Two episodes of Scholars from the Edge of Time have gone online in the last couple of week.
First, for the end of April, we did an episode where Michele talked about the Alexander the Great TV series while I talk about the Lovecraftian Choose Your Own Adventure video game, The Innsmouth Case. YouTube link is here.
Next, Michele and I resume our Bella Cortez film retrospective and we dive into the pulp/scifi/peplum film The Giant of Metropolis. Check it out here on YouTube, and anticipate a Peplum Ponderings on it later on.
Miscellaneous Tidbits
The Nylon Stories: Book 1
My friend, Miss Corsair Debonair (who you may recall I interviewed for Exotica Moderne issue #14), has ventured into writing, have her first erotic short story, “The Nylon Stories: Book 1,” published on Kindle.
I was honored to do a bit of beta reading and editing for her first publication, and super flattered and humbled to be mentioned in the acknowledgements.
The story can be bought from Amazon – here is the Kindle product page. If you’re into office/business erotica with am emphasis on stockings, this is totally your cuppa.
Awen’s This World and Its Spirits
The newest Awen album, This World And Its Spirits, is officially out! I’m feel super chuffed and honored to be mentioned in the thank yous in this exquisite release.
This physical, vinyl edition of the album can be bought at the Triskele website (limited to 100 copies, so act quick!). The digital edition of This World and Its Spirits can be purchased on BandCamp.
For those curious, many releases in Awen’s catalogue are still available, be it through Triskele or Bandcamp. If you’re interested in The Hollow in the Stone, I did a review on that album, so consider giving it a read and checking out that album as well. Also, many moons ago, I did a review of their Grim King of the Ghosts for Heathen Harvest. An archived copy can be read here, but I’ll see about republishing it and updating it to my website. Regardless, check that one out as well!
Newest Acquisitions
Pluck up two new movies for the peplum library.
First is The Slave and the Sorcerer. This was a Kickstarted endeavor to make an very 80s-homage sword and sorcery flick.
The Crowdfunding campaign has long since ended, but info about the film can still be found at the Kickstarter site.
Next, a film I am super, super excited to see, is She is Conann.
A feminist take on Conan the Barbarian, reimagined as a woman through different points in time? Yes, please! My sixth sense of that this film is going to be amazing is going off.
On Mount Olympus, Jupiter (Furio Meniconi) is irate at the current state of affairs of his children and other gods disobeying and doing their own things. Of specific concern is the goddess Venus (Annie Gorassini) who is absconding to Earth and using her beauty and charms to seduce the men who catch her attention. Jupiter and his wife Juno (Edda Ferronao) come to the conclusion that the only way to tame Venus is to have her married to a husband that can control her. Two suitors come to mind: Mars, the god of war (Roger Browne) and Vulcan, the god of fire (Iloosh Khoshabe).
While working in his forge, Vulcan is baited into a brawl with Mars. Jupiter intervenes and punishes them both. Mars has had enough of his controlling dad, so he and Venus escape to Earth with the help of Pluto (Gordon Mitchell) where they ally themselves with Milos, king of the Thracians (Omero Gargano). Mars proposes to Milos a plan to construct a giant tower to Mount Olympus where they can then invade and overthrow Jupiter.
Mars, Venus, and Milos discuss the tower.
Vulcan, in pursuit of the wayward duo, is stabbed by Pluto and left for dead on a beach on Earth. His unconscious body is happened upon by Aetna (Bella Cortez) and her siren companions, collectively known as the Daughters of Neptune. They pluck up Vulcan with the intent to take care of him, but their quest to do a good deed is short lived as they are all captured by lizard men and imprisoned. The daughters hatch an escape plan that involves having fellow prisoner Geo (Salvatore Furnari), use his short-stature to hide in a basket, and is carried out to the sea and dumped into the water. Geo plays a conch that was given to him by the Daughters which summons a Triton who takes him to Neptune (Amedeo Trilli) who is briefed on the situation.
Vulcan captured by the Lizard people.
Geo, with the aide of the Tritons, break back into the prison and free Vulcan and the Daughters of Neptune. Vulcan and Aetna make their way to Neptune’s underwater kingdom where Aetna does a belly dance for Vulcan. However her routine is interrupted by Mercury (Isarco Ravaioli) who arrives with the news of Mars’ plan to overthrow Jupiter. Concurrently, Milos’ soldiers capture all the now-freed prisoners and put them to work on Jupiter’s tower construction project.
Vulcan returns to land in order to stop Mars and forces Geo to guide him to Milos’ camp. Aetna, who is in love with Vulcan, wishes to accompany him, but Vulcan rebuffs so she follows the duo in secret. On her trek she is ambushed by a group of cavemen but is rescued by Vulcan and Geo. Together all three travel to Milos’ camp. En route, Aetna calls out Vulcan’s negative treatment of her, and Vulcan confesses he no longer yearns for Venus. The two embrace.
While scouting Milos’ camp, Aetna is captured by soldiers. Venus makes overt her jealousy of Aetna. Aetna is tortured and tied to a stake where she is to be executed by a wheeled contraption that has spears protruding forth. However, Vulcan and Geo are able to free the enslaved prisoners and they all attack Milos’ camp. Venus uses a whip to lash at a freed Aetna, but Aetna gets the upper hand, steals her whip and attacks back. Milos is killed by a spear through the heart by one of the prisoners. Vulcan and Mars finally face off against each other, with Vulcan wielding a giant club. As he is about to slay Mars, Jupiter intervenes: he forces Mars and Venus back to Olympus to be punished while Vulcan must stay on Earth with Aetna as long as he sees fit.
Victory over Mars and Milos’ men.
Commentary
Vulcan, Son of Jupiter is a 1962, classic Italian peplum, directed by Emimmo Salvi, who had prior written numerous sword and sandal and costume flicks, such as Goliath and the Barbarians (1959), David and Goliath (1960), The Seven Revenges (1961), and The Giant of Metropolis (1961). The movie showcases many classic sword and sandal tropes such as leaning heavily into both mythology and Antiquity (making it akin to films such as Jason and the Argonauts [1963]), featuring a Hercules-style protagonist, and having not one, but two prisoner/slave revolts sequences. What makes Vulcan, Son of Jupiter stand out in the peplum canon are its archetypal characters and how different they are portrayed, especially the two female characters of Venus and Aetna.
Vulcan, the titular hero of the film, is also the primary strongman character, acting as the movie’s Hercules/Maciste/Ursus/etc. At the beginning of the film Vulcan is shown visually muscular, but not particularly powerful. The spar he has in his forge with Mars depicts both gods on equal footing. When imprisoned, Vulcan is chained and has his arms secured to a horizontal pole. While other strongmen characters would be able to use their strength to break their bonds, Vulcan is much to weak after being easily being dispatched by Pluto to do so. It is only in the final latter half that Vulcan becomes a true strongman character by battling the cavemen with his fists, breaking the chains of Milos’ prisoners, and wielding a large club while fighting Mars.
Vulcan battles Mars with a club.
While Vulcan may be the hero, he is not particularly likable, a trait he has in common with the other deities of the film. To Geo and Aetna is is especially mean spirited. Regarding Geo, Vulcan laughs at him when he is unable to mount a horse, he carries him like a handbag, and is dismissive of his guiding abilities. To Aetna he treats her with indifference, which he is eventually called out on by Aetna whom he does not even apologize to. When Aetna is being attacked by the cavemen, it is Geo who leads the rescue attempt, not Vulcan.
Venus gazes into a mirror and at the audience.
Vulcan, Son of Jupiter tries hard to make the goddess Venus a villain and attempts to do so by relying on film noir archetypes by portraying her as a femme fatale. Venus is a seductress of men: she wants their adoration which gives her control over them. This is the extent of her goals though, she does not display any desires beyond having a man’s undivided attention and affection. This is in stark contrast to other peplum vamp characters, such as Princess Nellifer (Joan Collins) in Land of the Pharaohs (1955) who uses her skills to seduce Pharaoh Khufu (Jack Hawkins) for the specific goal to acquire his treasure.
Bare back “nudity” on Venus.
Viewed with progressive eyes Venus is not so villainous. She is a liberated woman and she can have sexual relations with whomever she wants for whatever reasons she wants. This attitude, of course, is in opposition of traditional expectations of women during the period, which is why her parents Jupiter and Juno seek to control her by marrying her off. This would effectively neutralize what agency Venus has.
All the other gods in the film, save Neptune, are portrayed as immature, childish, spoiled, and petulant. Just like real mythological gods! Jupiter attempts to stay in control of everyone, but comes off as ineffectual, narcissistic, and foolish. Neptune is the only deity not portrayed in this fashion, but this is because he is by himself in his undersea world. He does come across as rather addled though. In totality, all the gods and goddesses are depicted in a not-so-serious fashion, which adds a cartoonish element to the film.
Geo scouting to Milos’ camp.
Turning to the humans of the film, Geo is the comic relief character, comparable to Telemachus (Franco Giacobini) fromHercules in the Haunted World (1961). As a little person, Geo is involved in most the of physical gags of the film. Sometimes he is the recipient, such as when Vulcan carries him like a handbag. Other times he is the instigator, such as when he spits waters in the face of Neptune after being resuscitated, and when he makes onomatopoeia noises when clubbing foes when they are down. Aside from the last few seconds of the film when he runs off after Jupiter thunders his proclamations, Geo displays quite a bit of character development, going from cowardly to not. When first introduced he is afraid and wants to be left alone instead of helping the Daughters of Neptune. He opposes being the guide for Vulcan to Milos’ camp and is forced into the role. However by the movie’s end, Geo is involved in two instances of physical combat (once against the cavemen and the other against Milos’ soldiers), and even has a heroic instance of sneaking into Milos’ prison camp disguised as a bush.
Aetna at a pond before being captured by Milos’ soldiers.
Aetna is the love interest of Vulcan, the femme fragile to Venus’ femme fatale. Compared to other women characters of sword and sandal cinema, Aetna has a surprisingly amount of agency. She may get captured twice in the film, but she rises about the typical damsel: she and the other Daughters of Neptune rescue Vulcan, they plan the escape attempt from the prison, she goes on the adventure with Vulcan and Geo, and at the end of the film, she fights Venus, lashing at her with a whip. Aetna delivers on the kitten-with-a-whip action that was only promised, but not delivered, by the poster art of The Revolt of the Slaves (1960) which depicts Rhonda Fleming brandishing a whip while destruction surrounds her.
Aetna’s belly dance sequence as Vulcan looks on.
Though Venus is the seductress in Vulcan, Son of Jupiter, the film focuses on sexualizing Aetna. Aetna delivers the prerequisite belly dance sequence and numerous times the film focuses on her buxomness (especially noticeable in both the belly dance and when she is jogging after Vulcan and Geo who are on horseback). This specific body emphasis pushes Aetna’s actress, Bella Cortez, into the realm of the maggiorata fisica, placing her in the same camp as Sophia Loren, Gina Lollobrigida, and Anita Ekberg.
Vulcan, Son of Jupiter is a fun sword and sandal film. Vulcan may not be the most effective strongman character when compared to others (Hercules et. al.), but by the film’s end the character is performing in a spectacular fashion, swinging clubs and leading revolts. It is interesting to see the gods portrayed so immature, but that adds an extra lighthearted touch to the film. It is the women characters of Venus and Aetna who are the most stand out due to their subversive and progressive portrayals. Neither character is one dimensional, they bring an extra layer of nuance to what normally would have been a run-of-the-mill peplum.
Oleg (Victor Mature) and his army of Vikings pay a visit to Togrul (Folco Lulli) and his Tartar men at their camp in the steppes of eastern Europe/western Russia. Initially a friendly visit with Oleg bringing gifts of pelts, it turns turbulent when Togrul asks the Viking leader to join forces and attack the Slavs, a group of peoples the Vikings are friendly with. Oleg refuses. Angered at being rebuffed, Togrul attempts to kill Oleg, and a melee breaks out between the two forces. During the skirmish, Oleg axes Togrul and commands his men to retreat back to their Viking fort. In the process, Oleg’s brother, Eric (Luciano Marin), becomes smitten with Togrul’s daughter Samia (Bella Cortez) and kidnaps her.
DVD of The Tartars from the personal collection.
With Togrul slain, his brother, Burundai (Orson Welles), becomes Khan of the Tartars. Burundai has aspirations of great conquest of the West, starting with the obliteration of the Viking fort. Meanwhile at the Viking fort, Eric becomes more smitten with Samia and makes advances on her. He is initially rebuffed, but eventually Samia gives in. Oleg, fearing a Tartar attack, sends his wife Helga (Liana Orfei) away by boat back to Viking lands. En route her boat is attacked by the Tartars and she and her handmaidens are abducted.
Sword dance sequence.
Brought back to the Tartar castle, Burundai tortures one of the maidens for information about the Viking numbers and begins to lust after Helga. That night the Tartars host a lavish party with dancers wielding scimitars and mock-battling each other. During the feast Burundai poisons Helga’s drink. Incapacitated, she is taken to the Khan’s quarters where he rapes her.
Furious at his wife’s abduction, Oleg agrees to a hostage exchange at the Tartars’ castle: Samia for Helga. The meeting does not go well for the Vikings: a drugged Helga falls from the castle parapet, fatally injuring herself, and the group of Viking warriors are then attacked by the Tartars – Burundai having no use of having Samia back.
Because he is going against tradition and beliefs, Burundai’s advisor Ciu Lang (Arnoldo Foà) leaves him, only to be captured and beheaded by the Kahn. Meanwhile an enraged Oleg wants to execute Samia, but Eric intervenes and declares his love for her and proclaims that she is carrying his child. Oleg puts the duo before a court made of Viking leaders, each casting their votes via axe tossing. The final vote comes down to Oleg, but before he can do so the Viking settlement is attacked by the Tartars. Oleg releases Eric so they can all join in the battle. As the Vikings are greatly outnumbered, the Tartars breach their walls and storm their court yard. Oleg and Burundai battle it out one-on-one, with Oleg victorious after he drowns the Khan in the river. Oleg’s victory is short lived as a Tartar archer shoots him in the back. Oleg’s final act, as his fort is overran, is to wave goodbye to Eric and Samia as they flee from the siege on their boat.
Samia and Eric flee the overran Viking fort.
Commentary
The Tartars is a 1961 sword and sandal film directed by Richard Thorpe. A deviation from the Greco-Roman antiquity setting, The Tartars takes place in Eastern Europe in the early Medieval period. Like many low budget costume films of the period, The Tartars is multi-national in its production: filmed in Italy and Yugoslavia, helmed by an American (Thorpe), with American (Mature and Welles) and Italian (Orfei, Marin) actors, and an Italian crew. The film features many stalwarts of peplum cinema: Mature from Samson and Delilah (1949), The Robe (1953), The Egyptian (1954), and Demetrius and the Gladiators (1954); Orfei from Hercules in the Valley of Woe (1961), Damon and Pythias (1962), The Avenger (1962), Hercules, Samson and Ulysses (1963); Marin from Goliath and the Barbarians (1959), The Giants of Thessaly (1960), War Gods of Babylon (1962); Cortez from The Giant of Metropolis (1961), Vulcan Son of Jupiter (1962), The Seven Tasks of Ali Baba (1962); Foà from Barabbas (1961), Damon and Pythias, and War Gods of Babylon (these actors and actresses appear in a plethora of other historic epics, the examples here are limited for brevity’s sake). Thorpe is also no stranger to the genre having directed epics such as The Prodigal (1955) and Knights of the Round Table (1953).
