Archive | King Aroo

Mile Markers on the LOAC Road to 200

With a brand-new year and LOAC Essentials Volume 14: Barney Google available on sale, we’ve now successfully traveled The Library of American Comics Road to 200. Each month during 2019 in this space we paused to feature one of our books via the trusty ol’ LOAC Wheel of Fortune, but now seems like an opportune time to show everyone our full list of publications, from Number One to Number Two Hundred.

Of course, a list this big is best absorbed in bite-sized pieces, so we’ll offer it to you in four separate postings, with a few of my personal recollections and observations along the way.

Here is our list of LOAC titles, # 1 – 50 …

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Leaves Are Falling, Wheels Are Spinning

Our recently-released Screwball! The Cartoonists Who Made the Funnies Funny is a major milestone on the LOAC Road to 200, and as we have done each month during our drive toward that 200th release, we’ve created a theme that allows us to load a cross-section of our books into the LOAC Wheel of Fortune, give ‘er a spin, and spotlight one randomly-chosen past book from the line.

October is a time of endings and beginnings. Major league baseball wraps up with its yearly postseason blast even as the harvest season concludes in many parts of the country, closing farm stands and making local fresh produce a memory throughout the long cold-weather months. Still, Hallowe’en’s spooks and spirits usher in the late-year holiday season and both the NBA and NHL start their own regular seasons, so October signals renewal, at least in some respects.

With that thought in mind we looked at our list of cartoonists to find those who were born in the month of October, as well as those who passed away in this month. It was an eclectic list: Lyman Young, of Tim Tyler’s Luck fame, was an October baby, as were Alex (Flash Gordon/Jungle Jim, Rip Kirby) Raymond and Bil Keane, original ringleader of the Family Circus. October was the month when we lost Jack (King Aroo) Kent, Noel Sickles, Gumps creator Sid Smith, and  Jiggs and Maggie’s referee, George McManus. When we extracted their titles from the complete LOAC roster, we had this list, in the order of their release:

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Episode 012 with special guest Bruce Canwell

Bruce Canwell and Kurtis Findlay are back for another episode of the Library of American Comics & EuroComics Podcast!

Bruce and Kurtis talk about the newly released Little Orphan Annie, Vol. 15: 1950-1951, take a look back at Jack Kent’s King Aroo, Vol. 1, and recall the secret origins of the Library of American Comics!

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Back to the Shelves

Several years ago we took some time in this space to show you what my LOAC bookshelf looked like. I shelve my books in alphabetical order by author, or by publisher where that makes more sense — for instance, while my William Saroyans are under “S”, my Fantastic Fours are under “M”, with the rest of my Marvel Comics collections. My Library of American Comics titles are therefore under “L,” and then shelved alphabetically in a logical way (well, logical to me, anyway), as you can see:

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A Few of My Favorite Things (Part I of II)

After several years and well over a hundred releases, I sometimes get asked about my favorite stories from the LOAC family of books. Sometimes the question is just that straightforward — “Which ones do you like best?” — and sometimes I provide that answer within the context of a larger inquiry, something along the lines of, “What stories would you recommend to get a new reader hooked on classic comic strips?”

Of course, there are certain stories that belong in the Comic Strip Hall Of Fame — “The Death of Raven Sherman” from Terry and the Pirates, for example, or Dick Tracy’s encounters with The Brow or Flattop. And certainly our friendly competitors have released their share of Must-Read sequences in several of their fine series. But I have other, perhaps less obvious favorites, and this seemed like a good time to share ten of them with you. In no particular order, here are the first five that have burned a warm place in my comics-fannish heart:

10. Scorchy Smith in Northern Africa. Our big Noel Sickles retrospective/Scorchy Smith reprint remains one of my very favorite books. I like to think we brought well-deserved new attention to the major and important talent that was “Bud” Sickles, and the wealth of artwork we were privileged to see and publish (more of the former than the latter!) was a rare treat. Thanks to this book, Sickles’s virtuoso efforts on Scorchy are now also preserved for future generations to savor, and while there are several delightful moments throughout the run, I’m especially partial to the 1936 sequence that sees “Scorcher,” his sidekick Heinie Himmelstoss, and their charge/employer Mickey LaFarge touring Northern Africa and the Middle East. In this lovely strip from March 25, 1936, set in Algiers, Mickey’s foreboding is well-founded, since she and her aviator pals will soon run afoul of the evil Ali Hamman in the Syrian desert …


9. The King Aroo Seal of Approval. Something else within the LOAC oeuvre I’m especially proud of is our two-volume set of King Aroo. I’ve loved Jack Kent’s winsome style and smart, snappy writing since my first encounter with the King and his Myopean subjects in the Nemo magazines of the 1980s; it was both a delight and an honor to offer over ten thousand words of biography devoted to the man, and to help get hundreds of his King Aroo comics back into print (I’ve also been fortunate enough to acquire an Aroo original from 1960, which proudly hangs on a wall in my home!). There are many, many King Aroo sequences I’d eagerly point to as a favorite, a big grin on my face as I do so, but I have special fondness for the October-to-December, 1951 storyline in which Professor Yorgle drinks Wanda Witch’s magic potions by mistake and turns into a seal. Great sight gags ensue, series regulars serve up all variety of amusing reactions to the change in their friend, and new characters are introduced such as “Rube,” the flea who is now a theatrical agent. Rube has all the contacts Professor Yorgle needs once he decides to embark on a new career — as a trained circus seal! King Aroo is a singular accomplishment within the comics firmament, and I can’t give this storyline, and the strip in its entirety, enough praise.


8. The Rocky Road to Motherhood. Within the past year mainstream and comics media have reported on Marvel Comics’s decision to feature first a pregnant Spider-Woman, then that character as a new mother. Taking nothing away from this turn of events (how many mothers get whisked off Earth by the Skrulls, after all?), yet let’s not forget that Marla Drake, AKA Miss Fury, was a superhero who became a parent about seven decades before Marvel’s Jessica Drew gave birth. Yes, Marla went the adoption route, but that still put her ahead of heroes like Bruce Wayne, who was content simply to serve as guardian to his youthful ward, Dick Grayson. This Sunday page from February, 1945 is an excerpt from the story that puts Marla on the path to adopting a young son. The diabolical Doctor Diman has perfected an acid as clear as water, but capable of destroying every trace of the organic matter it touches. At least, he thinks it is — it’s passed all the preliminaries and is now ready to be tested on a human subject — in this case, a curly-headed toddler in the doctor’s care. Miss Fury intervenes and saves the boy from an horrific fate. Shortly afterward, she adopts the lad as her son, Darron Drake, never suspecting the boy’s mother is one of her greatest enemies, and his father is the man she once almost married! Cartoonist Tarpe Mills’s unique mix of intrigue, soap opera emotion, high fashion, and derring-do make this Miss Fury escapade a fun and frothy reading experience!


7. Li’l Abner‘s Attacks on Ham Fisher. This is a selection from Li’l Abner Volume 8, on sale soon and a book I personally feel no serious comic-strip collector can do without. In it we take a long look at the Al (Abner) Capp/Ham (Joe Palooka) Fisher Feud and the Sunday continuities in its pages feature a pair of stories, spanning three consecutive months, in which Capp went for his nemesis’s jugular. The longer of the two plots involves Sam the centaur, a horse race, and an old plug named “Ham’s Nose Bob” — which was Capp’s way of letting the world know that the vain Fisher had recently had plastic surgery on the ol’ schnozzola. After Sam returns to Olympus, Abner runs afoul of “Happy Vermin, the World’s Smartest Cartoonist,” in a savage satire that set off waves of controversy through whole segments of the newspaper industry, receiving coverage in Walter Winchell’s popular syndicated column and elsewhere. Li’l Abner is one of comics’s bonafide masterpieces, and these anti-Fisher Sunday pages — plus the information on the Feud upon which we focus, information spotlighted nowhere else that we have seen in our research — plus the other fun and fanciful tales from 1949 and 1950 make Li’l Abner Volume 8 a book I most heartily recommend. These anti-Fisher screeds are some of the most arresting, significant, and (on a few levels, at least) fun comics I’ve read in a handful of years.


