YEAR 1954: ANNIE OAKLEY

There was of course no resemblance between the real-life sharpshooter Annie Oakley and this early television heroine, played by frequent Gene Autry leading lady Gail Davis.

I've only seen a couple of episodes of this now-obscure western series. From these few, I can still tell that though Davis's pigtailed Annie character wasn't stridently feminist, she made no bones about being a better shot than any man in her small town of Diablo, Arizona. 

Though the show isn't of easy access today, it had a definite impact on the female audience of the 1950s.  Ms. Davis is quoted as saying:

"Back then I knew the show was having a positive impact, especially on little girls. It wasn't until years later that I realized just how much. Little girls had turned into influential women, thanking my portrayal of Annie for showing them the way."

YEAR 1953: LORNA THE JUNGLE GIRL

Prior to Atlas Comics' debut of JANN OF THE JUNGLE, writer Don Rico and artist Werner Roth conceived one of the better jungle girls of the comics-medium: Lorna, usually known as "the Jungle Girl" though technically her earliest tagline was "Jungle Queen."

In contrast to Jann, who was pretty much a cookie-cutter imitation of every other Sheena-imitation that had come down the pike, Rico's scripts for LORNA were usually literate.  That's not to say that they were sophisticated: Lorna still ran into the usual menaces every other jungle-hero did: evil witch-doctors, prehistoric beasts, foreign spies and treasure-hunters.  But though at this time the feminist movement was still far from influential on the body politic, Lorna did prefigure the feminist desire to puncture masculinist priorities.

I've mentioned that Sheena was one of the toughest representatives of the genre she founded in the comics-medium. Lorna could be tough, but as seen in the excerpt above, she was equally adept at skewering the male ego of her beloved, jungle-guide Greg Knight.  Whereas Sheena's mate Bob was just a marginal figure, whom Sheena generally overshadowed, Knight actively preached to Lorna that the jungle was no place for a woman-- despite the fact that she was much better at slaying wild beasts than he ever was.

That said, she loved him, and frequently tried to please him, up to a point.  She would mock him by calling him "my lord and master," but in the 26 issues of the LORNA comic, she never managed to convince him that she was his equal, much less his superior.  Nevertheless, Knight was clearly the butt of the series' humor, for all that he was your typical "man's man."  While LORNA was not precisely a satire of the jungle-adventure genre in comics, its light-hearted approach marks it as a superior example of same.

YEAR 1949: KYRA ZELAS

The Stanley G. Weinbaum short story was adapted once for radio and three times for television.  As I'm not dealing with radio productions on this blog, there's nothing I can say about the first television adaptation on STUDIO ONE because, as this reference notes, the original is "lost forever." 

Versions of Weinbaum's story later appeared on the low-budget anthology serials TALES OF TOMORROW and SCIENCE FICTION THEATER, but as I recall, neither of these were particularly noteworthy.  The short story's peculiar use of science and translation of the Frankenstein theme into the sexual-fantasy sphere comes across somewhat better in the 1957 film adaptation SHE-DEVIL, but not by very much.

YEAR 1948: POWDER POUF

Eisner's fierce femme formidable, Powder Pouf, only appeared in a couple of Will Eisner SPIRIT stories.  She's not a great favorite among SPIRIT fans, lacking the tragic dimensions of SILK SATIN or the lovable larceny of P'GELL.

Her most noteworthy quality might be her violence.  Whereas most SPIRIT femmes tended to beguile hapless males with their beauty, Powder Pouf is first seen robbing a shopkeeper by punching him, kicking him, and banging his head on pavement. Why she felt this necessary-- given that she was packing heat-- may never be known.  When an ex-con named Bleaker Moore happened by, she used her gun to force him to be her accomplice.  The Spirit tracked Powder down and kept Bleak from doing any more time.

Since the only other Powder story appeared a few months after the first, and again featured her interaction with sad-sack Bleaker, it would seem that Eisner had little in mind for her but a standard "tough girl."  Bleaker, by contrast, appeared in a few more stories, so he may have been the real character Eisner sought to integrate into the Spirit's adventures.

YEAR 1947: DARNA

To be sure, the Mars Ravelo/Nestor Redondo superheroine who originally appeared in a 1947 issue of the Phillippines BULAKLAK MAGAZINE was called "Varga."

Only three years later did Ravelo succeed in relaunching the character under her best-known name, "Darna."  As my only experience of Darna is having seen the 1991 film, I can only generalize that the character's origin seems to have been the same under both names.  A white stone falls to Earth and is swallowed by young "Narda," who finds that she can then transform into a super-strong, near-invulnerable crimefighting warrior-woman.

Though Ravelo encountered considerable resistance to his character's publication-- he claimed to have conceived it in late 1939, just before World War II-- Darna has gone on to be something of a perennial figure in Filipino popular entertainment.  Though some might assume that Darna was a copy of Wonder Woman, the character doesn't seem to have any of the Amazon's abstruse qualities.  If anything, her transformation scene seems strongly indebted to the Golden Age Captain Marvel, who appeared in early 1940.  Wikipedia observes that had Darna been published when Ravelo claims that he conceived her, she would have preceded Wonder Woman by one-and-a-half years-- though one may assume that such a Darna would have started out almost purely in the tradition of Siegel and Shuster's SUPERMAN.

YEAR 1947: THE THORN

The Thorn, unlike many of the super-villains of late 1940s DC, was not revived in the Silver Age, but had to wait until the Bronze Age.  Even then, she was revived not so much to give her time in the super-villain spotlight, but to retcon her as the mother of two new superheroes.

Created by writer Robert Kanigher and artist Joe Kubert in FLASH COMICS #89, the Thorn is distinguished for being one of the few "Jekyll-Hyde" villains during this period.  In her first appearance, the green-clad villainess showed up to challenge the Flash on his own turf.  Thorn carried a small arsenal of thorns that could explode or prick flesh, and she apparently made use of the latter whenever she whirled in place like a dervish, making it impossible for the Flash to lay hands on her. No sooner does the Thorn escape the hero than he meets a woman named Rose, who claims to be the villainess' beneficent blonde sister, hunting Thorn in order to forestall her evil career.  Rose relates to Flash a complicated tale as to how she and her sister came to have opposing natures, thanks to the assignments given them by their botanical mentor Dr. Hollis.

Though the story telegraphs the expectation that the two entities are one, even before the Big Reveal, but I find it fascinating that Rose's phony stoty situates Hollis as a rather arbitrary father-figure who allots a pleasant task to one sister, and a grueling, unpleasant one to the other-- though significantly, the evil version of Rose says that she doesn't "mind the hurt." Presumably the second and last Golden Age story-- which I have not read-- reveals the real sequence of events, but the phantom of an arbitrary father-figure is significant nonetheless.

The entire first story appears here on Pappy's Golden Age Blogzine.  In 1970, Robert Kanigher would recycle two aspects of this villain-- her schizophrenic double identity and her weaponized thorns-- into his heroic "Thorn" character, Rose Forrest.

YEAR 1946: THE WOLF GAL

In one of the JUNGLE TALES OF TARZAN, the ape-man kills one of the native tribesmen who have been his enemies since they killed his adoptive mother.  Tarzan then debates with himself as to whether or not he should eat the flesh of a dead man, just as he does with most of the animals he kills. Since there's no rational way that Tarzan could decide against cannibalism, author Burroughs fills him with an instinctive revulsion at the idea of eating man-flesh, and there the matter ends.

In 1946 Al Capp created a feral female with no such convenient inhibitions: the Wolf Gal, who lived in one of the forested areas neighboring Dogpatch with a pack of wolves.  She and her human-eating pack perpetually prey on any humans who venture too close to their territory, and though Wolf Gal could speak as well as any Dogpatch hillbilly-- which isn't saying much-- she thinks of herself as another wolf and considers all other humans her enemies.

Up to this point Capp had created many predatory females, but their mode of predation concerned attempting to seduce Li'l Abner Yokum before his true love Daisy Mae could link him to her in marriage.  Wolf Gal has some leanings in that direction, but the thing that gets her on Abner's trail was somewhat more involved.  When Wolf Gal turns eighteen, she and her pack manage to corner an old crone in her secluded cabin.  Bargaining for her life, the crone reveals that she knows Wolf Gal's nature: that at birth she was born with a "wolf's heart" despite the otherwise normal natures of her hillfolk parents.  A nearby wolf-pack senses that the child is a kindred spirit, so the pack attacks and devours her parents-- much to the delight of the infant child.  In addition to revealing Wolf Gal's origins to the lupine Amazon, the crone also makes a prediction: that Wolf Gal will only know the meaning of "love" under certain circumstances.  Wolf Gal, stung by curiosity, begins to study human mating rituals, as well as catching her first sight of Abner.  She interprets the prophecy to mean that she must kill Abner to learn what love is.

There follows one of the quickest transformations from "nature" to "culture" ever shown in fiction.  Wolf Gal decides that the only way she can get close to Abner in his Dogpatch milieu is to educate herself in the ways of women-- and not hillbilly women, but "sassiety ladies."  She journeys to some big city, locates a finishing-school, and by threatening the teacher's life forces the woman to give Wolf Gal the appearance of a well-bred woman. 

I won't dwell on the details of her plan, except to note that of course Abner does not get killed, nor does Wolf Gal manage to devour him in any less grisly manner.  After the plan fails Wolf Gal returns to her wild life and continued to make occasional appearances in the ABNER strip.  Her last, to the best of my recollection, was in the 1960s.  By that time Abner had finally married Daisy Mae, which on one level should not have prevented other women from chasing him.  Yet for some reason Capp dropped that device with respect to Abner: it was almost as if the suspense was gone once Daisy Mae managed to "pluck his cherry," so to speak.  However, to generate a new source of romantic suspense, in 1954 Capp introduced Abner's kid brother "Tiny," who like Abner was a big dumb cluck who ignored all the women who pursued him.  This included Wolf Gal, and she didn't take rejection well.  She fattened him up with lots of food and tried to ship Tiny to her wolf-brethren for a full-course meal.  Like Abner Tiny too survived and Wolf Gal faded from the scene.

In addition to commanding her wolf-brothers, Wolf Gal had an appropriately savage way of fighting: she bit chunks of flesh out of anyone who opposed her.  I thought it was pretty strongly implied that she consumed humans as a matter of course, allowing for some comic scenes in which she straddles her victims, who think she wants sex rather than food. Al Capp seemed to have a thing for powerful female figures, underscored by this dialogue exchange between Wolf Gal and her finishing-school teacher:

WOLF GAL: "Are there any other girls who look like 'ladies' on the outside and feel like she-wolves inside?"
TEACHER: "Yes! Oh (sob) yes-- Most of them!"