March 2024 – Who's Out There?

Treasured Stories: “Saga of the Secret Sportsmen!” (1963)

March 28, 2024March 28, 2024gasp654 Comments

« I was a peaceful sedentary man, a lover of a quiet life, with no appetite for perils and commotions. But I was beginning to realise that I was very obstinate. » — John Buchan

Over the course of several posts, I’ve extolled at length Carmine Infantino‘s skill as a cover designer. Yet the ability to envision and execute a single static image does not automatically translate into the skill of clearly and tidily breaking down a story into a suite of sequential panels, in much that same way that a superbly dexterous surgeon may be incapable of writing legibly. It pleases me to declare that Mr. Infantino’s no one-way specialist.

Infantino describes the evolution of his visual thinking: « The use of negative and positive shapes inside the panel had to mean something. So, to me, if the shapes didn’t draw the eye in, then they weren’t worthwhile. I had to move and change the shape to make it work for me. And that’s what I did. For me beforehand, the figure was the most important thing, and nothing else in the panel mattered. But later on, I found out that it was the total figure I had to worry about. » (all Infantino quotes excerpted from The Amazing World of Carmine Infantino: an Autobiography (2000, Vanguard Productions; edited by J. David Spurlock)

I’ve long wanted to feature this particular tale… for both script and artwork reasons. However, my copy was in Mysteries in Space: The Best of DC Science Fiction Comics (Apr. 1980, Simon and Schuster/Fireside; Michael Uslan, editor)… and I’d be all-but-guaranteed to destroy this beloved book in any attempt to scan from it. But — aha! — I’ve recently acquired a copy of DC Special no. 13 (Jul.-Aug. 1971), which granted the tale its first encore. Game on!

Someone slightly goofed here : **The Brave and the Bold no. 47** was published in April-May *1963*, not 1953.

« *The silhouettes I used in ‘*Strange Sports Stories‘ [featured in *The Brave and the Bold* nos. 45-49] *were innovations. Julie* [*editor Julius Schwartz*] *gave me the script and said, ‘*We want this book to look different.” That’s all he said, and I went home and what I devised to make it look different was by using silhouettes as a dramatic device. The action starts in the silhouette, and then you go to the conventional panel, and the action follows through. One might almost call it an animated treatment. »

As smooth and effective as the Infantino-Anderson pairing looks, there was *some* friction behind the scenes. Infantino explains: « I was beginning to experiment at the time and I threw anatomy out in favor of a higher level of design. Murphy was an excellent draftsman and I’d try to explain what I was trying to achieve to him but this was quite contrary to his own sensibilities. The more stylized I became, the more he thought the work had to be ‘fixed up‘. At one point, he asked for a raise because he had to change my work so much. What he thought he had to ‘fix‘ was the new style I was most excited about. »

Our featured story shares a central perspective with Russ Manning‘s rightly celebrated Magnus, Robot Fighter, whose inaugural issue had come out a mere two months earlier — though with that close a gap, it’s most likely a simple case of coincidence.

A relevant page from **Magnus, Robot Fighter 4000 A.D. no. 1** (Feb. 1963, Gold Key); story and art by Manning, with input from editor Craig Chase, who initially pitched the idea of a SF hero to the publisher.

Are we getting less physically able with every succeeding generation, as our elders have been claiming for eons? Is it just a mistaken, shallow assessment arising from tone-deaf obduracy and bad faith — or have our forerunners all been correct about a general and ongoing decline?

-RG

So the Square Says to the Triangle, ‘That’s No Lady, That’s My Wife!’

March 21, 2024redscraper1 Comment

Inhabiting the same topography and timeline as Jules Feiffer‘s Village Voice strips, Bill Manville’s Saloon Society, and, dare I say, even Rod McKuen’s youthful reminiscences, The Conformers by Jack Wohl* (‘who has been, at various times, a child, a larger child, a musician, a composer and creative consultant and art director for our advertising agencies‘, helpfully notes the blurb on the back) is a charming little book with colourful squares and circles for characters. Like many other publications whose existence I previously ignored, I found it in a used bookstore that assigned it the somewhat random price of seven dollars, 41 cents, which was pretty good, considering that the employees probably didn’t know what it was or how to price it.**

Published in 1960, the book consists of ‘shapes cut out of colored paper with scissors‘, cheekily described in the introduction by Roger Price*** as Wohl’s psychiatrist’s idea. These blobs may be firmly situated in NYC’s Greenwich Village, but no matter how technologically advanced we get, most human preoccupations are the same some 60+ years later… so most readers will be able to effortlessly recognize themselves in the lives of Harriet (red circle), Howard/Herbie (purple square) or Arthur (green square).

