Twisted Pulp Magazine Issue #2

Twisted Pulp Magazine returns with a new selection of pulp and satire to tickle both your funny bone and tingle your… fear bone? This issue brings you more from Mark Slade, Lothar Tuppan, Chauncey Haworth, and Kara Kittrick, and adds in stories from Kesenia Murry and Rob Lowe (not that Rob Lowe). The issue also features artwork by Thomas Malafarina, Cameron Hampton as well as a special interview with comic artist Steve Englehart.

    Contents

  1. All Hail the New God By Randle Cocksmith-Jones
  2. The Strange Yet Familiar Worlds of Cameron Hampton
  3. Bidenbot 2000
  4. Steve Englehart: Ten Questions For The Comic Writing Legend
  5. Dementia By Kesenia Murray
  6. A Post-Apocalyptic, Twisted Pulp Interview with Jesus Christ
  7. Mrs. COVID 19
  8. Silly Seymour by Dr. Sause
  9. Of Eons and Stars Parts 3-5
  10. Willy Wonka Part 2
  11. Vampires of the West Coast Chapter #2
  12. San Sincero, California—An Urban Emanation from the Camino Real
  13. Travel Guide to San Sincero, California
  14. Struck a Nerve – A Story of San Sincero, California by Lothar Tuppan
  15. Turntable by Miguel Angel Caceres and Mark Slade
  16. Charles Goes on a Date: A Cartoon from Mark Slade and Thomas Malafarina
  17. Moron Tabernacle Choir – A Maladjusted Cartoon from Thomas Malafarina
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Steve Englehart Interview

Steve Englehart on Comics, Creativity, and Changing the Superhero Genre

Ten revealing questions with the legendary writer behind Captain America, Doctor Strange, and more.

Steve Englehart is an American writer of comic books and novels. His impressive comics experience includes his work at Marvel Comics and DC Comics in the 1970s and 1980s and The Night Man in the 90s.

When superhero comics began asking uncomfortable questions about power, politics, and identity, Steve Englehart was often leading the charge. His influential 1970s runs on Captain America, The Avengers, and Doctor Strange reshaped the genre’s ambitions and its relationship to the real world. Here, Englehart reflects on the ideas, instincts, and risks behind a body of work that changed what comics could be.

How did you get started in Comics? Reading your bio you studied Psychology?

I loved comics since I was a little kid, particularly the art, since the stories were simply serviceable. Maybe that’s why I wanted to do stories I liked better when I got the chance. And stories are all about people, so psychology.

Master of Kung Fu 17
Master of Kung Fu 17

What was it like working for Marvel in the 70s?

Fun. It really was the Bullpen they said it was, a small group of people all devoted to doing great comics, and I was psyched (so-to-speak) to be involved in it. We had complete creative freedom to make the best comics we could, and that’s not a common thing.

What was the biggest difference between DC and Marvel? Both of which you’ve worked for.

Marvel Premiere 9
Marvel Premiere 9

Marvel has become a real corporation, but it’s always had a human vibe because Stan had a human vibe. DC has always been a corporation and they have no human vibe.

You’ve created quite a few characters, which one did you enjoy writing about the most?

Coyote. My first series outside the Comics Code so I got to go in all sorts of new directions.

Coyote Comics

Do you think your environment—where you live—has an effect on the type of art you create?

I think so. I moved to California because I liked California, and so I have had a more complete life than if I were living someplace simply for work. Also, Cali has a certain vibe and that probably comes through in my overall body of work.

Is it easier for you to create if you are given an assignment or does it get in the way of your creativity?

Either way, because when I started it was all assignments and we didn’t know anything else—while, as I said, we had complete freedom to create. So I could make any assignment whatever I wanted it to be. (I should add that I’m old-school enough to honor the character I’ve been given, so that is part of what I wanted it to be. I don’t believe in blowing things up to just do it. But building and expanding makes for good stories.)

The Point Man by Steve Englehart
The Point Man by Steve Englehart

You’ve also written novels and screenplays—not just comics. What medium do you think you’ve achieved the most in with your writing?

