Categories
Comics

In Hot Pursuit: Cavewoman: Natural Selection #2

Cover depicts Mona and Meriem fighting. Meriem is on her back on the ground and Mona is on top of her, pinning her down. Both have knives. Meriem is wearing a leopard print top while Mona is wearing a green top that has black swirls.
Personal copy of Cavewoman – Natural Selection, issue 2. Cover art by Devon Massey.

The Story So Far

Meriem, the titular Cavewoman, has volunteered herself to be an experiment of Dr. Lansing, who wants to draw a sample of her blood to create a serum to vaccinate the town of Marshville from Jurassic pathogens and other prehistoric dangers. Dr. Lansing’s daughter, Mona, who has no confidence in snagging a boyfriend and has low self-esteem of her body, decides to steal the serum and inject herself with it. The serum turns her into a muscular bombshell like Meriem. Mona dons a superhero garb and performs good deeds around Marshville, while attracting the attention of the male populace. Dr. Lansing discovers that some of the serum is missing and secures what is left in a bank vault. Needing to continually consume the formula, Mona breaks into the bank and finds Meriem waiting for her. The two jungle girls begin to battle it out.

Plot

Laying on the ground, Meriem looks defeated at the hands of Mona. A rustling in the bushes by Bruce searching for the two ladies distracts Mona, giving time for Meriem, who was playing dead, to clock her in the chin and make off the satchel containing the serum. Mona gives chase, with Meriem leading her out of Marshville and away from the populace. Meriem plays cat and mouse with Mona in the jungle, stalling until the morning when the serum will wear off. The two ladies eventually go at each other, with Mona throwing a rock at Meriem’s head and Meriem retaliating by putting Mona in a headlock with her legs.

Mona is on the ground, with her butt in the air. Meriem is behind her, with her hands on her hips (yes, it is extremely suggestive). Meriem's thought bubble reads "She's getting weaker! time to make my move!"
Meriem tries to restrain Mona from the satchel.

Mona passes out and then reawakens; the serum having worn off. She apologies for her actions, with Meriem saying it was not her fault, that a side effect of the serum was it would make folks injected with it crazy. Meriem offers to take Mona out for ice cream and even let her sit next to Bruce. 

Commentary

“Natural Selection” issue two was published in September of 2012 and concludes the “Natural Selection” miniseries. The writing and artwork was done by Devon Massey. The story is a pursuit tale, with the majority of pages devoted to chase sequences of Mona trying to get the satchel of serum from Meriem. The issue is action heavy, not only with running sequences, but quite a few bouts of jungle girl on jungle girl fighting action: pinning bodies, cheap shots, grapples and throws, wrestling on the ground, and leg locks. The standard cover of “Natural Selection” #2 succinctly sums up the issue visually.

Meriem is on her back, on the ground, making a fist with her left hand. Mona is on top, her hand bringing up Meriem's leg to try and pin her down.
Meriem and Mona wrestle for the satchel that contains the serum.

The action centric-ness of this issue, with a huge emphasis on near naked bodies fighting each other, puts “Natural Selection” #2 in sword and sandal adjacent territory, except instead of a strongman Hercules/Maciste/Ursus/Samson/etc. strongman, there is a strongwoman. So far, in this Cavewoman retrospective, the focus of Meriem’s body has been in the cheesecake/pinup nature. While “Natural Selection” #2 does not shy away going for sexploitation panels, (there are many, many with either lady’s posterior in the air), the issue fully embraces the body as an extension of strength component that is critical to the peplum genre. The strongman’s body is a tool, and the only tool that can solve the problem at hand, be it erecting statues, turning a millstone, pulling a plow, or overthrowing a corrupt dictator (for more information on this concept of the strongman, see Michael G. Cornelius’ intro in Of Muscles and Men).

Two panels. The smaller, insert panel shows Meriem on the ground, her butt pointed in the air. Mona approaches and says "Gimme that bag!" The bigger panel shows Meriem kicking out with her left leg, planting the kick on Mona's chin.
Meriem kicks Mona square on the chin.

In “Natural Selection” #2, Meriem’s body is the tool that solves the problem at hand. Only her speed, agility, and strength are capable to lure Mona out of Marshville so she does not harm the town’s citizens. She is able to keep Mona distracted by playing cat and mouse in the jungle trees so the serum can wear off. Only then can Meriem non-lethally subdue Mona and return the young scientist and the town back to normality. Meriem is not a peplum character, as she has no direct line to antiquity/mythology (but perhaps a bit of Amazon can be extrapolated in her character), but the way she is depicted and the way she uses her body is akin to a sword and sandal strongman character, thus she can be viewed under such a lens. To do so gives the Cavewoman series an extra dimension to it.

Mona is crying and Meriem is caressing the side of her face. Mona says: "Oh Meriem!! I'm so sorry! ... I don't know what got into me! Oh god I'm sorry! I wouldn't do anything to..." Meriem replies "Hey! It's ok! It wasn't your fault! it was the serum..."
Meriem comforts Mona after the serum has worn off.

While the action sequences are great, the story proper of “Natural Selection” #2 drops the ball on the final page. Massey’s intent looks to wrap the two-issue miniseries in an extremely happy, no loose ends ending. Massey does this by absolving Mona of any transgressions by making it the serum’s fault for her acting in a hostile manner. The explanation is handwavy and maybe a little lazy. However, it could have been salvaged through an editorial decision: move the explanation from the end of the issue to the beginning. This creates stakes and risk for what is about to unfold. Have a flashback panel of Dr. Lansing near the issue’s beginning, briefing Meriem that Mona needs to be stopped, the serum is having adverse effects, and she can potentially hurt someone in the town. This establishes the motive and why Meriem is doing what she is doing through the issue. The current read of the issue is simply “stop Mona and get the serum back” but stating the risk up front “stop Mona and get the serum back because it is making her crazy and she could hurt someone” adds the much-needed danger component that would underscore the action in the issue. Having it at the end robs the issue of this potential.

Conclusion

“Natural Selection” #2 is a fun, action-centric conclusion to the mini story arc. The issue is full of double jungle girl action sequences, oftentimes diving into a peplum-adjacent realm. The issues maintains the series’ love for sexploitation by depicting both Meriem and Mona is a variety of suggestive poses, though it should be stated that issue one concluded with promises of nudity in this issue, which did not happen. The only fault of this issue is its ending, which in its effort to wrap everything up in a nice package, comes across as cheesy. With a bit of editorial action, the ending could have been reshaped into a story strengthening element. It is only a small downer in an otherwise fun jungle girl/superheroine-esque story in the Cavewoman series.


For more information on Cavewoman “Natural Selection” #2 check out the official product page at Amryl Entertainment:

For more reviews of Budd Root’s Cavewoman series I’ve penned, check these out (chronological order of issue publish date):

Categories
News

News Roundup: August 2026

Personal / Website News

August was a fantastic and productive month! Four (!!!) articles up at my website along with the release of Troy and Vanya #10’s digital edition. Looking forward to the autumnal season, see what spooky stuff I can put out there.

Flesh of all Sorrows Reviews

First article up at my website in August was my review of Jeffrey Mariotte’s new book, Flesh of All Sorrows.

Cover depicts the rear of a white van, its red tail lights beaming. Next to it is a man standing, hidden in a shadow. In front of him/the rear of the van, on the road, is a red high heel shoe. On the horizon is a set of men's eyes looking menacing.
Flesh of All Sorrows cover by Greg Chapman.

I had the honour to meet Mariotte back in 2025. I did an interview with him about being the guest of honour at the 2025 ECOF event in Willcox (read that here), and of course there is my write up of said event (which can be read here).

In 2026 Mariotte has a slew of books coming out, such as a new Edgar Rice Burroughs novel, Beyond Thirty: A World Reborn, but also this one, Flesh of All Sorrows, which takes place on the outskirts of Phoenix, where I live. So, it was fun reading a crime story in an area I know!

Anywho, check out my review here and consider plucking up a copy!

Cavewoman Reviews

My retrospective deep dive of Budd Root’s Cavewoman series continues with “Bunny Ranch” and “Natural Selection” #1.

“Bunny Ranch”

First up is my review of the one-shot issue “Bunny Ranch”.

Cover shows Meriem wearing her trademark leopard print bikini top and bottom. She is staying in the middle of the jungle. She is holding a bunny in the palm of her upturned right hand. Her left hand is petting a baby T-rex. There are a few other baby T-rexes hanging in the foilage.
Personal copy of Cavewoman – Bunny Ranch.

I’ll be honest, I found this one shot issue to be pretty bad. There were many fumbled balls with this one. But, that is to be expected when looking at individual entries in a decades-long running series such as Cavewoman. My review of “Bunny Ranch” can be read here.

“Natural Selection” #1

The next review for the Cavewoman series I did for August for for the first issue of “Natural Selection”.

Cover shows Mona (left) and Meriem (right) fighting each other. Mona has blonde hair, Meriem dark. Meriem has her right hand on Mona's neck, and Mona has her hand on Meriem's hand trying to pull her away. Both are looking at each other wide eyed making "grrrr" faces. Both are wearing skimpy attire showing off lots of skin.
Personal copy of Natural Selection issue 1. This variant does not have any titles/logos on the cover.

This is the first issue I’ve covered in this retrospective that was done by other Cavewoman series mainstay, Devon Massey. The art style is a little jarring when compared to Rob Durham’s, but regardless this was a fun issue! This review can be read here.

My next Cavewoman review will be on issue two of “Natural Selection” and will be published in September. That will followed by the three issue “Gangster” series, so stay tuned!

Death Nell Issue 3 Review

As I eagerly await the physical release of Bad Bug’s issue 10 of Vanya, I realized I have yet to wrap up my reviews of their series Death Nell! My last review, which was of issue two, was last summer! Fail.

Cover shows Nell, wearing black and purple stripped stockings, and 2 giant sailor moon hair funs sitting on a purple bed or couch. It looks blood soaked. There are green flowing tentacles around her legs. She is wearing sneakers. Behind her is a window with the moon beaming through. On the couch/bed are thin vials of different colors. Nell is holding a vial and vapor is emitting from it. She is beckoning with her finger as if saying "Come closer".
Death Nell #3 Aleriia V Cover.

So, I am going to rectify that. My review of issue three of Death Nell is online and can be found here. I loved this issue!

Issue four’s review I hope to have published in September and then issue five, the last one of the original series, in October. Right in time for Halloween!

Troy from Arrow Video

One of the big news for me comes from something pretty small. Arrow Video released their edition of Troy (2004) in mid-August, and those looking at the production credits page in the booklet will see yours truly listed in the special thanks!

4K Blu-ray of Troy. The clip cover shows the head of the Trojan Horse, and it is on fire. Next to it is the booklet for the release, with the page open to the production credits. There is a special thanks section and Nicholas Diak is the second name listed.
Personal copy of Troy on 4K and booklet with production credits.

I was contacted by the producer for this release for some materials to be reprinted in the booklet which I was super more than happy to help with. It was an extremely small part in this fantastic re-release, but a part none-the-less. A bucket list item crossed off: be a part of a sword and sandal movie in some capacity. But, very honored to be part of it all.

For those curious, do check out my unboxing write up of the old Troy director’s cut boxset, which can be found here.

Vanya #10 – Digital Compendium

The digital edition of issue 10 of Vanya was released in late August by Bad Bug. I’ve been covering the series as part of my (unofficial?) neo-jungle girl comics series. My review of the last physical issue, #9, can be read here, and links to all the other issues can be found at the bottom of the page.

Cover depicts the witch of the bone tribe. She has on a hood and a skirt made of bones. She is holding a scepter with a skull atop (that looks like it is wearing a viking helmet) and its eyes are glowing. She stands at the edge of a cliff, and from the cliff a dragon is silhouette emerges. It has glowing eyes and mouth.
Vanya #10 with cover by Zoran Jovicic and Bryan Magnaye.

For the digital edition of the issue, there also came with it a compendium of character bios, a short story, but also a “story so far” write up. Yours truly got to compose the “story so far”, so that was really cool to do. So, for folks who backed the Kickstarter and got a digital edition, you’ll be able to see the “story so far” file. I’m, credited in the, uh, file name.

PangoBooks Bookstore

I have an online bookstore at Pangobooks were I am selling books I no longer need, duplicates, etc. I have lots of horror, sci-fi, non-fiction, OOP, and weird books, so make sure to check my store out. Purchases help me out greatly!

Michele also has a store, so check that out as well.

Publishing Recap

Below is a recap of my external publishing endeavors so far in 2026.

Cover shows a blonde pinup girl, earring a tiki top and skit. She is holding a cocktail glass in her right hand. She is leaning against a palm tree. She is on the beach, with a wave crashing behind her and a mountain in the distance. The sky is blue-green with a few clouds. There is a parrot flying toward her. At her feet are some shells.
Exotica Moderne #31

“Tellers of Tales: Interview with Alex Lamb and Max Well on The Donn of Tiki” in Exotica Moderne #31, May 2026.

Product page at House of Tabu.

Cover depicts the witch of the bone tribe. She has on a hood and a skirt made of bones. She is holding a scepter with a skull atop (that looks like it is wearing a viking helmet) and its eyes are glowing. She stands at the edge of a cliff, and from the cliff a dragon is silhouette emerges. It has glowing eyes and mouth.
Vanya #10 with cover by Zoran Jovicic and Bryan Magnaye.