~ ds

* Definitely not the American far-right conspiracy theorist, fraudster, and convicted felon.

** No shade is intended towards used bookstores in general, which are places I love being in, but this particular bookstore has staff that seem to wildly overprice most things without consideration for their condition or the simple question of ‘who in their mind would buy this at that price?‘.

*** As the author of Droodles, Price was particularly well positioned to write an introduction to The Conformers.

Slug Signorino, Good Buddy

March 13, 2024March 14, 2024gasp65Leave a comment

« Arrows of neon and flashing marquees out on Main Street / Chicago, New York, Detroit and it’s all on the same street / Your typical city involved in a typical daydream / Hang it up and see what tomorrow brings » — Robert Hunter

Among the foremost pleasures of a brick-and-mortar bookstore is the increased odds of stumbling upon an item whose existence you never suspected: case in point, another cheap (one buck!) gem I scooped up in Ellsworth, ME’s The Big Chicken Barn last Autumn.

Now — I’ve long been a huge fan of the pseudonymous Cecil Adams‘ sassy syndicated answer column The Straight Dope (1975-2018), in no small part thanks to resident — all the merry way! — illustrator Michele ‘Slug’ Signorino‘s waggish accompanying cartoons, rendered in what he colourfully called his ‘smudge-a-dot technique’.

And so, last October, I grabbed a lovely Scholastic publication that had until now ably eluded my radar — 1978’s Junior CB Picture Dictionary, compiled and edited by Joan Downing and dexterously illuminated by the aforementioned Mr. Signorino. I was delighted to discover that he’s still happily active well into his Eighties: « he still works and does not intend to retire. “This isn’t work,” he said. »

This slim-but-priceless tome happens to tick several of my pet boxes: a somewhat (but not quite!) passé communication technology; a lively, singular species of jargon; a merrily anarchic illustrative style… and so forth. Let’s sneak a peek, then!

**Checking My Eyelids for Pinholes**: Tired; getting sleepy.

**County Mounty**: Sheriff or county police.

**Draggin’ Wagon**: Wrecker or tow truck.

**Flagwaver**: Road construction worker.

**Haircut Palace**: A low bridge or overpass. There’s one of these a couple of blocks up the street from where I used to live, but I suppose every big city has to live with that problem. In Boston, MA, the phenomenon is particularly colourful, as is called ‘Storrowing‘.

**Motor Mouth** (Also: **Ratchet Jaw**): One who talks too much.

**Skating Rink**: Road slippery from ice, snow, or rain.

**Truckin’ Teenybopper**: Young hitchhiker. The bulk of my first-hand experience with CB came from hitchhiking in my youth so I indeed was a truckin’ teenybopper myself! I’m still warmly grateful for the longest ride I ever got: from Portland, OR, to Long Beach, CA, thanks to a friendly truck driving man. He was actually headed for San Diego, but I was already over three thousand miles from home… and had to get back in time for college.

**Wall to Wall and Ten Feet Tall**: Good CB reception. A visual reference to famous pooch ‘Nipper‘.

**Window Washer**: Rain. Is that you, Dirty Danny?

For more dirt on the magnificent Signor Signorino, feast your peepers on this lovely 2022 profile. And in case you’re wondering “Does Slug have a book about his career?”, why yes, he certainly does!

