Thursday, December 5, 2019
UTHEORY OF : Green Lantern # 100
Tracked this one down after seeing it for many years. Green Lantern 100, cover-date Jan. 1978. Great cover by Mike Grell. Four superheroes standing on a rock with an anniversary logo in front of a cosmic swirl! Take my 60 cents! Always thought it was going to be one big story with all four heroes on the cover, but turns out to be two separate stories.
First is Green Lantern meeting the new Air Wave by Denny O'Neil with art by Alex Saviuk and Vince Colletta. Well-done superheroics. Colletta's inks don't overpower Saviuk's well-done pencil work. The original Air Wave ran in Detective from 1942-48. That character's secret identity was Larry Jordan, so O'Neil spins it to make the new AW his son - conveniently named Hal, just like GL Hal Jordan. A goofy Bronze Age twist. Also great that new villain Master-Tek looks like a blonde Tom Selleck. Ah, the 70s...
Second story isn't quite as good as the first, but OK. Green Arrow and Black Canary battle corporate corruption - surprise! - aided by an injured Roy Harper, who never dons his Speedy togs. We do however get to see Roy playing drums for a rock band called Great Frog. The 70s! This also is the issue where Oliver Queen decides to run for mayor of Star City.
Air Wave would go on to make several appearances as a backup in Action Comics. I always thought DC could have done more with the character and his electronic/radio powers. The GL/GA format would last for about 20 more issues. All in all, this is a solid comic with a lot to remind readers of what they liked about Bronze Age DC...
Friday, November 22, 2019
UTHEORY OF : JSA Savage Times TPB
Another great JSA TPB I found at Ollie's...JSA : Savage Times TPB from 2004...Collects JSA issues 39-45 from 2002-03...Great to find so many of these but the fact that they're at Ollie's means that DC printed way too many of em...More great superheroics involving many elements of DC's storied past from writers Geoff Johns and David Goyer and artists Leonard Kirk and Keith Champagne...Starts off with an eye-poppingly cheesecake Power Girl story drawn by Patrick Gleason and Christian Alamy...Another TPB that shows why JSA was one of DC's best titles for several years...
(And for a DC fan it's hard to resist any book with a cover that shows Captain Marvel fighting Metamorpho...like some lost issue of Brave & Bold or Super-Team Family...Shazam!)
Thursday, November 21, 2019
UTHEORY OF : Wonder Woman Spectacular 1978 (DC Special Series # 9)
Here's another one worth checking out. Wonder Woman Spectacular (DC Special Series 9) from 1978. Actually on sale in late 1977. Glorious cover by Jose Luis Garcia Lopez and Dick Giordano. A giant WW image! An armored Hitler on a horse! Wow!
Story is a massive WW2 epic written by Jack C Harris and art by Jose Delbo, Steve Ditko and Russ Heath inked by Dick Ayers and Vince Colletta. That's quite an art combo! The legendary Ditko draws the sequences involving the gods and the Amazons and unfortunately only portrays WW herself in one panel. Did he ever draw her anywhere else?
Art is strong elsewhere as the 80-page format lends itself to larger panels and layouts. One-shot hero the Bombardier looks like a cross between Spy Smasher and Dr. Mid-Nite. Only thing is Colletta does his usual art-trampling (and maybe Ayers does too) to the point where I can't tell which non-Ditko pages are by Delbo and which by Heath. And I never thought I'd say I couldn't recognize Russ Heath's wonderful style...
Recall having this as a kid and glad I found it once again...
Story is a massive WW2 epic written by Jack C Harris and art by Jose Delbo, Steve Ditko and Russ Heath inked by Dick Ayers and Vince Colletta. That's quite an art combo! The legendary Ditko draws the sequences involving the gods and the Amazons and unfortunately only portrays WW herself in one panel. Did he ever draw her anywhere else?
Art is strong elsewhere as the 80-page format lends itself to larger panels and layouts. One-shot hero the Bombardier looks like a cross between Spy Smasher and Dr. Mid-Nite. Only thing is Colletta does his usual art-trampling (and maybe Ayers does too) to the point where I can't tell which non-Ditko pages are by Delbo and which by Heath. And I never thought I'd say I couldn't recognize Russ Heath's wonderful style...
Recall having this as a kid and glad I found it once again...
Thursday, November 14, 2019
UTHEORY OF : Gunfighters # 61
Gunfighters was another Western title that Charlton brought back for reasons unknown in the late 70s, but it managed to last for 33 reprint-filled issues...Here's Gunfighters 61, cover-date July 1980...Excellent cover by Rocke Mastroserio had bn used in this title in 1967 and wld be used again in 1984...Charlton got its money's worth...Stories are all reprints from 1956-61...Great Kid Montana story with Pete Morisi art, but they recolored his distinctive gray hair as brown...The Kid's planning to retire until fate intervenes...Also a nice 2-page Wyatt Earp story from Morisi...Wild Bill & Jingles (Jingles! Because a hero needs a chubby sidekick) story with Maurice Whitman art, Lash Larue with Charles Nicholas art and Masked Raider with Mastroserio art all are just OK...This one's worth picking up on the cheap for that swell cover and those two Morisi stories...
Friday, November 1, 2019
UTHEORY OF : Tarzan (Limited Collectors' Edition 1974)
Another great recent pickup...Limited Collectors Edition C-29 from 1974...Two of the first eight issues of this oversized series were devoted to Tarzan, so the character must have been doing well for DC.
Reprints the 5-part Return of Tarzan story that had run in Tarzan # s 219-223 the previous year. One of the many things I love abt these DC and Marvel tabloids is the impact of seeing comic art magnified to this size. Doing so here really increases yr appreciation for Joe Kubert. Obviously an amazing war comics artist for decades, but his work on the first few years of Tarzan for DC was terrific.
Reprints the 5-part Return of Tarzan story that had run in Tarzan # s 219-223 the previous year. One of the many things I love abt these DC and Marvel tabloids is the impact of seeing comic art magnified to this size. Doing so here really increases yr appreciation for Joe Kubert. Obviously an amazing war comics artist for decades, but his work on the first few years of Tarzan for DC was terrific.
Tuesday, October 29, 2019
UTHEORY OF : Ghosts (Limited Collectors' Edition)
Here's DC's second and final horror tabloid - Limited Collectors' Edition C-32 - Ghosts - from late 1974 (cover-dated Jan. 1975)...10 stories, all written by workhorse Leo Dorfman, who sadly passed away a few months before this issue came out.
7 of the 10 had appeared in the ongoing Ghosts title, which DC had launched in 1971 as part of its horror boom. Weird War Tales debuted the same month, giving DC six - six! - ongoing horror titles.
Dorfman wrote every story in the first several issues of Ghosts and had been writing Superman and Superman-related stories for DC since the late 1950s. Comics writer and historian Mark Evanier has said that Dorfman may have been the most prolific Superman writer of the 1960s. In addition to Ghosts, Dorfman wrote similar stories for Gold Key's horror anthologies such as Twilight Zone.
Most of the stories here are solid, with the "haunted castle" types being more entertaining than some of the international ones. Ghost lions in Africa?
Art-wise, it's a mixed bag. We get two great-looking stories by Tony Dezuniga and well-crafted ones by Jim Aparo and ER Cruz. The rest are professional but not exceptional efforts by Art Saaf, Jerry Grandenetti, Ernie Chan, John Calnan, George Tuska (inked by Nick Cardy), Jack Sparling, Frank Redondo and Gerry Talaoc.
That's a swell cover by Cardy, who drew covers for 34 of the first 35 issues of the Ghosts title.
Ghosts was kind of an odd title to feature here, since it was one of DC's newest horror titles. House of Secrets, Unexpected and Witching Hour all had been around longer. This one and the previous House of Mystery tabloid must not have sold well, since DC didn't do any others...
Friday, October 25, 2019
UTHEORY OF : Aquaman # 41
Comics like this one are why people still love the Silver Age. Aquaman 41, cover-date October 1968. Excellent cover by Nick Cardy with story by Stephen Skeates and art by Jim Aparo. This was only Aparo's second story for DC, but he already was firing on all cylinders. Many beautiful panels. He really had a knack for this character.
Story has Aquaman running into a bizarre undersea civilization while searching for Mera. More depth than the usual superhero punch-up. And I've always thought the Aquaman logo is one of the most perfect in all of comics. This issue is worth picking up if you spot it in a back issue bin...
Story has Aquaman running into a bizarre undersea civilization while searching for Mera. More depth than the usual superhero punch-up. And I've always thought the Aquaman logo is one of the most perfect in all of comics. This issue is worth picking up if you spot it in a back issue bin...
Sunday, October 13, 2019
UTHEORY OF : House of Mystery # 243
Here's another high-quality issue of House of Mystery, # 243, cover-date July 1976. Suspenseful cover art by Ricardo Villagran. First story is a twist tale with a bit of an ecological edge from the productive mind of Bob Haney, well-supported by eye-catching art from Franc Reyes. Reyes only did 18 stories for DC, mostly in the 70s, including 5 Tarzan tales. Wish he would have done more. His work creates a positive impression.
Second story is a creepy number about one of those fortune-telling machine dummies. Brrr... Written by Sheldon Mayer with unsettling art by Jess Jodloman.
Having sampled a few different titles now, it's looking like HOM may have been DC's best-written horror book of the mid-70s.
Wednesday, October 9, 2019
UTHEORY OF : Kobra # 3
Kobra was one of the more bizarre titles of the 70s. Here's Kobra 3, cover-date July 1976. A gonzo Ernie Chua cover. Look at that robot! Totally looks like Bender from Futurama. And a purple background! Outstanding!
Story by Marty Pasko with interior pencils by Keith Giffen and inks by Terry Austin and Dick Giordano. This was the title's third art team in as many issues. Wld go on to have six in first six before finally getting same art team in 7th and final issue. That kind of volatility plus a bimonthly publishing schedule cldnt have helped...
But it's kind of amazing that DC gave a brand new villain his own comic in the first place. Jack Kirby was listed as plotter in issue 1, so maybe he was to be involved somehow. But never happened. The main plot was Kobra battling his own twin brother, and Pasko threw in all sorts of spies, doubles, world domination, etc. Great 70s stuff. Giffen also was doing the great page designs he was doing in All-Star and later wld do in Defenders. Pretty much imitating Kirby and Steranko and doing a decent job of it.
Villain Solaris is "a crazed astrophysicist" who goes bad after not being recognized for his work. At one point in this story, he's even crying about it. Ah, the 70s...
Kobra later wld battle Aquaman, Superman, Wonder Woman and Batman & the Outsiders, but it's really kinda surprising that DC didnt use him even more. Criminal mastermind...global network...just add superhero!
Monday, September 30, 2019
UTHEORY OF : Superboy # 214
My Cigar Band collection rolls on. Here's Superboy 214, cover-date January 1976. So basically for the first few years of his career, Mike Grell could draw fight scenes and beautiful women but not much else, but his skill with fight scenes and beautiful women made him a fan favorite? Do I have that about right?
That's a Grell cover. First story here written by Jim Shooter and drawn by Grell. Second story written by Cary Bates and drawn by Grell and Bill Draut. First one involves a bratty kid stranded on a machine planet and seems about 10 years out of date for the mid-70s. Maybe Shooter wrote it in the mid-60s then forgot about it. Second one has a nice focus on Shrinking Violet.
