JUNGLE JIM (pt. 2)

JJ05 (7.10-1934-7.7.1935): With this adventure, whose duration is more than that of all previous episodes combined, the creativity in 'Jungle Jim' blossoms with regards to both the art and the content. After the death of her villainous father, Joan seems to have settled with Jim for the time being, and Zobi the jungle-boy has parted them; hence, a scantily-clad adolescent boy has departed and left the scene for a young woman. The adventure truly kicks off with the arrival of a seasoned adventurer named Malay Mike who claims that the extinct species of saber-tooth tigers live in a valley where no man other than himself has set foot in. Sceptic and yet intrigued, Jim nevertheless set out an expedition on this tip. Grisly sights such as the below mise-an-scene encountered at the onset of the expedition signal that this adventure will be no routine stuff.

Jim and his companions discover more than saber-toothed tigers in the valley where an extinct volcano has been hollowed out and turned into a fortress and a religious temple, the headquarters of a Chinese despot bent on exploiting the gold mines in the region. While the presence of a Chinese villain is superficially reminiscent of the 'Yellow Peril' narratives in the vein of Fu Manchu, the fact that a Chinese secret agent as well as local (Malayan) natives join forces with Jim and friends rule out this adventure from such racist territories.

The story is also enriched by several 'guilty-pleasure' motifs such as girl in bondage, girl-girl fight and gun-toting girl (all featuring Joan):
In terms of graphic design, Raymond experiments with several styles in the course of this long adventure which starts as a 'three-tier' (three rows of panels) as were all the previous adventures. On the Dec. 12nd page, he begins to introduce larger panels among regular-size ones, thus breaking up the neat panel-row structure. For several weeks, he alternates between this irregular format and a two-tier format, abondoning the three-tier format completely. From February onwards, the page even leaves out the oblong-size format altogether and becomes taller than wider. Towards the end of the adventure, it reverts back to the oblong-format, settling with a two-tier structure. Meanwhile, the routine "to be continued" tagline at the end of each page has also disappered, eventually giving way to the announcement of the subject of the coming weekly page.

[JJ06] River Pirates (14.7.1935-27.10.1935): A simple adventure where Jim rescue a widow and her infant from a disgruntled ex-lover, the high point of which is Jim and Kolu being left buried in the sand for ants to devour them, not to mention lovingly rendered damsel-in-distress illustrations. Surprisingly, Joan departs with the widow to head back to the US, leaving a note disclosing that she loved Jim but did not want to impose herself on him (a situation which will be repeated in several early 'Phantom' adventures). Reading the note, Jim says to himself "what a blind fool I am", perhaps referring to the two nights ago where they had slept outdoors all along by themselves on opposite sides of the fire.

In the coming adventures, Jungle Jim will meet an imposing female, but that's another story, to be reconted in future postings in this blog.

AN INAPPROPRIATELY SPECULATIVE APPENDIX WITH NO COMMENT:

JUNGLE JIM (pt 1)

'Jungle Jim' is an underrated comics which has been overshadowed by legendary US comics artist Alex Raymond's other works, 'Flash Gordon' being the most famous one. However, not ony its artwork is bestowed with the quality of other Raymonds works from the pre-war era, but its characterizations and narratives are also noteable for many reasons.

Simultanously as 'Flash Gordon was commissoned by the King Features to compete with 'Buck Rogers', 'Jungle Jim' was commissoned as a competitor to 'Tarzan' and both debutted on Jan. 7th, 1934 as complementary Sunday features (see the below image for the first appearance of the hero on its first page). Though only the Raymond byline appeared on the comics, it was scripted by Don Moore and most reference sources identify him as the creator. Moore (1904-86) was a former newsman who was editing adventure stories for a NY magazine when he was recruited into the comics field by the King Features. Later he would move onto television as script-writer.

At least at its inception, Jungle Jim was clearly modeled directly on real-life adventurer Frank Buck who was very famous in those years on the basis of his best-selling memoir book Bring 'Em Back Alive and its movie adaptation with the same title, which he himself starred. In the first story, Jim Bradley alias Jungle Jim was presented as a trapper and tamer capturing wild-life specimens for zoos, precisely as a fictional replica of Frank Buck. Moreover, he was based in the Malay peninsula, which happened to be the setting of Buck's first movie.

Jim was accompanied by a native "servant" named Kolu, making 'Jungle Jim' probably the first American adventure comics to feature an inter-racial duo as protagonists, predating Mandrake and Lothar by several months. Moreover, whereas the pre-war Lothar was portrayed frequently as an 'all muscle, no brains' figure strictly for ridicule, Kolu was a genuinely indispendable right-hand man for Jim with no inferiority attributed to him, other than being an employee. Actually, at least in the first one and a half years of the comics' run which I have read so far, Kolu, thanks to his marksmenship talent, turned out to be Jim's saviour at the last moment in more occasions than Jim saved him or other people! Furthermore, in one occasion (Aug 8th, 1934), he speaks on behalf of himself and Jim, in the presence of Jim and a third party without Jim expressing his opinion first.

Bits of scarce info on the web name Jim's steady as Lil De Vrille, but a blonde named Joan appears as the candidate for this role in the first stories. Despite the fact that she is introduced into the comics by way of being rescued by Jim and Kolu from jungle perils (see the above image), she doesn't turn out to be the standard feminine stereotype, asking for instance Jim to teach her to tame wild animals (which he complies) and joining the men in dangerous missions as any other character (withoout any objection from Jim). To revert to comparison with the Mandrake strip, she is the direct opposite to Narda, and on even more equal footing with the male protagonists than Phantom's Diana.

The graphic and narrative qualities of the comics evolve progressively during the comics' first one and a half years' run. None of the adventures have episode titles, so I will be assigning them codes for convenience.

JJ01 (7.1.1934-3.3.1934): Almost every single page has Jim fighting a wild animal leaping at him in the forest during the course of a simple story about a villain named Tiger Peters (Joan is his daughter) stealing the animals Jim had captured. The adventure ends with Peters managing to escape, taking his daughter with him.

JJ02 (3.3.1934-3.6.1934): This adventure has got a more interesting and relatively more complex story, but the plot is poorly developed. A black lion is terrorizing a nearby tribe and Jim sets out to capture this never before seen specimen. On the other hand, a white guy seeks refuge from natives who want to sacrifice him to a god. It turns out that an evil white man has imposed himself as god onto a tribe and using this power to extort money from foreigners. However, how and where the black lion angle fits into this schema is not satisfactorily explained, esp. with regards to the double revelation that, on one hand, some of the attacks attributed to the black lion were the work of natives in costume and on the other hand the black lion was real enough itself. It seems Moore was undecided on what course the story should develop and eventually could not manage to pull all the conflicting ends let loose. As for the racial representations involved in this story, Jim's earlier reference to the native tribe dominated by the white villain posing as a god as "ignorant blacks" appears as a fly in a glass of milk and yet in the end, when he urges these folks to return to their "old faith that taught you kindness and brotherly love", the comics stand in contrast to the racist rhetorics of colonialist stories.

JJ03 (3.6.1934-1.7.1934): This mini-episode perhaps should better be viewed as a prologue of the next adventure. A panther captured by Jim turns out to be the pet of a jungle boy named Zobi, who'll accompany him and Kolu in the coming adventure. It seems writer Moore was tentatively considering introducing Zobi as a permament side-kick in this period.

JJ04 (1.7.1934-30.9.1934): An old friend of Jim visits him to request help in defeating a gang robbing gold miners. The leader of the gang turns out to be Tiger Peter from the very first adventure and hence Jim and Joan reunite. Except for one single instance of a lion attack, this is a standart action adventure, climaxed by gun fights, without any jungle perils and could have been set in any location and not necessarily in the jungle region.

From Aug. 19th onwards, one third of the 'Jungle Jim' Sunday comics half-page is devoted to cut-outs, usually featuring scantily-clad female characters from 'Flash Gordon', but, in two occasions, Joan from 'Jungle Jim' itself, the first of which is below:

Around the same time, the art of the comics itself began to show some signs of flair, such as in the below panel:

With the next adventure, the creativity in 'Jungle Jim' will blossom with regards to both the art and the content, but that will be discussed in the next installement in this blog.. TO BE CONTINUED

GIOVE TOPPI'S GOLDEN CAGE (1938)

Gabbia d'oro (Golden Cage) is a pre-war Italian jungle perils comics album published in 1938 by Nerbini which is of interest due to both the name behind it and also for its disreputable content.

