Harvey comics had a long history of reprinting stories. According to Joe Simon, any comic that included previously published material was supposed to be labeled as such but that Harvey generally ignored that restriction. At the time comic book readers typically lasted on a few years before giving up comics. Use older material and it was unlikely that many would notice. However when the Comic Code arrived, Harvey Comics had a problem. There was nothing in the code against reprints, but the Code was stringent enough that older stories were unlikely to pass unless edited. I have previously provided an example of such editing (Rewrite!) although at the time I did not fully understand why it was done. I have not found a copy of it yet, I am sure the story that I had posted about, Gangster’s Girl, was originally published before the Comic Code.

The editing used to produce “Remember, I’m Your Girl” from “Gangster’s Girl” was relatively seamless. Despite the extensive editing involved, nothing obvious in the final story betrayed its reworked status. The handwriting was found on the margins of the original art looks like Joe Simon’s and so it likely Joe retrofitted “Remember, I’m Your Girl” for post-Comic Code publication. I have recently come across another example of editing done to reprint an older story for Comic Code approval. But in this case the final result was anything but seamless.

“I Went Too Far” from Hi-School Romance #19 (February 1953) was not that unusual for Harvey Comics. Harvey romances at that time were a little bit more risque then those produced Simon and Kirby for Prize Comics. By today’s standards they were still pretty tame stuff. Even then a youngster could see similar “adult” themes in the movies. When the Comic Code was introduced (the stamp started to appear on comics with cover dates about February 1955) what was suitable for a comic book reader underwent severe limitations. So when Harvey decided to reprint “I Went Too Far” changes had to be made. That changes had to be made is not at all surprising, but how they were made certainly was. The final results must have been the most poorly reworked story in the history of comics. If not I shudder to think what the worst one looked like.

Hi-School Romance #19 (February 1953) splash

Hi-School Romance #43 (September 1955) splash

The problem faced by “I Went Too Far” under the Comic Code started with its title and theme. The whole suggestion underlying going too far was strictly taboo. Not that “I Went Too Far” truly went too far. There was nothing truly explicit presented but the protagonist Jennie was involved with men whose ulterior motives clearly extended beyond just aiding her career. Removing traces of the theme throughout the story would require significant editing, but the changing of “Gangster’s Girl” into “Remember, I’m Your Girl” showed it could be done. To start with a new title had to be used and “Broadway Lights” was a good beginning. However the caption that accompanied the title and the script in the speech balloons of the splash would never get Comic Code approval. Right away it can be seen why “Broadway Lights” would be such a disaster. Rather then come up with some new, more innocuous text, the editor simply discarded all the offending writings. That was bad enough but when combined a decision to keep the original color plates it would only highlight that something had been done. Areas could be removed from the color plates, but colors could not added. So the top of the splash page became emptied of all color.

Hi-School Romance #19 (February 1953) page 4, panels 4 and 5

Hi-School Romance #43 (September 1955) page 4, panels 4 and 5

Just about any pre-Code romance story had art that needed to be changed in order to get approval. For instance any prominent display of the female figure, even when clothed, had to be adjusted. Normally this was done by judicious application of ink to shadow the offending art. This was also done in “Broadway Lights” and was the most successful of the editing changes done on that story. The Comic Code would never approve of Jennie showing her leg during an audition in “I Went Too Far”, so the leg was just shadowed in panel 4 above. Yes it left her in an inexplicable pose, but only the more observant reader would have noticed. Similar, relatively minor, additions of ink can be found throughout “Broadway Lights”.

But changes to the art were not all that needed to be done in panel 4 as the manager request for Jennie to show he leg had to be removed. Also the description of Mr. Tindal’s importance in panel 5 was obviously considered too explicit. These panels highlight another shortcoming of the editing done. It was bad enough that a shorter text was to be substituted for the manager’s speech in panel 4; no effort was made to center it in the balloon. The editing to the speech balloon in panel 5 required just the removal of previous text, but since no attempt was made to center the remaining speech the balloon looks ridiculously spacious.

Hi-School Romance #19 (February 1953) page 3, panels 1 and 2

Hi-School Romance #43 (September 1955) page 3, panels 1 and 2

As bad as the examples were of poorly edited speech balloons that I provided above, take a gander at panel 2 from page 3. Could the editor have made it any clearer to the original readers that they were getting damaged goods? In panel one Jennie’s remark was completely eliminated but the color plates left behind a trace of the original balloon like some sort of ghost. The primary reason of all this editing was the need to remove any reference to the agent offering Jennie a check for a train ticket! The editor felt that it would be okay under the Comic Code to offer a business card but not any money! Unfortunately in all likelihood the editor was probably right. Note also the editor felt that agent’s running his fingers through Jennie’s hair was also objectionable and so his fingers get the shadow inking treatment.

Hi-School Romance #19 (February 1953) page 6, panels 1 and 2

Hi-School Romance #43 (September 1955) page 6, panels 1 and 2

Most of the art changes made were done with covering over areas with black. One exception was the first panel of the last page. The original version showed Jennie’s man, Roy Tindal, packing a suitcase. This was probably the most explicit indication of the extent of the relationship between Jennnie and Roy. It was probably too subtle for most of the story’s readers to understand, but not subtle enough for the Comic Code. The suitcase was redrawn as a set of drawers or a filing cabinet. It is hard to be sure which, but that was enough. Since the color plates were not altered, this art modification left an inexplicable red patch on the side of the bureau.

Hi-School Romance #19 (February 1953) page 4, panels 1 to 3

Hi-School Romance #43 (September 1955) page 4, panels 1 to 3

In order to remove the “went too far” theme anything remotely suggesting the trading of sexual favors by Jennie in order to advance her career had to be eliminated. Actually there was little to suggest that in the original “I Went Too Far” but there were two stolen kisses. Jennie’s reaction to the first showed it clearly was unwelcome but that did not matter it still had to go. A little shadow to a kiss scene would not hide the kiss, so more drastic measures had to be done. The logical approach would have been to have some artist provide a new panel, but obviously little in the way of artist’s fees were going to be added to the costs of updating “Broadway Lights” to the Comic Code. Instead the editor toke a copy of the line art from panel 2 enlarged it slightly and used it to replace the kiss in the first panel. Naturally the color for panel 1 was no longer appropriate so all color was removed. The results are glaringly unnatural.

Hi-School Romance #19 (February 1953) page 5, panels 3 to 5

Hi-School Romance #43 (September 1955) page 5, panel 3 to 4

While inking in a little shadow would not hide a kiss, inking in a lot would. Completely filling in the panel was the editor’s solution for the other stolen kiss. This drastic solution for modifying art was used in another panel as well. I do not know what I find most egregious; duplicating art or completely removing it.

I have by no means pointed out all the changes made to this story in order to get it approved by the Comic Code Authority. Every single page had multiple examples of glaring obvious changes of very heavy handed editing. I am sure even the most unsophisticated original comic book owner must have known that they were reading reworked material. That reader must have been confused by the ending because while Jennie’s former small town boyfriend comes to the rescue, the scenes where he punches out Roy Tindle and the one where the cops lead Tindle away have been inked out. While in the original ending Jennie’s attempt to renew her relationship with her rescuer fails as he reveals he is to be married the next day, for the rework version the relationship is repaired. Frankly the “I Went Too Far” version really did not go too far. Nothing was explicit or beyond what might been seen in the movies of that day. None of Jennie’s actions were at all glamorized. The story was a true morality tale with Jennie’s ill made choices resulting in her loosing everything she previously had while gaining her preciously little. The Comic Code “Broadway Lights” version completely looses the moral message because despite some of her errors Jennie looses nothing of significance.

Ironically the Simon & Kirby studio regular, Bill Draut, was the artist for both the more kindly editing of “Gangster’s Girl” to “Remember, I’m Your Girl” and well as the horrendous job of transforming “I Went Too Far” into “Broadway Lights”. In neither case would the reprinting of the stories have been of any concern of Draut as he almost certainly did not get any reprint fees. Joe Simon once remarked to me that Harvey had used the left over material from Stuntman and Boy Explorers without any permission from Simon and Kirby. As Joe put it, in the comic book business even a friend would take advantage you.

Alarming Tales #3 (January 1958) restored art, by Joe Simon

A recurring theme in my posts is how well Joe Simon could mimic Jack Kirby. This has resulted in a number of pieces that Joe did becoming attributed to Jack. Do not get me wrong, the overwhelming number of the items in the Jack Kirby Checklist are correctly attributed. Still there are a small number of entrees that are wrong and it is important to try to correct those mistakes. I would like to say that my study of Joe Simon’s art has enabled me to spot all the attribution errors that others have made. I would like to say that but it would not be completely true. A case in point is the cover for Alarming Tales #3. I provide an image of the restored line art to this cover above, a color version can be seen in a previous post.

In the past I have followed the Jack Kirby Checklist in saying Kirby did this cover. Not everyone agreed, for one sharp eyed Nick Caputo demurred. I was not completely satisfied with the Kirby attribution because I knew of the existence of another version of the cover art. It seemed to me that a comparison of the two would probably resolve the credit issue. As I hope to show in this post, that has turned out to be the case.
Unused original art for Alarming Tales #3, by Jack Kirby.

I provide an image of the unused version above. A note of caution when comparing the two versions. The unused one is original art and therefore has not been subjected to the blurring and loss of details that are the results of the printing process, all of which the published version has been subjected to. Also the title on the original art is a recent addition. The presence of penciled text indicates the decision to come up with new cover art was made before title stats would have been applied to the original.The derivation of the final cover from the unpublished version is obvious, both have the same cast of characters in about the same positions. The greatest difference is the backgrounds. Not only has the background been completely changed, it has been pushed much further back in the released cover. A closer examination reveals that the people are not identical. The size of the old man has been increased while the relative size of the boy and, even more so, the men in the boat has been reduced. The old man’s head has been enlarged and the position of his left arm has been shifted. The details of all figures have been changed. Curiously the boy’s pants have been given a stripe like those worn by the USPS mail carriers. My original suspicion that reworked stats of the first cover were used to construct the final state was incorrect.I think most readers will agree with me that the original art is more beautiful then the final cover. So why spend the time and effort to replace it? The answer to this riddle is that the purpose of a comic book cover is to entice a viewer to purchase it. To do so it must stand out from the rest of the comics on the rack. The problem with the original version is that the old man is overwhelmed by the background. By simplifying and pushing the other elements back, the old man and his feat of walking on water becomes more obvious and dramatic. It is a question of design taking priority over artistry.

Close-up of the old man by Jack Kirby and the Joe Simon rendition.

Because the compositions of the two versions are so similar, we must look at the details in order to arrive at the correct attributions. Although not a standard part of Kirby’s repertoire, the old man of the first state seems to be not only his pencils but his inking as well. There are subtleties that his copyist is unable or unwilling to capture. Some of the alterations do seem on purpose, in the final state the old man has been made older and more frail. In doing so the published version has lost the quiet dignity and resolve that the original old man possessed.

Close-up of the young boy by Jack Kirby and the Joe Simon version

Personally I do not find much in the final state of the old man to suggest who was responsible. For an answer to that question I turn to a close-up of the young boy. Once again the original version seems to have Kirby’s touch all over it. Some of Jack’s style has been preserved in the published interpretation but purposeful alterations have been made as well. Frankly in Kirby’s hands the boy has been given a somewhat dim witted response to his predicament. The copyist on the other hand has widen the boys eyes, raised his eyebrows and furrowed his forehead. All this gives the boy a more intelligent and surprised reaction to being lead by the old man over water. It is the boy’s eyebrows that convince me that the copyist is Joe Simon. Similar eyebrows crop up often in Joe’s work going back as far as the cover for Champ #19 (June 1942) .

The men in the boat are typical Kirby creations. Unfortunately it is hard to compare the two versions because in the published one they have been reduced in size and their finer features lost by the reproduction process.

I mentioned above that I believe Jack Kirby inked his own pencils for the unused Alarming Tales #1 cover. That is not surprising because AT #1 is a comic where Jack did most of the work, including the inking. When I previously discussed the inking in AT #1 I found some of it similar to the standard Studio style while others were closer to the Austere style. On a whole I felt the material was transitional between those two Kirby inking methods. The inking style exhibited on the unused cover is a bit of an anomaly. It is true that the bow of the boat exhibits what looks like typical picket fence brushwork (see the Inking Glossary). It should be noted that it is unusual for the rails of a picket fence inking to depict literal objects like it does here with the bow edges. A better example of typical Kirby brushwork can be found in the folds of the boy’s shirt. They exhibit the tendency to be flatter then the underlying form that was common for Kirby at this time. The form lines on the tree on the left side of the image also look like Jack’s. But other inking methods used are very unusual for Jack, in particular the form lines on the old man’s pants. I do not recall Kirby ever doing something like that before.

Also unusual about the inking is the abundant use of white-out. Although Kirby was a bold inker his control was so great that he usually had to make few adjustments with white-out. Actually some of the white-out on the unused cover were not mistakes at all. Many of the trees in the background and some of the branches in the water were actually created by white-out. The old man’s hair was done by a combination of standard inking and the use of white-out. But mistakes were corrected, for instance the edges of the drooping fronds left of center on the top were worked over. Some earth lines in the background and a water stain on the upper part of the boat were removed. I am not sure what to make of Jack removing the bottom of the boy’s shoes. Perhaps it was done to indicate that he the lacked the old man’s confidence and so could not tread as lightly over the water surface? A most surprising correction is found in the depiction of the water, much of what now looks white has abundant use of white out. The white-out does not completely hide the underlying inking and judging from their faint markings the water surface was originally much darker.

Despite all the features that are not usually found in Jack Kirby’s inking, I find the combination of boldness and control so characteristic of his work that I am pretty confident to credit him with the inking. The published cover shows Joe Simon equally bold with his use of the brush but without the same nuance of control exhibited by Kirby. It is interesting that Joe made the water surface very dark, just the thing that Jack spent so much effort to remove from his own version.

I love comparing different artists’ versions of the same subject. It is not a question of trying to determine who the better artist is. What I find interesting are the different decisions each artist made and what the reasons for those decisions were.

In a previous post I mentioned that some of the stories for the two final issues of Alarming Tales had an Atlas flavor to them. My understanding of Atlas comics of this period is limited so I would not want to over emphasize this similarity. I guess I should give some examples of these Atlas-like stories, but instead I want to comment on three stories that engage me one way or another when I read them.

Alarming Tales #5 (September 1958) “12,000 To 1″ by unidentified artist

A man sets up some sort of television or radio station deep in the jungle. He encounters an unexpected opponent to his efforts. What follows can only be described as warfare. The man uses a number of ingenious methods to defeat his enemy, but to no avail. In the end only the appearance of another target for his opponents saves the man. The hostile enemy are driver ants. The story brings to mind Alfred Hitchcock’s movie, “The Birds”. That movie was released in 1963 so there can be no relationship between this story and the film. Rather the story’s author had probably viewed a nature program about driver ants, which are also known as army ants. The writer gets some of the facts correct. The swarming of the ants and the fact that they are actually blind. The scripter does not call them army ants but he obviously must have heard the term. But the writer takes the name literally as the ants seem to act as a military unit. While reading I kept wondering if these were meant to be real army ants or whether some radioactive origin would be revealed. Would normal driver ants be expected to pause and contemplate an obstacle that the man has created? Would the male drones for the colony actually be expected to attack and destroy a radio/tv antenna? Would real ants care to reek havoc on electronic equipment? The whole story is so preposterous that it keeps you reading as you wonder what next peak of absurdity would be attempted. Because of, not despite, the peculiarities of the story I actually enjoyed it.

Alarming Tales #6 (November 1958) “King of the Ants”, art by Al Williamson

I guess one ant story was not enough, Alarming Tales #6 includes “King of the Ants”. A tropical plantation is attacked by some raiders. As a result of some gunfire our hero is accidentally showered with chemicals. He awakens to find he has shrunken to a very small size. Ants seize him, presumable for food, but after the man defeats an enemy, a beetle, the ants bring the man back to rule the colony. I wonder what the mystery food that the ants provided the man was? Perhaps it is bests not to know. Eventually the man returns to normal size while the plantation is still fighting the raiders. The hero uses a tactic he learned from the ants to defeat his human foes. The plot of a man shrinking to a small size and his encounter with an ant colony would appear in Marvel’s Tales to Astonish #27 (January 1962). The similarities of the two plots maybe significant or may just be a coincidence. Ultimately the inspiration for this plot may have been the movie “The Incredible Shrinking Man” that was released in 1957. As I remember it, that movie did not include any ants. But it was common to describe something that looked very small as ant-size so it may not have been too surprising to connect a shrunken man with ants. This story does not have any of the entertaining excesses of “12,000 To 1″ but having Al Williamson as the artist more then makes up for that.

Alarming Tales #6 (November 1958) “The Strange Power of Gary Ford” by unidentified artist

Next I want to write about “The Strange Power of Gary Ford”, another weird story. A man, Gary, finds a city in the desert where none should be. Here he discovers that he now has the ability to walk through walls and other solid structures. The man credits this to the local water, adding that the city’s citizens do not share this ability because they probably are used to the water. (I do not know what seems odder, that the man made this conclusion or that the water allows the man’s clothes to go through walls as well). The town people welcome Gary and introduce him to their ruler. Gary captures the heart of the shieks’s daughter and professes his love. But actually Gary becomes enamored with another outsider, an attractive redhead. Gary convinces her to leave with him, but not before Gary, using his power, helps himself to the ruler’s jewels. The two escape separately, Gary on his motorcycle and the lady on a horse. No sooner does Gary evade his pursuers then the city disappears and he finds the jewels have turned to sand. Gary regrets that it all was an illusion since the redhead was just the sort a girl he could have married. We next see the redhead also alone in the empty desert, also saying it was too bad it was all an illusion because she really would have liked to marry Gary. This is another of those stories so odd that you just have to shake your head go along with its goofy premise.

At the time that Alarming Tales #6 was published the Comic Code had been in operation for a few years. The Comic Code purpose was to insure that susceptible youngsters did not fall under the comic books bad influence and become delinquents. So here is “The Strange Power of Gary Ford” where the hero rewards the welcome he has received from the city’s inhabitants by leading on a the shiek’s daughter and stealing a ruler’s jewels. That sounds to me like just the type of morals Comic Code was trying to protect developing minds from. Oh I forgot, the citizens of the city were Arabs, I guess that made it all right.

As I am in the process of restoring the last issue for Alarming Tales I ponder the significance, if any, of the change that came over the final two books. As I previously mentioned, I find issues #5 and #6 to have an Atlas flavor to them.

Alarming Tales #5 (September 1958) art by John Severin

An important contribution to giving AT an Atlas look is the cover artist John Severin. Well at least he is listed as the artist in GCD and some other Internet sources. Judging by some of John’s work for Atlas, such as the cover for Black Rider Rides Again #1, this seems like an accurate attribution. Although he had been only been working for Atlas for the last few years Severin had done a lot of work for them and his style was very much in tune to that publisher. Atlas seemed to prefer comic art that emphasized detail, a style I find rather dry. That is what we find for John’s rendition for the Atlas Tales #5 cover. AT #5 is over all realistic, almost illustrative, but note the fish-like mouth of the man in the foreground. Yes lots of details, look at all the machinery that can be seen through the door. But all things considered I am afraid this cover leaves me rather cold.

Alarming Tales #6 (November 1958) art by John Severin

John’s cover for AT #6 is even more detailed and has more figures. Generally I find this sort of art style dry and uninteresting. Not in the case of the AT #6 cover, Severin has really pulled off a great cover. Yes there is a lot of detail, but John maintains the Ambassador as the center of focus. The background figures provide just the right sort of emotional responses. With one exception, I do find the pointing man to be a bit awkward. A good deal of the success comes from the character of the Ambassador. Why would anyone think that the envoy from another planet should look like a British bureaucratic official? I do not know who came up with him, but he works.

Not to diminish Severin’s art, but part of the success of this cover is due to the colorist. All the background is done in muted blue and purple as if under the shadow cast by the flying saucer. This has the beneficial effect of playing down all the background details allowing the Ambassador to stand out even more. The background figures also show small highlights of white. I am not sure whether these highlights really make any sense but they do add interest and help prevent the figures from appearing too flat.

It was not just the cover art that leads me to say that Alarming Tales had become more Atlas-like. Some of the stories also had that flavor as well. Or at least they are rather different from previous Simon or Simon and Kirby productions. I will be writing about some of the stories in another post so I will leave it at that for now.

Alarming Tales #6 (November 1958) Contents page, art in part by Joe Simon

AT #5 has a postal statement, the only one found in any Alarming Tales issue, which lists Leon Harvey as the editor and nowhere mentions Joe Simon. Could the alteration that came over Alarming Tales be due to a change in editors? I am not the first to warn against an over reliance on the postal statement. I believe that often the postal statement will list some one company personal as the editor even in cases where another person may be doing the actual work. Leon Harvey is one of the owners of Harvey Comics so we maybe dealing with just that sort of case.

