Showing posts with label Leo Dorfman. Show all posts
Showing posts with label Leo Dorfman. Show all posts

11.22.2016

Twilight Zone Comics (1963)


Gold Key published four Twilight Zone issues in 1963. 


Let's have a look at 'em.

Issue 2 opens with "The Lost Colonie," wherein a telephone lineman from 1962 discovers (you guessed it) a lost colony from 1662 while working underground. The people in the past built their underground city to "escape Peter Stuyvesant, the tyrant of Nieuw Amsterdam." The lineman uses his flashlight to bedazzle the people of the past and escapes by retracing his steps back to the hole punctured in the timestream, a la "All Our Yesterdays."


Serling, always with the cheery suggestions.

The second story is the weakest of the three, but it's still fun. (More or less how I feel about every one of these stories in issues 2- 5). An old timer has a silver watch given to him by General Custer, which allows him to time travel. 


There's more, but 'nuff said. ("One side, ya stomachlobbers - Irish buggy baby comin' through!" and other Old-Timey-49-er dialogue.)

The third story is classic TZ: TOS fare. A man wakes up in spacesuit with apparent amnesia after a rocket crash. He looks for his friends and instead discovers three apelike creatures. They are his friends, transformed by the rays of Phobos - which some believe to be an artificial satellite constructed for this purpose - into creatures capable of surviving on Mars. (It really is remarkable how many times this theme comes around in science-fiction, on Mars especially.) He refuses to live as some damn ape-man and tears off his suit to let the atmosphere kill him. Instead, he wakes up in a hospital bed, on Earth, the first man to complete one hundred successful orbits. As such, he has been selected to lead the mission to Mars. He recognizes his new crewmates as the apes from his dream, and further - 



Fun stuff. All stories written by Leo "the Dorf" Dorfman and illustrated by Giovanni Ticci and Alberto Giolitti, all of whom has prolific Silver Age profiles in the industry.
 
Issue 3 features art by fellow Silver Age (and beyond) legends Alex Toth and Mike Sekowsky. The writing credits are to the best of my knowledge unknown. The issue opens with:



Another one that would have fit right into the Original Series's imdb. A WW2 soldier is blasted into the past by a tremendous explosion and rescued by a "special squadron." They outfit and arm him but seem odd to him, somehow. When they come across a German position that has a squad pinned down, they form a bayonet charge and take them out, then disappear. 


Naturally they're the Lost Squadron of this particular battlefield, always willing to lend a hand to a doughboy separated from his squad.

Next up is "Birds of a Feather," another one where you can more or less guess the ironic ending in store from the first couple of panels. There is, however, a tad more to the story. 


I enjoyed this one, particularly the art.

The last story is the one from the cover, "The Queen Is Dead - Long Live the Queen." 


Another fun one.
Spoiler alert:

This last one has a little bit in common with Season 5's "Queen of the Nile", which also aired in 1964. I don't know if such a thing was coordinated - probably not.

Onto issue 4, which could be the best of the '63 offerings. (More art by Sekowsky and Toth, and stories by Paul S. Newman. Possibly some other writers, too - it can be tricky tracking down Gold Key writer info.) The first story, "The Secret of the Key" is another time travel affair. A man in Paris overhears a shopkeeper telling a customer that he has a gold key that is not for sale at any price. Intrigued, the man steals the key, and when chased by the gendarmes, he uses it on a door that appears in the middle of a brick wall. (Like one does.) He materializes in Revolutionary France where he is first chased by the mob, then ends up (!) in the private chambers of Marie Antoinette. (That's about as probable as hopping the White House fence to evade some ruffians and sneaking in the Oval Office bathroom window or something, but hey.) The queen mistakes him for her husband, then uses his resemblance to her advantage. 


After drugging him, she and Louis XVI swap the stranger for the king, and it is the stranger who makes his date with Madame Guillotine at the Place de la Concorde.

I basically will watch or read anything set during the French Revolution, so maybe I find this one a little more fascinating than it deserves. (Sidenote - is it just me or are people totally uninterested in the French Revolution? Seems un-American to me, as counter-inuitive as that might sound on the face of it. One revolution reflected the other.) It feels like it should be a Night Gallery segment. I have that reaction to a lot of Gold Key TZs, actually.