As a younger fan, I never noticed the peaks and valleys of early Grell, but man, it really shows in some of these issues. Maybe the workload of this title plus Green Lantern and random other features was proving to be too much, but lots of panels just look unfinished.
Except for the fight scenes and beautiful women, of course...
Friday, September 27, 2019
UTHEORY OF : World's Finest # 249
Sometimes the absolute random craziness of DC's 70s anthologies was part of the attraction. Here's World's Finest 249, cover-date March 1978. That's a great Jim Aparo cover! A vampire Superman tangling with Batman n Phantom Stranger! Take my dollar!
Page one has the WF heroes welcoming Creeper to the comic. Gotta love DC cheesiness! Then 20 pages of Supes, Bats and PS battling underwater vampires courtesy of Bob Haney and the unlikely cartoonish art of Kurt Schaffenberger inked by Tex Blaisdell. Haney wrote almost 1,000 stories for DC from the mid-50s to early 80s, but his superhero work didnt begin til the mid-60s. That's when the wackiness truly began. The man cld write fast-paced stories taking his heroes in any direction. And his disregard for continuity was legendary. Whaddaya mean Batman never had a brother or a son? Do you want a good story or what? Story here is equally bizarre, but Schaffenberger's style makes it seem like an episode of Scooby-Doo...not that that's a bad thing...
Then 20 pages of Green Arrow n Black Canary fighting Hellgrammite - who oddly enough was more of a Creeper foe - and a gangster who somehow thinks Ollie Queen is Batman, leading GA to spend most of the issue in a Batman costume. Story by Gerry Conway with art by Trevor Von Eeden n Vince Colletta...
The Creeper - one of my favorite characters - makes his return in an 8-pager written n drawn by the legendary Steve Ditko...goofy story abt sabotage at the TV station where Creeper alter ego Jack Ryder works...Ditko was so excited to have a feature again that he gets the villain's name mixed up by the end...
Wraps up with 15 pages of Wonder Woman n Sgt. Rock (!) battling Dr. Psycho during WW2...more bizarre stuff written by Conway with art by Mike Vosburg n Bob Smith...The dollar-sized WF was many things in the 70s, but it was never boring...
Tuesday, September 24, 2019
UTHEORY OF : Batman Illustrated by Neal Adams
As Neal Adams was rocketing to fame in the late 60s on Deadman, DC somehow thought he wldnt be able to handle Batman as well. So he went to a different editor there and got work on World's Finest and Brave & Bold, resulting in the great run of stories from 1968-69 that are collected here. Batman Illustrated by Neal Adams from 2003. You get WF 175 and 176 and B&B 79-85. Fantastic stuff. Adams handling most art chores by himself with all of those classic B&B stories written by Bob Haney. Batman teams with Deadman, Creeper, Flash, Aquaman, Teen Titans, Sgt. Rock and Green Arrow. Adams' hyper-realistic art and creative page layouts were something comics had rarely seen before...
This was one of my bargain buys from Ollie's...Quite the steal...
Monday, September 23, 2019
UTHEORY OF : Haunted # 38
Tracked down this one recently...Haunted 38, cover-date October 1978...Can recall buying it off of a spinner rack at a convenience store in my hometown of Warren OH...Cover art by Joe Staton taken from a panel of an interior story...First story is a new "mistaken identity" tale probably written by Joe Gill with surprisingly creepy art by Charlton mainstays Charles Nicholas and Vince Alascia...The Staton story is next, written by Nic Cuti and reprinted from the first issue of Midnight Tales in 1972...Great twist ending...Wraps up with a "sell your soul" story, also likely by Gill, with cheesecake art from Spanish artist Jorge Galvez that had to flirt with the edge of the Comics Code, if the Code was even bothering to review Charlton titles in the late 70s...This was part of the great unwinding of Charlton's new content as these titles moved to all-reprint, but still proof you cld often find good material in Charlton comics...
Sunday, September 22, 2019
UTHEORY OF : Marvel Treasury Edition # 3
Marvel chose Thor for one of its very first treasury comics. Here's Marvel Treasury Edition 3 from late 1974. Swell cover art by John Romita...
Reprints the Thor vs. Hercules saga that ran in the final issue of Journey into Mystery and the first five issues of the renamed Mighty Thor in 1966. Legendary stuff from Stan Lee and the art team of Kirby and Colletta. Epic fight scenes and wondrous Asgardian architecture.
But of course here comes the obligatory shot at Vince Colletta. Once every page or two, he has a panel where he just kinda mails it in. You can usually see it in the faces and especially the eyes, which he often turned into blank ovals. And those panels are even more obvious when blown up to 11 x 17 as they are here.
Colletta worked in the industry forever and was great at making deadlines but still had plenty of detractors. Let's just say Kirby had better inkers.
Marvel only did one other Thor-focused treasury, so sales must not have been that great. The character did however appear on the covers of three others, including one with the Avengers.
The DC and Marvel treasuries and tabloids remain some of my most cherished comics. This one seems harder to track down than some of the others. I'm glad I found it...
Reprints the Thor vs. Hercules saga that ran in the final issue of Journey into Mystery and the first five issues of the renamed Mighty Thor in 1966. Legendary stuff from Stan Lee and the art team of Kirby and Colletta. Epic fight scenes and wondrous Asgardian architecture.
But of course here comes the obligatory shot at Vince Colletta. Once every page or two, he has a panel where he just kinda mails it in. You can usually see it in the faces and especially the eyes, which he often turned into blank ovals. And those panels are even more obvious when blown up to 11 x 17 as they are here.
