BLACK FOREST COLLECTIBLE BUST CONTEST!
Enter NOW to win "The Black Forest" heroes collectible bust
signed by sculptor Shawn Nagle and artist Neil Vokes. First
place prizewinners will receive the bust plus signed copies
of "The Black Forest" and "Wicked West" graphic novels.
Second place prizewinners receive the signed novels plus
a piece of Neil Vokes original art signed by the artist.
Third place prizewinners receive the signed graphic novels.
Drawing takes place Feb. 21. More information, go to:
Be sure and tell 'em the B Monster sent you!
Texas-based, ultra-low-budget filmmaker Larry Buchanan died
in Tucson, Ariz., following complications from a collapsed
lung. He was 81. Over the years, a cult following developed
around the conspicuously cheap exploitation films of the
self-acknowledged "schlockmeister." Among his more notorious
titles were "Mars Needs Women," "Zontar, the Thing From
Venus" and "The Eye Creatures." American International Pictures
commissioned the films. The latter two were remakes of Roger
Corman's "It Conquered the World" and the Edward L. Cahn-directed
"Invasion of the Saucer Men," respectively. AIP was looking
for quick and dirty color productions to fill television
airtime, and Buchanan delivered the goods cheaply and efficiently.
Buchanan was born Marcus Larry Seale Jr., in Lost Prairie,
Texas. His mother died when he was just nine months old.
Buchanan was later remanded to an orphanage when his father,
a policeman, was shot to death in a bank holdup. He decided
against a ministerial scholarship opportunity and began
working in the 20th Century-Fox prop department. When he
began playing bit parts in pictures, the studio changed
his name. In 1951, following training with the Army Signal
Corps, Buchanan began producing, writing, directing and
editing a series of exploitation quickies that consistently
made money. These included "Grubstake" aka "Apache Gold"
(featuring a young Jack Klugman), "Free, White and 21" (which
Buchanan maintained was the first "Blaxploitation" film)
and "Naughty Dallas." Among his other horror and sci-fi
credits were "Curse of the Swamp Creature," starring John
Agar, who was also featured in "Zontar," "Creature of Destruction"
and "It's Alive!" (not to be confused with the Larry Cohen-directed
horror). Buchanan was philosophical about his dubious reputation.
"It kind of stung, at first, to be singled out as a maker
of movies that are considered 'so bad they're good,'" he
told an interviewer in 1997. "But then you've got to realize
the only bad recognition is no recognition." Buchanan's
memoirs, "It Came From Hunger: Tales of a Cinema Schlockmeister,"
were published in 1996.
THE B MOVIE MONTH IN REVIEW
IT'S CHILLER TIME: NEW YEAR'S EVIL
Tireless conventioneer, promoter par excellence and the "Jerry Garcia of Horror Fandom," Kevin Clement, and his loyal crew of ghoulish stalwarts are mounting a winter Chiller Theatre con this January 7-9. This in addition to the arduous staging of the now legendary April and October Chiller fests. Like those shows, the January festivities take place at the Sheraton Meadowlands Hotel in beautiful
E. Rutherford, N. J. In addition to the jam-packed memorabilia dealer's rooms and special programming, the guest list of celebs and artisans includes:
-- Artist Stephen Blickenstaff
-- Douglas "Pinhead" Bradley
-- Writer, director Douglas Buck
-- Charles "Escape from New York" Cyphers
-- Real live bat expert Joseph D'Angeli
-- Artist Bob Eggleton
-- Courtney "Children of the Corn" Gains
-- Paranormal investigator, demonologist, talk show host Lou Gentile
-- Mark "Lost In Space" Goddard
-- Artist Robert Granito
-- Sid "Spider Baby" Haig
-- Artist Daniel Horne
-- Bill "Texas Chainsaw remake Leatherface" Johnson
-- Ashley "Hellraiser" Laurence
-- Nancy "Halloween" Loomis
-- Bill "Texas Chainsaw Massacre 2" Moseley
-- Howard "Day of the Dead" Sherman
-- Dee Wallace "E.T., The Howling, Cujo" Stone
-- William "The Doomsday Machine, To Kill A Mockingbird and too many others to mention" Windom
-- And, of course, late night legend and Chiller mascot, Zacherley
For more info, check out:
Let Kevin and company know the B Monster sent you!
