Mystery In Space #81

Người đăng: vanmai yeu em on Thứ Tư, 26 tháng 5, 2010



This book has a lot to offer, with a three-chapter story by Gardner Fox, lots of flashback material and scintillating art by Infantino and Anderson. It's understandably overshadowed by some of the other issues around this period; Planet that Came to a Standstill from #75 and Planets in Peril from #90 are on anybody's short list for the best comics of the Silver Age. But this is an entertaining, if ultimately flawed issue.

The story starts with Adam Strange encountering a New York City policeman, who recognizes him from earlier meetings:

This of course raises the question of how did a NYPD officer see Adam disappear not once, but twice, given the fact that the Zeta Beam only hits in the southern hemisphere?

So I looked at the two stories in question. In the first, Adam is grabbed by some sort of time beam into the future, and then hit by the Zeta Beam. And in the second, Sardath has invented a new beam that can pick up Adam without running the risk of hitting something else. Unfortunately, this only works for that one issue, as Sardath explains:

But in #81, as Adam is trying to explain himself to Officer Boyle, he suddenly spots Alanna walking in New York. After satisfying the cop by parking his car legally, Adam catchs up to her and she explains that Sardath had improved the Zeta Beam so it could take her across to Earth. At the bottom of the page, there's this:

That is a beautiful bit of art by Infantino and Anderson; it's moody and creates the desire in the reader to learn just who it is that awaits the Zeta Beam in Adam's place.

It turns out to be a former dictator of Rann who had been asleep for 1000 years, who introduces himself to Alanna (?) here:

He apparently disintegrates her. We get a long background bit about how Ranagar and Zared had battled it out in a nuclear war that neither won. Now Zar (note the pronunciation is probably equal to "czar") is back with a super-weapon:

That's an iconic Infantino pose; I'd bet I can come up with a dozen or more panels just like that. We learn that Xar has the ability to absorb all the memories of any person. He transfers her memories to an earthling girl who happens to match Alanna's physical appearance best, and arranges for her to be on the scene in New York to capture Adam's attention. Thus Adam doesn't bother meeting the Zeta Beam, making it possible for Xar to ride to Rann instead.

We get some interesting bits of the Alanna/Adam romance, marred a bit by the fact that it's not really Alanna:

But it does highlight a significant difference between their romance and that of so many other characters in the Silver Age. Adam and Alanna had no secrets from each other. They were ready, almost anxious to get married. Indeed, one of the cliches of the series was the ending where Adam and Alanna start to kiss, and the Zeta Beam wears off, sending him back to Earth.

But then, as they're attending the opening of the Adam Strange wing of the Metropolitan Museum, suddenly everyone on Earth but Adam is frozen stiff. This strikes me as a callback to Planet That Came to a Standstill, where the same thing happened, only on Rann, not Earth.

By checking at the Pentagon, Adam learns that the first people to be frozen stiff were on Tasmania. He goes there and discovers an odd-looking weapon. But as he flies back through the Pacific, he encounters the evil-looking cloud creature shown on the cover. There follows a several-page battle between the two which seems likely to end in Adam's death until:

But when Adam returns to New York, "Alanna" has recovered her own memories. He quickly catches the next Zeta Beam, where he learns of Alva Xar's trickery. But this time the fight is very unequal:

How can Adam defeat Xar? Apparently by giving up:

Overall I enjoyed the story, although it seemed a bit padded. It never really was explained how the cloud creature came to be (it was apparently created by the cyber-ray), or why it froze everything on the planet it appeared on. And of course, Adam willed the creature to disappear, not to go back into the raygun.
More about

Người đăng: vanmai yeu em


Number 743


Space Rover, Space Rover, send Flash Gordon right over...


The Space Rovers feature was short-lived in Exciting Comics, lasting a mere seven issues, from #2 to #9, in 1940. In #9 Black Terror was added to the Exciting line-up, and his popularity apparently pushed Space Rovers out of the book. Or, it could be that someone at King Features called up publisher Ned Pines and said, "Your Space Rovers feature looks a lot like our Flash Gordon feature."

And it did. Drawn by Max Plaisted, it was another in the comic book tradition of swiping a popular newspaper comic strip. Flash Gordon, with its popularity and elegant artwork by Alex Raymond, was just too tempting to steal.

Flash and Dale became Ted and Jane in Space Rovers. Imitation or not, it's fun. Any strip with giant robots and kings on other planets lusting after the heroine is OK in my book. Other Flash Gordon imitators featured here have been in Pappy's #584 and Pappy's #673.

I couldn't find much online information about Max Plaisted, other than he worked in comics from the mid-'30s to mid-'50s, and worked around the industry, sometimes under pen-names. In "Space Rovers" he showed, swipes or not, he was a fairly good artist.

From Exciting Comics #'s 3 and 4, 1940:






















More about

Người đăng: vanmai yeu em on Thứ Hai, 24 tháng 5, 2010



Number 742



We both loved Magda


In 1959, when we were in 7th grade, my friend Rich got a handful of old comics from his cousin. I'd been telling Rich about horror comics. At the time both of us were reading Adventures Into The Unknown, Forbidden Worlds and the Jack Kirby monster books. I told Rich about the Comics Code censorship, how comic books used to be cool, full of vampires, werewolves and killers! At the time, though, I didn't own any of those terrible comics. Everything I knew about them came from what I'd read in a library copy of Seduction Of The Innocent.

So Rich came from his older cousin's house with a copy of Vault of Horror #21, the Realistic (Avon) Comics one-shot,The Dead Who Walk, and the Fiction House title, Ghost Comics #8. Of the three I lusted most after Ghost Comics, because I was infatuated with the girl, Magda, and her big bazooms. No girls with boobs like that existed in my Code-approved comics. I tried to get Rich to give up his Ghost Comics, but no way. I guess he loved Magda the Gypsy as much as I.

I was also very impressed by the beautifully drawn, spooky cover by Maurice Whitman.

Twenty years later I asked Rich if he still had that Ghost Comics. He did. Would he sell? No.

OK, Rich...I finally have my own copy of Ghost Comics #8, published by Fiction House in 1953. I don't need your stinking copy of Ghost Comics #8, wouldn't take it you gave it to me. Screw you, Rich!

Oh, yeah, Rich, one more thing...would you consider a small cash consideration for your copies of Vault of Horror #21 or The Dead Who Walk...?

"The Curse of the Mist-Things" is drawn by John Belcastro, signing his name as Johnny Bell. As a bonus, another story I remember from that original encounter with Rich's Ghost Comics, "The Soul Stealer."














More about

Người đăng: vanmai yeu em on Chủ Nhật, 23 tháng 5, 2010


Number 741


Stewart and Wood's Jungle Jim


Wallace Wood's hand is evident in these stories from Charlton's Jungle Jim #22, dated February 1969, and his art is what attracted me to this title in the late '60s. I have a couple of issues in my collection, #27 being the other. The balance of the five issues published by Charlton have Jungle Jim stories drawn by artist Pat Boyette.

There's little resemblance of this Jungle Jim to the Jungle Jim of Alex Raymond, especially in the science fiction plots. The Grand Comics Database doesn't credit the writing on the first two stories, but "Wizard of Dark Mountain" they credit to Bhob Stewart. Bhob did the script, Steve Ditko did the pencils, and a roomful of artists did the finishes, with Wood inking faces.

In response to an inquiry from me, Bhob said he wrote all the stories in Jungle Jim #22. Bhob's article on the creation of Jungle Jim #22 is after the last story below.






















Jungle Jim #22: Roughs to Finish

In 1966, King Features began a division to publish comic book adaptations of their more popular strips, including Mandrake the Magician, Beetle Bailey and Flash Gordon.

Juggling jobs and temporarily minus his regular assistant, Ralph Reese, Wally Wood faced a sudden two-week deadline on a Jungle Jim comic book for King Comics. Nothing had been done. His solution to the problem, I was told, began with me. I was to write three Jungle Jim stories in two days, he told me. In 15 minutes, he outlined how to do it: Draw roughs on typing paper, begin each story in the middle of an action situation, write as few captions as possible (so the pictures tell the story) and use conventional panel layouts rather than sprawling, tricky page designs.

With no time to research the original Alex Raymond characters, I resorted to a near-satiric approach based on a hazy, half-buried recollection of the early 1950s Johnny Weissmuller Jungle Jim film series. Wood made only a few changes, eliminating the more obvious satire in certain lines of dialogue, and then he immediately sent them to prolific letterer Bill Yoshida (1921-2005). I gathered that Yoshida had an assembly-line approach, constantly lettering while his children traveled around the city delivering and picking up pages.

“The Wizard of Dark Mountain” is obviously inspired by my memories of Dr. No (1962). Wood turned that one over to Steve Ditko, who followed my rough layouts with such precision that he carefully included every detail. I saw that he had made a few slight alterations and improvements. On page five, panel five, I had Jungle Jim holding Rima’s ass as he gave her a boost into the ventilating shaft; Ditko gave it a simple change to make it acceptable to the King editors. On page three, panel four, my rough of the trio rock climbing was awkward, and he easily solved the problem by repositioning the characters.

Wood gave “The Golden Goddess of Thalthor” to Tom Palmer, and I arrived at the West 74th Street studio while Wood was looking over Palmer’s penciled pages. Wood said, “His drawing looks like Archie, Betty and Veronica, but since he told all the kids in his neighborhood that he’s now a famous comic book artist, I can’t bring myself to reject this. I guess I’ll give him a chance to redraw some of it.”

A few nights later, I learned why Wood had expressed little concern for the tight deadline. Artists from all over the city converged like cockroaches to his two-room studio. Someone sat in every available inch. I walked over and said hello to Roger Brand (1943-1985), who looked up and said, “Hi! I’m drawing your story.” As he completed pages of “The Witch Doctor of Borges Island”, they were passed to Dom Sileo and other inkers—who were adding finishing touches to all three stories. Wood, at his drawing table, meticulously inked faces for a while and eventually vanished. He returned shortly with his wife, Tatjana, grinning as he showed her the white heat of activity, leading her into that maelstrom of streaming Winsor & Newton Series 7 brushes and flowing India ink.

With a few phone calls, Wood had contrived to recreate the mood and atmosphere of a 1940s comics shop. It was an exhilarating evening, one that he obviously enjoyed manipulating as much as I enjoyed seeing panels springing to life exactly as I had designed them.

I had completed one more script when Wood phoned one day to explain that King Comics had decided to withdraw from publishing comic books and had passed all materials to Charlton. Wood dropped out, and Pat Boyette took over the book, illustrating scripts by Joe Gill. My last Jungle Jim script was “The Black Blossoms of Death,” an attempt to do a Lovecraft-type tale. It was illustrated by Boyette in Jungle Jim #23.

--Bhob Stewart
More about