Sergeant Preston of the Yukon Comic Books

From 1951 to 1959, a series of 29 comic books featuring adaptations of the radio scripts, were published by Dell Comics, which was the comic book publishing arm of Dell Publishing, which got its start in pulp magazines. The Dell Publishing Company was founded in 1921, and from 1929 to 1974, published comic books under the Dell Comics line, the bulk of which (1938-68) was done in partnership with Western Publishing. The company formed a partnership in 1938 with Western Publishing, in which Dell would finance and distribute publications that Western would produce. While this diverged from the regular practice in the medium of one company handling finance and production and outsourcing distribution, it was a highly successful enterprise with titles selling in the millions. By 1953, Dell claimed to be the world’s largest comics publisher, selling an estimated 26 million copies every month. 

Dell Comics was best known for its licensed material, most notably such characters as Mickey Mouse, Tarzan, Bugs Bunny, Donald Duck and The Lone Ranger. The latter of which was the reason why the company sought interest in Sergeant Preston of the Yukon. 

With routine profits coming in from The Lone Ranger comic books, and George W. Trendle promising television was being considered for the property, Dell entered into a license agreement to publish comic books based on the same property. Hired to create oil paintings for Dell, artist Morris Gollub (1910-1984) was commissioned to create lavish art for the covers of the Sergeant Preston comic books. Gollub began his career in 1937 as an animator and lay-out artist for the Walt Disney Studios, having worked on such classics as Bambi (1942). Beginning in 1946, he was hired by Dell Publishing/Western Comics to handle such tasks as Lassie, Robin Hood and The Lone Ranger. The paintings he created for the front covers always told a story, suggestively revealing the scenes that occurred both before and after the action scene depicted. Gollub’s art was featured prominently for the first 18 comic books. Beginning with Issue #19, his art was replaced with the publishing company’s budget-cutting measures of utilizing a publicity still from the television series.

Personally, I am not a fan of the covers with Richard Simmons on the front. I prefer those from the oil paintings. The cover art for those early issues featured dramatic action on the part of King, often telling a story in itself even though the cover art had nothing to do with any of the plots in the comic books. As an example the one above where Preston and his dog are locked in a shed and King races to extinguish the fuse in the death trap that was set for them. Gorgeous covers!

Each of the comic books contained an average of three short adventures. None were originals; all were adaptations from the original radio scripts. (The majority from 1951 and 1952 radio adventures.) As an example:

Issue #10, February – April 1954

Date of Publication: December 29, 1953

Copyright Registration # © B-456418

“A Fight for the Future” by Tom Dougall, broadcast December 30, 1952

“McAllister’s Bonanza” by Steve McCarthy, broadcast December 23, 1951

“Stand-In for Cheeka” by Fran Striker, broadcast April 15, 1952

 

Issue #11, May – July 1954

Date of Publication: April 8, 1954

Copyright Registration # © B-483743

“The Calumet Gold Robberies” by Betty Joyce, broadcast June 29, 1952

“The Shelf Ridge Incident” by Dan Beattie, broadcast May 29, 1952

“The Stolen Horse” by Betty Joyce, broadcast September 30, 1952

Internally, the art was drawn by Alberto Giolitti (1923-1993), an artist with a style unique and high attention for detail. It was clear from an early age that he had a talent for drawings. After the war, Giolitti emigrated to Argentina, where he produced police stories and novel adaptations. In 1949, he emigrated to New York City, where he had a long and happy collaboration with Dell Publishing, and later Gold Key. He would become known for his work on Dell’s Gunsmoke and Tonto, and Gold Key's Twilight Zone and Star Trekcomic books. His unique style was evident in the art for Sergeant Preston, which often looked better in black and white than in color. He made use of shadows for numerous panels, storyboarding what could be described as an adaptation of a filmed production, often with views from the side hip or from alongside the hero.

 

The art style of Giolitti works better in black and white, not color, which diminishes the shading and style for which Giolittli was able to pull off on the drawing board. This is a darn shame when you see the occasional inside back cover with the conclusion of a story, in black and white, while in contrast with the colored page the left.

All of the stories inside the comic books were adaptations of the radio scripts, selected and submitted by Fran Striker, who as story editor was best suited to select suitable stories from the radio program. None of the stories were adapted from the television rendition, though, to be technical, the television stories were adapted from the radio adventures. Radio scripts authored by Dan Beattie, Steve McCarthy, Betty Joyce and others were used in the comic books, although none of the authors were credited in the comic books, nor did they receive a royalty from George W. Trendle for their use and adaptation. (For a complete list of which radio scripts were adapted into each issue of the comic book, see Appendix D.) 

The first issue, published in the summer of 1951, was titled Sergeant Preston from Challenge of the Yukon, because it was believed the name of the character would sell better than the title of the radio program. It was soon after that the radio program changed its name to Sergeant Preston of the Yukon and, beginning with the second issue, dropped all reference to Challenge of the Yukon. The copyright registration for the first four issues were cited “Challenge of the Yukon,” before the name change was applied on the copyright. 

Beginning with Issue #18, a new feature was added to the comic books, the adventures of Gray Wolf, Leader of the Wolf Pack. As suggested by the title, these were adventures of a wolf and his experiences across the wilderness. In one adventure, Gray Wolf and his tribe faced off against a pack of white wolves for a downed caribou, necessary to survive during the winter months in the Yukon. In another adventure, Gray Wolf staved off a large grizzly bear to save the life of his mother, Neetka, who was chased down and cornered. These adventures of the wild were included in every issue through no. 29.

In the spring of 1956, four additional comic books were printed, distributed in boxes of Quaker Oats, and were smaller in size (7 inches by 2.5 inches) and 16 pages. There were four comics total, each reproducing a story that was used on the radio program.

 

No. 1, The Case That Made Him a Sergeant

© March 9, 1956, A245582

 

No. 2, How He Became a Mountie

© March 9, 1956, A245585

 

No. 3, How He Found Yukon King

© March 9, 1956, A245584

 

No. 4, How Yukon King Saved Him from the Wolves

© March 9, 1956, A245583

DICK TRACY MEETS THE NIGHT CRAWLER (1945)

In 1945, Whitman Publishing released the second of two hardcover books, written by Chester Gould. The other was Dick Tracy, Ace Detective (1943). Having learned that the stories were original and not adaptations of comic strip adventures, I bought the books with the intention of reading them. The original story for Dick Tracy Meets the Night Crawler (1945) turned out to be a fantastic story.

 

A board member of a local mining enterprise has gone missing and Dick Tracy, while on vacation with Junior and Tess, finds himself assisting the local sheriff. When the villainous fiend calling himself “The Night Crawler” kidnaps Junior and Tess, Dick Tracy redoubles his efforts, until he, too, is captured! 

 

For anyone who read all of the newspaper comic strips and are wishing for more Dick Tracy adventures, this book was not only written during Gould’s prime, but equivalent to some of the best of the comic strip. All of which is a long-winded way of saying that it was a darn shame he never adapted this into the comic strip.

Chester Gould not only wrote the story, but provided about 18 illustrations for the book. Had he used this story for his newspaper strip, no doubt the illustrations would have matched. 

 

So if you are looking for a good read, this is one seeking out.

The Lost Radio Adventures of "THE LONE RANGER"

It was not until early 1938 that The Lone Ranger radio program was recorded on a regular basis. Prior, the radio broadcasts originating from WXYZ in Detroit, Michigan, were never heard again after the initial broadcast. No sooner did the broadcast conclude, the actors tossed their scripts into a box in the corner of the room and began rehearsals for the next drama (usually The Green Hornet or Warner Lester, Manhunter). As a result, the first five years of the program does not exist in recorded form. Thankfully, we have the radio scripts to consult. Enclosed are plot summaries based on the script pages, "lost" adventures of the masked man and his faithful Indian companion, Tonto.

 

Episode #141, Broadcast December 25, 1933

Plot: Rafael Gonzales is a wealthy Mexican aristocrat, a direct descendent of the Rafael Gonzales that once governed the state of Texas, before it became a part of the United States. His ranch is bounded on the North by the Rio Grande and extends many miles into Mexico. He longs for the cleaning up of Great Lizard Island, so called because of its shape and character, the much-feared raiders that have brought thieving and death to the ranch of Gonzales and the ranch of Hank Wilson and his wife (on the U.S. side). At the request of The Lone Ranger, 3,000 head of cattle of the Triangle Bar are herded by Hank Wilson to the Mexico border, then ushered into the water. The cattle cannot cross the raging current steadfast, making their way to the island so Tonto and The Lone Ranger create a stampede. Bound on both sides by the narrowness of Great Lizard Island, there is but one way for the cattle to travel, straight up the entire length of the island, sweeping with unstoppable force, through the thick underbrush, through the gullies and the secret hiding places of the renegades. The outlaws that inhabit the island are driven out like wild beasts from their places of concealment. They flee in terror before the thundering advance of the frantic herd and right into the hands of the vigilantes led by Gonzales and Wilson.

 

Episode #142, Broadcast December 27, 1933

Plot: The town of Prospect is situated in the foothills of the mountains that have had many people from all over the country stake their lives in the search for gold. Like a specter, a ruthless robber moved quickly and with catlike precision in the darkness of Ma Harvey’s house, found what he wanted, leaving the old woman dead, and vanished leaving no clue behind. Jim Thornton, a prospector who answers to the nickname of Buck, wanders into town to purchase provisions and finds himself picked up by Sheriff Pearson for the theft of $2,000 in gold dust and the murder of Ma Harvey. Sheriff Pearson is a fast-acting individual with so strong a sense of justice and punishment for crime that he oversteps himself from time to time. Mistaking Buck for Whitey Conklin, a notorious criminal wanted for multiple murders and thefts, the sheriff conducts a trial two days later and Buck is promptly found guilty. The Lone Ranger, witness to the entire affair, rescues Buck from a lynch mob and races the accused away on his great white horse. Tonto volunteers his tracking skills for the sheriff and a posse, chasing after The Lone Ranger. When the posse catches up with the accused, The Lone Ranger mentions that they crossed the border of Wabash County… out of the sheriff ’s jurisdiction. When the posse introduces themselves to Sheriff Stevens of Wabash County, they are shocked to learn that Whitey Conklin was hung yesterday (courtesy of The Lone Ranger) and the stolen gold was found on his possession, clearing Buck’s good name.

 

Episode #143, Broadcast December 29, 1933

Plot: Caliveras is the name of the rough and ready town that serves as the settlement for a few sincere hard-working prospectors and their families, a few café and store keepers, and many rough, quick shooting, hard-riding, straight-drinking men of the prairie. Among the residents is “Potluck” Simms, who makes a joke out of starting a landslide that destroys a teepee owned by the Apaches, breaking the leg of a newborn infant. While Potluck ignores the warnings of townsfolk, the Apaches perform the Snake Dance of War. Potluck scoffs at the notion that he caused what might mean bloodshed to the white population of Caliveras, by the incensed Indians. Potluck and his wife, Bessie, however, are promptly kidnapped by the Apaches. Despite the protestations of the local doctor, The Lone Ranger forces Doc Mulcahy to the Apache village to mend the baby’s leg as a Samaritan gesture. After witnessing a display of empathy from the white man, the Indian Chief agrees to a new start, avoiding bloodshed, saving the lives of Potluck and Bessie, who now have a deeper appreciation for their native neighbors.

 

Notes: This is not the only episode in which Tonto uses smoke signals to beckon for The Lone Ranger.

 

Episode #144, Broadcast January 1, 1934

Plot: When Randy Blackstone was appointed to take charge of the assay office at Black River, there was considerable comment by the prospectors that congregated here, including two named Zeke and Blink. Blackstone was new to the region and had done nothing to make himself liked. Quite the contrary, his stand-offish manner caused a number of boys to look on him with a somewhat suspicious eye. All the men seem to feel that old Dave Burton would be deserving of the job there, and they were all pretty sore to see Blackstone get the appointment. When The Lone Ranger discovers the former assayer was murdered and Blackstone hired a Mexican named Jose Del Lobo to do the deed, he fires gold into the ground using a shotgun and convinces Dave to stake a claim in what he thinks has potential. So does Blackstone, after examining the sample, who sends Jose out to follow Dave to discover where the claim is located… and kill the prospector. Jose never completes his mission, however, caught in the act of claim jumping. Threatening to kill in the presence of The Lone Ranger, Tonto and a handful of men from town remain hidden off the side as witnesses. Jose Del Lobo, panicking, confessed a great deal thus incriminating his partner. When he finished, there was no question that Blackstone planned to steal not only the supposedly rich claim of Dave, but others that had samples brought to the assay office as well. The sheriff makes his arrest and Dave is promptly given the job at the assay office.

NOTES: These plot summaries were reprinted from The Lone Ranger: The Early Years, 1933-1937, by Terry Salomonson and Martin Grams, Jr. 

The House of Mystery (1973 books)

For those who love reading those House of Mystery comic books from the 1960s through the 1970s, especially when Bernie Wrightson began providing art with issue #179, the following two paperbacks might be of interest. I enjoy reading anthologies of horror and science-fiction from the 1950s, 60s and 70s, but I find the stories are always hit or miss. But when the Warner Paperback Library, in conjunction with National Periodical Publications (also known as D.C. Comics) decided to publish two paperback collections of horror stories using the name of the comic book, these caught my attention. Published in 1973, The House of Mystery # 1 and The House of Mystery # 2 both contain short stories by Jack Oleck and feature illustrations by Bernie Wrightson.

Each story included one Wrightson illustration. In the first book, “Chamber of Horrors” told the tale of a man who insists the law investigate three coffin-like boxes of earth in the cellar of an old house… unaware of the mushrooms growing inside. In the tale titled “Nightmare,” a jerk who is clearly abusive to his wife finds himself the victim of a human sacrifice on a stormy night at Stonehenge.

 

My personal favorite is the story titled “The Haunting,” about a young couple who wander the graveyard before heading home, only to discover the house is haunted. The twist (spoiler alert) is that they are the ghosts. 

 

The second volume has a collection of stories that could be considered better than the first volume. In “Wolf Spawn,” a man named Langley wonders if it is possible that his sister is a werewolf. Vampires come into play in the story “Where Dead Men Walk.” In the story “Never Say Die,” a hoodlum who doesn’t deserve to live discovers what happens when he refuses to die. The last story in the volume involves a demon.

These two books are the first time in years that I came across a collection of horror stories that are remnant to television’s Night Gallery. If you enjoyed Rod Serling’s television program and long for additional stories of the same flavor, these two books are worth seeking out to read.