Alan Mistero in Action!
In my last post I introduced you to Alan Mistero, bare-chested hero of a mid-1960s Italian comic series. Today you'll experience first-hand one of Alan's adventures. [Applause]
[Digression: This story's title brings up the side issue of the difference between American and Italian approaches to naming stories. In America we favored melodramatic titles like "Hanging Day for Meatball!" or "Meatball Must Die!" Italian comics preferred titles that were prosaic to say the least. The issue following "Tragic Mistake" is titled "Trap in the Mine." Now where were we?]
The story opens with Meatball, Alan's Comical Fat Guy sidekick, drunk as a skunk. Taunted by a townie, Meatball proves he can too handle his liquor by walking along the top of a wall. While he's up there he hears a disturbance.
Fortunately Alan's other sidekick, the Comical Foreign Intellectual known as the Count, has witnessed all this. He rushes to Alan Mistero's forest hideaway. There we get our first look at the hero and his Mohawk chorus.
One of the mob threatens Alan but our hero calls his bluff. It's not smart to challenge Alan Mistero.
The judge is less interested interested in oratory than in visiting the saloon.
The grumbling townspeople clear the courtroom. Judge Fox unexpectedly asks to speak to the Count in his chambers. There the astonished Count describes exactly what we see in the panel, just in case we're too dense (or too drunk) to understand it by ourselves.
"Tonerre!" the Count gushes, "Your ability to transform yourself never ceases to amaze me!" Alan instructs the Count to keep the judge on ice while he himself goes in search of the real bank robbers. The count fulfills his mandate with gusto.
Harris is a strict believer in payment for services rendered.
His pals accept the social contract.
The fight which ensues is too painfully one-sided to reproduce. Let this suffice:
Profiting by the mayhem, Harris grabs his gun and flees through a window. Alan follows him, making a solemn vow.
The battered paisanos suddenly see the error of their ways.
Meanwhile Alan has a running gun battle with Harris. As often happens on the last page of serialized stories, misfortune strikes our hero.
The grinning miscreant gets the last word and it's--continued next week!
As I was reading Alan Mistero I started to think, rather self-righteously, how backward the strip was compared to American comics of the period. Then I remembered that in 1965 we had lots of similar fare. Mort Weisinger's comics surpassed even Alan Mistero's in strange ideas, ridiculous denouments, and huge leaps of faith. But stylistically speaking Alan's true American cousins were Richard Hughes' ACG comics. Their low-key, off-beat yarns were reminiscent of Alan's not-quite-serious approach to stories. And EsseGesse's cartoony art style had much in common with Pete Costanza's and Ogden Whitney's work at ACG.
Wikipedia says that Alan Mistero was originally published by EsseGesse themselves. It didn't sell well and the trio turned it over to another publisher, who didn't have much better luck. Perhaps, like the ACG comics, comics like Alan Mistero were a getting bit old-fashioned. The truth will always be a Mistero. Tonerre!