« 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 Boys’ Life‘s 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 Pictures Within Pictures, a 1998 watercolour by Mitch O’Connell (not to be confused, of course, with this beloved, near-homonymous fella — yes, I can just hear Beavis and Butthead chortling). The piece is full of references to various Golden Age comics made infamous by Fredric Wertham‘s Seduction of the Innocent. For instance, er… 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 The Eraser Who Tried to Rub Out Batman! This sequel, 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 Mother Goose and Grimm (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.Everyone’s familiar with the famous playground song and staple of crooner Robert Goulet’s répertoire, right? The web is rife with visual adaptations, but this was my favourite, the work of Matthew S. Armstrong and available as a handsome t-shirt.
-RG
*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? »
JLA’s roster has rotated throughout the years, but for the sake of this post, only the seven original members will get cephalopod tussling privileges! Here they are, with the conspicuous absence of Batman and Superman who are no doubt rushing behind the scenes to rescue everybody (but don’t worry, we’ll get to them as well):
The Brave and Bold no. 28 (February-March 1960, DC). Cover pencilled by Mike Sekowsky and inked by Murphy Anderson.
I’ll start with Superman, otherwise he’ll get offended – you know how susceptible he can be. Rather, a double whammy of Superman and Flash, who stumble upon some rather adorable (aside from their propensity to eating people) tentacled aliens. Of course our superheroes decide to make a race out of it, because concentrating on saving some planet or other is clearly not exciting enough – and Batman just happened to be hanging around to give the starting signal. Some afternoons are just that quiet. Race to Save the Universe!, scripted by Denny O’Neil, pencilled by Dick Dillin and inked by Joe Giella, was published in World’s Finest Comics no. 198 (November 1970, DC).
Nevertheless, this dynamic duo does allow itself to get distracted from its marathon, just long enough to defeat this green cutie:
Don’t underestimate kittens.
Incidentally, Superman already has a Tentacle Tuesday all to himself (Tentacle Tuesday: It’s a Bird! It’s a Plane! It’s a Tentacle!) Still, here he is collaborating (more like ‘rescuing’) Jimmy Olsen from an intriguing green (why must they always be green?) monstrosity with worm-like tentacles. Ugh, not the most appealing. These pages are from The Voyage of the Mary Celeste II!, scripted by Jerry Siegel, pencilled by Curt Swan and inked by George Klein and published in Superman’s Pal, Jimmy Olsen no. 75 (March 1964, DC).
DC’s “Big Three” – its most iconic and popular – are of course Superman, Batman and Wonder-Woman. As far as the latter is concerned, as much as I love this character, seeing as we already have two Tentacle Tuesdays posts in her honour – Tentacle Tuesday: H.G. Peter and Wonder Woman lend a hand and Tentacle Tuesday: More Golden Age Wonder Woman Wonders! – I think I’ve said everything I had to say on the subject. Thus, we move on to Batman, albeit briefly because there is also Tentacle Tuesday: All Aboard the Batmarine! to peruse. He’ll have to share the stage with Superman, but I’m sure he’ll be a good sport about it.
World’s Finest Comics no. 110 (June 1960, DC). Pencilled by Curt Swan and inked by Sheldon Moldoff.
The cover story is The Alien Who Doomed Robin, scripted by Jerry Coleman and inked by Sheldon Moldoff.
Our next JLA member is the Martian Manhunter, whom I have a strange soft spot for. It’s well known that girls just can’t resist green skin! In honour of this bias, here are not one, but two excerpts from stories featuring tentacles front and centre.
First, two pages from The Beings in the Color Rings, scripted by Dave Wood and illustrated by Joe Certa, published in House of Mystery no. 148 (January 1965, DC).
And for dessert, a page from The Supernatural Masterpieces!, scripted by Dave Wood and illustrated by Joe Certa, published in House of Mystery no. 150 (April 1965, DC).
Naturally, Aquaman has encountered more than a handful of octopuses in his long undersea career – I went on about that in some length in Tentacle Tuesday: Aquaman and his Octopus Sidekicks. I have plenty more where that came from, so there surely be a part II to that particular tale… in the meantime, here is a rather striking cover that didn’t make it into that post.
The Brave and the Bold no. 73 (August-September 1967, DC). Cover pencilled by Carmine Infantino and inked by Charles Cuidera.
