E.C. Segar’s Popeye volume 6: “Me Li’l Swee’ Pea”


By Elzie Crisler Segar, with Doc Winner (Fantagraphics Books)
ISBN: 978-1-60699-483-2 (HB)

Elzie Crisler Segar was born in Chester, Illinois on 8th December 1894. His father was a general handyman, and the boy’s early life was filled with the kinds of solid, dependable blue-collar jobs that typified his generation of cartoonists. The lad worked as a decorator and house-painter and also played drums; accompanying vaudeville acts at the local theatre.

When the town got a movie-house, he played for the silent films, absorbing all the staging, timing and narrative tricks from keen observation of the screen. Those lessons would become his greatest assets as a cartoonist. It was while working as the film projectionist, at age 18, that he decided to become a cartoonist and tell his own stories.

Like so many others in those hard times, he studied art via mail, in this case W.L. Evans’ cartooning correspondence course out of Cleveland, Ohio, before gravitating to Chicago where he was “discovered” by Richard F. Outcault – regarded by most in the know today as the inventor of modern newspaper comic strips with The Yellow Kid and, later, Buster Brown.

The celebrated cartoonist introduced Segar around at the prestigious Chicago Herald. Still wet behind the ears, the kid’s first strip, Charley Chaplin’s Comedy Capers, debuted on 12th March 1916.

In 1918 he married Myrtle Johnson and moved to William Randolph Hearst’s Chicago Evening American to create Looping the Loop, but Managing Editor William Curley saw a big future for Segar and packed the newlyweds off to New York, HQ of the mighty King Features Syndicate.

Within a year Segar was producing Thimble Theatre, which launched December 19th 1919 in the New York Journal. It was a pastiche of movie-inspired features like Hairbreadth Harry and Midget Movies, with a repertory of stock players to act out comedies, melodramas, comedies, crime-stories, chases and especially comedies for vast daily audiences.

The core cartoon cast included parental pillars Nana and Cole Oyl; their lanky, highly-strung daughter Olive, diminutive-but-pushy son Castor and Olive’s plain and simple occasional boyfriend Horace Hamgravy (later known as just Ham Gravy).

In 1924, Segar created a second daily strip. The 5:15 was a surreal domestic comedy featuring weedy commuter and would-be inventor John Sappo and his formidable wife Myrtle (surely, no relation?) which endured – in one form or another – as a topper/footer-feature accompanying the main Sunday page throughout the author’s entire career and even surviving his untimely death, to eventually become the trainee-playground of Popeye’s second great stylist Bud Sagendorf.

A born storyteller, Segar had, from the start, an advantage even his beloved cinema couldn’t match: a brilliant ear for dialogue and accent which boomed out from his admittedly average adventure plots, adding lustre and sheer sparkle to stories and gags he always felt he hadn’t drawn well enough. After a decade or so – and just as cinema caught up with the invention of “talkies” – he finally discovered a character whose unique sound and individual vocalisations blended with a fantastic, enthralling nature to create a literal superstar.

Popeye the sailor, brusque, incoherent, plug-ugly and stingingly sarcastic, lurched on stage midway through the protracted continuity ‘Dice Island’, (on January 17th 1929: see E.C. Segar’s Popeye volume 1: “I Yam What I Yam!” and many happy returns sailor!). Once his part was played out, he simply refused to leave…

Within a year he was a regular and, as the strip’s circulation skyrocketed, gradually took his place as the star. The strip title was changed to reflect the fact and most of the tired old gang – except Olive – were consigned to oblivion …

The Old Salt clearly inspired his creator. The near-decade of thrilling mystery-comedies he crafted and the madcap and/or macabre new characters with which he furiously littered the strips revolutionised the industry, laid the groundwork for the entire superhero genre (sadly, usually without the leavening underpinnings of his wryly self-aware humour) and utterly captivated the whole wide world.

These superb oversized (375 x 268 mm) hardback collections are the ideal way of discovering or rediscovering Segar’s magical tales, and this sixth and final mammoth compendium augments the fun with another insightful introductory essay from Richard Marschall exploring ‘The Continuity Style of E. C. Segar: Between “Meanwhile” & “To Be Continued” and closes with an absorbing end-piece essay describing the globalisation of the character in ‘Licensing and Merchandising Move to Center Stage of the Thimble Theatre: Popeye Fisks his way into American Culture plus a 1930 magazine feature graphically revealing the Sailor Man’s natal origins and boyhood in ‘Blow Me Down! Popeye Born at Age of 2, But Orphink from Start’ scripted by unknown King Features writers but gloriously and copiously illustrated by Segar himself.

As always, the black-&-white Daily continuities are presented separately to the full-colour Sundays, and the monochrome mirth and mayhem – covering December 14th 1936 to August 29th 1938 12th – begins with all-new adventure ‘Mystery Melody’, wherein Popeye’s shamefully disreputable dad Poopdeck Pappy is haunted and hunted by the sinister Sea Hag. Her ghastly Magic Flute is employed to irresistibly lure the old goat back into the clutches of the woman he loved and abandoned years ago…

The tension and drama mounts in second chapter ‘Tea and Hamburgers’, when the Hag approaches another old flame – J. Wellington Wimpy – and uses the reprobate’s insatiable lust (for food) to help capture Poopdeck. The plan works, but not quite as the sinister sorceress intended…

In ‘Bolo vs Everyone!’ events escalate completely beyond control as the Hag’s primordial man-monster attacks the crew and our grizzled mariner ends the fight in his own inimitable manner, whilst mystic marvel Eugene the Jeep (a fantastic 4th dimensional beast with incredible powers) uses his uncanny gifts to – temporarily at least – settle the Sea Hag’s hash…

A decided change of pace began with the next storyline. ‘A Sock for Susan’s Sake’ showcases Popeye’s big heart and sentimental nature as he takes a destitute and starving waif under his wing: buying her clothes, breaking her out of jail and going on the run with her. However, his kind-hearted deeds arouse deep suspicions about his motives from friends and strangers alike…

It’s a tribute to Segar’s skills that the storyline perfectly balances social commentary and pathos with plenty of action (that sock in question is not footwear) and non-stop slapstick comedy. Their peregrinations again land Susan and the Old Salt in jail for vagrancy, but the wonderfully sympathetic and easily amused Judge Penny really makes the prosecution work hilariously hard for a conviction in ‘Order in the Court!’

Naturally, jealous Olive gets completely the wrong idea and uses the Jeep to track down her straying beau in ‘Who is That Girl?’, leading to the discovery of the ingénue’s origins and the restoration of her stolen fortune – a case calling for the return of ace detective and former strip star Castor Oyl…

The grateful child and her father burden Popeye with a huge reward, but as he has his own adequate savings at home he gives it all – with some unexpected difficulty – away to “Widdies and Orphinks”…

In the next sequence, the Sailor Man has reason to regret that generosity as, on returning to his house, he finds his hard-earned “Ten Thousing dollars” savings have been stolen…

Most annoyingly, he knows Poopdeck has taken it but the old goat won’t admit it, even though he has a new diamond engagement ring which he uses to bribe various loose young (and not so young) women into going out gallivanting with him and sowing ‘Wild Oats’

When Popeye first appeared, he was a rough, rude, crude and shocking anti-hero. The first Superman of comics was not a comfortable paragon to idolise but a barely human brute who thought with his fists and didn’t respect authority. Uneducated, opinionated, short-tempered, fickle (whenever hot tomatoes batted their eyelashes – or other movable bits thereabouts – at him), a gambler and troublemaker, he wasn’t welcome in polite society…and he wouldn’t want to be.

He was soon exposed as the ultimate working-class hero: raw and rough-hewn, practical, but with an innate and unshakable sense of what’s fair and what’s not, a joker who wanted kids to be themselves – but not necessarily “good” – and somebody who took no guff from anyone.

As his popularity grew, he mellowed somewhat. He was still always ready to defend the weak and had absolutely no pretensions or aspirations to rise above his fellows. He was and will always be “the best of us”… but the shocking sense of unpredictability, danger and comedic anarchy he initially provided was sorely missed. So, in 1936 Segar brought it all back again in the form of Popeye’s 99-year old unrepentantly reprobate dad…

The elder mariner was a rough, hard-bitten, grumpy brute quite prepared and even happy to cheat, steal or smack a woman around if she stepped out of line, and once the old billy goat (whose shady past possibly concealed an occasional bit of piracy) was firmly established, Segar set Popeye and Olive the Herculean and unfailingly funny task of civilising the geriatric sod…

They return to their odious chore here as Pappy’s wild carousing, fighting and womanising grow ever more embarrassing and lead to the cops trying – and repeatedly failing – to jail the senior seaman.

Poopdeck finally goes too far and pushes one of his fancy woman fiancées into the river. At last brought to trial, he pleads ‘Extenuvatin’ Circumsnances’

The final full Segar saga began on 15th November 1937 as ‘The Valley of the Goons (An Adventure)’ sees Popeye and Wimpy drugged and shanghaied. Even though he could fight his way back home, Popeye agrees to stay on for the voyage since he needs money to pay lawyers appealing Pappy’s prison sentence. He quickly changes tack, however, when he discovers the valuable cargo they’re hunting is Goon skins!

The Cap’n and his scurvy crew are planning to slaughter the hapless hulking exotic primitives for a few measly dollars…

After brutally driving off the murderous thugs, Popeye – and the shirking Wimpy – are marooned on the Goons’ isolated island…

The barbaric land holds a few surprises: most notably the fact that the natives are ruled over by Popeye’s dour old pal King Blozo (formerly of Nazilia) who, with his imbecilic retainer Oscar, is calling all the shots. It’s a happy coincidence, as Wimpy’s eternal hunger and relentless mooching have won him a death sentence and he’s in imminent danger of being hanged…

All this time Olive, guided by the mystical tracking gifts of the Jeep, has been sailing the seven seas in search of her man and she beaches her boat just as Popeye begins to get the situation under control. In doing so he unfairly earns the chagrin of the island’s unseen but highly voluble sea monster George

Shock follows shock as the eerie-voiced unseen creature is revealed as the horrendous Sea Hag who re-exerts her uncanny hold (some illusions but mostly the promise of unlimited hamburgers) upon Wimpy and tries to make him the ‘Bride of George’

In the middle of this tale Segar fell seriously ill with Leukaemia and his assistant Doc Winner assumed responsibility for completing the story: probably from Segar’s notes if not at his actual direction.

Although Winner’s illustrations carry ‘Valley of the Goons’ to conclusion, this tome excludes the all-Winner adventure ‘Hamburger Sharks and Sea Spinach’ before resuming with the May 23rd instalment by the apparently recovered Segar.