I’ll let Steve Earle have the last jab at this one: « Everybody told me you can’t get far/On thirty-seven dollars and a Jap guitar/Now I’m smokin’ into Texas with the hammer down*/And a rocking little combo from the Guitar Town**. »

– RG

*Driving fast
**Nashville, Tennessee

One Furious Woman and a Hatchet: the Saga of Carrie Nation

March 8, 2024redscraperLeave a comment

« In 1900, she bought from a Medicine Lodge hardware store the implement that became both her weapon and her symbol — a hatchet — and at the age of fifty-four sallied forth on a smashing campaign that carried her across the country, shouting: ‘Smash! Smash! For Jesus’ sake, Smash!’ »

These days I’ve been reading Ardent Spirits: The Rise and Fall of Prohibition (1973) by John Kobler. I didn’t know much about the temperance movement in general, but what surprised me most is how intimately it was tied to suffragette activism. It’s in Ardent Spirits that I came across the fascinating character of Carry Nation*, ‘a bulldog, running along at the feet of Jesus, barking at what He doesn’t like’. She seems a very fitting figure for a post on this March 8th, International Women’s Day.

Whether she was a total barmpot or a blazing visionary is up for some debate; I must give credit to Kobler, who cobbled together a fairly well-balanced portrait of her while many historians tended to quickly dismiss this hatchet-wielding devotee as a crazed lunatic. While basic facts remain the same (disagreement about Nation’s height notwithstanding), interpretation of events and motivations varies wildly. This can be quickly demonstrated by comparing two modern articles of some depth: Carry Nation is described as ‘a flamboyant, theatrical and completely outrageous woman at nearly 6 feet tall [..] smashing barrels on stage and singing her temperance songs to enthusiastic audiences who howled for more‘ (Carrie Nation: American Woman by Richard Behrens) but also as ‘a fearless populist progressive just over 5 feet tall** […] fighting tirelessly for good governance, women’s rights, civil rights, and cleaning the corruption out of the body politic‘ (Hatchet Nation by Mark Lawrence Schrad).

One of six postcards published in 1905 depicting Nation’s ‘hatchetations’: *On the Warpath; Raiding a Public House; Addressing Cigarette Fiends; Smashing a Pub; In a Restaurant; In a Pub.*

Cartoon from 1901 published in **The Freethought Ideal**, Vol II, 1901.

Nation went through an arsenal of weapons (aside from rocks and incidental objects, a sledgehammer) before settling on her beloved hatchet and coining the term ‘hatchetations’ to describe her saloon smashings. It comes as no surprise that she grabbed cartoonists’ imagination, even taking into account that real juicy conflict remains unillustrated (and this was a ruthless war between temperance advocates and their opponents). Just picture this colourful scene — a woman, garbed in the usual constrictive dress of early 19th century, marching into a bar and smashing up bottles, mirrors, chairs, slot machines with her trusty little axe. This striking image is likely why Nation’s name is first to spring up when the topic of prohibition arises in modern conversation.

A cartoon in **The Gazette** by **Harry Larimer**, published in 1901.

Cartoon by Louis Walrymple published in **Puck***, v. 49*, no. 1256 (April 3rd, 1901).

Cartoon published in the **Minneapolis Journal** on February 6th, 1901. You’ll doubtlessly notice that this caption gets around a lot!

Happy Women’s Day (and Women’s History Month) to all readers!

~ ds

* This original name came about when Carry Moore, named Carry by a semiliterate father, married David Nation. She preferred to spell her name as ‘Carrie’, until she married David, yielding the grandiose full name Carry A. Nation (A. stood for Amelia), ‘carry a nation for temperance’.

** This question of height intrigues me, for most articles describe Nation as tall and powerful. Mark Lawrence Schrad, who just portrayed her as being just over 5 feet tall, has also written another article in which he calls her ‘imposing in stature, prone to violence and—claiming God spoke to her, urging her to attack saloons—slightly unhinged‘.

Bill Ward, Fool for Love

March 6, 2024March 6, 2024gasp656 Comments

« We all know interspecies romance is weird. » — Tim Burton

It’s Bill Ward‘s birthday! No, not Black Sabbath’s Bill Ward — that’s on the 5th of May — save the date, as the suits say. It’s also Will Eisner’s anniversaire, but as he holds a category of his own, let’s let ol’ Bill have his turn, shall we?

Now, while most of the attention devoted to Ward (1919-1998) centres on his enormous output for Marvel founder (and Stan and Larry‘s uncle) Moe ‘Martin’ Goodman, I’m more intrigued by the brief period of his career when he truly seemed invested in his work, namely his passage at Quality Comics, where his craft rivalled that of such illustrious stablemates as Eisner, Jack Cole, Reed Crandall and Lou Fine.

