Number 466


The Terrific Whatzit


McSnurtle the Turtle, also known as The Terrific Whatzit, was a feature in DC/AA's Funny Stuff title for the first 17 issues. Drawn by Martin Nadle (who sometimes signed his name as Naydel to distinguish himself from his brother, DC editor Larry Nadle) the Whatzit was sort of a...sort of...well, I don't know exactly what he was. I guess that's why he was the Whatzit. If you follow the link above you can read about him in Don Markstein's Toonopedia.

In this particular story, from Funny Stuff #6, Fall 1945, McSnurtle is duped by a cross-dressing guy posing as a woman. In a funny animal comic book! Maybe that's the part that's "funny."

The reason the colophons at the top of the pages say AA All-American Comics is because DC and All-American were conjoined companies, owned by different people. All-American was owned by Max Gaines, publishing under the DC imprint. Max Gaines split off from DC at one point, then sold out to them, coming back into the field with EC Comics. And the rest, they say, is history. The Terrific Whatzit made up a very small piece of that history.

I'm including a couple of ads from that issue of Funny Stuff, which was published just as World War II ended. The ads have a war theme. The Thom McAn ad especially so, with wartime racist caricatures of Japanese. The Captain Tootsie ad is not only a candy ad, but a public service announcement. Don't play with hand grenades. Gee, I think that'd be self-evident, and I don't know how many hand grenades were lying around for kids to pick up, but knowing kids, I'm sure if a kid found one he'd pick it up. Maybe the ad saved some lives.














There's a scene in the beginning of Teen Titans: On the Clock where Robin gives a supposed rousing speech about the role of the Teen Titans and their place in the DC Universe. Says stereotypical bad girl Ravager, "Commence barfing." Unfortunately, for much of On the Clock, the reader's sensibilities are with Ravager, rather than Titans stalwarts Robin or Wonder Girl, who each come off particularly whiny and judgmental. On the Clock gets off to a bad start in that I'm not necessarily sure we like these characters any more; lackluster story and art don't help the case.

Given that the original current Teen Titans roster has been reduced to just Robin and Wonder Girl, it seems increasingly important that these two characters anchor the team. Unfortunately, Titans writers Geoff Johns and Adam Beechen had each written Wonder Girl as extrodinarily whiny of late, offsetting any actual emotion the reader might share in her mourning of Superboy's death, even as Robin pined over starting a relationship with Wonder Girl. While new Titans writer Sean McKeever does put an end to the possibility of that much-decried relationship, Robin and Wonder Girl don't improve in this collection. Wonder Girl appears overly critical of Ravager, even as Ravager nearly gives her life for the team, making Wonder Girl seem the one who can't get along; Robin, for his part, pontificates and orders his teammates around such that the reader wouldn't ever imagine wanting to spend time with this character. McKeever accomplishes the goal, perhaps, of endearing the reader to new characters like Miss Martian and Kid Devil, but at continued cost to the two Titans founders.

As with the previous volume, Teen Titans: Titans of Tomorrow, On the Clock suffers from a bit of plot repeat-itis. Titans of Tomorrow featured the Titans, split off individually, fighting their dark future reflections; On the Clock has the Titans, split indivudally, fighting a group of Titan duplicates, the Terror Titans. Titans of Tomorrow repeated a similar plot from Beechen's Titans East, but now McKeever is essentially repeating himself. I don't favor these stories where the Titans split only to come together in the end; it contributes to this feeling that the Titans aren't a team so much as just a loose group of individuals, and not ones who like each other all that much, either.

In addition, I didn't much care for the Terror Titans, whom McKeever doesn't really introduce and none of whom were presented as competent enough to hold my interest. When Johns wrote Titans, villains like Brother Blood were built up and nuanced -- there wasn't much to the Terror Titans to want to see them succeed, even a little, against the Titans. McKeever succeeds here only for the most part where he did in Titans of Tomorrow, in his writing of the new, mostly unexamined characters. Miss Martian is an interesting, conflicted joy to read on every page, as is Ravager; I also liked Kid Devil's team-up with Blue Beetle in the last chapter, though McKeever's Blue Beetle is a plain "good guy" without much of the depth found in the character's own series.

One additional bright spot was the appearance here of the Dark Side Club. In and of itself, the Club isn't differentiated here much from Roulette's metahuman fight club in JSA or others, but the hints of Final Crisis loom loud and large. This is commercial crossover pandering at its finest, and I love, love, love it. I also appreciated how McKeever made mention of the Birds of Prey's interaction with the Dark Side Club, tying the two series together.

