Hiển thị các bài đăng có nhãn Norman Maurer. Hiển thị tất cả bài đăng
Hiển thị các bài đăng có nhãn Norman Maurer. Hiển thị tất cả bài đăng

Number 1599: “I’m a lumberjack, and I’m not okay...”

Người đăng: vanmai yeu em on Thứ Tư, 2 tháng 7, 2014

There should be a lesson in this crime story from Boy Comics #32 (1947) but I'm darned if I know exactly what it is. Regarding the two college dropouts who ride the rails to a logging camp looking for a meal and end up with jobs, it could be there is danger there, and not just because being a lumberjack is a really dangerous job. It also has to do with not messing with the boss's wife, especially a blonde who dresses in nylons and high heels in a logging camp and longs to see the sights of New York. Or it could be the lesson that some people — like the boss's wife — will stab someone in the back. Literally. Finally, it could be that an executed prisoner should be checked for signs of life before putting him in a coffin.

Crimebuster, the titular hero of the tale, pops up here and there throughout most of it. He doesn’t show up until page 7.

This is a tale of a wrongful conviction, and there is probably a lesson there, also. Police should always take a closer look, and not just the word of the hot blonde and a guy about to run off with her. It is nicely illustrated by Norman Maurer.
















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Number 1565: Giving 3-D a Whack

Người đăng: vanmai yeu em on Thứ Sáu, 25 tháng 4, 2014

Three dimensional comic books and movies were a quick-moving fad in 1953, and the story is told that only the first 3-D comic book (Mighty Mouse from St. John) actually made money. Other publishers jumped in on the fad, only to lose money.

Whack #1, also from St. John, was not only a 3-D comic, but an attempt to cash in on the success of EC’s Mad. To be fair, EC put out a couple of 3-D comics to compete with St. John. But with the 3-D fad finished, Whack lasted one issue as a 3-D comic, then reverted to a 10¢ four-color format for two issues using stories prepared originally to be printed as 3-D.

Get out those red-blue anaglyphic glasses if you have them to see one of Whack’s attempts at humor and satire with the story, “Ghastly Dee-fective Comics” drawn by Norman Maurer and inked by Joe Kubert. It’s scanned from my copy of Whack #1. If you don’t have the red-and-blue lenses you can read the story in a black line version, directly below the 3-D version. It was prepared by a fan and posted online. By now the ink on all fifties 3-D comics has pretty much faded so the conversion isn’t perfect, but my thanks to that person anyway for their trouble.

If you would like to know how to make your own 3-D glasses. Click on the thumbnail, a link to an article from Boy’s Life to tell you how.


Following that is one of the stories prepared for 3-D but instead printed in standard comic book format. It’s by Kubert, inked by Maurer. The claim in the story, belied by having to print it in four colors rather than 3-D, is that the 3-D comics were best sellers. For me it’s of interest because it has caricatures of Kubert and Maurer, and even their boss, Archer St. John, as “St. Peter.”



















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Number 1199: Homicidal hobo

Người đăng: vanmai yeu em on Thứ Sáu, 27 tháng 7, 2012


Frank the Tramp is so bad he doesn't know how many people he's killed. “I guess hundreds —” he says to himself. “I kinda forgot —” Whew. Now that’s a bad guy. Frank avoids detection for a long time the way real-life serial killer Henry Lee Lucas reportedly did, by traveling around and varying his methods of dispatching victims. As Frank puts it in his final attempt at murder, “I've killed people all sorts of ways, but never with a live wire!”

In my opinion this story from Daredevil #22 (1943) is really only interesting because of Frank, not because of Daredevil, who just steps in when necessary. Certainly not by Daredevil’s kid gang, the Little Wise Guys, even though Frank’s crime spree is stopped because of their suspicions. Frank’s two wives are there to build up the story and provide Frank with victims. The critics of comics, crime comics especially, were sensitive to this sort of thing. Biro followed a criminal’s career, right up until the criminal’s bad end. That wasn't anything new in fiction, but in four colors, sold to children, it caused alarm.

This story is by Charles Biro* and drawn by Norman Maurer.

















*According to David Hajdu in The Ten Cent Plague, Biro also used Virginia Hubbell as a ghost-writer, but the Grand Comics Database credits this story to Biro.

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