by Frank Puncer and Gary A. Buckingham
Issue 104-105 signed by Gary A. Buckingham
Issue 107 signed by Gary A. Buckingham
Issue 108 signed by Gary A. Buckingham and Scott Tracy Griffin
At the next Burroughs-centric event I hope to get even more issues signed!
Tarzan and the Lost Empire
And finally, since my whole presentation was centered on the Burroughs novel Tarzan and the Lost Empire, I had to bring the new authorized library edition ERB Inc. published fairly recently to be signed by those involved. Here is a gallery of those signed pages:
Personal copy of the hardback edition of Tarzan and the Lost Empire.
Tarzan and the Lost Empire afterword signed by Henry Franke III.
Tarzan and the Lost Empire archives page signed by Cathy Wilbanks.
Tarzan and the Lost Empire, Dell edition.
I was able to get this handsome edition signed by Henry Franke III who composed the afterword and Cathy Wilbanks who wrote about the archival matter. Included in these images is the way old school Dell paperback of Tarzan and the Lost Empire, a gift from Frank Puncer, which I will cherish.
It has been since August since I last posted to my website here! September was simply a crazy month. At work I am on two implementations at the same time, so that has been a big focus for me. The other thing was getting prepared for the 2025 ECOF that happened last weekend. I’m right in the middle of doing a big write up and picture gallery that recaps the event, which I’ll have posted this Wednesday. After that, back to the Emmanuelle book and cranking out the backlog of comic book reviews. In the meantime, here is a month’s worth of news to catch up on!
Panthans Journal #340 and #341
Since my last website update, two issues of The National Panthans Journal have been been published.
Issue #340 contains a re-print of my interview with Jeffrey Mariotte, “Thunder in God’s Country: Interview with Jeffrey Mariotte.” I also sent in a letter to the editor where I go over some Edgar Rice Burroughs inspired libations.
National Capital Panthans Journal #340
Issue #341, which came out this past Saturday, contains a reprint of my review of the third issue of Vanya, which can also be read online here.
National Capital Panthans Journal #341
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 AT gmail.com in a Word document for consideration.
Sincere appreciation to Laurence for the opportunity to have my work published in the journal.
Scholars from the Edge of Time – Clash of the Titans (2010)
In June, Michele and I announced we would start covering the three Clash of the Titans films: the original, the 2010 remake, and Wrath of the Titans for Scholars from the Edge of Time.
Our dialogue for the original film went online back in June. We had to skip July because someone (me) decided to fracture a toe.
Personal copy of the Clash of the Titans ’81, Clash of the Titan 2010, and Wrath of the Titans 3 Movie Blu-ray set.
Well for August we are back, baby! Our discussion about the Clash of the Titans remake can be watched on YouTube here. Give it a watch/listen!
For September we were scheduled to talk about Wrath of the Titans, but that Thursday we were in Willcox, AZ for the Edgar Rice Burroughs Chain of Friendship gathering. Instead, when we got back, on Tuesday we did a recap of our adventures and talked about THE THING, the ECOF, and my presentation on the peplum elements of the novel Tarzan and the Lost Empire. That can be watched on YouTube.
Personal copy of the hardback edition of Tarzan and the Lost Empire.
In October we will finally conclude the trilogy by discussing Wrath of the Titans.
Publishing Recap
Below is a recap of my external publishing endeavors so far in 2025.
Panthans Journal #332
Comic Book Review: “The Moon Maid: Catacombs of the Moon #2″ reprinted in the National Capital Panthans Journal #332.
Panthans Journal #333
Comic Book Review: “The Moon Maid: Catacombs of the Moon #3″ reprinted in the National Capital Panthans Journal #333.
Panthans Journal #335
“Tarzan Cocktail: Deconstructed – Reconstructed” reprinted in the National Capital Panthans Journal #335.
“There’s Always Room” in Merry Creepsmas: The Red Book. Edited by Parth Sarathi Chakraborty. Wicked Shadow Press, 2025.
Burroughs Bulletin #109
“Tagliolini al Tarzan: Interview with Actress Bella Cortez on Taur the Mighty” in The Burroughs Bulletin #109. Edited by Henry Franke III. February, 2025.
Miscellaneous Tidbits
Some fun things I shared online from these past few weeks. Highlighting things from my personal collection of pop culture artifacts. Or artifacts I’m digging out of the archive. Just, general cool or unique things to show off.
Autographs from the Archive
Here are some autographed treasures I’ve shared on social media recently.
Final Exam
Final Exam, a film that rides that early wave of 80s slasher movies. I have not watched it in many years, but I remember digging it, and also how it tip toed into genre meta-ness before the likes of Deadly Spawn and Scream.
Personal copy of Final Exam DVD signed by Julia Marchese.
Horror film aficionado, podcast, and film director Julia Marchese moderated the commentary track on the old DVD copy of the film, and she was kind enough to let me post it to her way back in the day to autograph.
Challenge the Devil
More Bella Cortez, queen of the pepla, goodness!
As folks know, I’m a super fan of peplum starlet Bella Cortez, got to interview her, and also had her autograph the films in my collection she stars in.
Personal copy of Challenge the Devil from the Severin Christopher Lee box set.
Challenge the Devil Blu-Ray sleeve, reverse side, signed by Bella Cortez.
While Cortez is mostly known for her sword and sandal appearances, she did star in a handful of other Italian genre films, such as the gothic horror film Challenge the Devil, which saw a new edition not too long ago in Blu-ray format as part of a Christopher Lee boxset from Severin Films. Here is the sleeve of the Blu-ray signed by Cortez.
New Sword and Sandal Acquisitions
The ever growing peplum research library grows with these recent sword and sandal films acquisitions.
William Castle pepla
On my last news roundup I shared I found a lobby card for a William Castle peplum film called Slaves of Babylon (1953). I was so caught off guard that the maestro of horror cinema had some some historic epics that I set out immediately to collection them. And here they are!
DVDs of William Castle’s pepla films
No Blu-ray treatments for these films, but I’m excited to give them a watch and see how the compare to the likes of House on Haunted Hill (1959). I ordered from Alpha Video the aforementioned Slaves of Babylon, and then got on eBay and found this multi-film set that contains the Egyptian peplum Serpent of the Nile (1953) and two other historic epics: Charge of the Lancers (1954) which takes place during the Crimean War (1853-56), and The Saracen Blade (1954) which is during the Crusades.
In the meantime I went to a sports card store and got a plastic sleeve big enough to hold my lonny card until I can get it proper framed.
The Norseman
I have a huge soft spot for the films of Charles B. Pierce. I was first introduced to his work by way of Boggy Creek 2 on MST3K when it first air on the Sci-fi Channel back in the 90s, and I thought it was a great episode! Years later I would finally watch the original Boggy Creek film, and it is a terrific faux documentary/horror film. In the 2000s I collected all the films of his that I could get my paws on at the time, such as his westerns. However it totally flew under my radar that he did a Viking peplum!
The Norseman Blu-ray.
That film is The Norseman (1978), which was released in that empty void of pepla, before 1979’s Caligula and before the Conan cycle of strongman films. The movie was apparently shot in Florida, which when I think Vikings, I think Florida. I do recall watching and enjoying Pathfinder (2007), which also deals with Vikings encountering North American indigenous folk, so this might be a good pair of movies to compare and contrast together.
The Rabbit Joint – Zelda vinyl
Back in the latter half of the 90s, during those halcyon days of Napster, apparently there was a parody song circulating out there called “Zelda” that was sung to the tune of the Zelda theme, and attributed to System of a Down. How this never, ever, ever showed up on my radar is a surprise to me.
Last month I get a news letter from Light in the Attic records about the song getting a vinyl release. What struck me was the cover art for the vinyl – showing princess Zelda under a tree with a town behind her. I really liked it! So I impulsively bought the record based on the lore behind it, and the cover art.
The Rabbit Joint’s “Zelda” vinyl.
Turns out the song sucks bad. It’s really annoying. It sounds shades like Group-X (remember Group-X? The “Mario Twins” song?). But, it is an interesting curio in the Zelda history, and to an extent, sword and sorcery history.
Digital versions of some of the tracks can be bought off Bandcamp thought I did a physical pre-order at Light in the Attic.
George Bernard Shaw’s Caesar and Cleopatra Magazine Advert (and other swag)
Aside from the lobby card of Slaves of Babylon, I found another fun toga and sandal thing at the antique mall: a magazine advert for Caesar and Cleopatra (1945). There was a booth that was selling just advert pages from old magazines, and I saw this one a plucked it up. It’s really nice looking.
Magazine advert for Caesar and Cleopatra.
George Bernard Shaw on Film DVD Eclipse (Criterion) boxset.
Caesar and Cleopatra play.
Back in 2021 Michele and I talked about this film on an episode of Scholars from the Edge of Time. However, that episode was hosted on BlogTalkRadio, which went defunct earlier this year. Luckily, I saved an MP3 of the episode, I just need to find a venue to host it. Maybe in the meantime I should re-watch it for a Peplum Ponderings article.
Anywho, I have the Eclipse (Criterion Collection) boxset of some of the movies adapted from Shaw’s plays, and a copy of the Caesar and Cleopatra play in book form, so check all those goodies out in the slideshow above.
News from Friends
Cool kids I know have been busy lately! Here are some signal boosts I’d like to give out.
New Fan2Fan Episodes
Bernie and Pete have lots of new episodes of their Fan2Fan podcast online. Since it has been a month+ since my last news round up, there is a lot of epodes to get caught up on!
First they have an episode on the classic 1990 film Tremors (which will always rule):
Older episodes of Fan2Fan can be found at its Libsyn page or via your podcast app of preference.
Michele Appearance on Mount Olympus Vidcast
Hercules Invictus, who hosts our Scholars from the Edge of Time vidcast, does tons of other programming. He recently did a panel vidcast on mythical creatures – winged humanoids. Michele was a guest on the episode, talking about the first Mimic film. Give it a watch on YouTube.
A side note, Michele has been recording new episodes of Ride the Stream with her co-host Travis Lakata, so expect to see new episodes soon!
I had the honour to talk to editor/writer of fiction and comics, Jeffrey Mariotte. Mariotte is also the guest of honour at the upcoming Edgar Rice Burroughs Chain of Friendship (ECOF) gathering (see below).
Jeffrey Mariotte author photo (provided courtesy by Mariotte).
The interview with Mariotte can be read here – check it out for sure!
On the subject of the upcoming ECOF, check out this sweet new artwork for the event done by Gilead:
ECOF Poster art done by Gilead.
Death Nell Issue Two
Back in February 2023 I reviewed the first issue of Death Nell (check it out here). I meant to review the issues as they came out, but got distracted with other projects. With the physical edition of Vanya #8 still a bit from being released, and the fifth and final issue of Death Nell about to come out, now is the perfect time to pivot and get caught up on the reviews for this series.
Standard cover of Death Nell #2 by Cammry Lapka. Image from the Bad Bug website.
So here we are, two and a half years late, my review for Death Nell #2 is finally online and can be read right here.
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 there with the 7th U.S. Cavalry 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 the flyer for the 2025 event:
Flyer for the Edgar Rice Burroughs Circle of Friendship (ECOF) Gathering in Willcox, AZ 2025.
Here is the press release:
RENOWNED AUTHOR EDGAR RICE BURROUGHS’ CAVALRY SERVICE TO BE MEMORIALIZED IN WILLCOX, AZ
“Tarzan” Creator and Pop Culture’s Influential “Grandfather of Science Fiction and Fantasy” Commemorated for His 150th Birthday.
WILLCOX, AZ – The renowned “Master of Adventure” Edgar Rice Burroughs started his adult life as a cavalryman at Arizona’s Fort Grant in May of 1896. This September, as part of the late author’s 150th birthday celebration, his cavalry service will be memorialized with a monument at the restored Southern Pacific train depot in Willcox, where he arrived on his way to Fort Grant (35 miles north).
The influential creator of Tarzan of the Apes, John Carter of Mars, and The Land That Time Forgot series of stories wrote in his “Autobiography” that he specifically requested “to be sent to the worst post in the United States” and was then promptly assigned to Fort Grant in Arizona Territory, where his troop would spend some time hunting after the Apache Kid and other outlaws.
Many believe that Burroughs’ initial stay in Arizona influenced his first Martian story, Under the Moons of Mars, which begins with the first chapter titled “On the Arizona Hills.” The John Carter Martian stories would go on to influence generations of science fiction and fantasy books and movies, and would inspire many young people to become scientists, engineers, and astronauts. He would later author the books The War Chief and Apache Devil, both set in Arizona during the Apache Wars of the 1860s – 1880s.
This Willcox Edgar Rice Burroughs Chain of Friendship (ECOF) Gathering will take place from September 25 to 28, 2025, with the 7th Cavalry Historical Monument formal dedication ceremony on Saturday, September 27th from 10:00 AM – 12:00 Noon near the historic Southern Pacific Railroad Depot.
The monument dedication at the Willcox train depot will include guest speakers and participation of local Buffalo Soldier reenactors. All other convention events will take place at the Elks Lodge #2131 in Willcox, and will include discussion panels, a “huckster” (vendor) room, Guest of Honor and speaker Jeffrey J. Mariotte (author of Tarzan and the Forest of Stone), Edgar Rice Burroughs, Inc. speakers, a Saturday night banquet/ dinner, a Tarzan movie screening, and other surprises.
These events are sponsored by the Sulphur Springs Valley Historical Society and the Apache Devils chapter of The Burroughs Bibliophiles. The celebration is open to the public for free (except for the dinner and movie), but full attendees can register for a fee that covers a goodie bag, a huckster table, and the Saturday dinner.
This is a must-attend event for fans of Edgar Rice Burroughs and pop-culture historians alike. If you’d like to visit the place where it all began, don’t miss this very special celebration. (Note that some convention activities will require full event registration – the registration form is provided separately.)
The Holiday Inn Express & Suites Willcox is offering a special daily room rate of $119 plus taxes for the nights of 25 to 27 September for attendees. The group name is “ECOF.” You can make reservations at this rate by calling the hotel at (520) 384-3333; rooms are limited. The address is 1251 N. Virginia Ave, Willcox, AZ 85643.
If you would like more information about the 2025 ECOF event, please call Frank Puncer at 520.281.1818, or email him at fwpuncer at gmail dot com.
2025-08-17 Addendum: Special Event Bags and Contents are Available for the First 50 Registrants.
Michele and I will be in attendance for this convention, so I’ve added it to the appearances section of my website as well. I’ll be doing a presentation on Tarzan as a Maciste-like peplum character in Tarzan and the Lost Empire. Hope to see yall there!
Publishing Recap
Below is a recap of my external publishing endeavors so far in 2025.
Panthans Journal #332
Comic Book Review: “The Moon Maid: Catacombs of the Moon #2″ reprinted in the National Capital Panthans Journal #332.
Panthans Journal #333
Comic Book Review: “The Moon Maid: Catacombs of the Moon #3″ reprinted in the National Capital Panthans Journal #333.
Panthans Journal #335
“Tarzan Cocktail: Deconstructed – Reconstructed” reprinted in the National Capital Panthans Journal #335.
“There’s Always Room” in Merry Creepsmas: The Red Book. Edited by Parth Sarathi Chakraborty. Wicked Shadow Press, 2025.
Burroughs Bulletin #109
“Tagliolini al Tarzan: Interview with Actress Bella Cortez on Taur the Mighty” in The Burroughs Bulletin #109. Edited by Henry Franke III. February, 2025.
Miscellaneous Tidbits
Some fun things I shared online from these past few weeks. Highlighting things from my personal collection of pop culture artifacts. Or artifacts I’m digging out of the archive. Just, general cool or unique things to show off.
Autographs from the Archive
Here are some autographed treasures I’ve shared on social media recently.
Gorky Park
Here is an old school thriller from the 80s: Gorky Park. I’ll be honest, I watched this movie back in the late 2000s and do not remember too much of it, except it took place in Russia and the big plot reveal was about smuggling special Russian foxes outside the country. In hindsight, maybe it has some porto-Jack Reacher vibes (in the “im gonna investigate this big brew-ha-ha thing”).
Personal copy of the DVD of Gorky Park, signed by Joanna Pacula.
Anywho, my copy of the DVD is autographed by Joanna Pacula! Michele and I met her at a Hollywood Collector’s show. I believe, in an effort to be budget friendly, I asked what would she rather sign, Gorky Park or Dinocroc.
She went with Gorky Park.
2025-10-19 – Addendum – here is a photo of Ms. Pacula and I from the show:
Nicholas Diak and Joanna Pacula, 2010.
Khazaddum’s Plagues Upon Arda
I am not metal expert, but I loves me some adventure metal, power metal, and female-fronted symphonic metal. Whenever I got out used music shopping, I do like to keep an eye out for metal releases that have sword and sandal or sword and sorcery elements.
The last time I was at Zia Records and combing through the metal section I came across Plagues Upon Arda by Khazaddum. I have never heard of them before, but all the Tolkien elements were there so I decided to take the gamble and pluck it up. Turns out the band is a defunct death metal band from Wisconsin. I enjoyed the album and decided to reach out to the band’s lead person, Alex Rausa, and ask if I could send him the album’s booklet to be autographed.
Khazaddum’s “Plagues Upon Arda” CD album.
Khazaddum CD booklet autographed by Alex Rausa.
He said absolutely, so I sent off my booklet (make sure you include a SASE when doing stuff like this folks, it is good etiquette) and he returned it back with his signature on one of the pages. Very cool! Khazaddum may be defunct, but they do have their music available on Bandcamp. Rausa is now part of a band called Ancient Entities, so check them out at their Bandcamp page.
New Sword and Sandal Acquisitions
The ever growing peplum research library grows with these recent sword and sandal films acquisitions.
DeathstalkerI and II 4K
Deathstalker and its sequels, some of the most infamous sword and sorcery films to come out during the post-Conan cycle in the 80s. Sporting amazing poster art that the films could in no way live up to, these movies found other ways to be transgressive, exploitative, and challenging, and sometimes, even fun.
Shout Factory just released Deathstalker (1983) and Deathstalker II (1987) on 4K and Blu-ray, and it is a must have for sword and sorcery aficionados. Since I did a pre-order, I got a sweet double sided poster.
Personal copy of the Deathstalker / Deathstalker 2 4K/Blu-ray + Poster.
Was excited for the upgrade because my prior copy of the first two Deathstalker films was from the 4-movie Roger Corman sword and sorcery collection that Shout Factory released many years ago.
Personal DVD copy of the Roger Corman Sword and Sorcery collection.
Of note, of the four movies in this DVD release, only Barbarian Queen remains unreleased in HD. I hope that movie, along with Deathstalkers 3 and 4 also get some new releases! With the upcoming remake of Deathstalker looming on the horizon, now is a good time to do so.
Shameless self plug: back in 2022 I had the honour to appear on the Fan2Fan podcast to talk about Deathstalker 2 along with some other sword and sorcery films of the early 80s. Definitely check that episode out, it can be found here or at the embedded player below.
Deathstalker 2, Ator, and Yor: Hunter from the Future –
Fan2Fan Podcast
Slaves of Babylon Lobby Card
When I think of William Castle I think of House on Haunted Hill (1959) (which is a great film!) and his association with theater gimmick like walking skeletons and buzzing seats. I never thought about his career doing other genres, let alone the sword and sandal genre!
Slaves of Babylon Lobby Card.
While out and about at our local antique mall, I happened upon this lobby card for Slaves of Babylon (1953) which looks a little beat up, but still rad! I had never specifically heard of this peplum, but it is an early 1950s American one, and done by William Castle! So, of course, I had to pluck it up. The movie looks like it only has a bargin-bin style DVD release, but I put an order in for it. I’m curious to see what it will be like.
But you know who has seen it? Matt Page of Bible Films Blog! He did a write up of the film back in 2016. Check it out!
News from Friends
Cool kids I know have been busy lately! Here are some signal boosts I’d like to give out.
New Fan2Fan Episodes
Bernie and Pete have some new episodes of their Fan2Fan podcast online.
First there is a part one episode of Pete and Bernie interviewing Daniel Richardson about Slasher Trash:
Nell is a twenty-two year old student enrolled at Deus Mortem, a university for necromancy, who has been having a hard time staying awake in class. She has been overcome with sexual urges, which can barely be satiated by her own hand. Her best friend, a half troll named April, urges Nell to visit the school’s nurse, Madame Flowers who uncovers the root cause of the situation: Nell is a half-succubus who needs to feed on sexual energy. The solution: Nell needs to have a few romantic rendezvous. At the urging of April, the duo make their way to happening party where maybe Nell can find a paramour.
Standard cover of Death Nell #2 by Cammry Lapka. Image from the Bad Bug website.
Issue 02 Plot
Nell and April arrive at the party and it is boogying down: werewolves dancing with skeletons, DJ UND3ADD spinning some oontz oontz oontzes, and the arrival of a mysterious cloaked stranger whose only visible trait is the gleam of their glasses. Nell is immediately smitten and falls into a drooling stuper of sexual fantasies. To calm down her nerves, Nell tries to picture all the partygoers naked, but invertedly casts a succubus spell that makes herself naked, garnering the attention of everyone. However, the DJ rolls with it, and everyone casts away their clothes and continues to dance, but the mysterious cloaked person disappears into the crowd.
Nell casts a spell.
Since April cannot be around Nell 24/7 to keep her in check, she suggests the idea of summoning an imp to accompany Nell. The duo sneak into the office of Madame Flowers and find a spell book, but it all goes awry: April misreads the spell and summons a simp instead, and the trio are caught by Flowers and Professor Reinhart.
Nell is now bound to the simp until he feels his duties are fulfilled, which he takes to heart and bombards Nell with attention and adoration. Meanwhile April intercepts a mysterious letter left at their dorm door.
Commentary
Picking up right were issue one left off, Death Nell issue two continues the humorous and sexy hijinks of the titular character as she works to control her innate succubus powers so she can succeed in her necromancy classes.
Nell is not a parody of the “big-tiddy-goth-girlfriend” archetype per se, but she is definitely an alternative take on it. Much of the comedy in Death Nell is visual, coming from the expressions, faces, and body language of Nell which borrows heavily from anime (with Nell’s two buns, her hair is reminiscent of Sailor Moon’s odango style) but also of classic mime. Nell drools when her imagination takes over and her mind turns to sexual fantasies. She furrows her brows, clenches her teeth, dilates or contracts her pupils, has hearts/sparkles/stars float about her, and so on. It is all exaggerated, but 1) gets the point across of what Nell is feeling (which varies panel to panel as she struggles with her Succubus nature) and 2) is humorous at how cartoonish it is depicted.
A drooling Nell has a fantasy.
With all of this in mind, Nell, (and other characters in Death Nell), is extremely emote-able, and this is a credit to artist Cammry Lapka. The colours of Death Nell are vibrant, with a thick line art style. Though the characters are cartoony, Lapka also makes them sexy and attractive while also leaning into body positivity. Nell is curvy and she exudes a point on the scale of cuteness to sexiness as she sees fit. Sometimes she is in bondage/gothic-ish/fetish attire, other times she is in playful yellow pajama shirt and shorts that have skulls and bats on them, and other times she looks like a sexualized student from Monster High. This casual flip-flopping goes with the playing of expectations of the big-tiddy-goth-girlfriend archype.
