Irving fuckin’ Pentler, Pornographer to the Stars

Sleazebag = Someone who you think is dishonest or immoral. Pessoa considerada desonesta ou imoral. Picareta.

Victoria Atomblast. Damon goddam Ross. Fuckin Anthrax fuckin Ripple. The Bogart bitch. Not to mention, the Feds®, the Mob®, Disney®, and every easily offended religious group in the flippin’ freakin’ fuckin’ world.  He had nowhere left to go, no country could, would, hide his sorry ass, not even if he offered to pay off their national debt, and there were not a few hot spots his fortunes couldn’t aid considerably.

So here he was, halfway to heat stroke in Sedona, Arizona, waiting for a MONOlimo to haul his ass to Reno, when he really wanted Canaveral, one shot, off-world, hitch a ride with the boys from Global Armed Service, lay low on the moon until things cooled off, or catch a McD® shuttle, assume a whole new ident and buy into a franchise outlet on the Galleria Cluster.

Absurd, what it was. Irving Pentler, wanted for no greater crime than entertainment, a felony count of giving the people what they want.  Consumercide. The devil out of context, convenient fall-guy for overzealous neo-Victorians and the self-righteous ultra-Right. But even the Farther Left refused to embrace or endorse him as the last bastion of free speech, and so he remained its bastard. Lonely token of absolute truth in marketing; one man’s sin was another man’s religion. He dealt straight dope to the masses. 

Sedona was supposed to be some kind of “power spot,” this according to one of the girls who worked his psychic sex line, 1-900-MINDFUK, something about a High Magnetic Resonance, which she’d probably read in one of those TIME/LIFE® books, Mystic Drivel, or somesuch. Meant nothing to him, Irving being a fast and firm pragmatist, believer in the here and now, that which could be seen and touched, bought and sold. Commodity dogma, the only $piritual rhetoric he understood. Televangelist of the flesh. The guru of bodily fluids. Metaphysician of earthly prurience. The High Priest of Porn, one journalist had called him, and he liked that. 

He’d been waiting three hours in a window booth at Ronnie’s Super Pumper just off 89A, still no sign of his scheduled pick-up, the thought of which gnawed at the greasy edges of his still-digesting Western Omelette, butterfly anxiety sloshing about forlornly in a pot and a half of truck-stop coffee; the fellas at MONOLITH were notorious sticklers for punctuality.  Couldn’t help wondering if he’d somehow slid from their favor, if they were just fucking with his head or maybe they were out to whack him, too. 

6am, almost, no one else in the place but the short-order, the hash slinger, a couple of road-bleary long-haulers trembling on the verge of amphetamine psychosis, apple pie a la mode for breakfast and they just sat there watching the ice cream melt.

A Meat City wagon pulled off the highway and rumbled across the lot, belching smoke and pissing radiator fluid, obviously fresh from a Safety Belt run, punctured from grill to mudflaps with bulletholes and crossbolts, armored side panels scorched and rent by various explosive projectiles. Shuddered to a stop in the space right out front of Irving’s booth, blocking his view of the road.

“Bastard,” he muttered, rising from his table to go confront the thoughtless trucker. Stopped short when he saw the Caddo Indian lower his burly frame from the cab, bare-chested except for a denim vest emblazoned on the back with the famous tongue-and-lips logo of the Rolling Stones. Sputtering expletives, Irving fumbled for his wallet, cursing further when he noted the lack of cash within; he didn’t want to use plastic, too traceable.

The Indian eyed him darkly, and Irving shivered involuntarily; the trucker passed the wait station, indicating his desire for coffee with the slightest flip of his twin ponytails, came straight for Irving’s table, motioning for him to sit back down, which Irving did, much to the chagrin of his own whim.

“Mr. Pentler,” the Indian said, no question of doubt in his rumbling voice. Seated himself without invitation.

“Can I help you?” Irving asked, a taste of venom in his tone, tapping his MONOVisa debit card against the linoleum tabletop.

“My name is Benedict Red Eagle,” the Indian replied, sliding one of Irving’s First Strike’s from the pack on the table. “Gotta light?”

Snarling inwardly, Irving flipped his Zippo open and thumbed the spark wheel, butane reek tingling his inflamed nostrils as he proffered the flame. “So, whattaya want? Free meal? A job? I ain’t a freakin’ flippin’ fuckin’ charity, red.”

Ben Red Eagle laughed, hearty, borderline maniacal, took a long drag and lapsed into a deep, phlegmy fit of coughing. “I got a job, Mr. Pentler.”

“Yeah, uh-huh, lemme guess, delivering meat, right?” Irving snorted derisively, jerking a thumb at the battered wagon just outside the window.

Red Eagle smiled, smoked. “You could say that.”

“Look, Geronimo, it’s a little early in my mornin’ for Native American crypticisms, aright?”

“Sure, sure,” Red Eagle replied, watching his smoke ring spread, then exhaling a series of smaller ones, each passing neatly through the center of its predecessor. “You’re, uh, waiting for someone, right? A ride, I think.”

“I dunno, yeah, maybe. Who the fuck are you, know so much?”

“I’m him.”

“You’re who? Goddam Crazy Horse?”

“I’m your…ha…chauffeur.”

Irving wanted nothing more than to wipe the insipid grin off this redskin’s hatchet face, feared losing his fingers to a sudden tomahawk.  “This some numbfuck’s idea a funny?”

            Ben Red Eagle shook his head, a shadow of solemnity passing over his features. “I don’t think so.”

Irving eyed the truck, turned back to the driver.  “Uh-uh.  I don’t know what those MONOLITH sonsabitches is tryna pull, but I ain’t goin nowhere in that rollin’ target.”

“You don’t really have much of a choice.”

“I suppose yer gonna tell me it’s for my own safety.”

“Safety?”  Red Eagle smirked. “Sure, sure, it’s all about Safety.”

Irving rubbed his itching eyes, his pounding temples, his burning nostrils, contemplating his options, which amounted to little more than nervous breakdown, psychotic episode, toxic personal apocalypse. “So, yer, like, takin me to Reno, is that it?”

“Somewhere,” Ben Coyote answered, shoveling a mouthful of home fries from the plate the waitress had just wordlessly set in front of him.

Irving blinked, confused and jonesing. “Reno.”

“Whatever,” Coyote said, ketchup staining his heavy lips, grease dribbling down his hairless chin. “You da boss,” the red man doing an absurd and awkward Stepin Fetchit parody.

“I’m dead,” Irving muttered.

“Not yet, chemo-sabe.”

“Can we get outta here?”

“I’m eating.”

“Fuckit, I’m usin’ the toilet, an when I’m done, we go. Kapeach?”

“Sure, sure.”

No stall door in the john—”fuckin christ”—but Irving drew out his stash anyhow, used his Beamer key to scoop up a hefty clump of white powder and raised it to his nose, hand suddenly possessed by a violent paroxysm, watching in frustration and horror as the coke tumbled into the backed-up toilet bowl like soft snow falling on wet mud. Attempted again and again to administer his quarterly dosage, each time losing it just as the fine flakes tickled his nose hair. Emptied the bag that way, finally licking his finger in desperation and sticking it in the crystalline residue, but another convulsion shook him and the baggie followed its contents into the vat of fecal stew. He knelt on the sticky floor, wanting to scream, to sob, to mourn this worst of all possible losses. Furious, stricken, he scanned the toilet seat for a hint of the dust, but whatever might have landed there was now dissipated in droplets of urine. He slammed out of the bathroom, sweaty and fuming, stormed over to the table and gestured wildly at the masticating Indian. 

“Okay, Sitting Bull, let’s go.”

“No luck, huh?”

“What the fuck’re you talkin’ about?”

Red Eagle pointed at the men’s room. “You were in there a long time,” he explained, mopping at his mouth with a napkin. “And you still look like you need to take a shit.”

Victoria Atomblast

I am sprawled, languid and insouciant, on Irving’s king-and-a-half-size bed, the gelatin mattress molded around my edges; the industrial-strength muscle relaxants have just started doing their thing and I can barely focus on the wall monitor, incessantly flashing life-size high-res images of burning Los Angeles and its blood-crazy citizens, like a riot right here in the penthouse being staged for my benefit. I fumble for last night’s half-finished champagne, unable to remember who I shared it with, or when they left me by my lonesome. Flat and warm, of course, but it’s Dom ’53 so I drink it anyhoo, straight from the bottle like the cheap piece of street trash I really am inside. Gargle it like mouthwash, almost choking on it when I hear the elevator gate crash open, spitting up a fine spray of the stuff at a noise like ten thousand jackboots goose-stepping my way across the vast living room.

“Irving! Where are you, you son-of-a-bitch! You better not be here cause I am fully prepared to disembowel your skinny little cokefiend ass, pull your guts right out through your deviated septum!” A screeching harpy drawing ever nearer, pounding on the bedroom door with a fist apparently gloved in iron. I slip a hand under one of the pillows, searching for Irving’s Magnum; it isn’t there.

The door splits its hinges with a thunderclap, wood splinters and plaster particles exploding inward, and framed in the ruined doorway stands a sneering Amazon warrior goddess, a living mythic entity, fire flashing from ice-blue eyes, robust and muscular body apparently tensed to pounce, ethereal, evil, delicious. I want her instantly, wet and hard all at once.

“What the fuck are you?” she snarls, glaring darts and daggers.

I could very well ask you the same, I want to say, but my vocal chords are suddenly rendered dysfunctional, as if by some wicked magick being perpetrated from her unfathomable power source.

“Where’s Irving?”

“Ow–ow–outta town,” I stammer, embarrassed and awed.

“Bullshit. I can smell him,” she declares, cruising the bedroom, tearing open closets, wardrobes, chests, disappearing into the master bath.  “Son-of-a-bitch!” she shrieks, fuming at the absence of her prey.

“Wh-what is it, hon?” I manage with uncharacteristic timidity. “Maybe I can help?”

“I doubt it, sister,” she states, matter-of-fact now, her narrowed eyes taking me in with a hint of interest.

“I’m—my name’s—Tom-boy,” I inform her, trying to smile.

“Victoria,” she replies, clasping, nearly crushing my hand in her vinyl-gloved grip.

“Oh my God,” I gulp, overwhelmed by this unexpected brush with greatness.  “Not the—”

“Victoria Atomblast,” she says curtly, apparently unimpressed by the attentions of yet another adoring fan.

“So,” she continues, giving me a frank and slightly contemptuous appraisal. “You must be Irving’s new…plaything.”

“You…could…say that…” I mutter humbly, blushing at the fragility of my own ego, crumpled now to the proportions of a spitball.

“Well, tell that despicable prick I stopped by,” Victoria says, kicking the broken door aside with her heavy-duty paratrooper boots. “I’ll be back to kill him later.”

“Waitwaitwait!” I cry, attempting to stay her determined departure with tremulous outstretched fingers.

“Whattayawant?” she spits over one shoulder, pausing in the threshold.

“You,” I respond, shy and docile.

She hesitates, eyes narrowed to frightening slits, then whirls around and comes straight at me…

“So, if you’re such a big fuckin fan, how come you didn’t recognize me when I kicked in Irving’s door?”  Victoria asks me later, her enhanced pneumatic frame bunched up against me. For a moment, I’m at a loss.  But only for a moment.