Oleg and Helga embrace.
Despite being such a vanguard actor of pepla, Mature feels out of place in The Tartars. His slick backed hair is more fitting for a Roman character than a Viking and he lacks chemistry with Orfei who plays his wife Helga. His kissing scenes with her are comical rather than romantic. It is the twilight of Mature’s career and his enthusiasm may not all be there.
Burundai during the sword dance feast.
Welles, on the other hand, has dialed his over-the-topness to eleven. His character, Burundai, is realized via yellow face that borders on Mickey Rooney in Breakfast at Tiffany’s (1961) levels of offence: Welles’ eyebrows are painted at 45 degree angles and he is constantly squinting. Despite the racist depiction, Welles owns the performance as he nails a warlord being creepy and lecherous, yet also extremely cunning. Welles must have been allowed to either improvise or rewrite his dialogue because there are many long, verbose sequences in the film that mirror what Welles was known for when doing talk show appearances.
Samia at the Viking fort.
Cortez’s Samia does not have much to work with in The Tartars. She plays the role of the damsel and is pretty much confined to the bit due the writing and lack of screen time. This is unfortunate because Cortez has a lot to offer. For example, in Vulcan Son of Jupiter (1962), she does get captured, but her character has much more agency: she talks, plans, banters, bellydances, battles the goddess Venus with a whip, and much more.
Eric forces himself onto Samia.
Samia only falls in love with Marin’s Eric because the script forces her to. There is zero chemistry between the two, after all Eric and the Vikings killed her father Togrul. Eric’s character is a product of 60s male sexism, exhibited by forcing himself onto Samia who eventually relents. If better realized, the relationship could be attributed to Stockholm Syndrome, yet The Tartars is trying to be earnest in that their romance is true.
Helga and her maidens captured by the Tartars.
The Tartars is notorious for bringing up plot points that it does not even follow through on. The movie begins with the Tartars asking the Vikings to band together to attack the Slavs. After being rebuffed, Oleg sends notice to the Slavs about the Tartars’ intention, yet nothing becomes of this. At the climatic battle at the end of the film one might expect the Slavs to show up and save the day, much like Henry the Red and his men in Army of Darkness (1992), but this never happens. Another plot point dropped is the abduction of Helga and her three handmaidens. Helga has a rescue attempt, but her three cohorts are never mentioned again and are forgotten by the Vikings.
The death of Oleg.
Despite the aforementioned criticisms, The Tartars is fascinating because it goes against every possible grain of the peplum genre. Almost all strongmen-centric pepla are lighthearted, with a Hercules-esque character performing heroics and going on adventures, beaming with optimism. The more serious toga and sandal films have the heroes/protagonists win at the movie’s end. The Tartars, however, is dour, dark, and bleak. The good guys – the Vikings – are annihilated at the film’s conclusion. Even though the main antagonist, Burundai, is slain, his men ultimately win: the Viking fort is burned, Oleg the leader killed, and only a handful of Vikings escape.
The Tartars openly embraces both consensual and nonconsensual sex, which is fairly avant-garde for a non-exploitation film of the era. Many pepla have simile scenes for sex, such as having a belly dancing sequence stand in for intercourse. In The Tartars, Oleg leads his wife Helga to a curtained area of their house before fading to black. Later in the film, Helga is abducted, drugged and then raped by Burundai, indicated by another cut away and fade to black moment.
Samia and Eric on trial.
Mature’s Oleg is the opposite of what to expect in a heroic protagonist: he is a terrible leader for the Vikings and their downfall can be partially attributed to his incompetence. For example, at the end of the film Oleg focuses his attention on bringing his brother Eric and Samia to trial rather than develop a stratagem to deal with the Tartars. It is during the court scene that the Tartars attack, catching the Vikings not fully ready to repel them.
Oleg and company at the prisoner exchange.
Another sequence of Oleg’s terrible leadership occurs earlier in the film during the prisoner exchange of Samia for Helga. Instead of suggesting a neutral location to rendezvous with the Tartars he agrees to meet with them right outside their castle gate, where they are, unsurprisingly, attacked and forced back to their fort. Overall, a poor leader, but it makes for an interesting portrayal of an extremely flawed character and central protagonist.
Burundai leads his men into battle against the Vikings.
While Oleg falters at being a leader, the villainous Burundai excels. At no point in the film does Burundai not hold all the cards in his hands when dealing with the Vikings. Oleg considers having Samia in captivity his ace up his sleeve, whileBurundai could care less about having her back, much to the chagrin of his advisor Ciu Lang who believes Samia is prophesied to marry a great Khan. This does lead to an interesting scenario: Ciu Lang believes Burundai to be the great next Khan and wants Samia back to marry him, but at the end of the film Samia flees with Eric, the interpretation being that Eric could be the next great Khan, or at least a great leader, though his character exhibits no traits of greatness in thenarrative.
The competency and the civilizedness of the Tartars is the opposite of what is typically showcased by villains in other pepla, especial other sword and sandal films that takes places in Eastern Europe/western Russia. Such a counter example can be found in Hercules Against the Mongols (1963), where the three sons of Genghis Khan and their men are shown to be more barbaric when compared to their disciplined counterparts in The Tartars.
The steppes of Eastern Europe where the Tartars are camped.
Aside from these cases of taking the peplum genre in different directions, The Tartars does have traditional genre traits that it proficiently executes. The setting of steppes of Eastern Europe/western Russia are awesome to behold and make great backdrops for the films horse and cavalry sequences. The Tartars bring an exotic, larger than life element to the film, with their lavish ornate castle and elaborate sword dance routine that is the film’s most standout sequence. While there are no strongmen characters to bring a larger-than-life element to the film, the Vikings try their hardest to do over-the-top actions to add extra spectacle to the film, such as calibrating their catapults by firing them at each other, and the aforementioned axe throwing to denote yay or nay in the trial sequence. The battle sequences that bookend the film are spectacular with horseback riding and swarms of swordplay.
Tartar archers during the climatic battle.
If there is a takeaway from The Tartars it is that there is not much of a difference between the titular Tartars and the Vikings. Both are fairly ruthless peoples that result to kidnapping women and adhere to internal codes of conduct and prophecies. The leaders of both, Oleg and Burundai, both die at the end: Oleg from his incompetence and Burundai probably from his over confidence due to his ambition – he was going to win the battle due to his overpowering strength in numbers, so there no reason to rush into battle, except for the cinematic reason to have a one-on-one duel with Oleg. While the movie falters with its writing and casting choices, it is overall fascinating and accomplishes expanding the sword and sandal boundaries with its darker tone and subject matter.
I Am a Barbarian™ is a sword and sandal novel by Edgar Rice Burroughs that was published posthumously in 1967. Due to its historic antiquity subject matter, the novel is an outlier when compared to Burroughs’ speculative fiction bibliography of Tarzan®, Barsoom® (John Carter of Mars), and Pellucidar® novels for which he is most famous. In the 2010s, Edgar Rice Burroughs, Inc. began posting a webcomic adaptation of I Am a Barbarian at their website, written by Tom Simmons with art by Mike Dubisch and lettering by L. Jamal Walton. In early summer of 2022, the entirety of I Am a Barbarian was published in an ornate, hardback collection. Simmons and Dubisch have graciously allowed an interview about the I Am a Barbarian project.
How do you get into Edgar Rice Burroughs? Do you have a particular fondness for I Am a Barbarian?
Mike Dubisch: I loved Tarzan and John Carter of Mars as a kid, and of course his works were a favorite subject among the classic fantasy illustrators who shaped me. Anything about hidden fantastic worlds and strange adventures fascinated me. While I knew and loved the original cover painting, I’m not sure I ever read I Am a Barbarian before the project.
Personal copy of I Am a Barbarian with slip case.
What were some of those illustrators that shaped you?