Both the art and the story are credited to Giove Toppi (1888-1942). Toppi was initially an illustrator for the Florence-based publisher Nerbini. When Nerbini started publishing comics, Toppi joined in the staff of this craft as well. He single-handedly earned his name a permanent place in the history of European comics by making a gag-comics featuring Mickey Mouse for the cover of the first issue of Nerbini's Topolino comics weekly in 1932:

However, Topolino had been started without license from Disney and from the 3rd issue onwards, Mickey Mouse proper would have to be dropped from the magazine upon Disney's legal intervention until Nerbini would get the rights of Disney comics for the Italian market. In the meantime, Toppi made gag-comics featuring another (non-Mickey) mouse for Topolino:

When Nerbini became the legal publisher of Disney material, it would be Toppi who would illustrate most of the covers of the first series Italian Disney comics albums in 1935, such as the below cover:

Another retrospectively interesting episode in Toppi's career came when he collaborated with Federico Fellini in the comics field! In 1937, long before he would embark on a famed career in cinema, then 17 years-old Fellini had moved to Florence and began working for Nerbini as a writer. When Italy's fascist government banned the import of American comics in 1938, Nerbini would begin producing local-made versions of these popular comics and Fellini was among the script writers of this obligatory fad with Toppi at the art chores. The fruits of the collaboration between Fellini and Toppi reportedly include one Flash Gordon comics.

Gabbia d'oro, on the other hand is a solo effort by Toppi. It was published in Turkey as no. 22 (Oct. 1941) of 1001 Roman's monthly special issues. The Turkish edition might be slightly abridged as there are some unresolved sub-plots. Nevertheless, the main plot appears complete in its essentials. The hero is an Italian named Mario who is accompanying a British archeolog and his daughter Alice in an expedition in black Africa. Despite Mario's objections, Alice secretly joins a research party to locate the treasures of a "savage" tribe and eventually gets captured. The natives see in her the return of their divine Daughter of the Sun (Alice had landed in an aeroplane). She demands to be released, even calling the natives' chief as an "ape-man". The chief says that the "civilization has made her rebellious", but that he "knows how to tame her." Consequently, she is locked up in a golden cage to stay there "till her nerves calm down." Mario saves her by massacring the whole tribe with a machine gun and the archeolog confiscates the natives' treasure, including the golden cage. The comics end by Mario warning Alice that he will lock her up in the golden cage whenever she makes him angry and she submissively replies as "understood, love".

The obvious colonialist trajectory of Gabbia d'oro need no elaboration as it is apparent from the above plot summary. It suffices to add that the portrayal of one non-savage black character, "a faithful servant", is also very derogotary as his 'foolish' amazent at the westerners' technology such as aeroplanes and radio is depicted as a matter of ridicule, as in the below panel:

And yet, it shouldn't be missed that this colonialist/white-supremacist context also serves as a background for another dynamic in Gabbio d'oro, that is the fantasy for the subordination of 'rebellious' women. It is ironic that in that case, the 'savages' serve as a double for Mario himself.

APPENDIX: (SPECULATIVE) TRIVIA

'Women in cages' is an iconic image in sado-erotic imaginary and it is naturally very recurrent in exploitation cinema as well. It is also a matter of fact that comics in general has served as inspiration for many filmmakers. Jesus (Jess) Franco is one prominent European exploitation filmmaker with a professed devotion to comics. Franco has made several 'women in cages' films, but one of his more obscure movies include one episode which apparently has some semblance to Gabbia d'oro in particular. Franco's Sex Charade (1970) feature one scene where a white woman is held in a cage in what appears to be a jungle setting (see above still). Though the natives holding her captive are not African but Indian and the cage is not golden, the concomittance of 'woman in cage' and jungle natives tentatively reminds Gabbia d'oro, esp. given the fact that Franco is known to be well versed in European comics. Franco would later be involved (as assistant director) in another movie titled Une cage doree (1976) without any natives but with a golden cage holding captive women.

SOURCES:
http://www.papersera.net/
http://coa.inducks.org/
The Films of Federico Fellini by Peter E. Bondanella
'Manacoa Files' by Alain Petit in Cine Zine Zone

A FORGOTTEN ITALIAN-MADE WESTERN COMICS FROM 1941

La pista d'argento (The Silver Track) was a western comics album published in 1941 as part of Florence-based publisher Nerbini's 'Collona albi grandi avventura' series. It is signed by Italian artist Mario Tempesti. I couldn't find much info on Tempesti other than the fact that he was a staff artist of Nerbini's comics magazine L'Avventuroso; he also seems to have made cover illustrations for publications outside of the comics media.

