Back in antediluvian days, the only two credits superhero fans knew for
Don Segall were the Creeper origin in Showcase
73 (March-April/68) and
the story in Inferior Five
8 (May-June/68). If I'm recallling correctly, some time later in a
letter in one
of the fanzines—The
Comic Reader?—Mark
Evanier expanded upon Segall's writing career—mentioning his
working in television and, beyond DC in comics, for Dell and Charlton.
It's taken this long for me to stumble across a Charlton story by Don
Segall: the Young Doctors back-up "Twenty-Four Hour Duty" in Cynthia
Doyle,
Nurse in Love 69 (Apr/63).
The use of "It seems" in the blurb is mirrored in the inside front
cover one-pagers in Dell's
Calvin and the Colonel
1 (Four-Color 1354,
Apr-June/62) and 2 (July-Sept)—"It seems" in the first and
"It looks like" in the second. "The boys" as in the final caption
is something
Segall uses likewise
at Dell in, for instance, The
Frogmen 7 (Nov-Jan/64).
The logical place to look for other Don Segall stories at Charlton
would be in the Young Doctors' own title. I don't see such obvious
clues to his writing there, but #1 and 2 are certainly not by Joe Gill,
who takes over by #4 (I haven't seen #3).
Is Charlton trying to cash in on two particular doctor TV shows at once
with
the Young Doctors? I'd be shocked—shocked—to think
so.
Sunday, December 13, 2015
Friday, November 27, 2015
Riss on Gayle and Gayle
The
Who's Who
credits Pete Riss with Toni Gayle, the fashion
model/amateur sleuth, at Premium. Since there are different
indexers on different issues in the Grand Comics Database,
some of Riss's Toni Gayle stories are IDed (those in Young
King Cole and the fifth issue of
Guns against Gangsters)
and some
aren't. The indexer
who does ID those stories, citing the Who's
Who for Riss, posits Janice
Valleau as inker (I have no
useful opinion there).
The Who's Who neglects to credit Riss for the spin-off strip, The Gunmaster—Gregory Gayle (Toni's police detective father). For each of Riss's Gunmaster stories in Guns against Gangsters, there's a Toni Gayle story by him in the same issue for comparison.
Pete
Riss pencils
on THE GUNMASTER—GREGORY GAYLE
in Guns against Gangsters
on TONI GAYLE
in Young King Cole
in Guns against Gangsters
in 4Most
The Who's Who neglects to credit Riss for the spin-off strip, The Gunmaster—Gregory Gayle (Toni's police detective father). For each of Riss's Gunmaster stories in Guns against Gangsters, there's a Toni Gayle story by him in the same issue for comparison.
on THE GUNMASTER—GREGORY GAYLE
in Guns against Gangsters
Sept-Oct/48 | v1 #1 | The Green-Suit Murders |
Nov-Dec/ | v1 #2 | The Sugar Bowl Murder |
Jan-Feb/49 | v1 #3 | The Mystery of the Million-Dollar Carbine |
on TONI GAYLE
in Young King Cole
May/48 | v3 #10 | She Scores Quite a Hit |
June/ | v3 #11 | Mighty Thunder Falls |
July/ | v3 #12 | Redstone Park |
in Guns against Gangsters
Sept-Oct/48 | v1 #1 | Case of the Sacred Cobra |
Nov-Dec/ | v1 #2 | The Case of the Fortunate Fiddle |
Jan-Feb/49 | v1 #3 | The Case of the Fat Thin Man |
Mar-Apr/ | v1 #4 | The Case of the Parisian Strangler |
May-June/ | v1 #5 | She Gets in Dutch |
in 4Most
Jan-Feb/49 | v8 #1 | More Than One Way to Win a Football Game |
Monday, November 16, 2015
A Couple of Mickey Spillane's Comics Stories at Timely
Mickey Spillane had plenty of text pages at Timely, but not a single
credited comics story. He was one of the group of writers working for
Funnies, Inc. supplying strips to a number of publishers, Timely and
Novelty being the two getting the longest spans of issues from the
shop, I believe.
I hadn't seen a Novelty book until I started looking into the Funnies, Inc. output a few weeks ago, and was pleased to find a number of stories credited to the writers as well as artists on the splash pages. The bottom tier here is from Spillane's Cadet story "Espionage! In the Senate Building!" in Target Vol. 3 #7 (Sept/42).
