Wednesday, June 21, 2017
This story appeared in Daredevil Comics #10, cover dated May, 1942. It was written and drawn shortly after the attack on Pearl Harbor. Patriotic fervor was high in those days.
Monday, June 19, 2017
The “dumbbell” was probably the writer, not the artist, Hy Fleishman, who was a regular in this kind of second and third tier publishing endeavors, but had a professional flair not matched by other artists in Dark Mysteries #9 (1952), where “Medusa” appeared. Fleishman also did work for Atlas Comics, and after the Comics Code was implemented did 13 issues of the weekly comic book, Poppo of the Popcorn Theater for the Independent Grocers Alliance (IGA).
Sunday, June 18, 2017
These black line pages, courtesy of xxx Spax, who scanned them, were found on the Internet Archive. The sequence appeared on Sundays between September 8, 1957 and November 24, 1957.
Friday, June 16, 2017
Robotman was created by Jerry Siegel, Superman’s co-creator, in 1942. I assume that Binder was aware that Robotman was a robot with a transplanted human brain. It made a puzzler of the panel where Robotman, marooned on the moon, thinks, “. . . there’s no sound on the moon because there’s no air to carry it! Good thing I don’t have to breathe!” But how did his human brain stay alive if he didn’t breathe, or have a blood supply to deliver oxygen to the brain? One also presumes, because of the original intention of the rocket to crash land on the moon, that no oxygen was provided during Robotman’s trip through space.
Arrrgh. My brain hurts just thinking about it.
Jimmy Thompson, an excellent but underrated Golden Age artist, did the artwork. He left comics after 1952, but was known for also working both sides of the street, having worked for Timely and DC at the same time.
From the Canadian printing of Detective Comics #141 (1948):
I have shown other Robotman stories, including this one with yet another serious error. Just click on the thumbnail.
Wednesday, June 14, 2017
That’s all the amateur psychiatry I can muster for a six-page love story. The main selling feature for me with “Bitter Love” is Reed Crandall’s artwork. He draws Karen as pretty but demure, and Enid as gorgeous and sexy (the red hair and the plunging decolletage are clues). Beyond the artwork, the story follows the predictable patterns of comic book love, with Karen’s demureness and dignity winning out over hot sister’s hotness.
Illustrator Norman Saunders did the cover. From Cinderella Love #11 (actual #2, 1951):