“Maybe ‘cause you look so much like you do on the tube, I thought you had to be an impersonator,” I say, opting not to tell her that it’s really because she’s so much more…diminutive, ahem, than I anticipated. She isn’t a dwarf, by any means, nor disproportionately endowed, just kind of small and stocky, a full-figured gal, Rubenesque, all that, except in miniature. She is sort of cuddly, subtly passive, exuding an unexpectedly sisterly eroticism, which only vaguely dampens my initial desire.  Not at all the insatiable ball-busting freak-fucking dynamatrix whose flagrant sexual caprice has made her not only a household name, but in This Thing’s not insubstantial estimation, the greatest star who ever shone her light on this unworthy little ball of dung.

            She is mine for an hour, maybe two, and then she splits, off to run some other tedious errand of vengeance, apparently her second occupation, though she claims she just does it to unwind.  I am left with her smell all over me and the small depression she’s made in the sheets.

Didn’t even get to ask why she wants to kill Irving. I consider warning him, figure he doesn’t wanna be bothered on his vacation, blow it off. Besides, it’s just so much…effort.

The Good Fight 4: Homefront Out Today!

The Good Fight 4

Happy May Day, people! In honor of the occasion, why not go and get yourself a copy of The Good Fight 4: Homefront and check out Love Vigilantes, my latest addition to the ongoing saga of Duke “HandCannon” LaRue. This one’s the wild, raucous tale of his whirlwind romance, railgun wedding, domestic disasters, and unfathomable fallout with the love of his life and one-time partner-in-crime Liza Fate. Lots of other great tales of superheroic domesticity between these covers (be they paperback or digital). If you prefer, you can always hold out for a hard copy from me, once I’ve got my order in. Thank you for your continued patronage. Both of you!

Last Dance: The Tall Tale TV Audio Edition

Chris Herron at Tall Tale TV has done an audio version of my HandCannon short story, “Last Dance.” Chris himself has a great personal story, having turned on to audiobooks when he was suffering from temporary legal blindness in 2015. He’s since recovered, but launched this project both as a way to give back to folks who can’t experience stories the traditional way, and to give authors like me a promotional boost without having to shell out for the expense of creating an audiobook on our own. I think he’s done a terrific job and his project deserves more eyeballs and earholes, so how about you give this, and other Tall Tale TV stories, a listen?

Legion of Damn! Thoughts on the Best Thing to Ever Happen to TV in the History of Recorded Time

Back in the 1990s, when I was a flat-dwelling San Francisco Gen X slacktivist too busy falling in futile love with lesbians and smoking speed out of broken lightbulbs to do something as mundane as, ugh, watch TV, there was a live action series inspired by the X-Men comics I’d loved as a kid. Apparently, it looked something like this…

kinopoisk.ru

It’s as if they managed to capture the essence of everything questionable, wrong-headed and lame about the decade and distill it into a single syndicated television program. (Hopefully they later jettisoned it into the far reaches of space.) Granted, I also thought I was too cool for comics at the time, but even if I hadn’t been, I doubt I’d have been slavering at the mouth for a weekly taste of whatever this is pictured here to satisfy my cravings for supertainment.

Four years later Bryan Singer’s X-Men would arrive and upend everything about the moribund live action superhero film that the ’90s Bat-franchise had so successfully driven to the edge of its grave.

Xmen-Featured

That’s a massive leap forward in less than half a decade, but it made a promise that the the 2ks would be lot more interesting for mutant-lovers and comics geeks, and it re-inspired my appreciation for those old funnybooks by using the Claremont/Byrne era I read and loved as a touchstone.

But countless superhero franchise flicks later, and after the dull thud of Age of Apocalypse, you might forgive me for summoning images of Generation X‘s ’90s-era awfulness when I heard that FX was going to do a live-action X-Men show based on an obscure character (to me, at least) from the ’80s New Mutants books (I never read those).  

Of course, I had a glimmer of interest when I heard that Noah Hawley was going to be the guiding force behind it, not least because I’d had such a similar reaction when I first heard that someone was going to make a TV version of the Coen brothers classic film Fargo. After all, someone had already tried that idea years earlier, too, and it did not meet with what you might call success.

But Hawley somehow managed to nail the language and storytelling rhythms of the Coens so well, I was convinced they had a heavy creative hand in the whole endeavor, only to learn later that beyond their exec producer credits they had next to none.

