Back after too long an absence: deadlines are implacable (just finished proofing galleys for Steve Canyon Volume 9, which is chock-full of terrific material) and some family commitments placed their demands upon me (including a wedding in my wife’s family, which took me out-of-state earlier this month) … but the crunch is over, so at last I have a chance to offer a hearty “Salute!” to Larry Lieber, who stepped down in September from penciling The Amazing Spider-Man newspaper strip after an incredible run that spans more than three decades. I’ve selected ten examples of Larry’s work on the wall-crawler’s newspaper adventures, grouped loosely by theme. Peter Parker’s far-famed bad luck is on display in these three strips from January of 1981 and July and October of 2001:
Tag Archives | Alex Raymond
Concluding a look at some of my favorite storylines from the LOAC line of books, as it exists as of May, 2016. Let’s forge boldly onward, and remember this entire list is provided in no particular order …
5. Iconic Crossed Swords. Like “awesome” and “friend,” “iconic” is a word sorely abused in our modern language, its true meaning being eroded and dulled by dullards. So I try to use it carefully, and I chose it with care in reference to the last panel of this Flash Gordon Sunday page from August 14, 1938. Throughout the Alex Raymond/Don Moore run there is a reluctance to bring Flash and Ming the Merciless into direct confrontation; in this sequence, with Gordon and his loosely-knit band of Freemen ambushing the Emperor on The Island of Royal Tombs, we get an image of Ming and Flash squaring off, mano-a-mano, that truly lives up to the word “iconic.” It’s not only a perfect encapsulation of the strip, in a larger sense it’s a stirring representation of Good versus Evil. It is perhaps my favorite moment in the entire run of Flash Gordon, and I suspect I’m not alone in that assessment.
4. Before the Famous Sandwich, There Was … The Dagwood Hunger Strike. For years while growing up, this was one of those plotlines I heard about and read about but never got to see. Bringing it to fans in our first Blondie collection was therefore a real treat for me, and I found that absorbing Chic Young’s full original run on his strip (given a first boost toward its eventual uber-popularity by this very sequence) was a fun — and sometimes eye-opening — experience. This January 25 daily, from deep in the heart of the Hunger Strike, especially tickled me, foreshadowing as it does Dagwood’s famous appetite, though his penchant for combining unlikely ingredients was a future development that readers of this story circa 1933 could never have guessed was on the far horizon.
3. Punjab to the Rescue! One of the things I’m most proud of where LOAC is concerned is that we have preserved large spans of several deserving strips. On occasion I still pinch myself when I realize we have succeeded in putting thirty years of Dick Tracy continuity back into print, and we’re approaching doing the same for twenty-five years of that most American of The Library of American Comics, Little Orphan Annie. Harold Gray treated us to many memorable sequences starring the kid with a heart of goal and a quick left hook, but one of my favorites is “Assault on the Hacienda.” Captured by the nefarious Axel, Annie is whisked to a remote South American retreat and put under the care of the exotic Dona Dolores. “Daddy” Warbucks mounts a rescue, but eventually is captured and imprisoned deep underground with the two gals. “Daddy’s” men are still on the job and Punjab, their leader, gets good play in this July 16, 1939 Sunday page — he displays his wits, his strength, and even shows off his sensahumor!
2. A (Sailor) Man of the World. I recently did a long piece in this space extolling the virtues of Bobby London’s Popeye, and of the many wild and wonderful stories London spins, my favorite (by about the width of one of Poopdeck Pappy’s whiskers!) is “Heavy Metal Toar.” What’s not to love in a yarn that features classic rock music superstars, a lost land, a fountain of youth, and the wonkiest biker scenes this side of Easy Rider. In fact, the August, 1989 daily below trips off a plot point that has the squinky-eyed sailor and Olive’s shapely cousin, Sutra Oyl, on a rest stop at a refreshing pond after riding a chopper south across the border. Sutra Oyl decides to do some skinny-dipping and gets a surprise after suggesting Popeye is too intimidated by her state of undress to join her — he wades in, picks her up, tosses her over his shoulder, and, well, see for yourself …
1. Canyon Gets the Point. It’s easy to list any number of fantastic Terry and the Pirates stories that qualify as must-reads, but let’s not forget that Steve Canyon has its share of delights, too. This 1952 melodrama sees Steve among a small band who survive the crashing of their light plane in the remote woodlands south of Alaska. There they run into a most unscrupulous-seeming French-Canadian nicknamed Bonbon and hear a random radio news broadcast that indicates one of their number is hiding a stolen diamond necklace. It’s a classic melodrama of the genus “band of strangers forced together in stressful circumstances, with one of their number More Than He (or She) Seems,” and it’s expertly told with all the Caniffian touches we Milton-fans enjoy. This tale also introduced audiences to the snappy Miss Mizzou, she of the Marilyn Monroe physique and the naked-except-for-her-trenchcoat wardrobe. Mizzou became a favorite of readers, popping up semi-regularly when Steve might least expect it, and she was grist for the Caniff Steve Canyon Publicity Mill. J.B. Winter’s fine book, Miss Mizzou: A Life Beyond Comics, offers details of Mizzou’s effect on popular culture and the stir she created in the town of Columbia, Missouri. I recommend it as heartily as I recommend this Steve Canyon adventure.
That’s my list of ten favorite LOAC stories. If you have your own list of ten (or even five) fave-raves, why not share it with us? Zap it to us at email@example.com and who knows? We may do a follow-up in this space that will feature your list …
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!
Even before the fourth volume of Rip Kirby (that completed Alex Raymond’s brilliant work) hit the bookstores, we started receiving letters from readers who hoped that we’d continue with the incredible art by John Prentice, who picked up the pen and ink duties after Raymond’s death and continued it for decades. Prentice received three Reuben Awards for the series, in 1966, 1967, and 1986.
It’s not often we can precede the announcement of a book with “Because you asked for it!!!” (with the obligatory triple exclamation points, of course!!!), but in this case, we can. Our Rip Kirby series will keep going next summer with Volume Five. Fred Dickenson, who had been writing the strip with Raymond, keeps the continuity going for Prentice’s exquisite art. I’ve created a new cover design for the Prentice years since the four Raymond covers were meant to be a finite set. For those who haven’t seen much of Prentice’s art, the cover and the photo below it, speak for themselves.
Access to these original King Features Syndicate proofs insure that every daily will look even better than when they were first published in newspapers worldwide. Volume Five contains more than three years of strips, every one from October 22, 1956 to December 5, 1959, and sees the return of Rip’s arch enemy, the Mangler.