La pista d'argento was published in Turkey twice during the war era. In its first edition, as the headline comics of 1001 Roman's monthly special issue no. 27 (March 1942), it was titled as 'Gümüş İz' (The Silver Track). The story concerns an expedition to find a team of geographers who had been lost in the wilderness. The search party gets captured by American natives whose chief has plans to organize an uprising to set up an "empire" by uniting all native tribes.

Even though it is a mediocre comics in all aspects from art to story, it had a second edition in Turkey two years later in the same series, the first and only time a comics was published twice in 1001 Roman. The no. 57 (sept. 1944) of the monthly series headlined it as 'Ölüm Yolcuları' (Voyagers of Death). This 2nd edition was not a reprint, but an abridged version with a new Turkish translation. The heroine's name was given as Violetta whereas she was Miss Edna in the earlier edition. The 'Ölüm Yolcuları' edition expanded on the dialogue between the tribal chief and the leader of the captured search party. In the 1st edition, the hero simply calls the chief's plans as "madness", but in the 2nd addition, he strikingly also adds that they are "a minority and should be content with the amount of land they have". In this manner, the story not only assumes a blanket identification with the white people over the non-white people, but also attempts to provide a generalizable justification for the suppression of 'minorities'' aspirations.

In the subsequent monthly issue, the editors of 1001 Roman published a reply to the readers who had apparently written letters to point out that this comics had already been published earlier in the series. In this rather unconvincing reply, they claimed that this was not a case of an unintentional mistake on their part, but they had decided to go ahead with a second edition because the earlier one had sold out.

SYNOPSISES AND MINI-REVIEWS OF ‘TIM TYLER’S LUCK’ EPISODES IN THE WEEKLY SERIES OF 1001 ROMAN

The first post of this blog was devoted to an overview of ‘Tim Tyler’s Luck’; and synopsises and reviews of ‘Tim Tyler’s Luck’ episodes published in Turkey were promised for future posts. A total of five ‘İki İzci’ (Tim Tyler’s Luck) episodes were run in the Turkish weekly comics magazine 1001 Roman between 1940-43. The source of the Turkish editions appear to be the French ‘Raoul et Gaston’ albums published by Moderne as part of their Collection Appel de la Jungle series starting from 1938. The below images corresponding to each episode are the covers of the post-war reprints of those albums.

no. 39-59 ‘Örümcek ile Karşı Karşıya’ [Against the Spider]
A villian named Spider has escaped from prison and seeks to take revenge on the Ivory Patrol. This is one of the better 'Tim Tyler’s Luck' adventures, largely due to the extraordinary persona of the villain in question: Spider has a habit of weaving webs in between trees and hanging his victims on it. Visually, he is presented to the readers often as a silhouette or in shadows. This strategy functions to depict him more as a menacing ‘presence’ and not merely as a figure. It is hard to accept that this particular episode is the fruit of the same mind who conceived the other Tim Tyler’s Luck episodes. It should also be noted that the name of the villain in the 1937 movie serial was “Spider Webb” and this strip episode is probably its follow-up.
French album title: Contre l'Araignée (1st ed.:.1938, repr.: 1949); Italian album title: Il ragno ritorna (1938);

No. 60-82 ‘Siyah Gözlü Mona’ [Mona with Black Eyes]
The Turkish edition of this episode appears to start with actually the finale of a seperate adventure where African natives (“savages”) attack a fortress of the colonial forces; I think that particular episode, which the Turkish readers were presented only the last fragment of, was the episode titled as Lo spirito di Tambo in the Italian editions.
The ‘Mona’ episode truely kicks off with the subsequent arrival of a beautiful brunette to the fortress. The routine and undistinguished story revolves around a pack of diamonds which have been stolen by her brother and ex-suitor. Spud does not appear in this episode.
French album title: Mona aux yeux noirs (1st ed.:.1938, repr.: 1948); Italian album title unknown.

no. 83-113 ‘Mis Larsen’in Milyonları’ [The Millions of Miss Larsen]
This episode starts as if a modest ‘jungle perils’ adventure with a safari, the highpoint being a rhino attack. However, after the safari ends, events take a new turn and the episode evolves into a different and rather engaging direction. The captain in charge of the Ivary Patrol begins to develop a romantic interest to the rich girl of the safaring party even though she has another suitor from her companions. The two men fight and the foreigner gets shot and critically wounded under mysterious circumstances. The captain is naturally the main suspect and gets arrested for court-martialing...
French album title Les millions de Miss Larcet (1st ed.:.1938, repr.: 1948); Italian album title unknown.

No.114-146 (18.5.1942) ‘Vahşiler Geliyor’ [The Savages Are Coming]
This is a very simple, action-oriented episode in which a violent tribe of African natives wearing Falcon corpses as head-wear attack a watch-tower manned by Spud. The action sequences are very well-done, but the colonialist position of the episode is obvious.
French album title unknown; Italian album title Fra gli uomini Falco (1941).
The serialization of this episode in 1001 Roman corresponds (1941-42) to the peak of paper shortage in Turkey stemming from economic hardships of the war era conditions and the weekly magazine suspends publication for more than a month between issues no.135 and no.136. After this episode ends, no new ‘Tim Tyler’s Luck’ comics appears in the weekly magazine until a final one several months later.

No.175-188 ‘Trebor’un Esrarı’ [The Mystery of Trebor]
A very mediocre adventure revolving around the question of whether a stranger is a wanted fugitive or not.
French album title L'énigmatique M. Trébor (1st ed.:.1938, repr.: 1949); Italian album title unknown.

In addition to its run in the weekly magazine, 'İki İzci' was headlined in several of 1001 Roman's monthly special issues; the synopsises and reviews of those episodes will also appear in this blog in the near future.

RADIO PATROL

Largely forgotten today (for example, it doesn't have an entry in Toonopedia.com), 'Radio Patrol' was one of the above-average strips of the pre-war era. It was created for a local Boston newspaper in 1933 by crime reporter Ed Sullivan and staff artist Charles Schmidt, but picked up for syndication by King Features. It had been initially titled as 'Pinkerton, Junior', referring to the kid character who helps the cops, but was retitled by King to capitalize on the public's infatuation with the introduction of the two-way radio into police force's fight against crime. It would later be once again retitled as 'Sergeant Pat of Radio Patrol' even though the protagonists of the strip were a team, nominally led by Sgt Pat due to his rank, and consisting of a female cop named Molly, as well as the kid Pinky and his dog.

'Radio Patrol' is considered noteworthy for its realistic look and feel in terms of its characters, settings and stories, as opposed to the 'larger than life' protagonists, situations and villains featured in other crime-fighting strips. Even the physical geographical depictions of Boston locales is said to be true-to-life.

What strikes me most in ‘Radio Patrol’ is the cinematic look of it. Not only the art, but even more significantly, the compositions and the pacing is excellent, with dynamism of the scenes established by the masterful sequencing of different ‘camera-angles’ positioning the view-point of the readers. Indeed, pursuing an analogy with cinema, while most pre-war comics, however ‘beautiful’ their artwork might be, look like the works of Edison, ‘Radio Patrol’ looks more akin to the level of Griffith (not in terms of duration, but in terms of mastery of filmic 'language').

In 1937, the strip was adapted to the screen as a serial and four 'Radio Patrol' 'big little books' were published between 1935-40. Starting from 1941, the strips were reprinted in King Comics. Nevertheless, the strip couldn't survive for decades and would cease in the early 1950s.

It was one of the popular American strips in Italy in the pre-war era, with 11 Radio Pattuglia albums being published by Nerbini between 1935-38.

In Turkey, it debutted in the weekly children's magazine Çocuk Sesi published by M. Faruk Gürtunca in 1937, retitled as 'Küçük Yılmazın Maceraları' [Adventures of Little Yılmaz]. While the top-billed Pinky was given a Turkish name, the rest of the cast had preserved their original names. In 1943, 'Radio Patrol' resurfaced in rival publisher Tahsin Demiray's comics weekly 1001 Roman, starting with no. 189 (15.3.1943) where it replaced the outgoing 'İki İzci' [Tim Tyler's Luck] on the magazine's last page. In 1001 Roman, it was titled more properly as 'Radyolu Polisler', but the character of Pinky was once again Turkified, this time renamed as Oğuz.

SYNOPSISES AND MINI-REVIEWS OF ‘RADIO PATROL’ EPISODES IN 1001 ROMAN:

‘Radyolu Polisler’ serialized in the weekly 1001 Roman starts with the first-ever syndicated ‘Radio Patrol’ episode and follow the original sequence of the first four episodes in the strips from their start at 16.4.1934 till 12.1.1935. They also correspond to the first four Italian Radio pattuglia albums published in 1935. As published in 1001 Roman, the episodes did not have separate titles.

No.189 - No.204: It starts with Pinky and his pet dog catching a criminal and getting introduced to Pat and Molly who take him for a ride in their patrol car. Upon an announcement on the police car radio of a bank robbery, they fall on the trail of the robbers. This is an action-packed adventure involving car chases, shoot-outs, Molly getting kidnapped, and ending with a fatal fist-fight on a ship. While the ‘Radyolu Polisler’ pages in 1001 Roman were initially printed in mono-chrome for the first 13 issues, enabling a faithful reproduction of the original b&w art, the Turkish publishers later began to colorize them and poor color printing demolished their quality somewhat.
Italian album title of this episode was simply Radio pattuglia della polizia.

No.205-217: Pinky’s dog finds the lost dog of a lady who in turn invites him and Molly to her sea-side house. At night, a male corpse is found on the raft off the shore. In contrast to the previous adventure, this is more of a police procedural story with less action even though the second night-time attack in the house is once again masterfully depicted visually.
The Italian album title was Il mistero del galleggiante (Mystery of the Raft). This and the previous episode would later be re-printed in traced versions as filler space in the weekly Red Kit [Turk. ed. of Lucky Luke] comics magazine (no. 12-19) in 1965.

No. 218-?: A contractor is resisting bullying from racketeers and our heroes come to his aid. Unfortunately, issues featuring the conclusion of this episode are missing from my collection (as are those with the start of the next epissode), but a scene along the way on the catwalks high atop a construction was breathtaking.
The Italian title was La distruzione degli intoccabili (Destruction of the Untouchables).

?- No.263: When Pat is sacked for meddling in affairs outside his jurisdiction and Molly resigns in protest, Pinky uncovers the plot behind a stolen race horse. Pat and Molly are re-admitted into the police force after a very dynamicly visualized finale.
The Italian title was I filibustieri dell’ippodromo (Filibusters of the Hippodrome).

In addition to its run in the weekly magazine, 'Radyolu Polisler' was headlined in two of 1001 Roman's monthly special issues: no. 48 (Dec. 1943) and no. 51 (March 1944). Unfortunately, these special issues appear to print only the concluding segments of two episodes. The former is titled as 'Kalpazanlar Çetesi' [the Gang of Counterfeiters] and start with a raid on a counterfeiters hideout and feature the eventual capture of the ringleader who evades the raid. It is almost certainly the strip episode about the counterfeiters from 1938-39. The latter is titled as 'Gece Baskını' [Nightime Raid] and features the capture of another criminal who has evaded arrest. I couldn't identify it precisely, but it must also be a strip from 1938 or onwards as it includes the assistant prosecuting attorney Buster among the cast who had began appearing in the strip in 1938.

SOURCES:

http://en.wikipedia.org/

http://comics.org/

http://members.aol.com/mg4273/comics.htm

http://www.comicartclub.com/

http://www.fumetti.org/

WINNIE WINKLE AND PERRY

'Winnie Winkle', chronicling the deeds of a young woman who was the sole "breadwinner" in her household, was one of the longest-running American strips. Toonopedia says that it "wasn't the first newspaper strip with a "working girl" theme. [...] But it's the first to attract a lot of attention. [...] Thus, it was Winnie who paved the way for all the strips about working women to come". 'Winnie Winkle the Breadwinner', as it was originally titled, was started in 1920 by Martin Branner for the Chicago Tribune Syndicate. A few years into the strip, Winnie adopted a street kid named Perry, who became the star of the new Sunday page which entailed his mischiefs along with his gang of friends known as "the Rinkeydinks". ' Winnie Winkler' was adapted into cinema in the form of a series of comedy shorts between 1926-28 and two 'Perry Winkle and the Rinkeydinks' big little books were published between 1937-38, but none had their own comics books titles in the pre-war and the wartime era.

In Europe, the Winnie strip does not appear to have taken hold, but the Perry and the Rinkeydinks comics became quite popular. In France, where Perry was renamed as "Bicot" (and Winnie as "Suzan"), Hachette published 14 comics albums featuring him between 1926-39; after the war, French artists themselves would make even further Bicot comics.
In Turkey, Perry and the Rinkeydinks were renamed as 'Cin ve Arkadaşları [Cin and Friends]' and serialized in the weekly children's magazine Mektepli in 1934. It is Winnie who appears at the end of the second page in the below samples; I wonder if her somewhat odd-looking skirt shows sign of censorship of revealing legs or was it that way in the original version:

Mektepli, published by A.Sami, had started in 1932 and is known to have lasted until at least 1935, but I have only issues from 1934 in my collection. 'Felix the Cat' also made a very sparodic appearance in the magazine, but he was billled as 'Miki Fare [Mickey Mouse]'!!.. Besides 'Cin ve Arkadaşları', two longer running comics in Mektepli in 1934 were a humourous comics with Laurel & Hardy look-alikes titled as 'Bodurla Gagaburunun Maceraları' and a light adventure comics titled as 'Pire ile Çekirge'; none of whose original sources I could identify:

It is worth noting that while running very light comics clearly aimed at a juvenile readership profile, Mektepli frequently published quite disturbing illustrations, referring to (non-comics) text stories published inside, on its covers:

SOURCES:

http://www.toonopedia.com

http://www.danslagueuleduloup.com

OBSCURE COMICS ABOUT A GLOBE-TROTTING KID

The above comics began to be serialized in Afacan's first series (1932-34) and continued for several years in the subsequent second series as well. It tells the story of a mischievous kid, named "Pire Nuri" in this Turkish edition, who eventually embarks on an adventure in Africa, befriending a black native kid who from that point on in the serial accompanies him thereafter in subsequent adventures as well. Some of the caligraphy inside the pictures (such as the one on the window in last panel in the above scan) are in French, but a signature as "D.Camus" is visible in some panels; I couldn't find any reference anywhere to an artist with this name.

CHARLIE CHAPLIN AND OTHER FILM COMICS' COMICS

Comics featuring comedy actors/characters from early cinema were a staple of pre-war comics. Comics of Charlie Chaplin, the biggest comedy star of the era, were naturally the most prominent examples of this genre. 'Charlie Chaplin's Comic Capers' began in a Chicago newspaper in 1915, only one year after Chaplin's film career had started, but lasted for only two years. During its relatively brief run, more than one artist worked on it in succession but the last was E.C. Segar, who would later gain fame as the creator of 'Popeye'.

Chaplin comics would be far more durable in France where this star is called as "Charlot". In 1921, 'Les Aventures Acrobatiques de Charlot' by Raoul Thomen started in the weekly children's magazine Cri-Cri published by S.P.E. Between 1926-35, these comics were reprinted in 13 albums. Cri-Cri ceased publication in 1937 and the last two Les Aventures Acrobatiques de Charlot albums of the pre-war era were published in 1938. After the war, all of these albums by would be reprinted in an abridged form and in the 1950s, a new series titled simply as Charlot would begin with new artists, among them Jean-Claude Forrest who would later create 'Barbarella'.

The Charlie Chaplin comics published in Turkey in the weekly children's magazine Afacan are black & white Turkish editions of 'Les Aventures Acrobatiques de Charlot' which were originally printed in color in France; for example, the sample above is from the Turkish edition of the 'Charlot est bon enfant' episode (thanks to S.P.E. expert François for this identification). Charlot (Turkish spelling: Şarlo) comics appeared only sparodically in Afacan's first series (1932-34), alternating with other comics pages featuring other comedy actors, but were regularly serialized in its 2nd series which began in 1934. The most frequent cinema comics appearing in Afacan's first series was a Laurel & Hardy page:

The French Cri-Cri magazine, which had ran 'Les Aventures Acrobatiques de Charlot' had also ran a highly popular 'Les mésaventures de Laurel et Hardy' comics by Mat [Marcel Turin], but it had started in 1934, so can not be the source of the above Turkish edition which began appearing in 1932. On the other hand, a Laurel & Hardy comics by George Wakefield was ran in the British magazine Film Fun in the 1930s, but I couldnot find out when it had precisely started.

Another comics published in Afacan's first series featured Harold Lloyd and this one almost certainly appears to originate from Film Fun (and hence make it probable that the above comics might have also originated from that source):

SOURCES:

http://www.bd-nostalgie.org/

http://gadsircomics.blogspot.com/