Hallowe’en Countdown IV, Day 29

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« ‘A face like an oyster, huh?‘ Danny Lomax repeated, and swallowed hard. ‘That’s what it’s going to look like?‘ Nick Deene chuckled and nodded. ‘If there’s anything deader-looking than a watery blue oyster that’s been open too long,‘ he said, ‘I don’t know what it is.‘ » — Robert Arthur, The Believers (1941)

Today, we’ll peer through filmy years past at another example of cultural cross-pollination: a notion is born, seemingly out of nowhere, then it ineffably catches the collective fancy and is in some fashion absorbed into folklore, scattered like grain by wind and whisper. Then some soul, blessed with a way with words, polishes it for publication and some editor buys it for peanuts. Another wordsmith reshuffles and refines it, sprinkling some notions of his own, perhaps a glint of sardonic humour. Hungry for material, radio gets hold of the setup and reshapes it a little to fit another medium. Late one night, some comic book hack hears that presentation, and recollects its essence, some years on, in a frantic rush to fill some pages and scrape together a meagre living. Or perhaps he saw it in a competitor’s rag. Bah, no-one’ll remember… or give a toss. “I’ll give it a stab from another angle!“

First, there was… well, I’m not sure. But let’s begin with Henry Russell Wakefield‘s short story Ghost Hunt (either 1938 or 1948… sources differ), in which…

A radio host broadcasts a live ghost hunt in a house in London where there have been “no less than thirty suicides”. Most have run from the house at night to throw themselves off the cliff and into the nearby river. The radio broadcaster is joined by a paranormal investigator. The investigation proves all-too successful in this chilling story.

Then appeared, a couple of years hence, Robert Arthur Jr.‘s excellent The Believers [ read it here! ], published in the venerable Weird Tales‘ July, 1941 issue.

The Believers is a classic horror story by Robert Arthur. It’s about a radio host who decides to broadcast a live show from a haunted house. This story is also known as “Do You Believe in Ghosts?” and it was based on an older story by H. Russell Wakefield called “Ghost Hunt“. It also inspired a horror comic story and an episode of Tales From The Crypt, both of which were called “Television Terror“.

The Believers was featured in this 1963 Random House collection (which Robert Arthur himself edited as well as authored), under its alternate title of Do You Believe in Ghosts?. The splendiferous wraparound cover is by Arthur Shilstone (1922-2020).

In 1949 came a successful radio adaptation, courtesy of the popular Suspense show. This was likely the most influential iteration of the tale, the super-spreader, if you will.

And more that just the one ‘horror comic story’ was inspired by this singular scenario. In 1952, The Unknown (or at least uncredited, which amounts to the same thing) Writer came up with The Walking Ghost, which will now break up the tedium of text, text, text, and provide you with some welcome visuals by Messrs. Mike Sekowsky on pencils and Bill Walton on inks.

This adaptation (if you will) strikes a middle ground between the Wakefield and the Arthur approaches.

The Walking Ghost was reprinted decades later in Crypt of Shadows no. 3 (May, 1973, Marvel), where I first encountered this tale, and this bit of dialogue was modified to better (but not by much) fit the times:

And what exactly was the matter with “Uncle Miltie“? Doesn’t having the biggest schlong in Hollywood buy you any respect anymore? The Twilight Zone wasn’t even a radio show!
The Walking Ghost first saw print in Strange Tales no. 11 (Oct. 1952, Atlas); cover by Bill Everett. It didn’t even rate the cover.

-RG

Hallowe’en Countdown IV, Day 28

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« The world dies over and over again, but the skeleton always gets up and walks. » — Henry Miller

A few months back, while assembling a post about polymorphic French surrealist Maurice Henry (1907-1984), I marvelled and chuckled at his multitude of skeleton-themed cartoons. I made a mental note to devote a Hallowe’en post to them… and that memo only floated to the top of my consciousness a couple of days ago. Just in time!

(1935)
(1936)
(1938)
(1940)
(1941)
(1947)
(1950)
(1950)
(1958)
This one doesn’t feature skeletons, but I had to include it, given how stunningly *dark* it is for its (or any) era… can you imagine something like this published in the USA in… 1935? For more context, here’s the Bluebeard ditty.
In closing, and just for kicks: sixteen faces of the playfully photogenic Monsieur Henry. This one-man assembly featured on the back cover of Maurice Henry 1930-1960 (1961, Jean-Jacques Pauvert), a remarkable collection.

Trust me, I’m only scratching the surface of this man’s genius. If you’ll bear with me, we’re not done with him.

-RG

Tentacle Tuesday: It’s a Bird! It’s a Plane! It’s a Tentacle!

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« A kryptonian octosaur — the most fearsome creature of my long-dead home planet — here — on earth! »

Since Batman was already awarded a Tentacle Tuesday back in April (see Tentacle Tuesday: All Aboard the Batmarine!), it is time to allocate one to the other superhero that crops up all the freaking time, namely good old “Supes” (for those who are on familiar terms with him). I won’t hide from you that I have very little interest in the adventures of the aforementioned character, but I made a pledge to follow tentacles wherever they may lead me. The octopus of comics demands sacrifices!

The Man of Steel. The Last Son of Krypton. The Son of Jor-El. Metropolis’ favorite son. The Man of Tomorrow. Champion of the Oppressed. The Big Blue Boy Scout. The iconic Cape. The definitive Flying Brick. The Big Good of The DCU. The Superhero.

[source]

First, we have a number of inside pages of varying interest, depicting tentacles both organic and mechanical —

A page from The Superman Super-Spectacular!, scripted by Edmond Hamilton, pencilled by Curt Swan and inked by George Klein, was published in Action Comics no. 309 (February 1964).
A page from The Demon Under the Red Sun!, scripted by Otto Binder and illustrated by Al Plastino, was published in Superman no. 184 (February 1966).
The Demon Under the Red Sun!, part two. Superman wields his rapier-like wit to defeat the poor beastie. This was years before the Flying Spaghetti Monster!
A page from The Power of the Parasite, scripted by Jim Shooter and illustrated by Al Plastino, was published in Action Comics no. 361 (March 1968).
A panel from The Monster Who Unmasked Superman!, scripted by Cary Bates, pencilled by Curt Swan and inked by Murphy Anderson, was published in Action Comics no. 431 (January 1974).
The Monster Who Unmasked Superman!: aggressive tentacle grabbery ensues.
Page from Balance of Power!, scripted by Len Wein, pencilled by Dick Dillin and inked by Dick Giordano, was published in Justice League of America no. 111 (May-June 1974).
A page from …With But a Single Step!, scripted by Marv Wolfman and illustrated by Gil Kane, was published in Action Comics no. 545 (July 1983).

As a tastier, second part of our programme, I offer you an intriguing cover by Dave Gibbons:

Superman Annual no. 11 (September 1985)

And a page (or three) from what co-editor RG calls “the ultimate Superman story” (and I will absolutely take his word for it) — For the Man Who Has Everything… scripted by Alan Moore and illustrated by Dave Gibbons.

The tentacle mantle is taken up by other characters — pesky, clingy little buggers, aren’t they? « It’s called a Black Mercy. It’s something between a plant and an intelligent fungus. It attaches itself to its victims in a form of symbiosis, feeding from their bio-aura. Why, it gives them their heart’s desire…. », explains Mongul, the ‘benefactor’ who got Superman into this spot of trouble.

Mongul gets his comeuppance! And his heart’s desire of world domination, courtesy of the Black Mercy.

¤ ds

Hallowe’en Countdown IV, Day 27

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« No — I’m not alive! But we’ll have time to talk about that later! » — the accident-prone stranger

On the magazine front, Scholastic hit its peak in the mid-to-late 1970s with Dynamite (1974-92) Bananas (1975-84) and sundry periodicals aimed at various reading levels. Always comics-friendly, they struck a fruitful alliance with the fledgling Joe Kubert School of Cartoon & Graphic Art, thus granting precious early exposure to some of the institution’s promising early alumni, such as Stephen Bissette, Rick Veitch and John Totleben.

This is Weird Worlds no. 4 (1980, Scholastic). Cover by Joe Kubert. By ‘full-length’, they meant ‘four pages long’. Oh well.

Professorial Joe Kubert leads his students into a moody collaboration with the guiding lights of Dynamite, namely the husband-and-wife team of Jane Stine and ‘Jovial’ Bob Stine (of later R.L. Stine fame and fortune).

Could it be?

Well, Laurel could have fared far worse: her ‘Master’ is squarely in the then-fashionable Frank Langella / George Hamilton leading man mould. There was another alternative, of course:

You’ll enjoy Mr. Barlow. And he’ll enjoy you.

Weird Worlds didn’t set this world afire, enduring but eight issues. Still, Scholastic would return to mine the teenage affinity for all things spooky and on that occasion (and further ones) strike gold and raise goosebumps.

-RG

Hallowe’en Countdown IV, Day 26

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« … a radical series of crappy jokes & trashy art mopped out of the Bowery’s least washed lavatories. Fueled on bologna sandwiches, black coffee & cheap cigarettes, these are the ugly buttons that scream ‘America‘ to an America that has forgotten itself. » — a tasty bit of hype from Goblinko

Fabled pulp illustrator Norman Saunders (a definite favourite around these parts) is legitimately appreciated for his body of work, but I do believe he isn’t sufficiently lauded for his humorous work. After all, he could hold his own against the likes of Basil Wolverton and Wally Wood, and how many of his peers could lay claim to such a lofty achievement?

A passage from his son David’s definitive monograph, the simply and fittingly titled Norman Saunders:

Ugly Buttons came out in 1967 to exploit the popular trend of protest buttons with witty sayings. The macabre humor of Ugly Buttons reflects their Halloween release date as well as the morbid comedy of popular TV shows like The Addams Family and The Munsters. Norm Saunders created half [ eleven, actually ] of the twenty-four images in this set, while Wally Wood created the other half.

A sample of the original packaging…
I’m sorry… but that bat is just so adorable…
You can see why these are perfect Hallowe’en fodder!
Macabre, and with a tidy moral to boot! At a nickel apiece, an undeniably excellent value.
Well, perhaps not *strictly* altogether moral.
The final Saunders button, shot from the original art. This looker was entitled Peek-a-Boo.
One of the original boxes, which held 24 packs. Featured buttons Here’s Looking at You and I’m a Cool Ghoul were designed by Wally Wood.

Collectors find this set very difficult to complete. Although the series was a popular success in 1967, the buttons appear to have rarely survived. This is perhaps attributable to the design of the tin back pin, which was made in Japan with a hair-trigger clasp that instantly popped open and fell off.

Here’s one of the underperforming bad boys in question. To be fair, this one’s still holding together, which surely has earned it some kind of goodwill, a half-century hence. Those old enough (enough, enough!) will recall when ‘Made in Japan’ was an indicator of shoddy goods. All that’s been turned on its head since, interestingly. The Japanese people have admirably overcome much adversity, that’s evident.

By the way, I don’t know just how sanctioned these reissues are, but the cool cats at Goblinko have made these lovely buttons available once more, presumably sturdier and certainly at a perfectly reasonable price (forty times the original, I’ll grant you… but you do get to pick).

-RG

Hallowe’en Countdown IV, Day 25

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« He was offered a sloe gin fizz in a pink frosted glass by a young woman who removed her glass eye and sucked on it while discussing the moral imperatives of the sponge boycott in Brooksville, Florida. » — Harlan Ellison, ‘Neon’.

In 1973, Marvel was trying all sorts of things to bolster its market presence. They even dared to tread where even the venerable Weird Tales had never quite succeeded. The Haunt of Horror was a prose fiction digest that strongly showed its comics roots. It offered a mixture of classic material (Fritz Leiber’s Conjure Wife, a piece by Robert E. Howard) and of contemporary genre practitioners: Harlan Ellison, Ramsey Campbell… featuring a score of illustrations slapped together by Marvel’s less superhero-limited alumni, namely Gene Colan, Mike Ploog, Frank Brunner, Walt Simonson and Dan Green. After two issues, Marvel called the whole thing off, licking its wounds, but soon revived the title as a b&w comics magazine, this time eking out five issues (May 1974 – Jan. 1975) plus a 1977 issue of Marvel Preview.

This is The Haunt of Horror no. 1 (June, 1973), edited by Gerry, no, make that *Gerard* Conway (in full ‘take me seriously, I’m not just a hack comics writer!‘ mode), with a striking cover by Gray Morrow.

As for me, I picked it up for the rare short story by the nonpareil R. A. Lafferty, Ghost in the Corn Crib.

Dan Green‘s illustration for Lafferty’s story.
One of Frank Brunner‘s illustrations for John K. Diomede (alias George Alec Effinger)’s The First Step.
Werewolf by Night originator Mike Ploog didn’t have to stretch far beyond his comfort zone for this illustration for Alfred Angelo Attanasio‘s Loup Garou (french for Werewolf, if you still feel the need to ask).
It’s nigh-impossible to fully scan some these images without destroying the source document, but here’s the opening splash for Haunt of Horror’s publication of Fritz Leiber’s 1943 classic Conjure Wife, adapted in the movies as Night of the Eagle (in the UK) and Burn, Witch, Burn (in the US). Here, a fine, committed but uncredited Gray Morrow pebble board illustration is ‘corrected’ by Marvel’s number two Yes Man (Consulting Editor Rascally Roy Thomas would surely be numero uno), who replaces whichever figure Gray had drawn by an image of Mary Jane Watson, not even bothering with the slightest effort to match the style. John Sr. had gotten plenty of practice ‘fixing’ Kirby and Ditko, so Gray Morrow was just ‘all in a day’s work‘.
Gene Colan was called upon to whip up a few quick pieces for the rest of the feature.
The Haunt of Horror ran just one more issue, graced by a lovely, quite pulpy cover by the nonpareil Frank Kelly Freas, whose efforts Romita Sr. has also seen fit to ‘fix’. See Unknown World of Science-Fiction no. 1 (Jan. 1975). This, however, is The Haunt of Horror no. 2 (Aug. 1973, Marvel). Come to think of it, that evil priest kind of anticipates a latter-day Nicolas Cage, doesn’t he?

In the end, you might say that this short-lived publication is best known for a screwup: indeed, the notoriously disorganized Marvel Bullpen messed up the page order of Harlan Ellison‘s contribution to the first issue, Neon. Never one to let such things slide, Harlan made sure that a correct version was printed in the second issue. Score one for the good guys.

-RG

Hallowe’en Countdown IV, Day 24

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« Catholicism is not a soothing religion. It’s a painful religion. We’re all gluttons for punishment. » — Madonna Ciccone

Here’s a seasonal goodie from gag cartoonist Marvin Townsend (1915–1999) and his adorable “Ali” pantomime strip, which appeared, beginning in 1962 in, of all places, the Catholic comic book anthology Treasure Chest of Fun & Fact (Geo. A. Pflaum Publisher), distributed to parochial school students between 1946 and 1972.

Originally published in Treasure Chest vol. 21, no. 4 (Oct. 21, 1965). For more Townsend in a spooky vein, look no further than this post from our previous countdown.

Denominational and religious concerns aside, Treasure Chest of Fun and Fact, a publication generally avoided like any of the Ten Plagues of Egypt by your average comic book fan, was, wouldn’t you know it, chock full of excellent work by the likes of Bernard Baily, Fran Matera, Bob Powell, Reed Crandall, Joe Sinnott, Graham Ingels, Joe Orlando, Murphy Anderson, Jim Mooney, Paul Eismann… and these are some of the artists. The material was also engagingly written and often truly captivating. And they weren’t above paying a bit of lip service to that ol’ Pagan Holiday, Hallowe’en.

This was one in a highly-entertaining series of studies of classroom “types” by Frank Huffman. It appeared in Treasure Chest vol. 22, no. 12 (Feb. 9, 1967).
A piece by E. B. Wagner, this one saw print in Treasure Chest vol. 23, no. 4 (Oct. 19, 1967). Note the Leroy Lettering!
The back cover of Treasure Chest vol. 22, no. 4 (Oct. 20, 1966, Geo. A. Pflaum). Artist unknown, regrettably. Love that stylish auto-gyro witch!

-RG

Hallowe’en Countdown IV, Day 23

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« A detective sees death in all the various forms at least five times a week. » — Salvatore Albert Lombino, aka Ed McBain, aka Evan Hunter

Spanning nearly a full century since yesterday’s instalment, we now move ahead to a recent work from my favourite European bédéiste of the past quarter-century, David Beauchard, better known as David B. (b. 1959).

Among the traits I most admire in Monsieur Beauchard are his artistic integrity and his explorative drive. To wit, here he evokes the grimy spirit of late 19th century feuilleton serials, providing a narrative consisting of illustrated chapter headings… devoid of the main text. The reader is left to fill in the narrative gaps, enlisted in a bold compact with the artist and required to draw upon his own imagination.

A few choice excerpts (I left out the bits with tentacles… it’s not my department, after all!):

Le mort détective was issued just last year (yes, roughly an eternity ago) by rightly-celebrated French publisher L’Association.
So it begins… with the title page, naturally.
1 – The mysterious messenger: “The Flayers have returned…‘ chanted the strange apparition”.
2 – The skinned dwarf: “But who needs a dwarf’s skin… and to what ignoble purpose?“, panted the Dead Detective…
6 – The dwarf-skin coat: “The Great Old Man is a priest of the Yellow Dwarf God‘, murmured the Dead Detective to the Girl of a Thousand Daggers…”
10- The macabre post: “The Bad Postman distributes mysterious mailings.”
11- The word from the Hereafter: “The severed head exhaled a terrifying prophecy.”
22- The mass grave: “The Girl of a Thousand Daggers has sent a bouquet.“, he said in a dying voice.
41 – “The altar of fear: “Let’s flee!‘, exclaimed the Girl of a Thousand Daggers.”
68 – “The Devouring Love: Explanations were brutal between the Girl and the Dead One.”
69 – “The Flash War: … ‘Birnam Forest walks towards Dunsinane‘, recited the Dead Detective.”

-RG

Hallowe’en Countdown IV, Day 22

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« I have stuck to my simple art style while the smart illustrative men were snapping in their shadows all around me, because I believe that my story is more clearly told with a minimum of picture distraction. » — the wise, but absurdly humble Frank King (1959)

Gasoline Alley (1918-) is the second longest-running comic strip of them all. The Katzenjammer Kids (1897-2006) still tenuously clings to first place, but Gasoline Alley, boasting the advantage of still being around, should overtake it by 2027. Of course, that’s all academic and fairly irrelevant to us, because the strip’s originator, Frank Oscar King (1883-1969), is no longer guiding its destiny.

The collective memory being woefully short, if Gasoline Alley is likely to be remembered, it will be for its central innovation: characters age in real time, growing up and old and passing away, its cast and its world ever changing and evolving, in a small-town America sort of fashion. However, the strip’s original star, Walt Wallet, is still around, well into his second century.

Today, we’re digging deep, returning to those long-ago dinosaur days when newspapers were gigantic and so were the comic strips they featured, particularly on Sundays. And the Sunday Gasoline Alley was indeed something special.

I couldn’t possibly put it better than Chris Ware did in 2000, in tribute to King:

« Reserving his five daily strips for more complicated storylines, King’s full-color Sunday pages often presented Walt and Skeezix simply wandering the countryside of America, idly remarking about natural landmarks, the quality of the sky, or the colors of the seasons.

Frequently, these pages were richly-textured experiments in form and style, often having no joke or ‘punchline’ at all, only a quiet, sustained tone of serenity and gentleness. »

Halloween 1928!
Halloween 1931.
Halloween 1933.

And you know, since these are so gorgeous and just as seasonal, let’s be indulgent, broaden our scope the tiniest bit and take in some of King’s paeans to sweetest Autumn.

Autumn, 1926. Pro-squirrel, too. Good man!
Autumn, 1928.
And finally, the Autumn of 1930. Phew!

Incidentally, a lovely collection (designed by Mr. Ware!) of King’s finest Gasoline Alley Sundays from the strip’s first fifteen years was published a couple of decades ago: Sundays with Walt and Skeezix (2000, Sunday Press)… and, wonder of wonders, it’s still available from the publisher.

-RG

Hallowe’en Countdown IV, Day 21

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« Listen, youse guys — we’ve had enough of dis horsin’ around! When do we grab the dough? » — a hood craves action, from Haunted Halloween! (Flash Comics no. 78)

Superheroes, back when they weren’t all wrapped up in their grimness and grittiness, took a bit of time to properly enjoy the holidays.

This is Flash Comics no. 78 (Dec. 1946, All-American Comics), featuring Haunted Halloween!, scripted by Gardner Fox and illustrated by Everett Edward Hibbard… plus four more stories for your dime. Edited by Sheldon Mayer, with a cover by Hibbard.
And here’s All-American Comics no. 61 (Oct. 1944, All-American Comics), featuring The Green Lantern (and Doiby Dickles!) squaring off against a gruesome new foe, Solomon Grundy, in a tale entitled Fighters Never Quit!, written by none other than Alfred Bester (later the author of The Demolished Man and The Stars My Destination) and illustrated by Paul Reinman. Edited by Sheldon Mayer, with a Reinman cover.
And this is Comic Cavalcade no. 12 (Fall, 1945, All-American Comics), where we catch both The Flash and Wonder Woman about to indulge in some blackface. Edited, you guessed it, by Sheldon Mayer. Cover by E. E. Hibbard (The Flash), H.G. Peter (Wonder Woman) and Martin Naydel (Green Lantern).

-RG