Hawkman #17 (DC, December 1966, 12 cents)
"Ruse of the Robbing Raven!" Story: Gardner Fox, Art: Murphy Anderson.
The first of two stories in this issue, this 12-page piece riffs off of Edgar Allen Poe's "The Raven," featuring a Poe scholar named Eddie Powe and a silly villain called, well, the Raven. For 16 years, Joey Makk has nursed a grudge against Powe for showing "me up before my gang" and not letting him steal his family's rent money using a trained bird. Makk, now a costumed villain—"Now to put on this raven outfit I use to conceal my identify rom the gang I've gathered around me—so they can never betray me."—has given Powe a trained bird as a gift... and to eavesdrop on his activities.
Once Makk learns that Powe possesses a heretofore undiscovered Poe manuscript, he plans to steal it. Hawkman intervenes, and Makk embarrasses Powe on television, discrediting him as a scholar. Makk tries to sell the manuscript to a fence, but Hawkman—with the help of Makk's trained bird, oddly—intervenes again. The Poe theme is slightly off putting, but if it turned on at least one reader to check out Poe in 1966, more power to Fox. Anderson's artwork is able and workmanlike.
"Enigma of the Escape-Happy Jewel Thieves" Story: Gardner Fox, Art: Murphy Anderson.
Another 12 pager, this story features Hawkman and Hawkgirl's encounter with four thieves who seem particularly adept at eluding capture. In the end, it's as simple as hired decoys: "We're members of the City Cycle Club. Some man paid us ten bucks each to race to the Mumford Art Gallery—go in the doorway—then after a while race out and speed off in four different directions!"
The gang plans to kill Hawkman and Hawkgirl, but a jeweled pistol dropped by our heroes—and picked up by the villains—on p. 2 leads our crimefighters to the criminals. This series of crimes seems a little down market for a prince of Thanagar, but who can say. The issue also features a one-page letter column including four letters of comment.
Availability: Both stories were collected in Showcase Presents Hawkman TP Vol 02.
This issue comes from the Henry's Green Cape collection of comics. Thank you for your donation!
Showing posts with label 1966. Show all posts
Showing posts with label 1966. Show all posts
Wednesday, May 23, 2018
Tuesday, February 13, 2018
A Nostalgic Journey
Fantasy Masterpieces #1 (Marvel, February 1966, 12 cents)
"Beware!! The Ghosts Surround Me!!" Plot: Stan Lee, Script: Larry Lieber, Pencils and inks: Don Heck, Letters: Artie Simek.
Originally published in Strange Tales #76, this six-page story tells the tale of an escaping thief in Transylvania who runs into aliens. They meet "at certain points along the dimensional barrier, [where] our would and yours meet!" The criminal takes cover in an old house and is captured by the police—or is he?
"I Found the Things from Nowhere" Plot: Stan Lee, Script Larry Lieber, Pencils and inks: Jack Kirby, Letters: Artie Simek.
This five-page piece originally appeared in Journey Into Mystery #60. A man watching baseball on TV experiences a technical glitch that accidentally tunes into not a science-fiction program but "something that's really happening!": some kind of alien battle. However, the scene he sees unfolding is not on another planet, but much closer to home than he realizes. Kirby's artwork is excellent, especially the first page and the first panel on p. 4.
"I Became a Human Robot!" Pencils and inks: Joe Sinnott.
A five pager that originally ran in Suspense #5, this story details the risks of implanting your alien brain in a robot's metallic frame. Sure, you'd enjoy the ability to "think and move and use its mechanical abilities" at first. But once you'd avoided "impending disaster," "saved the Earthling," and been deactivated for installation in a museum, what then?
"I Saw the Other World!" Script: Stan Lee, Pencils and inks: Dick Ayers, Letters: Dick Ayers.
Originally from Tales to Astonish #7, this four-page story—the shortest in the issue—focuses on a camera that seems to take pictures of "another dimension that exists side by side with ours!!" The photographer tries to make his case to passersby outside his home, but nobody believes him. Ayers artwork, while not depicting superheroes or action per se is still quite lively and dynamic. P. 3 is particularly strong.
"Those Who Change" Script: Stan Lee, Pencils and inks: Steve Ditko, Letters: Artie Simek.
