Thursday, August 21, 2014

And Yet Another Swipe

I talked a few years ago about a very goofy story in Lois Lane #36, where everybody at the Daily Planet pretended that they never heard of Lois Lane, with the apparent result that she committed suicide by hurling herself off a cliff.  It turned out (of course) that she didn't really off herself, and that it was all just a test to see if she could handle the wily tricks she'd have to face as a foreign correspondent for the Daily Planet.  It took a couple issues, but eventually we got the follow-up.

Well, tonight I was reading some old comics and found out that this was actually a swipe from an earlier Jimmy Olsen tale:
In the Jimmy Olsen story, just as in the Lois Lane tale, the protagonist has just returned from a little vacay:

Jimmy insists on checking the back issues of the Planet, as does Lois, but there is no record of their award-winning scoops.  They both head back to their apartments, but are startled to find other tenants in occupancy (in Lois' case it's especially cruel as her sister declines to recognize her).

Eventually we learn it was all a trick by Perry to test them as mentioned above for their suitability as foreign correspondents:


They realize that they're being tricked for different reasons.  Jimmy had called for the "Chief" when Lois didn't recognize him and as he's the only one who calls Perry by that nickname, he realizes that since Perry emerged from his office he knew Jimmy despite his denials.  Lois goes to see Lex Luthor in prison, but since Lex is in solitary she figures out that the warden would never let her see him.

But perhaps most surprising of all is that both stories turn out to be lead-ins to future tales.  I discussed the rather ridiculous Lois Lane, Foreign Correspondent story, but Jimmy had his own follow up:


Jimmy's story is a little better.  He and Clark travel to Hoxana, to find out if the new king is going to be a tyrant or a good guy.  Jimmy quickly finds out that it's the former:

But the king overhears the clicking and only Clark's swift grabbing of the camera saves Jimmy from the firing squad, although Clark himself is imprisoned.  From there the story develops rather predictably; Jimmy has a secret key that can open the prison door, so he tries to get himself arrested, but every time he ends up actually helping out King Otto.  Eventually he succeeds, but the key subplot apparently gets forgotten and Jimmy and Clark are facing the firing squad.  But Clark blows the bullets away, and then takes care of things as Superman.

This swipe is a little quicker than some of the other ones Weisinger did--Lois Lane #36 was published in October 1962, a little less than five years after Jimmy Olsen #25 (December 1957).  But it is certainly noteworthy because of the lead-in nature of both stories to later tales.

Friday, July 25, 2014

I'm Sure You've Heard This Before....

Usual comic book serendipity thing.  I was poking through some back issue bins at the local comic shop and I came across some issues of a comic called Myth Adventures, liked the cover art and picked a few up.

So I'm reading these stories and really getting into them and I thought, hmmm, let's look up the artist, Phil Foglio, on Wikipedia.  So I did and saw he had a series in collaboration with his wife on-line, called Girl Genius, and started reading....

And four hours later I decided I should link it.  Holy crap, this series is so much fun.  It's not like I can claim to have discovered it; I suspect most of you have been reading it for years.  But if you haven't, you definitely have to go check it out.  The art has the perfect humorous style, and the story... well I've been reading it for four straight hours and am absolutely transfixed.

Friday, July 18, 2014

Angel & Ape #2


Of all the quirky titles that DC published near the end of the Silver Age, this must surely be the oddest.  Well, side from Brother Power the Geek.  This happens to be the only issue I own; I don't think I've even read another.

The talent is certainly first-rate: Sergio Aragones on the script and art by Bob Oksner and Wally Wood.  Oksner is probably the least-known today of that trio, but in the 1960s he was DC's go-to guy on humor.

Apparently the premise of the series is that Angel O'Day and Sam Simeon are partners in a private investigation office, although in this issue there is no evidence of a client; they more or less function as law enforcement.  Sam has another job on the side; he's a "cartoonist" for Brain Pix Comics, where his boss is the wacky and devious Stan Bragg (obviously intended as a parody of Stan Lee).