So I had confidence Hawley would at least do something noteworthy with his little slice of the X-franchise. And the casting of Dan Stevens (so great as a kind of sociopathic Steve Rogers in the underseen thriller gem The Guest ), Aubrey Plaza (an out-of-nowhere sensation from Parks & Recreation who really needed to prove that she could do something more than drip dry slacker sarcasm over any and all proceedings), and Jemaine Clement (who’d already busted out of his Flight of the Conchords comedy-music box by tearing it up as a sexy vampire in What We Do in the Shadows) seemed reasonably intriguing, if not outright inspired. So yeah, I figured I’d give it a look. Maybe Hawley would give me something to look forward to on Wednesday nights since I’d abandoned Arrow. Boy, was I underestimating that mad fuckin’ genius.

The pilot for his Legion announced its intentions pretty much from the first scene, introducing the viewer to a bugfuck puzzlebox where it was hard to tell what year, decade or mental facility we were in, or whether we were ever in reality at all. I had to watch the whole thing twice just to try and decide for myself what was happening in 3D reality and what was going on exclusively in the confines of David Haller’s (Stevens) mind. Happily, as art-rocked as the episode was, there were definitive answers to those questions, and David even expressly asked, “Is this real? This is real, right?” at the appropriate moment. And the response he received was not a narrative cheat, but a direct testament to both character and viewer. Basically Hawley saying, “Yes, we’re fucking with you, but no, we’re not.” After that rewatch, I knew that this pretty, occasionally Lynchian multimedia indulgence, with its spot-on music choices and psychodelicate visuals was actually going to tell me a story, and wasn’t just yanking my chain for the sake of getting away with high weirdness on the TV (though that was a pleasant side effect).

I knew it wouldn’t be a show for everybody, but I knew most of my comics-reading friends would love the shit out of it, and even better, it was one I could happily recommend to certain non-comics friends who were more literate in things like Kubrick, David Lynch, David Bowie, and other things arty, entertaining, offbeat and good.

Much like in Logan, Hawley’s show thrives on solid writing, spinning out character beats and scenes about human connection that almost make you forget you’re watching a sci-fi suspense series based on a comic book. And the mutants they’ve contrived for this corner of the X-verse are unique and metaphorical in ways that tend to serve both story and theme. Syd Barrett (Rachel Keller, a full-bodied, full-blooded star in the making forged in the fires of Fargo, and that character name is no accident, Pink Floyd fans) can’t touch anyone lest they switch bodies/identities. So of course she and David have to fall in love. Cary/Kerry Loudermilk (the always-amazing Bill Irwin whose film career stretches back to Robert Altman’s superweird Popeye movie) is a middle-aged man with a kind of parasitic female twin (Amber Midthunder, a lovely young actress with sixteen years of work behind her already and the best surname I’ve ever heard in my life) who can leave his body at will, but generally doesn’t like to, so has aged much slower than him. She’s also kind of a badass. Ptonomy (Jeremie Harris, who can wear the hell out of some clothes) can enter people’s memories, which proves really useful in parsing out what’s going on in David’s brain (the central question being, is he schizophrenic, or a superpowerful mutant that can rewrite the world?). Ptonomy also has an awesome Thompson machine gun.

As much as I’d love to write an episode-by-episode breakdown of why this is the greatest thing to come out of the Farnsworth box and enter the center of my brain like one of Brian O’Blivion’s Videodrome tumors, I know we live in an age where even the most voracious of readers are devolving to have the attention spans of sugar-stimulated gnats, so I’ll try to just brushstroke its greatness in a few more hyperbolic paragraphs of praise.

Back in 2012, X-Men: First Class Screenwriter Zack Stentz tweeted:

“My goal in life is to get “Oh! You Pretty Things” into an X-Men movie. I think I’ve got a good shot at succeeding.”