Colletta worked in the industry forever and was great at making deadlines but still had plenty of detractors. Let's just say Kirby had better inkers.
Marvel only did one other Thor-focused treasury, so sales must not have been that great. The character did however appear on the covers of three others, including one with the Avengers.
The DC and Marvel treasuries and tabloids remain some of my most cherished comics. This one seems harder to track down than some of the others. I'm glad I found it...
Saturday, September 21, 2019
UTHEORY OF : Marvel Tales # 202
I know this comic is from '87, but it reprints a classic tale from '78. Marvel Tales 202 = Marvel Team-Up 66. Cover art by John Byrne n Frank Giacoia. Great team-up of Spidey n Capt. Britain by Chris Claremont with art by Byrne and Dave Hunt. Was never really an X-fan, so most of my exposure to Claremont/Byrne magic was through their excellent run on MTU.
The sequence that starts this issue - with Spidey and CB trapped in a giant pinball game - is one of the best action sequences of the 1970s. Great stuff...
This two-part story was the first MTU sequence reprinted in Marvel Tales, which did a great job of providing younger fans with classic Spidey stories for 30 years before ending its run in '94...
Wednesday, September 18, 2019
UTHEORY OF : Flash Comics # 1
Time to take a look at the final DC anthology to get the tabloid-sized Famous First Edition treatment in the 1970s. Flash Comics 1. Original cover date Jan. 1940, reprinted in 1975.
That’s an iconic cover by DC legend Sheldon Moldoff. Great scene made more memorable by the Flash smiling as he catches the bullet.
Debut Flash story written by the legendary Gardner Fox and drawn by Harry Lampert, who only drew the first three Flash stories. Story and art have a more playful tone, that wld stick with the feature throughout the Golden Age. Lampert’s art is more cartoonish than action-based. Jay Garrick is a brilliant student but a mediocre football player at Midwestern University til a lab accident – caused by him leaning against equipment while taking a cigarette break (!) – causes him to inhale vapors from “hard water” overnight. Super-speed is the result.
Garrick then scores a bunch of touchdowns in the team’s next game and later decides to fight crime. As a sports fan, I’m always intrigued by how sports are depicted in comics. Garrick’s team trails 30-0 until he gets in and leads them to a 65-30 win. 65 points in football? 10 touchdowns while missing 5 extra points? And the other team is held scoreless the rest of the way? Apparently Garrick played linebacker on defense as well…
Story also has a great scene of Garrick playing tennis against himself and also introduces longtime love interest Joan Williams. Here, Joan’s dad is an airplane manufacturer. Was this part of other stories? Bad guys are a group of four saboteurs – including a mustachioed hunchback named Sieur Satan - all of whom are dead by the end of the story. Gotta love the swift justice of Golden Age comics.
The second story here is Cliff Cornwall, an aviation strip by Fox and Moldoff. Kinda stiff with Moldoff likely swiping from similar features of that era. They try to make the love interest a bit sassy, but it doesn’t do much to improve the story. Cornwall’s run wld end after 17 issues.
Next up is the debut of Hawkman by Fox and artist Dennis Neville, who wld only draw the feature a few times. Striking concept and art with Neville I’m sure borrowing from Alex Raymond’s work on Flash Gordon. The back-n-forth confusion of the Hawkman story is here right away, as four pages of this one are a flashback where research scientist Carter Hall remembers his previous life as Prince Khufu. The imagery is Egyptian, even though it’s never described as such. Love interest Shiera – also reincarnated – is here from the very start as well. Reincarnated villain Hath-Set dies at the end here, but surely returns.
The power of flight is attributed to ninth metal, which Hall already had invented. The Hawkman headpiece at times sits on his head and at times looks like a full mask. Overall, this is one of the better features here and led to Hawkman alternating with Flash as the cover feature in this title for most of its 104-issue run – the only DC title to do so.
Next up is Johnny Thunder, here described as Johnny Thunderbolt. A lot happens in this short story by John Wentworth with art by Stan Aschmeier, often credited as Stan Asch. Johnny is kidnapped as a baby and taken to a foreign country where he’s given the power to control a magic thunderbolt before returning to his family at age 5.
The thunderbolt here is just that – not the pink genie character that it would evolve into. Story is humorous in tone, mostly played for laughs. Johnny later wld join the Justice Society and last 91 issues in Flash.
Feature number five here is one of the oddest series I’ve ever come across. Flash Picture Novel by Ed Wheelan is a version of Minute Movies, a comic strip that Wheelan made to some success from 1920 to 1935. It parodied movies of the time, showing that irony and self-aware satire regarding pop culture was around long before the 1960s.
The chapter here is the first part of a two-parter titled “The Demon Dummy,” and is about a ventriloquist taking orders from - yes – his dummy. Apparently, this already was a movie clichĂ© even in 1940. Maybe the audience of the time saw this being played for laughs, but it still strikes me as a bit creepy. Wheelan’s art is pretty basic and cartoonish, but the feature had a solid 58-issue run here, mostly after reverting back to the Minute Movies title with stories complete in one issue.
The first issue of Flash Comics wraps up with the Whip, a Western action series by Wentworth with art by George Storm. Bored playboy Rod Gaynor takes a trip to the Southwest and takes on the identity of the Whip, a vigilante hero from the previous century. The Whip’s fake Spanish accent kinda makes you cringe, but overall it’s a good story with solid art by Storm. The Whip wld enjoy a 55-issue run in Flash.
