The Curse of Skeleton Munroe

Category: disaster causer

  • MINOR SUPER-VILLAIN 718: MASK

    (Samson 001, 1940)

    Mask here has a fairly ordinary set of plans and goals, for Masked Criminal levels of ordinary. His associate Dr Dag has developed a super-germ and his other associate Ko has control of a death cult, and he is going to use the latter to deliver the former to a number of nearby cities as revenge for tossing him out on his ear. Plus he’s going to loot once the cities are cleared out by disease, but that’s just good business. Like I said, regular stuff.

    The really interesting things about Mask are… etymological? in nature. Firstly, as you might have noticed he has no “the” on his name. He’s just Mask, and considering the fact that we have already encountered seven separate fellows called the Mask (and four more the [Adjective] Masks), it’s a surprisingly simple way to stand out among the maskèd crowd!

    The other thing is in regards to Mask’s ally Ko, high priest of Lalore – Lalore is as far as I can tell a made-up god, in keeping with the vaguely pan-Asian setting of the story. However, Lalore’s cult fanatics are called Thugs, which is a new one on me. Thuggees/ Thugs are a real historical group (albeit one of which basically every aspect is seemingly the subject of hot scholarly debate) and a fairly popular bunch to dust off as stock villains, but a real key part of their charter is that they worship the goddess Kali. This is the first time that I can recall seeing Thug used as a kind of generic term for a cult murderer.

    Too bad for Mask (and Dr Dag and Ko and all the nameless cultists) Samson and David just happen to be travelling through the same vaguely Subcontinental area that they are plotting and scheming in and they live in a temple city so there are a lot of pillars around. Sure enough, Samson does the thing that he’s best known for doing and kills basically everyone. Tough luck, Mask.

  • MINOR SUPER-VILLAIN 709: RACKO

    (Prize Comics 002, 1940)

    Though he went unnamed in his first appearance, this tonsured fellow is Racko, alien magic man Jupiter’s most enduring foe at a whopping three encounters. Racko’s first outing involved a classic pyramid scheme structure as he sent mutated green humans with horn noses out into the New York streets to kidnap more humans to turn into more minions, and so on until he controlled the world. Ironically, this might be a slightly more ethical version of the typical pyramid scheme, as his minions were under no illusions that they might eventually become wealthy if they sold enough tights or what have you.

    A bunch of what turns out to be fairly dim-witted minions is just not enough to contend with a magic-using alien super-hero, even when bolstered by a paralysis ray cannon, and Racko is forced to restore his henchmen to human form before seemingly taking his own life via some handily exposed wires.

    Racko fans need not despair, as it turns out that he survived! His new plan: drain all of the reservoirs that supply NYC until the Governor of New York is forced to bow to his demands for some ray gun plans and the Governor’s daughter Joan.

    (just why the Governor has these plans is not explored in the text, so we must assume that they are associated with the office. A gubernatorial death ray, as it were)

    Perhaps in an overreaction to the poor showing that his monsterized henchmen put on in his last scheme, Racko uses the death ray on his own men after they secure it for him. They probably wouldn’t have offered much assistance when Jupiter and his pal Jim Johnson show up at the volcano base immediately afterward, but even a useless henchman can serve as a distraction. As it stands, Racko ends up falling to his death in the depth of a volcano that is subsequently blown up by Jupiter. Gone for good, I’d say.

    racko

    I have called it too soon, as Racko is in fact not dead yet again and is taking another pass at world conquest, this time by launching “boulder storms” from his hideout at the South Pole, and here I think that I have some constructive criticism for him: mad science or no, attempt to conquer the world or no… stop attacking New York City first. You’re sitting at the South Pole, man – chuck a few boulders at Australia to test out your equipment before you do the thing that you know will attract Jupiter’s attention because he live in New York.

    Jupiter sails through Racko’s defenses as easily as ever, despite the best efforts of some unaligned ice dragons, and the third time proves to be the charm as far as blowing him and his entire operations to smithereens with alien magic goes. Good by Racko;

  • MINOR SUPER-VILLAIN 709: RACKO

    (Prize Comics 002, 1940)

    Though he went unnamed in his first appearance, this tonsured fellow is Racko, alien magic man Jupiter’s most enduring foe at a whopping three encounters. Racko’s first outing involved a classic pyramid scheme structure as he sent mutated green humans with horn noses out into the New York streets to kidnap more humans to turn into more minions, and so on until he controlled the world. Ironically, this might be a slightly more ethical version of the typical pyramid scheme, as his minions were under no illusions that they might eventually become wealthy if they sold enough tights or what have you.

