GENERIC COSTUMED VILLAIN ROUND-UP 017

Buncha mooks this time.

The ship that picked up scientist-adventurer Dean Denton and his pals from the island of Baron Blood just so happened to have a pseudo-Nazi spy (fake name Lieutenant James, code name K-192, real name unknown) committing murders on it for unclear reasons. Despite composing a crime scene to contain nothing but clues pointing to other members of the crew Denton rounds him up pretty quickly. (Masked Marvel 003, 1940)

Pilot Prop Powers has to defend his ship and his cargo of gold bullion from this air pirate and his scurvy crew, and the story ends up glossing over his huge flying aerodrome a bit. Well, I think it's cool, unnamed air pirate captain. I'm sorry they blew it up. (National Comics 001, 1940)

Klotz, aka the Master Spy, has the distinction of being the first foe to battle the Shield. His greatest moment is pictured above, as the Shield is so absorbed in reading spy files that he doesn't notice approximately fifty boxes of TNT being piled up behind him. Klotz also returns in the 1984 series The Original Shield because there's nothing like battling an extremely old man to make for an exciting comic experience. (Pep Comics 001, 1940)

This bunch of clowns work for a mysterious figure who has been murdering Hollywood stars in connection with a jewel-smuggling ring. They're not in the story for very long before their employer murders them all with mustard gas - the henchman's greatest occupational hazard is, as always, the boss. Why do all these murders over some simple smuggled jewelry? Because the mastermind is Biff Crossley, himself a famous actor, and he wants nobody who can possibly tie him to the crime left alive, that's why. (Pep Comics 008, 1940)

THE SUPER-VILLAINS OF HOLLYWOOD PODCAST: The super-villainy might be a bit generic but this story is fodder for a whole season of tSVoHpod: Crossley murders two other stars (one of them inside Grauman's Chinese Theatre, using a bullet-firing compact) and tries to frame a third by pretending to be a target himself, he bumps off his own men, the Shield is there, and the whole thing ends with Crossley's defiant suicide. Sensational! This is podcasting, baby!

MINOR SUPER-VILLAIN 432: THE CONQUEROR

(Keen Detective Funnies 011, 1939)

The Conqueror is the major recurring foe of Dean Denton, Scientific Adventurer, about whom we will briefly aside: Dean Denton was created by Harry Campbell, who was also responsible for such characters as Ace of Space, Bruce Blackburn and the wretched Scarlet Seal, but also Wizard Wells and John Law, Scientiective, who form a kind of thematic triad of scientific detectives with Dean Denton.

Dean Denton is definitely the most entertaining of the three to read (with the unfortunate caveat that his are the adventures that are most riddled with racial stereotypes. The Golden Age, folks!) due partially to his former occupation as a well-known ventriloquist but mostly to his archfoe the Conqueror, who beats John Law's Avenger and Wizard Wells' collection of no-name goons hands down.

The Conqueror is actually rich guy Bolton Gates and over the course of a couple of dozen appearances he has my favourite villainous character arc: the villain of means with vast resources is foiled several times by Our Hero and ends up scrabbling around doing comparatively petty crimes for chump change. 

In his first few appearances the Conqueror has a lavish estate under which is a technologically advanced lair filled with brainwashed minions. After Dean Denton blows all that up it seems like the Conqueror is forever seeking to recreate it with schemes that place him in positions of high status: not only does he pose as divine figures to dupe tribal groups in both Central America and Africa but he founds somewhere between two to three cults:

Somewhat surprisingly, the White Crusaders, over which the Conqueror presided as the Master Crusader/ the White Master, was not a racially problematic group.

Meanwhile the Cult of Astra was mostly a way to flimflam flaky Hollywood types and blackmail their studios with the threat of religion-related work stoppages (a scheme that nets him a two-episode arc on the Villains of Old Hollywood podcast).

The third example is somewhere between a cult and his old habit of minion recruitment through mind control: he takes advantage of the conflict between the countries of Namreg and Feltia (and in case "Namreg" was too subtle for you they clash near the "Tonigam Line") to capture and brainwash both Namreg and Feltian forces. 

Even though the Conqueror gets away as per usual at the end of this scheme, it's his last appearance in comics (that I know of, natch). One can imagine his conflict with Dean Denton continuing indefinitely and why not. It's more fun than most things that might logically happen to a lone civilian trapped in the midst of two armies that he recently made enemies of. after all.

MINOR SUPER-VILLAIN 339: THE FIREHAWK

(Master Comics 004, 1940)

The Firehawk is an extortionist of the particular kind that you get in comic book stories that have to clock in at under 5 pages: a dumb one. See, he has a pretty good threat to hold over the heads of his victims in that he can seemingly set them on fire at will. Since he's operating on a movie set, he does so by mixing up batches of thermite-impregnated makeup that presumably self ignites after a set time. Like I said, a good threat. The problem lies with his timing: he dopes all of the makeup at once so that the actors are just igniting one after the other - there isn't even enough time for them to consider paying up. Plus there's the matter of his secret identity, the fourth lead in a film in which numbers 1 through 3 were set to be destroyed, which is at least a bit suspect.

For all that, I love this guy for his costume if nothing else. "Green anthropomorphic cartoon bird" is an underrepresented theme in super-villainy.

****

While thinking about this guy I suddenly had a revelation: in any given super-hero universe there would be a podcast about the super-villains of Old Hollywood. Without question! The only real question is just how many episodes would each villain generate. Sadly for the Firehawk, even though he is the genesis for the idea of the Super-Villains of Hollywood Podcast (an idea so powerful that it has propagated backward through the blog) he probably wasn't fodder for more than one episode - neither Zarrow/ the Firehawk nor any of his victims seemed especially noteworthy in a "lurid true crime podcast" sense so I' afraid that for the inaugural 

Number of episodes of the "Super-Villains of Hollywood" podcast: segment, the answer must be one.

MINOR SUPER-VILLAIN 333: THE FIVE FINGERS OF THE HAND

(Leading Comics 001, 1941)

As promised: the Five Fingers of the Hand! Though the Seven Soldiers would go on the fight more than a few teams of super-henchmen, the Fingers are distinguished by being (mostly) pre-established characters. Fun!

Big Caesar:

Big Caesar is whatever. A regular-style gang boss with a good name, elevated by being included in the gang. He appears just this once, in a scheme that involves cutting the power to Broadway and then doing a crimewave in the dark. The Crimson Avenger and Wing take him down without significant effort.

The Dummy:

Like Big Caesar, the Dummy appears for the first time in this issue. Unlike Big Caesar, the Dummy would go on to bigger things - so much so that I am declaring him a very marginal full super-villain, which makes this a cheeky Yearbook entry for his 1941. 

When first seen, the Dummy has two points of interest: 1. he is an "infamous kidnapper" and 2. he may or may not be a real, inanimate ventriloquist's dummy. Even his gang is convinced that he is a front for one of their number. 

Per his talents, the Hand sets the Dummy up with a sweet kidnapping job: he grabs various Hollywood types and leaves behind a lifelike statue in their place. The ransom is thus to "return them to life". Sadly, the sculptor that they must have had on retainer to produce the statues is not shown.

The Dummy is eventually revealed to be alive, though whether he is a very short human with a penchant for sitting still or some sort of animate wooden doll is not explored. Also unexplored: why the Dummy's back room is full of duplicates of the statues that he has already left in place of his victims, and why he has statues of the Vigilante and his second-best sidekick Billy Gunn - it's tough to imagine a scenario in which they might be useful (other than as a heavy object under which to trap the Dummy, of course).

Number of Episodes of the "Super-Villains of Hollywood" podcast: part of a compilation episode about villains who come to Hollywood to do crimes.

Body Count: 0

End-of-Year Status: Captured

The Needle:

The Needle is a recurring foe of the Star-Spangled Kid and Stripesy, a tall thin guy with a needle gun and a wild look in his eyes. Due to the fact that I only pay attention to the cover date on comics and that that never actually lines up with the release date, his first appearance in 1942 won't hit this blog for some time - he'll likely be Minor Super-Villain 555 or the like.

Anyway, he steals a ray gun and tries to blow up the Panama Canal for some reason.

Professor Merlin:

As with the Needle, Professor Merlin's first appearance doesn't take place until 1942. This is especially embarrassing because he actually dies before his first appearance, like one of those RPGs where you can die during character creation.

Merlin's scheme involves scamming gold out of a rich old prospector by exploiting his well-known fear of freezing to death, then managing to collapse a mine on himself when he uses dynamite to blow open a lock that looks like you could pick it with a small enough finger. Nobody comes out on top here: Prof Merlin dies a dummy despite ostensibly being a Smart Crook and Green Arrow and Speedy don't even play that much of a role in his downfall.

Red Dragon:

Our final Finger and the only one to have already shown up previously here, the Red Dragon is his usual terrible self: he takes advantage of an old myth in order to enslave a Native American tribe and force them to mine radium. Lucky for them that the Shining Knight turns up to actually fulfill the prophecy and  kick the Dragon's rear. It's a real evil comic book crime rendered a fair bit less enjoyable to read because of all the racism.

So: the Five Fingers of the Hand. Top notch themed name for a henchman group hampered somewhat by the ease with which they were all taken out. Any time the Hand shows up he should have a different iteration of the Fingers with him, and that's that. Bring 'em back, at least in name.

MINOR SUPER-VILLAIN 296: THE HUNCHBACK OF HOLLYWOOD

(Captain America Comics 003, 1941)

The Hunchback of Hollywood is a villain in the same classic vein as Clayface: dressing up like a horror character and using murder and fear tactics to shut down a movie production. Also like Clayface, the production is within the hero's range due to the studio taking advantage of the castle-rich landscape of the Eastern US 

(the castle in question is said to be near Camp Lehigh, home base of Steve "Captain America" Rogers and Bucky "Bucky" Barnes so this isn't one of the famed castles of New York State. But it might have been originally - Camp Lehigh's official location is in Virginia, now, but a lot of the stories imply that it's closer to NYC, with officers commuting to homes in Manhattan, soldiers casually visiting Coney island etc. I have no idea when the location was finalized and it's very frustrating!)

Much as Clayface was actually Boris Karloff-adjacent horror star Basil Karlo, the prime Hunchback suspect is the even more on-the-nose Goris Barloff.

Unlike Clayface, the Hunchback is not Barloff at all, nor any other crazed horror actor. Rather, it's Craig Talbot, star of the film and dues-paying American Nazi, who objects to the film's anti-authoritarian allegory, ad that's why unlike Clayface you've never heard of him: because he's a filthy Nazi.

Number of Episodes of the "Super-Villains of Hollywood" podcast: A two-part episode structured like a whodunnit, with the first running down the careers of Barloff and Talbot and a few other weakly defended suspects and the second detailing the actual crimes.

MINOR SUPER-VILLAIN 222: THE PHANTOM DUELIST

(Doll Man 001, 1941)

The Phantom Duelist is and example of a couple of my favourite comic book story setups: 1. the eerie local legend used as a basis for crime and 2. the murder mystery with a whole passel of suspects. Plus there's a dose of "aren't Hollywood people weird!" for flavour.

So: movie producer Reynolds decides to drum up a bit of publicity by buying a haunted castle and importing it to Hollywood. The only problem: Reynolds is a bit of a shitheel and so is promptly murdered by someone posing as the castle's resident ghost, the Phantom Duelist.

The suspects: 

-Rocky Perrone, gangster who Reynolds refuses to pay off a gambling debt to

-Pierce, Reynolds' leading man who he antagonized and threatened to blacklist

-Marrow, who wants to marry Reynolds' leading lady but is unable to because of her contract

The murder happens at a costume party and Pierce is almost a self-frame due to showing up as the Phantom Duelist. In the end though, the murderer is revealed to be... a fourth guy! Steve Morton the publicity agent who Reynolds has apparently been blackmailing for the past 25 years!

So a couple of points off for presenting an unfair mystery (and another couple for so many of the characters not having first names) but over all top notch comic book tomfoolery.

Number of Episodes of the "Super-Villains of Hollywood" podcast: One episode only. SOme prurient attention paid to Reynolds' shitty doings.

SUPER-VILLAIN YEARBOOK: CLAYFACE 1941

Detective Comics v1 049, 'Clayface Walks Again!'

Clayface's 1941 adventure starts with two asylum guards learning a very important lesson a bit too late: if you exist in a fictional setting, never transport a homicidal maniac in a storm. It's as true in a 1941 comic book as it was in any of the Halloween movies.

Sadly, they remain unaware of the laws of narrative causality right un until their demise while Basil "Clayface" Karlo, protected by those same laws, escapes into the night to kill a man for theatrical makeup.

We are finally treated to a clear look at the Clayface mask and it's appropriately horrible.

Since it's his second outing, there's no need for the mystery element of the story, which ends up making this a far less bloody yarn than the last one: Clayface sets out to burn down his former movie studio but since this is a very predictable thing for him to do he is interrupted by Batman and Robin. He does almost manage to kill the two of them, but they get out of it as you might have guessed.

From here on Clayface focusses his efforts on Julie Madison, as-of-this-issue former fiancé of Bruce Wayne and newly famous actress rebranded as "Portia Storme" to fulfil the whims of 1940s Hollywood. It's never spelled out so his motivation is equally likely to be that she escaped him on his last murder spree as it is that her death would prove most harmful to the studio. 

Clayface is eventually reapprehended after a complicated slight-of hand trick that substitutes Robin for Portia and relies on him using only piercing weapons to the torso. It pays off, so who am I to quibble or suggest that Portia simply wear the life preserver from the start?

That's it for Clayface for about thirty years!

Number of Episodes of the "Super-Villains of Hollywood" podcast: Just one episode for 1941, I'm afraid. It's an eventful time but not enough to sustain more than an hour and half of podcasting.

Body Count: 1

End-of-year Status: Captured

SUPER-VILLAIN YEARBOOK: CLAYFACE 1940

What did Clayface get up to in 1940?

Detective Comics v1 040, 'Untitled' **First Appearance**

I'm not surprising anyone when I reveal that Clayface is actually Basil Karlo, an oldtime horror movie star who tanked his own career and couldn't take it when they started remaking his old movies, thus necessitating a costumed murder spree to ruin the filming of Dread Castle.

Batman and Robin get involved because one of the prospective victims is Julie Madison, Bruce Wayne's fiancé (in her last appearance as his fiancé). Much of the action is not, in fact, Clayface-related but rather concerned with the actions of various Clayface suspects such as drunk director Ned Norton, variously-gruntled actors Kenneth Todd and Fred Walker, and Gangster Roxy Brenner.

Clayface himself wears the common purple hat and cloak combo of an early Batman villain. He doesn't actually spend much time on-panel, so the degree of grotesqueness of his makeup is hard to judge, whatever the narration boxes say.

And finally the reveal: Basil Karlo did it and he did it because of horror movies. He might just be the first character in comics to get the Don Quixote "the problematic media of the day is the real villain!" origin for his madness but he certainly won't be the last.

Number of Episodes of the "Super-Villains of Hollywood" podcast: Basil's got to be an entire season all by himself, doesn't he? If we're dealing strictly with the events of the year 1940 we're talking two episodes on his rise and fall, followed by one about the actual Clayface debut.

Body Count: 2

End-of-year Status: Captured

MINOR SUPER-VILLAIN 164: THE MASKED MAN

(Batman Comics 008, 1941)

I got pretty excited when reading this story, as it concerns murders among the cast and crew of a play called the Superstition Murders and there's a lot of kerfuffle about bad luck and jealousy and drunk has-been actors and I was hopeful that it might boil down to my favourite motive for supercrime: mad art. Just as mad as mad science but it really makes you think, you know?

Sadly, the real motive for the crimes is simply base capitalism: if playwright Johnny Glim (good name) can tank the production, rights to the script revert to him and he can sell it to Hollywood for beaucoup bucks. But while you know I am all in favour of creator-owned properties I cannot stress enough that multiple homicide is not a good way to go about securing them and his capture by the Batman is a righteous one.

Number of Episodes of the "Super-Villains of Hollywood" podcast: Part of a poorly-received later season attempt to profile villains who almost got to Hollywood.