The plot is pretty simple: Someone has convinced the Bikini family (a group of circus performers with larceny in their hearts) to combine their forces:

They kidnap Angel and thus Sam must rescue her.  But first he has to deal with the self-promoting Stan Bragg:

An early reference to the fact that Stan didn't do much of the real "writing" at Marvel?  Sam quits and decides to try his luck at DZ Comics:

But Stan comes up with an ingenious plot to win Sam back:
Stan's assistant convinces Sam to stay at Brain Pix in order to atone for the "death" of Stan.

Some of the humor in the series comes from the fact that very few people seem to realize that Sam is an ape:

Angel leads the circus crooks to Brain Pix's building, where she and the cops make short work of them:

The noise outside is enough to wake the dead:
Overall the issue is amusing, if not quite laugh out loud funny, and the artwork is terrific.

Tuesday, July 08, 2014

Swiped and Then Swiped Again

Mort Weisinger's enthusiasm for swiping story ideas from earlier issues of Superboy does not seem as high as it was for Adventure Comics, but here's a pretty impressive example of a double swipe.  For starters, here is the cover to Superboy #52 (October 1956):


And Superboy #85 (December 1960):

As you can see, in both cases, Superboy is startled to discover another super-powered boy on an alien planet. He changes into civilian clothes and confronts the lad:


The other boy comes from a startling place:

Clark realizes how the other boy got his powers:

So it looks like Superboy is finally going to have a super-powered buddy.  But as they start off together, something happens:

Superboy eventually realizes that it's his presence that is causing the other superlad to lose his powers, and thus he must leave, resulting in a sad ending:

Weisinger recycled that ending in Superboy #87 (March 1961), in a Krypto story.  Krypto rescues a beautiful female dog:


You've gotta love that he calls her Toots. She doesn't have super-powers, but it turns out that Krypto knows where she can get some:

And so she drinks from the pool and becomes super. Unfortunately:

Krypto soon realizes that he is no longer super when near Kolli, and so we get the same ending as in the two Superboy tales:

Thursday, July 03, 2014

Mort Weisinger's Idea of Funny

What the? From Superboy #72 (April 1959):

Why would he put that postscript in there?  He had to know that there were plenty of Superboy readers who were still at the age where they believed in Santa.  It's hard to come up with a reason other than the obvious; that Weisinger was a first class jerk.

Tuesday, July 01, 2014

A Wink from Clark

Reading through the Silver Age Superboy, I noticed how many stories ended with this:




The winks tend to happen at the end of secret identity stories; I'm sure there are plenty of examples in Superman as well.

This is somewhat akin to the "Ending with Iris" bit in the Flash, and the "Bah!" responses from the Joker; a way of letting us know the story is over.

Update: Kirk House points out in the comments that the practice of ending the story with a wink from Clark may have originated with the Superman cartoons of the early 1940s from the Fleischer studios.  Here's the first one in that series, which does indeed end that way:

Wednesday, June 18, 2014

Some Lesser Swipes

As I mentioned the other day, I have been working my way through the mid-1950s Superboy issues looking for more swipes by Weisinger and company.  I came across two more, although these were not quite as blatant.  First:


Despite the rather obvious swipe of the cover concept, the stories themselves have only a superficial similarity.  In the Superboy story, Clark was unaware that his teacher had instructed the class to wear Superboy costumes for Superboy day in Smallville, because he had been absent from the classroom when the order was made.  In the Supergirl story, a TV producer had given everybody at Stanhope copies of her uniform (including Linda), but hers was damaged when she used it on a mission in her other identity.  The latter story turns out to be an effort by the TV guy to expose Supergirl's secret identity.  In the former, Clark sweats it out that the reason he was chosen to be dressed in plainclothes was that someone had guessed his secret, but it turns out instead that hidden inside his jacket was a letter signed by everybody in town thanking Superboy.

It's comparable to these two stories with identical titles:

Same concept, different execution. In the first story (from Superboy #50) a gang of crooks have come to Smallville to hide out with their loot, although one of the underlings is worried about the rumors that a young lad has super powers has recently been making things tough for the local criminals.  The boss, as shown, finds the concept of a Superboy to be ridiculous, although he soon learns otherwise.  In the later story, Superboy goes to a nearby old West town where the local hoods haven't heard of him.