The next story brought to mind "Black Leather Jackets" from the series. A reporter is sent to cover the opening of a hot new club, which he does, but upon arrival discovers it's all a front for an alien takeover. 


A brief morality tale ("The Captive") is next. This one is actually pretty cool despite being seemingly Frankenstein'd from a half-dozen other Twilight Zone stories.

"Local jerk receives supernaturally ironic comeuppance."

Issue 4 comes to a close with:


You have to admire any plot that follows a progression like this: a US Navy pilot crashes into the Pacific during WW2. He awakens in a strange chamber attended by a beautiful woman, who reveals that he is now a guest in the underwater kingdom of King Neptune. He refuses to stay and must earn his freedom by passing King Neptune's gauntlet - a test of strength against the most fearsome creatures at his disposal.



He does and wakes up in the sick bay of a US transport, his seaweed headband admired by the officers in charge. He claims to not remember anything while offering a silent prayer of thanks to Trina, the lady-fish who nursed him to health. 

If Issue 4 isn't the best of the '63 TZs, it has to be issue 5. (Written by Leo Dorfman, art by Mike Sekowsky, Tom Gill, and Frank Thorne.) The cover story was memorably summarized in the comments section last time by Friend of the Omnibus ChrisC. He was going from memory, though, and a few of the details turned out to be (only slightly) different. Race Corey (what a name!) and Anson are wanted thieves holing up in the Corey Family mansion, long since abandoned and dilapidated. The family legend is that an ancestor made a fortune as a smuggler during the War Between the States and that the money is hidden somewhere on the property. That night, Race has a dream where his ancestor shows him where to find it. The next day, lo and behold - there it is! Right where the ghost said it would be. 

It's all Confederate currency, but also included are the currency plates with which the pair can reproduce authentic dinero for Civil War buffs and currency collectors.

Alas, while hiding out as wagon-wheel bumpkins after accidentally murdering one of their customers, they drift into a remote and misty valley where they unknowingly drift back through time. They are set upon by a Confederate patrol, who quickly discovers the currency plates in their possession and has them executed by a firing squad.

Time traveling to the Confederacy almost never works.

The other stories are each a hoot. The shortest is "The Shadow of Fate," which is your standard ghost-saves-the-Queen-of-England-from-fiery-train-wreck tale. "The Legacy of Hans Burkel" is the story of the title character, a bad luck sailor on a Nazi U-Boat of the damned.

Fantastic Sekowsky art.

And lastly, there's "Poor Little Sylvester." Sylvester is an orphan and heir to a great fortune. The stipulations of his inheritance call for him to share it with any caretaker who safely sees him to adulthood and provides him with anything his heart desires along the way. 

Sylvester is interested in everything, which leads to a house full of clutter for the aunt and uncle looking after him.
They're happy to go along with his whims until he orders the Space Warp Converter from the Sugar Globs Company.

Sylvester activates the Converter but can't get it to work. After tinkering with it, though, he manages to send one of his aunt's lamps to Altair-4 into deep space. 

When they threaten to abandon Sylvester and empty the house of all valuables for their troubles, Sylvester takes matters into his own hands.

You've got to wonder - did Stephen King see this comic? Did it sit like a piece of sea grit in the clamshell of his imagination, one day to turn into the pearl of David and Hilly Brown from The Tommyknockers? The stories are different enough - no one's suggesting he plagiarized it or anything silly. Just wondering if King - a comics fan and familiar enough with the Twilight Zone - ever came across this story back in the day and filed the idea away for later.

Keys to Knowledge this time around include entertaining asides on : The Sea (Island Life and Coral Fish), Roads and Vehicles (Primitive Transportation the Roman road), Electricity, and Encryption and Archaeology.     

 

See you next time. 

10.18.2016

Twilight Zone Comics (1962)


I figured - why stop with just the TV shows? I might as well have a look at some of the Twilight Zone comics published first by Dell and then, after Dell's split from Western Publishing, under Western's imprint Gold Key. The series ran off and on from 1961 to 1982, when a single issue was published under Gold Key's brief successor Whitman.

The whole Dell/Western/Gold Key saga is an interesting slice of comics history, but for our purposes here, it's enough to know that the The Twilight Zone was one of several licensed properties Gold Key turned into comics in the 60s and 70s. Most of the back half of the series simply reprinted earlier stories, so we probably won't look at much past the 60s

The issue I want to look at today - Gold Key's sole Twilight Zone offering of 1962 - is unnumbered but is generally considered to be Twilight Zone #1. It consists of three stories, one page of prose ("Wings of Death," which was okay, but I declined reviewing it here), and two educational inserts:

I love stuff like this in old comics.

The "Custer's Last Stand" insert relates to the 2nd of the 3 stories, "Do Not Touch Exhibit." The writer is uncredited - actually, all of these stories are uncredited but I tried to track down some of the credits here and here: "Those cited by the Who's Who as writing mystery stories in the early Sixties for Western (which would include TZ at Gold Key) include Leo Cheney, Royal Cole, and Marshall McClintock. There are no specific stories they're known to have done, so I can't match up the unknown writers' styles with particular authors." 

So, it's a mystery. Anyway, it's an okay story - a crook fleeing police breaks into a museum to try and evade them. He hides in an exhibit in the American History Wing, but a sudden, unexplained flash of light sends him back into the past. Surrounded by what appear to be US army troops, he's thrown in the stockade when he attacks the base captain. When his food is brought the next morning, he knocks out the guard, steals his uniform, and escapes the base disguised as a soldier. Unfortunately, the troop in which he tries to hide himself is the Seventh Calvary, on route to its fateful encounter with Sitting Bull and Crazy Horse. Meanwhile, in the present, the police discover his body in the museum:



The art is by Tom Gill, best known for his long run on The Lone Ranger, which is probably why he was chosen for this. The story's okay - it was easy enough to guess the twist ending from the moment he went in the museum, but no big whup - but the art is certainly pretty slick, particularly the line work on the horses. 

Given the nature of our other two stories, I thought I'd let the screencaps do the plot summary for me. Here's "Voyage to Nowhere," written by Leo Dorfman, prolific writer and editor of the Silver Age who ended his days on DC's Ghosts - my personal favorite of that era's DC's horror anthology titles - and illustrated by EC legends Reed Crandall and George Evans:


Pretty standard little ghost story, eh? Perfectly enjoyable, though personally I'd have preferred the POV stay with Roy after he boards The Wanderer

The last of our stories is "Perilous Journey," also illustrated by Reed Crandall with author unknown. And once more I'll ask you to do a little of the work yourself by reading through the following panels which attempt to pictorially summarize the plot (with a couple of captions here and there):

She leads him into an ice cavern after fleeing an indestructible polar bear.
They are separated in the avalanche, but Larry's cries are overheard.

Okay, so just a couple of things: 

1) Let's talk about that one panel up there, for starters. You know the one I mean:


Okay, so we know from the last two panels that Dan and Larry are spacemen from Earth. Are these unfortunate representations of Asian children meant to throw us off track and make us think we're in the Himalayas or something? Why do they look dead? Larry falls into a hole in the ground and finds himself at a skating rink of dead racist caricatures? Who attack him with a furious volley of... snowballs?

2) Let's talk about his savior. Why exactly does she save him? Why does she say nothing until she gets him into the ice mirror room? And as for what she does say, what the hell does any of that mean?

3) I think it's safe to say Larry's interest in his little girl savior gets pretty prurient pretty darn fast once she casts the illusion of being an adult full-figured woman. Creepy enough, but what's with his sudden smashing of the walls? What was he trying to prove? Or accomplish? 

4) And then the end - this is all some space expedition? What the hell is the point of that? I love it.


One last thing - Gold Key was / is known for its iconic painted covers. Many of them, including the one for this first issue of the Twilight Zone, were painted by George Wilson. I've got an issue of Comic Book Artist devoted to Gold Key (I love its Bruce Timm cover so much) and broke it out last night to see if there was any Twlight Zone info in there. No luck, really, but there's a nice, short interview with George covering his career. "George was an enigma, shy and outgoing, reticent and generous, open and articulate but protective of his privacy, talented and modest. He was grateful for having his work appreciated but adamant about not seeking fame for his efforts."


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