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Saturday, April 2, 2016

Isis: Bride of Dracula Now Available on Kindle, Smashwords, & Paperback





Isis: Bride of Dracula ISBN-13: 978-1530191000
ISBN-10: 1530191009
Dracula! Using his supernatural powers the Vampire Lord transforms Isis into his Vampire Goddess and sends her on a mission to murder Morris Phillips CEO John Haynes. Can John overcome the threat of the Vampire Goddess and escape Dracula’s house of Horrors in the Hamptons?   

For a limited time I’m going to be offering a Price break on the Vampire Arc in Paperback! Until May 5, you’ll be able to get Isis: Bride of Dracula for only 7.99 and the previous story Isis: Night of the Vampires for $8.99!

Bill Walko did an AMAZING job on this MIND BLOWING cover and the story is just as action packed and exciting! Readers, you are in for a TREAT with this Isis series adventure! I urge you to go your copy today in Paperback and eBook on Amazon and Smashwords today!  

Thursday, March 31, 2016

DC Comics Rebirth is Just a Re-Hash of the New 52




Comic fans were promised something new and different with DC Comics Rebirth. A relaunch, not a reboot.


Unfortunately all they’re getting is more of the same. I wonder when are comic fans going to stop falling for the okie-doke?


No, DC Comics Rebirth is not a reboot. No, it’s just a Re-hash of the New 52 Basically DC’s editors are just putting lipstick on a pig and calling it salmon. Throwing up yet another middle finger at DC Comic fans.


Yeah, the original Superman is Back. But he’s in the New 52 Universe. Along with the New 52 Superman who will be Clark Kent. And we get a whole host of characters like New 52 Black Kid Flash in Wally’s classic costume shoehorned into the New 52 Universe. And more new costumes.


Again, lipstick on a pig’s asshole. Same shit, different day.


And sadly many comic fans are ready to plant a kiss on those pig’s ass cheeks. Not understanding how DC Comics continues to shit on them.


DC Comics editorial says they want to change. That they understand how they’ve alienated comic fans and in the face of all the losses. That they want to reconnect with comic fans.


But it’s clear they JUST DON’T GET IT.


Giving readers the exact same universe with the a few old characters sprinkled in with some new number one issues is just another SLAP in the face. Proving nothing will change at DC until there is an end of the Didio Era or DC goes bankrupt, whichever comes first.


What DC’s Editors are doing is no different than an abusive husband does when he beats up his wife. After he finishes beating the shit out of her he says he’s “sorry” and offers her “apology gifts” like jewelry or expensive clothes. After She accepts the gifts and the co-dependent cycle continues.


Dan Didio, Jim Lee and DC’s editorial team continue to beat up on comic fans by pushing their New 52 Universe down their throats. Then when they walk away for five years and DC starts losing money and market share they offer DC fans the Original Superman and a couple of characters as an “apology gift” for the disaster known as the New 52 Universe.


An attempt to get DC Fans to return to the co-dependent relationship they had with his dysfunctional DC Comics.


I’m hoping many comic fans don’t take the apology bait and buy those new #1 issues that are a part of DC Comics Re-hash. Because all that’s going to do is enable DC to remain a dysfunctional and damaged brand. The more comics readers buy the more co-dependent they become. And life is too short to allow anyone to abuse you.  


If DC’s editorial can’t respect comic fans then they don’t deserve their money. Simple as that. Create products the customer wants and the customers will come back.


DC Comic fans have said from day one all they want is their CLASSIC DC Universe back. And they should accept no substitutions. Vote with your wallet and let DC’s Rebirth be stillborn at the first issue. Comic fans, you deserve BETTER than what DC has to offer.

Wednesday, March 30, 2016

Goeff Johns is the New Chris Claremont



Once upon a time there was a writer named Chris Claremont. And with the help of artists like John Byrne and Dave Cockrum and editors like Jim Shooter, he penned one of the greatest runs in comic book history.

And partially thanks to him, the name X-Men is a household name.


Unfortunately, the more popular Chris Claremont got the more books he began taking on. At one point he wasn’t just writing the monthly adventures of The Uncany X-Men, he was also writing New Mutants, the rebranded adventures of the original X-Men called X-Factor and the adventures of X- Characters in the U.K. Excalibur. I even think he wrote a few issues of the 1988 solo Wolverine series too.