To be honest, if I were reading Teen Titans in monthly issues I think I might very well drop it. I'm surprised and disappointed to feel this way given the auspicious start Geoff Johns gave this title a few years ago, but McKeever's writing just doesn't move me. Eddy Barrows art still seems rather dark to me, as well; I liked it with Ruy Jose inking, but not with Jimmy Palmiotti and others. What keeps me on this title is more its ties to Final Crisis and the forthcoming Deathtrap crossover; it's not a terribly convincing reason to keep reading a book, and I'll probably have to reassess after I read the next volume.

[Contains full covers]

(Because I've been so negative here, I wanted to link to a positive review. I didn't find one yet, but here's a Comic Book Resources article that refers to the On the Clock issues as "bestselling.")

We're following Blue Beetle from title-to-title; next up, Booster Gold!

Number 465


Old Bugeyes is back


Froggy went a'courtin'--horror--in this slimy tale from Journey Into Fear #19, from 1954.

Sorry about the reproduction; Journey Into Fear was published by Canadian publisher, Superior, whose printer was definitely inferior.






A few thoughts on the Collected Edition blog discussion from last week of which collection to read first, continuity-wise, Batman: RIP or Final Crisis:

Among a number of great comments (thanks all!), Spooky notes that "if you want to read the two hardcovers without interruption, then you should read Batman: RIP first, because the majority of it takes place before Final Crisis. But be aware that both hardcovers (when read uninterrupted) spoiler each other!"

Therein, as they say, lies the rub.

The results of our (first ever) Collected Editions blog poll had 90% of respondents for reading Batman: RIP first, versus 10% for reading Final Crisis first. From what I understood from everyone's comments, Final Crisis #5 spoils Batman #683 (at the very end of Batman: RIP) while Batman: RIP spoils the first chapter (I think) of Final Crisis, but not in a major way. If I've got all that right, then indeed Batman: RIP is the one to read first, though I'm not happy about the situation.

This strikes me as a problem unique to wait-for-trading, one we might see come up more and more as more crossovers, and their ancillary titles, are collected in trade. Identity Crisis tie-ins like Flash: The Secret of Barry Allen and JSA: Lost branched off the main story rather than intersecting, but Teen Titans: Titans East and Countdown to Final Crisis Volume 1 intersected and each spoiled the death of a character found in the other book.

I think this comes from an increased effort on DC's end to let independent titles stand on their own during crossovers (Infinite Crisis versus The Sinestro Corps War, for instance), but what we get is the awkward intersection of stories as we see here. It's good, don't get me wrong, for Batman, and good for Final Crisis, but troubling for the trade reader. Ultimately it seems there no perfect order to read these two volumes completely, and I object as a trade reader to having to go back and forth between two volumes to avoid spoilers.

But such is life. Thanks for thinking this through with me. I'll touch on this topic again, for sure, when I read these two books, and I'd love to hear any additional thoughts you may have. New reviews coming soon!

***

Separately, I was re-reading Nightwing: The Lost Year last night -- anyone know if the new Vigilante is supposed to be a character we've already met? I have a sick idea who it might be -- I don't want to spoil it here, but email me at the address at right if you want to know.
[Contains spoilers for Blue Beetle: End Game]

With Blue Beetle: End Game, outgoing John Rogers perfects a somewhat familiar pattern we're beginning to see in superhero comics of late: that of a reborn or legacy hero who discovers a new aspect of their already-established powers, and therefore ties together and becomes a greater sum of their previous parts. Witness Stars and S.T.R.I.P.E, for instance. Witness Green Lantern: Rebirth. And witness this latest chapter of Blue Beetle, which in essence brings to a close the book's first twenty-five issue storyline.

The original Blue Beetle Dan Garrett, Rogers posits, had the potential for superpowers but not the ability to access the alien beetle scarab's intelligence database; Blue Beetle Ted Kord had the intelligence, but was prevented from utilizing the scarab's powers. Enter therefore Jaime Reyes, the first Blue Beetle with both powers and the ability to communicate with the scarab; Jaime becomes not an aberration, but the culmination of the untapped potential of all the other Blue Beetles so far.

To be sure, Rogers's revisionist history plays fast and loose with what was actually established in Blue Beetle series past, but the effect is to tie together all the former Beetles -- perhaps even to create a Beetle legacy where there wasn't one before. And the places where Rogers gets creative with the "facts" are balanced out by just how reverent the story is to Jaime's predecessors, Ted Kord especially. Indeed, the book brims with shout outs to the former Justice Leaguer -- including a fantastic costume change for Jaime late in the game -- such to firmly tie the most recent and newest Beetles together.