For those that don’t know, “Oh! You Pretty Things” is a classic David Bowie song from his early masterpiece (just one of many) Hunky Dory. It contains the following lyrics:
Look at your children
See their faces in golden rays
Don’t kid yourself they belong to you
They’re the start of a coming race
The earth is a bitch
We’ve finished our news
Homo Sapiens have outgrown their use
All the strangers came today
And it looks as though they’re here to stayOh you Pretty Things
Don’t you know you’re driving your
Mamas and Papas insane
Oh you Pretty Things
Don’t you know you’re driving your
Mamas and Papas insane
Let me make it plain
You gotta make way for the Homo Superior

I have no idea if David Bowie ever read an X-Men comic, or whether he would have wanted his beautiful song used in a giant mega-blockbuster comic book franchise movie (for enough Euros, though, probably sure). But I do know that those lyrics, by happenstance or design, pretty much summarize the entire reason for being of the X-franchise. That is the very essence of what every really good X-men story is ultimately about. The freaks represent an evolution, and mankind in all its tremulous fearfulness just ain’t fuckin’ ready.

When I read Stentz’s tweet, just after Days of Future Past was announced as the next X-Men flick, I thought, This guy gets it. This is EXACTLY what the soundtrack to a ’70s-set X-movie needs. This is style and attitude and a connection to something bigger than this insular comic book multiverse. 

Then the movie came out, with neither Stentz’s name in the credits nor the song on the soundtrack, and those are not the only ways Days of Future Past disappointed me. But I won’t go into that here. For whatever reason, Stentz has had nothing to do with the franchise since, though I’m sure he’s having a fine career, and no one else in the movie side of X-world seemed to give a shit about his inspired pop musical idea. But over in Hawley’s world…

BAM! A beautiful cover, an expressionistic montage, a pointed use of this terrific song at an integral moment in the show. And that’s just one of the many examples of Hawley’s brilliant use of music to augment and underscore his high-art pop confection, which honestly has a David Bowie feeling all over it, from production design to wardrobe selection to just a general vibe. But back to the music: Pink Floyd’s “Breathe (In the Air)/On the Run” scores a crucial moment in the season finale, and they are another musical force whose artistic identity infuses the show. As musical acts, Floyd and Bowie didn’t shy from scifi concepts; rather they fully embraced them, and they’ve obviously had a profound influence on Hawley’s approach to the genre, to which I can fully relateAgents of S.H.I.E.L.D. did something similar in a recent episode with the Moody Blues “Have You Heard?” and it was terrific. Likewise Winter Soldier’s use of Marvin Gaye’s “Trouble Man” in its closing montage. I just wish more of these comic book shows and films would engage with deep-cut pop culture in this way (and not the wall-to-hall first-flapjack-off-the-griddle song selection of Suicide Squad).

The show doesn’t look like anything else, doesn’t cut together like anything else, says fuck-you to the idea of “where is this?” or “when are we?” It’s overloaded with style, and some might bristle at that, but it’s style worn comfortably over intriguing substance. It’s not afraid to be sentimental, hilarious, terrifying, outrageous, disturbed, distracting, profound and irrelevant, always in the same episode, often in the same moment.

In the early going, I thought Hawley was perhaps just using the Fox/Marvel franchise as a stepping-off point to indulge some weird experimental boundary-pushing televised mindscrew that would have very little relevance to or reverence for the source material. But while it definitely feels like he’s getting away with something, there’s no way that giant synergy machine would ever let him get away with all of that. So for those looking for a fullblown high concept comic booky genre show, it’s definitely there. In spades. With inscrutable government agents and spooky organizations and demonic presences and superpowered showdowns and carnage galore. For those who might watch the first one or two and think, Where is this going? It’s going nowhere, right? like it’s Lost all over again, you needn’t worry. Just as with Fargo, there’s nary an i un-dotted or a t uncrossed in the tightly plotted, flab-free eight episode arc. Why more shows don’t keep things to this manageable number is beyond me (I’m looking at you Netflix/Marvel).

