Here are three warning signs to bear in mind.
HAS YOUR CAUCASIAN PROTAGONIST...
If you answered "yes" to all three of these questions, then you are publishing either...
G.I. Joe: A Real American Hero
...Or Star Wars.
When this happens, you are certain to be cancelled soon after.
If you're familiar with your comic book history, then you know this was published a year after Frederic Wertham had helped spur on the Senate Subcommittee on Juvenile Delinquency hearings and only shortly after the Comics Code Authority shield began defacing comics on the racks. The CCA resulted in tepid, lifeless comic books because of the restrictions on what was considered "in good taste," as though crime, horror and funny animal comics should each play according the same rules for the same audience. The stigma generated against comics by the hearings and CCA is still felt by comic book fandom today.
In another sense, this is all in the past and thus safe for us on the other side of history to look back and guffaw. Certainly this article's criteria for judging comic books is baffling. The "No Objection" list includes much of what Archie and Dell were publishing at the time - in fact, the list is almost entirely comprised of teen humour comics, funny animal comics and romance comics. And yet, what grants Superman No Objection but Action Comics & Superboy Some Objection? Why does the Lone Ranger warrant Some Objection while the spin-off comics Silver and Tonto are clear?
There's also practically no daylight between the Riverdale teens of Archie and the company's Katy Keene, yet Katy is Objectionable! It ranks a "2," which... hm, let's check the standards... Moral Area... ah, yes, "The portrayal of drug addiction or excessive use of alcohol."
Actually, Katy and the similar Millie the Model were probably written up over "Any situation having a sexy implication" and/or "Persons dressed indecently or unduly exposed; costumes not appropriate to the occasion." Yet how was Dan DeCarlo's Millie substantially different from Dan DeCarlo's Betty & Veronica?
Perhaps the most baffling Objectionable comic to me was Rin-Tin-Tin, who earned a "3" for Morbidly Emotional (as did the similar Rex the Wonder Dog). How could Rin-Tin-Tin differ much from the clean-as-a-dog's-mouth Lassie? Perhaps the objection was over "Kidnapping of women or children, or the implication of it," but that must be the most unhelpful criteria ever invented. The "implication" of kidnapping? Who determines when kidnapping is implied? How? What is a super dog like Rinnie supposed to do for a living if he's not allowed to rescue women and children in peril? Is he only allowed to rescue adult men? How emasculating for them.
As a fan of Atlas Comics, it's interesting to note how few Atlas comics listed under "No Objection" - just Patsy & Hedy, My Own Romance & Homer the Happy Ghost. None of their adventure comics made the cut, while DC at least scored with Superman and Tomahawk. It's strange to see the various Atlas fantasy books listed with different objections as their content was virtually identical and all of it rather bad; that's the really galling part - even after cleaning up their horror comics into fantasy comics, Atlas was still told their material was too "morbid." Check out this from the article (emphasis mine):
"Horror and crime comics are less numerous and somewhat less offensive according to this year's review than formerly: yet a new subtle type of mystery story has appeared on the scene. To some parents it might seem even more objectionable than the obviously fantastic and weird stories of other years. These new mystery stories present arson, walking dead, and even in some cases horribly disturbing incidents that seem a threat to civilization."
I would love to understand what the bold type refers to. "Seem a threat to civilization?" What, like a science fiction story about the end of the world? Was two-year old Alan Moore already publishing stories which promoted anarchy?
How about the wild "Crime stories unless they relate to folklore or classical literature." So, that's fine for Classics Illustrated, but what is a "crime story?" Wertham considered any comic involving crime (even in Looney Tunes) to be a "crime story," so what's their definition? Superman certainly seems exempt, despite being a crime fighter.
Some titles on the Objectionable list hit the coveted 3-in-one in culture, morals and morbidity! These are Authentic Police Cases (St. John), Blue Beetle (Charlton), Crime and Justice (Charlton), Crime and Punishment (Lev Gleason), Don Winslow (Charlton), Mad (EC), Outlaw Fighters (Atlas), Outlaw Kid (Atlas), Piracy (EC), Rugged Action (Atlas), Straight Arrow (Magazine Enterprises) & T-Man (Quality). DC doesn't list a single title under all three, although it's interesting to see Batman came close, missing only on culture. I suppose Robin's shorts won them a moral objection for "costumes not appropriate to the occasion."
