Number 1307: Undercover Girl meets Deep Throat!

Người đăng: Unknown on Thứ Tư, 30 tháng 1, 2013


Undercover Girl, who was featured for a time in the late forties in Manhunt comics from ME, was actually U.S. Government agent Starr Flagg.

Starr is a glamorous agent. She wears her spike heels and sexy lingerie while lounging about at home, and she has sexy fights with other women, including this evil babe, Lala the sword swallower. I don’t know about you, but I’ve been a lot more interested in that art since I read a judge’s decision from the early seventies about the movie, Deep Throat. The judge compared star Linda Lovelace to a sword swallower. Watching Lala in action in this tale is no disappointment.

Undercover Girl is mighty sexy. Check out another of her girlfights in Pappy's #1117, where she tussles with a chick with a whip and her pet gorilla...it's a lot for six pages.

Drawn by Ogden Whitney, written by Gardner Fox, “The Riddle of the Radio-Death” is from Manhunt #7 (1948):







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I Suspect the Drawing Was Not Random

Người đăng: Unknown on Thứ Ba, 29 tháng 1, 2013

I was looking through Action #42 (November 1941) and came across this announcement:

That third prize winner's name sure sounds familiar, and it's not as if it's a common one.  George Kashdan was a long-time editor at DC.  According to his bio at Wikipedia, he was born in 1928, so he would have been 13 at the time.  So maybe this was just an early example of a fan who went on to work in the biz?  Uh, no, I don't think so:

In 1947, after having written two comic-book scripts for DC Comics, he was hired as an editor at that Manhattan-based publishing company, where his brother, Bernard Kashdan, was a business executive who'd joined the company in 1940.
(Italics added for emphasis)
Of course nowadays it is common for such contests to exclude employees of the company involved and their families.
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Number 1306: Lorraine the Brain and her “Atomic Amour”

Người đăng: Unknown on Thứ Hai, 28 tháng 1, 2013

My heart swelled when I read this touching story of a girl who achieved greatness in her field — nuclear physics — only to find failure in love. Tsk, tsk. The only guy who really loved her was a boorish carny barker who embarrassed her endlessly. She fell for the sinister Frenchman who lead her astray, all the way to a cabin in the woods where we assume he wanted his way with her, only to find out he wanted to pick her nuclear brain!

This entertaining love story is from ACG’s Search For Love #2 (1950). In the comments section for this post comic art historian Alberto Becattini has named the artist as John Celardo. Thanks to Alberto for helping with that identification.

Search For Love was very short-lived, only two issues. I don't know why unless sales were bad. Yet ACG’s other love comics, Lovelorn and Romantic Adventures continued for years. It may have been cancelled because of the expanding ACG line taking resources that would have gone into Search For Love. That's a way of saying I don’t know why, trying to sound smarter than I am (no nuclear scientist, I) and now I’m kinda sorry I brought it up...













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Number 1305: “The Plague of Plastic People!”

Người đăng: Unknown on Chủ Nhật, 27 tháng 1, 2013


Two months ago in Pappy's #1268 I showed a Plastic Man story that in my comments I said reminded me of my childhood, when I saw the character as belonging in the same league as Mad comic books. So, okay, then, “Plague of Plastic People!” belongs right alongside that earlier story. I'd call this incredible, joke-in-every-panel story zaniacal...a cross between zany and maniacal. This one pulls out all the stops, the best of what Plastic Man could deliver, and that's saying something.

Also, if you read through the story you'll actually get to see Plastic Man in one panel without his goggles covering his eyes. I don't know if that happened any other time.

From Plastic Man #22 (1950):














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Number 1304: Headlights on full beam

Người đăng: Unknown on Thứ Sáu, 25 tháng 1, 2013

With the 1948 cover of Phantom Lady #17, artist Matt Baker helped give us comic book fans a code word we've used now for decades: “headlights”. It happened when Dr. Fredric Wertham, M.D., published his book, Seduction of the Innocent, which pointed out how murder, crime and sexual perversion were all part of the comic books kids loved. Wertham used the cover to point out that children called big breasts on comic book women “headlights”. (This page has been razored out of some of copies of SOTI I've seen. By headlights fans, no doubt.)

I've pointed out before that Wertham’s book is a good example of the Law of Unintended Consequences. It was used at the time to condemn comic books, but is used now to identify comics that belong on a special list of desirable collectibles. Interior art on this story is also by Matt Baker, and the whole issue was prepared by the Jerry Iger comic book shop, where Baker was a star. The publisher was Victor Fox, and the blobby printing was by some fast and dirty web press printing company of the 1940s, which didn't care that they were printing one of the most iconic covers and collectible comic books of all time.












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The Marvel Covers

Người đăng: Unknown on Thứ Năm, 24 tháng 1, 2013

The Marvel covers did not start out all that different from the DC covers, although that soon changed.  The early Fantastic Four covers featured the characters demonstrating their various powers:

The characters are so iconic to us these days that it can be hard to remember that back in 1961, kids had no idea who the FF were, or what they could do, so it was important to give them an idea quickly.  As I have mentioned in the past, this may be the real reason the early FF issues started out with them squabbling; so that they could demonstrate their powers early in the comic.  It's also why the early X-Men stories opened with them in the Danger Room.

Spiderman's powers were a little less interesting visually, and so the early covers often featured the villain's unique abilities:
This is very much like the situation with the Flash, where the rogue's gallery became the focus of the covers.  And, of course, Daredevil:

At first, the Iron Man covers in Tales of Suspense featured his powers:
But that pretty quickly changed and the covers became another "villain of the month" gallery.
A similar thing happened with the early Thor issues; at first there seemed almost an "isn't he gorgeous" aspect to them:
There are two very big differences between the Marvel covers and those of DC.  First, the Marvel covers were much less likely to have speech or thought balloons on them; even as early as FF #2, Stan was content to let the picture tell the story.  In fact, there is not a single speech balloon on a Daredevil cover until #34; the next one appears on DD #57.

However, they had oodles of the Lee hyperbole.   The other difference is that the Marvel covers often featured the hero beaten:
Although the DC covers often featured the hero in a death-trap, implying they had been previously beaten, they seldom featured him prone and apparently lifeless.  One of the few exceptions I can think of is this cover:


Actually there are a couple other Flash covers like that, but they came towards the end of the 1960s.
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