Alarming Tales #1 (September 1957) pencils by Joe Simon and Jack Kirby

I had previously credit the cover art for AT #1 to Joe Simon alone but I now realize that the art is a “Frankenstein” made from different pieces of art. It was not that unusual for Joe to piece together different art (see Cover for Alarming Tales #2, My Third Attribution Attempt). In this case that lower portion came from art that Jack Kirby drew while the upper portion was done by Simon. I suspect that the original art that Kirby made included a figure in a fly chair very much like the one in the actual story. That is the way that the unused cover for BCM #59 was done. That included goggles that covered the figure’s eyes. Such an depiction would fit the story but Joe probably felt (and I agree) that the cover would be more dramatic with the full face exposed. The portion of the art that Simon did was done on a craft tint board with irregularly shaped dots that sometimes is referred to as a mezzotint pattern. Lines were then “inked” over this with a pen to provide interesting dotted lines.

Alarming Tales #1 (September 1957) “Contents”, pencils by Joe Simon and Jack Kirby

It appears that except for the lettering the contents page was created entirely by stats from parts of the book. Simon and Kirby did not do use stats to create comic pages very often while they had their own studio but apparently Harvey either had a stat camera or used a service bureau to provide copies. I love the way the images of Donnegan’s chair are woven through the contents page.

Alarming Tales #1 (September 1957) “The Cadmus Seed”, pencils and inks by Jack Kirby

Scientifically engineered humans sounds like something out of more recent newspapers. However the Simon and Kirby story never mentions DNA or cloning. The structure of DNA had been discovered by this time and it’s importance was well known in the scientific world. But science fiction had not yet caught up with science fact. Nonetheless “The Cadmus Seed” is a delightful story with a mildly humorous ending.

Alarming Tales #1 (September 1957) “Logan’s Next Life”, pencils by Jack Kirby, inks by Joe Simon

“Logan’s Next Life” is the only story in AT #1 that could be describe as belonging to the horror genre. Since is consisted of only two pages it was not that much of a contribution to AT #1. Most of the stories from the Alarming Tales and it’s companion title Black Cat Mystic could best be described as science fiction. But despite being in the minority horror stories would still play a significant part of these titles.

The art for “Logan’s Next Life” was based on an earlier story named “When I Live Again” that had appeared in Black Magic #13 (June 1952, see Little Shop of Horrors, Chapter 5). The original story was penciled and inked by Bill Draut. While Kirby was known to do an occasional swipe, such extensive swiping for a single story would be rare. One example would be “Invisible Irving” from Fighting American #5 (December 1954, see A Simon and Kirby Swipe). Another example of an extensive Simon and Kirby swipe appears to be “Deadly Doolittle from Fighting American #6 (February 1955, see Fighting American, Jumping the Shark) but in that case it was Joe Simon doing the swiping.

Alarming Tales #1 (September 1957) “The Fourth Dimension Is A Many Splattered Thing”, pencils and inks by Jack Kirby

This story was included in a recent post concerning Kirby’s use of extra-dimensional traveling (Jack Kirby’s Trips to the Fourth Dimension).

Alarming Tales #1 (September 1957) “The Last Enemy”, pencils and inks by Jack Kirby

This story has longed been recognized as a prototype for Kamandi title that Kirby did for DC from 1972 until 1976. The most significant change is that while except for the protagonist, humans were completely absent from “The Last Enemy” they were present in Kamandi but usually as nothing more than speechless animals. But otherwise the theme of talking animals taking over the world was common to both. Frankly I do not recall how this change was explained in Kamandi, but in “The Last Enemy” it was the results of an atomic war. While that is a perfectly understandable explanation for the lack of humans it is not clear how the change in animals occurred.

Alarming Tales #1 (September 1957) “Donnegan’s Daffy Chair”, pencils and inks by Jack Kirby

Oddly the story featured on the cover of AT #1 was the second shortest in the book. Stories from Black Cat Mystic and Alarming Tales were pretty consistently five pages long but “Donnegan’s Daffy Chair” was only four.

