MINOR SUPER-VILLAIN 972: THE BLACK TALON

(Captain America Comics 009, 1941)

The Black Talon is honestly such a disappointing character. Two-thirds of him is composed of concepts that I love, but that remaining third is very rough. A hard character to endorse.

First good Part: The Black Talon, aka Pascal Horta, is a mad artist who kills both as a way of eliminating his rivals and as a means of deriving inspiration for his series of horror-themed portraits. I always love seeing the mad arts represented in a field that traditionally favours the mad sciences, plus we must applaud the efficiency.

Second Good Part: Horta's origin involves the classic trope of the evil transplant that brings some part of its original owner's mentality to its new host. Specifically, his right hand is crushed in a car accident and is replaced with that of condemned murderer Strangler Burns. A terrific trope, particularly as it so easily dovetails with a Jekyll/ Hyde concept where you can introduce the idea that the transplant recipient isn't posessed but it just using the idea of a murderer's body part to enact their own inmost desires. In this specific instance, this idea is offset somewhat by the fact that the hand itself is portrayed as super-human: incredibly strong, equipped with clawlike fingernails (the eponymous Black Talons) and even fireproof as of its second appearance, but the point still stands. 

(I've never asked a transplant surgeon but I reckon that they must hate this trope)

If you read through all of the panels up to this point you might have noticed the third, unfun thing about the Black Talon: that at least as much weight is given to the fact that the hand comes from an African American man as from a murderer. Could a thoughtful writer do something interesting with the concept of a man who is horrified by the race of his own hand? Certainly! Do they do this here? Certainly not. It really says something when Marvel's other Black Talons being chicken-themed Voodoo priests is the less racist option.

After a couple of encounters with Captain America and Bucky, the Black Talon is killed when Cap punches him out a window to his death. Or so Captain America believes, because he never bothers to go check. In reality, Horta is scuttling off to get ready to return in an upcoming issue of Young Allies. Stay tuned!

Categorized in: Body (Nonhuman Parts, Hands), Colours (Black), Origin (Evil Transplant)

REAL PERSON ROUND-UP 025

If comics are reflections of the real world then why should we be surprised to find them so full of real people?

Adolf Hitler:

Hiller is the "mad dictator" who inspires Hercules to reincarnate and eventually become Marvel Boy. He's about as close as you get to putting a Hitler in your comic as you can get without actually saying the name. The whole name. The "t" part. (Daring Mystery Comics 006, 1940)

This otherwise-unnamed Fuehrer of a likewise nameless underground nation that vexes the America inhabited by Captain Daring in 3051 CE is a clear inspired-by-Hitler type. (Daring Mystery Comics 007, 1941)

Citizen V takes a break from his propaganda campaign in Occupied Europe to sneak into Germany and become a member of the Punched Hitler in the Nose Club. (Daring Mystery Comics 008, 1942)

This version of Hitler appears in a long dream sequence in the comedic Army Life strip "Private Rook" that appears to exist solely to make a joke about him being gay (the bit where he is the Princess Tanya's Fairy Godmother, specifically). This isn't great, but it is remarkable for being the only time I personally have seen such a thing in a Golden Age comic. (Army and Navy Comics 003, 1941)

Though Cap punches Hitler on the cover of his very first issue, it is in fact Bucky who lands the first blow on him (and Goering) in the pages of a comic. (Captain America Comics 002, 1941)

the Borgias:

Cesare, Lucrezia and the rest of the Borgia family might not actually appear in comics all that often, but they certainly do figure into their plots via the absolute piles of poisoned and poison-adjacent artifacts that are attributed to them. Borgia trinkets crop up so frequently, in fact, that I am surprised that it's taken us this long to encounter one, in the form of a hollow silver statuette that contains a deadly contact poison. (Fantastic Comics 018, 1941)

Fort Knox:

Stardust the Super Wizard's final foe, the unfortunately-named "Slant-Eye," was a classic comic book Fort Knox robber. (Fantastic Comics 016, 1941)

Francis Biddle:

Major Victory has to consult with the US Attorney General in 1941, and in 1941 the US Attorney General was Francis Biddle. The man in the panel above is not Francis Biddle. (Dynamic Comics 002, 1941)

Franklin D Roosevelt:

Seen ordering the creation of a super-soldier, i.e. Captain America, to combat domestic espionage. (Captain America Comics 001, 1941)

Fritz Kuhn:

Fritz Knoll, purveyor of domestic espionage, is probably a reference to the chief Bundist. (Fantastic Comics 021, 1941)

Henry L Stimson:

The US didn't even have a Secretary of Defense until after WWII, so I am not sure who this guy hanging out with Samson is supposed to be. The analogous position at the time this comic came out was Secretary of War, and that was Henry L Stimson, and this is not him. A true mystery man in all senses. (Fantastic Comics 023, 1941)

J Edgar Hoover:

J Arthur Grover, head of the FBI and clear J Edgar Hover stand-in, is also the man in charge of the program that would eventually be known as Project: Rebirth, aka the super-soldier program that produces Captain America later in this same issue. (Captain America Comics 001, 1941)

Tutankhamen:

Some of King Tut's grave goods are among the items stolen by the Butterfly. (Captain America Comics 003 1941)

MEDIA IN COMICS 006

Now that's entertainment. 

Magazines: 

Are magazine titles in comics more likely to be plays on real ones than other forms of media? Perhaps. We'll just have to see how many variations on Life and Time we can find over the years. Pretending to work for Living has enough caché that it gets these fascists into a secure aircraft plant - how long has it been since magazines were so relevant? (Big Shot Comics 014, 1941)

Movies:

I never actually mentioned it in the entry on the Hunchback of Hollywood, but the anti-Nazi movie that incites the story's action is called The Tyrant. Featuring Steve Rogers, Bucky Barnes and Sergeant Duffy in minor roles! (Captain America Comics 003, 1941)

Rang-a-Tang the Wonder Dog's boy companion Richy (the Amazing Boy) never seemed to be that impressive to me, but Hollywood disagreed and he was made both the star and subject of a film called Riverfront Richy with lots of animal stunts. (Blue Ribbon Comics 011, 1941)

There's never any real indication of what Scoopin' Jive is about - music seems likely - but it's such a baffling name for a movie that I must celebrate it (Crackajack Funnies 036, 1941)

Similarly, we never really learn what Wings Aflutter is about, other than being a "new Navy Air smash hit" with a terrible name. (Jumbo Comics 034, 1941)

Theatre:

Minor super-villain the Black Death of course takes his costume and MO from a character in a stage production called The Black Death. There's not quite enough of the play's plot in the story to know if the fictional Black Death is supposed to be a metaphor or something or some sort of slasher movie killer as it appears. I sincerely hope it's the latter. (Thrilling Comics 010, 1940)

One of Professor X's attempts to get Sub-Zero involves attacking him in the audience of a big stage musical that his girlfriend Mary is appearing in as part of the "Living Chandelier". "George Whyte's Sandels" is a very specific-seeming reference, but I am unable to easily connect it to a show of the era. (Blue Bolt v1 006, 1940)

Fuller Spunk, former star of stage and now Holmes-inspired detective, starred in the evocatively-named shows Hector's Last Gulp and The Gripes of Raft. (Hyper-Mystery Comics 001, 1940)

Waltz of the Vampires is a ballet performance that is narratively used to set off vampire Carlos Hubbelo's bloodlust, but more importantly, it kind of rules? Comic book media is so often a version of something from the real world that it's always very fun to see something like this that (as far as I can tell) is just a sincere depiction of a vampire ballet. (Blue Ribbon Comics 011, 1941)

SUPER-HERO FILE 004: BUCKY

(Captain America Comics 001, 1940)

