tag:blogger.com,1999:blog-71575136902349178102024-03-16T00:08:38.515-07:00STANLEY STORIESAn archive of classic, often little-known comix stories by writer/artist JOHN STANLEY--best-known as the writer of the much-loved LITTLE LULU comic books! Includes commentary on each story.Frank M. Younghttp://www.blogger.com/profile/04673579882180372546noreply@blogger.comBlogger274125tag:blogger.com,1999:blog-7157513690234917810.post-4691397782718210602022-01-19T14:10:00.002-08:002022-12-30T15:41:31.663-08:00Lulu Book Three<blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><p style="text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiB3AD1mn-pkVAHkQH2wzLg2FnNBYria_cEwKYW_WZqv_5gRArEw1qzu-To8aHwCs1CfByW_IMTAjTpBSo3QQDL5CJWKq-T23vKTrhcUHHuQbgcc6_kSYNSZa2zdtejAVoDxFoNwvEsLINBBGM74zzmfgEzl-JmzQUTy0B8wlOnwueCNZkKqdTF3G90=s400" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="400" data-original-width="299" height="400" src="https://blogger.googleusercontent.com/img/a/AVvXsEiB3AD1mn-pkVAHkQH2wzLg2FnNBYria_cEwKYW_WZqv_5gRArEw1qzu-To8aHwCs1CfByW_IMTAjTpBSo3QQDL5CJWKq-T23vKTrhcUHHuQbgcc6_kSYNSZa2zdtejAVoDxFoNwvEsLINBBGM74zzmfgEzl-JmzQUTy0B8wlOnwueCNZkKqdTF3G90=w299-h400" width="299" /></a></div><p></p></blockquote><p style="text-align: justify;">The third and final (for now) volume of Drawn + Quarterly's full-color hardcover <i>Little Lulu</i> books has been out for a bit. I'm sad that the series has been put on hiatus just as it was picking up some steam. </p><p style="text-align: justify;">Alas, the current copyright holder of the Lulu entity, who has no plans to do anything with this property, declined to renew the license. Their reasons are unconvincing and a lot of hard work done on the fourth, fifth and sixth book has bitten the dust.</p><p style="text-align: justify;">There's a chance the tide may turn back in our favor, but once a property is in the hands of a mega-corp owner who just regards it as a thing (like Charles Foster Kane with his warehouse of unseen art treasures) rather than something that makes the world a better place, like these classic Lulu stories, it's not looking too rosy that this series will continue.</p><p style="text-align: justify;">If you've not picked up this third volume, please consider getting it. I think the story selection is outstanding, with some of my top favorites from the 14-year run of the John Stanley-written iteration. When and if said megacorp decides to allow the renewal of the license, we hope to finish the six-book series. If not, well, it's been fun and at least we got the original, un-traced versions of some of the best stories from the first six years of the title back into print.</p><p style="text-align: justify;"><br /></p>Frank M. Younghttp://www.blogger.com/profile/04673579882180372546noreply@blogger.com5tag:blogger.com,1999:blog-7157513690234917810.post-7360089940479999002020-11-04T08:47:00.008-08:002020-11-04T08:47:42.185-08:00Little Lulu Book Two: "The Fuzzythingus Poopi"<p> </p><div class="separator" style="clear: both; text-align: left;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH243M341ZUitWHSp4eX1oqJtmw5r5cgXAORNHl2mYuXLjcbb_gRANXb4d8tXfW1YY7sGNYYMzuNpnQ2O8VfQMW5Ba4Jrggx2Z5XAz5unvbVBgU34jhtldBfr2zfHF0PvsdSFNMDdw56o/s1440/123101290_10222719787961723_1789807881566213628_o.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1440" data-original-width="1072" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH243M341ZUitWHSp4eX1oqJtmw5r5cgXAORNHl2mYuXLjcbb_gRANXb4d8tXfW1YY7sGNYYMzuNpnQ2O8VfQMW5Ba4Jrggx2Z5XAz5unvbVBgU34jhtldBfr2zfHF0PvsdSFNMDdw56o/s320/123101290_10222719787961723_1789807881566213628_o.jpg" /></a></div><div style="text-align: justify;"><span style="font-family: trebuchet;">It took me awhile to get my copies of this book, which premiered on September 1st, but I'm happy to say the Drawn and Quarterly production team did a splendid job on this volume.</span></div><div style="text-align: justify;"><span style="font-family: trebuchet;"><br /></span></div><div style="text-align: justify;"><span style="font-family: trebuchet;">The book has not received much publicity, but is handsomely mounted. Choosing the stories for this book, which span issues 7-26 of the original comic book series, was a challenge, because there are so many fine stories. I think we got a good mix of story types.<br /><br />Here are the contents of this volume:</span></div><div style="text-align: justify;"><span style="font-family: trebuchet;"><br /></span></div></div><p></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family: trebuchet;">Introduction
by Eileen Myles<br /><br />“The Snowball War” (<i>Marge’s Little Lulu</i> #7, 1/1949)</span></p><div class="separator" style="clear: both;"><div style="text-align: justify;">
<p class="MsoNormal"><span style="font-family: trebuchet;">“Tubby
Takes Care of Things” (<i>Lulu</i> #7)<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: trebuchet;">“Beautiful
Lulu” (<i>Lulu</i> #8, 2/49)<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: trebuchet;">“The
Cloud that Ran Away” (<i>Lulu</i> #9, 3/49)<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: trebuchet;">“Bank
Robbery” (<i>Lulu</i> #10, 4/49)<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: trebuchet;">“The
Musician” (<i>Lulu </i>#10)<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: trebuchet;">“Lulus
Diry” (<i>Lulu</i> #10) <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: trebuchet;">“Housekeeper Wanted” (<i>Lulu</i> #11, 5/49)<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: trebuchet;">“The Sea Dogs” (<i>Lulu</i> #12, 6/49)<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: trebuchet;">Untitled
story: Lulu crashes the boys’ soapbox derby (<i>Lulu</i> #13, 7/49)<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: trebuchet;">Untitled
story: Lulu has an epic desert nightmare (<i>Lulu</i>
#13)<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: trebuchet;">Untitled
story: Lulu saves the day with her police whistle (<i>Lulu</i> #14, 8/49)<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: trebuchet;">Untitled
story: Lulu helps a homeless ghost (<i>Lulu</i>
#15, 9/49)<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: trebuchet;">“Lulus Diry” (<i>Lulu</i> #15)<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: trebuchet;">Untitled
story: Lulu foils the boys’ beauty contest (<i>Lulu</i>
#16, 10/49)<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: trebuchet;">“The Deep Black River” (<i>Lulu</i> #17, 11/49)<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: trebuchet;">Untitled
story: Lulu foils a cat burglar (<i>Lulu</i>
#17)<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: trebuchet;">Untitled
story: Lulu makes a poor girl’s Christmas special (<i>Lulu</i> #18, 12/49)<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: trebuchet;">“Little Lulu” (half-page pantomime gag, <i>Lulu</i> #10, 4/49)<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: trebuchet;">“The Hairbrush Mystery” (<i>Lulu </i>#19,
1/1950)<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: trebuchet;">“The Little Girl with No Name” (<i>Lulu</i> #20, 2/50)<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: trebuchet;">“Lulus Diry” (<i>Lulu</i> #20)<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: trebuchet;">“Frog’s
Legs” (<i>Lulu</i> #21, 3/50)<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: trebuchet;">“Alvinsitting” (<i>Lulu</i> #22, 4/50)<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: trebuchet;">“Junior Detective Tubby” (<i>Lulu</i> #23, 5/50)<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: trebuchet;">“Great Day” (<i>Lulu</i> #23)<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: trebuchet;">“Rainy Day” (<i>Lulu</i> #24, 6/50)<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: trebuchet;">“The Old Master” (<i>Lulu</i> #24)<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: trebuchet;">“Tubby” (half-page pantomime gag, <i>Lulu</i> #12, 6/49)<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: trebuchet;">“The Fuzzythingus Poopi” (<i>Lulu</i> #25, 7/50)<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: trebuchet;">“Friends and Enemies” (<i>Lulu</i> #26, 8/50)</span></p><p class="MsoNormal"><span style="font-family: trebuchet;">“Tubby” (half-page pantomime gag, <i>Lulu</i> #10, 4/49)</span></p>
<p class="MsoNormal"><span style="font-family: trebuchet;">Cover
Gallery, issues 7-26</span></p>
<p class="MsoNormal"><span style="font-family: trebuchet;">Afterword:
“Sweat Equity: John Stanley’s Little Lulu Comes Together” by Frank M. Young<o:p></o:p></span></p><p class="MsoNormal"><span style="font-family: trebuchet;">The third book is in production and promises to be the best volume in the series. I hope this information is helpful and that you'll pick up a copy of this book if you've not already.</span></p></div></div>Frank M. Younghttp://www.blogger.com/profile/04673579882180372546noreply@blogger.com0tag:blogger.com,1999:blog-7157513690234917810.post-54153722979575551692020-04-06T14:43:00.000-07:002020-04-06T14:43:25.001-07:00All John Stanley Books Available as E-Books!<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOVnLt8ulFroY1P-VqDRlGMI1S1ONRTWNV_xYOEWdUelUxXl-MPlvObGeTMmwNDNS7gBV6Om6_uwcJwkChVWe_hs2IQaaVqqMGDayAWWXMqPQZOcKfn6lFcJFSiJouvDUKsD90BLa8RIg/s1600/ebook+teaser.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="574" data-original-width="1600" height="142" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOVnLt8ulFroY1P-VqDRlGMI1S1ONRTWNV_xYOEWdUelUxXl-MPlvObGeTMmwNDNS7gBV6Om6_uwcJwkChVWe_hs2IQaaVqqMGDayAWWXMqPQZOcKfn6lFcJFSiJouvDUKsD90BLa8RIg/s400/ebook+teaser.jpg" width="400" /></a></div>
I know I'm a bit late to the game, but my four books on John Stanley are now available as full-color e-books that contain all the content of the print editions, and are priced at $9.99 each.<br />
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THE TAO OF YOW: <a href="https://www.amazon.com/dp/B086SGRCX1">https://www.amazon.com/dp/B086SGRCX1</a><br />
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1940s COMICS BIBLIOGRAPHY: <a href="https://www.amazon.com/dp/B086T5QKL5">https://www.amazon.com/dp/B086T5QKL5</a><br />
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1950s COMICS BIBLIOGRAPHY: <a href="https://www.amazon.com/dp/B086SFTYKY">https://www.amazon.com/dp/B086SFTYKY</a><br />
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1960s COMICS BIBLIOGRAPHY: <a href="https://www.amazon.com/dp/B086SFJJ3Y">https://www.amazon.com/dp/B086SFJJ3Y</a><br />
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Since Amazon may not be able to fulfill print-on-demand orders due to the apocalypse, this is an immediate way to access these four books. Thanks for your indulgence of this commercial.<br />
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In other news, the second volume in Drawn + Quarterly's hardcover, full-color <i>Little Lulu</i> books, <i>The Fuzzythingus Poopi</i>, is headed to the printers. I selected the stories, which are some of the best in Stanley's career, and wrote a long-ish afterword, entitled "Sweat Equity." The color reproduction is even better than the first volume, and this handsome book will be a gift of joy and laughter to a world that needs these things!Frank M. Younghttp://www.blogger.com/profile/04673579882180372546noreply@blogger.com3tag:blogger.com,1999:blog-7157513690234917810.post-69392637282044008632019-08-20T10:01:00.001-07:002019-08-20T20:35:43.897-07:00Book Revue<div style="text-align: justify;">
Just a couple of recent developments you folks might find of interest...</div>
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I spent the past two years restoring Cecil Jensen's indescribably droll, dark and whacked-out newspaper comic strip <i>Elmo</i>. It ran from 1946 to 1948, and it defines the notion of a concept that came before its time.</div>
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The strip was scorned by the public-at-large, badly printed in the few newspapers that carried it, and destined to be a forgotten treasure of 20th-century American pop culture.</div>
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No longer. This 206-page 8.5" square trade paperback contains the entirety of the original run of <i>Elmo</i>, augmented with a biographical introduction by myself (which contains several examples of Jensen's editorial cartooning, for which he was best-known).</div>
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The comic strips have been painstakingly restored from the best sources I could locate, and it took a lot of hard work to bring this book to fruition.</div>
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As with my four books on John Stanley, Elmo is self-published, and can be purchased <a href="https://www.amazon.com/dp/1079107851?ref_=pe_3052080_397514860">HERE</a> for $14.99 USD. You may preview the book at this link. If you appreciate the humor of John Stanley, I think you'll cotton to <i>Elmo</i>.</div>
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And, of course, coming on November 26th is this book--the first in a six-volume series that collects my favorite Little Lulu stories and reprints them accurately for the first time at full comic-book size and in color. The first volume, <i>Working Girl</i>, features the three debut <i>Lulu</i> comics, which were John Stanley's work from cover to cover, art and story. A selection of stories from the next seven one-shot trial issues and the first six issues of the regular series rounds out the first volume.</div>
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Prior reprints of these three comics were done from amateurish tracings which Bruce Hamilton commissioned in the 1980s. Those impostors are a vulgarity, and can be discarded. This is the real deal. The production staff at Drawn + Quarterly have done these stories proud. All but one issue used in this volume comes from my personal collection--as will the bulk of the stories in subsequent books.</div>
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Each book has an afterword by me discussing John Stanley's career and spotlighting a handful of exceptional stories--kind of a fancy, tangible version of this blog in its heyday.<br />
<i>Little Lulu: Working Girl</i> may be pre-ordered <a href="https://www.amazon.com/Little-Lulu-Working-John-Stanley/dp/1770463658/ref=sr_1_1?crid=3T01ZI2CVX2FH&keywords=little+lulu+working+girl&qid=1566319957&s=books&sprefix=little+lulu%2Cstripbooks%2C316&sr=1-1">HERE</a>. These books will come out on a regular schedule. I'm working on the scans for the fifth book in the series at present. It's my hope that these books will establish an adult readership for <i>Little Lulu</i>. I am honored to be the co-editor of this book series. </div>
Frank M. Younghttp://www.blogger.com/profile/04673579882180372546noreply@blogger.com12tag:blogger.com,1999:blog-7157513690234917810.post-51499020503547694312018-08-22T17:38:00.000-07:002018-08-22T17:55:55.547-07:00"The Bogyman"—John Stanley's Forbidden Little Lulu Story In Color; Farewell To This Blog<div class="MsoNormal" style="line-height: 115%;">
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<span style="font-family: inherit;">This blog is a decade old. It's a done deal, for the most part. I wanted to mark its 10 years of existence with one last special post.</span></div>
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<span style="font-family: inherit;">In addition to revising, redesigning and updating my three volume bibliography of the published works of John Stanley, I also revamped <i>The Tao of Yow</i>, my book of essays on Stanley's work. This new edition is available <b><a href="https://tsw.createspace.com/title/5859661">HERE</a></b>, or can be had at a discount by contacting me directly at eubiecat at gmail dot com.</span></div>
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<span style="font-family: inherit;">The original edition was poorly laid out, and never sat well with me. Not many people have bought the book, so I didn't think I'd upset anyone by improving it. Now, I feel it's as good as it can ever be. As with the bibliographies, these new edition are final. I will not change them unless an avalanche of new information turns up (which could happen, but is not likely).</span></div>
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<span style="font-family: inherit;">The final section of the first edition of the book featured my colored version of "The Bogeyman," the infamous banned 1950 <i>Little Lulu</i> story. I've decided to remove it from the book, so this first-ever color version, which few people have seen, is my last posting of substance on <i>Stanley Stories</i>. I hope you enjoy seeing the story in color.</span></div>
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<span style="font-family: inherit;">Preceding it is the text from the former version of the book that accompanied the story. This feels like an apt sunset for <i>Stanley Stories</i>. This blog, and all its content, will remain on the Web as long as Blogger will tolerate it. I hope it will continue to be a source of entertainment, information and interest in the coming years.</span><br />
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<span style="font-family: inherit;">Censored creative works acquire—and, in, essence <i>demand</i>—a cachet. The notion
that something is deemed too disturbing, ugly or abrasive to enter mass
distribution, in books, newspapers, films or television instantly arouses our
curiosity. What could be so bad about ___________ that <b><i>they</i></b> won’t let us see it?</span></div>
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<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Most
censorships are over-reactions, borne of a passion to protect mankind (usually
children) from a sight that might scar them or give them negative influence.
They are also side-effects of the implementation of a religious or political
ideology—an efficient way to remove concepts that go against the accepted
grain.</span></div>
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<span style="font-family: inherit;"><br /></span></div>
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<a href="https://i1.wp.com/comicbookinvest.com/wp-content/uploads/2016/09/158511_20090106201406_large.jpg?resize=400%2C582" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="582" data-original-width="400" height="200" src="https://i1.wp.com/comicbookinvest.com/wp-content/uploads/2016/09/158511_20090106201406_large.jpg?resize=400%2C582" width="136" /></a></div>
<div style="text-align: justify;">
<span style="font-family: inherit;">Among
the most often-censored mass entertainments, the American comic book was
tainted with the tar-brush of unworthiness from its inception in the 1930s.
These luridly colored, cheaply printed, inexpensive magazines—the Depression’s
update of the old “penny dreadful”—could,
for one thin dime, give kids and adults a quick popcult fix. From the start,
they were considered an affront to culture and literacy by those who obviously
knew better.</span></div>
<div style="text-align: justify;">
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Unlike
newspaper comic strips, which never suffered such scrutiny, the mass-market
comic book was considered low culture and bad art from its inception.</span></div>
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<span style="font-family: inherit;"><br /></span></div>
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<span style="font-family: inherit;">The
violence inherent in the adventure/super-hero genre helped cement comics’ low
profile before World War II. During the war, as comics became a staple of
servicemen’s daily lives, their images of violence—and racism—intensified.
Images of savage Japanese and Germans, distorted to monstrous degrees, and
ostensibly in the name of patriotism, added a stronger grotesque, primitive
edge to the mix.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_2JPm1U8EBX5oYPwoJLEUP6XlTjnNSs-fJ_soPpLDb9vPOlSmGcIuHJBC1BSp5tg6SLPyq480BHrBovTIg5x6-5pS8uqcVUWu_GiIFUAcO8hWubdrph6RGmeISF5jy7VTKxzuSm6d2cI/s1600/FightAgainstCrime12.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="578" data-original-width="393" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_2JPm1U8EBX5oYPwoJLEUP6XlTjnNSs-fJ_soPpLDb9vPOlSmGcIuHJBC1BSp5tg6SLPyq480BHrBovTIg5x6-5pS8uqcVUWu_GiIFUAcO8hWubdrph6RGmeISF5jy7VTKxzuSm6d2cI/s200/FightAgainstCrime12.jpg" width="135" /></a></div>
<div style="text-align: justify;">
<span style="font-family: inherit;"><span id="goog_1455368244"></span><a href="https://www.blogger.com/"></a><span id="goog_1455368245"></span>Post-war
crime and horror comics confirmed the medium’s reputation as a corruptor of
youth. By the turn of the decade, comics were under constant attack from other
wings of the media, and a growing number of concerned parents and politicians.
David Hadju’s 2008 book <i>The Ten-Cent
Plague</i> offers a gripping (if melodramatic) account of this dismal period in
American pop culture.</span></div>
<div style="text-align: justify;">
<span style="font-family: inherit;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: inherit;">Dell Comics exempted themselves from this witch hunt. Their comics, created and
printed by Western Publishing, hewed to a higher ground. Though much of their
product was dull, Dell had a handful of visionary creators whose works are now
revered. Their famous slogan, “Dell Comics are GOOD Comics,” blanketed their
publications’ rare incursions into violence (or, most often, implied threat).</span><br />
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwHd-XAyGWux2Zip-yTvpMOnlu7zUbZYTdUm3U2h2FtIHVoSdkc2q2YxrnkUKVPowSY7pBRAQ-jjWlNOMS2U2Dn-3HK9-x7dck0fb3N3-7bTbWHDLp-ShplqqReX4LeSLvdyt5cow0Gec/s1600/Pledge.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="189" data-original-width="267" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwHd-XAyGWux2Zip-yTvpMOnlu7zUbZYTdUm3U2h2FtIHVoSdkc2q2YxrnkUKVPowSY7pBRAQ-jjWlNOMS2U2Dn-3HK9-x7dck0fb3N3-7bTbWHDLp-ShplqqReX4LeSLvdyt5cow0Gec/s1600/Pledge.jpg" /></a></span></div>
<span style="font-family: inherit;">
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<div style="text-align: justify;">
<span style="font-family: inherit;"><span style="font-family: inherit;">From 1945 to 1959, John Stanley’s primary outlet was his popular adaptation of Marge Buell’s gag cartoon, </span><i style="font-family: inherit;">Little Lulu</i><span style="font-family: inherit;">. By 1950, Stanley and a team of artists, headed by Irving Tripp, had re-imagined the one-dimensional imp of the Buell cartoons as a savvy, determined and self-possessed being.</span></span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">With
its quiet wit and top-tier storytelling, <i>Lulu</i>
was among the few comic books an adult wouldn’t be embarrassed to read in
public. As surviving copies show, the average issue was read, re-read, swapped
and borrowed until its pages were frayed and its cover mangled. The monthly
comic book sold well, and garnered the ongoing approval of Buell, who
eventually sold the character outright to Dell.</span></div>
<div style="text-align: justify;">
<span style="font-family: inherit;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: inherit;">Buell had the right of refusal on any material she felt was beneath her
standards. She looked over John Stanley’s shoulder as he wrote and drew the
first three trial issues of <i>Lulu</i>. She
balked when Stanley stepped away as artist, in 1946, but quickly recovered as
she saw the series achieve financial and creative success. She trusted Stanley
as the custodian of her character.</span><br />
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</div>
<span style="font-family: inherit; text-align: justify;"><br /></span>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhs9vr4fZs6h4VoH6eRkl3FcKSyuZN-HH4IB6nWOkM4E7m-btJ7cNwkZ163KE9tXCyscY2t9bObj1Qm8i2BLtmV-P9MmPNwfZsaqTUAzIhL_RfG_GyH4mEq_hQJWUmyzSMopeWmfheqjo0/s1600/LL26.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="353" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhs9vr4fZs6h4VoH6eRkl3FcKSyuZN-HH4IB6nWOkM4E7m-btJ7cNwkZ163KE9tXCyscY2t9bObj1Qm8i2BLtmV-P9MmPNwfZsaqTUAzIhL_RfG_GyH4mEq_hQJWUmyzSMopeWmfheqjo0/s320/LL26.jpg" width="225" /></a></div>
<span style="font-family: inherit; text-align: justify;">Only
once (that we know of) did Stanley’s work fail to meet Marge Buell’s standards.
For the August, 1950 </span><i style="font-family: inherit;">Little Lulu</i><span style="font-family: inherit; text-align: justify;">,
Stanley wrote one in a long series of improvised fairy tales, told by Lulu, in
monthly intervals, to keep bratty neighbor Alvin at bay. These stories often
burlesqued the violence of popular culture, as filtered through the eyes of
someone too young to altogether understand it. Figures and images common to
classic fairy tales—including darker elements—are a part of these inventive
stories.</span></div>
<div style="text-align: justify;">
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">“The
Bogyman” was not considered problematic by anyone</span>—<span style="font-family: inherit;">until the finished artwork reached Marge
Buell. She was incensed. As Michael Barrier relates in his indispensable history
of Western Publication, </span><i style="font-family: inherit;">Funnybooks</i><span style="font-family: inherit;">
(University of California Press), Buell decried the story as “…ugly,
tasteless…entirely out of character…way below the high standards of the </span><i style="font-family: inherit;">Little Lulu</i><span style="font-family: inherit;"> comics.”</span></div>
<div style="text-align: justify;">
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<div style="text-align: justify;">
<span style="font-family: inherit;">Thus,
the 14-page story was shelved, and a reprint of Stanley’s first fairy-tale
story, from 1946, substituted. The story first saw print in late 1980s as part of the final set of
Another Rainbow’s 18-volume hardcover <i>Little Lulu
Library</i>. It was reprinted in the last volume of Dark Horse
Comics’ 2000s paperback black-and-white “Lulu” reprints. The story has never appeared
in color until now.</span></div>
<div style="text-align: justify;">
<span style="font-family: inherit;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: inherit;">I’ve had the notion to color “The Bogyman” for several years. I am a
professional comics colorist, among other things, and, as such, always in
search of work. It occurred to me that this story might be a nice portfolio
piece.</span></div>
<div style="text-align: justify;">
<span style="font-family: inherit;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: inherit;">More importantly, it is a chance to give this misunderstood and obscure banned
“Lulu” story a re-appraisal. It’s an example of the balance of dark and light,
in Stanley’s work, falling out of whack.</span></div>
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<span style="font-family: inherit; text-align: justify;">“The Bogyman” has much in common with Stanley’s original series </span><i style="font-family: inherit; text-align: justify;">The Hair-Raising Adventures of Peterkin Pottle</i><span style="font-family: inherit; text-align: justify;">. Stanley, its artist-writer, is often in good form there, but the stories’ tendency towards harshness, hatred and often-fatal violence are too much for many readers.</span></div>
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<span style="font-family: inherit;">A year later, fully focused on <i>Little Lulu</i>, Stanley toed the line as the creative force behind a mass-market favorite. That darkness pushes itself into the <i>Lulu</i> of 1950 and 1951—sometimes in the guise of too-frenzied physical action, but often, as with “The Bogyman,” through glimpses of the horrific.</span></div>
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<span style="font-family: inherit;">Characters perish in some of Lulu’s earlier improvised stories. “The Deep Black River,” from <i>Little Lulu</i> 17, has a body count higher than a pile of <i>Tales from the Crypt</i> comics. This violence occurs off-panel, but its volume and gravity are deeply felt.</span></div>
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<span style="font-family: inherit;">No fatalities occur in “The Bogyman,” and its title character is more comical than frightening. He is a branch of the primary John Stanley character: the full-of-himself narcissist, convinced that his view of the world is correct, despite its glaring flaws in cognitive logic. This is the foundation of Lulu’s friend (and foe), Tubby Tompkins, who, in Stanley’s hands, is among the richest figures of 20th-century popular culture.</span><br />
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<span style="font-family: inherit;">Lulu does not fear the bogyman—she brutalizes him in a two-page display of unladylike violence. That, and her misdeeds in the story within a story, seem more likely a cause for Buell’s alarm—and the story’s suppression. </span></div>
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<span style="font-family: inherit;">By 1950, John Stanley’s <i>Lulu</i> was a far cry from the hellion-with-a-halo of Buell’s <i>Saturday Evening Post</i> cartoons. In a sense, “The Bogyman” is an attempted retreat to Lulu’s behavior of old.</span></div>
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<span style="font-family: inherit;">Though framed as an imaginary story, and one with a possible moral at its end, the antics of “The Bogyman” are heady stuff. Lulu is willfully sadistic and destructive—if the story’s twists revealed this Lulu as an evil twin, it would make perfect sense. Stanley’s Lulu was crafty and resourceful—and, if so driven, able to exact fitting revenge to her malefactors. Her gleeful cruelty to her parents is jarring, even as a meta-story. Less hep readers might have been upset by this comics precursor to </span><i style="font-family: inherit;">A Clockwork Orange</i><span style="font-family: inherit;">.</span></div>
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<span style="font-family: inherit;">Lulu terrifies and torments her parents—running her mother ragged, breaking their finest chinaware, publicly humiliating her father. The inventiveness and energy of her malice is overpowering. As a last resort, after repeated threats, her parents give her over to the bogyman. In a painfully prolonged sequence, Lulu sits alone in her darkened room, awaiting the bogyman’s entrance via her closet door.<o:p></o:p></span></div>
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<span style="font-family: inherit;">She is repentant for a moment, but driven by curiosity. What could this bogyman really <i>be</i> like? The journey to the netherworlds, and possible permanent separation from the life she’s known, seems worth the answer.</span></div>
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<span style="font-family: inherit;">The bogyman’s revelation, in a large panel on the story’s 11th page, is far less disturbing than a detail beside him. The so-called monster is comical, if exaggerated. He looks like a Tex Avery character stuck in “take” mode.</span></div>
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<span style="font-family: inherit;">But, to his left, we see a ragged, miserable child curled into an almost-fetal ball, aquake with fright. This image suggests serial torments that the sleaziest comic book publishers might balk at printing. This one element suggests a horror beyond words. It is a haunting image, and it gives the reader a moment of true distaste.</span></div>
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<span style="font-family: inherit;">Lulu’s attack on the bogyman is akin to the animated Popeye’s actions, post-spinach. She kicks him, tweaks his nose, boxes his six ears and rips out his bushy head of hair from its roots. Along the way, the bogyman acquires a black eye, though that occurs off-panel. This is a side of Lulu not seen in many (if any) of her Stanley-written stories. As with her earlier misdeeds, this over-the-top violence is jarring.</span></div>
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<span style="font-family: inherit;">Lulu’s role as an activist for children’s rights fuels her assault, but its extremity and duration is troubling. We’re back in <i>Peterkin Pottle</i> territory, with the protagonist dishing out brutal violence via a daydream.</span></div>
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<span style="font-family: inherit;">At story’s end, its most surprising point is revealed: <i>Don’t ever be afraid of the bogyman, Alvin</i>. This is no moral—it’s a license for anarchy. Lulu knows it. In a rare moment of self-reflection, she congratulates herself on “a pretty good story.”</span></div>
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<span style="font-family: inherit;">The story influences Alvin to become a true hellion. Lulu’s oblivious mother, whose line “The phone! I’ll answer it!” speaks volumes about her vapidity, bears the brunt of the news. She is furious with Lulu. </span></div>
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<span style="font-family: inherit;">Lulu’s response is disingenuous. One hand on her hip, the other behind her head, she makes a hollow promise to “…never tell Alvin a story again.” The 1950 <i>Little Lulu</i> reader would have known this a lie. Lulu is not one bit apologetic for her negative impact.</span><br />
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<span style="font-family: inherit;">“The Bogyman” is a compelling story, but such a deviation from the norm that its publication might have swayed the character, and the series, off its well-established path. It is an exquisite example of the dark side of John Stanley’s psyche, and how this jaundiced side of his worldview could so easily seep into the wholesome milieu of</span><span style="font-family: inherit;"> </span><i style="font-family: inherit;">Little Lulu</i><span style="font-family: inherit;">. </span></div>
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<span style="font-family: inherit;">Thank you for visiting <i>Stanley Stories</i> over the years, and look for the forthcoming quarterly series of full-color hardcovers from Drawn + Quarterly that will reprint <i>Little Lulu</i> accurately for the first time, along with notes and critical writing by myself. </span></div>
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Frank M. Younghttp://www.blogger.com/profile/04673579882180372546noreply@blogger.com8tag:blogger.com,1999:blog-7157513690234917810.post-15220992749455986162018-07-27T10:08:00.001-07:002018-08-22T17:42:52.945-07:00All John Stanley Bibliography Books Updated and Redesigned!<br />
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<img border="0" data-original-height="500" data-original-width="400" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimOmBtU5jqm3b6_ORHx-VoPWQFu_UaBXwUMiUL5pUlVLvumFDlGXvikLZI_8DmAnIB5aZGd2rBqFq9ak2NQXb81h9eZhfPjB9yASsG4rSvWRWeRn0VlKfXhAKDAWTECyIrdvIRJ1zBIDw/s200/Stanley40sbkcov.jpg" width="160" /></div>
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If you have been holding off on purchasing these three volumes, I'm happy to announce that I've completely refurbished them all, with more competent and appealing layouts and graphics than earlier versions. This is the last revision I'll make on the series. Unless important new information on Stanley's comics career appears in the future, or someone offers firm proof that I've mis-credited anyone (Stanley included), I won't change them again.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjPb2RA8xJT3KeUc0nqxx_ORu73ai_4z6YwibRz_pauxgTX9FLZMLjNynD0Hue277K1UGeubVnyp4h1C8nH3PwB0gUz7jQJ3Pf4ZHC3zNP8gasZ-92kuyrN6mEtGQkpQwe-X2NsMGD7hA/s1600/2018+Stanley+in+50s+cov.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1140" data-original-width="900" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjPb2RA8xJT3KeUc0nqxx_ORu73ai_4z6YwibRz_pauxgTX9FLZMLjNynD0Hue277K1UGeubVnyp4h1C8nH3PwB0gUz7jQJ3Pf4ZHC3zNP8gasZ-92kuyrN6mEtGQkpQwe-X2NsMGD7hA/s200/2018+Stanley+in+50s+cov.png" width="157" /></a>These are available on amazon.com and createspace.com... but if you're interested in purchasing them from me, at a lower price than either site offers them, please contact me at <span style="color: orange;">eubiecat at gmail dot com</span> with your zip code and I'll calculate the cost for you. These books will be shipped to you directly from the printer.</div>
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At left are the new covers for the three volumes. I've substantially slimmed down their page counts by the use of smaller type and more workable layouts. </div>
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The 1940s book has 128 pp., the 1950s book 156 pp. and the 1960s book 104 pp. The interiors are full color, and still contain the superb cover scans done by Dell Comics expert Alan Hutchinson.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigYxt4F-7A3-ckvfw6YiU7Z3Q6jnc279LWAdnOS8cz2T0BK6OWEoTBhjb8KhMAqY9Ukvoa8tgVYC_r63de22j7xnAhGxo6OdlRT2MK_al9nvxUo2lzXI79a6D7i_Xeig3ZrodoPGVXuPQ/s1600/2018+Stanley+in+60s+cov.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1122" data-original-width="900" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigYxt4F-7A3-ckvfw6YiU7Z3Q6jnc279LWAdnOS8cz2T0BK6OWEoTBhjb8KhMAqY9Ukvoa8tgVYC_r63de22j7xnAhGxo6OdlRT2MK_al9nvxUo2lzXI79a6D7i_Xeig3ZrodoPGVXuPQ/s200/2018+Stanley+in+60s+cov.png" width="160" /></a>You can preview the innards of these new editions <a href="https://www.amazon.com/John-Stanley-1940s-Bibilography-Annotated/dp/1503213242/ref=pd_sim_14_2?_encoding=UTF8&pd_rd_i=1503213242&pd_rd_r=M1HB7KB66V8KPG3H3CS2&pd_rd_w=2vV3G&pd_rd_wg=cY8CL&psc=1&refRID=M1HB7KB66V8KPG3H3CS2">HERE</a>, <a href="https://www.amazon.com/John-Stanley-1950s-Bibliography-Chronology/dp/1503113213/ref=pd_sim_14_2?_encoding=UTF8&pd_rd_i=1503113213&pd_rd_r=YY5YKM438C4XR28T5MNV&pd_rd_w=MBKGA&pd_rd_wg=sSmDn&psc=1&refRID=YY5YKM438C4XR28T5MNV">HERE</a> and <a href="https://www.amazon.com/John-Stanley-1960s-Bibliography-annotated/dp/1503239128/ref=pd_sim_14_1?_encoding=UTF8&pd_rd_i=1503239128&pd_rd_r=AKAXYFG38XWKZFQFV2R9&pd_rd_w=GF6V7&pd_rd_wg=oXZ46&psc=1&refRID=AKAXYFG38XWKZFQFV2R9">HERE</a>. I think they're much improved, and I hope they meet with your liking.</div>
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Meanwhile, work continues on the forthcoming first volume of the Drawn & Quarterly-published <i>Complete Little Lulu</i> hardcover series. I'm excited about this series, and feel they will contribute enormously to getting adult readers to read John Stanley's greatest work.</div>
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More news on that project as it moves along. </div>
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That's all for now...</div>
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Frank M. Younghttp://www.blogger.com/profile/04673579882180372546noreply@blogger.com0tag:blogger.com,1999:blog-7157513690234917810.post-88373953174198987072018-05-10T08:53:00.001-07:002019-08-20T10:15:08.566-07:00Here's That Big News: Drawn + Quarterly to Reprint Little Lulu The Right Way!<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeZsrVKSx4po6n0mpnB0EoYldw-xq76gQeLBH4kmxfB3SPqRhL8gzJYwr0POKj76SQ4W-61mXjunPPG60PDSMx58qz3IHNt_8ncN_TTIlJ-3I5vxErzws7Mn0ycbmUCK5ViTYe7jKW8Z8/s1600/ssteez.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="814" data-original-width="1152" height="282" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeZsrVKSx4po6n0mpnB0EoYldw-xq76gQeLBH4kmxfB3SPqRhL8gzJYwr0POKj76SQ4W-61mXjunPPG60PDSMx58qz3IHNt_8ncN_TTIlJ-3I5vxErzws7Mn0ycbmUCK5ViTYe7jKW8Z8/s400/ssteez.jpg" width="400" /></a></div>
<a href="https://www.drawnandquarterly.com/blog/2018/05/dqhq-pr-marges-little-lulu-reprint-series">HERE</a> is the official announcement from Drawn + Quarterly... the first volume in this series, which will reprint selections from the 10 one-shot issues of <i>Little Lulu</i> (and the first six regular series issues) in color, not traced, and in a comic book-size version, as they were meant to be seen, with editorial material written by myself (story notes, short essays on various aspects of John Stanley's work).<br />
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Donate those Dark Horse paperbacks to Goodwill. You won't need them anymore. More details as the first volume comes to fruition.Frank M. Younghttp://www.blogger.com/profile/04673579882180372546noreply@blogger.com5tag:blogger.com,1999:blog-7157513690234917810.post-87765610837156830812017-11-04T08:24:00.003-07:002017-11-04T08:24:36.053-07:00Post-Mortem Post 010: The Art of Solid, "Simple" Storytelling: Little Lulu 109<div class="separator" style="clear: both; text-align: center;">
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Long time, no post-- Wait a minnit--this blog is supposed to be "dead!" <i>Finito!</i> <b>Kaput!</b> Yes and no. My major work is long done here on <i>Stanley Stories</i>, but I'm aware that it finds new readers every day. So hello, new reader(s)... Frank M. Young here. Remember that middle initial, folks. There's a lotta Frank Youngs in the world. Such a clunky name... you wouldn't think it was so darned popular!<br />
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Sometimes I'm asked to explain the appeal of John Stanley's work. It's better read than parsed out; the work speaks for itself. This is a question I've tried to answer here many times over many years. <i>Marge's Little Lulu</i> #109 was part of a recent comicon purchase. I didn't have the issue, and wasn't wild with joy at the acquisition. It's from the post-peak period of Stanley's work on the series. Many of the post-1955 issues are rather shrill and mechanical. One gets the sense that their creator approached each new issue, by this time, with a quietly grumbled, "Oh, jeez, what can I possibly do that I haven't done a million times?"<br />
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Ritual and repetition are part of John Stanley's fabric, and he was adept at sewing attractive new "outfits" for his characters from well-worn patterns. The lead story in this July, 1957 issue of <i>Lulu</i> manages a complex comedy of characters without really going anywhere. "Saturday's Child" sets the reader up for one of Stanley's comedic specialties--a trip to the beach with bratty, unruly Alvin and quixotic, self-obsessed Tubby.<br />
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Stanley did such a story in his first <i>Lulu</i> comic book in 1945. In 1957, the faithful reader of the series might have silently mouthed "oh, boy" while scanning page one of "Saturday's Child." Conflicts in the sun... hot dogs, balloons, chances to annoy other beach visitors. Arguments! Salt water! Alvin getting lost! The possibilities are endless.<br />
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Here, Stanley does a Seinfeld. "Saturday's Child" is a story about a trip that never happens. The three kids don't leave their block. And, unusual for this late in the run, they act like children. Read, and then we'll compare notes...<br />
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"Saturday's Child" is proof that John Stanley had some affection and connection with the "Lulu" cast. Using a few props (shovel, sandwich makings, cake) he fashions a comedy of character interactions that is funnier and more affecting than that trip to the beach might've been. </div>
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Stanley allows his characters to absorb aspects of each other's persona. At the end of page one, Lulu is struck by greed when she hears Alvin's mother has sent along two dollars as pay for minding her br-- er, son. Those two bucks had buying power of almost 20 dollars by today's standards. Lulu becomes Tubby for one wonderful moment:</div>
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Before the trio leaves the house, their kitchen futzing contaminates a fresh-made chocolate cake. Fearful of repercussions, Lulu panics. For one moment, Tubby assumes Lulu's usual mantle as the voice of reason--although his solution is guaranteed to fail:</div>
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Alvin is immutable. He brings chaos to the table via his skewed worldview. He imagines that he's "buried" the two bucks under the Moppets' front doormat. He fails to mention his fantasy to Lulu, who ruins the front lawn digging for the money. The aftermath of that damage is a story untold; Stanley lets that hang in the reader's mind. </div>
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In the kitchen, Alvin demonstrates his unusual cuisine choices--peanut butter and jelly with catsup suits him fine--and gets hung up on the phrase "human goat." Improv performers would deem this a "callback"--in this case, to a recent LL story "Two Foots is Feet," from issue #94 (and found in this <a href="http://stanleystories.blogspot.com/2008/09/my-pal-foot-foot-from-little-lulu-94.html">ancient post here</a>). </div>
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"Human goat"--or "humin," in Alvin-speak--is the agent of ruin for the kids' beach adventure. Alvin never fares well with bus drivers, and after the three are 86'd from public transport, Mother Nature provides the final curtain on that sand 'n' sun shenanigan. Lulu, Tubby and Alvin spend four hours staring goggle-eyed at Western movies and choffing on random sandwiches. </div>
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A good time is had by all, as Alvin reports in a breathless unspooling of the day's non-events:</div>
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This is what makes John Stanley's work appealing and important. His best comics stories are a master class in fiction writing. Nothing needs to happen-happen, if the characters, and their inter-relationships, are strong and well-wrought. The success of "Saturday's Child," among hundreds of other "Lulu" stories, hangs on the durability and reliability of the characters. </div>
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By 1951, Stanley had Lulu, Alvin and Tubby set in stone. He knew them inside out, and could place them in any situation, in any combination, and get something out of it. His investment in creating believable personae for these three characters paid off : they wrote their own stories. Put them in a room with one object and their reactions and interactions will develop a narrative. Any fiction writer--comics, prose, cinema, theater-- can learn from Stanley's work. Sometimes all you need are sandwiches and a sidewalk.</div>
Frank M. Younghttp://www.blogger.com/profile/04673579882180372546noreply@blogger.com0tag:blogger.com,1999:blog-7157513690234917810.post-47184423346528392162017-07-21T08:55:00.000-07:002017-08-04T14:01:00.066-07:00Post-Mortem Post 009: The Sweetie Pie Conundrum<div class="separator" style="clear: both; text-align: center;">
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As I've studied the output of Western Publications, and tried to determine which of their published comic book stories are the work of John Stanley, I've had my doubts about several pieces. Most of them I've included, with my reservations noted, in the three-book, decade-specific bibliographies I have self-published, and which are available on amazon.com.<br />
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The gag cartoonist and animation creator Sam Henderson brought to my attention two issues from Dell Comics' one-shot series, known to collectors and historians as "Four Color Comics." The books were based, as were almost all the Four Colors, on a popular culture property. </div>
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Nadine Seltzer's newspaper comic panel <i>Sweetie Pie</i> was one of several imitations of Hank Ketcham's popular <i>Dennis the Menace</i>, which debuted in 1951. Seltzer's feature was syndicated by Newspaper Enterprise Association, which offered its clients--mostly urban evening dailies and small-town papers--a package of comics, columns and features, which they were free to use as needed. The panel ran from 1954 to 1967, but is rarely found in client newspapers which seemed to use most, or all, of the NEA allotment.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQOFSUQxp-Z-bqZBAKuGloi0QLdPPwt0LtDbr3P8gQN8nHpAIbka6JMdSVbXEZq9Kw1uS3pL3ClqtFaYe6briBzXpa0GZ_lJD0dpSYk4OYfTwWUycFOBjKLf40RTqCys2j-CgmtxxA4oA/s1600/sweetiepie1955cover.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1600" data-original-width="1108" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQOFSUQxp-Z-bqZBAKuGloi0QLdPPwt0LtDbr3P8gQN8nHpAIbka6JMdSVbXEZq9Kw1uS3pL3ClqtFaYe6briBzXpa0GZ_lJD0dpSYk4OYfTwWUycFOBjKLf40RTqCys2j-CgmtxxA4oA/s320/sweetiepie1955cover.jpg" width="221" /></a></div>
Drawn with an attempt to achieve the elided elegance of Ketcham's cartooning, <i>Sweetie Pie</i> suffered from the main flaw of its inspiration source: a grating main character and a general mood of anger and violence. None of these brat-kid strips from the 1950s have aged well. Seltzer's derivative strip was popular enough in its day to be twice collected in paperback books, and twice in original comic book series.</div>
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The Ajax-Farrell imprint, best known for its nightmarish, bizarre horror titles, edited by the enigmatic Ruth Roche, released two all-original <i>Sweetie Pie</i> comic books in 1955 and '56. They were clearly based on the <i>Dennis the Menace</i> comic books published by Standard/Pines, which began in 1953. </div>
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The two paperback collections were published in 1955 and 1957, concurrent with the Ajax-Farrell comic books. Four-ish years later, with the panel cartoon among the lower ranks of syndicated comics, Dell's pair of <i>Sweetie Pie</i>s saw print. The first issue, #1185, has a publication date of May-July 1961. The follow-up, #1241, has a November 1961/January 1962 date. </div>
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These two books coincide with John Stanley's last few <i>Nancy and Sluggo</i> comics for Dell. Like those comics, the <i>Sweetie Pie</i>s were drawn by Dan Gormley, in a style not far from his take on Ernie Bushmiller's <i>Nancy</i>. The stories feel like John Stanley's work, with elements of his <i>Nancy</i> and later<i> Little Lulu</i> stories. Yet there's something off about them. If they're Stanley's work, they are diluted, sedated stuff. They're quieter than Stanley's work of the period, which was given to much flailing of arms, shouting and dashing about.<br />
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Stanley's comics got louder from 1956 on, with characters using their outdoor voices at top volume. From <i>Marge's Little Lulu </i>#101, 1956:<br />
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And, more appropriate to this post, a sample page from the first issue of <i>Around the Block with Dunc 'n Loo</i>, which saw print around the time of the first <i>Sweetie Pie</i>:<br />
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There is some variance in volume in the following stories--and other touches familiar to Stanley's 1950s and early '60s work. Here is a selection of stories from the two Dell <i>Sweetie Pie</i> comics. See what you think:</div>
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"Clothes Make the Dummy" uses a story gimmick John Stanley made hay with in two stories--a long narrative from <a href="http://stanleystories.blogspot.com/2013/11/dressmakers-dummy-leads-teenage-pals.html">Henry Aldrich #4</a> and a short piece from <i>Marge's Little Lulu</i> #11, 1949.<br />
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Its mistaken-identity angle--with the disguised dressmaker's dummy confused with "Shiek Aboo from Abool-Bool"--is in line with the sitcom frolics of <i>Dunc 'n' Loo</i> or <i>Kookie</i>, two original Stanley series from this period.<br />
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Sweetie Pie and Lester are almost interchangable with Nancy and Sluggo, or a blander version of Little Lulu and Tubby. Sweetie Pie is something like the earliest Stanley version of Lulu--a mischief-maker and know-it-all. As those qualities rubbed off on the Tubby character, by 1949, Stanley made Lulu a fully recognizable and more complex being.<br />
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Like some of Stanley's lesser 1950s jobs, the story feels more-or-less like the man's work, but lacks the fire and wit that informs his best material.<br />
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Two stories from the second <i>Sweetie Pie</i> continue this vibe.<br />
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"Pitcher's Plight" could be the work of the late Jack Mendelsohn, whose wit and fondness for wordplay complements John Stanley's. That's just a wild guess. Its theme of a character fixated on one trait or profession, to the befuddlement (and endangerment) of others, is a plot device Stanley used many times in his career. The story is amusing, but something doesn't gel.<br />
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"The Eyes Have It" is more in line with Stanley's work of this period in its use of a brassy, oversized adversary-- the Terrible Thwarter/Obstacle persona that I discuss in <a href="http://stanleystories.blogspot.com/2009/11/john-stanleys-world-pt-1-stylistic.html">this 2009 essay</a>. In both stories, the character of Sweetie Pie sits between Stanley's Lulu and Nancy. She is more a mischief-maker than post-1948 Lulu and has the blunt unlikability of his Nancy. She's an improvement on Seltzer's one-note mayhem tot. If this isn't Stanley's work, it's someone who followed his lead, and took a licensed property, threw out 95% of the character's shtick and reimagined the entity and its world.<br />
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Panels such as these two, taken from other stories, would cause a casual reader to think "John Stanley:"<br />
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These two books could be the work of another writer doing their best impression of John Stanley, or Stanley at a lower ebb, trying to make a living in a business that would soon chew him up and spit him out. In either case, the pair of <i>Sweetie Pie</i>s are a small conundrum stuck in an obscure corner of comic book history.</div>
Frank M. Younghttp://www.blogger.com/profile/04673579882180372546noreply@blogger.com1tag:blogger.com,1999:blog-7157513690234917810.post-12702880733852526972017-02-10T12:09:00.001-08:002017-02-20T08:22:43.899-08:00Post-Mortem Post 008: New Stanley Material Discovered--Oswald the Rabbit Four Color 39, 1944<div class="separator" style="clear: both; text-align: center;">
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In all my years of research, I somehow overlooked this early 1944 one-shot, which is now important as containing John Stanley's first two long-form stories. This is a terrible quality scan, suitable for reading, but that's about it.<br />
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With beautiful cartooning by Lloyd White, the pun-filled main story, "Easterland," is a larval early effort, but full of Stanley tells, such as slurred language/slang, dubious authority figures, quietly absurd humor (the plight of the elderly rabbit at story's start; the out-of-control jelly bean factory and its buried inventor; the little piece of hard candy that imitates train whistles, etc.)<br />
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Stanley would include similar stories in his much-loved <i>Little Lulu</i> series, from 1946 on, as told by Lulu to her hellion-brat neighbor, Alvin. With this, Stanley's first fairy-tale, we see the glimmers of a street-smart, reactive retreat from the sugary tendencies of the fairy story. His humor throws a cold bucket of water on the genre, as did Tex Avery's cartoons such as <i>Red Hot Riding Hood, Cinderella Meets Fella</i> and <i>A Bear's Tale</i>.<br />
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Here is the whole issue. I will need to revise my 1940s comicography book now! I knew this would happen someday...<br />
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<b><i>Easterland...</i></b></div>
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Though clearly written as a story for children, "Easterland" manages to be witty throughout--quite unlike the average Western Publications comic of its ilk--and anticipates many later John Stanley works. It's much of a piece with the equally long untitled lead story in the next Oswald one-shot (available for reading<a href="http://stanleystories.blogspot.com/2008/08/oswald-rabbit-and-toby-in-another.html"> HERE</a>). Only three or four people in the world will be excited about this discovery--most people disdain Stanley's pre-1945 work--but I'm delighted with this early find.</div>
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"Meets Buck Beaver" is more in line with the slapstick stories of the monthly <i>New Funnies </i>anthology. Like the golf-playing skunk in the "Johnny Mole" story in <i>Our Gang Comics</i> #12 (on sale at the same time), Buck is a sociopathic asshole. The story is an amusing trifle, with clever use made of an animation trope: vanishing cream that produces invisiblity. </div>
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Note the reference to <i>New Funnies</i>, late in the story. Tongues were in cheek when Stanley and Walt Kelly wrote material such as this. That wry distance is why their stories (and Carl Barks') remain readable and laudable 70 years after their publication, while so much Western-produced material was dead on arrival when its newsprint was white (or off-white).</div>
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<b><i>Meets Buck Beaver:</i></b></div>
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The notion that vanishing cream can be used to remove Buck Beaver's picture from the plethora of wanted posters--and that he, Oswald and Toby Bear join in this poetic ritual--is the highlight of this knockabout farce:<br />
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I'm overdue to update and re-layout the Stanley books. I knew zero about the art of layout when I first tackled those, and did not use InDesign--a stupid oversight on my part. Having to add this title to the 1940s book is a good excuse to go through the grunt-work of revising this volume. I'm leaving the 1950s and '60s books alone unless/until changes have to be made to them as well.</div>
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Pleased to share this find with you--and thanks galore to Joakim Gunnarsson for hepping me to this comic, which had blurred right past me.</div>
Frank M. Younghttp://www.blogger.com/profile/04673579882180372546noreply@blogger.com1tag:blogger.com,1999:blog-7157513690234917810.post-69992982113377414802016-05-14T19:04:00.001-07:002016-05-16T09:19:34.021-07:00Post-Mortem Post 007: Wait And They Shall Scan--a VERY Early Stanley Story from Our Gang Comics 4, 1943<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpn47BWUiIeNIG8_Z_VW07vQeIIdFhTQ8wVyEOOp7TPd9fakwHTwDEpIqRBhBd7dxAh5e3YFOTZ7HiK1dvx_xGcvxOieakdM6i3XGvB64EfnE5jGYojLgViGVTs-DqGgxJpYrPYk_1O4k/s1600/Our+Gang+004+TEEZ.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpn47BWUiIeNIG8_Z_VW07vQeIIdFhTQ8wVyEOOp7TPd9fakwHTwDEpIqRBhBd7dxAh5e3YFOTZ7HiK1dvx_xGcvxOieakdM6i3XGvB64EfnE5jGYojLgViGVTs-DqGgxJpYrPYk_1O4k/s320/Our+Gang+004+TEEZ.jpg" width="312" /></a></div>
As odds and ends surface, which is occasional here, I continue to post new things, even though this blog is officially kaput.<br />
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Until recently, <i>Our Gang Comics</i> #4, with John Stanley's second published comics story, was only available in a terrible, terrible microfilm scan. This scan (which I gladly moved to my computer's recycle bin) gave the effect of reading this 1943 comic book through heavily silted, possibly contaminated water.<br />
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This story is not written by Stanley. The prolific Gaylord DuBois penned thousands of stories for Western Publications, from its early years in the comics industry through its transition from Dell to Gold Key Comics in the 1960s. This was one of his typical early '40s jobs.<br />
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Humor and subtlety were not DuBois' fortes. Ideally suited for the fast-moving, near-incoherent <i>Tarzan</i> series, beautifully illustrated by Jesse Marsh and almost impossible to read, DuBois was wise to leave funny animal comics as John Stanley proved himself capable of writing and illustrating.<br />
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This story is a nice example of Stanley's most careful, controlled and elegant 1940s cartooning. One cannot read it without imagining how much Stanley might have improved it, had he written it outright.<br />
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A Walt Kelly cover is always worth a gander, so here's the public face of this issue of <i>Our Gang</i>:<br />
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And the story within...</div>
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Once Stanley's cartoon art has been properly savored, the flaws in the script become obvious. The two mice have constant exposition-filled dialogue, thus breaking one of the cardinal rules of great comics writing. It's a visual medium, so show it, don't describe it!</div>
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DuBois' script commits another sin: it talks down to its supposed audience of slow-learner tots. The basic concept--that the mice can't abide life inside the house, with Tom tormenting them, and fend for themselves in the outdoors (with stolen treats from the house to fortify them)--has promise, but its dullness becomes stagnant.</div>
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The sequence of pp. 37-40, in which the mice talk, talk talk about every step they take to make their home from found objects, is deadly. DuBois, like many writers for children in the 20th century, had the notion that young readers enjoy having every physical detail of an event described at length. More might have been done than the tepid series of events on these eight pages. </div>
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It's possible Stanley may have punched up what he could, where he could. One of his early tell-tale tics--sound effects in speech balloons--happens on the story's final page, and Tom's utterance of "SCROWEE!" is an ur-YOW that brings a chuckle to the reader's lips.</div>
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Mandy, the black maid, is given textbook Hollywood Negro dis-dem-das dialogue that Stanley also used, later in the series' run (see <a href="http://stanleystories.blogspot.com/2009/03/grindhouse-tom-and-jerry-from-our-gang.html">THIS STORY</a> for an example). Her vocal ramblings are more offensive from DuBois' purview. Like every character in the story, Mandy describes what she's doing, and what she will do, only in the "Ah's gwine to" mushmouth mode of black stereotypes.</div>
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Stanley's cartooning is among his slickest. His renditions of Mandy, on p.2 of the story, impress with their deft contours. Stanley's placement of areas of black is spot-on, and his pen and brush lines have real flair.</div>
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The coloring for this story has some innovative touches. The red sunburst in the last speech balloon on p.5 is a neat touch that, to my knowledge, was never repeated. Characters cast colored shadows on pp. 2-3--a practice soon abandoned, as the havoc of high-speed presses discouraged such touches.</div>
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Once again, I give public thanks to the scanners who have made so much of America's four-color history available to those who simply wish to read or study the work. A decade ago, many important comics remained unscanned--or existed in dreadful microfiche enlargements that are almost worse than NOT having the comics, period. It is easy to become spoiled by the breadth of crisp, source-faithful scans that exist on the Internet. It can't be said often enough that the work of these scanners has made it truly possible to write about comic book history. The work speaks for itself, and is seen in the context of its time, and of other comics creators' stories. The bad mightily outweighs the good, but it's important to see it all to achieve a rounded view of the history of American comics.</div>
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NOTE: I recently did one last clean-up/edit of the 1940s volume of my three-book John Stanley comics bibliography. If you've been waiting to purchase this book, now's the time. I'm finally satisfied with all three volumes. Until or unless new data appears, or educated guesses become proven reality, I am done with the books and will let them be.</div>
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See you next time--whenever that may be!</div>
Frank M. Younghttp://www.blogger.com/profile/04673579882180372546noreply@blogger.com0tag:blogger.com,1999:blog-7157513690234917810.post-38769851860851373862015-12-11T11:11:00.000-08:002017-06-24T08:50:08.069-07:00Post-Mortem Post 006: Stanley's Artistic Transition in the Early Little Lulu Comics<div class="separator" style="clear: both; text-align: center;">
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I've looked at some of John Stanley's <i>Little Lulu</i> stories so many times that it doesn't seem possible they hold anything left to discover.<br />
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The first 10 <i>Lulu</i> comics, published from 1945 to late 1947 in Dell Comics' blanket one-shot 'Four-Color' series, are a fascinating study. The style and themes of the long-running, best-selling <i>Lulu </i>comic book, launched at the start of 1948, were planted in these tryout issues.<br />
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John Stanley's three writer/artist issues (FC 74, 97 and 110) contain some of his finest early work. They show a comics creator working at the top of his early game, with promise and assurance in his purview. His take on the Marge Buell characters, which required the conversion of mute gag-panel figures into developed, vocal and interactive characters, took a few years to fully gel.<br />
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From the first "Lulu" story, Stanley's wit, and his understanding of what makes comics tick, keeps the work from seeming tentative or fumbling. The Lulu of 1945/6 may act more like Tubby, in his golden era of 1949-54, and less the voice of reason figure she becomes by decade's end, but she is a vivid, engaging character who is successfully different from the Buell iteration.<br />
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This work was done with Buell's input and blessing. She supervised, and was pleased with, Stanley's work. In early 1946, Buell might have assumed that he would work on the series, as artist-writer, in perpetuity. She got another 14 years of comics stories from him, but not in the form she first encountered.<br />
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In a recent perusal of actual printed copies of the Four-Color <i>Lulu</i>s, I've noticed how John Stanley transitioned away from his artist-writer role of the first three books. Above is an alphabet cobbled together from 1940s comics work that is certified (by others beside myself) as Stanley's, and Stanley's alone. <br />
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To Marge Buell's upset (at first), Stanley ceded the hands-on artwork of the still-new "Lulu" stories to the team of Charles Hedinger and Irving Tripp. Michael Barrier details the mild drama behind this change in his fine survey of the Oskar Lebeck-headed Western Publishing, <i>Funnybooks</i>.<br />
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It was assumed that Stanley, even early on, used his most typical method of writing comics--with vigorous pencil sketches on foolscap or typing paper, which he sent, via mail, to Western's Poughkeepsie, New York offices. As Barrier reveals, Stanley seldom made in-person visits to the offices, and preferred to work from home. He was not especially close to Tripp, or the other artists involved with <i>Little Lulu</i>.<br />
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His hand in these subsequent <i>Lulu</i> Four Colors appears to be more aggressive than historians may have imagined. Though he surrendered the task of the finished artwork, he continued to letter these stories until the last two try-out issues (158 and 165), published in the last half of 1947.<br />
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Here is a sample page from FC 115, with Stanley's lettering--and layouts more in line with his way of drawing--in evidence.<br />
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The spaciousness of the panels' layout--there is much breathing room in the boys' clubhouse, which appears to be the size of a grocery store--is in line with Stanley's earlier <i>Lulu</i>s, and with his other work of 1946/7 in general.<br />
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This continues in issue 120. I've never run the very funny story "The Newspaper Business," so here it is. Again, note the wide-open feeling--and Stanley's distinctive lettering:<br />
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There is a lot of "air" around Lulu and Tubby in this story. Close-ups are absent, and the staging most often involves full figures, with plenty of background space around them.<br />
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This literal distance from the characters belies the closeness Stanley accords them as fictitious beings. Early on, the misconceptions of how the adult world works, by Lulu and Tubby, is a constant source of charming, anarchic humor.<br />
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They seem like little children, given the enormity of the space around them. This sense will gradually leave the series as it reaches its great period of 1949-54.<br />
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There are, of course, no surviving notes as to who did what--or why. Stanley's lettering in five consecutive <i>Lulu </i>comics (115, 120, 131, 139 and 146) suggests that he may have submitted his work as penciled stories on illustration board, with his lettering and balloons drawn in ink. <br />
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Despite a small loss of the impact of his drawing style, Stanley's eye clearly informs this story. Here are sample pages from the next three issues, all with Stanley's lettering:<br />
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<span style="font-size: x-small;"><i> from "Lulu is Taken For a Ride," #131</i></span></div>
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<span style="font-size: x-small;"><i> from "The Hooky Team," #139</i></span></div>
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<span style="font-size: x-small;"><i> from "The Boy Who Came to Dinner," #146</i></span></div>
Stanley puts a slight italic note into his lettering for issue 146. These three pages, though they show Stanley's drawing style absorbed into the work of the Hedinger-Tripp team, still feel like Stanley drew them.<br />
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A sea-change occurs with #158, published in August, 1947. Stanley's lettering is gone (this is Hedinger's lettering, I believe) and the more cramped, claustrophobic staging that will run through the first year of the monthly <i>Little Lulu</i> comic, launched with the January, 1948 issue makes its debut here:<br />
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Here is a sample page from the last of the 10 Four-Color tryout issues, #165:<br />
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The last tier of the page from #158 illustrates what I mean by "cramped and claustrophobic." It's not a huge difference from the earlier issues, but it's noticeable. Perhaps this is due to the speech balloons. They get bigger after Stanley lets go of his role as letterer. That is a likely agent in this smaller, tighter feel.<br />
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It's not bad work, by any means, but suddenly the <i>Lulu</i> comics don't look exactly right. This uneasy transition will consume the 1948 stories, and continue until Tripp steps into the majority role as artist in 1949. In that year, the classic look-and-feel of <i>Little Lulu</i> blossoms, and Stanley, Tripp and the other members of Team Lulu enter the series' true golden age--one that will continue at least to the end of 1954.<br />
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P.S.: I have recently published a full-color, 8" by 10" trade paperback of some of my favorite essays from this blog, plus a couple of all-new pieces. It's called <i>The Tao of Yow: John Stanley's World</i>, and is available <a href="http://www.amazon.com/gp/product/1519241933?keywords=the%20tao%20of%20yow&qid=1449704535&ref_=sr_1_1&s=books&sr=1-1">HERE</a>. I suggest you buy copies from the re-sellers, who are simply ordering their own copies of this print-on-demand book and selling it for several dollars less than amazon.<br />
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<br />Frank M. Younghttp://www.blogger.com/profile/04673579882180372546noreply@blogger.com0tag:blogger.com,1999:blog-7157513690234917810.post-2762387707037830702015-11-21T08:33:00.001-08:002015-11-21T08:33:55.678-08:00The Tao of Yow: John Stanley's World: new book available on amazon.com<div class="separator" style="clear: both; text-align: center;">
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I am pleased to announce the publication of my new book on John Stanley.<br />
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<i>The Tao of Yow </i>includes revised versions of three of the acclaimed "John Stanley's World" essays from this blog, alongside four new pieces. All are profusely illustrated in full color with images from printed comics, production materials and rare promotional items that have sat, unseen, for over half a century.<br /><br />This 154-page, 8 x 10" softcover, professionally bound and printed through the Createspace print-on-demand program, is designed as a companion to my three-volume bibliography of John Stanley's work in comics. Since those books are mostly data, they left little room for the type of material in <i>The Tao of Yow</i>. Given the impermanence of the Web, in which a long-established site or blog can vanish overnight, it seemed like a good idea to commit some of these pieces to the printed page.<br /><br />Here is the book's table of contents:<br />
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The essay on p. 122 offers a first-time-ever full color version of a certain notorious "Little Lulu" story from 1950:<br />
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<i>The Tao of Yow: John Stanley's World</i> may be purchased on Amazon <a href="http://www.amazon.com/Tao-Yow-Stanleys-World-Essays/dp/1519241933/ref=sr_1_1?s=books&ie=UTF8&qid=1448041178&sr=1-1">at this link</a>. This will, I hope, be the first in a series of books that collect, expand and revise my work on this long-running blog.</div>
Frank M. Younghttp://www.blogger.com/profile/04673579882180372546noreply@blogger.com4tag:blogger.com,1999:blog-7157513690234917810.post-45343192054506628772015-08-05T12:36:00.003-07:002015-08-09T13:16:58.497-07:00Post-Mortem Post 005: The Second Nancy and Sluggo Summer Camp Special<div class="separator" style="clear: both; text-align: center;">
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Every so often, I get an e-mail from someone who has read and enjoyed this blog during its heyday. Though I consider <i>Stanley Stories</i> a done deal, I have done an occasional "post-mortem post."<br />
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These include material I've recently discovered, or oversights that really ought to be added, the better to make this site an exhaustive reference of the work of John Stanley.<br />
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Longtime reader B. Baker wrote recently, and requested that this second and last <i>Nancy and Sluggo </i>summer camp special be posted. It's still summer, so the time seems right.<br />
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I've written much about Stanley's Nancy comics elsewhere on this blog. As well, the 1950s and 1960s volumes of my illustrated Stanley comicography (available <a href="http://www.amazon.com/John-Stanley-Bibliography-Annotated-Chronology/dp/1503113213/ref=sr_1_12?s=books&ie=UTF8&qid=1415574143&sr=1-12&keywords=john+stanley">HERE</a> and <a href="http://www.amazon.com/John-Stanley-1960s-Bibliography-annotated/dp/1503239128/ref=pd_bxgy_14_img_y">HERE</a> on amazon.com) offer basic information on Stanley's creative involvement in this series.<br />
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This second 84-page graphic novelette is the lesser of the two <i>Nancy</i> annuals. The 1960 annual is one of Stanley's most satisfying, cohesive longer works. It's arguably the finest of his <i>Nancy</i> run--tense, edgy and amusing, with constant status shifts.<br />
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Stanley sleepwalks through much of <i>Nancy,</i> with refreshing pauses when newly-created secondary characters pique his interest. The series' humor is hard-edged and not always appealing. Character relationships are often brutal and loveless. Nancy and her Aunt Fritzi, for example, appear to barely tolerate each other's presence. Their existence together seems the result of an unspoken, half-hearted truce.<br />
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Ernie Bushmiller's original template is also troublesome, in this regard. In the Bushmiller world, events occur in one-gag increments. Fritzi's impatience with Nancy was a constant source of quick-laff set-ups. Perhaps Stanley chose to follow that, no questions asked, as it was one of the popular comic strip's backbones. That we see longer sequences, in which Nancy and Fritzi bicker, taunt and belittle each other, brings the laffs to a screeching halt. In these moments, <i>Nancy</i> threatens to become <i>Edward Albee's Comics and Stories</i>.<br />
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Sluggo is the character that most sparks Stanley the writer. As a student of social status, with a soft spot for life's underdogs, Sluggo seems to speak to Stanley. He is the lowest of his many low-status figures. He is not self-absorbed or full of hot air, like <i>Little Lulu</i>'s Tubby. Nor is he zany and free-wheeling, as in Stanley's version of Woody Woodpecker.<br />
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Sluggo seems numbed, resigned to his fate and unable to change anything in his life. He is befriended by Nancy, and other kids, but shares none of their daily comforts. He is, on one hand, a child's fantasy of independence. No parental figures overshadow Sluggo. His next-door neighbors, the McOnions, are negative-image parents. They take some interest in Sluggo's well-being, but any benevolence is shattered by husband Bunion "Bunny" McOnion's schizophrenic mood-swings.<br />
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Freedom's price-tag is that Sluggo lives a life of flux. Nothing is certain, nothing stays the same for long, and his well-being/sense of self is in a perpetual state of challenge. It's a good life if you don't weaken!<br />
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Mr. McOnion is the most constant figure of threat and doom in Sluggo's life. In the first <i>Nancy</i> annual, Stanley makes his most memorable use of this twisted relationship. The re-match seems redundant here, but its less terrifying turnout suggests that someone might have mentioned to Stanley that he overdid the darkness in that first annual.<br />
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Whatever the case, this is still an amusing, if spotty, comic book. Good moments outweigh the bad, and as with the first annual, there seems a spark of life and interest in its contents. Here's the entire book, minus activity pages. Enjoy...<br />
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Frank M. Younghttp://www.blogger.com/profile/04673579882180372546noreply@blogger.com2tag:blogger.com,1999:blog-7157513690234917810.post-85888118072529585942015-07-04T17:14:00.001-07:002015-07-08T17:12:27.681-07:00Frank M. Young on John Stanley in the Drawn + Quarterly Super-Special!<div class="separator" style="clear: both; text-align: center;">
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I just received my contributor's copy yet, and I await the opportunity to spend some quality time with <i><a href="http://www.amazon.com/Drawn-Quarterly-Twenty-five-Contemporary-Cartooning/dp/177046199X/ref=sr_1_1?s=books&ie=UTF8&qid=1436054878&sr=1-1&keywords=drawn+%26+quarterly+twenty-five+years+of+contemporary+cartooning+comics+and+graphic+novels">Drawn & Quarterly: 25 Years of Contemporary Cartooning, Comics and Graphic Novels</a></i>. Four of its nearly 800 pages contain an original essay I wrote on John Stanley.<br />
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This is a phone-cam photo of the first two pages of the piece, which I wrote last fall, right before my life-saving move to Portland, Oregon.<br />
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The book appears to offer hours of engrossing reading, in interviews, comics, essays and other good stuff. <br />
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The book also reprints selections from <i>Tubby</i> and <i>Thirteen Going on Eighteen</i>, to provide the new-to-Stanley reader with a notion of what I'm talking about here.<br />
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After all my work on Stanley, it seems ironic to me that this is my first published piece on the man and his work. Truth told, I'm glad to have waited until 2014 to write this. Working on this blog has helped me to shape an understanding of John Stanley's life and work, and I think this essay is as good as anything I could ever write on the topic.<br />
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I have had the pleasure of briefly browsing the book, twice, in stores, and if you care about the state of the art of comics (and I'll bet you do!), this book is a sight-unseen must-buy. I'm truly honored to be a part of this epic celebration.Frank M. Younghttp://www.blogger.com/profile/04673579882180372546noreply@blogger.com0tag:blogger.com,1999:blog-7157513690234917810.post-72689167092332522232015-04-03T13:14:00.002-07:002015-04-03T13:14:05.660-07:00Post-Mortem Post 004: Three "Heckle and Jeckle" stories, hidden in plain sight<div class="separator" style="clear: both; text-align: center;">
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To study and catalog the ephemeral is to constantly face the option that the work is never complete. The historian's version of wash-the-car-and-make-it-rain is publish-and-new-things-will-appear.<br />
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As I published the print editions of my three-volume, annotated John Stanley comics bibliography, I had a gut feeling that there was at least one story that had evaded me. Indeed, there were three.<br />
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As more is known about the career of John Stanley, our view of his work has changed. No longer is he the infallible writer of <i>Little Lulu,</i> and <i>Lulu </i>alone. I can take some credit in unearthing the breadth of his career, but many of my finds were preceded by others' wild stabs and guesses.<br />
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With this new information, some voices now decry Stanley's work--especially his late efforts. Every author has his/her champions and detractors. Stanley's work from 1956 on invites controversy and discord.<br />
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Though many admire his late "auteur" comics, <i>Thirteen Going on Eighteen</i> and <i>Melvin Monster</i>, an equal number despise and dismiss those as the "exhausted" efforts of a bright light now burned out.<br />
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I agree that Stanley has a burnout period--between 1956 and 1960--but challenge any claims that his post-1960 work is lesser or "exhausted." The late 1950s were a tough time to be John Stanley. He had overstayed his time on <i>Lulu </i>and<i> Tubby</i>, but could not leave either title, due to the need to make a living.<br />
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It's telling that he drops his other sideline projects--<i>Krazy Kat</i> and <i>The Little King</i>--in 1956. His writing approaches its lowest ebb in the next few years. The craft of his writing, developed over thousands of published stories, gives his work an unerring, professional gloss. His sense of the absurd was too strong to ever leave his work. Yet the stories of this period have a harsh, mechanical tone, and, at worst, a grouchy disdain. Much of Stanley's 1957-1960 work feels like it was written by a man with a migraine, or a bad hangover.<br />
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There are transcendent moments in this era--the Oona Goosepimple stories in <i>Nancy and Sluggo</i>, and isolated spikes in <i>Lulu</i> and <i>Tubby</i>--and it can't be flippantly dismissed. Nor can it be approached as great material. It is, like much of mainstream comics, the output of a hard-working pro who has fallen out of love with his characters. By the time of his divorce from <i>Little Lulu</i>, Stanley had nothing to give its cast of characters, its familiar settings, its time-honored themes.<br />
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The bilateral move to <i>Nancy,</i> which occurred before he was through with <i>Lulu</i>, did nothing to help. I've written plenty about this period elsewhere on this blog, so I won't repeat myself further.<br /><br />During the Nancy period, John Stanley wrote his last group of funny animal stories for two Dell titles sourced from the Paul Terry studio's animated stars. He wrote stories featuring the old-school wise-asses, Heckle and Jeckle, and some based on newer entities--the neurotic Silly Sidney and the TV-only Deputy Dawg.<br /><br />Stanley's first Terry stories were tucked away as filler in Dell's continuation of the long-running <i>Adventures of Mighty Mouse</i> comic book. Dell adopted the numbering of Pines' series, which was taken from prior publisher St. John's. They converted the <i>Paul Terry's Comics and Stories</i> title to <i>AoMM.</i><br />
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<i>This </i>title began its run at Timely Comics, as <i>Terry-Toons</i>, and despite a few overlapping/repeated issue numbers, the sequence continued from the Timely title's debut in 1942 to its final Dell incarnation in 1968.<br /><br />Dell's first sequence, referenced in today's post, continued when Western took its licenses to its new imprint, Gold Key Comics. Sans the "Adventures of," <i>Mighty Mouse</i> continued, with the numbering intact for another five issues, at which time Dell got the Terry license, and published <i>Mighty Mouse</i> where Gold Key left off, until late 1968.<br />
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Five publishers, 26 years. Confused? Comics history is full of these tangled trails.<br />
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Stanley wrote three witty, energetic "Heckle and Jeckle" stories for issues 146-148 of the Dell <i>AoMM</i>. These are amidst his <i>Nancy and Sluggo</i> issues, and the stories share a like vibe, from vaguely similar designs of secondary characters to a scrappy, highly reflexive wit that recalls the TV sitcom humor of Max Shulman and Nat Hiken.<br />
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This suite of three stories is an example of Stanley the steam-engine, blowing off frustration and anxiety with the help of impish, Tubby-esque figures. This personality type--headstrong, quixotic, misinformed but sure of their rightness in all things--is Stanley's archetypal character, and under its aegis he functions best as a comedic writer.<br />
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Stanley's hand as artist is strongly felt in these stories. The finishes are by another artist (perhaps Lloyd White?) but the lumpen human figures are instantly recognizable as their author's work. The beat cop, park superintendent and hotel clerk in the last story here, "Illegal Parking," are approximations of McOnion, the passive-aggressive threat monster of <i>Nancy and Sluggo</i>. Said characters also compare with the human figures of the much later <i>O. G. Whiz</i> #1 seen <a href="http://stanleystories.blogspot.com/2009/01/happy-bday-jim-o-g-whiz-pt-1.html">HERE</a> and <a href="http://stanleystories.blogspot.com/2009/01/happy-bday-jim-o-g-whiz-pt-2.html">HERE</a>).<br /><br />Here are the three H&J stories from this short-lived, whod'a-thunk-to-look-there Dell <i>Adventures of Mighty Mouse</i>, in their publication order.</div>
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<b>From<i> AoMM</i> 146:</b><br /><div class="separator" style="clear: both; text-align: center;">
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<b> from <i>AoMM</i> 147:</b><br />
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<br />
<b> And, from <i>AoMM</i> 148:</b><br />
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Sharp <i>Stanley Stories</i> readers will recall that I once mis-attributed the first two of these stories to a 1969 publication date. All three stories were reprinted by Gold Key in their revived <i>New Terrytoons</i> title at the close of the '60s. The affect of these stories is so close to Stanley's late work--especially <i>O. G. Whiz</i>--that I forgive myself that mis-assumption.<br />
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Stanley functioned best when he could free-associate within an unassuming story. With none of the structure--and stricture--of <i>Little Lulu</i> or <i>Nancy</i>, he has a field day making puns, wordplay and verbal witticisms, and diving into the deep end of his pool of frantic physical action. These are, above all else, funny stories, with a playful edge and a bit of bite.<br />
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"The Fastest Guns in the West," first and shortest of the three stories, overflows with verbal fireworks. Stanley anticipates the wittiness of Alun Owen's screenplay for the Beatles' first and best film, <i>A Hard Day's Night,</i> in panels such as this:<br />
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A three-character story, "Fastest Guns" seems bigger due to its large retinue of aggressive sound effects, and a large amount of over-the-top physical comedy. The remaining stories run two pages longer--a sign that someone up there liked Stanley's work.<br /><br />The second piece, "Restaurant Business," satirizes a familiar Stanley target: pretentious, high-priced eateries. Like the fine art business and the rich in general, upscale chez-style cafes were an apparent pet peeve of the author. This story contains Stanley's most acidic salvos at what he clearly considered a racket. Striking is this moment, when brighter lighting reveals the horrible flaws and deceptions in their high-priced entrees:<br />
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Stanley seldom traffics in social commentary, and his work tends to avoid fads. In these few instances of his Cassandra cries, he smites his target with utter accuracy.<br />
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One of my top-five favorite Stanley Moments occurs in this story, when the bouncer, Beef, has pleased the bistro's flustered "manager man" and is rewarded:<br />
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"The Restaurant Business" is a fine example of a focused, witty Stanley staying on-task and wringing every available drop of humor from his cast and setting. The somewhat blunt and crude look of the artwork detracts from its complete success, but the sheer river of smarts and satire that guides this story is A-game Stanley.<br /><br />"Illegal Parking" is a shade less effective, although it's a solid example of Stanley riffing off a vague general theme. The bright banter of Heckle and Jeckle highlights these three stories, and this one leans most heavily on their verbal humor. We're reminded of the characters Bill Bungle and McOnion, from the contemporary <i>Nancy</i> comics, in the story's best moments, which occur in that arena of human comedy, the public park.<br /><br />Stanley appears to be having fun in all these stories, especially when his twin gadflies are in motion, double-talking their opponents into stupefaction or angling their way out of a crisis. A think-on-his-feet writer, Stanley relished characters of the same ilk.<br />
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This sequence offers a vivid distillation of Stanley's Space-Age approach to comedy: loud, broad and expressive, with verbal wit layered beneath the big red SFX.<br /><br />
After this story, Stanley transitioned to Dell's new anthology title for the Terry license, <i>New Terrytoons</i>, with its fourth issue. There, he contributed some decent stories, but none of them reach the comedic heights of these first three efforts. Following the Western/Dell split, in 1962, Stanley wrote no more funny animal comics.<br /><br />These last pieces circle back to his first published comics work--the funny animal features for <i>New Funnies, Animal Comics</i> and <i>Our Gang Comics</i>. A comparison of that early material with these three pieces shows his startling development as a humorous writer from the 1940s to the late 1950s.</div>
Frank M. Younghttp://www.blogger.com/profile/04673579882180372546noreply@blogger.com0tag:blogger.com,1999:blog-7157513690234917810.post-72411055591803129602015-02-12T08:54:00.001-08:002015-02-12T08:54:22.941-08:00Working Stiff, Working Loose: The 1950s Career of John Stanley | The Comics Journal<a href="http://www.tcj.com/working-stiff-working-loose-the-1950s-career-of-john-stanley/#.VNzaIMfoLYY.blogger">Working Stiff, Working Loose: The 1950s Career of John Stanley | The Comics Journal</a><br /><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzCm69uvIJaDKxTPvdrmj4mhj6NbgAtKk-s20UK-0fsb6yMTtRMpoH1dw8jKpsEfPDSl6sAO34LCg9f0OVfllzffCJH5jpALObmRC5E7SK25WYiEg5mon53ZCRaNSVhenfQ9w1m1_ssz0/s1600/6-IgnatzPanelsFromKat.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzCm69uvIJaDKxTPvdrmj4mhj6NbgAtKk-s20UK-0fsb6yMTtRMpoH1dw8jKpsEfPDSl6sAO34LCg9f0OVfllzffCJH5jpALObmRC5E7SK25WYiEg5mon53ZCRaNSVhenfQ9w1m1_ssz0/s1600/6-IgnatzPanelsFromKat.jpg" height="307" width="400" /></a></div><br />I have an essay published today on the online version of <i>The Comics Journal</i>. Please check it out--thanks!<br /><br />Frank M. Younghttp://www.blogger.com/profile/04673579882180372546noreply@blogger.com1tag:blogger.com,1999:blog-7157513690234917810.post-83542272098790324882014-12-17T16:56:00.002-08:002014-12-17T16:56:52.524-08:00The John Stanley Comics Bibliographies: Don't Forget About 'em!<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwvNnbnQgU-0SaBoGWqnYyOgzfae3dNWCwa8tdgyUwEfvPRAo0B5mYMWLhlpNWetbQe2qcf2DkYrnpCw8PtkPaDTLEpiojoAV3iBrKSgAgwfdWTPj6g-hBmR1DgBeiCXIA4eNwNI_mJJY/s1600/StanleyPromoPic.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwvNnbnQgU-0SaBoGWqnYyOgzfae3dNWCwa8tdgyUwEfvPRAo0B5mYMWLhlpNWetbQe2qcf2DkYrnpCw8PtkPaDTLEpiojoAV3iBrKSgAgwfdWTPj6g-hBmR1DgBeiCXIA4eNwNI_mJJY/s1600/StanleyPromoPic.jpg" height="308" width="400" /></a></div>
Just a reminder that Frank M. Young has just published a three volume bibliography of the comics work of John Stanley, the mastermind of Dell Comics' <i>Little Lulu</i> series from 1945 to 1959. These volumes offer a total of 470 pages of information and images.<br /><br />Based on years of research, these three volumes purport to chronicle every comic book story John Stanley wrote (and sometimes drew). The cover of every comic book listed is reproduced in color, as are sample pages from stories, in-house ads and original art.<br /><br />Here are some sample spreads from the three volumes:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGgs2310r2FtF8yGWLD6KHbsFUigKFozgizQ3h7Bxl9xuhWZ-tozOiaMeIu1XAMrN0Bo0WbiQdLnjXfz2odmOE4DNVVIv-NcAAYCrOdhTUy9Rploao5GpktIwGkPc7GAts-DFMMB_o3A0/s1600/1940sbookspread.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGgs2310r2FtF8yGWLD6KHbsFUigKFozgizQ3h7Bxl9xuhWZ-tozOiaMeIu1XAMrN0Bo0WbiQdLnjXfz2odmOE4DNVVIv-NcAAYCrOdhTUy9Rploao5GpktIwGkPc7GAts-DFMMB_o3A0/s1600/1940sbookspread.jpg" height="200" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3JnMyiRG5hAmg9QJPmIaBBQCJtd7dRjuaws-SVMae9JJBY23Vqho5POmeR59Fs6Z7l6F6v_utC0ApmLN7oCOuDUxwkKCdNPiazXYsKjeeiJf5ARyMPjNI1Hfe7_f-Nc3dBZgFxmFWH8E/s1600/1950sbookspread.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3JnMyiRG5hAmg9QJPmIaBBQCJtd7dRjuaws-SVMae9JJBY23Vqho5POmeR59Fs6Z7l6F6v_utC0ApmLN7oCOuDUxwkKCdNPiazXYsKjeeiJf5ARyMPjNI1Hfe7_f-Nc3dBZgFxmFWH8E/s1600/1950sbookspread.jpg" height="199" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8WKXWsJaI07hQEidStPlC0uEqb0ZJBqhFmmudRizLGht5DOCP5Q5Sy_1YWOfnl_PhI-tRUH5dI37Ga9fMgLjTHTCVbtrcGMipMPCan9l0OFPh5v4NJgTPEgeYAfJXJ8eclJUbtxONR1E/s1600/1960sbookspread.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8WKXWsJaI07hQEidStPlC0uEqb0ZJBqhFmmudRizLGht5DOCP5Q5Sy_1YWOfnl_PhI-tRUH5dI37Ga9fMgLjTHTCVbtrcGMipMPCan9l0OFPh5v4NJgTPEgeYAfJXJ8eclJUbtxONR1E/s1600/1960sbookspread.jpg" height="199" width="320" /></a></div>
Click on each image to enlarge it. Each book is 8 x 10 inches, professionally printed and bound in matte-finish softcover. Each book offers bonus materials. The 1940s and '60s books contain a selection of rare John Stanley stories--none of them ever presented here on <i>Stanley Stories</i>. Large images of Stanley's distinctive cover drawings grace the 1940s and 1950s books.<br /><br />These books are the definitive resource for a study and appreciation of the work of John Stanley. They can be purchased from amazon.com.<br /><br />For the 1940s edition, click <a href="http://www.amazon.com/John-Stanley-1940s-Bibilography-Annotated/dp/1503213242/ref=pd_sim_sbs_b_4?ie=UTF8&refRID=1TSDBY2TMSM1C961323C">HERE</a>.<br /><br />For the 1950s edition, click <a href="http://www.amazon.com/John-Stanley-Bibliography-Annotated-Chronology/dp/1503113213/ref=sr_1_12?s=books&ie=UTF8&qid=1415574143&sr=1-12&keywords=john+stanley">HERE</a>.<br /><br />For the 1960s edition, click <a href="http://www.amazon.com/John-Stanley-1960s-Bibliography-annotated/dp/1503239128/ref=pd_sim_sbs_b_2?ie=UTF8&refRID=0ZQA0QD6WB5MA8BQE66E">HERE</a>.<br />
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You can look inside all three books on amazon, where they're affordably priced. Take a look! These could make a perfect holiday gift for the comics lover in your life--or for yourself!Frank M. Younghttp://www.blogger.com/profile/04673579882180372546noreply@blogger.com0tag:blogger.com,1999:blog-7157513690234917810.post-7593796144491853172014-11-23T07:57:00.002-08:002014-11-23T07:57:34.784-08:00Post-Mortem Post 003: The Fine Art of Comics Pantomime, with Little Lulu and Company<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhR1Xqr3rMVR73um0oG7BhLk1vJL8xMUljEnpj3FzrtCQMXZVfGOQjuiwYGj4yU5xvGd7mArV8P1leGiLNvJrX2aZovGENPTTMNW52QLnK72EHKjBF6tV8xTG252l0THnAwY47bFl5JCcc/s1600/pantoteeze.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhR1Xqr3rMVR73um0oG7BhLk1vJL8xMUljEnpj3FzrtCQMXZVfGOQjuiwYGj4yU5xvGd7mArV8P1leGiLNvJrX2aZovGENPTTMNW52QLnK72EHKjBF6tV8xTG252l0THnAwY47bFl5JCcc/s1600/pantoteeze.png" height="172" width="320" /></a></div>
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John Stanley was a great storyteller. His ability to spin multiple variations on a number of stock plots, and bring something fresh to the table each time, is downright enviable.</div>
<br />At the core of his storytelling skill is a sardonic, droll sense of humor. Stanley often indulged in slapstick on the comics page, and did it well. His true gift was an understated, subtle comedy, deeply rooted in the myriad flaws and quirks of characters he made his own and knew like his own children.<br /><br />In my recent updating and book publication of the three-part John Stanley Comics Bibliography (see links at foot of post), I've been reminded of the grace and charm of his pantomime one-page gags in early issues of <i>Little Lulu</i>. These were in line with Marge Buell's original vision of the character. They expanded beyond Marge's one-panel chuckles, as did Stanley with all the characters he grandfathered over from the Buell version.<br /><br />Stanley's "Lulu" and "Tubby" stories are dominated by talk. Traditionally, the author offered a great deal of character information from how his comic figures act, react and think. At his best, Stanley can make pages of dialogue riveting. His love of language, and his word-smithing, are evident in each line he wrote for the hundreds of thousands of speech balloons he filled.<br /><br />A constant of Stanley's <i>Lulu</i> and <i>Tubby</i> work are one-page pantomime pieces. These items, usually landfill in poorly-planned comic magazines, were treated as equals to the longer, dialogue-driven stories by their creator. There is no sense of haste or waste in these pages. As with the text feature, <i><a href="http://stanleystories.blogspot.com/2010/12/stanleys-texting-lulus-diry-from-marges.html">Lulus Diry,</a></i> these apparent fillers are as rich and rewarding as any other components of the series.<br /><br />Stanley did another string of impressive one-page pieces for the magazine <i>New Funnies,</i> featuring his rendition of Woody Woodpecker. Those may be read <a href="http://stanleystories.blogspot.com/2010/02/killer-not-filler-john-stanleys-woody.html">HERE</a>. The "Woody" pages, drawn by Stanley, traffic in the typical sassy dialogue exchanges of his longer stories. The Lulu pages are almost exclusively mute, and require the reader's utmost attention to small details. Their rhythm, flow and structure are striking. They're often laugh-out-loud funny, and offer a taste of Stanley's driest wit.<br /><br />Here is a selection of some of my favorite panto pages from early issues of <i>Little Lulu.</i> Spend some time with them and you'll be rewarded...<br /><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEic_V0MlE49Ph14cMLufT3nWIRgnpWbXtsKI-AKoU07Yk6ifgEAwnzlZDJNO_WLcVDbdXvR9Vqw91iap-xyNQNw3a4u3BJQMSods30gcN3IaIgkWBQwz0n-nwqyfcJ-raBjqrx6ftt4Eco/s1600/4C110_52.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEic_V0MlE49Ph14cMLufT3nWIRgnpWbXtsKI-AKoU07Yk6ifgEAwnzlZDJNO_WLcVDbdXvR9Vqw91iap-xyNQNw3a4u3BJQMSods30gcN3IaIgkWBQwz0n-nwqyfcJ-raBjqrx6ftt4Eco/s1600/4C110_52.jpg" height="320" width="232" /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXhtegn7D1xaBwXxo6poF4di1N1CLtikkrN17Lzurw-Ykx6rxugBha3urBv_0ltnCzTGC75FMSpj5pGVyjAgbiKrn0N16hHCZzImoT12sxAVMoJgTW_ZFODgG86QrRkSVdv8Bq-ctNhdI/s1600/4C110_02.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXhtegn7D1xaBwXxo6poF4di1N1CLtikkrN17Lzurw-Ykx6rxugBha3urBv_0ltnCzTGC75FMSpj5pGVyjAgbiKrn0N16hHCZzImoT12sxAVMoJgTW_ZFODgG86QrRkSVdv8Bq-ctNhdI/s1600/4C110_02.jpg" height="320" width="223" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>two pages from <i>Little Lulu</i> one-shot #110</b></td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinZ7XXOdS62o4DRegxV7TMvjksClmFsuX7yEZwm8pbDWxwqJjIjt4H4Y9tHEozZmhp5w-nERKy6nAPTfOYhcUWxbd5eFWEoHikFaSEbyG1KOFTydKJYUn2Yr3n1oykz-aykIMUswQvOoI/s1600/4c+0120-002.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinZ7XXOdS62o4DRegxV7TMvjksClmFsuX7yEZwm8pbDWxwqJjIjt4H4Y9tHEozZmhp5w-nERKy6nAPTfOYhcUWxbd5eFWEoHikFaSEbyG1KOFTydKJYUn2Yr3n1oykz-aykIMUswQvOoI/s1600/4c+0120-002.jpg" height="320" width="221" /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHRdZenL5puqjxk8DPyH0FLJRQUGUF8io-aqiWIoahV4yOmfNIaHAHyZvPboG9OVwo-0jyvhYZLlcNy_HvJXctChDXR9lSqTBy1-4qrS41_QL1EfCuybcrZ361vLLjsuC33ZLGOBAeoHQ/s1600/4c+0120-+052.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHRdZenL5puqjxk8DPyH0FLJRQUGUF8io-aqiWIoahV4yOmfNIaHAHyZvPboG9OVwo-0jyvhYZLlcNy_HvJXctChDXR9lSqTBy1-4qrS41_QL1EfCuybcrZ361vLLjsuC33ZLGOBAeoHQ/s1600/4c+0120-+052.jpg" height="320" width="222" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b style="font-size: 12.8000001907349px;">two pages from <i>Little Lulu</i> one-shot #120</b></td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBTrC9R8hhJp8t5jRwL_qtK6s632bA3gBjAg_MgE-JEDnCIuuQXtC3gmvkZ0LHJzE7OBJRjekFvgo99-q63r40MqKTFNTO97VW2SlcYJwqGSZjXNPxX1JvX2h1fELDe4G8MqPLl6jcz58/s1600/FC97-14.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBTrC9R8hhJp8t5jRwL_qtK6s632bA3gBjAg_MgE-JEDnCIuuQXtC3gmvkZ0LHJzE7OBJRjekFvgo99-q63r40MqKTFNTO97VW2SlcYJwqGSZjXNPxX1JvX2h1fELDe4G8MqPLl6jcz58/s1600/FC97-14.jpg" height="320" width="225" /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiiulsVs1ldSTm41q-kfff9Ipaj3zzUo9Sz5I2EGDK6UGm7JqpIETdM77zvBpehQAkJWIaUadU4GnJ0JYZfgSMCmDnKQVRasFt2oJXX_MrrDht_IkIhH3lhjh6imtyfkJf5xYhFcrAQ3g/s1600/FC97-50.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiiulsVs1ldSTm41q-kfff9Ipaj3zzUo9Sz5I2EGDK6UGm7JqpIETdM77zvBpehQAkJWIaUadU4GnJ0JYZfgSMCmDnKQVRasFt2oJXX_MrrDht_IkIhH3lhjh6imtyfkJf5xYhFcrAQ3g/s1600/FC97-50.jpg" height="320" width="224" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b style="font-size: 12.8000001907349px;">two pages from <i>Little Lulu</i> one-shot #97</b></td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdzWIayqy-wFeqNncB_SWa7dPSmkF4QiANRnq8ZlvF8HXwIHznhw9U8SwXyCT56lHgqG4t_vBgUdkFcVUL616jZfefd5cdvgxEL4eSwrD-o-fHfDjGzCEqACCuh-Xdkh-u97EvxPXqQBs/s1600/Four+Color+0115+-02.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdzWIayqy-wFeqNncB_SWa7dPSmkF4QiANRnq8ZlvF8HXwIHznhw9U8SwXyCT56lHgqG4t_vBgUdkFcVUL616jZfefd5cdvgxEL4eSwrD-o-fHfDjGzCEqACCuh-Xdkh-u97EvxPXqQBs/s1600/Four+Color+0115+-02.jpg" height="320" width="222" /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj87jj0L5yYywqi5AbmyetUSdGljcymaumb0qWfPKynxkrUbSvm41XoekEdtXdLDTJFiP80JUWf97ljnWIrHg0r5O-fRDIPy-w3rDFM7BF0f3lRh1Z0TwqE3VMLFoq8kZUgVwQiZD3QrVo/s1600/Four+Color+0115-52.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj87jj0L5yYywqi5AbmyetUSdGljcymaumb0qWfPKynxkrUbSvm41XoekEdtXdLDTJFiP80JUWf97ljnWIrHg0r5O-fRDIPy-w3rDFM7BF0f3lRh1Z0TwqE3VMLFoq8kZUgVwQiZD3QrVo/s1600/Four+Color+0115-52.jpg" height="320" width="224" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b style="font-size: 12.8000001907349px;">two pages from <i>Little Lulu</i> one-shot #115</b></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYZKtnF6Vil2q9nBP_SF221bLWJ8Ur2BHUxnvkrlwcJ4guEPT3A2ZiY01y3HKsN1m7mqeulh5HYLPYE8QFlKv2uwFJnh3nN1DMK__hcFuGdaZ-TspcvhFoJWKVtJs7RVuzz0b01T8YU7s/s1600/Four+Color+0131-52.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYZKtnF6Vil2q9nBP_SF221bLWJ8Ur2BHUxnvkrlwcJ4guEPT3A2ZiY01y3HKsN1m7mqeulh5HYLPYE8QFlKv2uwFJnh3nN1DMK__hcFuGdaZ-TspcvhFoJWKVtJs7RVuzz0b01T8YU7s/s1600/Four+Color+0131-52.jpg" height="320" width="226" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b style="font-size: 12.8000001907349px;"><i>Little Lulu</i> one-shot #131</b></td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZQGhQy36-GEeN9Hrww_Z288CyW5abaMF5FCoyvnaOyqAIGVywh2eLM9AryBGjaqT8V8lCoz9Fncm_hWfp7CTwo0mazzsCCHQP_UP0ulNgqOMzgGPg3kUJJON-hsgPGDKGlJ7hNVA00O0/s1600/Four+Color+0139-51.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZQGhQy36-GEeN9Hrww_Z288CyW5abaMF5FCoyvnaOyqAIGVywh2eLM9AryBGjaqT8V8lCoz9Fncm_hWfp7CTwo0mazzsCCHQP_UP0ulNgqOMzgGPg3kUJJON-hsgPGDKGlJ7hNVA00O0/s1600/Four+Color+0139-51.jpg" height="320" width="223" /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsxk-8GS9NqCdsst8pOhoE_I5HionnFphYUHyN09smxDTubE_NYwjGPJ4aWY55y7ntqFANcP3WBGRnw8csPMHPybCES99nCoWODZUTWXyL0O3frXWQH50i934CN8nvqmUjpAM1Ja3KPg0/s1600/Four+Color+0139-52.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsxk-8GS9NqCdsst8pOhoE_I5HionnFphYUHyN09smxDTubE_NYwjGPJ4aWY55y7ntqFANcP3WBGRnw8csPMHPybCES99nCoWODZUTWXyL0O3frXWQH50i934CN8nvqmUjpAM1Ja3KPg0/s1600/Four+Color+0139-52.jpg" height="320" width="223" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b style="font-size: 12.8000001907349px;">two pages from <i>Little Lulu</i> one-shot #139</b></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxh8cRnqCzubmMcE8oJNBeIiiVdWg7ksnC9ej0e9WKcF3E4VZfSTlxJytATPBy3YScWAkn1yT_dDcnYkqBBtxzvB704afgKd_HJiX0_aAsDuaN4raIfdZxuyvOhobp20JuezfluDAY8g8/s1600/Four+Color+0146-52.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxh8cRnqCzubmMcE8oJNBeIiiVdWg7ksnC9ej0e9WKcF3E4VZfSTlxJytATPBy3YScWAkn1yT_dDcnYkqBBtxzvB704afgKd_HJiX0_aAsDuaN4raIfdZxuyvOhobp20JuezfluDAY8g8/s1600/Four+Color+0146-52.jpg" height="320" width="228" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b style="font-size: 12.8000001907349px;"><i>Little Lulu</i> one-shot #146</b></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJdTky2iSd_hTYT8OBraDEnCPj_ZhMMWGBJuC99Ody3ixCWr3WBTlTf4pc5aTFFkr370eSjcYZg2si3BcoFbbStfPMLFxgjtrre0erro-8im6s29XwA4-n4B6KY9MxMCSknbzDBkN1lpA/s1600/Four+Color+0158-52.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJdTky2iSd_hTYT8OBraDEnCPj_ZhMMWGBJuC99Ody3ixCWr3WBTlTf4pc5aTFFkr370eSjcYZg2si3BcoFbbStfPMLFxgjtrre0erro-8im6s29XwA4-n4B6KY9MxMCSknbzDBkN1lpA/s1600/Four+Color+0158-52.jpg" height="320" width="229" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b style="font-size: 12.8000001907349px;"><i>Little Lulu</i> one-shot #158</b></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMuTDnYRM0I5J49FmCdo_ej-l9KX4g6FMiz_Q3vXRigV5rnU7wNdxQZBZq2ojaRLnG9YvB5VDLDvEEuhcQTxN5uSra8VoKVdsFb_kANDaJqgBy8gZuETxE1dgexBUB9nLfcNFi_B4RF5c/s1600/LL1-36.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMuTDnYRM0I5J49FmCdo_ej-l9KX4g6FMiz_Q3vXRigV5rnU7wNdxQZBZq2ojaRLnG9YvB5VDLDvEEuhcQTxN5uSra8VoKVdsFb_kANDaJqgBy8gZuETxE1dgexBUB9nLfcNFi_B4RF5c/s1600/LL1-36.jpg" height="320" width="225" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b style="font-size: 12.8000001907349px;">two pages from <i>Little Lulu</i> #1</b></td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr4SznkyB3Q8SXNBpER4OZAiSuytLz7n1kuvbPEVdVfuDRjPyYb-Uin5TZVGUs_L4BBJiN3QOMVUZvC3htZcD_uk_XdfPrAojMBzv4RVhjxVpfnyMk2E87PYwjvd812U2_29SzZsXYPZc/s1600/LL2-02.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr4SznkyB3Q8SXNBpER4OZAiSuytLz7n1kuvbPEVdVfuDRjPyYb-Uin5TZVGUs_L4BBJiN3QOMVUZvC3htZcD_uk_XdfPrAojMBzv4RVhjxVpfnyMk2E87PYwjvd812U2_29SzZsXYPZc/s1600/LL2-02.jpg" height="320" width="228" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk_iA9fTQqZ3S0rs2-2GhKZXaw_DoEE_75ma7n8zHuGRVEsbnkj2qalYc4eiIcmzA2Nhi_LUIT9SH1z-uo3hrp99piblDzXY1T0h5uZeOnosMpejpwTInxLZ6JSF1bC1pY3E-6Zw2Mlfc/s1600/LL2-35.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk_iA9fTQqZ3S0rs2-2GhKZXaw_DoEE_75ma7n8zHuGRVEsbnkj2qalYc4eiIcmzA2Nhi_LUIT9SH1z-uo3hrp99piblDzXY1T0h5uZeOnosMpejpwTInxLZ6JSF1bC1pY3E-6Zw2Mlfc/s1600/LL2-35.jpg" height="320" width="227" /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjignRQV3-azUceVyl5Bau4Dq0jaxSEX_f5r9SNmpOMwF22KFzlW8ndXyzLI0Wuk3rmuB2HHTddldJrILIZ4tCqqw6bIEAAXBz2Gx2uMFdA6cua4IYCzEQLdDc4pfQLkCjjQj11ofTGsu4/s1600/LL2-36.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjignRQV3-azUceVyl5Bau4Dq0jaxSEX_f5r9SNmpOMwF22KFzlW8ndXyzLI0Wuk3rmuB2HHTddldJrILIZ4tCqqw6bIEAAXBz2Gx2uMFdA6cua4IYCzEQLdDc4pfQLkCjjQj11ofTGsu4/s1600/LL2-36.jpg" height="320" width="229" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b style="font-size: 12.8000001907349px;">three pages from <i>Little Lulu</i> #2</b></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-Jj0h7JpknvtAx-nL4ShB18M5hvLj6Q8ghgRnxkjAV_i2B3ClItk3rcCa9TrNIMd_yc-vOEQAj8WlVG86iWQW3shmUyQeAw8S5Zk5D-CVHRPPYFnKwq_rYLNiFmxdz7o4H2VRjGQqNDs/s1600/LL3-35.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-Jj0h7JpknvtAx-nL4ShB18M5hvLj6Q8ghgRnxkjAV_i2B3ClItk3rcCa9TrNIMd_yc-vOEQAj8WlVG86iWQW3shmUyQeAw8S5Zk5D-CVHRPPYFnKwq_rYLNiFmxdz7o4H2VRjGQqNDs/s1600/LL3-35.jpg" height="320" width="224" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b style="font-size: 12.8000001907349px;"><i>Little Lulu</i> #3</b></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhut2BrQlneh4QT7g66J9VhW8AQ1eDwj2TG2VcgxWbFFJxxGCkPD40N6HWqdYh0VvTRxfq-NVBHUx6w8mBgHwqX1ajRqsyfcE_neiHMSd9a7eUrQ1vV3oOHUvxa20HUNgbK41nlAa0FKnQ/s1600/LL4-02.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhut2BrQlneh4QT7g66J9VhW8AQ1eDwj2TG2VcgxWbFFJxxGCkPD40N6HWqdYh0VvTRxfq-NVBHUx6w8mBgHwqX1ajRqsyfcE_neiHMSd9a7eUrQ1vV3oOHUvxa20HUNgbK41nlAa0FKnQ/s1600/LL4-02.jpg" height="320" width="222" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b style="font-size: 12.8000001907349px;"><i>Little Lulu</i> #4</b></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTHe1k9teqAcWYPffo971_ga1VWzmGFWLRyeO7NZjy-3OIX1u3MnGiZLqPwE5vFt7o0HloAS02w3CfWvw3Rlj9wTWXrM5cni4NtlNjnenA2iHOA2oWYhPkGguyIpVnszMH-MzbZlWIFj4/s1600/LL6-35.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTHe1k9teqAcWYPffo971_ga1VWzmGFWLRyeO7NZjy-3OIX1u3MnGiZLqPwE5vFt7o0HloAS02w3CfWvw3Rlj9wTWXrM5cni4NtlNjnenA2iHOA2oWYhPkGguyIpVnszMH-MzbZlWIFj4/s1600/LL6-35.jpg" height="320" width="226" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b style="font-size: 12.8000001907349px;"><i>Little Lulu</i> #6</b></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhQMhVaQEv6LXi9rqCMVYCoXZx1a5FiGqGvODV4f0vTr2fq3m2e45XbxZUWXRa-_Sl03RMRDzkuyn5RAq-pL1FKYkwgqIemV-ukSIzOmbcwY_WWUVCy79Al1QQc79BmTcg2c0Lb1urW9s/s1600/LL8-02.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhQMhVaQEv6LXi9rqCMVYCoXZx1a5FiGqGvODV4f0vTr2fq3m2e45XbxZUWXRa-_Sl03RMRDzkuyn5RAq-pL1FKYkwgqIemV-ukSIzOmbcwY_WWUVCy79Al1QQc79BmTcg2c0Lb1urW9s/s1600/LL8-02.jpg" height="320" width="225" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b style="font-size: 12.8000001907349px;"><i>Little Lulu</i> #8</b></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_js6Rz3vye-CcXD572iR8RGEDuV0tYSxl5SiRkToumnAMV7JoxwBex4iq44ffGt74ICsKkXMJI1H9z-9riWypfobJdY35ah7oSzo6aRSNCrbRGzKNlX9m10uGsHYlZfWhiD-uszSMPjw/s1600/LL13-35.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_js6Rz3vye-CcXD572iR8RGEDuV0tYSxl5SiRkToumnAMV7JoxwBex4iq44ffGt74ICsKkXMJI1H9z-9riWypfobJdY35ah7oSzo6aRSNCrbRGzKNlX9m10uGsHYlZfWhiD-uszSMPjw/s1600/LL13-35.jpg" height="320" width="219" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b style="font-size: 12.8000001907349px;"><i>Little Lulu</i> #13</b></td></tr>
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John Stanley's hand as cartoonist is keenly felt in the earlier pages. This sheaf of 23 pages offers a quick look at the visual evolution of Lulu, from Stanley's cartooning to Charles Hedinger's to Irving Tripp's.<br /><br />Stanley entertained an ambition to be a magazine gag cartoonist. He had one cartoon published in the <i>New Yorker </i>in 1947. Roughs exist for several other well-executed gag cartoons, but I don't think any others were published in his lifetime.<br /><br />As <i>Lulu</i> became more formula-bound, the gag pages acquired a more mechanical flavor. By 1955, they are more filler than inspiration. That said, Stanley wrote one of his most inspired single page strips late in the <i>Lulu</i> game, for issue #94:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicHEZoh2cRTiIzezr2FEEafcPPM28O1sIisFu7rpBWZsB56kD2SM746y6Q4wJOk43PcxS7uYRTNuUCexfjOGC8sc2hrn4EBDhw-LfC4q1AWXFIKx-vSrKuklrAlA8wDHesxjOw3YuM4ac/s1600/Little+Lulu+94+10.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicHEZoh2cRTiIzezr2FEEafcPPM28O1sIisFu7rpBWZsB56kD2SM746y6Q4wJOk43PcxS7uYRTNuUCexfjOGC8sc2hrn4EBDhw-LfC4q1AWXFIKx-vSrKuklrAlA8wDHesxjOw3YuM4ac/s1600/Little+Lulu+94+10.jpg" height="320" width="219" /></a></div>
___________________________________________<br /><br />To learn more about my just-published complete John Stanley comics bibliography, please click <a href="http://www.amazon.com/s/ref=nb_sb_noss?url=search-alias%3Dstripbooks&field-keywords=john%20stanley%20%2B%20frank%20m.%20young">HERE</a>. The books are available on amazon.com and createspace.com. These lavishly illustrated books are a great holiday gift idea for the comics-loving person in your life...Frank M. Younghttp://www.blogger.com/profile/04673579882180372546noreply@blogger.com1tag:blogger.com,1999:blog-7157513690234917810.post-67028853928530275412014-11-15T09:37:00.001-08:002014-11-15T09:38:12.819-08:00Book Edition of the 1960s John Stanley Bibliography is out!<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfwdSP62qUQt1KF8A8lpsB2CCKjl3BP2_cEugwxxgvZwOYyTAEGAAoFsr-PMSW2Xn7fdyJLcTw_GN4c3ZTNkKIEYfdnEnFJG9u7d4nBkYuaTd48rBeQW08FngI0KTZd70W7ZhZU_ezjXM/s1600/60sZingo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfwdSP62qUQt1KF8A8lpsB2CCKjl3BP2_cEugwxxgvZwOYyTAEGAAoFsr-PMSW2Xn7fdyJLcTw_GN4c3ZTNkKIEYfdnEnFJG9u7d4nBkYuaTd48rBeQW08FngI0KTZd70W7ZhZU_ezjXM/s1600/60sZingo.jpg" height="238" width="400" /></a></div>
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<a href="https://www.createspace.com/5107203">THIS LINK</a> will take you to the CreateSpace store page for this 112-page full color updated edition of the 1960s John Stanley Bibliography. In a few days, it will be available on Amazon, and I'll append this post to include that link.<br />
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This print edition, in an 8 x 10 trade paperback, is full color, and features a special 24-page section of stories written by Stanley and illustrated by his greatest collaborator, Bill Williams.<br />
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Any of these three books will make a superb holiday gift for the comics fan in your life. Please consider purchasing one or all of these books. Thank you!Frank M. Younghttp://www.blogger.com/profile/04673579882180372546noreply@blogger.com0tag:blogger.com,1999:blog-7157513690234917810.post-51838444230058674192014-11-15T09:31:00.000-08:002014-11-15T09:31:29.801-08:00Book Edition of the 1940s John Stanley Bibliography Available on Amazon!<a href="http://amzn.com/1503213242">THIS LINK</a> will take you to the amazon.com page for the deluxe full-color version of the 1940s John Stanley bibliography. This is much improved from the original download version, with a great deal of new content, three complete comics stories, and seven essays on the significant Stanley characters of this decade.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsuqek0JP21UzzxhWSmdSq4RdIF59Q0ZMD2k0dJyrLgMQdbXZ4icH8ybkaecyTjrimUA9g-O_sgTEnM_Z4mccN-l8iBvN_geRT0KNaZJWrICCLjRgeluUFSLJh1N_VICAI1dSFqnxx58w/s1600/AmazonZingo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsuqek0JP21UzzxhWSmdSq4RdIF59Q0ZMD2k0dJyrLgMQdbXZ4icH8ybkaecyTjrimUA9g-O_sgTEnM_Z4mccN-l8iBvN_geRT0KNaZJWrICCLjRgeluUFSLJh1N_VICAI1dSFqnxx58w/s1600/AmazonZingo.jpg" height="200" width="400" /></a><br /><br />The publication of this and the other two books in the bibliography is the culmination of years of research and hard work. I'm glad to be able to make these available in print form.</div>
<br />Frank M. Younghttp://www.blogger.com/profile/04673579882180372546noreply@blogger.com1tag:blogger.com,1999:blog-7157513690234917810.post-12782786079802154512014-11-09T15:55:00.001-08:002014-11-09T15:55:55.049-08:00The John Stanley 1950s Bibliography is now on Amazon!<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigGoyklfzX9ZVxb8o5PQK8F3_WK57atrujEWCdgcsj9Hp17PZMo8alsXAclBJuwH1WEWTJAHiAHWz-6wSvQQU2PKlq7uIEe1meZSgbPvtCtEZl1BZcX3Nchn9tLnS_7bvOSfl7Z_VWJQo/s1600/1950SBiblioCOVER.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigGoyklfzX9ZVxb8o5PQK8F3_WK57atrujEWCdgcsj9Hp17PZMo8alsXAclBJuwH1WEWTJAHiAHWz-6wSvQQU2PKlq7uIEe1meZSgbPvtCtEZl1BZcX3Nchn9tLnS_7bvOSfl7Z_VWJQo/s1600/1950SBiblioCOVER.jpg" height="320" width="247" /></a></div>
Start spreadin' the nooz! Both the cost-conscious <a href="http://www.amazon.com/John-Stanley-1950s-Bibilography-Annotated/dp/1503114260/ref=sr_1_2?s=books&ie=UTF8&qid=1415574309&sr=1-2&keywords=john+stanley+in+the+1950s">standard edition</a> and the <a href="http://www.amazon.com/John-Stanley-1950s-Bibilography-Annotated/dp/1503114260/ref=sr_1_2?s=books&ie=UTF8&qid=1415574309&sr=1-2&keywords=john+stanley+in+the+1950s">deluxe all-color version</a> of "John Stanley in the 1950s: a Comics Bibliography" are now available for reduced rates on amazon.com! While I get less royalties from the amazon versions, they make the book more affordable, so I'm down with that. Click on those links and check them out! You can look inside the standard edition and see interior pages!Frank M. Younghttp://www.blogger.com/profile/04673579882180372546noreply@blogger.com0tag:blogger.com,1999:blog-7157513690234917810.post-86570170615321699812014-11-06T19:46:00.000-08:002014-11-09T15:50:22.364-08:00Buy A Print Edition of the 1950s John Stanley Bibilography! Yow!<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtkmENLdwc1Y7HicAbv3ffh0CuqRKafTXL2yRJFI2ubeSi9LpK-A0k1hlWYxL7k8i5e76SaGMdLJIp07jZFgL7er8DrMg6ISDOiNvk0weK9mEGqkId5KFFHU89rZ5O7ILC1YFfxiTxn5c/s1600/1950SBiblioCOVER.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtkmENLdwc1Y7HicAbv3ffh0CuqRKafTXL2yRJFI2ubeSi9LpK-A0k1hlWYxL7k8i5e76SaGMdLJIp07jZFgL7er8DrMg6ISDOiNvk0weK9mEGqkId5KFFHU89rZ5O7ILC1YFfxiTxn5c/s1600/1950SBiblioCOVER.jpg" height="320" width="247" /></a></div>
Click <a href="https://www.createspace.com/5089906">HERE</a> to order copies of the standard (black and white interior) edition of the 1950s John Stanley bibilography. It's 190 pages, in a handsome 8 x 10 squarebound trade paperback. The cost is $12.99 plus shipping, from Amazon's CreateSpace.<br />
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The deluxe (color interior) version, which includes a cover gallery in full color, is also available. <a href="https://www.createspace.com/5089763">THIS</a> is the link for that edition.<br />
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I have print versions of the other two volumes in process. The 1940s volume will undergo some big revisions--mostly the inclusion of more text.<br />
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<span style="text-align: center;">I think this is the first stand-alone book on John Stanley's work to be published. With any luck, this will just be the first of many...</span><br />
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Here's the full cover image, including spine and back panel...<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOhLDTIAoQM_5ZDPOOrohLo3o2krEg9BkSg267Zrlh_2eBaAjM3VNdjpN_bxnO2ZWQzJkZsE4PrUaQEO3CeI-szLwJJiRVVJaOC0kqYXFJ4wM4EgxmheWLs9aZBzG7TqRMuEGsYFnSPs0/s1600/JohnStanley1950sBiblioStandardcovSM.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOhLDTIAoQM_5ZDPOOrohLo3o2krEg9BkSg267Zrlh_2eBaAjM3VNdjpN_bxnO2ZWQzJkZsE4PrUaQEO3CeI-szLwJJiRVVJaOC0kqYXFJ4wM4EgxmheWLs9aZBzG7TqRMuEGsYFnSPs0/s1600/JohnStanley1950sBiblioStandardcovSM.jpg" height="246" width="400" /></a></div>
<br />Frank M. Younghttp://www.blogger.com/profile/04673579882180372546noreply@blogger.com0tag:blogger.com,1999:blog-7157513690234917810.post-44530351972030788912014-10-26T12:42:00.001-07:002014-10-26T15:26:44.903-07:00Post-Mortem Post 002: The Enigma of "Knotknee"<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLkrj3KeTjJzyA-Nq9kGBzbG3zrMMyA9LFHRx34dvTuct098utqavmPqLhIFUWe4yY3nQ7ymTclOTZb2IeDlwMSlx2emv_4jhY8OQnXIPsgJ9OY9s5CJTRYzH7xjKLWQeKQmdH28piuI4/s1600/KneeTeaser.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLkrj3KeTjJzyA-Nq9kGBzbG3zrMMyA9LFHRx34dvTuct098utqavmPqLhIFUWe4yY3nQ7ymTclOTZb2IeDlwMSlx2emv_4jhY8OQnXIPsgJ9OY9s5CJTRYzH7xjKLWQeKQmdH28piuI4/s1600/KneeTeaser.jpg" height="200" width="195" /></a></div>
In doing the research for my upcoming 1950s John Stanley bibliography, I was reminded of a couple of curiosities. Among them is the enigmatic filler feature "Knotknee," which first appeared in the 15th issue of <i>Marge's Tubby</i>.<br />
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The title already had a secondary feature, "Alvin," which guaranteed its eligibility for special periodical postage rates. I've made mention of this postal law, which is the reason for filler pieces in 1940s and '50s comic books, elsewhere on this blog.<br />
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Why "Knotknee" was created is a puzzle. The character does not otherwise appear in any "Tubby" or "Little Lulu" stories. Nor was any attempt made to explicity connect it with those characters. Long before 1956, when this oddity debuted, John Stanley had mastered the art of pantomime comics gags. <i>Little Lulu</i>, from its trial start in Dell's "Four Color" series, is rife with such pages.<br />
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Occasional multi-page pantomime stories appear in <i>Lulu</i>, and in earlier Stanley projects such as <i>New Funnies</i>. For a writer as in love with language as was Stanley, his fluency in using mute images to tell a story is a pleasant surprise.<br />
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By 1956, the panto pages were feeling a bit phoned in, and "Knotknee," which I hesitantly attribute to Stanley, suffers accordingly. Here is the first page in the series:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiA2D8onygF6zZsUEteiXlXfvhHqA9Qev8B-4vnvuN6SCeoFOSfXdV1j36lkboOHGPkwjn1DzFIy6E9oo6LCbL6CUKmJhyxDwpX_x4KUnePzNVo0JvHtcmhXINm6tGCe7Qz1RIhtec9cQI/s1600/tubby_15_01_ifc.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiA2D8onygF6zZsUEteiXlXfvhHqA9Qev8B-4vnvuN6SCeoFOSfXdV1j36lkboOHGPkwjn1DzFIy6E9oo6LCbL6CUKmJhyxDwpX_x4KUnePzNVo0JvHtcmhXINm6tGCe7Qz1RIhtec9cQI/s1600/tubby_15_01_ifc.jpg" height="400" width="277" /></a></div>
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Knotknee's shtick was being very fast on his feet. He was chosen to star in Tubby's one- to two-page text fillers, which are very clearly <i>not</i> written by Stanley. Here is the first text page, from this same issue.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW2mbdVVLwcX8-h9Ek9Y_d0nj4hj9N_suahe0lxJmLHl6VEwhawBOSU-vfAmBOel7cmVQm-A4PLchKDN5_G3s1QjrR5RjQkbYk0489aiKsZkwvy4hCJNxB6iobLf_Eklqcva0cemdWUsk/s1600/tubby_15_34_ibc.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW2mbdVVLwcX8-h9Ek9Y_d0nj4hj9N_suahe0lxJmLHl6VEwhawBOSU-vfAmBOel7cmVQm-A4PLchKDN5_G3s1QjrR5RjQkbYk0489aiKsZkwvy4hCJNxB6iobLf_Eklqcva0cemdWUsk/s1600/tubby_15_34_ibc.jpg" height="400" width="272" /></a></div>
This prose, utterly drained of enthusiasm, typifies the 1950s comic book text filler. You can feel the writer's gnashed teeth in every line.<br />
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100% independent of the world of Tubby and his clubhouse pals, Knotknee faced similar interests (sports, girls) and fears (bullying, loss of social status). Thus, these pages line up with the other contents of the series, even tho' they seem mutually exclusive.<br />
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That "Knotknee" is drawn in the Marge Buell style blurs the boundaries further. It might have been jarring to readers to have a filler page drawn in a different look and feel. The feature, as it stands, must have puzzled <i>Tubby</i> fans (those who noticed, that is).<br />
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Here is a selection of other "Knotknee" pages. The feature ceased, as a pantomime comic, with <i>Tubby</i> #31, but soldiered on as a text feature.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMhek9tw1ga77eYIgfakIGzcTUl7V1G1UMCQDJbQMGSdStPQx95k5ximDzeN5Q1hWZy4rUNAGgJAS4VM3x1XF2LyEnxnfb9lrdKCEE4phEBJiquzXVUnBVjDmj8gzZBV-7YPG4rbb3rmM/s1600/Tubby_17_02ifc.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMhek9tw1ga77eYIgfakIGzcTUl7V1G1UMCQDJbQMGSdStPQx95k5ximDzeN5Q1hWZy4rUNAGgJAS4VM3x1XF2LyEnxnfb9lrdKCEE4phEBJiquzXVUnBVjDmj8gzZBV-7YPG4rbb3rmM/s1600/Tubby_17_02ifc.jpg" height="400" width="267" /></a></div>
When that Dell Pledge to Parents is wedged into a page, its non-importance is guaranteed.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaOEdtGnD8FhVS7dXKXPS-L7TxZffdSUG9giq38-lusvig5Yy9U6Mu2Wibr6Ya5xiu7oLFkZbRB9-RDJPQH3Rf4xqo3BhJOilwXOYVjq6HgtW5oppFQ2LwbB_wR9KCCa6WIV9COplIRis/s1600/tubby_18_01_ifc.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaOEdtGnD8FhVS7dXKXPS-L7TxZffdSUG9giq38-lusvig5Yy9U6Mu2Wibr6Ya5xiu7oLFkZbRB9-RDJPQH3Rf4xqo3BhJOilwXOYVjq6HgtW5oppFQ2LwbB_wR9KCCa6WIV9COplIRis/s1600/tubby_18_01_ifc.jpg" height="400" width="286" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1KJPGo4ALcxQhcWCkFk5rpD_NpgIc3BM6kSjiI-yag_-V7u-UNAAz_HIPdQ_TCyk3d1UkOYhEj_WQKozwEsmqthpJw6TPP5o2Je9VnZdN0AbgufykFcUuprMkTtbahz2ay5WkEDW65J8/s1600/tubby_19_01_ifc.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1KJPGo4ALcxQhcWCkFk5rpD_NpgIc3BM6kSjiI-yag_-V7u-UNAAz_HIPdQ_TCyk3d1UkOYhEj_WQKozwEsmqthpJw6TPP5o2Je9VnZdN0AbgufykFcUuprMkTtbahz2ay5WkEDW65J8/s1600/tubby_19_01_ifc.jpg" height="400" width="273" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh42H3VrClN-5DGoeRpRo4TWfj4KJNKgY8L1BHdEo91RdIPDE5daVJK7wfXmHnMaTaUEVPFKWU8sfrrNuqMPLZ7b6K4Llv7OHX9-WurGL2oq1OHsJhhDS4wMY-SuH0ETfreb-5JaQGHkdI/s1600/tubby_20_01_ifc.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh42H3VrClN-5DGoeRpRo4TWfj4KJNKgY8L1BHdEo91RdIPDE5daVJK7wfXmHnMaTaUEVPFKWU8sfrrNuqMPLZ7b6K4Llv7OHX9-WurGL2oq1OHsJhhDS4wMY-SuH0ETfreb-5JaQGHkdI/s1600/tubby_20_01_ifc.jpg" height="400" width="278" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAjof4Jqflbihaaqdqz3UlCz0KiW9-dTyoM2ukgJsnhdR_-2RPsAy3D363hvIzNzyFbi9tm2O76aeCW58Zlmy59-xR0Y2mVbYxb6AwM7Tya30Sunz_L3A2GnbGE5LoOsMiRVzj3hs_K4k/s1600/Tubby_27_02ifc.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAjof4Jqflbihaaqdqz3UlCz0KiW9-dTyoM2ukgJsnhdR_-2RPsAy3D363hvIzNzyFbi9tm2O76aeCW58Zlmy59-xR0Y2mVbYxb6AwM7Tya30Sunz_L3A2GnbGE5LoOsMiRVzj3hs_K4k/s1600/Tubby_27_02ifc.jpg" height="400" width="280" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj11M_IqulCMzwUODHqlYKHzpCz-6LNYaG1XyHqOXHKcobXwi6Tp2ocUJ3F7aAyQBqUlj0-_kWZYJe3MzMB1WX-afeYcieRQaDSBtzu82l33NYWkgYcPVEvT5jFk9PvZR2r8Vqe8StRIDA/s1600/tubby_21_01_ifc.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj11M_IqulCMzwUODHqlYKHzpCz-6LNYaG1XyHqOXHKcobXwi6Tp2ocUJ3F7aAyQBqUlj0-_kWZYJe3MzMB1WX-afeYcieRQaDSBtzu82l33NYWkgYcPVEvT5jFk9PvZR2r8Vqe8StRIDA/s1600/tubby_21_01_ifc.jpg" height="400" width="287" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXM9h3HDw4eoeQMty3wwMm5RqXzdlnGpL77NZaGAGL5_JuuKjpll6WAQTG2iEklObYH-_mhr8i9QspqGCkN7_YcDyqLG0b75i-Ofv8kvPgGWK01C7B9d8DNfC8_xbPM0WRGIN9Zbp5GJc/s1600/Tubby022-002.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXM9h3HDw4eoeQMty3wwMm5RqXzdlnGpL77NZaGAGL5_JuuKjpll6WAQTG2iEklObYH-_mhr8i9QspqGCkN7_YcDyqLG0b75i-Ofv8kvPgGWK01C7B9d8DNfC8_xbPM0WRGIN9Zbp5GJc/s1600/Tubby022-002.jpg" height="400" width="270" /></a></div>
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The feature broke from its muteness just once, in issue #24 of <i>Tubby</i>:</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0m-C9_pntizL7LuKOEEhblTjJ1sjNe9soNxxSrB0zvNzjyJ3ensQO8rh8uEfOhneTWcnxuIDwhHzA6xthrsDYZf8-96pJmVxaFvyNbFp2zIrsidFL-WoGqgsXUtrjLFBP_V_E6mAmuiQ/s1600/Tubby024-002.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0m-C9_pntizL7LuKOEEhblTjJ1sjNe9soNxxSrB0zvNzjyJ3ensQO8rh8uEfOhneTWcnxuIDwhHzA6xthrsDYZf8-96pJmVxaFvyNbFp2zIrsidFL-WoGqgsXUtrjLFBP_V_E6mAmuiQ/s1600/Tubby024-002.jpg" height="400" width="285" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzQ1ppjV52uAuT2GPojKpIICOp9oSqEsMOeBx2jVn4hLQfdScyV9dsIC8gNiSPdCudzIBDwUcmh9yN9_HzlqY5Peh-j-mY6Y-CB7jXMw1amwUofyAwutaggN_owJ_PdDykHzp7bpbhcdE/s1600/Tbby3002.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzQ1ppjV52uAuT2GPojKpIICOp9oSqEsMOeBx2jVn4hLQfdScyV9dsIC8gNiSPdCudzIBDwUcmh9yN9_HzlqY5Peh-j-mY6Y-CB7jXMw1amwUofyAwutaggN_owJ_PdDykHzp7bpbhcdE/s1600/Tbby3002.jpg" height="400" width="282" /></a></div>
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This is the last episode in the comics version of the feature:</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9LgkB8Qm48HYjQSza8PQwE32jZ9T82rVa8hVdtldmDcGvlp8brMKMVVlDuvaotAEG9P9_FWw-4QXkhUxdNMEKaoMoBO9xUfo4DDNAme-m7SOl2Ptb22QAOdM5pVDyeBwfRRfKpOwX6X4/s1600/Tbby3102.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9LgkB8Qm48HYjQSza8PQwE32jZ9T82rVa8hVdtldmDcGvlp8brMKMVVlDuvaotAEG9P9_FWw-4QXkhUxdNMEKaoMoBO9xUfo4DDNAme-m7SOl2Ptb22QAOdM5pVDyeBwfRRfKpOwX6X4/s1600/Tbby3102.jpg" height="400" width="278" /></a></div>
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Though a one-note concept, "Knotknee" has some occasional faint charm. He was never destined to have his own series, or speak beyond the one line given him in <i>Tubby</i> 24. As the most obscure and little-known creation of John Stanley's Lulu-Tubby tenure, "Knotknee" rates a brief mention here.</div>
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I'm about halfway through the '50s bibliography, slogging through the task of synopsizing each "Little Lulu" and "Tubby" story of the decade (along with all the other stories and series with Stanley's work). I'll be glad when I don't have to type "Witch Hazel" again for awhile.<br />
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More in this occasional series of post-posts sometime soon.<br />
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Frank M. Younghttp://www.blogger.com/profile/04673579882180372546noreply@blogger.com3tag:blogger.com,1999:blog-7157513690234917810.post-29431272935017667632014-08-02T10:51:00.000-07:002014-09-09T10:06:20.974-07:00Post-Mortem Post 001: Sluggo goes Peanuts: two super-obscure Stanley stories<div class="separator" style="clear: both; text-align: center;">
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I warned you that I'd come back, from time to time, after "officially" ending this blog. As I make new discoveries, or find new information that either confirms or corrects my past presumptions, this blog will remain on life-support.<br />
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If/when I complete and publish the John Stanley bibliography for the 1950s, it will consist of 11 years of stories. Near the end of that era come two small surprises from a semi-likely source.<br />
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<span style="text-align: center;"><br />For years, I've suspected that Dell's </span><i style="text-align: center;">Peanuts</i><span style="text-align: center;"> series might hold some John Stanley material. No one had bothered to scan these comics and share them on the web until last month. Said it before, saying it again: kudos to the folks who scan old comics and remove them from obscurity and inaccessibility. Their work is a powerful help for today's comics scholars.</span><br />
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<span style="text-align: center;">In a just world, Stanley might have been assigned Charles Schulz's characters, rather than the cast of </span><i style="text-align: center;">Nancy and Sluggo</i><span style="text-align: center;">, in 1959. Schulz understandably wished to keep the comic book version close to home. His friends Jim Sasseville and Dale Hale wrote and drew the new material, in the spirit of the mega-popular daily strip. You can read an interview with Dale Hale about his work on the Dell </span><i style="text-align: center;">Peanuts</i><span style="text-align: center;"> title </span><a href="http://cartoonician.com/dale-hale-and-the-peanuts-comic-book-the-interview/" style="text-align: center;">HERE</a><span style="text-align: center;">.</span><br />
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It's tempting to imagine how Stanley might have handled the rich characters and relationships of the Schulz strip. Instead, this brief, inadvertent intersection is the closest these two talents came to meeting.<br />
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The comic book "Peanuts" was previewed in backup stories that appeared in <i>Nancy and Sluggo</i> and <i>Tip-Top Comics</i>, two other Dell titles based on United Features Syndicate-licensed characters. Reprints (and re-reprints) of early "Peanuts" strips already appeared in comic books published by United Features, and then St. John's.<br />
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United issued a one-shot <i>Peanuts</i> special in 1953. This all-reprint book is a holy grail of many Schulz collectors. None of these pre-Dell titles featured new material. Schulz took a brave step down from the exalted realm of newspaper syndication to the lower depths of comic books in 1958.<br />
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It's rumored that Schulz drew one of these pilot stories (see Hale interview for the details, which remain vexingly vague). Western Publications published its first one-shot <i>Peanuts</i> comic book in 1958, as part of their "Four Color" series. After three trials, a regular <i>Peanuts</i> title began, cover-dated February-April 1960. It was a smart move, although the quarterly comic book version apparently wasn't as popular as all parties concerned might have hoped.<br />
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As a stand-alone series, the book was available for subscription. It needed an unrelated secondary feature, to meet the demands of the U.S. Post Office. The trial issues offered solo stories featuring Snoopy, the iconic beagle. Apparently, that wasn't distanced enough for the Post Office. Four-page "Sluggo" stories, seemingly drawn from inventory, slotted into this filler area.<br />
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The first "Sluggo" story, drawn by Dan Gormley, is clearly not Stanley's work. The next two issues' "Sluggo" fillers are Stanley-written, and provide an extra taster of this troubled but fascinating segment of John Stanley's comics career.<br />
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I've written plenty on Stanley's <i>Nancy</i> comics, throughout this blog. If you're interested in more, just click on the "Nancy" label at the end of this post.<br />
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"Delivery Boy," from <i>Peanuts</i> #5, is vintage Stanley:<br />
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Stanley was inspired on the day he wrote "Delivery Boy." The sequence at the end of p. 1/start of p.2 is classic stuff, ending with Sluggo's existential sigh: "Well... EVERYBODY can't have a monkey..."<br />
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The next issue's "New Shoes" plays to Sluggo's outcast, disenfranchised side, with strong results:<br />
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"New Shoes" says more about the Sluggo character, in four pages, than many of Stanley's stories in the regular <i>Nancy</i> title(s). He is the archetypal Stanley outsider: poor, out of sync with the world around him, and desirous to meet that world, despite his lack of connection or understanding.<br />
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In the end, Sluggo reverts to his old shoes, and his low status in the universe. Stanley's misfits strive to exist in the mainstream, but their heart is seldom in these attempts, and their known world suits them best.<br />
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On that note, Stanley's involvement in the <i>Peanuts</i> comic book series ended. Other, less apt hands continued the "Sluggo" fillers (and one "Nancy and Sluggo" episode) for the book's duration. <br />
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Dell's<i> Peanuts</i> series lasted 13 issues, and ended at the point in which Dell Comics and Western Publications parted ways. Western's new company, Gold Key, published one <i>Peanuts</i> issue, which reprinted the 1958 series opener.<br />
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That was it for the comic book <i>Peanuts</i> until 2012, when Boom! Studios produced new material aimed at younger readers. They continue to do so, and the series appears to be successful.Frank M. Younghttp://www.blogger.com/profile/04673579882180372546noreply@blogger.com0