Needless to say after all that emotive gushing, this is not Generation X’s Generation X. It’s post-millennial post-modern high art for lowbrow lovers of pop wonderment. If I ever get a chance to turn The Villain’s Sidekick into a TV series I’d want to do something as tight and well-defined and satisfyingly one-and-done as Hawley’s done with this flagship season. It’s like he’s taken the best lessons of indie film, art school, mini-series, his record collection and serialized soap operatic funnybook storytelling and put it in one of those blenders people pay a thousand bucks for because it can even make hot soup.

Go taste the perfection.

Legion

The Good Fight Vol. 3 For Sale March 21st

March 21st! That’s tomorrow! And by the time some of you read this it’ll be today, or yesterday, or sometime last year when you’ll really wish you’d known about it before all the shit went down. It’s bound to be a wildly entertaining anthology with something for everybody who likes superheroes, funnybooks, movies based on funnybooks about superheroes, TV shows spun off from movies based on funnybooks, or just enjoys slowing their roll long enough in this era of endless infotainment deluge to read crazy genre stuff on the printed and/or digital page.

tgf3ebookcover

The Good Fight Anthology Available for Pre-Order

tgf3ebookcover

A couple years back, I went Googling for ways to connect with other writers scribbling away in the strange little subgenre of superpowered fiction and came across The Pen and Cape Society, a consortium of like-minded scribes all aiming for the same thing–to shed a little more light and legitimacy on the stuff we love to create. They’re an invite-only group, so I kinda forced myself on them, hoping it would help me reach a wider audience and give me a chance to commiserate with my own kind. They were generous enough to deem me worthy, and now, with the imminent publication of the third Good Fight anthology I feel like I’m finally a full-fledged member.

I haven’t read any of the other stories in this collection as yet, but I have read the first two volumes  and they are terrific. I can’t imagine this one being a big step down in quality or anything. As for my fans, both of you should be thrilled to know that I’ve written yet another long-ish short prequel to The Villain’s Sidekickcalled The Henchman’s Apprentice. So if you ever wondered what HandCannon’s first real bad-guy job was like, how he adapted to his machine gun arm and other accoutrements, what kind of tacos he likes, his taste in drugs, and how his first kill went down, this is the place to read about it.

The official release date is March 21st, but The Good Fight, Vol. 3: Sidekicks is available for pre-order right freakin’ now.

Free to Be You & Me, but Mostly Free to You: The Devil’s Right Hand

As I further contemplate the turning of the screw that is achieving a half century of life, I find myself wanting to give away my earthly possessions–well, some of them anyway; definitely not the ones I use daily, like my car or any of my flatscreens or personal electronics–so I figure it’s a fine time to keep it rolling with a digital giveaway of the HandCannon origin story, The Devil’s Right HandSo let your keyboarding fingers do the walking over to Amazon where, from February 15th to the 19th, you can get yourself familiar with the life and times of Duke “HandCannon” LaRue.

And if you happen by today, the book that started it all, The Villain’s Sidekickis available for that same non-price for a few more hours. Makes a great Valentine’s Day gift (for lonely types who like their book-readin’ anyhow).

from the author of -The villain's sidekick-' (1) copy

Free The Villain’s Sidekick

villain_kindle

Full disclosure: I’m about to have one of those milestone birthdays this month, where I find myself a lot older than the younger version of me ever thought I’d live to be. So in honor of that, I guess, I’m offering a couple of my books free this month over on Amazon, beginning with the one that started it all, The Villain’s SidekickFor the next five days, grab it and run and get the skinny on Duke “HandCannon” LaRue, the semi-lovable henchmen with a machine gun arm, an iron jaw, a steel-plated skull, a lethal boss, an irritable ex-wife, a precocious six-year-old daughter, and a heart of pyrite. It’s short enough to finish in three to five bathroom sittings and there’s plenty more where that came from (including an upcoming prequel story in the third Good Fight anthology and the origin tale, The Devil’s Right Handwhich will be available free next week).

