Showing posts with label 1941. Show all posts
Showing posts with label 1941. Show all posts

Dec 22, 2012

Jack Cole's Second DEATH PATROL From Military Comics 2 (1941): A New Paper Scan!


 THE 12 DAYS of COLE-MISS: 
 DAY 9 


 12 days of NEW Jack Cole finds! 
 Posted every day until Dec. 25th 

Earlier this year, in a moment of temporary insanity, I bought a low-grade copy of Military Comics #2, which features the second Jack Cole Death Patrol story. Currently, there's no good scan of this issue in circulation. I've written about this morbid, screwball back-up feature of Cole's in previous postings. Overall, the Cole Death Patrols rank among the most accelerated and nutty comics he ever did -- perhaps because he was cramming 15 page stories into 6 pages.

As a special holiday treat, here's a nice paper scan of Jack Cole's Death Patrol story from Military Comics #2 (September, 1941). Enjoy!








Check back tomorrow for more rare Cole finds!

Season's Bleatings,
Paul Tumey




The 12 Days of Cole-Miss Postings to Date:

Days 1 and 2: Jack Cole's Sexy Playboy Style Humorama Cartoon Covers (1950-60s)

Day3: A Rare Jack Cole Playboy Style Cutie Pie Cover (1956)

Day 4: Teasing Blonde Triplets and Mad Japanese Spies (Private Dogtag 1944)



Day 5: Stretching to Playboy: Two Rare Jack Cole Judge Cartoons (1936, 1946)




Day 6: Jack Cole Sells Silk to the Burlap Market (1955 gag cartoon)


Day 7: Two More "Lost" Jack Cole Cartoons (1955)

Jul 11, 2012

Jack Cole Gets A Cloo: Racism, Morbidity, and Great Screwball Comics

Jack Cole wrote and drew about 700 one-pages for Quality comics, mostly from about 1940 to 1945. Some of these I've shared in this blog: Burp the Twerp, Dan Tootin, Windy Breeze, and Slap Happy Pappy. It's time we rolled out the last of Jack Cole's great one-pager series, Wun Cloo, The Defective Detective. Cole did not create the character -- that dubious honor goes to Gill Fox, who also created Windy Breeze. When Fox moved up through the ranks to become an editor at Quality, Cole took over many of his one pagers.

The premise of the Wun Cloo one-pagers is to present a screwball (and unknowingly racist!) send-up of detective stories. It was likely inspired by the Charlie Chan and Mr. Moto books and movies featuring Asian detectives. I have put off posting anything about Wun Cloo because, by today's standards, the comic is painfully disrespectful to people of Asian descent. Fox and Cole don't even have the excuse that we were at war with Japan, since the character was created before Japan's attack on Pearl Harbor.

In their feeble defense, such stereotyped portrayals were pretty common place and their comic was just one of many. Here's a comic from the same period, Ching Chow:

Ching Chow by Stanley Link offered daily pearls of wisdom


Amazingly, Ching Chow, which started in 1927, lasted until 1980! 

Nevertheless, some of the Wun Cloo pages are still of interest of to Cole fans -- if you can peel away the racism, there's some mighty fine screwball cartooning. This is something that modern fans of American Golden (and earlier) comics and pop culture have become expert at -- looking past the outrageous racism in the works. Plastic Man was also a humorous version of crime and detective stories, so Wun Cloo could be seen as a testing ground for what Cole later used in his Plas stories.

In fact, months before he created Plastic Man, Cole used the concept in a landmark morbid Wun Cloo 2-pager:

from Smash 17 (December, 1940)



As he did with many of his one-pagers, Cole played with his drawings and had fun. I've read that he would start his work session knocking off one of the one-pagers as a warm-up. Whew! This was a hard-working guy! In our next example, you can see Cole indulging his love of visual patterns...

Smash Comics #20 (March, 1941)

Despite his appearance, Wun Cloo often came out on top:

Smash #24 (July, 1941)


 For some reason, Cole seems to have populated Wun Cloo with a great deal of his darkly comic imagery, as in this next page:

Smash #29 (Dec, 1941)

 This next Wun Cloo one-pager features both a rare Jack Cole caricature of Adolf Hitler, and an example of his patented face-changing trick, which Plastic Man used on numerous occasions. The page is also looney as hell...

Smash #32 (March, 1942)


That's all for now! More Wun Cloos to come at a later date!

Thanks for reading and be sure to visit my NEW BLOG all about cool screwball comics, featuring original paper scans from my collection of Milt Gross, Rube Goldberg, The Squirrel Cage, Smokey Stover and more! This is the stuff that inspired Jack Cole. You can only find this stuff at The Masters of Screwball Comics!

Stretchily Yours,
Paul TwoClueMe





Jan 9, 2012

Jack Cole's King Kola Ads 1941-42

For all his talent and ambition, it's strange that Jack Cole didn't create more advertising art.  Here's two rare 1941 ads with Jack Cole art -- perhaps the only examples of advertising art in his entire career.The ads are from late 1941 and early 1942 books published by Harry "A" Chesler, Cole's first employer in comic books. The ads are for a product called "King Kola."


King Kola was supposedly made by the King Cole Beverage Company. A  little research on the Web turns up this tidbit, from a collection of 1941 copyright notices:



Thus, King Cola equals Harry Chesler, the comic book publisher!

A similar cola caper is much more well-known. In 1941, the grandiose comic book publisher Victor Fox began to promote a cola of his own, called "Kooba Cola." Here's the back cover of an unidentified Fox comic, circa 1941:


Fox pitched the cola hard, with interior ads and schemes:


What is brilliant and delightfully screwed up about all this is that the product was never manufactured! Fox, who owned the brand, was using his publications to create demand for a product that didn't exist. He planned to license the brand to a manufacturer, thinking the pre-loaded demand would make the licensing deal attractive. As far as we know, no manufacturer took him up on the deal.

In late 1941, Harry "A" Chesler made the move from packaging comics to publishing his own. He launched four titles: Yankee, Dynamic, Punch, and Scoop. He must have seen what Fox was doing, and thought it a great idea. Chesler seems filled with ambition in 1941. he named his cola after the hoary nursery rhyme figure, Old King Cole. For years, a 2-4 page comic series had come out of his shop called "King Kole's Kourt." This series was sometimes drawn by Jack Cole, bit he didn't create it -- despite the obvious connection with his name, and other artists worked on it seemingly randomly. Here's a couple of examples of Cole's work on the series. You can see the similarity between the cartooning style in these pages and the King Kola ads.




By Jack Cole. Blue Ribbon Comics #1 (MLJ/Archie, Nov 1939) 




By Jack Cole. CoCoMalt Big Book of Comics (1938)


As far as I can tell, there were only two house ads created for "King Kola." Here's the first, appearing on the inside front cover of Yankee Comics #2:


The art, though unsigned, is unmistakably by Jack Cole. It has Cole's exaggerated perspectives and frantic energy. The comic over-reaction of the doctor and the skinny patient wearing saggy socks held up by garters is pure Jack Cole. It's the humor of impotence he would soon wield in Plastic Man. The name on bag, 'Doc Smith," may be a tribute to science fiction writer E.E. "Doc" Smith, who had published his highly popular "Lensman" series in 1941-42 pulps (and we know Cole read and enjoyed the pulps). 

I don't think the lettering in the speech balloon is by Jack Cole. We do often see a jagged edged balloon in his work, but the lettering isn't his style. It's my guess he left it blank so Chesler could fill in whatever slogan he decided upon.

This advertising art is more polished than Cole's usual comic book art, and he may have lavished time on it. Perhaps he was paid well for the art, and that was a motivation. Here  it is looking even better in color, from the back cover of Dynamic Comics #2 (circa 1942):



One wonders if Jack Cole himself colored this ad. It's got a certain something to it. Here's the second King Kola ad, this one from the back cover of Yankee Comics #3 (1942), also with nice coloring:



Again, the ad is unsigned, but there's no doubt in my mind this is art by Jack Cole. The gasoline splash drops, the cartoony figures, the lettering, and the overall tight composition. The concept of a gag cartoon approach is also very much Jack Cole, who jam-packed his work with creative ideas. In this case, the very idea of drawing a service station team swarming over a customer and car is so very much like Cole. 

The ads appeared long after Jack Cole had left Harry Chesler's studio and was working at Quality Comics. In fact, it's entirely possible that Jack Cole drew the art for these ads close to the same time he created the first Plastic Man story (which was published in August 1941). However, maybe Chesler lined up the ads earlier than this, perhaps even when Cole worked for him. We know from the copyright notice that he filed the paperwork on October 1, 1940, about a year before he rolled the ads out.

As far as I can tell, King Kola was never manufactured. After these two ads, it seems that Chesler dropped the scheme. Still, we can't be certain. Here's a collector's photo in which the middle bottle of King Kola is dated from 1939. 


The bottles look very different from the one in the ad, and I doubt that this is Chesler's product.

In fact, one wonders if Chelser really intended to sell the licensing at all, since his ad so clearly defined the look of the bottle. It seems odd that he would pick such a distinctive-looking bottle instead of letting a manufacturer/distributor design the packaging.Could it be that Harry Chesler planned to make the cola himself? Or, perhaps he was merely running fictituous ads in his magazine to perhaps attract other advertisers. One wonders if he was onto Fox's scheme, or if he saw soft drink ads suddenly appearing on Fox's comics and thought, "Hey, if he can get an advertiser to go for a full page color ad, so can I!"

In any case, whatever the true story of King Cola may be...

These are rare examples of Jack Cole advertising art and delightful to peruse. Perhaps, if he had lived longer, Jack might have been lured into the lucrative world of advertising, as many of his peers were in the late 1950s, early 1960s. The mind reels...

Sep 7, 2011

Jack Cole: Colorist - Rare Golden Age Original Art (1941)

You just never know what you'll find when you troll the Web. This image has been up on Comic Art Fans for 5 years, but I just now discovered it! Sheesh! Many thanks to the site, and the art's owner for sharing this extremely rare piece! This is very likely the ONLY known page of 1940's superhero art by Jack Cole known to exist. It's the splash page from Silver Streak #10 (Lev Gleason, May 1941).
Note the "Good Luck" at the bottom. Could that be a note of encouragement to an aspiring comic book artist from Jack Cole himself? It's known that many comic book artists of the time gave pages of their original art to young visitors and fans as gifts. 

Even more interesting is the fact that this page is hand-colored, presumably by Jack Cole himself. Did Cole, before sending this page in the mail to a fan, perhaps take an hour or two and apply some color? I have long suspected that Cole colored at least some of his stories. He liked to do everything on his stories, if possible, from writing, penciling, and inking... and probably in some cases, coloring. At any rate, this page -- if it was colored by Jack Cole -- provides a clue as to the sort of color palette Cole preferred (at least in 1941!). 



A side-by-side comparison of Cole's coloring and the published version  (above) reveals that Cole had a more interesting palette, and a very different vision of the visual impact of the art than what was published. The published page has a lot of red and yellow... more garish primary colors. It is also interesting to note that, while the published page's splash panel treats the US map background as merely a non-distinguished field of light orange, Cole gives it a lighter color, making it an art element in the composition. It must have been frustrating for Cole and other artists of the time to create layouts and have the impact of them reduced by slapdash coloring. 

I've read that most of the stories at Quality Comics, Cole's main home for most of his career in comics, were colored by the color-blind publisher himself. 

The Claw vs. Daredevil story is pretty cool, by the way. We've published it on this blog in black and white, but since we are looking at color... here it is -- in its amazing, bizarre entirety in full, glorious (if sloppy) color, from a recently surfaced nice paper scan. Enjoy!









Aug 6, 2011

A Million Years Before Jack Cole's Playboy Comics - Dickie Dean and the Time Camera (1941)

Story presented in this post:
Dickie Dean (story, pencils, inks, and lettering by Jack Cole)
Silver Streak Comics #10 (May,1941 - Lev Gleason)


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Long before he became Playboy’s first premiere cartoonist and comic artist, Jack Cole started out in the four-color world of comic books. Most famous for creating Plastic Man, Cole also created numerous comic book series that are all but forgotten today. One of my personal favorites is DICKIE DEAN, BOY INVENTOR, which appeared in Silver Streak Comics. DICKIE DEAN sprang from Jack Cole’s own boyhood, in which he invented various gadgets, including a way to listen in on his big sister’s romantic phone calls. As you can see in the first 3 Dickie Dean stories (published in this blog, with commentary here), Cole started the series out in his hometown of New Castle, Pennsylvania.



Here, we present Jack Cole’s final Dickie Dean story, a wild, surreal crime story in which the past overshadows the present until Dickie’s time camera invention reveals the truth.









At it’s best, Jack Cole’s early work had a poetic, winsome quality, and was as bizarre as it gets. This was never more so than in his Dickie Dean stories, which were very likely fueled by melancholy memories of his childhood, contrasted with fantasies of what it could have been. Here, Dickie has a camera that looks into the past. In the first Dickie Dean story (you can read it here), he invents a similar device that reveals past crimes. The criminal's advantage? He removed his hair by electrolysis. Was any early comic book series ever more prosaic?

Cole gets a lot of mileage from Dickie’s sidekick comic relief character in this story, Zip, who at times prefigures the creation of his finest character, Woozy Winks, Plastic Man’s sidekick.
The art in this story is rushed, but still has moments of storytelling brilliance. Look at the bottom tier on the first page and see how Cole creates a sweeping cinematic camera movement from right to left and then into the sky.

One of the hallmarks of Cole’s imagery and storytelling is his gift for putting speed on paper. This story contains an early, iconic image of a car zooming into action in the climactic last page of the story.

On page one, Cole zoomed us into the air high above the characters, and on the last page, he shoots the speeding automobile from below. We see this image time and again in Cole’s early and mid-career comic book stories. Cole was an early master of dynamic “camera angles.”

The panel in this story also includes perhaps the first image of skyscrapers framed by a big yellow full moon. Cole was also quite fond using “celestial circles” as design elements in his early work. In fact, I’ve identified this as a “Cole-ism,” and one way to spot Jack Cole’s unsigned work. For more Cole-isms, see my article here.

Cole left his beloved creation behind when he joined Quality Comics and soon created Plastic Man, a series which owes much to Dickie Dean. Apparently, the publisher saw a lot of potential in the series. Lev Gleason published numerous Dickie Dean stories in Silver Streak 11-21, and Daredevil 1, 12-41. Some of the stories were drawn the Archie comics master, Bob Montana. Here's a delightful, patriotic 2-pager, "The Defense Bond Machine," by Bob Montana that first ran in Crime Does Not Pay #22 (July, 1942 - Dickie's only appearance in this title). I think it captures the spirit of Cole creation, showing that Montana was one of the very few people who could take a Cole creation and do it justice:






All text copyright 2011 Paul Tumey
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