Monday, November 2, 2020
Inspiration Before the Giant Turtle Man
Mort Weisinger's reuse of cover images from the Standard pulps, where he had been an editor in the 1940s, has been pointed out often, but I don't know if this one has been. The iconic such swipe is "The Giant Turtle Man" in Jimmy Olsen 52 (June/61), from a Thrilling Wonder Stories cover. Here, from the previous year, is a JO cover (#43, March/60) not using the original pulp cover's design but borrowing a monster design from it. The artist of Startling Stories March 1940 is uncredited. Curt Swan pencilled the JO cover as well as the story, and did the follow-up cover and story in JO 47 (Sep/60) and used the monster as the centerpiece of the cover of 80 Pg. Giant 6 (1965), Superman featuring Fantastic Things and Creatures.
Saturday, October 3, 2020
Open the Door Six Times, Then Two More
In my skimming the 1950s DC funny animal titles, a couple of stories with reused scripts jumped out at me, because the originals were so distinctive--they were part of a comic book with a running gag throughout the different strips in the issue.
All the strips in Funny Stuff 25 (Sept/47) are untitled stories. At the end of the first Dodo and the Frog story, the Frog is stuck in the Dodo's closet yelling "Open de door, Dodo!"
("Open the Door, Richard" was a vaudeville routine whose song verion was released as a record in 1946 and got on the Billboard charts in 1947.)
Then in the 3 Mouseketeers story a house is seen in one panel's background with "Open da door, Dodo" coming from it; likewise in the Henry the Laffing Hyena story a similar balloon is making its way under a door. (These could be editorial emendations.) Blackie Bear in his story interacts with the Frog in the closet; so does J. Rufus Lion in his. There's a Dodo and the Frog half-pager with the Frog still in there, and finally the second D&F story gives the situation a punchline.
In Animal Antics 49 (Mar-Apr/54) the Nip and Chip story refries the first of FS 25's D&F stories--never getting to the actual punchline of the entire Frog-in-the-closet saga. Interestingly enough, there's a cameo at Nip's home: the Dodo. The Raccoon Kids story "Boom!" refries the earlier Blackie Bear story, but the house in this version remains the Dodo's--and he's the one in the closet this time. The Professor from the Nutsy Squirrel strip plays the same role in both the Blackie and Raccoon Kids versions.
I don't know who wrote the Funny Stuff stories, and the refries are pretty much that person's work transcribed, but from the tales about editor Larry Nadle, he may well have vouchered DC checks for himself for the "new" scripts.
stories in HOLLYWOOD'S ANIMAL ANTICS 49
reworking earlier scripts
| Mar-Apr/54 | 49 | (NIP AND CHIP) |
| from FUNNY STUFF 25 1st Dodo and the Frog story | ||
| Boom! (RACCOON KIDS) | ||
| from FUNNY STUFF 25 Blackie Bear story |
Tuesday, September 8, 2020
Rawhide Kid and Wyatt Earp and a Couple of Writers
Here are two Atlas western hero writer's lists--taking up not too much
space since there's only one writer on each before Stan Lee takes over
(and in fact his Rawhide Kid is the completely new version started with
Jack Kirby a couple of years after this one is cancelled). This isn't
too surprising; in
1954-58, Joe
Gill has ended up the sole Kid Colt writer pre-Lee.
"The Day Marshal Earp Met Annie Oakley" in WE 5 (July/56) guest-stars the Atlas version of Annie from her own comic book--her 1955-56 feature being written solely by Hank Chapman. To bring her a little more in line with the historical Annie and thus further the conceit that this Wyatt Earp comic is "based upon the facts and legends from the career of the amazing life of Wyatt Earp," this is the only time her real name is mentioned.
scripts by Don Rico
in RAWHIDE KID
Rawhide Kid script by Rico
in WYATT EARP
scripts by Hank Chapman
in WYATT EARP
Wyatt Earp script by Chapman
in WILD WESTERN
Wyatt Earp scripts by Chapman
in GUNSMOKE WESTERN
"The Day Marshal Earp Met Annie Oakley" in WE 5 (July/56) guest-stars the Atlas version of Annie from her own comic book--her 1955-56 feature being written solely by Hank Chapman. To bring her a little more in line with the historical Annie and thus further the conceit that this Wyatt Earp comic is "based upon the facts and legends from the career of the amazing life of Wyatt Earp," this is the only time her real name is mentioned.
scripts by Don Rico
in RAWHIDE KID
| Mar/55-Sep/57 | 1-16 | all Rawhide Kid scripts |
Rawhide Kid script by Rico
in WYATT EARP
| Dec/58 | 20 | The Last Outlaw |
scripts by Hank Chapman
in WYATT EARP
| Nov/55-Feb/58 | 1-15 | all Wyatt Earp scripts |
Wyatt Earp script by Chapman
in WILD WESTERN
| Jan/56 | 47 | The Lion of Tombstone |
Wyatt Earp scripts by Chapman
in GUNSMOKE WESTERN
| Jun/56 | 35 | The Terror of Tombstone |
| Aug/ | 36 | Apaches on the Warpath |
| Jan/58 | 44 | Apache Trouble |
Thursday, August 20, 2020
Mr. Laurel and Mr. Hardy and Mr. Bozo
Both
of Dell's titles from Larry Harmon cartoons, after the
first issues, are done by the same so far unidentified writer and
artist on all the comics stories, including one-pagers and backups.
Compare the titles of these stories from the second issue of each: Bozo
the Clown
#2 (April-June/63), and Laurel
and Hardy #2,
(March-May/63).
I don't recognize the styles from anything else at Dell--or in fact
anywhere--so I suggest that
the material was supplied by Larry Harmon's production company.
The first issues Dell evidently did in-house. Tony Tallarico, who had nothing to do with issues 2-4, did the art on Bozo #1--and as happened only occasionally at this point, without Bill Fraccio pencils.
Paul C. Ignizio has cited Laurel and Hardy as one of the titles he wrote for Dell, along with Car 54, Where Are You? and The Twist. If L&H #1 was indeed the only issue done at Dell, it's the one most likely to be his. A point of similarity that jumps out between L&H #1 and Car 54 #3 (Oct/62) is Indians who say "I/Me scalpum!" (I'm still looking over Car 54--I don't think Ignizio wrote every issue.)
BOZO THE CLOWN
(* = single page)
LAUREL AND HARDY
(* = single page)
The first issues Dell evidently did in-house. Tony Tallarico, who had nothing to do with issues 2-4, did the art on Bozo #1--and as happened only occasionally at this point, without Bill Fraccio pencils.
Paul C. Ignizio has cited Laurel and Hardy as one of the titles he wrote for Dell, along with Car 54, Where Are You? and The Twist. If L&H #1 was indeed the only issue done at Dell, it's the one most likely to be his. A point of similarity that jumps out between L&H #1 and Car 54 #3 (Oct/62) is Indians who say "I/Me scalpum!" (I'm still looking over Car 54--I don't think Ignizio wrote every issue.)
BOZO THE CLOWN
(* = single page)
| May-June/62 | #1 | Facts About Clowns [TEXT] * | p, i: Tony Tallarico |
| Circus to the Moon | p, i: Tallarico | ||
| The Chimp That Made a Monkey Out of Bozo | p, i: Tallarico |
||
| The Worm That Had the Strangest Tale | p, i: Tallarico |
||
| The Clown in Show Business [TEXT] * | p, i: Tallarico |
||
| Make Up and Costumes of Clowns [TEXT] * | p, i: Tallarico |
LAUREL AND HARDY
(* = single page)
| Aug-Oct/62 | #1 | A Record Lunch * | w: Paul C. Ignizio |
| The Tourists | w: Ignizio | ||
| Bell of the Brawl * | w: Ignizio | ||
| Hair and There * | w: Ignizio |
Wednesday, July 29, 2020
Paul Gustavson Flits By on Plastic Man
The best place to look in order to identify an artist on a series story
is not in the continuing characters, who are expected to be on-model,
but with one-time walk-ons. An example is Curt Swan's earliest Superman
stories, where Superman himself is comparatively cartoonish in physique to
match the contemporary artists' version, but
the crowd scene folks are afforded more of Swan's trademark realism.
So here in Plastic Man #41, as Paul Gustavson appears for one issue (except for the Woozy solo story, pencilled by Jack Cole), Plas and Woozy look much as they do every issue, but the gangster that Plas replaces in the page from "Beast," especially in the last panel, and the Rajah in the tier from "Red Wreckers," best show the Gustavson style to me.
It would be a lot easier to tell apart the pencillers if the inking
weren't imposing a rather muddy house style on everything. The scripts
are by Joe Millard.
Plastic Man Pencilled by Paul Gustavson
So here in Plastic Man #41, as Paul Gustavson appears for one issue (except for the Woozy solo story, pencilled by Jack Cole), Plas and Woozy look much as they do every issue, but the gangster that Plas replaces in the page from "Beast," especially in the last panel, and the Rajah in the tier from "Red Wreckers," best show the Gustavson style to me.
Plastic Man Pencilled by Paul Gustavson
| May/53 | 41 | The Beast with the Bloody Claws |
| The Bounding Bandit | ||
| The Red Wreckers of Rangistan |
Sunday, July 5, 2020
Kid Colt: The Rest of the Stories
In
his 1947 tome Secrets
Behind the Comics Stan Lee shows
the
script layout in use at Timely--panel descriptions down the left-hand
side of the page, captions/dialogue down the right hand. It
seems like
extra work for the writer--figuring out the spacing needed to match up
the panels in the two columns--but certainly it would make
it easier for
the artist and letterer to focus on only what each needs.