I probably wouldn't have thought of this before writing so many entries about Golden Age super-heroes and their hastily shoehorned-in boy companions, but Bucky really is a top-tier sidekick, conceptually. Probably not the top, since Robin really set the gold standard, but close! Consider:

In terms of the How Does He Acquire the Boy aspect of things, it couldn't be simpler. There's no need for some contrived (or ridiculously omitted) adoption process because Bucky is the Camp Lehigh mascot, meaning that he and Steve Rogers are essentially work friends. And since they also basically live together (in the same field of tents as one another, at least) the process of Bucky learning that Steve is Captain America and subsequently becoming his partner is as simple as him not being very careful about barging into other people's homes without knocking. 

Not only does Bucky get his own costume (not always guaranteed), but it's an unusually good one: thematically similar to his partner's but not derivative of it, and a smart enough look that it's appeared on various Bucky-inspired characters to this day.

I thought that Bucky might have been at the forefront of the "sidekicks without their own code name" movement but looking at the dates he is just a part of a larger trend. Similarly, he is just one of a wave of normal teenaged boys who adventure alongside a super-powered adult men. Neither of these are great features for a boy sidekick to have, but the fact that he is a victim of both trends rather than their originator goes a long way.

(case in point: crypto-fascist crook the Wax Man figures out that the two Buckys he has encountered are the same - it's a miracle that this doesn't happen more often) (Captain America Comics 002, 1941)

GENERIC COSTUMED VILLAIN ROUND-UP 044

Bored? Unemployed? Why not explore a career in low-tier supercrime? 

the ABC Gang:

I must regretfully inform you that the ABC Gang that is described here does not appear in this issue, as Spencer Steel and his pal Doakes instead get sidetracked by a different gang that is looking to rob the bank that they pegged as the logical next target in the ABCs' pattern. This is a real shame, because "gang who robs banks in alphabetical order by name, but only if the town also conforms to alphabetical order" is a 1950s Batman villain-level of crime-as-compulsive puzzle and I would love to see a 1940s interpretation of that.

Logically, Steel and Doakes would pick up the hunt for the ABC Gang in the next issue but no, they are completely forgotten by then. Golden Age comics, baybee! (Fight Comics 011, 1941)

the Vultures:

The Vultures, an elite Nazi air squadron, owe their success to the fact that they get all hopped up on "dope" (weed? heroin? are either of those going to help you do a dogfight? My lack of familiarity with both hard drugs and aerial combat is showing) before taking to the air.

The Vultures show up to defend the German military assets that Chip Collins and what I will charitably still call the Skull Squadron are busy blowing up. Disappointingly, the fact that the Vulture leader is high as hell throughout the ensuing dogfight and parachute duel does not come up at all.  (Fight Comics 014, 1941)

the Dust Bandits:

When Professor Fraser's incendiary dust gas bullets are rejected by the US Government for being a horrible war crime, he is determined to destroy the formula rather than, say, selling it to the Nazi Baron lurking in his home. Objecting to this lack of initiative, Fraser's lab assistant and step-daughter conspire to kill him, then hook up with a crooked banker to organize the Dust Bandits, aka the Dust-Gas Gang, for a quick crime spree before taking the Baron up on his offer. As is so often the case with fire-based super-villains they find themselves opposed by a fire-based super-hero, in this case the Flame. (The Flame 007, 1941)

the Leopard Men:

To my shame, this instance of the Leopard Man trope marks the first time that I thought to look into whether there was a reason that it was so common in jungle fiction other than that leopards are cool. It turns out that as has so often been the case a cultural practice among a colonized people was vilified and outlawed as a part of the process of cultural subjugation. Leopard Societies appear to have filled a pretty diverse set of roles across West and Central Africa, ranging from pro-trade fraternal orders to vigilante groups, but thanks to sensationalist reporting and pulp writing we are going to keep on encountering them as generic jungle villains. 

This particular bunch is after explorer Buck Johnson for some bullshit reason. (Great Comics 002, 1941)