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News Roundup 2025-10-19

Personal / Website News

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 (obscured by roses from my angle), Bonnaud, her son, Llana Jane Burroughs, and Frank Puncer, who all lifted the cover of the stone memorial.
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 is black and red. The black is a spooky person in a hooded cloak surrounded by silhouettes of trees. Behind the figure is a red light.
Cover of Horror Literature from Gothic to Post-Modern: Critical Essays.
Cover is a frame from the movie Jason X where it shows Jason walking through a circular hallway on a space station.
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).

Blu-ray that contains the two Clash of the Titans films and Wrath of the Titans. the cover is divided into three horizontal sections, with each section showing the title of the film and a scene/poster art of it.
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.

Cover art of the Panthans Journal #332. It depicts a woman and a man with a hawk head, hunkered in a hole, firing laser pistols. The art is by Mark Wheatley.
Panthans Journal #332

Comic Book Review: “The Moon Maid: Catacombs of the Moon #2″ reprinted in the National Capital Panthans Journal #332.

A continuation of the cover of #332. This cover shows the woman and the hawk man, defensively shooting laser pilots out of a hole in the ground, wile savage barbarians with bows and axes descend upon them. The art is by Mark Wheatley.
Panthans Journal #333

Comic Book Review: “The Moon Maid: Catacombs of the Moon #3″ reprinted in the National Capital Panthans Journal #333.

Cover art of Panthans Journal #335, done by Mark Wheatley. It shows Tarzan leaping from a tree branch. All the colors are very dark blue, so it might be night time in the jungle.
Panthans Journal #335

“Tarzan Cocktail: Deconstructed – Reconstructed” reprinted in the National Capital Panthans Journal #335.

Original can be read here.

Panthans Journal #338. Cover is by Mark Wheatley. It shows Dejah Thoris riding atop a mountain against a red martian landscape with a domed building in the background.
Panthans Journal #338

“She’s Got the Killer Instinct: Vanya Issue 01” reprinted in the National Capital Panthans Journal #338.

Original can be read here.

Cover is by Mark Wheatley. It shows a 4 armed aliens holding two swords, in a dungeon, fighting John Carter and Dejah Thoris.
National Capital Panthans #339.

“Hunter – Lover – Killer: Vanya 02” reprinted in the National Capital Panthans Journal #339.

Original can be read here.

Cover of Panthans Journal #340. Art is done by David Michael Beck. It depicts Tarzan stabbing a dinosaur (A T-rex?) through the next with a spear, while the dinosaur stands atop a tree of roots and vines.
National Capital Panthans Journal #340

“Thunder in God’s Country: Interview with Jeffrey Mariotte” reprinted in the National Capital Panthans Journal #340.

Original can be read here.

Cover of Panthans #341 by Mark Wheatley. It's monochrome - black and brown. It shows Dejah Thoris in the center holding a sword and being her John Carter and a 4 armed alien. Behind them are the silhouettes of a city full of towers.
National Capital Panthans Journal #341

“Jungle Romps and T-Rex Chomps: Vanya 03″ reprinted in the National Capital Panthans Journal #341.

Original can be read here.

Cover art for "Merry Creepsmas - The Red Book". It is red with a large X-mas tree that appears to have small, globby bodies as ornaments. The cover reads: Wicked Shadow Press Merry Creepsmas: The Red Book Christmas-Themed Horror Stories Edited by Parth Sarathi Chakraborty
Merry Creepsmas – The Red Book

“There’s Always Room” in Merry Creepsmas: The Red Book. Edited by Parth Sarathi Chakraborty. Wicked Shadow Press, 2025.

Cover art for the Burroughs Bulletin #109 by Dan Parsons. The top says "The Burroughs Bulletin New Series #109 Fall-Winter 2024". The art shows a T-rex chomping on a dude in a striped shirt. Below him are explorers with rifles. Behind him his a prehistoric sky, jungle, and a waterfall.
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.

Cover shows a dog detective investigating a crime scene. The crime scene is an outline of another dog with a bonk on its head. A bird, a mouse, a poodle, and a cat in a suit look on. The cat is hiding a bone behind its back, indicating he did the bonking.
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.

Title page of the 21 foot rule signed by Nick Mamatas in silver pen.
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.

Xbox 360 version of Grand Theft Auto 4. The cover shows a collage of various characters from the game. In black ink it is signed "To Nick, have fun in LC! Michael Hollick AKA Niko"
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.

Standard black case DVD. The Brood cover is black and red in color. It shoes a freaky kid. In silver ink it is signed "For Nick, Thank You, Samantha Eggar".
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.

Nick is wearing a shirt with a Metroid on it. Joanna is dressed in all black.
Nicholas Diak and Joanna Pacula, 2010.

I forgot to post with it a picture of me with her! So, I’ve updated my old post the photo, plus added it here.

News from Friends

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:

First it is the 2023 film The Conference:

Flash Frights – The Conference Fan2Fan Podcast

Then the 1997 horror anthology Campfire Tales:

Flash Frights – Campfire Tales Fan2Fan Podcast

Followed by the post-Scream cult classic Urban Legend:

Flash Frights – Urban Legend Fan2Fan Podcast

And Alfred Hitchcock’s classic Psycho:

Flash Frights – Psycho 1960 Fan2Fan Podcast

Which leads to their discussion of Psycho 2:

Flash Frights – Psycho 2 Fan2Fan Podcast

Then they talk about 1981’s Wolfen:

Flash Frights – Wolfen Fan2Fan Podcast

And then the video nasty-centric Censor from 2021 (which I need to see!):

Flash Frights – Censor Fan2Fan Podcast

Jumping back to the 80s they talk about Final Exam:

Flash Frights – Final Exam Fan2Fan Podcast

(shameless self plug of my autographed copy of Final Exam)

Standard black DVD case. Artwork show a silhouette of a person holding a knife standing in front of a campus. In silver ink it is signed "Nick! Radish rocks!
Personal copy of Final Exam DVD signed by Julia Marchese.

And finally this episode on Horror movie trivia:

Final Cut – The Horror Movie Trivia Show! Fan2Fan Podcast

Older episodes of Fan2Fan can be found at its Libsyn page or via your podcast app of preference.

Categories
Essays Peplum

Down Willcox Way: 2025 ECOF Recap

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. 

Desert landscape taken from a truck stop. The clouds are thick and grey, with occasional pockets of sun coming through. In the center is a pillar of rain coming down.
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.

Driving down I0. It's a near empty freeway that dips down and then back up a hill. Three cars far up the road. The entire sky is slate gray.
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?.

Billboard along the desert freeway, surrounded by green shrubs. The billboard is yellow. It says "THE THING? Exit 332 Black Hills Gold". Also there is a Shell and Dairy Queen logo.
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.

Nondescript white building side with a pair of black glass double doors. Above it, in stylized font, it says "THE THING? Entrance". Michele stands below it, pointing at the sign in amazement.
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, holding a laser gun, sits atop a raptor that has cyborg implants on its head. The exhibit looks like it is from the desert. Behind it, it says "Aliens vs. Dinosaurs".
  • A jackalope - which is a rabbit with antlers, poses on the rocks under a Dino tail.
  • A large triceratops. It is brown with blue eyes. it is roaring. Behind it, on the mural, is a UFO swooping in.
  • Three aliens stand in front of the ramp that leads to a blue and green lit UFO. They look like they are scouting around like a Star Trek away team.
  • A large T-rex with its mouth open going Roar. The mural behind it shows aliens shooting lasers at dinosaurs and UFOs flying away from explosions.
  • One of the many walls that shows a timeline and how aliens interacted with history. The one picture here is of the Roman Empire. It is captioned "Ancient history retold".
  • A red model T. It has 2 seats. Its wheels have wood spokes. It looks incredibly uncomfortable to sit in.
  • A black Rolls Royce. In the back seat is a mannequin of Winston Churchill. A grey Alien is driving the car.
  • The Placard says: Here lies...the thing? What is it? That question has bewildered us for over 50 years! Some have had their theories. It was suggested an ancient curse was placed upon it and dire consequences awaited those who touched it. Or, could it be part of a large government scandal to cover-up a secret so terrifying, it could cause mass hysteria? What if... this is the ancient artifact discovered deep within the copper mines of Arizona? This display represents what the setting may have looked like when it was discovered. Of course, no one may ever know! So, we are still left to wonder... What is this mystery of the desert, the thing?
  • In a glass case, lit with orange and blue lights, lay the thing. It looks like a mummified person, holding a mummified baby, with a hat placed over them.

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.

The cemetery. Not many grave stones or markers are visible as most have toppled over, and the cemetery is overran with weeds and cacti. The distance is dark and full of storm clouds. The mountains in the distance show the Dos Cabezas Peaks. It looks like a pair of lips pursed up, trying to kiss the sky.
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.

Grave of Warren Earp. It is made out of metal. It says "Warren Baxter Earp 1855 - 1900, The way it was". The grave has a picture of a cowboy hat, a bottle, a gun, a sheriff star, and a bull head.
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! 

Looking west from the hotel room. The sky is very clouds, but also fiery from the setting sun. There is also a truck stop with many semis pulled in for folks to get some sleep.
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:

A rectangular badge that says "Edge Rice Burroughs Chain of Friendship - ECOF 2025 - Nicholas Diak - Willcox, Arizona". The lanyard is blue.
My badge for the 2025 ECOF.

A copy of the program:

And a goodie bag!

The Goodie Bag

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):

  • A black bag that has the Gilead event poster art on it.
  • The ECOF pin. It's a match of the poster. Art by Gilead. In blue lettering it says "Edgar Rice Burroughs Chain of Friendship - ECOF 2025 - ERB 7th Cavalry Monument, Willcox Arizona, September 25-28, 2025, Celebrating ERB's 150th Birthday". The top of the poster shows Burroughs in uniform, Tarzan, John Carter, Dejah Thoris, a green alien with four arms, and the Apache kid. Below them is a row of old houses.
  • The ECOF poster. Art by Gilead. In blue lettering it says "Edgar Rice Burroughs Chain of Friendship - ECOF 2025 - ERB 7th Cavalry Monument, Willcox Arizona, September 25-28, 2025, Celebrating ERB's 150th Birthday". The top of the poster shows Burroughs in uniform, Tarzan, John Carter, Dejah Thoris, a green alien with four arms, and the Apache kid. Below them is a row of old houses.
  • A postcard of the Edgar Rice Burroughs Plaque. It reads: Edgar Rice Burroughs 7th US Cavalry, 1896-1897. Edgar Rice Burroughs arrived in Willcox, Cochise County, Arizona Territory by train on May 22, 1986. With only one dollar in hand, he was able to get a room at the Willcox Hotel, a meal, and a bath. The next day, he traveled by stage to Fort Grant, where he was sworn in as a private in the 7th US Cavalry. As a Solider in Troop B, he counted for the outlaw Apache Kid and his band north of Willcox in the summer of 1986. Burroughs became world famous as the creator of "Tarzan of the Apes," "John Carter of Mars," and other works of fantastic fiction. His cavalry service inspired him to write two historical novels of the Apache Wars. Arizona left an indelible mark on the author, who featured it in a number of his stories. This plaque honors Burroughs' military service and all troopers, Buffalo soldiers, and Apache scouts who served with him at Front Grant, A.T. Dedicated September 1, 2025 on the 150th anniversary of the birthday of Edgar Rice Burroughs (1875-1950). Donated by the Burroughs Bibliophiles, Burroughs Family, Sulphur Springs Valley Historical Society, and the City of Willcox. The plaque is bordered by black and white photos of ERB, The Apache kid, Fort Grant, and Company A of Apache Scouts.
  • A magnet of the Edgar Rice Burroughs Plaque. It reads: Edgar Rice Burroughs 7th US Cavalry, 1896-1897. Edgar Rice Burroughs arrived in Willcox, Cochise County, Arizona Territory by train on May 22, 1986. With only one dollar in hand, he was able to get a room at the Willcox Hotel, a meal, and a bath. The next day, he traveled by stage to Fort Grant, where he was sworn in as a private in the 7th US Cavalry. As a Solider in Troop B, he counted for the outlaw Apache Kid and his band north of Willcox in the summer of 1986. Burroughs became world famous as the creator of "Tarzan of the Apes," "John Carter of Mars," and other works of fantastic fiction. His cavalry service inspired him to write two historical novels of the Apache Wars. Arizona left an indelible mark on the author, who featured it in a number of his stories. This plaque honors Burroughs' military service and all troopers, Buffalo soldiers, and Apache scouts who served with him at Front Grant, A.T. Dedicated September 1, 2025 on the 150th anniversary of the birthday of Edgar Rice Burroughs (1875-1950). Donated by the Burroughs Bibliophiles, Burroughs Family, Sulphur Springs Valley Historical Society, and the City of Willcox. The plaque is blue, with the text in yellow. The plaque has a yellow border.
  • A pen. It has a copper tip and clingy bit. The rest is black. In white it reads "Edgar Rice Burroughs".
  • Small, thin paperback book. It is white, with a black and white photo of Burroughs leading a horse. The font color of the title is red.
  • A coin and a display, still in its packing. The coin is large and has a headshot of Burroughs. It says "Edgar Rice Burroughs - creator of Tarzan and John Carter".
  • Back of the coin. It reads "150 Years - Celebrating the master of adventure, 1875 - 2025"
  • A paper booklet, almost a zine. It is a preview of Mariotte's upcoming book. The artwork shows a man fighting a lion, in the archery of some stone ruins, with a ruined London (there's Big Ben present) in the background. In black ink it is signed by Mariotte.
  • A black and white map of southeast Arizona from 1895.
  • Two keychains made out of beads, turquoise in color.
  • The Willcox Medallion's back shows a train, with farm lands, and 2 cows. It looks like a little kid drawing. It says "Willcox Arizona, founded 1880". The back of the peace coin says "War Peace Honour in both Dragooon Mts. A.T. Treaty by Cochise Gen. O. O. Howard To Jeffords".
  • The Willcox coin shows an Arizona flag, a man on horse chasing a bull, a train, a tractor, and a native American holding a flag on a horse. The perimeter of the medallion reads "City of Willcox, incorporated May 1915" The Peace treaty coin shows 2 hands shaking. Its perimeter reads "Chiricahua Apache Peace Treaty Oct 10, 1872 - 2022"
  • Blue USB stick with a blue cord.

