Also, the green-checkered jacket! I don’t know why, it’s only actually happened a few times, but every time I think of Vic outside the mask, I always see him in a green-checkered jacket. I just love that thing.
This is the end of our Vic collection. But stay tuned, our Renee Montoya collection begins in just a few moments!
[Question v2 #1, Mysterious Suspense #1, Blue Beetle v6 #5]
INTERNET WENT AWAY, SORRY
IT’S BACK NOW, SPAM CAN CONTINUE
This is what I typically call “the leisure suit”. It isn’t actually a leisure suit, it’s more of a jumpsuit, but it’s still goofy-looking.
Ditko gave him this number in his story in Blue Beetle v5 #2. It was designed to give Vic better mobility, a greater range of movement, and ditch the big heavy coat while he was on the case of a flying thief.
Len Wein and Paris Cullins later revisited the leisure suit in Blue Beetle v6 #6 & #7 when they introduced him the the DCU. Because if Ditko did it in the original Q? stories, they found ways of doing it better.
SO I’M DOING A QUESTION FASHION SHOW
BECAUSE THEY HAVE HAD SOME DOOZIES
i’d like to call this first collection “OH VIC BABY NO WHY WOULD YOU DO THAT”
So sit back, put on some tunes, and enjoy the spam!
did i already post this? whatever, it’s just as funny every time.
(via stfuteabaggers) oh my god I was not fucking expecting that. AMAZING
I’ve posted this before and I don’t care it’s going up here again.
At first I was like D: but then I was like :D!
Fuck it, this is blog-relevant.
Professor Rodor’s first full appearance was in Vic’s second story. The interesting thing about this story is that Vic’s after The Banshee, a thief who killed an inventor in order to make use of a flying suit for criminal purposes, and Vic takes it very personally.
I’ve always wondered if Vic’s reaction wasn’t so much informed formed by Ditko’s Objectivist beliefs as it was some reflection on how The Banshee’s relationship with the inventor might’ve mirrored his own with Rodor.
[Blue Beetle v5 #2]
Though he didn’t appear himself, he was name-dropped in Vic’s suiting-up scene as the creator of the no-face and Vic’s other gear.
Naturally, when Len Wein and Paris Cullins paid homage to that scene in Blue Beetle v6 #5, the name-drop was repeated.
The same panel was also referenced in Question v1 #1, though without any mention of Rodor since he was present in the scene.
So, jacquelineofalltrades asked if I’d post about Tot’s history, so I prepared a massive spam (not joking, it’s huuuuuge) touching on a few of his appearances from ‘67 to today. I’d once played with the idea of a Tot Tuesday, but like all of my other theme days, it didn’t quite pan out (even Fanart Fridays and Sexy Saturdays seem to’ve died off).
As Professor Rodor, Tot made a small cameo on the cast page that began Vic’s first story. He wouldn’t make an actual appearance until the second issue, but he was there from the start.
[Blue Beetle v5 #1]
In the early ’80s, Alan Moore was in a band that actually had a song about Steve Ditko and Mr. A, set to the tune of The Velvet Underground’s “Sister Ray”. Here he recounts the story during an interview with the BBC in ‘07, even sings a verse.
He had one room above a thrift store.
He had a trunk of books by Ayn Rand.
He was short-sighted and reclusive,
resisting pleas to take his photograph.
He drew a superhero comic.
He saw the world in terms of black and white.
He said, “A day’s work for a day’s pay,
that is our one and only right.”
He takes a card and shades one half of it in dark
so he can demonstrate to you just what he means.
He says, “There’s black and there is white, and there is wrong, and there is right, and there is nothing, nothing in between.”
That’s what Mr. A said.
Of course, no discussion on Question/Rorschach would be complete without a mention of Mr. A, Steve Ditko’s other crusading Objectivist journalist with a gimmicky mask and a calling card. His mask was made of metal, with a fixed, uncompromising scowl. His calling card was black on one side and white on the other, symbolizing an absolutist distinction between good and evil. He had all the subtlety of a sledgehammer.
Mr. A first saw print in the third issue of witzend, in 1967. I’ve never been sure if he created Mr. A or The Question first, but Vic was the more “tame” take on his ideals where Mr. A gave him free reign to get as Randian as he liked. I’ve not read many stories featuring him, haven’t had much desire either, but it’s a safe bet that Alan Moore used both when conceiving Rorschach.
You can read more about Mr. A at Dial B For Blog.