    A bunch of what turns out to be fairly dim-witted minions is just not enough to contend with a magic-using alien super-hero, even when bolstered by a paralysis ray cannon, and Racko is forced to restore his henchmen to human form before seemingly taking his own life via some handily exposed wires.

    Racko fans need not despair, as it turns out that he survived! His new plan: drain all of the reservoirs that supply NYC until the Governor of New York is forced to bow to his demands for some ray gun plans and the Governor’s daughter Joan.

    (just why the Governor has these plans is not explored in the text, so we must assume that they are associated with the office. A gubernatorial death ray, as it were)

    Perhaps in an overreaction to the poor showing that his monsterized henchmen put on in his last scheme, Racko uses the death ray on his own men after they secure it for him. They probably wouldn’t have offered much assistance when Jupiter and his pal Jim Johnson show up at the volcano base immediately afterward, but even a useless henchman can serve as a distraction. As it stands, Racko ends up falling to his death in the depth of a volcano that is subsequently blown up by Jupiter. Gone for good, I’d say.

    racko

    I have called it too soon, as Racko is in fact not dead yet again and is taking another pass at world conquest, this time by launching “boulder storms” from his hideout at the South Pole, and here I think that I have some constructive criticism for him: mad science or no, attempt to conquer the world or no… stop attacking New York City first. You’re sitting at the South Pole, man – chuck a few boulders at Australia to test out your equipment before you do the thing that you know will attract Jupiter’s attention because he live in New York.

    Jupiter sails through Racko’s defenses as easily as ever, despite the best efforts of some unaligned ice dragons, and the third time proves to be the charm as far as blowing him and his entire operations to smithereens with alien magic goes. Good by Racko;

  • MINOR SUPER-VILLAIN 697: THE CREATURE

    (Planet Comics 002, 1940)

    Having defeated the evil Sarko, Flint Baker and his crew are ready to head home to accept their accolades as the as-fas-as-anyone-knows first humans to land on Mars, when word comes from Princess Viga that the city of Ru is facing yet another deadly threat. This time it’s a giant four-armed primate that attacks three times per year and hauls Martians away to an uncertain and terrifying fate. Will Flint Baker help them? Of course he will!

    It’s a daunting beast to be sure, and it compounds the danger by immediately grabbing Princess Vigo and Baker Expedition stowaway-turned-crewmember Mimi, but Flint proves the old adage true once more: no matter how big you are or how many arms you have, you’re not walking away from a rocket ship to the mouth.

    I suppose that the old saying was only partially accurate in this case, actually, because the monster does walk away from the scene, if only to die elsewhere. Baker and his crew must pursue on “rocket-propelled degravitation pods” (i.e., pogo sticks).

    Arriving at the monster’s location, Baker and his men find that it is indeed dead, but also that it was not some wild creature with a periodic appetite for Martians but the creation of a little green guy with a big head. The Creature! Which, yes, is almost certainly not what they call themself but “the creature” is basically the only thing that is used to identify them in the caption boxes so I’m going with it.

    Not only does the Creature reveal that they were the creator of the monster, but that the beast was in fact made out of the kidnapped Martians! And they’re making another one! Just how many Martians were being kidnapped, and for how long?

    (this is honestly a pretty great slow burn horror concept that was certainly out of the realm of 1940 comic book storytelling: people start disappearing, nobody knows how or where, and then after a couple of years someone sees a creature grabbing someone. And then every time it comes back, it’s a bit bigger or has another limb, etc. Ideally the reveal comes while the beast is still alive, via DNA sequencing or something like that)

    Honestly, the Creature is an amazing villain. A bombastic weirdo living in a cave and making a monster out of people? Terrific. But also, they are super strong and invulnerable to ray gun blasts that destroy everything around them. Who is this little creep and why are they living in a cave making monsters?

    Sadly, though the Creature might have been immune to ray gun technology they were still susceptible to a good old fashioned sock on the jaw. Flint and his compatriots leave the Creature behind to be blown up with the rest of the laboratory in the obligatory final explosion – a sad end for a terrific antagonist.

  • MINOR SUPER-VILLAIN 697: THE CREATURE

    (Planet Comics 002, 1940)

    Having defeated the evil Sarko, Flint Baker and his crew are ready to head home to accept their accolades as the as-fas-as-anyone-knows first humans to land on Mars, when word comes from Princess Viga that the city of Ru is facing yet another deadly threat. This time it’s a giant four-armed primate that attacks three times per year and hauls Martians away to an uncertain and terrifying fate. Will Flint Baker help them? Of course he will!

    It’s a daunting beast to be sure, and it compounds the danger by immediately grabbing Princess Vigo and Baker Expedition stowaway-turned-crewmember Mimi, but Flint proves the old adage true once more: no matter how big you are or how many arms you have, you’re not walking away from a rocket ship to the mouth.

    I suppose that the old saying was only partially accurate in this case, actually, because the monster does walk away from the scene, if only to die elsewhere. Baker and his crew must pursue on “rocket-propelled degravitation pods” (i.e., pogo sticks).

    Arriving at the monster’s location, Baker and his men find that it is indeed dead, but also that it was not some wild creature with a periodic appetite for Martians but the creation of a little green guy with a big head. The Creature! Which, yes, is almost certainly not what they call themself but “the creature” is basically the only thing that is used to identify them in the caption boxes so I’m going with it.

    Not only does the Creature reveal that they were the creator of the monster, but that the beast was in fact made out of the kidnapped Martians! And they’re making another one! Just how many Martians were being kidnapped, and for how long?

    (this is honestly a pretty great slow burn horror concept that was certainly out of the realm of 1940 comic book storytelling: people start disappearing, nobody knows how or where, and then after a couple of years someone sees a creature grabbing someone. And then every time it comes back, it’s a bit bigger or has another limb, etc. Ideally the reveal comes while the beast is still alive, via DNA sequencing or something like that)

    Honestly, the Creature is an amazing villain. A bombastic weirdo living in a cave and making a monster out of people? Terrific. But also, they are super strong and invulnerable to ray gun blasts that destroy everything around them. Who is this little creep and why are they living in a cave making monsters?

    Sadly, though the Creature might have been immune to ray gun technology they were still susceptible to a good old fashioned sock on the jaw. Flint and his compatriots leave the Creature behind to be blown up with the rest of the laboratory in the obligatory final explosion – a sad end for a terrific antagonist.

  • MINOR SUPER-VILLAIN 665: THE WIND GOD

    (Jungle Comics 007, 1940)

    Not quite a normal super-hero/ super-villain interaction, this. Tabu, Wizard of the Jungle intervenes to stop the wind elemental Sirocco from wreaking havoc and in so doing incurs the wrath of the unspecified but very Norse-looking Wind God. At this point we have a simple misunderstanding over a poorly-trained pet.

    Everyone involved now escalates things simultaneously. The Wind God unleashes lightning, storms and tornadoes on the valley and Tabu counters using both his own power and that of Sirocco, who he has… tamed? Brainwashed? The fact that it has a baby’s face really obfuscates just how intelligent it is.

    Eventually, Tabu has the common decency to recognize that even though he has the magical might to have a long-form duel with a deity, that doesn’t mean that he should do so, especially in a populated area. As such, he is forced to be the bigger man being and return Sirocco to the loving arms of his… owner? father? coworker? and hopefully learns a valuable lesson about wizard/god relations in the process.

  • MINOR SUPER-VILLAIN 665: THE WIND GOD

    (Jungle Comics 007, 1940)

    Not quite a normal super-hero/ super-villain interaction, this. Tabu, Wizard of the Jungle intervenes to stop the wind elemental Sirocco from wreaking havoc and in so doing incurs the wrath of the unspecified but very Norse-looking Wind God. At this point we have a simple misunderstanding over a poorly-trained pet.

    Everyone involved now escalates things simultaneously. The Wind God unleashes lightning, storms and tornadoes on the valley and Tabu counters using both his own power and that of Sirocco, who he has… tamed? Brainwashed? The fact that it has a baby’s face really obfuscates just how intelligent it is.

    Eventually, Tabu has the common decency to recognize that even though he has the magical might to have a long-form duel with a deity, that doesn’t mean that he should do so, especially in a populated area. As such, he is forced to be the bigger man being and return Sirocco to the loving arms of his… owner? father? coworker? and hopefully learns a valuable lesson about wizard/god relations in the process.

  • MINOR SUPER-VILLAIN 622: PROFESSOR SIMM

    MINOR SUPER-VILLAIN 622: PROFESSOR SIMM

    (Fantastic Comics 009, 1940)

    We open on a very exciting scene! Professor Simm has unleashed giant monsters on an unnamed US city! Chaos reigns!

    I unironically love these monsters. They have that half-baked quality that you get in generic kids toys – the kind of thing you got as a cheap way for your parents to occupy you on a trip and because they have no built-in lore you end up inventing a whole backstory for them. That picture of the humanoid reptile standing next to the giant anthropoid would be on the packaging.

    Having front-loaded a lot of positivity (one last dollop: look at the cavemen riding away on the creatures! It’s very cute!) I must now reveal that this is a pretty bad comic book adventure. I don’t know what was going on at Fox Features in mid-to-late 1940 but they were wildly swapping writer/artists in and out of serials – this very issue features both a Stardust the Super Wizard and a Space Smith story drawn by someone other than Fletcher Hanks!

    While this is a minor problem in terms of narrative consistency – this is as far as I know the only time that Samson it depicted as being three times taller than an average human, for example – it also feels like the story was put together in haste or as the third or fourth thing on someone’s mind. Nothing quite hangs together – Professor Simm starts out demanding control over the US government and later is purely interested in money, for example.

    Once Samson makes his way to Simm’s island castle the story becomes a series of loosely connected vignettes: Samson finds a cage full of cavemen and gets inside, only to immediately leave again. Samson finds a room full of prisoners and skeletons and frees the prisoners. Samson confronts Simm, who escapes. Samson frees more prisoners. Samson kills Simm. It could all be assembled into a coherent plot but very much is not.

    That said, it certainly is a comic full of incident, such as this scene in which Samson sets off a volcano to destroy all the monsters (and hopefully not the prisoners. Hopefully they escaped off-panel) and flies away on a giant bird.It just doesn’t all hold together as a narrative. Things can only get more coherent as we make our way through the Golden Age, right? (SPOILER: not necessarily)

  • MINOR SUPER-VILLAIN 622: PROFESSOR SIMM

    MINOR SUPER-VILLAIN 622: PROFESSOR SIMM

    (Fantastic Comics 009, 1940)

    We open on a very exciting scene! Professor Simm has unleashed giant monsters on an unnamed US city! Chaos reigns!

    I unironically love these monsters. They have that half-baked quality that you get in generic kids toys – the kind of thing you got as a cheap way for your parents to occupy you on a trip and because they have no built-in lore you end up inventing a whole backstory for them. That picture of the humanoid reptile standing next to the giant anthropoid would be on the packaging.

    Having front-loaded a lot of positivity (one last dollop: look at the cavemen riding away on the creatures! It’s very cute!) I must now reveal that this is a pretty bad comic book adventure. I don’t know what was going on at Fox Features in mid-to-late 1940 but they were wildly swapping writer/artists in and out of serials – this very issue features both a Stardust the Super Wizard and a Space Smith story drawn by someone other than Fletcher Hanks!

    While this is a minor problem in terms of narrative consistency – this is as far as I know the only time that Samson it depicted as being three times taller than an average human, for example – it also feels like the story was put together in haste or as the third or fourth thing on someone’s mind. Nothing quite hangs together – Professor Simm starts out demanding control over the US government and later is purely interested in money, for example.

    Once Samson makes his way to Simm’s island castle the story becomes a series of loosely connected vignettes: Samson finds a cage full of cavemen and gets inside, only to immediately leave again. Samson finds a room full of prisoners and skeletons and frees the prisoners. Samson confronts Simm, who escapes. Samson frees more prisoners. Samson kills Simm. It could all be assembled into a coherent plot but very much is not.

    That said, it certainly is a comic full of incident, such as this scene in which Samson sets off a volcano to destroy all the monsters (and hopefully not the prisoners. Hopefully they escaped off-panel) and flies away on a giant bird.It just doesn’t all hold together as a narrative. Things can only get more coherent as we make our way through the Golden Age, right? (SPOILER: not necessarily)

  • MINOR SUPER-VILLAIN 620: PRINCE FERNANDO DIABLO

    (Fantastic Comics 008, 1940)

    Prince Fernando Diablo, scion of an unnamed European royal family (though given his name, style of dress and headquarters in the Pyrenees I think it’s safe to say that he’s heavily implied to be Spanish), has a plan: take advantage of the wars raging in 1940 to violently reinstate monarchy across the continent! Specifically, he and his scientists have developed a horrible plague that they plan on releasing throughout Europe to reduce the population to manageable Feudal levels. He’s a real stinker, Prince Fernando Diablo.

    The thing about this plan is that it’s predicated on the idea that people could get too tired of war to keep going after only a couple of years. It’s weirdly optimistic for a story that also includes wholesale germ warfare on the streets of Paris. Also, this is a wild start to your return to monarchical rule: “yes, we killed most of you with disease-spewing tanks, now acknowledge our god-given right to lord over the remaining population.” 

    I do always love to see a drill-tank.

    Luckily for the remaining people of Paris, Samson’s pal Professor Brun is a true comic book polymath as capable of whipping up a cure for a new super-disease as he is at designing a teleportation machine. Pretty soon they’re being sprayed with a good gas to counteract the bad plague gas. Parisians are going to have a very complicated relationship with mists and fogs going forward, I reckon.

    There are quite a lot of hoops to jump through, minions to smash and war machines to destroy but Samson eventually makes his way to Diablo’s mountain fastness to beat him up and chuck him off a cliff. No monarchist, he!