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I got a pleasant surprise when I visited my comic book store last night, DC’s reprint of Spirit World. What a marvelous time this is for Kirby fans as more and more of his work is being reprinted. Had someone told me a decade ago that DC would reprint Spirit World I would not have believed them, actually I would have thought they had lost their grip on reality. Spirit World was by no means a Kirby classic. It received remarkably poor distribution. Mark Evanier describes not being able to locate any copies at newsstands but finding bundles of them at a distributor’s warehouse that had never been delivered. DC’s confidence in it was so low that it was cancelled after a single issue, much too soon to be based on any sales figures. It is not even a cult classic, it rarely comes up in discussions about Jack Kirby’s art. But everything Jack did he did well so it is great to see this work back in print.

“Amazing Predictions” page 3 (from the reprint)

Kirby wanted Spirit World to be a high quality magazine printed in color but that is not the way DC would publish it. Instead a wash was applied to the line art and the results were printed using a dark cyan ink. Frankly it was not the best approach. But that is the approach that was originally made and was repeated for the reprint. Although I wish DC had initially followed Kirby’s wishes I believe their decision for the reprint to reproduced the effect of the original publication was the correct one. The quality of the reproduction in the reprint is exceptional. There are times when the original magazine was a little clearer but others where the reprint did a better job of presenting the art. But these differences are minor variations unnoticeable unless the two are compared side by side. One important improvement made for the reprint was the paper. I have never been a fan of using a yellowish paper in an attempt to match the current look of comic books. That look is due to aging and was not the look the books had when they first appeared. Using a yellowish paper for the Spirit World reprint would have darkened the cyan inked and ruined the effect. Instead DC has wisely used a flat white paper for this reprint.

“Amazing Predictions” page 3 (with Photoshop adjustment)

One of the special treats of Spirit World was all the collages that Kirby created for it. Kirby’s collages have been receiving more and more attention in recent years. Recently Steven Brower has devoted an article on the subject (Jack Kirby’s Collages in Context). I must admit that as a young reader I was not overly impressed with Jack’s collages but as an adult I greatly admire them. Part of the problem with the collages was the rather poor printing they originally received. I could not resist using Photoshop to convert one of the Spirit World collage to a better quality black and white. In my opinion it is a distinct improvement. However remember that Kirby originally meant Spirit World to be printed in color and take a look at the original art of the same collage that is included in Brower’s article. What a difference and what a lost opportunity that DC did not follow Kirby’s wishes.

“Witch Queen of Ancient Sumeria?” page 2 (from the reprint)

Spirit World was cancelled after a single issue but Kirby had already completed the art for the second issue. The Spirit World reprint includes the work that had been meant for Spirit World #2. I understand that these stories had been used in some of DC’s horror and mystery comics but the reprint only uses the line art. What a contrast between the two sections of the current book. While Spirit World #1 was inked by Vince Colletta and issue #2 by Mike Royer that is not the real reason for the difference in the appeal of the two sections. What is really shown is the rather detrimental affects of the wash and cyan ink had on the initial issue art. Kirby was at the top of his artistic form and it really shows in this last section.

There is a small essay in this latest book by Mark Evanier. Evanier’s writings have appeared in a number of books on Jack Kirby (including Titan’s The Best of Simon and Kirby). With good reason as there probably is no one more knowledgeable on Kirby (if only he would finally publish his full biography on Jack). But what Evanier has to say is particularly important concerning the Spirit World as he was present and involved in its creation.

“The Burners” page 6 (from the reprint)

Colleges played a small part in the second issue of Spirit World. But I could not resist including the sole exception. I hope to someday to discuss the Spirit World more fully, this has been more a review of the reprint book. I will not try to predict how successful the Spirit World reprint will be but I do believe it is a worthy addition to the collection of any Kirby fan.

• 

Black Cat Mystic #59 (September 1957), pencils and inks by Jack Kirby

The cover for BCM #59 shows a figure erasing himself away, a rather unusual image to say the least. The figure has six fingers per hand and a large head which indicate he is not truly human. That the figure was also chained indicates that he was considered a threat by the scientist and soldiers shown on the cover.

Tales to Astonish #49 (November 1963), pencils and inks by Don Heck (image from GCD)

While by no means identical a similar cover was created years later for Tales to Astonish #49 (November 1963). The cover artist was Don Heck but the story was drawn by Kirby and inked by Heck. Apparently the Living Eraser was for years used as an example of occasional failures by Lee and Kirby collaboration. While the Living Eraser was not up to the standards of comic book antagonists like Galactus he seems better than some of the other early creations such as Paste Pot Pete. At least the Living Eraser provided a memorable image.

Black Cat Mystic #59 (September 1957) Introduction, pencils by Jack Kirby, inks by Joe Simon

A contents page was pretty much standard at Harvey when Simon began working there as an editor. But it appears to have been Joe that converted the page into an introduction page. This introduction would be a sort of a prequel to one of the stories in the comic. Joe would often try to draw the introduction in the same style as the artist who did the story (Joe Simon’s Turn At Imitating). Joe was good enough of a mimic that some experts still attribute these introduction to the story artist. Jack Kirby also did some introductions for Harvey (Bill Draut and His Imitator, Jack Kirby, Jack Kirby Swiping from Bill Draut, Kirby Imitating John Prentice and Kirby Imitating John Prentice Again). Previously I believed that Jack was imitating the story artist as well. However Kirby was a rather poor imitator and except for one swipe Jack was just being himself. I now realize it was Simon who was purposely inking of these pieces to made them look the story artist. But in the case of the Introduction for BCM #59 Kirby was the story artist and Joe inks the piece in his normal manner.

Black Cat Mystic #59 (September 1957) “Today I Am A…”, pencils by Jack Kirby, inks by Joe Simon

Jack Kirby is famous for his high action comic art. Understandably because he was so good at it. But Kirby was also master at building tension into a story and “Today I Am A…” is a great example of that. In the hands of a lesser artist this might have been a rather mundane story but Jack transforms it with his usual magic. “Today I am a man” is a bar mitzvah cliché that was probably lost to most of the young readers when this story first was published but it is a clever title for a story of an exceptional individual becoming of age.

X-Men #1 (September 1963) “X-Men”, pencils by Jack Kirby, inks by Paul Reinman (image from GCD)

The Introduction and story “Today I Am A…” never mention the word mutant. However despite his physical and mental differences the main character Paul was born of normal parents. He was clearly meant to be a sudden and dramatic stage in the evolution of mankind. Normal humans fear and seek to confine him. I do not think I am out of line to suggest that in this story from BCM #59 we find the concepts that would eventually become Homo superior feared by the rest of humanity that would be the basis for the X-Men created by Stan Lee and Jack Kirby. Some fans object to provided creation credits to Lee and Kirby because of all the individual X-Men that were created by other artists. However it was Lee and Kirby that created the premise of mutants and public mistrust that is the foundation of this series right up to today.

Black Cat Mystic #59 (September 1957) “A Weemer Is the Best of All”, pencils and inks by Jack Kirby

“A Weemer Is the Best of All” is a story in a more humorous vein. Not side-splitting humor but definitely a story not meant to be taken seriously. Humor was frequently a part of Simon and Kirby’s repertoire. Even action stories often had humorous parts to them.

Black Cat Mystic #59 (September 1957) “The Great Stone Face”, pencils and inks by Jack Kirby

A monumental stone sculpture of unknown origin, an African tribe with technical skills, and a rifle slinging anthropologist. This is one of those stories so imaginative that one wonders where they came up with it. I can understand the anthropologist but where did the rest come from? Both Joe and Jack were science fiction fans and I suspect somewhere in the pulp magazines they read supplied the kernels that eventually formed into stories such as this one.

The Eternals #1 (July 1976), pencils by jack Kirby, inks by Frank Giacoia (image from GCD)

The theme of gigantic aliens residing on earth for immense periods of time for mysterious reasons is common to both “The Great Stone Face” and the Eternals (a title Kirby created for Marvel in 1976). Jack would often expand on story lines he worked on earlier in his career.

Black Cat Mystic #59 (September 1957) “Take Off, Mr. Zimmer”, pencils and inks by Jack Kirby

The ghost Mr. Zimmer was presented in BCM #58 and seems to have been planned as a recurring character. In BCM #58 Mr. Zimmer was presented in the first, featured, story. However in BCM #59 Mr. Zimmer became delegated to the final story in the book. While the title Black Cat Mystic would suggest the horror genre the contents were predominately science fiction. So perhaps Mr. Zimmer fall from grace was just a recognition that he was somewhat out of place in the direction the title had gone. But then again horror, although a rather mild version suitable for the Comic Code, would continue to play a roll in the title. In any case this would the last appearance of Mr. Zimmer.

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Black Cat Mystery #57 (January 1956), pencils and inks by Jack Kirby

The Black Cat series had undergone a number of title changes. Starting out as Black Cat based on a female superhero (#1, June 1946), then becoming Black Cat Western while presumably retaining the female hero (#16, March 1949), returning to Black Cat (#20, November 1949), switching to Black Cat Mystery and a horror genre (#30, August 1951), returning once again to Black Cat but retaining the horror content (#44, June 1953) before returning again to Black Cat Western without the horror and with the titled superhero (#54, February 1954). The last switch from horror content may have been prompted by all the adverse public criticism of genre which lead to the establishment of the Comic Code Authority. Black Cat Western #54 (February 1954) and #56 (October 1956) contain much reprint material from earlier issues according to the GCD. Black Cat Mystery #57 brought a returned to the old title and the horror genre although the horror was the mild form suitable for passing the strict Comic Code.

Jack Kirby only contribution to the issue #57 was the art for the cover. With Simon and Kirby there is always the possibility that a particular cover art could have been recycled from an earlier unused cover. However in the case of the cover for BCM #57, there are two reasons to believe that did not happen. The somewhat humorous aspect to the cover would have been out of place for Black Magic the only appropriate alternate source for this type of cover. Further the cover is based on a story found inside (see below). It is doubtful that the inside story was recycled because Black Magic was a pre-Code comic and therefore any story from it would have had difficulty getting Comic Code approval. I suspect that Kirby had not actually seen the interior story since that story had nothing to do with an underwater fish civilization.

The original art for this cover still exists and it would be interesting to see the date of the Comic Code Approval. While this cover was probably made for this issue it is still possible that the entire issue was put together some time previously.

Black Cat Mystery #57 (January 1956) “Pushin’ Up Daisies”, pencils by Bob Powell

Although Bob Powell had occasionally done work for Simon and Kirby, he was largely a Harvey artist having provided much work to that company over many years. Earlier Harvey horror stories were too extreme to pass the Comic Code without modifications but there are no signs of changes so this was almost certainly a new piece created for this title.

Black Cat Mystery #57 (January 1956) “20th Century Man”, pencils by John Giunta, inks by Manny Stallman?

John Giunta only did a few pieces of work for Simon and Kirby (see Art of Romance Chapter 9 and It’s A Crime Chapter 7). Giunta seems to have worked for a variety of publishers including a few pieces for Harvey. His style is a little dry for my tastes particularly for the crime or romance genre. However his style works very well for this particular story. I especially like the splash. The background with is jumbled silhouettes and scratchy and splashy inking is very effective. It is a little surprising to see such rough work for this artist but otherwise the inking looks like that found in some of his other work inked by Manny Stallman so I believe Stallman may have been the inker here as well.

Black Cat Mystery #57 (January 1956) “Underwater”, pencils by Howard Nostrand

Howard Nostrand is another artist that normally I cannot get too enthusiastic about. But the opening sequence for “Underwater” is just superb. Nostrand was a frequent contributor to Harvey Comics but as far as I know never previously worked for Simon and Kirby.

Black Cat Mystery #57 (January 1956) “The World of Mr. Chatt”, pencils by Mort Meskin

The final story, “The World of Mr. Chatt”, was drawn by a former Simon and Kirby regular (or what I sometimes refer to as one of the usual suspects) however Mort did very little work for Harvey. The only other Harvey piece that I am aware of was “Credit and Loss” from Chamber of Chills #24 (July 1954, a real masterpiece) but I have heard he did another earlier piece for Black Cat as well. Meskin was doing a lot of work for DC at this time. Many have criticized Mort’s DC work but in many ways he was still doing great art. But the emphasis of this late work was the almost cinematic approach that Meskin used to graphically tell a story. Mort’s careful control of pacing and view points was just masterful but unfortunately involved subtleties that many readers failed to notice or appreciate. “The World of Mr. Chatt” is a good example of Meskin’s late approach. Note the simple but effective opening sequence to the story. My main criticism of this particular work of art concerns the inking. I have not done a careful study but I suspect that Mort did not ink a lot of this later work and I am pretty certain he did not ink this piece. Again without careful inspection the inking reminds me of George Roussos.

I believe that Joe Simon was responsible for putting Black Cat Mystery #57 together although I have little evidence to back that up other than the cover that Jack Kirby provided. With the exception of Meskin, the artists used in this issue mostly seem to be drawn from Harvey’s talent pool. This is not too surprising as it suggests that the title had to be put together quickly. We shall see later that something similar happened with the first issue of Race for the Moon. The next issue would more clearly show the Simon and Kirby touch.

• 

As previously discussed, Joe Simon’s creation of the feature Blue Bolt occurred somewhat earlier than the cover date of Blue Bolt #1 would suggest. Joe supplied it to Funnies Inc. a shop run by Lloyd Jacquet that put together comic books for other publishers. Blue Bolt was just one of a number of features that Simon created for the shop. But apparently Jacquet and Novelty Press must have seen some special potential in Blue Bolt and used it as the title feature for a new comic book. Had that had been the intention all along it would be expected that Simon would do the cover art but since that was not the case we cannot assume he drew the cover. There are reasons to believe that Simon was not the cover artist and little to suggest he was. To my knowledge only the eyes of the Green Sorceress look like they might have been done by Simon. However many comic book artists found difficulty in getting eyes to sit properly on a face viewed from an angle. Otherwise none of the figures look like any other art that we can more confidently attribute to Joe. The Green Sorceress’ hair seems tamed in comparison to Simon’s depiction in the story. The dragon does not resemble the monsters in the story either. Blue Bolt’s cape lacks the distinct zigzag contour found in the story although Simon would abandon this device in future issues. Blue Bolt’s helmet includes a lightning bolt emblem that is missing from the story art. The gloves and boots have a three dimensional presence that Simon generally avoided and specifically did not use for Blue Bolt. Finally the composition is very untypical of Simon particularly the lack of any background elements causing Blue Bolt to float. It is hard to escape the conclusion that despite what some have claimed the cover art for Blue Bolt #1 was not done by Joe Simon.

Jacquet’s shop had a number of comic book artist which could have been called upon to draw the cover. Perhaps the most famous were Carl Burgos and Bill Everett but I think it can safely be said that the style of the cover art does not match either of these two artists.

Blue Bolt #2 (July 1940), art by W. E. Rowland

Fortunately the next Blue Bolt cover was signed so there can be no question that it was drawn by William E. Rowland. The cover art for BB #2 shares some features with that for BB #1. In particular the more three dimensional aspects of the gloves and boots as well as the lightning bolt design on the helmet. I feel that the Blue Bolt’s face looks similar in the two covers. However Rowland goes even further in giving the gloves and boots a real physical presence. Further he has added details to the gloves that were missing from the BB #1 cover such as the lightning bolt and small circular shapes and lines that border the opening of the glove. While I would not rule out that Rowland was the cover artist for BB #1, I do not find the similarities strong enough to convince me that he was.

Blue Bolt #1 (June 1940) “Page Parks”, art by W. E. Rowland

The signature on the cover of BB #2 is particularly valuable because I doubt that Rowland would otherwise have been credited for the art. Apparently Rowland only worked on comic books for a few years (1939 to 1942) and even during that period he did not seem to do a lot of work. I have discussed one story by Rowland from Prize Comics #7 (December 1940) previously (Ted O’Neil). Frankly it was a rather unfair comparison of his take on the feature with Simon and Kirby’s. The purpose of the post was to highlight how radical Simon and Kirby’s work was compared to the work by more typical comic book artists even at this early stage in their career. Blue Bolt #1 also has a story drawn by Rowland and a scan of a page is provided above. Rowland is a good comic book artist, better than most contemporaries, but judging from the work I have seen so far it is hard to understand why he would have been selected to provide cover art. Whatever the basis for that decision it turned out to be a good one because Rowland’s cover art is rather nice and far superior to his story art.