VETS VENTURE TO WILLIAMSBURG
The next Williamsburg Film Festival is taking shape with
yet another eclectic and enticing guest list. When it comes
to genre-film nostalgia, no matter what your specific area
of interest, this con's got it covered -- Western, sci-fi,
comedy, movies, television -- it's earned a reputation as
the friendly con with something for everybody. Topping the
guest list of the next fest:
-- Anne Jeffreys, B-movie veteran (Tess Trueheart to Morgan
Conway's "Dick Tracy") and star of TV's "Topper"
-- Ty Hardin, TV's "Bronco Lane"
-- Joan Leslie, who starred opposite such screen legends
as Bogart, Cagney, Cooper and Randolph Scott in such film
classics as "High Sierra," "Yankee Doodle Dandy" and "Sergeant
-- Danny Morton, veteran B-movie character actor
-- William Sanderson, featured is such films as "The Onion
Field," "The Client" and "Coal Miner's Daughter," but who
may be best known as the squirrelly neighbor on the "Newhart"
-- Kathy Garver, who portrayed Cissy on the sitcom "Family
-- Dean Smith, stuntman, actor, Golden Boot winner and member
of the Stuntman Hall of Fame
-- Don Stroud, veteran of more than 75 films and television
-- Morgan Woodward, prolific television and film actor whose
credits include "The Great Locomotive Chase," "Cool Hand
Luke," "Death of a Gunfighter" and many others
And, of course, our friends The Solar Guard, who never
miss a Williamsburg show, will be celebrating the Golden
Space Age of television.
The festival, which takes place March 9-12, 2005, at the
Holiday Inn-Patriot Convention Center in Williamsburg, Va.,
also features multiple movie screenings, autograph sessions,
celebrity panels and a memorabilia dealer's room. For more
Without hesitation, tell 'em the B Monster sent you!
TAKES A LIKING TO BIKING
Horror lovers in the Midwest are already gearing up for
the next Cinema Wasteland convention. Advertised as "3 days
of films and fun celebrating the drive-in era of horror
and sci-fi movies," the con kicks off April 1 at the Holiday
Inn Select in beautiful downtown Strongsville, Ohio. While
horror tops the menu, the conventioneer's penchant for biker
films is reflected in the guest list:
-- William Smith of "Angel's Die Hard," "Conan the Barbarian,"
"Maniac Cop," "C.C. and Company" and many more
-- John "Bud" Cardos, actor, director and veteran of such
bike-sploitation classics as "Satan's Sadists" and "Hells'
Angel's on Wheels"
-- Greydon Clark of "Satan's Sadists," "Dracula vs Frankenstein"
and "The Mighty Gorga"
-- Gary Kent of "Satan's Sadists," "Angel's Wild Women"
and "The Thrill Killers"
-- Eileen Dietz of "Teenage Gang Debs," "Helter Skelter"
and "Parts: The Clonus Horror";
-- Reggie Bannister of the "Phantasm" film franchise
-- Marilyn Eastman and Karl Hardman, both of whom appeared
in "Night of the Living Dead";
There will be near round-the-clock horror film screenings,
a program of short independent films, plus, the Horror Host
Underground is likely to turn out in force, with Dayton's
A. Ghastly Ghoul leading them through skits, songs and games.
For more info, check out:
Tell 'em, of course, the B Monster sent you!
The American Cinematheque at Hollywood's Egyptian Theatre
recently hosted a tribute to actor Robert Quarry, best known
to B-movie lovers as Count Yorga. Quarry attended the screenings
of "Count Yorga, Vampire" and "The Return of Count Yorga"
at the newly renovated Lloyd E. Rigler Theatre. Between
films, Quarry took part in a discussion period and Q&A
along with filmmakers Frank Darabont and Tim Sullivan (both
diehard Yorga fans). The original film was conceived as
a horror/nudie called "The Loves of Count Iorga." The idea
was revamped (pun intended) and presented as a legitimate
shocker featuring the erudite, articulate, sartorially splendid
Count menacing contemporary California. The film was one
of American International Pictures biggest grossers. For
more info regarding the historic Egyptian and the American
Cinematheque, check out:
Don't hesitate to mention that the B Monster sent you!
MORE POLISHED, PC "KONG?"
A recent issue of Newsweek treated all those anxiously anticipating
Peter Jackson's "King Kong" remake to a sneak preview featuring
conceptual illustrations and behind-the-scenes banter. According
to correspondent Jeff Giles, "the original 'King Kong' is
many times greater than the sum of its parts, and whether
or not Jackson's remake ever achieves anything like its
permanence, it can certainly improve on some things." This
comment is bound to sting purists who revere the original
film. How, according to Giles, could the 1933 film be improved?
"The animation of Kong, for starters." The computer animation
employed in the remake, writes Giles, "will give you a sense
of the realism and ferocity Jackson's after." The new "Kong"
could also be more sensitive to racial issues. "It can redress
the dated, if not racist, portrayal of the islanders who
watch Kong get dragged off in chains." Addressing the acting
in the original film, Giles leaves it to star Adrien Brody
(assuming the role played in the original by Bruce Cabot)
to sum it up: "Fay Wray was fantastic, but [otherwise] the
acting is pretty atrocious in parts of it."
WOULDN'T SAY THEY'RE AT EACH OTHER'S THROATS ...
The people of Transylvania continue to debate the proper
place of Dracula in their chronology. We've been covering
the on-again, off-again Dracula theme park for several years.
Local bureaucrats say the project will create much-needed
jobs and spark the lagging economy into high gear. Environmentalists
contend that it will destroy the rugged beauty of the Transylvania
countryside. Still others maintain that it simply isn't
dignified to capitalize on what they consider Hollywood's
reinterpretation of their culture. The religious among them
contend the Dracula lore attracts blasphemous curiosity
Count Dracula was, of course, made famous by Bram Stoker's
book. Stoker's vampire was inspired in part by Vlad Tepesh,
a Romanian nobleman who, legend holds, earned the sobriquet
Vlad the Impaler, as he allegedly put his enemies to death
at the point of a lance. Stoker set his novel in Transylvania,
and more than 100 years later its people attempt either
to live down or cash in on the fictional vampire's reputation.
Among the latest Romanian attractions is the Dracula Club
Restaurant in downtown Bucharest that features actor Petre
Moraru in cape and ghoulish makeup emerging from a tomb.
"We're beginning to find Dracula interesting as well as
lucrative," Moraru told the Washington Post. "Why fight
it?" Campgrounds, souvenir stands and bars in the vicinity
also bear the Dracula name.
British professor Duncan Light, who came to Romania to
study the country's folklore, offers an argument for the
anti-vamp constituency: "Here is Romania, trying to join
the EU, a club of nice countries, and it is saddled with
a bloodthirsty image that Dracula only accentuates." Hans
Bruno Frohlich, a Lutheran pastor claims, "The movie Dracula
is a kind of spiritual pollution." Frohlich told the Post
"the myth attracts all kinds of fishy beliefs. Satanists
visit our town and hold congresses." Constantin Balaceanu
Stolnici, the last of Vlad's blood relatives, raises an
interesting question: "How would you like it if someone
said Abraham Lincoln was a vampire?" Hmm ... "The Great
DOWN THE HATCHES
Ready to sail the briny deep with your favorite sci-fi celebrity?
The folks at Cruise Events can make it so. Among the latest
to be piped aboard is Richard Hatch of TV's "Battlestar
Galactica." "I love the ocean," the actor says in a statement
posted at the Cruise Events Web site. "Communing with nature
and connecting with people. I can't imagine a better
opportunity for sharing my life's journey and the powerful
lessons I have learned along the way." Hatch says he decided
to take the plunge following the positive feedback that
greeted the announcement of former costar Dirk Benedict's
cruise. Rates begin at $870 per person, depending on the
size of the cabin you choose. Included in the total cost:
-- Seven nights accommodation Exclusive events with Richard
Hatch (for guests who reserve via the Web site only)
-- Private cocktail party with exclusive photo session
-- Nightly entertainment
-- 24-hour room service
-- Full casino
-- Unspecified onboard activities
Not to mention island hopping in the blue Caribbean.
Cruise Events invites fans to "select a popular performer
or group of performers (music, comedy, magic, band) that
you would like to cruise with." Other celebs planning meet-and-greet
cruises include Erin Gray, Jack Scalia and John Davidson.
For more info, check out:
Be sure to tell 'em Captain B Monster sent you!
KIT ON THE BLOCK
We told you some time back about our pal, storyboard artist
and illustrator extraordinaire Pete Von Sholley, and his
recently introduced line of illustrated "Horrora" monster
boxes. Seems one of Pete's nostalgic riffs on the old Aurora
monster model kits of the 1960s caught the eye of someone
at Dark Horse Comics. The company plans to produce a model
kit inspired by Pete's rendition of "The Thing From Outer
Space," based on a skillful sculpture of the creature by
Pete's better half, Andrea. Stay tuned. Meanwhile, check
T ell Pete the B Monster sent you!
WILL CONTINUE TO SPREAD
A quick update regarding our pal Dr. Gangrene, the Tennessee
terror who hosts the Chiller Cinema program. The show is
on temporary hiatus, according to the madcap medico, as
new installments are being produced. "In the meantime,"
the doc reminds his fans, "those of you haunting the Middle
Tennessee area can continue to see shows on Nashville's
CH19 Fridays at 8:00 pm." The doc also points out that the
original Monster Kid, the legendary Bob Burns, will be his
guest for a special screening at this year's Wonderfest
in Louisville Ky. For more info regarding the doc and his
nefarious broadcast practice, check out:
Let the doc know that the B Monster sent you!
NEW ON DVD
In some ways, I feel kinda bad for M. Night Shyamalan. One
day the critics paint him as a dramatic innovator, the next
as a commercial hack. "The Sixth Sense" was a well-drawn
spooker that brought critical accolades, a measure of dignity
to the slasher-dominated horror film field and, significantly,
millions at the box office. The critics who were caught
napping when this quintessential sleeper broke big wildly
over-praised Shyamalan's follow-up, "Unbreakable," as if
to make up for their tardiness in saluting his breakthrough.
But Shyamalan's next feature, "Signs," reaped critical indignation.
Suddenly, the golden boy was a sellout. In anticipation
of his space invasion thriller, he was interviewed to death,
featured on magazine covers and hosted TV shows about the
supernatural. The critics turned on him because "Signs"
wasn't sly and subtle and cerebral. "Signs" was unabashedly
sentimental and doctrinaire. It was also plenty scary. But
because today's moviegoers have been conditioned to believe
that science fiction pictures can't depict unambiguous endings
and redeemed characters, critics hated it. I'm don't know
what they went in expecting, but what they got was a straight-up
thriller about a guy who loses his faith, endures an alien
invasion, and regains his confidence in himself and a higher
power. It wasn't all a dream, it didn't turn out to be an
elaborate "Gaslight" treatment and nobody saw dead people.
Man, what a wordy wind-up to a critique of "The Village"
or "M. Night Shyamalan's The Village." But the long-winded
preamble is necessary because this time, Shyamalan really
did let critics and moviegoers down. The picture looks great,
features fine performances and an eerie, enticing premise;
the inhabitants of said village have seemingly struck a
deal with the vicious varmints that howl and lurk just outside
the perimeter of their compound. The villagers don't invade
the creature's space and the creatures return the favor.
In the event of an infraction, the bad color, red, appears
swabbed on trees and doors. The good color, yellow, is painted
on posts at the edge of the forest as a symbol of detente
with the creatures. I really can't provide more of a synopsis
without playing the spoiler. I will say that it plays like
a lackluster "Twilight Zone" episode padded to untenable
length. The big reveal that would have unspooled in about
two minutes on the "Zone," rolls on and on and on.
If truncated a bit, the story might still have been salvaged
if Shyamalan had excised some of the florid dialog and melodramatics.
But the very same, unapologetic corn that worked to the
advantage of "Signs" is cringe-inducing in this case. The
difference? The big twist ending. The thing that caught
critics of "Signs" by surprise was the fact that there WAS
no twist ending. We all went in expecting one, and I for
one am glad the director played it straight. That's what
set "Signs" apart. Shyamalan stuck to his corny guns and
didn't buy into the prevalent mythos that says only bitter
anti-heroes can survive into the future. With "The Village,"
Shyamalan followed his twistless film with one boasting
a surprise ending so contrived you see it coming 20 minutes
in. And yet, there are things to like about the film. The
production design and cinematography are first-rate, and
Shyamalan is a canny director. Shots are well chosen and
the scares are carefully placed. He's possessed of a facility
for evoking maximum creepiness with minimal special effects.
"The Village" is a failure, but it's too soon to write Shyamalan
off as a flash in the pan.
I'll admit, I didn't have much hope for "The Forgotten"
going in. The trailers made it look rather silly and expectations
were low. Those expectations were prescient. The film wastes
some very game performances, particularly Julianne Moore
in the lead. The premise is initially intriguing; Moore
is grieving her young son, apparently killed a year before
the film begins. When evidence of his ever having existed
at all begins disappearing, she is informed by her therapist
and her husband that she has created eight years of memories,
that the son never existed and that she must come to terms
with the fact. She undertakes to prove that the child was
real, researching, digging for clues. Dogged by those who
wish to stymie her crusade, she takes it on the lam with
a father enduring a similar experience. Tension mounts as
the pair are chased and harassed by mysterious figures.
(There is one terrific shock effect that has absolutely
nothing to do with the supernatural.)
A third of the way into the film I began saying to myself,
"This story couldn't possibly be going where I think it's
going. They wouldn't go there, would they? It's so hackneyed!"
(Caution! I'm about to spoil what should already be ridiculously
obvious to you.) Sure enough, they went exactly where I
expected. They took the enticing set-up, stacked on the
car chases and clichés, weighted it with hysterics
and steered it right into "X-Files" territory! Where do
you think the kids have been disappearing to? Who would
have guessed that the government is complicit in an alien
scheme to study our offspring? In a way, the filmmakers
pull off the ultimate surprise ending; the movie ended exactly
as I feared it would, and that surprised me. Why did they
invest so much in a concept so banal? Its premise is so
very tired that I'm surprised the project was mounted at
FROM THE HAUNTED SEA
It's remarkable how many self-appointed "bad-movie" experts
cite this film as an example of Roger Corman's ineptitude.
In fact, like Corman's previous dark comic thriller, "A
Bucket of Blood," "Creature From the Haunted Sea" finds
the director laughing up his sleeve at the genre-film conventions
approached so seriously in many of his films. The humor
is broad (strained might be a better word) but not entirely
banal. Some of it is quite disarming. My favorite scene,
hands down, has leading lady Betsy Jones-Moreland lounging
on the deck of a boat, nonchalantly cooing a torch song
about the "Creature From the Haunted Sea" as mayhem ensues
around her, in effect signifying to the audience that "it's
only a movie and we're having a ball making it." Who could
view such a scene and come away thinking that Corman's intent
was to produce a legitimate shocker? You'd be surprised.
"Creature' was scripted by frequent Corman collaborator
Charles B. Griffith ("The Undead," "Attack of the Crab Monsters,"
"A Bucket of Blood"), and a glance at the character names
reveals just how seriously the filmmakers were taking this
enterprise: Renzo Capetto, Capo Rosetto, Ratto Pazetti,
Zeppo Staccato, Shirley Lamour (these are all aliases used
by Anthony Carbone's character), Colonel Tostada, Sparks
Moran and, of course, Agent XK150. The plot is a ludicrous
(and very tenuous) analog to what had recently transpired
in Cuba when the film was made (1961) with gangster Carbone
hoping to snatch the treasury of an island nation following
a revolution. Carbone offers the deposed island leaders
safe haven, secretly planning to do away with them and blame
their deaths on the eponymous and, allegedly mythical, "Creature."
The monster proves to be no myth, however, and Corman and
company went to absolutely no expense to fashion this flabby,
wall-eyed menace, which looks for all the world like a renegade
Sesame Street character. The "Creature," incidentally, can
be glimpsed in the opening credits of TV's "Malcolm in the
Middle" (as can the "Brain From Planet Arous"). Co-star
Edward Wain aka Robert Towne, later scripted such films
as "Chinatown," "The Last Detail" and "Mission: Impossible."
CAPTAIN AND THE WORLD OF TOMORROW
You might say that film historian and Dinoship Publishing
CEO Bob Madison liked "Sky Captain and the World of Tomorrow."
He offers the following:
Just a few minutes into "Sky Captain and the World of
Tomorrow," I could scarcely believe my eyes, but there it
was -- a multi-million dollar science fiction adventure
film made expressly for the Cinefest crowd.
If you're simply a movie fan, "Sky Captain" is a rousing
adventure both light-hearted and fun. But, if you are
a movie buff, "Sky Captain" is a cornucopia of near limitless
delights, a movie jam-packed with references to everything
from silent German Expressionist cinema to early talkies,
the Fleisher Superman cartoons, to screwball comedies and
Republic serials. So much of it is so evocative of
late '20s early '30s cinema as to be eerie ... even the
color has the feel and texture of early two-strip Technicolor
processes. "Sky Captain" has to be seen to be believed.