6. Call Him Dexter, Though His Name is Corrigan. Mix one of my all-time favorite writers (Dashiell Hammett) with one of my all-time favorite artists (Alex Raymond) and the result is, for a number of reasons, less than the sum of the talents involved. Still, the original Secret Agent X-9 is anything but dogmeat. Their long inaugural tale is filled with bits of business that would have been right at home in Black Mask and the Street & Smith hero pulp magazines. The young Raymond, still deep in his Matt Clark Period, displays bravura flashes, especially in his eye-catching single-panel panoramas. “The Martyn Case” gives X-9 hints of an origin that other creators would borrow, flesh out, and make good use of throughout the ensuing years as they created adventure heroes of their own, everyone from The Avenger to The Punisher. Still, I’m perpetually fascinated by “The Torch Car Case,” from 1935. This represents Hammett’s last work on Secret Agent X-9, and while some scholars have claimed he never contributed to the story at all, I submit this March 13, 1935 strip gives X-9 the sort of sarcastic, wryly-humorous quip that was a Hammett hallmark — and reflects a skill with dialogue that few of King Features’s writers of the day demonstrated (and that Alex Raymond, who would do uncredited scripting on the series until The Saint‘s Leslie Charteris was brought in, was likely not yet capable of). “The Torch Car Case” is a creditable swan song for the superstar Hammett/Raymond team.


Having reached the halfway point in this unscientific, purely subjective countdown, I’ll wrap up here for now. Please watch this space in coming days for Part II, and five more of my favorite LOAC stories!

King Aroo is Here! Long Live the Queen!

Jack Kent created so many great bits in King Aroo that we could fill this blog daily…but we’ve got to leave SOME for the print book. Here’s a tease of the King’s departure from Myopia to witness Queen Elizabeth’s coronation in London. How does one travel from Myopia to the “Real-For-Sure World?” Read on…


Myopia is a Country, and Patience is a Virtue

Before we get to the good news, let’s talk a bit about something that’s never a favorite topic: late books.

We don’t like late books, and we know you don’t like late books. Many of you plunk down dollars-and-cents on advance orders, based on our projected release date; when that date comes and goes and you don’t get your book, your money is being tied up for a longer period. We don’t want to put you in that situation, but sometimes it’s simply unavoidable (and you’ll notice it isn’t justour concern —our friendly competitors can and do face the same issue, and even Marvel and DC often have later-than-advertised releases in their Masterworks and Archives programs.

Sometimes, quality simply takes more time than any of us might like.

As you know from recent posts in this space, our long-awaited second Alex Toth volume is at the printers now. Hard on its heels is the book we’ve had to delay longest, but we’re now pleased and proud to announce that King Aroo, Volume 2 is on its way.


This coming March we’ll return to Jack Kent’s winsome kingdom of Myopia for more fun and puns with kindly King Aroo, Yupyop the Faithful Retainer, forgetful Mr. Elephant, crack-brained Professor Yorgle, and the miscast Wanda Witch. It’s as endearing a cast as any comic strip has ever assembled, and our Volume 2 will take you from late 1952 through much of 1954, featuring both daily and Sunday strips, several of which will be available for the first time since their original publication.

If you bought Volume 1 of this series, or if you’ve searched the archives on this site, you know we here at LOAC-Central are great fans of Jack Kent, King Aroo‘s creator, and we hope to convince as many readers as possible to jump on the bandwagon with us.

You may ask what took so long getting Aroo Volume 2 into print. The first problem was locating all the strips needed for the book. The artist’s son, Jack Kent Jr., owns his father’s collection of original artwork, proofs, and tearsheets, but it’s in no particular order, and Jack Jr. has a full-time job of his own that has nothing to do with comics, so sifting the specific material out of the whole turned out to be no simple task. Once he turned his findings over to us, we had to double-check it to insure there were no holes, and to make sure (for example) that a May 15, 1956 strip had not crept in where a May 15, 1954 strip belonged. After that, we then had to shoehorn production of the book into our existing schedule – we hadn’t exactly been sitting around watching the dust settle in the interim, after all!

