Redrawn Faces in MSH #14?

Người đăng: Unknown on Thứ Bảy, 24 tháng 11, 2012

It is well-known that when Jack Kirby came over to DC in the early 1970s and started working on Jimmy Olsen as well as other titles, that Superman and Jimmy Olsen's faces were redrawn by DC staff artists like Al Plastino and Murphy Anderson. But it appears that this practice actually started at Marvel.

I've already talked about the bizarre one-off Amazing Spiderman story that appeared in Marvel Super-Heroes #14. At least according to a note Stan appended to that story, Johnny Romita was ill and so Ross Andru was pressed into service to fill in for the Jazzy one for a single issue. But Romita apparently recovered and met the deadline, so the story was shelved.

There were a couple of oddities about this story. First, although Andre's longtime inking partner, Mike Esposito, was already inking ASM under the nom de plume of Mickey Demeo, he was not given this assignment; instead the tale was inked by Bill Everett. And second, it looks very much like Romita redrew the faces of Gwen and Mary Jane here:
A friend of mine named Jeff pointed this out to me in an email. As I noted in response to him, what clinches it for me is that while MJ and Gwen both look reasonably normal, Harry doesn't look like himself at all; he looks more like the Sandman. This also gives us a clue that the story must have been drawn well before the publication date of May 1968, as Romita had changed Gwen's hairstyle by then to make it longer. She looks more like she did in 1967:
By 1968 her hair was much longer and straighter:
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A different Tarzan

Người đăng: Unknown


Here is the first of the Tarzan stories published by Dynamite Comics. Enjoy.












http://www.mediafire.com/?81g5ws4re3gvpta


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Number 1268: Plastic Man and the rubber expander

Người đăng: Unknown on Thứ Sáu, 23 tháng 11, 2012

In 1956 I bought Plastic Man #64 off the comic book spinner in a  local drugstore. It was the first time I'd seen the character or read superhero stories that looked like they belonged in Mad comic books. I didn't realize at the time that it would be the last issue of Plastic Man, not to mention it was all reprints (it hardly matters if you haven't seen the stories before).

The story I'm showing today was the lead in that last issue, with the title “The Expander Device” lettered into the splash panel. My post today is from Plastic Man #24 (1950), the story's first of three appearances (the other issue it was reprinted in was #44.) Plastic Man is one of my first true loves from Golden Age comics.  In my early years as a collector I bought, traded and stole borrowed what I could.










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Number 1267: Yarmak's yakety-yak; Pappy's 2012 Thanksgiving Turkey Award winner

Người đăng: Unknown on Thứ Năm, 22 tháng 11, 2012


This is the seventh annual Pappy's Thanksgiving Turkey Award, given annually to the most oddball, weird, or otherwise unusual comic that sticks out in my mind. Since I make the rules my judgment of a winner is final.

I had a very hard time this year finding a story odd or even bad enough to deserve an award. There could be a reason. Perhaps I've tapped out the really bad stories (hard to imagine that) or maybe I'm just getting so jaded from reading hundreds of comic books of varying quality to choose postings for this blog that I don't know anymore what's oddball and what isn't.

Horrors. I might need a vacation away from comic books to revive my perspective.

Be that as it may, I've still got enough left to recognize a winner when I see it. The 2012 Award's salvation was stumbling onto this undated Australian comic from what looks like the late 1940s, Yarmak #20, a jungle hero by Stanley Pitt, his brother Reginald, and Franklin Ashley. As far as it goes, the artwork is fine — the late Stan Pitt was a very well-regarded artist on this side of the planet, also — and the story doesn't make a lot of sense but it's not hopeless. What distinguishes this comic, and gives it a coveted three out of four turkeys is the dialogue, which is precise and proper, and not at all fitting in the primitive setting. Even the animals speak proper English, fer cryin'-out-loud!
Soon as I read it I shouted to no one in particular, “WE HAVE A WINNER!” (Shouting to no one in particular is another sign a vacation may be necessary...)




















You can click on the picture from last year's winner, and links posted there will take you back to the past awards. I have re-scanned and re-posted the earliest winners.

From Pappy's #1058, Thanksgiving 2012, “Andy’s Atomic Adventures”:



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Number 1266: “I'll give you one zuba to pack!"

Người đăng: Unknown on Thứ Tư, 21 tháng 11, 2012

Space Western was an interesting hybrid comic from Charlton, combining cowboys and spacemen. It didn't last long, so sales were probably low, but over the years the comic has formed a sort of cachet of coolness. It’s famous for being oddball.

John Belfi, an artist I'm used to seeing mainly as an inker, did both pencils and inks on the lead story, introducing us to Spurs Jackson, the cowboy-spaceman. Spurs packs a pair of plutonium guns that shoot miniature atom bombs!

This incredible story is a runner-up to tomorrow's special post, my annual Thanksgiving Turkey Award.

From Space Western #40 (1952):









At this time the Buck Rogers comic strip still had some sway over the public imagination. Ornate rocketships like these would be cool, but rockets don’t need to look cool. As my old design professor used to tell us, “form follows function.”

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Number 1265: Sideways in Time!

Người đăng: Unknown on Thứ Hai, 19 tháng 11, 2012

The comparisons to Planet of the Apes jump out of this story. But it was published years before Pierre Boulle's 1963 novel was published in France, and adapted as an American movie in 1968. I'm not claiming any kind of plagiarism, but it’s an interesting coincidence. The idea of apes evolving as apes with human-like abilities wasn't a new idea even in 1951, when “Sideways in Time!” appeared in Strange Adventures #12. (And, of course, there's that whole thing of gorillas and DC Comics, told several times in this blog.)

The term “alternate universe” wasn't used in the story, but that’s what writers Jack Miller and John Braillard were describing.

The artwork is attributed by the Grand Comics Database, via editor Julius Schwartz's records, to Mel Keefer and Bernard Sachs.









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