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Monday, September 24, 2018

Number 2237: Pat Patriot: Women can fight, too!

I have told this story before, but it seems time to dredge it up tell it again. In the early '70s I helped my wife with an essay for a class she was taking. Her paper was on patriotic comic book heroes of World War II. It was the era of anti-war protests, and while I was definitely anti-war, I was also a veteran and writing about WWII comic books was hard to resist (it still is). The teacher liked it so much he had her read to the class. When she got to the name Pat Patriot her classmates exploded in laughter.

I subsequently found out that Pat Patriot’s name was Patricia Patrios, and she was introduced in Daredevil Comics #2. Some character in the origin story misspelled her last name and she became Pat Patriot. It was a short-lived series, lasting only until Daredevil #11. But what I like about it is its portrayal of a female character who is without super powers, but who can fight. That was considered fanciful 80 years ago, but then as now some women kick butts as well as a man.

The Grand Comics Database has questions about who wrote and drew this story from Daredevil Comics #3 (1941), Pat’s second appearance. They guess it was written by Charles Biro and Bob Wood, and also guess at artists Frank Borth and Reed Crandall. I see a couple of panels I believe are by Crandall, but I would not be able to identify anything by Borth.







Friday, September 21, 2018

Number 2236: Ditko: Merlin’s black magic

“I Dared to Defy Merlin’s Black Magic,” a 5-page story, is one I remember well from the days when I picked up anything by Steve Ditko. It is richly textured artwork, and a story well told. Okay, so the story isn’t very surprising. The early Marvels didn’t stray too far from some basic plots, all of which I was familiar with even at my tender age in 1959. But at least Ditko tells it well.

In those days I went for artists I liked who signed their names to their work. With these post-Atlas-early-Marvel titles I collected for Kirby and Ditko because they signed their work. Other artists I especially liked were the Mad artists I first saw in the paperback reprints, The Mad Reader, Inside Mad, et al: Wood, Elder, Davis. Wallace Wood was then doing illustrations for Galaxy magazine and Mad; Will Elder and Jack Davis could be seen in some of the Mad imitations crowding the magazine racks. Davis did the cover for this issue:

The fun of collecting for me was in the artwork of comic books, and that is only right, because it is a visual medium. When I got more interested in stories it was because of The Fantastic Four and Amazing Spider-Man, with two of my favorite artists, Kirby and Ditko. When I found out years late they had responsibility for the stories as well, it made me appreciate Kirby and Ditko all the more.

From Strange Tales #71 (1959):






Wednesday, September 19, 2018

Number 2235: Goodbye Black Pirate


All American Comics #102 was the last issue before it turned into All American Western. It featured the first Johnny Thunder story, and the last stories featuring Green Lantern, Dr Mid-Nite, and Black Pirate, which I am showing today.

It was a good run for all of those characters, especially in the here today/gone tomorrow world of 1940s comic books.

Black Pirate appeared in three popular comics titles in his career. Created by Sheldon Moldoff, he first appeared in Action Comics #23, then switched to Sensation Comics beginning with issue #1. After 50 issues, he then moved over to All American Comics, bumping out The Atom. Not bad for a comic book character who never had his own book, or was on the cover of any issues of the comic books where he was a second tier feature.

I have read less than half a dozen adventures of Black Pirate, so I can’t give an opinion of how Jon Valor (Black Pirate’s secret identity) fared as a pirate, but in his final adventure he was inland, and rode away on a horse.

Artwork by Arthur Peddy and Bernard Sachs.







Monday, September 17, 2018

Number 2234: Two ogres

Both of the stories today are from Ha Ha Comics, and true to the comic book’s title, both of them made me laugh.

The Grand Comics Database has no guesses for the writer or artist for “The Magic Ogre,” from Ha Ha Comics #29 (1946), but it is the same team that created the second story, “Stalwart Swinburne,” from Ha Ha #33 (1946): writer Hubie Karp and artist Al Hubbard. Hubert Karp and Allan Hubbard both worked for the Sangor Studio, which produced comics drawn by moonlighting animators, and were published by the company that became ACG. Hubie’s brother, Lynn, was an artist for Ha Ha and Giggle Comics, and said that besides his comic book work Hubie wrote jokes for Bob Hope and Martin and Lewis.

Al Hubbard went on to draw other features; he took over the Peter Wheat giveaway comics from Walt Kelly, and later he drew “Mary Jane and Sniffles” stories for Dell Comics’ licensed comics based on Warner Bros cartoon characters.













Friday, September 14, 2018

Number 2233: Blackhawks caught in communist time trap

The communists have finally got Blackhawk where they want him. They have caught him and his Blackhawks gang and taken them into the future, to 2100, a time when the commies have conquered the world. They supposedly took over the United States in 1965. The world in which they have taken the Blackhawks looks exactly like those magazine articles common in the 1940s and '50s, previews of “the world of the future,” replete with flying cars.The commies also wear abbreviated costumes, as if they stepped out of Planet Comics.

Blackhawk leads his tiny gang, still a potent force for Democracy, against the  sinister plot of world Communism.

The Grand Comics Database doesn’t know who wrote the story, but guesses Bill Ward pencilled and inked the artwork for all three stories of the issue.

From Blackhawk #59 (1952):








Wednesday, September 12, 2018

Number 2232: Revenge of murdered men

When Fawcett quit the comic book business in 1953 the Captain Marvel universe disappeared for two decades until DC picked it up, and some of their non-Captain Marvel comic book line went to Charlton. That includes a horror title, This Magazine is Haunted. Before the Comics Code was implemented Charlton was able to use unpublished inventory from Fawcett, and also material which had been published, but could be reprinted. Two horror stories today have similar themes. Both of them are about guys who commit murder, and the dead come back to wreak revenge. That is Horror Comics 101; one of the most basic plots of all.

I am not sure if they were written to appear in the same issue, but they both appear in This Magazine is Haunted #15 (1954, Charlton). They are drawn by the same artist, Bob McCarty. (McCarty’s name is sometimes written as McCarthy.) McCarty’s artwork is usually identified by the eyes he drew, which are sometimes confused with distinctive eyes that George Evans drew; but where Evans’s style is slick and unique to him, McCarty’s can sometimes (as in these stories) look cobbled together from different artists’ styles. McCarty worked for the Simon and Kirby studio, and drew various features for comics until at least the mid-fifties. He looks to me to be another comic book journeyman whose work in those days was mostly anonymous.