Friday, September 04, 2015

Number 1783: Dem Dizzy Dames

As a title, Dizzy Dames sounds sexist, but in the context of its times, the early fifties, to me it seems more situation comedy. “Broadway Babes,” is a funny story of two young women trying to break into show biz so they can pay the rent. What is sexist about that?

The gags featuring the cab driver actually forced a smile onto my normally dour face, and a laugh bubbled up from within me. (I made an effort not to let it be heard by others, in order to preserve my reputation as a grouch.)

ACG is not given enough credit for its line of funny comics, drawn and written by animation professionals. The Grand Comics Database doesn’t list a writer or artist for this story, but both are top-notch. Dizzy Dames did not have a long run, only six issues. Maybe it just got lost on the crowded newsstands of the era. From issue #2 (1952):

Wednesday, September 02, 2015

Number 1782: EC fans thrown to the wolves!

This story, shown in the original art scans that are available on the Heritage Auctions site — thank you, Heritage! — is a clever work of suspense. [SPOILER] Yet it is ultimately frustrating for the reader. I recall it caused some readers to write, wanting to know who paid the price to keep a coach full of people ahead of a pack of hungry wolves.[END SPOILER]

I am asking my this story, credited to Al Feldstein, one of those EC swipes? It seems that I have either read or heard it told, before EC did it.

Jack Davis’s artwork fits the story well, but seems a bit hurried as the characters trying to outrun the wolves. All in all, though, I think it is good fun.

From The Haunt of Fear #13 (1952).

Monday, August 31, 2015

Number 1781: Bound to be popular: the original Wonder Woman

The creation of Wonder Woman was one of the most successful achievements of William Moulton Marston’s career, helped in no small part by the women in his life. Jill Lepore’s excellent book, The Secret Life of Wonder Woman, is an education in the early years of the women’s rights movement, Marston’s polygamous living arrangements with two women and their children, and Marston’s background as a psychologist, inventor, and self-promoting huckster.

As has been mentioned before, Marston was into bondage, domination and submission. It was the key plot element in many of the early Wonder Woman stories. When challenged, he used his psychology training to defend it. He claimed that the chains that held Wonder Woman were symbols: she was being shown breaking the chains with which men had bound women for centuries. He may not have passed his own lie detector test telling that whopper. The old boy liked seeing girls tied up, and used symbolism as an excuse.

This story is from Sensation Comics #4 (1942), which would be the fifth published Wonder Woman adventure (number one was in All Star Comics.) Slavery with bondage is a major story device. It also introduces the German spy and dominatrix, Baroness Paula Von Gunther. The haughty baroness became Wonder Woman’s first recurring villain.

Friday, August 28, 2015

Number 1780: It ain’t Mad, but it ain’t bad

Whack, published by St. John, was another Mad imitator, and as far as it went, probably better than most. Originally designed for 3-D, when that market crashed it was re-designed as a regular four color 10¢ format. It did not last long. Number 3 (1954), featuring “Prince Scallion,” was the last issue.

William T. Overgard drew the satire on the popular Harold Foster creation, It is also, like Mad, full of references to American culture of the early fifties, including the “king” of television, Arthur Godfrey (as King Arthur, ho-ho), toothpaste ads which sold brands based on ingredients like chlorophyll, and even mentions my favorite toothpaste ad line (which made everyone paranoid about the state of their breath and social acceptability), “Even your best friends won’t tell you...” Your breath stinks!

Overgard, who died in 1990, was a comic book artist who went to syndicated comic strips, and had a decent career. Not only did he draw “Steve Roper and Mike Nomad,” he wrote novels, and late in his career, episodes of the animated TV series, Thundercats. He also drew a critically accepted, but ultimately failed comic strip from 1983, Rudy, which featured a talking simian in the image of comedian George Burns.