Parents concerned that comic books presented disturbing and subversive imagery to their children would have had their worst fears confirmed if they had seen this pre-Code gem: a typically gory account of serial killer Belle Gunness’ reign of terror in 19th century Indiana.
The colorfully titled “Mrs. Bluebeard” originally appeared in the grandaddy of all true-crime comics, Crime Does Not Pay #44 (Lev Gleason, March 1946). The story was drawn by Jack Alderman.
The Time Bullet’s 13-day countdown to Halloween concludes with a true crime story that makes the guy in Saw look like Bob The Builder! From Crime Does Not Pay #53 (Lev Gleason Publications, July 1947), here’s “The Master Of Murder Castle.”
The art is provided by Fred Guardineer, who obviously had a lot more up his sleeve than Zatara the Magician!
Well … all’s well that ends well I guess. If you’d like to read this story and other equally demented true crime tales in higher fidelity, be sure to check out Dark Horse’s Blackjacked and Pistol-Whipped: The Best of Crime Does Not Pay!
In the meantime, return to the Time Bullet Nov. 2 for an All Soul’s Day special featuring the Duke Of Darkness! Happy Halloween!!
Frank Miller’s Holy Terror – a typically over-the-top and controversial account of a Batman-esque character’s response to a 9-11 level terrorist attack – has been described by the cartoonist as “a piece of propaganda” that was at least partially inspired by the Golden Age comics that prominently featured patriotic super-heroes cheerfully punching out Hitler, Mussolini or Hirohito.
(In fact, critics have decried Miller’s apparent blanket condemnation of Muslims as hateful and prejudiced, much as how contemporary audiences view the World War II depiction of America’s enemies in comic books, films, radio and just about every other form of media from that era.)
As a point of reference, I thought it would be interesting to sample a story from one of the most famous “propaganda” comics of the 1940s: Lev Gleason’s Daredevil Battles Hitler, a title published before America’s entry into the war that clearly reflected the publisher’s personal antipathy toward fascism.
The comic featured Gleason’s breakout character, Daredevil, teaming up with other characters’ in the publisher’s stable in an epic battle against Hitler and the German dictator’s allies – which apparently included Jack Cole’s monstrous Claw.
From Daredevil Battles Hitler #1 (Lev Gleason Publications, July 1941), here’s - surprisingly enough – “Daredevil Battles Hitler.” The story is believed to be written and drawn by the great Charles Biro.
Crimebuster would never fly in the too-cool-for-school world of modern super-heroes.
He battled crime and corruption with little more than his wits and the average strength of an average, if decidedly athletic, teenager. His costume: a hockey uniform and second-hand cape. His sidekick: a chimpanzee.
Yet Crimebuster enjoyed a 14-year run as a Golden Age headliner, mainly because creator Charles Biro (Airboy, Crime Does Not Pay) guessed correctly that his readership would enjoy the two-fisted exploits of “an average boy with the stuff to get along in life.”
It also helped that Biro often threw his protagonist into gruesome adventures that would have given the likes of Dick Grayson pause. The young adventurer dedicated his life to warring against crime after his parents were brutally murdered by a Nazi agent known as Iron Jaw, one of the more bloodthirsty and memorable villains of the Golden Age.
Iron Jaw from Boy Comics #4
The following story – which originally appeared in Boy Comics #7 (Lev Gleason, 1942) – is no less graphic. In fact, many of the murders committed by mystery villain wouldn’t seem out of place decades later in a Friday The 13th slasher flick. Yet, as Biro himself wrote on the splash page, “This tale may shock you, but it was my intention to make it rough and true to life. I think Crimebuster’s readers like it rough!”
Take that, Wertham.
“The Will Of Roger Spaulding” was written and drawn by Biro.
George Tuska, a prolific artist known for his powerful renditions of several iconic Marvel characters, has passed away. He was 93.
For my money, Tuska was THE Iron Man artist of the ’70s. His version of the Golden Avenger never attained “flavor-of-the-week” status but left an indelible impression on readers who enjoyed the artist’s exciting action sequences and efficient story-telling abilities.
However, Tuska’s greatest work appeared long before Marvel’s stable of super-heroes came to dominate the comics industry. A prolific Golden Age artist, Tuska’s gritty crime, western and horror tales far outstripped his more widely seen pencils and inks on super-hero comics.
As an example, here’s the rather awesome tale of a criminal who terrorized the Barbary Coast by smashing people’s faces with his rock-hard head. Tuska knocks the story out of the park, alternating brutal violence with a brief – but sterling – sample of his famous “Good Girl” art.
From Crime Does Not Pay #48 (Lev Gleason, 1946), here’s “Butt Riley: King Of The Hoodlums.”
For more on Tuska’s long career, visit The Comics Reporter.
At one time or another, I’ve posted Don Rico’s “Doctor Horror” one-shot on just about every Internet venue available. It’s simply a story that must be experienced by as many readers as possible.
Why the great affection for a forgotten comic-book tale that was churned out decades ago to fill out the back pages of a mostly forgotten title (Captain Battle) that was briefly published by a nearly forgotten company (Lev Gleason)?
Well … it’s just not every day that you see a comic apparently devote seven of its pages to remaking – and surpassing – the “Night On Bald Mountain” sequence from Disney’s Fantasia.
To be honest, I’m not sure if Rico – a journeyman writer/artist who enjoyed a long career as a paperback novelist – actually had seen Fantasia but Doctor Horror’s similarity to the demon Chernabog is apparent: Both are creatures of pure evil bent upon corrupting the world, yet meet defeat at the hands of a higher, unseen power.
According to the always infallible Wikipedia, Rico started his artistic career carving wood engravings of Depression-era life for WPA Federal Art Project. His experience in the field surely influenced the style of drawing seen in “Doctor Horror,” as the demons are depicted as static – and oddly malevolent – creatures that probably could have given Fletcher Hanks nightmares.
But don’t listen to me. Judge the story yourself and share your thoughts …
From Captain Battle #2 (Lev Gleason, 1941), here’s “Doctor Horror” by Don Rico.
