Category Archives: indy acts

FINALLY: TALES OF WEIRD CRIME with Doctor Satan — FREE 30 pages of pulse pounding pulp story, part one. Welcome to the Golden Age.

Part One of Three – 30 pages. See PDF for all details. Part Two is getting edited for polish.




In 1938 Doctor Satan opens a supernatural gate and summons a horrible and deadly monster in the middle of a titanic hurricane. All over Gotham City, police officers are brutally slaughtered by a ghostly executioner from the other side, walking with young black men, now ghosts, that never had a chance to see justice done when they were alive.

Over a hundred police could die in a fortnight, in a wave of supernatural blowback. The death of Jim Corrigan is key, as he is the first officer to fall. His death launches Doctor Satan’s deadly plot to use a wrathful spectre of vengeance to decimate the Gotham PD.

A circle of anonymous vigilantes gathers to face the approaching storm, working in the shadows. The mysterious Sandman runs the opposition to Doctor Satan and his insidious plot. Female adventurer the Black Fury and her partner, the Green Lantern join the group as new members. Carter Hall, international adventurer, brings the weapons as quartermaster, and Doctor Fate lends his strength as a sorcerer.

And deep in the dark of the night, the Shadow laughs.

“When policemen break the law, then there isn’t any law. Just a fight for survival.” –From the ballad of Billy Jack




JSA 1938: Blue Massacre in Gotham City (Pulp Story)

JSA 1938: Blue Massacre, the story of the Mystery Men that formed the first JSA in 1938, set in Gotham City. I do not own the copyrights to these characters, so these materials are NOT FOR SALE (fair use). DC has also been throwing away its Golden Age inventory, showing no intent to keep publishing. So, I thought I would show DC how to use their Golden Age inventory in a fresh, inventive and fun manner (FOR FREE!!). The final story is a 50 page pulp story that tells the story with words rather than pictures, and a few illustrations. See below for Synopsis.

First draft of part one (25 pages) is pretty tight. Could be done after this weekend. Part 2 is also mostly written. I just have to fix some pages and write the final battle (already plotted out). I just saw my income situation get some help, and my health is better. So, I hope to be posting a LOT more. The past few months has been difficult, but I did produce a lot. I am sitting on a lot of stuff that needs just a final polish and scan.

Should be a lot of stuff posted in this space coming up real soon. Enjoy! -Brian



JSA 1938: Blue Massacre in Gotham City.


In 1938 Doctor Satan opened a supernatural gate and summoned a horrible and deadly monster in the middle of a titanic hurricane.

All over Gotham City, police officers are brutally slaughtered by a monster from the occult world, who crossed over to our side by black magic. The creature targets coppers and raises ghosts to testify. All of these officers had a secret to hide, except Detective Jim Corrigan, victim number one. The Gotham City Police are hopeless as the union muzzles everyone. They were unprepared for a blue massacre by a howling spectre, and blood on the walls. Over four dozen police could die in a fortnight, when the harvesting moon will take the sky without shadow. Solomon Grundy has risen from the swamp, and and the man holding his leash is Doctor Satan, master of walking corpses.

A circle of anonymous vigilantes gathers to face the approaching storm. They form a circle of virtuous men, working in the shadows. The mysterious  Sandman runs the opposition to Doctor Satan and the Spectral Creature. Female adventurer the Black Fury and her partner, the Green Lantern join the group as new members. Carter Hall, international adventurer brings the weapons as quartermaster, and Doctor Fate lends his strength as a sorcerer.

JSA 1938 – is a period correct look at the Golden Age comics and Pulp stories of the time. I have applied my graduate degree in Interwar History (1918 to 1941) and a lot research to create an exploration of the Depression Era, just before Pearl Harbor.









(NEW) TAKEDOWN Part 7 – Escape Velocity (7 pages)

This is the second to final chapter. To see the previous chapters, go to the Takedown Page Here.

Oberon Destroyers – Takedown – Part 7 featuring the Quiet Ninja XXIII. This is the last installment, except for one Epilogue – Dinner with the Family. I actually have two more stories in the pipeline (at least half drawn) so I am hoping I can unroll a goodly portion of pages by Christmas and the end of the year, including something that features Prince Crow, weird homeless traveler from another world. Oshogatsu Omedeto!!


(NEW) PRINCE CROW: First Days on Earth (Homeless Hero from Another World)

FINISHED!!! Prince Crow: First Days on Earth, a five page story on being a homeless alien. Prince Crow is one of the three Oberon Destroyers team members. This tells what he did before he joined the team, just after jumping into Earth Space at the end of Oberon Destroyers Issue #2.  At end of 2014 and start of 2015, this space continues to produce original and new stories and art that are actually better than you think!!


