Titles like Young Allies, USA Comics and even All Winners Comics were titles solely produced to prop morale and stoke patriotic fervor (and make money, of course).Įven the kids got involved! The Victory Boys appearing in USA Comics#5 (Summer/42) took on Hitler, Mussolini and Hirohito all by themselves! The artwork here is primarily Ernie Hart, probably with an inker.Īt the very same time, they also appeared in Comedy Comics #10 (June/42). Heck! The Red Skull was a Nazi war villain at the beck and call of Adolf Hitler, who also made his way onto many covers.Ĭaptain America Comics #13 (Apr/42) - The 1st issue after Pearl Harbor (noted on cover) Everyone has seen the familiar Alex Schomburg war covers on titles featuring Timely's "big 3" characters of The Human Torch, Sub-Mariner and Captain America (in their own solo titles and in Marvel Mystery Comics), as well as Simon & Kirby, Al Avison and then Syd Shores' war covers on Cap's own title. Timely's roster was resplendent with war-themed stories and covers from 1941 to 1945. Many of these titles (and several others) cross over into war stories depicting heroes of some sort and are not strictly anthology war comics but actually blended genres. Additionally, Centaur gave us Man of War Comics and Quality released Uncle Sam Quarterly in 1941, Harvey published War Victory Comics and War Victory Adventures in 19, Standard produced The Fighting Yank in 1942 and Quality returned with Blackhawk in 1944. Dell was well represented with four war-themed titles including War Heroes, War Stories, and America in Action in 1942, the latter not really a comic book but prose stories with supporting illustrations. Early notables were Fiction House’s Fight Comics and Dell’s War Comics in 1940. This issue actually pre-dated the attack on Pearl Harbor by a full year, hinting ominously of America’s soon entrance into the already festering global conflict.Ĭaptain America Comics #1 (Mar/41) - Red Skull debutĪs a "solo" genre, war-themed comics occupied a tiny Golden-Age niche, spurred on, like the cover to Cap #1, by the run-up to the war. At Timely, nowhere was this better depicted than the cover to Simon & Kirby’s Captain America Comics #1, where Cap lands a shattering hay-maker right into Adolf Hitler’s kisser. In fact, a case could easily be made that they were part and parcel of the Golden Age, as war propaganda infused the newsstands and depicted super heroes routinely battling the Axis powers in their four-color exploits. It seems that in one way or another, they've always existed as a partial genre in the comic book industry. It kind of smacks of the old Adam West Batman television series where the police were only there to ask Batman for help.War comics. At what point do you stop trusting the Bat and actually make a concerted effort to stop a Mad Max plot from playing out in your city? I mean, given some recent events, I don't have the greatest faith in our police force in certain areas, but I think they would act on something like this. Furthermore, Gordon even surrendered himself to these people at the beginning of the comic. Secondly, Gordon and the police are the closest thing to a military authority in this madness, and he hasn't managed to stop it - which, with the exception of Grundy, Croc, Ivy, Deathstroke, Man-Bat, Clayface and Freeze (sorta), really is mostly consisting of crazy people who aren't superhuman in any way. Just because Gordon - who doesn't look good in all this, either - doesn't cede control of the situation to federal authority, does not mean it wouldn't happen regardless. Firstly, this organization has done nothing to stop the terror, and this event would make waves beyond Gotham.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |