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GALLERY: THE OTHER DEADPat David • Mike Shoykhet •Kevin Eastman • Qing Ping Mui &Blond • Mike Shoykhet •David Millgate • Shane White •Tim Vigil & Blond • Dave Dorman
CarpeDIEmW.H. RaufRhoald MarcelliusSakit Yuwono
THE LOTTERY PARTYRichard Caldwell
TALES of the BUDDHA(Before He Got Enlightened)Alan GrantJon Haward
GALLERYMark A. Nelson
THE GARDENMark A. Nelson
We Are LEGIONDave ElliottGarrie Gastonny
Sakti Yuwono
DRAVN 1805:FROM THE DEPTHSJesse NegronDave ElliottHendry PrasetryaEko PutehBramasta Aji
“How has this brilliant premise not been done yet? Just when we’re inundated with ‘zombie this, zombie that,’ Ortega, Digger,and Eastman come along with a rip-roaring adventure that provides the most unique spin on the zombie apocalypse in years.” – Cliff Bleszinski Creator of Gears of War
“The Other Dead has the perfect combination of action, emotional impact, and brooding/building horror. I kept turning thepages to run from the impending doom.” – Kevin J. Anderson New York Times bestselling author of the Dan Shamble, Zombie P.I. series.
“The basic conceit of this story, that nature, not our neighbors, is the real threat, harkens back to Hitchcock’s The Birds andSpielberg’s Jaws , only taken to the next level. Just when you thought the zombie genre had been strip mined, The Other Dead proves you wrong.”– Robert Napton Writer of Battlestar Galactica, Warlord of Mars, and Dark Wraith of Shannara
in 1930, although evidence exists thatan earlier version had been submittedin 1926, Gladiator is the story of HugoDanner, a product of his timid scientist fa-ther’s early experimentation into geneticmanipulation. But Hugo is also a productof his times, as the then young PhilipWylie’s novel presents a penultimate shout of water tale, a slice of life comingof age narrative where the lead charac-ter struggles with nding his place in arapidly changing world while growingup and preternaturally growing wiseacross America and around the globe. Tocomplicate matters, thanks to his conspir-ing against nature parents, Abednego andMatilda, Hugo is from birth a man-god,a super-man whose physical constitutionis exponentially greater than that of anyother man. And contrary to that origin,this is no superhero story. While the book has gone through at leasta dozen printings in the almost ninetyyears since it was written, where it rateson anyone’s radar is generally in refer-ence to how Wylie’s Hugo Danner was aprecursor to the likes of Superman andDoc Savage, in that Hugo has rock-hard
esh, can run faster than a speeding bul -let, is more powerful than a locomotiveand can leap tall buildings in a singlebound. Yet at no point does he even re-motely consider dressing abnormally
or pursuing justice by beating the turds
out of motley crews of law-breaking ne’erdo wells. Hugo is a young man with greatgifts of strength, and even before pubertyis painfully all too aware of what makeshim different and sets him apart from hisfellow man. In his youth he makes tre-mendous efforts in hiding those gifts, andas he matures he gradually wrestles moreand more with the ongoing dilemma ofallowing those gifts to control the worldaround him, or allowing the worldaround him to control those gifts. After a failed attempt at college and apromising athletics career (due to a mo-ment of lost control), Danner becomes adrifter, traveling about incognito whiletaking on any number of random odd jobs on his voyage of self-discovery.Finding a momentary sense of purpose,he enlists in the Foreign Legion for aworld-spanning war and soon becomesa hero to many, although he’s eventu-ally disheartened by seeing such epicpotential for destruction within himselfin a very “Heart of Darkness” sort of way.Following the years of grisly horrors onthe battle eld, Hugo returns to the stateswith a better sense of his capabilities and
the increasing desire to repurpose himselffor greater aims, which puts him at oddswith both corporate and political powers.Danner comes full circle and embracesa manner of self-acceptance, almost tothe point of becoming a bully, pushingwhat he feels is ethically right and proper.Thus his questing takes him into moralterritory where the adage “might makesright” is certainly put into question. Fromthe ostracizing of his youth, to dealingwith the prospect of becoming a leaderof men, Hugo is as torn as any intelligentbut non-super mortal might be, and thebook ends on a surprisingly shocking andviolent note that is arguably loaded withbitterness of spiritual insinuation.