This five-page story from Amazing Fantasy #10 is a compelling cautionary tale about the danger of time travel. To whit: Don't mess. Ditko's art is stellar, with too many highlights to list, and the punchline at the end is a laugh. A fun piece.
This is a beauty of a reprint book, "taking you on a nostalgic journey to yesterday's fantasy wonderland." The text-heavy introduction featuring Stan Lee on the inside front cover, while "cornball," draws straight lines between the older fantasy stories and then-current Marvel titles such as the Avengers, Fantastic Four, Captain America, Spider-Man, and Dr. Strange.
Availability: "I Found the Things from Nowhere" was reprinted in Monsters Vol. 1: The Marvel Monsterbus. "I Became a Human Robot" appeared in Marvel Masterworks: Atlas Era Tales of Suspense Volume 1. "I Saw the Other World!" was collected in Atlas Era Tales To Astonish Masterworks Vol. 1. "Those Who Change" ended up in Amazing Fantasy Omnibus.
"Beware!! The Ghosts Surround Me!!" Plot: Stan Lee, Script: Larry Lieber, Pencils and inks: Don Heck, Letters: Artie Simek.
Originally published in Strange Tales #76, this six-page story tells the tale of an escaping thief in Transylvania who runs into aliens. They meet "at certain points along the dimensional barrier, [where] our would and yours meet!" The criminal takes cover in an old house and is captured by the police—or is he?
"I Found the Things from Nowhere" Plot: Stan Lee, Script Larry Lieber, Pencils and inks: Jack Kirby, Letters: Artie Simek.
This five-page piece originally appeared in Journey Into Mystery #60. A man watching baseball on TV experiences a technical glitch that accidentally tunes into not a science-fiction program but "something that's really happening!": some kind of alien battle. However, the scene he sees unfolding is not on another planet, but much closer to home than he realizes. Kirby's artwork is excellent, especially the first page and the first panel on p. 4.
"I Became a Human Robot!" Pencils and inks: Joe Sinnott.
A five pager that originally ran in Suspense #5, this story details the risks of implanting your alien brain in a robot's metallic frame. Sure, you'd enjoy the ability to "think and move and use its mechanical abilities" at first. But once you'd avoided "impending disaster," "saved the Earthling," and been deactivated for installation in a museum, what then?
"I Saw the Other World!" Script: Stan Lee, Pencils and inks: Dick Ayers, Letters: Dick Ayers.
Originally from Tales to Astonish #7, this four-page story—the shortest in the issue—focuses on a camera that seems to take pictures of "another dimension that exists side by side with ours!!" The photographer tries to make his case to passersby outside his home, but nobody believes him. Ayers artwork, while not depicting superheroes or action per se is still quite lively and dynamic. P. 3 is particularly strong.
"Those Who Change" Script: Stan Lee, Pencils and inks: Steve Ditko, Letters: Artie Simek.
This five-page story from Amazing Fantasy #10 is a compelling cautionary tale about the danger of time travel. To whit: Don't mess. Ditko's art is stellar, with too many highlights to list, and the punchline at the end is a laugh. A fun piece.
This is a beauty of a reprint book, "taking you on a nostalgic journey to yesterday's fantasy wonderland." The text-heavy introduction featuring Stan Lee on the inside front cover, while "cornball," draws straight lines between the older fantasy stories and then-current Marvel titles such as the Avengers, Fantastic Four, Captain America, Spider-Man, and Dr. Strange.
Availability: "I Found the Things from Nowhere" was reprinted in Monsters Vol. 1: The Marvel Monsterbus. "I Became a Human Robot" appeared in Marvel Masterworks: Atlas Era Tales of Suspense Volume 1. "I Saw the Other World!" was collected in Atlas Era Tales To Astonish Masterworks Vol. 1. "Those Who Change" ended up in Amazing Fantasy Omnibus.
Monday, January 22, 2018
1,000 Superheroes and Other-Dimensional Pets
House of Mystery #157 (DC, March 1966, 12 cents)
"The Marauders of Thunderbolt Island" Script: Dave Wood, Pencils and Inks: Jim Mooney, Letters: Stan Starkman.
