(Young Romance #13 - #16, Young Love #5 - #6)

Chart of the number of romance titles from September 1947 to December 1950 with the period covered in this chapter marked in blue.

My discussions of Young Romance and Young Love were left off in Chapter 5 after  which I then spent the next three chapters on Simon and Kirby’s two western romances titles Real West Romance and Western Love.  Returning to Simon and Kirby’s purer romance titles, Young Romance was starting its third year. Previously Young Romance and the newer Young Love were both bimonthlies on an alternating schedule so that one would appear on the stands each month. With the Young Romance #13 issue (September 1949) that title would now become a monthly. The house ad announcing this new schedule declared there were three and a half million readers. An exaggeration? Perhaps, but this was the golden age of comics and readerships were much larger then found today. Taking Young Romance to monthly schedule clearly indicates that Prize was doing quite well with that title. Since the deal with Prize provided Simon and Kirby with a percentage of the sales, the creative duo were receiving great financial benefits. There was competition, however, as September 1949 was well into the start of the love glut.

Young Romance #15 (November 1949) “Back Door Love”, art by Jack Kirby

For whatever reason, Jack Kirby was not that prolific during the period covered in this chapter (September to December 1949). The covers for YR and YL were all photographs and so Jack would not be providing any covers. Kirby would supply a single story for YR #13 to #15, two for YR #16, and none for YL #5 or #6. His diminished presence in YR and YL was also true for the other Simon and Kirby titles (Headline, Justice Traps the Guilty, Real West Romance and Western Love). While Jack may not have been his usual prolific self he still was an important contributor to the two romance titles. Kirby would provide the lead story for Young Romance and while these stories may not have been as long as some from the past they still had the highest page count compared to any others in the same issue. So while there were two artists that provided more stories then Jack only one of them actually drew more pages. For the record Jack did 5 stories and 58 pages for the 6 issues. Unlike the case found in previous chapters of “The Art of Romance”, or even “Its A Crime”, I conclude that Kirby did not provide layouts to any of the other artists in these issues.

Jack provided great splashes for all the lead stories for YR #13 to #16. All made use of the motif of a character introducing the story with the word balloon forming the title. All lead stories were meant to suggest provocative themes as can be seen by their titles alone (”Sailor’s Girl”, “Runaway Bride”, “Back Door Love” and “Dance Hall Pick-Up”). Today they might seem tame but in the late ’40s they would be considered risque. I have chosen two of them as examples not only because they are the best but also because of their contrasting nature. The splash for “Back Door Love” shows a couple on one side, a large word balloon/title, and three overlapping panels crowded into another corner. The panels are not the beginning of the story, but rather provide examples of the shameful love and its emotional price the woman has to pay. The couple was inked in the standard Studio style with abundant picket fence crosshatching and drop strings (see my Inking Glossary for explanations of my terms to describe inking techniques). This was overlaid with much relatively fine simple and more complicated crosshatching; techniques not commonly found in Simon and Kirby art. The inking is meant to provide the couple with a nighttime setting which is enhanced by the colorist blocking them out in a light blue. While the woman’s face turned to the viewer (I do not understand why many do not find Kirby’s woman beautiful) the man’s remains concealed in the shadows; all in keeping with the mystery of their relationship. Not much in the way of action, but one of Kirby’s more interesting splashes nonetheless. However there is a “but”; while some like comic art with a lot of detail work, I generally do not. I find all the crosshatching in this splash gives the figures a hard edge, almost like they were carved out of stone and are not flesh and blood. A small detraction from what was otherwise a masterpiece.

Young Romance #16 (December 1949) “Dance Hall Pickup”, art by Jack Kirby

Shame was the theme for the splash of “Dance Hall Pickup” as well, but its similarity to the “Back Door Love” splash pretty much ends there. This time it is the man’s turn to be found in a shameful relationship. Nothing mysterious here, everything is in full lighting. The woman’s low cut dress, fake flowers on her belt, costume jewelry, and false eyelashes clearly mark her as the type of woman a gentleman would be uncomfortable with bringing home to meet his mother. Of course the story will reveal that the somewhat trashy appearance of the woman really hides a warm and loving heart. The inking for this splash is truly a text book example of Studio style inking. It has all the typical hallmarks; lots of picket fence crosshatching and drop strings along with an abstract arch shadow and shoulder blots for the man. No fastidious brushwork here, each stroke is boldly marked; straddling the boundary between working with others for indicating the shadows and maintaining an independent existence. Most fans are attracted to his action scenes but for me this is Kirby at his best; telling a complete story with just some simple gestures and some abstract marks.

I cannot leave this splash without pointing out the hanging curtain in the top corner. It serves no logical purpose. The windows in the back are complete bare, so why is that drapery hanging from the ceiling in the middle of a dance floor in front of a pillar? It is a mistake to look at Kirby art, or any comic book art, as if it was an attempt at rendering a truly realistic image. Elements are added for their suggestive power and how they provide visual interest. The hanging curtain is a motif that Jack will use often.

Young Romance #16 (December 1949) “The Wolves of the City”, art by Bill Draut

The largest contributor to YR #13 - #16 and YL #5 and #6 was Bill Draut. Bill did twice as many stories compared to Kirby (10 vs. 5) and 10 more pages (68 vs. 58). Bill’s strength was his clear visual story telling and his effective use of body language. The simplicity of faces drawn by Bill did not lend itself to a wide range of emotions. Perhaps that is why Draut was very careful in the poses he provided his characters. Upturn faces could portray admiration or wonderment. Thrusting the head forward and providing clenched fists would reveal a person’s anger. In the splash for “The Wolves of the City” you do not need to read the story to realize how demure and proper the lady on our right is. Hands folded on her lap and eyes cast down tell it all. Her friend has her hand on her hip, the way her head pushed forward, and even the way she holds her cigarette shows she has a harsh and sharp personality. Despite the similar profiles, she presents quite a contrast to the mother figure from the second story panel.

Young Love #6 (December 1949) “For Handsome Men Only”, art by Bruno Premiani?

The third most prolific artist for the issues cover in this chapter was possibly Bruno Premiani. I say possibly because none of the work this artist did for Simon and Kirby was signed and none of it compares well with work done for DC that has been credited to Premiani. Either the attribution of this work to Premiani is wrong or he adopted a different style for romance compared to his superhero comic book art. Whoever the artist is, and for now I continue to refer to him as Premiani, he was one of the more talented individuals to have worked for Joe and Jack. Bruno first showed up in Young Love #4 (August 1949) and would provide work to the S&K studio until December 1950). During that period of a little over a year, Simon and Kirby would include about 25 stories by Premiani. For the issues covered in this chapter, Bruno did 6 stores (one more then Kirby) for a total of 48 pages (much less then Jack’s 58 pages). One of the stories supplied by Bruno was even used for the all importing lead story (the “For Handsome Men Only” shown above). It is easy to see why Premiani was used so often. Although his woman are perhaps a little plainer then some other studio artists, they (and the men as well) seem to radiate an emotional energy. Like Draut, Premiani could make effective use of body language as well. The hands on the hip and face in profile as superficially similar to Draut’s pose in “The Wolves of the City”. But by pulling the head back and thrusting one leg forward, Bruno makes his protagonist much more alluring. In the second panel the lady ostensibly uses her hand to keep her scarf in place but the gesture is actually part of a physical withdrawal from a disappointing blind date.

Young Romance #14 (October 1949) “Nancy Hale’s Problem Clinic” page 2, art by Vic Donahue

There were a number of other artists who contributed to these issues of YR and YL but nowhere nearly as much as Draut, Kirby or Premiani. One was Vic Donahue who we have seen in previous chapters of “The Art of Romance” both for the standard romance as well as the western love titles. Vic’s work for the issues covered her has diminished and is restricted to three “Nancy Hale’s Problem Clinic” features. These are all short work of 2 or 3 pages long. There is no more I can add to my previous discussions of Donahue; his woman are attractive and Vic often provided them with a tilt to the head. Vic was careful in the inking of hair and he sometimes filled shadows with fine simple hatching. Aspects of the Studio style inking also show up in his work. The page above shows drop strings (panel 1 and 3), shoulder blots (panel 3), an abstract arch shadow (panel 6) and picket fence crosshatching (panels 4, 6 and 7). I am still undecided whether this was Joe or Jack stepping in as art editor to strengthen up the work. Alternatively is may have been Vic adopting portions of the Studio style. Joe Simon has described the inking of Kirby’s pencils as being like a factory line involving many different inkers. Although I cannot point to any specific work by Kirby that Donahue could have inked, as one of the more minor but still talented artists continually employed by S&K Vic certainly was a candidate to help in inking.

Young Love #5 (October 1949) “For Sale: One Dream”, art by Al Eadeh and John Belfi?

Another minor contributor, or rather an artist team, that we have seen before was Al Eadeh and John Belfi. The work is unsigned and my attribution provisionally, but I believe Eadeh and Belfi did “For Sale: One Dream”. While talented, Eadeh and Belfi were still among the lesser lights of the S&K studio.

Young Love #5 (October 1949) “The Love I Didn’t Want”, art by George Gregg

Signatures found in three comics (Young Love #4 and Justice Traps the Guilty #17 and 19) have allowed me to identify one of Simon and Kirby’s studio artists, George Gregg. Since then I have spotted an unsigned work in Western Love #1 and here I can add two more. Even without a signature, Gregg’s style still stands out. His art has a sort of stylized cartoony edge to it and frankly a touch of primitivism. Gregg’s often provides his characters with distinctive, but varied eyebrows. The leading ladies frequently have a pinched look to their faces. While “The Love I Didn’t Want” is no masterpiece, it is still nice to be able to assign a name to some of work produced by the Simon and Kirby studio.

Young Love #6 (December 1949) “My Promise”, art by George Gregg with help from Jack Kirby in splash panel

“My Promise” is another unsigned work by George Gregg. The Jack Kirby Checklist includes the splash as being done by Kirby. While it is true man was clearly done by Jack, the rest of the splash and the story panels were by Gregg alone. This is another example of Kirby acting as art editor stepping in to help the all important splash. I believe the man in the splash was inked by Jack as well, but he is deliberately working in a simpler manner to blend in better with Gregg’s inking. Careful examination, however, will show that Jack’s brush has a subtlety that was beyond Gregg’s capabilities. The over sized ear in the second story panel was a mannerism that Kirby often fell into, particularly on work done before he went into military service (for Timely and DC). This suggests that Gregg may have been using old Simon and Kirby comics as source material for swiping.

Young Love #5 (October 1949) “Too Many Boy Friends”, art by Ann Brewster

New to Simon and Kirby production is the artist Ann Brewster. S&K must have like her work because they used her first submission, “Too Many Boy Friends”, as the lead story for Young Love #5. I am not sure that “first” is the proper description. I do not believe there were any earlier works for Simon and Kirby but I am unaware of any other works by Ann from this period either. In 1955 Ann would provide a number of stories for the Prize romance titles during the time when Joe and Jack were trying to get their own publishing company, Mainline, going.

When I previously discussed this splash I thought that this might have been delivered as pencils and inked in the S&K studio. That conclusion was largely due to the presence of Studio style inking throughout the story. However I no longer hold that viewpoint. There appears to be at least two inkers involved. One, Ann herself, working with a fine brush and another inker, probably Joe or Jack) working with a broader, more loaded, brush. The Studio style inking was probably added later to strengthen the art.

Young Love #6 (December 1949) “The Life of the Party”, art by John Guinta and Manny Stallman

Another new team to appear was John Guinta and Manny Stallman. Fortunately the work is signed because I am completely unfamiliar with John Guinta’s work. Manny Stallman has done his own penciling for Simon and Kirby primarily in the crime titles (not yet covered by my serial post “It’s A Crime”) but also in Western Love #1 (July 1949). “The Life of the Party” is the only story that I know that they did for S&K but perhaps more will show up.

The art for Guinta and Stallman’s “The Life of the Party” is good, but I am particularly impressed by the splash panel. It actually is two splash panels as neither of the top panels belong to the story proper. Floating heads are not used often by Simon and Kirby but they do occur. However I do not recall any of theirs approaching the avalanche of heads as produced here by Guinta and Stallman. I particularly like the way they spill from the right panel into the left with the gutter bisecting two heads. While I attribute most of this to work to John and Manny, I wonder about the single head at the center bottom of the panel. It is the only head without hair and the uppermost contour looks decidedly unnatural; almost as if it was cut from some other work. I cannot help but wonder if that one head was actually done by Jack Kirby. Perhaps, though, this is due to the inking with its aspects of Studio style. This was probably done by either Joe or Jack as most of the story is inked in a different style. Again the presence of places with Studio style inking in the story probably is due to Joe or Jack stepping in to strengthen the art.

Young Romance #16 (December 1949) “His Engagement Ring”, art by Mort Meskin

Young Romance #16 marked the return of an important artist Mort Meskin. Perhaps return is not the proper word as a little over a year ago he had appeared teamed up with Jerry Robinson. In the same month of December 1949 Mort also appeared in Real West Romance #5. Joe Simon has described in his book “The Comic Book Makers” the difficulties Meskin faced overcoming the artist’s equivalent of the writer’s block. However once this problem was passed, Mort became the most prolific of the Simon and Kirby studio artists. There were periods when he out produced Jack Kirby (no small feat) despite the fact that Mort would do all his own inking while Kirby often was inked by others. During his career, Mort was much admired by many of his fellow artists including Jerry Robinson, Joe Simon and Steve Ditko. Unfortunately today he is largely overlooked among comic book fans failing even to be voted into the Will Eisner Awards’ Hall of Fame. Partly this is due to the stylized drawing that Meskin adopted. Also a lot of his later work was done for Simon and Kirby romance titles; a genre not much appreciated among today’s fans. Perhaps the most important reason was that Meskin dropped out of comics in the late ’50s and afterwards avoided any contact with fans. However Mort was one of the best graphic story tellers from the golden age of comics. Meskin’s skill in presenting a story is easy to overlook due to the unobtrusive methods he used. Probably the only thing I can say against Meskin as an artist was that his work sometimes suffered from his efforts to produce lots of work.

The splash page for “His Engagement Ring” uses a layout that Meskin typically preferred; two thirds of the page for the splash panel with two or three story panels at the bottom of the page. It is a common layout used by many artists but different from the layout most frequently used when teamed up with Robinson which had a vertical splash panel with two story panels on the right side of the page.

The December issue of Young Romance was released just a few months prior to the peak of the love glut. The rise in the number of romance titles in such a short period was nothing short of dramatic. The decline following the peak was almost as rapid when publishers found that there just was not enough room on comic racks for all the new titles.

The Art of Romance, Chapter 8, Kirby on the Range?
(Real West Romance & Western Love)

The Art of Romance, Chapter 10, The Peak of the Love Glut

Classic Comics #26 “Frankenstein”

No this is not a post about one of the many “Frankenstein Meets XXX” movies (one my favorite was “Frankenstein Meets Godzilla”). Ann Brewster was one of the many talented artists that worked for Simon and Kirby. Brewster did a single piece for S&K in 1949 and then a number of stories from April to November 1955. That later period was during the time Jack was not doing Prize romances so he could concentrate on the work for Mainline, the publishing company that Joe and Jack had started up. There is a single piece with a cover date of June 1956 but this might have been a story left over from the Ann’s 1955 period.

This comic was first published with a date of December 1946. But the scans I provide are from a second printing. However if Overstreet is correct the art was not changed between the two printings. I have seen places on the web where Ann was credited for the cover art. The cover is unsigned so I cannot confirm that. Inside on the title page the illustration is credited to Robert Hayward Webb and Ann Brewster. Does that mean Ann was mainly the inker? Or did they share penciling? Some of the woman look like they were done by Ann. I am not saying Ann did the woman and Robert the men. It is just that I am more familiar with Ann’s romance work where her woman were more distinctive.

When I was going to school I was aware of the Classic Illustrated comics. There were also a company that sold what we referred to as “crib notes”. I did not use either because my teachers were aware of them also. They were always trying to catch people using these shortcuts but asking questions about things were not in the comics or crib notes. Heaven help the student that based his book report on a movie. Movies were (and often still are) so different from the books that teachers had no trouble in finding out any such sloppy cheaters. The truth is I always enjoyed reading. I may have hated writing book reports, but I never had any problems with the reading part (except perhaps for Moby Dick).

I remember reading Frankenstein in school (but I am not sure if it was for a book report or not). Nor am I sure if I have read it since. I remember enough to say that none of the movies were very close to the book, even more recent ones that claim to tell the “true” tale. But my memory is not good enough to be sure that how close this Classic Comic’s version was, but it seems accurate to me. Certainly some of the parts seem very in tuned to the works of a romantic writer. Victor Frankenstein enjoys a walk in the rain. Lightning plays its part in establishing the mode (but was not used in the actual creation of the monster). And the climax occurs in the icy far north. The story was adapted for this comic by Ruth A. Roche who I think did a good job. But going from a book to another media is always a perilous effort. I prefer to read the original book or stories that were made for comics to begin with.

“Frankenstein” by Robert Hayward Webb and Ann Brewster

Although not a masterpiece, I find the art well done. I do find it a little amusing that the monster seems to have been influenced by the early Frankenstein movies. Take a look at how he seems to have a flat top to his head. The panels do not adhere to a simple grid and the scenery plays an important part. I particularly like the page whose image I provide above. Victor has agreed to make a mate for the monster who in return promises to leave and trouble his creator no more. For reasons that I am not at all clear on, Victor leaves his home on the continent (Germany ?) for Scotland. The monster follows Victor unseen to insure his creator keeps his promise. The comic artists have provided a ghost image of the traveling monster that overlaps most of the panels. However this page does have a snafu, the colorist obviously did not read what he was working on because in the last panel he gives an orange color to the white cliffs of Dover!

Once again I would like to give some attention to another of those forgotten comic book artists. Ann Brewster did not do a lot of work for Simon and Kirby but fortunately she did sign most of her stories. As usual I have more information about Ann’s efforts for S&K productions then on her career elsewhere. I have tried to supplement with information gleaned from the GCD (Grand Comic Book Database), Atlas Tales, Who’s Who of American Comics and other places on the Internet. I must admit that I am uncomfortable with using some of these sources. During the cold war the saying was “trust but verify”. But since I cannot verify anything outside of the Prize romance material, I find it hard to be trusting. At least Atlas Tales indicates what work was actually signed by Ann.

Brewster’s career seems to have started in the early 40’s. Working through various studios, Ann drew for a number of comic titles. It sounds like she worked in a variety of different genre. Unfortunately it also looks like Ann never got the opportunity to stay and grow with a particular feature. Perhaps she did with Rip Carson for Feature House where Who’s Who has Ann working from 1944 to 1948. Ann did some work for Crime Patrol (EC) and that title has been reprinted so maybe I will someday get a chance to see what her crime work looked like.

Prize #63 (March 1947) “Yank and Doodle and the Black Owl” (signed) by Ann Brewster (signed)

But I do have an example of Ann’s super hero art from Prize #63. Fortunately this piece is signed otherwise I am sure I would not have recognized it as being done by Ann. I cannot say I am very impressed with the art in this particular story. Much of the problem is the design of the Black Owl which is not Brewster’s fault. Even Jack Kirby was unable to make that super hero impressive when he worked on the Black Owl in the early 40’s. Otherwise the art is adequate but nothing that strikes me as much different then a host of other artists working at that time. Of course it is not fair to judge Ann’s ability in this genre based on a single story.

Simon and Kirby created the romance genre in comic books in 1947. Once other publishers caught on to the money that could be made in romance it was not long before Brewster seemed to be type cast. For instance all the signed works found in Atlas Tales are for romance titles. But Ann might not have been completely type cast, the sources indicate she still did some work in the horror and science fiction genre. Between 1958 and 1961 Brewster did work on the World Around Us titles. If the Internet sources are accurate this marked the end of her comic book career. Ann Brewster is listed as the illustrator for the dust jack of the book “Silver Wolf” published in 1973 by Atheneum.

Young Love #5 (October 1949) “Too Many Boy Friends” by Ann Brewster (signed)

Her first piece for S&K seems to have been for Young Love #5 (October 1949). Actually it seems to be the only work Ann did for the studio at that time period. But it is a good piece of work done by someone who seems to know what they are doing. The drawing is a bit on the conservative side and one single mid-distance view predominates. However the story is presented well. The inking was done in the S&K shop style including techniques like the picket fence crosshatching and the use of some abstract arc shadows. Most likely it was inked by artists in the S&K studio and Ann only did the pencils.

Young Brides #24 (September 1955) “Riches Or Romance” by Ann Brewster (signed)

Brewster next period of work for S&K was from April 1955 to June 1956. Like Joe Albistur, Ann seemed to arrive to help take the place of the missing Jack Kirby. During this period Jack stopped doing Prize romance art, presumably to concentrate on Mainline, S&K’s own publishing company. Ann’s style had improved since her previous work for S&K. Ann probably was one of those artists that always trying to advance their craft. Ann’s characters now seem to be more lively and her women often had greater warmth. He story presentation has become better with more variation in the viewer distance used. Even the clothing style of the women has changed and hair length is now shorter. I really do not know if the hair and clothing styles presented were more up to date, but it is possible. These stories are no longer inked in S&K shop method and it is likely that now Ann was doing the inking. As with the other freelance artists, Ann stopped getting much work from the S&K studio once Kirby returned to do pretty much the entire Prize romance comics. Also like many of the other artists that freelanced for S&K, Brewster did not do any further work for S&K even after the all Kirby run was over.

Young Romance #77 (June 1955) by Ann Brewster

During Kirby’s absence the covers for the romance titles were mostly done by the usual suspects (Bill Draut, Mort Meskin and John Prentice). But Ann also did a couple of covers, sort of. A stat was made from Brewster’s splash panel, blown up and edited. It was a treatment that was not done by S&K for any other cover up to that time. Even though designed for the splash, the art made rather good covers. It makes you wonder what Ann might have done if given the chance to actually do an original cover. I previously posted the YR #79 Brewster cover in Chapter 2 of my “End of Simon and Kirby”. The cover for YR #77 (shown above) is a marvelous piece of work. I particularly like the lady’s left hand. It is not just well drawn but perfectly captures the woman as she is lost and overwhelmed by the unexpected kiss. However there is a problem with the cover but it was not due to Ann. The dancing couple on the left is partly covered by the subtitle “True Love Stories”. It makes a bit of a muddle but I guess it could not be helped. The composition needs the pair. Further their presences helps to indicate that the main couple had been part of the dancing. The subtitle is a standard presence on the cover so it could not just be eliminated. The final result is an uncomfortable compromise. But it is a small defect in an otherwise great cover.

Although it is not actually bad, I cannot say I am very excited about the early work I have seen by Ann Brewster. But the work she did for Simon and Kirby in the mid 50’s is really nice. Ann presented good stories, drew attractive women and designed interesting half page splashes. It does make me wonder what her Atlas work looked like since some of it immediately follows the S&K material. I must admit that my admiration goes beyond her artistic voice. I suspect that it must not have been easy for Ann to work in such a male dominated industry as comic books. Even romance comics were generally written, drawn and published by men. Yet Ann managed to have a career of perhaps 20 years in comics.

Last update: 8/31/2008

Codes:
    s:  = script
    l:  = layout
    p:  = pencils
    i:  = inks
  name  = signed
 <name> = signed with an alias
 {name} = signed as Simon & Kirby
 [name] = unsigned attribution

Prize (Prize)
   s 63   Mar  1947    6p "Yank and Doodle and the Black Owl"
     67   Dec  1947    8p "The Case of the Man on Crutches"

Treasure (Prize)
   s 12   Fall 1947    8p "Junior Rangers"

Young Brides (Prize)
   s 24   (v.3, n6)  Sept 1955    6p "Riches Or Romance"
     25   (v.4, n1)  Nov  1955    6p "Last Hope"

Young Love (Prize)
   s 5    (v.1, n5)  Oct  1949    8p "Too Many Boy Friends"
   s 64   (v.6, n10) Apr  1955    6p "Weeping Willow"
   s 64   (v.6, n10) Apr  1955    6p "Lovely Little Faker"
   s 71   (v.7, n5)  June 1956    7p "Birthday Present"

Young Romance (Prize)
   s 76   (v.8, n4)  Apr  1955    6p "Unpleasingly Plump"
     77   (v.8, n5)  June 1955       [cover]
   s 77   (v.8, n5)  June 1955    6p "The Hangout"
     79   (v.8, n7)  Oct  1955       [cover]
   s 79   (v.8, n7)  Oct  1955    6p "Poor Marcie"