End Game finds Jaime in his final battle against the alien Reach that both created the scarab, and intends to enslave the earth. Rogers finishes not just the Reach storyline here, but also brings to close threads dealing with Jaime's friends Brenda and Paco, the villain La Dama, the Posse, and others. Rogers also redeems some seemingly villain-of-the-week stories that I felt bogged down Blue Beetle: Reach for the Stars by showing how even insignificant moments factored into the Reach's ultimate plans. As Rogers leaves the book, he leaves it so cleanly that the reader is left with the sense, as I mentioned before, as if the first four volumes of Blue Beetle are one long, engaging story.

The teen superhero genre is a troublesome one for the adult reader -- a well-done story can be groundbreaking, like Geoff Johns's initial run on Teen Titans, while Stars and S.T.R.I.P.E was ultimately too juvenile for my tastes. Blue Beetle is teen superheroics done right -- a book where the protagonist is neither too adult nor too immature, but rather demonstrates what it means to be a hero through the eyes of someone still learning. As I've mentioned in past Blue Beetle reviews, Jaime Reyes is just so earnest that it's hard not to like him, and it remains true here. Blue Beetle is a fine example of teen superheroics in the tradition of early Chuck Dixon Robin, and I hope the next team to take over keeps up this level of quality.

[Contains full covers]

We'll follow Blue Beetle around the DC Universe for a while now, with Teen Titans: On the Clock coming up next.

Number 464


Li'l Melvin


In the early 1950s the longtime feud between successful cartoonists Ham Fisher, creator of "Joe Palooka," and Al Capp of "Li'l Abner" fame, hit its peak. Fisher had once been Capp's employer. During the time Capp was Fisher's assistant (and some describe his job as more of a ghost while Fisher lived the high life afforded him by his successful strip), the hillbilly concept was born with a character called "Big Leviticus." At some point afterwards Capp quit, created his successful hillbilly strip, "Li'l Abner," and a feud was born. It ended when Fisher took sequences out of "Li'l Abner," doctored them to look like Capp had hidden pornographic images. Capp easily refuted them by showing the original material. The result was disgrace for Fisher, who committed suicide in December, 1955.

This satire, drawn by Will Elder for EC's Panic #3 in 1954, was done well ahead of Fisher's suicide, but devotes the last page to a lampoon of both Fisher's forgeries and Dr. Fredric Wertham, who said in Seduction of the Innocent that pornographic images were hidden in comic books.

Will Elder always did a great job lampooning other cartoonists' characters. There is a running gag throughout that issue of Panic about Walt Kelly, and the last panel features the only non-Elder art, a Basil Wolverton paste-up. Since I've seen most of the Mad imitators and featured a few here, no one ever imitated Mad as well as the creative people who helped create Mad. Harvey Kurtzman was missing from Panic, but his artists were there. Even with them Panic was never as great as Mad, but in its own right it could be very, very good, and "Li'l Melvin" is one of those examples.










**********

Speaking of hidden porn, my friend Clark sent me this sheet of images he's culled. I've scanned it from a photocopied sheet.



Number 463


"Shoot me for a kiyoodling coyote..."


Vigilante is radio singin' cowboy Greg Sanders, who moonlights as the bandanna-wearin', two-fisted do-gooder. He's aided by yet another version of Robin, "Stuff," a kid from Chinatown. In this particular silent opus, we have to imagine the squawking sounds from the strings of the villain, the "frustrated concert violinist," Ben Bowe, aka The Fiddler. I guess if ever there was a real excuse to be a criminal, not being able to play Carnegie Hall would have to top the list.

Didn't The Flash also have a foe called The Fiddler? Checking with the Grand Comics Database I see a notation about this episode of Vigilante: "The Fiddler is not the same villain as Flash's." Aha. Two villains with the same name working for the same comic book company? Who's in charge of continuity here?

Whoever wrote this story gave it some pretty snappy dialogue. Vigilante: "Are you hurt, Stuff?" The boy replies, "I'm not feeling kittenish." ...whatever that means, and maybe it meant something in 1943 that is lost to us now, but I think it's funny.

Mort Meskin, as "Mort Morton," and "Charley," Charles Paris, did the art chores on this story from Action Comics #59, April 1943. Meskin created the character with Mort Weisinger, and I've included the origin story from a DC reprint of the early 1970s. Meskin's artwork is dynamic and dramatic, aided by the equally dynamic and dramatic inking of Paris, who worked a lot on the Batman comics over a couple of decades. I believe, except for some occasions, that Meskin was essentially THE Vigilante artist. Vigilante, who also appeared in Leading Comics with the second banana group, Seven Soldiers of Victory, was one of the more popular features in Action Comics for years, and might be the most popular DC character who never earned his own book.













UPDATE: Readers Mike and Carole Curtis asked me to refer you to a link about the 1947 Vigilante movie serial starring Ralph (Dick Tracy) Byrd.