« Comics! If you wanna read, read a newspaper like normal people. »
In the late 1980s, Deni Loubert’s Renegade Press published two issues of this neo-romance anthology. While the results were perhaps a smidge uneven, it was a worthy enterprise, a refreshing change from the often out of touch romance titles from earlier decades… RR’s feminine perspective wasn’t a token one and the boys were, for once, in the minority. Among the contributors: Lee Binswanger, Angela Bocage, Jackie Estrada, Colleen Doran, Krystine Kryttre, Cynthia Martin, Barb Rausch, Mary Wilshire… and some guys.
« I know what’s the matter with your comic artists, they’re all crazy. »
« Of course they’re crazy, they wouldn’t be worth a whoop if they weren’t crazy. »
Today we commemorate the birthday of Popeye creator Elzie Crisler Segar (December 8, 1894 – October 13, 1938). The man succumbed to leukaemia and liver disease at the distressingly early age of 43… but not before making his everlasting mark on the world of cartooning and the world at large.
In this Popeye Sunday strip dated August 14, 1938, J. Wellington Wimpy ably demonstrates his solid-gold mooching wiles.
And for dessert, have a chaser of Segar’s even more endearing (in my opinion) companion strip, Sappo, featuring his delightfully bonkers Professor O. G. Wotasnozzle.
Sappo appeared as Thimble Theatre / Popeye’s “topper” on Sundays. This out of sight entry appeared on April 8, 1934.
Happy Birthday and bon appétit, Mr. Segar, wherever you are!
Rail-Bangin’ Rick Geary gives us a not-entirely-literal, yet oddly fitting visual representation of Brian Wilson and Jan Berry’s timeless classic, a number one hit for Jan & Dean in the Spring of 1963. Wilson’s original working title for the tune was “Goody Connie Won’t You Come Back Home“, perhaps a tad less catchy appellation.
Surf City, the strip, appeared on the back cover of the lone issue of Bop, “America’s First & Only Music Comix Magazine“ (1982, Kitchen Sink Press.) Edited by Catherine Yronwode.
Let’s start with something hair-raising. Well, not really – we’re a blasé audience, and it takes something special to truly scare us. Yet can you deny the foul-smelling, palpable sense of foreboding, the billowing and swirling nightmare that beckons from the elegant inks of this page?
« She boiled up out of the sea that hellish night — a monstrous hideous creature, she was, with the craggy face of an evil eyed witch! » Giant-Size Chillers no. 1 (February 1975). The cover promises a « frightful, fearful first issue! » Does it deliver? Eh, not really. Here’s a page of the best story in it, The Gravesend Gorgon, scripted by Carl Wessler and pencilled + inked by Alfredo Alcala.
Gravesend is an ancient town in northwest Kent, England; as for the gorgon part, it’s not entirely accurate, but it’s clear that comic writers cannot resist an alliteration.
On a slightly more humorous front (unless one is directly involved with this green monstrosity, in which case the situation would quickly lose its humour), here’s a page that hails from Jonah Hex: Riders of the Worm and Such no. 4, (June 1995). The story features the half-worm, half-human albino Autumn Brothers, whom you can see here greeting the big worm-momma. Texas blues rockers Johnny and Edgar Winter attempted to sue, but the suit was dismissed after a judge begrudgingly ruled that « the First Amendment dictates that the right to parody, lampoon and make other expressive uses of the celebrity image must be given broad scope. » Thank you, Los Angeles court. Frankly, it seems that the brothers are more remembered for the lawsuit than their music.
« Sure like to make big worm happy, whatever she want. Not care much for tentacle down throat. » Jonah Hex: Riders of the Worm and Such no. 4, June 1995. Scripted by Joe R. Lansdale, pencils by Timothy Truman, inks by Sam Glanzman.
Jonah Woodson Hex, created by writer John Albano and artist Tony DeZuniga in 1971, curmudgeonly and disfigured but bound by a personal code of honour, is a favourite character of mine, although I only like the way he is written for DC’s Weird Western Tales. Well, with one exception, this one! I most tentacularily recommend Jonah Hex: Shadows West, a collection of the three Vertigo-published mini-series scripted by Lansdale and illustrated by Tim Truman and Sam Glanzman, containing the stories Two-Gun Mojo, Shadows West and Riders of The Worm and Such.
And to wrap this up, on an even goofier note, here’s Jughead getting into yet another weird situation, which is pretty standard for him.