The other writers whose stories I've begun to find more of include Ray
Gill, Kermit Jaediker, Roy Garn, and George Kapitan. The most noted, of
course, is future novelist Spillane. So far I've found all of
two stories I'd attribute to him at Timely.
He's known to have worked on the short-lived WWII-centric strip Jap-Buster Johnson, and in fact this story is the origin, "Friendship" from U.S.A. Comics 6 (Dec/42). The Spillaneism I've excerpted in all three tiers is "keed" for "kid"; the "yup" seen here is another one he uses. "Aghrr", seen later in the story, in various hyphenizations is used by a number of the Funnies, Inc. writers, although this is the one time I've seen Spillane use it. It's in the next story in #7, but among other things, Johnson's first name has changed from Doug to Everett, so I don't jump at Spillane for that one.
His one Timely superhero story that I've come across so far is "The Case of the Attempted Dreadnaught Disasters" in Human Torch 7 (Spring/42). A Spillaneism seen later in the story is "Ye gods." This is the point at which Carl Burgos had just stopped writing all the Torch stories he was drawing.
I hope eventually this will lead to Mickey Spillane’s stories elsewhere—for Captain Marvel and such.
I hadn't seen a Novelty book until I started looking into the Funnies, Inc. output a few weeks ago, and was pleased to find a number of stories credited to the writers as well as artists on the splash pages. The bottom tier here is from Spillane's Cadet story "Espionage! In the Senate Building!" in Target Vol. 3 #7 (Sept/42).
He's known to have worked on the short-lived WWII-centric strip Jap-Buster Johnson, and in fact this story is the origin, "Friendship" from U.S.A. Comics 6 (Dec/42). The Spillaneism I've excerpted in all three tiers is "keed" for "kid"; the "yup" seen here is another one he uses. "Aghrr", seen later in the story, in various hyphenizations is used by a number of the Funnies, Inc. writers, although this is the one time I've seen Spillane use it. It's in the next story in #7, but among other things, Johnson's first name has changed from Doug to Everett, so I don't jump at Spillane for that one.
His one Timely superhero story that I've come across so far is "The Case of the Attempted Dreadnaught Disasters" in Human Torch 7 (Spring/42). A Spillaneism seen later in the story is "Ye gods." This is the point at which Carl Burgos had just stopped writing all the Torch stories he was drawing.
I hope eventually this will lead to Mickey Spillane’s stories elsewhere—for Captain Marvel and such.
Tuesday, November 3, 2015
Swipe from the Best
"If you're going to swipe, don't be shy about it" seems to be the guiding principal here. Don't use something hidden away in the back pages of some years-ago comic!
The original, the cover of DC's Boy Commandos 1 (Win/42-43) is penciled by Jack Kirby. The swipe, from the story "North Africa—Ahoy!" in Timely's Young Allies 8 (July/43) is in an issue both of whose two feature stories are attributed in the Grand Comics Database to three pencillers (not to mention two inkers), so who knows who did this particular panel?
The moral here might be "At least pay attention to what you're swiping." In moving around and restructuring Kirby's figures, the artist has put Brooklyn's foot on the end of the Rip Carter replacement's leg.
On the subject of swiping from DC, by the way, does anyone know of any specific examples of Superman-to-Captain Marvel swipes in the Forties? Supposedly there were scrapbooks full of them meant to convince a judge that Fawcett might as well have been sending operatives into the DC offices at night with microfilm cameras. In my far more casual perusal I have yet to stumble across any.
The original, the cover of DC's Boy Commandos 1 (Win/42-43) is penciled by Jack Kirby. The swipe, from the story "North Africa—Ahoy!" in Timely's Young Allies 8 (July/43) is in an issue both of whose two feature stories are attributed in the Grand Comics Database to three pencillers (not to mention two inkers), so who knows who did this particular panel?
The moral here might be "At least pay attention to what you're swiping." In moving around and restructuring Kirby's figures, the artist has put Brooklyn's foot on the end of the Rip Carter replacement's leg.
On the subject of swiping from DC, by the way, does anyone know of any specific examples of Superman-to-Captain Marvel swipes in the Forties? Supposedly there were scrapbooks full of them meant to convince a judge that Fawcett might as well have been sending operatives into the DC offices at night with microfilm cameras. In my far more casual perusal I have yet to stumble across any.
Friday, October 23, 2015
One Springboard for Two Stories
As EC's publisher, Bill Gaines would read at home as much as he could
to bring in "springboards" to story conferences with editor Al
Feldstein. Generally they would take ideas, including some from
Gaines's reading, to come up with plots and build new new
stories around them. Famously, Ray Bradbury differed with them on the
definition of "new" when they hewed too closely to a couple of his
stories.
