By now most of the New Pulp and PulpRev folk must have been exposed to the advertising for the crossover event of the year. Yes, I’m talking about the TechNoir special editions of Switchblade and Pulp Modern. Maybe Matt or I will cover the Pulp Modern issue next week, but today I’m going to focus on Switchblade.
First off, the covers for Switchblade are amazing. Editor Scotch Rutherford and I had a brief Twitter exchange this past week discussing good art–prompted by A.B. Patterson‘s tweet about putting together a collection of his stories. I said something about needing to pay good money for good art, and Scotch replied that good covers don’t always have to cost a lot. While that may be true for those with strong visual arts skills, I don’t think either Matt or I have the artistic eye to capture photographs quite the way…
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I agree with everything Matt said here. This is good stuff.
Nick Kolakowski (Boise Longpig Hunting Club, Slaughterhouse Blues, Main Bad Guy, et al) dropped this bomb of a book in our laps with a mad cackle before leaping into a stripped down war buggy with a fifty cal mounted on top…
Okay, so that’s not quite true, but this is one hell of a ride of a book packed with gun fights, snow plow thefts, rogue AI, car chases and crime. It’s a twenty minute leap into the future when the world (or at least humanity) is shuffling a bit closer to the edge of extinction, where all the current problems we’re seeing now (rising sea levels, crumbling infrastructure, corporations at the expense of people) is turned up to 11.
Enter Maxine, a born-loser, born into poverty and crime and with no clear way out. Her mother is reliant…
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Last week Matt tackled the 1982 film The Dark Crystal, one of the most impactful movies of my childhood, right up there with Stand by Me, Labyrinth, and the hundreds of action movies I devoured in the 80s and early 90s. I could easily overstate The Dark Crystal‘s importance in my life because as much as I am a fan, I’m not diehard enough to have sought out the various comic book and novelization follow-ons. I do have some Brian Froud art books because I like those, but I never felt like I needed more from The Dark Crystal than was presented to me in the film.
I still felt that way when Age of Resistance was rumored to be in production a couple years ago. I figured it’d be some CGI laden crapfest seeking to “correct”…
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“The Dark Crystal,” for anyone that doesn’t know, was a 1982 film by Jim Henson that follows Jen, the presumed last of the Gelflings, as he tries to fulfill a prophecy. The prophecy in question relates to the titular Dark Crystal, and how a Gelfling would be the one to heal it after it had cracked. The original split of the crystal, which happened one thousand years before the events of the film, caused two races appear on the planet Thra, the evil and scheming Skeksis and the peaceful to the point of doormats Mystics.
As a result of the prophecy, the Skeksis engage in a
genocide against the Gelflings, including Jen’s family. As a result, he is
taken in by the Mystics and raised by them until the day he is told about the
prophecy. Along the way, he encounters another Gelfling orphan…
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Editors’ Note:Julie Rea’s work has appeared in several places, includingThe Intima: A Journal of Narrative Medicine,Nude Bruce Review,BLYNKT,andHalfway Down the Stairs. She lives in the Philadelphia area, where she teaches and writes about life in a wheelchair and other fascinating subjects. You can follow her on Twitter @phillylitgrl. Her story“Lela and Bat”was published in issue 10 ofBroadswords and Blasters.
In HBO’s Years and Years, the show about the very near future by Russell T. Davies (formerly of Doctor Who and Torchwood), the problem is an acceleration of the forces that are currently tearing apart the real world. The show examines how this destruction impacts a British family, the Lyons: a grandmother, her several adult grandchildren, and their children. The opposition to the inhumanity the series depicts manifests in various characters: Bethany’s transhumanism, Edith’s humanitarianism activism, and the…
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One of the unexpected side benefits to starting Broadsword and Blasters was discovering the plethora of other short fiction being published, especially by small independent presses. One of those happens to be Tough, headed by Rusty Barnes. Tough is primarily an online journal, but supported periodically with an printed collection, and the second one has recently been released. While some of the names were familiar to me (Thomas Pluck, Alec Cizak, Chris McGinley, William Soldan), I came to the majority of writers fresh. Tough goes for a no-frills approach. No editor’s note. No writer bios. No illustrations to mark the stories. All you get is the text.
Michael Bracken kicks things off with “Itsy Bitsy Spider” with
a private detective, Morris, his tattooist friend, and the trouble a young
woman brings into his life. The way Bracken weaves the detective’s work life in
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Editors’ Note: Anthony Perconti lives and works in the hinterlands of New Jersey with his wife and kids. He enjoys well-crafted and engaging stories across a variety of genres and mediums. His articles have appeared in several online venues and can be found on Twitter at@AnthonyPerconti.
As in many things in relation to pop culture, I am a late arrival to the party in viewing S. Craig Zahler 2015 film, Bone Tomahawk. [Editor’s Note: I’d never even heard of it until this review. You better believe I went right out and watched it!] Zahler is credited as the movie’s screenwriter along with directing the film (his directorial debut in fact). This feature has garnered lots of positive praise from critics and moviegoers alike. Billed as a Western Horror mash-up, the film’s plot revolves around a small band of men on a rescue mission to save…
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Editors’ Note: Anthony Perconti lives and works in the hinterlands of New Jersey with his wife and kids. He enjoys good stories across many different genres and mediums. His articles have appeared inSwords and Sorcery MagazineandDMR Books Blog.
To me, the name Ford Fairlane was always associated with the
1990 Renny Harlin cult film, starring Andrew ‘Dice’ Clay and the actor who
played Nightmare on Elm Street’s
uber-villain, Freddy Krueger, Robert Englund.
That is until now. I had the opportunity to read Rex Weiner’s The (Original) Adventures of Ford Fairlane
and I was in for very a pleasant surprise. This slim volume, published by Rare
Bird Books, collects the two Fairlane shorts that were serialized in The New York Rocker and LA Weekly, respectively. The two tales
fall squarely in the Black Mask
school of crime fiction, in which private investigator, Ford Fairlane works
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Rusty Barnes wrote a really nice review of my poetry book Nostalgia and Ruin.
Cameron Mount’s Nostalgia and Ruin is a great example of a transitional work. Mount is one half of the duo that runs the pulp magazine Broadswords and Blasters, and I get a sense that this book is very much the work of an excellent writer feeling out interesting ways what will become his permanent subject matter.Rusty Barnes, Live Nude Poems
Read more here – Book Review: Nostalgia and Ruin
Penny dreadfuls of the late 19th Century were the direct ancestors of pulp fiction rags of the early 20th Century. The name is definitely British in origin, and the publications themselves were most popular in Victorian England, though they were sometimes brought in to America by travelers. The closest neighbor native to the US were the dime novels, though as the name suggests they cost a dime rather than a penny and were often full novels in length, whereas the penny dreadfuls were more like comic books in length, each one roughly a chapter of a larger piece, costing one British penny each. Like the dime novels and later pulps, penny dreadfuls were printed on the cheapest of the cheap wood pulp material. Sadly that means they don’t hold up much over time, and the ones that still exist need to be handled relatively carefully.
Penny Dreadful is the Showtime/Sky…
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