In Dial H for Hero stories teenager Robby Reed ("Sockamagee!") turns the mysterious H-Dial to spell out H-E-R-O, becoming any one of 1,000 superheroes. In this issue, he becomes Super-Charge, the Human Bullet, and Radar-Sonar Man to combat a criminal syndicate led by Mr. Thunder.
After being defeated by Cometeer, Giantboy, and the Mole in the previous issue, the gang steals the experimental Cosmic Computer from a naval freighter. Luckily, attentive teen Reed collected articles on the computer in his scrapbook and is able to guess the syndicate's next target: the New Gibraltar underground repository.
As the Human Bullet, Reed flies to the repository and digs deep into the ground to stop the theft. Cracking a code found at the scene of the attempted crime, he turns into Super-Charge, "a fantastic mass of some kind, radiating a strange energy" strong enough to melt the iron support beams of a bridge. Before he can stop another crime, Super-Charge is imprisoned by a magneto ray, so he reverts to the form of Reed.
The teenage boy escapes from the submersible island fortress by crawling through the HVAC system, then turns into Radar-Sonar Man, who's finally able to scuttle Thunderbolt's operations. I'm not sure I understand the appeal of Dial H for Hero. It seems to have the never-ending variety of the Legion of Super-Heroes, only limited by the teenage alter ego of Reed. Could the 1,000 heroes survive or be active independently? The idea doesn't really work as a tryout book, because if a sub-hero proved popular, it still needs Reed and the dial. What a strange concept!
"Manhunter, World's Greatest Clown" Script: Jack Miller, Pencils and Inks: Joe Certa.
J'onn J'onzz, Manhunter from Mars, stars in a backup story in which he goes up against Professor Hugo, who uses a thought-control machine to manipulate the Manhunter in an attempt to make him a laughing stock. Hugo—disguised as a circus clown—makes Manhunter "execute an intricate dance step," flip giant balls into the air, get stuck in a brick wall, and smash an underground high-pressure water pipe.
But the plan backfires, and audiences are soon laughing with J'onzz, not laughing at him. So Hugo sends Manhunter to rob the Centerville Bank to "destroy his reputation for good." The hero's "other-dimensional pet," Zook destroys the thought-control machine, and Hugo's humiliating crime spree is soon ended.
As much as Dial H for Hero threw me, this Manhunter story also threw me. Why does he have the pet Zook? What is Zook's story? The alien creature played a narrative role and might have appealed to younger readers, but he is a silly, strange sidekick for what could otherwise be a relatively serious hero—who doesn't seem to require such a sidekick.
The issue also included a one-page text piece "Mysteries of the Ages," and a Statement of Ownership, Management, and Circulation that included no circulation data.
Read Also: House of Mystery #156.
"The Marauders of Thunderbolt Island" Script: Dave Wood, Pencils and Inks: Jim Mooney, Letters: Stan Starkman.
In Dial H for Hero stories teenager Robby Reed ("Sockamagee!") turns the mysterious H-Dial to spell out H-E-R-O, becoming any one of 1,000 superheroes. In this issue, he becomes Super-Charge, the Human Bullet, and Radar-Sonar Man to combat a criminal syndicate led by Mr. Thunder.
After being defeated by Cometeer, Giantboy, and the Mole in the previous issue, the gang steals the experimental Cosmic Computer from a naval freighter. Luckily, attentive teen Reed collected articles on the computer in his scrapbook and is able to guess the syndicate's next target: the New Gibraltar underground repository.
As the Human Bullet, Reed flies to the repository and digs deep into the ground to stop the theft. Cracking a code found at the scene of the attempted crime, he turns into Super-Charge, "a fantastic mass of some kind, radiating a strange energy" strong enough to melt the iron support beams of a bridge. Before he can stop another crime, Super-Charge is imprisoned by a magneto ray, so he reverts to the form of Reed.
The teenage boy escapes from the submersible island fortress by crawling through the HVAC system, then turns into Radar-Sonar Man, who's finally able to scuttle Thunderbolt's operations. I'm not sure I understand the appeal of Dial H for Hero. It seems to have the never-ending variety of the Legion of Super-Heroes, only limited by the teenage alter ego of Reed. Could the 1,000 heroes survive or be active independently? The idea doesn't really work as a tryout book, because if a sub-hero proved popular, it still needs Reed and the dial. What a strange concept!
"Manhunter, World's Greatest Clown" Script: Jack Miller, Pencils and Inks: Joe Certa.
J'onn J'onzz, Manhunter from Mars, stars in a backup story in which he goes up against Professor Hugo, who uses a thought-control machine to manipulate the Manhunter in an attempt to make him a laughing stock. Hugo—disguised as a circus clown—makes Manhunter "execute an intricate dance step," flip giant balls into the air, get stuck in a brick wall, and smash an underground high-pressure water pipe.
But the plan backfires, and audiences are soon laughing with J'onzz, not laughing at him. So Hugo sends Manhunter to rob the Centerville Bank to "destroy his reputation for good." The hero's "other-dimensional pet," Zook destroys the thought-control machine, and Hugo's humiliating crime spree is soon ended.
As much as Dial H for Hero threw me, this Manhunter story also threw me. Why does he have the pet Zook? What is Zook's story? The alien creature played a narrative role and might have appealed to younger readers, but he is a silly, strange sidekick for what could otherwise be a relatively serious hero—who doesn't seem to require such a sidekick.
The issue also included a one-page text piece "Mysteries of the Ages," and a Statement of Ownership, Management, and Circulation that included no circulation data.
Read Also: House of Mystery #156.
Thursday, November 30, 2017
Cute and Brutish
Sgt. Fury and His Howling Commandos #30 (Marvel, May 1966, 12 cents)
"Incident in Italy!" Editing: Stan Lee, Writing: Roy Thomas, Art: Dick Ayers, Delineation: John Tartaglione, Lettering: Sam Rosen.
The character Nick Fury has had a long and prosperous history in the Marvel universe, and this early pre-SHIELD incarnation is a strong bridge between the war comics of the past and the superhero comics—as well as movies and TV—of today. Largely a team book similar to DC's Blackhawk, Fury is accompanied by a group of soldiers as diverse as America itself, including Italian-American Dino Manelli.
This issue finds the Commandos parachuting into Italy to help fight Mussolini and the fascists. They surrender and are taken to a prisoner of war camp, where they meet their contact Major Carlo, a partisan and, as chance would have it, Mussolini's cousin. With the help of the beautiful Sophia, the Commandos plot to appropriate some stolen treasure buried on a farm.
A few Commandos get the spotlight: British Pinkerton gets handy with his umbrella; the southerner Ralston shoots down a dive bomber; and Manelli translates some documents and gets the girl, pledging to cast her in a movie—perhaps Boy on a Dolphin? The issue also features a two-page letter column.
"Incident in Italy!" Editing: Stan Lee, Writing: Roy Thomas, Art: Dick Ayers, Delineation: John Tartaglione, Lettering: Sam Rosen.
The character Nick Fury has had a long and prosperous history in the Marvel universe, and this early pre-SHIELD incarnation is a strong bridge between the war comics of the past and the superhero comics—as well as movies and TV—of today. Largely a team book similar to DC's Blackhawk, Fury is accompanied by a group of soldiers as diverse as America itself, including Italian-American Dino Manelli.
This issue finds the Commandos parachuting into Italy to help fight Mussolini and the fascists. They surrender and are taken to a prisoner of war camp, where they meet their contact Major Carlo, a partisan and, as chance would have it, Mussolini's cousin. With the help of the beautiful Sophia, the Commandos plot to appropriate some stolen treasure buried on a farm.
A few Commandos get the spotlight: British Pinkerton gets handy with his umbrella; the southerner Ralston shoots down a dive bomber; and Manelli translates some documents and gets the girl, pledging to cast her in a movie—perhaps Boy on a Dolphin? The issue also features a two-page letter column.
Monday, November 13, 2017
Mash Notes and Making Out
Archie's Jokebook Magazine #74 (Archie, October 1963, 12 cents)
Almost like Short Attention Span Theater for Archie fans, this comic series focused on half-page and page-long gag comics featuring the entire gang of characters: Betty and Veronica, Archie, Jughead, Moose, and Mr. Lodge. Topics and themes included surfing, relationships, food, household chores, going out on dates, clothing, the cost of living, fidelity, slang, and golf.
The work is uncredited, so it's difficult for me to know who wrote and drew what. I particularly liked the art of "Champ Chump," "Utter Madness," "Decisions," "Car-Azy" (Harry Lucey?), "Weighty Problems," "Hip Shooters," and "Teen Talk"
Given the brief length of the gags, this is a frenetic, light read, over almost before you start.
Archie's Jokebook Magazine #97 (Archie, February 1966, 12 cents)
This issue's gag fodder includes bowling, telephone use, a student's workload (Rat Race Hal has potential as an ongoing character!), mash notes, alarm clocks, ice skating, golf, fashion, shopping, dating, making out, homework, toothpaste, mistletoe, and kissing.
There are fewer half-page gag strips in this issue, and even a two-page strip, but the overall sense is one of brevity and punchline humor. Uncredited art highlights include "Dress Mess," "The Grid Kid," "Date Wait," and "Girl Talk."
Availability: Older Jokebook gag material was collected in Archie's Joke Book Volume 1: A Celebration of Bob Montana Gags.
Almost like Short Attention Span Theater for Archie fans, this comic series focused on half-page and page-long gag comics featuring the entire gang of characters: Betty and Veronica, Archie, Jughead, Moose, and Mr. Lodge. Topics and themes included surfing, relationships, food, household chores, going out on dates, clothing, the cost of living, fidelity, slang, and golf.
The work is uncredited, so it's difficult for me to know who wrote and drew what. I particularly liked the art of "Champ Chump," "Utter Madness," "Decisions," "Car-Azy" (Harry Lucey?), "Weighty Problems," "Hip Shooters," and "Teen Talk"
Given the brief length of the gags, this is a frenetic, light read, over almost before you start.
Archie's Jokebook Magazine #97 (Archie, February 1966, 12 cents)
This issue's gag fodder includes bowling, telephone use, a student's workload (Rat Race Hal has potential as an ongoing character!), mash notes, alarm clocks, ice skating, golf, fashion, shopping, dating, making out, homework, toothpaste, mistletoe, and kissing.
There are fewer half-page gag strips in this issue, and even a two-page strip, but the overall sense is one of brevity and punchline humor. Uncredited art highlights include "Dress Mess," "The Grid Kid," "Date Wait," and "Girl Talk."
Availability: Older Jokebook gag material was collected in Archie's Joke Book Volume 1: A Celebration of Bob Montana Gags.
Archie, Pay Attention to Me
Archie's Girls Betty and Veronica #125 (Archie, May 1966, 12 cents)
"Snow Fun" Script: Frank Doyle, Pencils: Dan DeCarlo, Inks: Rudy Lapick, Letters: Bill Yoshida.
Veronica Lodge gets irritated when Archie Andrews, Betty Cooper, Moose, Reggie Mantle, Jughead Jones, Midge, her father and butler, even Dilton Doily engage in wintertime snowball fights. "What a childishly immature thing to do! ... I love maturity!" In the end, her anger gets the better of her.
"Redskin Revenge" Script: Frank Doyle, Pencils: Dan DeCarlo, Inks: Rudy Lapick, Letters: Bill Yoshida.
Veronica accidentally spills lemonade on Betty's dress before a date with Archie. She lends her another dress, but it tears on a small tree. Six children playing as Native Americans enlist Betty as their squaw. (Incomplete story due to missing pages.)
"Just My Size" Script: Jim Ruth, Pencils: Dan DeCarlo, Inks: Rudy Lapick, Letters: Bill Yoshida.
(Incomplete story due to missing pages.) Hunting with Archie and Jughead, Betty ventures into a bush to shoot a bear. It frightens them, and they run away. Betty's ears are cold in the car.
"Li'l Jinx: Spell 'n' Tell" Script: Joe Edwards, Pencils: Joe Edwards, Inks: Joe Edwards, Letters: Joe Edwards.
Lil' Jinx isn't able to read yet but spells words to her father as she—he—reads.
"Pony Tail Tale" Pencils: Dan DeCarlo, Inks: Rudy Lapick, Letters: Bill Yoshida.
Why does Betty wear a pony tail? "I remember that one day I saw Archie fooling with a girl that had a pony tail! So naturally I thought that if I had a pony tail Archie would pay some attention to me." As it gets longer, her pony tail becomes more unmanageable, hitting Archie in the face, tripping pedestrians, even lassoing Archie (similar to "Muffled Madness" in Archie #164).
This comic, while ostensibly focusing on Betty and Veronica specifically, isn't that different than an issue of Archie from the same time period. Case in point, Archie #164; every story in that issue features Betty and Veronica. This issue of Betty and Veronica also includes two pin-ups and a Statement of Ownership, which claims a print run for the September 1965 issue of ~650,000 copies, ~441,000 paid circulation.
Availability: More than 400 pages of Betty and Veronica stories over 70 years have been collected in The Best of Archie Comics Starring Betty & Veronica.
"Snow Fun" Script: Frank Doyle, Pencils: Dan DeCarlo, Inks: Rudy Lapick, Letters: Bill Yoshida.
Veronica Lodge gets irritated when Archie Andrews, Betty Cooper, Moose, Reggie Mantle, Jughead Jones, Midge, her father and butler, even Dilton Doily engage in wintertime snowball fights. "What a childishly immature thing to do! ... I love maturity!" In the end, her anger gets the better of her.
"Redskin Revenge" Script: Frank Doyle, Pencils: Dan DeCarlo, Inks: Rudy Lapick, Letters: Bill Yoshida.
Veronica accidentally spills lemonade on Betty's dress before a date with Archie. She lends her another dress, but it tears on a small tree. Six children playing as Native Americans enlist Betty as their squaw. (Incomplete story due to missing pages.)
"Just My Size" Script: Jim Ruth, Pencils: Dan DeCarlo, Inks: Rudy Lapick, Letters: Bill Yoshida.
(Incomplete story due to missing pages.) Hunting with Archie and Jughead, Betty ventures into a bush to shoot a bear. It frightens them, and they run away. Betty's ears are cold in the car.
"Li'l Jinx: Spell 'n' Tell" Script: Joe Edwards, Pencils: Joe Edwards, Inks: Joe Edwards, Letters: Joe Edwards.
Lil' Jinx isn't able to read yet but spells words to her father as she—he—reads.
"Pony Tail Tale" Pencils: Dan DeCarlo, Inks: Rudy Lapick, Letters: Bill Yoshida.
Why does Betty wear a pony tail? "I remember that one day I saw Archie fooling with a girl that had a pony tail! So naturally I thought that if I had a pony tail Archie would pay some attention to me." As it gets longer, her pony tail becomes more unmanageable, hitting Archie in the face, tripping pedestrians, even lassoing Archie (similar to "Muffled Madness" in Archie #164).
This comic, while ostensibly focusing on Betty and Veronica specifically, isn't that different than an issue of Archie from the same time period. Case in point, Archie #164; every story in that issue features Betty and Veronica. This issue of Betty and Veronica also includes two pin-ups and a Statement of Ownership, which claims a print run for the September 1965 issue of ~650,000 copies, ~441,000 paid circulation.
Availability: More than 400 pages of Betty and Veronica stories over 70 years have been collected in The Best of Archie Comics Starring Betty & Veronica.
Good Girl Art and Square-Jawed Competence
Archie #164 (Archie, June 1966, 12 cents)
"Bells Are Ringing" Script: Frank Doyle, Pencils: Harry Lucey, Inks: Mario Acquaviva, Letters: Mario Acquaviva.
Archie offers to fix a short in the Lodge family doorbell for Veronica, who is not pleased that he is distracted from "our date fun and games." Mr. Lodge returns home and gets his finger stuck. Soon, everything is ringing.
"What Price Archie?" Script: Frank Doyle, Pencils: Harry Lucey, Inks: Mario Acquaviva, Letters: Mario Acquaviva.
Employees of the Acme Protective Service pick Archie up to have tea with Veronica. Upset that she would would act like she owns him, Archie storms off. Veronica then tries to show that everyone—even Archie—has a price. She succeeds, and he goes fishing on her yacht at sunset while Betty stews on shore.
"Muffled Madness" Script: Frank Doyle, Pencils: Harry Lucey, Inks: Mario Acquaviva, Letters: Mario Acquaviva.
Veronica makes Archie a scarf, and it is very large. Archie accidentally chokes and trips the principal, Mr. Weatherbee, with it, as well as Miss Grundy. Archie and Betty use it to escape out a window.
