sunday comics

Pt. 3: Eye Appeal

The mood shifts again as the beautiful Yolo meets the staff of the Freedom Clarion. Mitzi McCoy had met Yolo while travelling to Fez with her father, and now the McCoys are hosting Yolo during her stay in Freedom. Meanwhile, Jerry has built a fine stage for Yolo’s dance performance. The benefit for a new waterfront park promised to be the town’s social event of the season.

The tension mounts quickly as an agitated and evidently left-handed Stub clobbers Jonas. A temporary open-air dressing room gives an intimate view of Yolo as she readies for her performance and disaster strikes as some of Yolo’s jewelry goes missing.

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Pt. 2: Darkness sets in

After the humor of the past two weeks’ transitional comics, a darkness sets in over Freedom as a new character is introduced. Jonas Crabtree, the “meanest man in town,” expresses his doubts to Stub about Tiny having saved a little girl from attack by wolves (in a previous sequence). He wishes the worst on Goodman’s Irish wolfhound.

Also introduced is the animal-loving ex-con Jerry Dor. After hearing his story, Stub puts him to work as stage manager for Yolo’s upcoming benefit performance. Danger comes Tiny’s way and Crabtree begins menacing Jerry, who shows a quick temper in defending his patron, editor Stub Goodman.

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An interesting detail in these strips shows that in the time between the July 22 & 29 comics, Stub has returned the bantam car and gotten his hot rod back from the shop.

Yolo, Part 1

Following a week-long promotional blitz (see December 6, 2015 post), “Mitzi McCoy” finally launched in the Grand Rapids Press, Kreigh Collins’s local paper. It appeared on Saturdays, running in black and white as a one-third pager. The timing was a bit awkward as plans were already in place for “Mitzi” to transition into “Kevin the Bold.” Nonetheless, appearing in an additional newspaper meant more revenue for Collins.

The promotional ads promised adventure, dramatic artwork and eye appeal and Kreigh delivered on all counts (and then some). The strip’s last full sequence featured Yolo, a Moroccan beauty who was headed to Hollywood. As the Yolo character is introduced, editor Stub Goodman is taking his car in to the shop.

Tellingly, Stub’s mechanic lives “way out in Ada,” the town in which Kreigh Collins had built his home. These two comics served as a light-hearted, humorous transition between the thrilling conclusion of the previous sequence (The Counterfeiters, in which Stub’s old hot rod had taken quite a beating) and the drama that was yet to come in the next ten comics.

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A cute detail in the fourth panel of the July 8 comic shows a puppy sitting by Tiny’s side and looking on in admiration. The July 15 comic has an appearance by Clancy, a recurring policeman character whom has taken exception to Stub’s driving.

On the Hard

Plenty of action and adventure lay behind; a proposed ocean crossing promised further excitement ahead. Once home, the Marlins reunited with their old friend Pedro, who almost seems to have anticipated Heather’s upcoming journey. These comics ran November 14, 21 and 28, 1971. With only 13 more “Up Anchor” comics to come before Kreigh Collins retired, it seems doubtful that Heather ever made it to Europe.

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Pedro is a character with a familiar face. As with other characters Kreigh illustrated, his doppelgänger was a friend of Kevin Marlin in his earlier incarnation as Kevin the Bold. Whereas Kevin has aged from one comic strip to the next, Pedro has not. Maybe Pedro’s secret is the Italian beautician’s powder.

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(KTB from December 28, 1958)

Surviving the Squall

Heather and crew managed to survive “a notorious Lake Erie black squall,” and despite the trauma, Jane Marlin has an idea for Heather’s next journey, which comes as quite a surprise. It seems her trip to the beauty parlor was quite rejuvenating.

Below are the comics that ran from October 24 until November 7, 1971. They are all silver prints, which Kreigh would receive from the NEA as a last chance for proofing before the comics were published. Some of the proofs he received were of better quality than others, but the nicer ones are almost as crisp as images of the original artwork. When “Up Anchor” appeared in print, it was almost always as a one-third page; the proofs have the bonus of including the topper strip “Water Lore.”

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With the storm behind them, skipper Kevin Marlin remembers an incident when a “lunatic gunman” tried to hijack Heather the last time they plied Lake Huron’s waters. That sequence is unfamiliar to me, but while surfing online I did come across the episode (August 10, 1969) from that chapter of “Up Anchor.”

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Homeward Bound

When Kreigh Collins scuttled “Kevin the Bold” and launched “Up Anchor,” he had a fresh start with a new theme. After nearly 20 years of Kevin’s 15th-century exploits, the action was now set in the 20th century. Most of it took place aboard Heather, with a fictionalized version of his family serving as crew.

Much of what was depicted in the new comic was inspired by events the Collinses experienced while cruising the Great Lakes and beyond. In 1966, Heather returned to her home port after a nearly two-year absence. Much of the journey was chronicled in a series of ten articles that appeared in the Grand Rapids Press, much the way blog posts are written today. The articles were illustrated by Kreigh and written by wife Theresa. Later, the articles were adapted into a narrative, “The Wake of the Heather,” which appeared in The World of Comic Art, a trade journal. Eventually, the journey became the basis for one of the final sequences in “Up Anchor.”

Surviving newsprint copies of “Up Anchor” are not very common, but I as able to piece together nine consecutive comics from a variety of sources. There are black and white “silver print” proofs, color comics from the newspaper, and photograph of a piece of original art.

The action begins with the comic from October 3, 1971.

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Here is Theresa’s description of the foul weather as it originally appeared in “The Wake of the Heather:”

Nearing Buffalo, we passed through an impressive fruit belt with vast orchards on both sides. Here homes line the canal banks. We had been underway a month and it had rained only once. We reached the North Tonawanda boat yard just as one of the fiercest squalls we had ever experienced hit. The next morning the Heather was rigged, and by noon her masts were once more in place and she was ready to sail again.

Kevin the Scandinavian

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At some point in the 1970s, “Kevin the Bold” was published for a market in Norway. I have no information about the comic book shown (above, left) other than his new sobriquet translates as “fearless.”

Another European market for American golden- and silver-age comics was Sweden. The wild west was a uniquely American subject that appealed enough for a comic to be assembled from various western-themed sources. Dating from 1953, the comics inside the beautifully-printed “Tom Mix with Buffalo Bill” ranged from classics (“Tom Mix,” “Frisco Kid,” “Buffalo Bill,” and “Lash LaRue”), to dense one-pagers (“De Dog Med Stövlarna På” [translation: They Died with their Boots On] and “Slaget vid [Battle of] Little Big Horn”) to the forgettable (“Ugh,” a silent comic featuring a native American girl). Also included, rather inexplicably, was “Kevin the Bold.” Maybe the comic’s connecting theme wasn’t the wild west — perhaps it was horses. At any rate, “Kevin” was the only American comic renamed in Swedish (here called “Roland den Djärve” — which indeed translates to “bold”.

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The “Kevin” sequence covers three and a half comics that ran at the tail end of 1951 — a memorable sequence where Kevin fights Baron von Blunt to the death. Interestingly, the comics aren’t simply reprints of tabloid pages. The artwork has been edited quite a bit. Throwaways aren’t the only panels that disappear, and a few other panels are expanded with line work that isn’t a very convincing imitation of Kreigh’s. The comic ends abruptly — in fact, the next one in the sequence (January 6, 1952) is a cliff-hanger (literally!).

 

Australian Editions, Part 2

A third publisher of “Australian Edition” comic books was Atlas. The comics Atlas published came out later than those put out by Tip-Top and Thriller, and they seem to be better organized — the comics run in sequence without the randomness that occurred in some Tip-Top titles.

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The comics may run in sequence but the material in No. 13 (April 11–August 22, 1954) is older than that which is found in No. 14 (November 8, 1953–March 28, 1954). I found these titles on an eBay and was fortunate to win the lot of them for less than $20.00. They were listed by a seller in Australia, and don’t turn up very often — maybe once a year.

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Australian Editions, Part 1

Many U.S. Golden Age comics were printed and distributed in Australia throughout the 1930s, 40s, and 50s. Tip-Top and Thriller were two publishers that first brought Kreigh Collins’s comics down under. Tip-Top No. 3 features later “Mitzi McCoy” comics, and No. 4 covers the opening sequence of “Kevin the Bold.” I’m not sure which comics are found inside the pages of No. 5; No. 6 has a hodge-podge of “Mitzi” (from 1949–50) and “Kevin” (1952) with no logical sequencing. Apparently the target demographic wasn’t overly concerned with continuity. The 24-page books would typically feature 20 Sundays’ worth of tabloid versions of the comics, plus the cover and a couple pages of ads.

These “Australian Editions” are highly sought after due to their affordable prices and unique covers. The covers repurposed dramatic panels from the comics with backgrounds and dialogue eliminated (as shown in Thriller No. 24, which uses the opening panel from the December 24, 2950 “Kevin”).

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Foreign Tongues

When it was launched in 1948, “Mitzi McCoy” appeared in about three dozen newspapers. Nearly all were located in the United States, but two were from Canada — the Farmer from Winnipeg, Manitoba and Montreal’s La Patrie. Being situated in Quebec, “Mitzi” was translated into French and ran as the more Gallic-sounding “Mitzi Morot.” When the strip rebooted as “Kevin the Bold,” it continued to run in a translated form in the pages of La Patrie.

As the popularity of “Kevin” grew, its reach spread further and it was translated into other languages. Often, the comics ran after their original publishing dates, as was the case when “Kevin el Denodado” appeared in Argentina in a magazine called Tit-Bits. (Though it sounds like a girlie mag, it was actually the Argentinian version of an eponymous British weekly first published in 1881).

“Kevin” eventually made his way to South Africa and was translated into Afrikaans, as shown in this comic from 1965.

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The comic was also repackaged into comic books for overseas markets, and besides the relatively common examples from Australia, it was translated into Norwegian and Swedish for Scandinavian readers. (More on the comic books later).

[French “Mitzi Morot” and “Kevin the Bold” images at top of post courtesy of Encyclopédie de la Bande Dessinée de Journal au  Québec 1918-1988]