Showing posts with label Quality. Show all posts
Showing posts with label Quality. Show all posts

Saturday, February 12, 2011

The only Golden Age story you'll read this week featuring Pancho Villa, Richard the Lionhearted and Robespierre

From Toonopedia:

The Kid's opening story was written by Otto Binder (Legion of Super Heroes, Supergirl) and drawn by Sheldon Moldoff (Hawkman, Moon Girl). Its protagonist was a boy whose name wasn't mentioned to the reader — in fact, having been addressed as "kid" all his life, he wasn't even sure he had one. He and his only known family member, Gran'pa, were at sea during the early days of World War II, and their ship was sunk by a Nazi submarine. The gatekeeper of the Afterlife passed Gran'pa straight through, but there seemed to have been a mistake about "Kid" — according to the records, he was supposed to live another 75 years. A supernatural entity named Mr. Keeper had committed the error (his first in 2,000,000 years), and so "Keep" (as Kid called him) became responsible for the boy.

Keep brought Kid back to Earth and gave him a unique super power. Using "Eternity" as a magic word, he was able to summon assistance from anyone who had lived in the past. With great fighters, wise counselors and even the occasional politician at his call, Kid Eternity, with Mr. Keeper (who had resigned his supernatural commission) at his side, handled menaces of all types, from world conquerors down to children having trouble with their neighbors.


There was always a goofy charm to Kid Eternity. The logic of the stories wasn't always compelling but the string of bizarre cameos always kept things moving. This particular episode was notable not only for its memorable guest stars but for its not-so-comically setting. The phrase 'banana republic' originally referred to servile dictatorships supported by U.S. fruit companies. They were corrupt, brutal and unstable, just like the one in this story.

The original chronicler of banana republics, William Porter (a.k.a. O. Henry) based his stories on the time he spent in Honduras hiding from the law. I doubt anyone involved with this story spent much time in the tropics, but they did remember to draw the bunches growing up; that has to count for something.


















Sunday, February 6, 2011

The Death Patrol -- distinctive early Cole

Death Patrol debuted in the first issue of Quality's Military Comics alongside Blackhawk. It was created by Jack Cole under the supervision of Will Eisner. Though Cole was just finding his voice a lot of distinctive traits are already obvious, both artistic (check out the layouts) and thematic (the possibility of reform, the juxtaposition of slapstick and violence).

Enjoy.

From Military Comics #1






Saturday, January 22, 2011

Stockbroker vs. Carnie -- ethics division

You may have heard that negative portrayals of stockbrokers and bankers in popular culture is a recent development. It's not.

From 1949:












Monday, January 3, 2011

Attentive. Sympathetic. Still.

What makes a good comic book artist?

Economy. A strong sense of composition. An understanding of body language. Inventiveness. The ability to suggest motion. A feel for evocative images. A knack for visual storytelling.

Which brings us to Jack Cole. Cole is best known for his over-the-top, often grotesque images and explosive scenes of mayhem...

but the natural complement of the ability to suggest motion is the ability to suggest stillness. Take a good look at the second of these two panels. It's a beautifully composed shot that perfectly captures the sad, quiet moment. Check out how Cole depicts each characters' attitude. (and keep in mind this is the same artist who gave us the image of a hypodermic about to puncture an eyeball.)


Of course, like all good comic art, this is best appreciated in context...













Thursday, December 30, 2010

Bulls and bears in love -- a Jack Cole Golden Age classic

Normally being considered a potential substitute is not all that flattering, but when a Golden Age publisher looked at a young cartoonist as a potential substitute for Will Eisner, the artist should indeed be flattered.

That was the situation that Jack Cole found himself in and history has born out that publisher's opinion. Cole is now one of the unquestioned geniuses of the medium for his inventiveness, his humor, his extraordinary sense of composition, his expressiveness and his ability to pack explosive energy into a cheaply printed image.

All of these talents are on display in this story from 1947...