“The story so far” included in the digital compendium for Vanya #10, August 2026.

Cover is by Mark Wheatley and called "The Beasts". It is red hued. It shows Tarzan riding atop of an elephant. Below the elephant are two gorillas and a lion. Behind them is a tree and a setting sun.
National Capital Panthans Journal #344.

“All E.T.’s Aren’t Nice: Vanya 06” reprinted in National Capital Panthans Journal #344, January 2026.

Original can be read here.

Cover by David Michael Beck. It's a drawing of Tarzan atop an elephant, with 2 axes in front.
National Capital Panthans Journal #345.

“The Prehistoric Purge: Vanya 07″ reprinted in National Capital Panthans Journal #345, February 2026.

Original can be read here.

Cover is called "The Land that Time Forgot" by Mark Whetley. It shows a man, crouched on one knee, holding a rifle, with safari attire, but shirt open. Next to him he has a barking dog that kinda look like Benji. Behind there is a roaring T-rex, a triceratops, and pterodactyls flying.
National Capital Panthans Journal #346.

“Journey to Agharti” reprinted in National Capital Panthans Journal #346, March 2026.

A black and white cover. It shows a four armed alien holding swords and a bow. Next to it is an alien gorilla.
National Capital Panthans Journal #347.

“Warpath and Rampage: Vanya 08” reprinted in National Capital Panthans Journal #347, April 2026.

Original can be read here.

Cover is deep in the jungle. Tarzan knees on a large tree branch with Jane behind him. They look like they are scouting.
National Capital Panthans Journal #348. Cover by Mark Wheatley.

“The Chaos Continues: Vanya 09″ reprinted in National Capital Panthans Journal #348, May 2026.

Original can be read here.

Cover shows Tarzan and his monkey familiar Nima, traversing through a tree.
National Capital Panthans Journal #349. Cover by David Michael Beck.

“The Chaos Continues: Vanya 09″ reprinted in National Capital Panthans Journal #349, June 2026.

Original can be read here.

Black and white cover. Shows a caveman and a cavewoman, the caveman swinging a club.
National Capital Panthans Journal #350. Cover by Mark Wheatley.

“We Are Barbarians: Interview with Mike Dubisch and Tom Simmons on I Am a Barbarian” reprinted in National Capital Panthans Journal #350, July 2026.

Original can be read here.

Black and white cover. It shows Tarzan holding a spear, walking. Around him, chilling, are two lions and 2 rhinos.
National Capital Panthans Journal #351. Cover by David Michael Beck.

“Release the Subterranean Kraken: Cavewoman: Extinction” reprinted in National Capital Panthans Journal #351, August 2026.

Original can be read here.

New Sword and Sandal Acquisitions

The ever growing peplum research library grows with these recent sword and sandal acquisitions.

The Return

Raise of hands for the folks who totally forgot that another Odyssey movie dropped like a year or so ago!

Standard Blu-ray blue case. Cover is a close up shot of Ralph Fiennes and Juliette Binoche's faces. Fiennes is holding a bow and is sporting a grayish beard.
Personal copy of The Return on Blu-ray.

That’s The Return (2024), and it has Ralph Fiends and Juliette Binoche. I want to say this movie entered my radar when it was originally announced, and I totally forgot about it. I guess that is what happens when you don’t have the big Hollywood marketing machine backing you up? Anywho, plucked this up up, excited to give it a watch. Fiennes is a neo-peplum veteran, with Clash/Wrath of the Titans, so that will be great!

Devil’s Sword

Indonesian sword and sorcery? Yes, please!

Blu-ray slipcover shows a princess-type lady, wearing a tiara and with armored shoulders. Behind her are 4 green lizard people with glowing red eyes.
Personal copy of Devil’s Sword in Blu-ray with slipcover.

I learned of Devil’s Sword after is had long been out of print from Mondo Macabro. I saw the trailer and it looked like a trip – one I would love to take! I just happened upon it got a new release at Terror Vision, so had to snag this before it became OOP again.

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

After a small break, Michele Brittany and Travis Lakata’s vidcast, Ride the Stream, is back! The duo pick up talking about Dark Winds with episode one of the second season:

Make sure to subscribe the Ride the Stream YouTube channel to see when new episodes drop. There is also a BlueSky social media as well.

New Fan2Fan Episodes

Brand new episodes of the Fan2Fan podcast are now online.

First is “Monster Mania: Monster Toys of the 1990s“:

Monster Mania: Monster Toys of the 1990s Fan2Fan Podcast

Then “Monster Mania: Silver Bullet“:

Monster Mania: Silver Bullet Fan2Fan Podcast

And “Monster Mania: Grab Bag Part 1“:

Monster Mania: Grab Bag Part 1 Fan2Fan Podcast

And finally “Monster Mania: Monster Squad“:

Monster Mania: Monster Squad Fan2Fan Podcast

Older episodes of Fan2Fan can be found at its Libsyn page or via your podcast app of preference. There is also the Fan2Fan Facebook page. Give them a follow!

Jeffrey Mariotte’s Billy the Kid: Cheat the Hangman

Aside from the aforementioned Flesh of All Sorrows (see review link above), Jeffrey Mariotte had a second book published in August! This is part of the America 250 series from Dusty Saddle Publishing and it is called Billy the Kid: Cheat the Hangman.

Cover says: America 250 - Billy the Kid Cheat the Hangman - Jeffrey J. Mariotte. The cover shows Billy the Kid, wearing a hat, a vest, looking like a cowboy. Behind him is a lake and mountains.
Cover of Billy the Kid: Cheat the Hangman.

The novella can be purchased on Amazon. Also, check out Mariotte’s Substack entry about the writing of this novella.

Categories
Comics

Au Naturel: Cavewoman: Natural Selection #1

Plot

Meriem the Cavewoman is laying on a tilted observation table in Dr. Lansing’s lab. Above her is a large apparatus that has a syringe at the end. At the flip of a switch, the machine punctures Meriem’s superhuman tough skin and draws out a blood sample. With this, Dr. Lansing hopes to synthesize a formula to vaccinate the citizens of Marshville against Jurassic diseases. Happy to have contributed to the greater community, Meriem leaves with her beau Bruce to get ice cream.

Cover shows Mona (left) and Meriem (right) fighting each other. Mona has blonde hair, Meriem dark. Meriem has her right hand on Mona's neck, and Mona has her hand on Meriem's hand trying to pull her away. Both are looking at each other wide eyed making "grrrr" faces. Both are wearing skimpy attire showing off lots of skin.
Personal copy of Natural Selection issue 1. This variant does not have any titles/logos on the cover.

Dr. Lansing’s lab assistant and daughter Mona is invited but her father steers her back to her scientific work. Later, on her way home, she is called “weird” and a “cat-lady” by patrons of a diner. She muses over her inability to land a boyfriend, especially one like Bruce. She decides to steal the serum taken from Meriem’s blood and inject herself with it, transforming her body into a fit, jungle girl. She dons a costume and blonde wig and begins performing superhero deeds around Marshville, such as saving kittens and hunting for food. Her escapades attract the attention of the male populace.

Paper certificate that says "Amryl Entertainment Certificate of Authenticity. Cavewoman Natural Selection 1 Special Edition - Devon. Limited to 75 - copies"
Cavewoman Natural Selection #1 Certificate for special edition cover.

Meriem and Bruce are summoned to Lansing’s lab who reports that some of the serum is missing and is probably connected with the sudden appearance of the blonde jungle heroine. They decide to store the serum in a bank vault for protection. 

Mona overhears this, but risks breaking into the bank to get the serum to continue living in her new form. Waiting in the vault is Meriem and the two ladies get into a fight. After many blows are exchanged, Mona seemingly gets the upper hand as she puts Meriem in a chokehold.

Commentary

Cavewoman “Natural Selection” issue one is the first part of a two issue story arc written and drawn by Devon Massey and published in June 2012. “Natural Selection” is the first comic reviewed in this Cavewoman retrospective that was done by Massey as the other issues analyzed so far (“Extinction”, “Snow”, and “Bunny Ranch”) were written and drawn by Rob Durham.

Massey’s artistic approach to Meriem is extremely different than both Durham’s and Root’s. Budd Root and Rob Durham both embrace the pinup and cheesecake style when depicting Meriem. Massey takes a less glamorous, but still extremely sexualized, approach. It feels at home with old school underground and adult comics (of which Cavewoman is a successor of). Somewhere on the scale of Robert Crumb to Eric Stanton can one find a gauge of Massey’s style.

Mereim has a big smile, but also big cheeks. She says "That's so neat! Can we get ice-cream now, Bruce? You so promised!"
After the doctor’s visit, Meriem is promised ice cream.

Massey’s approach to Meriem is to make her “rounder”, especially noticeable in her face and cheeks. Massey’s Meriem is still voluptuous and maintains the emphasis on her body, especially her breasts and posterior. There is less detail in Massey’s art when compared to Durham, but on the other hand, it leans into a more “cartoony” style which supports the tone of “Natural Selection” which is full of scenes of sexual innuendoes and genre parody. Massey has a specific vibe present in the art, and it supports the more laid back, lower stakes, simple superheroine story of “Natural Selection”.

Meriem is sitting against some heart shaped pillows, leaning backward. She has a leopard print bikini top, popping forward. She looks sultry. She says "Gosh, I've never done this before. Is it gonna hurt?"
Meriem is positioned “seductively” on the doctor’s table.

“Natural Selection” begins immediately with a multi-layered parody of the pulp trope of a hero secured to a mad scientist’s/villain’s table, with a death ray or buzz saw above them, a ticking clock to their demise. This is the type of trope reserved for James Bond Eurospy-type characters or damsels in distress. Meriem is a far cry from being a damsel in distress, so her occupying that role visually in the opening pages is both jarring and comedic, as her powers would allow her to escape at any time. 

Next, it turns out the scene is not perilous at all, but benevolent. Meriem has volunteered herself to have her blood drawn into order to be turned into a serum to help the residents of Marshville survive being in the prehistoric past. The reason for the dramatic and dangerous looking setup is that equipment from an oil drill, (perhaps a nod to the oil drilling plot line in “Snow” issues one and two), is needed to pierce her invulnerable skin. The scene gets even more nefarious looking, with Dr. Lansing initially depicted as a lecherous and grotesque mad scientist. However, he is a good guy.

Finally, the dialogue bubbles for this “mad scientist/damsel in distress” sequence are non-stop sexual innuendos and double entendres. The first page of “Natural Selection” shows Meriem leaning back, bracing herself (protruding her buxomness toward the reader as much as possible) as if she is about to be penetrated sexually, “Gosh, I’ve never done this before…is it gonna hurt?” Dialogue lines such as “I have managed to raise the necessary equipment”, “I can begin the insertion”, “you might feel a little prick” pile on, making the scene entirely over the top with innuendo, that in the end, is all misconstruing context that concludes with Lansing getting a blood sample, a benign activity that occurs in many normal visits to the doctor. This is Austin Powers style humour dialed to eleven.

The bulk of the focus of “Natural Selection” is not on Meriem but on Mona, the daughter of Dr. Lansing who has confidence issues and wants to get a boyfriend. Her hair is pulled into a tight ponytail and she wears glasses, but she is far from being homely. She is a parody, like Chyler Leigh’s character in the spoof film Not Another Teen Movie (2001). Her concerns about her appearance are valid in that even in the prehistoric past, advertising and society expectations find a way to make her feel inadequate. She walks by a series of storefronts, such as an adult store and a tanning salon, that bombard her with messaging that she needs to change her appearance.

Mona is walking on a sidewalk next to a building, going left to right. Her thought bubble says "I'm never gonna get a man looking like this". Behind her is a storefront for Sandy's Adult Toy and Swear Wear, and then Marsha's Fitness and Tanning.
Mona walks along the street, bombarded by advertising to change her looks.

Mona has a crush on Bruce, who in this issue has his greaser/rockabilly image cranked way up (he also seems to dig The Rocky Horror Picture Show [1975]). This causes Mona to compare herself to Meriem and become discouraged. This is a theme that Cavewoman previously explored in “Snow” issue two. In that issue Meriem passes by a strip mall on her way to do gardening at a museum. Two women inside the mall watch Meriem pass by. One comments that Meriem needs to cover up more while the other talks about her boyfriend drooling just by looking at the cavewoman. The former does counter that her boyfriend is a “dog” who needs “his ass dumped” and that Meriem “seems nice and she has a boyfriend” implying Meriem is not going to be stealing anyone’s significant other. The exchange is brief, but it does set a background that there are women in Marshville who find themselves threatened or intimidated by Meriem’s beauty, and from the ongoings in “Natural Selection”, Mona can be added to that list.

Collage scene of Mona trying on a variety of skimpy, super heroine outfits. All show off her skins, breasts, and curves.
Mona tries on various super heroine outfits.

Mona eventually steals the serum, injects it, and gains the same powers Meriem has. There is a small superhero parody sequence where Mona tries on different skimpy outfits, with some of the attire being akin to Lady Death and other “bad girl” comic heroines. There are shades of Robert Louis Stevenson’s Strange Case of Dr. Jekyll and Mr. Hyde, with Mona being the Jekyll and her blond superheroine form being Mr. Hyde.