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 large commemorative coin from ERB Inc. of Edgar Rice Burroughs
  • 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. 

Half of our table. This shows all of Michele's arts and crafts: there's greetings cards (a cute halloween one with a cat), and journals and folios. Michele sits behind the table wearing a denim jacket because she is a cold panda.
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! It show's Michele's half of crafts and the other half with stacks of our books from McFarland (James Bond book, Horror in Space book, Horror Literature book, The New Peplum, The Twilight Zone book, and the Stranger Things book).
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. 

Jeff sits at his table, which has a blood red table cloth with vines and roses on it. He's got a skull with a raven atop it. A pile of pens and markers. He's got piles of books, from westerns to thrillers to super hero stuff. He also has a sword.
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.

Four folks stand together, arms around each other. Christopher Paul Carey is super tall compared to everyone else. Sullos is wearing a tiki-style shirt but of the desert.
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.

Griffin and Buckingham at their table. In front of them are Griffin's Tarzan books and copies of their newly launched magazine, Reverberate.
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 the Lion 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. Seymour stands at a podium. The center of the picture is a pull down projector, flanked by 2 Elk heads. The slide being presented shows spears, pistol pieces, and other artifacts.
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.

Me! I am wearing a cowboy tiki shirt, standing at a podium, with a mic in my right hand, and script in my left. There is a giant elk head judging me.
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 wears a green shirt and stands on stage, giving his talk. No slides for this one, but the two Elk heads still look on.
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.

Brand stands at the podium, pointing at the screen which is showing the AZ flag and ERB's headshot.
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: 

  • Carey stands at the podium, the slide shows a picture of the ERB HQ in Tarzana.
  • Carey at the podium, the screen shot the cover art for the ERB autobiography, Trailblazer.
  • Slide shows two book covers, both covers show a hideous face, one hooded.
  • Slide shows the cover art of the reprint of Beyond Thirty, which has a dude trying to take on a pride of lions unarmed.
  • Slide shows the wraparound cover of the Taschen book (at the time). It is green, it shows Tarzan surrounded by monkeys.
  • The Woola plushy is adorbs. It is green, has multiple legs, big eye, and teeth that stick out.
  • Slide has the Victory Harben Logo and an empty landscape.

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
  • A re-release of The Monster Men (a rare Burroughs foray into horror) and a new book, Return of the Monster Men, by Josh Reynolds
  • A re-release of Beyond Thirty
  • Jeffrey Mariotte’s sequel, Beyond Thirty: A World Reborn
  • Sequel to the “Dead Moon Arc” of Korak at Earth’s Core done 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.
  • 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
  • Burroughs expansions to the Overpower CCG
  • A John Carter figurine from Frazetta Girls
  • Amazon carrying Burroughs audio books
  • Plushies of Woola!!!!!

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.

White, fold out table. Two postal workers present. The table is covered in stamps, envelopes, and copies of the program.
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:

The stamp is for the US Army. The pink stamp cancellation thing, the thing they do when they stamp the stamp when you mail something, shows Burroughs next to a horse and an Arizona. It says: "Edgar Rice Burroughs 7th Cavalry Historical Monument - ERB Monument Dedication Station, September 27th, 2025, Willcox AZ 85643."
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:

  • Sunny day with blue skies and white clouds. There are two canopies setup with fold out chairs underneath. People are mingling about.
  • Seven folks stand in front of the train station /city hall, with 4 dressed up: a soldier, a prospector, Tarzan, and another soldier.
  • Mayor Hancock at the mic in front of the city hall.
  • Franke III in a veteran cap at the mic.
  • Mariotte in a blue shirt and sunglasses at the mic.
  • Griffin in a purple shirt, white hat, and sunglasses at the Mic.
  • Both Burroughs great-grand daughters at the mic.
  • Tracy Scott Griffin, Frank Puncer (seated), Llana Jane Burroughs, Kathy Klump (seated), Kate Bonnaud.
  • Bonnaud is wearing a black hat and speaking into the mic.
  • Gray is in a cavalry uniform speaking into the mic.
  • The monument (obscured by roses from my angle), Bonnaud, her son, Llana Jane Burroughs, and Frank Puncer, who all lifted the cover of the stone memorial.

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:

  • And old wooden desk with chair. A black typewriter sits alone. On the left wall are black and white photos on the right wall are maps. In the center wall, it has a black and white photo of the train station. The display is called "Honoring our roots"
  • Photos and placards describing the restoration of the train station. There is also a door knob and a broom.
  • Four liquor bottles, the one in the center is broken. One is called "Tanlac" and it is a "Splendid tonic". The one next to it is "Splancaster Bourbon". Then "Old Prentice Whisky" and then a tiny bottle that has directions on it.

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.

Franke at the podium under the Elk head on the wall. The projected slide is a run down of Burroughs' military highlights.
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.

Gray stands at the podium, with the projected screen titled "What did a 20 year old Edgar R. Burroughs see at Fort Grant in 1896-1897?"
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. 

Leeper at the podium. The projected screen shows images from a John Carter comic, of him wandering into the cave.
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:

  • Small banquet room, filled with tables and filled to capacity with ECOf attendee.
  • Lana Kane Burroughs standing in the door frame with a mic.
  • Kate Bonnaud and her son. Kate has the mic.
  • Mariotte uses a mic stand and has notes. One of the Elk Heads peers in from behind him.
  • Franke III stands in the doorframe with the mic stand.
  • Frank holds a wall plaque that says "outstanding achievement award" and poses with Jim and Mike.
  • Jim Sullos in the door frame talking on the mike. The Elk head strikes again!

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:

  • Paperback of Before They Were Giants. The cover shows an astronaut in a retro looking space suit, holding a ray gun, standing above a canyon. Above him is a giant, tentacled, floating monster.
  • Copyright page. In blue ink it says "Christopher Paul Carey".
  • Planet Stories double feature. It shows Sojan and the main character from Under the Warrior star, standing back to back. Sojan is holding a pistol and a shield while the dude from Warrior Star is holding a crystal sword.
  • Copyright page. Blue ink it is signed "Christopher Paul Carey".
  • Graphic novel. It shows Harben in the center in a colorful, alien jungle. She has a ray gun in her hand and a white small cat-like alien on her shoulder. In gold ink at the bottom it is signed by Christopher Paul Carey.
  • Grphic novel. Shows Victory Harben with her back to the reader, holding her ray gun up. There is a purple, space sky and the white cat alien who is now super huge. In gold ink it is signed 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:

  • Cover shows Tarzan holding a knight and wearing a loincloth. Behind him is a black horse, kicking around. They are in a desert canyon, with a rock wall behind them and small cactus trees and logs.
  • Bookplate is a faded version of the covers, sans the horse and Tarzan. It is signed by Jeffrey Mariotte, Douglas Klauba, Chris Gardner, and has a repro signature from Burroughs.
  • Title page of Tarzan and the Forest of Stone. It is inscribed "For Nick, at ECOF 2025! Great to meet in person! Jeffrey J Mariotte".
  • Issue 1 of The Next Generation/Deep Space Nine crossover. There are five characters on the cover, but the only one I recognize is Picard and he is holding a laser rifle.
  • Issue 2 of the Next Gen/DS9 crossover. There's 4 characters on the cover. One looks like he's wearing a green smock. Picard is in the background.
  • Issue 3 of the Next Gen/DS9 Crossover. Dr. Beverly Crusher is on the cover holding a phaser. There is a Star Fleet dude holding a lady in his arms. There is also a blobby alien in the corner.
  • The fourth and final issue of the Next Gen/DS9 crossover comic. There is a dude holding a green vial. There is a Star Fleet guy running, holding a rifle in one hand and a lady in red in the other. The green vial has JJ Abrams lens flare on it, foreshadowing that he will be directing a Star Trek movie in the future.
  • Cover shows two space ships over two planets.
  • Title page. In black ink it is personalized "For Nick, at ECOF! 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:

  • Cover depicts humanoid with red skin and lots of cybernetic implants standing over a sleeping woman looked up to a machine. The room is filled with wires and lights.
  • Page 87 of the issue, the first page for Puncer's article "Edge Rice Burroughs and Wild Willcox" signed by Frank Puncer in black ink.
  • Page 144 of the issue "Interview of Neal Adams" signed by Gary Buckingham in blue ink.
  • Cover depicts Tarzan, crouching on a moss covered tree with a blank panther sitting behind him in an upper branch.
  • Page 60 of the issue, "Interview of Mike Grell" autographed by Gary Buckingham in black ink.
  • Cover shows Tarzan, tackling a lion with a knife in hand, and in turn the lion is attempting to tackle a gorilla.
  • Page 3, "Interview of Mike Grell, Second Session" signed by Gary Buckingham in blue ink.
  • Cover shows a tank-like vehicle with a giant drill on the front emerging from the ground (Think of those things the Shredder drove around in, in Teenage Mutant Ninja Turtles). There is a jungle girl in the foreground, a man approaching her, and his butler. In the background is a jungle and a T-Rex sticking his head out of the foliage.
  • Page 14 "Interview of Joe Jusko" signed by Gary Buckingham in blue ink.
  • Page 38 "Interview with Rob Dorsey, Author of the Barsoom Pentalogy" signed by Scott Tracy Griffin.
  • 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:

  • Hardback of Tarzan and the Lost Empire. It is from the "Edgar Rice Burroughs Authorized Library". The cover depicts Tarzan in a Roman-style colosseum, standing triumphantly over a defeated gladiator.
  • Afterword page autographed by Henry Franke III.
  • Page 232 talking about the archives, signed by Cathy Wilbanks.
  • Cover depicts Tarzan in a leopard skin, crouched over a slain lion, holding his knife, in the middle of a Roman-style arena.

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. 


 
 
 
 
 
 

Categories
Interview

Thunder in God’s Country: Interview with Jeffrey Mariotte

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 CSI30 Days of NightBuffy/Angel, Conan the BarbarianStar 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 is wearing a black had, sunglasses, and a blue denim shirt. There is a blue, cloudless sky behind him.
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.

Paperback book. Shows Conan fighting a gorilla with a flowing red cape.
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 West and 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.

Cover shows Tarzan holding a knight and wearing a loincloth. Behind him is a black horse, kicking around. They are in a desert canyon, with a rock wall behind them and small cactus trees and logs.
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 is a faded version of the covers, sans the horse and Tarzan. It is signed by Jeffrey Mariotte, Douglas Klauba, Chris Gardner, and has a repro signature from Burroughs.
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 TrekCSI, 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.

Hardcover of Andromeda: The Attitude of Silence, sitting atop two copy books, issue 1 and 2 of Star Trek: Divided we Fall.
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, CSINCIS, 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 AngelCSIThe 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 is Criminal 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.

Thumbnail says: Edgar Rice Burroughs, Inc. SCC 2025 Special Announcement. Brand-New sequel by the award-winning author of Tarzan and the Forest of Stone. Coming soon from ERB Inc. Edgar Rice Burroughs Universe - Beyond Thirty: A World Reborn - A Tale of the Lost Continent by Jeffrey J. Mariotte.
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 WeinsteinByrd’s Luck & Other Western Stories by 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:

For more information about the 2025 ECOF event, see the below press release and registration form:

Categories
News

News Roundup 2025-06-29

Personal / Website News

Vanya Issue Four Review

A new comic book review is up at my website! My deep dive into the Neo-Jungle girl series Vanya continues with issue four.

Cover depicts Vanya sitting at a campfire, inspecting a blood soaked stone spear. There is a shadow of a roaring T-rex behind her.
Standard non-nude cover of Vanya issue 4 by Zoran Jovicic. Image from the Bad Buy website.

My review for this issue can be read right here. The PDF version of issue eight was released on the 11th, so I am halfway there to catching up!

Scholars from the Edge of Time – Clash of the Titans (1981)

The June episode of Scholars from the Edge of Time is now online!

Blu-ray that contains the two Clash of the Titans films and Wrath of the Titans. the cover is divided into three horizontal sections, with each section showing the title of the film and a scene/poster art of it.
Personal copy of the Clash of the Titans ’81, Clash of the Titan 2010, and Wrath of the Titans 3 Movie Blu-ray set.

Just in time for Ray Harryhausen’s birthday, on this episode Michele and I talk about the original 1981 Clash of the Titans, the last film Harryhausen did before he retired. The vidcast can be watched on Youtube. For July we will be talking about the 2010 remake and in August we will be discussing Wrath of the Titans. So, stay tuned!

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:

The flyer shows desert mountains with three insert images: one of a young Edgar Rice Burroughs in 1896, one of the author Jeffrey J. Mariotte (who is the guest of honour), and one of the Willcox train depot in the 1880s. The flyer reads was follows: Edgar Rice Burroughs ERB Inc.'s Commemoration of ERB's 150th Birthday! 7th Cavalry Historical Monument Celebration Willcox, AZ, September 25-28, 2025. Formal Dedication on September 27th, 2025. Sponsored by the Suplher Springs Valley Historical Society and the Arizona Apache Deveils Chapter of the Burroughs Bibliophiles.
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.

Here is the registration from:

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.