‘King Swee’Pea’ saw the feisty baby – who had been left with Popeye – become the focus of political drama and family tension when he was revealed to be heir to the Kingdom of Demonia

After a protracted tussle with that nation’s secret service and bombastic kingmaker F.G. Frogfuzz Esquire, the Sailor Man has himself appointed regent and chief advisor before taking most of the cast with him and relocating to the harsh land where only Ka-babages grow.

Popeye soon finds that his mischievous little charge has started to speak: increasingly crossing and contradicting his gruff guardian and others, much to the annoyance of blustering bully King Cabooso of neighbouring (rival) nation Cuspidonia

Before long, another unique crisis manifests in ‘Rise of the De-Mings’ as smugly sassy subterranean critters begin devastating the Ka-babage crop even as Swee’Pea and Caboosa escalate their war of insults…

Sadly, although coming back strongly, within three months Segar had relapsed. The adventures end here with his last strip and a précis of Winner’s eventual conclusion…

Segar passed away six weeks after his final Daily strip was published.

The full-colour Sunday pages in this volume run from 20th September 1936 to October 2nd 1938, a combination of star turn and intriguing footers.

After an interlude with a new wry and charming feature – Pete and Patsy: For Kids Only – the artist settled once again upon an old favourite to back up Popeye.

The bizarrely entertaining Sappo (accompanied by scene-and show-stealing Professor O.G. Wotasnozzle) supplemental strip returned in a blaze of imaginative wonder, as Segar also benched the cartooning tricks section which allowed him to play graphic games with his readership and again pushed the boundaries of Weird Science as the Odd Couple – and long-suffering spouse Myrtle – spent months exploring other worlds.

The assorted Saps also dabbled with robot dogs, brain-switching machines and fell embarrassingly foul of such inventions as long-distance spy-rays, anti-gravity devices, limb extending “Stretcholene”, “Speak-no-Evil” pills, Atom-Counters and the deeply disturbing trouble magnet dubbed “Dream Solidifier”, whilst Sappo’s less scientific but far more profitable gimmicks kept the cash rolling in and the arrogant Professor steaming with outrage…

Above these arcane antics Sunday’s star attraction remained fixedly exploring the comedy gold of Popeye’s interactions with Wimpy, Olive Oyl and the rest of Segar’s cast of thousands (of idiots).

The humorous antics – in sequences of one-off gag strips alternating with the occasional extended saga – saw the Sailor-Man fighting for every iota of attention whilst his mournful mooching co-star became increasingly more ingenious – not to say surreal – in his quest for free meals…

An engaging Micawber-like coward, cad and conman, the insatiable J. Wellington Wimpy debuted on May 3rd 1931 as an unnamed and decidedly partisan referee in one of Popeye’s frequent boxing matches. The scurrilous but polite oaf obviously struck a chord and Segar gradually made him a fixture. Always hungry, keen to take bribes and a cunning coiner of many immortal catchphrases – such as “I would gladly pay you Tuesday for a hamburger today” and ‘Let’s you and him fight’ – he was the perfect foil for a simple action hero and increasingly stole the entire show, just like anything else unless it was firmly nailed down…

There was also a long-suffering returning rival for Olive’s dubious and flighty affections: local charmer Curly

When not beating the stuffing out of his opponents or kissing pretty girls, Popeye pursued his flighty, vacillating and irresolute Olive with exceptional verve, if little success, but his life was always made more complicated whenever the unflappable, so-corruptible and adorably contemptible Wimpy made an appearance.

Infinitely varying riffs on Olive’s peculiar romantic notions or Wimpy’s attempts to cadge food or money (for food) were irresistible to the adoring readership, but Segar wisely peppered the Sundays with longer episodic tales, such as the saga of ‘The Terrible Kid Mustard’ (which ran from December 27th 1936 to February 28th 1937) and pitted the prize-fighting Sea Salt against another boxer who was as ferociously fuelled by the incredible nourishing power of Spinach…

Another extended endeavour starred the smallest addition to the cast (and eponymous star of this volume). The rambunctious tyke Swee’ Pea was never an angel and when he began stealing jam and framing Eugene the Jeep (March 7th through 28th) the search for a culprit proved he was also precociously smart too.

The impossible task of civilising Poopdeck Pappy also covered many months – with no appreciable or lasting effect – and incorporated an outrageous sequence wherein the dastardly dotard become scandalously, catastrophically entangled in Popeye’s mechanical diaper-changing machine…

On June 27th Wimpy found the closest thing to true love when he met Olive’s friend Waneeta: a meek, retiring soul whose father owned 50,000 cows. His devoted and ardent pursuit filled many pages over the following months, as did the latest scheme of his arch-nemesis George W. Geezil, who bought a café/diner with the sole intention of poisoning the constantly cadging conman…

Although starring the same characters, the Sunday and Daily strips ran separate storylines, offering Segar opportunities to utilise the same good idea in different ways.

On September 19th 1937 he began a sequence wherein Swee’ Pea’s mother returned, seeking to regain custody of the boy she had given away. The resultant tug-of-love tale ran until December 5th and displayed genuine warmth and angst amidst the wealth of hilarious antics by both parties to convince the feisty “infink” to pick his preferred parent…

On January 16th 1938 Popeye was approached by scientists who had stumbled upon an incipient Martian invasion. The invaders planned to pit their monster against a typical Earthman before committing to the assault so the Boffins believed the grizzly old pug was the planet’s best bet…

Readers had no idea that the feature’s glory days were ending. Segar’s advancing illness was affecting his output – there are no pages reproduced here between February 6th and June 26th – and although when he resumed drawing the gags were funnier than ever (especially a short sequence where Pappy shaves his beard and dyes his hair so he could impersonate Popeye and woo Olive), the long lead-in time necessary to create Sundays only left him time to finish 15 more pages.

The last Segar signed strip was published on October 2nd 1938. He died eleven days later.

There is more than one Popeye. If your first thought on hearing the name is an unintelligible, indomitable white-clad sailor always fighting a great big beardy-bloke and mainlining spinach, that’s okay: the animated features have a brilliance and energy of their own (even the later, watered-down anodyne TV versions have some merit) and they are indeed based on the grizzled, crusty, foul-mouthed, bulletproof, golden-hearted old swab who shambled his way into Thimble Theatre and wouldn’t go away But they are really only the tip of an incredible iceberg of satire, slapstick, virtue, vice and mind-boggling adventure…

Popeye and the bizarre, surreally quotidian cast that welcomed and grew up around him are true icons of international popular culture who have grown far beyond their newspaper strip origins. Nevertheless, in one very true sense, with this marvellous yet painfully tragic final volume, the most creative period in the saga of the true and only Sailor Man closes.

His last strips were often augmented or even fully ghosted by Doc Winner, but the intent is generally untrammelled, leaving an unparalleled testament to Segar’s incontestable timeless, manic brilliance for us all to enjoy over and over again.

There is more than one Popeye. Most of them are pretty good and some are truly excellent. There was only ever one by Elzie Segar – and don’t you think it’s time you sampled the original and very best?
© 2012 Fantagraphics Books Inc. All comics and drawings © 2011 King Features Inc. All rights reserved.

E.C. Segar’s Popeye volume 5: Wha’s a Jeep?


By Elzie Crisler Segar (Fantagraphics Books)
ISBN: 978-1-60699-404-7 (HB)

Elzie Crisler Segar was born in Chester, Illinois on 8th December 1894. His father was a handyman and Elzie’s early life was filled with the types of solid, earnest blue-collar jobs that typified his generation of cartoonists. The younger Segar worked as a decorator and house-painter and played drums, accompanying vaudeville acts at the local theatre. When the town got a movie house, he played for the silent films, absorbing the staging, timing and narrative tricks from the close observation of the screen that would become his greatest assets as a cartoonist. It was while working as the film projectionist, aged 18, he decided to become a cartoonist and tell his own stories.

Like so many others of that “can-do” era, Segar studied art via mail, in this case W.L. Evans’ cartooning correspondence course out of Cleveland, Ohio (from where Jerry Siegel & Joe Shuster would launch Superman upon the world), before gravitating to Chicago where he was “discovered” by Richard F. Outcault – arguably the inventor of newspaper comic strips with The Yellow Kid and Buster Brown.

The senior artist introduced him around at the prestigious Chicago Herald. Still wet behind the ears, Segar’s first strip, Charley Chaplin’s Comedy Capers, debuted on 12th March 1916. In 1918 he married Myrtle Johnson and moved to William Randolph Hearst’s Chicago Evening American to create Looping the Loop. Managing Editor William Curley saw a big future for Segar and promptly packed the newlyweds off to the Manhattan headquarters of the mighty King Features Syndicate.

Within a year Segar was producing Thimble Theatre, which launched December 19th 1919 in the New York Journal. In its earliest incarnation the strip was a pastiche/knock off of Movie features like Hairbreadth Harry and Midget Movies, with a repertory cast to act out comedies, melodramas, comedies, crime-stories, chases and especially comedies for huge daily audiences. The core cast included parental pillars Nana and Cole Oyl, lanky daughter Olive, diminutive-but-pushy son Castor and Olive’s plain and simple occasional boyfriend Horace Hamgravy (later just Ham Gravy).

In 1924, Segar created a second daily strip. The 5:15 was a surreal domestic comedy featuring weedy commuter and would-be inventor John Sappo and his formidable wife Myrtle (surely, no relation?).

A born storyteller, Segar had from the start an advantage even his beloved cinema couldn’t match. His brilliant ear for dialogue and accent shone out from his admittedly average melodrama adventure plots, adding lustre to stories and gags he always felt he hadn’t drawn well enough. After a decade or so – and just as cinema caught up with the introduction of “talkies” – he finally discovered a character whose unique sound and individual vocalisations blended with a fantastic, enthralling nature to create a literal superstar.

Popeye the sailor, brusque, incoherent, plug-ugly and stingingly sarcastic, shambled on stage midway through nautical adventure ‘Dice Island’, (on January 17th 1929: see E.C. Segar’s Popeye volume 1: “I Yam What I Yam!”) and once his very minor part was played out, simply refused to leave. Within a year he was a regular and as the strip’s circulation skyrocketed, he became the star. Eventually, the strip title was changed to Popeye and all of the old gang except Olive were consigned to near-oblivion…

Popeye inspired Segar. The near decade of thrilling mystery-comedies which followed revolutionised the industry, laid the groundwork for the entire superhero genre (sadly, usually without the leavening underpinnings of his self-aware humour) and utterly captivated the whole wide world.

These superb oversized (almost 260 mm by 372mm) hardback collections are the ideal way of discovering or rediscovering Segar’s magical tales. Over and above the increasingly incredible tales from the daily and Sunday strips, this vibrantly enticing fifth volume also contains an insightful introductory essay from Richard Marschall – ‘Character and Personality in Thimble Theatre’ – a captivating article of the period (‘Segar’s Hobbies Put Punch in Popeye Comics’) reprinted from Modern Mechanix and Inventions, plus a fascinating end-piece covering assorted original art teasers editors used to promote upcoming tales in the magical days before television or viral ad campaigns.