Mona has her arms locked around Meriem's neck who is struggling to get out. Meriem's thought bubble says "She's too strong.. I'm gonna pass out.."
Mona has a choke hold on Meriem.

Issue one of “Natural Selection” concludes with the two ladies engaged in fisticuffs and wrestling. Lots of panels show clothed breasts and butts during the battle. The entirety of this issue has been nudity free, despite all the sexual innuendo in the beginning. There are lots of cleavage and butt cheeks being shown, (the ending battle makes sure of this), and nipples poking through skimpy attire, but no actual nudity. Massey tongue-in-cheek pokes fun at this, with the final panel of the issue proclaiming “To Be contiNUDE! ‘heh-heh!’”, teasing readers that the second and final issue of the “Natural Selection” arc will pay off with some nudity, be it from Meriem, Mona, or both. 

Conclusion

“Natural Selection” issue one is a fun issue and surprisingly complex. At first glance it may seem trope-heavy or cliché, but Massey makes it work to do some heavy storytelling and character development lifting. Meriem has fought underground Cthulhu-esque monsters, werewolves, and dinosaurs, but she does not often get to fight against humans that can stand toe to toe with her. With Mona, Massey leverages tropes such as “the ugly girl” in high school rom coms and Dr. Jekyl, to build a worthwhile, but not evil, adversary for Meriem. Massey goes the extra mile to make Mona multi-dimensional, showing her insecurities and the climate she is living in: working hard in her father’s lab (isolation), not feeling romantically loved, and yet still being bombarded with advertising and societal expectations (despite being in a town transported millions of years into the prehistoric past) on how to be a more attractive woman. She is selfish because she is stealing the serum that can help others, but there is pity with her. She is identifiable with and perhaps after her battle with Meriem, she can find a new path to get what she wants. 


For more information on Cavewoman “Natural Selection” #1 check out the official product page at Amryl Entertainment:

For more reviews of Budd Root’s Cavewoman series I’ve penned, check these out (chronological order of issue publish date):

Categories
Comics

Day of the Lepus: Cavewoman: Bunny Ranch

Plot

Deep in the Jurassic jungle, Meriem the Cavewoman plays hide and seek with a triceratops named Spikey (or Spikes). The tri-horned dinosaur gets a little too much into the game and headbutts Meriem’s bottom. She scolds the triceratops but quickly make amends and rides the reptile to Marshville.

Cover shows Meriem wearing her trademark leopard print bikini top and bottom. She is staying in the middle of the jungle. She is holding a bunny in the palm of her upturned right hand. Her left hand is petting a baby T-rex. There are a few other baby T-rexes hanging in the foilage.
Personal copy of Cavewoman – Bunny Ranch.

Upon entering the town, she seeks out her boyfriend Bruce and her friend, Professor Cook, but to no avail. She happens upon a pet store ran by Cynthia Cross, who knew Meriem when she was young. The two catch up before Cynthia reveals that Bruce and Professor Cook have been working for her, trapping non-prehistoric animals for her to keep safe. Meriem uses her superhuman powers to sprint off into the jungle in search of the duo.

Soon she encounters a baby T-rex that is being bullied by a trio of raptors. Meriem curbstomps one, uppercuts another, and pile drives the last. She then tears off the raptors’ limbs to feed to the baby T-rex who grows attached to her.

Bruce and Professor Cook pop out of the foliage and the three reconnect. Their reunion is short-lived as a giant dinosaur’s stomping causing them to hide, thinking it is the baby T-rex’s mother. Instead, it is a Spinosaurus that promptly devours the infant. The three make their escape back to Marshville and to Cynthia. Bruce and Professor Cook hand over their captured animals and agree to let Meriem accompany them on future excursions. Cynthia marvels at Meriem as she holds a bunny rabbit in her arms, saying she is good with animals. 

Commentary

“Bunny Ranch” is a one-shot Cavewoman comic published in May of 2012, with Rob Durham penning the story and doing the art. As a one-shot comic, like the previously reviewed “Extinction” issue, the story is self-contained, though it introduces a new character, Cynthia Cross, a potential paramour to Professor Cook.

Compared to the solid one shot “Extinction” and the exciting “Snow” story arc that were published in the prior year, “Bunny Ranch” is a major let down. This issue suffers greatly from a ham-fisted coincidental exposition dump, tonal whiplash, and a regression in Bruce and Meriem’s relationship. The overall gist of “Bunny Ranch” is fine, but the actual writing fails this one-shot.

Meriem has her hands pressed against the glass of a pet store. Inside are bunnies. She says "Oh, I haven't seen one since I was a little girl. I..I remember! I remember. Gramps gave me one for my birthday."
Meriem recalls a childhood memory as she gazes on the bunnies.

Early in the issue, Meriem walks about Marshville looking for Bruce and Professor Cook. She happens upon a pet store, sees a family of bunnies in the window, and has a memory come back to her. She remembers being a little girl, Gramps buys her a bunny, and then Meriem’s mother sells the bunny to buy drugs. The next page, Cynthia, the store proprietor, notices Meriem feeling sad and comments the extent of (paraphrasing) “I know you from ten years ago, your grandpa bought you a rabbit, and then your mother took it away.” Why would Cynthia remember these precise details ten years later? It is not a believable exchange between the two characters. It is an exposition dump executed with convenience in mind rather than taking an organic approach with more exchanges, plot building, and dialogue.

The tonal whiplash occurs later in the issue after Meriem has saved the baby T-Rex only for it to be eaten by a Spinosaurus. It is a shocking scene, and a little sad since the baby T-Rex has a cute factor going for it and it had bonded with Meriem. The scene does underscore the harsh reality of how dangerous the primeval jungle is, and death can come at any moment to anyone. The scene loses its impact immediately after when Meriem makes a sexual tease that Professor Cook should mate with Cynthia. This causes the professor to turn beet red and everyone to laugh. It is not an instance of gallows humour, but maybe writer Durham intended this moment that occurs mere minutes after watching the baby T-Rex be devoured as a means to cushion the shocking scene. Instead it comes off tonally wrong, not fitting the gravity of the scene. The joke itself is fine but would have been better executed later when the trio returned to Cynthia in Marshville.

The joke Meriem makes so soon after witnessing the baby T-Rex get eaten, especially after saving it from the pack of raptors, seems uncharacteristic of the character. Prior issues of Cavewoman have explored the mothering and nurturing attributes Meriem exhibits, such as saving Susie from the underground tentacle monster in “Extinction” and have the fever dream about her unborn children in issue four of “Snow”. The subject of the joke is not the issue, but its sudden utterance after watching the infant T-Rex, which she shared a brief mother-child relationship with, comes across as callous and not keeping in with Meriem’s character.

Cynthia is handing Meriem a rabbit. The exchange. Meriem: Oh, it's adorable! Cynthia: I named her "Snowflake". I caught her right after the snow started melting last winter.

This not keeping with how characters should be operating continues with the last major flaw with “Bunny Ranch”, and that is the regression of Meriem’s relationship with Bruce (and, to some extent, Professor Cook). An initial first impression, everything does seem status quo between Meriem and Bruce: they are still in love, still care about each other, etc. The big question: why isn’t Meriem privy to Bruce and Professor Cook’s outings to the jungle to collect animals for Cynthia? The duo have been doing this activity for quite a while, and Meriem has never been notified about it. Shouldn’t Bruce keep his girlfriend in the know of what he is doing, especially if what he is doing involves venturing into the dangerous Jurassic jungle? At the end of “Bunny Ranch”, Bruce and Professor Cook even admit it will be great having Meriem on their adventures go forward because she has valuable skills. So, why not bring her in the loop earlier? The only reasons for Bruce to keep his activities from Meriem are either a) he wants alone/male-bonding time with Professor Cook, b) not thinking and unintentionally coming off as insensitive, c) bad writing that was designed to introduce the new character of Cynthia and get Meriem into the jungle to close the narrative loop (which may have had the side effect of causing a or b). As a reminder, back in “Snow” issue three, Professor Cook tells Bruce a secret while Meriem is away and neither she nor the readers are informed of what was said during that story arc. This does establish that Bruce and Professor Cook are not above keeping information from Meriem, which may explain why they were not initially letting her in on their bro-time.

Black and white panel. It shows a baby T-tex having butted its head against Meriem's butt. She dinosaur says "Grunk!". Meriem says "Oh-Crappo!". Her bikini bottom is flown up, but she still has knickers on. She is bent over, tumbling forward as Gramps looks on.
Meriem is head butted on her posterior by a baby T-Rex.

While the writing falters severely in “Bunny Ranch”, the issue does have its high points. Durham’s art style is excellent, as usual, and his depictions of Meriem capture that cheesecake jungle girl vibe perfectly. There is no nudity in this issue, but Durham does find ways to pepper in some sexploitation. Meriem’s posterior is highlighted a handful of times in the issue. Meriem has a proclivity of being butted in her rear, toppling her forward, causing either her bust or her butt to become more prominent depending on point of view. In “Snow” issue two she is hit by a truck that causes her breasts to pop out of her top. In “Bunny Ranch” she is butted by a triceratops and later by the baby T-rex. It is a combination of a running gag within the series and a way to sexualize Meriem in an otherwise non-sexual situation.

Panel is show from below, as at the ground looking up. Meriem is bringing her foot down on a raptor's head. It then explodes in gore with a "SAAMASH!!".
Meriem curbstomps a Raptor.

The curbstomped raptor is a brutal panel, but exciting to see in action. While the artwork depicts Meriem as a pinup, it is moments like these that remind the viewer that she is incredibly powerful and can be vicious. If anything, after “Extinction” and “Snow”, Meriem’s violent side has not been explored nearly enough, so it is nice to see it exhibited in “Bunny Ranch”.

Conclusion

Regretfully, “Bunny Ranch” is not a good issue in the Cavewoman series. While the art remains consistently pinup stylistic and the overall story at a high-level works, the actual writing to execute it is severely flawed. Flawed so much that it hampers the characters, portraying them in uncharacteristic fashions: Meriem’s mothering nature being swept aside for a sexual joke that tonally does not fit the scene; Bruce (and Professor Cook) keeping their activities a secret form Meriem for seemingly no reason. Finally, what exactly is a “Bunny Ranch”? The issue ends with a joke, with Cynthia watching Meriem pet rabbits, inspiring her to want to open a bunny ranch. Is this a reference to the Nevada brothel of the same name? Is Cynthia looking to become a madam and prostitute Meriem out? Questions that should not need to be asked if the writing was better.


For more information on Cavewoman “Bunny Ranch” check out the official product page at Amryl Entertainment:

For more reviews of Budd Root’s Cavewoman series I’ve penned, check these out (chronological order of issue publish date):

Categories
News

News Roundup: July 2026

Personal / Website News

July was an extremely productive month! Three articles up at my website, one being a Peplum Ponderings? Two reviews already chambered for August? Let’s keep up the momentum!

Cavewoman “Snow” Reviews

July may have been a hot-hot-hot month (110F regularly here in Phoenix) but I kept things nice and cool by reviewing issues three and four of the Cavewoman “Snow” storyline!

“Snow” #3 Review

First up is my review of issue three of “Snow”. This review became a huge focal point on my professional Facebook author page! I am small potatoes, so usually when I post something on Facebook it gets onesie-twosie likes. Posting the cover art used in this review to Facebook resulted 3.5K likes and hundreds of follows and 2K views on my website! It appears that folks commenting on the post thought it was AI and the dialogue triggered some Facebook algorithm and it just gained traction. I have never had a post on social media in all my years of social media-ing do that. So for that, I’m glad!

Cover has no text. It shows Meriem being pulled in different directions by three white gorillas as she sits atop a rocky peak in the mountains.
Personal copy of Cavewoman “Snow” issue 3, special edition version.

With that, do check out my review which can be read at my website here.

“Snow” #4 Review

Because it looked like the iron was hot after posting the review for issue three, I quickly raced to do a review for issue four, which is also the final issue in the “Snow” story arc.

Cover shows Meriem leaning forward in knee deep snow. Behind her is Bruce who looks to have had a roof of snow fall on his head.
Personal copy of Cavewoman Snow #4.

Of course it did not generate the activity like my prior review did, but it looks like a handful of folks stuck around to read this and other Cavewoman reviews I’ve done. For those that are sticking around, I thank you!

My write up to issue four can be read here.

Peplum Ponderings: The Odyssey

With Christopher Nolan’s The Odyssey out there breaking records and being a talking point for everyone, of course I had to do a write up of it!

Poster shows Odysseus walking left to right, as the Trojan Horse burns behind him.
Poster for The Odyssey.

A reminder: I am not a historian, translator, or classicist. I’m a scholar of the sword and sandal genre, and that is how I approached The Odyssey. How true it is to the text or how it is adapted is not my field. How it functions as a peplum genre film is, and that is how I approached it. Long story short, the movie ruled. Check out my write up here.

August Website Content

Believe it or not, I’m actually ahead of the game and have two articles ready to go in August!

