The Curse of Skeleton Munroe

Category: Lois Lane

  • MEDIA IN COMICS 010

    Is the media in comics any good, do you think? Do super-heroes get to watch good movies?

    Movies:

    Arizona Nights is a Western being produced by King Studios when a climactic gunfight scene is used as cover for a real-life murder. Detective Sergeant Carey clears up the mystery (it was the cameraman) but we never learn if the footage of a man dying in real life was used for the added verisimilitude. (More Fun Comics 052, 1940)

    Call of the North, a Mounted Police picture by Pioneer Films, is not marred by murder, but if the Quality Universe IMDb userbase is on the ball the trivia section for the movie includes the fact that several of the mountie actors were used as backup by RCMP Sergeant Reynolds in the apprehension of a kidnapper. (Feature Comics 037, 1940)

    Dread Castle has a place in comic book history as the film that drove Basil Karlo over the edge and into the persona of Clayface, as he saw the attempt to remake a movie that he saw as one of his greatest roles as an insult to him personally. Both Dread Castles are medieval films about a murderous hunchback called the Terror – not a terribly exciting prospect without the excitement of all the real-life murder that went on during production of the second one. (Detective Comics v1 040, 1940)

    The other Basil Karlo role that we learn about in his initial appearance is the one that he takes his criminal moniker and appearance from, a movie seemingly also called Clayface. (Detective Comics v1 040, 1940)

    Music:

    Is “Star Dust” Clark Kent’s favourite song as he claims it is while big-dogging this club maître d’? I sure hope so. No idea what kind of song it is, but you can slow dance to it. (Superman Comics v1 007, 1940)

    Newspaper Columns:

    “Town Talk” is the kind of snotty gossip column that inspired a thousand murder mystery plots. In this case, columnist Walt Willard turns up dead and Steel Sterling has to comb through the wealth of suspects to figure out whodunnit. (Jackpot Comics 004, 1941)

    “Around the Town with Joe E. Brown” is your standard gossip column-as-exposition-vector, though why the writer has the same name as an old-time film comedian is unknown to me. (Special Edition Comics 001, 1940)

    Paul Pryer, writer of the imaginatively-titled “Paul Pryer’s Column” is one of those comic book celebrities who I am certain is based on a real person, but whether it’s just someone like Walt Winchell or there’s a Paul Prowler out there just waiting for me to learn about him is up to chance. (All-Star Comics 003, 1940) 

    Meanwhile: “Society,” the most pragmatically-named society column of all time. (Batman Comics v1 001, 1940)

    We don’t get to actually see “Tom Peeping’s Column” in this Minute Movies strip, but I like to imagine that it features a cheeky little cartoon of the writer with big binoculars at the top. (Flash Comics 004, 1940)

    Newsreels:

    I don’t know enough about newsreels to know if they normally had titles, but the Ace Films company is trying to capitalize on their beautiful camerawoman “Dot Daring,” aka Beautia Sivana and so chooses to call this one Flirting with Death. (Whiz Comics 010, 1940)

  • MINOR SUPER-VILLAIN 067: ZOLAR

    (Action Comics 030, 1940)

    In thinking about Zolar I realized that he engages in a surprisingly common plot-expedient activity which I, unwilling to root around on TVTropes for whatever twee thing they might dub it, am hereby going to call “the Reel”: the villain sends a minion from their exotically-located HQ to wherever the hero is located to accomplish some sort of McGuffin task – collect an item, kill or kidnap someone, etc – thereby alerting the hero to the threat and drawing them to the exotic location. As soon as I thought about this I realized that many of the minor super-villains on our list employ the Reel: the Gorilla King sends a squad of gorilla-assassins to kill his enemy, thereby alerting Zatara, for instance.

    In Zolar’s case, he sends some of his men (mind controlled desert tribespeople, natch) to Metropolis to eliminate an impediment to his plans, which involves first Lois Lane and then Superman. Cut to the Sahara Desert, where Zolar is trying to conquer the lost city of Ulonda using a combination of mind control, rocket planes and flesh-destroying death orbs.

    The whole thing ends in bloodshed: Zolar and his lieutenant attempt to death orb Superman only to have it bounce back on themselves, while his fleet of mind controlled rocket pilots are caused to crash by a slightly-pre-anti-killing-code Superman. The lost city of Ulonda, though battered, survives.