« 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.
Over the years, things got more… pneumatic. And then some more.
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.
« This is how you disappear… » — Scott Walker, Rawhide
No foolin’, honest: today is the birthday of cartoonist Frank M. Borth III (April 1, 1918 – August 9, 2009), who worked on such Golden Age features as Phantom Lady, Captain America, Skypilot, Spider Widow, colleagues Captain Daring, Captain Battle and Captain Fleet… he kept busy.
Then, at the close of the 1940s, he began a long association with Catholic publisher George A. Pflaum, chronicling (among others) the rollicking adventures of one Frumson Wooters, aka The Champ, a stereotype-bucking chubby kid who’s at times scatterbrained and clumsy, but also wise, determined, resourceful, and humble to boot. Written by Captain Frank Moss and radiantly illustrated (and later, also scripted) by Borth, the feature ran for two decades in Treasure Chest of Fun and Fact, a publication distributed to parochial school students between 1946 and 1972 and generally avoided like any of the Ten Plagues of Egypt by your average comic book fan, but — 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, Marvin Townsend, Paul Eismann… I’ll stop now.
I was going to feature a gallery of favourite Borth pages from all over the place, but instead decided it might be more interesting to highlight his ability to break down an action sequence, since that’s the palpitating heart of an adventure yarn. Therefore, here’s chapter 4 of “The Champ’s Treasure Hunt“, published in TCOF&F volume 15, No. 4 (Oct. 22, 1959).
I intended to direct interested readers to an autobiographical essay Borth penned late in life, but it’s gone — well, retrievable if you try hard enough, but to avoid losing it altogether, I’m going to quote it in full:
FRANK BORTH, syndicated cartoonist was born in Cleveland, Ohio and graduated from Cleveland School of Art in 1940. Frank had earned his tuition by painting price signs in tempera paint for butcher shops, grocery stores, Green Grocers, etc. from 11th grade on until he left Cleveland to get employment as an illustrator in New York City. Where he worked as a free-lance illustrator and writer for comic book publications.
Frank was drafted into army and assigned to the Transportation Corp training Center at Indiantown Gap Military reservation to produce training aids where he rose to the rank of T/Sgt. In 1944 Frank painted a 52-foot mural for the Service Club that is still there today. Frank married Barbara Stroh of Harrisburg, Pa in 1944 and was discharged in 1946.
Frank came back to New York to find work and an apartment; he found neither, but his landlady offered him the summer use of some unheated rooms over garage of a large house she planned to rent to roomers out in Montauk. Frank and Barbara moved in May 1st for the summer as Montauk was by then once more a summer resort, and he found employment by painting murals in bars and sign work at the Yacht Club. Frank entertained members every Friday night at a dinner with chalk talk and other inspiring skits. Finally Frank decided to create a new comic-adventure strip about a two-masted schooner available for hire and an agent in the audience offered to try to sell it in New York.
Frank’s little family really lived on the money he had saved up in the three years in the army. He went back to Cleveland however due to the death of his father and worked for a small ad agency. The following spring the agent told him that he had sold the yachting script and Frank went back to Montauk to work on the strip “Ken Stuart” for three years; but couldn’t get it syndicated inland. Frank was not saved by the bell but by a Catholic publication called “Treasure Chest” who mailed him a script to illustrate in ten chapters of six pages each, a fiction story about the Priest of Shark Island. This led to steady interesting assignments for 25 years. The magazine was in comic book form, and was published every two weeks during the school year, twenty in all. Since they didn’t print in the summer, Frank would use that time to write scripts on his own. In those days they corresponded by letter and the editor and Frank soon became pen pals. Frank made sure that he delivered always on time and produced exactly what they were looking for.
The Borth family, they had produced two children a son and a daughter, they bought property in Montauk and built a house. Frank had joined the volunteer fire department and also volunteered to be one of the crew on our new ambulance as well. You can imagine that he did a lot of artwork for the fire department and other civic organizations. He taught Sunday school and was elected an Elder of the Montauk Community Church. Barbara, Frank calls her lovingly Bobbie, became a Girl Scout leader and also sang in the choir, they no longer were “summer people” but full time residents of Montauk. Bobbie became a schoolteacher and also attended Southampton College and earned a Masters degree.