If comic book writers do any reading at all, of course others' ideas may resurface even unconsciously as springboards for scripts. Where is the line crossed into plagiarism?
C. M Kornbluth's story "The Little Black Bag" was published in Astounding Stories, July/50. The situation involves a doctor finding a bag of surgical instruments from the future. I've recognized that situation in two comic book stories that came out a few years later.
"Little Black Bag" is from Marvel
Tales 134 (May/55); artist
Robert Q. Sale, and writer unknown. "The Strange Package" is from
Strange Suspense Stories
36 (March/58); art by (of all people, at Charlton) Gene Colan and
script by Joe Gill. [CORRECTED FROM SSS 33 PER PAUL BRIGG'S COMMENT]
Neither follows the Kornbluth story's plot at all closely; that had a grisly ECish ending, and these two stories came out under the Comcs Code. Still, (especially considering the Marvel story's title), it's obvious the writers were familiar with the prose story. I wonder if Edmond Hamilton springboarded it even further into "The Burglar Kit from the Future" in Jimmy Olsen...
As to Joe Gill's style, in "The Strange Package" there's a good example of his joining two sentences with an "and" but no comma in a caption: The hospital was close and he walked through the early, gathering darkness toward it!
If comic book writers do any reading at all, of course others' ideas may resurface even unconsciously as springboards for scripts. Where is the line crossed into plagiarism?
C. M Kornbluth's story "The Little Black Bag" was published in Astounding Stories, July/50. The situation involves a doctor finding a bag of surgical instruments from the future. I've recognized that situation in two comic book stories that came out a few years later.
Neither follows the Kornbluth story's plot at all closely; that had a grisly ECish ending, and these two stories came out under the Comcs Code. Still, (especially considering the Marvel story's title), it's obvious the writers were familiar with the prose story. I wonder if Edmond Hamilton springboarded it even further into "The Burglar Kit from the Future" in Jimmy Olsen...
As to Joe Gill's style, in "The Strange Package" there's a good example of his joining two sentences with an "and" but no comma in a caption: The hospital was close and he walked through the early, gathering darkness toward it!
Tuesday, October 13, 2015
Binder Records: Timely--Link to Art Lortie's Transcription
Art Lortie has transcribed Otto Binder's pay records, separating them by company. The first list he's posted is Binder's work for Timely, which covered 1941-48. Like William Woolfolk, Binder gave his scripts working titles that in many instances the editors changed. A few times the working title gives away the ending, so you can see the editors' point. At any rate, a number of stories in the records still have to be connected to the ones published.
This is the link:
http://thebookstork.wikispaces.com/Otto+Binder%27s+Pay+Records+Part+1+-+Marvel
Comparing Binder's records with Woolfolk's from the same era, it would seem that at Timely each was paid for quite a few more scripts than ended up drawn and published (I'm pretty certain it will prove so with Binder once all the published stories have been IDed). It happened most notably to both men on Captain America and Young Allies.
One difference between the two writers' work at Timely is that as it became apparent that the superheroes were destined to fade away for a while, Binder switched over to the teen titles there. This tier is from the Hedy de Vine story "Disguise the Limit" in Millie the Model 15 (Dec/48). I never looked for Binder's work among these stories, but knowing now that he was paid for this one (his title was "Incognito"), I can see the characteristic elongation of "Sighhhh."
This is the link:
http://thebookstork.wikispaces.com/Otto+Binder%27s+Pay+Records+Part+1+-+Marvel
Comparing Binder's records with Woolfolk's from the same era, it would seem that at Timely each was paid for quite a few more scripts than ended up drawn and published (I'm pretty certain it will prove so with Binder once all the published stories have been IDed). It happened most notably to both men on Captain America and Young Allies.
Saturday, October 3, 2015
Girls' Romances 101-120 Artists
This is Jack Miller's first run on Girls'
Romances;
he returns after Barbara Friedlander edits the title. I picked this run
because much of John
Rosenberger's work at this point on DC's romance books gets mistaken
for Gene Colan's, and Frank Bolle gets no recognition at all.
Nor do Colan and J. Scott Pike get any love for inking
themselves. I haven't seen issues
105 and 110. I've left out the reprints that come in toward the end of
the
run. And I've put aside the question of writers for now.