When Flash debuted, Superman, Batman and Sandman already were headlining anthologies on the DC side of the company. Superman also was headlining his own title, with Batman getting his own three months later. Flash was the first title on the All-American side to feature a superhero. Spectre wld take the cover of More Fun for DC the next month, with Green Lantern doing the same in All-American for – of course – All-American – six months later. The final two monthly anthologies – Sensation (AA) and Star-Spangled (DC) wldnt come along til 1941.
(DC and AA each wld have a quarterly anthology – DC with World’s Finest and AA with Comic Cavalcade. Superman, Batman and Robin shared the covers of WF, with Flash, Green Lantern and Wonder Woman doing the honors for CC.)
Flash comics succeeded to the point where its title character in 1941 got his own comic – titled All-Flash to avoid confusion. The Flash character and Hawkman also wld be founding members of the JSA in the pages of All-Star, with Hawkman having the distinction of being the only member to appear in all 55 of the team’s Golden Age appearances.
And if Gardner Fox’s contributions to DC history were ever questioned, consider that in Flash 1 alone he created two bedrock concepts in Flash and Hawkman that wld continue in some version to the present day, almost 80 years later…
The Famous First Edition reprint of Flash Comics 1 hit the stands in May 1975. It was the last of eight such titles that DC did until they did one of Superman 1 in late 1978 to capitalize on the Superman movie. But parts of that issue were reprinted from Action 1, which had bn DC’s first Famous First Edition in early 1974.
I’ve always wondered which comics DC wld have done next if they’d continued the series in the mid-70s. The first appearance of Green Lantern in All-American 16 might have been a candidate, but it didn’t include the modern version of the character and unlike Hawkman in Flash didn’t include any other DC features that were still in print. All-Star 12 with its glorious V for Victory cover that included Wonder Woman and Hawkman? That wld have bn amazing to see at a tabloid size, and DC already had done All-Star 3 earlier in 1975.
The final decision as in most cases likely came down to low sales. But the glory of the DC and Marvel tabloids lasted into the early 80s. They were some of my favorite comic as a comics-addled kid and remain some of my favorites as a still comics-addled adult.
Tuesday, September 17, 2019
UTHEORY OF : Sensation Comics # 1
Almost forgot I had this one. The 1974 Famous First Edition reprint of Sensation 1, cover-date Jan. 1942. Wonder Woman’s second appearance, hitting the stands just a few weeks after she debuted in All-Star 8. Cover by longtime WW artist HG Peter, but looks like some of those figures might have been reworked by someone else. They don’t look as cartoony as most of his work.
This is a fascinating issue in that Sensation was the last of DC’s anthology titles, arriving just a few months after Star-Spangled. Most of the features in this issue had lengthy Sensation runs.
We start off with “Wonder Woman Comes to America,” laying the groundwork for much of the Amazon’s career. William M. Marston handled the writing and Peter the art on this title for years. Marston passed away in the late 40s. Peter soldiered on til passing away in the late 50s, when he was still drawing the title at age 78.
The other features :
- Black Pirate, swashbuckling character set in the 1700s. Had actually debuted in Action in 1940 and appeared in about 20 issues there before being transferred to Sensation. Made about 45 Sensation appearances til again being moved to All-American in 1946. He’d make about 25 appearances there.
BP story and art by Sheldon Moldoff, who would go on to be one of Bob Kane’s ghost artists on Batman for many years. Here, he uses a more realistic style along the lines of Will Eisner or Lou Fine.
- Mr. Terrific, super-smart Terry Sloan uses his intellect and abilities to fight crime. Kinda generic, but noteworthy for the unique “Fair Play” emblem he wore on the front of his costume. He’s wearing yellow gloves here. Not sure how long that look lasted. MT would last 63 issues in Sensation, til 1947. He made only one appearance with the JSA in All-Star, but that was enough for him to be represented as a major member of the group during the Silver Age comeback.
Story by Charles Reizenstein (43 DC story credits til 1943) and art – also somewhat generic - by Hal Sharp, who would rack up 63 DC art credits on MT, Flash and Tarantula til 1947.
- The Gay Ghost, British nobleman Keith Everet is killed and resurrected as a spirit in modern times. He inhabits the body of murdered playboy Charles Collins and befriends Deborah Wallace, the reincarnation of a past love. Later would manifest powers similar to that of the Spectre – strength, invulnerability, growing to giant size, etc. GG would make 34 Sensation appearances – issues 1-33 and one more in 38 – then dissipate by 1945.
Story by comics legend Gardner Fox and nicely done art by Howard Purcell, who drew almost 500 stories and 60 covers for DC from the early 40s to late 60s but is largely forgotten today, mostly because his features never crossed over to other media. Purcell started drawing Mark Lansing (?) in Adventure but did most of his early Golden Age work on GG, Sargon and Red, White & Blue. In the late 40s, he drew mostly Green Lantern and Hop Harrigan. In 1948 he was tabbed to draw Mr. District Attorney and wld handle most issues and covers for that title over its 67-issue, 11-year run.
In the 50s and 60s, Purcell would do a great deal of work for DC’s sci-fi and suspense titles and also wld draw numerous stories featuring Sea Devils and Space Ranger, including several Sea Devils covers as well.
See what I mean? With the exception of GL, most of Purcell’s 25+ year DC output was Mark Lansing, Sargon, Red, White & Blue, Hop Harrigan, Mr. DA, Sea Devils and Space Ranger. Many of these characters are little known even by hardcore DC fans.
- Little Boy Blue, Tommy Rogers, young son of a district attorney, and two pals (the Blue Boys), don costumes and fight crime. Story by batman co-creator Bill Finger and unexceptional art by Jon Blummer, best known for drawing many adventures of Hop Harrigan. Lighter tone of stories may have helped it stick around through the first 82 issues of Sensation, lasting til 1948.
