Category Archives: Doc Savage

Doc Savage, High and Low: The Flying Goblin and the Tunnel Terror (#SFWApro)

Both books this month are by William Bogart, not Lester Dent, and both covers are by Bob Larkin. All rights to covers reside with current holder.

2846284THE FLYING GOBLIN starts off in cracking style: two hoods summon a hurtling Something from the sky to smash into Doc’s crime college (which hasn’t appeared since The Annihilist) and bust out Birmingham Jones. Jones has undergone Doc’s memory-wiping surgery, but he hasn’t been broken of the desire to kill, so the bad guys recruit him. Meanwhile Ham and Monk, acting on their own, investigate a pretty young woman’s story of seeing a similar flying object near Sleepy Hollow (there are references to the Headless Horseman, but nothing really comes of that angle). The flying thing destroys their car, almost killing them. What is this mysterious super-weapon/being? And what are the bad guys’ goals?

It’s a lively story until it falls apart at the end. There’s no good reason for the guys to have attacked the college (which is, after all, guaranteed to draw Doc’s attention, a thing to be avoided) as Birmingham Jones isn’t really any tougher or nastier than umpty-zillion other thugs in the series. And how did they know his mental state, given there’s no hint they have a spy inside the college?

Then there’s the climax in Paris. Once again, WW II infringes on the series, but only in the sense that there are two unidentified countries fighting somewhere else in Europe (apparently only two), and both sides think the other is using the flying weapon (a super-fast radio-controlled missile) against them. France? Apparently in the Savage-verse it hasn’t been fighting in the war since the previous year. Oh, unlike The Evil Gnome, the bad guy’s real goal isn’t to sell his weapon, it’s to terrify the world into making peace (in another WTF moment, the two warring countries do indeed stop fighting. It’s as incompatible with the real world as Fu Manchu assassinating Hitler).

In a minor note, Bogart forgets that Renny looks saddest when he’s happy and vice versa.

THE TUNNEL TERROR is flawed, but a lot better. It starts, like a lot of recent Dent stories, with an unemployed drifter; this time it’s veteran tunnel digger (“mucker”) Hardrock Hennessy. Hitchhiking out West to get a job with one of the big dam projects, he encounters a mysterious fog that burns when it touches and fatally desiccates anyone caught inside it. He narrowly escapes, but the fog is soon threatening other people in the digging tunnels around the big dam. There are also remnants of a lost civilization of giants — is it possible they’re still down there, alive? As with The Awful Egg, it’s not a possibility we can rule out.

It turns out, though that the gas and the supposed giants — the artifacts are real, but the makers are long gone — are part of a scheme to stop the dam project and relocate it to land someone else owns (land grabs are a familiar series plot). Today, of course, they might be able to stop the project based on the archeological significance alone. It’s a solid story, but the lost race probably needed to be played up or somehow tied in with the gas — as is, it’s like the bad guys were just throwing plots at the wall to see what sticks (which admittedly would be plausible). We do get one of the series’ competent women, Chick Lancaster, a tough-minded but (of course) gorgeous engineer working on the dam.


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Continuity and Doc Savage: The Boss of Terror, The Awful Egg (#SFWApro)

Doc Savage is, in many ways, a pulp forerunner of the comics super-heroes. But one of the ways Lester Dent’s tales don’t resemble the comics is the lack of continuity.

Comics continuity fascinated me as a kid. In Justice League of America #34, to take one example (it was one of my early acquisitions), there are references to Dr. Destiny’s previous battles with the JLA, including footnotes identifying the specific issues. This made them seem more real to me — just like life, what happened one issue could affect what took place down the road.  Doc Savage stories, by contrast, almost never reference each other. When Murder Melody compared events to similar ones in an earlier book (Man Who Shook the Earth) it astonished me because that was so unusual. As witness this month’s novels—

1253616THE BOSS OF TERROR (cover by Boris Vallejo, all rights to current holder) opens in media res: Doc, Monk and Ham crash an ambulance into a limousine, part of a plan to get inside the mansion of millionaire “Radiator” Smith (wealthy from manufacturing automobile radiators and the like). Smith’s scared, wants to talk to Doc, doesn’t want the meeting publicized …but when Doc, posing as Smith’s chauffeur, gets inside the mansion, Smith insists he never called, doesn’t want to talk, please go away.

