Thursday, November 9, 2017

Sal Trapani Pencils for Himself?/Not Yet, He Ain't

Wild, Wild West 3

On Gold Key's TV tie-in The Wild, Wild West #3, here's yet other Sal Trapani ghost that I can identify. Try to unimagine the Trapani inks; apart from the poses, the faces of James West in the second and sixth panel are probably the places where José Delbo's style best shows through. Delbo's first work in the U.S.A. was in 1966 at Charlton and Dell; he didn't show up at Gold Key without Trapani inks until around 1970, so I think we can assume that these are ghost pencils paid for by Trapani.

On his blog Lee's Comic Rack Lee Hartsfeld has identified Bill Molno as Trapani's ghost on issue 4. After that issue, I have yet to ID the pencillers.

Leo Dorfman uses captions like A startling moment later... and In the next astonishing moment... throughout the series.

The Wild, Wild West—written by Leo Dorfman

June/66 #1  Outlaw Empire a: Alden McWilliams
Nov/     #2  The Phantom from the Past a: McWilliams
June/68 #3  The Stolen Empire p: José Delbo  i: Sal Trapani
Dec/     #4  Montezuma's Gold p: Bill Molno  i: Trapani
Apr/69 #5  The Night of the Tongs p: ?   i: Trapani
July/     #6  Maximilian's Treasure p: ?   i: Trapani
Oct/     #7  The Night of the Buccaneer p: ?   i: Trapani

Sunday, October 15, 2017

A Few Beard & Harper Stories at Gold Key

Husband-and-wife team Cecil Beard and Alpine Harper were the writers on the Fox and Crow and related strips like The Hounds and the Hare, Flippity and Flop, and Tito and His Burrito at DC. The Fox and Crow strip lasted into 1968.

Editor Murray Boltinoff had Cecil Beard give a quick bio in F&C 97, in which he identified Alpine Harper as his collaborator and noted that, having been writing comics for 20 years in '66, "by now, I think we've written for almost every comic character in the business."

I found a few of their later scripts at Gold Key by their distinctive "Ooo-hoo-hoo." From one story in it I could work out that they did the entire single issue of the time-travel sitcom tie-in It's About Time; I believe they did more stories of Scooby Doo than I've listed here, but it will take more study to be sure of the ones without "Ooo-hoo-hoo." The tiers are from the untitled first story in Fox and the Crow 90 (Feb-March/65); "A Better Mousetrap"; and "That's Snow Ghost."

Cecil Beard & Alpine Harper Scripts on
It's About Time

Jan/67 The Day of the Widget
  A Lesson in Courtship
A Better Mousetrap

on Scooby Doo

Dec/70 The Ghostly Sea Diver
Mar/71 That's Snow Ghost
Aug/73 20  The Fiery Hoo-Doo

Monday, September 18, 2017

Swipes Across the Water

It's not Roy Lichtenstein, but here are examples of comic book line art being swiped into paintings—artists Mehmet Gülergün (Nachts, wenn die Toten kommen, May 27, 1980) and Özcan Eralp (Das Geisterhaus von Lockwood Hill, Oct. 28, 1981) are not going for arch Pop Art camp as they use Nestor Redondo's and Jim Aparo's compositions from Swamp Thing 13 (Dec, 1974) and Weird Mystery Tales 4 (Jan-Feb, 1973).

ST 13, WMT 4, 2 Grusel-Krimi volumes

Silber Grusel-Krimi ("Silver Horror-Thriller") is a heftroman series; the heftromane (roughly "notebook novels") have been called the German pulps (the original Perry Rhodan series was one of them) but I'd call them closer to the predecessors of the American pulps, the dime novels. Prose pamphlets, they're on average 64 pages long in comic-book-style stapled binding, and many titles have come out weekly. They cover the gamut of genres: horror, SF, romance, Western, crime. There was one fairly long-running superhero series, 1956-76: when the publisher finished translating (and no doubt abridging) most of the Black Bat pulp novels from the USA, they got German writers to continue with originals.

Saturday, August 26, 2017

Jack Mendelsohn Art and Scripts on Terrytoons Comics

MMFCM 2 Gaston Le Crayon

Above is a page from "The Corny Dream," the Gaston Le Crayon story in Mighty Mouse Fun Club Magazine #2 (Winter/57, Pines). Jack Mendelsohn previews the kid's drawing style he'll use on his syndicated strip Jacky's Diary, in this story of the old-time melodrama characters Gaston has drawn who escape his easel.

Mendelsohn was solely a writer on strips like Candy and Marmaduke Mouse at Quality, and Angel and Supermouse at Pines. When Pines acquired the Terrytoons titles, though, all his work that I've seen so far on those books was done as writer/artist. His writing style is a little different to match his art style—storybookish, mostly with captions in the past tense—but consistent throughout his Terrytoons work. For a sampling of his work I've listed issues I've seen so far that include his Tom Terrific scripts/art. He has only one story in Tom's own book. He's in later issues of MMFCM as well as in the other Terrytoon titles; in addition to the features here he also worked on Heckle and Jeckle, and Dinky Duck.

Below is the sure signal of Mendelsohn's art style: the freeform windows and the Platonic ideal of a lamppost in his cityscape backgrounds.