Comics. I naturally resonate to the rhythms there. I can do others and I like the others, but those are rhythms I have to adapt to.

What have you written that you are most proud of?

It’s an annoying answer but I like almost everything I’ve written, because I almost always make it what I consider likable (and hope you think so, too).

Detective Comics 476
Detective Comics 476

What was the oddest thing you’ve ever been asked to do in your writing career? A specific assignment from a comic book company, a screenplay for a producer, or books for a publisher?

Off the top of my head: I was asked to do an English script for a Yu-Gi-Oh! cartoon, where the villains spoke normal language in the original, but were supposed to rhyme in English. The problem was, they would make mouth movements for “Blah blah blah blah blah,” and then “blah.” It was impossible to make any rhymes. But when I showed the producer that he said, “Do it anyway.” Needless to say, I bailed.

Steve Englehart
Steve Englehart

What projects are you working on now?

A while ago I set myself a huge challenge, writing-wise, because that sort of thing is fun for me. I would write chunks of it, then forget about it for months while I’d travel or whatever. Then when the pandemic hit, I started to work on it daily, and now I’m close to finishing it. It’s a seven issue “mini” where each issue is 60 pages long, and soon we’ll see if anybody wants to draw such a thing. But from a writing standpoint it’s been the usual fun.

More about Steve Englehart

Date Created: 02-22-2021
Date Modified: 12-16-2025

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Issue-2-Cover

Twisted Pulp Magazine Issue #2

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Willy Wonka Part 2 by Rob Lowe (Not that Rob Lowe)

Willy Wonka Part 2

By Rob Lowe (Not that Rob Lowe)

We currently are living in the #speakout movement and many stories have come out about many celebrities. There are some stories unfortunately that will go unnoticed. Some stories that will get pushed aside. I recently talked with someone who has tried to speak out about his story but nobody will listen. His name is Larry Furgenstien. Larry was born with dwarfism and was teased about it his whole life. He ran away at the young age of thirteen where he found other people with dwarfism. They formed a mini colony under an overpass off of I-95 in South Carolina. They were doing well for themselves until one day a limo pulled up. Out of the limo steps a man in plaid colorful pants, a purple jacket, a yellow top hat, and crazy hair. His name. Was Willy Wonka. Yes Willy Wonka—the same man who has graced us with candy for generations. This is part 1 of my interview.

Larry told me, “He (Wonka) came up to us and smiled and said he wanted to help us. And that if we came with him that he would provide us with shelter and food. So, of course, we went with him! We were tired of living under that damn overpass! We thought this guy might look crazy but hey its a place to live.” Willy Wonka took all thirty of the little people to his factory as they looked out the windows in awe. Larry said, “We couldn’t believe it! On the car ride over he was telling us that he works at his own factory and makes his own candy by hand. We didn’t quite believe him at first until we got to the gates and saw his name on the building.” At that point the limo stopped behind the factory and that is when all hell broke loose.

“The limo just kept driving around to the back of the factory. My buddy Ron at the time piped up and asked, ‘why aren’t we going through the front?’ Wonka just let out a little giggle as we pulled around back where about ten of these guys in suits and sunglasses were standing. At that point I knew we were in trouble.” Larry began to cry as he told this part of the story. He told me that the door opened as Wonka instructed all of them to remain seated. He saw Wonka go up to one of the men who was wearing regular glasses and not sunglasses. He whispered something to him and walked away into the factory. The men then surrounded the car and the man with the glasses ordered them all to get out of the vehicle. Larry went on to say, “Of course, we refused because we knew something was up. Then he reached into the car and grabbed my buddy Ron by the legs and yanked him out. We all started screaming and the car door was slammed shut. The driver locked up the doors and opened the sun roof as a can of sleep gas was tossed in. We all panicked but the roof was shut already. I looked out the window and all ten of those men were beating the shit out of Ron. I haven’t seen him since.”

After that bit Larry needed a small break. He was crying hysterically about losing his friend. He told me that they used to play Care Bears together. Join me next time as we dive deeper into the story that is Larry Furgenstien.