The excess sexiness of Nell in a university setting does draw some issues that Death Nell is so far bypassing in order to focus on its 80s/late 90s teen sexy comedy attitude. Simply put, Nell is a vulnerable character with a big, personal issue. Stated in issue one, Nell really wants one thing: to be successful in school. Her burgeoning succubus nature is challenging that, and Nell does need support to help her, and simply put she is not getting it. As attractive Madame Flowers is, and (cloven hooves aside) a dream woman for readers, she is not a good support person, despite being in a position of power to be so. Her solution to Nell’s situation (from issue one) is to tell Nell to get laid. In issue two, in an exchange with April, it is brought up to ask Flowers again for help, but Nell quickly retracts the comment, makes a face, and says “Something tells me she’d like me to beg for her…”. Being afraid to approach an adult that is supposed to be there to help students because one is afraid that something sexual will come of it? That is neither a good nor safe sign at all. Combine that with the groundskeeper/gravedigger from issue one, asleep on a couch and mumbling his dream about Nell bending over while she digs a grave. Initially funny, but second glance, that is pretty creepy.
And that becomes the juggling issue for Death Nell: how does one create a sex comedy that is set in a school where the students are not taken advantage of? One answer is to make sure the protagonists are given their own control and agency, but that is the big “what is at stake” in Death Nell: Nell does not have control and is trying to get it, and the structures that should be in place to help her do not seem to be working. The other answer is to just go with it and take the sex and comedy at the level being asked without a deeper reading. Are folks doing deep reads into “help me big stepbrother, I appear to be stuck in the washing machine, again”? Maybe? Maybe not?
Covers and Swag Impressions
Issue two of Death Nell was Kickstarted in February 2023 and fulfilled August through October. The comic has eleven artists doing different covers, both in nice and naughty variants. The Dhaxina Dee alternative cover comes in additional metal editions for its nice/naughty variants while the Zheanhmeart cover comes with a holo cover format for its nice/naughty variants. This brings the total number of possible covers of Death Nell #2 to twenty six.
Personal copy of the Joel Souza nude variant cover.
Of all these combinations, the standout cover goes to Joel Souza’s cover which depicts Nell and April having a pillow fight. Souza’s style is an excellent take on the cartoonish/pinup style that Lapka brings to the comic. It is silly, funny, but also sexy. It vibes perfectly with what Death Nell is about, but it also adds more fun to Nell and April’s friendship (though April’s orcish features are non-existent on this depiction of her).
As with many Kickstarters, Death Nell #2’s campaign had stretch goals it met resulting in some cool swag.
Bobby Jo x Death Nell crossover art print.
Firstly, there is an art print by Bruno Sousa that depicts Nell from Death Nell and Bobby Jo, the titular character from another Bad Bug series, Bobby Jo. The characters take the idea of a crossover literally as their clothing is swapped: Nell is wearing daisy dukes and a short t-shirt that is befitting to Bobby Jo while Bobby Jo is wearing purple striped stockings and matching colour body suit, that pairs with Nell. It is a fun piece that also demonstrates the dynamicness of all the different Bag Bug series out there.
Skeleton Karma Sutra cards and a Death Nell Tarot Card.
Next there are trading cards and a tarot card. The trading cards tie into the sex positiveness vibes that Death Nell shoots for, portraying skeletons in different sexual poses with punny titles, such as cowgirl style atop a casket is called “Rock the Casket” and a vertical 69 is called “The Rib Job”.
As stated in other reviews of Bad Bug comics, the publisher including Tarot Cards with their comics is brilliant. It is a unique take on the collector cards that (along with bookmarks, stickers, and magnets) are featured heavily in Kickstarter stretch goals. The Tarot Card for Death Nell #2 is of The Fool and shows Nell about to walk off a cliff while she is distracted. By her side is a zombie dog who also looks distracted. The Death Nell Fool Tarot Card is a perfect parody of the Rider-Waite version of the card, which too shows a distracted person with a puppy at their side about to walk off a cliff. The Death Nell version is an inversion of it all: Rider-Waite is during the day, Death Nell at night. Rider-Waite has an alive white dog, Death Nell an undead one. Rider-Waite has the person holding a bag on a staff in one hand and a flower in the other, Death Nell has Nell holding her school backpack in one hand and her striped knickers in the other. It is brilliant!
Conclusion
With its quirky, vibrant art style and great emotive expressions, Death Nell continues to allure in issue two. Nell and April are extremely likable characters, get along fabulously, and it is fun to see them both interact and play off each other. Nell needs the support of April (and possibly her new simp companion) as she tries to navigate her identity crisis (coming to terms being part succubus and the associated sexual urges that come with it) and unfortunately not receiving the proper or serious support from the faculty of her school. Despite these roadblocks, Nell is determined and will certainly overcome her nature while solving the mystery hinted by the contents of the envelope left at her dorm room door.
For more information on Death Nell and the comic’s creative team, check out the links below:
With a writing and editing career that spans decades, Jeffrey J. Mariotte has done everything. From working in the comics industry (at major publishers IDW, DC, and Wildstorm), penning novels and comic books of popular IPs (such as CSI, 30 Days of Night, Buffy/Angel, Conan the Barbarian, Star Trek, and many others), to his own fiction work that encompasses a variety of genres (especially the western), Mariotte’s canon is impressive and prolific.
By his own admission, one thing Mariotte has not yet done is be a guest of honour at a pop culture convention. That career milestone is about to be crossed off his list as Mariotte will be the guest of honour at the upcoming Edgar Rice Burroughs Chain of Friendship (ECOF) Gathering that will be held in Willcox, AZ the 25th to the 28th of September. Mariotte, who wrote the Tarzan novel Tarzan and the Forest of Stone, is the perfect guest for this event being held in the town that is central to the mythology of the American west as it is the birthplace of Rex Allen and the burial spot of the youngest of the Earp brothers, Warren Earp.
Jeffrey Mariotte author photo (provided courtesy by Mariotte).
In anticipation for this upcoming event, Mariotte has graciously allowed me to interview him about his writing, westerns, working with IPs, Edgar Rice Burroughs, and Tarzan.
As scholar of sword and sandal films, my obligatory first question has to be peplum related. Growing up, did you watch any old school sword and sandal films? Was it a genre you liked or had interest in?
I definitely did. The animated skeletons in Jason and the Argonauts both fascinated me and scared the crap out of me. Around the same time, I found Ben-Hur and Spartacus riveting (except I found the leper colony scenes in Ben-Hur disturbing, but the chariot race more than made up for it). My parents also took me to see Whatever Happened to Baby Jane in the theater in 1962, I don’t think they were intentionally trying to mold a horror writer, but it didn’t hurt.
From those roots, I graduated to swashbucklers on film and TV. I loved Disney’s Zorro, Errol Flynn’s The Adventures of Robin Hood and Captain Blood, and their ilk. Also, Johnny Weissmuller’s Tarzan, it should go without saying, and later the Ron Ely TV version. I spent four years, from the ages of 5 to 9, in France, where my father worked for the US Department of Defense and where old buildings, bridges, etc. were really old. Every antique store had swords and other forms of ancient weaponry galore, and I was enthralled by all that. I also fell in love with comic books there, which will become important later in this interview. In the summer between junior high and high school, I went back to France on a student trip, and I came home with a WWI-era Austrian light cavalry saber (in 1969, you could strap that to your suitcase and still get onto an ocean liner). In high school I took up fencing and archery, and I continued fencing in college.
Sword and sandal, of course, leads to sword and sorcery. You worked on a few Conan novels in the Age of Conan line: Ghost of the Wall (2006), Winds of the Wild Sea (2006), and Dawn of the Ice Bear (2006). How did you get involved with writing Conan, and was Robert E. Howard an author who had an influence on you?
My discovery of Conan came with the Lancer paperback series, particularly Conan the Barbarian, with Frank Frazetta’s Conan wrestling a huge ape with a red cape. Once I read one – and they tied directly in with my fencing interests and growing sword collection – I had to read them all. And the comics. And then Leiber and Moorcock and everybody else. The early 1970s were the golden age for sword and sorcery fans.
Lancer paperback of Conan photo provided courtesy of Oliver Brackenbury of New Edge Sword and Sorcery.
When the Age of Conan MMORPG came out, I had a friend who worked for Ed Pressman, who was somehow involved with the Conan rights and an executive producer on the first two movies (uncredited on Destroyer). That friend was dealing with Ace books on the tie-in novels, and he came to me and asked if I wanted to write them. The remit was to write books set in Conan’s Hyborian Age, but without Conan as a main character, fleshing out the rest of the world. I mostly did that, but I did slip in a Conan cameo appearance, and they let me keep it, so I became the first writer in the 21stcentury to write Conan into a novel.
I don’t know that Howard was an influence on me stylistically, but in terms of inspiration, he absolutely was. I admire his work tremendously and his imagination even more. As an adult, I was lucky enough to meet Mike Moorcock and Fritz Leiber and L. Sprague de Camp and many of the other writers who toiled in those fields during my early days of discovery. Later I also met Roy Thomas and Gerry Conway and Barry Windsor-Smith and Neal Adams, and a bunch of the folks who made the early Marvel run so great.
The Age of Conan is still going, albeit far from as popular as its heyday, but it is one of those few post-World of Warcraft MMORPGs that still survives. Did you ever play the game perchance? Or perhaps dive into any other MMOs out there?
I have the game box with its cool physical elements, but I gave my free code to play to a friend, because I don’t play MMOs at all. I was actually involved with two – I also wrote and edited a comic book that tied into the 2009 MMORPG Freaky Creatures, which apparently never really caught on with its target audience.
What was your introduction to the work of Edgar Rice Burroughs (ERB)?
I wish that I could remember the exact progression of that process. It started with Johnny Weissmuller’s movies, as mentioned earlier. They were seemingly on TV every week in my childhood and watching them created a fascination with jungle adventure movies that has never waned. At some point, I became aware that there were books behind them. I was also aware of the book All in Color for a Dime, by Richard A. Lupoff and Dick Thompson, because of my growing comics hobby. I read some of Lupoff’s novels, and I ran across his Burroughs book Master of Adventure. That was my entrée into the world of Burroughs scholarship. While I was attending San Jose State University, I met Dick, who just lived up the bay in Berkeley with his wife Pat, and that started a friendship that lasted the rest of his life.
Somewhere in between those things, I think after my discovery of Conan, but it might have been before, and getting to know the Lupoffs, I had read at least a few of the Tarzan books, some John Carters, some David Inneses, some Carson Napiers, and maybe a few others. Sadly, I didn’t keep reading journals or have the encyclopedic memory that a lot of Burroughs fans and scholars seem to.
Burroughs had written a handful of Westerns: The Bandit of Hell’s Bend (1924), The War Chief (1927), Apache Devil (1933), and The Deputy Sheriff of Comanche County (1940). Have you read some of his Westerns and if so, any impressions you have about them?
I love ERB’s westerns, especially the two Shoz-dijiji books. After thirty-one years living in California, I moved to a 40-acre chunk of land in southeastern Arizona’s Cochise County. I was near the south end of the Sulfur Springs Valley, just north of Douglas. When he was at Fort Grant, ERB was at the north end of the same valley. So those books, which take place in my old stomping grounds and involve Apache people and customs that I’ve also studied and written about, were wonderful discoveries. Of course, John Carter spent time there as well. I’d still love to do something fictional based around Ed’s period at Fort Grant.
What are some of your books that showcase your scholarship and writing about Apache peoples and their traditions that you’d like to spotlight?
I wouldn’t go so far as to say “scholarship,” but Apache characters and culture have played roles in many of my books, including the Desperadoes comics series, Deadlands: Thunder Moon Rising, and my Cody Cavanaugh traditional Western novel series (currently out of print but due to be reissued sometime soonish).
Regarding Western literature, what would you say have been the biggest changes and shifts in the genre between Burroughs’ time to now?
The most substantive change, I think, is that today’s Westerns can be more realistic. Note that I didn’t say they “are,” because some definitely are not. But the option exists, in today’s Western fiction, to explore the rampant racism and sexism of the era, and on the flip side, to acknowledge that minorities and women were integral to the “settling” of the American West. In Burroughs’s day, if a character in a Western lived in poverty, it was probably a humorous minor character who was made fun of because he was poor. The truth is that a lot of people spent everything they had to go west, in search of their fortunes, but those fortunes never materialized. Diseases were romanticized, and generally easily cured through the accumulation of wealth, the wisdom of a kindly old doctor, or the love of a good woman. And of course, the single most significant fact of westward expansion was the genocidal effect on the Indigenous population—which, in some ways, continues today. Now, Western writers are able to address all of these situations in a more genuine fashion, pointing out the difficulties and terrors of the westward movement without relying on the stereotypes.
Going back to your adoration of Jason and the Argonauts, one cannot help but think of Harryhausen’s Weird Western The Valley of Gwangi (1969). Do you have any affinity to other Western subgenres, such as the Weird Western, Acid Westerns, neo-Westerns, etc.? Are these subgenres ones you like to write in?
I don’t think I’ve ever actually seen The Valley of Gwangi, though of course I’m aware of it. I should really track it down one of these days. I love Weird Westerns and actually began my career in Western literature with those, specifically with my 1997 comic book series, Desperadoes, which was very definitely Western horror. I tried to use real places and some real people and situations in the book, but all overlaid with supernatural horror. The series ran from 1977 to 2007, and I’ve recently written a short story involving those characters (in my collection Byrd’s Luck & Other Western Stories). I have an artist ready to go on what will be the last Desperadoes story, bringing the adventures of those characters to some kind of satisfactory conclusion. What we don’t have yet is a publisher willing to take it on.
I’ve also written several Weird Western shorts – the short-fiction collection mentioned above is split, with half of the stories being traditional Westerns and half Weird Westerns. And I wrote one of three novels based on the Deadlands RPG for Tor Books. Finally, I’m the unofficial “official” reviewer of Weird Western books for both True Westand Roundup magazines (Roundup being the official magazine of the Western Writers of America, of which I’m a proud member).
As one last example, most of my original novels are set in the west and sometimes include aspects commonly seen in traditional Westerns. In my horror novel Missing White Girl, for example, the sheriff’s deputy who is the primary protagonist also owns a ranch and holds some ideals more closely related to the Old West than to the new one.
Hardcover of Tarzan and the Forest of Stone
Your contribution to the Burroughs canon is with your novel Tarzan and the Forest of Stone(2022). What was the genesis of this project? How did it come about?
Speaking of the Sulfur Springs Valley, in 2019 my friend Bob Boze Bell of True West Magazine fame was the guest of honor at the Dum-Dum that Frank Puncer put on in Willcox. I accompanied Bob, and we had a grand old time getting to meet Burroughs fans and listening to scholarly talks and so on. Some of the folks from ERB, Inc., including Jim Sullos and Christopher Paul Carey, were also there. I got talking to them, and by the end of the event, Chris and I had pretty much agreed to do something together. Then he pitched me on writing a Tarzan novella, and I jumped at the opportunity. It was a true gift.
Bookplate for Tarzan and the Forest of Stone.
What obstacles did you encounter combining Tarzan with the Western? What was something neat you learned in the process of doing so?
I don’t remember any particular obstacles. I was putting Tarzan in a setting that was largely unfamiliar to him, the desert landscape of northern Arizona is as different from the deserts of northern Africa as the moon is to the Earth, but with the understanding that Tarzan is at home in nature, and not a guy who needs a lot of time to get acclimated to new things. I had a lot of fun with the opening section, involving Tarzan’s visit with a writer we all know and love, and I tried to get that part right, which meant learning about the house and grounds, the views from there. I also learned a lot about the Atcheson, Topeka, and Santa Fe’s The Chief, which at the time was the fastest way to travel from coast to coast. I love trains, so really enjoyed discovering the details of that journey (and finding out that its real schedule fit my story just right).
You have a tremendous history of dealing with other IPs and media tie ins, be it from the publishing side such as working for IDW, DC, and WildStorm, to also an author of numerous novels set in the Buffyverse, Star Trek, CSI, and so on. Working with the Tarzan IP, when compared to other IPs, what was that like? What was similar and what was different?
I’ve written a ton of licensed fiction, as you say. Tarzan was different in several ways. First, as a character, he’s one of the very few who’s known to almost everybody around the world. Tarzan, Sherlock Holmes, Mickey Mouse, maybe Superman and Spider-Man, and that’s about it. So, I knew there would be a lot of fans, some of them hardcore Burroughs enthusiasts who don’t want other people messing with their guy, some of them fans of the existing stories and willing, even anxious, to read new ones. He’s also appeared in virtually every form of mass media, from the books to movies and TV, radio, newspaper strips, comics, and more. Basically, nobody was going to pick up the book not knowing who Tarzan is and a bit about his background. That’s part of why he’s fun to write, but also part of why it’s scary, everyone’s already got an opinion, got their version of him in their head. I wanted to try to stay true to how I see him while not negating how somebody else sees him.
Scifi IPs that Mariotte has worked on.
Most of the other IPs I’ve written are well-known, but not that well-known. I’ve written Superman, Spider-Man, and Zorro, and those probably come closest. But Buffy and Angel, CSI, NCIS, etc., are considerably more modern. There are at most a few decades of stories in existence about them, and most people’s impressions of them were formed from the same source: television. Other novels exist, but I was writing mine at the same time that those novels were coming out, so there’s a basic continuity that everyone sort of agrees on. And in some of those cases, if I have a question, as a writer I can basically go to the source for an answer. I knew people in the CSI production office when I was writing CSI. I’d spent time with Joss Whedon and Anthony Zuiker, so when I wrote Buffy the Vampire Slayer and Angel, CSI, The Shield, and Las Vegas, I’d actually spoken with Whedon and Zuiker and Shawn Ryan and Gary Scott Thompson, the creators of those properties. That doesn’t mean I can’t make mistakes in continuity, but it means they’re less likely to happen. I’d have to have H.G. Wells build me a time machine to talk to Edgar Rice Burroughs, and sadly, I don’t think that’s likely to happen.
Having written across a variety of mediums (books, comics, etc.), your own work and other IPs, what project have you been a part of that was unique to you and put you out of your comfort zone or was incredibly off beat? Perhaps the most unexpected outlier in your bibliography?
I’d have to say that’s my one solo nonfiction book. I cowrote behind-the-scenes episode guides for Buffy the Vampire Slayer and Angel, but those were not entirely my work, and they involved properties that I’d also written novels about. The one I wrote by myself isCriminal Minds: Sociopaths, Serial Killers & Other Deviants (which was not my title, because I would at least have used the Oxford comma). It’s not too far out of my zone because it’s true crime, but “true” isn’t typically used in connection with my book output. This one was licensed nonfiction that described all the criminals mentioned by name in the first five seasons of the Criminal Minds TV series, along with crimes that inspired episodes but weren’t specifically mentioned.
That obviously required tons of research. The ones named on the show were no problem, but many episodes use elements of real crimes and criminals, and I had to be familiar enough with both the show and the real-life counterpart to identify them. I did most of the writing during the months of November and December, so while other people were watching Thanksgiving Parades and Christmas specials, I was digging deep into the likes of Jeffrey Dahmer, Edmund Kemper, and the Mad Butcher of Kingsbury Run. The research phase was a real immersion into the darkest depths of human behavior, and very unpleasant. But it also led to the writing of my crime novel Empty Rooms, which I believe is one of my best books.
You are the Guest of Honour for the upcoming Edgar Rice Burroughs Chain of Friendship (ECOF) gathering that is being held in Willcox, AZ, at the end of September. Congratulations! While the programming is certainly still being finalized, is there anything you can share that you’re doing at the event?
Thank you! I’m very much looking forward to it. My professional connection to the Edgar Rice Burroughs community came about entirely as a result of having attended the Apache Devils Dum-Dum in 2019. Frank Puncer, who put on that Dum-Dum, is also the driving force behind this one, and I’m looking forward to seeing him and everyone else. And I’m now an official member of the Apache Devils chapter of the Burroughs Bibliophiles.
As for my duties at the ECOF, I know I’m supposed to give a keynote speech, which I should probably start working on one of these days. I’ll have a table where some of my books will be available for sale. And I will, of course, be available to talk ERB with anyone who is so inclined.
A final question, aside from the ECOF appearance, what else do folks have to look forward to coming from you? Any new publications or projects you’d like to mention that readers can keep an eye out for?
Funny you should mention that, because this past Saturday, as I’m writing this [7/26], Edgar Rice Burroughs Inc. announced my next project at the San Diego Comic-Con (an event I attended every year from 1983–2013 but haven’t been back to since). I’m in the midst of writing Beyond Thirty: A World Reborn, an authorized sequel to ERB’s short novel Beyond Thirty, which was originally published in a 1916 issue of All-Around Magazine. In it, naval officer Jefferson Turck and Victory return to Grabritin, and…stuff happens. I don’t know what else I’m allowed to say about it now, so I’ll leave it there.
ERB SDCC announcement graphic for Beyond Thirty: A World Reborn.
I’ve also become a publisher of Western fiction, as a partner in Silverado Press. So far, we have four books out, two books in the Galloway’s Gamble series by my partner Howard Weinstein, Byrd’s Luck & Other Western Storiesby me, and Silverado Press Presents: Western Stories by Today’s Top Writers, which I edited. We have a new Silverado Classics line launching when I can get around to it, republishing influential classics of Western literature with scholarly essays describing their place in the world of Western fiction.
Sincere appreciation for Jeffrey Mariotte’s time for doing this interview. For more information about Mariotte, news, and his works, check out his website and social medias:
Alas, I could not keep the momentum going so I missed a week, but this is still pretty prolific for me getting these reviews written and published.
Vanya #7 cover done by Sean Joyce. Image from the Bad Bug website.
My review of issue seven of the neo-jungle girl series Vanya is now online and can be read here. Technically, I am now all caught up on this series! I do have a PDF of issue eight, but not the physical copy and associated Kickstarter swag, and since I like to cover that sort of stuff, a review of issue eight will have to wait until it arrives (which should be in the near future).
Upcoming: Interview with Jeff Mariotte
Want to give a heads up to my readers to come back this Wednesday. I conducted an interview with Jeffrey Mariotte and it is going online on the 6th! You don’t want to miss it!
UncoveringStranger Things – Italian Edition
Uncovering Stranger Things, edited by Kevin Wetmore and published by McFarland in 2018 (see their product page here) now has an Italian edition!
Publisher Cue Press has published a translated version of this collection (it looks like back in 2023?) and here is the cover art:
Italian edition of Uncovering Stranger Things published by Cue Press.
I segreti di Stranger Things can be purchased at Cue Press at this link here. If you want to read my essay about Stranger Things and synthwave music in Italian, it is called “Notti perse e giorni pericolosi: Il disfacimento delle relazioni fra Stranger Things e synthwave” in this publication. Check it out for sure!
Aside from a brief snippet of my Castle of Blood/Danza Macabra masters thesis being translated into French (see below!), this is the first time something I’ve written has appeared in another language (in its entirety). Career milestone unlocked!
Panthans Journal #339
The newest issue of the The National Panthans Journal has been published. This issue contains a re-print of my review of issue two of the adult/neo-jungle girl series Vanya: The Lost Warrior. Of course my write up can also be read at my website here.
National Capital Panthans #339.
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 AT gmail.com in a Word document for consideration.
Sincere appreciation to Laurence for the opportunity to have my work published in the journal.
