Mac raboy captain marvel jr
At first glance, it looks like Junior is simply surfing on a torpedo. Closer examination, however, reveals the torpedo was fired by an Axis U-boat and right before it is about to hit an Allied ship, Junior has landed on it, has made a U-turn rescuing the Allied warship and is surfing it back at the offending Axis U-boat.
The message was a sign of the times, and the cover is considered to be one of the all-time classic WWII era offerings. Captain Marvel, Jr. I suppose the message here is that nothing the Axis could throw at the Allies could deter the inevitable. Master Comics 28 — the cover features Junior straddled atop, and ringing, the Liberty Bell.
Not only is this composition unique, but the detail and realism of the huge metal bell astound.
Master Comics’ Comics Master: A Tribute to Mac Raboy
Master Comics 32 — features the very simple yet powerful classic American Bald Eagle patriotic cover. While the classic Pep Comics 20 cover uses the Swastika as a symbol of Nazi tyranny, this one uses the Swastika in a very different way. Almost three-dimensional, this cover depicts Junior smashing a huge stone Swastika to pieces, with chunks of it seemingly hurtling out from the cover. Quite a message! Beck once said that Raboy was the best artist to ever work in comics, despite not being a good comic artist.
Like many artists from this era, Beck felt the comic book images themselves should be somewhat light or humorous. Raboy, however, did not subscribe to this philosophy. None of this, however, stopped Raboy from rendering some of the best humorous images of the period — without compromise to his philosophy.
Further, these humorous covers belie the powerful satirical message each delivers. The composition itself is hilarious, as are the Terror Twins, with their exaggerated pained facial expressions. But, all three characters are very realistically rendered and Raboy depicted the Japanese Imperial and Nazi military uniforms in full splendor. Despite this hilarious image, as any of the thousands of children that bought this book knew, a spanking is the result of bad behavior, administered by someone in a position of authority. And, the Captain Marvel, Jr. On its face, the image depicts a simple sporting contest between Junior and the Axis leaders, where Junior, playing offense, cannot be stopped in his forward progress.
Football is an all-American sport. This was likely endearing to younger readers, given the robust imagination of children. Master Comics 41 offers a nice example, as Raboy brings Lady Liberty to life in a story-defining sequence! Because of this, many of these books rarely turn up for sale, especially in higher grade.
Additionally, many of these books feature stories written by the science fiction author Otto Binder. This means they often had better scripted stories than many other offerings on the newsstand. There is, however, something very special to putting together a run of virtually phantom books that have historical significance and that feature the very best work of the period. In early the comic art staff at Fawcett converted mostly to a freelance status.
It was around this time that Raboy started doing commercial artwork, which paid much better than comic book work. In , he left Fawcett altogether to work for Spark Publications. This was a result of Fawcett editor Ken Crossen leaving Fawcett in mid to start his own publishing company.
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He convinced Raboy to quit Fawcett and join him at Spark, where Raboy would receive a piece of the action as the art director rather than just remaining a salaried staff artist. Raboy left Fawcett with an agreement that, if time permitted, he would still occasionally provide cover art for the Captain Marvel, Jr. At Spark, Raboy provided the covers and stories for Green Lama. The first issue debuted in December , with a cover design like that of Captain Marvel, Jr. The cover of Green Lama 6 features yet another iconic image that makes a clear political statement.
The Green Lama is about to cast from the Earth a giant crumbling swastika. As iconic as this cover image may be, the splash page is even better. He continued to mature and grow in his mastery of the art-form and, for issue 7, shared this evolution with Green Lama readers. He rendered it on Duo-Tone art paper, which allowed the artist to capture different tones of shading in the work. When color was added, the work transcended anything he had done before as well as other comic book art being produced by the hobby at that time.
The image is very similar to an unpublished painting Raboy produced of Junior that may have been intended as the cover to Captain Marvel, Jr. For Raboy, this unfortunate event may have been serendipitous. He continued to establish and work on non-comic book related commercial accounts. Between and Raboy secured a freelance job for which he provided full-page illustrations for the Philadelphia Inquirer newspaper.
Each illustration provided anatomically perfect and beautiful figures and photo-realistic backgrounds.
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Ironically, Raboy had a fascination with early American history the Civil War era in particular , so this work likely held a great deal of interest for him. At the time comic strips were considered superior to comic books strip artists received higher pay, for one thing. His first Sunday page appeared on August 1, For the entire period on which he worked on the strip, except January — October when he hired Bob Rogers to do backgrounds , he did all the artwork for the Flash Gordon Sunday page. He continued on the strip until his death. Indeed, working at his typical three-hours-per-day pace and always being several weeks ahead in production meant he could take the time he wanted on each art panel and would have no need to rely on Photostats and such tricks.
With that said, I believe the very best Raboy comic-related work was that which he rendered for Master Comics and Green Lama.
He also was an immensely talented artist and realized early that he could make a considerable living drawing comic books and comic strips. From all credible accounts, he had no other real interest in the medium or most of the people in it, preferring to leave work at work. He would never dream of giving away any of his original comic art as gifts.
To the contrary, when King Features would return it to him, he would simply store it out of sight in a closet. Most everyone with whom he had worked over the years described him as a very quiet man that rarely ever expressed an opinion on much of anything, including work, family or politics.
Outside of work, however, he and his wife often entertained close friends that he had made over the years, including some from the comic book field with whom he shared common interests and a similar perspective of the business. He built much of the furniture for his house.
Captain Marvel Jr. - Wikipedia
He made wooden furniture and woodcarvings that he would give away to family and friends. He sculpted clay torsos often of Lincoln. In mid, Mac Raboy was diagnosed with cancer. Unfortunately, the doctors concluded there was little they could do, so he was moved to a Mount Kisco hospital to be closer to his family. He passed away on December 23, at the young age of He left behind a legacy of some of the greatest comic book and comic strip artwork ever produced.
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Raboy rendered beautiful, perfectly proportioned, realistic figures. He never resorted to motion streaks or the like. His figures looked weightless when in flight. The faces he drew were like portraits. And, while virtually all his artwork as of late is in a class by itself, perhaps the pride he took in helping to create Junior and his vested interest in Spark are the reasons why his work on Junior and the Green Lama endure among the very best examples of his work and comic book artwork in general from the period.
Scoop is a totally free e-newsletter, produced for the benefit of the friends who share our hobby! In the Limelight. Mac Raboy: By Peter Bilelis Looking through my old editions of The Overstreet Comic Book Price Guide , I found very many interesting articles that span the birth of the four-color medium to current topics.
In terms of iconic and patriotic war covers, Raboy rendered some of the very best: All rights reserved. When the German plummetted into the water next to the Freemans' vessel, the latter, being decent human beings, rescued him. To repay them, Captain Nazi killed the old man and broke Freddy's back, crippling him for life.
Later, the Nazi actually bragged to Hitler about the less-than-heroic deed. Captain Marvel rushed Freddy to the abandoned subway tunnel where he'd originally been powered up, and asked the ancient wizard, Shazam, to help. This not only made a superhero of the crippled boy — it also put a very odd and perhaps unique limitation on his power. He couldn't introduce himself to anyone, because as soon as Captain Marvel Jr. The following month, in Master Comics 22, both Marvels teamed up with Bulletman who had been that title's cover feature up until then to settle Captain Nazi's hash.
Once that was taken care of, Junior became the lead feature of Master Comics, pushing Bulletman into the back pages. Orphaned as well as crippled, Freddy made his living by running a newsstand. In addition to his monthly appearances in Master Comics, as of November, , he was published in a title of his own. Before launching the character, Fawcett editors had made a decision not to make him a simple duplicate of their best-selling hero.
That's why Junior's costume was blue instead of red; but more important, that's why he was drawn in an illustrative style rather than the cartoony one C.