PrinceCrow2_FNLpage2 PrinceCrow2_FNLpage3 PrinceCrow2_FNLpage4 PrinceCrow2_FNLpage5

(NEW p.2) Looking for Yara-San, 3 Original Men with acoustic guitars (RECOMMENDED MUSIC)

This is part two of a two part post. Please see part one here. That covers my initial set up and the amazing Joe Stevens, a tremendous talent that deserves more attention.

PART TWO (Eli Conley and Adhamh Roland).

(RECAP) When I lived in Japan I found a very talented performer, a guitar player and song writer named Yara Asatomo. I really liked his style and aesthetic and the lyrical manner of the  language he used. He sang of ordinary lives filled with rich emotion.  Back in Sacramento in 2009, I came up with nothing after a year of searching. In Spring 2010, at a local fundraiser arranged by a friend, I was amazed to hear a wonderful voice. I literally thought as i heard him sing for the first time, “Hey, he sings maybe as good as Yara-San.” True story. Most people are content to live a monocultural, monolingual life, but that’s not me. I ate the apple, even if epic song sycles are still a bit beyond me.


Eli is orginally from Virginia, now living in Berkeley and Oakland. He’s been playing gigs and putting out his own albums for over five or more years.  He’s toured both east and west coasts. He is very serious about his music. Eli takes elements from folk, old spirituals and southern music and goes in his own direction, singing more laments than ballads . His love songs tend to be breakup songs with  fight and sass to them.  His modern sensibility in his lyrics tranlates his particular lovelife into something powerful that crossover audiences enjoy, which is something I look for in performers. What I like about Eli’s melancholy laments is that you always get the sense that the protagonist will always live to fight another day.

He is an expert crooner  known for his voice. He is a very modern artist, doing breakup songs like I’m Doing Me (with Ashley Moore), or issues of social justice, like Dry as Sin, a lament about big coal’s corrosive effect on an entire region of the country.  The novelist James Baldwin is also a  major influence on his work.  Eli also has a classical chorus background and something else, that makes you think of a old country spiritual sung by June Carter Cash back in the old days.  Eli is adept at merging modern elements with more popular, traditional idioms pulled from disparate places.

Eli’s song “Pinochio” was a very important song for me, shaping my earliest thinking  (2010) on characters that would later appear in a story called “Oberon Destroyers.” Four years later and Eli’s released two albums and been real busy.

Eli Conley. I have this picture at home (signed) next to Julie Benz (also signed) and Ozaki Yutaka’s picture, dedicated to talented performers who put the audience first.

Eli is very political, but he doesn’t go for the direct, artless, nagging approach in his music. Eli writes about how people experience these things in the context of an ordinary life, avoiding all the usual categories and cliches. And yet, he has this almost conservative ballad style that sounds mainstream until you listen just a little bit closer.

Besides Siren Song, a big popular favorite among the fans is  Call You Out. It’s a funny song, set to really cool music. Its about stalking on Facebook, seen from the view of the perp. It’s brilliant, and the hook, melody, all of it. It’s a great reminder that despite his traditional influences, Eli is  a thoroughly modern voice. It’s quite fascinating to see how he weaves together a life that encompasses Richmond, Virgina in the South, and the bohemian quarters of Berkeley and Oakland.

Great News – Eli announced on his website that he is getting together with long time friends and fellow musicians “Papaya” Wiitala (bass, guitar) and Koralie “K Sugar” Hill (accordion, banjo, fiddle). One hopes we shall have recordings with that wonderful full sound on Eli’s first album with Hip for Squares (see his website). soon from Eli in due time. Keep in touch.

Eli Conley Official Website –


ADHAMH ROLANDadhamh-resize-10x10-720x720-v-12

 It’s a little difficult to write about Adhamh’s music because I feel the greatest affinity with his work. I feel it so immedietly and viscerally i have no idea what it sounds like to other people.

There’s a lot more punk and rock woven in with Adhamh’s folk roots. He sounds to me like the natural descendent of the edgy but lyrical punk band Violent Femmes (80s), known for Blister in the Sun. When I was Tokyo in 91, I bounced between two songs on the Violent Femmes 3 album – Outside the Palace and Nothing Worth Living For.  A lot of Adhamh’s work has that same quality as Outside the Palace – kind of melancholy but still with a bounce in the step.   I think it has something to so with an eccentric rhythm on an acoustic guitar. Something like that.

Like Joe and Eli, Adhamh is a true original that weaves together a variety of sources seamlessly into new combinations, built on solid platform of popular  folk music that makes Pete Seeger applaud up in heaven. Adhamh’s first collective was something called RiotFolk, that featured other performers of note like Ryan Harvey and Evan Greer. Adhamh has done his share of “message music,” usually songs that are quite subversive in an inventive, orignal way.  He did a version of the old spiritual sung by June Carter Cash and her mother Maybelle, but turned it into a fiery song against religion. But he knew the song well enough to adapt it, y’know? In recent years he’s created more intimate, personal worlds in his music, about lives often blighted by an unforgiving world of lopsided power.

Adhamh’s music about growing up in Missouri are filled with that sensibility, but never naked propaganda. Adhamh is too much the poet for that. The midwest of his youth,  a frequent theme in songs like Don’t You Ever Forget, is a good example.  He has a good sense of how stubborness works its way in things.  This Week, a song he wrote about his grandmother’s passing and withering of family finances is another powerful song.

I think Adhamh seems to be at a point when he wants to focus on a constructive life of poetry, and just wanted to try to talk less shit. HIs gives his take on human relationships in the world of friends, family and lovers in You Treat Me Good I’ll Treat You Good. He doesn’t hold back, but you have to read between the lines a bit. Just follow that eccentric and charming guitar, and there you are.

Family,  is about creating new families in new places based on acceptance rather than biology and old categories. He brings in feelings of mortality to family, giving the song a much deeper emotional texture. His focus on fundamental themes rather than “the particulars of each case” welcome in new listeners, as with Eli and Joe. And he always has an interesting take on things worth hearing.

One of my favorites is an upbeat, somewhat blue and very modern love song, Just Ask.  He also frequently straps on his second (first?) favorite instrument – his accordion. It’s Good To Know You demonstrates that Europeans and Adhamh are a love affair waiting to happen. Blues on the Accordion, just as it should be.

More than anthing I like the tightly controlled intensity of his work, as in this live performance. After two years of not playing many shows, Adhamh is back and ready to play. In fact, he’s be in Portland in three weeks.

See? I can’t describe him at all. Too close to home, too mecurial, too … y’know. I also had a friend in Oakland, Brian the Baker, who adores Adamh’s music. He is one of those anarchist free spirits too, that always appeal to me before I throw up my hands – “Free spirit! They do what they want! Who told them they could that??!” I think its something to do with always preserving a place in your heart for the countering voice of someone who unplugs the usual power circuit, and trys something new. Prince Crow (of Oberon Destroyers) is the only character based so much on one person. Adhamh has probably seen the pictures and asked himself, “do I know that guy? I think I know that guy…” But Prince Crow also represents a mileu, outlook, and credo for a place I know so well I could write the police report without notes. We need those voices.

You can find a lot of Adhamh’s early work on Youtube, just search his name.
Many of the songs mentioned come from his album Patchwork and Threadbare (you can search the album on Youtube).
He just opened a new site to post his music, for free, and this is where I would go for his new music. I suspect the number of songs on soundcloud and wordpress will grow quickly as Adhamh uploads more new and old work – he’s written a lot of songs for a young fella:

Part One and Two – In the Can, that’s a wrap.

Two songs to go out with –
Best single moment of crooning in all history
Ishihara Yujiro from the film “Mad Fruit” (Kurutta Kajitsu), song written by his brother Shintaro. If you have to ask you just don’t know. Just listen to that voice!! Yujiro’s diving so deep he’ll hit the bottom of the ocean soon….
If any frequent readers think they something familiar about Yujiro’s face, you need to keep walking. Nothing to see here.

a lovely piece by the Anarchist, free thinking, humanity serving, awesome band Soul Flower Mononoke Summit, who made a name playing for the senior citizens made homeless by the Great Hanshin Quake in 94. This group specializes in adapting 80-90 year old pop tunes (prewar) and adapting them. But, they stick to mostly the original instrumentation. This song is a gorgeous, lovely little ballad (not a lament).

Brian says — You should check this song out.
USA dude – But I don’t understand Japanese.
Brian – Yeah but now songs have new things like melody, harmony and rhythym which can now be enjoyed in their own right.
USA dude – What are those? New apps?
Brian – Yes. New apps.
Europe dudes- (tittering in the background)

The International in French (Pete Seeger!)
The International in English (Billy Brag!)
The International in Chinese (rock version by Tang Dynasty!!)
The International in Japanese (Party Version) (Soul Flower Mononoke Summit!!)

Guess what – its the same song, in many different languages. Ain’t that crazy?