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!
« 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.
*No, I am not referring to the popular company that lets customers hire favourite ‘stars’ to record personalized videos; a month ago, I didn’t even know this existed, and my life has not been improved by this knowledge.
Sometimes an octopus stays politely in the background, waving hello shyly from behind a rock, or waiting for a dance invitation like a bashful kid at a high-school dance (do they still have these?) I never know where to use these covers; their tentacled nature is undeniable, but their octopuses are so peripheral to the main story that they tend to be overlooked when I am in search of a unifying theme for a post.
a small character part in a play or movie, played by a distinguished actor or a celebrity.
a piece of jewellery, typically oval in shape, consisting of a portrait in profile carved in relief on a background of a different colour.
Treasure Chest, a long-running catholic publication we mention routinely though not too often (for details, see co-admin RG’s Hallowe’en Countdown IV, Day 24), runs the gamut from informative to fun, sometimes both at the same time. There are occasional clunkers (like the admittedly rather entertaining multi-part story I am currently reading about Godless Communism), but overall it’s well worth picking up, should some issue catch your eye.
I originally had in mind happy, frolicking octopuses for this post, so here is one instance of just that. As a matter of fact, his smile is somewhat unnatural and more of a rictus, but I don’t want to be picky…
I’ll quote from Don Markstein’s excellent summary of this hare-brained comic series: « Bunny was aggressively, even obsessively trendy. Even at the time, it seemed to lay on the love beads and “psychedelic” display lettering a bit thick. […] But she owed her painfully discordant Sixties-ness to nobody. […] It’s as if her entire raison d’être was to parody the decade of student activism and radical youth fashions, even while living it. To make matters worse, this teenage girl comic was edited, written and drawn by middle-aged men who were probably, like most middle-aged men, unable to communicate with their own daughters. To vary the dialogue, in which everything that wasn’t “groovy” was “outasight”, they made up their own slang. Things could also be “zoovy” or “zoovers” or even, in extreme cases, “yvoorg” — which was obviously “groovy” spelled backward, but no hint was ever given as to how it might be pronounced. »
« Be silent in that solitude which is not loneliness — for then the spirits of the dead who stood in life before thee are again in death around thee — and their will shall then overshadow thee: be still. »
— Edgar Allan Poe (1829)
It was on this day, two hundred and ten years ago, that the great writer, poet and posthumous master of all media Edgar Poe (Jan. 19, 1809 – Oct. 7, 1849) was born in Boston, Massachusetts. I’ll spare you the usual biographical details, widely available elsewhere, and we’ll concentrate on his unflagging ubiquity in the medium of comics.
Classics Illustrated publisher Gilberton was first out of the gate with Poe adaptations, at first tentatively with a pair of poems (Annabel Lee, then The Bells)**, then more substantially with The Murders in the Rue Morgue, in Classic Comicsno. 21 – 3 Famous Mysteries (July, 1944), sharing the stage with Arthur Conan Doyle and Guy de Maupassant. Read it here. Pictured below is Classics Illustratedno. 84 (June 1951, Gilberton), cover by Alex A. Blum. Read the issue here.