  • 8/5 – My review of Jeffrey Mariotte’s new book, Flesh of All Sorrows (slated to be released later in the month)
  • 8/12 – My review of the one-shot Cavewoman comic “Bunny Ranch”

PangoBooks Bookstore

I have an online bookstore at Pangobooks were I am selling books I no longer need, duplicates, etc. I have lots of horror, sci-fi, non-fiction, OOP, and weird books, so make sure to check my store out. Purchases help me out greatly!

Michele also has a store, so check that out as well.

The New Peplum

My book, The New Peplum, received some attention this past month! With Christopher Nolan’s The Odyssey out, my publisher, McFarland, did a promotion for all July. For all mythology books, which included The New Peplum, you could use the code MYTH26 to get a 25% discount. That promo was just for July, so this post is going up right as it ended. But, hey, still check out the product page for my book and consider plucking it up.

The New Peplum book. The cover is a scene from the Rock version of Hercules - it shows Hercules and his companions and small army behind him.
Cover art for The New Peplum

Aside from that, The New Peplum has a new citation and was part of an exhibit!

A New The New Peplum Citation

Marina Valvi did their master’s thesis at Utrecht University titled “Astérix and the Riff Out of Time: An Analysis of Musical Comedy Strategies in Asterix Animated Films (1968-2014)”. This thesis references Nick Poulakis’ essay “Sounds of Swords and Sandals: Music in Neo-Peplum BBC Television Docudramas.” Valvi’s essay can be read here.

Titans on the Wall: Peplum Films of the 1950s and 1960s

My alma mater, the University of Washington, had an exhibit earlier this year titled “Titans on the Wall: Peplum Films of the 1950s and 1960s”. This looks to have been held on a library at the main Seattle campus. It sounds like it was an exhibit of peplum movie posters that had been donated to the library by David Chapman, author of Retro Stud: Muscle Movie Posters from Around the World. This would have been epic to see!

The exhibit wall material plus some photos of items on display have been uploaded to the university libraries website, and can be accessed here.

Lots of text on this wall: PEPLUM FILMS: AN INTRODUCTION GOLDEN AGE OF PEPLUM FILMS Primarily made in Italy, peplum films had their heyday from 1959 to 1965. Italian filmmakers sought to emulate Hollywood epics, such as The Ten Commandments (1956) and Ben-Hur (1959), but the Italian sword-and-sandal films were much more cheaply produced than those big-budget films. The genre's popularity began with the U.S. release of Italian-made Le Fatiche di Ercole in 1958. American producer Joseph E. Levine renamed the film Hercules and successfully promoted it in the U.S., leading to a series of 19 Hercules movies that were made in Italy in the late 1950s and early 1960s. Almost all peplum films featured bodybuilder stars, and despite their low budgets and English dubbing, many of the films enjoyed widespread popularity among audiences; however, by1965, their popularity waned, and they were replaced almost overnight by the Italian-produced “spaghetti westerns.” Peplum films, otherwise known as “sword-and-sandal” films, were named after the garment of the same name worn by ancient Greeks and Romans. The genre is defined largely by Italian adventure films that had subjects set in antiquity, often with plots based loosely on Greco-Roman history and mythology. Most featured a superhumanly strong man as the protagonist, such as Hercules or Samson. The peplum genre originated during the silent film era, with the release of producer-director Giovanni Pastrone’s epic Cabiria, in 1914. It featured a popular early sword-and-sandal character, Maciste, a loyal, heroic servant possessing superhuman strength. Strongman Bartolomeo Pagano became famous in the role. The Maciste character appeared in at least two dozen Italian silent films from 1914 through 1926. GOLDEN AGE OF PEPLUM FILMS Primarily made in Italy, peplum films had their heyday from 1959 to 1965. Italian filmmakers sought to emulate Hollywood epics, such as The Ten Commandments (1956) and Ben-Hur (1959), but the Italian sword-and-sandal films were much more cheaply produced than those big-budget films. The genre's popularity began with the U.S. release of Italian-made Le Fatiche di Ercole in 1958. American producer Joseph E. Levine renamed the film Hercules and successfully promoted it in the U.S., leading to a series of 19 Hercules movies that were made in Italy in the late 1950s and early 1960s. Almost all peplum films featured bodybuilder stars, and despite their low budgets and English dubbing, many of the films enjoyed widespread popularity among audiences; however, by1965, their popularity waned, and they were replaced almost overnight by the Italian-produced “spaghetti westerns.” POPULAR CULTURE & SCHOLARSHIP The peplum genre continues to resonate with film afficionados today. It is featured in film festivals around the world and has become the subject of popular and scholarly books, as well as being reflected in comic books, toys, and games. The contrived plots, overdubbed dialogue, novice acting skills of the bodybuilder leads, and primitive special effects have given these films a certain camp appeal in contemporary culture.
Titans on the Wall – Exhibit Was Panel 3.

PDF #3 ‘s exhibit wall (image above) has a reference/image of The New Peplum! How amazing is that! I’m super honoured to have the book mentioned in the exhibit!

New Issues of National Capital Panthans Journal

In July two issues of the monthly National Capital Panthans Journal came out. Issue #350 is the standard July issue, but editor Laurence Dunn published the August #351 issue a few days early.

Issue #350

This issue contains a reprint of my interview with Mike Dubisch and Tom Simmons about their graphic novel I am a Barbarian. The original can be read at my website here.

Black and white cover. Shows a caveman and a cavewoman, the caveman swinging a club.
National Capital Panthans Journal #350. Cover by Mark Wheatley.

Issue #351

And this issue contains a reprint of my Cavewoman “Extinction” review. That review can also be read at my website.

Black and white cover. It shows Tarzan holding a spear, walking. Around him, chilling, are two lions and 2 rhinos.
National Capital Panthans Journal #351. Cover by David Michael Beck.

All my other Cavewoman reviews this far are slated to be republished in Panthans through this autumn, so keep an eye out!

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 AT gmail.com in a Word document for consideration.

Sincere appreciation to Laurence for the opportunity to have my work published in the journal.

Publishing Recap

Below is a recap of my external publishing endeavors so far in 2026.

Cover shows a blonde pinup girl, earring a tiki top and skit. She is holding a cocktail glass in her right hand. She is leaning against a palm tree. She is on the beach, with a wave crashing behind her and a mountain in the distance. The sky is blue-green with a few clouds. There is a parrot flying toward her. At her feet are some shells.
Exotica Moderne #31

“Tellers of Tales: Interview with Alex Lamb and Max Well on The Donn of Tiki” in Exotica Moderne #31, May 2026.

Product page at House of Tabu.

Cover is by Mark Wheatley and called "The Beasts". It is red hued. It shows Tarzan riding atop of an elephant. Below the elephant are two gorillas and a lion. Behind them is a tree and a setting sun.
National Capital Panthans Journal #344.

“All E.T.’s Aren’t Nice: Vanya 06” reprinted in National Capital Panthans Journal #344, January 2026.

Original can be read here.

Cover by David Michael Beck. It's a drawing of Tarzan atop an elephant, with 2 axes in front.
National Capital Panthans Journal #345.

“The Prehistoric Purge: Vanya 07″ reprinted in National Capital Panthans Journal #345, February 2026.

Original can be read here.

Cover is called "The Land that Time Forgot" by Mark Whetley. It shows a man, crouched on one knee, holding a rifle, with safari attire, but shirt open. Next to him he has a barking dog that kinda look like Benji. Behind there is a roaring T-rex, a triceratops, and pterodactyls flying.
National Capital Panthans Journal #346.

“Journey to Agharti” reprinted in National Capital Panthans Journal #346, March 2026.

A black and white cover. It shows a four armed alien holding swords and a bow. Next to it is an alien gorilla.
National Capital Panthans Journal #347.

“Warpath and Rampage: Vanya 08” reprinted in National Capital Panthans Journal #347, April 2026.

Original can be read here.

Cover is deep in the jungle. Tarzan knees on a large tree branch with Jane behind him. They look like they are scouting.
National Capital Panthans Journal #348. Cover by Mark Wheatley.

“The Chaos Continues: Vanya 09″ reprinted in National Capital Panthans Journal #348, May 2026.

Original can be read here.

Cover shows Tarzan and his monkey familiar Nima, traversing through a tree.
National Capital Panthans Journal #349. Cover by David Michael Beck.

“The Chaos Continues: Vanya 09″ reprinted in National Capital Panthans Journal #349, June 2026.

Original can be read here.

Black and white cover. Shows a caveman and a cavewoman, the caveman swinging a club.
National Capital Panthans Journal #350. Cover by Mark Wheatley.

“We Are Barbarians: Interview with Mike Dubisch and Tom Simmons on I Am a Barbarian” reprinted in National Capital Panthans Journal #350, July 2026.

Original can be read here.

Black and white cover. It shows Tarzan holding a spear, walking. Around him, chilling, are two lions and 2 rhinos.
National Capital Panthans Journal #351. Cover by David Michael Beck.

“Release the Subterranean Kraken: Cavewoman: Extinction” reprinted in National Capital Panthans Journal #351, August 2026.

Original can be read here.

Autographs from the Archive

Here are some autographed treasures I have shared on social media this past month.

Cannibal Apocalypse

Cannibal Apocalypse! This was an exploitation movie released at a time when cannibal films were in, zombie films were in, and Vietnam war films were in. Aside from John Saxon getting a little too creepy in film with an underage girl, it is a great film! And of course, it is directed by Antonio Margheriti, so you know it will be fantastic.

Stand black DVD case. The top says "The Euroshock collection: Widescreen special edition". The cover is a post of Cannibal Apocalypse It shows John Saxon's head appearing in a bullet hole in a cannibal's stomach with a city skyline behind them. It is signed "To Nick, Best Wishes, John Saxon" and "To a good friend, Edoardo Margheriti".
Personal copy of Cannibal Apocalypse signed by John Saxon and Edoardo Margheriti.

My copy is signed by both John Saxon (RIP) and by Edoardo Margheriti.

Cryptz

Hood films were a cycle of films that started in the late 80s and gained acclaim during the 90s. There were a few excursions into horror in the hood films, with Tales from the Hood (1995) being the most standout example (the scene of David Alan Grier getting folded – oooh ouch but he deserved it).

Full Moon Entertainment (the Puppetmaster folks) dipped their hand into hood horror a few times, with one of those movies being Cryptz (2002).

Standard black case DVD. Cover shows a stone archway or doorway, with vampire folks looking from behind it. In silver it is signed "Hey nick = Michele
Copy of Cryptz signed by Julia Marchese.

My copy is signed to Michele and I by Julia Marchese. She had also signed my copy of Final Exam (see that here).

Army of Darkness

The great cult movie itself, Army of Darkness (1992). It probably is my favourite of the original Evil Dead trilogy on the account of being the first one I saw, even though I know deep down Evil Dead 2 is the better film. But alas, I love Army of Darkness. I collected the Dynamite comics run of AoD for over a decade. I have figurines, games, and multiple copies of the movie.

Anchor Bay DVD release of Army of Darkness. Cover shows Ash standing on the wreckage of his car, chainsaw for a hand, while Shelia and her arm around his leg. Behind them is the army of deadites. In gray ink it is signed "Bill Moseley". In black it is signed "To Nick XO Patricia Tallman" and in other blank ink "To Nick Richard Grove".
Personal copy of Army of Darkness signed by Richard Grove, Patricia Tallman, and Bill Moseley.

This is a limited edition Anchor Bay DVD (well, to be honest, they cranked out many “limited” editions). My copy is signed by Richard Grove (Henry the Red), Patricia Tallman (the pit witch), and Bill Moseley (the deadite captain).

New Sword and Sandal Acquisitions

The ever growing peplum research library grows with these recent sword and sandal acquisitions.

The 7th Voyage of Sinbad 4K

After visiting the Ray Harryhausen exhibit in Tucson back in the spring (someday I’ll get around to writing about it!) I started to look into filling the gaps in my film collection.

4K blu-ray release. Black case. Cover shows Sinbad and a woman at a ship's steering wheel and a big mast behind them. On the horizon is a skeleton fighting with a sword, a giant buzzard, a lizard, and a cyclops like monster.
Personal copy of The 7th Voyage of Sinbad on 4K.

And just in time as a brand new 4K of The 7th Voyage of Sinbad (1958) released this month. My pre-order came in and it looks pretty stately!

News from Friends

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

New Fan2Fan Episodes

Brand new episodes of the Fan2Fan podcast are now online.

First there is Monster Mania: John Carpenter’s Creature from the Black Lagoon:

Monster Mania: John Carpenter's Creature from the Black Lagoon Fan2Fan Podcast

Then Dead Media and Joseph Scrimshaw:

Dead Media and Joseph Scrimshaw Fan2Fan Podcast

Followed by Monster Mania: Monster Toys of the 1980s:

Monster Mania: Monster Toys of the 1980s Fan2Fan Podcast

And Monster Mania: Destroy All Monsters:

Monster Mania: Destroy All Monsters Fan2Fan Podcast

And Monster Mania: Kaiju Trivia:

Monster Mania: Kaiju Trivia Fan2Fan Podcast

Older episodes of Fan2Fan can be found at its Libsyn page or via your podcast app of preference. There is also the Fan2Fan Facebook page. Give them a like/follow!

Edgar Rice Burroughs Bibliography: The British Editions

Laurence G. Dunn, the editor of the National Capital Panthans Journal (see above) has just had his epic book published: Edgar Rice Burroughs Bibliography: The British Editions. It is a handsome looking edition!

Thee hard back books, one standing on its edge, one face down, one face up, on a brown wooden table. The cover depicts Edgar Rice Burroughs reading a copy of Tarzan.
Edgar Rice Burroughs Bibliography – The British Editions (Photo provided by Laurence Dunn).

Copies of the book can be purchased on Amazon.

Categories
Comics

The Winter Wolf: Cavewoman: Snow Issue 4

Plot

Defeated, Meriem lays unconscious in the snow. In her fevered state she dreams of her unborn children and Bruce trying to flee a monster. She jolts awake, swinging her fist, catching Bruce right in the chin. Meriem’s gorilla companion, Klyde, happened upon Meriem while out and about, and was able to lead Bruce and Professor Cook to her and bring her home.

Cover shows Meriem leaning forward in knee deep snow. Behind her is Bruce who looks to have had a roof of snow fall on his head.
Personal copy of Cavewoman Snow #4.

Though beaten by the unseen entity, the good news is that the cache of food and supplies that was hidden in the cabin that Meriem located was able to be retrieved and brought back to Marshville, saving the town from the food crisis. A second instance of things getting better is that Meriem, Bruce, and the professor look out a window to see the sun shining, signaling the harsh winter is approaching its end.

With a renewed sense of hope, Meriem bolts from Bruce’s apartment to track down the creature she fought. Bruce and Professor Cook give chase on a snowmobile and find the cavewoman in battle with a large humanoid wolf. The battle looks to be a stalemate. Bruce fires his rifle, scaring away the lupine monster. Professor Cook theorizes that it was a werewolf, the original werewolf that all folklore has descended from.

A month later, spring has officially arrived. The town of Marshville had endured the wicked winter and Meriem finds herself back in the museum garden, planting sunflowers.

Commentary

The “Snow” story arc of Budd Root’s Cavewoman series concludes with issue four, which was published back in September of 2011. Rob Durham continues being the artist and writer for the series at this point in time. This issue sees the conclusion of the primary predicament that has plagued Marshville for the past five months, the brutal winter, but also the reveal of the unseen killer that has been stalking around town, leaving only bodies (sometimes) and tracks.

Meriem is doding backwards as the werewolf lunges forward. He says "Oh!" and the werewolf says "Groarrrr!". The werewolf has 4 human breasts that are prominent, the rest looks like a standard humanoid wolf on 2 legs.
Meriem battles the werewolf.

It is a bloody werewolf.

This conclusion to the “Snow” story arc is bittersweet. The town of Marshville surviving the punishingly long winter is a simple act of waiting out the clock. Unless the Cavewoman universe was about to usher in an Ice Age, this obstacle was going to be naturally overcame. As in a horror film, characters need to survive the night. Overall, high stakes, but an expected conclusion.

The introduction of the werewolf as the unseen killer was an expected curveball, and its extremely brief appearance in the issue is a point of perplexity. On one hand, this works. Meriem and the town of Marshville are in the prehistoric past where almost anything outlandish that could happen, will happen. In the prior one-shot “Extinction” Meriem fights an underground monster that looks like a floating oyster with dozens and dozens of tentacles. If Meriem can encounter and battle a Cthulhu-esque monster like this, there is no reason she cannot encounter a werewolf.

Meriem lunges forward and takes off with a big stride. The panel says "Meriem darts off alone into the snow covered forest". Bruce yells "Wait! Meriem! Where'ya going?" with her replying "To kill the meat eater! I have to project our baby's future!"
Meriem darts off to battle the werewolf.

On the other hand, the story jumps from zero to werewolf so suddenly that it has no time to ground itself. The foreshadowing of the werewolf’s reveal through the prior three issues, though appropriately incremental, were not substantial, relegated to tracks in the snow and dead bodies. Professor Cook immediately jumping to the conclusion that the monster is a werewolf seems uncharacteristic of him. A few pages prior he proclaimed that he needed to run tests to verify that the winter is ending. Jump to a few pages to him saying the creature is a werewolf and probably the ur-werewolf that all other werewolf folk lore is derived from. It is probably a true statement, and in the broad scheme of the Cavewoman universe it fits, but the explanation feels shoehorned in. It comes off as an instance that artist/writer Durham felt the need to overly tell the readers this is a werewolf and to expect werewolf action in future issue. It is an unsatisfactory case of telling instead of showing. 

In addition, the appearance of the werewolf raises a few narrative questions. A month passes between Meriem’s encounter where she is defeated by the werewolf, (with some slashes and gashes shown on her body), but she does not turn into a werewolf herself. The ur-werewolf is also operating during the daytime when traditionally humans turn into werewolves according to a lunar cycle. The werewolf in Cavewoman is not operating like a traditional werewolf. This could be because it is an ur-werewolf, and it would later evolve/devolve into the werewolves of pop culture today. Or it could be Professor Cook is way off base and incorrect at calling the bipedal humanoid wolf with two sets of human female breasts a werewolf (note: a wolf should have eight nipples in two rows, so this werewolf packing two sets of human female breasts is certainly a sexualized stylistic choice).

On the subject of Professor Cook, the character is definitely hiding something from Meriem. In issue three, after Meriem takes off to scout the cabin, Cook takes Bruce aside: “Now that she’s on her way we have another urgent matter to discuss.” The subject of the discussion is not revealed in issue four. Since Professor Cook is part of the inner political circle of Marshville, he is certainly privy to the coverups of the murders that were happening due to the werewolf. This could have been that topic. What is known is that Cook directed attention away from the werewolf twice in issue four. The first time is after Bruce fires his rifle, scaring away the werewolf: “Well Prof,. we go after this thing or what?” with Cook replying, “I think we should let this thing go for now.” The second time is the final page of “Snow” when Meriem states “I’ve been thinking about that hairy meat eater. I have this weird feeling about it. Something familiar” with the professor replying dismissively back “How about we just let that go for now?” and instead directs Meriem to planting sunflower seeds, an act she loved doing in issue two. Meriem stating that the encounter felt familiar ties with a contradictory statement Cook made earlier in the issue to Bruce: “She lost twice to this carnivore.” Yet, Meriem had only encountered the werewolf one time thus far, at the end of “Snow” issue three. This could be an error on Durham’s part, but it could also be Cook let something slip, that Meriem has had dealings with this werewolf before unbeknownst to her. Perhaps when the werewolf was in human form? There is an incredible amount of intrigue going on!

Meriem with a little boy and girl, all in jungle attire. Meriem says "Okay I'm Ready. So where's your papa now?" and the little girl replies back "He's outside. We're all going for a ride on his motorcycle. He wants to take us far away from the bad monster thing."
Meriem meets her children in her dream.

The werewolf is certainly the focal point of issue four, but there are other happenings that deserve mention. In the beginning of the issue Meriem has a fever dream about her two babies, which do not exist. The dream sequence is designed to get Meriem reinvigorated with a renewed sense of purpose. This is another instance of the Cavewoman series exploring the matronly and motherly side of Meriem. In the aforementioned “Extinction” issue, Meriem exhibits her motherly attributes when she rescued Susie from the tentacle cave monster. Meriem is not simply a cheesecake jungle girl with superhero abilities; there is this wholesome side to her as well that the series likes to explore from time to time.

When Bruce and Professor Cook ride on the snowmobile to catchup with Meriem, they ride past her gorilla companion Klyde as he hibernates under a mound of snow near the hot springs. It is not a visual gag per se, (save maybe Klyde’s indifferent facial expressions), but this sequence is a panel-by-panel recreation of the same gag in issue three when Meriem runs past Klyde on her way to the cabin. These are welcome types of throwbacks to find in a comic book, little enhancers like throwing a bay leaf into a stew.

Meriem is sitting up right but her eyes are closed. Her right arm, with hand in a fist, is thrust forward. There is a pair of legs, indicating Bruce has been punches and is laying on the floor, legs up. Meriem's word balloon says "Keep your filthy claws off my little ones!"
Meriem comes out her fever dream and accidentally punches Bruce.

While issue three lacked nudity, issue four more than makes up for it. When Meriem wakes up in Bruce’s apartment, her breasts are on display in many panels, with her pubic hair barely visible in a few. It is not sexual per se, as Meriem has been in a hospital-esque situation, sleeping under a heavy fever, and has just woken up. It is nonchalant nudity. The bare breasted werewolf on the other hand, that might be veering in the direction of furry erotica. 

Conclusion

Issue four of “Snow” concludes the story arc, but it raises and introduces more questions than answers. It does damper the experience a small bit when looking for resolution to the four-part miniseries, but on the other hand future issues will certainly bring closure. The next Cavewoman arc, the two part “Feeding Grounds,” depicts Meriem fighting the werewolf on the cover, so that is exciting to see what will happen. While the writing felt bittersweet in this issue, Durham’s art style is, as always, top notch. Meriem always has the best facial expressions, especially in her eyes, when Durham depicts her. The werewolf is only fully visible in two panels, but it feels like many more when Meriem is fighting the creature. Durham has expertise at controlling what he wants the readers to see, and he has been able to expertly not reveal the werewolf despite the multiple panels of the lupine engaged in hand combat with Meriem. With winter over, and the snow melted, what does the future hold for Meriem the Cavewoman and the citizens of Marshville?


For more information on Cavewoman “Snow” issue four, check out the official product page at Amryl Entertainment:

For more reviews of Budd Root’s Cavewoman series I’ve penned, check these out (chronological order of issue publish date):

Categories
Comics

The Edge of Winter: Cavewoman: Snow Issue 3

Plot

Four months after Marshville was hit with a brutal winter, freezing crops in the town museum’s garden, things continue to look dire. An unseen creature continues to stalk and kill the citizens of the town, though these deaths are being kept from the public. Though the town is still getting heat, per Professor Cook, folks are not getting enough food. He meets with Meriem and Bruce and brings up that a cabin at the boundary between the town and prehistoric earth may have a stockpile of supplies. He asks Meriem if she can investigate. Bruce rejects this idea as the citizens of Marshville have treated Meriem awfully despite everything she does for them. Despite this, Meriem still accepts the mission.

Cover has no text. It shows Meriem being pulled in different directions by three white gorillas as she sits atop a rocky peak in the mountains.
Personal copy of Cavewoman “Snow” issue 3, special edition version.

She makes her way through the snow using her superhuman speed and agility and locates the cabin. Inside she finds a journal which leads her to a cellar stocked with food, ammo, and other supplies. On her way back to report her findings she is attacked by the invisible assailant.

Commentary

Issue three of Cavewoman “Snow” was published in July of 2011 with the story and art being by Rob Durham. It is the penultimate issue of the “Snow” storyline. Taking place four months after the events of issue two, issue three sees the town of Marshville in further jeopardy as its citizens slowly starve during a prolonged, harsh winter, while an unseen killer stalks the streets.

Blue paper that has a picture of the special edition cover. It says Amryl Entertainment Certificate of Authenticity. Cavewoman Snow 3 Special Edition Limited to 750 copies.
Cavewoman Snow #3 certificate of authenticity.

The prior issue had a (probably unintended) focus on how laissez-faire many integral figures of the town acted, which included blame shifting (running Meriem over with a transport truck), not taking situations seriously (dismissing the kids trying to report a murder), and putting off doing necessary tasks (maintenance on the museum gantry), which cascaded to baleful consequences, such as the museum garden getting heavily damaged by snow avalanching in from a cracking skylight, which puts the town in the predicament it is in.

Meriem has wide eyes with prominent lashes.
Meriem’s doe eyes.

On page, during issue two, Meriem was the scapegoat for these mishaps. Sometime, off page, between issue two and this issue, Meriem is absolved by some of the townsfolk. Sensing her depression at the beginning of this issue, Bruce tells Meriem, “The two maintenance workers vouched for you” and later on Professor Cook says “the incident at the museum is over with. Almost all accept the fact that Meriem was only trying to save the garden that day.” It is important to note that these apologies occur off page, and neither said to Meriem directly nor visually shown to the reader. It sends the message that it is ok to chastise publicly but recant and apologize privately. There is also an asterisk in Cook’s statement of “almost all,” no doubt referring to the character of Martson who always has it out for Meriem but of course does not give up a chance to ogle her body (as seen in issue two when he stares at her curvy hips in the museum).

Meriem with a happy expression saying "Hurry, Bruce! It's an emergency! Get the Prof. more coffee and Brandy for his arthritis."
The cure to Prof. Cook’s arthritis is coffee and brandy.

This is all foundation to Meriem’s superhero dilemma: the town needs her, but will turn on her in an instant, and then come back when they need her, rinse-repeat. Issue three brings this superhero trope to the forefront in that Professor Cook wants Meriem to scout a cabin for supplies to save the town, but Bruce brings up the (rightful) observation that citizens of Marshville treat her horribly despite everything Meriem does for the town. Meriem is a true altruist here. She goes above and beyond for Marshville, but the town does not return the favour.

Three panels that show Meriem and then her leopard print posterior as she bashes her way through the floor. The first panel she has her tongue sticking out while the other 2 panels are her butt wiggling around. There are floor boards flying around her.
Meriem batters her way through the floor boards.