The film opens with a dazzling image of an airship, the
Hindenburg III, docking at the dirigible mooring mast atop
the Empire State Building. (This was actually incorporated
into the design of the ESB, but high winds made disembarking
from airships unsafe and unpractical -- but you can find
a photo mock-up of it in Richard Halliburton's "World of
Marvels" book.) German scientists are disappearing,
and reporter Polly Perkins (Gwyneth Paltrow), against the
advice of Michael Gambon, her gruff but compassionate editor
with an office roughly the size of Grand Central Station,
sets off in search of the story. It leads her to Radio
City Music Hall (playing "The Wizard of Oz") and a brief
information exchange with another at-risk scientist before
all heck breaks loose.
In moments, this dazzlingly stylized art deco New York
is attacked by gigantic robots. Radio calls (you actually
see the radio waves!) summon "Sky Captain" (Jude Law) from
his fortress hanger, and the adventure starts.
"Sky Captain" is one of those aviator-vigilante-adventurers
so abundant in the '30s. (Think Captain Midnight or
Smilin' Jack.) He is assisted by the gum-chewing Dex,
a super-genius addicted to Buck Rogers comic books and inventing
such nifty gadgets as ray guns and radio wave trackers. Sky
Captain manages to bring one of the robots to Dex for inspection,
but the base is soon attacked by fighter planes and Dex
is kidnapped. Hot in pursuit, Cap and Polly head for
Tibet and their final confrontation with evil mastermind,
Dr. Totenkopf. Telling anymore would ruin it -- but be prepared
for a movie with the zippiest design sense since "Things
Full disclosure -- I'm obsessed by the '30s, along with
its pulp heroes, design aesthetic, music and attitude. (Friends
have had to listen to me rant for years about the "The Rocketeer,"
my previous favorite re-creation of '30s pulp heroics.) And
though I am hopelessly besotted by this film, I am compelled
to admit it's not perfect. After the magnificent New
York sequence of the opening third, "Sky Captain" loses
some of its momentum, and the stylized, '30s Expressionist
ethos slips a bit more into the background. Michael
Gambon is almost criminally wasted, and Angelina Jolie's
character (and surroundings) seems more in place with WWII
adventures than '30s science fiction. In addition,
some of the mechanics of "Sky Captain's" character (just
who the heck is he and who does he work for? And where
is this fortress hanger, anyway?) are too vague for comfort.
But these are quibbles. By the time I got to Dr. Totenkopf's
island hideout-laboratory-dinosaur menagerie-robot factory
(yes, it's that kind of picture), I had reached a state
of bliss I've missed in movie houses for more than a decade.
"Sky Captain and the World of Tomorrow" is the brainchild
of Kerry Conran. He wrote and designed the feature
-- along with the extraordinary software that made it possible. It's
not news to B Monster fans that this film was shot entirely
against a blue screen, with sets, backgrounds and even props
added in later. While the gimmick of its creation is
a fascinating story, the tools of making art are a lot less
interesting than the final product itself. "Sky Captain"
is a strong enough picture to make how it was made irrelevant. I
am actively hoping for a follow-up.
"Sky Captain" is not science fiction per se, and people
expecting "Gattaca" should look elsewhere. But "Sky Captain"
is part of an important pulp tradition that seamlessly blends
action heroics and science-fictional concepts. Much
like the Republic serials had gangsters working with ray
gun-toting Martians, "Sky Captain" takes place in its own
world, a 1930s pulp realm where hyper reality, science fiction
and fantasy intermingle. This isn't Dr. Asimov, it's
Doc Savage. "Sky Captain" manages to incorporate its many
references and turn it into an entertainment wholly its
own. Despite the echoes of "Metropolis," "King Kong,"
"Wizard of Oz" and "Lost Horizon," "Sky Captain" remains
its own thing -- a glorious, 1930s pulp hero fantasia. If
you love movies, you'll love "Sky Captain and the World
SPECIAL THANKS TO:
Michael F. Blake, whose books are available through Vestal
Press or at http://www.amazon.com
David Colton, organizer of the Rondo Hatton Awards http://www.rondoaward.com
Harris Lentz III, whose books are available at http://www.mcfarlandpub.com
Bob Madison, founder and CEO of Dinoship, Inc. http://www.dinoship.com
Bryan Senn, whose books are available at http://www.mcfarlandpub.com
and at http://www.midmar.com/books.html
Tom Weaver, whose books are available at http://www.mcfarlandpub.com
and at http://www.dinoship.com
"What was the unspeakable secret of the sea?" -- Creature
From The Haunted Sea