It would also make it easier for the editor if he wants to keep the panel descriptions from the original writer but for whatever reason get a second writer to replace the text. According to his records, Paul S. Newman sold "His Brother's Keeper" in Wild Western #8 to Timely. But from the style, Ernie Hart wrote it. I would figure Newman's left-hand side of the script was used and then Hart did a replacement right-hand side. (Occasionally Timely bought scripts for ongoing strips that weren't even "salvaged" like this--a good ten Captain Americas from William Woolfolk, per his records, were paid for but then never published.)
Here's what makes me assign the final script of "His Brother's Keeper" to Hart: "We pick up the trail again" in that story and then in the Ant-Man story "Music to Scream By" in Tales to Astonish 47 (Sep/63), credited as H. E. Huntley. I'd be a touch less than 100% certain only if I ever ran across Newman using the authorial "we" anywhere.
UPDATE: Robin Snyder tells me he's deleting "His Brother's Keeper" from the Newman bibliography, as Paul S. Newman's earliest credits were reconstructed based on having the books in his files (for most of Newman's career, commencing soon after, his records contain much more corroborating material). "He advised me to delete any credit if there was the slightest doubt that it was his. He was aware that some writers also kept records and he preferred to give up any credit if he or I thought it possible he was mistaken."
Kid Colt writers in All Western Winners
in Western Winners
in Best Western
in Wild Western
in Two-Gun Kid
in Two Gun Western
in Black Rider
It would also make it easier for the editor if he wants to keep the panel descriptions from the original writer but for whatever reason get a second writer to replace the text. According to his records, Paul S. Newman sold "His Brother's Keeper" in Wild Western #8 to Timely. But from the style, Ernie Hart wrote it. I would figure Newman's left-hand side of the script was used and then Hart did a replacement right-hand side. (Occasionally Timely bought scripts for ongoing strips that weren't even "salvaged" like this--a good ten Captain Americas from William Woolfolk, per his records, were paid for but then never published.)
Here's what makes me assign the final script of "His Brother's Keeper" to Hart: "We pick up the trail again" in that story and then in the Ant-Man story "Music to Scream By" in Tales to Astonish 47 (Sep/63), credited as H. E. Huntley. I'd be a touch less than 100% certain only if I ever ran across Newman using the authorial "we" anywhere.
UPDATE: Robin Snyder tells me he's deleting "His Brother's Keeper" from the Newman bibliography, as Paul S. Newman's earliest credits were reconstructed based on having the books in his files (for most of Newman's career, commencing soon after, his records contain much more corroborating material). "He advised me to delete any credit if there was the slightest doubt that it was his. He was aware that some writers also kept records and he preferred to give up any credit if he or I thought it possible he was mistaken."
Kid Colt writers in All Western Winners
| Win/48-Apr/49 | 2-4 | Kid Colt stories | E. H. Hart |
in Western Winners
| June/-Aug/49 | 5-6 | Kid Colt stories | Hart |
in Best Western
| June/-Aug/49 | 58-59 | Kid Colt stories | Hart |
in Wild Western
| Nov/48-Jan/49 | 4-5 | Kid Colt stories | Hart |
| May/ | 7 | The Curse of the Chinese Idol | Hart (credited in sneak) |
| July/ | 8 | His Brother's Keeper | plot: Paul S. Newman |
| dialogue: Hart | |||
| Oct/ | 9 | The End of the Trail | Hart |
| Feb/-Aug/52 | 20-23 | Kid Colt stories | Leon Lazarus |
| Oct/ | 24 | Whip Savage [2 parts] | Hart |
| Dec/52-Sep/53 | 25-29 | Kid Colt stories [2 each, 25-26] | Lazarus |
| Oct/ | 30 | Justice in His Holsters | Hart |
| Dec/53-Sep/57 | 31-57 | Kid Colt stories | Joe Gill |
in Two-Gun Kid
| Nov/49 | 10 | The Hunter and the Hunted | Hart |
| June/54 | 14 | [The New Deputy] | Gill |
| Aug/ | 15 | The New Sheriff | Lazarus |
| Sep/54-Feb/55 | 16-21 | Kid Colt stories | Gill |
in Two Gun Western
| Aug/51-June/52 | 9-14 | Kid Colt stories | Lazarus |
in Black Rider
| Jan/-Mar/55 | 26-27 | Kid Colt stories | Gill |
Monday, June 15, 2020
Joe Shuster Makes an Appearance
Joe Shuster pencils in
Popular Romance
| Mar/50 | 6 | A Song in My Heart |
| Nora's Notes |
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