The cover story is Glag the Destroyer, scripted by Bob Haney, pencilled by Howard Purcell and inked by Sal Trapani.
Last… and maybe least, because I could never warm up to him… is Green Lantern. The following pages are from a story pencilled by Gil Kane, who doesn’t generally get glowing reviews from WOT. Nevertheless co-admin RG wrote an ingenious post combining our common dubiousness about Kane and percolated it through specifically Green Lantern covers – the result is Hot Streak: Gil Kane’s Green Lantern, which impressed, if not quite convinced, me.
Funny Thing Happened on the Way to Earth!, scripted by John Broome, pencilled by Gil Kane and inked by Vince Colletta, was published in Green Lantern no. 70 (July 1969, DC).
I hope you enjoyed this overview of the Justice League of America as filtered through the rather eccentric lens of tentacles.
« Is the spring coming? » he said. « What is it like?» «It is the sun shining on the rain and the rain falling on the sunshine…»| Frances Hodgson Burnett, The Secret Garden
Having been meaning for a while now to concentrate on tentacled plant life, I was hitherto stopped by the idea that it’s somewhat unseemly to talk about flora when most of our readership is buried in snow and ice. But now, well! – today was the first day of the year suitable for wearing shorts, and green shoots are popping up wherever one’s gaze happens to land.
We have waited for quite a long time before co-admin RG managed to get his hands on this issue… and it turned out that the insides vary from ‘lacklustre’ to ‘wow, that’s ugly!’ Still, the wonderful, striking cover makes it worth owning, I believe.
Horror: The Illustrated Book Of Fears no. 2 (February 1990, Northstar). Cover by Mark Bernal.
ACG got its tentacle parade in Tentacle Tuesday: ACG’s Adventures Into the Tentacles, but as usual, some material didn’t quite fit the theme, and I saved the following cover for a more appropriate occasion. This, I do believe, is the moment.
Adventures into the Unknown no. 48 (October 1953, ACG), cover by Ken Bald.
Speaking of adventures, let’s delve into Strange Adventures for a bit. The following story has a rather peculiar plot – « Star Hawkins is down on his luck and has to pawn Ilda, his robot secretary. Luckily, Star is hired to locate a fugitive who’s thought to be hiding on Vesta, an asteroid mining settlement, in the Red Jungle. But with a little tracking skill and the help of the creepy vegetation of the Red Jungle, he nabs the fugitive, gets his prisoner, and gets Ilda back from the pawn shop, promising never to pawn her again. »
Page from The Case of the Martian Witness!, scripted by John Broome, pencilled by Mike Sekowsky and inked by Bernard Sachs, published in Strange Adventures no. 114 (March 1960, DC).
Here’s another Earthman (who has dreamed of this moment, by his own admission!) struggling with some coquettish plant tentacles that just want to be friends.
A page from Super-Athlete from Earth!, scripted by Gardner Fox, pencilled by Gil Kane and inked by Bernard Sachs, published in Strange Adventures no. 125 (February 1961, DC).
The next thing after adventures is, naturally, mysteries. If they’re strange, puzzling mysteries, even better… what’s that word I’m looking for… ah, yes: baffling! Another day, yet another ravenous man-eating plant.
Baffling Mysteries no. 19 (January 1954, Ace Magazines). Cover is presumed to be by George Roussos. I think strangulation is not even the worst option here.
One more happy tromp through the jungle? Sure, why not!
The following image was originally created as a cover for House of Mystery no. 251 (1977, DC), but was nixed in favour of another, Neal Adams-penned illustration, which we’ve already featured in a previous post (Tentacle Tuesday: Plants Sometimes Have Tentacles, Too). I prefer this gruesome version (complete with skeleton being digested!… also more detail, more dynamic layout and better anatomy of all involved), pencilled by José Luis García-López and inked by Bernie Wrightson.
The first helmets were used by Assyrian soldiers in 900 B.C., and they were made of thick leather and bronze to protect the head from blunt objects, swords and arrows during combat. Research shows that helmets can significantly reduce the severity of injuries sustained from head trauma. That’s why it’s so important to always wear a helmet when taking part in a potentially dangerous activity.
