Very early drawing (1950) of Charlie Brown and Snoopy, by Charles Schulz.
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Very early drawing (1950) of Charlie Brown and Snoopy, by Charles Schulz.
Three first appearances again. Calvin and Hobbes (November 18, 1985), Charlie Brown (Peanuts, October 2, 1950), and Wolverine (The Incredible Hulk #180 and #181).
Some art and animation cels from The Charlie Brown & Snoopy Show (1980s).
Lobby cards for SNOOPY, COME HOME (1972).
The first Carl Barks story I remember reading—one of the first comics I remember reading—is DONALD DUCK AND THE GOLDEN HELMET (1952). It had suspense, high seas, treasure, folklore. I thought it was serious stuff. Under Barks, Donald had a completely different character than in the cartoons: he was a slightly hot-headed Tintin, a human who happened to be a duck. The ending, where even the most level-headed character falls under the spell of the magic object, actually reminds me a bit of Indiana Jones and the Last Crusade.
These panels, and many of the next ones I’ll post today, are in Dutch, as that’s where I’m from; the scans are from the comics I read as a kid. I don’t know if that’s jarring to people, so I’ll keep it to a minimum.
Three first appearances of Carl Barks characters: Gladstone Gander (”Wintertime Wager”, 1948), Magica De Spell (”The Midas Touch”, 1961), Gyro Gearloose (”Gladstone’s Terrible Secret”, 1952).
Images 2 and 3 show reprints of the original comics I think, but I can’t find the original magazine panels. I thought Magica was vaguely sexy when I was a kid.
The Yellow ‘M’ (1956) by Belgian comics artist, Edgar P. Jacobs.
I read this one as a kid—my first foray into a more serious type of comic—and found it very intriguing: 1950s London, with its spires and chimneys against the mustard-colored night sky; the fantastic science elements; the tense, fearful atmosphere; and above all, that electric, mysterious menace known as ‘M’.
In Europe, the comic is considered a classic; its cover is famous enough to have been parodied many times.
The Yellow ‘M’ (1956) by Belgian comics artist, Edgar P. Jacobs.
I read this one as a kid—my first foray into a more serious type of comic—and found it very intriguing: 1950s London, with its spires and chimneys against the mustard-colored night sky; the fantastic science elements; the tense, fearful atmosphere; and above all, that electric, mysterious menace known as ‘M’.
In Europe, the comic is considered a classic; its cover is famous enough to have been parodied many times.
A few fonts and things from WILLY WONKA AND THE CHOCOLATE FACTORY (1971). I always thought the candy in the film looked so unappetizing. Like jars of painted kidney stones. The chocolate river in the factory seemed filled with baby diarrhea or something, or like the murky stream near a refinery. But anyway—the film is a classic of course, and Gene Wilder is supreme in it: a cordial demon.