Maybe I should backtrack for those in the audience who are not familiar with the concept of Dial H for Hero. Another word for Dial H for Hero is wacky distinctly wacky, so wacky that (as co-admin RG put it) it’s hard to really dislike it. (It’s also a snow-boarding term – How do I tell if I’m Goofy or Regular?) Today’s Tentacle Tuesday is goofy, all right, but more in the category of seemingly drug-induced codswallop. Some people automatically conflate “goofy” with “childish”, but goofiness comes in many guises: from the charmingly nonsensical to the playfully quirky, from the clearly brilliant but confusing to the fucking stupid. So Johnny gives that classic look and he says, ‘I knew I should have taken up drawing.’ » She said it was fine, that she knew him, and I said, ‘It’s okay, he’s a cartoonist.’ But Johnny Carson comes walking out into the hallway and he thinks Jayne Kennedy is being sexually assaulted by a homeless person in the NBC hallways. They’d worked together before, it turned out. And Jayne sees him and she shouts, ‘Sergio!’ and she runs over and starts kissing him passionately. And Sergio comes walking in looking like a homeless person, carrying his portfolio. So we’re all talking to her, the writers and whoever, just in awe of this woman. And she wore this dress that was very revealing, so much so the censors wouldn’t let us put her on the air in it without adding some material. « This was one of the most beautiful women in the world. This happened while these two were participating in filming The Half-Hour Comedy Hour television show for NBC in 1983, on which the model Jayne Kennedy was a guest. I’ll end this post with a classic Aragonés anecdote, as told by Mark Evanier. This design was created for the ‘Free Comic Book Day Commemorative Artist T-shirt’ in 2010. Aragonés also shares some background on his approach to stories, allowing us to peek into his imagination and possibly answer that hackneyed question that plagues all manner of writers, ‘where do you get your ideas from?’ If an anthology of Funnies is ever published, I’ll happily purchase it.Įxcerpts from Kira and the Beauty Contest, published in Sergio Aragonés Funnies no. Not to say that it’s not devoid of humour – the more serious stuff (including social criticism in the form of animal parables) is nestled among pages of slap-stick humour and imaginative goofiness, from one-pagers to longer stories that take most of an issue to develop. For those who may think that Aragonés is one-trick pony who can only do ‘silly’ humour, this series offers many auto-biographical stories, some of them surprisingly poignant and heart-felt. Sergio Aragonés Funnies, published between 20 by Bongo Comics, boast 12 issues of really enjoyable, remarkably varied material. 1975, DC), working from a plot by Mike Pellowski, and finally, the sardonically humorous Bride of the Pharaoh in House of Mystery no. 1975, DC) the more conventional The Swinger in S ecrets of Haunted House no. Of these, four are Fabe and Fradon collaborations: the (almost) equally dark conte cruel Last Voyage of the Lady Luck in House of Secrets no. In the 1970s, she wrote around twenty-five scripts for DC comics, almost exclusively short horror and humour pieces for editor Joe Orlando. Fabe’s is likely a less familiar name to most comics readers. While Fradon is justly celebrated for her defining work on Aquaman in the 1950s and on Metamorpho in the 1960s, Ms. This is, to my knowledge, one of the few horror stories in mainstream comics of that period to be both written and illustrated by women: Maxene Fabe and Ramona Fradon, respectively. Of course, the plot is redolent of Rosemary’s Baby and The Exorcist and other, and much needed, contemporary critiques of the obligations and ambivalences of motherhood - unthinkable in earlier days - but it has its own points to make. That poor, fragile, lonely woman! It’s not enough to be trapped in a loveless marriage with the world’s coldest fish, but any sympathy and hope she seems to receive from anyone is mere pretence in the process of gaslighting her. Don’t ever fall for the notion that cartoony and scary are inversely proportional. Since I’d hate to just leave you with such a tease, here it is, so you can be your own judge of the yarn’s merits (or its failings, however the chips may fall). 1975, DC), that it held the only DC ‘horror’ story I ever found actually scary. Last year, in the course of my post celebrating Luís Dominguez’s life and covers, I noted in passing, about The House of Mystery no.
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