Although Simon did not do the covers for AT #5 or #6 he was not completely absent. I am uncertain whether Joe had any hand in the Contents page for AT #5 but he clearly worked on the Contents for AT #6. The figures in the first art panel look like they were done by Joe. I am less certain about the next two panels. The ambassador in the second panel is particularly well done and faithful to the story art. We have seen in the Harvey romance content pages that Joe could do excellent imitations of other artists. But the best examples of Joe imitations are close swipes from the story. In this portrait of the ambassador I cannot find a source from the story. In the end I am uncertain whether Joe did the whole introduction story or just the first panel. But his presence doing at least part of the contents page suggests that he was still acting as editor.

Of course if Joe Simon was still the editor why did Alarming Tales become so Atlas-like? Unfortunately I just do not have a good answer. Perhaps after the Implosion writers who had worked for Atlas took gigs elsewhere, including at Harvey. Maybe Jack Oleck was doing some of the writing for Alarming Tales. We know Oleck did some work for Atlas before the Implosion perhaps he continued to use some stylistic traits learned there. It is known that Oleck recycled stories from one publisher to another. Perhaps that was being done here, unfortunately I just do not know enough about Altas comics to say if any of their stories are too close for comfort with those in Alarming Tales.

Previously I mentioned what a fine comic Alarming Tales #1 was. Actually the first four issues are rather good even though Kirby’s presence diminishes with each issue until with Alarming Tales #4 Jack is completely absent. I am less enthusiastic about issues #5 and #6. The final issues seem to have succumbed to a case of Atlas envy which resulted in less satisfying art and stories. I have been scanning and restoring Alarming Tales comics and last weekend I did issue #4. This has inspired me to write about an assortment of subjects with Joe Simon as the tenuously connection.

Alarming Tales #4 (March 1958), Contents page art by Joe Simon

A standard part of the Harvey comics format was the content page. Generally this was little more then using bits of the art or titles from the stories contained in the comic. With Joe as the editor or producer this simple format was often modified with the use of a short introduction for the featured story. Not long ago I provided examples of this from the romance titles. The romance introductions most often told a prelude to the featured story, but sometimes it was the comic book equivalent of a movie trailer. Interestingly the artist for the romance content page, usually Kirby but sometimes Simon, would imitate the artist for the featured story. Alarming Tales #4 also has a content page with a short story. Here Joe is the artist but he makes no attempt to imitate the featured artist, Jack Kirby. Jack’s story, “Forbidden Journey”, is about a boy who is so eager to escape into space that in order to get to the spaceport he commandeers a vehicle with almost disastrous results. In Simon’s prequel, the boy, appearing even younger, tries to sign up as a cabin boy. The spaceman who confronts him in the second panel seems unnaturally large, almost gigantic. I am sure Joe was well aware of this but does it as a way of indicating how intimidated the boy is. If that was not enough, the third and fourth panels show his interview with the leader. Here Joe uses an enormous screen showing only the leader’s face. This extra intimidation and the leader’s derogatory speech prove too much for the boy.

I fully admit that Joe’s art for the content page really was not among his better efforts. But that seems to be typical failure even when Jack did the introduction story in the romance titles. These content stories really were not that important and probably were rushed jobs done after all the rest of the comic were completed.

Alarming Tales #4 (March 1958) advertisement for Race for the Moon

Science fiction played a significant part of Alarming Tales yet it only represented a portion of the stories from that title. AT #4 included the above ad for a new title, Race for the Moon, which would be composed entirely of stories from the science fiction genre. Such a full page ad for a comic was unusual for Harvey. Normally ads were either small ones for a single title or full page advertisements for multiple titles. Joe and Harvey must have hoped that such a prominent ad and the recent surge in interests in space due to Russia’s Sputnik would make Race for the Moon a big seller. Unfortunately it did not seem to work.

Included in the ad is a copy of the cover for the first issue of Race for the Moon. However it is not identical to the released cover. It shows the same astronaut and space craft that Kirby drew. The main difference is the more prominent use of the moon surface in the background of the ad version compared to the printed one. Also in the final cover the earth was more completely set in the blackness of space. Joe put particular effort in getting the covers just right during this period. He completely redid the cover for Alarming Tales #1 from the original done by Jack Kirby (although that version was at first meant for Black Cat Mystery). Joe did two versions for the covers for AT #3 and #4 (I now agree with Nick Caputo that the AT #3 cover was done by Simon, not Kirby). In the case of RFTM #1 Joe probably thought that the astronaut and vehicle did not stand out enough in the first state. Simon therefore moved the distracting moon surface to the bottom of the image leaving the man and ship in the darkness of space.

Alarming Tales #4 (March 1958) art by Joe Simon

As I said not all of Alarming Tales was dedicated to science fiction. As appropriate for a comic with this title, some of the stories belong to the horror genre. Or at least as much of horror that was possible under the Comic Code. The cover for AT #4 depicts one of the interior stories “The Feast of the Rag Dolls”. I suspect when Joe did this cover he was thinking of a story and cover from Black Magic #1. In that story a rag doll with a demonic nature brings murder and mayhem to a family. For the cover to AT #4 Joe brings a whole troop of rag dolls to life. If anything the dolls’ smiles bring a threatening chill for their advance toward the surprised man.

Alarming Tales #4 (March 1958) “Feast of the Rag Dolls”, final panel for page 4, art by Doug Wildey?

I attribute the story art for “The Feast of the Rag Dolls” to Doug Wildey, albeit questionably. I am not very familiar with Wildey’s work, I do not think he ever did any work for Simon and Kirby prior to this period. Nor did he sign anything he did for Joe at this time. That Doug did work for Simon is indicated because Joe’s collection has original art for “When Time Ran Out” from Thrill-O-Rama #1 (October 1965) with Doug’s name and address written on the back of one of the pages. I have read that Wildey made heavy use of photographs in drawing his comics. I can easily accept that because some of his work combines very realistically rendered images interspaced with more simple ones. In general I prefer a more “cartoony” style for comic books. I feel that with the small size of most panels all the details of an illustrative approach can actually make it hard to project the emotions in a scene. A more simple art combined with some exaggeration can completely overcome the difficulties of telling a story on the small pages of a comic book. Of course Jack Kirby is a great example of what an artist can do without being truly realistic. However I also feel that it is a mistake to look at an art form only from a single aesthetic viewpoint. Sometimes you have to put aside your own assumptions and try to adopt those of the artist in question. So when I try to accept Wildey’s more illustrative style I find that he really is a talented artist. Doug truly knows how to present a story, he is almost cinematic in approach. The only question is did Wildey pencil “The Feast of the Rag Dolls”? I make this attribution because of similarities between this story and the parts of other Wildey pieces that do not seem to be based on photographs. But I just do not know whether Doug would occasionally abandon photographic references throughout an entire story as would be the case if he were the artist for “Feast of the Rag Dolls”.

The threat the rag dolls present to the man on the cover as presented by Joe Simon really was not part of the story. Actually the threat perceived by the boy’s parent is the obsession the boy shows for the dolls and his insistence that they talked to him. The parents appeal for help from the boy’s much older and very idolized brother. That brother decides to use the child psychology he has learned in college. He arranges a party for the boy and all his dolls. The older brother uses the party to indicate to the boy that the rag dolls really cannot talk and are nothing more then toys. It is a panel from that party whose image I have included above. Note that all the rag dolls seem slumped and lifeless in the chairs. But I love the way Wildey uses the shadows casts by the candles to provide the otherwise mundane scene with an eerie overtone.

Alarming Tales #4 (March 1958) “Feast of the Rag Dolls”, page 1, art by Joe Simon

While I am not certain Doug Wildey penciled the story it is clear that the splash page was drawn by Joe Simon. Joe presents his version of the same party scene that Wildey did in the panel image I presented earlier. I am sure Joe fully knew the story because the older brother gives a speech chiding the rag dolls for not toasting the guest of honor. Yet despite this Simon does not present the rag doll guests in the slumped and lifeless manner as Doug Wildey had. Instead Joe provides us with rag dolls that look lively and are having a very good time. As if the emphasize their dynamic nature, Simon adds above a frieze of rag dolls prancing across with gifts.

I doubt that any art form is grown in isolation from all others. Carefully examine the work of the earlier comic book artists and you will find they were influenced by syndication strips, magazine and pulp illustrations and the movies. Because comics were a part of pop culture it is not surprising that comic artists drew inspiration from other popular arts. What is infrequently found are any references to the fine arts. Crowd scenes are found in many art forms but only in the fine arts is it not unusual for one of the secondary participants to look back out at the viewer. That sort of thing is so rare in comic books that I cannot help but feel that when the rag doll in the lower right corner looks back at us, that is Joe tipping his hat to the fine arts. When an artist wants to include his self portrait in a group painting it is generally as that outward looking individual. So what do you think, is that Joe with his cigar smiling back at us?