New Midnight Collection - Just Released!

As part of my ongoing Jack Cole Research and Restoration project, I've just released...

The Complete Jack Cole Midnight, Volume 2
ONLY $3.99!

I'm very excited to share this collection, as it contains some amazing stories and art by the great Jack Cole. In this book, Midnight encounters insane Nazis in Iceland, a lost tribe in the Florida Everglades, real-life Hollywood starlets, human-made freaks, and even the Devil himself!

This 115 page eBook in .CBR format provides all the Midnight stories of 1942, along with all the covers of Smash Comics from 1942, including two great covers by Jack Cole himself! In addition, the book includes two of Jack Cole's extremely rare Dickie Dean-Boy Inventor stories from 1941, which show Cole's rapid development in 1942.

The book includes a 5-page introduction and 14 pages of detailed story notes by me. I've taken some time to create attractive layouts and organize my analysis so that it's informative and enjoyable to read (hopefully!).

In 1942, Jack Cole came into his own as a master of the medium of sequential graphic storytelling. No longer jumping from publisher to publisher, Cole had found a stable berth at Quality Comics, and even moved to Stamford Connecticut, where the Quality offices were located (my intro includes a rare photo of the building that housed the Quality offices). Within this framework of stability and rising success, Cole developed confidence and deepened his skills.

However, even as Jack Cole and American comic books gained a solid footing in 1942, the world was facing the de-stabilizing spectre of Nazi Germany and Hitler. Even though Jack Cole was not political, the menace of the Nazis pervades his work of 1942. In one story, Midnight goes to Hell and rouses the "inmates" there to overthrow a Nazi invasion of the United States.

This book also includes 3 extremely rare anti-Hitler cartoons from Picture Scoop, October 1942. This was a leftist magazine published by Cole's former employer, Lev Gleason (Silver Streak, Daredevil, Crime Does Not Pay).

I've spent weeks restoring these pages to make them as clear and readable as possible. My goal has been to remove the obstacles of age and deterioration so that these amazing stories can be easily enjoyed by all.

I have some great new Cole finds to share soon. Stay tuned!

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)

$1.99
The Complete Jack Cole Dickie Dean Stories
A 73-page .cbr format eBook featuring all eight of Jack Cole’s haunting and darkly poetic Dickie Dean stories. Includes Cole's Silver Streak Covers!
ONLY $1.99 – Buy now and support Cole’s Comics!
LIMITED TIME OFFER!

Please note: Orders filled within 24 hours. Because this file is large, it is necessary for me to email you the file myself in order to avoid costly storage and data transfer charges. This keeps the price very low for you, but please be patient as I will need to check email and fill orders manually. Thanks a million for supporting this blog!
 

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

Dan Tootin 1941-46: A Selection of Jack Cole’s Madcap Masterpiece

A liquid that can make a mountain out of a mole hill. A chemist that can jump into a microscope and battle germs. A spaceship made from a giant loaf of bread. These are just a few of the astonishing imaginative leaps Jack Cole took in his unknown series of one-pagers featuring DAN TOOTIN – THE MADCAP CHEMIST.

Of the five one-page series Jack Cole wrote and drew in the 1940’s, DAN TOOTIN ( a play on the phrase “Darn Tootin” which means “you’re right.”) comes the closest to matching the brilliance of his most famous creation, PLASTIC MAN.

DAN TOOTIN is a pure Jack Cole creation. Cole inherited some of the one-pager series (such as WINDY BREEZE and SLAP HAPPY PAPPY) and was forced to work within the constraints of another artist’s basic premise. With DAN TOOTIN, Cole let loose and the result is a staggering stream of surreal bon bons.

Brilliant inventors regularly appear in Cole’s work from the early series DICKIE DEAN, BOY HOOD INVENTOR, to Doc Wackey in Midnight, to various characters in PLASTIC MAN, to “The Monster They Couldn’t Kill,” his very last comic book story. In DAN TOOTIN, Jack Cole immerses himself in the world of a magical chemist.

The series had its own visual flavor, often with sophisticated coloring and playful typography.

The series appeared in most issues of Hit Comics 9-46, as well as a few other places. Here is a selection of this remarkable series, presented in chronological order:

Hit Comics #9 (March 1941)
The first appearance in the series is already invested with great originality and creativity. Cole adds a small 5th tier to depict a hilarious Jeckyl and Hyde transformation. This page has the same energy of the first PLASTIC MAN story.

Hit Comics #10 (April, 1941)
Most of the examples of this series I have are from low-quality micofiche scans. However, given the rarity of these brilliant pages, it seems worthwhile to publish them.

 

Hit Comics #12 (June 1941)
In a word, WOW. Beautiful coloring (surely Cole colored this page), elegant visual gags (blank verse, indeed), lovely drawings, and a fantastic capper gag.

Hit Comics #13 (July, 1941)
This page is fabulously lyrical with the conceit of escape into a giant loaf of bread. I’m reminded of Roald Dahl’s James and the Giant Peach (which also resembles the amazing Cole story from Police Comics #10 in which a a criminal gang roams the world in a giant 8-ball).  “A world of your own made of bread. Hop on and sail away from this wicked earth.” At its best, Cole’s work operates on multiple levels of comedy and tragedy all at once.

 

Hit Comics #16 (October 1941)

Check out that accordion-fold smash in panel 7, and the foreshortned foot in the last panel. Cole often drew the bottoms of shoes.

 

Hit Comics #19 (Jan 1942)
Panel 7 made me laugh out loud.

 

Hit Comics #20 (Feb 1942)

 

Hit Comics #25 (Dec 1942)

Cole’s writing, always good, is particularly brilliant in this page. Not only does he use wild slang and outrageous puns, but he makes it rhyme, rivaling Dr. Seuss and Edward Lear. Cole is was most likely influenced by the greatest newspaper screwball strip of all time, SMOKEY STOVER (see my article on this connection here).

 

Hit Comics #26 (Jan 1943)

 

Hit Comics #27 (April 1943)
A rare early use in comics of the multiple-tailed speech balloon, a device that Little Lulu master John Stanley would use to great effect in his work.

 

Hit Comics #29 (Sept 1943)
The last panel makes me think of Robert Crumb!

 

Hit Comics #30 (Nov 1943)
The impossibly buck-toothed weeper is a patented Cole caricature that shows up in some of his PLASTIC MAN stories.

 

Hit Comics #34 (Winter 1944)
One of numerous references to suicide that appear in Jack Cole’s comics. This page has an edge to it. Cole’s style has evolved, and so has the tone. 

 

Hit Comics #37 (Autumn 1945)
This story, in which a character humorously comments on his own actions as he performs them is very Kurtzman-like.

 

Hit Comics #39

Hit Comics #46 (May 1947)
The last Dan Tootin to appear in Hit Comics is a beauty in both layout and writing. Cole really sunk his, um, TEETH into this page.

 

All Humor #15 (August 1949)
There may be others, but this is the only non-Hit Comics example of the series I have found. This story is a companion piece the Cole’s amazing PLASTIC MAN dream story from Police Comics #89 (April 1949)

BURP THE TWERP – Jack Cole’s Other Comic Book Superhero Satire – The first 20 episodes

Sometime in 1941, Jack Cole had the brilliant and visionary idea to make fun of comic book superheroes, a genre not even 5 years old at the time.

All at once, three mind-blowing series exploring this idea of this idea sprang from Cole’s mind into existence, beginning an arc of invention that would peak about 10 years later with Harvey Kurtzman’s MAD parodies. The three series were PLASTIC MAN, DEATH PATROL, and the almost unknown BURP THE TWERP.

Here’s the amazing first appearance of BURP THE TWERP:

Episode 1 - Police Comics #2 (Sept. 1941)

 

There’s more entertainment in this single page than in most of the 5-7 page Quality filler stories. I count no less than 13 jokes in this one page alone. As if the creation of a new anti-hero and a bushel of jokes wasn’t enough, Cole also throws in one of his many self-portraits – this time as “Ralph Johns,” a pen name he frequently used for his one-page stories. (Cole’s middle name was Ralph, and Jack is a version of the name “John”)

As a kind of carry-over from the earliest comic books, which were collections of 1- and 2-page shorts, Quality’s comics usually included a couple of one pagers. During the 1940’s Cole wrote and drew hundreds of these (see my earlier postings on WINDY BREEZE).

Except for a handful of episodes, Burp’s one-page stories all appeared in the back pages of Police Comics. He functioned as a kind of counter-weight to the PLASTIC MAN stories that appeared in the front of the book.

While Plastic Man could shape his body into any object or person, Burp had an infinite number of wacky super-powers. Sporting the same red/black/yellow costume colors as Plastic Man, Burp’s physique was anything but heroic: bulging stomach, spindly legs, gray mustache, and bald head.

At a time when the comic book superhero was almost a religious icon, Cole’s parody was outrageous.

Cole filled the early E.C.Segar inspired BURP pages with loose, crazy drawings, wild puns, surreal/stream-of-consciousness gags (another connection to MAD and Will Elder), and satirical wackiness surpassed only by his PLASTIC MAN stories.

From September, 1941 to April, 1949 Cole published a total of 59 one-page BURP THE TWERP episodes. Each one was touched with brilliance. Here’s a run-down of the BURP pages:

September, 1941 – July, 1946: 
Police Comics #2-55 (Episodes 1-54)

Winter, 1946:
The Barker #2 (Episode 55)

Winter, 1946:
Blackhawk #13 (Episode 56)

Autumn 1947:
Blackhawk #16 (Episode 57)

April, 1948:
National Comics #65 (Episode 58)

April, 1949:
Blackhawk #24 (Episode 59)

June, 1949:
Blackhawk #25 (reprint of episode 55 from The Barker #2)

The last 3 BURP episodes were re-published earlier in this blog here, to celebrate the publication of THE TOON TREASURY a massive, hallucinogenic tome of comic book work, compiled and beautifully shaped by Art Spiegelman and Francois Mouly, which reprints 3 BURP pages.

Here are the rest of the first 20 episodes of BURP THE TWERP, with occasional notes.

Episode 2 - Police Comics #3 (Oct. 1941)

It was (and is) common practice to draw the title art of a series once and then paste in photostats of it in each new story. Cole drew the titles of this and all his other stories fresh and different every time!

Episode 3 - Police Comics #4 (Nov. 1941)

First known “photograph” of an instinct! To my eye, it resembles E.C. Segar’s Jeep, from POPEYE. How interesting that Cole said “photograph,” and not “drawing.” In his mind, these were little films more than static drawings…

 

Episode 4 - Police Comics #5 (Dec. 1941)

Comedic prizefighting, another Segar/POPEYE staple.

 

Episode 5 - Police Comics #6 (Jan. 1942)

Cole echoes American tall tales such as Paul Bunyan here.

 

Episode 6 - Police Comics #7 (Feb. 1942)

The ridiculous fight between two super strong men… yet another common set up from Segar’s POPEYE.

 

Episode 7 - Police Comics #8 (March, 1942)

Jack Cole presents a lexicon of men/women relationships here. The short man’s name, “Digest,” cracked me up.

 

Episode 8 - Police Comics #9 (April, 1942)

When he flies, Superman kind of dive swims through the air in graceful arcs. Burp flies by way of an ungainly propeller that comes out of his head.

 

Episode 9 - Police Comics #10 (May, 1942)

 

Episode 10 - Police Comics #11 (June, 1942)

Gruesome comedy. Think I’ll eat vegan today.

 

Episode 11 - Police Comics #12 (July, 1942)

None of Cole’s characters fought in WWII, which Cole also sat out. In the early 1950’s, in one of his last stories, Cole brought Plastic Man and Woozy to the Korean War.

 

Episode 12 - Police Comics #13 (August, 1942)

Cole’s depiction of people from Japan in his comics was virulently racist and, sadly, typical. This time, Burp’s propeller comes out of his butt,which also has a target painted on it.

 

Episode 13 - Police Comics #14 (Sept, 1942)

The character in panel 7 looks a lot like one of the characters in Harvey Kurtzman’s HEY LOOK 1-pagers. Was Kurtzman influenced by Cole’s BURP pages?

 

Episode 14 - Police Comics #15 (Oct, 1942)

Five-letter word for Jack Cole: genius.

 

Episode 15 - Police Comics #16 (Nov, 1942)

In BURP’s world, realty twists itself to conform to puns. Burp is also, in a way, Cole’s ultimate creator of crazy inventions, although they seem to be less inventions and more organic extensions of himself (such as super ear wax!).

 

Episode 16 - Police Comics #17 (Dec, 1942)

Bizarre and unsuccessful. Also, have you noticed how loose the drawing has become? COLE’s PLASTIC MAN had become a huge success by time, and must have been making larger and larger demands on his time.

 

Episode 17 - Police Comics #18 (Jan, 1943)

Cole re-shapes his character… literally! A terrifically inventive way to draw a gag out of a change in direction.

 

Episode 18 - Police Comics #19 (Feb, 1943)

Cole loved volcanoes. See Coleism #3 in my article on some of Cole’s recurring story devices here.

 

Episode 19 - Police Comics #20 (March, 1943)

Superman is vulnerable to Kryptonite; Burp the Twerp is vulnerable to… tickling! A throwback to the earlier character design… probably published out of sequence.

Episode 20 - Police Comics #21 (April, 1943)

Cole draws FDR and Churchill. For some reason, they are at the North Pole. Cole appears to have been anti-war, and this strip certainly shows the absurdity of war in no uncertain terms. See also his anti-war story, “A Machine to End War,” (Dickie Dean in Silver Streak #4, May 1940)

Want more? Leave a comment or drop me a line if you’d like me to share the remaining 39 Burp the Twerp episodes!

Text copyright 2010 Paul Tumey