Midnight Feature: pt. 2 (Smash Comics #44)

Last week we left Midnight & company in shock after Johnny Peters (brother of the late Jinny Peters-Baloney) confessed to his sister's murder!  For his part, Midnight doesn't believe it--though he can't fathom why Johnny's so eager to play the fall guy.  Before our he can get any answers, however, the earth around Jinny's grave gives way, sending Sniffer Snoop and Hotfoot plunging into darkness.  Johnny seizes the moment and flees, blaming Midnight for having "made a mess of everything!"

About this time, Bull overhears Johnny's claim and in a rage lays a slug into the young man's back.

Severely wounded, Johnny leaps into the gaping maw where Jinny's grave had been. 

Meanwhile in the caverns below the island, Sniffer Snoop is shocked to witness the supposedly dead Jinny rising from her coffin like some nosferatu.  

After Midnight arrives in the subterranean caverns (suspiciously-quickly, it should be noted) Sniffer hysterically relays the facts of his "ghostly" encounter.

Johnny, who's also suddenly re-materialized, continues blaming Midnight for having, "messed things up," shortly before passing out from his gunshot wound.  At this point, Jinny finally breaks down and explains what's going on.

By the time Jinny is finished untangling this unlikely web of deception, Bull has shown up. Having overheard how he himself was manipulated, Baloney is none to pleased.

Though Midnight bravely hurls himself at Bull and his forces, the latter's advantage in numbers and firepower eventually dictates retreat as the better part of valor.

Forced ever deeper into the caverns, Midnight and company eventually come to a dead end.  Trapped between boiling hot springs and an enraged killer, Midnight is ready to give the last full measure.

Tapping into his inner realist, Gabby is less sanguine.  The Mighty Monkey calls upon Doc to supply this month's deus ex machina, which the latter naturally produces courtesy of a previously foreshadowed mystery invention.

While Doc is getting ready for the big reveal, Sniffer Snoop actually makes himself useful (for the first time in recorded Midnight lore) by laying down a smoke screen.

What's unclear is whether we're to understand Sniffer as having fired: (A) some sort of 'smoke bomb shell', or (B) standard shot from a superlatively smokey long gun.

Under the safety of Sniffer's cover, Wackey paddles his friends to safety in...an air canoe?!

Beyond the obvious question of why anyone would need a self-propelled air canoe, what's even more curious is why Wackey is paddling said air canoe. 

And if the weirdo last-minute irrational invention escape isn't enough deus ex machina for you...

It's really impressive how Midnight's been able to examine the slug pulled from Johnny's back not that long ago (y'know...when everyone was running for their lives!) and has also been able to definitively match it to the slug that killed the warehouse watchman a week ago?!

And that's pretty much it.  Man...even for the Golden Age this is some startling last-minute plot wrap-up desperation. 

Midnight Feature: pt. 1 (Smash Comics #44)

Smash Comics # 44 (July 1943)

Untitled Midnight Feature

The splash page for this untitled Midnight feature opened with the ostentatious (though ultimately empty) vow that Midnight would "get rid" of Sniffer Snoop and Hotfoot by the end of this issue.  (If only, my friends...if only.)

The story proper opens with Midnight musing (one would presume in his "secret" lair) over the case of a murdered warehouse watchman, when his concentration is shattered by the sound of gunfire.  A moment later, Sniffer Snoop barrels into the room, knocking Midnight over and begging to be saved!

Before Sniffer can even relate what he needs saving from, a rough-looking duo with smoking handguns enter the room.    Though Sniffer immediately surrenders, the lead thug replies that he was never really after Sniffer in the first place, but just needed him to lead the way to Midnight!

It turns out that the thugs are in the employ of the unfortunately named Bull Baloney (how often do you think he was made fun of as a kid?) who's previously sent Midnight a telegram expressing his desire to meet.

For his part, Midnight makes clear that he "wouldn't go to [the crooked Baloney's] funeral!"  When the second thug enters the scene with Doc and Gabby at gunpoint, however, Midnight changes his tune--if only out of a desire to keep his friends safe.

The reader may wish to note that this panel introduces yet another of Wackey's inventions that will end up playing a major role in the story. 

Maybe it's just me, but...does the dialogue between Midnight and Sniffer seem a bit awkward?

 Within minutes, Midnight and entourage are on a speed boat heading for Devil's Rock, "hideout and stronghold of...dread underworld killer Bull Baloney."  Once the boat docks, we get about six panels of squabbling between Wackey/Gabby and Sniffer/Hotfoot.

Apparently the gun-toting thus are suddenly, inexplicably not in a hurry to deliver Midnight to their homicidal boss?!

When our contentious little company finally comes face to face with Bull Baloney himself, we learn that the reason he's "summoned" Midnight is to investigate the murder of Baloney's erstwhile bride, Jinny Peters.  And--being an underworld crime boss--naturally he threatens Midnight and friends with death if they don't successfully identify the murderer.

After threatening Midnight and friends with imminent death, our hero asks if Baloney has any clues with which one might begin an investigation.  Seems like a reasonable--and rather gracious response--but I guess Baloney didn't see it that way.

Ah yes...well, Mr. Luncheonmeat, I'm a bit befuddled as to why you summoned me if you're not interested in being any more helpful than that.

Fortunately for Midnight he occupied the insanely-convenient world of Golden Age comic books.  No sooner do he and his entourage step outside than they stumble across the grave of the dearly departed Mrs. Baloney (nee Peters).

Midnight opines that's odd she would be buried out here since the island ground is, "...only a shell about six feet thick above a mess of caverns."  (One wonders where a radio-announcing, detective-crime-fighter acquired this intimate knowledge of the local geology.)

There isn't much time for discussion, however, as gunfire suddenly pours forth at our heroes!  After he determines it's coming from some nearby bushes, Midnight fires the vacuum gun into the foliage and reels in his assailant by the forehead!  (That's an impressive marksman who can dead center his target without even knowing where it is.)

Just imagine Midnight's surprise to learn that the person taking pot-shots at him is none other than the dead girl's brother!

Understandably put-out, Midnight demands to know why in the world Johnny is trying to take him out.  The young responds that it's the crime-fighter's due for "sticking your nose into something that's none of your business!"

In vain, Midnight attempts to explain that he's only here because Johnny's brother-in-law was forcing Midnight to investigate Jinny's death...and that's when the story takes its next major twist:

Ace Spy Smasher (Black Cobra Comics #1)

Character Intro

This version of the Black Cobra (published for only three issues in October through November of 1954) was a reworking by Ajax-Ferrell of an earlier Chesler hero.  In this version, the Black Cobra was secretly FBI agent Steve Drake.  Like his namesake, the Drake/Cobra had no superpowers of his own, but fought crime with his wits, brawn, and a variety of cutting edge tools and weapons.

So, without further ado...let's dig into the first appearance of Ajax-Ferrell's Black Cobra!

Black Cobra #1 (October 1954)

Ace Spy Smasher

I'm glad the Cobra is there fighting tyrants and standing up for justice and what-not but...ummm...do you really want to describe your hero as having "even greater guile" than "the red tyrants"?

The story opens on young (marginally nerdy) FBI agent Steve Drake working away in a surprisingly gender-integrated office.  When a hot tip comes in on the teletype that "the Reds" have a spy embedded in the Voice of America broadcast, sending coded information back to Russia, Drake is assigned to work on the case.  True to the standard superhero plot, this means he must cancel a date with his co-worker/girlfriend, Debbie.

On the next page, readers get their first peek at the Black Cobra's "Super Racer," as well as learning the name of the supposed Soviet plant on the Voice of America staff--Adam Cleve!

The Cobra speeds off, intent on teaching the traitor a lesson--and feeding some of his own false information back to Moscow.  Upon entering Cleve's home, however, the story takes a surprising twist.

Wasting no time, the Cobra hops back into the Super Racer and speeds off to the Voice of America broadcasting station.  After smashing critical components in the equipment room (as well as having to rough up some well-meaning workers who try to stop him), the Cobra hurtles up the building's stairwell to the broadcast booth, only to find Adam Cleve announcing...or, at least someone made up to look like him!