Frank was asked to become a republican committeeman, which led to Frank being elected a Town trustee, and to the office of Councilman on the East Hampton Town Board in 1968. At the conclusion of the four-year term Frank choose to give up the part time position that had by then turned into a full time commitment. Shortly after retiring from politics, Warren Whipple, a long time friend (The artist who drew the syndicated cartoon feature “There Oughta Be a Law”) called to asked Frank if I would take the job of writing the plot and dialogue of each cartoon as the original creator of the strip wanted to retire. Frank said OK, as he had done almost as much writing as drawing with his own labors. The syndicate approved Frank taking over and for the next ten years, Whipple and Frank Borth were a team.
Frank took over the entire production of writing and drawing the strip until February of ’83 when he turned 65 and terminated the production. The Treasure Chest Publisher also went out of business due to the rapid closing of a lot of parochial schools. Another publisher tried to sell it on the newsstand but failed. Frank turned out about 50 when another acquaintance talked him into getting back into production doing crazy assignments for Cracked Magazine which he had done for a period of time until they switched editors and all they were interested in was using famous people’s names.
Frank concluded his second career and retired to doing art and posters for local organizations like the Fire Department, Lighthouse, and the Town. Since he had created the Town seal of east Hampton as well as the Bicentennial seal, he also drew up the tricentquinquagenary seal as well. He still does things for the Library, church, and other local organizations until I lost the vision in his left eye which has deprived him of depth perception. Frank still writes but cannot draw as I used to. Oh, well. 84 is a reasonable time to retire, he chuckles. Frank’s retirement is spent in painting Montauk land and seascapes.
In these dark days of superhero media dominance, it’s nice to look back at a time when the übermensch were in the throes of a cyclical decline and had to borrow a page or two from the dominant horror genre to extend their lifetime a bit. By the early 1950’s, superhero comics were in a slump and horror was ascendant in the land. Some of the main players went largely unaffected and presumably unconcerned, but some of the jobbers had to move quickly to preserve their day gig. The world wound up with such aberrations as Captain America’s Weird Tales.
We’ve previously noted the changes wrought upon Quality’s Plastic Man, and now we turn to ‘The World’s Mightiest Mite‘, Doll Man (a bit of back-handed compliment, wouldn’t you say?)
Quality always boasted a superb bullpen, and so some of these covers were crafted by the most excellent Reed Crandall (and check out our spotlight from last year). Natural cover artists are a true rarity, yet Crandall certainly fit the bill.
« There’s money, all right! I quoted Mrs. Tarrent a hundred slugs for this trip and she never batted a tonsil! » — Ken Shannon’s on the job.
Reed Crandall (1917-1982), one of the final additions (mid-1953… late in the ballgame!) to EC Comics’ immortal roster, previously spent most of the Golden Age years (1941-53) exclusively working for Quality Comics, and it was only when the publisher began to scale back its output, in 1953, that Crandall began to look elsewhere for additional work. After EC, he would make landfall at George A. Pflaum’s Treasure Chest of Fun & Fact, a story we’ve touched upon earlier this year.
Hard-boiled private eye (was there any other kind?) Ken Shannon was introduced in Quality’s Police Comics with issue 103 (Dec. 1950), and right away grabbed the cover spot (dethroning Plastic Man, no less!), which he doggedly retained to the bitter end, namely Police’s final bow, issue 127 (Oct. 1953). Concurrently, Shannon’s investigations were spun off into his own book, over the course of ten issues (Oct. 1951 to Apr. 1953).
Shannon certainly had his share of unusual cases to puzzle out, and here are the spookiest!