While he worked on such features as Blackhawk and Doll Man, Ward clearly preferred — was it ever in doubt? — depicting beautiful women dressed to the nines, a passion most readily indulged in romance comics, a genre then in its infancy, Joe Simon and Jack Kirby having just set it on its way with 1947’s Young Romance.

This is **Heart Throbs no. 1** (Aug. 1949, Quality). Ever the fetishist, Bill never could resist a well-fitted pair of opera gloves.

This is **Heart Throbs no. 2** (Oct. 1949, Quality). Quality’s flagship romance title, Heart Throbs lasted one hundred issues, 46 published by Quality, and an even hundred by DC (1956 to 1972) after they picked up what remained of the publisher’s assets, among them Blackhawk, Plastic Man, Doll Man, Uncle Sam, Phantom Lady, and some war (G.I. Combat) and romance titles.

This is **Hollywood Secrets no. 1** (Nov. 1949, Quality). An unusual colour scheme!

This is **Campus Loves no. 1** (Dec. 1949, Quality).

This is **Flaming Love no. 1** (Dec. 1949, Quality). The gloating guy is the prototypical Ward creep.

This is **Broadway Romances no. 1** (Jan. 1950, Quality). It’s so refreshing to see Ward devote the same level of attention to detail to background items as to the female figure and her accoutrements.

This is **Hollywood Secrets no. 2** (Jan. 1950, Quality).

This is **Love Letters no. 2** (Jan. 1950, Quality). Interesting how all these romance covers — the majority of Ward’s production in that genre — all came out within the span of a year or so.

This is **Secret Loves no. 2** (Jan. 1950, Quality). Ward liked his women to have tiny, needle-like digits — I mean, just compare the lovers’ respective paws!

This is **Torchy no. 5** (July 1950, Quality), Ward’s signature creature. With the years, as his women grew ever more buxom, his men became ever more grotesque — these are some of the archetypes, but noses got longer, legs got skinnier and shorter, bellies more bulging — until men and women in no way seemed to belong to the same species. While that device of exaggeration was a mainstay of « girlie » art, Ward took it further than just about anyone.

Over the years, things got more… pneumatic. And then some more.

One from an issue of **Zip** (1967, Marvel); that particular cartoon had probably been around the block a few times by then… it sure doesn’t scream ‘1967!’

Incidentally, the elaborate background textures found in Ward cartoons were achieved by a technique called rubbing, or frottage, « … a reproduction of the texture of a surface created by placing a piece of paper or similar material over the subject and then rubbing the paper with something to deposit marks, most commonly charcoal or pencil. » Not to be confused with the *other* kind of frottage, although, come to think of it, that’s also quite relevant to Ward cartoons.

One of Ward’s ‘Phone Girls’, she saw print in **Snappy no. 24** (1958, Marvel)… and likely numerous times thereafter.

-RG

Richard Thompson Tells You « Why Things Are »

March 1, 2024March 1, 2024redscraperLeave a comment

« Before the incalculable capacity of the Internet to answer nearly any question put to it while allowing a legion of pedants to hold forth without constraint, getting the facts of the matter took some effort. »

Weekly column ‘Why Things Are‘ ran in The Washington Post from 1990 to 1996. During these diverting (at least as far as the common topic is concerned) years, WOT favourite cartoonist Richard Thompson tackled such various brain bafflers as ‘what does the inside of your nose smell like?’ or ‘why does overdrinking cause a hangover?’ These, at any rate, were the questions posed by Joel Achenbach, staff writer for TWP, questions from which Thompson bounced into sometimes altogether unexpected directions. « The column was fundamentally zany », explains Achenbach in the introduction to the collection of Why Things Are, « though larded with real information and interviews. Richard, it turns out, had crammed his brain over the decades with all manner of esoteric information. The cartoons sang – and sing to this day – with the perfect pitch if the slightly demented intellectual. » There are few things closer to my heart than a non-sequitur with a pedantic bent!

Here is a selection of cartoons from the aforementioned collection, published in 2017 by Picture This Press. While these illustrations need no further accompaniment, the questions submitted to (or by) Achenbach are included under each image. Enjoy!