I did my copy edits on King Aroo Volume 2 late at night, after a particularly hectic day in what had already been a loooooong week … but I love King Aroo so much, doing that work into the wee small hours of the morning was a pleasure. No lie, it actually lifted my spirits, giving me my second wind, and that time spent with Jack Kent and his fanciful menagerie let me finish the day with a smile on my face – a BIG smile!

Last year I had the opportunity to buy a handful of randomly-selected King Aroo Sunday tearsheets from a European collector and I jumped at the chance. Here for your enjoyment is a small sampling of those comics:





Some have suggested LOAC should move into doing more contemporary strips with a humorous, gag-a-day bent. We hope those folks especially will give King Aroo a try, if they haven’t already. Though the strips are over sixty years old, they are as fresh and inventive today as they were back then, and the structure and pacing will be familiar to those who love the other series launched in the early 1950s (you know what they are!).

Finally, if you have young family members, you can be sure they will fall under the spell of Jack Kent’s delightful work. In my own family I have a not-yet-three-year-old nephew. I recognize thatKing Aroo is a trifle above him at this point, but I’ve made sure some Jack Kent childrens’ books are in his library, and his mother and father have King Aroo Volume 1 (and will have Volume 2) on their own bookshelves, ready for him when he’s reached the proper age. From eight to eighty, it’s impossible not to be charmed by Jack Kent’s gentle wit and by the citizens of Myopia, including the one and only King Aroo.

Here are seven sequential dailies from the second book:





Skoodely-Doo for King Aroo (The Kent-Kelly Letters, Part 3 of 3)

Concluding our look at recently-obtained correspondence between Jack (King Aroo) Kent and Walt (Pogo) Kelly that sheds new light on the genesis of Aroo while also showing off some full-color Aroo Sundays I obtained in early March of this year…

There appears to be at least one exchange of letters following the April 21, 1950 missive we examined in our last installment that is not contained in the Billy Ireland Cartoon Library and Museum files. In the period between April 21st and May 25th, Kent seems to have shared his sample comic strips with Kelly, and Kelly wrote back with praise. This is almost certain because the next available letter in the sequence, dated May 25th, begins, “Oh, COME now!!!!—You’re a damned liar…but oh, how I love that kind of lying—Altho [sic] I don’t believe a word of the flattery you lavished upon me, I’m extremely grateful for the encouragement.”

More important than simply critiquing Kent’s sample strips, Kelly appears to have shared them with his syndicator, Robert M. Hall of the Post-Hall Syndicate. “Mr. Hall told me how you went to bat for me—I don’t know how I’ll ever be able to repay you,” Kent writes in this letter. What’s even more intriguing is that Kelly’s introduction of Kent to Robert Hall seems to have resulted in an invitation for a face-to-face meeting at the syndicate. Kent says to Kelly, “I told Mr. Hall I could be in NY in the early part of next month, if that fits in with his plans and yours—Maybe I’ll have better success in my efforts to thank you in person than I’m having expressing my gratitude on paper.” Ever the fan, he also can’t help adding the aside, “(And maybe I’ll be able to wrest that original drawing from you that I’ve pleaded for in vain.)”



Kent’s last letter to Kelly in this sequence is dated October 19, 1950. In the four-plus months between May 25th and October 19th, Jack Kent’s life was transformed. His trip to New York brought him to Post-Hall and also to the McClure Syndicate, where he left his samples for a strip about the ruler of Myopia, a strip he titled Gizmo XXX. Kent begins his October 19th letter with an apology, but an apology for good and exciting reasons:

“I should have written long before this to express my thanks for everything you did for me and to tell you how much I enjoyed meeting you and talking to you—I was holding off, however, until I knew something definite on my comic strip…It looks like I’ll have to go to work —The [McClure] syndicate informed me today that they’re picking up the option -.”

Kent tells Kelly that his comic has sold to the New York Mirror, Chicago Tribune, Philadelphia Bulletin, and Kansas City Star. “The mail promotion is about to start and the sales trip continues,” he says, adding, “The title was changed to ‘King Aroo’.” He tells Kelly his Sunday debut is only a month away, on November 19th of the year, with the dailies scheduled to begin six days earlier, on the 13th. If you check your copy of our King Aroo release, you’ll see the series debuted on schedule.



