More Bob White, Lost Archie Artist

« That’s the last number, Lollipop! Time for me to go! » — Archie has to go mop the floor with Reggie

Well, I’ve already stated my case for neglected Archie artist Bob White (1928-2005), but persistent reader interest has (ever so gently) forced my hand in the matter. You crave more, and who am I to deny such a reasonable request? Besides, these suckers are rather thin on the ground.

Comics scholar Bart Beaty‘s experience appears to match mine in this regard. He notes, in Twelve-Cent Archie, his compelling study of the period, that « … high-grade copies of most Archie comics from this period do not seem to exist on the market. » And I heartily agree with his assessment that « much more available are copies that have been treated in the ways they were intended – copies that show the well-worn tattering of having been read and reread repeatedly by children. » The selfsame quandary arises with other loved-to-rags series such as DC’s Sugar and Spike, whose issues all-too-frequently turn up sans their paper dolls feature… and a story page or two on the reverse side.

Here, then, is my second batch of Bob White covers from his prime period, which, not so coincidentally, arguably matches the prime of Archie comics.

Archie124A
This is Archie no. 124 ((Dec. 1961, Archie); ah, that blessed period when the Archie line featured some truly bizarre situations. I’m afraid my picks will reflect this little bias of mine.
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This is Archie Giant Series Magazine no. 8 (Sept. 1960, Archie)… only a few days until the summer solstice!
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This is Archie Giant Series Magazine no. 19 (Winter 1961-62, Archie).
Pep152A
This is Pep no. 152 (Jan. 1962, Archie), an absurdist upgrade of the corny old ‘multitasking teenager’ joke. I love the three-way visual match between Archie’s bowtie, Ronnie’s dress and the Martian’s peepers. Also, nicely-detailed TV shootout.
Pep155A
This is Pep no. 155 (June 1962, Archie), notably risqué in its implications. This Cat Person seems far more… assertive than her kin Simone Simon had been a couple of decades prior. Among the distinguishing  hallmarks of White’s artwork is his evident enjoyment and finesse when it came to drawing hands. Digit delineation dexterity is a rare gift, as any artist will attest.
Laugh143A
This is Laugh no. 143 (Feb. 1963, Archie). Aw, Reggie. It’s actually a rather flattering effigy… Betty would be delighted to take it off your hands!
Pep161A
This is Pep no. 161 (Mar. 1963, Archie), an exemplary use of the best-ever Archie line’s cover grid: it allowed for nicely-open vertical scenes, and the visuals had ample room to breathe. Bob White and Samm Schwartz took fullest advantage of the format.
Pep170A
This is Pep no. 170 (May 1964, Archie); an excellent composition, with just the right amount of detail.
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This is Archie Giant Series Magazine no. 28 (Sept. 1964, Archie); I’d keep my eyes on Betty instead, Archie: aside from being the more athletic of your girls, she’s also the one with the bat.
Pep173A
This is Pep no. 173 (Sept. 1964, Archie); given that Ronnie’s wearing a mouthpiece, is it off-base to assume that the telltale scarlet traces on Archie’s cheek were left by the fish on his right? The lip colours even match! 😉

-RG

Dan DeCarlo at Humorama (1956-63)

« Discovering this girlie mag stuff was like expecting a bike for Christmas and getting a car. » — Jaime Hernandez on his personal DeCarlo epiphany

As assiduous readers of this blog may already know, I don’t rate Dan DeCarlo (1919-2001) all that highly as an Archie artist. Simply put, once he committed himself fully to the publisher (in 1963), he strapped himself onto a treadmill of exploitation for the next several decades, and on-model hackwork quickly became the norm. Archie consumers (can we truly call it reading?) didn’t know or care then, or now, who produced the stuff, nor how.

While grinding out sexy panel cartoons for Abe ‘Martin’ Goodman’s Humorama line of girlie digests also constituted exploitation (at 15 bucks a pop, sometimes less), the results were sturdier and far more expressive, which is surprising, given that DeCarlo produced hundreds of these (at the cited figure* of ten a month, it adds up to over 800!) over the course of a mere seven-year span. But then DeCarlo was at his peak, having acquired sufficient experience (he’d gotten his start in the field in 1947), and he was hungry and brimming with stamina.

DeCarlo buddy / biographer Bill Morrison, in his fine preface to Alex Chun and Jacob Covey’s The Pin-up Art of Dan DeCarlo (2005, Fantagraphics), sadly out of print and nowadays quite costly (though volume 2’s still available from the publisher, hint hint!), recounts the way things went down:

« According to Dan, Stan Lee wanted to make a little extra money, so he offered to introduce Dan to the editor of the Humorama line of men’s humor magazines. In return for the introduction, Stan would collect 10% of the fee for every single panel gag cartoon Dan contributed. Dan saw this as an chance to develop as a magazine cartoonist, and he decided to pull out all the stops. Dan recalled, ‘So I did five, and I brought them over, all black and white wash, you know. I thought they were beautiful, and he [the editor] loved them. He paid me $15.00 each, and I had to give 10% to Stan!’ Dan soon decided not to continue doing the cartoons, even when Stan declined to take his cut. So the editor offered a compromise. He said, ‘Well, would it be easier if you just draw the situations, and I put the gags in?’ Dan agreed that would help to make it worthwhile. He had been paying his comic book inker Rudy Lapick $3.00 a piece to come up with the gags, so with that cost eliminated, he could nearly clear a full $15.00 on each cartoon after buying supplies. Incidentally, Dan later learned that Rudy had been swiping the gags cold from a book of Peter Arno’s New Yorker cartoons, so it’s probably a good thing that this arrangement didn’t continue. »

Here’s a baker’s dozen samples of what I deem the cream of the DeCarlo crop…. visually, anyway.

DeCarloHandsFullADeCarloLosingYourselfADeCarloSpeakingTermsADeCarloNaturalTanA

DeCarloHairDownA
You’ve got to love the utterly blasé impresario and the ebullient talent scout. It’s to his eternal credit that DeCarlo somehow managed to keep things… if not squeaky clean, then somehow innocent, whatever the situation.

DeCarloBiggerCarADeCarloDoctorA

DeCarloEatEverythingA

DeCarloBlankADeCarloOnePieceA

DeCarloDon'tShowA
The pillow is a nice touch, both for elevation and for comfort.
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Another delightful characterization, a loveably blasé tattooist. Business as usual.
DeCarloSpankA
It would have been heresy to *not* feature at least one “spanker”. Care for more details on this striking sub-genre? Look no further, friend.

DeCarloShowgirlA

As you can witness, the gags are a bit of an afterthought, a side dish to stock situations. Over the years, these cartoons were endlessly recycled, and the captions updated, though rarely… upgraded.

– RG

*valuable info from Bill Morrison.

Tippy Teen in “The Fright Before Xmas” (1967)

« … there arose such a clatter,
I sprang from my bed to see what was the matter.
Away to the window I flew like a flash,
tore open the shutters and threw up the sash. » ― Clement C. Moore, A Visit From St. Nicholas (1823)

Not too long ago, we glanced at the interesting case of Tower’s teen line, another instance of works insufficiently popular to be properly reprinted, yet still sought after by collectors and aficionados and consequently on the pricey side. And so it is within this limbo that Tippy Teen and Go-Go and Animal find themselves consigned, in the rather fine company of Sugar and Spike and Angel and the Ape. Let’s not strand them there for the duration, please.

So why do I consider Tippy Teen superior to Archie? For one thing, while there’s some underwhelming artwork to be found here and there (sorry, Doug Crane), there’s nothing dismal (no Al Hartley, no Dick Malmgren, no Gus Lemoine, no Stan Goldberg…), and the writing is generally superior, thanks to, among uncredited others, the great Jack Mendelsohn (recycling and updating his old scripts, but that’s not the end of the world).