MMFCM 2 Mighty Mouse

Jack Mendelsohn scripts/art in

Fall/57 How the Mighty Mouse Fun Club Was Organized... [MIGHTY MOUSE]

Peculiar Picnic [TOM TERRIFIC]
Monkey Business [GASTON LE CRAYON]
The Elf's Money [CLINT CLOBBER]
Strange Footprints [FLEBUS]
Win/    cover
Guests from the Stars [MIGHTY MOUSE]
The Corny Dream [GASTON LE CRAYON]

Ancient China [TOM TERRIFIC]
A Day in the Attic [CLINT CLOBBER]
The Reluctant Pup [FLEBUS]


Spr/58 The Land of Strange Discoveries

Thursday, July 27, 2017

A Yosemite Sam Artist: John Langton

Gold Key's Yosemite Sam starts in 1970 as a reprint title, with Bugs Bunny and Porky Pig stories relogoed. With issue 6 new stories begin by the usual crew like writer Don R. Christensen and artists Phil DeLara and Pete Alvarado.

With issue 14 it switches from the West Coast offices of Western Publishing to the East Coast. In the next years there are stories by Paul S. Newman, Arnold Drake, and Steve Skeates. One of the artists known to the Who's Who is John Langton. Since he did a lot of work for Cracked, his style is easy enough to pick out. (The signed tier is from "A Cracked Alphabet Book About Politicians" in #70, August 1968.)

Cracked 70, YS 15

I'm missing a few issues, but #14 through 47 does seem to be the range of Langton's original work on the title.

John Langton art on Yosemite Sam

June/73 14  Shore 'Nuff
A Hair Raising Experience
Aug/     15  Sing a Song of  Pirates

Steer Clear
Sep/     16  For Snoring Out Loud
Oil's Well That Ends Well
Dec/     18  End of the Line
Feb/74 19  How the West Was Won
Apr/     20  Man Overboard
Noah's Ark Is Sunk
June/     21  Sam's Slapjacks
Aug/   22  Friends to the End
The Last of the Bad Men
Oct/     23  Rioting Rivals
Dec/     25  The Secret Formuls
Feb/75 26  Keep Dreaming
Apr/     27  It's a Gas!

Bum's Away
June/     28  Seaweed Sal
July/     30  The World's Greatest Mustache
Sep/     31  Lucky Day

Sea Scout Rout
Dec/     33  If It Isn't Christopher Columbus
Feb/76 34  Mop Art
June/     36  Model Behavior
July/   37  High Seas
The Old Shell Game
Radioactive Rabbit
Aug/     38  Laboratory Retriever
Sep/     39  Wind Wagon Sam
Oct/     40  Take Pity on a Pioneer
June/77 44  Fat's the Way It Goes
Aug/     46  Wanted
Sep/     47  Policeman's Brawl

Friday, June 23, 2017

Robert Bernstein Found at Toby

Sands of the Pacific 1 'Ikkkkk'

I haven't looked at much of Toby's output, but one point similar to what I'd seen at Quality jumped out at me: "Ikkkkk" in "The White Octopus" (art by Fred Kida). From there I knew to look for Robert Bernstein, and found a few stories of his so far at a company where, like Quality, he hadn't been known to write. The untitled stories in Black Knight 1 seem to be written by someone else.

The two Sands of the South Pacific stories could be Bernstein's first teaming with John Rosenberger, artist on so many of his Fly and Jaguar scripts at Archie in the early 60s.

The Black Knight

May/53 Human Sacrifice

Sands of the South Pacific

Jan/53 Death Dive
The Crocodile Killers
The White Octopus [FIJI JOE]

Thursday, May 25, 2017

Bill Williams Draws Tippy Teen

The Who's Who has Bill Williams at Tower drawing Tippy Teen in 1965 and her boyfriend Tommy in 1968--but wait, there's more. And this is not necessarily a complete list.

I found it easier to figure out Williams' style from his Fifties features like Henry Aldrich than from his Sixties work like Dunc and Loo, Kookie, Millie the Model, and Debbi. On the latter two, for instance, the editors have him emulating the styles set by the main artists at the time: respectively Stan Goldberg in serious mode, and Henry Scarpelli. And at Marvel and DC the inkers like Giacoia, Colletta, and McLaughlin further set him off from this work at Tower, where he has any number of inkers (possibly himself among them).

On the Tippy strips his work stands out from the other artists' by his characters' habit of throwing their heads back. The page above is from "On with the Show" in Tippy #1.

Bill Williams Pencils on Tippy Teen

Nov/65 Better Date Than Never
On with the Show inks: Rudy Lapick
Jan/66 A Sight for Sore Eyes
Apr/     Potions of Love splash art: Samm Schwartz
Mar/67 11  Kissin' Cousins
June/     13  It's a Mod, Mod World
Nov/68 21  Whatever Lulu Wants [TOMMY]
Sept/69 24  3rd Degree Burns [TOMMY gag]
Higher Education [GO-GO gag]
Oct/      25  What's Cookin? [TOMMY]
Wheeling and Dealing [TOMMY]
Peddle Meddle

On Go-Go and Animal

Sept/67 Thrown for a Loss [ANIMAL]
Sept/68 10  Painful Lesson [GO-GO]