Review: The Regional Office is Under Attack!

regionaloffice

In a publishing world where we authors of a certain stripe are frequently told that there’s just no market for superheroic prose, it’s both heartening and frustrating when a work like this one manages to wend its way through the traditional distribution channels. Heartening because, like Soon I Will Be Invincible or The Violent Centuryit’s another testament to the fact that using a superpowered comic book backdrop is not only resonant to audiences well-versed in these tropes, it’s actually marketable! Frustrating because, well, most of us who write this kind of stuff would love to be in Manuel Gonzalez’ shoes, receiving legit literary attention for our exercises in subgenre. Hell, Gonzalez already has a movie deal, with Ruben Fleischer of Zombieland renown signed on to helm a bigscreen version.

Personal bitterness aside, though, I have to admit this one hit me in my sweet spot. Whatever its merits as capital L Literature, it’s a rollicking ride that’s equal parts thrilling, grim and hilarious. It contains homages to and elements of everything from Die Hard to Minority Report to Buffy the Vampire Slayer to Agents of S.H.I.E.L.D., as well as sharp, glancing references to the many science fictional, magickal and fantastical devices familiar to comics readers from the Silver Age through the Dark Age and right up to whatever Age we’re in currently.

If the title isn’t a dead giveaway, Gonzalez’ novel concerns itself with the events surrounding an all-out assault on the headquarters of a mysterious organization dedicated to combatting the Dark Forces that are Amassing to Threaten our World. But the shadowy Regional Office is not a top secret governmental branch or an ancient order that’s been operating since the dawn of time; rather it’s a privately funded operation fronting as a high-end travel agency, and founded by a couple of lifelong friends–Mr. Niles and his superpowered crush object Oyemi–involving future-predicting Oracles and a vast network of mainly gorgeous badass female assassins, recruited–and sometimes abducted–from trailer parks, shopping malls, and high schools all over the country.

Bouncing between past and present, and far-flung locations from Texas to New York to a neighboring dimension, we learn the story of a couple of such recruits: Rose, a smalltown girl with a go-nowhere life and an inherent knack for mayhem; and Sarah, a fairly ordinary if high-strung woman with a tragic backstory and a mechanical arm. Their destinies are set on a collision course when a couple of disgruntled Regional Office employees decide to repay disappointment and betrayal with the titular attack.

Whether you’re into the superpowered subgenre or not, The Regional Office is just a really fun, page-turning read that doesn’t take itself too seriously, brimming with a drily sarcastic millennial wit that offsets the sometimes shocking moments of intrigue, danger and violence. But neither is it a constantly campy jokefest or all satire and no substance. Gonzalez gives us just enough, at least with a few of his characters, to raise the stakes and shape them into human beings to be fascinated with (if never to quite root for). Many things are sketched in or unexplained–i.e., we never learn why the Office recruits only women to their cause–and in a few cases that’s frustrating (we never discover one character’s actual fate, despite a few suggestive hints), and  I can’t help wonder if Gonzalez wanted to leave things open-ended enough for a sequel or three. But the narrative filigree he uses to sketch out his world is right in my wheelhouse–warlocks in Kansas, interdimensional field ops, nanotech with a mind of its own. In my own superhero prose, I take great pleasure in dropping those kinds of high concept notions into casual conversation or interior monologue, the suggestion of a wider, wilder world often more tantalizing than a fully committed plunge into all of its depths.

Gonzalez is a terrifically entertaining writer, his one notable weakness for me an over-reliance on a singular snark-drenched voice; whether he’s in Rose’s head or Sarah’s, crafting long passages of a fictitious academic research paper on the attack and its aftermath, or putting us in the heads of hapless hostages during the siege, the point of view and offhandedly chatty tone remain almost too consistent. But despite these quibbles and a couple of narrative dead ends and unrealized ideas, The Regional Office is Under Attack passes this reader’s ultimate litmus test: I kinda wish I’d written it myself.