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.