And then Smith’s son gets done in with lightning. That struck him inside a closed room. And then more men, also named Smith, die the same way. By the end of this fast-moving adventure (not great, but fun), it turns out the villain’s gimmick is exactly the same as the McGuffin in World’s Fair Goblin — a suitcase-sized battery that can store enough energy to power a skyscraper. Or electrocute someone; it turns out the invention in this book can only generate static electricity, which doesn’t work for power generation, but does fine as a murder/extortion weapon.

At no point does anyone refer to the previous adventure, which happened only a year earlier. I’m guessing Dent realized he hadn’t done much with the device in the previous story, so he used it as a murder weapon this go-round. But reading in original publication order (the paperbacks were closer to four years apart) it does seem odd nobody mentioned the resemblance.

A minor surprise is that the woman in the story, Annie, is nothing but an adventurer looking to make money off the gadget. She seemed so purposeful, I assumed she must be a female spy like Annabel in The Angry Ghost.

THE AWFUL EGG (cover by Bob Larkin, all rights to current holder) is one where continuity references would definitely have helped. It opens with Dr. Samuel Harmony (a phony doctor, I should note), abruptly shutting up his business and firing his receptionist, Nancy. When she talks to her boyfriend about it, someone shoots at her — which convinces the couple to contact Doc Savage.



Harmony, meanwhile, heads out west into the Badlands of Colorado. It turns out he’s an amateur paleontologist (though Dent refers to paleontology as archeology throughout the book) so he decides to pass his time on the run hunting for fossils. Johnny poses as a local guide, giving him his best role in ages. We learn he started using big words as a rookie archeologist/geologist to impress people, but enjoyed it enough to keep it up even after becoming established in his field. During the expedition, they find an ice cave where they unearth a dinosaur egg. Which gives Harmony an idea … but not a great one. After splitting from Johnny, Harmony kills and mutilates an animal, then a human adversary, to make it look like something actually hatched out of the egg. Then he uses a mock-up dinosaur to attack his rivals — it turns he and the other bad guys are in a three-way contest for control of a gold hoard.

The thing about Doc Savage stories is, it’s entirely possible to have a dinosaur show up, unlike, say, The Shadow. Doc battled dinosaurs just a few months ago, in The Other World. So why not reference the story to make the fake monster more plausible? You’d think Doc’s men would bring it up. I’m not sure it would help, as the scheme is strained (at times it feels like Dent had just read up on dinosaurs and wanted to show off his know-how) and one of the villains pretty obvious.

A minor inconsistency is that Ham now smokes cigars, which is treated as something he’s been doing since forever (whereas Monk, who’s sometimes shown as a smoker, apparently isn’t). A minor surprise is that Nancy turns out to be a selfish gold-digger, so much so even the libidinous Monk isn’t interested. Usually the female guest-stars were good girls.

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Story Behind the Story: The Savage Year (#SFWApro)

savageyears3-375x600As I mentioned last week, The Savage Year is now out in the online magazine Lorelei Signal with that great illustration by Lee Ann Barlow (all rights to image reside to current holder).

The opening: “Walking past a half-naked couple making out next to a picnic basket, Artemis West wished she could turn invisible. I never thought my first assignment would involve working magic in front of a park full of hippies.

It’s 1968, Robert Kennedy has just been assassinated, and the country is mourning. And as Artemis soon discovers, her job as a Secret Service sorcerer is about to get much more complicated, thanks to a British black magician and a bronze-skinned, golden-eyed drifter, Diana Savage. Whose father is some kind of brilliant scientist and philanthropist, and everyone expects her to follow in his wake. So she’s run away for a summer of love before she heads to college. Only there are innocent people in danger, and in her heart she’s her father’s child …

Why yes, this is the story about Doc Savage’s daughter that I wrote about starting several years ago. As noted at the link, I’d wanted to write about her (or more precisely my version of her) since the early 1980s, but never came up with a story. Then I hit on teaming her up with Art West, great grandson of James West, the hero of Wild Wild West now following family tradition by working for the Secret Service, though as a mage.
That frankly floored me when I reread it. Now that I think about it I can dimly remember Artemus West, but he’s been Artemis and female so long I didn’t remember it any other way (Jim West’s partner was Artemus Gordon. So descendants are stuck with the name). Although as I write a lot of male/female teams, it’s not surprising (I’ve no idea why I switched).I do know the basic concept shaped up early. Mages in the Secret Service actually have a dull gig. All they do is go around and touch up the bindings Native American shamans used to lock various Lovecraftian outsiders away. As long as the mages do their job, the outsiders can’t get out.Except that when Artemis goes to check the local bindings (originally San Francisco, but it eventually shifted to the Midwest) she discovers someone is letting outsiders loose. Which is, of course, bad. Even with a bronze teenage tornado who fights like ten men (she’s Doc Savage’s daughter. She’s been well-trained) Artemis has a hard time stopping the bad guy.Unfortunately I had no idea what the bad guy planned to do. Or what his plan was — I wanted multiple encounters between his monsters and the women. Or exactly how to stop him. Eventually I figured it out, with the help of Lester Dent’s plotting formula — appropriate as he created Doc. I also trimmed back a lot of the in-jokes. I wanted to make sure that someone who’d never heard of Jim West or Doc Savage could still enjoy the story. That meant avoiding anything that would make readers stop and go “Huh? What’s that supposed to refer to?” There’s one reference to Artemis’ family (creepy uncle Herbert West, from an HP Lovecraft story) but nothing more. Perhaps if there’s a next time …Then I shared it with some beta-readers who made some good suggestions. First, that as the malevolent Covenant-Price doesn’t appear until the end, it’s hard to build him as an antagonist. Now he’s in multiple scenes. Second, that there were places I needed to make things even weirder in a couple of places. I think I succeeded.Lorelei Signal is free, so go ahead and check it out. Especially my contribution.

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Doc Savage vs. Spotted Men and Evil Gnomes (#SFWApro)

1808375THE SPOTTED MEN (cover by Boris Vallejo, all rights remain with current holder) opens with steel kingpin J. Henry Mason and his troubleshooter “Tink” O’Neil testing out a race bar built partly from Mason’s revolutionary new formula for a tougher, lighter steel alloy — one that has obvious military potential, as is noted later in the plot. Only the car axle made from the super-steel breaks. And Mason disappears. And a berserk steelworker shows up, fighting with superhuman strength and covered with spots.

The story that follows by William Bogart, isn’t great, but it’s reasonably entertaining. As more men run wild and a plane built from the alloy breaks too (carrying not only Mason’s daughter but her friend Pat Savage) Doc and his crew arrive on the scene. It soon becomes obvious there’s a conspiracy to shut down the factory — could it be that as in Bogart’s previous story Angry Ghost, the plot has roots in the new European war (this was a March 1940 story)? In a twist I must admit I didn’t expect, it turns out no — the real scheme is one of Mason’s relatives, plotting to shut down the steel mill, crash the company stock price and take it over for a song. It’s in the tradition of Death in Silver and other finance-centric evil plans.

The best part of the story is Pat miraculously saving the plane from a crash. Later on, Doc shows how much he cares about his cousin when she’s finally rescued. The worst part is that the plot is a mess. There’s an exact double of Mason’s daughter running around which only serves to confuse people. And while I understand Mason trying to keep the steel formula safe, there’s no explanation why he allowed steel made from the fake formula to go into O’Neil’s car and the daughter’s plane (it appears that’s the reason for them breaking up). And once again, I could figure out the masked villain because there’s really nobody else to suspect.

THE EVIL GNOME is a good one by Lester Dent, though Bantam went cheap on the cover: it’s a cropped version of James Bama’s cover for Red Snow (all rights to image reside with current holder). It opens with yet another of Dent’s young drifters, but this time it’s a woman: “Lion” Ellison, a female lion tamer currently out of work due to punching her last employer out for sexual assault. She answers an ad for circus work that seems tailor-made for her. And it is. After meeting the creepy old dude who placed the ad (the gnome of the title), Lion suddenly finds herself walking down the street. Two days later. And it appears that in the interim someone took a photo of her murdering the state governor. Fortunately she’s received a letter from her dead brother in which he references Doc Savage (whom Lion had held up as the kind of guy her weak-willed, petty-crook bro should be more like). Can he get out of whatever she’s stumbled into?

While it’s fairly obvious what the gnome’s secret weapon is — an anesthetic gas so quick-acting you don’t even know you’re under — its use in the book is really effective. In one scene, Doc and his crew catch up with one of the henchmen, who’s about to spill everything. An instant later (as far as they can tell) his head is bouncing on the floor, an axe lying next to it. Yet they didn’t see anyone!

I also like that while the killings are partly PR, they’re also partly about PR. The gnome and his crew plan to cap off their killing spree by whacking a prince who’s visiting the US to encourage American support and intervention against the Axis. Once they kill him, the gnome plans to let both sides of the war bid for their services; the winner will see the loser’s entire military and political command wiped out.

The circus angle is rationalized by several characters having known each other on the circus or carnie circuit. Mostly though, it seems an excuse for Dent to toss off a lot of circus slang, particularly in Lion’s early scenes. Lion’s skills never come into play, unlike some of Dent’s other capable female characters.


As you can tell, this is another where WW II plays a role but only in the background. It’s much more isolationist than usual: Dent’s narration speaks disdainfully of that foreign prince as trying to con the US into taking sides in the war. Previously Dent never expressed an opinion one way or the other. Was it that the pressure for intervention was becoming louder? Bobb Cotter argues another effect of the war was keeping Doc on the home front. He may have a point; I’ll look at the rate of overseas travel sometime and see if I agree.

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The angry ghost of the other world: Doc Savage again (#SFWApro)

4340916THE OTHER WORLD (cover by James Bama, all rights to current holder) is a good SF entry that starts off with a mysterious pilot, Decimo Tercio, landing at a farm near St. Louis. When a bull charges him, he kills it with a spear thrown from an atlatl. Then he heads off to the city’s fur mart, where he puts down some incredibly beautiful, utterly unique furs. He charges five grand, with which, as we learn later, he plans to buy the best, most powerful guns and ammo available.

Two Winks, a local fur trader, remembers that two men — Fancife and Arnold “Chris” Columbus — have expressed interest in hearing about such a trader. Two Winks contacts them both, but throws in with the obviously crooked Fauncife. They try and fail to stop Columbus getting a message to Doc Savage. While neither crook rises above “petty crook,” they’re cunning enough to hold their own against Doc and Co. for most of the book.

Eventually everyone winds up going back to the source of the furs, a Pellucidar-like inner-earth world (though it’s a giant cavern, not a hollow Earth). What makes it more memorable than the lost land of Land of Terror is Doc’s geeky response, as he stares around, starts ticking off everything he’s seeing and makes mental notes on the things paleontology has gotten wrong. He’s so distracted, in fact, that he’s blindsided when a saber-tooth attacks him. And then comes the T. rex (there’s a reason Tercio wanted those guns). And then comes the giant weasels of the cover, a surprisingly effective menace that can run faster, jump higher and climb better than Doc. In keeping with Lester Dent’s ongoing efforts to humanize Doc, the Man of Bronze completely loses his cool and makes several bad mistakes.

Of course, things eventually turn out okay. The bad guys buy it, Chris stays in the cavern with Lanta, a beautiful cavewoman, and Doc agrees to keep the existence of this other world a secret.

THE ANGRY GHOST by William Bogart is much less effective. It starts with a young English woman, Annabel Lynn, apparently attacked by something unseen in the waters off Rockaway Beach. Then various installations — forts, gun ranges, bridges — start collapsing up and down the coast. Is some kind of invisible giant attacking America? The woman goes to Doc for help but a Ham imposter tricks her. Nevertheless Doc gets involved. What follows is lots of aimless chasing and confusion before we learn the secret of the “angry ghost”: it’s a sonic ray-weapon an unnamed European power is using to pressure the United States into forgiving that nation’s WW I loans.

It’s a weak story, partly because the “ghost” always seems like a ray from the very first. And the mystery only stays puzzling because people keep refusing to tell Doc anything. Not that this is unusual (Columbus in the previous book refused to reveal where Tercio came from) but Bogart pushes it too far: the government refuses to let Doc in on the problem because they’re afraid if he knows, it’ll leak to the newspapers. The feds should have known better. And at one point, Doc’s aide Long Tom actually cracks the secret, but Bogart promptly forgets this.