Cover art of the Panthans Journal #332. It depicts a woman and a man with a hawk head, hunkered in a hole, firing laser pistols. The art is by Mark Wheatley.
Panthans Journal #332

Comic Book Review: “The Moon Maid: Catacombs of the Moon #2″ reprinted in the National Capital Panthans Journal #332.

A continuation of the cover of #332. This cover shows the woman and the hawk man, defensively shooting laser pilots out of a hole in the ground, wile savage barbarians with bows and axes descend upon them. The art is by Mark Wheatley.
Panthans Journal #333

Comic Book Review: “The Moon Maid: Catacombs of the Moon #3″ reprinted in the National Capital Panthans Journal #333.

Cover art of Panthans Journal #335, done by Mark Wheatley. It shows Tarzan leaping from a tree branch. All the colors are very dark blue, so it might be night time in the jungle.
Panthans Journal #335

“Tarzan Cocktail: Deconstructed – Reconstructed” reprinted in the National Capital Panthans Journal #335.

Original can be read here.

Cover art for "Merry Creepsmas - The Red Book". It is red with a large X-mas tree that appears to have small, globby bodies as ornaments. The cover reads: Wicked Shadow Press Merry Creepsmas: The Red Book Christmas-Themed Horror Stories Edited by Parth Sarathi Chakraborty
Merry Creepsmas – The Red Book

“There’s Always Room” in Merry Creepsmas: The Red Book. Edited by Parth Sarathi Chakraborty. Wicked Shadow Press, 2025.

Cover art for the Burroughs Bulletin #109 by Dan Parsons. The top says "The Burroughs Bulletin New Series #109 Fall-Winter 2024". The art shows a T-rex chomping on a dude in a striped shirt. Below him are explorers with rifles. Behind him his a prehistoric sky, jungle, and a waterfall.
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.

Get Your War On

I saw some discourse on BlueSky about the post 9/11 comic strip Get Your War On and how relevant it is to the ongoing situation between the US bombing Iran.

A perfect time (and extremely relevant time) to dig out my copy of Get Your War On.

Soft cover of Get Your War On. It's horizontal book, not vehicle. It's back with red letters. The lack has faint panels of the comics, white the title is in Red and is in a comic speech bubble.
Personal copy of Get Your War On.

I bought mine way back in the 2000s. I must have ordered it directly from the author David Rees because my edition is autographed.

Front matter page of get your war on. It says "Get Your War On. Comic Strips by David Rees. Introduction by Colson Whitehead. Published by Soft Skull Press, Brooklyn New York, 2002." In black pen it is signed David Rees.
Get Your War On signed by David Rees.

I also have a copy of his My New Filing Technique is Unstoppable, and if I can find that, I’ll give that a share.

The GYWO comic is long out of print, but good news: you don’t need to own a copy to read it, it’s all online, archived at Rees’ website. Check it out here and then consider doing a compare and contrast of our (geo)political climate then and now. War mongers gonna war monger.

New Sword and Sandal Acquisitions

The ever growing peplum research libraries grows with these recent sword and sandal films having been acquired.

Alexander 4K/Blu-ray

Alexander (2004) is an early entry in the neo-peplum revival that began with Gladiator. Apparently there’s a zillion different cuts of this film as Oliver Stone went all Ridley Scott a’la Blade Runner style on his movie.

4K version of Alexander: Revisited, the Final Cut. It's a close up of Colin Farrell's face, with a red bird of prey imposed over it. Next to it is a cardboard tube with the 4K art, but upside down (it has the poster in it).
Personal copy of Alexander on 4K. Upside down poster tube to the left.

I had not actually seen Alexander so when Shout Factory announced a nice 4K version of it I hopped right on the pre-order bandwagon. This release just came out in early June, and since I pre-ordered it I got a schnazzy poster too. Excited to watch!

Risen

Risen is a 2016 biblical peplum directed by Kevin Reynolds (who is responsible for some of the finest works of Kevin Costner). Another film I had not seen, but I saw it on Amazon for super cheap, so decided to pick it up. I remember Joseph Fiennes from The Rock version of Hercules, so it will be nice to see him in another sword and sandal flick.

4K physical release of Risen. The cover shows a roman soldier in a red cape in the foreground while the background is a huddle mass of people in a desert.
Personal 4K copy of Risen.

While I have not seen this film, biblical film scholar Matt Page has! He covered this film at his Bible Films Blog back in the day, so check out his write up here.

Talos Statue

This isn’t a new acquisition as I’ve had it in my collection since the 2000s, but with Ray Harryhausen’s birthday happening on 6/29, I’ve gotta share it: my giant Talos statue.

Statue of Talos from Jason and the Argonauts. Still in its box. Limited to 5K copies.
Talos Statue.

I got this from Scarecrow Video way back in the day and it is just epically cool.

Jason and the Argonauts Laserdisc

Now this is a recent acquisition. Going movie and music shopping at Zia Records during my birthday weekend, I happened across the Criterion Collection laserdisc edition of Jason and the Argonauts for a whole 99 cents. I had to have it!

Laserdisc of Jason and the Argonauts. The top says "The Criterion Collection". The cover depicts Jason fighting the Hydra.
Personal copy of the Criterion Collection Laserdisc edition of Jason and the Argonauts.

The essay on the back of the Laserdisc by Bruce Eder can be read on the Criterion Collection website. It is nice the company makes their old essays available!

News from Friends

Cool kids I know have been busy lately! Here are some signal boosts I’d like to give out.

New Ride the Stream Episodes

Michele and Travis have some brand new episodes of their Ride the Stream vidcast online at YouTube. They dive into the next few episodes of Lost.

Here is their discussion of episode 25:

New episodes drop every Friday on YouTube. Keep an eye on their YouTube channel, or give them a follow on Bluesky.

New Fan2Fan Episodes

Bernie and Pete have some new episodes of their Fan2Fan podcast online.

First up is an interview with Joshua Pruett who talks about writing the movie Witch Hunter (2024).

Witch Hunter (2024) with Joshua Pruett Fan2Fan Podcast

Next they have a part one of an interview with Nashville horror host Dr. Gangrene.

Horror Movies & Mad Science with Dr. Gangrene Part 1 Fan2Fan Podcast

Older episodes of Fan2Fan can be found at its Libsyn page or via your podcast app of preference.

Reverberate: A Magazine of Edgar Rice Burroughs

Edgar Rice Burroughs expert and scholar Scott Tracy Griffin has started a new publication called Reverberate: A Magazine of Edgar Rice Burroughs. The magazine is hot off the presses, having debuted at the Northwest Coast Mangani Gathering VII at the end of May/Beginning of June. One hundred copies of the magazine were numbered and signed by authors Griffin and Gary A. Buckingham. I, of course, ordered a copy:

Copy of RevERBerate issue 1. The cover depicts Tarzan, with a monkey on his shoulder and a giant cat by his side. Behind him is a prehistoric valley of triceratops, lush vegetation, and a waterfall.
Personal copy of RevERBerate issue 01.
Signature page of RevERBerate #01. It has Gary A. Buckingham and Scott Tracy Griffin. It is page 48, the last page of the book. It is all white, and it is numbered 34 or 100.
Signature page of RevERBerate #01. It has Gary A. Buckingham and Scott Tracy Griffin.

Here is the press release for the magazine’s launch with information on how to procure a copy:

A new magazine spotlighting the work of The Master of Adventure has entered the print arena: Reverberate: A Magazine of Edgar Rice Burroughs is a 48-page magazine printed on high-quality, glossy pages, perfect-bound with cardstock covers. 

“We want to explore Edgar Rice Burroughs’ work, life, and legacy, and its impact in media including art, comics, film, television, stage, radio, periodicals, and, of course, his original novels,” explains Reverberate editor Scott Tracy Griffin. “The Burroughs community isn’t wholly served in the periodicals medium and we believe the time ideal to deliver a new outlook.”

Reverberate enjoyed a successful launch at the May 2025 NCM VII Gathering of literary devotees and fans in Roseville, California. The debut issue showcases acclaimed artist Benito Gallego, whose lush portfolio boasts the comic-strip adventures of Tarzan and The Outlaw of Torn; profiles fireman-turned-silent-film-actor Gene Pollar, who starred as the iconic ape man in The Revenge of Tarzan (1920); and investigates the early African explorers whose feats influenced Burroughs’ writing.

The magazine also delves into the books of author Gary A. Buckingham, who helmed three Tarzan projects, with his fourth in development. Notes Buckingham, “Burroughs created worlds of wonder, in which I’ve been fortunate to immerse my tales of his savage ape man.”

The first 100 issues are numbered and signed by both writers, and feature interior illustrations by artist Dan Parsons.

Says Griffin, already well-known to Burroughs’ enthusiasts as the author of Tarzan: The Centennial Celebration (2012) and Tarzan on Film (2016), “We’re offering Reverberate on an introductory basis at $10, plus $5 domestic postage. Priority mail is $14. Foreign customers, please contact us with your address and we will get a postage quote. The U.S. does not offer ground shipping beyond its borders, so all foreign postage, even Canadian, is via airmail.” 

To learn more and to purchase copies, please contact Scott Tracy Griffin at scotttracygriffin@gmail.com, or Gary A. Buckingham at gbucking3@gmail.com.

Hal C. F. Astell Webstore

Author, editor, con-runner (he’s behind CoKoCon), and all around jack of all trades guy Hal C. F. Astell has opened up a web store for all of his and Apocalypse Later books. Check it out and consider plucking up a book or two.

Categories
News

News Roundup 2025-02-09

Personal / Website News

Nylon Nightcap #1 Review

My first website content for 2025! I dig Bachelor Pad Magazine, and I love stockings and nylons, so I was totally excited when they announced they were going to start a new line called Nylon Nightcap. When announced, I pre-ordered a copy immediately, and it is a fantastic issue.

Cover shows Leela Minx sitting on a black chair, leaning back, legs in the air. The carpet and wallpaper are all purple.
Cover art of Nylon Nightcap #1. Provided by Bachelor Pad.

I’d like to do what I can to help get the word out about this issue, so I’ve done a write up about it and included quotations from Jason “Java” Croft, Miss Corsair Debonair, and Miss Penelope Pink. Check out my write up here!

Burroughs Bulletin #109

I have not one, not two, but three publication announcements!

Firstly, as part of Michele and my retrospective of the peplum work of Bella Cortez that we did in 2024, I conducted an interview with Cortez about her work on the Italian Tarzan knock off, Taur the Mighty (1963).

Cover art for the Burroughs Bulletin #109 by Dan Parsons. The top says "The Burroughs Bulletin New Series #109 Fall-Winter 2024". The art shows a T-rex chomping on a dude in a striped shirt. Below him are explorers with rifles. Behind him his a prehistoric sky, jungle, and a waterfall.
Burroughs Bulletin #109

This interview has now been published in issue 109 of The Burroughs Bulletin, the journal of the Burroughs Bibliophiles. This is my first time being published in the journal and I am super excited.

Queen Akiba is wearing a white hat and top. She is smirking.
Queen Akiba (Bella Cortez) as Queen Akiba in Taur, The Mighty.

Sincere appreciation to Cortez for her time in being part of this interview.

For more information on the Burroughs Bibliophiles, how to join, and how to get copies of the Bulletins, check out https://www.burroughsbibliophiles.com or contact editor Henry Franke III at BurroughsBibliophiles AT gmail.com.

Merry Creepsmas

I have a sword & sorcery dark comedy/horror short story appearance in the anthology Merry Creepsmas: The Red Book from Wicked Shadow Press. My story is called “There’s Always Room.”

Cover art for "Merry Creepsmas - The Red Book". It is red with a large X-mas tree that appears to have small, globby bodies as ornaments. The cover reads: Wicked Shadow Press Merry Creepsmas: The Red Book Christmas-Themed Horror Stories Edited by Parth Sarathi Chakraborty
Merry Creepsmas – The Red Book

This is actually a short story I wrote 8-9 years ago for a different Christmas themed anthology that didn’t get accepted. The story has been in my repertoire for all this time, and when I saw this call for story submissions, I thought why not dust off the story, spruce it up a bit, and submit. Chuffed that it was accepted!

The anthology is available as an ebook and a print-on-demand title.

Panthans Journal #333

The newest issue of the The National Panthans Journal has been published. This issue contains a re-print of my review of The Moon Maid: Catacombs of the Moon #3.

A continuation of the cover of #332. This cover shows the woman and the hawk man, defensively shooting laser pilots out of a hole in the ground, wile savage barbarians with bows and axes descend upon them. The art is by Mark Wheatley.
Panthans Journal #333

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.

Podcast Stuff

HP Lovecast Podcast is still going, we’re just a bit erratic about it. We will have an episode for The Prophecy up, and we’ll be exploring doing some shorter comic-book reviews in between bigger episodes, perhaps resurrect the old Fragments line.

BlogTalkRadio shut down in January. This means all the podcasts I appeared on (Voice of Olympus, Chatting with Sherri) are no longer available, which is unfortunate. However, I have saved all my appearances as mp3s. I’ll be looking into having them edits and published elsewhere (with permission), perhaps at Archive.org or another venue.

This past week I’ve been a guest on Fan2Fan and also on the Castle of Horror Podcast. Stay tuned for when those become published online.

Michele is also cranking out episodes of her Ride the Stream vidcast with Travis Lakata. She’s also done an episode of Fan2Fan as well.

So, we are both still heavy in the world of vidcasting and podcasting. We are just kind of all over the map now. As always, if you’d like me to be a guest on your podcast or vidcast, do reach out! I love appearing on other folks’ shows.

