Showing posts with label Golden Age Comics. Show all posts
Showing posts with label Golden Age Comics. Show all posts

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This strange little horror series was published by St John Publishing and ran for 9 issues from June 1952 to Oct 1953

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It's 1876 and all the Indians are at peace except the Comanches lead by Black Cloud. When Black Cloud wipes out a town, only six soldiers are left and they head for the nearest fort. In the desert they are reinforced by members of a stagecoach and find some water at a deserted mission. Pinned down by Black Cloud they send an Indian boy who was Black Cloud's prisoner on to the fort while they try to bargain with Black Cloud whom they learn is without water.

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The Comics Journal, often abbreviated TCJ, is a US magazine of news and criticism pertaining to comic books and strips. It is known for lengthy interviews with comic creators and for sometimes scathing editorials and reviews, particularly with regard to the "mainstream" comics industry and its superhero-heavy products. The magazine promotes the view that comics are a fine art deserving of broader cultural respect, and thus should be evaluated with higher critical standards.
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DC Comics, like most of the comic book industry, owed a great deal of its early success to superheroes. But the long underwear guys were falling out of public favor by the mid-1940s, and DC, which had pioneered in that genre, was, like most other comics publishers, trying various types of comics, hoping for something to replace the costumed characters with. They brought out two new funny animal anthologies in the early part of 1946. Nutsy Squirrel starred in one of them. The other, Animal Antics (first issue dated March-April of that year) introduced The Raccoon Kids.The kids started out in the back pages, with the cover and lead story featuring a rabbit prestidigitator named Presto Pete. The Raccoons replaced Pete for one issue in #3 (July), then took over the cover and lead spot permanently, starting with #6 (January, 1947). The artist who handled them, not just at first but almost exclusively throughout their run, was Otto Feuer (The Dodo & the Frog). The writing credit is less certain, but they're believed to have been co-created by Sy Reit (Casper the Friendly Ghost). The same team (definitely Feuer on the art, probably Reit on the script) was also responsible for Peter Porkchops.Rudy and Rollo Raccoon were typical boys, only raccoons instead of humans, about 8 years old. They were twins, like Heckle & Jeckle or Dover & Clover, but few if any story points were made of their twinhood. They didn't even dress alike. In early stories, their nemesis was Uncle Percy, who frequently played mean tricks on them — but of course, they always managed to avenge themselves with even meaner tricks of their own. Tho supposedly related, Percy didn't look like a raccoon. Maybe he was a short-haired weasel. Later, Percy was dropped from the cast, and the stars were played against a guy closer to their own age, named Muggsy Mole.From the late 1940s to the mid '50s, the DC funny animal anthologies all seemed to follow a similar arc. First, most modified their titles to suggest (without outright claiming) a connection to theatrical animation. Animal Antics became Movietown's Animal Antics with its 24th issue (February, 1950). Then all were re-titled after their lead features. Movietown's Animal Antics became Raccoon Kids with its 52nd issue (October, 1954).Then they all began faltering. Raccoon Kids was published only a couple of times in 1957. Then they all ended. The last issue was #64 (November of that year).After that, it's been as close to oblivion for them as most DC characters ever get. Like the majority of DC's funny animals, the Raccoon Kids appeared in the Funny Stuff Stocking Stuffer special (1985). That, and sporadic reprints are about the extent of their post-series existence.

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Superhero satire had appeared previously in comic books, notably in occasional stories in EC's 1950s Mad comic book, prior to its becoming a black-and-white magazine. Later issues would parody films and TV shows (including Bonnie and Clyde and the 1960s The Green Hornet) as well as comics. Typical stories and name transpositions included Ironed Man (Iron Man) vs. Magnut, Robot Biter (Gold Key Comics' Magnus, Robot Fighter); "Best Side Story", with Dr. Deranged (Dr. Strange in West Side Story pastiche); "The Origin of...Stuporman", a Superman takeoff recalling Wally Wood's influential "Superduperman" in Mad #4 (April-May 1952); The Ecchs-Men in "If Magneat-O Should Clobber Us", parodying not only the X-Men and Magneto but also the high melodrama of 1960s Marvel titles; and Marvel characters visually standing-in for the baseball-player protagonists of the otherwise faithfully rendered famous poem "Casey at the Bat". In a more topical reference of the time, Gary Friedrich, writer of Sgt. Fury and his Howling Commandos, and cartoonist/Marvel production manager John Verpoorten contributed a Marvel-character version of the Beatles' famed Sgt. Pepper's Lonely Hearts Club Band record album art. Events took place in the "Marble Universe", a play on the Marvel Universe. Not Brand Echh gave rein to creators not normally associated with humor, and offered rare teams of penciler and inker. Cartoony artist Tom Sutton — who along with Marie Severin was the series' most ubiquitous illustrator — might ink the grand, polar-opposite pencils of Jack Kirby, over even Marie Severin pencils over Kirby layouts, a combination seen nowhere else. Writer Friedrich did layouts completed by artist Herb Trimpe. Warren Publishing editor Bill DuBay drew and co-wrote one story in his only Marvel appearance.

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Not Brand Echh was a satiric comic-book series from Marvel Comics that parodied its own superhero stories as well as those of other comics publishers. Running 13 issues (Aug. 1967 to May 1969), it included among its contributors such notable writers and artists as Stan Lee, Jack Kirby, Gene Colan, Bill Everett, John and Marie Severin, and Roy Thomas. With issue #9, it became a 25¢ "giant", relative to the typical 12¢ comics of the times. Its mascot, Forbush Man, introduced in the first issue, was a superhero wannabe with no superpowers and a costume comprised of red long johns emblazoned with the letter F and a cooking pot, with eye-holes, covering his never-revealed head. His secret identity was eventually revealed in issue #5 (Dec. 1967) as Irving Forbush, Marvel's fictitious office gofer. The name was a play on an advertising convention of the time, in which a competitor's product was not referred to by name but simply as "Brand X"; DC was sometimes playfully called "Brand Echh" in Marvel "Bullpen Bulletins" and letters pages, hence this comic was "Not Brand Echh". The official title in its postal indicia was Brand Echh for its first four issues, and afterward Not Brand Echh, the cover title from the start.

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