I guess it's been a while since we've had a Mummy Monday around here, so time now for a fun but typically clunky Star Comics attempt at some ancient horror. GCD is as clueless as I am about who the artist of this tale could be, but even if he hadn't signed his name, we'd immediately recognize the unmistakable black light poster-esque mastery of L.B. Cole on the cover. From the May 1953 issue of Spook #24.
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There's twists in horror stories. Some are subtle, sneaking up on your like a dark, eerie, blood covered moon of subtle (in 50s horror speak), some tear through the ancient blood covered stones of the temple of evil (in 50s horror speak), and some ... are this!
Never would have guessed this nutty ending in a million years. What's even better is the last panel with the sly smile and wink, and for absolutely no reason but his own entertainment, "Business as Usual." This thing is a wonder to behold.
I love the mummy on the splash and it's otherworldly length. I'm not super sold on the constant mummy eyes, but it works within the story (as they appear after the shop keeper dies.)
Was this partly inspired by Karloff's THE MUMMY? The second panel of Page 6 definitely suggests the famous "He went for a little walk!" scene.
Speaking of subtle, when it comes to gloating over finding a treasure, Brogan makes Daffy Duck in "Ali Baba Bunny" seem almost low-key by comparison!
In light of recent events around here, it's hard not to look at mummies like they are just more mannequins, modelling jewelry and handicrafts, constructed from dead bodies by the mad artisans of an ancient age. And here they are moonlighting once again as avengers. You'd think dead bodies would have a fairly blasé attitude toward fate, what with their advanced experience in the subject. But no, they are always presented as rigidly, stubbornly driven by a black and white code of mortal justice. Sorta like Steve Ditko.
The art is curious. I'm not sure the floating eyes work, either. It was a great idea, but somehow the artist(s?) seemed to think that one way to effect a subliminal aspect of the frame was the draw it poorly. The rest of the art is certainly much better. So at first I actually thought the eyes were a mistake, or maybe some ballpoint defacement idly scribbled by someone whiling away a boring class lecture or tedious phone call.
The last panel is indeed solid gold. One for the hall of fame.
"OK, Pop! This is a stick-up! Hand over your cash!"
So suave.
I've always kind of wondered the same thing.
One partial exception is Boris Karloff in THE WALKING DEAD. I don't know if I understand it correctly, but if I do, "something" is using him to get revenge for what happened to him whether he wants it or not.
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