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 there with the 7th U.S. Cavalry 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 the flyer for the 2025 event:
Flyer for the Edgar Rice Burroughs Circle of Friendship (ECOF) Gathering in Willcox, AZ 2025.
Here is the press release:
RENOWNED AUTHOR EDGAR RICE BURROUGHS’ CAVALRY SERVICE TO BE MEMORIALIZED IN WILLCOX, AZ
“Tarzan” Creator and Pop Culture’s Influential “Grandfather of Science Fiction and Fantasy” Commemorated for His 150th Birthday.
WILLCOX, AZ – The renowned “Master of Adventure” Edgar Rice Burroughs started his adult life as a cavalryman at Arizona’s Fort Grant in May of 1896. This September, as part of the late author’s 150th birthday celebration, his cavalry service will be memorialized with a monument at the restored Southern Pacific train depot in Willcox, where he arrived on his way to Fort Grant (35 miles north).
The influential creator of Tarzan of the Apes, John Carter of Mars, and The Land That Time Forgot series of stories wrote in his “Autobiography” that he specifically requested “to be sent to the worst post in the United States” and was then promptly assigned to Fort Grant in Arizona Territory, where his troop would spend some time hunting after the Apache Kid and other outlaws.
Many believe that Burroughs’ initial stay in Arizona influenced his first Martian story, Under the Moons of Mars, which begins with the first chapter titled “On the Arizona Hills.” The John Carter Martian stories would go on to influence generations of science fiction and fantasy books and movies, and would inspire many young people to become scientists, engineers, and astronauts. He would later author the books The War Chiefand Apache Devil, both set in Arizona during the Apache Wars of the 1860s – 1880s.
This Willcox Edgar Rice Burroughs Chain of Friendship (ECOF) Gathering will take place from September 25 to 28, 2025, with the 7th Cavalry Historical Monument formal dedication ceremony on Saturday, September 27th from 10:00 AM – 12:00 Noon near the historic Southern Pacific Railroad Depot.
The monument dedication at the Willcox train depot will include guest speakers and participation of local Buffalo Soldier reenactors. All other convention events will take place at the Elks Lodge #2131 in Willcox, and will include discussion panels, a “huckster” (vendor) room, Guest of Honor and speaker Jeffrey J. Mariotte (author of Tarzan and the Forest of Stone), Edgar Rice Burroughs, Inc. speakers, a Saturday night banquet/ dinner, a Tarzan movie screening, and other surprises.
These events are sponsored by the Sulphur Springs Valley Historical Society and the Apache Devils chapter of The Burroughs Bibliophiles. The celebration is open to the public for free (except for the dinner and movie), but full attendees can register for a fee that covers a goodie bag, a huckster table, and the Saturday dinner.
This is a must-attend event for fans of Edgar Rice Burroughs and pop-culture historians alike. If you’d like to visit the place where it all began, don’t miss this very special celebration. (Note that some convention activities will require full event registration – the registration form is provided separately.)
The Holiday Inn Express & Suites Willcox is offering a special daily room rate of $119 plus taxes for the nights of 25 to 27 September for attendees. The group name is “ECOF.” You can make reservations at this rate by calling the hotel at (520) 384-3333; rooms are limited. The address is 1251 N. Virginia Ave, Willcox, AZ 85643.
If you would like more information about the 2025 ECOF event, please call Frank Puncer at 520.281.1818, or email him at fwpuncer at gmail dot com.
Michele and I will be in attendance for this convention, so I’ve added it to the appearances section of my website as well. I’ll be doing a presentation on Tarzan as a Maciste-like peplum character in Tarzan and the Lost Empire. Hope to see yall there!
Publishing Recap
Below is a recap of my external publishing endeavors so far in 2025.
Panthans Journal #332
Comic Book Review: “The Moon Maid: Catacombs of the Moon #2″ reprinted in the National Capital Panthans Journal #332.
Panthans Journal #333
Comic Book Review: “The Moon Maid: Catacombs of the Moon #3″ reprinted in the National Capital Panthans Journal #333.
Panthans Journal #335
“Tarzan Cocktail: Deconstructed – Reconstructed” reprinted in the National Capital Panthans Journal #335.
“There’s Always Room” in Merry Creepsmas: The Red Book. Edited by Parth Sarathi Chakraborty. Wicked Shadow Press, 2025.
Burroughs Bulletin #109
“Tagliolini al Tarzan: Interview with Actress Bella Cortez on Taur the Mighty” in The Burroughs Bulletin #109. Edited by Henry Franke III. February, 2025.
Calls for Papers/Proposals
Here are some new pop culture CFPs that have crossed my path or I am sharing on behalf of my colleagues. Links to these will also be in the CFP page on the navigation bar.
Twainian Regeneration: Adaptations of the Works, Life, and Legacy of Mark Twain
This session is sponsored by the Mark Twain Circle of America.
American author Samuel Langhorne Clemens (1935-1910) achieved lasting fame as Mark Twain, an identity that served as both his pen name and the persona he cultivated for the public. Twain’s writings and his distinctive character have dispersed across time and space, and the resulting Twainian tradition incorporates these elements in many ways.
Importantly, his works and iconography have long been the focus of adaptation. This process begins with the illustrations commissioned for the initial publication of his texts, Twain’s own attempts to rework and expand his stories, and contemporary caricatures of his person, and it continues with retellings of Twain’s stories, linked texts (such as prequels, midquels, and sequels) connected to his work, recastings and restagings of his tales, and new adventures for Twain himself. These adaptations, appropriations, and transformations of Twain appear in diverse forms and formats including anime series, artworks, cartoons, comics, films, games, historical fiction texts, home video releases, graphic novels, illustrations, memorials, musical theater productions, mysteries, performances, plays, radio broadcasts, science fiction works, sculptures, song lyrics, stamps, television programming, theme park attractions, and tourist sites.
Each adaptation regenerates aspects of Twain for new audiences revealing fresh insights into the reception of his works, life, and legacy. They also highlight both the timelessness of Twain as well as his timeliness for the present of each new text that his writings and his person have inspired. A resource guide for the session can be accessed at https://tinyurl.com/TwainianRegenerationRG.
We seek proposals that engage with these texts in the belief that each adaptation regenerates aspects of Twain for new audiences revealing fresh insights into the reception of his works, life, and legacy and highlighting both the timelessness of Twain as well as his timeliness for the present of each new text that his writings and his person have inspired.
Friday and Saturday, October 17–18, 2025 (Eastern Time) Virtual conference (digiHPAC)
Deadline for proposals (academics & community members): September 1, 2025
ABOUT: The Harry Potter Academic Conference returns for its 14th annual gathering, which will be a fully online format known as digiHPAC. We are a non-profit, interdisciplinary conference that provides a forum for scholarly inquiry surrounding the Harry Potter literature and related cultural phenomenon. Open to scholars of any experience level, from established academic researchers to community members and students, this is a space curated to be inclusive and welcoming to all. The conference is held in person at Chestnut Hill College in Philadelphia in even-numbered years and online in odd-numbered years.
PRESENTATIONS: digiHPAC presentations are presented over Zoom, live or pre-recorded, in 30-minute windows (20 minutes for presentations and 10 minutes for Q&A). Panel discussions, teaching sessions, or other alternative proposals may request a longer presentation time. Topics can include, but are not limited to, close textual criticism, diversity and inclusion, psychology, philosophy, political science, and film, music, religious, and fandom studies. Past presentations have been accepted on the Harry Potter book and film series, the Fantastic Beasts film series, and the Potterverse in dialogue with other works. More information about HPAC can be found at harrypotterconference.com.
PROPOSALS: Please submit abstracts of 150–250 words describing your proposal at harrypotterconference.com/submit. Multiple abstracts may be submitted but will be evaluated individually. Submission deadline is September 1, 2025, and acceptance notifications will be sent by mid-September 2025. Any questions? Please email Patrick McCauley (mccauleyp@chc.edu) and copy harrypotterconference@gmail.com.
Please see our website for HPAC’s statement on our commitment to maintaining an LGBTQIA2S+ inclusive space in the fandom.
Cinema’s First Epics in Focus: Silent Epic Film from Literary Adaptation to Contemporary Epic Narratives
Though epic cinema is most commonly associated with the mid-century triumphs of Hollywood, its origins extend far deeper into the history of the medium, reaching back to the earliest days of film, long before the advent of sound. The first documented uses of the term “epic” in relation to film stem from the nascent Italian industry, where monumental productions like L’Odissea (1911, dir. Francesco Bertolini, Giuseppe de Liguoro, Adolfo Padovan) not only astonished audiences with unprecedented scale but employed vast promotional efforts to assert a distinctly national— and as Maria Wyke and Pantelis Michelakis have noted, overtly nationalistic—cinematic identity. This movement towards epic during the silent era, often drawing inspiration from classical epic poetry and Christian narrative, has been understood to be important in the broader context of the nationalist fervor that swept through Europe in the years leading up to and following the First World War, yet has been curiously overlooked by film scholars, due in large part to the fragility of early film materials and inconsistent archival practices which have led to the loss of many key works. This neglect is particularly regrettable when we consider that the silent epic was central to the major artistic and ideological shifts that defined the early cinematic project, deeply enmeshed in the ontological debates over cinema’s status as a visual and rhythmic art—debates that were especially vibrant in early French and German cinema—and later in the drive toward naturalism that would come to dominate Hollywood, championed by figures such as André Bazin and Siegfried Kracauer. The continued presence of the epic, from the silent era through to the sound era, underscores its fundamental role in cinema’s dialogue with other arts as well as its longitudinal development, and in recognizing the centrality of early epics to the history of film, this edited volume seeks to reassert their study, not only as historical artifacts but as key contributions to an ever-evolving art of cinema.
Building on the conversations initiated during the Cinema’s First Epics in Focus conference (May 2025), we aim to build a comprehensive edited volume which gathers a selection of expanded papers from the event, complemented by new scholarly contributions that critically engage with the silent epic and its reverberations across film history, media theory, and related fields. We hope to move beyond the framework of film philology completely, opening up the field to more interdisciplinary approaches that consider aesthetics, temporality, material culture, and the shifting meanings of “epic” across media in interconnected relation. We believe this collection would fill a significant gap in the scholarship and could serve as a foundational reference for future work on both epic and early cinema as, to our knowledge, no existing volume addresses the silent epic across such a broad yet coherent set of methodologies and global perspectives. We are particularly interested in contributions that interrogate the intersections between epic form and silent cinema through innovative and open methodologies—whether from film and media studies, classical reception, visual culture, performance studies, or archival research. By foregrounding these diverse perspectives, the volume seeks to move beyond narrowly textual or genealogical approaches, and instead open up a wider discursive field through which the silent epic can be understood as a transmedial and transhistorical phenomenon.
While the volume retains the conference’s original focus on adaptation, national identity, cinematic scale, and the episteme of early film, the discussions brought forth by participants have revealed key thematic axes that we now wish to foreground:
Genre:
The volume seeks to examine the epic as a contested and evolving genre. Contributions may explore the tensions between prescriptive and descriptive models of genre, the shifting boundaries between epic and tragedy across media, and the historical and theoretical slippages in the definition of “epic” across literature, cinema, and other arts. We welcome work that revisits classical, romantic, and modern theories of genre in light of early cinematic practice.
Time and Temporality:
Essays may address the intersections between epic time and cinematic time, considering how film reconfigures notions of epic duration, rhythm, and repetition. We are particularly interested in studies that employ film theoretical methodologies—such as montage theory—to reframe literary epic, and vice versa.
Material Culture and Reception:
We encourage research on the material and institutional contexts of silent epic film: distribution networks, live musical accompaniment, promotional ephemera, newspaper reception, and archival challenges. To what extent do these material elements participate in constructing the epic as a form? How might production and reception conditions shape our understanding of the epic mode in film? How important was this surrounding context for the epic’s formation as a cinematic mode in the silent era?
The Silent Era:
What makes the silent period uniquely generative for the epic form? We invite proposals that attend to the technological, stylistic, social, economic and industrial specificities of the silent era, and their formative impact on the emergence of cinematic epic traditions.
Adaptation and Intermediality:
How are epic modes rearticulated through the visual and narrative strategies of early film? What happens to epic’s narrative authority, scale, or temporality when it migrates across media? How does medial transposition function for the epic—what is gained, lost, or transformed in the process of adaptation? We welcome contributions that consider the semiotic logics at work in each medium and how these shape the reception and reinterpretation of epic structures, characters, and themes.
Identity:
We welcome analyses of the epic as a cultural and political form, examining how epic narratives serve as mediators of national, social, or class identity. How does the epic negotiate questions of inclusion, exclusion, and transformation within diverse sociopolitical contexts, both in its production and reception?
In addition to these central themes, the volume remains open to broader considerations of silent epic film, including (but not limited to):
Representations of mythological, biblical, or historical themes;
National cinemas and epic aesthetics;
Theatricality, realism, and expressionism in silent epic form;
Gender, class, ethnicity, colonialism, and spectatorship in early epic cinema;
Archival recovery and the status of lost or restored epic films;
Scale and mise-en-scène in silent epic film;
Modern cinema and silent epic film;
Comparative studies of silent epic film, particularly on marginal or non-angloeuropean film.
We are currently preparing a formal book proposal to be submitted to a major academic press, with Blackwell and Routledge among our intended publishers.
Submission Details:
Please submit your complete text (maximum of 8000 words), along with a short biographical note (max. 150 words), to the editors by September 15th, 2025. Contributions may be written in English, French, Spanish, or Portuguese, but accepted papers must be submitted with an English version for publication.
Contact:
Vítor Alves Silva (University of Porto) – up202204445@up.pt
João Paulo Guimarães (University of Porto, ILCML) – guimaraesjpc@gmail.com
Larson Powell (University of Missouri Kansas City, Curators’ Distinguished Professor of Film – Emeritus) – powelllar@umkc.edu
We look forward to receiving your proposals and continuing the vibrant conversations sparked by the conference.
Miscellaneous Tidbits
Some fun things I shared online from these past few weeks. Highlighting things from my personal collection of pop culture artifacts. Or artifacts I’m digging out of the archive. Just, general cool or unique things to show off.
Autographs from the Archive
Here are some autographed treasures I’ve shared on social media recently.
Lord of the Rings (Bakshi Version)
Decades before Peter Jackson amazed audiences with his Lord of the Rings trilogy, Ralph Bakshi put out the rotoscoped masterpiece of The Lord of the Rings. I’m a huge Bakshi fan (Cool World FTW!), and I remember watching this movie when I was young and, frankly, being kind of terrified by it.
Personal copy of the Ralph Bakshi Lord of the Rings film, signed by Peter S. Beagle and Steven E. Gordon.
Anywho, I met Bakshi once, at SDCC back in 2006, where he signed some of my other movies, but at the time I didn’t have a copy of LOTR. However, in the years since I’ve procured a copy and had it signed by two folks.
The first is Peter S. Beagle, author of The Last Unicorn, but who also did the screenplay of the Bakshi LOTR. He was a guest at a Glendale Vintage Paperback Show where he signed my DVD.
Next animator/cartoonist Steven E. Gordon sign my DVD. Gordon worked with Bakshi on a couple of projects (like Fire and Ice). He is a staple of the different comic book conventions in the LA area. He did a pinup girl commission for me one time – I’ll have to share that!
New Sword and Sandal Acquisitions
The ever growing peplum research library grows with these recent sword and sandal films acquisitions.
Hercules and Hercules Unchained Blu-rays
Hercules (1958) and Hercules Unchained (1959) have two brand new HD/Blu-ray releases from Artus films! Check these bad boys out:
Hercules and Hercules Unchained Blu-rays from Artus Films.
As far as I can tell (looking at dvdcompare.net) there has not been an English/state-side Blu-ray release of either Hercules or Hercules Unchained yet (which is rather strange since they are iconic, important films in the peplum genre). So if you want a Blu-ray of these films, Artus seems to be the only release currently (but there is no English audio or subtitled on either). PeplumTV.com has a few musings about the possible print source of these releases, which can be read here.
News from Friends
Cool kids I know have been busy lately! Here are some signal boosts I’d like to give out.
New Fan2Fan Episodes
Bernie and Pete have some new episodes of their Fan2Fan podcast online.
Cyanide Constellations and Other Stories (Photo provided by Sara Tantlinger)
Sara’s new book can be pre-ordered from Dark Matter Ink – here is the book’s product page. The release date is October 21st, just in time for Halloween!
Vanya, Serah, Niya, and Guy are four soldiers from the future trapped in the prehistoric past, surviving against dinosaurs, savage humanoids, and the Torridians, a race of warrior aliens hellbent on conquering humanity. Their adventures have taken them across the jungle primeval, and they are eventually captured by the Bone Tribe, a cult of barbarians that Niya was a part of, who engage in sexual rituals in order to hatch a Torridian Dragon. The Bone Tribe outfit Serah and Guy with cranial implants that link them to a network shared by the cybernetic dinosaurs unleashed by the Torridians. The four eventually make their escape from the Bone Tribe and part different ways: Vanya and Serah trek to one of humanity’s outposts while Niya and Guy attempt to hide the Torridian Dragon Eggs they absconded with.
Vanya #7 cover done by Sean Joyce. Image from the Bad Bug website.
Issue 07 Plot
Looks can the deceiving as it turns out the war being raged by the Torridians is not going well. There is a plague that has decimated the Torridian numbers, pushing General Tora into making a hasty decision to press on the attack, bolstered by their cybernetically outfitted dinosaurs.
At Terran Base Alpha, Serah, still receiving visions from her implant due to it being connected to a network of dinosaurs and savages, recovers in an infirmary. The alien Relo Quarr, a combat strategist, informs Vanya about the Torridian plague and the Torridian Dragons.
The Witch of the Bone Tribe.
Niya and Guy are apprehended by Elah and the Astral Guard who also have an interest in the Torridian Dragon eggs. Their efforts to retrieve the eggs that Niya had hidden are thwarted by the Witch of the Bone Tribe, who seeks to fulfill a prophecy that will allow her to ascend to becoming a powerful queen while an intergalactic war rages about.
Commentary
The transition from issue six to issue seven of Vanya is jarring to say the least as there are multiple jump cuts in the plot.
The first huge leap is the Torridian plague that has, as one of General Tora’s subordinates states, reduced their attacking force to a third of its size. All the prior issues of Vanya have shown the Torridians decimating the humans, and out of the blue, one page into issue seven, it turns out the Torridians are actually the ones being wiped out. It is a War of the Worlds type situation going on. It is not unwelcomed in the narrative at all, it just so suddenly pops up into the narrative.
The second leap involves Vanya and Serah who are at a titanic military base called Terran Base Alpha. In the prior issue, the last panel that featured Vanya and Serah show them walking through the jungle, passing by a giant alligator snapping the neck of a dinosaur, as they make their way to Outpost Nine. Issue seven fast forwards to Serah in an infirmary, with Vanya chatting with the newly introduced Quarr. It feels like there is a bit of retconning going on (Outpost Nine to Terran Base Alpha) and that a chunk of story is missing. Even if the rest of Vanya and Serah’s journey to the outpost was uneventful, there is a transition that feels missing.
Once readers can get their bearings straight on both of those narrative threads, issue seven begins to make the bigger picture of the Vanya comic as a whole much more cohesive. Motivations are made more overt on why characters are doing what they are doing, but also in the process, using the prophecy of the Witch from the Bone Tribe sets it up so that all the major players of the comic (Vanya and company, the Astral Guard, the Torridians, the Bone Tribe members, and so on) can begin to converge. The Vanya series started with a fun, albeit shotgun approach of tossing all these genre ingredients (time travel, space travel, dinosaurs, jungle women, robots, lots of sexploitation, etc.) into the story cauldron. Issue seven is doing the heavy lifting at glueing everything together.
As predicted in issue six, the Astral Guard are just bluster. Elah tries to project an aura of superiority over the captured Niya and Guy, but in her over confidence she is easily fooled. She and her Astral Guard (which are supposed to be the best of the best of the best, the very same elite school of soldiers Vanya was training to be) are led right into an exploding trap while looking for the Torridian Dragon eggs. The explosive trap that Niya placed in the prior issue going off does raise an eyebrow as Niya is also hurt in the process. Did she forget about the trap? Did she try to lead the Astral Guard to the trap so she and Guy could escape, and she underestimated its blast radius? Did the Bone Tribe Witch move the explosive, which is why everyone got hurt by it? Regardless, the high-tech Astral Guard, who are escorting two prisoners who they deem as deserters and probably untrustworthy, who *should* be hyperaware of everything around them in the hostile, primitive world, are easily dispatched by Niya’s (the Witch’s) trap. If it was not for the aforementioned plague, the Torridans could have laid waste to humanity as the Astral Guard have been lackluster at responding to their force.
The Bone Tribe Witch coming back as a major antagonist is a delight. She appears much more formidable, scheming, and that she has it together – composed. She has a trio of sabretooth tigers with her that are under her control, which does introduce an interesting alternative perspective to prior events in the story. Back in issue two there is a sabretooth tiger stalking Vanya and company, who reappears with companions in issue five and attacks the Bone Tribe, providing a deus ex machina for Vanya to escape. This initial take away may not actually have been the case. Instead, it could have been the Bone Tribe Witch from the beginning, using her network of sabretooth tigers to monitor the world (and thus end up keeping tabs on Vanya), and it was not a stalking cat that chose to attack the Bone Tribe in its pursuit of Vanya, but that it was actually at the bidding of the Bone Tribe Witch to usurp the Bone King. If this turns out to be the case, that is a major bravo reveal. And if not, well, The Bone Tribe Witch is still a commanding character, much more so than Elah or General Tora.
Relo Quarr and Vanya.
Finally, issue seven does introduce a new character, the alien Relo Quarr. Previously the interstellar conflict seemed to be humans vs. the Torridians, but Quarr mentions the Galactic Alliance, which places the Vanya series more in a Star Trek Federation vs. Klingons type setup. Quarr himself looks like a combination of a Lord of the Rings elf and a Turian from the Mass Effect series of games. In other words, he looks pretty cool. But not nearly as cool as the final panel of the issue that finally reveals a Torridian Dragon that looks straight up like a sinister Balrog from LOTR.
Covers and Swag Impressions
The Kickstarter for issue seven of Vanya was concluded in April of 2024, with physical orders shipping in October later that year. Cover-wise, there are eleven different covers, some only obtainable as an add on. The covers all have a mix-mash of non-nude covers, topless-only, all nude, holofoil, and metal variants. All told there are thirty different cover incarnations.
Sean Joyce returns from issue six to do the standard cover for issue seven, bringing his sword and sorcery style with him. There is a gothic quality to Joyce’s cover, as Vanya stands, spear in hand, against the night sky, with a full moon and silhouettes of pterodactyls fly about. Replace the volcano with a castle and the flying reptiles with bats, and this cover oozes gothic sentiments.
Personal copy of Vanya #7 cover done by Aleriia V.
The best cover of issue seven goes to Aleriia V who depicts the most vibrant Vanya yet. V’s Vanya goes all in on the jungle girl cheesecake style but executes them in a way that gives the cover art an oil painting-like quality. The cover shows Vanya bathing in a waterfall and makes it a great companion piece to the Bruno Sousa / Tommy Shelton cover for issue three which also shows a bathing Vanya.
Cosplay prints of Alaina Rose Lee as Vanya.
Vanya issue seven is the first time the series has branched out and done cosplay covers, with pinup model Alaina Rose Lee gracing a set of four covers available as an add-on set [NOTE: Alaina Rose Lee was featured in the inaugural issue of Bachelor Pad’s “Nylon Nightcap” series. My write up about that issue can be read here]. Other pictures from the Alaina/Vanya photoshoot became prints as part of the issue’s Kickstarter swag.
Vanya Tarot Card and Xenogeist advert.
The final bit of swag for issue seven (unless one contributed over $50 in which they also received a sticker set) is an advert for Bad Bug’s Xenogeist series and a Vanya tarot card. These tarot cards have been neat to receive, and hopefully Bad Bug makes an actual tarot deck available in the future. The tarot card for this issue is for The Hanged Man. It shows Vanya swinging on a vine, with a blue-scaled tyrannosaur behind here, and an exploding volcano in the distance. The art on this card does match the name of the card, with Vanya hanging from a vine (the Rider-Waite shows a man hanging upside down from a tree).
Conclusion
Despite having to orient oneself with some jarring jump cuts between issue six and this one, issue seven is a quintessential issue in the Vanya story. The introduction of the Torridian plague, the reveal of the Torridian Dragon, and the arrival of a competent villain (the Bone Tribe Witch) and beefer human allies (Quarr), it looks that the Vanya series is trying to rebalance itself. This is going to become critical because future issues are going to have to juggle a huge conflict with lots of moving pieces if the Witch’s prophecy comes to fruition. It is going to be exciting.
For more information on Vanya and the comic’s creative team, check out the links below:
Standard cover of Vanya #6 by Sean Joyce. Image from Bad Bug website.
And next is my review of Vanya issue six which can be read here. I’m two issues away from being caught up on the currently published issue of Vanya (which is issue eight of the twelve issue series).
Double excited (along with this outburst of getting writing done) that my reviews of Vanya are starting to be reprinted! See next section.
Panthans Journal #338
The newest issue of the The National Panthans Journal has been published. This issue contains a re-print of my review of issue one of the adult/neo-jungle girl series Vanya: The Lost Warrior. Of course my review can also be read at my website here.
Panthans Journal #338
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 AT gmail.com in a Word document for consideration.
Sincere appreciation to Laurence for the opportunity to have my work published in the journal.
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 there with the 7th U.S. Cavalry 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 the flyer for the 2025 event:
Flyer for the Edgar Rice Burroughs Circle of Friendship (ECOF) Gathering in Willcox, AZ 2025.
Here is the press release:
RENOWNED AUTHOR EDGAR RICE BURROUGHS’ CAVALRY SERVICE TO BE MEMORIALIZED IN WILLCOX, AZ
“Tarzan” Creator and Pop Culture’s Influential “Grandfather of Science Fiction and Fantasy” Commemorated for His 150th Birthday.
WILLCOX, AZ – The renowned “Master of Adventure” Edgar Rice Burroughs started his adult life as a cavalryman at Arizona’s Fort Grant in May of 1896. This September, as part of the late author’s 150th birthday celebration, his cavalry service will be memorialized with a monument at the restored Southern Pacific train depot in Willcox, where he arrived on his way to Fort Grant (35 miles north).
The influential creator of Tarzan of the Apes, John Carter of Mars, and The Land That Time Forgot series of stories wrote in his “Autobiography” that he specifically requested “to be sent to the worst post in the United States” and was then promptly assigned to Fort Grant in Arizona Territory, where his troop would spend some time hunting after the Apache Kid and other outlaws.
Many believe that Burroughs’ initial stay in Arizona influenced his first Martian story, Under the Moons of Mars, which begins with the first chapter titled “On the Arizona Hills.” The John Carter Martian stories would go on to influence generations of science fiction and fantasy books and movies, and would inspire many young people to become scientists, engineers, and astronauts. He would later author the books The War Chiefand Apache Devil, both set in Arizona during the Apache Wars of the 1860s – 1880s.
This Willcox Edgar Rice Burroughs Chain of Friendship (ECOF) Gathering will take place from September 25 to 28, 2025, with the 7th Cavalry Historical Monument formal dedication ceremony on Saturday, September 27th from 10:00 AM – 12:00 Noon near the historic Southern Pacific Railroad Depot.
The monument dedication at the Willcox train depot will include guest speakers and participation of local Buffalo Soldier reenactors. All other convention events will take place at the Elks Lodge #2131 in Willcox, and will include discussion panels, a “huckster” (vendor) room, Guest of Honor and speaker Jeffrey J. Mariotte (author of Tarzan and the Forest of Stone), Edgar Rice Burroughs, Inc. speakers, a Saturday night banquet/ dinner, a Tarzan movie screening, and other surprises.
These events are sponsored by the Sulphur Springs Valley Historical Society and the Apache Devils chapter of The Burroughs Bibliophiles. The celebration is open to the public for free (except for the dinner and movie), but full attendees can register for a fee that covers a goodie bag, a huckster table, and the Saturday dinner.
This is a must-attend event for fans of Edgar Rice Burroughs and pop-culture historians alike. If you’d like to visit the place where it all began, don’t miss this very special celebration. (Note that some convention activities will require full event registration – the registration form is provided separately.)
The Holiday Inn Express & Suites Willcox is offering a special daily room rate of $119 plus taxes for the nights of 25 to 27 September for attendees. The group name is “ECOF.” You can make reservations at this rate by calling the hotel at (520) 384-3333; rooms are limited. The address is 1251 N. Virginia Ave, Willcox, AZ 85643.
If you would like more information about the 2025 ECOF event, please call Frank Puncer at 520.281.1818, or email him at fwpuncer at gmail dot com.
Michele and I will be in attendance for this convention, so I’ve added it to the appearances section of my website as well. I’ll be doing a presentation on Tarzan as a Maciste-like peplum character in Tarzan and the Lost Empire. Hope to see yall there!
Publishing Recap
Below is a recap of my external publishing endeavors so far in 2025.
Panthans Journal #332
Comic Book Review: “The Moon Maid: Catacombs of the Moon #2″ reprinted in the National Capital Panthans Journal #332.
Panthans Journal #333
Comic Book Review: “The Moon Maid: Catacombs of the Moon #3″ reprinted in the National Capital Panthans Journal #333.
Panthans Journal #335
“Tarzan Cocktail: Deconstructed – Reconstructed” reprinted in the National Capital Panthans Journal #335.
“There’s Always Room” in Merry Creepsmas: The Red Book. Edited by Parth Sarathi Chakraborty. Wicked Shadow Press, 2025.
Burroughs Bulletin #109
“Tagliolini al Tarzan: Interview with Actress Bella Cortez on Taur the Mighty” in The Burroughs Bulletin #109. Edited by Henry Franke III. February, 2025.
Calls for Papers/Proposals
Here are some new pop culture CFPs that have crossed my path or I am sharing on behalf of my colleagues. Links to these will also be in the CFP page on the navigation bar.
Peter Straub: New Critical Perspectives
In his introduction to John C. Tibbetts’s The Gothic Worlds of Peter Straub (2016)—the only academic, book-length study of Straub’s fiction currently in print—Gary K. Wolfe argues that “[p]erhaps more than any author of his generation—Stephen King included—Straub extended the literary possibilities of horror fiction.” Despite Peter Straub’s legacy as a leading figure in late twentieth- and early twenty-first-century horror fiction, and his influence on dark fiction writers ranging from Caitlín R. Kiernan to Stephen Graham Jones, there is currently a scarcity of scholarship on his oeuvre. Since his passing in September 2022, Straub’s work has seen increased attention. Penguin Random House is rereleasing most of his books in 2025 and Subterranean Press is scheduled to publish his unfinished final novel, Wreckage, later this year. Stephen King, who co-authored The Talisman (1984) and Black House (2001) with Straub, recently announced that he has completed the final instalment in their collaborative trilogy, and in 2022, Emma Straub published This Time Tomorrow, a celebrated novel about her father.
Mike Thorn is collaborating with the University Press of Mississippi to publish Peter Straub: New Critical Perspectives, which will offer the first multiple-authored academic anthology on Peter Straub. This volume will provide an array of critical perspectives on Straub’s robust body of work, addressing the author’s place in the Gothic and Weird traditions and examining his thematic fixations, including national and individual traumas; abusive mentors and authority figures; supernatural manifestations of material misdeeds; America’s mythologizing of serial killers; the fraught distinctions between “literary” and “commercial” fiction; the vexing instability of assumed “truths” and “realities”; and the infinitely complex nature of narrative as such—its formal malleability, its capacity for phenomenological and ontological rupture, its social functions, and its potentials and dangers. The collection will address Straub’s previously understudied pre-Gothic poetry and novels, Marriages and Under Venus, as well as his popularly celebrated and award-winning novels (including Ghost Story,Floating Dragon, and Koko), his collaborations with Stephen King (The Talisman and Black House) and his short stories and critical essays. The book will be geared towards a broad readership—from undergraduate and graduate university students, to interested general readers, to scholars and researchers seeking original insights into Straub, the American Gothic, and horror fiction writ large.
Mike Thorn seeks proposals of 200-250 words for essays (5000-7000 words) on or related to the topics listed below. He is especially interested in essays addressing multiple Straub-authored novels and stories, and in analyses of under-studied works, such as Straub’s poetry collections; Marriages; Under Venus; If You Could See Me Now; Mr. X; and In the Night Room. He might consider close readings of individual novels or stories in some cases, but he will give preference to proposals referencing multiple texts. Submit abstract submissions and queries to mikethorn@live.com.
Chapter Topics
Pre-Gothic Straub: On the Poetry and Early Literary Novels: Proposals should address Marriages and Under Venus; they might also draw on Straub’s poetry collections.
The Early American Gothic Sequence: Proposals should address Julia, If You Could See Me Now, and Ghost Story.
Narrative Unreliability and Genre-Slipperiness: On Straub’s “Blue Rose” Novels: Proposals should address Koko, Mystery, and The Throat; they might also consider The Juniper Tree and Other Blue Rose Stories.
Straub Gets Weird: On Straub’s Engagements with H. P. Lovecraft and the Weird Tradition: Proposals should address the novels Mr. X and Floating Dragon. They might also consider A Dark Matter, The Talisman, or other novels or stories deemed Weird or Weird-adjacent.
American Serial Killer Mythologies: Proposals should address The Hellfire Club and A Special Place. They might also consider other novels or short stories depicting serial killers, including the “Blue Rose” novels (Koko, Mystery, and The Throat), Black House, Mr. X, “A Short Guide to the City” and “Bunny is Good Bread.”
The Metafictional Straub: Intertextuality and Narrative Self-Reflection: Proposals should address lost boy lost girl and In the Night Room. They might also address the preceding Timothy Underhill “Blue Rose” novels (Koko, Mystery, and The Throat) and other metafictional works, such as The Buffalo Hunter and The Hellfire Club.
Straub’s Short Fiction: Proposals should address at least one story or novella from each of the following collections: Houses Without Doors; Magic Terror; Interior Darkness.
Writers and Writing in Straub’s Fiction: Proposals should address The Hellfire Club and at least one of the Timothy Underhill novels (Koko, Mystery, The Throat, lost boy lost girl, and In the Night Room). They might also consider Ghost Story or other novels and stories representing writers and writing, including “The Juniper Tree” and “The Geezers.”
Gothic Trauma: Proposals should explore depictions of individual and collective trauma in Peter Straub’s fiction. They might address personal traumas in stories and novels like “The Juniper Tree”, “Bunny is Good Bread”, Julia, If You Could See Me Now, Ghost Story, Under Venus, The Hellfire Club,and A Dark Matter, and/or representations of PTSD and the Vietnam war in Koko, The Throat, and “The Ghost Village.”
Nonfictional Straub: Critical Commentary and Curations: Proposals should consider some of the author’s essays and introductions compiled in Sides, Conjunctions, Poe’s Children, “Beyond the Veil of Vision: Peter Straub and Anthony Discenza”, and American Fantastic Tales.
Straub’s Literary Legacy and Influence: Proposals should place Straub’s work in conversation with his literary ancestors. Proposals should examine one or more of Straub’s novels or stories in tandem with one or more works by Kelly Link, Caitlín R. Kiernan, Elizabeth Hand, Stephen Graham Jones, Brian Evenson, or another high-profile fiction writer who has publicly cited Straub’s influence.
Preliminary Publication timeline
Deadline for proposals: November 30, 2025 Deadline for papers: January 1, 2027 Editor feedback: March 1, 2027 Deadline for final, revised papers: July 1, 2027 Manuscript submitted to University Press of Mississippi: September 1, 2027 Tentatively scheduled publication date: September 2028
Editor Biography
Mike Thorn, PhD, is the author of Shelter for the Damned, Darkest Hours, and Peel Back and See. His scholarship has been published or is forthcoming in American Gothic Studies, The Oxford Handbook of Shirley Jackson, The Weird: A Companion, American Twilight: The Cinema of Tobe Hooper, Thinking Horror: A Journal of Horror Philosophy, and elsewhere. He co-hosts the writing-themed Craftwork podcast with Miriam Richer.
Miscellaneous Tidbits
Some fun things I shared online from these past few weeks. Highlighting things from my personal collection of pop culture artifacts. Or artifacts I’m digging out of the archive. Just, general cool or unique things to show off.
Autographs from the Archive
Here are some autographed treasures I’ve shared on social media recently.
Venus Die-Trap
This is a hot off the press movie release. Venus Die-Trap (great name, and great movie art) was crowdfunded via Indiegogo last year I believe.
Personal copy of Venus Die-Trap signed by Bobby Canipe Jr.
I put some monies toward the campaign because the film is partially scored by Philippe Gerber, the mastermind of John 3:16 and also the composer of the H. P. Lovecast Podcast Theme (which can be found at Bandcamp). Congrats to Philippe for being part of the score, that it awesome!
Venue Die-Trap was published by SRS Media, but they don’t seem to have a product page for it yet. Here is the link to the Indiegogo campaign, which may allow purchases of copies. Check it out!
The Return of the Living Dead
July 3rd, 1984, 5:30 pm EST – the opening time stamp of The Return of the Living Dead, one of the most famous and influential zombie films out there. So, of course, when July 3rd rolls around, social media is aflutter with screen caps to celebrate the movie.
Personal copy of the glow in the dark collector’s edition of The Return of the Living Dead autographed by Clu Gulager.
But, I want to do one better. Here is my DVD version of The Return of the Living Dead, that has a Glow in the Dark paper slipcase (check out that Best Buy sticker still on it after all these years), and autographed by cult film actor icon Clu Gulagar, who I got to meet as a Monsterpalooza event way back in 2021. Punk as fuck
And, as a reminder, do check out my autographed copy of The Return of the Living Dead Part 2which I shared back in April.
Armageddon Dildos Autograph Collection
Back in the late 2000s one of my favorite bands, Armageddon Dildos, did a small tour in America with other industrial act Inertia. Their show was in Seattle, in the middle of the week, and it was fairly empty. I was kinda saddened to see that, but still super grateful a handful of other fans showed up to rock out.
Personal copy of Armageddon Dildos – Homicidal Dolls album.
Homicidal Dolls booklet signed by Uwe Kanka and Ulf Häusgen.
CD promo single for Armageddon Dildos’ Too Far to Suicide.
CD tray back insert signed by Armageddon Dildos.
Armageddon Dildos’ “Come Armageddon” single.
Armageddon Dildo’s EP “Fear”
Booklet/Insert for “Fear” signed by the Band.
Armageddon Dildos’ album “Lost” with cover signed by the band.
Armageddon Dildos’ “Morgengrauen” album.
Booklet of “Morgengrauen” signed by the band.
Armageddon Dildos’ album “Speed” – promo edition.
I brought a stack of inserts and CD booklets for the bands to sign, and they did! There was a pinball machine in the venue they used as a table and Uwe Kanka and Ulf Häusgen signed all my stuff. I was so excited! During the show, Kanka jumped off the stage to mingle with the audience and I got a big hug.
I’ve been sharing my autographed treasures on Reddit and BluSky this past week, but see above gallery, click through it to see all the autographed music I got from that concert.
News from Friends
Cool kids I know have been busy lately! Here are some signal boosts I’d like to give out.
New Fan2Fan Episodes
Bernie and Pete have some new episodes of their Fan2Fan podcast online.
Vanya and Serah are two Time Guards trapped in the prehistoric past, surviving against dinosaurs, savage humanoids, and the Torridians, a race of warrior aliens hellbent on conquering humanity. While on a mission to retrieve a supply cache, the duo, along with a soldier named Guy, are captured by Niya, another Time Guard and a member of the Bone Tribe. They are made to partake in a ritual to summon a Torridian Dragon. Elsewhere the Torridians begin their bombardment of human outposts in the jungle primeval.
Standard cover of Vanya #6 by Sean Joyce. Image from Bad Bug website.
Issue 06 Plot
Having escaped both the Bone Tribe and the family of saber-tooth tigers, Vanya, Serah, and Guy find themselves in an uneasy truce with Niya. Serah begins to have visions of the Torridian Dragon calling out to her. Serah, Guy, and Niya share a brain-connection due to the implanted chips in their temples (Vanya was not outfitted with one during their encounter with the Bone Tribe). The group decide to split up: Guy and Niya to hide the Torridian Dragon eggs they absconded with while Serah and Vanya follow a river to Outpost Nine that is purported to be heavily fortified.
Niya and Vanya.
Meanwhile Geneal Tora of the Torridians decide to free the captive humans, which include Captain Jax and Lucas, who are made to leave Base T and cross a field. However, their freedom is a ruse for all the humans are dispatched by a pack of raptors outfitted with saw blade arms, spiked grappling hooks, flamethrowers, and razor-sharp spider-esque legs.
The ill-fated soldiers are not the only ones to encounter cybernetically enhanced dinosaurs as Vanya and Serah are attacked by a Plesiosaur that has a blaster mounted on its tail. While Vanya and Serah are dealing with their unexpected encounter, Niya and Guy cross paths with a new faction making their presence known.
Commentary
Two words: Robo Dinosaurs. Briefly introduced in issue five (when the Bone King throws a robotic raptor head at Vanya’s feet, and the final panel showing General Tora looking at a cybernetic T-Rex), issue six of Vanya is all about capitalizing on the robotic dinosaurs and how they truly ruthless they are. Reed’s death in issue three when he was chomped in half by a T-rex has nothing on a raptor with buzzsaw arms decapitating human soldiers. The scene the modified raptors appear in is an homage to/recreation of the raptor/tall grass scene from The Lost World: Jurassic Park (1997). It is as if Vanya asked the question “how can we top that scene from the second Jurassic Park movie?” and they went all in for it.
Robo Raptors in the tall grass in Vanya #6.
The Lost World: Jurassic Park tall grass/raptor scene.
The robot-dinosaur extravaganza continues when Vanya and Serah encounter a Plesiosaur while they are fishing. Vanya charges at the dinosaur, slicing its gun-tail off, before being dragged underwater due to her embedding her knife in its hide. Vanya does not do the killing blow on the Plesiosaur as a non-robotic Spinosaurus shows up and chomps its head off, showing a trail of blood but also mechanical components. It is an interesting scene in that a natural dinosaur is able to dispatch the cybernetically enhanced dinosaur, and rather easily at that. One of the core themes of Vanya has been the traditional fight of man vs. nature (and now trickling in some man vs. machine), but here is a sequence of nature vs. machine. Giving a long enough time, nature will always win.
The mysterious Astral Guard mark their formal appearance on the final page, possibility catching Guy and Niya in the act of hiding the Torridian Dragon eggs. Emerging from a purple portal, a squadron of armored soldiers pour through, wielding rifles, demanding Niya and Guy’s surrender. It is just bluster? The Astral Guard are supposed to be the best of the best, it is what the Time Guards eventually ascend to after completing their training in the prehistoric past. They are the ones, per the opening crawl back in issue one, who are supposed to lead and safeguard humanity. However, the Torridians dominating the war front against the humans, sending them in a retreat to the past, and Elah’s ineffectual response to the alien threat in issue five convey that the Astral Guard may not be as powerful as they project themselves to be. There’s plenty of Robo Dinosaurs waiting for them to prove their mettle against.
The Astral Guard are not the only ones with a public image crisis to overcome, but General Tora herself is already showing cracks in how she operates. Extremely cruel (as demonstrated by freeing the humans into the raptor field), Tora is also coming across as arrogant but also prideful as she is dismissive of keeping her emperor abreast of her invasion. She’s akin to Grand Moff Tarkin in Star Wars and her attitude will probably lead to her to underestimate Vanya and the other humans (when they finally cross paths).
Covers and Swag Impressions
From the Kickstarter campaign page for Vanya #06, which concluded August 2023, there looks to be a total of nine different covers for the issue, which each cover being available in non-nude and nude versions, with each of those breaking down in normal, holofoil, and metal editions, for a grand total of fifty-four different covers.
Personal copy of Vanya #6 with nude cover by Alex Monik.
The best cover of the issue six bunch goes to Alex Monik. This is a fantastic cover that depicts and incredible Vanya and an equally incredible jungle scene. The tree branches that Vanya walks across are covered in grass and flowers, with vines hanging underneath. It is this great detail that really sells the fantastique nature of the jungle adventure genre. Vanya proper still looks attractive, but she is covered in tiny scars and smudges of dirt. This iteration of Vanya moves away from the cheesecake approach (but still retains aspects of it) and goes into a more realistic interpretation of a warrior woman who has had to survive in the primeval for months. Her giant, blooded stone-tipped spear brings forth the spear and fang genre trappings. Overall, this cover has a store to tell in one image, and it does it well.
Recognition needs to go to Sean Joyce, the artist behind the standard cover of Vanya #06 (see top of article). Joyce is an old guard artist whose done artwork for classic genre icons such as Conan the Barbarian. Joyce’s cover, with its mutated, painted style, recalls the old days of TTRPG cover art, the poster art for One Million Years B.C. (1966), and even a little of the trading cards/comic series of Dinosaurs Attack!. Joyce is a master of classic fantasy art and their cover art for this issue of Vanya demonstrates this.
Four Robosaur trading cards by Vascio Giaochini and a Tarot Card by Gus Mauk.
As far as swag, issue six of Vanya has a set of four Robosaur trading cards and a new Tarot card. The Robosaur art is done by Vasco Gioachini and each card dhows a different dinosaur outfitted with robotic attachments. These dinos would make great enemies in a Turok game. The Tarot card is for Major Arcana Temperance card and is illustrated by Gus Mauk. The card depicts Vanya playing with a dagger atop a dino skull. Theme and action-wise, the art on the Vanya Temperance card is not in the same realm as a traditional Temperance card (a woman pouring liquid from one container into another), so its derived meaning is going to be open to some interesting interpretations.
Conclusion
With issue six, Vanya looks to finally have placed all its playing pieces on the game board: Vanya and company, the Torridians, the Astral Guard, and of course, the Robo Dinosaurs. The comic also seems to have found a better balance of sex scenes, action sequences, and exposition panels. The comic needs to be able to juggle these three pillars, especially as it is trying to tell the story of time travelling jungle women fighting aliens and robot dinosaurs. It is high concept, and perhaps a little over the top, but Vanya has found its footing to sell its setup. Come for the premise, but stay for the actual intrigue as Vanya navigates both intergalactic and temporal adversaries, which just so happens to include kick ass raptors with buzzsaw arms.
For more information on Vanya and the comic’s creative team, check out the links below: