Sunday, February 26, 2012

Press Release- PULP ARK 2012 AWARDS ANNOUNCED


Tommy Hancock, Editor in Chief of Pro Se Productions and Pulp Ark Coordinator, announces that voting has closed for the 2012 Pulp Ark Awards, the first awards given in association with this inaugural Pulp creators' conference/convention.

The Winners of the 2012 Pulp Ark Awards are-

BEST NOVEL-Yesteryear by Tommy Hancock (Pro Se Productions)

BEST COLLECTION/ANTHOLOGY-Four Bullets for Dillon (Pulpwork Press)

BEST SHORT STORY- The Devil’s Workmen by Barry Reese-The Avenger: The Justice Inc Files (Moonstone)

BEST COVER ART-Hugh Monn, Private Detective-by David Russell (Pro Se Productions)

BEST INTERIOR ART-The Adventures of Lazarus Gray-George Sellas (Pro Se Productions)

BEST PULP RELATED COMIC-All Star Pulp Comics #1 (Airship 27 Productions)

BEST PULP MAGAZINE-Pro Se Presents (Pro Se Productions)

BEST PULP REVIVAL-The Wild Adventures of Doc Savage by Will Murray (Altus Press)

BEST NEW PULP CHARACTER- John Blackthorn Created by Van Allen Plexico (White Rocket Books)

BEST AUTHOR-Teel James Glenn

BEST NEW WRITER-TIE Sean Taylor And Chuck Miller

LIFETIME ACHIEVEMENT AWARD-Howard Hopkins

The awards, 8X10 engraved wooden plaques, will be awarded in the middle of Pulp Ark, the evening of Saturday, April 21, 2012. Hancock stated that all winners as well as nominees are encouraged to attend, but any winners who could not would receive their awards by mail. Pulp Ark thanks all who nominated, all who voted, and congratulations to all the nominees and especially to the winners of the Pulp Ark 2012 Awards!

For any questions concerning Pulp Ark, contact Hancock at proseproductions@earthlink.net or follow Pulp Ark news at www.pulpark.blogspot.com

Friday, February 24, 2012

UNDERCOVER REVIEWS - Challenger Storm

Review by Nick Ahlhelm


Airship 27 is probably the best company currently in the new pulp field when it comes to reviving classic pulp heroes. And while they have introduced several new heroes in their two Mystery Men (& Women) anthologies, classic characters have always seemed to be their focus.

Challenger Storm: Isle of Blood is one of several novels that looks to change that. Challenger Storm is something of a Doc Savage sort, a heroic adventurer with a crew of allies and a desire to help those in need. He’s an exceptional man, a talented pilot and an all around Renaissance man.

His first adventure takes him to La Isla de Sangre, the Isle of Blood mentioned in the subtitle. He’s there to rescue a kidnapped young woman from a guerilla force, but he quickly finds he’s in the middle of an all out war. Ultimately, he and his men must take on the murderous Villalobos brother, would be conquerors of the entire island.

Don Gates develops a solid tale for the first adventure of his new hero. Challenger seems like a genuinely interesting character to lead the story. Unfortunately the tale sometimes feels like it gets bogged down with too many viewpoint supporting cast members. While reading, I couldn’t help but yearn for more Challenger in the book that carries his own name!

While this is Gates’s first novel, his artistic collaborator is far from a rookie. The book features a painted cover and interior line drawings by the legendary Michael Kaluta. Kaluta’s fantasy art is almost legendary in the field, but long time pulp fans might remember his classic, and gorgeous, work on both the 70s and 90s incarnations of the Shadow.

To be honest, Kaluta’s art is worth the price of the book alone. But Gates keeps up as best as he can with the superstar artist and delivers a solid adventure yard. While Challenger Storm: Isle of Blood walks little new ground, it is a rip-roaring adventure yarn, well worth a look by any new pulp reader.

The book is now available for $14.99 in print or for a cool $3 as a PDF download from the Airship 27 Hangar.

Thursday, February 23, 2012

Take A Bow, Or Take You Lumps, And Get Back To Work



It’s awards season here in the New Pulp ranks, when the crème de la crème of the last year’s published pieces draw their share of peer and fan recognition. It’s easy to get swept up in the excitement and the hopeful feelings that this time, I might get nominated for something… I might actually win one!

When it does happen, boy what a feeling!

When it doesn’t happen—especially year after year—it’s easy to feel crushed and unappreciated. Boy… what an ugly, lonely, unloved, forlorn feeling. How can I work so hard and not be recognized for it? Why do I even bother writing in the first place? I want to just curl up in a corner and grumble and moan. Maybe hang up my writing fedora and superhero keyboard and go fishing instead.

Sound familiar? Yeah, me too.

Well, don’t do that to yourself. Awards are wonderful; like icing on a cake, they make it so much sweeter. It’s a great feeling to know a bunch of folks chose to recognize you for your talent, and those trophies sure look great on the shelf, but they’re not why we write. The idea is to entertain people while expressing ourselves, remember? You’re supposed to be building a fan base, and every time you turn out another story, you add another brick to that. So have fun, but don’t get too wound up in the glory chase. You need to be realistic, and look at the competition first. Lots of big names with plenty of established work, right? That means those folks have been around a while, and they have the industry chops. As for the newbie awards… well it’s a big field. And that’s a good thing, because we want New Pulp to continue to grow. So take a deep breath, step back, and realize that the odds are against you, unless you’ve had some sort of breakout piece of work in the last year that sold like hotcakes and was praised from here to kingdom come. Which means of course, you now have a big name too, at least for the moment. Otherwise, just cheer on the other contenders; clap long, loud, and heartily for the winners, and get back to writing. Because that’s what they had to do to get where they are, bunkie.

One thing I’ve learned in this business over the last 20 some odd years, is persistence is everything. It’s not what happens at those once a year contests that matters the most, though it certainly isn’t going to hurt your career any to have earned some public kudos! What brings you through the ranks of neophyte writer to published author to fan magnet is what you do every day. Sit down and pound something out.

The other end of the public accolade or anonymity spectrum is that capricious creature called a review. Yeah, just writing it puts the hair up on the back of my neck, because you never know how they are going to go. I’ve had a few good ones, a passel of no responses at all, and some that blistered my soul for years. I even quit writing for a while based on one that said, “Don’t give up the day job just yet!” Technically, that was a editorial comment red penciled onto a rejected manuscript. I was crushed anyway. This was an ‘expert’ opinion, and my ‘day job’ at the time was homemaker and mother to two young boys, so I desperately wanted to be known for something more than housework and mommy stuff. That one line convinced me I was wasting my time. But, I got over it… eventually.

I hate to tell you folks, but if you are going to put your work out there, it’s going to get read and reviewed at some point, and it might not be favorable. Unless you self publish, the first stage review is always the submissions editor, whose job it is to make sure the company gets the most publishable stories possible. So your brainchild might get rejected outright, sent back for revision, or if it’s something already published and this is an independent review, panned.

So, how do you deal with that?

You read what the people say, and then you step back, either celebrate for a day or go kick an inanimate object, cry, whine, snarl a lot; but then you get your butt back in the chair, your fingers on the keyboard, and you go back to work. Because just like awards, reviews have to be put in perspective.

First of all, you have to remember, this is ONE PERSON’S OPINION. You need to inscribe that on your subconscious, because it is so vitally important, even if it was a favorable review. So read it, digest it, get over it, learn something from it, and go on. If it was a particularly bad review, and you’ve had more than one opinion that was similar, it’s time to do some hard thinking about what was said, and possibly why. Was the story really that bad? Was it edited poorly, or did it ramble too much and never hit the point? Wrong market maybe? Or does this person just not enjoy your style or genre? Time to pass off what you wrote to a fellow writing pal that you trust (come on, you know someone) along with the review and ask for honest feedback. It’s a learning experience.

Notice I didn’t say you can’t be upset about a bad review. Of course you’re going to be torn up, you’re not made of amazing wonder putty; you’re a human being with feelings and it seems like a personal attack. It’s perfectly normal to down in the dumps over something that you poured your heart and soul into when it gets steamrolled by some lofty authority. What makes the difference between a newbie amateur and a professional writer is how you channel that feeling. If you delete all your files and toss the computer out the window, that’s not going to solve too much. You still got a poor review, you can’t play Angry Birds anymore, and now you don’t have the rest of your material either. So when you get over your hissy fit, you’re going to have to rewrite everything, If you go all attack dog and snark right back at the reviewer publically, now you have a reputation as someone who can’t take criticism. Might as well paint a target on yourself!

I couldn’t speak so eloquently about this if I hadn’t been there. Never tossed my PC, but I have snapped long enough to delete things or write scathing replies. I wound up feeling like a jerk. I look back on those pieces now, and while a few were unfairly chastised, the rest were basically anywhere from not so hot to embarrassingly baaaad. I still have those days when it seems like I can’t do anything right, but I set the thing that’s bugging me aside until I can get over my snit, and go on with my writing life. If someone is particularly vile in their criticism, where it feels like a personal attack, I don’t have to respond in kind. They might get written into a story as a character I’ll enjoy killing off though…

That’s how you have to handle it. Your sanity depends on it. It’s a big world out there, and not everybody is going to fall all over themselves when they read your stuff. Be grateful for the ones who do, because they keep the motivation going, and treat them well. Writing is hard work; it’s a job all in itself. Handle yourself like a pro, and never let them see you sweat.

So, then it’s OK to celebrate the big wins? Hell yeah! But try and get your feet back on the ground somewhere along the line. It’s important because you can’t let one award or glowing bit of praise for what you did make you think you’re invincible and automatically an expert. That’s when you do stupid things, like stop learning from your mistakes. After all, if I won the ‘Best Emerging Subterranean Unknown Talent’ one year and ‘Most Prolific Genius In A Looney Bin Full Of Caffeine Guzzling Keyboard Jockeys’ the next, I don’t need any editing suggestions because I’ll never write another bomb! Ah… no. Even the best known writers out there turn out a dog now and then. They get published because their well known name on a laundry list sells stuff. You’re not that big a deal. So take your award, humbly thank the people who gave it to you, and acknowledge the others out there who had very worthy nominations too, because they deserve it. Then go have a happy day or three, but get back to the real world of typos, bad grammar, and scenes that don’t work, because not everything you do from now on is going to be golden.

Same thing with a positive review. Oh yeah, that’s something to celebrate and share, because you want other people who might not know your work to see that someone out there thinks it’s worth reading. But when the buzz is over, do realize that the writing industry as a whole is huge, and our little pulpy corner of it is tiny. There are many worthy pieces of fiction to read and the public at large has an attention span the size of a flea. The next shiny thing is going to come along, and they’re going to forget about your awesomeness and go chase it. And that’s okay! Because you need to stay grounded and focused. It’s about writing, not awards, not reviews, but getting words on pages that people want to read. The more you do it, the better you’re going to get. So the less celebrating or grieving you’re doing, the more time you have to write. See how that works?

I get up every day with the idea that I am going to sit at this keyboard and write something that someone else might want to read and could enjoy. That is all that motivates me. I know I am privileged now to actually have a means of getting published, and a chance to reach those readers I always longed for back when I couldn’t give my stuff away. No matter how the day goes, I never forget how close I came to giving up writing altogether. What a shame that would have been, because I can’t even begin to describe to you the thrill I felt the first time I saw one of my stories in a magazine, or the cover art of my first novel. To hold that in my hands, to realize that decades of work had come to fruition at last, was one of the most awestruck moments of my life. A lot of people dream of doing these things. I actually did it. And I’ll do it again and again, until they pry my cold dead fingers off the keyboard. As long as there are people who want to read them, I’ll keep writing stories for them, awards and reviews notwithstanding. Because that folks, is what this writing life is all about.

Now go make something pulpy happen today!

Wednesday, February 22, 2012

PRESS RELEASE-PRO SE'S LATEST-'GLOBAL STAR'-HITS THE STANDS!

PRO SE’S LATEST-‘GLOBAL STAR’-HITS THE STANDS!
THE TABLOID WHERE ALL NEWS IS THE TRUTH!

FOR IMMEDIATE RELEASE-
Pro Se Productions, a leading Publisher of New Pulp, proudly announces its latest release, a three story collection crafted by a Trio of Top Talents, all about a Supermarket Tabloid where all the Stories within its pages are true!  GLOBAL STAR delivers tongue in cheek pulpy goodness, satirical wit, and more weirdness than you can shake an alien cabana boy at, all thanks to the wonderful storytelling skills of R. A. Jones, Mel Odom, and Michael Vance.

Want to fly headlong into Alien Abductions? Ready to hunt Mysterious Monsters in the Bowels of Your City? Curious about what Elvis has been up to since He Got Laid Off? Find the Story Behind the Stories, the Truth too True To Print in the GLOBAL STAR! Jones, Vance, and Odom relate the exploits of the finest editors, colorful reporters, and raucous staffers working on the world's one tabloid where every word is true! Follow these pen and paper pushers as they go anywhere, do anything, and stop at nothing to bring you the news that makes the Global Star the greatest newspaper on-and off- Earth! Get the whole story in this tongue in cheek satire riddled New Pulp funfest from Pro Se- GLOBAL STAR Is the paper for the best news you’d never believe!

GLOBAL STAR, with fantastic cover and interior design by Sean E. Ali, is available via Amazon as well as Pro Se’s own site (www.prosepulp.com) for $12.00 in print and can be snatched up from Amazon for the Kindle, Barnes and Noble for the Nook, and in various and sundry digital formats from www.smashwords.com for $2.99!  Don’t wait for the werewolves to babysit your babies born with bowling balls in their stomachs!  Read all about that and more now in GLOBAL STAR, the latest book from Pro Se Productions!

For Author information and interviews or any further press release information, please contact proseproductions@earthlink.net and find Pro Se at www.prosepulp.com!

Table Talk: Questions From Readers IV

  

Thanks for tuning in to another episode of Table Talk, the column where three New Pulp authors talk about whatever questions happen to teleport through the quantum pockets of their nebulous imaginations. This week, Barry Reese, Bobby Nash and Mike Bullock dig into the mailbag and respond to more questions from you, the readers. 



(Question from Mark Holmes) In light of the recent SCOTUS decision concerning foreign public domain copyrights, are you guys seeing a threat to a good part of your ability to
use characters in the public domain created in the U.S. ?

Bobby: In all honesty, I’ve not really given it a lot of thought. Yet. I’m also not that well versed in the decision so I can’t really say exactly how it will impact my work. When I write public domain characters it is generally for a publisher so the possibility of certain writing assignments going away is a very real possibility. I enjoy writing stories with characters like Domino Lady, Secret Agent X, and the like, but if and when they become unavailable then there are characters I’ve created or will create to fill that void. Not to say I won’t miss those characters. I’ve grown quite fond of a couple of them, namely Domino Lady and Secret Agent X.

Public domain characters are fun to play with in stories, but if they become unavailable then I’ll move on to new characters I can write about. It’s just like Spider-man. I love the character of Spider-man, but I don’t have the authority to write the character so I don’t. It would be the same difference, I think.

Barry: I’m not very concerned about it, either. I’ve used several public domain heroes in The Rook series but I don’t have any plans to use any of them in the future – and like Bobby, most of the time recently that I’ve been asked to write PD characters, it was at the behest of some publisher. The PD heroes that I’ve enjoyed writing the most are fairly obscure ones (like Ascott Keane) but if I had to stop using them entirely, it wouldn’t be hard to create new versions that filled the same roles.

Mike: I guess I'm with my colleagues on this one. Honestly, aside from say Phantom, John Carter and Moon Knight, I'd die happy if I only wrote my own characters for the rest of my life. Sure I love Captain Future, Black Bat and many others, but in the end, I get the most enjoyment from playing in my own sandbox with my own toys.


(Question from C. William Russette) Do you believe in writer's block? What do you do to make yourself face the blank page when the block has been raised? How do you overcome it?

Bobby: I don’t believe in writer’s block. Are there days when the words won’t flow right? Absolutely. However, I’ve found that I can step away from the project where I’ve stalled and work on another story just fine. That tells em there is a problem with either my story that I need to work through or that I simply need a break from that story.

The writer’s block question is one I hear at conventions a lot. I’m going to borrow the answer that my convention traveling buddy, Sean Taylor often gives. “Plumbers don’t get plumber’s block, do they?” While it is apples and oranges, it is a valid point. Writing as a job is a lot different than writing as a hobby. As a hobby, you can wait until the muse hits you. When writing is your job, your livelihood, then you don’t usually have that luxury. There have been many days where I’ve typed “The End” on one story and immediately started on the next to meet deadlines. Deadlines are a great cure for writer’s block.

The hardest thing for me is getting started. It’s so easy to get sidetracked by other things that keep me from putting my butt in the chair. Cleaning the office, Facebook, Twitter, updating my website, etc. are all important, but sometimes you have to push those aside and just start writing. Once I get started, however, I’m usually good to go.

Barry: I’ve never had a really bad case of writer’s block. I mean, sometimes I just can’t get the motivation to write but it only lasts a day or two before the compulsion drives me back to work.

The best thing to do, I’ve found, is to take some time to step away and watch or read something that inspires you. Then you come back to the computer and start banging away. Even if it’s not perfect, you have to work through things and put words on the paper… you can always clean it up later. You just keep chipping away and eventually the block will crack.

Bobby: I absolutely agree, Barry. I was on a panel at a convention once and a writer commented that part of writing is staring out the window. He was right. As a writer, sometimes we have to work through plot issues away from the keyboard. For me, taking a walk, going for a drive, and mowing the lawn are some of things I can do that allows my brain some freedom to explore story elements. Sometimes walking away for a bit is very helpful to the writing process.


Mike: I don't believe in it either. Justin Gray once said that writer's block is a myth. What actually happens is you just run low on fuel. The imagination needs fuel just like everything else, so if you never take in anything (such as news, science, other stories, etc.) then eventually you'll run out of gas and fall into a lack of inspiration that many call writer's block.

(Question from Mark Holmes): I'm following this mess with Gary Freidrich and Marvel over Ghost Rider. Do you guys own the complete rights to characters you create or are they shared with the publishers?

Bobby: It varies. I have done work for hire where I created characters for a series that I do not own. For example, outside of the title characters and the villain, I created most of the characters in the Yin Yang graphic novel. I knew going in that anything I created for this book would belong to the company. The thought of trying to sue to get those characters has never occurred to me. I went into the project knowing that I was doing work for hire.

I own all of my novel characters outright, except for the adaptation of Fantastix, which was a company owned property. I also own, or co-own in some cases, characters created for original comic projects. The artist and I generally co-own the property since we’re both doing it pretty much on spec.

The rights issue is a lot less messy than it once was. Back in the 60’s and 70’s there was very little thought given to movies, TV, and other media that hadn’t even been created at the time. The rights issues are a little more clear these days and spelled out in contracts. Sometimes that means the publishers want a cut of movie rights and others. It is up to the creators of the project to decide if giving up a portion of the rights is in their best interest or not. Every publisher is different. You have to do your research before signing.

As for the Gary Freidrich issue, I’ll refrain from comment, as I’m not directly involved.

Mike: I can't comment on the Ghost Rider/Friedrich scenario as there are just too many variables I don't know anything about. On the topic of things I do know a lot about, I own most of the characters I've created. Granted, there are exceptions, like Manuel Ortega, a villain I created to combat The Phantom, but for the most part I make sure I own them from the get go. It's not like today's publishers are paying the kind of money that makes giving away your creations a wise trade.

Barry: As Bobby says, there are varying degrees with each publisher. I own all rights to The Rook but I also have a contract with Pro Se that says that any new Rook material I do has to be done through them for the next couple of years. So the character is mine but I have a contract that dictates where it can be published for the terms of it. Likewise, Lazarus Gray is mine but he’s part of a shared world called Sovereign City so while I could take him elsewhere when my deal was up, I’d have to edit out references to other people’s characters, etc.

I’ve also done a lot of work-for-hire, where I own none of it. The work I did for Moonstone was all like that, as well as the stuff I wrote for Marvel or the various role-playing games I’ve been associated with. I’m okay with that – it was very clearly spelled out in the contract and I knew what I was doing going into the project.

Bobby: I guess the important thing to remember here is that if you plan to write, draw, or do any creative job for a publisher, know what the terms of employment are before signing a contract. I know what it’s like to be on the wrong side of a bad contract, especially early in my writing career, but I learned from my mistakes (I hope) and moved forward.

Friday, February 17, 2012

ERB Inc. Sues Dynamite Entertainment Over John Carter and Tarzan

(Originally posted on Comic Book Resources):

The family-owned company that holds the existing rights to the works of Edgar Rice Burroughs has sued Dynamite Entertainment and Dynamic Forces, accusing the publisher and collectibles producer of trademark infringement and unfair competition with the release of "Lord of the Jungle" and "Warlord of Mars" comics.

In the lawsuit, filed Thursday in federal court in New York City and first reported by The Wall Street Journal, Edgar Rice Burroughs Inc. claims the comics were published without authorization after Dynamite Entertainment President Nick Barrucci was told that Dark Horse held the licenses for the "Tarzan" and "John Carter of Mars" novels. The complaint insists the comics "Lord of the Jungle," "Warlord of Mars," "Warlord of Mars: Dejah Thoris" and "Warlord of Mars: Fall of Barsoom" are likely to "deceive, mislead and confuse the public" about the source or sponsorship of the content, causing "irreparable injury" to ERB Inc.

