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The Blue Beetle was originally developed for Victor Fox's comic book Mystery Men Comics in mid-1939 by Charles Nicholas Wojtkoski, who went by the pen name Charles Nicholas. The character was created after Fox was sued by Detective Comics because his Wonderman character allegedly was too similar to Superman. The case had only just started when Nicholas created the Blue Beetle, and the book debuted about four months after Batman suggesting that Beetle was created as a Batman clone that was far enough removed to keep Fox from getting sued again. (Though influences from the Green Hornet are clearly evident.)

With Wonderman off limits during the lawsuit, Fox turned to Blue Beetle as his company's cornerstone character. The book sold reasonably well, and in the tail end of 1939, Fox decided to try to emulate Superman's media saturation by putting Beetle into his own comic strip. He began putting out ads to this effect in November of that year.
You'll note that the ad highlights Nicholas as the creator of the strip and, indeed, when the strip debuted in early 1940, it had Nicholas listed as the creator. However, it was actually the hand of a young Jack Kirby who did the strip. He makes no attempt to mimic Nicholas' style and, while the artwork in the strip is hardly Kirby's best, it is very classically idetifiable. While Kirby had done several other comic strips previously, this was his first superhero.

The Blue Beetle strip debuted in The Boston Evening Transcript on January 8, 1940. As far as anyone's been able to actually prove, that's the only paper it ever actually ran in. Kirby seemed to be largely left to his own devices with the strip. Aside from the Blue Beetle himself, Kirby seemed to be using his own cast of characters. Even with little continuity established in the comic book at this point, Kirby seemed unconcerned that it even existed.

While it's not Kirby's best art, he was more already more adept than most others at the storytelling of a daily strip. In the few sequences I've seen, he's able to run one installment to the next without either clumsily recapping what happened previously or letting readers get lost. Much like how he handled his Sky Masters strip decades later.
Kirby was only on the Blue Beetle strip for a few months, replaced by Louis Cazaneuve. At Fox's studio, Kirby had met Joe Simon and both men, who were independently moonlighting for other companies, saw the advantages of pairing up to become a studio of their own. "Simon and Kirby" was born in the pages of Blue Bolt comics by July 1940.

Fox continued trying to hype Blue Beetle, getting him his own radio show by May 1940 and hosting a "Blue Beetle Day" at the World's Fair in August. That radio program only lasted until September, though, and comic strip died out at the year's end. He never became the media sensation that Superman was. One wonders, though, what might have become of the character had Kirby never met Simon and instead continued on the strip.
This Friday is Jack Kirby's birthday, so I'm going to take the entire week to talk about the King of Comics.

To beging with, let's highlight a little-remembered side of Kirby. He's of course widely known as a comic book artist, and rightly so. But he also dipped into the comic strip market more than a few times as well. So what I thought I'd do today is showcase some samples of comic strips done by Jack Kirby. He never saw much success with these -- indeed, many were never even published -- but it is, as I say, an aspect of Kirby's career that is frequently overlooked.

So here are examples of thirteen different strips he worked on, plus one editorial cartoon. Enjoy!


Here are this week's links to what I've had published recently...

Kleefeld on Comics: Better or Worse?
https://ift.tt/7IeYGAu

Kleefeld on Comics: The Problems with Digital Badges
https://ift.tt/x0im7Bq

Kleefeld on Comics: Are We Having Fun Yet?
https://ift.tt/KvGIu34

Kleefeld on Comics: August 1972 in Comics
https://ift.tt/610GVjp

Kleefeld on Comics: Bradbury's First Comic Adaption
https://ift.tt/XOKyP0Q


Haunt of Fear #6
Tomorrow is Ray Bradbury's birthday so let's take a look at his comics work. Dark Carnival is a short story collection by Bradbury. In fact, it's his first short story collection. In fact, it's his first book of any kind, although most of the stories collected in it had been published elsewhere. The book was first published in October 1947.

In early 1951, EC Comics published The Haunt of Fear #6, whose lead story was an adaptation of Bradbury's short "The Handler" which appeared in Dark Carnival. Writer/editor Al Feldstein "borrowed" the plot from the book and reworked it a bit for the Graham Ingels-drawn story "A Strange Undertaking..." This was done without Bradbury's knowledge, and the tactic was repeated more than a couple times over the next year before Bradbury found out. He then famously wrote a very cordial letter to publisher Bill Gaines reminding him that he hadn't been paid yet.

What I thought might be interesting, though, is reproducing here the original version of the story from the January 1947 issue of the pulp magazine Weird Tales with a spot illustration by Lee Brown Coye. Coye was as well-known for his horror illustrations as Ingles was for his horror comics, and did a fair amount of work illustrated various H.P. Lovecraft pieces. Although interestingly, a Lovecraft piece immediately follows Bradbury's in Weird Tales but it wasn't Coye's work. Bradbury editted most of his stories a bit for Dark Carnival so this is probably slightly different than the version Feldstein read when he adapted it.

Anyway, here's the original published version of what would become Bradbury's first story to be adapted into a comic book...
The Handler, page 1 The Handler, page 2 The Handler, page 3 The Handler, page 4 The Handler, page 5 The Handler, page 6 The Handler, page 7 The Handler, page 8 The Handler, page 9
"What happened in August 1972," you ask? How about this...
  • While the last issue of Jack Kirby's Forever People hit the stands, so did the first issue of his latest creation, Kamandi. DC also published Swamp Thing for the first time...
  • Marvel kicked off two new titles of their own: Night Nurse and The Cat, the latter debuting the first appearance of the title character who would later become known as Tigra...
  • Archie's new series: Archie at Riverdale High...Archie at Riverdale High #1
  • The fourth comic convention in San Diego, later to become known as Comic Con International, took place from August 18th - 21st! It was the first time to be held at El Cortez Hotel, which was the show's primary location for the rest of the 1970s. Bob Clampett, Harry Harrison, Jack Kirby, Mel Lazarus and Roy Thomas were guests.
  • John Barrett, Bud Plant and Robert Beerbohm opened the first Comics & Comix, about a week after the convention. Though it was not the first dedicated comic book shop to open, it helped paved the way for a number of other shops and shop owners, notably Beerbohm and Plant. (Beerbohm passed away in 2024 but Plant is still active to this day.)
  • Yours truly was born on August 20. (Happy birthday to me!)
  • Snoopy, Come Home was released in theaters on the ninth. It featured the first appearances of Woodstock and Franklin onscreen.
  • Ben Affleck -- who later went on to play Daredevil, Batman and George-Reeves-playing-Superman -- was born on August 15.
    Ben Affleck as Batman
  • Fantastic Four #125 was released. This was the last issue of the title where Stan Lee is credited as the writer until #296, the 25th anniversary issue. (OK, strictly speaking, this last item is a little bogus. The issue is cover-dated August 1972, but it actually hit newsstands a couple months earlier. The issue that was actually released in August, though, isn't especially note-worthy, so I'm going to include #125 here anyway. 😊)
    Fantastic Four #125
Lots going on, so I don't really have a legit post for today, just today's Zippy comic strip...
Emerald City Comic Con announced that in 2027, their show will use only digital badges instead of more traditional physical ones. As noted at The Beat's coverage of this, there has been some pushback from potential con-goers: "What if my phone dies, what if there is no service, what if I don’t OWN A MOBILE PHONE." All of which are valid concerns. The show claims it will have provisions for that last concern, but I don't see how any provision could be a practical one since you can't prove you don't have a phone and a convention would therefore need to rely on an individual being truthful about it, therefore meaning you'd also need to have some kind of physical badge system in place anyway. So you'd need to run a system where anyone who just wants a physical badge can get one. Which puts us back to where we are now anyway.

The main reason why a show might set up a digital badge system is financial. As noted in that Beat article, some shows express the concern about individuals swapping badges. A show would then theoretically miss out on a sale if a person bought a one-day ticket, used it for half a day and then gave it to someone else who used it for the other half of the day. I'm sure this does happen, but in the first place, the people who do act as that 'second ride' for an existing ticket were never going to spend money on a ticket so we're not talking about 'lost' revenue here. And in the second place, the shows that are big enough where that might be a concern are primarily attended by fans who spend a significant portion of the day at the show in the first place, so there's minimal opportunity to swap anyways. I think this idea is a minimal problem at worst and more likely a phantom one for most shows that have this concern. Again we're not talking about lost revenue here, despite the concern; we're talking about trying to extract as much money as possible out of the fandom as cynically as we can.

The other financial incentive is in the badge creation and distribution process. A digital badge sysetm would obviously cut down the costs of manufacturing badges since there'd obviously be nothing to actually manufacture, but it would also cut down on distribution costs. A show wouldn't have the costs of physically mailing badges, and they wouldn't need to hire as many people to work at the convention itself to pass out badges for anyone who doesn't have it mailed to them. Anyone who's been to a larger show has seen the couple dozen people they have just to handle badges; this would effectively get cut down to one guy standing at the entrance checking your phone.

Towards the end of that Beat piece, Heidi mentions, "I’m sure people won’t like it at first, but soon they will forget that there ever was a thing such as attendee badges." I don't think this is quite right. Yes, people won't like it at first and complaints will dwindle over time. But only part of that dwindling levels of complaints will be people 'forgetting' badges were a thing. The other part is that anyone who can't participate in the system will essentially just be excluded from it. They won't complain about problems with the show because they simply weren't able to attend in the first place. It will seem as if people have stopped complaining when, in fact, the ones with the issues will be shut out of the conversation entirely and go unheard. Conventions will basically be forcing their loudest audience to self-select out of the system so they won't be able to offer feedback. That's why complaints will die down before too long.

Yes, there are benefits to digital badges beyond the cost savings to convention organizers. I am 100% on board with not creating a crap-ton more plastic that will largely wind up in a landfill. But eliminating a physical option entirely is going to force out a notable segment of the population. Having an "accomodation" method won't be sufficient and will not work at a larger scale. A digital option is great, but it needs to run in tandem with a physical option in order to not alienate a significant audience.