But with each new title Claremont took the X-world got bigger, more cumbersome and hard to follow. While Claremont still created many classic storylines, his approach to storytelling started feeling contrived and forced at times. And Instead of stories that ended in two or three issues, stories started to drag on as plot threads were started in X-books and never really came to a satisfying conclusion. Later in his run, a lot of characters were created but never really fully developed like the Adversary and Mr. Sinster. A lot of plot threads from the Mutant Massacre like Kitty Pryde’s being stuck in intangible form and Colossus being stuck in his armored form hung like they were on a cheap suit without an organic conclusion.


And to this day I’m STILL trying to figure out what Longshot contributed to the X-team.


And a lot of times readers like myself were left scratching our heads, especially in the aftermath of events like Fall of the Mutants, Inferno and the built up Reavers storyline that meandered to an anticlimactic finish with the Siege Perilous Ex Machina. 


But most comic fans didn’t care. Because X-Men sold like hotcakes. And because they sold like hotcakes Chris Claremont could do no wrong. Even though the quality of his stories clearly declined from the 1970s comic fans believed in him.


Fast forward to the 21st Century. A writer named Goeff Johns is being put on the same pedestal by comic fans and DC editorial that Chris Claremont was put on over at Marvel. Thanks to the success of his runs on Flash and JSA and Green Lantern many believe that Goeff Johns can do no wrong. Whenever a book is in trouble call on Goeff Johns. Whenever the DC Universe is in trouble call on Goeff Johns.


Now that Dan Didio and Warner Brothers have painted themselves into a corner with the New 52 they’re calling on Goeff Johns to fix it with Rebirth.


 That’s not fair to him.


Back when Johns was given the helm of DC’s flagship New 52 Justice League I believed they gave him too much to do. And it was then I started seeing the same decline in quality I saw in Chris Claremont’s work back in the late 1980s.


It was clear to me and my family members who read X-men back in 1986 that Claremont’s storytelling had declined. That he was taking on too many titles. That he was burning out.


My professional assessment is that Goeff Johns is burning out in the exact same way Chris Claremont did back in the 1980s. He’s taking on too many projects. Trying to carry the load of fixing the entire DC Universe on his own. He’s suffering from writer fatigue and he needs a break from superheroes.


No one person is going to fix the DC Universe on their own. And no one should expect one person to fix the editorial, creative and business problems at DC. Back in 1986 when DC did the first Crisis of Infinite Earths Marv Wolfman and George Perez had an entire TEAM of writers, artists and editors working with them to get DC competitive again. They didn’t put all their hopes on one writer and expect a miracle.


Everyone in comics needs to understand that Goeff Johns is not a golden boy.  Yes there are writers who pen popular stories and work with popular characters, but no editor worth their salt puts all their eggs in their basket. What happens when they write a bad story or a bad storyline? What happens when their hot character they’re working on declines in popularity? What happens when their sales decline?  What happens when their run ends? It’s just not good for business to put all the hopes of the company on one writer.


A publishing house is a TEAM. And everyone has to pull their weight in order to produce quality titles. Again, it’s not fair to Goeff Johns if he has to carry the weight of rebuilding the DC catalog when there are numerous other qualified writers on the payroll.  If editorial doesn’t have the vision to set a direction for them and the publications they produce, then it’s time for a new editorial team to lead the DC Comics brand.

Monday, March 28, 2016

Isis: Bride of Cover by Bill Walko-PREPARE TO GET YOUR MIND BLOWN!



Bill Walko blew my mind.

How did Bill Walko blow my mind?

The image Bill drew for the Isis: Bride of Dracula cover is literally a translation of the scene I imagined when I was describing it in Chapter 11 when John is confronted by the Vampire goddess. It’s just like the picture was plucked out of my mind and put on a page. It looks like a still from an Isis animated series!


I’d have to say this is one of the best pieces Bill has ever created. There’s a lot to love about this art. It not only brings my characters to life and captures their spirit, but it pays homage to Marvel and DC’s Horror comics like Tomb of Dracula and I, Vampire, and Classic Saturday morning cartoons like Filmation’s Groovy Ghoulies and Drac Pack in the story it tells. All those classic concepts are made fresh and unique for today in this one image.


That gift to make the art style of classic comics and old Saturday Morning cartoons fresh and unique for today is what made me a fan of Bill’s art when I first saw it on DeviantArt back in 2013 and what made me eager to hire him in 2014 to design the cover for Isis: Wrath of the Cybergoddess and again for Isis: Night of the Vampires and E’steem Undercover in 2015. His art style is perfect for my characters.


Isis: Bride of Dracula is supposed to be the conclusion of the John Haynes story arc that started with Isis: Wrath of the Cybergoddess. This story is supposed to be the exclamation point that would get readers excited about the Isis series and May’s upcoming Temptation of John Haynes sequel The Man Who Rules The World. And this cover is an exclamation point in bold print!  


If there was ever a cover that screamed BUY ME to customers, it’s the one. If I saw this art on Amazon, or on the shelf at Barnes & Noble or at a comic shop, I would probably buy it in a heartbeat.


I haven’t been this excited about a cover since my high school days when I used to buy comics before school. And I think my readers will be just as excited when they read Isis: Bride of Dracula.



Isis: Bride of Dracula will be available in paperback & eBook next week and I assure you, readers of the Isis series are in for a TREAT!

Friday, March 25, 2016

Batman V. Superman Dawn of FAIL- I TOLD YOU SO!



The reviews are in.


And the Critics are saying what I said about Batman V. Superman Dawn of Justice way back in my 2015 blog on the trailer.


It’s an absolutely terrible movie.


Warner Brothers Executives laid an egg just in time for Easter weekend. And it’s just as rotten as I told everyone it would be last year.


Critics are calling Batman V. Superman a dull dreary movie filled with uninspired visuals, angry characters, no personality and no heart. A film that uses CGI to overcompensate for its lack of story.


Everything I wrote in my previous blog last year.


It was clear to me that Warner Brothers has STILL learned NOTHING since Catwoman in 2004 after I saw the first Batman V. Superman trailer. They’re still applying the archaic model for films that hasn’t worked since Joel Schumacher’s terrible Batman films in the 1990’s.  


Batman V. Superman is yet another film that proves that WB STILL doesn’t know anything about making superhero movies. They’re still trying to apply a 1990s story model to superhero films that has been obsolete since 2002 when Sam Raimi’s first Spider-Man changed the game.


And the game changed even further in 2008 when Paramount and Marvel Studios launched Iron Man. But Warner Brothers continues to apply the same dark and dreary approach to superhero movies that went out of style in 1997.


Warner Brothers and DC were way behind in the superhero movie race back during the Christian Bale Batman era. And now they’re about to be left in the dust. Probably permanently. At this point I think Valiant Comics has a better chance of catching up to Marvel Studios. Heck, I think SJS DIRECT will be catching up with Marvel Studios by the time Warner Brothers finally realizes they need to get their shit together.


Is there a FAIL more than EPIC? I think we’re about to find out.


With a bloated $400 million budget Batman V. Superman is a disaster the equal of Cleopatra. And with a half the comic fans staying home this weekend due to the split audience, it’s going to have a hard time at the box office.


Batman V. Superman needs to make $1.2 billion dollars in order to be profitable for Warner Brothers. And based on what’s on the screen, that ain’t gonna happen. With Cavill and Affleck acting like a pair of cardboard cutouts with cell phones taped to them, Jesse Eisenberg playing a Lex Luthor that’s totally out of character and Doomsday looking like something out of a PS1 game, this movie is gonna sink like a rock after opening weekend.


And it doesn’t help when you have stars like Ben Affleck telling the world on Good Morning America he can’t take his son to see a movie with Batman & Superman in it because it’s too violent.


That’s the kind of PR that’ll to cut into those movie ticket sales for opening weekend and the weekends after. Superhero movies are supposed to be made for kids. That’s how movies like The Avengers make a billion dollars at the box office. By being bright, fun pictures filled with friendly heroes parents enjoy bringing their kids to. The equivalent of a Disney or Pixar movie with guys in spandex instead of colorful characters.


But Warner’s executives insist that dark and gritty heroes are the way to go. That if Superman and Batman are brooding angry killers people will be excited to see their films. That there’s a huge market for an R-Rated Superman and Batman, the faces of family entertainment who have sold everything from soap to peanut butter for over 75 years.


Good Gravy, what are these Warner Brothers executives on?


As I stated in my 2015 blog about this cinematic turd waxed with polish, WB’s executive management needs to clean house from top to bottom at DC Comics and DC Comics film division. They need a new vision for their comics and their superhero films. Because the one they have right now hasn’t worked for two decades.  If they stay on this course and continue to make terrible overbudgeted superhero movies with no audience like Cyborg and Aquaman there may not be a Warner Brothers left standing in five years.