"Li'l Jinx: Speed Up" Script: Joe Edwards, Pencils: Joe Edwards, Inks: Joe Edwards, Letters: Joe Edwards.
Li'l Jinx helps her father paint a banister more quickly, surprising him.
"The Bouncer" Pencils: Harry Lucey, Inks: Marty Epp.
Reggie tricks Archie with two rubber balls.
Early Archie artwork borders on good girl art! When I was younger, I didn't realize how prominent Betty and Veronica's breasts, hips, and rumps were, or the dominant role that clothing and fashion played in what I considered simple, silly humor comics. In this issue, Veronica is absolutely beautiful—like a cartoony Barbara Steele—and of the two artist pairings, I prefer Marty Epps's inking of Harry Lucey's pencils. His Reggie is wonderful!
I was also struck by the square-jawed competence of Lucey's men: Veronica's father, the clerk at the sporting goods store. The humor—despite the occasional ill intent of Veronica and Reggie—is gentle and loving, and the periodic canoodling between Archie and one of his girls is affectionate and innocent (p. 2 of "Muffler Madness").
This issue's Statement of Ownership indicates that the September 1965 issue had a press run of almost 1 million, with 585,000-plus of that in paid circulation. A subscription offer ad featured a free, all-weather raincoat as an incentive for new subscribers. Wonder how many children that pushed over the edge to subscribing!
Availability: Stories from this issue have been reprinted in digest comics several times. Some of the best Archie stories of this decade were collected in Archie Americana Series Best of the Sixties Vol. 1.
"Bells Are Ringing" Script: Frank Doyle, Pencils: Harry Lucey, Inks: Mario Acquaviva, Letters: Mario Acquaviva.
Archie offers to fix a short in the Lodge family doorbell for Veronica, who is not pleased that he is distracted from "our date fun and games." Mr. Lodge returns home and gets his finger stuck. Soon, everything is ringing.
"What Price Archie?" Script: Frank Doyle, Pencils: Harry Lucey, Inks: Mario Acquaviva, Letters: Mario Acquaviva.
Employees of the Acme Protective Service pick Archie up to have tea with Veronica. Upset that she would would act like she owns him, Archie storms off. Veronica then tries to show that everyone—even Archie—has a price. She succeeds, and he goes fishing on her yacht at sunset while Betty stews on shore.
"Muffled Madness" Script: Frank Doyle, Pencils: Harry Lucey, Inks: Mario Acquaviva, Letters: Mario Acquaviva.
Veronica makes Archie a scarf, and it is very large. Archie accidentally chokes and trips the principal, Mr. Weatherbee, with it, as well as Miss Grundy. Archie and Betty use it to escape out a window.
"Li'l Jinx: Speed Up" Script: Joe Edwards, Pencils: Joe Edwards, Inks: Joe Edwards, Letters: Joe Edwards.
Li'l Jinx helps her father paint a banister more quickly, surprising him.
"The Bouncer" Pencils: Harry Lucey, Inks: Marty Epp.
Reggie tricks Archie with two rubber balls.
Early Archie artwork borders on good girl art! When I was younger, I didn't realize how prominent Betty and Veronica's breasts, hips, and rumps were, or the dominant role that clothing and fashion played in what I considered simple, silly humor comics. In this issue, Veronica is absolutely beautiful—like a cartoony Barbara Steele—and of the two artist pairings, I prefer Marty Epps's inking of Harry Lucey's pencils. His Reggie is wonderful!
I was also struck by the square-jawed competence of Lucey's men: Veronica's father, the clerk at the sporting goods store. The humor—despite the occasional ill intent of Veronica and Reggie—is gentle and loving, and the periodic canoodling between Archie and one of his girls is affectionate and innocent (p. 2 of "Muffler Madness").
This issue's Statement of Ownership indicates that the September 1965 issue had a press run of almost 1 million, with 585,000-plus of that in paid circulation. A subscription offer ad featured a free, all-weather raincoat as an incentive for new subscribers. Wonder how many children that pushed over the edge to subscribing!
Availability: Stories from this issue have been reprinted in digest comics several times. Some of the best Archie stories of this decade were collected in Archie Americana Series Best of the Sixties Vol. 1.
Subscribe to:
Posts (Atom)
Posts