It's a small wonder to see EC's Mad on the list, although they were already headed to their magazine format by the time of this article. What is surprising is to find Charlton's Mad rip-off Insanity considered clean!
In other "EC can't catch a break" headlines, Valor is written up for culture and morbidity. Again, a company tried to clean up their content into something less sensational with decent values, only to be slighted.
In all, a portrait of the times; the US public eventually tired of poking their nose into people's comic book habits. They retain an insatiable appetite for intruding in people's religious, political and sexual background, however.
It's rare to find an editorial which explains the whys and wherefores of a comic book's existence within the title themselves, but 47 Ronin author (and Dark Horse publisher) Mike Richardson offers one in the back matter of 47 Ronin#1. It seems Richardson has spent decades hoping to create a comic book based on the story of the 47 ronin who avenged their dead master, but only recently decided Stan Sakai was the right artist for the project, despite Sakai's long association with Dark Horse.
Unfortunately for fans of Usagi Yojimbo, Sakai has had to take a break from his own series in order to bring this one to life. Fortunately, it does mean fans of Sakai get to see him delving into different (albeit familiar) characters and settings. It's even presented in colour, courtesy of Lovern Kindzierski, while Sakai's work is normally black & white.
47 Ronin recounts a popular tale of Lord Asano, who falls victim to unfortunate politics in 18th century Japan. Asano is devoted to the honour code of bushido, but this is a problem when enemies can manipulate honourable persons by goading them with insults or accusing them of low conduct. I only became familiar with the story after seeing it presented on the Canadian comedy series History Bites, but it's a popular subject in all forms of media, notably the 2005 Image graphic novel Ronin Hood of the 47 Samurai.
Sakai's art is ultimately what drew me to the series (while I patiently wait for Usagi Yojimbo to resume). It's the same level of detail and composition seen in his own work and I'd even assuming he were the author if Richardson's name weren't presented so prominently. Despite knowing how the story resolves, I'm enthused to see how Richardson & Sakai craft it. 47 Ronin will run for only 5 issues total and I encourage you to seek it out.
In this tale, Popeye, Olive Oyl, Castor Oyl & J. Wellington Wimpy visit an ostrich ranch which is bedeviled by a mysterious hairy monster who lives in the desert. The foreman of the ranch is none other than Ham Gravy, Olive's former fiancee. Since they last met, Ham has picked up his own set of super muscles (courtesy of "Charles Adenoid"), making him a match for Popeye.
As is typical with Langridge, Wimpy is integral to the plot. I'd earlier noticed how Wimpy is similar to Langridge's Snarked protagonist J. Wilberforce Walrus, but while both men are clever con artists, it's worth observing many of Langridge's other protagonists are less-than-clever victims (notably Fred the Clown and Muppet Show's Fozzie Bear).
After collaborating with various artists over the first six issues, this issue features Langridge assuming the writing/art duties (which probably wasn't feasible while he was writing/drawing Snarked during the earlier issues). Langridge is suited to the world of Popeye, but there's something about the way he draws Popeye himself which I don't like; I think it's the lines on Popeye's open mouth, as seen above.
The second feature of the book is "the Cow of Tomorrow," a Professor Watasnozzle story also by Langridge. This character has made frequent appearances in back-up stories during Langridge's Popeye run thus far; Watasnozzle was another creation of Popeye maker E.C. Segar, but not one I was familiar with until this series. Each story follows a similar pattern: eccentric inventor Watasnozzle makes a device to simplify some mundane task, but Sappo & Myrtle, the couple whose home he boards at, find some way to abuse the device; usually something explodes at the climax. In this case, Watasnozzle has invented an electric cow which can do anything a cow can, including fashion its own dairy & meat products (albeit, awful products). I do find these stories repetitive, but each has had enough amusing moments to remain diverting.
I never believed I'd see the day where I was looking forward to Popeye every month, let alone twice a month since the launch of Classic Popeye! Good show, IDW!
It's not the largest comic book I own, but the "treasury edition" format always makes me giddy. In this instance, it led me into buying a Star Trek comic book I would have overlooked if the same material had been sold as a trade paperback (as is, the $9.99 price was cheaper than the cover price of the original material).
