MINOR SUPER-VILLAIN 964: THE SHARK

(The Face 001, 1941)

"Sparky Watts" was a long-running comic feature in Big Shot Comics and other Columbia publications about the eponymous Sparky Watts, a down-on-his-luck young man whose life turns around when scientist Doc Static gives him super powers using his cosmic ray machine. Having started out as a comic strip, Watts' adventures tend to hew closer to the comic adventurous rather than the super-heroic. Still, every once in a while he encounters a minor super-villain such as the Shark.

The Shark is a crypto-fascist in the truest sense: he clearly started out as a Nazi and his men bear some of the visual tropes of Nazi spies, but between the bizarre formality of his speech (which mimics the mock-Japanese speech patterns of 1940s comics while also being distinct from them) and the names of his underlings (Flitoog, Saber, Egnog, Kabitz) which approach mock-German without really getting there, it all ends up being the mere suggestion of a smear of an Axis pastiche.

The really important thing about the Shark is that he's a shark weirdo. He looks like a shark, he loves sharks, he has shark-themed decor and he bites people's throats out with his "shark-like teeth" or at least threatens to. It's always a joy to see a true oddball find his groove, even if it's as an evil fascist. But preferably not as an evil fascist.

The Shark and his men have heard of Sparky's remarkable strength and have set out to acquire it for themselves, and since Sparky isn't really in this issue (he's off playing baseball tow towns over) they don't have much trouble roughing up his friends to get what they want.

Doc Static, of course, neglects to tell them that absorbing an insufficient charge of cosmic rays means that the power is temporary, and that once the rays leave the human body it shrivels up and shrinks until it is smaller than a grain of sand. The fascists all turn on one another once they achieve any sort of power which occupies them until they shrivel, and then an over-zealous minion (who was not invited along to get super powers) seals the deal by crushing all of the "bugs." The world is safe!

MEDIA IN COMICS 003

We've hit a rich seam of comic book movies this time, by Jove.

Movies:

Eaglets of America is a film about flying cadets, filmed at the same field that aspiring pilot Lucky Byrd trains at. There is some unpleasantness with a lecherous leading man, alas, but it all gets sorted by the end. (Target Comics v1 002, 1940)

The 1933 film the Prizefighter and the Lady, starring boxer Max Baer opposite Myrna Loy, was a real touchstone back during the heyday of boxing comics. Given enough appearances, and boxer would end up in Hollywood in a sports romance with a variably terrible name. Hot Fists and Hot Lips, starring Kayo Ward, might just have the worst title of them all. (Pep Comics 008, 1940)

Much like all those times that two volcano movies or two asteroid movies come out in quick succession, Miracle Movies and Bee Pictures are each working on a "lion picture" at the same time, only while Leo, King of Beasts makes it to theatres o sink or swim on its own merit, Jungle King is never completed due to the fact that its producer resorts to murder to get his movie out first. (Fight Comics 007, 1940)

There's no romance plot (on-panel, at least), but Pardon My Glove starring Kayo Kirby is absolutely another riff on The Prizefighter and the Lady. (Fight Comics 004, 1940)

The Mad Martian may not get anything approaching a plot synopsis, but it has the distinction of being the inspiration for villain Red Dugan to commission the creation of a monstrous minion. (Blue Ribbon Comics 003, 1940)

Though it was announced as being the subject of the next instalment of actress Diana Deane's comic, War Nurse never actually appeared due to the strip being cancelled. A shame as I was really curious about the amount of dripping blood and what that might presage. (Funny Pages v1 004, 1940) 

Like long-running comic strip Minute Movies, the concept of 'Fantastic Feature Films' is that of a series of movies acted by a recurring stable of actors. It's a very fun idea that only lasts a double handful of issues, alas.

The plot of Dance of Death involves a plot to assassinate a Hitler analog using an exotic dancer's prop bubble that has been filled with gas. Interestingly, the plot is less concerned with making sure that the plot succeeds than it is with trying to foil it so that the dancer doesn't get into trouble. (Target Comics v1 003, 1940)

Devil's Dust concerns an outcast Frenchman whose harsh treatment has made him a misanthrope and who only turns his supply of metal-dissolving dust to the cause of world peace after a gregarious American calls him "pal." (Target Comics v1 002, 1940)

The Maskless Axeman is a very strange film about a tuxedo-clad executioner who works for a Hitler analog and who driven mad by a fake haunting in order to save the life of a dancer accused of spying. (Target Comics v1 001, 1940)

Radio:

I like a good DJ name, and I appreciate just how tired "Stay-Up Dan, the All-Night Music Man" looks. (The Face 001, 1941)

MINOR SUPER-VILLAIN 497 UPDATE: RAMUN THE EVIL ONE

(The Face 001, 1941)

I can't say I'm surprised to see Ramun the Evil One again, given what I said about his supposed death in his last appearance. Ramun trails his old foe Marvelo (Monarch of Magicians, natch) into the desert and replaces his caravan's staff with he and his men in an effort to steal the treasure of Tut-Akum-Aut from them when and if they dig it up. And he does it! He has them at his mercy and the treasure in his sights, and he still manages to screw it up by gassing on about how he's going to use the treasure to make himself a new Pharaoh, which makes his henchmen angry enough to murder him for being too greedy to share with them.

While The Face 001 and Ramun's last appearance in Big Shot Comics 019 were both published in November 1941, this issue feels like the real final appearance for the character, since he is visibly shot to death rather than merely drowning out of sight. Farewell to thee, Ramun.

If I'm honest I was much more excited about the fact that Marvelo's partner in this venture is Professor Scorp, last seen being placed in psychiatric care after stealing the mummy of Tut-Akum-Aut and attempting to resurrect it to learn the location of his treasure. And now he's well enough to seek the treasure in a more conventional way! Perhaps this expedition is even part of his therapy! I'm just so chuffed to see a comic book madman get constructive help and rebuild their life without some narrative about how they can never be fully trusted! Don't get used to it!

DIVINE ROUND-UP 029

Comic book religion. Tricky stuff.

Hercules: 

The thing that really jumps out at you when you first encounter this version of Hercules is that he goes to Valhalla when he dies, which is weird. The second thing is that he is appearing in a Golden Age Marvel comic and so there might be fun storytelling ramifications considering the fact that Hercules is a moderately popular (and alive) Marvel Comics character with appearances from the mid-60s to today. Perhaps the fact that this is a pretty Roman mythology (aside from the Valhalla thing) and Hercules from  the Champions is from a Greek one can play into it.

The third thing that jumps out at you comes on maybe your third reading of the comic in question, when you pay a bit more attention to that first panel in which Hercules is dying and realize that he is not only meant to have survived until some time after the founding of the United States but that the heavy shadowing on the faces of the people in that panel kind of implies that he might have been one of the Founding Fathers? There just aren't enough clues in the art to tell for sure but I know Simon and Kirby's tricks and making George Washington Hercules is just their style.

After spending a while in Valhalla, Herc gets worried about the rise of fascism and decides to reincarnate as a mortal in order to be there to lend a hand when the US needs him (a real snub to his former fave of Rome) so he heads on back to be reborn as Marvel Boy. 

God Style: Real (Daring Mystery Comics 006, 1940)

Jupiter:

Like his son Hercules, this version of Jupiter is very concerned with personal freedom and the fate of the United States in particular. Or maybe he's just a good father who wants to support his son's little projects.

Whatever the reason, he shows up on his reincarnated son's fifteenth birthday to deliver a cool super-hero uniform before making a very cool exit via lightning storm. 

God Style: Real (Daring Mystery Comics 006, 1940)

Father Patriot:

Father Patriot is the brand-new anthropomorphic personification of the spirit of America created by an unknown comics scribe for the origin story of Major Victory. As I have already speculated behind that link, my only real guess as to why they might have done this is to avoid stepping on Quality Comics' toes by using Uncle Sam for the role. I was going to complain about them not replacing him with one the less-used personifications of America like Brother Jonathan or Columbia, but on reflection I can see why they might have wanted to go with an all-new character. If nothing else, this means that they had free reign to add as much patriotic nonsense to his design as they wanted to, like his retinue of patriotic angels or the fact that he can whale on the Liberty Bell to impart strength unto his champion. They also got to design a set of patriotic clothing for him, and while it doesn't quite match up to the classic Uncle Sam look I do appreciate his big gaudy belt buckle.

Speaking of those mysterious angelic servants: does this indicate that the glories of to American Heaven are not exclusive to the mythology of Captain Fearless?

God Style: Real (Anthropomorphic Personification) (Dynamic Comics 001, 1941)

Maloo:

No non-white and non-monotheistic group is immune to the threat of Golden Age comics just making up some random god that they supposedly worship, and the Aboriginal Australians are no exception. Maloo is a giant, vicious kangaroo who the Face is nearly sacrificed to but who ends up dead instead. Sorry, Maloo. Sorry, Aboriginal Australians.

God Style: Animist (The Face 001, 1941) 

MEDIA IN COMICS 002

Fictional books, fictional movies, fictional stage shows: it's media in comics time! 

Books:

Dexter, a friend of Ellsworth "the Sphinx" Forrester, has written a book titled Who's Who in Murder which is one of those grand exposes that causes everyone in crimedom to attempt to kill the author before they can publish. That's gotta be great publicity. (Exciting Comics 010, 1941)

While Guns Make Dust is very plot relevant in this Ellery Queen mystery, as a doped-up stamp thief hides his prize in one of three copies in a local bookstore and subsequently murders several people in search of the right one, we never learn much about the book itself. I think it's a Western, personally. (Crackajack Funnies 024, 1940)

We learn even less about Life of Lee, the book that gives DA Tom Kerry the idea that solves a big murder case. Could this be a biography perhaps? Of Robert E. Lee? (Big Shot Comics 007, 1940)

As we have established, there are many faux Hitlers in comics. Much more rare is the Hitler-alike who has written his own Mein Kampf analog, but such a one is Nargoff, aka the Leader, whose book The New Order is ultimately weaponized against him by the Spirit. (The Spirit, "The Leader," 29 December, 1940)

Magazines:

Roving photographer Fran Frazer works for Strife magazine, an obvious play on LIFE but one which neatly justifies the action-packed lifestyle of the comic book photog. (Top-Notch Comics 009, 1940)

Movies:

Real-life animal trainer Clyde Beatty plays some role in the fictional film Jungle Drama, but what it is we cannot say, other than the fact that it involves a lion. (Crackajack Funnies 023, 1940)

"Gabby Scoops" was a short-lived strip that was an awkward hybrid of goofy humour and crime action that ended after the titular hero went Hollywood and starred in the movie It's a Scoop! (Crackajack Funnies 030, 1940)

Shadow Devils, an espionage thriller with an unusual name, is one of those comic book movies that goes on shooting even after female lead Norda Noll is shot dead on-camera. Detective Charlie Chan eventually sorts it all out: it's all about horse racing somehow. (Big Shot Comics 001, 1940)

Dick Cole, aka the Wonder Boy, is roped into doing the stunts for a movie called Shining Star over his summer vacation. Interpersonal conflicts and murder attempts stretch the filming over a couple of issues, but it does eventually get made. It's even well received, despite being an incoherent hodgepodge of action setpieces! (Blue Bolt v1 005, 1940)

Theatre:

Like the movie that finishes production despite death an calamity, the play that continues its run while actor after actor is killed on stage is a real staple of the Golden Age mystery comic. Espionage is such a play, albeit with only one murder and a series of near-misses as the show's conductor fires poisoned darts out of his baton at those who he sees as standing between him and his love of the female lead. (Keen Detective Funnies v2 007, 1939)

CATALOGUE OF WOUNDS 007

The right shoulder: unsung victim of the comics pages. 

Captain Battle: 

Captain Battle gets a fashionable bullet-creased skull on the docks of San Francisco. (Captain Battle Comics 001, 1941) 

the Cloak:

Being shot in the left shoulder is the inciting incident that leads Jeff Cardiff to adopt the Cloak identity in the first place. (Big Shot Comics 015, 1941)

the Face:

Shot in the right shoulder (Big Shot Comics 011, 1941)

Shot in the right shoulder again. (Big Shot Comics 018, 1941)

Shot in the left shoulder, which must have come as a relief. (Big Shot Comics 019, 1941)

the Fox:

Shot in the right shoulder. (Blue Ribbon Comics 012, 1941)

Kaänga: 

Shot in the right shoulder. (Jungle Comics 003, 1940)

Marvelo, Monarch of Magicians:

Shot in the right arm. (Big Shot Comics 012, 1941)

In what is probably the most sever non-fatal injury we have seen thus far, Marvelo takes an ape-powered throwing knife to the chest and is just barely alive for the remainder of the comic. (Big Shot Comics 016, 1941)

Skyman:

Skyman is shot in the ever-popular right shoulder, and no wonder: it's a big ol' target. (Big Shot Comics 002, 1940)