A wonderfully dramatic cover by Paul Gustavson with "The Fantom of the Fair". This issue hit the stands about 8 weeks after Detective Comics 27.
If it was a contest of covers, I would have picked this one!
A very early and emotionally intense Bill Everett cover in Centaur's Amazing Mystery Funnies 6, probably hitting the stands in Holiday 1938.
I love covers with girders and skyscrapers under construction! You can see the thrill building the NYC skyline in these covers.
Here is a gorgeous Fantom of the Fair cover, by George Harrison, for Centaurs Amazing Mystery Funnies 23 from Spring 1940.
Another great cover from Centaur's Amazing Mystery Funnies - Spring 1939, cover artist unknown.
"Sand hogs" are urban miners, building tunnels and other infrastructure, especially in NYC. They started with the Brooklyn Bridge!
The cover speaks to the times! Its wonderful.
Another early Bill Everett cover from Centaur's Amazing Mystery Funnies, from Spring 1939.
Skyrocket Steele! I love the bright colors, even as the action is desperate and warlike. Bayonets and bright yellows!
That's my jam.
Another Skyrocket Steele cover, this time by Terry Gilkison, hitting the stands in January of 1939 for Centaur's Amazing Mystery Funnies.
This is the best image of the cover I could find (a bit faded) but its just so evocative of Space Opera! Winged rocketships and domed cities
You've probably seen this Bill Everett cover before! Later 1938 for Centaur's Amazing Mystery Funnies. I love the detail. You can see the shirt pockets and the rivets on that gunport.
The deep shadows are an interesting touch, aren't they?
The preceding Bill Everett Skyrocket Smith cover in late 1938 for Centaur's Amazing Mystery Funnies. Its an anthology magazine - a bit of western, a bit of Buck Rogers, etc.
I love the details, like the microphone thing and the cape fastener. Engaging composition.
Saved the best for last - the *very first* Bill Everett cover. (Oddly, Skyrocket Steele is not part of this anthology)
Is this not a breathtakingly beautiful comic book cover?
Summer, 1938. Centaur's Amazing Mystery Funnies 1
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Earth Spider Picture Scroll from Tokyo National Museum
Tsuchigumo, a spider-like spirit, here in the guise of a lovely woman, encounters Minamoto no Yorimitsu. Sensing danger, he strikes at her with his sword, and she disappears. He pursues her into caves in a mountain.
Inside the pursuers find, not a lovely lady, but an enormous spider. The tsuchigumo is slain, with lead to skulls and smaller spiders coming from the body.
In another tale, Yorimitsu meets an entire yokai army, but attacks the female general. The blow striking, the illusion is broken - the entire army was but a glamor. Again, she is pursued to her cave and slain in her true form of the giant spider
Umberto Eco: The Myth of Superman (1962)
Reprinted in Arguing Comics (2004) #BooksAboutComics
Came across this article about Superman from Umberto Eco, and thought I would tweet out some excerpts and ideas.
Eco first talks about heroes - equipped with superior powers, and those powers are often extremes of real abilities. That, in our modern world, man is sublimated to organizations and machines, thus our heroes embody powers to unthinkable degree we ourselves can not satisfy.
Superman has seemingly unlimited powers - of sight, hearing, strength, speed, etc. He is kind, handsome, and always helpful. Yet, he lives among us disguised a fearful, submissive Clark Kent - despised by Lois (who in turn, loves Superman)
Here is an article that says Finger, Kane and Robinson did credit the film, specifically a still of Veidt in makeup as Gwynplaine, for the inspiration.
Funny that Universal did not remake this film as a talkie (it did get a release with sync music)
The book was published in 1869, and is set in England during the time surrounding the brief turbulent reign of Catholic James II. The mutiliation of the protagonist is a symbol for what society is doing to people.
This is my first time going through P.L. Traver's book, Mary Poppins (The first in a series). I grew up with the Disney film, so it brings up the differences in adaptations, particularly in how Disney softened Mary Poppins.
In this first book, Mary Poppins is not there to fix anything really. She just, well, "Pops in". She is stern, aloof, vain, curt and, quite honestly, a liar in that she fervently denies several of the adventures with Jane and Michael ever happening.
The version of the book I went through is not the original 1934 version. The chapter called "Bad Tuesday" originally had Mary Poppins, Jane and Michael visiting people in different parts of the globe. Criticism about stereotypes prompted Travers to revise it in 1967...
The Doctor : "Do I have the right? Simply touch one wire against the other and that's it. The Daleks cease to exist. Hundreds of millions of people, thousands of generations can live without fear... in peace, and never even know the word "Dalek"."
You might think "Of course I would wipe out the Daleks" but the Doctor steps it deeper. Are his orders to do so just? What about all the unions and bridges made between others in the struggle against the Daleks? Does he have the right? Is it right? What does it do to him?
NuWho would revisit this "Have I the right" decades later, this time with John Hurt as the Doctor (or whatever name he went by).
There is also the plot device that some things are 'fixed' in time, like Adric's death, and must be.