The monochrome Monday to Saturday section opens this volume, (covering July 25th 1935-December 12th 1936), encompassing one-and-a-half major storylines, and begins with the eagerly-anticipated conclusion of ‘Popeye’s Ark’, wherein our bold sailor-man carries out an ambitious plan to set up his own country of Spinichovia. The incredible scheme is funded by misogynist millionaire Mr. Sphink who insists that the new country be absolutely without women, and Popeye goes along with it, recruiting a host of disaffected guys looking for a fresh start…

Soon however, the thousands of able-bodied men populating the country are starving for any kind of female companionship: – even Olive Oyl, currently exiled on an island of her own. Things get very strange when the lonely Spinichovians discover a tribe of mermaids frolicking off the coast, but romance is soon forgotten when Brutian despot King Zlobbo decides the new nation must be his in ‘War Clouds’.

To scout out potential opposition, Zlobbo dispatches enticing spy Miss Zexa Peal, but as the most beautiful woman in the country – and comprising 50% of Spinichova’s female population – she isn’t exactly inconspicuous…

When war breaks out, it results in Popeye’s greatest victory – with just a little excessively violent help from feisty “infink” baby Swee’ Pea

By the conclusion of that epic tale all the players have returned to America, just in time for the introduction of the star of this tome.

‘Eugene the Jeep’ debuted on March 20th 1936: a fantastic 4th dimensional beast with incredible powers that Olive and Wimpy use to get very rich, very quickly, only to lose it all betting on the wrong guy in another of Segar’s classic and hilarious set-piece boxing matches between Popeye and yet another barely-human pugilist…

These tales come from an astonishingly fertile period for the strip’s long history. On August 4th, Eugene was instrumental in kicking off another groundbreaking and memorable sequence as the entire ensemble cast took off on as haunted ship to undertake ‘The Search for Popeye’s Papa’.

When Popeye first appeared, he was a shocking anti-hero. The first Superman of comics was not a comfortable icon to idolise. A brute who thinks with his fists and doesn’t respect authority; uneducated, short-tempered, fickle (when hot tomatoes batted their eyelashes – or thereabouts – at him), a gambler and troublemaker, he wasn’t welcome in polite society… and he wouldn’t want to be.

Popeye was the ultimate working-class hero: raw and rough-hewn, practical, but with an innate and unshakable sense of what’s fair and what’s not. He was a joker who wants kids to be themselves, but not necessarily “good”, and a man who takes no guff from anyone.

Of course, as his popularity grew, he somewhat mellowed. He was always ready to defend the weak and had absolutely no pretensions or aspirations to rise above his fellows. He was and will always be “the best of us”… but the shocking sense of unpredictability, danger and anarchy he initially provided was sorely missed by 1936 – so Segar brought it back again…

This memorably riotous tale introduced ancient, antisocial crusty reprobate Poopdeck Pappy and his diminutive hairy sidekick Pooky Jones during another fabulous voyage of discovery. The elder mariner was a rough, hard-bitten, grumpy brute quite prepared and even happy to cheat, steal or smack a woman around if she stepped out of line…

Once that old goat was firmly established, Segar set Popeye and Olive the Herculean task of ‘Civilizing Poppa’ which is where the monochrome adventures here conclude…

The full-colour Sunday pages in this volume span April 4th 1935 to September 13th 1936, and see the bizarrely entertaining Sappo (and mad scientist lodger Professor O.G. Wotasnozzle) supplemental strip gradually diminish to allow the Popeye feature even more room to excel and amaze.

Eventually Sappo became a cartooning tricks section allowing Segar to play graphic games with his readership. Popeye’s Cartoon Club also disappeared, as the focus inexorably shifted to Popeye and Co. in alternating one-off gag strips and extended sagas. However, the Sailor-Man had to fight for space with his mooching co-star J. Wellington Wimpy

When not beating the stuffing out of his opponents or kissing pretty girls, Popeye pursued his flighty, vacillating and irresolute Olive Oyl with exceptional verve, if little success, but his life was always made more complicated whenever the unflappable, so-corruptible and adorably contemptible Wimpy made an appearance.

The engaging Micawber-like coward, moocher and conman was first seen on 3rd May 1931 as an unnamed and decidedly partisan referee in one of Popeye’s regular boxing matches. The scurrilous but ever-so-polite oaf obviously struck a chord and Segar gradually made him a fixture. Eternally hungry, always eager to take a bribe and a cunning coiner of many immortal catchphrases such as “I would gladly pay you Tuesday for a hamburger today” and “let’s you and him fight”, Wimpy was the perfect foil for a simple action hero and often stole the entire show.

Infinitely varying riffs on Olive’s peculiar romantic notions or Wimpy’s attempts to cadge food or money for food were irresistible to the adoring readership, but Segar wisely peppered the Sundays with longer episodic tales, such as the cast’s gold-prospecting venture to the inhospitable western desert of ‘Slither Creek’ (April 14th – August 25th 1935) and a sequel sequence wherein the temporarily wealthy but eternally starving Wimpy buys his own diner – the ultimate expression of blind optimism and sheer folly…

The uniquely sentimental monster Alice the Goon returned to the strip on February 23rd 1936, permanently switching allegiance and becoming nanny to rambunctious tyke Swee’ Pea. She was a cast regular by the end of April.

August 9th saw Eugene the Jeep make his Sunday debut, and a few demonstrations of the fanciful beast’s incredible powers to make money and cause chaos fill out this fifth fantastic tome…

There is more than one Popeye. If your first thought on hearing the name is an unintelligible, indomitable white-clad sailor always fighting a great big beardy-bloke and mainlining tinned spinach, that’s okay: the animated features have a brilliance and energy of their own (even the later, watered-down anodyne TV versions have some merit) and they are indeed based on the grizzled, crusty, foul-mouthed, bulletproof, golden-hearted old swab who shambled his way into Thimble Theatre and wouldn’t leave. But they are really only the tip of an incredible iceberg of satire, slapstick, virtue, vice and mind-boggling adventure…

There is more than one Popeye. Most of them are pretty good and some are truly excellent. Don’t you think it’s about time you sampled the original and very best?
© 2011 Fantagraphics Books Inc. All comics and drawings © 2011 King Features Inc. All rights reserved.

Popeye Classics volume 3


By Bud Sagendorf, edited and designed by Craig Yoe (Yoe Books/IDW)
ISBN: 978-1-61377-779-4 (HB) eISBN: 978-1-62302-492-5

There are a few fictional personages to enter communal world consciousness – and fewer still from comics – but a grizzled, bluff, uneducated, visually impaired old sailor with a speech impediment is possibly the most well-known of that select bunch.

Elzie Segar had been producing Thimble Theatre for a decade (since December 19th 1919) when he introduced a coarse, brusque “sailor man” into the everyday ongoing saga of hapless halfwits Ham Gravy and Castor Oyl on January 29th 1929. Nobody suspected the giddy heights that stubborn cantankerous walk-on would reach…

In 1924 Segar created a second daily strip The 5:15: a surreal domestic comedy featuring weedy commuter and would-be inventor John Sappo and his formidable wife Myrtle which endured – in one form or another – as a topper/footer-feature accompanying the main Sunday page throughout the author’s career. The feature even survived his untimely death, eventually becoming the trainee-playground of Popeye’s second great humour stylist: Bud Sagendorf.

After Segar’s far-too-premature death in 1938, Doc Winner, Tom Sims, Ralph Stein and Bela Zambouly all worked on the strip, even as the Fleischer Studios animated features brought Popeye to the entire world, albeit a slightly different vision of the old salt.

Sadly, none of them had the eccentric flair and raw inventiveness that had put Thimble Theatre at the forefront of cartoon entertainments…

Born in 1915, Forrest “Bud” Sagendorf was barely 17 when his sister – who worked in the Santa Monica art store where Segar bought his drawing supplies – introduced the kid to the master cartoonist who became his teacher and employer as well as a father-figure. In 1958, after years on the periphery Sagendorf, finally took over the strip and all the merchandise design, becoming Popeye’s prime originator…

When Sagendorf became the main man, his loose, rangy style and breezy scripts brought the strip itself back to the forefront of popularity and made reading it cool and fun all over again. Bud wrote and drew Popeye in every graphic arena for 24 years and when he died in 1994, he was succeeded by controversial “Underground” cartoonist Bobby London.

Bud had been Segar’s assistant and apprentice, and – from 1948 onwards – exclusive writer and illustrator of Popeye’s comicbook adventures in a regular monthly title published by America’s king of licensed periodicals, Dell Comics.

When Popeye first appeared, he was a rude, crude brawler: a gambling, cheating, uncivilised ne’er-do-well. He was soon exposed as the ultimate working-class hero: raw and rough-hewn, practical, but with an innate, unshakable sense of what’s fair and what’s not; a joker who wanted kids to be themselves – but not necessarily “good” – and someone who took no guff from anyone…

Naturally, as his popularity grew, Popeye mellowed somewhat. He was still ready to defend the weak and had absolutely no pretensions or aspirations to rise above his fellows but the shocking sense of dangerous unpredictability and comedic anarchy he initially provided was sorely missed… but not in Sagendorf’s comicbook yarns…

Collected in their entirety in this beguiling full-colour hardback (also available in a digital edition) are issues #10-14 of Popeye’s comicbook series, produced by the irrepressible Sagendorf and collectively spanning December 1949/January to October/December1950.

The stunning, seemingly stream-of-consciousness stories are preceded by an effusively appreciative Foreword‘Society of Sagendorks’ – by inspired aficionado, historian and publisher Craig Yoe, offering a fabulous collation of candid photos and assorted gems of merchandise – such as actual Wimpy burgers, a set of Popeye-themed Old Maid cards, Lunchbox illustrations, an anti-bullying campaign posters and foreign edition covers – in another ‘Bud Sagendorf Scrapbook’.

Popeye’s fantastic first issue launched in February 1948, and we rejoin the parade of laughs and thrills nearly two year later with #10 and a single-page monochrome duel of wits between Popeye and his “infink” protégé Swee’ Pea before the four-colour fun takes off with ‘Rockabye Berries! – A Lethargic Tale of Slumbering Horror amid the Snoozing Sleepers of a Drowsy Island’ as old King Blozo of Spinachovia pleads for aid to overcome a bizarre plague of sleeping sickness. The old salt soon stumbles onto – and deals with – the cause… the island’s long-forgotten and rather aggrieved original inhabitants…

‘Ouch! or Don’t Hit Him… He’s a Human!!’ sees master moocher Wellington J. Wimpy attempt to teach fiery prize-fighter Popeye how to lose a fight after which ‘Pirate! or The Fist mus’ be Mightier ‘an the Sword! or The Seven Seas ain’t Big Enough to hold Both of Us!’ introduces nautical bully Typhoon Thomas who relentlessly pursues the sailor-man to force a duel and prove his own toughness. Big mistake…

Short prose stories were a staple of these comics (and a legal necessity to gain favourable postal rates) and here ‘Swee’ Pea and the Wonderful Bait!’ details a fishing competition between the kid and grizzled “grandparent” Poopdeck Pappy before Wimpy and Swee’ Pea clash wills in a story of the chase entitled ‘Apple Snack!’