Bernard Sachs signs one story here on his own (he does the same on a
story in Girls' Love Stories
111 and one in Young Romance
133, also 1965 issues). I'm going to take
the signature at face value. His pencils, then, certainly remind you of
an earlier Mike Sekowsky's, but in the latter's stories inked by others
at this time Sekowsky's style has already become more exuberant.
There's one inker I can track from story to story for whom my best guess is Frank McLaughlin, although he's not known to be at DC this early. And if Art Peddy has any work here, I just can't ID him this late.
In "Too Handsome to Hold" in #104, where a young man happens to look just like actor Richard Chamberlain, I believe Tony Abruzzo rather than penciller Mike Sekowsky draws most of the Chamberlain faces.
Girls' Romances edited by Jack Miller
There's one inker I can track from story to story for whom my best guess is Frank McLaughlin, although he's not known to be at DC this early. And if Art Peddy has any work here, I just can't ID him this late.
In "Too Handsome to Hold" in #104, where a young man happens to look just like actor Richard Chamberlain, I believe Tony Abruzzo rather than penciller Mike Sekowsky draws most of the Chamberlain faces.
Girls' Romances edited by Jack Miller
Jun/64 | 101 | Tears for Sale | a: John Rosenberger |
Dreamers Love Their Dreams | a: Rosenberger | ||
Dear Peter... | a: Frank Bolle | ||
Come Back My Heart | a: J. Scott Pike | ||
Jul/ | 102 | Something in Common | p: Mike Sekowsky i: Frank Giacoia? & Joe Giella? |
Out of a Dream | a: Bolle | ||
The Day My Heart Died | p: Tony Abruzzo i: Giacoia | ||
Sep/ | 103 | Port of Hope | a: Bolle |
Let's Fall in Love | a: Bernard Sachs | ||
Too Late for Tears | a: Gene Colan | ||
Oct/ | 104 | A Change of Heart | a: Sachs |
Tell Him Tonight | p: Abruzzo i: Frank McLaughlin | ||
Too Handsome to Hold | p: Sekowsky i: ? | ||
Jan/65 | 106 | Stand-In for Love | a: Bolle |
I'll Be Around | a: Sachs (signed) | ||
I'll Never Love Again | a: Rosenberger | ||
Mar/ | 107 | Come Back to Yesterday | p: Werner Roth i: McLaughlin |
The Love I Lost--Twice | a: Gil Kane | ||
Alone in Love | a: Rosenberger | ||
Apr/ | 108 | I Was the Last to Know | p: ? i: Sachs |
Come Home to Heartbreak | p: Abruzzo? i: McLaughlin | ||
Take My Love | a: Colan | ||
Jun/ | 109 | Why Would Anyone Love Me? | a: Sachs |
A Bedtime Story | a: Bill Draut | ||
When My Dreams Come True | a: Colan | ||
Sep/ | 111 | How to Lose Your Boyfriend without Really Trying | a: Rosenberger |
He Only Loves Me--When He's Kissing Me | a: Colan | ||
Oct/ | 112 | Too Much in Love? | p: Roth i: Bolle |
All for the Love of Ronny | p: Abruzzo i: McLaughlin | ||
Give Me Back My Love | a: Rosenberger | ||
Dec/ | 113 | If I Ever Love Again--(I'll Keep a Lock on My Heart) | a: Rosenberger |
I'll Love You Forever | p: John Romita i: ? | ||
Careless Heart--Careless Lips | a: Pike | ||
Jan/66 | 114 | Phantom Love | a: Colan |
Heartbreak Follows Me | p: Abruzzo i: Sachs | ||
Kiss and Tell | a: Romita | ||
Mar/ | 115 | Please, Somebody--Love Me | a: Rosenberger |
Love at Second Sight | a: Win Mortimer | ||
Apr/ | 116 | How Can He Love Me Now | a: Pike |
My Divided Heart | p: ? i: Sachs | ||
June/ | 117 | Girl in Trouble | a: Colan |
The Wrong Side of Love | a: Rosenberger | ||
July/ | 118 | He Couldn't Trust Me | a: Rosenberger |
Say Goodbye to Love | a: Colan | ||
Sep/ | 119 | Love Wasn't Enough for Him | a: Colan |
One Ticket--to Romance | a: Sachs | ||
Ask Me about Love--I'm an Expert | p: Dick Giordano i: Sal Trapani | ||
Oct/ | 120 | Can You Tell Someone to Love You? | a: Manny Stallman |
Maybe He'll Love Me Tomorrow | a: Rosenberger |
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