Here’s a little seasonal piece I find quite witty and charming. The well-paced work of an anonymous scripter and my beloved Samm Schwartz, it appeared in Tippy Teen no. 18. The whole issue’s quite solid, and since it’s in the public domain, you can enjoy it right here.

SchwartzTippyXmas01ASchwartzTippyXmas02ASchwartzTippyXmas03ASchwartzTippyXmas04ASchwartzTippyXmas05ASchwartzTippyXmas06A

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This is Tippy Teen no. 18 (March 1968, Tower). Cover artwork by Samm Schwartz.
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What kind of a grinch would I be if I failed to include the Monkees pin-up promised on the cover? I shudder to even entertain the notion. In the usual order, Messrs. Peter Tork, Mickey Dolenz, Davy Jones and Michael Nesmith.

-RG

Hallowe’en Countdown III, Day 26

« Welcome to the house of horrors! Brought to you by Grippo Denture Adhesive! »

A little while back, we made a brief detour through artist Samm Schwartz’s Silver Age Archie comics covers and touched upon the time he took the last bus out of Riverdale and headed for the greener pastures of New York… and an art director gig with Tower Publications.

Robert Klein and Michael Uslan, in their foreword to T.H.U.N.D.E.R. Agents Archives Volume 1 (DC Comics, 2002), stated: « With Samm Schwartz not very familiar with or comfortable editing super-hero adventure books, publisher Harry Shorten cut a dream deal with Wally Wood. Samm would handle the Tippy Teen titles as well as the Undersea Agent comic book and the war comic book called Fight the Enemy. He would be the managing editor of the company and its day-to-day office executive. »

So that’s that. Schwartz’s books, Tippy Teen (27 issues), Tippy’s Friends Go-go and Animal (11 issues) and Teen-in (4 issues), Undersea Agent (6 issues) and Fight the Enemy (3 issues) actually comprise the greater part of Tower’s output, though they’ve received far less attention since, were easily of comparable quality to T.H.U.N.D.E.R. Agents and its spinoffs. Certainly, the humour titles’ wit was a passel of notches above the Archie line’s, what with such heavyweights as Jack Mendelsohn on board*.

Interestingly, Tippy Teen was the first Tower material to be reprinted: in 1975, four issues of Vicki (a renamed Tippy) were issued by the *very* short-lived Atlas/Seaboard, featuring ugly new covers by Stan Goldberg. These issues rank among the most scarce and priciest Atlas releases. Most of the line’s books can still be easily found and acquired dirt cheap… but not Vicki.

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This is Tippy’s Friends Go-Go and Animal no. 7 (Dec. 1967, Tower). Cover art by Samm Schwartz.
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This is Penny Century no. 5 (June 1999, Fantagraphics). Cover art by Jaime Hernandez, with colours by Chris Brownrigg. Now, you won’t convince me that this cover isn’t a fond homage to Schwartz’s Hallowe’en-themed Go-Go cover… hey, maybe he *thought* this was a DeCarlo.

When I hear about Dan DeCarlo‘s would-be artistic influence on Jaime Hernandez, I can’t help but wince. If I squint real tight, I can kinda-sorta-maybe see a flicker of it in the wholesome sexiness of Betty and Veronica circa 1960-63, but no more. DeCarlo was soon reduced to such a state of hackdom that I can’t fathom how Jaime would have been driven to imitate and absorb the lessons of such hastily-executed, formulaic drivel. There, I’ve said it. On the other hand, Hank Ketcham, Steve Ditko, and, dammit, Mr. Schwartz’s touches are evident all over, though perfectly amalgamated into Jaime’s own singular vision. The way Schwartz and Hernandez draw clothing folds, the beautifully expressive comedic body language… it’s unmistakable.

And as a bonus, this helpful feature from Tippy’s Friends Go-Go and Animal no. 3 (June 1966, Tower), illustrated by Samm Schwartz. And yes, the boys can also come as beautiful victims.