Established in 1923 by Burroughs and now primarily owned by his grandchildren and great-grandchildren, ERB Inc. owns the trademarks to "Tarzan" and "John Carter of Mars," as well as the common law rights in the "Tarzan Lord of the Jungle," "Dejah Thoris" and "Barsoom" marks. Although Burroughs' earlier works, like "Tarzan of the Apes, "The Return of Tarzan," "A Princess of Mars" and "The Warlord of Mars," have lapsed into the public domain in the United States, the complaint notes that they remain under copyright protection in the United Kingdom.

Presumably to bolster its claim of "irreparable injury," ERB Inc. takes specific issue with some of the covers and interior art for "Warlord of Mars: Dejah Thoris," insisting they "border on (and in some cases are) pornographic": "On some covers -- covers which defendants refer to as "Risque Nude" exclusive covers -- Dejah Thoris appears topless."

The lawsuit doesn't specify damages, but seeks the recall of the comics distributed in the United Kingdom, and the surrender of profits from the infringing works.

UNDERCOVER REVIEWS - Lazarus Gray

THE ADVENTURES OF LAZARUS GRAY
By Barry Reese
Pro Se Productions
230 Pages

Review by Ron Fortier

As much as most writers enjoy creating new series characters, eventually many of them, after writing the adventures of the same cast multiple times, start to feel the burden of familiarity. Add to the fact that each new volume often builds upon the fictional cast from allies to recurring villains so that eventually the poor writer is saddled with a huge ensemble that he or she feels compelled to include in each new story. These moments of repetitive angst seemed to be evident in Reese’s last volume of his Rook series. For the uninitiated, the Rook is a masked vigilante created by Reese years ago as his entry into the new pulp community and was an instant success among fans; this reviewer included.

Still, by the sixth volume of that character’s exploits, the sheen of newness had faded and the Rook stories started becoming more about the supporting cast rather than the central hero. Like Arthur Conan Doyle’s ultimate dissatisfaction with his own creation, Sherlock Holmes, Reese somehow to be struggling to keep the Rook afloat. It was clearly time for him to move on to something new and with this collection, he has done just that in a most triumphant way.

Lazarus Gray is Reese’s new hero and is an homage to the classic Avenger series, wherein we have our mysterious leading man aided and abetted by a team of loyal assitants; in this case a trio. Together they are known as Assistance Unlimited. Although Gray’s creation was part of a shared world that included two other heroes, Reese clearly found his old muse with these new characters and has produced some of his best, most energetic and enjoyable fiction to date. These stories move at a breakneck speed and are filled with memorable characters and well delivered action to match anything done in the days of the old pulps.

At the beginning of the volume, we meet an amnesiac washed ashore on the beach of Sovereign City with a strange medallion around his name on which is embossed the words Lazarus Gray. Within minutes of awakening, an assassin dressed as a police officer attempts to kill him, but Gray is more than a match for him and is the victor. Perplexed at his background, he assumes the name on the medallion and sets about creating a new life for himself as a champion of the underdog, the lost and impoverished while at the same time investigating his own unknown past.

Along the way he acquires three unique followers: Morgan Watts, a once time crook, Samantha Grace, a blonde debutante with both brains and beauty and Eun Jiwon, a Korean martial artists. All three are fiercely loyal to each other and Gray for various reasons and always eager to go into battle with him. Reese’s ability to define this trio and breathe life into them is deft and although they do represent classic iconic pulp figures, he also injects original personal touches that sets them apart in a truly refreshing way.

Having been a fan of the Rook series from the start, I had come to expect a certain level of quality from Reese. That this collection totally blew those expectations out of the water was one of the best surprises this reviewer has had in a long while. “The Adventures of Lazarus Gray” is by far the best work Barry Reese has ever produced and I predict will soon build an even larger fandom than that of his Rook tales.

One point does require mentioning and that is the last story in this volume appears in print for the second time. It was first printed in “The Rook – Volume Six” and is a team up between the two heroes. I have no problem with the publisher reprinting the story, but a notice of such should have been made in the book’s indicia. Which brings about a minor goof because this story was clearly written before the others, although chronologically it appears last. In this book Gray discovers his true identity as being one Richard Winthrop, yet in “Darkness, Spreading Its Wings of Black” we are told he was Richard Davenport.

Finally let me add this book is a gorgeously designed package with a wonderful cover by graphic artist Anthony Castrillo and superb interior illustrations by George Sellas. So what are you waiting for? Go pick up “The Adventures of Lazarus Gray,” you’ll be happy you did. You can thank me later.