- Wildcat, boxer Ted Grant uses his fighting skills to fight crime. Story again by Finger with wonderfully primal art by Irwin Hasen. Wildcat appeared in the first 90 issues of Sensation - til 1949 – and in two issues with the JSA in All-Star. Even moreso than Mr. Terrific, Wildcat has been more popular from the Silver Age to today, appearing with almost every incarnation of the JSA.
Hasen notched around 230 DC art credits from 1940-55, drawing a lot of GL stories and quite a few Wildcats. He’d go on to greater fame – in the world outside of comic books – for the long-running comic strip Dondi.
Wildcat, Mr. Terrific and Little Boy Blue also would appear in Big All-American Comic Book, a 128-page one-shot from 1944. That title would feature rare cover appearances for those three features – in fact, for LBB and the Blue Boys, Big All-American wld provide them with their one and only cover appearance.
Different features would occupy Sensation over the years, but it’s impressive that three of the five non-cover features would last 60+ issues in the title.
Monday, September 16, 2019
UTHEORY OF : Detective Comics # 27
Picked up another copy of this recently...The 1974 Famous First Edition reprint of Detective 27 from 1939... I must not have read it for a long time, because I'd forgotten what a glorious mishmash this comic was...The classic Batman debut remains riveting... Finger stole the plot from a Shadow pulp and Kane stole half of the art from a Big Little book...Doesn't matter...Still oddly spooky when Batman emerges...
As for the rest...well, even with these rough styles, Batman was far from the best-drawn feature in this issue. Many of these, of course, already had been running in Detective for some time. Superman creators Siegel & Shuster have two features here - Spy and Slam Bradley, both in that rollicking style that was perfected by putting a red cape and blue tights on their protagonist. Two people die in the first eight panels of the Spy story. Slam Bradley's sidekick Shorty Morgan is drawn as a cartoon character, making him look not even human. Ah, the Golden Age.
The best-drawn feature here likely is Crimson Avenger by Jim Chambers. Chased off the lead spot by Batman, CA was basically a pulp character that never quite caught on. The Bruce Nelson feature - another private eye or cop or something - also was well-drawn by Tom Hickey.
The rest is fairly forgettable. Zatara artist Fred Guardineer does a sub-par job on Speed Saunders. Leo O'Mealia also doesn't offer much on Fu Manchu. Two dull features here are printed n their original two-tone pink and white. (Maybe it was supposed to be red?) Cosmo by Sven Elven and a Western strip called Buck Marshall by Homer Fleming.
(I had to look up Sven Elven. Yes, there really was an early comic book artist by that name.)
Humor features Plainclothes Pete and Flatfoot Flannigan seem oddly out of place here, even as comic relief.
Batman would soar to glory. Most of the rest would be forgotten, although CA wld don a full costume and join second-string super-group 7 Soldiers of Victory. He'd linger on the edges of the DC Universe and even make a cameo on the Justice League United cartoon in the 21st century. Slam Bradley would run for many years, and later be re-introduced into the DCU.
Even with its uneven content, Tec 27 remains a milestone comic both for DC and the entire comics industry.
Saturday, September 14, 2019
UTHEORY OF : Medium? Well...
Hey all. It’s Dane this time. My style is significantly different from my dad’s, I think. If I got to
TRULY embrace my personal style there would be very few capital letters here, but gotta
keep up appearances.
TRULY embrace my personal style there would be very few capital letters here, but gotta
keep up appearances.
I’ve had a solo cup of wine and I’m feeling pretty good, so I think I’m gonna ramble about
why I like the comics medium so much and why it’s grabbed my heart. So, to start, what’s
a medium? Well, my not-very-well-educated definition is just the way in which something
is presented. For the sake of this article, I’m primarily going to be talking about
entertainment mediums.
why I like the comics medium so much and why it’s grabbed my heart. So, to start, what’s
a medium? Well, my not-very-well-educated definition is just the way in which something
is presented. For the sake of this article, I’m primarily going to be talking about
entertainment mediums.
So then, hypothetical reader who conveniently serves to perfectly guide this article,
what are the notable forms of entertainment medium? I’m glad you asked! So, there are
the very obvious ones, like movies, television, and books. There are less obvious ones,
such as plays, live readings, comics, poetry, and a bunch of other neat stuff. The primary
difference between these mediums is simply HOW the story is presented. For the sake
of simplicity, I’m going to focus on only fictional and nonfictional stories, and not something
like a history textbook, though there’s a real argument that that would belong in this
conversation.
what are the notable forms of entertainment medium? I’m glad you asked! So, there are
the very obvious ones, like movies, television, and books. There are less obvious ones,
such as plays, live readings, comics, poetry, and a bunch of other neat stuff. The primary
difference between these mediums is simply HOW the story is presented. For the sake
of simplicity, I’m going to focus on only fictional and nonfictional stories, and not something
like a history textbook, though there’s a real argument that that would belong in this
conversation.
In being an artist, simply the choice of medium is a statement as each medium has its
own merits and flaws. For this section, I’m going to use examples, because I’m trying to
simplify this as much as I can and not write an absurdly long article with way more
background information than necessary. Recently, I’ve been on a Black Mirror kick.
The second episode of the first season, “Fifteen Million Merits,” utilizes the form of film
in a way that is genuinely impossible for a book to properly imitate. Now, it’s not like this
episode does anything particularly groundbreaking in terms of film, but it makes a good
example. While characters are making significant speeches on a public stream, the camera
cuts to several different characters to show their reactions as the speech continues. Writing
this in prose, or even poetry, would be very difficult to follow. However, perhaps as a result
of it being a frequently used technique, it made perfect sense as I first watched it. This
paragraph was kinda pointless, but I committed to using that example in my head about
fifteen minutes ago so there we go.
own merits and flaws. For this section, I’m going to use examples, because I’m trying to
simplify this as much as I can and not write an absurdly long article with way more
background information than necessary. Recently, I’ve been on a Black Mirror kick.