Go-GoMonsterParty01AGo-GoMonsterParty02A

-RG

*though he was recycling and updating some of his old scripts.

Hallowe’en Countdown III, Day 11

« Is it true your first concert is going to be at a cemetery? »

By the summer of ’74, the Archie brass was getting sick of those no-account Didit Brothers (You know, Dan, Dippy, Dick and Clyde) and their groupie Fran the Fan, so the Madhouse Glads were tossed out on their collective ear in favour of… a horror anthology. It made sense: in the 1970s, there was considerable overlap (largely female, but not exclusively) among readers of, say, The Witching Hour, Betty and Me, and Romantic Story.

Madhouse95A
The final fate of Fran the Fan? This is Mad House no. 95 (Sept. 1974, Archie); cover art by Gray Morrow. Read the issue here.

It’s fair to assume they were envisioning a companion title for their Chilling Adventures in Sorcery / Red Circle Sorcery. This was something different for Archie, all right: they sought out top talent, but in a fairly consistently sober visual style. Gray Morrow‘s photo-based approach was the baseline, and small wonder: he was the editor. The bulk of the stories was penned by Marvin Channing, and while the ‘twist’ endings weren’t exactly fresh, some of these tales were surprisingly nasty and nihilistic.

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Page two from The Terrible Trident!, written by Don Glut and illustrated by Vicente Alcazar.
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Page three from the cover story, The Happy Dead. Written by Marvin Channing and illustrated by Doug Wildey. Whoever handled the colouring here was smart and discerning.

However, this version of Madhouse lasted but three issues before the book was returned to its original, pre-Glads format. Sorcery endured for nine issues, the first three done in the Archie house style, with narration by Sabrina, the Teenage Witch. By the end of 1974 (with a book cover-dated February, 1975), the experiment was over. But these things come in cycles, don’t they? Witness the recent Afterlife With Archie… which incidentally reprinted much of this material.

SabrinaA
And in other media, amidst the current glut of Archie product, one finds a direct scion of a timid, decades-ago exploration, Netflix’s Chilling Adventures of Sabrina.

– RG

Jughead’s Pal, Samm Schwartz

« What is it about me, Pops? Am I different than normal people? »

One (more) thing I’ve learned in this world is that the vast majority of people, from the man or woman in the checkout line to the hard core of comics aficionados… can’t tell Archie artists apart, let alone name any of them.

If you scratch deep enough, one name will come up, like pebbles from a fallow field: Dan DeCarlo. I’m reminded of the annual restaurant poll a local alternative weekly used to hold: McDonald’s unfailingly took its category in a landslide, because of its ubiquitous familiarity. And so it is with Archie artists: DeCarlo must be the best because… well, that’s what we’ve always been told.

If you ask me, much of his peers’ work gets attributed to him. For instance, check out our gallery of Bob White covers. That Archie’s Mad House no. 27 cover, in particular…

WOT’s pick for top artist on the Archie totem is handily Samm Schwartz (1920 – 1997). He’s easily the smoothest, most inventive storyteller in the Archie universe. Despite his skill as a cover designer during Archie’s best years (1959-1965, a figure proposed by cartoonist-scholar Seth and worth carving in stone), there were no Schwartz covers chez Archie after 1965.

The likely reason? In ’65, Schwartz was hired away by Wally Wood‘s Tower Comics (by managing editor Harry Shorten, a former Archie writer-editor) to serve as their art director. While there, he conceived Tower’s relatively prolific teen humour line, featuring Tippy Teen, Go-Go and Animal, and Teen-In, often glibly dismissed as “Archie clones“, by people who clearly haven’t read the work. We’ll return to these eventually.

Now comes the clincher: Schwartz in turn hired some of his former Archie colleagues to pitch in (presumably at higher page rates); DeCarlo (a handful of stories in early issues of Tippy Teen), Harry Lucey (a decent batch, actually) and reportedly Bob White (no sign of him, though). But the bulk of the work was done by Schwartz and future Archie artist Doug Crane.

Now the Archie people didn’t like this one bit; it was a clear case of sedition, a threat to their tidy little work camp system. After the industry’s near-collapse in the mid-1950s, there weren’t a lot of options in the tight-knit little club that remained; let’s not forget that even Jack Kirby was driven to such humbling desperation in the early 1960s. It was all too easy to be blackballed. The Goldwater clan, Archie’s reigning dynasty, took careful note of Schwartz’s break for freedom and the names of his accomplices. After Tower called it a day in 1969, Schwartz went to DC for a year, but it didn’t take. He was forced to return to Archie, which certainly suited the publisher since Schwartz’s signature title, Jughead, had been wilting away in his absence.

The terms of his return are unknown… but against all odds, Samm proceeded to create the finest work of his career, pencilling, inking and lettering hundreds of inspired Jughead stories until, well, until he couldn’t any more. But no covers, considered a plum job: these went exclusively to DeCarlo (with an occasional Lucey) and later to versatile mediocrity Stan Goldberg, aping DeCarlo’s style and random design sense*.

Jughead's-Fantasy02A
Jughead’s Fantasy no. 2 (Oct. 1960); a parody of the excellent 1958-61 detective show… and yes, Peter Gunn did get conked on the head an awful lot.
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Archie’s Pal Jughead no. 78 (Nov. 1961)
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Archie’s Pal Jughead no. 81 (Feb. 1962). Check out Reggie’s body language, in particular.
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Archie Giant Series Magazine no. 17 (Archie’s Jokes, Summer 1962). There goes Archie, into the next county.
Laugh136A
Laugh Comics no. 136 (July 1962)
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Archie’s Pal Jughead no. 86 (July 1962)
Jughead89A
Archie’s Pal Jughead no. 89 (Oct. 1962)
WorldofJughead19A
Er, interesting choice of space pioneers, USAF. Could this mission be some sort of tax dodge? Perhaps Mr. Lodge has a financial stake in it, and gently “suggested” Archie for the possibly one-way trip. Archie Giant Series Magazine no. 19 (World of Jughead, Dec. 1962)
Pep165A
Pep no. 165 (Sept. 1963). My college graphic design teacher told our class that a poster should be “One Angry Fist”, which certainly applies to comic book covers, and this is a fine, fine example of making the most of a format.
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Archie’s Mad House no. 33 (June 1964)
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Archie’s Girls Betty and Veronica no. 102 (June 1964). The new, definitely not improved cover layout of the Archie line rears its homely head.
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Mr. Samm Schwartz, date unknown, though the cars should certainly serve as a clue.

To quote his daughter, Joanne Colt, from the introduction of 2011’s The Best of Samm Schwartz (it isn’t, but it’s pretty good): « He drew for Archie until his death on November 13, 1997, my birthday. There was an unfinished story on his drawing board. »

-RG

*the way I see it, the difference between a Bob White or a Samm Schwartz cover and a DeCarlo is the difference between a considered, effective layout and the act of pointing a camera at random and snapping the shutter. To be fair to DeCarlo, his girlie cartoons for Martin Goodman’s Humorama were excellent, and his first half-decade at Archie (60-65) was fine… then the company wore him down into a sad hack and the unfortunate protagonist-victim of a cautionary tale.

Hallowe’en Countdown II, Day 6

« Gosh! I never knew you had a school for monsters! »
« There are a lot of things about Transylvania that you American tourists do not know! »

Archie Comics’ earliest foray into monster humour was its long-running, in one form or another*, Mad House series (1959-82).

MadHouse16A

It doesn’t get any better than Samm Schwartz‘s cover for Archie’s Mad House no. 16 (December, 1961). The early issues featured Archie and the gang in slightly more surreal settings than usual, then they were phased out, with the noteworthy exception of Sabrina the Teenage Witch, who was introduced in AMH 22 (October, 1962). The title was a fine showcase for Archie’s best and most idiosyncratic stylists, Schwartz, Orlando Busino and Bob White in particular.

WhiteMad-House-Ann4AAn idea they liked so well they used it (at least) twice. Bonus points for bothering to redraw it! This was Archie’s Mad House Annual no. 4 (1966-67), cover art by the aforementioned Bob White.

-RG

*It was called Archie’s Mad House (issues 1-60), then simply Mad House (61-65), then Madhouse Ma-ad Jokes (66-70), Mad House Ma-ad Freak-Out (71-72), The Mad House Glads (73-94), Madhouse (in a non-cartoony horror format, featuring the likes of Gray Morrow and Vicente Alcazar, 95-97), then finally Mad House Comics (95-130).

Bob White, Forgotten Archie Artist

Of course, you can take that ‘forgotten artist’ notion with a grain of salt: most Archie artists aren’t forgotten, because they were rarely acknowledged in the first place. There are cases such as that of Scrooge McDuck creator Carl Barks, aka the Good Duck Artist, whose identity latterly became known through the efforts of a handful of devoted fans… but such fortuitous events are rare as Gladstone Gander’s off days.

No such luck for Robert “Bob” White (1928-2005), who got the short end of the stick despite being the Archie line’s signature artist during its peak period* (pretty squarely 1959 to 1965) and crafting uncluttered, expertly-designed covers and stories. Of course, these years coincide with most of the classic Archie bullpen hitting its stride, bookmarked at one end by the ascent of White (who’d arrived at Archie around 1954, but details are scant) and at the other by Samm Schwartz‘s departure for greener, but sadly ephemeral (1965-69) pastures, an art director post with Tower Comics.

According to The Comics Reporter, writing on the occasion of White’s passing, « He was let go by Archie after working on Tippy Teen for Tower, at which point he moved into other lines of work, including a stint as an artist at United Artists. »

Archie’s illiberal response to a guy simply, and wisely, trying to avoid putting all his eggs in one basket was typical of the publisher, and of the reactionary comics industry in general, but it’s to White’s credit that, unlike Dan DeCarlo and Samm Schwartz (who at least made a break for it), he didn’t just fold, kiss their ring and take their abuse. Who’s to say? Perhaps that principled departure really stuck in their craw.

There are simply too many outstanding White covers to feature in one go; I suppose I’ll have to return to the well a couple of times. Still, these ought to give you a sense of the man’s style.

LWA5A
Before Afterlife With Archie, there was… Life With Archie, which « was a comic book published from 1958 to 1991. It featured Archie Andrews in adventure stories that were more dramatic than the standard Archie tales. » This is Life With Archie no. 5 (November, 1960.)
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« As I looked there came, I thought a change – he seemed to swell – his face became suddenly black and the features seemed to melt and alter… » ― Robert Louis Stevenson, The Strange Case of Dr. Jekyll and Mr. Hyde
‘Delicious’ is a good start, but what about the side effects? This is Archie’s Mad House no. 15 (Oct. 1961).
Laugh129A
Hey, the Macabre Trio’s in town! This is Laugh no. 129 (December 1961). Cool ghoul Bob White is truly in his element here. Also, do bear in mind that the word “Horror” was banned by the Comics Code Authority, yet they approved this cover. Asleep at the switch!
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This is Life With Archie no. 12 (January, 1962.) Correctly acknowledging the facts of evolution? Obviously, Al Hartley hadn’t made the scene yet.
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I’m especially fond of the period when you get a sense from the covers (chiefly those produced by White and Schwartz) that Riverdale was built over the Hellmouth or an ancient burial ground, as monsters and aliens routinely ask for directions or take Betty out for a soda. This is Pep no. 153 (March, 1962).
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Ah, there’s some of that “more dramatic” stuff. Life With Archie no. 16 (September, 1962.)
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« So don’t be persistent / Please keep your distance / You know my resistance is low »
It would appear that Madison Avenue’s brand of wizardry is more than a match for Sabrina’s. This is Archie’s Mad House no. 27 (August, 1963).