Yes, that's right friends...the Black Cobra has a plastic suit (he's not big on breathability, I guess) that can't even be dented by anything less than a machine gun!  Naturally, his head is left completely unprotected.😕  #somebodyneedstoconsultednamode

The Soviet spy's no fool, though.  Once he realizes bullets can't pierce the Cobra's suit, he goes old school by seizing a lovely blonde hostage.  The spy issues the standard "don't move or I'll blow her brains out" shtick, but of course that's only a viable threat until the moment he has to climb a ladder.

So ya got lucky this time Cobra...but seriously, the Soviet Union was a biiiiiiiiiiiiiiig place.  I'm bettin' they had a better marksman somewhere.  You should really re-think your wardrobe priorities.

The spy makes it to the roof and threatens the Cobra if that if he comes any closer the spy will jump.  (Yes you read that right.)

The Cobra calls B.S. on this threat, and tosses in a sweet little dig at the Soviet "justice" system.

As it turns out, the Russians have apparently planned for this sort of contingency having equipped their operative with a quick-opening parachute.  (Seriously, what scenarios do these international spy organizations not anticipate, am I right?)

However, since good ole' American ingenuity was every bit the match for our Cold War counterparts,  it will not surprise you to learn that the Black Cobra himself has some gadgetry designed for just this sort of occasion--suction boots!

Now, I'm no physicist...but I've got some reservations about how well just slappin' a few suction cups onto the bottom of a boot is gonna help you run hundreds of feet down the vertical face of a building--especially when your feet aren't even in contact with the building's surface!

First to the ground, the spy finds Black Cobra's Super Racer unattended and decides that he'll add shame to defeat by escaping in our hero's ride.

A beat cop passing by sees what's happening and rushes up to aid Black Cobra, but our hero informs the officer there's no need.

Well shucks, Black Cobra!  Can't I at least pull out my nightstick and rough him up a little bit?

This is because, as it turns out our hero has another invention designed for--you guessed it--just such situations. (Man!  The Black Cobra would absolutely kill it as a disaster planner, wouldn't he?)

Pretty ingenious there, Black Cobra!  I, too, have a special process invention for preventing car theft--I don't leave my keys in the ignition.

And, since this was Steve Drake in the fifties--rather than Peter Parker in the sixties--even the hero's love life woes are nicely wrapped up on the last page.

On Vagabond's costume change in the late 1980s

Priscilla Lyons (Vagabond) first appeared in Captain America #325 (January 1987)
At that time, she was simply an anxious older sister hitchhiking to Miami to rescue her brother who'd fallen in with crimelord Ulysses X. Lugman (AKA -- The Slug). She was picked up by Nomad (Jack Munroe) in Kentucky and after relating her story, Nomad offered to investigate on her behalf.

Despite being surprised at Nomad's I-wanna-be-just-like-Magnum-P.I.-moustache, I was even more put off by the somewhat ambiguous quid pro quo here.  Did Nomad decide to help Priscilla and she simply kissed him in gratitude...or is there something a bit more...adult implied here?

Priscilla's next appearance (and her first in costume as Vagabond) comes almost a year later in Captain America #336 (December 1987).  In the interim, Steve Rogers has surrendered the Captain America identity and is wandering somewhat aimlessly across America.  Concerned for Rogers, three former partners:  Nomad, Falcon, and D-Man have teamed up to search for him.  Nomad brings Priscilla along for the ride, who has by this time adopted the costumed identity of Vagabond, featuring an outfit obviously inspired by her lover's.

This was also the first time Cap actually met Priscilla.  (During the great rescue-Nomad-from-the-Slug caper, Priscilla had only called Cap's hotline then.)

Since Priscilla has nothing more than a domino mask, Cap has the good sense to forbid her from tagging along when he and partners take on a group of serpent-themed super-villains in Captain America #337 (January 1987).  (You'd think this is the kind of solicitous concern that...I don't know...maybe a boyfriend would point out!  Hello Nomad?  Are ya listening?)

Priscilla's mimickry of Nomad lasted until Captain America #342 when she changed her costume to the red-white-and-blue themed workout duds she sports in this entry from The Official Handbook of the Marvel Universe:

I had started regularly collecting Captain America only a couple of issues earlier (i.e., with #340)  At the time, most of Cap's entourage appealed to me precisely because--with the exception of D-Man--they were not "super-powered."  Vagabond, however, was in a class by herself.  She basically had nothing but a mask and a fighting spirit.  She didn't even carry a particularly techie gadget or anything.  As a rather non-athletic little dude myself, I felt a gut-level admiration for this "normal" young woman who wanted to put herself in harm's way purely in the service of justice.  Vagabond was inspiring in a way that not even Cap was.  She was, literally, the "every (wo)man" of the group.  

To the best of my knowledge, the costume change in issue #342 was never explicitly explained.  I'm wondering if this was a case of the art being used to imply some character development.  In other words, was the costume change intended to represent Vagabond growing into her own person--rather than just being a "plus one" for Nomad--as she observed her lover in contrast to his peers and made the choice to pattern herself after Steve Rogers rather than Jack Monroe?

Of course, the fly-in-the-ointment with this interpretation is that this was precisely the time when Rogers himself was wearing the darker garb of his Captain persona (later adopted by the USAgent).  So maybe this artistic decision was as simple as the editorial staff saying, "Hey, we call this book 'Captain America' so maybe somebody on this team outta be wearing red-white-and-blue!"

I know I like my interpretation better...but what say you?

The Mysterious Case of the Murder Mask: Midnight feature (Smash Comics #43)

Smash Comics # 43 (June 1943)

The Mysterious Case of the Murder Mask

This week's post returns our focus to that familiar Golden-Age hero, Midnight.  I have to say--despite some real weaknesses in the story-telling, I really enjoyed the visuals in this story.  Both the art and the coloring really jumped out at me...but I'm don't really know enough about artistic concepts to explain why.  I just know what my gut reaction was.  

 

In a jarring emotional lurch from the splash page, the actual story opens at Midnight's home where--for absolutely no reason--Dave has allowed the eminently annoying Sniffer Snoop to move in.  The results are predictable:  Dave, Gabby, and Wackey are ready to beat the stuffing out of the pretentious little know-it-all.

Upon trying to access Sniffer's room--where they assume he has blithely locked himself away to escape his housemates' "unenlightened" wrath--the supposedly-human Dave Clark again evidences near super-human powers when he punches through a door!

Upon entering the trio find that quarry has eluded them.  Dave explains that he can't stick around to give the interloper the boot as he's got to announce a radio mystery story, "The Mask!"

Is it just me, or didn't Dave previously work for UXAM radio?  What's this XABC business about?  Were radio announcers contract workers in the 40s?

Pleading that this is his favorite radio show, Wackey cajoles Dave into getting passes for himself and Gabby to tag along.  Dave announces that they'll toss Sniffer to the curb after the broadcast. (Oh my dear deluded David...if only this were true.)

Once in the studio, the lights are dimmed and Dave launches into his introduction when three gunshots ring out from the balcony, shattering the placid darkness.  A woman screams and a moment later, a man's body plummets to the studio floor. Suddenly, the visage of the Mask appears on stage!

Is it just me, or is the lower left panel especially good?  I feel like I can see the panic that's coming over that bystander.

Seeming to delight in the horror the audience feels, the Mask announces that five more audience members will die in similar fashion before the program ends.  Though the entire audience is unnerved, Wackey serves as the mouthpiece for what is the universal assumption at this point--that these disturbing events are part of the evening's drama. Despite the fact that his script contains nothing about anyone being shot or falling from the balcony, even our titular hero simply assumes his boss provided the wrong script.

About this time, Sniffer Snoop reenters the story, harumpfing at the timid gullibility of the audience-and dispatching the none-too-bold Hotfoot to examine the body.

I think we've got a rather glaring plot-hole here.  If Sniffer is convinced this is all part of the show (which he seems to be, since he reassures Hotfoot the body isn't real) then what does he think he's going to "study"? 

Predictably, Hotfoot discovers the "dummy" is, in fact, a real body and races off in a panic.  About this time, we see Sniffer making the surprisingly-astute observation that "the Mask" has not moved at all since his sudden appearance.  When, a moment later, the macabre host's monologue gets suspiciously repetitious, both Dave and Sniffer are convinced something is amiss.

Intent on restoring decorum to the proceedings, Dave charges up to "the Mask" only to discover the "actor" is merely a wax dummy attached to a phonograph!  At this revelation, Dave begins to suspect the "dummy" that fell from the balcony might be all-too-real.

Somebody want to explain how Sniffer deduced that the body wasn't real just because Hotfoot came back?  Anyone? Anyone?  Bueller?

About this time a chap (who apparently has more firearms than dictionaries) pulls a gun on our heroic entourage (and Sniffer).  He announces that the dead man was one "Jolly" Rogers, the man in charge of publicizing The Mask radio show.  The unnamed assailant then informs us that the evening's second victim will be the writer of the show.

We hear Anderson (the writer) cry out from off-panel, as the thug taunts our heroes that while they stand here "doin' nuthin'," the Mask is moving for his third victim.

The standoff is broken however, when the thug himself suddenly lets out a yelp of agony.  We subsequently learn that Hotfoot (and perhaps Gabby?) have slipped away unnoticed and got close enough to attack the criminal themselves. Dave decides to seize the moment and knocks the guy out cold...but only after taking a moment to don his domino mask.

Remember, this is all taking place before a "packed house."  Remember also, Dave and company charged onto the stage (presumably in at least close proximity to the spotlight) to put an end to this.  Why, exactly, does Dave think that donning his mask now is going to protect his secret identity?

Despite the swift valor of Midnight and company, however, no sooner is this assailant seeing stars than Gabby locates the body of the actor who played the Mask.  Assuming that he was the mastermind of the evening's kill-fest, Midnight ponders why this man killed Rogers and Anderson...and why he had plans to kill four more.

Just when the reader thinks the story is winding up, another gun shot rings out as Edgar Tomkins, director of "The Mask" yells out before collapsing to his own death.

Midnight then: (1) announces a rather obvious conclusion--that the dead actor was not, in fact, the murderer and (2) apparently experiences some sort of divine inspiration because he suddenly has a hunch as to the killer's identity on the basis of...I don't know.  A mystic vision?

Charging off with Sniffer in tow, Midnight announces that despite have the hunch as to the killer's identity, he has "no idea" what the maniac looks like, but thinks he can set up a trap for him.

Okaaaaaaaaay Dave, er...Midnight...buuuut this doesn't seem like the most air-tight plan.

Eager to grab some limelight for the sidekick animals of the world, Gabby comes up with the helpful notion of having Hotfoot sniff out the true killer by picking the scent from one of the dead bodies.  (As it turns out, polar bears actually do have an extremely acute sense of smell.)

When everyone's favorite little oso blanco zeroes in on a portly audience member (who appears to be sleeping), Gabby concludes his faith was misplaced.

Meanwhile, Midnight explains to Sniffer and Wackey that the story of The Mask is based on a real-life criminal "sent to prison for life."  He notices Gabby and Hotfoot loitering around the aforementioned audience member and asks them what they're doing.  At this, Gabby informs the man that his bruin companion has "accused" him of being The Mask--whereupon the bystanding Midnight springs into action to subdue the man!

I'm glad he wants to protect everyone and all, but why does Midnight only warn Doc to duck?  There's at least one other audience member there close who's probably in danger.  And what happened to Sniffer Snoop? 

So Midnight socks the guy right in the face, and he immediately admits to being the Mask and killing those associated with the radio drama for "stealing his creation," (as well as threatening to add Midnight to his execution list.)

While Midnight's busy pummeling the bad guy, Gabby reveals to Hotfoot (and the reader) that the Mask's murder weapon was a fountain-pen gun.  (Can you say deus ex machina, kids?)

1.  Remember when Midnight said the Mask was based on the story of a real-life criminal who was "sent to prison for life"?  Ummm...you'd think he might've mentioned earlier that said "notorious criminal" had escaped from his lifetime confinement, right?
2. Why does the Mask immediately admit to his identity, just because a guy in a mask with a polar and talking monkey accused him?