This book collects three comic books about Romulans which writer-penciler-inker John Byrne created in 2008. Set in the continuity of the 1960s TV show, it opens immediately prior to "Balance of Terror," the episode which introduced the Romulans. The honorable Romulan commander from that episode is (re)introduced, along with his wife, son and the fanatical leader of the Romulans, the Praetor. At the same time the Romulans have begun using their new cloaking devices to cross the Neutral Zone, they've made new allies: the Klingons. On the surface, the Klingons have come to Romulus to obtain their own cloaking devices, but they actually have a secret plan of their own. Considering the Romulans have a reputation in Star Trek for being the galaxy's most cunning spies, there is schadenfreude to be had in seeing them outwitted by Klingons!
It definitely pays to know your 1960s Star Trek before delving into this book. In addition to "Balance of Terror," I recognized references to "the Trouble With Tribbles," "Errand of Mercy" and "the Deadly Years." Because all of this is told from the perspective of the Romulans (and Klingon allies), the Starfleet characters are only ever glimpsed from a distance (although despite being absent from the cast of characters, one James T. Kirk sets into motion much of the action). If you don't recall how "Balance of Terror" played out, you may be confused by how the Romulan commander is given a great introduction, then dies off-panel in battle with the Enterprise. And while you might recognize the Klingons Koloth & Kor from (respectively) "the Trouble With Tribbles" and "Errand of Mercy," Kor's motivation depends on you being familiar with "Errand of Mercy"'s plot. Essentially, having been forcibly prevented by the all-powerful Organians from attacking the Federation, Kor's great scheme is to manipulate the Romulans into waging war on their behalf. He does refer to the "Organian interference," but it's up to the reader to understand its context.
Being printed at such a large size means when Byrne delves into great detail at rendering the people or starships, you can marvel at his skill. However, it also means when Byrne takes shortcuts with his art, the increased size makes it all the more glaring. Let's call it a draw.
The book would definitely profit from a few endnotes to explain the continuity. For that matter, the story could use captions to help with scene transitions. There are moments where knowing how many days/weeks have passed between scenes would help explain the seemingly drastic changes in situation. Further, one sequence presents the Klingons & Romulans engaged in war games, but because the Romulans have a team of Klingon observers aboard their ship, I had difficulty understanding when the perspective switched between vessels.
This isn't the complete story - Byrne wrote three more comics about the Romulans which will reprinted in a 2nd treasury edition to accompany this. I didn't realize it when I bought this book, but I'll happily add the concluding volume to my collection; Byrne and Star Trek are both fond old friends of mine and it's a pleasure to revisit them.
Today I close my theme month with another episode of Scott Bishop's Dark Fantasy, this time "the Demon Tree" from December 5, 1941. This program features a tree which is not simply a living thing, but a moving, vengeful, killing thing as well!
You can download a copy of this radio show from archive.org here.
Thank you for indulging my interest in old-time radio; I hope I've exposed you to some quality shows over the course of this month; perhaps I'll feature more programs in the future.
What have I selected for you today? All-out horror, naturally! I give you "the Headless Dead," from January 23, 1942. A visitor to an old cathedral accidentally happens upon a choir of headless men. There's only way they'll allow him to live... if you can call it living...
You can download a copy of this radio show from archive.org here.
You can download a copy of this radio show from archive.org here.
You can download a copy of this radio show from archive.org here.
A frustrated poet decides to live inside a department store to allow himself the freedom to explore his art. However, the store turns out to be populated by many refugees who can't handle the outside world; to live amongst them, the poet must adapt to their rules. Matters are complicated when he falls in love with a fellow outcast.
You can download a copy of this radio show from archive.org here.
You can download a copy of this radio show from archive.org here.
You can download a copy of this radio show from archive.org here.
A German hunter living in the wilderness takes a new wife to help raise his three children, but she's our titular fiend; doomed by his own vows, the hunter's children are menaced by their bloodthirsty new stepmother.
You can download a copy of this radio show from archive.org here.
On a whim, a traveler disembarks his train at an obscure English village. He's never visited the locale before, yet the locals treat him with an odd sense of familiarity. Perhaps it's his imagination, but they all seem to be watching him and somehow mill around him without making a noise.
You can download a copy of this radio show from archive.org here.
An archaeologist working in Egypt invites a friend to his dig location. However, an unfortunate mishap on site leads to death; there's something still alive inside the crypt...
This is one of the better-known episodes of Quiet Please, a series which was short-lived, but beloved by those who heard it. It was a cheaply-made program with few actors, limited music and audio effects. And yet, the quality of the stories almost always surpassed the show's limitations.
You can download a copy of this radio show from archive.org here.
This is a pretty simple and straight forward tale, but it has one terrific closing line. A juror serving on a murder trial finds himself possessed of inside knowledge on the case when the ghost of the murdered man begins feeding him information!
You can download a copy of this radio show from archive.org here.
Outside of adaptations of "the 39 Steps," the only other old-time radio program adapted from Buchan is his short story "the Grove of Ashtaroth," as heard February 29, 1948 on Escape. This tells the tale of a man who builds an elaborate home in Africa by a grove of trees. A visiting friend soon discovers terrible things transpire in the grove by night. Buchan's biographers have pointed to this tale being inspired by Buchan's adulation and later disappointment in T.E. Lawrence.
You can download a copy of this radio show from archive.org here.
The last time I listened to this episode, I had been taking a nap while old-time radio streamed over my computer. As "Kaleidoscope" began its drama of men cast adrift in space after losing their ship, my semi-conscious mind was a little confused by the audio and began to write me into what I was hearing. It's a testament to how intense this program is.
You can download a copy of this radio show from archive.org here.
"I woke up in the night to hear voices coming from my radio; it was New Orleans and a bandleader was taking the police through a dank back alley, guiding them to the place where he murdered a man. I had fallen asleep with the radio on and happened to draw myself from my slumber near the start of the program, missing little more than the opening theme and introduction. Consequently, I didn't know what exactly I was listening to and in that state my mind was in - still half-asleep - this weird tale of voodoo weaved a spell around me. In my state of partial consciousness, it was as though the story was happening to me, like it was a dream I was having instead of a 50 year old drama being replayed over the wire. Every time I hear it, I recall that first time and the mental pictures I saw then return to me."
"Papa Benjamin" was adapted to Escape on January 21, 1948; it was based on a story by Cornell Woolrich and would later be adapted to Boris Karloff's TV series Thriller in 1961 and as a segment of the film Dr. Terror's House of Horrors in 1965.
You can download a copy of this radio show from archive.org here.
Returning to Peter Lorre's program Mystery in the Air, we have an episode from August 21, 1947: an adaptation of Guy de Maupassant's "the Horla." You may recall this as one of the tales Ernie Colon adapted into comic book format in his Inner Sanctum graphic novel, as I blogged here.
This episode's story of a man haunted by an invisible presence was my first exposure to Maupassant and led to my reading two collections of his short fiction; he didn't write much in the supernatural vein and I found his cynicism to be overwhelming at times, but I was fascinated by the notion of a man who wrote tales of madness, then ultimately succumbed to madness himself. Many of his stories are quite clever, like a subdued Saki. I recommend investigating his bibliography.
There's an anecdote about how during one broadcast of Mystery in the Air, Lorre's performance became so intense that he accidentally flung his script away and had to ad-lib the rest of the program; I don't know which episode it would be, but based on the intensity of this program's finale and his sudden closing apology, this may be the show in question.
You can download a copy of this radio show from archive.org here.
If you see something I overlooked or identified incorrectly, do let me know. Updated 11/21/2013: thank you Steven & Neil!
The Avengers, a team of super heroes including Thor, Hulk & Iron Man, banded together as "Earth's Mightiest Heroes" because of the instigation of Loki, who plans to turn the heroes against the Hulk: Derived from the Avengers#1 (1963) by Stan Lee & Jack Kirby.
The Tesseract, a glowing cube possessing massive cosmic power: derived from the Cosmic Cube of Tales of Suspense#79 (1966) by Stan Lee & Jack Kirby.
Loki, Thor's evil brother who possesses the power to cast illusions; Asgard, home of the Norse Gods which connects to Earth via Bifrost; Odin, father of Loki & Thor: derived from Journey into Mystery#85 (1962) by Stan Lee, Larry Lieber & Jack Kirby.
The Chitauri, an extraterrestrial army who battle the Avengers: derived from the Ultimates#8 (2002) by Mark Millar and Bryan Hitch, but based on the Skrulls of Fantastic Four#2 (1962) by Stan Lee & Jack Kirby.
S.H.I.E.L.D., an international espionage agency, headed by a council and directed by Nick Fury; Nick Fury wearing an eyepatch; Life Model Decoys; the S.H.I.E.L.D. Helicarrier, their mobile headquarters designed like a flying battleship; the enemy group Hydra: Derived from Strange Tales#135 (1965) by Stan Lee & Jack Kirby.
Nick Fury, an experienced soldier: Derived from Sgt. Fury and his Howling Commandos#1 (1963) by Stan Lee & Jack Kirby.
Nick Fury as an African-American man: Derived from Ultimate Marvel Team-Up#5 (2001) by Brian Michael Bendis & Mike Allred.
Nick Fury depicted as Samuel L. Jackson with visible scars around his left eye; the Avengers as a team organized and run by S.H.I.E.L.D. under Fury's guidance; the Hulk resulting from an attempt to recreate Captain America; Iron Man's eyes & unibeam glowing light blue; S.H.I.E.L.D. presenting a new costume to Captain America after his revival: Derived from the Ultimates#2 (2002) by Mark Millar & Bryan Hitch.
Maria Hill, next in line to command S.H.I.E.L.D.: Derived from Secret War#5 (2005) by Brian Michael Bendis & Gabriele Dell'Otto.
The S.H.I.E.L.D. insignia, an eagle within a circle: Derived from Strange Tales#154 (1967) by Roy Thomas & Jim Steranko.
Hawkeye, an expert marksman who wields trick arrows (such as explosive arrows and cable line arrows) and has a personal relationship with the Black Widow; Iron Man's chief weapon, repulsor rays: Derived from Tales of Suspense#57 (1964) by Stan Lee & Don Heck.
Hawkeye's real name, Clint Barton: Derived from the Avengers#64 (1969) by Roy Thomas & Gene Colan.
Hawkeye & the Black Widow as fellow S.H.I.E.L.D. agents recruited into the Avengers; Hawkeye's costume: Derived from the Ultimates#7 (2002) by Mark Millar & Bryan Hitch.
Loki's power of mind control: Derived from Journey into Mystery#88 (1963) by Stan Lee, Larry Lieber & Jack Kirby.
Thor, Norse god of thunder, defender of Earth, wields hammer Mjolnir which can control storms, can only be lifted by those who are worthy and always returns to his hand; Thor's blue costume with plated chest, bare arms and red cape: Derived from Journey into Mystery#83 (1962) by Stan Lee, Larry Lieber & Jack Kirby.
The Avengers logo with enlarged "A": Derived from the Avengers#96 (1972) by Gaspar Saladino.
The Black Widow, alias Natasha Romanoff, a Russian spy, originally a villain: Derived from Tales of Suspense#52 (1964) by Stan Lee, Don Rico, Don Heck & Jack Kirby.
The Black Widow as an agent of S.H.I.E.L.D.: Derived from the Avengers#38 (1967) by Roy Thomas & Don Heck.
The Black Widow as an Avenger: Derived from the Avengers#111 (1973) by Steve Englehart & Don Heck.
Iron Man, alias Tony Stark, a playboy philanthropist and former weapons designer who wears a high-tech suit of armour which includes enhanced strength and the power of flight; has shrapnel embedded in his heart and needs pacemaker to survive, pacemaker also powers his armour: Derived from Tales of Suspense#39 (1963) by Larry Lieber, Don Heck, Stan Lee & Jack Kirby.
The Hulk, alias Bruce Banner, an expert in gamma rays who took a massive dose of gamma radiation which causes him to transform into a superhuman monster; Banner and/or the Hulk seen wearing the colour purple; the Hulk describing others as "puny": Derived from the Incredible Hulk#1 (1962) by Stan Lee & Jack Kirby.
Bruce Banner as a physician: Derived from the Savage She-Hulk#1 (1980) by Stan Lee & John Buscema.
Bruce Banner's transformations into the Hulk caused by extreme stress or anger: Derived from Tales to Astonish#60 (1964) by Stan Lee & Steve Ditko.
The Black Widow wielding handguns: Derived from Bizarre Adventures#25 (1981) by Ralph Macchio & Paul Gulacy.
The S.H.I.E.L.D. Council seen as shadowy figures on monitors; the S.H.I.E.L.D. Helicarrier falling out of the sky: Derived from Marvel Graphic Novel#18 (1985) by John Byrne.
The "Avengers Initiative," a government-run program used to operate the Avengers: Derived from Civil War#7 (2007) by Mark Millar & Steve McNiven and Avengers: the Initiative#1 (2007) by Dan Slott & Stefano Caselli.
Captain America, alias Steve Rogers, a World War 2 super hero wearing a red/white/blue costume with star on chest and "A" on mask; Captain America's original triangular shield: Derived from Captain America Comics#1 (1941) by Joe Simon & Jack Kirby.
Peggy Carter, Captain America's war-time love interest: Derived from Tales of Suspense#75 (1966) by Stan Lee & Jack Kirby.
Captain America frozen in ice during World War 2, revived in contemporary times, joins the Avengers: Derived from the Avengers#4 (1964) by Stan Lee & Jack Kirby.
Howard Stark, father to Tony Stark: Derived from Iron Man#28 (1970) by Archie Goodwin & Don Heck.
Howard Stark's past connection to Captain America: Derived from Captain America Annual#9 (1990) by Randall Frenz & Mark Bagley.
Iron Man's armour coloured red & gold: Derived from Tales of Suspense#48 (1963) by Stan Lee, Steve Ditko & Jack Kirby.
Iron Man's unibeam in the center of his armour: Derived from Tales of Suspense#40 (1963) by Stan Lee, Robert Bernstein & Jack Kirby.
The design of the Iron Man armour: Derived from Iron Man#75 (2004) by Adi Granov.
Pepper Potts, Tony Stark's assistant and romantic interest: Derived from Tales of Suspense#45 (1963) by Stan Lee, Robert Bernstein, Don Heck & Jack Kirby.
Stark Tower, Tony Stark's New York skyscraper: Derived from New Avengers#3 (2005) by Brian Michael Bendis & David Finch.
Iron Man's armour applied using mechanical apparatus: Derived from Iron Man TV series (1995) by Tom Tataranowicz.
Jarvis, Iron Man's artificial intelligence assistant who helps design the armours: Derived from HOMER of Iron Man#298 (1993) by Len Kaminski & Tom Tenney and named after Edwin Jarvis of Tales of Suspense#59 (1964) by Stan Lee & Jack Kirby.
Tony Stark & Pepper Potts in a romantic relationship: Derived from Invincible Iron Man#15 (2009) by Matt Fraction & Salvador Larroca.
Abraham Erskine and his Super-Soldier Serum which empowered Captain America: Derived from Captain America Comics#1 (1941) by Joe Simon & Jack Kirby and Tales of Suspense#63 (1965) by Stan Lee & Jack Kirby.
S.H.I.E.L.D. agents dressed in blue jumpsuits: Derived from Strange Tales#139 (1965) by Stan Lee, Jack Kirby & Joe Sinnott.
Captain America's round shield; Captain America's mask fastened to his costume: Derived from Captain America Comics#2 (1941) by Joe Simon & Jack Kirby.
Captain America throwing his shield so that it ricochets and returns to his hand: Derived from the Avengers#5 (1964) by Stan Lee & Jack Kirby.
The wings on Captain America's mask drawn flat on the sides of his head: Derived from Captain America: Reborn#1 (2009) by Ed Brubaker & Bryan Hitch.
Thor's beard: Derived from Thor#367 (1986) by Walter Simonson.
Captain America's belief in God: Derived from the Avengers#113 (1973) by Steve Englehart & Bob Brown.
Odin called "the All-Father" Derived from Journey into Mystery#97 (1963) by Stan Lee & Jack Kirby.
Loki as Thor's foster brother: Derived from Journey into Mystery#112 (1965) by Stan Lee & Jack Kirby.
Thor called "Odinson": Derived from Namor the Sub-Mariner#13 (1991) by John Byrne.
Iron Man's armour absorbing energy: Derived from Iron Man#3 (1968) by Archie Goodwin & Johnny Craig.
Captain America & Iron Man having a tense, argumentative relationship: Derived from the Avengers#153 (1976) by Gerry Conway & John Buscema.
Jane Foster, Thor's love interest: Derived from Journey into Mystery#84 (1962) by Stan Lee, Larry Lieber & Jack Kirby.
The Black Widow's all-black costume with Widow's Bite wrist weapon; the Black Widow's red hair: Derived from the Amazing Spider-Man#86 (1970) by Stan Lee & John Romita.
The red widow icon on Black Widow's belt: Derived from Journey into Mystery#517 (1998) by Scott Lobdell & Randall Green.
Bruce Banner attempting suicide but failing because the Hulk won't let him die: Derived from the Incredible Hulk#467 (1998) by Peter David & Adam Kubert.