The source of tentacles in Golden Age comics seems inexhaustible – every time I think I have reached the bottom of the well, I find myself awash in cephalopods. That being said, a lot of these octopusoid appearances are one-panel cameos, and even when the tentacles linger for a few pages, the shitty printing, questionable scans or bare-bones art don’t exactly incite me to use this material in a Tentacle Tuesday. Today’s crop is all Golden Age, running the gamut from 1939 to 1952, and composed of pages/covers I can enthusiastically endorse.
George (of Harry J. Tuthill’sThe Bungle Family, ‘one of the most under-rated comic strips in the history of American cartoonery’ according to Art Spiegelman,‘one of the top hundred comics of the 20th century‘, according to The Comics Journal) may be thoroughly bundled up in tentacles, but he still keeps a sort of prosaic calm that I admire.
Just look at the canines the red devil is ready to plunge into Black Hood’s leg! Throw in a fanged octopus, and this cover has as much action as one would possibly want. Sadly, nothing of the sort actually goes on in this issue.
We really like Howard Nostrand at WOT, though so far he has been woefully under-featured in our posts!
Finally, I have a soft spot for these tiered layouts that Rugged Action employs… especially when an octopus with tender, moist eyes is moonlighting in one of them.
« When a naked man is chasing a woman through an alley with a butcher knife and a hard-on, I figure he isn’t out collecting for the Red Cross. » — Clint Eastwood in Dirty Harry (1971)
As is often the case, I had something else in the pipeline for this week… but then I came across a beautiful biography of a wise man whose birthday was just around the corner. Now if the other guy (he’s 88) can just hold on and stay alive another week, things’ll be just fine.
In these riotous days when acts and thoughts of kindness and compassion are being denounced as political and partisan, we would do well to remember the life and example of International Red Cross founder, Henri Dunant (né Jean-Henri Dunant, May 8, 1828 in Geneva, Switzerland). Read on…
As you can bear witness, Reed Crandall (1917-1982) was not the type of artist to cut corners. Unlike some of his peers who could not be bothered to properly draw, say, details of background, period or costume, Crandall lavished attention and care to each and every element, yet without overpowering the narrative. His pages aren’t mere sequences of panels: they’re smartly composed for smoothness of flow and tonal balance.
Though nowadays his fame rests largely upon his brief but fruitful association with EC Comics (1953-56) and its echo at Warren Magazines (1964-1973), the greater bulk of his work was produced for Quality Comics (1941-1956) and for the catholic comics anthology Treasure Chest of Fun & Fact (1960-1972). All Men Are Brothers was, as it happens, his first work to be published in Treasure Chest.
Here’s a tongue-in-cheek but revealing snippet from a profile of Crandall that appeared in Creepy no. 10 (Aug. 1966, Warren):
« Combined with Reed’s fantastic drawing ability and mastery of rendering technique, is the rare ability to take any subject or setting and impart to it a complete sense of realism and authenticity. This, along with the fact that he is one of the most genial and unassuming men in the comics field, has earned him the high regard of his fellow artists, in addition to a growing circle of reader-admirers.
Asked about his ambitions, Reed replied: “To live in an ivory tower and to try to learn to draw and paint, also to pursue unendurable pleasure indefinitely prolonged.” It looks to us as though the drawing and painting are pretty far along already, so surely the ivory tower and prolonged pleasure can’t be too far behind… and in our opinion, it couldn’t happen to a nicer guy! »
As for writer John Randolph, who knows? He scripted twenty or so non-fiction pieces for TC between 1955 and 1962, then appears to have moved on. It must be noted that he understood the comics medium, as his work (often with Crandall) was well-paced and not overwritten, the words and visual in steady harmony. Many a writer, lacking the restraint and finesse required for the collaborative pas de deux of comics, tends to crowd out the illustrator, box him in (j’accuse, Al Feldstein!) or pointlessly restate what’s right there in the visuals (Et tu, True Believer?). Add to that the difficulty of elegantly condensing a life or career in six pages… as in this case. Take a bow, Mr. Randolph, whoever you are.