MD: Oh, it’s the usual pantheon: Frank Frazetta, Richard Corben, Hal Foster, Michael Whelan, Burne Hogarth, Wally Wood, Alex Nino, Nestor Redondo, John Buscema, in terms of artists who worked on ERB or ERB-like products. Otherwise, fairy tale and book illustrators like Arthur Rackham, H. J. Ford, Edmund Dulac, and the Brothers Hildebrandt. Pulp illustrators like Hans Bok and Virgil Finlay. I love studying the wood engravings of Doré illustrations, and the engravings of Albrecht Durer. Other comic book artists, particularly Europeans like Moebius, Jordi Bernet, Jose Ortiz, Tanino Liberator, as well as Charles Burns, Robert Crumb, Dave Stevens, Jack Kirby, Bernie Wrightson, and Basil Woolverton.
What was the genesis of the original I Am a Barbarian webcomic?
Tom Simmons: I wrote an email to Jim Sullos, President of ERB, Inc., in 2012 offering to write a gratis screenplay (I’m a self-taught screenwriter); the script I wanted to adapt was the original Tarzan at the Earth’s Core. Jim replied that the character was “taken” by a licensing agreement at the time, but he must have been impressed by my offer to do work for free because when the online strips launched in 2013-14 he suggested I toss my proverbial writing quill into the ring and put together a collaborative team to do one of them; he even provided the name of an artist who had contacted him about getting involved with the online strips project. I Am a Barbarian is actually the third online strip with which I’ve been involved, and still am in the case of one of the three: The Outlaw of Torn. I chose Barbarian because it was available to adapt as a strip; I thought it would be a challenge to adapt (it was), and I’ve always had an interest in ancient history (I have a Bachelor’s degree as well as Master’s work in history).
How was the creative team formed?
TS: Regarding how our creative team was formed, the artist I originally worked with on The Monster Men™ strip (which was among the first ERB, Inc. placed online in 2014) referred me to letterist/graphic designer/artist Jamal Walton of Durham, NC (full name: Larry Jamal Walton but he goes by “L. Jamal” or simply “Jamal”). As it transpired, Jamal has been involved in all three of the ERB, Inc. strips I’ve adapted, and was also the letterist for my 2015 e-book Crispus Caesar, which, indeed, is yet another “Swords and Sandals” story, adapted by me from my 2010 screenplay of the same name. My collaboration with Mike Dubisch came about when Mike contacted another ERB online strip artist and asked how he could become involved with the online strips; that artist referred Mike to me and the rest, as the cliche goes, is history.
MD: After a period of trying to focus only on my own work in the comic industry, I decided it was time to seek out professional commissions again to advance my career. ERB was one of the markets I approached right away and fortunately Tom was manning the lines of communication and snatched me right up for his project. I knew instantly that I Am a Barbarian was the right fit because it would be a comic with the word “barbarian” in the title!
What were some of the challenges encountered when adapting the original novel into a webcomic format?
TS: The writing challenge for any adaptation to strip format (or any other, for that matter) is about scale/scope: we didn’t want the strip to continue indefinitely, set an end goal of roughly 225-245 weekly episodes (about five years of the strip being presented online), and worked toward that end. The second phase of the project after the online adaptation was complete was always to produce a printed graphic novel encompassing the entire online strip, and we achieved that goal. Apart from considerations of scale/scope, I did a thorough re-examination of Caligula, aided by a recent biography by Anthony Barrett. While there is little doubt Caligula was very likely a mentally unbalanced individual prone to cruelty and outright bloodthirstiness, the sources ERB used (historians Suetonius and Dio) also had a vested interest in painting an “over the top” picture of the assassinated ruler; I’d compare their accounts (and neither was an actual eyewitness to events) to Shakespeare’s lambasting of the Yorkists. Lastly, for me Barbarian is a love story wrapped around a tragedy; to dwell on Caligula’s misdeeds would not only have been a gratuitous waste of time but it would have obscured Brit and Attica’s character arcs. That said, I still included plenty of outrageous and bloodthirsty Caligulan behavior!
MD: For me the adaptation is from Tom’s script into the art for the strip, and so the re-imagining the scene from the book as comic pages has already been established when I start in. My biggest challenge is remembering to refer back to my historical architectural and costume references.
What would you say you each brought that is distinctively “you” to the comic?
TS: Mike and I formed a natural collaborative team, in my opinion. I did most of the historical research and (of course) writing the actual adaptation, but largely relied on Mike to place his own unique artistic stamping on the panels themselves. I know Mike will be speaking to his many projects currently underway, but for me he stepped up and out of his mostly Lovecraftian/horror mold to draw the history-based I Am a Barbarian, although those influences can be seen in many panels, in particular the scenes involving dungeons, prophecies and strange people.
Mike Dubisch. Photo courtesy of Dubisch.
MD: I have a bad habit of only looking at reference when I don’t know how to draw something, and I know how to draw just about everything, and if I don’t, well then I usually know how to draw something after referencing it only once or twice. So, what you see with my work is devised almost entirely from my imagination, and that is why everything I do has a distinct style. Additionally, I tend to use a lot of black on the pages, using bold core shadows on figures and props, creating a feeling of dynamic lighting and adding volume, and bringing weight to the page.
Setting aside (since it is not a John Carter or Tarzan story), what do you feel is unique about I Am a Barbarianwhen compared to Burroughs’ other work?
TS: As far as I’m aware, Barbarian is the only ERB story in which the female protagonist dies. Overall, it’s a “darker” story than most of ERB’s work, and is likely a reflection of the dark period the writer was experiencing in his own life when he wrote the story in the spring/summer of 1941: his second marriage was on the rocks, he was drinking too much, and he was in and out of the hospital with health issues that year.
MD: For me it’s the danger and trauma of Brit’s life; he loses everything and lives under the threat of torture and death his whole life. This seems a far cry from ERB’s superhuman heroes who rule their secret worlds.
TS: Good observation about Brit’s travails, Mike. If you want to test (and grow) your protagonist’s character arc, toss said protagonist under as many proverbial buses as possible.
Signed bookplate. I’m lucky number 7!
I Am a Barbarian has just been released in a luxurious, oversized, hardback edition in a slipcase. This is a stark contrast to how comics are normally collected in a trade paperback release. What were the reasons for going the “Roman Decadent” route for the comic?
TS: I wanted the IAAB graphic novel to be an instantly recognizable, collectible classic and used this approach when we designed and produced the book over a 10-month period starting in June, 2021. For me, we achieved that goal. It’s a “pandemic book,” however, and as such it ended up costing considerably more to produce. I had no choice but to increase the price commensurately, and it turns out we’re working with little or no margin. As often is the case with these projects, IAAB is a true labor of love, not money.
ERB stories have seen many comic adaptations across many decades by a plethora of publishers: Marvel, Dynamite, Gold Key, American Mythology, and so on. Is there any particular run of a Burroughs comic that you hold in high regard?
TS: I’m so old school re: comics I’m probably not relevant; the first actual comic books I read (other than the newspaper version) were Classics Illustrated. That said, for me old school illustrators and writers like Hal Foster, Alex Raymond and Russ Manning were always my favorites.
MD: I recall OBSESSING on a big treasury edition sized Tarzan comic adaptation that I read to shreds as a kid – I no longer have it and can’t identify what edition it was. I do love Joe Kubert’s work on the character. I never really read the John Carter comics, but I love what I’ve seen in issues drawn by Gil Kane. I haven’t kept up with anything modern – I’ve enjoyed seeing Joseph Michael Linsners Dejah Thoris® cover art.
TS: If we’re talking about Dejah Thoris, for me Jay Anacleto and Michael C. Hayes are tops.
Deja Thoris by Jay Anacleto. Image provided by Simmons.
Deja Thoris by Michael C. Hayes. Image provided by Simmons.