Once again, it feels like WW II is pressing on the series (this one came out in February, 1940). It’s very easy to assume the unnamed foreign power is Germany, which walked away from its promised WW I reparations (which was not seen as unreasonable at the time — they were quite ruinous). But it’s not absolutely definite, which let stories like this avoid the outrage of the isolationists (advocating for getting involved in another European war was a Bad Thing). It’ll be a while yet before full-blown Nazi adversaries become the order of the day.

Cover by Boris Vallejo, all rights to current holder.


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Doc Savage — Hexed by a Dagger in the Sky! (#SFWApro)

In the middle of this month’s second book, it struck me that WW II had begun in Europe, yet there’s no sign of the war here. Just one or two references such as Congress requiring payment up front when the US government ships military supplies to warring nations.  Of course the war hadn’t touched America, except as a news story, but it still feels weird.

2846269HEX by William Bogart is a straight-up Halloween story (it came out November, 1939). An engineer planning a Massachusetts highway through a ghost town near Salem suddenly starts babbling insanely. Rennie, a fellow engineer, steps in, and winds up babbling too, then both men disappear. Doc, Monk and Ham show up (Pat has an annoyingly brief role — like Poison Island, just serving as a courier) and discover assorted oddities: a mysterious garden in a seemingly abandoned building, the Screeching Lady of the Marsh, the sinister witch Hannah, and a descendant of Cotton Mather (not to mention a black mass midway through). Meanwhile there are reports of wealthy men who’ve started babbling the same way Rennie and his colleague were. What’s going on?

It turns out the bad guys have developed a strain of plant (in the hidden garden) that produces a new kind of truth serum. If someone asks you questions, you babble insanely for a couple of minutes, drop in the answer, keep babbling — and remember nothing afterwards. A perfect way to interrogate someone without the victim or others realizing what’s been done (Monk bluffed some captives about a similar drug in Poison Island). However the highway would force the villains to relocate the garden, and the plants are too delicate to transplant yet. Hence the scheme.

It’s a fun one, with one curious note (as Philip José Farmer points out in Doc Savage: His Apocalyptic Life). When Pat catches Monk hitting on a young woman, he’s positively embarrassed. That’s not Monk’s usual style, even given he likes Pat a lot — should we assume maybe they more-than-liked each other? Probably not, but still…

THE DAGGER IN THE SKY by Lester Dent is one I liked a lot as a kid, but drops a little due to not living up to my expectations. Which is not the book’s fault as much as it is my reading so much of the series so fast — plus I already know the big reveals.

The plot has the bad guys fomenting a war between the Country of Good and the Country of Evil, which is being equipped with all the best weapons for the job (compared Land of Long Juju, though this resembles Dust of Death too). When Doc takes off on vacation, the villains assume he’s heading to Cristobal in South America (Country of Good) and blow up his plane, after which a 200 foot dagger appears briefly in the air overhead. Smaller daggers show up stuck in people’s chests, then disappear. The daggers are supposedly the wrath of Kukulcan for the government’s transgressions, freaking out the superstitious natives (when not panicked, they’re stereotypically lazy and laid-back). It is, of course, a trick.

There are a couple of interesting aspects to this one. Doc’s vacation is another example of him rebelling against his training: he wants to kick back for a month, camp out, fish, eat unhealthy foods and generally not be superhuman. When he’s traveling through the jungle with Sanda, daughter of Cristobal’s leader, she’s so distracting Doc finds himself thinking what it would be like to kiss her, and stumbles into a trap.

4340915I wonder if that attraction is why Dent emphasizes Sanda is a blend of Scots and Castilian blood (her family’s ancestor was a Scots businessman who settled there).  This seems an odd mix, but as it omits any native blood, was it to avoid any hint of miscegenation?

And then there are the villains. The brains behind the war are seven of the world’s wealthiest men. As one of them explains to Doc, they’re fed up with the government oppressing the wealthy by income tax, inheritance tax, forcing banks to insure deposits (a policy created in response to Depression bank failures, of course), etc., etc. So they’re going to conquer Cristobal, relocate themselves and their businesses there and make it a tax-free haven (the natives will Know Their Place or get shot). That’s a scenario I don’t think even Occupy Wall Street could have come up with. Of course, they lose, and Doc’s crime college brainwashes them into becoming philanthropists. We end with Sanda showing up in New York to hit on Doc, and Monk nobly sacrificing himself to hit on her first.