While this novel absolutely predates thecostumed superheroes of the comic bookmedium, it also preexists many of theprose pulp heroes of the 1930s and ‘40s.It is de nitely conceivable that Hugowas some degree of in uence on thosethat came later, but that should not belimited to Superman or Doc Savage, asspeci c elements of the narrative couldeasily have also inspired the “rejected bysociety” themes of the assorted X-Men
characters, the proportionately bug-like abilities of Spider-Man (or his own
precursor, the Fly), and the super-soldieridiom of Captain America (or the bettervariant, Fighting American) to name afew. I would even suggest that Hugo’ssweaty but insightful encounters with along line of female companions may havein uenced the philosophy of relationshipwritings of the great Milan Kundera. Butas my title expresses, I also feel that, notat all contrary to Wylie’s suggestive ob-servations concerning the strange roadsthat scienti c achievements are leadingour species down, in many ways this maybe his updating or homage of Mary Woll-stonecraft Shelley’s Frankenstein . Theultimate man, with no suitable rules toabide by and meeting nary a friendly facewithout duplicity or other ulterior mo-tive, Hugo Danner is the more than man,freak of a man. In the three times I haveread/studied/fought with this book overthe last couple of years, I have avoidedreading other essays or reviews of thework as I prefer to form my ideas withas little in uence as possible. That said, Isincerely believe this is Wylie’s modern-ization of Prometheus Unbound , cast inan age even more be tting of the moralis -tic implications of sciences that are over-
taking our dogmatic social insecurities.Wylie was by no de nition a rookie scribewhen this novel was originally released,young though he truly was. He went onto write many more books and essayswhile staying ever mindful publicly, andperhaps even vigilantly, of the bridg-ing points between science, politics, andmorality. While at once perfecting Shelleyand laying the groundwork for the godsof old to be reinterpreted as heroes oftoday, Gladiator is a powerhouse novel,and should be celebrated widely.
Hugo is from birth aman-god, a super-manwhose physical consti-tution is exponentially greater than that of anyother man. And contraryto that origin, this is nosuperhero story.
21
by Richard Caldwell
PROMETHEUS UNBOUND AND MAKING A FOOL OF GOD An essay of Gladiator, the “oh my god you have to read this” novel by Philip Wylie.
y per-sonal work reects along standing inter-est in myths, folktales
and different cultures. Joesph Campbell (ThePower of Myth), Buffy
Johnson (Lady of theBeasts), Marija Gimbu-tas (The Language ofthe Goddess), naturalhistory writers: DavidQuamman, S. J. Gould,Carl Zimmer, EdwardO. Wilson, and a large
list of sci- and fantasywriters have created thebase for my personalquest and approachesto creating images.TheBroken Angel seriesdeals with the god-dess and the jaguar,the Headdress seriesdeals with the varioussides of the goddess
and the Medusa seriesdeals with the myths ofthe Medusa and metis.Each drawing is alsoinuenced by the modelI use. There are a lotpersonal symbols inthese drawings, and Idon’t expect the viewerto know them all. Theybecome designs and
elements in the draw-ings and hopefully helpthe story by creatinga mood or questions.The best descriptionof my work came fromanother artist, whosaid “your work is veryshamanistic.”
I have worked with avariety of mediums.Everything from oils,
acrylics, watercolors, pastels,silverpoint, lithography, etchingand drawing. These images aredone on paper rst, the drawingis worked up with black and whiteprisma-color pencil on a greypaper, and then scanned into thecomputer for the coloring.
I nd that with Photoshop, I cankeep the character of the drawing
ark A. Nelson
and add layers of color. I try toblend layers of color as I did withglazes in oils or the transparencyof litho-inks. The computer for meis another tool for the artist to useto express their ideas.
m SLAYERS A-SLAY 15.00m GLAMOURAMA A-GLAM 15.00m ART OF PETE TAPANG A-TAP 15.00m ATLANTICA A-ATL 15.00m BOOTY A-BOOT 15.00m SWORD SONG A-SS 20.00
m ART OF HOTTINGER A-HOT 15.00m SAVAGE ART OF LARKIN A-LARK 20.00m BEAUTIES & BEASTS A-BEA 20.00m ART OF CALANDRA A-CALAN 15.00m DRAGON SONG A-DS 20.00m DRAKAINA MASTERS A-DMAS 15.00
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