– RG

*I’m in complete agreement with cartoonist-connaisseur Gregory Gallant, aka Seth, when he writes, in his introduction to John Stanley‘s Thirteen ‘Going on Eighteen’ (Drawn & Quarterly, 2009… where’s volume 2 at?) that « I like Archie comics quite a bit and own hundreds of issues of Archie and its various spin off titles. I can even tell you which years are the good years (1959 to ’65, incidentally) »

Don’t Slide on Your Hide!

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This is Pep no. 168 (Jan. 1964, Archie.)

This splendid Bob White cover brings to mind science-fiction satirist Douglas Adams‘ prescription for achieving flight: « … all one must do is simply miss the ground. »

Judging from the distribution of stars, it would appear that Archie’s left cheek took more of a hit.

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Betty gets her turn: This pin-up theme was sugge(s)ted to Dan DeCarlo by his son, Dan Jr., who grew up assisting his father on Betty and Veronica stories and later (early 80s) became one of the feature’s main artists. Originally published in Archie Giant Series no. 10 (Archie’s Christmas Stocking, 1961.)

-RG

Tentacle Tuesday, from goofily scary to scarily goofy

It’s that time of the week again!

Let’s start with something hair-raising. Well, not really – we’re a blasé audience, and it takes something special to truly scare us. Yet can you deny the foul-smelling, palpable sense of foreboding, the billowing and swirling nightmare that beckons from the elegant inks of this page?

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« She boiled up out of the sea that hellish night — a monstrous hideous creature, she was, with the craggy face of an evil eyed witch! » Giant-Size Chillers no. 1 (February 1975). The cover promises a « frightful, fearful first issue! » Does it deliver? Eh, not really. Here’s a page of the best story in it, The Gravesend Gorgon, scripted by Carl Wessler and pencilled + inked by Alfredo Alcala.

Gravesend is an ancient town in northwest Kent, England; as for the gorgon part, it’s not entirely accurate, but it’s clear that comic writers cannot resist an alliteration.

On a slightly more humorous front (unless one is directly involved with this green monstrosity, in which case the situation would quickly lose its humour), here’s a page that hails from Jonah Hex: Riders of the Worm and Such no. 4, (June 1995). The story features the half-worm, half-human albino Autumn Brothers, whom you can see here greeting the big worm-momma. Texas blues rockers Johnny and Edgar Winter attempted to sue, but the suit was dismissed after a judge begrudgingly ruled that « the First Amendment dictates that the right to parody, lampoon and make other expressive uses of the celebrity image must be given broad scope. » Thank you, Los Angeles court. Frankly, it seems that the brothers are more remembered for the lawsuit than their music.

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« Sure like to make big worm happy, whatever she want. Not care much for tentacle down throat. » Jonah Hex: Riders of the Worm and Such no. 4, June 1995. Scripted by Joe R. Lansdale,  pencils by Timothy Truman, inks by Sam Glanzman.

Jonah Woodson Hex, created by writer John Albano and artist Tony DeZuniga in 1971, curmudgeonly and disfigured but bound by a personal code of honour, is a favourite character of mine, although I only like the way he is written for DC’s Weird Western Tales. Well, with one exception, this one! I most tentacularily recommend Jonah Hex: Shadows West, a collection of the three Vertigo-published mini-series scripted by Lansdale and illustrated by Tim Truman and Sam Glanzman, containing the stories Two-Gun Mojo, Shadows West and Riders of The Worm and Such.

And to wrap this up, on an even goofier note, here’s Jughead getting into yet another weird situation, which is pretty standard for him.

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This page from The Eyes Have It comes from Jughead no. 77 (October 1961). Script by George Gladir, pencils by Samm Schwartz, inks by Marty Epp. Schwartz is absolutely the best Archie artist to draw tentacles; most everybody else would have made a mess of it.

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~ dsTentacleTuesdayIcon