The issue ends with a bang in a black & white interior half-page Popeye gag about pesky mosquitoes and issue #11 (February/March 1950) opens with a monochrome single-pager gag as the incredible infink builds a burglar trap and Olive Oyl proves it works…

Four-colour fun resumes with ‘Swell Day’, pitting Popeye against bullying adult sadist The Duke, who loves to make kids cry, forcing out hero to adopt infantile camouflage to teach him a lesson. Instantly following is ‘The Guest! or Was This Visit Necessary? or Good-Bye! Good-Bye! or Next Time Call B’fore you come, so I can Leave B’fore you Arrive!!’ as a translunar Moon Goon imposes on Popeye’s hospitality and literally eats him out of house and home…

The old salt almost endures his first defeat when playing ‘Golf!’ against Wimpy and Rough-House until he dumps the clubs for a more versatile striking implement, after which prose yarn ‘Swee’ Pea and the Tossing Island!’ spins a bittersweet yarn about a lonely beast on a distant atoll. Wimpy then stars in ‘Easy to Find!’: another duel with the baby sailor before the issue ends on another half-page monochrome Popeye gag.

Moved to quarterly release, # Popeye #12 (April-June) opens with a monochrome single-pager and Popeye “explaining” in his unique brisk manner why no one calls him a sissy, after which the magnificent Witch Whistle’ sees the sailor revisit embattled Spinachovia where King Blozo is plagued by a rash of vanishing farmers. The cause is sinister old nemesis the Sea Witch whose army of giant vultures seem unbeatable… until Popeye intervenes…

‘Drip! Drip!’ finds the nautical champion still in Spinachovia as a vile villain tampers with the water supply and the sailor-man is forced to dig deep to achieve his purpose…

All sailors and kids love the prospect of buried treasure so when Popeye unearths ‘The Map!’ in his own garden he soon sparks a storm of interest and unwelcome attention, before text vignette Swee’ Pea’s Sea Kite!’ reveals a close shave aboard ship and cartoon classic ‘The Double Mooch!’ sees wily Wimpy defeated by the machinations of Poopdeck Pappy and tricked into a day’s hard labour…

A monochrome gag reveals the limits of Popeye’s courage after his sweetie Olive asks him to critique her new hat, ending the issue and segueing neatly into #13 (June-August) and another with the infernal infink plundering a new fishpond, before the main event unfolds in ‘Shipwreck!’ Here the unusual suspects set off in search of an island of solid gold, unaware that they are also carrying two “ghost” stowaways…

Safely returned to shore, our cast heads west once more in ‘Adrift! or Here’s Dirt in your Face!’ Their desert trek soon uncovers evidence of ancient gopher people: they’re quite mean and rather rude…

Swee’ Pea then has fun with pets in prose piece ‘A New Port!’ before Pappy and the ultimate moocher renew their simmering rivalry in ‘Wimpy and the Big Bite!’, after which another monochrome closer details the joys and wonders of random fruit fling tossing (I threw an apple in the air… where it landed, I don’t care…).

Popeye #14 (October-December) celebrates the magic of the Iron Horse with a stunning cover (but aren’t they all?) and a B&W rebus crossword puzzle before ‘Western Railroading!’ finds the sailor-man setting up his own wild west train line. Sadly, with Olive as his sole passenger, business gets pretty tough, pretty quick…

Staying in cactus country but switching modes of transport, ‘Horse Race!’ sees the crafty cove adapt maritime techniques to cowboy pursuits before the cast are bedazzled and beguiled by the acquisition of a ‘Ghost Mine!’

Prose tale ‘Pappy Severs a Partnership’ sees the old reprobate rebel against Popeye’s galley fare with heart-rending consequences before cartoon madness resumes with J. Wellington Wimpy lured into excessive effort – and mortal combat with a cow – in a western ‘Gold Rush!’ before this captivating chronicle concludes with one last rebus crossword puzzle.

There is more than one Popeye. Most of them are pretty good, and some are truly excellent. This book is definitely top tier and for those who love lunacy, laughter, frantic fantasy and rollicking adventure. If that’s you, add this terrific treasure trove of wonder to your collection.
Popeye Classics volume 3 © 2014 Gussoni-Yoe Studio, Inc. All Rights Reserved. Popeye © 2014 King Features Syndicate. ™ Heart Holdings Inc.

E.C. Segar’s Popeye volume 4: Plunder Island


By Elzie Crisler Segar (Fantagraphics Books)
ISBN: 978-1-60699-169-5 (HB)

There is more than one Popeye. If your first thought when you hear the name is the cheerful, indomitable sailor in full Naval whites always fighting a hulking great beardy-bloke and mainlining tinned spinach, that’s okay. The Fleischer Studios and Famous Films animated features have a brilliance and energy of their own (even the later, watered-down anodyne TV versions have some merit) and they are indeed all based on the grizzled, crusty, foul-mouthed, bulletproof, golden-hearted old swab who shambled his way into the fully cast and firmly established newspaper strip Thimble Theatre and simple wouldn’t leave. But they are really only the tip of an incredible iceberg of satire, slapstick, virtue, vice and mind-boggling adventure.

In the less than ten years Elzie Crisler Segar worked with his iconic sailor-man (from January 1929, until the creator’s untimely death on 13th October 1938), he built an incredible meta-world of fabulous lands and locations, where unique characters undertook fantastic voyages and experienced big, unforgettable thrills as well as the small human dramas we’re all subject to. His was a saga both extraordinary and mundane, which could be hilarious or terrifying and frequently both at the same time. For every trip to the rip-roaring Wild West or sunken kingdom there was a brawl between squabbling neighbours, spats between friends or disagreements between sweethearts – any and all usually settled with mightily swung fists.

Popeye is the first Superman of comics, but he was not a comfortable hero to idolise. A brute who thought with his fists and didn’t respect authority; uneducated, short-tempered, fickle (when hot tomatoes batted their eyelashes – or thereabouts – at him), a worrisome troublemaker and gambler who wasn’t welcome in polite society …and he wouldn’t want to be.

The sailor-man is the ultimate working-class hero: raw and rough-hewn, practical, with an innate and unshakable sense of what’s fair and what’s not, a joker who wants kids to be themselves – but not necessarily “good” – and a man who takes no guff from anyone. Always ready to defend the weak and with absolutely no pretensions or aspirations to rise above his fellows, he was and will always be “the best of us”…

With this fourth magnificent hardcover collection of Segar’s comic masterpiece the Sunday Colour pages take precedence as, for the first time ever, his magnum opus ‘Plunder Island’ is reprinted in its full, unexpurgated totality. The reprinted selection covers the period December 3rd 1933 to April 7th 1935, with the epitome of stirring sea-sagas taking up the first six months of that time (ending with the July 15th 1934 instalment).

It all kicks off when Popeye’s old shipmate Salty Bill Barnacle invites him to go adventuring in search of fabled Plunder Island; land of stolen treasure, little suspecting that the ghastly villainous Sea Hag has reared her homely head once more…

With her new gang of deadly henchmen – including brutal Mister Skom and the monstrous Goon – she kidnaps Professor Cringly. He is an aged scholar who knows the lost island’s location, and Popeye’s latest voyage is seemingly over before it has begun….

Gathering a bunch of decidedly dubious amateur Argonauts – including but not exclusively comprising – J. Wellington Wimpy, Rough-House, Geezil and private cop G.B. Gritmore, Olive Oyl, Salty Bill and Popeye swiftly give chase, but all seems hopeless until the Witch of the Seas makes her big mistake. When she sends the Goon to take hostages, the uncanny beast returns with the indomitable Popeye and an inexplicably irresistible Wimpy. The latter’s heretofore unsuspected amatory attractions promptly turn the gruesome heads of both the Hag and her Goon (who is apparently a rather decent – if unprepossessing – lady named Alice…)

Rollercoaster adventure, thrills, chills and riotous comedy have never been better blended than in this tale, but even when the victorious crew finally return home the fun doesn’t stop. Next, we examine the bitter aftermath and how the various heroes dispose of or lose the fabulous wealth they’ve won. Wimpy, for example, simply and rapidly eats his way through most of his, whilst Popeye once again gives his away, prompting his return to the world of extreme prize-fighting…

Baby Swee’pea made his Sunday debut on 28th October 1934 (after being initially introduced during a riotous sequence in the daily strip: see E.C. Segar’s Popeye volume 3: “Let’s You and Him Fight”), becoming the focus of many outrageous gags once Popeye, Wimpy and Olive slip back into their slapstick shtick, allowing the audience to comfortably decompress before the next big drama-drenched story…

The ubiquitous Sappo topper strip became even more imaginative in this period, with demented Professor O.G. Wotasnozzle’s mad science exploits leading to ever-crazier results and the continual breaking of the Fourth Wall. For the unprepared, this was a strip that could regularly make your brain, as well as your sides, split…

The added extra feature ‘Funny Films’ (dioramic scenes through which continuous strips of cartooned “filmstrips” could be moved to create a home cinema) eventually gave way to the fascinatingly informative and entertaining ‘Popeye’s Cartoon Club’, which provided tips and encouragement to budding artists – and Segar’s approach and advice is as sound today as it ever was…

Just because he was setting the world alight with his innovative Sunday adventure serials and complete gag strips is no reason to suppose his daily feature suffered. In fact, the breakneck pace seemed to inspire Segar, as in short order Popeye and his ever-expanding cast of clowns and reprobates rollicked through a memorable run of captivating tales in monochrome from Mondays to Saturdays.

The dailies section here covers 11th December 1933 to 24th July 1934, beginning with the sailor-man – accompanied by Swee’pea, Olive and Wimpy – moving to Puddleburg, ‘The Laziest Town on Earth’ to run their local newspaper and granting the self-deprecating and wickedly trenchant Segar an opportunity to lampoon himself and his profession with the creation of B. Loony Bullony: World Famous Cartoonist…

When Olive inherits 20 million dollars, her marital prospects increase dramatically, but since one of the most ardent converts to her previously well-hidden charms is a certain. J. Wellington Wimpy, she soon realises that money isn’t everything in ‘Romances and Riches’ – especially after Popeye rescues debutante June Vanripple from drowning and becomes the unwilling toast of the “Sassiety Crowd”

This extended morality play on the evils and travails of wealth contains some of the funniest screwball comedy set-pieces of the entire 1930s (books, movies, strips, everything!) with such memorable moments as Popeye in drag (particularly a rather fetching ladies’ swimsuit), the elder Vanripple and the sailor in a wild-oat sowing contest and Olive as a singing, dancing movie star – complete with fake “million-dollar-legs”…

Another classic and beloved sequence is ‘Unifruit or White Savages’ wherein the shock of losing her loot sends Olive into the convulsive shock syndrome of Aspenitis. The only cure is a therapeutic berry that grows on the wacky island of Nazilia, deep in the territory of a lost tribe of hulking man-beasts…

The frantic antics and comedy continue when June and Mr. Vanripple ask Popeye to go west and crush cowboy bandits plundering their gold mines in ‘Black Valley’ (and if you think drag is outrageous, check out Popeye in a tutu as a saloon dance-girl).