Blue Bolt #3 (August 1940), pencils and inks by Joe Simon

It was only with the third issue that Simon had his single chance to provide the cover art for Blue Bolt. Much could be said about the technical problems with the art. The cloth folds are a confusing mess and the perspective of the forward leg is not quite accurate. But these and others faults are nothing more than nick-picking that do not significantly distract from the cover’s impact. The figure of Blue Bolt was swiped from Alex Raymond’s Flash Gordon (see Art by Joe Simon, Chapter 4, Footnote) but Joe has infused the figure with excitement. Simon also uses a low viewing angle so that Blue Bolt can tower over his supporting soldiers. It is a effective depiction of an attaching force coming through some mountainous pass.

There was a time that some attributed this cover art to Jack Kirby but nowadays there is general agreement that Simon drew the cover. Perhaps the most convincing evidence that Kirby did not draw the figure is the somewhat problematic nature of the perspective of Blue Bolt’s leg, Kirby’s use of perspective was always very convincing. While it is now known that Kirby did sometimes use swipes I have never seen an example of Jack swiping from the same source more than once. However this twice use of Raymond’s Flash Gordon running figure would not be unusual for Simon.

Blue Bolt #5 (October 1940), art by W. E. Rowland

Blue Bolt did not appear on every cover of the comic that bore his name. The next appearance of Blue Bolt was for issue #5 and once again Rowland has the honors. While this cover shares some stylistic features with the one Rowland did for BB #2 there have been important advances as well. Blue Bolt’s glove and boots have an even more exaggerated three dimensional look. The figures have become more massive and muscular and the inking finer and more detailed. While Rowland did a good job on the cover for BB #2, this one is a masterpiece.

Blue Bolt #7 (December 1940), pencils by Jack Kirby, inks by Joe Simon

Issue #7 marked Blue Bolt’s final cover appearance during the Simon and Kirby run. It would be Jack Kirby’s only Blue Bolt cover. While not a bad cover it was not one of Jack’s finest either. I feel much of the blame comes from the action portrayed. Jumping out of a plane just does not have the impact of, for example, attempting to stop a bomb from exploding (as seen in the cover for Champion #10, August 1940). The rather unimpressive aircraft do not help either. I am not sure what they are meant to be since they lack propellers or jet engines. Rocket planes?

• 

Blue Bolt was a comic serial feature. Except for the first issue, the plot for each story reached a satisfactory completion but the end always included what effectively was the start of the next story. However the story for BB #10 ends with the green sorceress promising to give up her evil goals of domination and letting Blue Bolt go free. What would Blue Bolt be without the green sorceress as a nemesis? The inside cover was titled “Ye Editor’s Page” which states:

Most of you are tired of seeing the green sorceress constantly fighting Blue Bolt. Hereafter, this strip will be improved by showing new and more exciting action without the green sorceress.

Blue Bolt would continue but without Simon and Kirby. 

Captain America #1 (March 1941) Meet Captain America, pencils by Jack Kirby and Joe Simon, letters by Howard Ferguson

I doubt very much whether Simon and Kirby’s leaving Blue Bolt had anything to do with any dissatisfaction with the work they had done on the feature. Rather I suspect they stopped moonlighting to devote more attention to Captain America, their new creation for Timely Comics. Joe and Jack had made a deal with Goodman, the owner of Timely, in which they would get a share in the profits. It therefore made sense to give priority to the work that they would do for Timely. Since Simon and Kirby would create all the work that appeared in Captain America, 61 pages for the first issue, this meant a substantial increase in they amount of work they had to produce each month. (Although the Captain Marvel Adventures that Simon and Kirby had done previously required a similar number of pages.)

While Kirby is usually credited with drawing Captain America, some of it was actually penciled by Simon particularly in the first issue. For instance the standing figure of Captain America shown above was drawn by Joe while the rest of the page, including the running Bucky, were done by Kirby.