I Am a Barbarian can be considered a sword and sandal story. Is this a genre you have appreciation for? If so, any particular texts over the years that have left an impression on you?
TS: The film Gladiator is a recent standout for me. I also very much liked Spartacus and Ben-Hur.
MD: Oh man, Old Testament Biblical epics were one of my favorite things to watch as a kid, and Biblical comic adaptations were always a favorite as well. I loved Conan and Kull too, especially the comic books, but also the Robert E. Howard stories. While I was drawing I Am a Barbarian I streamed the Spartacus TV series, which was also very entertaining.
TS: Also, thinking of further S&S influences for me, I loved Colleen McCullough’s First Man in Rome series of novels as well as the 2005 Rome TV series.
Tom Simmons. Photo courtesy of Simmons.
What projects do you have on the horizon that you’d like to share?
TS: I’m continuing doing the online strip adaptation of ERB’s other historical novel, The Outlaw of Torn. I’m currently working with Benito Gallego, who does the art, colors and letters for the strip. The plan is to do a printed version of this story as well when it’s completed in 2024. The book will form a “companion volume” to the printed I Am a Barbarian graphic novel, and I envision a matte red board slipcase with silver foil lettering for the book which will have two parts, one containing the art of Jake Bilbao and the other that of Benito Gallego. I also have ongoing screenplay projects; this summer I’ll finally complete the pilot for an 8-part miniseries entitled The Nessus Shirt, a WWII story told from the German point of view through the eyes of an ordinary soldier who becomes involved in the pre-Valkyrie plots to assassinate Adolf Hitler.
MD: My primary focus has been Forbidden Futures Magazine and the Forbidden Futures Book Club, where I am the illustrator of an entire line of books and magazines working with premiere science fiction and horror writers, that goes out as a quarterly package to our subscribers through Oddness Books.
We are currently printing Forbidden Futures issue #10 which is a double issue with new fiction by David Gerrold, creator of both Star Trek’s Tribbles, and the Sleestacks from the Land of the Lost TV series. The issue also presents the first fully illustrated publication of Philip K. Dick’s “Tony and The Beetles,” a new sci-fi comic story I wrote and illustrated, and contributions from John Shirley and Cody Goodfellow. Forbidden Futures will be reissuing several of my out-of-print comics and graphic novels, including my Cthulhu Mythos SF graphic novel Weirdling, body horror underground comix Mystery Meat, and a collection of short graphic stories “The Wet Nurse and Other Tales of Conception and Re-Birth.” We have been publishing illustrated novels and novellas under the “Forbidden Futures Presents” banner, and I have my own illustrated prose projects planned for that line, including a soon to be announced SF novella. Finally, we are also debuting a bi-yearly chapbook “In Human Skin: The Mike Dubisch Journal of Illustrated Verse,” which pairs my series of surreal drawings on black paper with my own written verse.
Additionally, I continue to contribute to Diabolik Books Adventures of Professor Dario Bava comics, with the epic graphic novel tribute to Italian horror films and mod culture, “Murder Vibes from the Monster Dimension” still available and the new “Orgy Of The Blood Freaks” out now with new issues on the way.
Sincere thanks to Simmons and Dubisch for this interview. Their release of I Am a Barbarian can be found in two editions – with and without a signed bookplate – at Cedar Run Publications. Consider checking it out!
Born of Blood is a neo-peplum comic published by MERC Publishing, written by Dolan, edited by Murphey, lettered by Joel Rodriguez, with art by Carlos Beccaria and colours by Sebastian Gonzalez. The first issue of the comic was successfully crowdfunded at the very end of 2021 with happy fans receiving their fulfillment orders this Spring (my write up of issue one and the associated Kickstarter look can be read here, check it out!).
On Friday, May 27th, MERC publishing continues the tale of Giaris, future queen of Sparta, by launching a Kickstarter campaign to fund Born of Blood issue 2. What follows is an interview with Born of Blood writer Dolan interspersed with images from issue two provided by Murphey who also coordinated this interview. Sincere gratitude to them both.
Cover arts provided courtesy of Murphey.
What was the genesis of Born of Blood?
April of 2021, Murphey had the idea to do a story about a Queen of Sparta. I did some research and found that king Leonidas’ wife, (who had a relatively untold backstory), would be a great choice. It made sense that the greatest warrior would have an equal in a wife.
That same day, I started doing research into the history of Sparta as well as the king’s daughter who in reality was named Gorgo. I told Shawn [Hudachko] and he said, “No that sucks, change it.” So, I researched the Mediterranean for a sexy name and discovered an island called Giara and said, “How about Giaris?” Shawn replied, “Perfect.”
So, I spent about two weeks nailing down a pitch for one comic and then I was asked to extend it to two issues, and three, then four, then five… And finally six. We were effectively done with the first issue by, I would say June, so it took me about a month with edits from Murphey and Shawn.
An immediate thought when reading Born of Blood is that it looks to take inspiration from 300 and Assassin’s Creed Odyssey. What sources would you say Born of Blood are inspired by?
There is some inspiration from 300 but a lot from the region and nation’s history itself. I did a lot of research into the timeline, historical figures, nations, battles, and events. There are a lot of historical elements but we did have some veering from history. I don’t know what Assassin’s Creed exactly is, is that a movie?
Cover arts provided courtesy of Murphey.
What are the challenges you’ve encountered, or conversely, something learned, when creating a comic set in antiquity compared to a contemporary setting?
The challenges were trying to nail down exact dates, familial lineages, and deaths. There’s a lot we know but at the same time, there’s a lot that’s left to speculation and guessing. At the same time, another challenge was telling someone’s life story over six issues and making them exciting. I hadn’t done that before so that was challenging in itself.
Cover arts provided courtesy of Murphey.
There’s quite a few sword and sandal comics out there, especially from crowdfunded endeavors. What do you feel is unique about Born of Blood that distinguishes it from others of a similar ilk?
What makes this unique is that we’re taking historical figures and events, but setting them in the Merc Publishing world. We’re going to see how this was the foundation for everything to come with Deathrage, Miss Meow, and Katfight. On top of that, we’re not pulling our punches with the violence and gore. The bang will be worth the buck on every issue.
Lastly, this is a female character who won’t be perfect in every way like in modern Marvel and DC Comics. She will be hurt, she will fall, she will fail, she will need help, but she will grow and eventually become Queen. I recently read a new Marvel comic off the stands where the female character knocked out a 250 pound man with one punch. It is completely disingenuous. When Giaris fights, it’ll be grounded in reality.
Sample pages provided courtesy of Murphey.
What are your favourite sword and sandal texts and how have they left an impression on you?
The Odyssey, to me, is the greatest sword and sandal story ever told. I remember reading it in middle school and was just blown away by it. The Iliad is a close second. Others would be Spartacus, 300, The Rise and Fall of the Roman Empire, and Jason and the Argonauts.
The larger than life aspect of these stories truly blew me away when I was younger, especially The Odyssey. A virtual life long journey to different islands with colorful villains with our hero’s hope of eventually making it home to his wife. You never forget stories like that when you’re young.
Sample pages provided courtesy of Murphey.
What was the soundtrack/music you listened to while creating Born of Blood? And what is the recommended music for fans to crank it to while reading?
The PERFECT soundtrack would be the soundtrack from the film Conan the Barbarian with Arnold Schwarzenegger.
MERC Publishing is an Indiana-based comic book publisher that came onto the scene in 2020. Taking an approach similar to CrossGen in the late 90s, MERC’s ambitious goal is a shared universe of comic titles with aesthetics of a magazine (complete with faux adverts and story line titles on the cover) and a heavy emphasis on powerful women, such as mercenaries and Spartans. The three MERC product lines so far are Miss Meow, Deathrage, and the neo-peplum comic, Born of Blood, all funded via crowdfunding campaigns.
Born of Blood issue one completed its Kickstarter on the last day of December 2021 with backer awards being shipped in early May 2022. With numerous stretch goals realized, backers were treated with a treasure trove of Born of Blood and MERC-brand ephemera. The following is a showcasing of all the swag (in no particular order) packaged with the release of the first issue of Born of Blood followed by a few observations about the comic proper.
All pictures taken of the loot from my collection from backing the campaign.
First, for the non-Born of Blood MERChandise, is a sew-on badge for one’s battle vest and an enamel pin and poker chip that has the MERC mercenary logo adorned on them: a skull with wings giving the people’s eyebrow atop a rank insignia.
There is a trading card for Princess Giaris, the protagonist of Born of Blood. The front of the card displayis the cover art by Jay Ferguson (which is featured prominently on many of the stretch goal items) that gives Giaris a modern-gothic, vampiric look. The back of the card gives a brief bio along with her stats (she’s super strong, fast, and stealthy).
There is a Born of Blood lanyard, with blood-red lettering in a stylized typeface evoking antiquity.
In addition to the MERC pin, there are also two Born of Blood pins/badges (all which would look snazzy on the aforementioned lanyard). One pin has the Ferguson cover art while the other has the Leirix cover art.
There are four magnets included in the loot. Three display cover arts by (left to right) Sorah Suhng, Shikarii, and John Royal. The fourth magnet is a 2022 calendar with the Ferguson art.
There are three paper bookmarks as well.
And a paper coaster, though it looks a bit too small to be practical. It could function as a giant pog though.
There is also a Kickstarter sticker which adds an element of exclusivity. Most of the swag at this point is probably destined to be used as promotional items and giveaways by MERC at future comic cons and bonuses in website purchases, but the sticker is nice and distinct for campaign backers.
What is a welcome item in the Born of Blood package is the separate gallery booklet that contains all the Born of Bloodcover variants, both clothed and nude versions. Many comics have a cover gallery in their appendix, but Born of Blood goes the extra mile by putting all variations (and variations of the variations) into its own physical booklet which adds an appreciation factor. The Born of Bloodcovers are all works of art done by some fairly talented illustrators, and having them all consolidated into a booklet creates an experience akin to when one looks at art books from publishers like Taschen. Each page in the cover gallery booklet also displays a QR code to its respective artist’s online presence, adding functionality to help promote the Born of Blood’s artists even more.
That’s me!
And finally, no crowdfunding endeavor wouldn’t be complete without a perk to have one’s name immortalized in the final product. This is always a fun thing to do: seeing one’s name in a comic is a highlight and adds a personal touch between buyer, creator, and end result.
Two variants were plucked up during the Born of Blood campaign: the standard Sorah Suhng variant and the nude virgin (no letters/logos) Mike Krome variant. Of all the covers, the Suhng cover conveys the most sword and sandal iconography with its army of Spartan soldiers standing behind Princess Giaris – it’s quite evocative of Frank Miller’s 300.
Image from 300 found via Google Images.
The Krome variant is the most alluring and seductive of all the covers. The clothed version has Giaris looking akin to sword and planet heroine Deja Thoris from the John Carter universe.
Deja Thoris status from my personal collection.
All in all, the Born of Blood issue one Kickstarter contained a treasury of fun trinkets, beautiful art, and a transgressive neo-peplum comic.
Born of Blood issue one is the origin story of Princess Giaris who will form one of the pillars of the MERC shared universe. The first panel of the comic grabs a reader’s attention immediately as it depicts a blood covered Giaris (in a very Kill Bill Vol 1 fashion) having dealt a mortal blow to an Argive warrior, right to his exposed genitalia.
The sword and sandal genre is perhaps the most body-centric narrative genre out there and Born of Blood leans into this facet with wanton abandon. The men channel the traditional Hercules strong man portrayal that has been a genre staple since the original Italian run of films in the early 1960s. Princess Giaris goes through a body transformation herself, somewhat parodied by one of the issue’s faux advertisements, from lithe and slender to muscular yet very much feminine.
An interesting aspect of Giaris is that within the story proper, she only appears nude once, in a bathing scene as she is recuperating from her injuries while undergoing forced combat training against Spartan warrior Mor. Her body is very much on display, usually in a gown or a Red Sonja-esque bikini armour, but she isn’t overly sexualized in the comic’s pages. It is the issue’s various cover arts that depict Giaris in different states of undress and poses, be it seductive, commanding, or both. The plethora of variant covers adds a new aspect to pepla’s relation to the body: for a consumer of sword and sandal media, one not only can gaze at the body, they can also control/select the desired body to be gazed at, in this case via the covers. (Note: a similar concept can be found in video games that has a character creation process).
Body portrayal aside, Born of Blood borrows quite a bit from Assassin’s Creed Odyssey, specifically from the character of Kassandra. Both characters have similar noble Spartan backstories and combat abilities, juggling stealthy kills to more brute force, mercenary tactics. Kassandra has more autonomy than Giaris who is thrown into a dungeon by her father, Spartan King Cleomenes, to endure months of combat training with the hopes she endures and becomes a hardened Spartan Warrior (she does). Kassandra has choices (though dictated by the player), while future Queen of Sparta Giaris has the illusion of choice of what she wants to become. If she had not been thrown into the dungeon, should would’ve have been content to live a simpler, royal life.
In the final panel of the comic, after putting her strength and wits to the test by defeating a regiment from Argos, Giaris is depicted as completely transformed in attitude and body as she waves to her subjects, the people of Sparta, from the center of a coliseum in an excellently executed panel. Since the rest of the MERC universe takes place in modern times, it will be fascinating to see Princess Giaris’ journey to be incorporated into fold while at the same time contributing to the greater neo-peplum canon.
Excellent, commanding portrayal in the ending page.
More information about Born of Blood and MERC Publishing can be found at the below websites and social medias:
I had the honour to be invited onto the Fan2Fan Podcast to talk about the peplum and sword and sorcery genres. I recorded a few episodes with hosts Bernie Gonzalez and Pete Carbonneau who are terrific hosts and made the interviews seamless and fun.
The first episode is now online on the Fan2Fan Podcast Lybsin page. It can either be streamed there or via your podcast app of preference. They have also been posting snippets, excepts, and mini-videos on the Fan2Fan Twitter account, so be sure to give that a follow.
Sincere gratitude to Gonzalez and Carbonneau for giving me an opportunity and a venue. Stay tuned for subsequent appearances from yours truly!
A Vindication of Monsters
Michele will have a new essay published in an upcoming non-fiction anthology!
The collection is called A Vindication of Monsters: Essays on Mary Wollstonecraft and Mary Shelley. Michele’s essay is titled “Beauty in the Grotesque: Bernie Wrightson’s Lifelong Obsession with Frankenstein’s Monster.” More information on the other contributors can be found at editor Claire Fitzpatrick’s website.
Highlander Call for Papers
Michele has an active CFP on the Highlander franchise. She is looking for essays on the Highlander movies, the television show, comics, everything.
If you’re interested, check out the CFP at her website and please share with others. With a possible reboot on the horizon, this is definitely a book you want to be a part of.
Unofficial Emmanuelle / Black Emanuelle CFP
Sometime in the latter half of 2022 (after I am finished with AnnRadCon 2022) I plan on publishing an official CFP calling for essays on Emmanuelle and its sequels and spinoffs, Black Emanuelle and its sequels, and all other Emmanuelle knockoffs. I already have an interested publisher, but I want to present to them a fully laid out TOC for an ambitious collection as this.
Though my CFP will not go live until later 2022, if you have any interest in being a part of this collection, let me know! Send me an email or social media message (see my about me page for contact info) to let me know your interest. If you have an abstract already, even better.
General Neo-Peplum News
Scholars from the Edge of Time
This past week Michele and I had our monthly Scholars from the Edge of Time appearance on Hercules Invictus’ program.
Version of The Lion of Thebes in my personal collection.