The second episode of the first season, “Fifteen Million Merits,” utilizes the form of film
in a way that is genuinely impossible for a book to properly imitate. Now, it’s not like this
episode does anything particularly groundbreaking in terms of film, but it makes a good
example. While characters are making significant speeches on a public stream, the camera
cuts to several different characters to show their reactions as the speech continues. Writing
this in prose, or even poetry, would be very difficult to follow. However, perhaps as a result
of it being a frequently used technique, it made perfect sense as I first watched it. This
paragraph was kinda pointless, but I committed to using that example in my head about
fifteen minutes ago so there we go.
Solo cup number two, here we come.
Now, on to comics as a medium. One of the many assets I feel that comics have is the
ability to do something like the above example, panning to different characters while action
unfolds, while being a written medium. Additionally, the huge amount that the art adds to
a comic is often greatly overlooked. I myself am an offender in this regard, especially in my
younger days. As I’ve grown older, I’ve had to force myself to make an effort to look and
concentrate on the art before I turn the page. My instinct, which I assume is shared by
many, is to read all the text on the page as quickly as I can then turn it. This is conditioned
from years of reading standard novels I assume, but it regardless is a bad habit. Honestly,
focusing on and appreciating the immense amount of work someone like Mike Mignola
(my very favorite artist) puts into each page makes the experience far better. Also, the
wide range of styles present in comics is simply awesome. The difference between the
aforementioned Mike Mignola, George Pérez, Jack Kirby, and Dustin Nguyen is very
obvious even to an untrained eye. Personally, my taste lies with those who break stylistically
from the norm, but the fact that I even can have that preference shows the breadth of the
medium as a whole.
ability to do something like the above example, panning to different characters while action
unfolds, while being a written medium. Additionally, the huge amount that the art adds to
a comic is often greatly overlooked. I myself am an offender in this regard, especially in my
younger days. As I’ve grown older, I’ve had to force myself to make an effort to look and
concentrate on the art before I turn the page. My instinct, which I assume is shared by
many, is to read all the text on the page as quickly as I can then turn it. This is conditioned
from years of reading standard novels I assume, but it regardless is a bad habit. Honestly,
focusing on and appreciating the immense amount of work someone like Mike Mignola
(my very favorite artist) puts into each page makes the experience far better. Also, the
wide range of styles present in comics is simply awesome. The difference between the
aforementioned Mike Mignola, George Pérez, Jack Kirby, and Dustin Nguyen is very
obvious even to an untrained eye. Personally, my taste lies with those who break stylistically
from the norm, but the fact that I even can have that preference shows the breadth of the
medium as a whole.
So, what do I have so far? The visual aspect, mainly. Well, also, the ability to bounce
between perspectives seamlessly is super interesting. It’s simply inimitable in any other
form. Most novels adhere to a single narrator, whether omniscient or first-person, and plays
reject any narrator and have the audience interpret all the information solely through
speech from the characters. In a comic, though it may make for a slightly dense reading
experience, it’s not unfathomable to switch between a third-person, omniscient narrator,
dialogue between a dozen or so characters, and the direct thoughts of five different
characters all within a 32 page issue. It’s incredible, and often overlooked. I feel most
regular comics readers (including me) are so accustomed to the form that they don’t notice
these small differences that make the form so unique.
between perspectives seamlessly is super interesting. It’s simply inimitable in any other
form. Most novels adhere to a single narrator, whether omniscient or first-person, and plays
reject any narrator and have the audience interpret all the information solely through
speech from the characters. In a comic, though it may make for a slightly dense reading
experience, it’s not unfathomable to switch between a third-person, omniscient narrator,
dialogue between a dozen or so characters, and the direct thoughts of five different
characters all within a 32 page issue. It’s incredible, and often overlooked. I feel most
regular comics readers (including me) are so accustomed to the form that they don’t notice
these small differences that make the form so unique.
Finally, I just wanna write about Homestuck, because it’s the most interesting blend of form
I’ve ever experienced. Homestuck could best be defined as a webcomic, and can be read
at https://www.homestuck.com/. I have not finished reading Homestuck, as it is VERY long,
but so far, it’s proven to be dense, funny, and heartfelt. It balances a truly large cast of
characters and makes an effort to develop all of them. The most basic summation of the
form is that the author presents a character in a situation, then forum readers suggest what
the character do next. I believe the comic started as a genuine forum game, though I think
this was abandoned after a short while and the style simply maintained. On a simple level,
this allows for shenanigans, like one of the very first gags: the character the reader is first
introduced to grabbing a pair of fake arms because the art style does not show arms unless
they are necessary. Where I find Homestuck gets really interesting are the spaces where
this style is shifted or abandoned. An enormous amount of the story is delivered through
text chat logs between the characters. Actually, almost all of the dialogue is delivered in
this manner. There are also animated sequences for large story events, accompanied by
some great music. Finally, there are FLASH GAMES, where the reader controls a character
and can interact with other characters as they choose. The conversations are scripted and
can’t be interacted with much, but it feels a lot like a choose your own adventure book. I
really need to read (?) more of Homestuck, and I recommend you do as well, whoever may
be reading this!