The last half of the issue switches from drama to action as Meriem takes off to find the cabin of supplies. When she arrives, she finds a hidden journal where the last page indicates the suppliers are hidden under the floor. Wanton destruction is the key here as Meriem bashes into the cabin’s floor, showing off her posterior in the process. Finding nothing, Meriem then realizes the cabin’s shed has a visible trap door. It is a funny scene for what has been an otherwise somber issue, while throwing in some cheesecake aesthetics as the issue has been chaste up to this point (issues one and two both had sequences of nudity). Meriem in a pinup and a sex symbol, so artist/author Durham finds a lighthearted way to insert some sexuality into the issue. 

Meriem is laying in the snow, on her side, huddled up. She has claw marks on her legs and stomach that are bleeding. She has a thought bubble: "...so tired... s....tir...."
Meriem lies defeated in the snow.

The issue ends with Meriem encountering the unseen creature. The monster is still not shown to the readers, so this will be a mystery to be revealed in issue four. While Meriem gets a good elbow hit in, she is otherwise defeated by the entity. She lays in the snow, finding herself not healing. Perhaps due to the extreme cold that she has voiced concern about during the “Snow” run? Or perhaps due to low caloric intake due to food rationing? Or perhaps lack of willpower due to her depression from trying to save a thankless town? Or all of the above?

Conclusion

Issue three of “Snow” is half drama and half adventure. The first, dramatic half of the issue really sells the dire situation of the town of Marshville but also brings a heavy helping of emotional weight put upon Meriem. The last half of the issue turns into normal jungle-girl activities, though in a winter landscape rather than jungle, as Meriem traverses the terrain, does some light detective work, destroys some things in the process, and has an encounter with the beast that has been terrorizing the town. As usual, Durham’s art is fun, detailed, and heavily emphasizes not only the pinup beauty of Meriem, but also her emotions through facial expressions and posture. Though overall melancholy in tone, issue three does set up everything for an exciting finale in issue four. Will the town be saved? What will the creature turn out to be?


For more information on Cavewoman “Snow” issue three, check out the official product page at Amryl Entertainment:

For more reviews of Budd Root’s Cavewoman series I’ve penned, check these out:

Categories
News

News Roundup: June 2026

Personal / Website News

June was my birthday month. Happy birthday to me! It was not an overtly productive month with only one article published at my website, but I got some other projects done, such as my cocktail recipes for this year’s New Edge Sword and Sorcery issues. Excited about that!

Review of Cavewoman “Snow” #2

New comic book review up at my website here! I continue going through my Cavewoman collection and revisiting these old issues. I am continuing with the “Snow” story arc, which puts me at issue #2 now.

Cover depicts Meriem, he cavewoman, wearing a leopard print bikini top and bottom, sitting among sunflowers.
Personal copy of Cavewoman “Snow” #2.

My write up of this issue can be read right here. It is a pretty good one, both in content but also in looking at themes and just, damn, people are people, and people suck, even when they live in a town that has been transported to the prehistoric past and everyday is basically life or death.

PangoBooks Bookstore

I have opened up a bookstore online at PangoBooks! I have been working on clearing shelf space, culling dups, and so on, which is resulting in me having a pile a books I no longer need. I have quite a few odd, unique, OOP, and weird stuff, so do check my store out. Purchases help me out greatly! Michele also has a store, so check that out as well.

Panthans Journal #349

The June issue of the National Capital Panthans Journal has been published. This issue contains a reprint of my review of issue nine of Vanya: The Lost WarriorThe original can be read here. If this looks sort of duplicated, it is. This review was also republished in #348 of Panthans. So, folks can enjoy it twice!

Cover shows Tarzan and his monkey familiar Nima, traversing through a tree.
National Capital Panthans Journal #349. Cover by David Michael Beck.

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 AT gmail.com in a Word document for consideration.

Sincere appreciation to Laurence for the opportunity to have my work published in the journal.

Scholars from the Edge of Time – Hundreds of Beavers

For the June episode of Scholars From the Edge of Time, Michele and I venture way off course from peplum films and into the world of slapstick. We watched Hundreds of Beavers (2022) and enjoyed it immensely.

Blu-ray in a clear case. The cover is a parody of It's A Mad Mad Mad Mad World. It is cartoon style. It shows a bearded dude wearing a raccoon suit, being chased by a swarm of beavers. The beavers are people on beaver costumes.
Personal copy of Hundreds of Beavers on Blu-ray.

The episode can be watched on YouTube. Check it out to hear us talk about something a tiny bit off topic.

Publishing Recap

Below is a recap of my external publishing endeavors so far in 2026.

Cover shows a blonde pinup girl, earring a tiki top and skit. She is holding a cocktail glass in her right hand. She is leaning against a palm tree. She is on the beach, with a wave crashing behind her and a mountain in the distance. The sky is blue-green with a few clouds. There is a parrot flying toward her. At her feet are some shells.
Exotica Moderne #31

“Tellers of Tales: Interview with Alex Lamb and Max Well on The Donn of Tiki” in Exotica Moderne #31, May 2026.

Product page at House of Tabu.

Cover is by Mark Wheatley and called "The Beasts". It is red hued. It shows Tarzan riding atop of an elephant. Below the elephant are two gorillas and a lion. Behind them is a tree and a setting sun.
National Capital Panthans Journal #344.

“All E.T.’s Aren’t Nice: Vanya 06” reprinted in National Capital Panthans Journal #344, January 2026.

Original can be read here.

Cover by David Michael Beck. It's a drawing of Tarzan atop an elephant, with 2 axes in front.
National Capital Panthans Journal #345.

“The Prehistoric Purge: Vanya 07″ reprinted in National Capital Panthans Journal #345, February 2026.

Original can be read here.

Cover is called "The Land that Time Forgot" by Mark Whetley. It shows a man, crouched on one knee, holding a rifle, with safari attire, but shirt open. Next to him he has a barking dog that kinda look like Benji. Behind there is a roaring T-rex, a triceratops, and pterodactyls flying.
National Capital Panthans Journal #346.

“Journey to Agharti” reprinted in National Capital Panthans Journal #346, March 2026.

A black and white cover. It shows a four armed alien holding swords and a bow. Next to it is an alien gorilla.
National Capital Panthans Journal #347.

“Warpath and Rampage: Vanya 08” reprinted in National Capital Panthans Journal #347, April 2026.

Original can be read here.

Cover is deep in the jungle. Tarzan knees on a large tree branch with Jane behind him. They look like they are scouting.
National Capital Panthans Journal #348. Cover by Mark Wheatley.

“The Chaos Continues: Vanya 09″ reprinted in National Capital Panthans Journal #348, May 2026.

Original can be read here.

Cover shows Tarzan and his monkey familiar Nima, traversing through a tree.
National Capital Panthans Journal #349. Cover by David Michael Beck.

“The Chaos Continues: Vanya 09″ reprinted in National Capital Panthans Journal #349, June 2026.

Original can be read here.

Calls for Papers/Proposals

Here are some new pop culture CFPs that have crossed my path or I am sharing on behalf of my colleagues. Links to these will also be in the CFP page on the navigation bar.

Re-Analyzing Mad Men – Critical Essays on the AMC Series’ 20th Anniversary

2027 will mark twenty years since the ground-breaking series Mad Men aired its first episode.  Since then, the world of Sterling Cooper – led by the universally talented “Mad Men” of them all, Don Draper (John Hamm) – has become synonymous with a glamorized mid-century culture, characterized by three-martini lunches, men with skinny ties, large fedoras, and huge egos; anxious women with Jackie Kennedy hairdos, form fitting skirts and bold ambitions to break the ubiquitous glass ceiling.  AMC’s episodic drama still ranks in the Top Five of all television series mainly due to the fact that Mad Menbecause a cultural phenomenon, detailing America’s preoccupation with commercialism and image in the Camelot era of 1960s America while self-consciously exploring our own cultural paths with image and self-reinvention.

In 2007, the television series and cultural phenomenon Mad Men broke ground, establishing AMC as a major competitor to the likes of HBO for prestige dramas. In 2027, twenty years after its original release and twelve years since it ended, its legacy endures.

In 2011, my book Analyzing Mad Men, brought together critical approaches to, what was then, an emerging series, capturing its immediate impact and pioneering the wave of scholarship that came after its publication. In anticipation of these anniversaries, I am looking to re-analyze the series in full, presenting a new collection of essays examining the many facets of the series as it moved from those halcyon days of America’s Camelot, the 1960s, though to the end of that decade, marked by Viet Nam, the culture wars, the rise of youth culture, and the move of Madison Avenue from the streets of New York to the sunny coast of California.

Building on the continued scholarly interest in Analyzing Mad Men and the enthusiasm of its original publisher, McFarland & Co, I issue the following call for chapters with the aim of eliciting new chapters and approaches to the series and its legacy. Suggested topics might include:

  • New Historical examinations of how the series uses the “Age of Camelot” and the “Death of the Sixties” to compare to our own times, particularly in respect to advertising, commerce and capitalism;
  • Psychoanalytic approaches to the series, particularly in the respect to the conclusion of Don Draper’s storyline; his marriages to Betty (January Jones) and Megan (Jessica Pare), and his relations to the industry shifts;
  • Mad Men’s approach to the selling of “self”, selling commodities, and the drastic shift in the culture toward the series’ end;
  • Sterling Cooper as a microcosm of culture mores, sexual politics, and changing attitudes toward capitalism;
  • The storylines of Peggy Olsen (Elizabeth Moss) and Joan Holloway/Harris (Christina Hendricks) who begin the series as office assistants, and end the series as representatives of the new woman in business;
  • The series’ approach to advertising and the shift from Madison Avenue to Los Angeles;
  • Mad Men’s continuing effect of fashion merchandising and furniture / décor;
  • Pete Campbell’s (Vincent Kartheiser) and Roger Sterlings’s (John Slattery) efforts to confirm images as “self-made” men of success and how their subsequent marriages and divorces affect their abilities as “self-made” men;
  • The series’ use of “the edge”: How heterosexism, homosexuality, drug culture and gender politics influence characters’ behaviors within the corporate atmosphere and in their private lives – particularly as the series progresses through the decade;
  • Theories of management at Sterling Cooper, reflected in Roger Sterling’s approach, Bertram Cooper’s (Robert Morse) new age tactics, and the hostile takeovers that challenge the company through the decade;
  • The series embracing of nostalgia in selling the series to a new (and supposedly evolved) contemporary audience. What is the legacy of Mad Men?   And why has the series remained in the Top Five of all television series?

Abstracts of 500 words concerning any of these ideas or any others should be sent via email to sstoddart@saintpeters.eduby 15 August 2026.  Final essays will be due by 15 December 2026 so as to make the publisher’s 01 March 2027 ideal date for release.

Geographies of Horror

Department of English Studies (University of Zadar) in collaboration with The Society for the Study of the American Gothic (SSAG)

Keynote speaker: Jeffrey Andrew Weinstock (Central Michigan University)

May 20-21st 2027, University of Zadar (Zadar, Croatia)

The study of horror has always been inseparable from the question of space. From the shadowed corridors of Gothic castles to contemporary digital voids, spaces in horror are never just passive backdrops. They function as active agents that shape perception, destabilize subjectivity, and collapse the distinction between interior and exterior, revealing how fragile our sense of spatial coherence can be. This conference seeks to understand how spaces become haunted – materially, symbolically, psychologically, and technologically, and how these hauntings articulate broader cultural anxieties, historical traumas, and epistemological uncertainties.

In Gothic and horror traditions, fear unfolds through space, guiding perception, and encounters with the unknown. Early Gothic forms, such as castles and monasteries, establish models of spatial excess, enclosure, and architectural anxiety, while the haunted house transforms domestic familiarity into something uncanny. In modern and contemporary horror, this logic extends to urban environments, where entire cities and infrastructures become haunted. While urban legends and other unsettling narratives embed fear in everyday life, abandoned malls, transit systems, and brutalist structures evoke concepts such as “non-places,” characterized by transience and anonymity.

At the same time, horror increasingly stages the breakdown of spatial logic itself. Non-Euclidean geometries, infinite corridors, and paradoxical environments destabilize perception and challenge epistemological certainty. In these instances, space becomes fundamentally unknowable, aligning with cosmic horror and philosophical pessimism. These concerns extend into digital and virtual environments, where video games, online narratives, and immersive technologies generate new forms of spatial horror. Phenomena such as The Backrooms exemplify liminal, endlessly reproducible environments that evoke both familiarity and existential dread. Simultaneously, haunted space becomes internalized within the body and mind, as psychological and body horror depict interiority as fragmented and invasive.

With all this in mind, we welcome papers from across disciplines and media that examine the spatial dimensions of horror, including but not limited to:

  • Gothic and classical haunted spaces
  • Urban and infrastructural hauntings, including “non-places”
  • Non-Euclidean, paradoxical, and incoherent spatialities
  • Digital and virtual environments (games, online narratives, immersive media)
  • The body and subjectivity as haunted spaces
  • Ecological and environmental horror
  • Spatial storytelling across literature, film, television, comics, and interactive media

The keynote speaker for the event will be Professor Jeffrey Andrew Weinstock (Central Michigan University)He is a Professor of English at Central Michigan University, where he teaches a range of courses on American literature and popular culture. He is the founder and president of The Society for the Study of the American Gothic, the founder and general editor of the peer-reviewed journal American Gothic Studies, and the co-founder and past chair of the Modern Language Association Gothic Studies Forum. He also serves as the associate editor in charge of horror for the Los Angeles Review of Books and is currently the general editor for Bloombury Publishing’s six-volume Cultural History of Monsters series.

His research focuses on the “cultural work” performed by the Gothic in its various manifestations – the ways in which Gothic texts and practices give shape to culturally specific anxieties and desires. This interest has led him from considering, for example, how nineteenth-and early twentieth-century American women made use of Gothic conventions as a strategy to express discontentment with their circumscribed roles to thinking about the ways contemporary monsters reflect shifting American fears and aspirations.

To date, he is the author or editor of 34 books and more than 100 essays and book chapters on the Gothic, American literature, cult film, and popular culture.

Abstracts of 250–300 words, accompanied by a short bio (approximately 100 words) and 3-5 keywords, should be submitted to geographyhorror@gmail.com.

The deadline for the abstract submission is October 1st 2026.

Selected papers focused on American Gothic and horror themes will also be considered for publication in the peer-reviewed journal, American Gothic Studies Journal.

New Sword and Sandal Acquisitions

The ever growing peplum research library grows with these recent sword and sandal acquisitions.

Conquest

I have seen a lot of Lucio Fulci movies (Zombi 2 4 evah!) but Conquest (1983) has eluded me. Blue Underground put out an edition a long time ago, but I just never got around to doing so.

Blu-ray/UHD boxset for Cauldron. Cover shows a barbarian with a nunchuck, behind hum a woman holding a green snake, behind her a man pulling the string on a bow and arrow.
Cauldron limited edition of Conquest.

That changes now because I have plucked up this incredible limited edition UHD/Blu-ray version from Cauldron. It even came with this rad sticker set:

Set of 8 sticks. One says Conquest. One has a man pulling back the string on a bow. One shows a bear-man smacking a caveman with a stone hammer on the head, one shows the bear-man roasting atop a oven, one is a portrait of director Lucio Fulci, one is 2 bear-men impaling a naked woman on a spike, one are 2 bear men looking at each other, and the final one is a topless woman with a cape and back holding a decanted head while standing atop a pile of skulls.
Cauldron Conquest sticker set.

I think a watching for an episode of Scholars from the Edge of Time is in order! I can also consult one of my bible-books: Stephen Thrower’s Fulci book!

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

New episodes of Michele Brittany and Travis Lakata’s vidcast, Ride the Stream, are online. The duo begin the month with taking a break from television stream to tackle a ,movie. An epic movie. The Lord of the Rings: The Fellowship of the Ring!

Here is their part one discussion:

Part two:

Part three:

Make sure to subscribe the Ride the Stream YouTube channel to see when new episodes drop. There is also a BlueSky social media as well.

New Fan2Fan Episodes

Brand new episodes of the Fan2Fan podcast are now online. Bernie and Pete continue with episodes focused on their Monster Mania series.

First, Monster Mania: Kaiju vs. History:

Monster Mania: Kaiju vs. History Fan2Fan Podcast

Next it is Monster Mania: Atomic Age Trivia:

Monster Mania: Atomic Age Trivia Fan2Fan Podcast

Then Monster Mania: Monster Toys of the 1960s and 1970s:

Monster Mania: Monster Toys of the 1960s and 1970s Fan2Fan Podcast

And Monster Mania: Cartoon Creatures:

Monster Mania: Cartoon Creatures Fan2Fan Podcast

Older episodes of Fan2Fan can be found at its Libsyn page or via your podcast app of preference. There is also the Fan2Fan Facebook page. Give them a like/follow!

New John 3:16 Album

John 3:16, the primary music outlet of composter Philippe Gerber, just dropped a brand new album earlier this month!

Cover art for "The Beast" by John 3:16. There's only 2 colors, red and black. The cover is of a portrait of an evil looking cardinal, with an exposed skull.
John 3:16 Album – The Beast.

The album is called The Beast and it was, appropriately, released on June 6th, 2026 (6-6-6!). The album can be purchased for $6.66 at Bandcamp, so make sure you check it out and pluck it up!

Categories
Comics

Down Below Zero: Cavewoman: Snow Issue 2

Plot

The energy crisis for Marshville has been quelched as Bruce has overseen the installation of the pump at the tar pits north of the city and getting the trucking of oil into town up and running. He returns home to his apartment, into the waiting arms of Meriem Cooper, for an amorous evening.

Cover depicts Meriem, he cavewoman, wearing a leopard print bikini top and bottom, sitting among sunflowers.
Personal copy of Cavewoman “Snow” #2.

The next day Meriem makes way to the town’s museum that has been converted into a food garden. En route she happens upon a set of prints in the snow that remind her of the prints she found a month prior during an expedition to the north tar pits. While examining the prints, she is hit by an oil transport truck, but walks away unscratched, leaving only an impression of her posterior in the truck’s plow. At the museum she begins work on harvesting the sunflowers.

Meanwhile an unseen entity (Animal? Dinosaur? Something else?) slays Mrs. Solomon, a woman returning home with her food ration. A trio of kids happen upon her body and inform two adults who brush off their concerns.

At the museum, snow keeps accumulating on the roof, threatening to break the skylights. Two maintenance workers attempt to clean up the mess but find the building’s gantry frozen. With glass cracking, Meriem becomes more concerned with the safety of the garden she holds so dear and ventures to the roof of the museum to assist. She uses her superhuman strength to dislodge the gantry, but in the process crashes through the window, causing snow to pour in on the crops. Professor Cook attempts to assuage Meriem, but dejected, she leaves the scene and returns home.

Commentary

The second issue of “Snow” was published May of 2011, with series stalwart Rob Durham continuing the story and art. Picking up two months after issue one, the major dilemma introduced in “Snow” #1, the power plant running out of oil and thus the ability to heat Marshville, has been solved. But, for a town transported to the prehistoric past, problems jeopardizing survival are like a game of whack-a-mole: as one is solved another arises. The town may have heat, but an unseen threat, foreshadowed in issue one when Meriem and company found the unknown tracks in the snow outside town, has now popped up, slaying Marshville citizens. An incoming storm threatens to blanket the town with even more snow, causing skylights, such as that atop the museum that houses the town’s garden, to crack under the weight.

A big theme in this issue is the spectrum at which the populace of Marshville takes seriously (or not) their role of keeping the town safe and functioning. The first page of the comic has Bruce reflecting on his role at getting the oil pump up and running and the logistics for transporting oil to town: “In some strange way the important meaning of the projects to our survival has kinda given me… purpose.”

Bruce realizes this, but it is shocking at how many citizens of the town do not, or do not care, and do not take responsibility.

Meriem is hit by a truck. Her butt is planted firmly in the truck's plow. Her breasts have popped out of her top. Her face is an expression of classic pinup girls who have been caught in a situation (like burning a cookie or their skirt is caught in a door).
Meriem is rear ended by a truck.

The first example comes early in the issue when Meriem is on her way to the museum to help in the garden. She stops to investigate a set of mysterious prints in the snow (which are, of course, a part of the grand issue of an entity stalking and killing the people of the town). As she examines the tracks she is rear ended by an oil-ferrying truck. Meriem is unscratched (though her tits pop out of her top, turning the scene into a sex-comedy gag) because of her superhuman abilities. The truck driver (named Tanis), who was not paying attention to the road, is quick to deflect responsibility of the accident from himself to Meriem by saying “Now in the future young lady you should be a little more careful.” Basically, Tanis is able to absolve himself from running over a young lady and instead deflect that responsibility back to her. Though the sequence is played for laughs, it demonstrates subconscious misogyny going on and overt not taking responsibility for one’s role in the safety of Marshville seriously.

Meriem is falling through the snow covered window. She looks down with a ""? thought bubble. Two maintenance workers look on.
Meriem crashes through the museum roof window.

A similar situation occurs at the climax of the issue, though this time it is played seriously and not for laughs. Cathy, who is overseeing the garden inside the museum, has asked Marstone to have the snow cleaned off the glass roof of the museum so it will not cave in. Marstone, in turn, has delegated this duty to two maintenance workers. When they finally get around to address the snow on the roof, they realize the gantry’s gears are frozen. The two have a heated exchange “Damn it, I asked you to grease the gears a week ago!” “I was getting to it!”. Meriem shows up and takes the initiative to solve the issue by using her strength to rattle the gantry loose, but she winds up falling through the skylight, taking the snow with her, damaging the garden. Marstone is quick to blame Meriem for the whole debacle, calling her a terrorist and a menace. Neither of the maintenance workers step forward to claim their culpability (after all, if they had done their job a week prior, none of this would have happened) and instead allow Meriem to take full blame. It is her fault, and not the fault of the men with authority in the scene, just like with the truck crash earlier.

While the men finger point, grumble, and skirt the responsibility of being placed in important positions integral to the survival of the town, Meriem has done nothing but step up her game. Cathy comments that no one else wants to be in the garden picking vegetables: “Glad you made it in, no one else has, and I could sure use the help!” Meriem, on the other hand, is all too happy to lend a hand and pick sunflowers so the land can be rotated to have cabbage planted. Bruce and Meriem are model citizens and go above and beyond for their community (which is one of the reasons they are so compatible together).

A kid is explaining to an adult: "I'm tell'n you she's dead! Ripped apart! Looked like somebody went cannibal on her and started eat'n her, dude."
A kiddo tries to convey happening across the dead body.

A final scenario in “Snow” #2 that feeds into this overall theme of not taking the situation the town finds itself in seriously is when three children happen upon the corpse of Mrs. Solomon who has been slashed by the unseen stalker in the town. The children, as they are supposed to do, report the body to the adults. When the children return with two adults, (who are also the two maintenance workers that were supposed to deal with the museum roof), they find the body gone. The adults dismiss the children’s concerns (which, solidifies their general attitude of not doing anything as is evident with the upcoming scene on the roof). This is a common trope in horror films: the children witness a monsters/something bad, tell someone about it, and are not taken seriously (until it is too late). The Blob (1958) is a perfect example of this. Steven McQueen and friends are teenagers who witness the blob in action, and report it to the police, who are outright hostile to them (one of them thinks the kids are trying to get to him). Marshville is a town that has been teleported to the historic past. It is surrounded by dinosaurs and other weird creatures. The entire situation is absurd and calls for the utmost attention and seriousness. When someone is pointing out “Hey! We saw a dead body”, given the predicament the town is in, it warrants true investigation and not dismissal.

Conclusion

Issue two of the “Snow” storyline is great. Narrative-wise, this is a dense issue. There is a lot going on in the town of Marshville, and even with all the external threats going on, it is seeing the (perhaps unintentional) internal threats from its own citizens that adds to suspense and drama of the story. Real characters/people behave in different ways, and the complacent/fear of taking accountability characteristic is a legitimate character trait that adds depth and complexity. It is heartbreaking though to see Meriem try so hard for the people of the town (with her helpful personality and heroics) but still relegated to the role of outcast and spoken of negatively.

Meriem sits silents in a field of sunflowers in the museum garden.
Meriem among the sunflowers.

Art-wise, Durham always brings the best in the cheesecake style. For sexploitation/exploitation purposes, Durham makes sure to showcase a small helping of nudity (as when Bruce returns home to the awaiting arms of Meriem, or when she is hit by the truck), or to draw Meriem in poses that highlight her glamorous features (as when she is picking sunflower seeds). A great issue that is both fun while not letting up on maintaining its air of suspense that any moment something will occur that threatens everyone.    


For more information on Cavewoman “Snow” issue two or my other Cavewoman reviews, check these links:

Categories
News

News Roundup: April 2026

Personal / Website News

I did not get much published at my website in April, but that does not mean a lot of news didn’t happen!

GosT/Perturbator Concert Archival Write Up

James Lollar, the mastermind behind the dark/synthwave band GosT passed away earlier this month. He was a pioneer of the retrowave genre.

GosT in a skeletal mask, behind a cloth covered table, playing electronic instruments.
GosT performing.

I was lucky to have seen GosT perform with Perturbator back in 2017. I did a concert write up that was published at Heathen Harvest, but that website is long since dead. Since it has been on my radar to bring some of my old articles back online and host them here, and I want to do what I can to help keep Lollar’s memory eternal, I’ve gone ahead and dug up my concert report and put it online. I’ve also included more photos than the original publication.

My republished write up can be read here. Enjoy!

Exotica Moderne #31

It has been a few years since my last piece being published in Exotica Moderne, but I am back!

Cover shows a blonde pinup girl, earring a tiki top and skit. She is holding a cocktail glass in her right hand. She is leaning against a palm tree. She is on the beach, with a wave crashing behind her and a mountain in the distance. The sky is blue-green with a few clouds. There is a parrot flying toward her. At her feet are some shells.
Exotica Moderne #31

Back in November 2025 I had the honour to interview Alex Lamb and Max Well, the filmmakers behind the documentary The Donn of Tiki. That interview will be published in the next issue of Exotica Moderne, which is issue #31. In fact, orders for that issue are already being taken at the House of Tabu website (product link).