ECOF 2025

In September of 2025 there will be an Edgar Rice Burroughs Chain of Friendship (ECOF) event down in Willcox, AZ. This event is to celebrate the 150th birthday of Burroughs while also honoring him with a plaque in the town due to his stationing with there the 7th U.S. Calvary in the 1890s. (Note: another ERB convention was held in Willcox back in 2019 and an event recap of that can be read at ERBZine #7059).

Here is a flyer for the 2025 event:

The flyer shows desert mountains with three insert images: one of a young Edgar Rice Burroughs in 1896, one of the author Jeffrey J. Mariotte (who is the guest of honour), and one of the Willcox train depot in the 1880s. The flyer reads was follows: Edgar Rice Burroughs ERB Inc.'s Commemoration of ERB's 150th Birthday! 7th Cavalry Historical Monument Celebration Willcox, AZ, September 25-28, 2025. Formal Dedication on September 27th, 2025. Sponsored by the Suplher Springs Valley Historical Society and the Arizona Apache Deveils Chapter of the Burroughs Bibliophiles.
Flyer for the Edgar Rice Burroughs Circle of Friendship (ECOF) Gathering in Willcox, AZ 2025.

I’ll share more information about the event as I find out more on my website updates. Michele and I will be in attendance for this convention, so I’ve added it to the appearances section of my website as well. 

Publishing Recap

Below is a recap of my external publishing endeavors so far in 2025.

Cover art of the Panthans Journal #332. It depicts a woman and a man with a hawk head, hunkered in a hole, firing laser pistols. The art is by Mark Wheatley.
Panthans Journal #332

Comic Book Review: “The Moon Maid: Catacombs of the Moon #2″ reprinted in the National Capital Panthans Journal #332.

A continuation of the cover of #332. This cover shows the woman and the hawk man, defensively shooting laser pilots out of a hole in the ground, wile savage barbarians with bows and axes descend upon them. The art is by Mark Wheatley.
Panthans Journal #333

Comic Book Review: “The Moon Maid: Catacombs of the Moon #3″ reprinted in the National Capital Panthans Journal #333.

Cover art for "Merry Creepsmas - The Red Book". It is red with a large X-mas tree that appears to have small, globby bodies as ornaments. The cover reads: Wicked Shadow Press Merry Creepsmas: The Red Book Christmas-Themed Horror Stories Edited by Parth Sarathi Chakraborty
Merry Creepsmas – The Red Book

“There’s Always Room” in Merry Creepsmas: The Red Book. Edited by Parth Sarathi Chakraborty. Wicked Shadow Press, 2025.

Cover art for the Burroughs Bulletin #109 by Dan Parsons. The top says "The Burroughs Bulletin New Series #109 Fall-Winter 2024". The art shows a T-rex chomping on a dude in a striped shirt. Below him are explorers with rifles. Behind him his a prehistoric sky, jungle, and a waterfall.
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. Links to these will also be in the CFP page on the navigation bar.

Horror Studies Now 2025

Horror Studies Now: A Two-Day Conference (29-30 May 2025, Northumbria University, UK)

Researchers working in the broad field of “Horror Studies”, are invited to submit abstracts about their research for an in-person conference, hosted by the Horror Studies Research Group at Northumbria University, on 29-30 May 2025. 

Speakers will each deliver a 15-minute talk about their research, followed by extended discussion and questions from the conference delegation. We welcome submissions from scholars at any career stage, but are particularly open to hearing from early career researchers and new voices in the field. The event is intended to provide a welcoming space in which to develop ideas, network, and forge collaborations with fellow Horror Studies researchers. 

The event seeks to explore areas and approaches that have not yet been adequately accounted for or represented in the field, encompassing (but not limited to): 

  • The diversity of perspectives, identities, and voices that comprise Horror Studies and horror production 
  • Independent horror production, alternative histories, and horror produced outside of Europe and North America  
  • The field’s methodological richness, including archival approaches, audience research, practice-based research, and new theoretical perspectives 
  • The breadth of cultural perspectives that inform Horror Studies and horror media 
  • Papers that address horror in all its media forms including games, film, comics, music, social media, television, literature, art, and so forth 

We seek to foreground scholarly excellence within the field by embracing a wide range of approaches, confronting representational biases within the canon, highlighting strategies to counter these biases, and contributing to a more diverse and inclusive academic landscape. We encourage and welcome expressions of interest from members of the global majority and people from underrepresented or marginalised groups. 

Special guests include: 

  • Dr Cüneyt Çakırlar (Nottingham Trent University; editor of Transnational Horror: Folklore, Genre and Cultural Politics [Liverpool University Press, 2025]) 
  • Dr Maxine Gee (Bournemouth University; screenwriter of short film Standing Woman [2020] and web series Tales of Bacon [2018]) 
  • Professor Maisha L Wester (University of Sheffield/Indiana University, Bloomington; author of African American Gothic in the Era of Black Lives Matter [Cambridge University Press, 2025]) 

The deadline for abstracts (of 250 words) is 23:59 (GMT) Friday 14 March 2025. Abstracts should be accompanied by a biographical statement (of 50-100 words) and submitted at the following link: https://forms.office.com/e/FgdAxxxWxy.  

A small fee will be required to attend to cover catering expenses; however, we are striving to keep this cost as low as possible. All speakers, unless they choose to decline, will have their work considered for the new Peter Hutchings Award for Outstanding Contribution to Horror Studies. The award includes a certificate for the winner and a publication (subject to revision) in Studies in the Fantastic

Applicants will be notified of the outcome of their proposal within 14 days of the deadline. Any questions should be directed to horrorstudies@northumbria.ac.uk 

The Horror Studies Research Group at Northumbria: Northumbria University is internationally renowned as the home of horror scholarship. This research specialism was founded by our late Professor Peter Hutchings, and the Horror Studies Research Group formalises Northumbria’s concentration of experts in this area. Our core team are widely recognised as leaders in this area, publishing field-defining monographs, presenting keynote lectures at major conferences, delivering talks at numerous European film festivals, holding positions on the editorial boards of the field’s primary book series and winning major research grants. Our global reputation for research excellence in Horror Studies is further proliferated by our many genre-based PhDs and alumni.  

Dracula: A Companion

Dracula: A Companion is intended to both be an essential guide to interpreting Bram Stoker’s Dracula and a collection of new perspectives supporting a reshaping of the way the text is taught and engaged with by students.

Fundamental to the approach of this companion is placing the text at the epicentre of its own cultural afterlife and pop culture status. Beginning with the novel’s inception and influences, Dracula is positioned as a ‘spark’ that ignited the character’s enduring popularity and presence across the globe. From here, the familiar topics the novel is understood through will see novel perspectives, accounting not only for new and exciting research, but exploring how Dracula’s immortality stems from how it can be subjected to new approaches, showcasing the versatility of the book, and its continued capacity to lend itself to readings that speak of topical cultural concerns.

The final sections prioritise the way the text has been reshaped to suit contemporary audiences, distanced from the ‘original’ novel through adaptation and literary pastiche. Every ‘version’ of Dracula has the potential to be someone’s first encounter with the character, and may be what they think of when hearing the name. By giving this aspect a clear focus it establishes to students and readers alike that ‘Dracula’ is not contained within the novel, but has become a myth recognised across the globe.

We kindly request abstracts of no more than 250 words for either full essay style chapters of 4,500 words or shorter case studies focusing on individual texts of approx 2000 words. We are also open to further ideas, suggestions, and questions. The deadline for abstracts is Monday March 31st 2025. Full contributions are expected to be due at the end of Summer 2025.

Please email abstracts or any other enquiries to madeline.potter@ed.ac.uk & m.crofts@hull.ac.uk

Potential topics (but by no means limited to):

  • Theatrical Influences on the novel’s form Historical influences
  • Transylvania as a mosaic (Hungarian and Irish Parallelism)
  • Stoker: a biographical reading
  • Global Dracula Stoker’s own travels
  • Dracula in translation
  • New perspectives on sexuality: LGBTQA+ readings/drag
  • New scientific & medical readingsNew perspectives on race
  • Romany enslavement
  • Dracula as Sensation fiction/Victorian popular fiction
  • Publishing practices
  • Reception of Dracula
  • Reading Dracula as a werewolf text
  • Neo-Victorian readings
  • Wider cultural understanding of Dracula [Intended as shorter chapters, akin to case studies of texts]
  • Dracula adaptations, appropriations and pastiches
  • Neglected adaptations (eg. The Claes Bang/Gatiss version, The 1977 Louis Jourdan version)
  • Neglected adaptations from non-anglo/American countries
  • Non-Western Draculas
  • Dracula for children: eg. Hotel Transylvania eg. Count Duckula
  • Dracula games (computer and table-top)
  • Dracula in New Media & Fandom

Twenty-First Century Neo-Victorian Gothic: Deviance and Transgression on Page and Screen

For a volume in the Genre Fiction and Film Companion series published by Peter Lang Oxford, we solicit papers on the topic of Neo-Victorian Gothic literature and film adaptation in the twenty-first century.

Neo-Victorian Gothic represents a contemporary revival of Gothic themes, often exploring deviance and transgression in the context of Victorian society as a challenge to the rigid structures imposed by
Victorian society and a re-examination of marginalized voices and experiences. This genre not only revisits the aesthetic and narrative structures of the Gothic, but also critiques and reinterprets the
cultural anxieties of both the Victorian and modern societies. Neo-Victorian texts frequently engage with themes of sexual and social deviance thus reflecting on contemporary concerns about identity,
gender roles, and morality too.

The neo-Victorian Gothic critiques historical injustices, especially regarding gender inequality, violence, sexual transgression, and neurodiversity through intricately weaving together themes of
deviance and transgression, with a critical lens on both Victorian history and contemporary culture. By revisiting Gothic conventions such as encounters with the uncanny in all its manifestations, with
ghosts and the doppelgënger, neo-Victorian works illuminate the persistent shadows of social constraints and anxiety while advocating for a deeper understanding of identity and morality in both
past and present contexts. Moreover, the genre heavily relies on intertextual references to Victorian literature, thus drawing parallels between the past and the present and reflecting on the continuity of
certain social issues across time.

While aware of the many renowned masterpieces of neo-Victorian Gothic literature from the previous century, the proposed volume will explore how our twenty-first century engages with the topics of
deviance and transgression. Will Self’s Dorian, An Imitation (2002), Julian Barnes’ Arthur and George (2005), Diane Setterfield’s The Thirteenth Tale (2006), John Harding’s Florence and Giles
(2010), Rosie Garland’s The Palace of Curiosities (2013), Gregory Blake Smith’s The Maze at Windermere (2018), Nell Stevens’ Briefly, A Delicious Life (2022) are some of the many novels published in the past twenty-odd years. What is more, neo-Victorian novels are frequently adapted for the screen: for example, the novels of Sarah Waters’ Tipping the Velvet (2002), Fingersmith (2005),
Affinity (2008) and Michel Faber’s The Crimson Petal and the White (2011) or more recent productions such as Guy Ritchie’s Sherlock Holmes films, and TV series like Sherlock, Ripper Street,
Whitechapel, and Penny Dreadful. The Companion will therefore revisit the issues of deviance and transgression as embodied in literary texts and adaptations in the context of the challenges set by the contemporary reading audiences and viewers.

Please send abstracts of about 300 words and short bios for consideration by 1 April 2025 to Prof. Rossie Artemis at: artemis.r@unic.ac.cy

Authors will be notified about the status of their proposals by 1 May 2025, and the first drafts of essays (about 4500 words) will be expected by 1 November 2025.

For more information about Peter Lang’s Genre Fiction and Film Companion series, please visit: https://www.peterlang.com/series/gffc

Miscellaneous Tidbits

Some fun things and shout outs from these past few weeks.

Rest in peplum David Lynch

David Lynch passed away last month, and he deserves as rest in peplum (Dune is sword and planet enough for me!). Lynch is one of my all time favorite directors, and many of his films, especially Lost Highway and Mulholland Drive, had a huge impact on my and my appreciation of cinema as a whole. I’d like to recap some of my Lynch thoughts, my exposure to his work, and share some of my Lynch treasures.

Other region DVD (has the red circle with 18 in it). It's red in color. It shows the side of a car, with a reflection of Bill Pullman and a road on it. Arquette is the woman behind the wheel. In silver ink it is signed "To Nick, watch the road - Greg Travis".
Personal copy of Lost Highway DVD signed by Greg Travis.

The first David Lynch movie I ever saw was Lost Highway. This was in the late 90s and I checked it out because I was a hardcore Rammstein fan at the time and Rammstein was in the soundtrack.

I recall renting the movie on VHS and watching it, and my dad walked in and decided to sit down and give it a watch too. And then Patricia Arquette pops on screen and does a striptease. Awkward!

It was a surreal movie, and I didn’t know too much about film noir at the time, but I remember enjoying it! The soundtrack was rocking, Bill Pullman was fresh of ID4 and he ruled, and the movie was mysterious and interesting. I was a fan!

Years later Michele and I would meet actor Greg Travis, who played the aggressive motorist who gets beat up, at a convention were he autographed my DVD of Lost Highway (and Michele’s copy of Starship Troopers).

Left to Right: Michele, Greg, Nick. Get has a white hat on.
Nicholas Diak, Michele Brittany, and Greg Travis at a Hollywood Collectors show in 2010.

Years later Mulholland Drive came out. I was a student working on my bachelors and I was hyped about this film. This was the agonizing days of waiting months and months for a film to be released on DVD after it had been released in theaters.

I watched Mulholland Drive and it was basically Lost Highway done even better. The noir elements, the erotic elements, the recreation of people into other people. While Lost Highway had a “distance” to it, Mulholland Drive was more emotional. I was a super fan of it immediately.

DVD of Mulholland Drive. It has a close up of a face with blonde hair. There is a blue street sign that says the movie's title. in blue ink it says "To Nick, much love, Rena Riffel".
Personal copy of Mulholland Drive DVD signed by Rena Riffel.

