“Swipe” is a rather unusual term which in my dictionary is defined as a slang for to steal or pilfer. It has also found use in discussions about comic books as a term for copying. Considering its original slang usage it is not surprising that the word has a very derogatory association in comics. Other art studies, including the fine arts, do not use the term. That is not to say that activities equivalent to swiping do not occur, it is that more neutral words are used to describe those activities. The word swipe is so entrenched in the discussions about comic book art that I that I continue to use it. But I do not share the disapproval that most have who use this term. Swiping was common in comic book arts, actually in all the arts. Even Jack Kirby has been shown to swipe.

The first four issues of the Adventures of the Fly provides some good examples of various types of swiping that could be done. Some call this a Simon and Kirby title, but it seems to me that Simon was really the driving force. Joe brought together artists other then Jack to work on the books. In fact Jack’s involvement was less then what some people thought because of the use of swipes.

Adventures of the Fly #1 (August 1959) pencils by Jack Kirby (splash art in black, cover art line art in red)

The four Fly covers only provide an interesting assortment of Joe’s working method. The cover for issue #1 is not really a swipe. Included in the story art that Jack did for the Fly #1 was a double page splash. The cover is basically parts taken from the splash and rearranged somewhat to fit the narrower proportions of the cover. It is possible to overlay the line art of the Fly from the cover and the splash with good accuracy. That is not to say you get perfect alignment between the two. In the overlay image I provide above I was as careful as possible in adjusting the size and angle of the images. I was able to get good agreement between the two in the area of the Fly’s head and foot. But look closely at his right hand and you will see they deviate slightly. Actually this is to be expected considering the various equipment used. I have often overlaid original art or proofs of line art over the published cover and have never seen one that could be perfectly aligned in all parts. The alignment in this case is especially good so I have little doubt that stats taken of the splash was used to assemble the cover. Since some of the fine spotting lines are present in both the cover and the splash the stat was taken after the splash had been inked. The cover had to be prepared at about the same time as the rest of the comic, so I believe Joe had the stats made of the splash made while assembling the book. Later the printer for Archie did stats of the entire comic in preparation for publication. In this case the small difference in alignment was due to different stat cameras being used.

Adventures of the Fly #1 (August 1959) pencils by Jack Kirby (splash art in black, cover art line art in red)

Even though some of the fine spotting aligns well, changes were made. For instance some new spotting was added in the shoulder region. Also the outlines were strengthen, often significantly, is some areas. This was not simply a retracing of the outline. By shifting the wider ink lines the form would be exaggerated in some places and subdued in others. There are two areas where the newly inked lines deviated significantly. One is the upper line for the right thigh as it approaches the knee. The cover version is more tapered while the splash has more of a bulge. The other change made was to the Fly’s goggles which were made more prominent on the cover.

I cannot prove it, but this entire process used to create the cover suggests to me that it was done by Joe Simon. When you consider how wide the splash was compared to the cover it is amazing how well the cover composition works. As for the inking alterations that is the sort of thing I have seen Joe often do today. When he wants to make a reduced copy of some art where the original is too large for his copier Joe copies it in pieces and then reassembles reduced sized parts. This often leaves lines where the parts were joined which Joe will retouch. But frequently he also proceeds to retouch the art on the copy as well. This is what I believed happened to the cover. For me most of the changes made greatly improved the art. The one exception is the tapering to the upper thigh. I feel the bulging in the splash is more appropriately as it makes it seem that the Fly is about to spring into action. If I am right that Joe re-inked the cover, then I doubt that he was the inker for the splash or the rest of the story.

Overlay of figures from Adventures of the Fly #2 (September 1959) in red and Captain America #7 (October 1941) in black.

Many have recognized the fact that the swinging Fly on the cover of issue #2 was swiped from the cover of Captain America #7 (October 1941). When I produced the above overlay I found that a good alignment simply could not be done. So I aligned the top of the heads and an approximation of the figures left foot. This provided pretty good alignment for the torso. I will not provide a line by line description of the differences, there just are too many. Cap and the Fly figures are dissimilar both at the small and the large scales. As an example of a large scale note how the Fly’s right leg is further forward then Cap’s. For the other scale compare the figures’ right (as drawn this would also be the lower) outline to the torso. For one thing Cap had an indent to delimit the shoulder that is completely absent of the Fly. Of special interest is the figures’ left thigh. Cap’s has a distinct bulge to the upper part leading into a comparatively thinner region just above the knee. On the other hand the Fly’s thigh is more evenly tapered. This is the same sort of alteration that had been made to the cover of Adventures of the Fly #1, an indication that both may have been done by the same artist. With all the differences between the swipe and the source it is clear to me that the Fly for the cover was not done using a stat or any other mechanical copying device. However in my opinion there are way too many similarities for the Fly #2 to be based on just a remembrance of the Cap #7 cover. No the Fly figure was done by freehand copied from the Cap #7 cover. Joe has since used the pose on a number of occasions, although not as far as I know for a published comic. So once again I attribute this work for this to Joe Simon.

Adventures of the Fly #3 (November 1959) art by Joe Simon and Black Hood #9 (Winter 1943) [the Black Hood #9 image is from the Grand Comic Book Database (GCD)]

When I previously wrote about the cover for the Adventures of the Fly #3 Scotty Moore left a comment pointing out the similarity to the cover for Black Hood #9. Not only is the pose pretty much the same but both take an almost identical oath. It is hard to believe that the relationship between the two is just a coincidence. Particularly since Black Hood title had been published by the same company as the Fly. Although the pose and concept was swiped I would hardly call the Fly a close copy. Joe once told me he did this cover using himself in a mirror as model. This does sound right because the art does look like Joe’s work.

Figures from Adventure Comic #88 (October 1943) art by Jack Kirby and Adventures of the Fly #4 (January 1960) art by Joe Simon

This is another example where the figure of the Fly was obviously a swipe, in this case from Sandman on the cover of Adventure Comic #88. I provide a side-by-side image of the two figures because overlaying them would just be confusing. It can easily be seen that the Fly is not a close copy of the Sandman. Things like the positions of the limbs, details of the anatomy, and the size of the ear all have been changed. Clearly the Fly was freely drawn with the Sandman source used only as a casual reference. Both were originally shown peering through a window but Sandman had been shown squatting on flat ground while the Fly was on a slanted roof. The change in the nature of the foundation probably had a lot to do with some of the changes made.

Left figure from Adventures of the Fly #1, “Come Into My Parlor” page 4 panel 1 art by Jack Kirby.
Center figure from Adventures of the Fly #4, “Duped By The Dazzler” page 5 panel 4 (rotated and flipped)
The two overlaid where red is the Kirby figure.

The Fly comics swiping is not limited to the covers. The examples I have chosen from story art both show the Fly clinging to a building wall just outside of a window. However to place them in the same pose I had to rotate the one from Fly #4 and then make a mirror image (that is flipping the image so left becomes right and visa versa). I provide an overlay of the two but it is impossible to get them to properly align. The side-by-side versions give a better idea as to what the problem is. The limb and torso proportions dramatically differ between the two. Even small details such as the angle taken by the right hand fingers in relation to the legs is not the same.

There can be no doubt that the one from Fly #4 was a freehand drawing. But who actually drew the swipe? Well although the pose was swiped from Kirby, the artist articulates the muscles very differently then Kirby did. The same way of handling the figure’s form is found in all the other drawing of the Fly from the same story and these other Fly appearances do not seem to be swiped. I have little doubt that the swiper is the same as the story artist.

There are other swipes in the first four issues of the Fly as well as in the companion book The Double Life of Private Strong. Further more then one artist was used to draw these stories and all the swipes seem to be off of Jack Kirby. Kirby was greatly admired by other comic book artists so all the artists for the Fly and the Shield used Kirby as a source to swipe. Well that seems highly unlikely, there should be a more reasonable explanation. Joe Simon has said that he provided artists with layouts. Now Joe did not say what titles he did that on but his collection still includes a layout for the Fly that Carl Burgos did. I suspect that the layouts Joe provided for the artists already included the swipes. The layouts may have been as rough as the Burgos example so Joe may also have provided copies of the Kirby source for the artist to complete the swipe from.

I am doing a guest blog posting tonight at Comics Should Be Good called Simon and Kirby Meet the Shield. Check it out.

Adventures of the Fly #1 (April 1954) by Jack Kirby

One of my contestents in my recent contest picked The Adventures of the Fly #1 as their favorite Simon and Kirby cover. I have previously written about Adventures of the Fly in Chapter 10 of The End of Simon and Kirby. There my main conclusion was that the Fly comics were not true Simon and Kirby productions. Joe seemed the main driving force in constructing these comics and he made use of other artists besides Jack. Having said this I hasten to add that Jack seemed to be primarily responsible for the final appearance of the Fly. The costume is very different from the Silver Spider by C. C. Beck whose story was the basis for the creation of the Fly. Rather the Fly seems largely based on Night Fighter, an unused creation that was probably originally considered for S&K’s publishing company Mainline. Although the origin story for the Fly was largely based on Beck’s penciled version that Joe provided Jack, the other stories Jack did seem to be his own. Included in one was a double page splash. The original art for this wide splash is still in Joe’s personal collection. It a beautiful piece of work with no signs of any cut and paste. That being the case along with the fact that the splash has one extra figure, the cover must somehow be based on the splash.

Photo of Joe Simon with splash page at Big Apple Con (4/3/04)

As far as I know the original art for the cover no longer exists. This is unfortunate because it might provide hints what method was used to transfer the art from the splash and rearrange it for the cover. As pointed out by Kirby scholar Stan Taylor the Fly comics contain a number of swipes from figures originally drawn by Kirby. Some of the original art for these still exist and clearly they were not done by using stats or any similar photocopying device. However when the line art for the Fly on the cover is compared to the splash page much of the inking, including some rather fine spotting, is the same. There does not appear to be any inking present on the splash that is absent on the cover. On the other hand the cover Fly has some spotting that does not appear on the splash. In particular the outlines have been made thicker on the cover. A lot of the lines for the web and the background do not actually touch the figure. I present a close-up of the cover line art (red) over the splash. The alignment and size adjustment are not perfect but it should give you the idea. From all this I have little doubt that Jack did the splash page, it was inked (not by Kirby), then Joe had some stats made, assembled the cover, and finally retouched and expanded the inking. Joe had previously used stats to help create covers, but for the Fly #1 cover it was a much more intricate procedure.

Part of the splash overlaid with the cover line art (in red)

When I “completed” my recent serial post “The Art of Joe Simon” Stan Taylor pointed out that I had left out Joe’s work on the Archie series “The Adventures of the Fly”. What a slipup! I have renumbered the chapters so that this one gets in the proper sequence. The stories are obviously the work of a number of different artists. Sorting out who did what would be a Herculean task which I am not prepare to venture into at this time. But I get the impression that Joe did little, if any, of the actual interior art. However Joe was involved in all the covers. In fact the Fly covers supply a full range of Simon’s working methods.

I included an image for the cover for Fly #1 (August 1959) in Chapter 10 of “The End of Simon & Kirby”. This cover was made from stats of the double page splash by Jack Kirby, the various parts rearranged to fit the cover properly. I say the cover was made from the splash and not the other way around because the original art for the splash still exists and it includes no stats. It is not certain, but Joe was probably responsible for the physical construction of the cover. Of course that does not take away credit and Jack Kirby should be regarded as the primary penciler for this cover.

Adventures of the Fly #2 (September 1959) part by Joe Simon

The cover for Fly #2 (September 1959) is generally attributed to Jack Kirby. But I believe Simon put it together using different sources. Joe did the figure of the Fly swiping the pose from Captain America #7. I do not believe that Joe drew the diminutive robot operator it looks like he was done by the same artist that did the interior story and is not a swipe. The robots on the cover however are done in a very different manner then the story. It could have been done by a different artist but it seems unlikely. The operator and the robot fit together so well it is hard to believe that different artist could have done them.

Adventures of the Fly #3 (November 1959) by Joe Simon

With the third Fly cover Joe appears to turn to a more standard penciling approach. It is not possible to prove swiping was not used. Nevertheless the pose seems to be original and not a copy. Joe told me once that he used himself as a model drawing in front of a mirror.

Adventures of the Fly #4 (January 1960) by Joe Simon

For the cover of the last Fly comic that he produced, Joe turned to what was for him a more standard technique. That is doing the entire cover and turning to swipes for portions of it. The source for figure of the Fly was the Sandman from the cover of Adventure #88 (see below). As by his normal practice, Joe did not do a close copy, but altered it to suit his purpose. The pose is adjusted slightly, largely because Sandman was squatting on a flat ground while the Fly is on a slanted roof. But the position of the right arm was also modified. Joe also corrected Sandman’s ears which Jack had made oversized as he so commonly did at that time. In the end even though the source was Adventure #88 the finished product was all Joe’s. I cannot say if there are any other swipes on this cover, but I would not rule it out. At this stage in his career, Joe is very adept at what he does and this is a nicely designed cover. Yes swiping was used but it is so well done that we know about it only by comparing it to the source material (Adventure #88). Otherwise there is nothing about the cover that gives it away.

Adventure #88 (October 1943) by Jack Kirby

Art by Joe Simon, Chapter 11, The Party Is Over

Art by Joe Simon, Chapter 13, Wrap Up

The Adventures of the Fly #1 (August 1959) by Jack Kirby

Previously in the End of Simon and Kirby we saw that after the failure of Mainline and with a decrease in work for Prize, Jack Kirby turned to working as a freelance artist. Joe Simon continued to get Harvey comics to publish various S&K projects but none of them became hits.

After the end of Alarming Tales and Race For The Moon in November 1958, Harvey comics was probably reluctant to try any other new ideas from Joe Simon, at least right away. But that did not stop Joe from coming up with them. As Simon tells the story in The Comic Book Makers, in 1953 C. C. Beck wanted to get back into the comic business and asked Joe to come up with an idea. From this came a character called the Silver Spider and Beck would do a rough drawing of a story that was scripted by Joe’s brother-in-law Jack Oleck. This was presented to Harvey without generating any interest. Years later when Goldwater from Archie Comics wanted a couple of superhero comics, Joe remembered the Silver Spider concept, retrieved the art from Harvey, and rethought the idea. Joe sent Beck’s Silver Spider art to Jack Kirby and ask Jack to update it as the Fly. Joe’s story makes sense to me. Had the Silver Spider originally been a S&K concept, Kirby would certainly have done the original story, not Beck. But it would seem that Jack came up with the costume for the Fly, basing it in part on a unused S&K concept called the Night Stalker.

The Double Life Of Private Strong #1 (June 1959) by Jack Kirby

Joe took this concept of the Fly to Archie Comics and added to it a proposal to re-do an old superhero called the Shield. The original Shield was the first patriotic hero from before when the company was referred to as MJL. The new Shield would be given great powers and would have a secret identity as a soldier, sort of combining the original Shield with Captain America and Superman. Well Archie must have liked Joe’s ideas because The Double Life of Private Strong would come out in June 1959 and the Adventures of the Fly would follow in August. As Joe tells it, a threat of a lawsuit by DC put an end the new improved Shield with issue #2, also released in August.

Silver Spider (1953) page 1 by C. C. Beck

Silver Spider (1953) page 2 by C. C. Beck

The Oleck/Beck story was pretty much retained when Kirby updated it for the Fly. The main difference is that Jack replaced the original genie with an emissary from the Fly People. Kirby did introduce a discrepancy, in both versions the superintendent of the orphans is shown as under threat by mobsters because of a gambling dept. But in Jack’s version he is latter presented receiving his share of the of the orphanage racket and thus acting as one of the gang. This was probably done to streamline the story. Beck’s version required the Fly to first confront the superintendent before proceeding to the gangsters. While Jack made one fight by making the superintendent a gang member.

The Adventures of the Fly #1 (August 1959) “The Strange World of the Fly” page 1 by Jack Kirby

The Adventures of the Fly #1 (August 1959) “The Strange World of the Fly” page 2 by Jack Kirby

Although Kirby came up with the how the Fly should look like, Simon really was the driving force behind this new character. In previous new titles Kirby would generally supply the art, at least for the initial issues. But with the Fly Simon would turn to a number of artists to create the contents; Jack Davis, George Tuska, Al Williamson. He even got Carl Burgos to do layouts. Joe once showed me a list someone made of what artists did what. Unfortunately he followed this by saying that the list maker got it all wrong. Frankly I am not even going to try, with so many hands involved I am not always sure I can always pick out the work that Kirby did. Was Jack too busy with work at Atlas, or did Joe decide he might be better off using different artists? Unlike the Fly, Private Strong did get the Kirby treatment. At least for the first issue, which is all Jack. But the second only has one Kirby story.

Joe still has a lot of the original art and it is interesting as it shows Joe’s working practices at that time. For some of the stories much of the pages are cut and paste jobs. I do not know whether Joe was condensing, rearranging or adding to the story. But a fair portion of these comics went through this special type of editing. Joe would also construct some of the covers in a similar way. He would even swipe Captain America from a 1941 cover (Captain America #7) to make the Fly for the cover to issue #2. As far as I am concerned all the prior projects that came out after Mainline’s failure were Simon and Kirby productions of some kind. But the Fly and the Shields were not, the Simon and Kirby collaboration was over. With the Fly Joe finally seemed to have at least a limited success. But apparently Archie Comics was not completely satisfied and felt it could be better. So after just four issues (January 1960) Simon was out and a new crew took over the Fly.

Sick #1 (August 1960) by Joe Simon

On the face of it Teddy Epstein’s new idea just does not sound like a great one. I am amazed that after so many years and so many clones that Prize would want to try publishing yet another copy of Mad. Even more unbelievable is that fact that it succeeded! At lease one reason for that success was Prize turned to Joe Simon to produce it. Joe’s talent for visual humor would now be unleashed in Sick. Of course another reason for the success of Sick was the wonderful artists that Joe would hire. In a way even Jack Kirby showed up when Simon reworked some Fighting American art for a cover (Sick #42 February 1966). Joe would be editor of Sick from until 1968 and would still provide art for it for some time afterwards. During this period Joe Simon would work on other projects, primarily for Harvey Comics. At some point Joe would enter advertisement, but I still do not have a good handle on when that was.

Sick #42 (February 1966) by Jack Kirby altered by Joe Simon

Sick #66 (March 1969) by Joe Simon

Appendum 9, Mea Culpa

Epilog