“Needless to say, I’m in something of a dither,” Kent reports before going on to say, “I want you to know I’m very, very grateful—I’m also inexpressably [sic] grateful to you for the opportunity you gave me to work in with Post-Hall—It’s my own fault that I didn’t make the most of those opportunities you engineered for me—I’ll never forget your kindness in bringing them my way—You’re a helluva swell guy —I sure am glad I got to meet you—I’m in hopes that we’ll see each other again from time to time.”

In his final paragraph, Kent extols the virtues of his arrangement with McClure. “I’m fast learning how to drag in even deep subtlety in such a way as to prevent anyone getting ‘hurt’—I’ve got exactly the sort of set-up I dreamed about -”

This exchange spans the period of time when Jack Kent went from cartoonist-wannabee to creator of the newly-minted King Aroo. Nowhere does it confirm the long-held, long-repeated belief that Kent was offered the opportunity to work as an assistant on Pogo – of course, it does not definitively refute that belief, either. Such an offer could have been made and rejected any time during the spring and summer of 1950,

Walt Kelly gets the final word in this correspondence, as contained in the Billy Ireland Library. His handwritten note to Kent dated December 29, 1950 says, “I saw the first Sun[day] page and enjoyed it immensely,” going on to advise, “You better start counting your money.”



King Aroo was never the cash cow Walt Kelly predicted, but it had a reasonably long and unfairly-neglected run. LOAC is doing its part to restore the King to his rightful place in the comic strip pantheon, and—with thanks to the Billy Ireland Cartoon Library and Museum staff…and permission from Jack Kent Jr.—we hope you’re as fascinated as we are by this illuminating series of letters between two unique comics creators.


The Bridge Between the Okefenokee and Myopia (The Kent-Kelly Letters, Part 2 of 3)

Continuing our look at recently-obtained correspondence between Jack (King Aroo) Kent and Walt (Pogo) Kelly that sheds new light on the genesis of Aroo while also showing off some full-color Aroo Sundays I obtained in early March of this year…


The second Kent-to-Kelly letter is dated April 21, 1950 and is the longest of the set, running two pages. It includes a paragraph showing Kent read far more than just comic strips: “My favorite wits have always been Billy Shakespeare, Edmund Rostand (Cyrano and Chantecleer [sic]), W.S. Gilbert (Bab Ballads and the comic operas), Kenneth Grahame (Wind in the Willows), and A.A. Milne (Winnie the Pooh).” It contains three paragraphs of Kelly/Pogo flattery (sincere flattery, but flattery nonetheless), concluding this section by asking, “What’s the secret? What manner of genius is he who can foal a comical that EVERY age and intelligence level votes tops? A Pogo is a Pogo is a Pogo is a Kelly and none other.” It contains a follow-up to the request made in Kent’s first letter to Kelly: “I must also ask your forgiveness for my audacity in reiterating, as I am about to, my request for an original drawing by you.”


The fascinating new angle in this letter is Kent describing his efforts to follow in the footsteps of Herriman and Kelly with a syndicated strip of his own. He tells Kelly, “I submitted samples to Mr. Harry Gilburt of United Features about a year ago – Wonderful person that he is, he took time to comply with my request for criticism… ‘too subtle.'”

He goes on to discuss his local free-lancing and how he “toured the mag-gag mart” as he produced new samples and considered submitting them to Pogo‘s syndicate, Post-Hall (“for POGO is certainly subtle and P-H bought it,” he reasoned), but instead opted to try United Features once again. He discusses the reaction to that second submission:

“In Mr. Gilburt’s letter he expressed the fear that I was still over the heads of too many people,” Kent tells Kelly. “He suggested I aim at a seven-year-old mentality – Both my contributions had been fantasies, so to illustrate his point he enclosed clippings of a fantasy that ‘achieves a larger common denominator’—THE ENCLOSED CLIPPINGS WERE OF POGO! – You could have knocked me over with a rejection slip!—POGO aimed at seven-year-olds????” Kent also says this package from Gilburt was received on Monday, April 17th, so he wasted little time before relating this story to Walt Kelly.


This story appears to have hooked Kelly, as we’ll see when we look at the final three letters in this small-but-fascinating treasure trove of letters.


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