She’s Just a Devil Woman…

Have you heard? SWC’s first horror heroine, the soul-stealing succubus, Lorelei, is making her much anticipated return in the graphic novel Lorelei: Sects and the City. And what is she up to this time?

Uhhh…actually no, Lori, but now that you’ve caught everyone’s attention with that completely out-of-context remark (good job, BTW), allow me to explain…

For those of you new to The ’Warp, Lori made her comics debut in a 1989 minicomic that I wrote and drew before moving her up to the big leagues in the full-size comic Lorelei #0 (1993), with far better art by David C. Matthews (no, not the singer), and a cover by Louis Small Jr. (Vampirella, Codename Knockout). It began Lori’s origin, introducing readers to Laurel Ash, a controversial photographer who, through supernatural means, would eventually become the succubus Lorelei—a demoness hungry for souls. That story will be told in full starting next year, in the two-volume graphic novel Lorelei: Building the Perfect Beast.

In Lorelei: Sects and the City, what starts out as Lori interrupting an apparent mugging soon escalates into even bigger problems, when she learns that the “muggers” were actually members of a cult that’s attempting to resurrect its ancient gods. And now that Lori has stuck her nose in their business, the cult’s leader wants her to be their next sacrificial offering!

Written by me, this Mature Readers graphic novel features eye-popping art by Eliseu Gouveia (The Saga of Pandora Zwieback #0, A Princess of Mars, Carmilla), Steve Geiger (Web of Spider-Man, The Incredible Hulk), and Neil Vokes (Flesh and Blood, The Black Forest), with bonus pinups by Louis Small Jr.

Add a cover painting by comics legend Esteban Maroto (Vampirella, Satana the Devil’s Daughter), a one-page “Feary Tale” about succubi drawn by another legend, Ernie Colón (Amethyst: Princess of Gemworld), and a frontispiece by original Vampirella artist Tom Sutton, and it’s almost like a Warren Publishing reunion!

If you’re a fan of old-school horror comics and good-girl art, classic Hammer Studios horror films, and H. P. Lovecraft, then this is definitely the graphic novel for you.

Lorelei: Sects and the City goes on sale in June.

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Speed Racer: A Taste of Speed

Okay, I’ve teased it enough in the last two posts, so here it is: the first chapter of the unpublished Speed Racer: Leviathan novel. It might be a little rough—it was written over a decade ago, and it’s in its first-and-only-draft form—but I think it works for getting us right into the story….


CHAPTER ONE

He couldn’t feel his legs.

Pinned by the steering wheel in the flaming wreckage of the Mach 5, Speed Racer screamed in agony as flames licked at his bare arms and unprotected face. His right arm was bent at a disturbing angle; the elbow felt shattered. His body was numb from the waist down, and Speed wondered if he had severed his spinal column, or whether it was just shock setting in. At least two ribs had been broken when he slammed against the steering column during the crash—he could feel the bones grinding against one another beneath his reddened skin—and his breaths now came in ragged, phlegm-filled gasps.

Desperately, he grabbed hold of the driver-side door with his one good hand, to try and pull himself from the car before the flames ignited the Mach 5’s oversize fuel tanks. Yet with the vehicle lying on its passenger side, its open canopy flush with the rough, concrete wall of the office building against which it had come to rest, there was no avenue of escape for Speed.

He could hear the horrified shouts and screams of the spectators who had gathered to watch the race, could hear the wail of sirens as rescue vehicles arrived on the scene. Someone called out to Speed, told him to hang on—help was on the way.

Speed, however, knew that help would come too late. Acrid smoke filled the canopy, burning his eyes, singeing his lungs—smoke tinged with the unmistakable odor of high-octane fuel.

The tanks were leaking.

But then, above the deafening sounds of crackling flames and shouting bystanders and high-pitched sirens and the whirr of spinning helicopter blades from overhead, he could hear a female voice calling his name. A voice that grew more frantic.

The voice of his wife.

“Trixie!” Speed shouted, even though he was certain she couldn’t hear him. “Get away from here! The fuel cells are ruptured! They could blow any—”

The world disappeared in a blazing ball of light.

* * * * * *

Speed awoke with a start, a strangled cry of pain still issuing from his lips. Eyes wide with fear, he whipped his head from side to side, trying to make sense of his darkened surroundings. Slowly, his addled mind began to clear.

He was in bed. Not a hospital’s, but his own bed, in his home in Fontana City, California. He was safe.

Alive.

Speed sighed with relief, the sound coming out as a small, nervous laugh. He wiped sweat from his brow, then ran a hand through his thick, black hair. His fingers traced the edge of a scar that ran across the back of his scalp—a souvenir of the crash that had almost ended his life.

Four years, he thought moodily. Four years later, and I’m still reliving the crash.

He pulled back the sheets and stepped from the bed, then padded lightly across the carpeted floor to a set of bay windows. A full moon shone brightly overhead, its silvery rays illuminating the grounds of his northern California estate.

Speed glanced down at his bare body, noting how the pale moonlight seemed to highlight every scar, every abrasion. He grimaced as a short stab of pain shot through his right thigh: a constant reminder of the circulatory problems he had developed after the accident.

Twenty-eight years old, he thought, and I look like fifty miles of bad road. He chuckled softly. Ah, the glamorous life of a racecar driver . . .

Speed sat on the cushioned bench at the base of the windows and closed his eyes, resting his head against the cool glass. Massaging his thigh to alleviate the ache, he allowed his thoughts to drift back to that nearly fatal race of four years past—an event that had literally changed his life . . .


Like I said, it still works. Too bad I never had the opportunity to get beyond chapter 3 before the book was canceled…

Speed Racer™ & © 2012 Speed Racer Enterprises. Speed Racer: Leviathan text © 1998, 2012 Steven A. Roman.

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Speed Racer: The Unexpected Dodgeballer

So, yesterday I told you how Byron Preiss Multimedia had acquired the rights to Speed Racer, I was hired to write a brand-new novel titled Speed Racer: Leviathan, and then Multimedia went into bankruptcy. But before the doors closed, I was able to get the publishing rights on what I’d written transferred to me with a timely contract negotiation.

So, what happened? Well, in 2003, I got back in touch with the Speed Racer folks to see if they’d be interested in StarWarp Concepts picking up the licensing rights to publish the book. They were, and a new round of contract negotiations started. It all looked good; in fact, it all looked great. The Speed folks, who’d been excited by my plot and writing samples, couldn’t wait to see an adult Speed Racer novel hit bookstores.

Then everything came to a screeching halt in summer 2004.

An unexpected complication (well, unexpected for me) had popped up: cable station ABC Family and its parent company, Disney, had just opened talks for a new Speed animated series. And until a deal was reached or passed on, Speed Racer Enterprises couldn’t license any version of the character, including the one I’d cooked up. And if Disney ultimately wanted exclusive use of the franchise’s book rights, that’d be the end for me.

Okay, I was willing to wait to see how things turned out. It wasn’t like anybody else had come up with an adult Speed, after all.

Then the other shoe dropped at the end of the summer.

Apparently, Speed had a big fan in actor Vince (Dodgeball, Wedding Crashers) Vaughan, who walked into 20th Century Fox one fine day and announced he wanted to play Racer X in a live-action Speed Racer movie. At the time, those rights were held by Lauren Shuler Donner, one of the producers of the very successful X-Men movies; for years, she’d been trying to get a Speed movie in production. And now she had a big-name actor who wanted to be in it.

Well, that drove the last nail into the coffin of my Speed book. With Fox and Disney both giving some serious consideration to the property, and with publication rights involved in the mix, there wasn’t a chance in hell of a small-press publisher (me) being allowed to publish a competing version of the franchise. Which I could understand—if you’re paying major bucks for the rights to license something, you’re not gonna be too happy about a smaller publisher coming out with a novel featuring the same characters, especially when you’re trying to sell your own books.

So after getting an apologetic phone call from the Speed Racer folks I reluctantly threw a tarp over the Mach 5, locked the garage door, and walked off into the sunset…

(As we all know now, a Speed Racer movie did finally hit movie screens in 2008, courtesy of new producer Joel Silver and The Matrix directors The Wachowski Brothers—but not with Vince Vaughan as Racer X. That part went to Lost’s Matthew Fox. And it was…okay.)

But I gotta say, that Mark Zug cover painting for Leviathan sure was sweet. And the writing wasn’t so bad, either.  😉

Come back tomorrow, and I’ll show you what I mean.

Speed Racer™ & © 2012 Speed Racer Enterprises

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Speed Racer: Still a Demon on Wheels

As I explained yesterday, I’ve written for licensed properties like Spider-Man, Doctor Who, and the X-Men. But do you think those are the only characters I got the chance to destroy—er, I mean, play with? (Not if you saw my post on the Teenage Mutant Ninja Turtles novels I came close to writing.) Unfortunately, not every project I was meant to write got past the creative stage and were cast into…DEVELOPMENT HELL.

Welcome to yet another “Tale of Development Hell.” Today’s ghoulish tale is called:

SPEED RACER: LEVIATHAN

“It’s ten years later, and he’s still a demon on wheels…” So went the tagline for a proposed novel that spent close to ten years itself starting and stopping along the track to a planned publication date—and never reached the finish line.

It all started in the late ’90s, when Byron Preiss Multimedia (publisher of the Marvel Novels line) picked up the novel rights to the cartoon series. I was involved in the meetings (being an in-house fiction editor and resident “pop culture expert” at the time), and had suggested a different approach to the property:

We’d set it ten years after the series and make Speed, Trixie, and Sparky adults. Speed’s little brother, Spridle, would be eighteen years old, Pops Racer would be semiretired, and Speed’s big brother, Rex (aka Racer X) would still be a super-spy. Speed no longer drove the Mach 5 because of a major accident that made him question his ability as a racecar driver. (Think of it as Speed starring in a remake of the Tom Cruise movie Days of Thunder…or maybe a dramatic remake of Talladega Nights: The Ballad of Ricky Bobby.)

It would be a James Bond–type thriller that featured the return of the infamous Mammoth Car (a mile-long auto made of gold), an alliance of two series villains—Cruncher Block, owner of the Mammoth Car, and Dr. McFife, creator of the monster car (the “Car With a Brain” episode)—and a global threat that would present Speed with his greatest challenge ever. It was a big-budget action/adventure movie in prose form.

Well, the idea impressed everybody so much that I was hired to write it. I plotted the whole thing and wrote the first three chapters to show what I’d do. Then I sat down with artist Mark Zug (I, Robot: The Illustrated Screenplay, Septimus Heap) and we worked out what Speed & Co. would look like ten years later, as well as the design for a new Mammoth Car (now named Leviathan)—and as you can see from the rough cover design we presented to Speed Racer Enterprises, his final painting was pretty damn impressive.

Unfortunately, Multimedia closed its doors soon after—but I was smart enough to get the C.O.O. to sign over to me the rights to the material I’d created before the end. That meant I could go and negotiate directly with Speed Racer Enterprises to see about getting the book published through another house.

But…did I? Tune in tomorrow for the exciting conclusion!

Speed Racer™ & © 2012 Speed Racer Enterprises

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Spider-Man/Gambit: The Lost Novel

Some of you folks out there already know that I’ve written for licensed properties. For those of you who don’t, here’s a quick rundown: the novels X-Men: The Chaos Engine Trilogy and Final Destination: Dead Man’s Hand; short stories for the anthologies Untold Tales of Spider-Man, The Ultimate Hulk, and Doctor Who: Short Trips: Farewells; and the script for the Marvel Mini-Mates direct-to-DVD animated short, X-Men: Darktide. But not every project that I was meant to write got past the concept stage…

Welcome to “Tales of Development Hell,” in which I occasionally spotlight licensed writing projects in which I was involved—and the reasons why they wound up being tossed into the pit.

In 1998, I was involved with Byron Preiss Multimedia’s line of original novels based on Marvel’s characters. Having already written one novel that Marvel Licensing enjoyed, Spider-Man Super-Thriller: Warrior’s Revenge, I pitched the idea of a redheaded woman’s corpse found floating in the bayous near New Orleans. Her face is so badly disfigured, there’s no way to tell who she is; a New York driver’s license in her purse, however, identifies her as Mary Jane Watson-Parker.

WHAAAAAA?! Spider-Man’s wife—dead?! 

Suspicion immediately falls on her husband, Peter, who was seen arguing with her the night before. He has no real alibi for his whereabouts, unless he wants to reveal that he’s Spider-Man, who was seen swinging around the city at the time MJ was allegedly murdered…

And if that novel had proceeded, you would have: seen what really became of MJ; been thrilled as Spidey teamed-up with the Cajun X-Man, Gambit, to hunt her “killers” through the Louisiana swamps; and gasped in astonishment as it all tied together with an ancient cult trying to resurrect its dark gods—and an issue of Marvel Team-Up co-starring Red Sonja that you see here. (Only I wouldn’t have been able to mention Sonja by name because the Robert E. Howard estate owns that license.)

For reasons I never really understood, however, the book was cut by Marvel during license renegotiations. It all worked out in the end, though—the consolation prize for losing that project was my being offered X-Men: The Chaos Engine Trilogy. And that book series I actually got to see published!

Tomorrow: another Development Hell story, only this one involves a demon on wheels…

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My Big, Fat Comics Debut

How do you break into comics? It’s a question that fledgling writers and artists have been asking since Superman smashed up that automobile on the cover of Action Comics #1, back in 1938. The general response these days is that you should start out by making your own comics, improve your craft with each project, and hope it catches the eye of an editor at one of the big publishers (it holds true for book publishing as well). With the advent of webcomics and print-on-demand publishing, that goal is a lot easier to reach now than it was for me back in the early 1990s.

In 1991 I was one of those low-tech small-press publishers, printing out issues on photocopiers and hand-stapling each book (yes, back When Dinosaurs Ruled the Earth!) to sell by mail order and at conventions. Having already launched my succubus character, Lorelei, I then set about creating another supernatural femme fatale that I could write and draw.

Arachne, like Lorelei, was inspired by Vampirella (the outfit should have clued you in immediately), but rather than being a succubus or vampire Arachne (her real name!) was a truck-stop waitress, and the daughter of a superheroine who had recently passed away. The story begins when one of her mother’s old enemies, The Monster Maker, shows up at her job to enact some long-desired revenge…

I debuted the comic at the 1991 New York Great Eastern Convention. I didn’t sell many copies, but the concept of an African-American horror heroine got me some attention, and a fair number of compliments. One of the latter came from a new publisher named Nabile P. Hage, a former U.S. Army officer whose company Dark Zulu Lies had recently launched with Motorbike Puppies, a series about a group of militaristic, anthropomorphic badasses. Think of it as a hybrid of the Teenage Mutant Ninja Turtles, the A-Team, and 1970s blaxploitation movies—only the characters are mutated dogs.

After reading Arachne #1, Nabile’s pitch to me was simple: Dark Zulu Lies was dedicated to promoting black characters to a black readership, in a comics market whose hero population was almost exclusively white. (Keep in mind, this was almost two years before DC Comics launched its Milestone Media imprint, so Nabile was something of a trendsetter.) Motorbike Puppies was his first step toward reaching that audience, to be followed by a title called Zwanna, Son of Zulu. He went on to say that Arachne, as a woman of color, would fit in perfectly with his publishing plans.

Well, that certainly got my interest.

We talked for a bit about Arachne and in what directions DZL’s potential first female headliner could go. However, as Nabile explained, before we could firm up plans he needed some help on his own project—the penciler of Motorbike Puppies had stepped down after beginning the second issue, and Nabile needed an artist to finish it.

Yes, he meant me.

Ladies and Gentlemen, I give you Motorbike Puppies #2, my professional comics debut.

Now, don’t get excited, I wound up drawing only three pages (as well as badly coloring and lettering a majority of the issue); the balance was completed by John Ruiz (Zwanna’s artist) and Dan Peters (who also colored Heartstopper: The Legend of La Bella Tenebrosa #1, which you can find on our Free Comics page). But see that cover? That was the best part of the entire issue.  😀

My association with Nabile didn’t end with dogs riding motorcycles, though. After Puppies #2 was handed in we talked some more about Arachne’s proposed debut under the DZL banner, but he was more interested in my pitching in again to help out the company’s other title…


Zwanna, Son of Zulu #1 might go down in history as one of the worst comics ever produced—words like “racist,” “sexist,” “embarrassing,” and “homophobic” tended to pop up in reviews when discussing Nabile’s script, in which every white character was either stupid or gay (or both) and outright evil. In hindsight I should’ve turned down the assignment—these days I certainly would—but at the time I was just happy to get paid for coloring and lettering the thing. (Also, I thought the comic was too stupid to ever be taken seriously.) And, of course, there was the continued promise of Arachne becoming Dark Zulu Lies’ first superheroine…

Zwanna really is a god-awful comic—with its offensive stereotypes and bad writing it makes Motorbike Puppies look like an Alan Moore project in comparison. Still, it did get attention, which may have been Nabile’s intent all along—controversy will always trump quality, and like the saying goes, bad press is just as helpful as good press…as long as the reporters spell your name right. But hey, at least he tried his best to promote his work, and his cause, even getting arrested at one point by dressing up as Zwanna and climbing the Georgia state capitol. Let’s see Joe Quesada or Dan Didio try something like that!

The amusing part about the whole adventure? For a publishing company dedicated to promoting African and African-American characters—an admirable goal that mainstream comic companies still haven’t made any great inroads toward after the shuttering of Milestone—everybody who worked for Dark Zulu Lies was white. (Except for Nabile, of course.)

Soon after Zwanna #1 came out Nabile gave up his comic-publishing dreams, shut down Dark Zulu Lies, and moved to Liberia, where he became a much more successful businessman—and apparently met a tragic end. While Goggling his name for this post, I discovered he might have died in 2003 after being kidnapped by rebel forces during a skirmish with Liberia’s military; the U.S. State Department still lists him as missing.

That is… not how I expected this story to end. Sorry about that; it was a major shock to me, too.

Tomorrow, we’ll try and lighten the mood with the story of a Spider-Man novel that I almost wrote.

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Pandora Zwieback Celebrates Free Comic Book Day

—Press Release

This Saturday, May 5, 2012, will be a cause for celebration as comic shops around the world mark the tenth annual Free Comic Book Day. Independent publishing house StarWarp Concepts joins the occasion with a pair of free e-comics that will be available for download from the SWC Web site that day—comics that tie directly to its critically acclaimed young adult, dark-urban-fantasy novel series The Saga of Pandora Zwieback.

The Saga of Pandora Zwieback #0: Introducing 16-year-old Goth adventuress Pandora Zwieback! Pan is a girl with the ability to see the monsters that regular humans can’t, and with the help of a 400-year-old monster hunter named Sebastienne “Annie” Mazarin, she’s going to protect the world from danger—and maybe even have some fun while doing it.

Written by series author Steven A. Roman (X-Men: The Chaos Engine Trilogy) and drawn by Eliseu Gouveia (The Phantom), this 16-page, full-color comic book is hosted by Pandora and includes two preview chapters from Book 1: Blood Feud, in which rival vampire clans search for the key to an ultimate weapon—a key that’s been delivered to the horror museum owned by Pan’s father!

Blood Feud: The Saga of Pandora Zwieback, Book 1 (ISBN 978-0-9841741-0-2) is available in both print and e-book editions from such retailers as Amazon.com, Barnes & Noble, Kobo.com, Smashwords, and DriveThru Fiction.

Heartstopper: The Legend of La Bella Tenebrosa #1: In 1994, Sebastienne Mazarin made her debut in this short-lived Mature Readers series from Millennium Publications. Now, for the first time in almost two decades, StarWarp Concepts re-presents this long-lost comics adventure of the monster hunter known as La Bella Tenebrosa (“the beautiful dark one”).

A nefarious heavy metal band has arrived in New York City, and its lead singer is more than just a sex magnet for his female fans—he’s an incubus! Will Annie put an end to his plans for worldwide chaos, or fall prey to his supernatural charms?

Written by Roman, with art by co-creator Uriel Caton (JSA Annual 2000) and Alan Larsen, this 32-page, full-color comic offers a rare look into the past of the immortal shape-shifter, long before she became mentor to Pandora Zwieback.

After May 5, the comics will remain accessible on the StarWarp Concepts Web site’s “Free Comics” page. For more information on the company and its projects, please visit www.StarwarpConcepts.com and www.PandoraZwieback.com.

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Boston Comic Con: The Wrap-up

So, last Thursday began my return visit to Boston Comic Con. After attending last year to hand out print copies of the promotional Saga of Pandora Zwieback #0 comic book, it was time to see if the giveaway would translate into sales of the first Pan novel, Blood Feud.

Friday I spent strolling around Back Bay, taking in the sights (I don’t play tourist, I just wander). I passed by Fenway Park—home of the Boston Red Sox—which was celebrating its centennial. Baseball fans had already started lining up in 10 a.m., for two reasons: an afternoon game against their most-hated rivals, the New York Yankees; and (I later learned) a chance to walk on the playing field. Based on the outcome of the games they attended, that rare field access was probably the highlight of the weekend for Red Sox Nation…

Anyway, Saturday was day one of the con, and it got off to a busy start—the turnout helped, no doubt, by the great weather. (BTW, in the photo that’s artist Erica Henderson with the two-tone hair in the foreground.) Almost right away I had people stopping by, usually greeting me with: “I’ve seen that banner/cover.” “I’ve seen your name around.” “I still have your comic from last year, and it was awesome!”

“And now it’s a book!” I’d say, and point to Blood Feud. One of three things then happened (and this held true for the entire weekend): they’d buy a copy; they’d tell me they already bought it online, it was great, and where’s the next one?; or they’d lament that they already have too many books in their house and their parents/spouse/boyfriend/girlfriend would scream if they brought another one home.

“Well, it’s also an e-book,” I’d tell them. “There’s a Kindle version and a Nook version. [Admittedly, the versions most people focus on.] And it’s only $3.99.”

“Really? Oh, then I’m definitely gonna check it out!”

Then I’d direct them to the Pandora Zwieback site to not only download the e-version of the freebie comic, but to also make use of the direct retailer links we have on the “Buy the Book” page. So, hopefully there’ll be a rise in e-book sales in the coming weeks.

A little after noon, The Dome and Kriana of the weekly podcast Sci-Fi Saturday Night stopped to say hi. I’d done an interview  with them and the rest of the cast back in December, following The Dome’s highly complimentary review of Blood Feud. They asked me (twice!) to come back on the show to promote the second Pan novel, Blood Reign, when it’s released.

 

Shortly after that, a fan named John arrived, to ask that I sign his omnibus copy of the X-Men: The Chaos Engine novel trilogy that I wrote a decade ago. (Sorry about the slightly blurry cell-phone shot, John!) He came back on Sunday for me to sign his Pandora comic.

Among the new Pan-atics added to the Zwieback Collective when they bought copies of Blood Feud were Paige, Karen, Tom, Val, and Sci-Fi Saturday Night cast member The Dead Redhead—so, hi and thanks again for your purchases!

The other title that drew a lot of attention was our Snow White e-book. With the growing buzz over the upcoming film Snow White and the Huntsman (starring Kristen Stewart, Charlize Theron, and Chris Hemsworth), con-goers were impressed by the e-book’s design (a presentation “copy” is stored on my Nook Color) and blown away by the art, which was first published in 1883. And the low price of $1.99 for a full-color book is a little hard to resist.  😉

Saturday ended with a visit from Julie A. Dickson, a fellow small-press publisher who was promoting her latest project, The Seven Trials of Kiera Snow: an illustrated young adult novel about a girl’s quest to find her missing best friend. Julie and I traded books; in exchange for Blood Feud, Julie not only gave me Kiera Snow but tossed in a copy of a previous YA novel, Girl From the Shadows, as well. Continued success with the writing, Julie!

Sunday was almost as busy as Saturday, from what I could see, but for me it was fairly quiet—far more conservations about the Pan series than actual sales. One bright note, though: an attendee I’d pitched Blood Feud to on Saturday came back to say he’d purchased the Nook edition when he got home. And again, there was plenty of interest in Snow White—well, the 19th-century art is pretty awesome, after all.

Then closing time rolled around, and it was time to pack up and head to the Amtrak station for the trip back to New York. Thanks for the good time, Beantown!

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Boston Comic Con is This Weekend!

The 2012 Boston Comic Con is being held April 21–22 at the Hynes Convention Center, in the Back Bay area of Boston, Massachusetts. With a nurses convention, the Yankees playing the Red Sox, and the 100th anniversary celebration of the Red Sox’ baseball home, Fenway Park, all going on at the same time, it’s gonna be one insanely busy weekend in Beantown!

Regardless, you’ll find me in the BCC Artists’ Alley at Table 106 (AA106), manning the StarWarp Concepts post; just look for the Pandora Zwieback banner. On sale will be copies of Blood Feud, Carmilla, A Princess of Mars, and The Bob Larkin Sketchbook, as well as the Official Pandora Zwieback T-shirt. I’ll also be handing out Pandora Zwieback bookmarks—while supplies last, of course.

Boston Comic Con runs from 10 a.m. to 7:00 p.m. on Saturday, and from 10 a.m. to 5 p.m. on Sunday. The Hynes Convention Center is located at 900 Boylston Street.

For more information, head over to the Boston Comic Con Web site. Just click on the logo up top. Hope to see you at the show!

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Mr. Blood Moon Riiiiisin’…

Posted today at Blood Moon Rising’s Web site is the latest issue of Queens County’s premier horror magazine, featuring news, reviews, a Special Features article on (and photos of) the April 24th Institute of Horror, Fantasy & Science Fiction gathering—and an interview with me!

“It wasn’t until 1993, when I launched Starwarp Concepts, that I became a professional writer; then my work started to get noticed. In fact, one of my earliest Lorelei fans was Charles de Lint, who’s an award-winning fantasy author; when I learned who he was, that blew me away!”

Read the entire interview, conducted by editor D. W. Jones, by clicking on the cover above. Be sure to check out the rest of the issue, as well!

And before you ask, no, that’s not me on the cover… 😉

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