This page from The Eyes Have It comes from Jughead no. 77 (October 1961). Script by George Gladir, pencils by Samm Schwartz, inks by Marty Epp. Schwartz is absolutely the best Archie artist to draw tentacles; most everybody else would have made a mess of it.
« In the big wrinkled world, it would be like looking for a straw in a needle stack…»
Based upon, but with savvy improvements, Peter Sellers‘ Inspecteur Jacques Clouseau from the popular series of films launched with 1963’s “The Pink Panther“, the animated Inspector and the titular feline (who first appeared in the opening credits of the film) were spun off into a pair of successful series of animated shorts. Produced by DePatie-Freleng Enterprises, these series have earned their place as highlights of 1960s animation, though the competition was pretty toothless, compared to prior decades.
As for funnybooks, Gold Key’s “The Pink Panther and the Inspector” title was a solid success, lasting 84 issues (73 under the GK imprint, then 11 more under Whitman, 1971-1984), leading to a solo spinoff for The Inspector (19 issues, 1974-78). This is surprisingly witty stuff, written and drawn with assurance and verve. Comic strip great Warren Tufts (creator of Casey Ruggles) was reportedly involved, though when it comes to Gold Key and Dell, credits are at best sketchy.
This is issue 2 of The Inspector (Oct. 1974, Gold Key.)Speaking of the « Case of the Stolen Kiss », here’s a rather… daring public display of affection! This being Gold Key, the material was not submitted for approval to the industry’s censorship body, the Comics Code Authority.
A couple of days ago, I came upon a recent piece by the one-and-only Robert Crumb, one that’s currently up for (well-heeled) grabs through the auspices of Heritage Auctions.
Quoting Heritage’s description: « Robert Crumb and Others – ‘Spike and Mike’ Jam Mural on Canvas (2015-16). An approximately 80″ x 60″ sheet of canvas, with sketches on both sides. Chief among them is a “Draw Me” ad parody by Robert Crumb. Getting Mr. Crumb’s involvement was not easy; it took a friend lugging this oversized piece of canvas around Europe to track down the elusive artist, but the results were worthwhile. Crumb’s art measures 8″ x 11″, and is on the “unfinished” (cream-colored) side of the canvas, with several other sketches. »
It brought to mind the rich, if often sordid, history of art lessons offered in comic book ad spaces. Here’s a sampling.
The face that launched a thousand backroom businesses, and the object of Crumb’s homage/parody (1952). Note the sharp bit of self-serving credibility-boosting: « Amateurs Only! Our students not eligible. » The implication being that, naturally, their students are now all successful, seasoned pros… but you still need to tell them to butt out of the contest. The beautifully-drawn girl anticipates Jaime Hernandez‘s stripped-down style, if you ask me.Apparently a dry run (1954) for the great Joe Kubert’s School of Cartoon and Graphic Art (established in 1976, and still around); its (early) graduates include Stephen Bissette, Rick Veitch and Timothy Truman. Joe’s then-partner Norman Maurer, aside from being a fine cartoonist himself, was the son-in-law of Stooge Moe Howard, for which Maurer produced many 3 Stooges cartoons and comic books. Maurer and Kubert were also co-originators (with Leonard Maurer) of 3D Comics in 1953.Well, if you can’t draw… there’s always tracing; though even there, talent is an asset (1963.) According to Kirk Demarais‘ excellent book, Mail-Order Mysteries, this was « a rip-off. »This little ad was quite ubiquitous in 1970s comics. Was the product offered worth a damn? The mystery endures; well, that and the newly-wealthy cartoonist’s memorably frazzled expression.Roy Wilson’s book can still be found with a little digging. It certainly boasts a great cover. I’d mark this one as an honest enterprise (1973.)According to Kirk Demarais, You received « A thirty-two page booklet that teaches you, not only to draw monsters, but how to draw, period. Art history and artists’ tools and techniques are covered, along with a gruesome collection of creeps. It’s all presented with a healthy dose of encouragement for young pencil bearers. » Monsterman (aka Harry Borgman) earned himself a thumbs-up verdict from Mr. Demarais: « In a sea of shysters, Borgman is the real deal. » (1975)Mail Sack, Inc.? Still, a quarter doesn’t seem like too much of a gamble… (1971)Corner-cutting maestro and Marvel yes-man Big John B.’s art class gave the world such enduring talents as… er, Bob Hall. (1976)For some reason, this one leaves me… somewhat skeptical (1978.) Nice perspective, chump.And of course, we can’t leave out the cream of the crop (1982.)
Mr. Crumb is right, of course: the bottom line is that « You need to knuckle down and really learn how to draw! »
Who's Out There? 