Captain America #1 (March 1941) Captain America and the Chess-board of Death page 9, pencils by Jack Kirby, letters by Howard Ferguson

In a previous post (Chapter 10) it was observed that Simon and Kirby had begun using some new layout devices. One, picked up from Lou Fine, was to extend figures beyond the panel borders. If anything, Joe and Jack made even greater use of this device in Captain America. Sometimes to extremes as for instance the standing Bucky in the upper left of the page shown above whose figure extends over three panels. In Captain America Simon and Kirby began using unusually shaped panels as well such as the circular panel and others with a curved border shown above. Even Ferguson got into the act by using vertical letters for normal text in the speech balloons while using slanted letters in captions and when emphasis was desired. It appears that Simon and Kirby were doing whatever they could to make Captain America art stand out.

Captain America #1 (March 1941) Hurricane, pencils, inks and letters by Jack Kirby

While all the Captain America stories from the first issue were drawn by both Kirby and Simon, inked by various hands and lettered by Howard Ferguson there were two backup features that were drawn, inked and lettered by Kirby alone. That is not to say that Simon was not involved just that there is no evidence to prove he was. One feature, Hurricane, concerned the return of the god Mercury to the human sphere. As such it was the first Kirby piece with a mythological theme.

Captain America #1 (March 1941) Tuk Caveboy, pencils, inks and letters by Jack Kirby

The other all Kirby piece was Tuk Caveboy.

Marvel Mystery #17 (March 1941) Vision, pencils and inks by Jack Kirby, letters by unidentified letterer (from Golden Masterworks reprint)

Kirby also drew and inked the Vision story for Marvel Mystery #17 but, as with the previous issue, he did not do the lettering.

Captain America was a break through comic for Simon and Kirby, particularly for Kirby. Simon’s Blue Bolt had been an important enough of a creation to be the featured story of a new comic book title with the same name. It probably was popular enough but nowhere near as big a seller as Captain America. Up until then none of Kirby’s comics received any real attention. Captain America changed all that and made Simon and Kirby a brand name. While somewhat primitive compared to what Simon and Kirby would produce even a single year later, Captain America was well advanced relative to the comics published at that time. Pretty much everyone noticed and the comic book industry was changed forever.

It would be a great story to say that when Simon met Kirby they shortly began their classic collaboration. A great story but not what actually happened. Instead what appeared to occur was a variety of working conditions. Sometimes Jack helped out with some pages of art (for instance Blue Bolt #2 and #3), sometimes Kirby would do the pencils and Simon the inking (Blue Bolt #4 to #7), sometimes Kirby would do the pencils and other the inking (Blue Bolt #8 and #9), occasionally both Joe and Jack would pencil and others would do the inking (Captain America #1) and finally both might do their own individual projects (like Simon’s Fiery Mask in the Human Torch #2(1) and Kirby’s Vision stories in Marvel Mystery #13 to #15). While the overall tendency was for greater dependency on Kirby’s undeniable artistic skills as time went on, what appears to be happening was Simon taking on the roll of a true or acting editor using Kirby (or not) in whatever combination needed to get the job done. In my opinion it was not until Simon and Kirby left Timely for DC that they began to truly forge their business and artistic collaboration.

So ends another serial post. I am sure that someday I will do one on Joe and Jack’s Captain America but that day is not today.

• 

Once again some rather poor inking mars an otherwise great Simon and Kirby piece. As mentioned previously the inking was very likely the work of one or more of the Timely studio assistants; Al Avison, Al Gabriel and Syd Shores. Unfortunately this time Kirby did not even ink the splash.

A recent “innovation” was the used of a blue field to encircle the page and separate the panels. Simon and Kirby had not used this device either before or since. The other features in the comic book had similar color fields although using colors other than cyan (blue) so it was likely an addition by the publisher. I have to say I find this color field unnecessary and somewhat distracting.

Blue Bolt #9 (February 1941) Blue Bolt page 5, pencils by Jack Kirby, letters by Howard Ferguson

Joe and Jack included in this story a reporter by the name of Bucky Williams. Of course Bucky was the name of Captain America’s sidekick and actually Bucky Williams fills the roll of a temporary sidekick. The use of the name Bucky was not the only things found in BB #9 to predate their use in Captain America which would premier next month. For the first time Simon and Kirby would extend figures outside of the panel borders (see above image). This was not an Simon and Kirby innovation (they picked it up from Lou Fine) but nonetheless was followed by some other artists once Captain America became a big success.