Batman V. Superman was supposed to be the Dawn of a new era of Superhero films at Warner Brothers. But it looks like it’s about to be the twilight of a dysfunctional era at DC Comics and for DC Comics films. If this film’s failure leads to more competent professionals working at DC pand in DC’s film division publishing their comics and adapting their properties that’s a good thing. Change has to come at DC’s offices in Burbank after the roasting this film is receiving. 


Again, if Warner Brothers is serious about getting DC’s superhero films division and comic publishing division in shape to compete with Marvel and Marvel Stuidos they can contact me on my Facebook page.

Wednesday, March 23, 2016

Dealing With Bad Comic & Fantasy Stories- A Writer’s Perspective



Sometimes a writer like myself writes a story that’s not our best. Sometimes the story elements don’t work, sometimes the characterizations are a little off. The climax doesn’t satisfy. And sometimes the ending is just kind of wonky.


What does a writer like myself do when he has a bad story?


Well, I take a page from Stan Lee and own up to the fact that it’s a bad story. Then I just put a period at the end of that story and move on to the next one. If a story just doesn’t work, I just won’t revisit that story. Yeah, I may pick a story point here or there to use in another story for continuity reasons, but for the most part I just move on.


I understand while the structure of something like a comic book universe or a fantasy world are solid, the form is fluid. And that form can be re-shaped in a way without damaging the overall foundation of the universe.


These days in comics I don’t see a lot of writers applying Stan’s approach when it comes to bad stories. Instead of putting a period at the end of a bad story, they try to “fix” most of the events of that previous story that didn’t work.  In fact they spend so much time trying to undo the damage of a bad story or a bad storyline that they don’t have time to write many good ones or even put their own imprint on a character.


And instead of a writer focusing on moving forward towards the finish line of their run, they wind up stuck in neutral. Stalling as they try to bring a character they killed back from the dead or undoing some catastrophe from an event that was supposed to shock readers. Desperately trying to get a series back on track and get alienated fans to start picking the book up again.


Unfortunately, the more they try to “fix” the mistakes in an older story the more they wind up breaking the character and burning out creatively. And instead of admitting their mistakes and putting a period at the end of that story, they put more effort into tearing apart the structure and foundations of the publication’s universe to fix more things that aren’t broken. Then they try to patch it all back together with spit, glue, tape and a new number one issue.

Only to watch things collapse under their own weight three to five years later.
Sometimes a bad story doesn’t need to be fixed with an event. Sometimes a bad story doesn’t need to be fixed with a reboot. Sometimes a publisher just has to admit a story just doesn’t work and move on.


How does that writer move on? The plot device they use is up to them. But with the form of comic storytelling being fluid, all a writer has to do is put a period at the end of a bad story and go on to the next one to get things right.


Many comic editors and some creators don’t understand Stan’s Lee approach today. When it came to continuity in between serialized stories, Stan Lee applied a looser approach where he took each story on as its own individual unit with its own beginning, middle, and end. And because he approached each story as an individual component that loosely connected with others by light references, writers had the fluidity of form to put a period at the end of bad stories and move on to better ones.


Unfortunately, may comic editors these days focus on making almost every story and literally every minute of characters’ lives interweave with each other in the hopes of having a tight continuity. And because the threads every plot thread are so tightly woven and enmeshed around the structure of a comic book Universe it makes it harder for a writer to put that period at the end of that bad story when they write it.


And even harder to move forward after a bad story gets published. This is why writers spend years trying to get an entire universe fixed in the aftermath of the failed events of a bad storyline like Identity Crisis or Graduation Day.


Sticking an entire universe of characters in Neutral instead of moving them forward.


Bad stories are a part of any writers’ career. I’ve written them myself. For every great story I’ve written like The Temptation of JohnHaynes, Isis: Wrath of the Cybergoddess, Spinsterella, and All About Marilyn, I’ve written not so great stories like The Politics of Hell, Isis: Death of aTheta, E’steem: The Beast From the Bowels and The Saga of MastiKatious. But when a story doesn’t work, I don’t dwell on it. I just put a period at the end of that story, pick the story points that do work from it, and move on to the next story. Every second a writer spends dwelling on a bad story and trying to fix it is time they could use towards writing a great one.

Monday, March 21, 2016

You Can’t Please DC Comics Fans- Deconstructing A Straw Man




“You can’t please DC Comics fans, they’re always complaining”

 That’s the argument some make whenever someone makes the point of criticizing the company for the series of bad decisions that have led to the decline of the brand.


Time to take apart a Straw Man.


I don’t know I was fairly happy with DC Comics from about 1986-2004.  In fact many people didn’t have problems with DC’s publishing division until the mid 2000s when Dan Didio began making a whole host of changes detrimental to the DC story model and the overall brand.


These same people then go on to say “Old time DC fans don’t like change.”


Another Straw Man argument.


DC Comics fans have absolutely no problem with change.


There wasn’t much outrage when Clark Kent went from writing at the Daily Planet to TV reporting in the 1970s.


There was no outrage when Dick Grayson went from Robin, Batman’s sidekick to being his own man Nightwing.


And initially there was no problem when Jason Todd took over as Robin to replace him.


There was no outrage when Wally West took over for Barry Allen as the Flash.


There was no outrage when Tim Drake took over for Jason Todd as Robin.


There wasn’t much outrage when Kyle Rayner took over for Hal Jordan as Green Lantern.


There wasn’t much outrage when Connor Hawke took over for Oliver Queen as Green Arrow.


And there DEFINITELY wasn’t any outrage when Jack Knight took over the role of Starman for his father Ted.


Nor was there any outrage when Michael Holt took over the role of Mr. Terrific.


And many had absolutely no issue with Ryan Choi being the next Atom.


DC Comics fans are perfectly fine with change. In fact they’re practically used to it with events like Crisis of Infinite Earths and Zero Hour. Many actually enjoy the concept of legacy heroes that came out of those events and the idea of passing down the mantel of a hero from one generation to the next in an organic fashion.


What many longtime DC fans like myself don’t like are changes that irreparably harm the structure of the DC Universe. Stories like Identity Crisis which treat longtime readers like they’re stupid and try to revise history with events that don’t fit the timeline or actions that don’t fit characters we know like the backs of our hands.


And what we can’t stand are constant reboots and “restarts” to “fix” the mistakes editorial knew they made when they let a creative team go in the wrong direction. Or when editorial forced a bad storyline on readers like Identity Crisis. Most of these events and reboots over the past decade or so have been implemented to fix the numerous mistakes in stories that should have never been published in the first place like Graduation Day and Identity Crisis. Stories that just weren’t good enough to be part of the DC lore.


 It’s those kinds of stories that made DC Comics harder to read and harder to access. It’s those kinds of stories that led to the frustration. Instead of owning up to the mistakes from a bad story and moving on, DC’s editorial blow up the entire universe and start all over.


Breaking more things in their attempt to fix what they broke before. Alienating readers and making things that much more complicated with each new #1 issue. Then telling the reader this is the new entry point into the DC Universe.

When it’s not the publisher’s right to tell the reader where to start. Any comic will probably be someone’s first. And if the reader likes what they’re reading, they’ll figure things out for themselves.


 When comics are good, people don’t care about where the entry point is. If a story is good that’s their entry point into that characters’ adventures.


Because when a story is well written, readers can jump in and just start reading. They’re interested in watching their favorite hero taking down the bad guys, not worrying about the minutiae within the continuity of a character’s history.


Good storytelling gets readers to focus on what’s going on NOW. When the storytelling is well written and compelling readers will go back into a characters’ backstory or continue to go forward in their current adventures.


The way I see it DC fans are easy to please. In fact many aren’t asking for much. They just want great stories featuring their favorite characters. Give them great stories and they’ll start buying comics.


Unfortunately, they haven’t gotten that since Dan Didio took over the DC publishing division. Under his leadership all readers have gotten is a constant focus on events, gimmicks, and trying to fix a continuity that wasn’t really broken.


The heart of DC’s brand has always been about the characters. And telling good stories around them. These days there’s so much focus has been on continuity of the DC Universe that the people in it are becoming lost. It was the people in that universe readers had the relationship with. And they want their characters back.


Not watered down imitations like those in the New 52 or whatever reconstituted universe in Knock-Off costumes. They want the characters they grew up with. The characters whose adventures they followed since they were kids. Those were the characters they had the relationship with growing up. The friends who were with them in the good times and bad. Give DC readers those characters and I guarantee you they’ll be happy with the DC Comics brand again.