Both covers by James Bama; all rights to current holders.

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The Stone Man of Poison Island: Doc Savage again (#SFWApro)

6950050Lester Dent had a number of stock openings for a Doc Savage story, such as one of Doc’s team discovering an evil plot, or a desperate person trying to reach Doc and running into trouble. One he seems to have added to his portfolio around 1938 is to have a likable young drifter stumble into trouble: Sagebrush Smith (The Pirate’s Ghost), Tom Idle (Mad Mesa), Hobo Jones (The Flaming Falcons) and now Herb March in POISON ISLAND (cover by James Bama, all rights to image with current holder)

To the dismay of his girlfriend Glendara Smith, Herb has decided he wants to do some adventuring before they tie the knot. That includes becoming part of a revolution in Hidalgo (yes, the country that provides Doc with the gold to finance his work), which in contrast to The Golden Peril is treated as a harmless lark (the government swats the revolutionaries down with little effort). Herb stows away on a yacht to get out of the country, tries to impress the gorgeous owner with his derring-do, learns she’s Pat Savage and realizes she’s way more an adventurer than he’s ever been (to say nothing of her cousin, of course). Then Herb discovers another stow-away plotting against the boat and gets a warning to Glendara before Pat, Herb and the crew pull a Marie Celeste and vanish. More vanishings follow in subsequent chapters.

It turns out the former right hand of one of Europe’s dictators (“The politician was one of the — well, he was the latest kind.”), having been exiled by the tyrant as a potential rival, is now trying to spark a war between his homeland and the U.S. The vanishings involve boats carrying fuel for the villain’s ship, or in Pat’s case gold for Doc Savage (though why she had to transport it herself is unexplained). It’s reminiscent of both The Submarine Mystery and The Devil on the Moon in riffing off the pre-war situation and bland as well. Pat might as well have been Pretty McCaptive for all the action she gets; Johnny speaks without his usual polysyllabic dialog. Glendara, on the other hand is a blast: plunged into danger, she discovers she kind of likes it. Although she and Herb appear to be headed back to normality at the end, I’d like to think of them both going off for more adventures (a shame none of the comics adaptations use some of these fun guest-stars).

Tech-wise, we learn Doc’s aircraft hangar has a kind of diesel-punk security camera, taking pictures every minute or so and then instantly, automatically developing them. Monk claims to have a truth serum that drives you mad while you babble your secrets; it’s a bluff, but Dent deploys a drug that does just that in Hex, coming up next month.

I found THE STONE MAN a lot more fun even though it’s just a fairly mundane Lost Race story by this series’ standards. The book opens with schemer Spad Ames (“His specialty was avoiding the law.”) discover said race in a Southwest cave system and sees his partner transformed into stone. Actually he’s been frozen by a miracle mineral that can lower the temperature to absolute zero. The lost people, while they want to stay hidden, also hope to somehow market this as the ultimate refrigerant; Ames wants control of it for the same reason (the book skates over the potential for using it as a weapon). Doc has to stop Ames while avoiding the hidden civilization’s desire to lock him up along with anyone else who discovers them. They are, however, much more mundane than, say, Land of Always Night.

Part of what makes it work is how Doc gets involved. Ames’ partner is Herman Locatella, a lawyer on the brink of deposing Ham’s standing as the world’s best-dressed attorney. So Ham bugs Locatella’s office, hoping to prove the guy is dirty. I also enjoyed some of the snappy dialog (“I lived on rattlesnakes for almost a month.” “That almost makes you a cannibal, doesn’t it?”). For whatever the reason I think I enjoyed the book more than it’s objectively worth.

A minor oddity is that both books involve Ham or Monk humiliating the other by tricking them into a sucker bet with an embarrassing penalty: Ham has to be Monk’s chauffeur in the first book; Monk has to bark like a dog when Ham enters the room in the second.

Cover by Emery Clarke, all rights to current holder.



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