. » — The best thing for rich people to do is become Batman Karl Heinrich Marx *
So we’ve got another dour, dark, mumbly, violent, grim ‘n’ gritty
Batman movie making the rounds. I’ll pass — I’m afraid that’s not my Batman of choice. But I’m certainly game to provide an alternative view.
This is World’s Finest no. 32 (Jan.-Feb. 1948, DC); cover art by Hamilton, Ontario’s Win Mortimer (1919-1998), just one in a long, memorable series of frequently goofy scenes featuring this heroic trio.
A cute one from John Gallagher (1926 – 2005), twice (1957, 1971) the winner of the National Cartoonists Society ‘ Best Gag Cartoonist‘ Award and elder brother of Heathcliff creator George Gately Gallagher. It was published in scouting monthly ‘s Boys’ Life July, 1966 issue, smack dab in the heart of Batmania. We ran another bit of bat-drollery from John in an earlier post.
This is Mad Magazine no. 105 (Sept. 1966, EC); cover by Norman Mingo (1896-1980).
A pivotal page from ‘Alias the Bat-Hulk’ written by Bob Haney, pencilled by Mike Sekowsky and inked by Mike Esposito, from The Brave and the Bold no. 68 (Oct.-Nov. 1966, DC), edited by George Kashdan. We’re featured the issue’s fabulously batty cover in our earlier tribute to Mike Sekowsky. Bless you, gentlemen — you truly understood what fun meant and what comics should be.
Prolific Argentine cartoonist Vic Martin (in his homeland, he drew the strip “Salvador” for Medio Litro magazine) moved to the US in the early 1950s, crafting a respectable body of work in the comic book field, chiefly for Ziff-Davis, before migrating to men’s magazines and girlie digests. By the 1970, he’d found a home with Cracked Magazine (He handled the Hudd & Dini feature), while also freelancing for Sick and Crazy. Everything but Mad, really. This particular cartoon comes from the March, 1967 issue of Avant Publishing’s “Escapade”. As Pat Masulli is listed under “production” in the masthead, a Charlton connection is more than likely. And speaking of “ Leapin’ lizards!“, Martin would later (1973-74) work on the Little Orphan Annie comic strip.
From Plop no. 9 (Jan.-Feb. 1975, DC); Writer unknown, art by Kurt Schaffenberger.
This one’s from Plop! no. 20 (Mar.-Apr. 1976), DC); idea by Don ‘Duck’ Edwing, art by Dave Manak.
Dan Piraro‘s May 21, 1995 Bizarro Sunday strip. Between Piraro and his canny accomplice, Wayno, there have been scores of excellent bat-japes over the years. I must confess that the term ‘bat-bat’ triggers other associations. « » To the Man-Mobile!
This is , a 1998 watercolour by Pictures Within Pictures Mitch O’Connell (not to be confused, of course, with this beloved, near-homonymous fella — yes, I can just hear ). The piece is full of references to Beavis and Butthead chortling various Golden Age comics made infamous by Fredric Wertham‘s . For instance, er… Seduction of the Innocent Batman‘s speech balloon quotes from this particular comic book‘s opening splash. On a sobering note, let’s not forget that the 1950’s furore over comic books, as absurd as it may have seemed, still has relevance today.
In a more deadpan vein, here’s the opening splash of Chip Kidd and Tony Millionaire‘s madcap homage to the very earliest of Batman’s exploits, with nods a-plenty to the 1943 film serial. “The Bat-Man” originally appeared in Bizarro Comics (Aug. 2001, DC).
Another most decidedly dynamic duo, Eddie Campbell and Hunt Emerson, assembles to concoct an affectionate, thoughtful and yes, funny look at one of Batman’s most bizarre-yet-neglected members of the Bat’s rogues’ gallery, Lenny Fiasco, aka The Eraser, introduced in Batman no. 188 (Dec. 1966, DC) with This sequel, The Eraser Who Tried to Rub Out Batman! Who Erased the Eraser? also made its original appearance in Bizarro Comics (Aug. 2001, DC), edited by Joey Cavalieri.
Here’s one (June 12, 2014) from Pulitzer Prize-winning (1981) editorial cartoonist Mike Peters (b. 1943). It’s from his unevenly written but always gorgeous comic strip (created in 1984 and still going strong in over 800 newspapers worldwide). Like his colleagues Piraro and Wayno, Mr. Peters can scarcely resist a good bat-gag, so this is just one in a crowd of many. Mother Goose and Grimm
Everyone’s familiar with the famous playground song and staple of crooner Robert Goulet’s , right? The web is rife with visual adaptations, but this was my favourite, the work of répertoire Matthew S. Armstrong and available as a handsome t-shirt.
*the second-funniest Bat-related thing I encountered online this week is this attribution of a Batman (created in 1939) quote to Marx (1818-1883).
The funniest was the following deeply ironic quote from pathological liar and glory hog
Bob Kane: « How can an article about me or the Batman be the true story when I am not consulted or interviewed? »
» — Upon its head, with red extended mouth and solitary eye of fire, sat the hideous beast whose craft had seduced me into murder, and whose informing voice had consigned me to the hangman. The Black Cat (1845)
What can I tell you about the legendary English cartoonist and
bon vivant Hunt Emerson — born in 1952 in Newcastle and still devilishly active these days — that he can’t tell you in his own words?
Mr. Emerson has recently (and I
do mean recently!) contributed a series of hi-concept short strips to Ahoy Comics’ gamut-running Poe-themed humorous horror anthology. Taking his place in a thematic thread that includes , Tom and Jerry Antonio Prohías‘ , Spy vs Spy Brian McConnachie and Warren Sattler‘s , Kit ‘n’ Kaboodle Massimo Mattioli‘s Squeak the Mouse * and Simpsons cartoon-within-a-cartoon , Emerson merrily escalates the hostilities launched in Poe’s Itchy and Scratchy The Black Cat, with Poe himself in the rôle of the narrator. Assume the position!
Originally published in Edgar Allan Poe’s Snifter of Terror no. 2 (Nov. 2018, Ahoy).
Originally published in Edgar Allan Poe’s Snifter of Terror no. 4 (Jan. 2019, Ahoy).
Originally published in Edgar Allan Poe’s Snifter of Terror no. 5 (Feb. 2019, Ahoy).
You’ll get all these, and plenty more besides, in Edgar Allan Poe’s Snifter of Terror Volume 1 (Oct. 2019, Ahoy), collecting the title’s first six issues. Cover art by Richard Williams, with a title logo by Todd Klein.
* not, by a long shot, Mattioli’s best work. *That* would be, without question, his nonpareil
(1968-73). M le magicien