Hiển thị các bài đăng có nhãn Al Hartley. Hiển thị tất cả bài đăng
Hiển thị các bài đăng có nhãn Al Hartley. Hiển thị tất cả bài đăng

Number 1200: That crazy little mixed-up mag

Người đăng: vanmai yeu em on Chủ Nhật, 29 tháng 7, 2012

Crazy was an attempt from Atlas Comics to lure some of the readers who were buying Mad into parting with their dimes. Any Mad loyalist would immediately see the attempt fell short. But even if it sounds as if I'm dismissing it, I actually like this comic with its frenetic energy and lunacy popping out of every panel. I like the sexy pin-up art of  Al Hartley, who later went on to Archie and then to Spire Christian Comics; I like Bill Everett's funny Frankenstein, and Joe Maneely's artwork is, as always, superb. Ed Winiarski was a comic book journeyman, and Davy Berg later became a Mad-man. What Crazy didn't have was Mad creator/writer/editor Harvey Kurtzman, and it makes all the difference. There was Mad and then there was everyone else. It didn't make the imitators bad comic books, and Crazy is entertaining in its own crazy way, but in my opinion no Mad imitator ever reached the heights to which Kurtzman had taken Mad. (See more in my review of John Benson's The Sincerest Form of Parody, below the scans.)

Here's Crazy #1 (1953):

























 ************
John Benson’s book, The Sincerest Form of Parody, is an excellent example of an overview (with examples) of a less-than-excellent subject. To wit (ho-ho), it is a book about all of them furshlugginer imitations of Mad comics that popped up in the wake of Mad’s success.

Benson, whom I admire as a comics historian,* obviously researched his subject matter. It appears that he read all of the Mad imitators of that period. The book reproduces a couple of dozen stories, some better than others, but none up to the high standards set by Harvey Kurtzman and Mad.


There just weren’t any other talents like Kurtzman out there at the time. There were writers who could write funny, and artists who could draw funny, but they couldn’t write and draw Kurtzman-funny. Even if the artists were technically good, they just didn’t come up to the level set by Kurtzman’s inspired cadre of cartoonists, artists like Elder, Wood, and Davis. At the time, they were the holy trinity of humor.

In my opinion, the best Mad imitations are what you see above you, the Mad-like comics from Atlas, and Harvey Comics’ short-lived Flip, with the sharp Davis-like drawing by Howard Nostrand.  EC Comics’ own in-house imitation, Panic, had some gems like Wood’s “African Scream,” shown in Pappy’s #871 or Elder’s “The Lady Or the Tiger,” the latter reproduced in Benson’s book. But same publisher or not, Panic was still a Mad imitator.

If Kurtzman worried at all about posterity, his name or his stories being remembered, he need not have been concerned. Kurtzman is one of the comic book geniuses, and they were rare, so we remember him. Reprints over the years have kept the twenty-three issues of Mad comics available to fans in various print formats, even two digital versions. The imitations just don’t get that kind of treatment, so The Sincerest Form of Parody makes some of the better imitators (“better” being subjective) available for the first time since their original publication almost sixty years ago.

I recommend The Sincerest Form of Parody with a qualification. The stories can be more bizarre than laugh-out-loud funny, and oftentimes (which happens with Mad, also) the satirical references are obscured by the half dozen decades between their first appearance and this book. Production is top notch, and the reproduction from the original four-color comic books is excellent.

It’s available from Amazon.com or your favorite bookseller. If your local comic shop has it or will order it for you, that’s even better.

The Sincerest Form of Parody by John Benson with introduction by Jay Lynch. Fantagraphics Book, 2011, trade paperback, 192 pages, 7 ¼” x 10”. $24.99 suggested retail.

*Benson also wrote Romance Without Tears, and Confessions, Romances, Secrets and Temptations, about the love comics of St. John publishing and writer Dana Dutch.
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Người đăng: vanmai yeu em on Thứ Sáu, 15 tháng 4, 2011


Number 930


A mess of cross-dress


Back in Pappy's #796 I showed a story from the ACG teenage comic, Cookie, with the title character, Cookie, in drag.

In this story from Cookie #6, in 1947, there is also some cross-dressing in Al Hartley's "Pickles" feature. This time it's Pickles' pal, Binkie (apparently not related to DC's Binky), who does the honors of dressing up. He's quite a dish in Pickles' sister's clothes, and Binkie doesn't put up much of an argument for dressing up. (Confidentially, I think he really digs it.) One wonders about this fetish for blurring of sexual roles, because in the same issue there's some gender confusion in the one-page "Lorrie" strip.

Both are by Al Hartley. Hartley went on to draw for Atlas, and was a good-girl artist, able to draw knockout females. I've featured some fun strips by him in Pappy's #194, Pappy's #440 and Pappy's #635, all showing his ability to draw hotties. Hartley went on to Archie Comics, and at some point got religion, after which he drew the line of Spire Christian Comics.

His drawing in 1947* was much tighter, less cartoony than his later artwork. Pickles looks like a more realistic Archie, red hair and freckles, but no bowtie or crosshatching on his temples. Hartley, after a long career in comics, secular and religious, died in 2003.







*In 1947 Hartley's dad, United States Congressman Frederick Allan Hartley, Jr., was the co-sponsor of the controversial Taft-Hartley Act.
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Lorna, The Jungle Girl #11

Người đăng: vanmai yeu em on Thứ Sáu, 24 tháng 9, 2010


This comic arguably fits in better with the Golden Age, although its cover date is January 1955. "Women in the jungle" comics were extraordinarily popular during the 1940s and 1950s; it's not hard to guess that the appeal was the scantily-clad appearance of the females in question.

As the first story begins, Lorna spots the fierce Abaku tribe out to capture the peaceful Quaqui people and sacrifice them to their evil gods. As she rushes off to warn the Quaqui, she accidentally comes between a mother ape and her baby:

Mikki distracts the mother and Lorna and the monkey escape. As they head towards the Quaqui, Lorna muses that the mother was ready to die for her baby, just as she herself must be prepared to give her life for the Quaqui. She arrives as the battle begins and realizing that the peaceful villagers are no match for the Abaku warriors, she makes a bargain:

As she is about to be carried off to the sacrificial temple, she makes one request:

Things look bad for Lorna:

But Mikki unties her bonds and Greg, refusing to accept Lorna's argument that she made a bargain, comes up with an alternative sacrifice for the gods:

In the end, we learn that Greg, for all his admirable qualities, is just a little sexist:

Comments: Wow! Terrific characterization for Lorna, who really was quite prepared to sacrifice herself. Note as well her compassion for the mother ape. Granted, the Quaqui by analogy are the equivalent of her babies, but they are drawn by Werner Roth in a non-racist manner.

In the second story a "typhoon" (really a cyclone or tornado) is carrying off all the strongest men and animals in the jungle. Lorna discovers who is behind it here:

It carries her off to a hidden valley where she is attacked by a giant lizard and other things:

Eventually, she and Mikki end up atop a mesa with Greg, the strongest warriors and a few savage beasts. But then Chiga comes to see what happened to them, and Lorna commands him to transport them all back to the jungle. Later, Lorna tells Greg that Chiga agreed because he feels she's the strongest person in the jungle:

Comments: Silly story but I love the art by Roth again and the ending is amusing.

The third story is a backup featuring the "Jungle Adventures of Greg Knight". Greg is forced to kill a mother lioness when she attacks him in defense of her cubs. Now that the cubs are defenseless, Greg adopts them, knowing that the lioness' mate will come after him. That night, the lion attacks Greg's native assistant and carries him off. Greg follows and the cubs (who have gotten free of their cage) trail him. As the lion and Greg battle it out, he spots the cubs about to go over a cliff:

The lion, impressed by Greg's saving of his young, leaves him alone and carries off the cubs.

Comments: Entertaining story with art by Al Hartley, who would later become known for his Christian comics work.

The finale is Moon Madness. A pair of hoodlums try to take over Greg's animal refuge, but when the full moon comes up, all the animals go mad, and nearly kill the crooks. Lorna saves the criminals from certain death and eventually the moon goes behind a mountain, calming the jungle. What happened?

Comments: Note in particular that Lorna is not shy about expressing her affection for Greg. This completes the role reversal which has her as the most powerful creature in the jungle, and Greg as, well, kind of a wimp.

Overall I found the issue very entertaining, with terrific art and solid stories.
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Người đăng: vanmai yeu em on Thứ Tư, 25 tháng 11, 2009


Number 635


O. U. Kidd!


I considered running this strip in September on Talk Like A Pirate Day. It's by Al Hartley; a prime example of his pre-Archie days and his ability to draw busty woman. Hey, talk about your treasure chests...

"Captain O. U. Kidd" is from an Atlas Comics Mad imitation, Wild #1, 1954. We've shown two other Hartley satires from Atlas' sister publication, both of them featuring buxom girls. You can go here, and then you can go here for those tales.

Don't forget to come back tomorrow for the fourth annual Pappy's Thanksgiving Turkey Award for the dumbest story I've found this year.







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