Fair warning though: this was an era where casual racial stereotyping was considered completely acceptable and a key part of cartooning. Segar sinned far less than most: his style was far more character-specific, and his personal delight was playing with accents and how folk spoke. George W. Geezil wasn’t merely a cheap Jewish stock figure of fun, but as fully rounded as any one of nearly fifty supporting cast members could be within the constrictions of page and panel count.

In ‘Black Valley’, Castor Oyl has a Negro manservant called Eclipse, who, although superficially little different in speech pattern and appearance from less-enlightened cartoonists’ portrayal of coloured people, played an active role in proceedings. He wasn’t there for cheap easy laughs, but even so it’s clear Segar wasn’t comfortable with him and he wasn’t a permanent addition. He may be quite disquieting to you and I, but please try and recall the tone of the times and – even though there’s still a whole lot of prejudice still to be dealt with today – just how far we’ve come…

The old salt’s greatest “emeny” returned in another bombastic fantasy romp entitled ‘The Sea Hag’s Sister or The Pool of Youth’, as the vile villainess, her scurvy band of cutthroats and Alice the Goon try to seize control of a literal fountain of youth from her own unsavoury sister and 20,000-year-old caveman, Toar.

Unfortunately, Popeye, Castor, Olive and Wimpy are caught in the crossfire…

One less than wonderful “treat” can be experienced at the end of this volume: one that tormented the kids of all ages addicted to Popeye nearly 90 years ago. ‘Popeye’s Ark’ was another spectacular 6-month long lark, wherein the sailor-man attempts to emulate the Biblical mariner who built “Nora’s Ark” to sail the seas in a giant vessel filled with beasts until he found the promised land of “Spinachova”. Sadly, we all get to “enjoy” cliffhanging tension until the next instalment as this sequence ends 12 weeks into the saga. Oh, the unrelenting tension of it all…

At least you can buy this book and its sequel simultaneously now and not wait for my next excessively excitable recommendation…

There is more than one Popeye: most of them are pretty good and some are truly excellent. Elzie Crisler Segar’s comic strip masterpiece features the very best of them all and you’d be crazy to deny it… or miss him.
© 2008 Fantagraphics Books Inc. All comics and drawings © 2008 King Features Inc. All rights reserved.

E.C. Segar’s Popeye volume 3: “Let’s You and Him Fight!”


By Elzie Crisler Segar (Fantagraphics Books)
ISBN: 978-1-56097-962-3

There are relatively few comic characters that have entered world consciousness, but a grizzled, bluff, uneducated, visually impaired old sailor with a speech impediment is possibly the most well-known of that select bunch. Elzie Crisler Segar had been producing the Thimble Theatre daily newspaper strip since December 19th 1919, but when he introduced a coarse, brusque “sailor man” into the ever-unfolding adventures of Castor Oyl and Ham Gravy on January 17th 1929, nobody suspected the heights that slouching walk-on would reach.

This third magnificent collection of Segar’s immortal – certainly unkillable – clay-footed reprobate reproduces one spectacular groundbreaking epic after another as the artist-auteur, in a whirlwind of creative inspiration, took the daily strip to new heights of cliffhanging thrills and absurdity. This he did whilst building unique and jovial character studies with the more humorous Sunday pages, generally set in the generic small seaside town of Sweethaven.

Following another erudite essay by Comics historian Donald Phelps, the daily delights (stretching from June 9th 1932 to December 9th 1933) begin with a rip-snorting mystery thriller full of action, tension, scares and laughs featuring a large portion of Thimble Theatre’s extensive cast. ‘The Eighth Sea’ finds Popeye, Castor, Olive, King Blozo of Nazilia and his idiot retainer Oscar all following the instructions of Oolong the Chinese Parrot to recover a fabulous lost treasure, aided by the incredible Merlock Jones, quick-change detective. This sinister sea saga was the one-and-only Segar tale to feature Popeye’s ultimate nemesis (in the animated cartoons at least) Bluto.

With breakneck pace – Segar never rested on his laurels or his plots – that adventure led the voyagers back to Nazilia for ‘Long Live the King or Gold and Goofs’ and a rematch with General Bunzo and his new Mata Hari Dinah Mow: a worldly-wise vamp even iron-willed Popeye couldn’t resisk…

After taking a well-aimed pop at popular democracy in ‘The Great Lection’ the old sea-dog sets up his own nation in ‘Popeye: King of Popilania’: another stinging satire which sees the increasingly irrepressible J. Wellington Wimpy expand beyond the Sunday pages to join the dailies cast, almost mooching the infant country away from its idealistic founder. Popilania’s problems are multiplied by an invasion of “furiners”, “emmygrunts” and even jungle-Neanderthals in ‘Wild Men and Wild Women’ before the well-meaning reformer learns his lesson. At least he never had to cope with Brexit…

The trenchant social commentary and barbed satire continued when he returns to America to become ‘Star Reporter’ for The Daily Blast, a periodical edited by Castor and “blessed” with Wimpy as photographer. This leads to the next big cast addition and our hero’s greatest advancement when a reader mails Popeye a baby in ‘Me Sweet Pea.’

Discovering the “infink’s” true history and heritage pits the sailor-man against some pretty ruthless types, and results in him suffering a serious brain injury in ‘Bonkus of the Konkus’ but his indomitable soul and noble heart win through as always in the turbulent desert debacle ‘Popeye’s Cure’

The Sunday Page selection follows a decidedly more domestic but no less riotous path. Running from 9th October to 23rd November 1933, the full-colour section was increasing given over to – or more correctly, appropriated – by the insidiously oleaginous Wimpy: ever hungry, always cadging, yet intellectually stimulating, casually charming and usually triumphant in all his mendicant missions.

Whilst still continuing his pugilistic shenanigans, the action of the Sunday strips moved away from Popeye hitting quite so much to alternately being outwitted by the unctuous moocher, and saving him from the vengeance of Diner owner Rough-house and passionately loathing George W. Geezil, an ethnic Jewish stereotype, who like all Segar’s characters swiftly developed beyond comedic archetype into a unique person with his own story… and another funny accent.

Wimpy was unstoppable – he even became a rival suitor for Olive Oyl’s scrawny favours – and his development owes a huge debt to his creator’s love and admiration of comedian W.C. Fields. A mercurial force of nature, the unflappable mendicant is the perfect foil for common-man-but-imperfect-champion, Popeye. Where the sailor is heart and spirit, unquestioning morality and self-sacrifice, indomitable defiance, brute force and no smarts at all, Wimpy is intellect and self-serving rapacious greed, freed from all ethical restraint or consideration, and gloriously devoid of any impulse-control.

Wimpy literally took candy from babies and food from the mouths of starving children, yet somehow Segar made us love him. He was Popeye’s other half: weld them together and you have an heroic ideal… (and yes, those stories are true: British Wimpy burger bars are built from the remnants of a 1950s international merchandising scheme that wanted to put a J Wellington Wimpy-themed restaurant in every town and city).

The gags and exploits of the two forces of human nature build riotously during this period, ever-more funny; increasingly outrageous. The laugh-out-loud antics seem impossible to top, and maybe Segar knew that. Either he was getting the stand-alone gag-stuff out of his system, or perhaps he was clearing the decks and setting the scene for a really big change.

Within weeks (or for us, next volume) the Thimble Theatre Sunday page changed forever. In a bold move, the blood-and-thunder serial-style adventure epics of the dailies transferred to the Technicolor splendour of the “family pages” and all stops would be pulled out…

Topper strip Sappo actually increased its page-share during this period, going from two to three tiers, as the unstoppable scientist O.G. Watasnozzle took the little feature into increasingly surreal and absurdist realms. On a rocket ship journey, Sappo and his insufferable but long-suffering wife Myrtle experienced incredible thrills, chills and spills during an extended trip around the solar system; experiencing all the goofy wonders and embarrassments Segar’s fevered mind could concoct.

Always innovating, the restless creator also began adding extra value for his readers: incorporating collector stamps, games and puzzles to his Sunday pages. In an era with no television – and indeed, with only the very first prototype comicbooks just starting to appear – radio-shows and Sunday pages were the home entertainment choices of most Americans. Many strips offered extras in their funny-pages and Segar excelled in creating paper-based toys and amusements.

In this book alone there are stamps, play money “lucky bucks”, cartooning tips, drawing lessons and ‘Funny Films’ – dioramic scenes through which continuous strips of cartooned “filmstrips” could be moved to create a home cinema!

As an especially welcome bonus, this volume concludes with an incredibly rare piece of Popeye memorabilia: one I’d heard of but never thought I’d ever see. In 1934 the Chicago World’s Fair was held in the Windy City, and for two weeks before, at the end of 1933, it was advertised and promoted in the Hearst papers with an original full-page, monochrome Popeye serial. That’s terrific enough but the extended yarn was given extra push by escaping the funny-pages ghetto to run for that fortnight in the Sports section, as Popeye and crew explored the wonders of the World’s Fair in a truly spectacular and irresistible enticing prom feature – possibly the first of its kind.

This work is among the finest strip narrative ever created: reading it should be on everybody’s bucket list, and even when you do there’s still more and better yet to come…

In this anniversary year, you owe it to yourself to make the acquaintance of this icon of cartooning.
© 2008 Fantagraphics Books Inc. All comics and drawings © 2008 King Features Inc. All rights reserved.

E.C. Segar’s Popeye volume 2: “Well, Blow Me Down”


By Elzie Crisler Segar (Fantagraphics Books)
ISBN: 978-1-56097-874-9 (HB)

Elzie Crisler Segar was born in Chester, Illinois on 8th December 1894.His father was a handyman, and Elzie’s early life was filled with the kinds of solid blue-collar jobs that typified his generation of cartoonists. He worked as a decorator and house-painter, and played drums, accompanying vaudeville acts at the local theatre. When the town got a movie house he played for the silent films, absorbing the staging, timing and narrative tricks from the close observation of the screen that would become his bread-and-butter as a cartoonist. He was working as the film projectionist when, aged 18, he decided to become a cartoonist and tell his own stories.

Like so many others, Segar studied art via mail, in this case W.L. Evans’ cartooning correspondence course out of Cleveland, Ohio (from where Jerry Siegel & Joe Shuster would launch Superman upon the world), before gravitating to Chicago where he was “discovered” by Richard F. Outcault – arguably the inventor of newspaper comic strips with The Yellow Kid and Buster Brown – who got him an introduction at the prestigious Chicago Herald. Still wet behind the ears, Segar’s first strip, Charley Chaplin’s Comedy Capers, debuted on 12th March 1916.

In 1918 he married Myrtle Johnson and moved to William Randolph Hearst’s Chicago Evening American to create Looping the Loop, but Managing Editor William Curley saw a big future for Segar and promptly packed the newlyweds off to New York and the King Features Syndicate.

Within a year Segar was producing Thimble Theatre – launched December 19th 1919 – in the New York Journal. A pastiche of Movie features similar to Hairbreadth Harry and Midget Movies it boasted a standardised repertory cast who acted out melodramas, comedies, crime-stories, chases and especially comedies, for huge daily audiences. The core cast included parental pillars Nana and Cole Oyl, their lanky daughter Olive, diminutive-but-pushy son Castor and Olive’s plain and simple, sometime boyfriend Horace Hamgravy (later just Ham Gravy).

In 1924 Segar followed up with second daily strip The 5:15: a surreal domestic sitcom featuring weedy commuter and would-be inventor John Sappo and his formidable wife Myrtle (obviously quite a common name, hmm?).

A born storyteller, Segar had from the start an advantage even his beloved cinema couldn’t match. His brilliant ear for dialogue and accent shone out from his admittedly average adventure plots, adding lustre to stories and gags he always felt he hadn’t drawn well enough. After a decade or so and just as cinema caught up with the invention of “talkies” he finally discovered a character whose unique sound and individual vocalisations blended with a fantastic, enthralling nature to create a literal superstar.

Popeye the sailor, brusque, incoherent, plug-ugly and stingingly sarcastic, shambled on stage midway through the adventure ‘Dice Island’, (on January 17th 1929: see E.C. Segar’s Popeye volume 1: “I Yam What I Yam!”) and once his part was played out, simply refused to leave. Within a year he was a regular, and as the strip’s circulation skyrocketed, he became the star. Eventually the strip was changed to Popeye and all of the old gang except Olive were consigned to oblivion…

Popeye inspired Segar. The near decade of funny thrillers that followed revolutionised the industry, laid the groundwork for the entire superhero genre (but sadly, usually without the leavening underpinnings of his self-aware humour) and captivated the whole wide world.

The astonishingly unique cast of characters invented during this period – Sea Hag, Toar, Poopdeck Pappy, Swee’pea, Eugene the Jeep, Alice the Goon, George W. Geezil, and especially J. Wellington Wimpy (potentially as big and innovative a star as Popeye) and even Professor O.G. Wotasnozzle in the Sappo daily strip which had evolved into the Sunday Popeye “Topper” – all individually verge on manic brilliance, and combined to make Popeye a global figure to rival Tarzan and Sherlock Holmes and, latterly, Mickey Mouse. To most of the world Popeye was real…

All the attendant peripherals of a major brand gravitated to Popeye. There were toys, games premiums, books, comics, film, radio shows, and especially those incredible animated cartoons. Tragically, Segar died at the height of his creative powers and with so much more magic still to make on 13th October 1938; sole creator of an incredible galaxy of imagination, but his legacy briefly lived on through his brilliant assistant Forrest “Bud” Sagendorf – although the syndicate appointed Doc Winner, Tom Sims, Ralph Stein and Bela Zaboly to work on the printed strip before letting Bud loose on it in 1959 – whilst the animated features increasingly became the main means of bringing Popeye to the world. It just wasn’t the same, though.

When Sagendorf returned, his loose, rangy style and breezy scripts brought the strip itself back to the forefront of popularity and made reading it cool once more. He wrote and drew Popeye until Bobby London took over in 1986.

These superb hardback collections are the perfect means of discovering or rediscovering Segar’s magical tales. The second huge and still readily-available volume (almost 14 ½ by 10½ inches) from 2007 contains a fascinating essay from historian Donald Phelps, a testimonial from Mort “Beetle Bailey” Walker – which includes the beautiful inspirational drawing Segar sent the young fan in 1934 – and another batch of incredible tales from the daily and Sunday strips.

The dailies black-&-white section (covering December 22nd 1930 to June 6th 1932) sees Popeye, Castor and Olive soar to stardom in the fabulous western spoof ‘Clint Gore, the Outlaw’ and strike a blow for the Depression-era poor by inventing a financial institution that gives money away in ‘A One-Way Bank’, before resuming their globe-trotting adventuring in ‘The Great Rough-House War’ and its immediate sequel ‘Tragedy in the Land of Saps’ wherein the very peculiar King Blozo of Nazilia seeks aid to end a war with the neighbouring kingdom of Tonsylania – although the real problem seems to be his own over-ambitious Generals and the fact that all his soldiers are cowards…

This classy screwball epic displays Segar’s trenchant skill with the sharp swift scalpel of satire as well as broad slapstick, and has glorious overtones of if not actual influences upon the Marx Brothers gem “Duck Soup.” With an initially reluctant Popeye compelled by his sense of duty to become King of the unlovable Nazilians, it’s also where the superman sailor reveals for the first time the strength inducing properties of spinach…

From there Popeye and Olive head back to the wild, wild west to visit ‘Skullyville, Toughest Town in the World’ and we’re treated (I think that’s the word) to the unforgettable yet frankly grisly vision of Olive Oyl as a bar-hall dancer in a raucous, ridiculous romp that’s jam-packed with lampooned cowboy clichés and hilariously brilliant original gags.

The full-colour Sunday pages cover March 1st 1931 to October 2nd 1932, with increasingly absurdist Sappo toppers thoroughly complimenting the whacky shenanigans of the lead feature.

May 8th is particularly noteworthy for the first appearance of insane Professor O.G. Wotasnozzle – another Segar walk-on who would usurp his host feature…

The Popeye strip continues the uproarious and exceedingly violent boxing career of the one-eyed sea-dog, who took on all exceedingly monstrous comers, including the awesome man-mountain Tinearo, Kid Klutch (a giant gorilla) and even a robot boxer as the increasingly obsessive and belligerent Mr. Kilph, crazed by his inability to beat the grizzled sailor-man, slipped slowly into utter wackadoodleness.

When not beating the stuffing out of his opponents Popeye pursues his flighty, vacillating and irresolute Olive with desperate verve, if little success, but his life is forever changed when the ever-so-corruptible and adorably contemptible J. Wellington Wimpy makes his debut.

The engaging Mr. Micawber-like coward, moocher and conman debuted on 3rd May 1931 as an unnamed referee in the bombastic month-long bout against Tinearo, but he obviously struck a chord with Segar who gradually made him a (usually unwelcome) fixture. Always ravenous, ever happy and eager to take a bribe, we learned his name in the May 24th instalment and he utters the first of his many immortal catchphrases a month later.

It was June 21st – but “I would gladly pay you Tuesday for a hamburger today”, like most phrases everybody knows, actually started as ‘Cook me up a hamburger, I’ll pay you Thursday’

There’s far more of Wimpy’s incredible presence in volume 3, but for now another aspect of Popeye’s complex character is revealed in an extended sequence running from May 29th 1932 through July 17th, one that quickly secured his place in reader’s hearts.

The sailor was a rough-hewn orphan, who loved to gamble and fight, not too smart and superhumanly powerful, but he was a big-hearted man with an innate sense of decency who hated injustice – even if he couldn’t pronounce it. When Mary Ann, a starving little girl, tries to sell him a flower he adopts her, taking her from the brutal couple who use her in a begging racket. He grows to love her and there’s a genuine sense of happy tragedy when he finds her real parents and gives her up. That such a rambunctious, action-packed comedy adventure serial could so easily turn an audience into sobbing, sentimental pantywaists is a measure of just how great a spellbinder Segar was…

These tales are as vibrant and compelling now as they’ve ever been and comprise a world classic of graphic literature that only a handful of creators have ever matched. Despite some astounding successors in the drawing seat, no one has ever bettered Segar’s Popeye and these superb volumes are books you’ll treasure for the rest of your life. Don’t miss them.
© 2006 Fantagraphics Books Inc. All comics and drawings © 2006 King Features Inc. All rights reserved.

Popeye: The Great Comic Book Tales by Bud Sagendorf


By Bud Sagendorf, edited and designed by Craig Yoe (Yoe Books/IDW)
ISBN: 978-1-60010-747-4 (HB)                eISBN: 978-1-68406-381-9

There are few comic characters that have entered communal world consciousness, but a grizzled, bluff, uneducated, visually impaired old sailor with a speech impediment is possibly the most well-known of that select bunch.

Elzie Segar had been producing Thimble Theatre since December 19th 1919, but when he introduced a coarse, brusque “sailor man” into the saga of vaudevillian archetypes Ham Gravy and Castor Oyl on January 17th 1929, nobody suspected the giddy heights that walk-on would reach…

Yes, folks, its’s Happy 90th Anniversary for the old swab, who’s still going strong under the aegis of veteran cartoonist Hy Eisman (Kerry Drake, Little Iodine, Bunny, The Katzenjammer Kids, Little Lulu). Parent strip Thimble Theatre turns one hundred this year too, so there’s that to celebrate as well…

In 1924 Segar created a second daily strip The 5:15: a surreal domestic comedy featuring weedy commuter and would-be inventor John Sappo and his formidable wife Myrtle which endured – in one form or another – as a topper/footer-feature accompanying the main Sunday page throughout the author’s career.

It even survived his untimely death, eventually becoming the trainee-playground of Popeye’s second great stylist Bud Sagendorf…

After Segar’s tragic and far too premature death in 1938, Doc Winner, Tom Sims, Ralph Stein and Bela Zambouly all worked on the printed strip even as animated short features brought Popeye to the entire world via the magic of movies. Sadly, none of them had the eccentric flair and raw inventiveness that had put Thimble Theatre at the forefront of cartoon entertainments…

Born in 1915, Forrest “Bud” Sagendorf was barely 17 when his sister – who worked in the Santa Monica art store where Segar bought his supplies – introduced the kid to the master who became his teacher and employer as well as a father-figure. In 1958, Sagendorf took over the strip and all the merchandise design, becoming Popeye’s prime originator…

When Sagendorf took over, his loose, rangy style and breezy scripts brought the strip itself back to the forefront of popularity and made reading it cool and fun all over again. He wrote and drew Popeye in every graphic arena – including the majority of licensed merchandise – for 24 years. Sagendorf retired in 1986 after which “Underground” cartoonist Bobby London took over the Sailorman’s voyages and died in 1994.

Bud had been Segar’s assistant and apprentice, and from 1948 onwards he wrote and drew Popeye’s comicbook adventures in a regular monthly title published by America’s king of licensed periodicals, Dell Comics.

When Popeye first appeared, he was a rude, crude brawler: a gambling, cheating, uncivilised ne’er-do-well. He was soon exposed as the ultimate working-class hero: raw and rough-hewn, practical, but with an innate, unshakable sense of what’s fair and what’s not, a joker who wanted kids to be themselves – but not necessarily “good” – and someone who took no guff from anyone.

Naturally, as his popularity grew, Popeye mellowed somewhat. He was still ready to defend the weak and had absolutely no pretensions or aspirations to rise above his fellows but the shocking sense of dangerous unpredictability and comedic anarchy he initially provided was sorely missed… but not in Sagendorf’s comicbook yarns…

Collected in this enchanting full-colour hardback (also available in a digital edition) is an admittedly arbitrary and far from definitive selection of the Young Master’s compelling funnybook canon from Dell, spanning February/April 1948 to September 1957. Other yarns are readily available in IDW’s Popeye Classics series and I’ll be plugging those in the fullness of time.

The stunning, seemingly stream-of-consciousness stories are preceded here by an effusively appreciative Introduction from Jerry Beck before ‘Ahoy, Ya Swabs!’ relates history and recollection from inspired aficionado and historian/publisher Craig Yoe augmented by a fabulous collation of candid photos, original comicbook art, more.

Especial gems are Bud’s 1956 lessons on backgrounds from the Famous Artists Cartoon Course, series of postcards and the Red Cross booklet produced for sailors.

Popeye’s fantastic first issue launched in February 1948, with no ads and duo-coloured (black and red) single page strips on the inside front and back covers. From that premiere issue a full-coloured crisis comes as ‘Shame on You! or Gentlemen Do Not Fight! or You’re a Ruffian, Sir!’ sees our salty swab earning a lucrative living as an occasional prize-fighter. That all ends when upcoming contender Kid Kabagge and his cunning manager Mr. Tillbox use a barrage of psychological tricks to put Popeye off his game. The key component is electing his sweetie Olive Oyl President of the fictitious Anti-Fisticuff Society to convince her man to stop being a beastly ruffian and abandon violence. It only works until the fiery frail learns she’s been gulled…

Next up is the lead tale from #9, (October/November) as ‘Misermites! or I’d Rather Have Termites!’ details how the peaceful coastal town of Seawet is plagued by an invasion of plundering dwarves. When the petty pilferers vanish back to their island with “orphink kid” Swee’ Pea as part of their spoils, Popeye and Wimpy give chase and end up battling a really, really big secret weapon…

‘Witch Whistle’ comes from Popeye #12 (April/May 1950) and sees the sailor revisit the embattled kingdom of Spinachovia where old King Blozo is plagued by a rash of vanishing farmers. The cause is sinister old nemesis the Sea Witch whose army of giant vultures seem unbeatable until Popeye intervenes…

‘Interplanetary Battle’ comes from Popeye #21 (July-September 1952) and taps into the growing fascination with UFOs as Wimpy innocently seeks to aid his old pal. When no prize fighter on Earth will box with Popeye, the helpful vagabond broadcasts a message to the universe and what answers the call is a bizarre shapeshifting swab with sneaky magic powers…

An engaging Micawber-like coward, cad and conman, the insatiable J. Wellington Wimpy debuted on in the Newspaper strip on May 3rd 1931 as an unnamed and decidedly partisan referee in one of Popeye’s pugilistic bouts. The scurrilous but polite oaf struck a chord and Segar gradually made him a fixture. Always hungry, keen to solicit bribes and a cunning coiner of many immortal catchphrases – such as “I would gladly pay you Tuesday for a hamburger today” and ‘Let’s you and him fight’ – Wimpy was the perfect foil for a simple action hero and increasingly stole the entire show… and anything else unless it was extremely well nailed down…

From Popeye #25 (July-September 1953), ‘Shrink Weed’ then details how some “wild spinach” reduces the old salt and baby Swee’ Pea to the size of insects with potentially dire and outrageous consequences before the entire cast visit ‘The Happy Little Island’ (Popeye #27, January-March 1954) and confront subsurface creatures doing their darndest to spoil that jolly atmosphere.

An epic thrill-fest manifests in ‘Alone! or Hey! Where is Everybody? or Peoples is All Gone!’ (#32, April-June 1955) as humans are abducted from all over the coast, leading Popeye into another ferocious battle with evil machines and his most persistent enemy, after which another family sea-voyage results in the cast being castaway on an island of irascible invisible folk in ‘Nothing!’ (#34, October-December 1955) before the fun concludes in sheer surreal strife as Popeye #41 (July-September 1957) displays capitalism at its finest when Olive gets a new boyfriend: one with a regular job and prospects. Stung to retaliate, Popeye devises ‘Spinach Soap!’ to secure his own fortune, but being un-ejjikated, rough-and-ready appoints Wimpy as his boss. Big mistake…

There is more than one Popeye. Most of them are pretty good, and some are truly excellent. The one in this book is definitely one of the latter and if you love lunacy, laughter and rollicking adventure you must now read this.
Popeye: The Great Comic Book Tales by Bud Sagendorf © 2018 Gussoni-Yoe Studio, Inc. All Rights Reserved. Popeye © 2018 King Features Syndicate. ™ Heart Holdings Inc.

E.C. Segar’s Popeye volume 1: “I Yam What I Yam!”


By Elzie Crisler Segar (Fantagraphics Books)
ISBN: 978-1-56097-779-7

HAPPY 90th BIRTHDAY POPEYE!

Call me an idiot (you know you want to) but for years I laboured under the misapprehension that comics’ first superhuman hero debuted on January 29th 1929. Eventually. thanks to a superb collection of archival albums from the wonderful folk at Fantagraphics, I was disabused of that erroneous notion. Those mammoth oversized compendia are still the best books about the old Swabbie ever published…

Thimble Theatre was an unassuming comic strip which began on 19th December 1919; one of many newspaper features that parodied/burlesqued/mimicked the silent movies of the era. Its more successful forebears included C.W. Kahles’ Hairbreadth Harry and Ed Wheelan’s Midget Movies (later and more famously renamed Minute Movies).

These all used a repertory company of characters to play out generic adventures firmly based on the cinema antics of the silent era. Thimble Theatre’s cast included Nana and Cole Oyl, their gawky daughter Olive, diminutive-but-pushy son Castor, and Horace Hamgravy, Olive’s sappy, would-be beau.

The series ticked along for a decade, competent and unassuming, with Castor and Ham Gravy, as he became, tumbling through get-rich-quick schemes, gentle adventures and simple gag situations until September 10th 1928 (the first strip reprinted in this astonishingly lavish and beautiful collection), when explorer uncle Lubry Kent Oyl gave Castor a present from his latest exploration of Africa: a hand-reared Whiffle Hen – most fabulous of all birds. It was the start of something groundbreaking.

As eny fule kno Whiffle Hens are troublesome, incredibly rare and possessed of fantastic powers, but after months of inspired hokum and slapsick shenanigans, Castor was resigned to Bernice – for that was the hen’s name – when a series of increasingly peculiar circumstances brought him into contention with the ruthless Mr. Fadewell, world’s greatest gambler and king of the gaming resort of ‘Dice Island’.

Bernice clearly affected writer/artist E.C. Segar, because his strip increasingly became a playground of frantic, compelling action and comedy during this period.

When Castor and Ham discovered that everybody wanted the Whiffle Hen because she could bestow infallible good luck, they decided to sail for Dice Island to win every penny from its lavish casinos. Sister Olive wanted to come along but the boys planned to leave her behind once their vessel was ready to sail. It was 16th January 1929…

The next day and in the 108th instalment of the saga, a bluff, irascible, ignorant, itinerant and exceeding ugly one-eyed old sailor was hired by the pair to man the boat they had rented, and the world was introduced to one of the most iconic and memorable characters ever conceived. By sheer, surly willpower, Popeye won the hearts and minds of every reader: his no-nonsense, grumbling simplicity and dubious appeal enchanting the public until by the end of the tale his walk-on had taken up full residency. He would eventually make the strip his own…

The journey to Dice Island was a terrible one: Olive had stowed away, and Popeye, already doing the work of twelve men, did not like her. After many travails the power of Bernice succeeded and Castor bankrupted Dice Island, but as they sailed for home with their millions Fadewell and his murderous associate Snork hunted them across the oceans. Before long, Popeye settled their hash too, almost at the cost of his life…

Once home their newfound wealth quickly led Castor, Ham and Olive into more trouble, with carpetbaggers, conmen and ne’er-do-wells constantly circling, and before long they lost all their money (a common occurrence for them), but one they thing they couldn’t lose was their sea-dog tag-along. The public – and Segar himself – were besotted with the unlovable, belligerent old goat. After an absence of 32 episodes Popeye shambled back on stage, and he stayed for good.

Although not yet the paramour of Olive, Popeye increasingly took Ham’s place as a foil for the sharp-talking, pompous Castor Oyl, and before long they were all having adventures together. When they escaped jail at the start of ‘The Black Barnacle’ (December 11th 1929) they found themselves aboard an empty ship and at the start of a golden age of comic strip magic…

Segar famously considered himself an inferior draughtsman – most of the world disagreed and still does – but his ability to weave a yarn was unquestioned and it grew to astounding and epic proportions in these strips.

Day by day he was creating the syllabary and graphic lexicon of a brand-new art-form, inventing narrative tricks and beats that a generation of artists and writers would use in their own works, and he did it while being scary, thrilling and funny all at once.

‘The Black Barnacle’ introduced the dire menace of the hideous Sea-Hag – one of the greatest villains in fiction – and the scenes of her advancing in misty darkness upon our sleeping heroes are still the most effective I’ve seen in all my years…

This incredible tale leads seamlessly into diamond-stealing, kidnappings, spurned loves, an African excursion and the introduction of wealthy Mr. Kilph, whose do-gooding propensities would lead Castor and Popeye into plenty of trouble, beginning with the eerie science fiction thriller ‘The Mystery of Brownstone Hill’ and the return of the nefarious Snork, who almost murders the salty old seadog a second time…

The black and white dailies section ends with ‘The Wilson Mystery’ as Castor and Popeye set up their own detective agency: something that would become a common strip convention and the perfect maguffin to keep the adventures tumbling along – even Mickey Mouse would don metaphoric deerstalker and magnifying glass (see Mickey and Donald and The Lair of Wolf Barker among many others).

These superb and colossal hardcover albums (200 pages and 368 mm by 268 mm) are augmented with fascinating articles and essays; including testimonial remembrances from famous cartoonists – Jules Feiffer in this first volume – and accompanied by the relevant full colour Sunday pages from the same period.

Here then are the more gag-oriented complete tales from 2nd March 1930 through February 22nd 1931, including the “topper” Sappo.

A topper was a small mini-strip that was run above the main feature on a Sunday page. Some were connected to the main strip but many were just filler. They were used so that individual editors could remove them if their particular periodical had non-standard page requirements. Originally entitled The 5:15, Sappo was a surreal domestic comedy gag strip created by Segar in 1924 which became peculiarly entwined with the Sunday Thimble Theatre as the 1930s unfolded – and it’s a strip long overdue for consideration on its own unique merits….

Since many papers only carried dailies or Sundays, not necessarily both, a system of differentiated storylines developed early in American publishing, and when Popeye finally made his belated appearance, he was already a fairly well-developed character.

Thus, Segar concentrated on more family-friendly gags – and eventually continued mini-sagas – and it was here that the Popeye/Olive Oyl modern romance began: a series of encounters full of bile, intransigence, repressed hostility, jealousy and passion which usually ended in raised voices and scintillating cartoon violence – and they are still as riotously funny now as then.

We saw softer sides of the sailor-man and, when Castor and Mr. Kilph realised how good Popeye was at boxing, an extended, trenchant and scathingly funny sequence about the sport of prize-fighting began. Again, cartoon violence was at a premium – family values were different then – but Segar’s worldly, probing satire and Popeye’s beguiling (but relative) innocence and lack of experience kept the entire affair in hilarious perspective whilst making him an unlikely and lovable waif.

Popeye is fast approaching his centenary and still deserves his place as a world icon. These magnificent volumes are the perfect way to celebrate the genius and mastery of EC Segar and his brilliantly imperfect superman. These are books that every home should have.
© 2006 Fantagraphics Books Inc. All comics and drawings © 2006 King Features Inc. All rights reserved.

Popeye Classics volume 2


By Bud Sagendorf, edited and designed by Craig Yoe (Yoe Books/IDW)
ISBN: 978-1-61377-652-0                  eISBN: 978-1-62302-415-4

There are few comic characters that have entered communal world consciousness, but a grizzled, bluff, uneducated, visually impaired old sailor with a speech impediment is possibly the most well-known of that select bunch.

Elzie Segar had been producing Thimble Theatre since December 19th 1919, but when he introduced a coarse, brusque “sailor man” into the everyday ongoing saga of Ham Gravy and Castor Oyl on January 29th 1929, nobody suspected the giddy heights that walk-on would reach…

In 1924 Segar created a second daily strip The 5:15: a surreal domestic comedy featuring weedy commuter and would-be inventor John Sappo and his formidable wife Myrtle which endured – in one form or another – as a topper/footer-feature accompanying the main Sunday page throughout the author’s career. The feature even survived his untimely death, eventually becoming the trainee-playground of Popeye’s second great stylist: Bud Sagendorf.

After Segar’s far-too-premature death in 1938, Doc Winner, Tom Sims, Ralph Stein and Bela Zambouly all worked on the strip, even as the animated features brought Popeye to the entire world. Sadly, none of them had the eccentric flair and raw inventiveness that had put Thimble Theatre at the forefront of cartoon entertainments…

Born in 1915, Forrest “Bud” Sagendorf was barely 17 when his sister – who worked in the Santa Monica art store where Segar bought his supplies – introduced the kid to the master who became his teacher and employer as well as a father-figure. In 1958, Sagendorf took over the strip and all the merchandise design, becoming Popeye’s prime originator…

When Sagendorf became the Go-To Guy, his loose, rangy style and breezy scripts brought the strip itself back to the forefront of popularity and made reading it cool and fun all over again. He wrote and drew Popeye in every graphic arena for 24 years.

He died in 1994 and was succeeded by “Underground” cartoonist Bobby London.

Bud had been Segar’s assistant and apprentice, and – from 1948 onwards – exclusive writer and illustrator of Popeye’s comicbook adventures in a regular monthly title published by America’s king of licensed periodicals, Dell Comics.

When Popeye first appeared, he was a rude, crude brawler: a gambling, cheating, uncivilised ne’er-do-well. He was soon exposed as the ultimate working-class hero: raw and rough-hewn, practical, but with an innate, unshakable sense of what’s fair and what’s not; a joker who wanted kids to be themselves – but not necessarily “good” – and someone who took no guff from anyone…

Naturally, as his popularity grew Popeye mellowed somewhat. He was still ready to defend the weak and had absolutely no pretensions or aspirations to rise above his fellows but the shocking sense of dangerous unpredictability and comedic anarchy he initially provided was sorely missed… but not in Sagendorf’s comicbook yarns…

Collected in their entirety in this beguiling full-colour hardback (also available in a digital edition) are issues #5-9 of the Popeye comicbooks produced by the irrepressible Bud, collectively spanning February/March to October/November 1949.

The stunning, seemingly stream-of-consciousness stories are preceded by an effusively appreciative Foreword‘Society of Sagendorks’ – by inspired aficionado, historian and publisher Craig Yoe and a fabulous collation of candid photos, strip proofs, original art and designs, foreign edition covers and greetings cards in another ‘Bud Sagendorf Scrapbook’.

Popeye’s fantastic first issue launched in February 1948, with no ads and duo-coloured (black & red) single-page strips on the inside front and back covers – which were always dynamic, surreal, silent sight gags of incredible whimsy and ingenuity.

We rejoin the parade of laughs and thrills one year later with #5 and a single-page duel of wits between Popeye and master moocher Wellington J. Wimpy over the price of water before main event ‘Moon Goon! or Goon on the Moon! or The Man in the Moon is a Goon!’ espies the scrappy sailor-man hired in dishonest circumstances to pilot a ship to our nearest celestial neighbour.

Once there, he and Wimpy meet a number of incredible races, discover the origins of their unsightly associate Alice the Goon and enjoy an astounding and perilous new means of locomotion to get them back down to Earth…

Short prose stories were a staple of these comics and ‘Swee’ Pea’s Dip in the Dark!’ details a frantic scramble for survival after the mighty muscled, irrepressible “infink” falls overboard during a sudden squall at sea, after which cartoon hilarity ensues as Wimpy tests the patience and resolve of diner chef Rough House in ‘Another Day, Another Breakfast!’ before deciding to grow his own burgers by raising cattle…

The interior end page then sees Olive Oyl fall foul of Swee’ Pea’s boisterous playtime whilst the full-colour back cover gag sees the little lad get down and dirty defending his pocket money…

Sporting a shark-themed cover #6 (April/May 1949) opens with a monochrome Popeye short involving bad dreams before lengthy sea-borne saga ‘Raft! or It’s a Long Drift Home! or Rafts are Boats, But Not So Comfortable!’ depicts Swee’ Pea and playmate Hink jerry-build a dubious wooden vessel and disappear down the river and out into the ocean…

When piratical rogue Captain Zato picks up the soggy waifs he thinks he has the secret of controlling Popeye and gaining vast wealth, but he’s made a terrible mistake…

‘Pappy Doesn’t Tell a Story!’ offers a prose poser as Popeye’s salty sire Poopdeck adamantly refuses to lull Swee’ Pea with a bedtime tale, after which that ravenous finagler J. W. Wimpy stars in ‘A Story of Hunger and Desert Madness entitled Food! Food! or May I Borrow Your Duck, Mister?’ dumped in a desert for his usual parsimonious behaviour (fare-dodging on a locomotive). As starvation looms, the chiseller encounters owlhoot bandit Terrific Tension and a grim battle begins for possession of the cowboy’s most treasured possession – a ham sandwich…

A Popeye and Olive end-page reveals how to keep the picnic dry before #7 (June/July) opens with a similar jape starring Wimpy bamboozling the overconfident Sailor-man. Then, in dazzling full-colour, ‘Help! or Sailor, Save My Baby!’ finds our grizzled hero acting as bodyguard to a millionaire’s little girl. Sadly, Olive is not happy since the precious Miss Pat Goldhold is old enough to pose a matrimonial threat, and is almost glad when thieves and a hulking man-monster turn up to rob her…

After getting the notion that people only like him because he’s tougher than them, Popeye feigns weakness and hosts a ‘Surprize Party!’ to test his theory. The result is quite an eye-opener and segues into text tale ‘Swee’ Pea and the Hungry Lady!’ with Wimpy resorting to drag to steal provender from a baby…

The master moocher exhibits even greater guile in ‘A Tale of Brains vs. Work entitled Who Won? or The Fleeter of Foot Emerges Victorious!’, again fooling Rough House and his customers with the old raffle dodge, before a Popeye closing gag finds Olive learning the finer points of manners from her brawling beau…

Issue #8 (August/September) sees the opener-strip back in black & red as Popeye decides Swee’ Pea’s new kite might a bit big for him, after which ‘On the House’ finds the sailor and the skiver go into business together as hamburger vendors. Happily, Swee’ Pea is on hand and on guard to ensure Wimpy’s carnivorous instincts are kept under control…

Sagendorf took his japery with alternate appellations to extreme limits with ‘I Am the Mayor!’) but I’m not playing anymore so just buy the book if you want to see the tale’s other titles) but the comedy is even sharper than usual as Swee’ Pea races across America to substitute for Popeye and save the town of Boghill from bullying entrepreneur and arms dealer Bull Branco…

‘Quiet Please’ offers prose diversions as the bombastic baby attempts to fix Poopdeck’s hammock and ensure a good night’s sleep for the veteran mariner after which Sagendorf’s old strip charges ‘Sappo and Wotasnozzle’ unexpectedly resurface. Here henpecked oaf John Sappo once more allows his mad scientist lodger Professor Wotasnozzle to make him a pasty after sampling the bonkers boffin’s food stretching breakfast additive. Of course, it’s not just the meal that elongates exponentially…

Black and white and red all over the Popeye and Olive Oyl end-page reveals the sailor’s breaking point when being asked to constantly rearrange furniture before the last issue in this outrageous compendium (#9, October/November) opens with the first half of the prose tale as opener. ‘Black Jack’ reveals the sheer stupidity of telling a kid like Swee’ Pea pirate stories at bedtime before main cartoon feature ‘Misermites! or I’d Rather Have Termites!’ details how the peaceful coastal town of Seawet is plagued by an invasion plundering dwarves. When the petty pilferers vanish back to their island with Swee’ Pea as part of their spoils, Popeye and Wimpy give chase and end up battling a really, really big secret weapon…

Then ‘Presenting John Sappo and the Experiment of the Sound Pills!’ finds the goony-eye genius and his long-suffering stooge enduring the gibes of Sappo’s little nephew and respond in typical over-the-top fashion after which the concluding part of ‘Black Jack’ wraps up this particular nautical compendium.

There is more than one Popeye. Most of them are pretty good, and some are truly excellent. This book is definitely top tier and if you love lunacy, laughter, frantic fantasy and rollicking adventure you must add this treasure trove of wonder to your collection.
Popeye Classics volume 2 © 2013 Gussoni-Yoe Studio, Inc. All Rights Reserved. Popeye © 2013 King Features Syndicate. ™ Heart Holdings Inc.