At a different convention Michele and I met Rena Riffel, perhaps better known for her appearance in Showgirls and various women-in-prison films by Lloyd A. Simandl. She had a small part in Mulholland Drive where she is under the employ of the seedy Mark Pellegrino. I was so happy we got to meet her and she signed my Mulholland Drive DVD.

Left to right: Nick, Rena, and Michele. Nick is wearing a shirt for Canon films because of course he is.
Nicholas Diak, Michele Brittany, and Rena Riffel at a Hollywood Collectors Show in 2010.

After Mulholland Drive I was pretty much a Lynch convert and watched nearly all of his movies. I dug Elephant Man. I could never get through Dune. I don’t recall Wild at Heart too well unfortunately. Blue Velvet was amazing. I have a Twin Peaks boxset, but have been afraid to dive into it unfortunately.

In the late 2000s there was a Twin Peaks anniversary convention at the Hollywood Collectors show that Michele and I went to and met lots of awesome actors and actresses.

I met Jennifer Lynch who signed the documentary she did about her father’s painting, Pretty as a Picture.

DVD cover shows a close up of one of Lynch's art pieces (it looks like a person's head missing a face) and a headshot of David Lynch. It is signed by Jennifer Lynch.
Personal copy of Pretty as a Picture DVD signed by Jennifer Lynch.

Jennifer, Charlotte Stewart, and Catherine E. Coulson all signed my Eraserhead boxset. This boxset I purchased from Scarecrow Video up in Seattle. Eraserhead is, well, it’s an odd film. It’s surreal, and I dug it, but nowhere near the level of Lost Highway and Mulholland Drive. But I appreciate the hell out of it.

DVD Boxset. Shows a closeup of Jack Nance's head with his goofy hair. It says Eraserhead at the top, and 2000 on the right. It has three signatures on it and a scribble depicting Nance.
DVD boxset for Eraserhead 2000, signed by Stewart, Coulsonm and Lynch.

Notice the little squiggly face by the vertical 2000 on the right side? That’s Jack Nance. When Coulson signed my DVD, she closed her eyes and reached out to the long departed Nance, who guided her to draw his face. I was so flattered she did that. RIP to Coulson who sadly passed away 10 years ago.

Nick and Catherine Coulson.
Nicholas Diak and Catherine Coulson at the Hollywood Collectors Show in 2010.

One other artifact I was to share is this boxset of Dumbland. It’s in the same dimensions as the Eraserhead boxset, so I believe it was put out by the same company. This boxset I also bought at Scarecrow (plug: hear me talk about Scarecrow Video at the Fan2Fan podcast!)

Square DVD boxset. It's all white except for the black drawing of the character. It says Dumbland at the top. The character looks like he is surrounded by flies and is standing behind a fence.
Personal copy of the Dumbland DVD boxset.

I remember watching this and thinking… well.. that’s David Lynch for you!

One last note, my friends over at the Fan2Fan Podcast have dropped a new episode, and it is on Lynch’s Blue Velvet. Give it a listen!

David Lynch and Blue Velvet Fan2Fan Podcast

Ride the Stream Vidcast Episodes

Michele and Travis have some brand new episodes of their Ride the Stream vidcast online at YouTube. They dive into the next few episodes of Lost.

Here is their discussion of episode five of season 1:

And their discussion of episode 6:

Ride the Stream can be followed on Bluesky.

Jungle Scandals Kickstarter

J. Manfred Weichsel (whom I interviewed about their anthology, Sword & Scandal, which can be read here) has a new Kickstarter up.

Banner shows three women. One is naked in a cauldron. The other two are standing around the cauldron, taking selfies and chopping a carrot into it.
Promo banner for Jungle Scandals provided by J. Manfred Weichsel.

This campaign is to finance the second book in his Scandal line, Jungle Scandals. Check out the campaign here and consider supporting!

Categories
News

News Roundup 2024-11-17

Personal / Website News

Scandalous Swords: Interview with J. Manfred Weichsel

A new interview article is up here at the website!

I interviewed J. Manfred Weichsel, editor of the sword and sorcery anthology Sword & Scandal.

Cover shows a Barbarian dude and a barbarian lady. The dude is holding a metal brassiere in his hand and a sword in the other. The lady is covering her breasts because the other barbarian stole her top. She is about to wack him with her sword.
Sword and Scandal cover.

Check it out here!

McFarland Holiday Sale

My publisher, McFarland books, is having a Holiday sale on all of their tiles! From November 15th to December 2nd, if you use code “HOLIDAY24” during checkout, you’ll get a 35% discount.

If you want to support me, consider buying a copy of The New Peplum or Horror Literature from Gothic to Post-Modern:

The New Peplum
Cover art for The New Peplum

McFarland Purchase link

Normal price: 39.99
35% = 13.99
Price after coupon: 25.99

Cover is black and red. The black is a spooky person in a hooded cloak surrounded by silhouettes of trees. Behind the figure is a red light.
Cover of Horror Literature from Gothic to Post-Modern: Critical Essays.

McFarland Purchase Link

Normal Price: 29.95
35% = 10.48
Price after coupon: 19.47

If you want to support Michele, consider buying James Bond and Popular Culture and Horror in Space: Critical Essays (I have essays in both):

Cover shows Sean Connery as Bond, holding his Walther PPK and a martini. Behind him is a swirl of the gun barrel.
Cover of James Bond and Popular Culture.

McFarland Purchase Link

Normal Price: 29.95
35% = 10.48
Price after coupon: 19.47

Cover is a frame from the movie Jason X where it shows Jason walking through a circular hallway on a space station.
Cover for Horror in Space.

McFarland Purchase Link

Normal Price: 29.95
35% = 10.48
Price after coupon: 19.47

If you’re interested in another book that I have an essay in, consider The Many Lives of the Twilight Zone and Uncovering Stranger Things:

Cover depicts a white door that is open and there is a swirl going on in it. The door stands by itself on a grassy area. Behind it is airspace with stars and planets.
Cover of The Many Lives of The Twilight Zone: Essays on the Television and Film Franchise.

McFarland Purchase Link

Normal Price: 29.95
35% = 10.48
Price after coupon: 19.47

Cover shows the silhouettes of four kids on bikes, with a dark and stormy road going to the horizon. Beneath them are x-mas lights.
Cover for Uncovering Stranger Things.

McFarland Purchase Link

Normal Price: 19.99
35% = 6.99
Price after coupon: 12.99

A Hero Will Endure Paperback Relese + Discount

Vernon Press, the publisher of A Hero Will Endure: Essays at the Twentieth Anniversary of Gladiator, has just released a cheaper, paperback version of the book, just in time for Gladiator 2!

Cover for A Hero Will Endure. It shows a ghostly blue arm running through an orange field of wheat (or some other agricultural plant).
A Hero Will Endure.

The paperback is at the much more friendly price of $57 compared to $96 for the hardcover and $107 for an electronic version. All editions of the book can be found at the Vernon Press product page.

In addition, the publisher is offering a coupon on purchases of the collection! From now until the end of January 2025, if you use code SLZM30 at check out, you’ll get 30% off the title. So, the $57 book now becomes $39.99. Nice!

ECOF 2025

In September of 2025 there will be an Edgar Rice Burroughs Chain of Friendship (ECOF) event down in Willcox, AZ. This event is to celebrate the 150th birthday of Burroughs while also honoring him with a plaque in the town due to his stationing with there the 7th U.S. Calvary in the 1890s. (Note: another ERB convention was held in Willcox back in 2019 and an event recap of that can be read at ERBZine #7059).

Here is a flyer for the 2025 event:

I’ll share more information about the event as I find out more on my website updates. There currently is a fundraiser going on to raise funds for the ERB plaque, and details for that can be found in the QR code in the above graphic, or by checking out the donation page at the Sulphur Springs Valley Valley Historical Society. 3.8K of 5K has been raised already. 

Michele and I will be in attendance for this convention, so I’ve added it to the appearances section of my website as well. 

Publishing Recap

Below is a recap of my publishing endeavors so far in 2024.

Cover of the journal portrays a scene from John Carter's Mars. There is a multi-armed green skinned alien holding a spear riding atop of a multi-legged blue mount that looks like a horse and a brontosaurus? Next to them is Woola, a puppy-like alien with 10 legs. They are on the martian landscape which is very orange.
National Capital Panthans Journal #326.

Comic Book Review: “Carson of Venus: The Flames Beyond#1″ reprinted in the National Capital Panthans Journal #326.

Cover shows a scene from a John Carter moment. There is a free multi-armed alien atop a blue steed. There are robots on spider legs firing weapons. There are round domed buildings that dot the rocky landscape.
National Capital Panthans Journal #327.

Comic Book Review: “Carson of Venus: The Flames Beyond#2″ reprinted in the National Capital Panthans Journal #327.

Cover art by Mark Wheatley. It shows Tarzan atop a barren tree trunk, pulling the string on a bow.
National Capital Panthans Journal #328.

Comic Book Review: “Carson of Venus: The Flames Beyond#3″ reprinted in the National Capital Panthans Journal #328.

Cover is called "Stand with Thoris" by Mark Wheatley. It shows Dejah Thoris wearing a dress and holding a long sword in her right hand. There is a domed building in the distance.
National Capital Panthans Journal #329.

Comic Book Review: “Carson of Venus / Warlord of Mars #1″ reprinted in the National Capital Panthans Journal #329.

Cover shows a sail boat, manned by three folks, on a green sea against a pink sky.
National Capital Panthans Journal #330.

“Wondercon 2019 Coverage: Tarzan, John Carter, and Edgar Rice Burroughs, Inc.: What’s New?” reprinted in the National Capital Panthans Journal #330.

Calls for Papers/Proposals

Here are some new pop culture CFPs that have crossed my paths. Links to these will also be in the CFP page on the navigation bar.

Contemporary Indigenous Horror

Deadline for Abstracts: May 30, 2025

Contact: nborwein@uwo.ca

Edited by Dr. Naomi Simone Borwein and Dr. Krista Collier-Jarvis

Building on discussions in the edited volume, Global Indigenous Horror (University Press of Mississippi, 2025), this is a call for chapter proposal submissions focused on the topic of Contemporary Indigenous Horror. Beautiful, luminous and resonant moments of horror exist in the work of writers like Shane Hawk, Kim Scott, Tiffany Morris, Waubgeshig Rice, or Ambelin Kwaymullina. But Indigenous horror tales thrive in many narrative or storying forms—from fiction, plays, and music, to graphic novels, art installations, or experimental films fortified by sonic and oral manifestations.

In response to the forthcoming inaugural essay collection, Global Indigenous Horror (2025)Judith Leggatt states, “Global Indigenous Horror is a timely and welcome addition to the growing field of Indigenous Horror studies.” Over the past decade, there has been a (re)surgence in Indigenous works focusing on tales of horror, such as Anoka: A Collection of Indigenous Horror (2011; Hawk); Ajjiit: Dark Dreams of the Ancient Arctic (2011; Tinsley and Qitsualik); Never Whistle at Night: An Indigenous Dark Anthology Collection (2023; Hawk and Van Alst Jr.); Whistle at Night and They Will Come: Indigenous Horror Stories (2023; Soop); Midnight Storm, Moonless Sky: Indigenous Horror Stories (2022; Soop); Taaqtumi: An Anthology of Arctic Horror Stories (2019), Moosebumpz: Scary Stories from the Rez, and The Land Has Spoken—Tales of Indigenous Horror (2024; Hawk and Rogers), and Zegaajimo: Indigenous Horror Fiction (2024; Akiwenzie and Adler), just to name a few.

Responding to the widening gap between Indigenous horror and academic responses to it, editors Naomi Simone Borwein and Krista Collier-Jarvis solicit contributions for Contemporary Indigenous Horror. Shane Hawk broadly defines horror as that which “prioritizes the fear factor, often using graphic depictions of violence, monstrous beings, or otherworldly threats to achieve its effect. The ultimate purpose of horror is to confront the reader with their deepest fears, creating an experience that is visceral and unsettling.” When taken up by Indigenous storytellers, horror often engages with a colonial past that has never really passed, and as such, it haunts contemporary Indigenous peoples and communities. Indigenous horror thus often blends traditional stories as well as Indigenous ways of knowing and being with contemporary issues. In many cases, Indigenous horror is about our lived experiences, not as the victim of ongoing coloniality, but as resistance. According to Elizabeth Edwards and Brenna Duperron, “Indigeneity is a resistance — in the usual sense of opposition, repudiation, and refusal to comply […but also] resistant to assimilation. Indigeneity is the lived and embodied experience of peoples who have participated in that resistance” (94). In many other cases, Indigenous horror is about what Scott Gordon calls “colonial whiplash,” where “white people who haven’t turned into zombies [or other monsters] are at the mercy of the oppressed”—their Indigenous saviours. And in other cases, what Indigenous horror is has yet to be revealed.

