Number 2534: The cheesiest hero of all

Supermouse was created in 1942, about the same time as Mighty Mouse. Some have alluded to the fact that Kin Platt, who created Supermouse, had also worked for Terry Toons, from whence came Mighty Mouse. Mighty Mouse was originally called Super Mouse, which was changed to Mighty Mouse when Supermouse was introduced in comic books.

Supermouse (published in comics from 1942 to 1958) was successful for publisher Ned Pines’s comic books. As a callow youth I liked Supermouse, and as a cranky adult I still do. Supermouse had several artists over the years, some of whom, Allan Hubbard and Jack Bradbury among them, have such distinctive styles even a kid would notice. As I was told many years ago when I mistakenly credited a Supermouse story for this blog to artist Gene Fawcette, that the Supermouse artist was considered to be Milton (Milt) Stein. And that is who drew “The Cavemen,” from Supermouse #3 (1949). 

“Cheesie” is Supermouse’s airplane. A cute little guy, at that. Why Supermouse needed an airplane was a bit of a puzzle to me, but I admit I liked the stories with Cheesie in them. In this story not only does Supermouse, who can fly like Superman, use an airplane, but is also seen in a car. I then remembered the reason for Supermouse’s super hero powers is supercheese, from “super cows,” which brings out those powers. That's some cheese! Send me a block of it, please. I need all the help I can get.

Number 1593: Supermouse’s Euro-look

Supermouse is American, but in artist Milt Stein’s drawings he lives in what looks like a European town of another era. Castle towers pop up in backgrounds, doorways are arched, streets are cobblestones. It gives a fairy tale look to the funny stories.

In writing to me about Stein years ago artist Jim Engel referred to him as “the Supermouse artist.” I don’t disagree. As talented as other artists who drew the character might have been (and there were some excellent artists, including Al Hubbard, Jack Bradbury and Gene Fawcette) in my opinion no one had Stein’s flair with the character. Some of it had to do with his training as an animator, but some of it had to do with the ambiance he provided the strip in his backgrounds and locales.

From Supermouse #1 (1948):

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A couple of other postings I like featuring Supermouse. Just click on the thumbnails.

Number 1381: Cat and mouse

Comics helped me learn to read before I went to school. I don’t remember reading these two stories specifically, but they’re the kinds of comics my mom would help me with, picking out words and learning sentences. That was two-edged, though...by the time I got to school and was handed a copy of a Dick and Jane reader, compared to my comic books it was pallid and uninteresting.

These two stories are exactly the sort of thing I loved, with funny drawings and rocketships and a sense of wonder at what was going on in those colorful panels. Since I have never lost touch with that kid I was (the “inner child”) I still love this sort of thing. Or, it could be I’m going through my second childhood. Or seventh...or tenth.

From Felix the Cat #16 (1950); art and story by Otto Messmer:

From Coo Coo Comics #45 (1949), art by Milton Stein:

More Milt Stein and more Felix. Click on the pictures: