Police Comics #55
☆ Be the first to review + Add to your collection — Join freeIn "Sleepy Eyes," a 1946 Quality Comics classic, a man whose hypnotic gaze can send anyone to sleep finds his power useless against the perpetually drowsy Woozy Winks. Written by Joe Millard and brought to life with distinctive flair by Jack Cole—handling pencils, inks, and letters—this quirky tale showcases the oddball humor and inventive characters that defined the era. The cover by Jack Cole captures the sleepy showdown in bold, expressive lines.
In "Sleepy Eyes," the titular hero’s power to put anyone to sleep backfires when he meets Woozy Winks, a man whose very presence induces drowsiness—making him immune to the hypnotic effect. The two find themselves locked in a battle of wits and sleepiness, where the line between control and surrender blurs.
Flatfoot Burns stakes his reputation on an unusual witness—Glumbo the elephant—to identify circus thieves who made their getaway through the animal tents after stealing the gate receipts. When Glumbo's memory fails him at a crucial moment, Burns attempts an ingenious solution at the circus itself, only to find the crooks have their own desperate plan to stop the elephant from remembering what he saw. A humorous romp where memory, circus antics, and justice collide in the most unexpected way.
Candy O'Connor has her sights set on winning a radio station's bean-guessing contest—the grand prize is a stack of the latest phonograph records her crowd is dying to hear. When she discovers a clever way to measure the jar using plane geometry, she sneaks into the diner after hours to get the dimensions, only to stumble into a real burglary and trigger the alarm. Now she's stuck with her original guess while someone else may have cheated their way to victory—but Mr. Parsons has a trick up his sleeve to keep things fair.
In "The Masked Pirate," actor John Reeves blurs the line between performance and reality when his obsession with his stage role leads him down a dangerous path of revenge after a romantic betrayal, turning a film set into a stage for murder.
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↩ Reprints The Spirit #8/15/1943 (1943)
Reprinted in Plastic Man Archives #5 (2003)
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