S.H.I.E.L.D. agent Jasper Sitwell: Derived from Strange Tales#144 (1966) by Stan Lee, Jack Kirby & Howard Purcell.
The Hulk having green skin: Derived from the Incredible Hulk#2 (1962) by Stan Lee & Jack Kirby.
Hulk battling Thor and attempting to lift Mjolnir: Derived from the Avengers#3 (1964) and Journey into Mystery#112 (1965), both by Stan Lee & Jack Kirby.
The Destroyer: Derived from Journey into Mystery#118 (1965) by Stan Lee & Jack Kirby.
Black Widow being redeemed and rescued by Hawkeye: Derived from the Avengers#30 (1966) by Stan Lee & Don Heck.
Thor's modified costume with chainmail sleeves: Derived from Thor#1 (2007) by J. Michael Stracynski & Olivier Coipel.
Hawkeye's modular design arrows: Derived from Hawkeye#1 (1983) by Mark Gruenwald.
Captain America as Avengers leader; Hawkeye as an Avenger: Derived from the Avengers#16 (1965) by Stan Lee & Jack Kirby.
"Hulk smash" quote: Derived from Tales to Astonish#88 (1967) by Stan Lee & Gil Kane.
The Hulk performing massive leaps through the air: Derived from the Incredible Hulk#3 (1962) by Stan Lee & Jack Kirby.
Captain America's motorcycle: Derived from Captain America Comics#27 (1943) by Alex Schomburg.
Thanos, an extraterrestrial villain: Derived from Iron Man#55 (1973) by Jim Starlin & Mike Friedrich.
Thanos questing after the Cosmic Cube: Derived from Captain Marvel#27 (1973) by Jim Starlin & Mike Friedrich.
Thanos in love with Death: Derived from Captain Marvel#28 (1973) by Jim Starlin & Mike Friedrich.
You can download a copy of this radio show from archive.org here.
Personally, I find Lorre one of the most fascinating actors of his era; here, he's perfectly cast in the lead role of a man who's inclined to violent rages which he takes out on his pets and his wife. Like most episodes of Mystery in the Air, the highlight is hearing Lorre dramatize the rantings of a frantic madman.
You can download a copy of this radio show from archive.org here.
I'm finally returning to Arch Oboler's Lights Out, this time with "Little Old Lady" from November 17, 1937. A young lady brings her friend out to the woods to see her aunt. The aunt just might be the quintessential crazy old cat lady... or the most sinister old woman who ever lived. Unlike the more reserved Inner Sanctum, you could always count on Lights Out to delve head first into something utterly weird; such is the case here.
You can download a copy of this radio show from archive.org here.
You can download a copy of this radio show from archive.org here.
This was adapted into a movie in 1954, starring Robert Mitchum in the lead (seen above). I was pretty eager to own the film, but it was a little disappointing - it isn't a suspense film and Mitchum is absent for much of the picture; the filmmakers were more interested in the dysfunctional family life back at the ranch. It does, however, have utterly gorgeous photography.
You can download a copy of this radio show from archive.org here.
It's taken me years to realize it, but this story is set within Sierra Leone! Some of you may recall I visited Sierra Leone in April, 2012 and consequently, I have a better idea now of what Wells was trying to establish in this story. I don't know if Wells ever visited Sierra Leone, however. If you'd like to read an authentic account of mysticism in Sierra Leone, I recommend Tim Butcher's Chasing the Devil: the Search for Africa's Fighting Spirit (Chatto & Windus, 2010).
You can download a copy of this radio show from archive.org here.
A while ago on this blog, I reviewed Ernie Colon's Inner Sanctum graphic novel; it just so happens today's program is "Death of a Doll," one of the radio episodes Colon revised for his novel.
Originally broadcast October 18, 1948, this is a very effective program, although it does fulfill the Inner Sanctum "rule" I hinted at yesterday, in that it's not really a tale of the supernatural, despite suggestions otherwise. Frequent Inner Sanctum star Mason Adams has the lead role and puts in a terrific performance.
You can download a copy of this radio show from archive.org here.
The truth about Inner Sanctum is that most episodes (of those which still survive) are stories about murder. Such is today's offering, "the Lonely Sleep" from September 25, 1945. In this tale, a department store employee commits a murder, then discovers he can dispose of the body by simply leaving it in plain sight.
You can download a copy of this radio show from archive.org here.