You may argue that helmets are just a way to be able to breath underwater, a compromise between the bulky scaphandre (less elegantly ‘diving suit’ in English) and the scuba diving mask. Breathing, ha, that’s just a distraction to the real purpose of a helmet during an octopus encounter: it makes the diver’s head look a little like an octopus’ head, thus confusing him and giving a much necessary advantage.
Install yourself comfortably following the example of this happy family of cephalopods, and let’s have a look…
I first encountered David Wiesner when I bought his Mr. Wuffles! book on a whim (it had cats!), but Flotsam, a collection of underwater life illustrations published in 2006, is also clearly of some interest.
Out first helmet of the day is a reasonable imitation of a diving suit! The following page is from Prisoner of the Undersea World!, scripted by Gardner Fox, illustrated by Sid Greene, and published in Strange Adventures no. 155 (August 1963, DC).
I am not sure how he could drink and eat without taking his helmet off, and taking it off would surely mean drowning – luckily, the frogs were smarter than him!
I am pleased to report that not only did the octopus come out of that encounter in one piece, no frog denizens were seriously harmed, either (which makes this tale pretty special, since human heroes tend to go and annihilate anything they don’t understand).
Actual attempts at establishing communication? Colour me impressed!
Our second is a helmeted beauty (albeit twisting in a way that isn’t anatomically feasible) and some of her teammates from U.N.D.E.R.S.E.A. (or United Nations Department of Experiment and Research Systems Established at Atlantis).
Undersea Agent no. 2 (April 1966, Tower Comics), pencilled by Mike Sekowsky and inked by Frank Giacoia.
The cover story is rife with tentacles, but unfortunately doesn’t feature the scene depicted above at all.
Panel from The Return of Dr Fang, scripted by D. J. Arneson, pencilled by Ray Bailey and inked by Sheldon Moldoff.
On the other hand, Buried Under the Sea, a fun read nicely illustrated by Mike Sekowsky on pencils and Joe Giella and Frank Giacoia on inks, has plenty of sea-helmets… but no cephalopods. One can’t have everything, alas!
One easily understands why she made it onto the cover of the comic!
From helmets that are actually connecting to some diving equipment and oxygen canisters, we move on to ones which are just like an upside-down fish bowl somehow magically sitting on the wearer’s shoulders. Style always takes priority over silly things like actually being able to breathe. For more Adam Strange, scoot over to Tentacle Tuesday: Tangles with Adam Strange!
DC Super Stars no. 8 (October 1976, DC), cover by Ernie Chan (signing as Ernie Chua). This issue features a bunch of reprints, mainly reprinted stories from Mystery in Space.
Speaking of Mystery in Space, no. 21 (August-September 1954) has a very appropriate story… proving that the ol’ anti-cephalopod helmet can be used out of water. This is a page from Interplanetary Merry-Go-Round, scripted by Otto Binder and illustrated by Sy Barry… who’s still with us and about to celebrate his 93rd birthday!
Maybe the Martian monster is going ‘beserk’ (sic) because it’s a sentient creature who’s been chained and used for the amusement of stupid crowds?
« ‘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.
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).
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.
« In the spring, at the end of the day, you should smell like dirt. » – Margaret Atwood
Our neighbours are certainly following this sage piece of advice, crawling out with shovels and rakes, clad in rubber boots and – a new development this year – face masks. As far as I’m concerned, the flu virus can’t be transmitted by plants, so one is quite safe in the garden or backyard, as far as that goes… but how about proper protection against plant-tentacles? ♪♪ Whether on land or under the sea, tentacles are coming for you and me… ♫♫ I promise to stay away from song-writing in the future. But now, for the comics!
Sea Devils no. 18 (July-August 1964). Cover by Howard Purcell. The Sea Devils grapple with tentacles quite a lot, so they had a whole Tentacle Tuesday: Ahoy, Sea Devils! to themselves.
The art inside is quite nice, with pencils by Howard Purcell and inks by Sheldon Moldoff (read the whole issue here):
Incidentally, co-admin RG pointed out that the Sea Devils were basically turned into Sea-Monkeys – and minus the tail, he’s perfectly right!
Many people are highly wary of seaweed – and this story proves them right. Remember, eat seaweed, but don’t let seaweed eat you!
Page from The Slave Ship of Space!, scripted by Gardner Fox, pencilled by Mike Sekowsky and inked by Bernard Sachs. This story was published in Justice League of America no. 3 (Feb-March 1961). I wonder why the author decided to make anemones into “true” plants, when he could have simply incorporated actual seaweed into this story.