I’ve ever experienced. Homestuck could best be defined as a webcomic, and can be read
at https://www.homestuck.com/. I have not finished reading Homestuck, as it is VERY long,
but so far, it’s proven to be dense, funny, and heartfelt. It balances a truly large cast of
characters and makes an effort to develop all of them. The most basic summation of the
form is that the author presents a character in a situation, then forum readers suggest what
the character do next. I believe the comic started as a genuine forum game, though I think
this was abandoned after a short while and the style simply maintained. On a simple level,
this allows for shenanigans, like one of the very first gags: the character the reader is first
introduced to grabbing a pair of fake arms because the art style does not show arms unless
they are necessary. Where I find Homestuck gets really interesting are the spaces where
this style is shifted or abandoned. An enormous amount of the story is delivered through
text chat logs between the characters. Actually, almost all of the dialogue is delivered in
this manner. There are also animated sequences for large story events, accompanied by
some great music. Finally, there are FLASH GAMES, where the reader controls a character
and can interact with other characters as they choose. The conversations are scripted and
can’t be interacted with much, but it feels a lot like a choose your own adventure book. I
really need to read (?) more of Homestuck, and I recommend you do as well, whoever may
be reading this!
Anyway, that’s all I have to ramble about. I’ve got more wine to drink. Thanks if you made it
this far. Peace, Dane.
this far. Peace, Dane.
Friday, September 13, 2019
UTHEORY OF : Action Comics # 1
When Action 1000 hit the stands last year, I dug out my Famous First Edition reprint of Action 1 from 1974. This oversize comic reprints the contents of Action 1 from 1938, starting with Joe Shuster’s much-imitated cover of the man of steel wreaking havoc. I’ve always loved the expression on the face of the guy at bottom left. Get me out of here!
The first Superman story was assembled from strip samples and as a result reads like a fever dream. The first page introduces the basics of the legend, but says that a passing motorist took the baby to an orphanage. Panel 5 introduces him as Clark, he’s seen as Superman in panel 6 and panel 7 identifies him as Clark Kent. That same panel tries to explain his strength – by comparing him to what ants and grasshoppers can do - and says that members of his race gain tremendous strength “upon reaching maturity.”
By page 2, Supes is already dashing to the governor’s house to stop an execution. Jerry Siegel’s comic touch with the character already is visible on page 3, as he tears down the door to the governor’s bedroom and tells the guard “It was your idea!”
On page 5, Supes stops a wife-beater. Lois Lane makes her debut on page 6. Thugs take Lois and on page 9, Supes tracks em down and smashes their car in the iconic scene that Shuster recreates on the cover. By page 11, Supes is starting to investigate a crooked senator before this first tale ends with a cliffhanger on page 13.
It’s an invigorating story, made all the more energetic by the sense that you feel like you missed a panel or a page somewhere because of the way it was put together. But that sense of disorientation somehow adds to the story rather than detracting from it. Shuster’s art is rough but powerful and Siegel’s script and dialogue brought even background characters to life.
The unenviable task of following Superman in Action 1 fell to Chuck Dawson, a generic cowboy feature that wasn’t helped by having its six pages printed in black and white. Written and drawn by early DC creator Homer Fleming, best known for drawing the Whip, which ran as a backup in Flash Comics for many years. Story also ends in a cliffhanger, but much less exciting than the one by the guy in tights in the previous story.
(The inside cover of this issue is an ad for a contest offering $25 in cash prizes for coloring the first page of the Chuck Dawson story. Readers are asked to color the page and then tear it out and send it in. The best 25 would win $1 each. Ouch. Wonder how many issues of Action 1 eventually had this page missing.)
Next up is Zatara by Fred Guardineer. It’s a highly stylized knockoff of comic strip magician Mandrake, but quite entertaining with some beautiful panels within its 12 pages. Zatara doesn’t yet have a mustache and battles a villainess called the Tigress. He also shoots a bad guy. Maybe he already was tired of saying his spells backwards.
The next 3 features in Action 1 are unremarkable. A 2-page text story – something about pirates – to allow the comic to meet postage requirements. A 4-page humor strip called Sticky-Mitt Stimson by Russell Alger Cole, billed as Alger. It hasn’t aged well. A 4-page Marco Polo explorer adventure strip by early creator Sven Elven. It’s heavy on text and also hasn’t aged well.
Things pick up a little when Guardineer returns with Pep Morgan, a 4-page boxing strip. Good stuff, but not up to the level of Zatara.
Next is a 6-page black n white story of Scoop Scanlon, crime fighting reporter. Somewhat stylish but generic. Written and drawn by John William Ely. I had to look Ely up and was surprised to learn he had a 30-year career at DC – late 30s to late 60s – drawing a wide range of adventure, crime and horror stories. Sadly, Ely is largely forgotten, since the only character he’s worked on that’s still kicking around the DC Universe is Rip Hunter, who Ely drew very late in his career.
Action 1 wraps up with a 12-page story of Tex Thomson, a wealthy cowboy traveling the world. This one’s written and drawn by Bernard Baily – who wld go on to co-create the Spectre and Hourman – but is very generic.
The last page of Action 1 is titled Stardust and features brief items about movie stars Fred Astaire, Constance Bennett, Charles Boyer and comedy team Wheeler & Woolsey. I’m guessing it’s drawn by Sheldon Moldoff – since his name is right there on the inside back cover as the creator of Odds n Ends – a series of brief sports items featuring Lou Gehrig, Babe Ruth and …Lee Grissom? Had to look Grissom up as well. He had been an all-star the previous season pitching for the Cincinnati Reds.
Back cover has the typical ads that seemed to run in comics for 40 years - radios, cameras, how to be a ventriloquist, etc. My favorite item was the unlikely ad for yacht caps. Ahoy, matey!
Action 1 is truly a product of its time, a grab bag of features all looking to scratch their way to the top. Superman ended up on its cover almost by random chance – and he wouldn’t take over the cover for good til issue 19 – but the rest is history…
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