Chapters (6,000-8,000 words including bibliography) may examine modern, contemporary representations of Indigenous Horror from a variety of perspectives. With a focus on analysis of current horror (narrative) production by self-identifying artists, writers, and other creators, some areas of consideration include, but are not limited to:

  • the future of Indigenous Horror;
  • Indigenous futurisms;
  • Indigenous futurism in relation to Afrofuturism;
  • the post-apocalyptic;
  • after the Anthropocene (or other labels);
  • pre-contact/post-contact;
  • Indigenous “monsters”;
  • Indigenous identity/identities;
  • unsettling, activism;
  • love, reciprocity, and horror;
  • Indigenous horror and visual, digital, or textual sovereignty;
  • mixed media, experimental media;
  • virtual, embodied, extended, or augmented reality;
  • multisensory installation and the horror experience;
  • ecological discourses and horror manifestations in relation to speculative narratives;
  • interrogation of “rewilding” and alternatives;
  • decolonization of Indigenous stereotypes in mainstream Horror and their counterparts in Indigenous narratives;
  • authentic Indigenous horror images, visions, “metaphors” or “motifs”;
  • social media and h/Horror in relation to fiction marketization;
  • sonic landscapes of horror;
  • systems of Indigenous horror that move between fiction, film, music, and other media;
  • NDN and Horror media;
  • inter-tribal horror/Horror and trans-Indigeneity or pan-Indigeneity;
  • exploration of various land-based, place-based, sky-based, star-based, or water-based horrors in narratives by Indigenous creators;
  • blood, heredity, categorization, and holocaust/genocide narratives;
  • reconciliation;
  • virtue signalling, horror, media cultures and spaces;
  • metacommentary;
  • analysis of Indigenous Gothic and Horror;
  • Indigenous Horror fiction and ways of knowing;
  • reading (and teaching) Indigenous horror fiction;
  • horror systems as epistemologies;
  • Indigenous Horror fiction and scholarship;
  • and more.

This follow-up collection seeks contributions from self-identified Indigenous scholars in any stage of their academic journey. We also encourage submissions from allies to the community. To acknowledge the various ways in which Indigenous scholarship may emerge, we welcome both traditional as well as more exploratory approaches, including submissions of proposals for non-fiction works by self-identified Indigenous storytellers reflecting on the process of writing, or otherwise producing, horror.

Please send a 250-word abstract and a 100-word bio to editors Naomi Simone Borwein (nborwein@uwo.ca) and Krista Collier-Jarvis (Krista.Collier-Jarvis@msvu.ca) by May 30, 2025. Accepted chapters will be due June 30, 2026.

Miscellaneous Tidbits

Some fun things and shout outs from these past few weeks.

Gladiator 2 Cinemark Popcorn Bucket

Collectable popcorn buckets are becoming a big thing now. Gladiator 2 has one, of course. Thankfully this bucket could be ordered online instead of actually going to a Cinemark theater. So, of course I ordered a bucket:

Gladiator 2 popcorn bucket. Gold in colour. Looks like the colosseum. It says "Gladiator II" on the side.
Gladiator 2 Popcorn Bucket – Side View
Popcorn bucket that is in the shape of a colosseum. It is gold in color.
Gladiator 2 Popcorn Bucket – Top View

Sword and Sandal Blu-rays

Coinciding with the release of Gladiator 2 in November, there’s been a handful of older pepla getting new releases on UHD/Blu-ray. In mid November three came in the mail: Steelbook edition of the original Gladiator (2000), a new cut of Caligula (1979), and a new edition of Hercules Returns (1993).

Three movies, left to right are Gladiator, Hercules Returns, and Caligula. Gladiator shows Russell Crowe, squatted down, holding a sword and shield. Hercules Returns shows Hercules flexing. Caligula shows the coin with Caligula on it, blood as tears running down his cheek from his eye.
4K/Blu-ray releases of Gladiator, Hercules Returns, and Caligula.

Rest in Peplum Tony Todd

Tony Todd, horror actor extraordinaire best known for his portrayal as Candyman, passed away. He starred in a handful of pepla: Xena (1995-2001), Hercules (1995-1999), Beastmaster 3 (1996), and Minotaur (2006).

Michele and I had the honor to meet him way back in 2008 at a horror con in SeaTac. He autographed my Criterion Collection edition of The Rock (1996):

DVD of The Rock. It's all black, with a tiny Alcatraz at the bottom right. It says "The Criterion Collection" at the top. In silver pen it is signed "To Nick 'Where is the money?" Peace, Tony Todd."
Criterion Collection version of The Rock, autographed by Tony Todd.

When Candyman 2021 came out I did an article on bands that sample dialogue from the original Candyman (1992). Do check out that article to see some innovative ways that Todd lives on via textual sampling.

Art of Michele Brittany

Michele has started a Facebook Page devoted to her crafting and art. If you want to check out her projects or purchase some of her journals, give the page a like and follow!

https://www.facebook.com/profile.php?id=61565895377463

Screen capture of Michele Brittany's Facebook account/banner. It shows Michele in purple hair, and a collage of all her scrap books and other crafts.
Art of Michele Brittany Banner
Categories
News

News Roundup 2024-11-03

Personal / Website News

Scholars From the Edge of Time

A brand new Scholars From the Edge of Time vidcast is online!

For the spooky month of October Michele and I revisit the world of sword and scary with a horror-filmed Neo-peplum film, The Head Hunter (2018)!

Standard black DVD case. Cover art shows a viking-esque warrior with his helmet covering his face and a sword on his back and skulls dangling from his armor.
Head Hunter DVD.

The episode can be viewed on YouTube here – check it out!

Panthans Journal #330

The newest issue of the The National Panthans Journal has been published. This issues contains a re-print of my convention coverage of the Edgar Rice Burroughs, Inc. panel at Wondercon 2019.

Cover shows a sail boat, manned by three folks, on a green sea against a pink sky.
National Capital Panthans Journal #330.

Paraphrased from the zine: The National Capital Panthans Journalis a monthly publication issued as a .PDF file on the Saturday before the first Sunday of each month. Contribution of articles, artwork, photos and letters are welcome. Send submissions to the editor: Laurence G. Dunn at laurencegdunn@gmail.com in a Word document for consideration.

ECOF 2025

In September of 2025 there will be an Edgar Rice Burroughs Chain of Friendship (ECOF) event down in Willcox, AZ. This event is to celebrate the 150th birthday of Burroughs while also honoring him with a plaque in the town due to his stationing with there the 7th U.S. Calvary in the 1890s. (Note: another ERB convention was held in Willcox back in 2019 and an event recap of that can be read at ERBZine #7059).

Here is a flyer for the 2025 event:

Flyer shows the outside train depot in Willcox AZ with a yellow train coming in. There are 3 inserts: one of Edgar Rice Burroughs, one of guest of honour Jeffrey Mariotte, and one of the train depot as from the 1880s. The flyer reads was follows: Edgar Rice Burroughs ERB Inc.'s Commemoration of ERB's 150th Birthday! 7th Cavalry Historical Monument Celebration Willcox, AZ, September 25-28, 2025. Formal Dedication on September 27th, 2025.
ECOF 2025 Flyer (original)

I’ll share more information about the event as I find out more on my website updates. There currently is a fundraiser going on to raise funds for the ERB plaque, and details for that can be found in the QR code in the above graphic, or by checking out the donation page at the Sulphur Springs Valley Valley Historical Society. 3.5K of 5K has been raised already.

Michele and I will be in attendance for this convention, so I’ve added it to the appearances section of my website as well.

Publishing Recap

Below is a recap of my publishing endeavors so far in 2024.

Cover of the journal portrays a scene from John Carter's Mars. There is a multi-armed green skinned alien holding a spear riding atop of a multi-legged blue mount that looks like a horse and a brontosaurus? Next to them is Woola, a puppy-like alien with 10 legs. They are on the martian landscape which is very orange.
National Capital Panthans Journal #326.

Comic Book Review: “Carson of Venus: The Flames Beyond#1″ reprinted in the National Capital Panthans Journal #326.

Cover shows a scene from a John Carter moment. There is a free multi-armed alien atop a blue steed. There are robots on spider legs firing weapons. There are round domed buildings that dot the rocky landscape.
National Capital Panthans Journal #327.

Comic Book Review: “Carson of Venus: The Flames Beyond#2″ reprinted in the National Capital Panthans Journal #327.

Cover art by Mark Wheatley. It shows Tarzan atop a barren tree trunk, pulling the string on a bow.
National Capital Panthans Journal #328.

Comic Book Review: “Carson of Venus: The Flames Beyond#3″ reprinted in the National Capital Panthans Journal #328.

Cover is called "Stand with Thoris" by Mark Wheatley. It shows Dejah Thoris wearing a dress and holding a long sword in her right hand. There is a domed building in the distance.
National Capital Panthans Journal #329.

Comic Book Review: “Carson of Venus / Warlord of Mars #1″ reprinted in the National Capital Panthans Journal #329.

Cover shows a sail boat, manned by three folks, on a green sea against a pink sky.
National Capital Panthans Journal #330.

“Wondercon 2019 Coverage: Tarzan, John Carter, and Edgar Rice Burroughs, Inc.: What’s New?” reprinted in the National Capital Panthans Journal #330.

A side note, I’ve done some organizing on my bibliography page. The magazines/zines/etc. section was getting rather long so I broke it up into a section for Exotica Moderne, a section for Panthans, and a section for the rest. In the future, when a particular outlet starts to appear more than a few times I’ll parse it to its own area as well.

Calls for Papers/Proposals

Here are some new pop culture CFPs that have crossed my paths. Links to these will also be in the CFP page on the navigation bar.

Metal Music Studies Retrospectives

In celebration of the 10th year of Metal Music Studies, we (Ross Hagen and Edward Banchs) are compiling a section of short retrospectives on foundational and important publications for the reviews section. We are aiming for a mix of titles that includes books aimed at general audiences in addition to academic monographs and edited collections. We are looking for short retrospectives of around 1000-1500 words that would address the following threads of inquiry: 

  • What is the significance of the work?
  • What did it contribute to Metal Studies?
  • What aspects of the book still seem most relevant today?
  • Are there aspects of the book that you are critical of? 

The tone of the writing does not need to be rigorously academic; we are looking for more personal sorts of reminisces about these publications. 

If you are interested in writing a retrospective, please reply with up to three titles you are interested to write about. We’re operating on a “first-come, first-served” basis so it will be good to have some alternative titles in case your first choice is already spoken for.  We would like to have the first drafts by Dec. 1 – it’s a quick turnaround but since these will be short and less academic hopefully that won’t be too much of a discouragement.

We have reviews lined up already for the following:

  • Christie, The Sound of the Beast
  • Dawes, What are You Doing Here?
  • Kahn-Harris, Extreme Metal
  • Moynihan, Lords of Chaos
  • McNeil, Please Kill Me
  • Clifford-Napoleone, Queerness in Heavy Metal Music
  • Roccor, Heavy Metal. Die Bands. Die Fans. Die Gegner. 
  • Hein, Hard Rock, Heavy Metal: Histoire, cultures et pratiquants

We would like to get 5–10 more pieces to round out the section. We’d be particularly interested in reviews of some of the early collections like Scott & von Helden’s Metal Void: The First Gathering (2010) along with other edited collections and special issues of journals.

Please send replies and any questions to both ross.hagen@uvu.edu and edwardbanchs@gmail.com.

Miscellaneous Tidbits

Some fun things and shout outs from these past few weeks.

Autographed Crawlspace

The folks at RedLetterMedia recently did a two-part episode on Full Moon’s Puppet Master series of films. They briefly brought up Puppet Master one’s director David Schmoeller and how he did a movie called Crawlspace (1986) with Klaus Kinski who was a nightmare to work with – so much so that Kinski became the inspiration for the Blade puppet.

Two DVDs. Both standard black cases. The one on the left is from the MGM Midnight Movies line of films and has two movies on it, The Attic and Crawlspace. The cover shows posters for both films. In silver marker is it signed "Charles Band" and in black marker it is signed "David Schmoeller". The DVD on the right is a DIY, with a home printed sleeve. The cover is a picture of Kinski (from the movie) holding a revolver to his head. This is for "Please Kill Mr. Kinski" and in black marker it is signed "For Nick From David Schmoeller".
Personal copies of Crawlspace (signed by Charles Band and David Schmoeller) and “Please Kill Mr. Kinski (signed by Schmoeller).

Back in the late 2000s I contacted Schmoeller and asked him if I could post him my copy of Crawlspace to be autographed and he said sure! So, pictured here is my copy of Crawlspace, signed by Schmoeller (and producer Charles Band), along with a copy of “Please Kill Mr. Kinski” that Schmoeller sent as a gift.

Art of Michele Brittany

Michele has started a Facebook Page devoted to her crafting and art. If you want to check out her projects or purchase some of her journals, give the page a like and follow!

https://www.facebook.com/profile.php?id=61565895377463

Screen capture of Michele Brittany's Facebook account/banner. It shows Michele in purple hair, and a collage of all her scrap books and other crafts.
Art of Michele Brittany Banner
Categories
News

Biweekly News Roundup 2024-07-28

Personal / Website News

Fred Phillips Interview

Back in 2018 I did an interview with poet Fred Phillips that was published at the Witch Haunt. However the website has been shuttered.

Because of this, I have republished the interview here at my website. It can be read here.

Panthans Journal #327

The newest issue of the The National Panthans Journal has been published. This issues contains a re-print of my review of Carson of Venus: The Flames Beyond #2.

If you’re interested in receiving copies of Panthans, contact Laurence Dunn at laurencegdunn @ gmail dot com (sans spaces).

Scholars from the Edge of Time

For the July episode of Scholars from the Edge of Time Michele and I decided to look at a film that is pretty new: She is Conann (2023) by Bertrand Mandico.

The episode can be streamed on YouTube.

Publishing Recap

Below is a recap of my publishing endeavors so far in 2024.

Comic Book Review: “Carson of Venus: The Flames Beyond #1″ reprinted in the National Capital Panthans Journal #326.

Comic Book Review: “Carson of Venus: The Flames Beyond #2″ reprinted in the National Capital Panthans Journal #327.

From the Archives

This following podcasts episodes and articles were published from 7/8 to 7/28:

Calls for Papers/Proposals

Here are some new pop culture CFPs that have crossed my paths. Links to these will also be in the CFP page on the navigation bar.

Occult Detectives

Edited by Michael Goodrum, Kris Mecholsky, and Philip Smith

The occult detective has a long history. Depending on how one defines the genre, occult themes coincide with the earliest detective fiction and theatre, 公案小說 (gong’an, or crime-case) stories from the Song dynasty (13th-14th century), which often featured supernatural appearances and interventions. To Anglophone audiences, however, the figure is, perhaps, most closely associated with the decades that followed the founding of the Society for Psychical Research in London in 1882. While Sherlock Holmes dedicated much of his efforts to exploding notions of the supernatural, most famously in The Hound of the Baskervilles (1902), other detectives both drew on and fought against the occult. Making his debut in 1898, Flaxman Low is perhaps the first to fit the (inevitably) loose model of the occult or psychic detective. Driven by a late Victorian interest in the occult and ghost-hunting, though, Low was rapidly followed by a stream of successors, a connection that continues to the present with new detectives appearing well into the 21st century in a wide variety of media (including novels, short stories, comics, theatre, television, film, games, and more). Horror and crime fused in weird fiction in the pulps; in comics such as Hellblazer and Dead Boy Detectives; in video games such as Alan Wake and Alone in the Dark; in TV shows such as Twin Peaks and True Detective; and in films such as The Exorcist III and The Sixth Sense, to name just a few.

The editors seek essays of ~4,000 words. Topics should include occult detectives and any text which sits at the intersection of detective and horror narratives. Texts can be of any medium or time period. Some possibilities include, but are not limited to, the following figures, genres, or texts:

  • Gong’an (Judge Dee and/or Judge Bao in any medium)
  • Abraham Van Helsing (in any medium)
  • Flaxman Low
  • John Silence
  • Luna Bartendale
  • Carnacki the Ghost-Finder
  • Fantastic/horror noir (e.g., Night Has a Thousand Eyes, Angel Heart)
  • Hellblazer and John Constantine (in comics and film)
  • Hellboy (in comics and film)
  • The Exorcist series (in novels and film)
  • Stephen King (in any medium)
  • Buffy the Vampire Slayer and Angel (in television, film, and comics)
  • The X-Files
  • Twin Peaks
  • Supernatural
  • Alan Wake
  • Ed Brubaker’s Fatale

Essays should be accessible but touch on big ideas, using a single text, author, artist, or director as a lens to comment on the genre(s) and themes at play. We particularly encourage contributions that take an international, cross-cultural perspective, and/or touch on topics of queerness, ethnicity, gender, and disability.

Proposals of up to three hundred words due by 29 September 2024 to occultdetectivesbook@gmail.com Final drafts for accepted proposals will be due by 30 March 2025. Each essay will be subject to editorial review; authors should expect to undertake at least one round of revisions before final acceptance.

Genre and Video Games

We are seeking short chapters of approximately 2,500-2,700 words for an edited collection on literary genres in video games. We invite submissions for all five of the genres: Fantasy, Historical fiction, Romance, Horror/Gothic, and Science Fiction, that the collection endeavours to explore.

The collection fits into an ongoing genre studies series and will examine how literary genres function in video games, thereby bringing video games into the existing literary canon of genre studies. Each subsection will explore key themes in the existing canon while expanding on the interactive elements of video games that update and/or alter existing conversations about genre. The essays will be educational and accessible in nature with the aim of producing a comprehensive teaching companion for future courses in game studies, game development, or the digital humanities.
This call addresses all five general genre areas the collection seeks to address. These are meant to be general categorizations, but we encourage submissions that also move into inter- or cross-genres, as many of these genres overlap and share different features in both games and literary studies.

Topics that might be considered (but are not limited to):

  • Fantasy
  • The Prominence of Fantasy Games and Nostalgia
  • Fantasy Race and Colonization
  • Non-Western Fantasy
  • Resource-Gathering and Digital Landscapes
  • Pseudo-Medievalism in Fantasy Game World
  • Historical Fiction
  • (Pre)Industrialism & economy and/or class dynamics
  • Feudalism
  • Monarchy and/or Empire
  • Colonialism
  • Myth and Storytelling (written, oral or otherwise)
  • Gender and/or sexuality
  • Disability
  • Romance
  • Player Character (PC) and Non-Playable Character (NPC) Agency
  • Queer Romance Routes
  • LGBTQ2IA+ Representation
  • Digital Sex, Consent and AI Romance
  • Romantic Subplots Across Genres
  • Horror/Gothic
  • Queer Horror and the Monstrous ‘Other’
  • Gothic Games and the Undead Past
  • Haunted Digital Landscapes
  • Consumption Horror: Parasites, Vampires, and Cannibals
  • Speculation and Apocalyptic Horror
  • Science Fiction
  • Digital Posthuman Landscapes and Mitigating Climate Nihilism
  • Human/Technology Interactions and the Rise of Artificial Intelligence
  • Space Exploration and Colonization
  • Speculative Dystopias and Projected Futures
  • Alternative Futurisms

Particular interest will be paid to pieces that engage with Indigenous and Non-Western perspectives in the chosen game or through the chapter’s proposed scholarship.

Please submit an abstract of 250-300 words alongside a brief (100 word) bio to genreandvideogames@gmail.com by the date below.
Abstract due by: August 15, 2024

Prospective draft due date: December 15, 2024

(Re)Animating the Middle Ages: Adapting the Medieval in Animated Media

Co-organizers Michael A. Torregrossa, Karen Casey Casebier, and Carl B. Sell

Sponsored by Association for the Advancement of Scholarship and Teaching of the Medieval in Popular Culture


56th Annual Convention of Northeast Modern Language Association (NeMLA)

Philadelphia Marriott Downtown (Philadelphia, PA)
On-site event: 6-9 March 2025

Submission Instructions

In this panel, we seek in particular to build upon the pioneering work of medieval-animation scholar Michael N. Salda and provide additional insights into the ways medieval-themed animation has impacted our contemporary world. Presenters might explore anime, cartoons, films, games, shorts, and videos produced through traditional ink-and-paint, stop-motion, claymation, or computer-generated imagery. Selections should represent and/or engage with some aspect of the medieval, such as artifacts, characters, settings, themes, etc., presented as central to the narrative, tangential, or appearing solely as cameos.

For ideas and support, please see our list of representative texts and resource guide devoted to studies of medieval-themed animation.

All proposals must be submitted into the CFPList system by 30 September 2024. You will be prompted to create an account with NeMLA (if you do not already have one) and, then, to complete sections on Title, Abstract, and Media Needs.

Notification on the status of your submission will be made by 16 October 2024. If accepted, NeMLA asks you to confirm your participation with the session chairs by accepting their invitations and by registering for the event. The deadline for Registration/Membership is 9 December 2024.

Thank you for your interest in our session. Please address questions and/or concerns to the organizers at MedievalinPopularCulture@gmail.com.

For more information on the Association for the Advancement of Scholarship and Teaching of the Medieval in Popular Culture, please visit our website at https://medievalinpopularculture.blogspot.com

The Dark Side of Lego: The Gothic Fantastic, and the Uncanny Pleasures of Lego

Lego is everywhere. The ubiquity of the children’s building is both a marvel at its popularity but also the kinds of financial muscle and cutthroat business practice that has seen Disney approach, what sometimes feel, as world domination of the entertainment and leisure industry — there’s no surprise that the Lego and Disney frequently work together.

Unsurprisingly Lego is not all fun and play and whilst much of the “dark side” of Lego can be seen to come making toys for all ages of “children” with no age restriction on who buys or plays
with them (other than a “age suggestion” on the box) there is much of it that purposely Gothic in tone and intent. In part this comes from the other franchises that Lego partners with such as Star
Wars, Jurassic Park, DC Superheroes, and Harry Potter, but they also have their own dedicated series using such themes as Ninjago, special Halloween and monsters series, as well as those promoting villains and even shark attacks in the crossover brands.

Equally unsurprising are the various compromises and missteps that have occurred over gender and ethnicity within the franchise with concerns over inclusion, the “yellowness” of the toys, cultural appropriation, and sets such as Jabba the Hutts’ Mosque/Palace. Some of this can be seen to stem from an under appreciation of the kinds of troubling identity and inclusion issues that are part
of the franchises they choose to deal with and the fandoms that follow them — Lego too has it’s more extreme fandoms amongst the faithful.

With this is what we might term real-world Lego in terms of theme parks (Legolands), shops, conventions and the parent company itself. The kinds of aggressive sales models that power Lego’s increasing global reach often pays little regard to those who work for them, other local businesses in the areas they move in to, or legal action against those deemed to be infringing on their copyrights.

This collection is interested in any aspect of the above or the suggestions below:

  • Gothic aspects of any of the series such as Harry Potter, DC Superheroes, Jurassic Park, Star Wars, Disney Princesses, Mario Brothers (Luigi’s Haunted House), Lord of the Rings, Marvel Superheroes, Ninjago, Scooby Doo, etc.
  • The story arcs of any characters within those Batman, Joker, Lord Garmageddon, Darth Vader etc.
  • How any of the above play out over different platforms, bricks, books, games, accessories, theme parks, conventions, etc.
  • Gothic aspects of standard sets, Lego City, Creator, Dots and portraits, special editions etc.
  • Special sets/figures of vampires, monsters, Halloween, picture books of Dracula & Frankenstein, gothic castles, villains, dinosaurs, sharks etc.
  • Gothicism and play, mash-ups, and fluid Identity in self-creation.
  • Inappropriate Lego or fan interventions: The Simpsons, Lego Rifle, terrorist figures, Lego death camp, Breaking Bad, etc.
  • Lego fandom — Brickipedia, Legopedia, Wiki-Lego — and intersections with toxic fandoms from other franchises (ie Star Wars).
  • Issues around gender and ethnicity.
  • Ihe gothic nature of the company itself.
  • Any other areas that seem gothic in nature or outcome.

Send ideas and/or 300 word abstracts for a prospective collection of essays by 30th November 2024 to Simon Bacon: baconetti@gmail.com

Categories
Interview Peplum

New Tales of Heroic Fantasy: Sword and Sorcery Stories in Weird Tales #366

There’s no time like the present to indulge in the stories of the heroic, mythical, and magical past. Streaming services from Amazon and HBO launched brand new fantasy shows, The Rings of Power and House of the Dragon respectively. Young adult fantasy continues to be a lucrative market and indie fantasy comics books are being realized via the power of crowdfunding.

Vanguard literary magazine Weird Tales pioneered pulp, cosmic horror, and sword and sorcery stories. Their upcoming issue, #366, is devoted to tales of heroic fantasy with new stories, poems, and essays contributing to the contemporary fantasy canon. A few contributors to this sword and sorcery special issue have graciously shared tidbits of their poems and stories along with their relationship with the genre. 


Brian W. Matthews

Story Title

“Temm the Riven”

Story Synopsis

A knight is tasked by his king to save the realm, but to do so, he must return to his childhood home and confront the evil of his past.

Primary goal to accomplish with your story?

I wanted to create an effective blend of fantasy and horror. Clive Barker does it so well, but he blends horror with urban fantasy. I wanted to take a stab at injecting horror into an epic fantasy setting.

Your favourite type of sword and sorcery: classic heroic fantasy (like R.E. Howard) or big epic fantasy (like Tolkien)?

I’m more of an epic fantasy person. Nothing against heroic fantasy. I just never had much exposure to [Robert E.] Howard. 

Any S&S authors that have had an influence on you? If so, who and how?

I grew up reading Tolkein and Donaldson and Zelazny and was taken by their characters and how the setting forged who they were into who they became. This is particularly true of Stephen R. Donaldson. He makes his characters quite human, injects common sense and self-preservation into them, and then puts them through the grinder of the fantasy setting to see what kind of person/hero they can become.

Brian W. Matthews can be found at:


Teel James Glenn

Poem Title

“Bard”

Poem Synopsis

It recounts the life/career of a storyteller, and as a Celt a Seanache was an important part of the Celtic culture and means a lot to me. 

Primary goal to accomplish with your poem?

I think all cultures, especially warrior cultures, the propaganda of narrative and drive much of their agendas. This is a tale of someone embracing that warrior ethic.

Your favourite type of sword and sorcery: classic heroic fantasy (like Robert E. Howard) or big epic fantasy (like Tolkien)?

Absolutely the R.E.H. type of tale. My own approach to poetry is very much in the shadows of Howard’s poetry. I much prefer the “in the streets” fantasy as opposed to the ‘from the place window’ type of story that has a grand, expansive view.

My own fantasy series of Altiva stories, which often contain poetry as part of the narrative, are very “down to earth.”

Any S&S authors that have had an influence on you? If so, who and how?

Clearly Howard is prime, but so are the stories of Edgar Rice Burroughs, Nancy Hansen, and even the Lin Carter books. All very much in the same “in the trenches” feel, though Ms. Hansen’s stories have a very wide world view they never feel ‘effete’ or fantastic—they stay grounded. And, Moorcock is the perfect mix of a grand vision but a very personal, human story telling. The characters never feel like analogs, they feel like real people.

Teel James Glenn can be found at:


Dana Fredsti & Dave Fitzgerald

Story Title

“Maid of Steel”

Story Synopsis

It’s a classic hero’s journey with really nasty monsters. 

How about: It’s a twist on the classic hero’s journey in a fresh fantasy milieu, with some really nasty monsters… 

Primary goal to accomplish with your story?

Dana: We pretty much wanted to write a story that was original, but stayed true to the elements that make sword and sorcery so much fun to read. I was dying to return to the fantasy world I’d created a few years ago for another short story. It had strong characters, both male and female, with a really unique setting and all the makings of a truly great series. Dave and I couldn’t wait to build on the promise of the original story. 

Your favourite type of sword and sorcery: classic heroic fantasy (like Robert E. Howard) or big epic fantasy (like Tolkien)?

Dave: I admire the beauties of high fantasy, but if pressed, I have to confess I prefer to play in the rough-and-tumble gutters and back alleys of low fantasy. 

Dana: I definitely prefer heroic fantasy, and more specifically, the darker entries in the genre. I love a good mix of fantasy, swashbuckling, and horror. 

Any S&S authors that have had an influence on you? If so, who and how?

Dave: Both REH and Tolkien, but also Michael Moorcock’s Elric of Melniboné series, Jack Vance’s Dying Earth stories, Gene Wolfe’s Book of the New Sun, and so many others (RBT, Holdstock, Tanith Lee, Burroughs’ Warlord of Mars…). I especially love the blend of the outré and the strangely familiar in all these series. 

Dana: While I love the works of Robert E. Howard, the king of dark S&S for me is Karl Edward Wagner and his Kanenovels and stories. I don’t think there’s a better anti-hero out there. I’ve reread them at least a half dozen times, my old Wagner paperbacks are very well-loved! I am also a huge fan of Jonathan Maberry’s epic S&S novel Kagen the Damned.

[Note: check out the H. P. Lovecast Podcast interview with Maberry about Kagen the Damned]

Dana Fredsti can be found at:

Dave Fitzgerald can be found at:


Sincere thanks and gratitude for all who partook in this collection of short form interviews to talk about their sword and sorcery texts. If you’re interested in reading these stories and poems when they are published, make sure to pre-order issue #366 of Weird Tales. The product page for this issue can be found here

Categories
Comics Interview Peplum

We Are Barbarians: Interview with Mike Dubisch and Tom Simmons on I Am a Barbarian

I Am a Barbarian™ is a sword and sandal novel by Edgar Rice Burroughs that was published posthumously in 1967. Due to its historic antiquity subject matter, the novel is an outlier when compared to Burroughs’ speculative fiction bibliography of Tarzan®, Barsoom® (John Carter of Mars), and Pellucidar® novels for which he is most famous. In the 2010s, Edgar Rice Burroughs, Inc. began posting a webcomic adaptation of I Am a Barbarian at their website, written by Tom Simmons with art by Mike Dubisch and lettering by L. Jamal Walton. In early summer of 2022, the entirety of I Am a Barbarian was published in an ornate, hardback collection. Simmons and Dubisch have graciously allowed an interview about the I Am a Barbarian project.

How do you get into Edgar Rice Burroughs? Do you have a particular fondness for I Am a Barbarian?

Mike Dubisch: I loved Tarzan and John Carter of Mars as a kid, and of course his works were a favorite subject among the classic fantasy illustrators who shaped me. Anything about hidden fantastic worlds and strange adventures fascinated me. While I knew and loved the original cover painting, I’m not sure I ever read I Am a Barbarian before the project.

Personal copy of I Am a Barbarian with slip case.

What were some of those illustrators that shaped you?

MD: Oh, it’s the usual pantheon: Frank Frazetta, Richard Corben, Hal Foster, Michael Whelan, Burne Hogarth, Wally Wood, Alex Nino, Nestor Redondo, John Buscema, in terms of artists who worked on ERB or ERB-like products. Otherwise, fairy tale and book illustrators like Arthur Rackham, H. J. Ford, Edmund Dulac, and the Brothers Hildebrandt. Pulp illustrators like Hans Bok and Virgil Finlay. I love studying the wood engravings of Doré illustrations, and the engravings of Albrecht Durer. Other comic book artists, particularly Europeans like Moebius, Jordi Bernet, Jose Ortiz, Tanino Liberator, as well as Charles Burns, Robert Crumb, Dave Stevens, Jack Kirby, Bernie Wrightson, and Basil Woolverton. 

What was the genesis of the original I Am a Barbarian webcomic?

Tom Simmons: I wrote an email to Jim Sullos, President of ERB, Inc., in 2012 offering to write a gratis screenplay (I’m a self-taught screenwriter); the script I wanted to adapt was the original Tarzan at the Earth’s Core. Jim replied that the character was “taken” by a licensing agreement at the time, but he must have been impressed by my offer to do work for free because when the online strips launched in 2013-14 he suggested I toss my proverbial writing quill into the ring and put together a collaborative team to do one of them; he even provided the name of an artist who had contacted him about getting involved with the online strips project. I Am a Barbarian is actually the third online strip with which I’ve been involved, and still am in the case of one of the three: The Outlaw of Torn. I chose Barbarian because it was available to adapt as a strip; I thought it would be a challenge to adapt (it was), and I’ve always had an interest in ancient history (I have a Bachelor’s degree as well as Master’s work in history). 

How was the creative team formed?

TS: Regarding how our creative team was formed, the artist I originally worked with on The Monster Men™ strip (which was among the first ERB, Inc. placed online in 2014) referred me to letterist/graphic designer/artist Jamal Walton of Durham, NC (full name: Larry Jamal Walton but he goes by “L. Jamal” or simply “Jamal”). As it transpired, Jamal has been involved in all three of the ERB, Inc. strips I’ve adapted, and was also the letterist for my 2015 e-book Crispus Caesar, which, indeed, is yet another “Swords and Sandals” story, adapted by me from my 2010 screenplay of the same name. My collaboration with Mike Dubisch came about when Mike contacted another ERB online strip artist and asked how he could become involved with the online strips; that artist referred Mike to me and the rest, as the cliche goes, is history. 

MD: After a period of trying to focus only on my own work in the comic industry, I decided it was time to seek out professional commissions again to advance my career. ERB was one of the markets I approached right away and fortunately Tom was manning the lines of communication and snatched me right up for his project. I knew instantly that I Am a Barbarian was the right fit because it would be a comic with the word “barbarian” in the title!

What were some of the challenges encountered when adapting the original novel into a webcomic format?

TS: The writing challenge for any adaptation to strip format (or any other, for that matter) is about scale/scope: we didn’t want the strip to continue indefinitely, set an end goal of roughly 225-245 weekly episodes (about five years of the strip being presented online), and worked toward that end. The second phase of the project after the online adaptation was complete was always to produce a printed graphic novel encompassing the entire online strip, and we achieved that goal. Apart from considerations of scale/scope, I did a thorough re-examination of Caligula, aided by a recent biography by Anthony Barrett. While there is little doubt Caligula was very likely a mentally unbalanced individual prone to cruelty and outright bloodthirstiness, the sources ERB used (historians Suetonius and Dio) also had a vested interest in painting an “over the top” picture of the assassinated ruler; I’d compare their accounts (and neither was an actual eyewitness to events) to Shakespeare’s lambasting of the Yorkists. Lastly, for me Barbarian is a love story wrapped around a tragedy; to dwell on Caligula’s misdeeds would not only have been a gratuitous waste of time but it would have obscured Brit and Attica’s character arcs. That said, I still included plenty of outrageous and bloodthirsty Caligulan behavior!

MD: For me the adaptation is from Tom’s script into the art for the strip, and so the re-imagining the scene from the book as comic pages has already been established when I start in. My biggest challenge is remembering to refer back to my historical architectural and costume references.

What would you say you each brought that is distinctively “you” to the comic?

TS: Mike and I formed a natural collaborative team, in my opinion. I did most of the historical research and (of course) writing the actual adaptation, but largely relied on Mike to place his own unique artistic stamping on the panels themselves. I know Mike will be speaking to his many projects currently underway, but for me he stepped up and out of his mostly Lovecraftian/horror mold to draw the history-based I Am a Barbarian, although those influences can be seen in many panels, in particular the scenes involving dungeons, prophecies and strange people. 

Mike Dubisch. Photo courtesy of Dubisch.

MD: I have a bad habit of only looking at reference when I don’t know how to draw something, and I know how to draw just about everything, and if I don’t, well then I usually know how to draw something after referencing it only once or twice. So, what you see with my work is devised almost entirely from my imagination, and that is why everything I do has a distinct style. Additionally, I tend to use a lot of black on the pages, using bold core shadows on figures and props, creating a feeling of dynamic lighting and adding volume, and bringing weight to the page.

Setting aside (since it is not a John Carter or Tarzan story), what do you feel is unique about I Am a Barbarianwhen compared to Burroughs’ other work?

TS: As far as I’m aware, Barbarian is the only ERB story in which the female protagonist dies. Overall, it’s a “darker” story than most of ERB’s work, and is likely a reflection of the dark period the writer was experiencing in his own life when he wrote the story in the spring/summer of 1941: his second marriage was on the rocks, he was drinking too much, and he was in and out of the hospital with health issues that year. 

MD: For me it’s the danger and trauma of Brit’s life; he loses everything and lives under the threat of torture and death his whole life. This seems a far cry from ERB’s superhuman heroes who rule their secret worlds.

TS: Good observation about Brit’s travails, Mike. If you want to test (and grow) your protagonist’s character arc, toss said protagonist under as many proverbial buses as possible.

Signed bookplate. I’m lucky number 7!

I Am a Barbarian has just been released in a luxurious, oversized, hardback edition in a slipcase. This is a stark contrast to how comics are normally collected in a trade paperback release. What were the reasons for going the “Roman Decadent” route for the comic?

TS: I wanted the IAAB graphic novel to be an instantly recognizable, collectible classic and used this approach when we designed and produced the book over a 10-month period starting in June, 2021. For me, we achieved that goal. It’s a “pandemic book,” however, and as such it ended up costing considerably more to produce. I had no choice but to increase the price commensurately, and it turns out we’re working with little or no margin. As often is the case with these projects, IAAB is a true labor of love, not money. 

ERB stories have seen many comic adaptations across many decades by a plethora of publishers: Marvel, Dynamite, Gold Key, American Mythology, and so on. Is there any particular run of a Burroughs comic that you hold in high regard?

TS: I’m so old school re: comics I’m probably not relevant; the first actual comic books I read (other than the newspaper version) were Classics Illustrated. That said, for me old school illustrators and writers like Hal Foster, Alex Raymond and Russ Manning were always my favorites. 

MD: I recall OBSESSING on a big treasury edition sized Tarzan comic adaptation that I read to shreds as a kid – I no longer have it and can’t identify what edition it was. I do love Joe Kubert’s work on the character. I never really read the John Carter comics, but I love what I’ve seen in issues drawn by Gil Kane. I haven’t kept up with anything modern – I’ve enjoyed seeing Joseph Michael Linsners Dejah Thoris® cover art.

TS: If we’re talking about Dejah Thoris, for me Jay Anacleto and Michael C. Hayes are tops.

Deja Thoris by Jay Anacleto. Image provided by Simmons.
Deja Thoris by Michael C. Hayes. Image provided by Simmons.

I Am a Barbarian can be considered a sword and sandal story. Is this a genre you have appreciation for? If so, any particular texts over the years that have left an impression on you?

TS: The film Gladiator is a recent standout for me. I also very much liked Spartacus and Ben-Hur.

MD: Oh man, Old Testament Biblical epics were one of my favorite things to watch as a kid, and Biblical comic adaptations were always a favorite as well. I loved Conan and Kull too, especially the comic books, but also the Robert E. Howard stories. While I was drawing I Am a Barbarian I streamed the Spartacus TV series, which was also very entertaining.

TS: Also, thinking of further S&S influences for me, I loved Colleen McCullough’s First Man in Rome series of novels as well as the 2005 Rome TV series. 

Tom Simmons. Photo courtesy of Simmons.

What projects do you have on the horizon that you’d like to share?

TS: I’m continuing doing the online strip adaptation of ERB’s other historical novel, The Outlaw of Torn. I’m currently working with Benito Gallego, who does the art, colors and letters for the strip. The plan is to do a printed version of this story as well when it’s completed in 2024. The book will form a “companion volume” to the printed I Am a Barbarian graphic novel, and I envision a matte red board slipcase with silver foil lettering for the book which will have two parts, one containing the art of Jake Bilbao and the other that of Benito Gallego. I also have ongoing screenplay projects; this summer I’ll finally complete the pilot for an 8-part miniseries entitled The Nessus Shirt, a WWII story told from the German point of view through the eyes of an ordinary soldier who becomes involved in the pre-Valkyrie plots to assassinate Adolf Hitler. 

MD: My primary focus has been Forbidden Futures Magazine and the Forbidden Futures Book Club, where I am the illustrator of an entire line of books and magazines working with premiere science fiction and horror writers, that goes out as a quarterly package to our subscribers through Oddness Books.

We are currently printing Forbidden Futures issue #10 which is a double issue with new fiction by David Gerrold, creator of both Star Trek’s Tribbles, and the Sleestacks from the Land of the Lost TV series. The issue also presents the first fully illustrated publication of Philip K. Dick’s “Tony and The Beetles,” a new sci-fi comic story I wrote and illustrated, and contributions from John Shirley and Cody Goodfellow. Forbidden Futures will be reissuing several of my out-of-print comics and graphic novels, including my Cthulhu Mythos SF graphic novel Weirdling, body horror underground comix Mystery Meat, and a collection of short graphic stories “The Wet Nurse and Other Tales of Conception and Re-Birth.” We have been publishing illustrated novels and novellas under the “Forbidden Futures Presents” banner, and I have my own illustrated prose projects planned for that line, including a soon to be announced SF novella. Finally, we are also debuting a bi-yearly chapbook “In Human Skin: The Mike Dubisch Journal of Illustrated Verse,” which pairs my series of surreal drawings on black paper with my own written verse.

Additionally, I continue to contribute to Diabolik Books Adventures of Professor Dario Bava comics, with the epic graphic novel tribute to Italian horror films and mod culture, “Murder Vibes from the Monster Dimension” still available and the new “Orgy Of The Blood Freaks” out now with new issues on the way.


Sincere thanks to Simmons and Dubisch for this interview. Their release of I Am a Barbarian can be found in two editions – with and without a signed bookplate – at Cedar Run Publications. Consider checking it out!