I have other article ideas that have been on the back burner for Exotica Moderne, such as an essay on Secret of the Incas. It is probably a good time to realize them. Exotica Moderne has always been a great periodical and one of the best venues I have ever written for.

Vanya #10 Compendium

The neo-jungle girl comic series Vanya: The Lost Warrior (which I’ve covered extensively at my website here) had a successful Kickstarter this month to fund issue ten.

Banner says "Vanya: the lost warrior - cover D by Ignacio Noe. Launching April 14th on Kickstarter". The banner shows Vanya, holding a vine in her left hand, looking kind of angry, as a T-rex rampages in the jungle behind her. In the distance a volcano erupts.
Vanya 10 Kickstarter Banner

One of the items every backer will receive with their pledge is a digital compendium that includes supplemental material, such as character bios, universe lore, a short story, and even a recap of what transpired from issues one to nine to allow folks a quick way round catch up in the story.

I was humbled and honored to be asked by the Bad Bug Editor in Chief, and writer of Vanya, Mike Tener, to write this summary to be included in the compendium! So, keep an eye out here, or the various Bad Bug outlets (Facebook link here) for news on how the development of issue ten goes.

Panthans Journal #347

The April issue of the National Capital Panthans Journal has been published. This issue contains a reprint of my review of issue eight of Vanya: The Lost Warrior. The original can be read right here.

A black and white cover. It shows a four armed alien holding swords and a bow. Next to it is an alien gorilla.
National Capital Panthans Journal #347.

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

Sincere appreciation to Laurence for the opportunity to have my work published in the journal.

Fan2Fan Podcast Appearance

I had the honour to appear on two episodes of the Fan2Fan podcast that were published this month.

First, Michele and I are both guests on the episode where the topic is the 90s monster film, The Relic.

Thumbnail with a big monster on it that has teeth and looks rubbery. It says "F2F - New Fan2Fan Podcast! Monster Mania! The Relic"
Fan2Fan Podcast Thumbnail for The Relic episode.

It is a good movie, and a unique monster in that decade between the fall of the Berlin Wall and 9/11. The episode can be streamed at the Fan2Fan website here or in the player below:

Monster Mania – The Relic Fan2Fan Podcast

Next up there is an episode where I talk generally about the different Lovecraft monsters out there, from Cthulhu to Azathoth.

Banner says: F2F New Fan2Fan Podcast! Monster Mania! Lovecraft Monsters.
Fan2Fan – Lovecraft Monsters

That episode can be streamed here or in the player below.

Monster Mania: Lovecraft's Creatures Fan2Fan Podcast

Sincere appreciation to Bernie and Pete of Fan2Fan for having Michele and I on as guests!

Scholars from the Edge of Time

For Scholars from the Edge of Time for April Michele and I went old school via new school and watched the new Deathstalker film. To sum it up: it ruled.

Graphic novel is hardback and has a wraparound of the original movie poster. The Blu-ray shows all the characters collage together with mountains behind them.
Deathstalker the graphic novel and the Deathstalker remake on Blu-ray.

Listen to our musings about this reinterpretation of a classic 80s S&S series on YouTube.

Publishing Recap

Below is a recap of my external publishing endeavors so far in 2026.

Cover shows a blonde pinup girl, earring a tiki top and skit. She is holding a cocktail glass in her right hand. She is leaning against a palm tree. She is on the beach, with a wave crashing behind her and a mountain in the distance. The sky is blue-green with a few clouds. There is a parrot flying toward her. At her feet are some shells.
Exotica Moderne #31

“Tellers of Tales: Interview with Alex Lamb and Max Well on The Donn of Tiki” in Exotica Moderne #31, May 2026.

Product page at House of Tabu.

Cover is by Mark Wheatley and called "The Beasts". It is red hued. It shows Tarzan riding atop of an elephant. Below the elephant are two gorillas and a lion. Behind them is a tree and a setting sun.
National Capital Panthans Journal #344.

“All E.T.’s Aren’t Nice: Vanya 06” reprinted in National Capital Panthans Journal #344, January 2026.

Original can be read here.

Cover by David Michael Beck. It's a drawing of Tarzan atop an elephant, with 2 axes in front.
National Capital Panthans Journal #345.

“The Prehistoric Purge: Vanya 07″ reprinted in National Capital Panthans Journal #345, February 2026.

Original can be read here.

Cover is called "The Land that Time Forgot" by Mark Whetley. It shows a man, crouched on one knee, holding a rifle, with safari attire, but shirt open. Next to him he has a barking dog that kinda look like Benji. Behind there is a roaring T-rex, a triceratops, and pterodactyls flying.
National Capital Panthans Journal #346.

“Journey to Agharti” reprinted in National Capital Panthans Journal #346, March 2026.

A black and white cover. It shows a four armed alien holding swords and a bow. Next to it is an alien gorilla.
National Capital Panthans Journal #347.

“Warpath and Rampage: Vanya 08” reprinted in National Capital Panthans Journal #347, April 2026.

Original can be read here.

Calls for Papers/Proposals

Here are some new pop culture CFPs that have crossed my path or I am sharing on behalf of my colleagues. Links to these will also be in the CFP page on the navigation bar.

Dragon Age: Worlds of Power and Play

Edited by Adam Crowley (Husson University) and Daniel Reardon (Missouri University of Science and Technology) 

The Dragon Age franchise (BioWare, 2009–present) stands as one of the most narratively and philosophically ambitious bodies of work in contemporary role-playing games. Across its major titles, the series constructs a world shaped by conflict, belief, and consequence—where institutions govern bodies, identities are contested, and player choice operates within systems that both enable and constrain action. 

This edited collection invites scholars to examine Dragon Age as a site of meaning-making across narrative, mechanical, cultural, and philosophical dimensions. We seek contributions that engage the series not simply as a set of texts, but as a structured system in which power, identity, agency, and belief are produced, negotiated, and experienced. 

This collection takes a comprehensive view of the franchise, including Dragon Age: Origins, Dragon Age II, Dragon Age: Inquisition, and Dragon Age: The Veilguard. At the same time, Dragon Age operates as a transmedia world rather than a closed set of game texts. We therefore welcome contributions that engage the broader narrative and paratextual ecosystem of the series, including novels, comics, strategy guides, codices, and reference works such as The World of Thedas volumes, as well as screen-based media such as Dragon Age: Redemption and animated adaptations. Essays may focus on a single game, trace developments across multiple titles, or examine how meaning emerges through the interaction of game systems and transmedia storytelling. We are particularly interested in work that attends to the relationship between narrative, system design, and player experience across these materials. 

Areas of Interest 

1. Power, Authority, and Institutions 

Essays in this category may examine the structures that organize and regulate life in Thedas, including the Chantry, the Circles of Magi, the Templar Order, and the Inquisition. Approaches may include political theory, rhetorical analysis of governance, institutional critique, and studies of legitimacy, surveillance, and control.

2. Identity, Embodiment, and Otherness

This section invites work on race, gender, sexuality, and the body within Dragon Age. Topics may include the construction of elven, Qunari, dwarven, and human identities; representations of difference and marginalization; romance and intimacy systems; and the relationship between player identity and character embodiment. 

3. Systems, Choice, and Player Agency 

Contributions may explore how Dragon Age structures player action through dialogue systems, branching narratives, and moral decision-making frameworks. We welcome analyses of agency, constraint, consequence, and the role of the player as a co-creator within designed systems. 

4. Lore, Worldbuilding, and Transmedia Storytelling 

This category focuses on the narrative architecture of Dragon Age across games, codices, novels, comics, and other media. Topics may include paratexts, environmental storytelling, worldbuilding practices, and the role of distributed narrative in shaping player understanding. 

5. Ethics, Belief, and Moral Philosophy 

Essays may address the ethical and philosophical questions at the heart of Dragon Age, including justice, faith, sacrifice, and moral responsibility. We invite work that engages the series’ treatment of belief systems, divine authority, and the player’s role in navigating complex moral landscapes. 

Please submit proposals by June 1, 2026. Drafted chapters will be due September 15, 2026. 

Submission Guidelines

  • Abstracts: Maximum 750 words 
  • Include: Title, abstract, and brief bio (100–150 words) 
  • Format: Word document (.docx) 
  • Email submissions to: reardond@mst.edu 

New Sword and Sandal Acquisitions

The ever growing peplum research library grows with these recent sword and sandal acquisitions.

Goliath and the Barbarians and Goliath and the Vampires

Michele and I went down to Tucson in mid-April to catch the Ray Harryhausen exhibit (that write up is forthcoming!) but also explore a little bit of the city. We wound up going to Booksmans on Speedway and one of the treasure I found in the cult movie section was this Goliath double feature.

Clear DVD Case. Top says "A Goliath Spectacular Double-Feature Program!" The bottom says "Another great double bill from Wild East". Center of the DVD sleeve shows two posters, one for each film. Goliath and the Barbarians shows Steve Reeves in shackles, with a fleet of horse back riders under him, and a woman in a red skirt holding a torch. Goliath and the vampires shows two strong men wrestling in a case. Two women look on, a man in a crown in the back holds a thunderbolt. A silhouette is at the cave entrance.
Personal copy of the Wild East 2 movie set of Goliath and the Barbarians and Goliath and the Vampires.

Looks like the company who put this out, Wild East, closed their doors earlier this decade. They seemed to have specialized in spaghetti westerns, with this Goliath and the Barbarians / Goliath and the Vampires DVD being their sole sword and sandal output. This looks like a lot of fun!

Rest in Peplum: Gerry Conway

At the end of April comic book legend Gerry Conway passed away. Conway appeared at many of the comic book conventions in the LA area and I had the honour to meet him a few times. Here is a picture of the first time I met him back in 2014:

Nick Diak and Gerry Conway at Gerry's Booth. We both have on glasses. He has short, red hair. We both have black shirts on, and an open over shirt over those.
Meeting Gerry Conway at a 2014 Long Beach Comic Expo.

Conway is probably best known for co-creating the Punisher, but I revered him for his contributions to the sword and sorcery genre. He wrote Conan the Destroyer (1984) and the Ralph Bakshi animated Fire and Ice (1983).

Standard blu-ray case. The sleeve is the poster art for the film. At the top is says Fire (in red) and Ice (in blue). There is an axe wielding barbarian standing on a cliff edge. In front of him is an amazing lady with a purple bikini top and black hair. There is a blonde warrior holding a dagger. Lunding at them looks to be a goblin or orc.
Personal copy of Fire and Ice Blu-ray autographed by Conway, Gordon, and Tataranowicz.

One of my prized sword and sorcery possessions is my Blu-ray of Fire and Ice signed by Conway, and artists/animators Steven E. Gordon and Tom Tataranowicz.

A true, sincere rest in peplum to Conway.

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

New episodes of Michele Brittany and Travis Lakata’s vidcast, Ride the Stream, are online. The duo continue their deep dive into the sci-fi series Falling Skies.

Here is their discussion on season one episode seven:

Episode eight:

Episode nine:

And episode ten:

After this Ride the Stream pivots to talk about Dark Winds. Here is their analysis of season one episode one:

Make sure to subscribe the Ride the Stream YouTube channel to see when new episodes drop. There is also a BlueSky social media as well.

New Fan2Fan Episodes

Brand new episodes of the Fan2Fan podcast are now online. Pete and Bernie continue their discussions on different monster movies. Aside from the two monster movies episodes mentioned above, here are the others that dropped in April.

First they have an episode on Pumpkinhead:

Monster Mania: Pumpkinhead Fan2Fan Podcast

And then one on Godzilla:

Monster Mania: Godzilla Fan2Fan Podcast

Followed by another Godzilla episode:

Monster Mania: Godzilla Versus Fan2Fan Podcast

And finally, an episode titled “When Monsters Lose Their Mojo“:

Monster Mania: When Monsters Lose Their Mojo Fan2Fan Podcast

Older episodes of Fan2Fan can be found at its Libsyn page or via your podcast app of preference. There is also the Fan2FanFacebook page.

The Many Worlds Interpretation of Azure Cove by Ian Welke

Author Ian Welke has a new book that just came out! It is called The Many Worlds Interpretation of Azure Cove and it is a loose sequel to The Azure Cove Assignment which came out last year. The cover art is done by Kelly Lyon-King.

Cover is a square within a circle. The circle has obelisks jutting out of it and from those there are tree branches. Inside the square are leaves and 4 eyes. It looks like a burst of water is happening behind the odd sigil type thing.
The Many Worlds Interpretation of Azure Cove by Ian Welke (photo provided by Welke)

The Many Worlds Interpretation of Azure Cove can be found on Amazon.

Beyond Thirty: A World Reborn by Jeffrey J. Mariotte

Edgar Rice Burroughs, Inc. announced that pre-orders are now open for the brand new ERB Universe novella, Beyond Thirty: A World Reborn. This book is penned by the prolific Jeffrey J. Mariotte, the guest of honour at last year’s Edgar Rice Burroughs Circle of Friendship.

Cover shows a woman in Native American attire, holding a rifle, standing on a cliff made of debris, next to a lion.
Beyond Thirty: A World Reborn cover by Daren Bader.

The product page for all the different editions of this novella can be found here at the ERB website.