This month we talked about the Mark Forest toga and sandal film, The Lion of Thebes. A movie that has a lot of potential but was squandered with bad directing and cinematography. There is not much online about this film, with the most detailed plot synopsis being in Barry Atkinson’s Heroes Never Die, and next to nothing on analysis. I think I’ll have to get my thoughts down on a Peplum Ponderings article ASAP. In the meantime, you can hear my and Michele’s thoughts on BlogTalkRadio.
Recent Acquisitions
Another crowdfunded neo-peplum comic arrived in my paws. This one is the first issue of Gilgamesh Eternal.
Autographed issue #1 I received
The comic is written by Cam Kerkau and is new take on the Epic of Gilgamesh. This isn’t covered a topic depicted often in the sword and sandal genre, which makes this title a bit more standout. Also standout is the artwork of Kostas Pantoulas. Definitely excited to give this a read soon. If you’re interested, the comic can be purchased at Kerkau’s Gumroad Website.
In early 2006, Matthew Page launched his website, Bible Films Blog, devoted to the study, analyzing, and reviewing of Biblical films, including Biblical pepla. Page is one of the leading experts on the subject, demonstrated by his appearances in documentaries and contributions to scholarly books and edited essay collections. May of this year sees the publication of Page’s first solo book, 100 Bible Films, from BFI. What follows is an interview with Page about his upcoming book.
Cover provided courtesy of Matthew Page.
What was the catalyst of writing 100 Bible Films?
It was sometime around 2007-09. I’d been running my blog on Bible Films for a while and had gone to see something rare at the National Film Theatre in London. I was browsing in the amazing bookshop there and I came across this series of books the BFI had put out, 100 Westerns,100 Silent Films, 100 Film Noirs and so on, and I just thought it would be amazing to do one of them for my specialism of Bible Films. I figured I could pull together some of my stuff on the blog and the podcast and it would practically be done. I had no idea it would take me quite so long to get to this point.
What were the biggest challenges you faced while writing the book? What was the easiest?
Well, I guess the reason it took so long is that I’m not employed to do this stuff. I’m not a university lecturer, or a professional film critic. So, every bit of writing I’ve done has been written before or after work, at weekends and on holidays, and alongside bringing up a family and all the other challenges life throws at us. So, it’s been a slog. I’m not sure I’d describe any aspect of it as “easy,” but I’ve been very privileged to have received great encouragement and advice from so many people at various stages of the process. I owe them all a massive debt of thanks.
How does your Bible Films Blog relate to 100 Bible Films?
At the moment I use it very much as a place just to get some initial thoughts down and to explore ideas. It also makes me easier to find on the internet. But I guess I also use it as a place to bookmark things that I might want to find again in the future or as a way of easily finding things I’ve done in the past. Plus, I’m able to go into much greater breadth there than the book where I’m limited to one-hundred films. I haven’t counted how many films I have covered there (not to mention episodes of TV series) but it’s far higher.
What were some of the fascinating things you discovered while writing 100 Bible Films?
As a group of films they cover so many different film movements, from so many different nations throughout film history, that they are kind of unique, and as a researcher that forces you to delve into so many areas of film you would never otherwise have encountered. So, the penny dropped when I was writing about the Indonesian peplum film Samson dan Delilah (1987), I would never have learnt the first thing about its star (Indonesian horror queen Suzzanna), I might possibly have never watched an Indonesian film otherwise, but here I am, my perspectives and horizons being broadened by the experience of chasing this genre. And its reworking of particularly the 50s/60s Italian pepla is intriguing, especially how it combines them with more Eastern, martial arts-type fighting styles.
What is the main goal you want to accomplish with 100 Bible Films?
I suppose I’d like to see film critics, academics, and fans come to appreciate this group of films, both in terms of Hollywood epics and Italian pepla, but also that the array of different forms that other filmmakers adopt to retell these stories. I also feel that a lot of the discussion about Biblical films revolves around a core group of movies made by middle-aged, white, western, straight men and I’d like to broaden that to include a far greater range of filmmakers.
Noah Blu-ray from my personal collection.
What Bible films would you recommend as the best entry point into the genre for folks who are interested but have not otherwise watched any?
I think it depends on the kind of films you already like. If you like pepla [then] King of Kings (1961) [and] DeMille’s Samson and Delilah (1949) will also very much work for you. If your thing is more neo-pepla, then try Exodus: Gods and Kings (2014). Horror? Then there are elements of that in films such as Aronofsky’s Noah (2014). If you like all three then you really should try and track down Samson dan Delilah/La Revanche de Samson that I mentioned earlier.
For those that prefer more high-brow cinema then Pasolini’s Il vangelo secondo Matteo (Gospel According to Matthew, 1964) is a revered classic. Please, PLEASE don’t watch a colourized/dubbed version though.
What are some of the non-Occidental/non-male-made Biblical films you want to underscore?
Yes, those perspectives became an increasingly important aspect of the book as it went on. I think La Genèse (Genesis, 1999) by Mali’s Cheick Oumar Sissoko is excellent movie very much outside of the Hollywood perspective. Karunamoorthy (Oceans of Mercy, 1978), isn’t quite to the same artistic standard, but it’s nevertheless a great example of the Jesus story told from an Indian perspective and features some fantastic Bollywood-style dance numbers. In terms of women directors, Alice Guy’s La vie du Christ (1906) comes from when cinema was less than a decade old and was a step forward in so many ways. While Lotte Reiniger’s The Star of Bethlehem (1956) is a little spoilt by the narration/soundtrack, the animation is wonderful. More recently, Nina Paley’s Seder Masochism (2018) is another a great piece of animation, combined with a kick-ass soundtrack and wickedly biting satire.
You say your feelings about some Biblical films have changed over the years, but flipping the coin, what major shifts, progressions, or changes have you seen over the genre’s lifetime?
Well, I think it’s related to what I was just saying, that democratisation of the medium, with voices from what might once have been considered the margins finding space while there is still room for mega productions such as Noah.
You recently did a retrospective of Richard H. Campbell and Michael R. Pitts’ book, The Bible on Film: A Checklist 1897-1980, at your website. What are other Biblical film books that you’d recommend or perhaps act as companion pieces to your book?
There are so many excellent books on the subject, even while this book has been in the process of coming to fruition Phil Hall’s Jesus Christ Movie Star and Katie Turner has a great book Costuming Christ in the works. I suppose the one that always gets cited is Bruce Babbington and Peter W Evans’ Biblical Epics. W. Barnes Tatum’s Jesus at the Movies was really formative on me when I first discovered the subject. These days one I probably dip into most often is David Shepherd’s The Bible on Silent Film. That said, some of the most interesting and extensive writing on this subject is found online at Peter T Chattaway’s blog, FilmChat.
What are your favourite Biblical films?
Perhaps the reason that I’ve written about 100 films is that I find it really hard to narrow it down and my feelings about various films has changed over the 20+ years I’ve been researching the subject. I could probably list about twenty that I really love, but I suppose no list would be complete without Pasolini’s Gospel According to St. Matthew and Life of Brian (1979), though I find some elements in the latter problematic. In terms of classic peplum, for some reason I have a soft spot for Kings of Kings.
Gladiator Blu-ray from my personal collection.
Of course, what is your favourite non-Bibilical peplum film?
Assuming neo-peplum count, then Gladiator (2000). It has its flaws, but it’s one of the best reworkings of that wronged-man justice/revenge narrative. Crowe is a totally engaging lead here and it gets the action scenes just right. Plus one or two very quotable lines.
Photo provided courtesy of Matthew Page.
Aside from 100 Bible Films, what are other upcoming projects or news you’d like to share?
Everything has been so channelled into this book that I’ve not really had time to develop much else. I guess that’s a function of this not being my day job. What I am eager to do is go out on the road more with this stuff. For years I’ve wanted to talk to more people about it, but have had to earn the right. Now that the worst of the pandemic seems to be behind us, I’m hoping there will be a few more opportunities to talk to film clubs, churches, festivals, etc. I really enjoy that two-way interaction.
