Jack Cole's High Velocity Grandpa - A New Find From Circa 1938

I never cease to be amazed at Jack Cole's unmatched ability and desire to propel his characters through space. The Digital Comic Museum recently shared a rare, obscure Harry Chesler comic that contains a reprint of a terrific little 2-page story Jack did at the dawn of his career in comics, circa 1938-39 (thanks to Frank Young for this dating information). Although we don't yet know the original publication information for this story, it appears in The Komik Pages #10 (April, 1945). Incidentally, this was the only issue published! Even though it's unsigned, there's no doubt this story is written, penciled, inked, and lettered by Jack Cole. The manic energy and sheer quantity of comic graphic ideas in these two pages is unique to Cole, who embraced these elements of screwball comics and made them his own.

Harry Chesler was an early -- if not the first -- example of a comic book publisher of reprinting their own material. This is why we see a Jack Cole story in one of Chesler's 1945 books, years after Cole had begun to work at Quality. It's interesting to think that on some newsstands around February 1945, Cole's great Plastic Man comics stood alongside this unsigned reprint of his much earlier work. 

Foxy Grandpa is a character that can be traced back to early newspaper comics. How -- and why -- Chesler felt compelled to add such an ancient character to his own mix of one- and two-page comics, is a mystery. The idea of an old man doing funny things has limited appeal to me, but maybe it cracked up readers of Chesler's generation. Here's a Foxy Grandpa page from 1902, a dozen years before Jack was even born! I'm not sure who drew this.

In this episode, Foxy Grandpa cleverly foils two Katzenjammer-style kids and turns their own prank against them. Maybe this was wish-fulfillment for an older generation. You can find more of these enigmatic old FG comics, plus a ton of other amazing old comics at the Barnacle Press website. In any case, somehow, Foxy Grandpa has become an indelible part of our folk culture. A few years ago, I was startled to see a reference  top Foxy Grandpa in a Spongebob cartoon (One Krab's Trash) I watched with my son Reid:.

 

While others wrote and drew Foxy Grandpa at the Harry Chesler studio, Jack Cole's version of the character is uniquely his, imbued with superhuman energy that at times seems to rival Superman's and The Flash's powers. Check out the 1939 Foxy Grandpa story I posted earlier here, where he runs up and down the side of a mountain! "The body's old, but the motor's in high gear!" sez Foxy Grandpa. 

In today's addition to our digital archive of lost gems form the Cole-mine, Foxy Grandpa careens and ricochets across a frozen lake like a bullet shot from a gun. Cole clearly was consciously injecting high velocity into his cartoons to distinguish them. I think he was probably hugely influenced in this by the screwball school of comics, particularly Bill Holman's madcap newspaper comic strip Smokey Stover. (By the account of one of Cole's colleagues, Craig Flessel, Cole was a fan of Smokey Stover). See my earlier post here on Holman's influence.

I think Cole loved the speed and density of screwball comics, and created his own unique mix in the structure of a longer sequential graphic narrative. His breathless Plastic Man stories went up to 15 pages. Here, early on, he's experimenting with extreme speed in a two page story.

Foxy Grandpa 1 by Jack Cole - Komik Pages 10 (April 1945)

Foxy Grandpa 2 by Jack Cole - Komik Pages 10 (April 1945)

There are many remarkable aspects to this little dose of dizziness. Check out the car in page one, panel two -- I've observed before that Cole's cars rarely had their wheels on the ground. You see this a lot in his first run Midnight stories.

Page one, panel seven offers a terrific low-angle "camera" view, which is reversed in the first page of the next page. Page two, panel four shows us Foxy Grandpa underwater, and is a wonderfully abstracted, wordless panel on its own-- somehow Cole perfectly conveys the feeling of diving into dark water. He sure packed a lot into this throwaway story! It's terrific that we have the chance to appreciate it some 70 years later!

Cole's Influences - The Landon School of Cartooning

Jack Cole first learned cartooning through a correspondence course mailed out of Cleveland, Ohio called the Landon School of Cartooning. When he was 15, he saw an ad in a magazine for the course. It probably looked something like this ad, from an early 1920's issue of Popular Science:

According to Jim Steranko's History of Comics 2 (an excellent book, worth searching for), Cole asked his father, who was in the dry good business, to pay for the course. When his Dad refused, the endlessly inventive (and stubborn) Cole hollowed out one of his text books, smuggled sandwiches to school, and saved saved his lunch money until he could pay for the course himself.

The Landon School of Cartooning can be said not only to be a major influence on Jack Cole, but also on American comics in general. Artists known to have taken the course include Roy Crane, Milt Caniff, V.T. Hamlin, Ethel Hays, Bill Holman (see our post on Holman's influence on Cole here), E.C. Segar, Chic Young, and Carl Barks (who only completed four classes, but nonetheless acknowledged its influence on his development as a cartoonist).

In 2008, a facsimile edition of this seminal body of knowledge was published, but has since gone out of print. You can find some of the text on the first few pages of this reprint edition here.

Cole's early published comic book artwork owes a great deal to his lessons in the Landon School of Cartooning. You can see a similarity in style between the pages below, a selection of humorous fillers from 1939, and the drawngs in the ads for the Landon School, above.

With the next 2-3 years, Cole would grow out of this pie-eyed style of cartooning, sometimes known as the "bigfoot" style, but a flavor of this style would stay with his work for the rest of his career.

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

Inside front cover

Blue Ribbon Comics #1 (Nov. 1939, MLJ/Archie)
FOXY GRANDPA

A typical characteristic of Cole's early funny comics is the white "pie-slice" in the eyes of his characters. The point of the slice is always in the same direction the characters are looking. Carl Barks used this effective technique throughout his work.

Blue Ribbon Comics #1 (Nov. 1939, MLJ/Archie)
KING KOLE'S KOURT

Here, Jack Cole uses the George Nagle pen name. Another KING KOLE'S KOURT was published in this blog here.

Top-Notch Comics #1 (Dec. 1939, MLJ/Archie)

Take a look at the great faces on this page!

In 1937, probably with more time on his hands and less money than he desired, Cole himself created his own quickie cartooning course, modeled on the Landon School (and reprinted in Steranko's History of Comics 2). In his course, Cole condenses a vast amount of information and advice into a single sheet of paper. My guess is it was an attempt at generating income. It was also a marvelous summing up of what he had learned about the basics of cartooning.

In his advice on drawing faces, Jack Cole writes: "Another ideal way of learning expressions is to make faces in the mirror. I used to stand in front of my dresser for hours, laughing, pouting, frowning, sighing, etc. all the while recording on paper the characteristic wrinkles."

Nice penguins, too!