The tentacled well of funny animal insanity from the Golden Age is nearly bottomless. Just when I think I’ve more or less covered it all, some new goofy octopus cover that I have never seen before pops up, or an unhinged inside story swims by and waves a cheerful ‘hi there!’ with a free tentacle.
Next up, two pages from The Daffy Diver, published in Dizzy Duck no. 32 (November 1950, Standard Comics), artist once again unknown:
I promised some bunny action – but not the kind that springs immediately to mind! Enjoy this 2-page tentacled tussle in this Hoppy the Marvel Bunny story illustrated by Chad Grothkopf and published in Fawcett’s Funny Animals no. 5 (April 7th, 1943, Fawcett).
For dessert, two covers, because a man does not live on inside pages alone!
Today’s TT is like one of those 5$ grab bags: you don’t exactly know what you’re going to get, but there will at least one thing you’ll find amusing! Unless the store has cheapened out and stuffed it with nonsense nobody in their right mind would want. This offering, on the other had, is full of our favourite artists, and is not nearly as disparate as I first thought 😉
I don’t always have an over-arching idea for a post, inevitably ending up with plenty of odds and ends that don’t neatly fit into any one category. Actually, some of those “scraps” are the most enjoyable finds for me.
The supremely versatile Jack Cole could always be counted on to inject a bit of sinister ambiance (or over-amped sensuality, depending on his mood) to mix up the generally humorous proceedings of the stretchy exploits of the former Patrick “Eel” O’Brian. At times, things got pretty grand-gignolesque, as in the following case.
By the 1950s, Jack Cole had moved on to other pastures and projects, but Plastic Man kept right on stretching, one of the few superheroes flexible enough to withstand the horror boom. But not without a few alterations to fit the times, as evidenced by the following pair of samples.
It must be stated that, even without the masterly Jack Cole, Plastic Man clearly brought the best out of the rest of Quality’s admittedly admirable bullpen, so his adventures remain worth reading… which is certainly not the case with most subsequent revivals, with the exceptions of DC’s 1976-77 mostly-ignored Ramona Fradon run and Kyle Baker‘s award-winning 2004-06 outing.
As we’re currently in the blaze of summer (rocketing temperatures and crazy humidity, courtesy of global warming – this June was the hottest June ever, and we’re well on track for beating records for July), a Tentacle Tuesday post about plants seemed appropriate. Did I say “plants”? More like “plantacles”: these vines and tendrils snatch and grab, creep and reach, entwine and writhe just like their cephalopod counterparts.
So Blaze Barton encounters some vine tentacles, fine; but he also encounters ‘queer tiny plants‘ that swarm him and attack with what looks very much like octopus appendages. The delightful thing about Hit Comics and particularly Barton’s adventures is that the stories are goofy as hell.
The story continues in the same vein, merrily galloping into insanity… into an ‘evil-infested‘ lake that boasts man-eating weeds, once again complete with tentacles.
Continuing our grabby, carnivorous vines theme, a creepy little tale of a scientist who slightly oversteps his bounds:
Occasionally, an entire tree will decide that it’s more fun to strangle a human than to passively let itself be chopped down. Who could argue with that?
The cover story, Women of the Wood, is based on a short story by Abraham Merritt that you can read here if you’re so inclined. It’s an excellent creepy tale – though I can’t promise tentacles, I can definitely guarantee murderous trees.
« For all those hundred years there have been hatred and battle between us and the forest. My father, M’sieu, was crushed by a tree; my elder brother crippled by another. My father’s father, woodsman that he was, was lost in the forest — he came back to us with mind gone, raving of wood women who had bewitched and mocked him, luring him into swamp and fen and tangled thicket, tormenting him. In every generation the trees have taken their toll of us — women as well as men — maiming or killing us. »
Speaking of attacking tree trunks, I do believe this qualifies:
The cover story, The Phantom of Gamma-Ray Flats! (scripted by Peter B. Gillis, penciled by Don Perlin and inked by Kim DeMulder) is quite entertaining – and brimming to the gills with plant tentacles.