Back on land, and not even on a different planet, we have a story featuring hungry, hungry vines *and* the novel sport of “princess-tossing”:
Battle of the Planets no. 4 (December 1979), cover by Win Mortimer.
The Creeping Forest is scripted by Gary Poole and illustrated by Win Mortimer:
Of (relatively) recent vintage, a philosophical young man pondering the mysteries of life while held in the tender embrace of this, err, plant:
Fenrir no. 4 (Norvert Hethke Verlag, 1988).
Previous botanical Tentacle Tuesdays can be perused here.
« Even without the benefit of philosophical reflection, anyone who has spent some time in an enclosed space with an excited bat knows what it is to encounter a fundamentally alien form of life. » (Thomas Nagel, What is it like to be a bat?)
Bats and octopuses, now there’s a combination that doesn’t often occur in nature – while both are admirable, fascinating animals, they’re not linked by lifestyle or environment, and neither is the other’s prey. Batman, on the other hand, has definitely tangled with many tentacled monsters in his time (which proves that he’s not a bat). I’m sure today’s post didn’t unearth *all* the octopuses that Batman has had the pleasure of defeating, especially those of a more modern vintage (with mostly horrible art, which is why I’m not too worried)… but today’s selection, you will have to admit, is quite fair.
The Voyage of the First Batmarine!, scripted by Edmond Hamiton, pencilled by Dick Sprang and inked by Charles Paris, was published in Batman no. 86 (September 1954).
Bat-Mite Meets Mr. Mxyzptlk(he must be from Poland, with a name like that), scripted by Jerry Coleman, pencilled by Dick Sprang, and inked by Sheldon Moldoff, was published in World’s Finest Comics no. 113 (November 1960):
I totally squee-ed when I saw this panel.
Justice League of America no. 27 (May 1964), with the cover pencilled by Mike Sekowsky and inked by Murphy Anderson:
The inside story, The “I” Who Defeated the Justice League! is scripted by Gardner Fox, pencilled by Mike Sekowsky, and inked by Bernard Sachs:
Batman no. 357 (March 1983). Cover pencilled by Ed Hannnigan and inked by Dick Giordano:
The cover story, Squid, is scripted by Gerry Conway, pencilled by Don Newton, and inked by Alfredo Alcala:
Since they threatened us with the continuation of the story, I followed up, and dug up more tentacles. Deathgrip, scripted by Gerry Conway, pencilled by Don Newton and inked by Dick Giordano, was published (as promised) in Detective Comics no. 524 (March 1983):
Enigma of the Death-Ship!, scripted by Bob Haney and illustrated by Jim Aparo, was published in The Brave and the Bold no. 142 (July-August 1978):
I mentioned modern comics, earlier – I’ve chosen two examples published relatively recently, with passable art.
The pompously titled Leaves of Grass, Part 3: Comedown!, scripted by Alan Grant, pencilled by Dave Taylor and inked Stan Woch, was published in Batman: Shadow of the Bat no. 58 (January 1997):
Knightmares, Part 4, scripted by Tom King and illustrated by Jorge Fornes, was published in Batman no. 66 (May 2019):
To conclude on a more pleasant note…
Tentacled Terror, number 8 in Topps‘ 1966 Batman ‘Red Bat’ trading card set, boasting painted artwork by Norman Saunders.
« It’s wisest always to be so clad that our friends need not ask us for our names. » — James Fenimore Cooper
(Being a compendium of fashion faux-pas and various sartorial eccentricities.)
Now here’s a figure shrouded in mystery (and little else): Captain Wizard, whose sole appearance was on the cover (and not enough of it) of Atomic Bomb no. 1 (Gerona/Jay Curtis, 1946), a scarce one-shot. Artist unknown, regrettably.
What are this intriguing man of (relative) mystery’s abilities, aside from autonomous flight, quasi-nudity, bountiful love handles and a snazzy roué moustache? Did he “scare straight” hapless criminals with his sweaty, virile bear hugs? Sigh… I fear we shall never truly know. He’s in the public domain, the gent’s overdue for a revival!
I suppose there are many ways to compete for the prized title of « Most outré criminal Batman and Robin have ever encountered » (awarded every other year in October at Gotham City Hall; call 608-555-1313 for reservations): powers, weapons, motivations, henchmen, moniker, targets, modus operandi…
The Killer Moth made his play for the brass ring by donning the most garish and unsightly garb imaginable. Here he is making his début in Batman no. 63 (Feb. 1951), The Origin of Killer Moth! This sorry buffoon’s inception is credited to Bill Finger, Dick Sprang and Lew Schwartz, presumably to dilute the blame.
Of course, it’s unfair of me to pick on Killer Moth’s costume. I’m sure he took full opportunity to hone and refine his look over the next couple of decades. Plenty of down time to mull things over at his leisure in the clink, right?
To precious little avail, apparently. Here he is a quarter century on, in Batman Family no. 10 (April, 1977); his wings have arguably been upgraded to a cape, but he’s still evidently daltonic. Cover by Bob Brown and John Calnan. Sadly, this was some of veteran Brown’s last published work; he passed away from leukaemia in January, 1977.
Another entry from the closet of shame. His Very Name Invokes Terror… among the dandies of the Serengeti, who blanch and quake at the notion of being seen in public with him. However, that headgear of his reportedly drove Sir Elton mad with envy.
Showcase no. 66 (Jan.-Feb. 1967), The Birth of B’wana Beast, pencilled (and possibly scripted, but who’d admit it?) by Mike Sekowsky and inked by George Roussos. Edited by George Kashdan… who was unceremoniously relieved of his editorial duties after a mere two Showcase issues, both featuring B’wana Beast.
With Jack Kirby and Steve Ditko having decamped (not to mention Stan futilely slouching towards Hollywood), Marvel in the early 70s had not only lost its visionary plotters, but also its ace character designers.
Also, after 30 years or so of men in suits and hats, it was deigned that the younger and hipper generation should have characters whose wardrobe bore at least a tangential relationship to its own.
Created for the 100th issue of Daredevil by scripter Steve Gerber and penciller Gene Colan (who ended his initial long run on the title with that issue; was Angar the final straw, or was it the even more wince-inducing toadying to Jann Wenner?), Angar the Screamer was, to quote the amaranthine words of Wikipedia, « … born in San Francisco, California. He became a hippie and a radical social activist. He volunteered for an experiment that endowed him with sonic powers that caused people to hallucinate. » Groovy. Perfect for… 1973?
If anything, we can be grateful that Angar’s colour scheme is relatively restrained. I suppose it makes sense for a flower child to opt for earth tones. This is the concluding, cliff-hanging panel from Mind Storm! (Daredevil no. 100, June, 1973). Pencils by Gene Colan, inks… nay, “embellishments” by John Tartaglione. Read that, er… masterwork right here.
Poor DD’s saddled with calves thicker than his thighs. Cover art by Rich Buckler and Frank Giacoia, with the usual fussing and turd polishing by John Romita Sr..
This is Angar’s first cover appearance, Daredevil no. 101 (July 1973), in a tale that could only be called… Vengeance in the Sky With Diamonds!
There *are* indeed tentacles within, so you’ll likely encounter these, some enchanted Tentacle Tuesday…
Sekowsky, born on November 19, 1923 (it was a Monday), was another of those precocious, tireless, versatile pioneers of the comic book industry, such as Joe Kubert, Carmine Infantino and Alex Toth. He started out with Timely Comics in 1941.
I’ve always enjoyed his mature style most, as it became more eccentric and more distinctive, without sacrificing an iota of storytelling and compositional ability. We’ll come back to the topic with some examples in tow, but for the present, here’s a select gallery of his covers over the years. I stayed away from the more obvious choices… we hardly need to revisit his introduction of the Justice League of America (Brave and the Bold no. 28, March 1960), for instance.
I’m reminded of an old joke (usually) told about Beethoven: « A tourist is sightseeing in a European city. She comes upon the tomb of Beethoven, and begins reading the plaque, only to be distracted by a low scratching noise, as if something was rubbing against a piece of paper. She collars a passing native and asks what the scratching sound is. The person replies, ‘Oh, that is Beethoven. He’s decomposing‘. » This jazzy Mike Sekowsky / Mike Peppe (attributed) cover tableau sadly doesn’t turn up in any of the inside tales. Typical. This is lucky issue 13 of Standard/Better/Nedor Comics’ Adventures into Darkness (Dec. 1953.) And if you’re in the proper mood, the whole thing’s available for your reading pleasure right here.