Sincere thanks to Matthew Page for this interview. 100 Bible Films will be published May 19 by the British Film Institute. It can be pre-ordered at Amazon and Bloomsbury in hardcover, softcover, and electronic editions.
It’s the end of the month, we’ve got not one – but two! – new episodes of the H. P. Lovecast Podcast online.
Thumbnail by Michele Brittany
First, on H. P. Lovecast Present: Fragments, we have a longer form interview with author/editor/podcast Eric Raglin. We discuss his podcast, Cursed Morsels, and his recently released anthology, Antifa Splatterpunk. The episode can be streamed at this listing at our Buzzsprout website.
Thumbnail by Michele Brittany
Next, we have our monthly Transmissions episode. In this episode, as part of our support for Bram Stoker preliminary ballot/final ballot folks, we interview Mathias Clasen, Angela Yuriko Smith, Aric Cushing and Logan Thomas. This episode can be streamed at this listing at our Buzzsprout website. Of course, both episodes can be listened to via your podcast app of preference.
Scholars from the Edge of Time
Michele and I had our monthly Scholars from the Edge of Time appearance on Hercules Invictus’ program. In this episode we talk about Barbarella! Check it out on BlogTalkRadio.
There’s No Such Thing as Vampires Release
Aric Cushing and Logan Thomas (see podcast above) are the creative team behind the retrowave 80s inspired film, There’s No Such Thing as Vampires.
Poster courtesy of Logan Thomas
While Cushing and Thomas appeared on our podcast, years ago we appeared in their film! Michele and I had the opportunity to play dead bodies in There’s No Such Thing as Vampires, and what an awesome experience it was.
Let the bodies hit the floor.
The movie has now been officially released to the home watching markets: it can be rented on Amazon Prime or bought on Blu-Ray (which is full of lots of features, including a “making of” documentary). Thomas’ synthwave soundtrack can even be bought from Amazon Music. Check it all out!
Things in the Well Closing Shop
Small press publisher Things in the Well is in the process of shuttering its operations. This means two anthologies they’ve published that I have stories in will be out of print.
Trickster’s Treats #3: The Seven Deadly Sins, which contains my story “Journey to Agharti,” already has the Kindle version delisted from Amazon. There are only two physical copies left.
Guilty Pleasures and Other Dark Delights, which contains my story “Seamed Stocking Summoning Circle,” still has Kindle and physical copies for sale.
Act fast on these books! I don’t have any upcoming venues to have the story/drabble republished, so it will be a while before they see print again. Editors interested in republishing these pieces in other anthologies, feel free to contact me.
Highlander Call for Papers
Michele has an active CFP on the Highlander franchise. She is looking for essays on the Highlander movies, the television show, comics, everything.
If you’re interested, check out the CFP at her website and please share with others. With a possible reboot on the horizon, this is definitely a book you want to be a part of.
Unofficial Emmanuelle / Black Emanuelle CFP
Sometime in the latter half of 2022 (after I am finished with AnnRadCon 2022) I plan on publishing an official CFP calling for essays on Emmanuelle and its sequels and spinoffs, Black Emanuelle and its sequels, and all other Emmanuelle knockoffs. I already have an interested publisher, but I want to present to them a fully laid out TOC for an ambitious collection as this.
Though my CFP will not go live until later 2022, if you have any interest in being a part of this collection, let me know! Send me an email or social media message (see my about me page for contact info) to let me know your interest. If you have an abstract already, even better.
General Neo-Peplum News
Matt Page Podcast Appearance
Matt Page, author of the upcoming 100 Bible Films, had an appearance on The Online Movie Show with Phil Hall podcast, where, of course, Biblical pepla was brought up.
One Will Fall Online Comic
Bernie Gonzalez, one of the co-hosts of the Fan2Fan Podcast, has an online Viking/barbarian/neo-peplum comic hosted at Instagram called One Will Fall.
My essay, “Cullzathro Fhtagn! Magnifying the Carnivalesque in Lovecraft Through the Comic Book Series Vinegar Teeth,” has made the preliminary Bram Stoker Award ballot in the short non-fiction category. Note: this does not denote I am nominated or a finalist. It simply means I am on the preliminary ballot and have a 50% chance to advance to the final ballot.
Active and Lifetime members of the Horror Writers Association who would like to read my essay for final ballot consideration find it online at Academia.edu. Note: if there is a big ad in the way taking up the screen, just hit the X at the top right. Academia.edu is silly that way.
New Episode of H. P. Lovecast
Our January Transmissions episode for H. P. Lovecast went up earlier today!
Thumbnail by Michele Brittany.
This episode concludes our exploration into the anthology New Maps of Dream with interviews conducted with Matthew M. Bartlett, Christine Morgan, and Kaaron Warren. The episode can be streamed at our Buzzsprout site or via your podcast app of preference.
February will see us diving into a space horror comic, the world of splatterpunk and antifa, and doing some additional coverage of writers who made it to the Bram Stoker Preliminary Ballot. I invite you all to take a dive into our 2021 episodes because we reviewed/interviewed quite a few writers and editors who made the preliminary ballot.
New Episode of Scholars from the Edge of Time
Last week Michele and I were on our monthly Scholars from the Edge of Time program.
My Yor collection. German version autographed by Reb Brown to me.
For January we continued our sword and planet theme by discussing Yor: The Hunter from the Future. The episode can be streamed at BlogTalkRadio. I’ll be taking my notes, compiling them, and turning them into a Peplum Ponderings writeup in February.
Things in the Well Closing Shop
Small press publisher Things in the Well looks to be closing shop in a few weeks. This means two of their anthologies that I have short stories published in will be going OOP:
Amazon links to buy both books are in the links above. Thank you all who have been curious about my fiction work and who have bought these books. I’ll find a home for these short stories in the future.
Highlander Call for Papers
Michele has an active CFP on the Highlander franchise. She is looking for essays on the Highlander movies, the television show, comics, everything.
If you’re interested, check out the CFP at her website and please share with others. With a possible reboot on the horizon, this is definitely a book you want to be a part of.
Unofficial Emmanuelle / Black Emanuelle CFP
Sometime in the latter half of 2022 (after I am finished with AnnRadCon 2022) I plan on publishing an official CFP calling for essays on Emmanuelle and its sequels and spinoffs, Black Emanuelle and its sequels, and all other Emmanuelle knockoffs. I already have an interested publisher, but I want to present to them a fully laid out TOC for an ambitious collection as this.
Though my CFP will not go live until later 2022, if you have any interest in being a part of this collection, let me know! Send me an email or social media message (see my about me page for contact info) to let me know your interest. If you have an abstract already, even better.
General Neo-Peplum News
Rest in Peplum
European comic book artist and illustrator Jean-Claude Mézières passed away at the age of 83 (article at Comics Beat).
Personal collection.
The D.N.A. of the sword and planet genre can be felt in his seminal series, Valerian and Laureline, which was later adapted into the movie Valerian and the City of a Thousand Planets. Michele and I recently discussed the movie incarnation on the Scholars from the Edge of Time program.
Son of Samson Upcoming Blu-Ray Release
Kino Lorber announced over the weekend that they would be releasing 1960’s Son of Samson on Blu-Ray:
Coming Soon on Blu-ray!
Son of Samson (1960) Starring Mark Forest, Chelo Alonso & Vira Silenti – Shot by Riccardo Pallottini (Samson and the 7 Miracles of the World) – Directed by Carlo Campogalliani (Goliath and the Barbarians). pic.twitter.com/8v3da41hqr
— KL Studio Classics / Kino Cult (@KLStudioClassic) January 29, 2022
The release isn’t listed for pre-order at the Kino website, but once it becomes available I’ll post news about it here.