« Sorry, old buzzard! Pick on someone your own size! » One of the last new supermen of the Golden Age, the absurdly well-endowed Captain Flash came along just before the Code did, in November 1954. Captain Flash’s adventures were published by tiny Sterling Comics, which released a handful of titles in 1954-55 then vanished. Bad timing. Captain Flash gained his mighty powers through accidental exposure to cobalt rays, if you must know. Thrill to his heroics right here: http://comicbookplus.com/?dlid=17682
« Blazes! And if I remember my Bat-lore, that’s the flying bat-cave he’s using to charge that bank! Hit the brakes, stoop-skull! » Bob Haney and Mike Sekowsky bring the wacky to this issue of The Brave & Bold no. 68 (Oct/Nov. 1966), with the saga of “Alias the Bat-Hulk“! Script by Haney, pencils by Sekowsky, cover inks by Joe Giella and story inks by Mike Esposito. Gotta love the cackling peanut/rogues’ gallery!
I’ve always had a soft spot for Gardner Fox and Sekowsky’s JLA, but no-one else’s, really. Especially late in their run, when things got increasingly bizarre. This is Justice League of America no. 61 (March 1968). Cover by Sekowsky and Jack Abel.
Ah, the always fun “screw you, hero!” cover theme. This is Green Lantern no. 66 (January, 1969), pencilled by Sekowsky and inked by Murphy Anderson, an unusual but effective combo. Within, «5708 A.D. — A Nice Year to Visit — But I Wouldn’t Want to Live Then!» is scripted by John Broome, pencilled by Sekowsky and inked by Joe Giella.
The final issue of the Atom as a solo book. He would team up with Hawkman for a few issues (with gorgeous Joe Kubert covers), but all in vain. The Atom no. 38‘s (Aug./Sept. 1968) « SinisterStopover… Earth! » is written by Frank Robbins, pencilled by Sekowsky and inked by George Roussos. Cover by Sekowsky and Jack Abel.
While newly-ensconced editorial director Carmine Infantino seemed to have boundless faith in Sekowsky in the late 1960s and early 1970s, pretty much every one of his creations and revamps turned out to be box office poison… but they were often bold, and certainly different. His take on Bob Kanigher and Ross Andru‘s Metal Men was odd, at times baffling, invigorating… and, at six issues, quite short-lived. This is Metal Men no. 38 (June-July 1969).
« Do we dare follow? Keep your distance now… don’t let it know you’re there! » Nick Cardy crafted the majority of DC’s The Witching Hour’s gorgeous early covers, some of his finest work. But… *this* understated beauty was pencilled by Sekowsky and inked by Cardy. The picturesque results are set in the selfsame 1930s Universal Studios backlot Balkans of the mind so dear to several generations of monster-loving artists and kids. This is The Witching Hour no. 3 (June-July, 1969.)
« Ach ja! That field once produced the best wine in the world, for it is said it was fertilized with human blood! »
(Does that only apply to red wine?)
As far as 80s reprint packages go, this was something special by any measure: first of all, though the spooky tales within were produced in the pre-code 1950s, they had never gone to press. The material was intended for the 15th issue of Pines/Standard/Better/Visual Editions’ Adventures Into Darkness, which was never published, presumably in the wake of the heavy-handed censorship of the newly-instituted Comics Code Authority. Why bother revising and releasing a book that likely wouldn’t even get distributed?
Second, the originals were adapted for the 3D process. The effect was quite the rage in 1953-54, but these particular 3D separations were created retroactively, in the 80s, by modern stereoscopy master and keeper of the flame Ray Zone (1947–2012) and Tony Alderson.
And finally, there’s that eyeball-caressing Dave Stevens (1955-2008) cover. The gone-too-soon creator of The Rocketeer also made his mark with a cherished handful of covers in those dark Reagan years, a mark that thankfully shows no sign of fading.
This is Seduction of the Innocent 3-D (Oct. 1985, Eclipse). Logo by Ken Steacy.
If you’re in the mood, a couple of 2D samples of the issue, perhaps? Try Harvest of Death or Death Dives Deep. Just tell dear Mr. Karswell we sent you!
Who's Out There? 