Prize Comics #9 (February 1941) Black Owl, pencils by Jack Kirby, inks by Joe Simon, letters by Howard Ferguson

Simon and Kirby return for one final Black Owl story. With Simon providing inks to Kirby’s pencils this story is much more attractive than the Blue Bolt #9 from the same month. The story includes a reporter who plays the part of a temporary sidekick for the Black Owl. This is basically the same plot device played by the reporter Bucky Williams in BB #9. In the art for this story Simon and Kirby extended figures beyond the panel borders just as they had in Blue Bolt #9.

I do not know who to blame, but note the rather odd shadowing of the letter ‘O’ in the title, in particular the center of the letter. When I restored this page for the “Simon and Kirby Library: Superheroes” book I got a email from an editor at Titan asking if I got the restoration wrong. Well of course it is wrong only it was not my error.

Marvel Mystery #16 (January 1941) The Human Torch, pencils by Carl Burgos, letters by Howard Ferguson (from Golden Age Masterworks reprint volume)

Howard Ferguson provided the lettering for the Human Torch story from Marvel Mystery #16. Ferguson did not provide the lettering for all the Human Torch stories in the issues of Marvel Mystery but he did letter some of the Human Torch and Terry Vance stories but only those two features. Why Howard was restricted to just those two features is unclear but that would eventually change but not during the period covered by this serial post.

Marvel Mystery #16 (January 1941) Vision, pencils and inks by Jack Kirby, letters by unidentified letterer (from Golden Age Masterworks reprint volume)

While Ferguson provided lettering for all the moonlighting work that Simon and Kirby produced for this month he did not letter their single Timely piece, the Vision from Marvel Mystery #16. That would not been surprising had Kirby provided the lettering as has he had done in previous Visions stories but oddly some other letterer was used. Since credits were not supplied in the comics of those days it is unlikely this particular letterer will ever be identified.

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Blue Bolt #8 initiates a working methodology that Simon and Kirby would use often in years to come. Kirby would ink his own splash panel while leaving the rest of the story to be inked by other artists (besides Joe Simon). Kirby’s inking tops off an already spectacular splash. While in later years Jack’s primary interest was the story art, during his collaboration with Joe much emphasis was placed on covers and splashes. Great stories may have built the Simon and Kirby reputation but covers and splashes are what drew attention and persuaded comic book readers to spend their money. Of course having all the story inked by either Kirby or Simon would be preferable but if that was not possible the next best thing was for Jack to ink the splash.

It has been said that Kirby pencils could withstand even poor inkers. Well the story art to Blue Bolt #8 certainly puts that claim to the test. As I mentioned previously, I will not try to identified the inkers other than either Kirby or Simon but one or more of the assistants from the Timely bullpen were likely candidates for this work. Al Avison, Al Gabriel and Syd Shores were very young and just learning their trade.

Prize Comics #8 (January 1941) Black Owl, pencils and letters by Jack Kirby, inks by Joe Simon

Blue Bolt was a serialized comic feature. Not quite like in the movie serials as Blue Bolt did not have “cliff hangers” endings. Instead each story would be complete but with an ending that left open the question of where the tale would go from there. The Black Owl feature from Prize Comics #7 leads to PC #8 in the same manner. However the ending in PC #8 does not suggest further development of the story in the next issue.  This issue was included in a previous post (Simon and Kirby’s Black Owl).

Prize Comics #8 (January 1941) Black Owl, letters by Jack Kirby

Kirby provided the lettering for PC #8 and since I have prepared samples for a previous post (Jack Kirby as a Letterer) I will repeat them here. But truth be told Kirby’s lettering really has not changed from the previous sample that I provided (Red Raven #1, August 1940, shown in Chapter 5).

Marvel Mystery #15 (January 1941) Vision, pencils, inks and letters by Jack Kirby (from Marvel’s Golden Age Masterpieces reprint)

As with Marvel Mystery #13 and #14, Kirby seemingly does it all, or at least all the visuals, for the Vision story in MM #15 (January 1941). Of course Simon might have had something to do with this feature, he was after all the editor.

Ferguson provided the lettering in Marvel Mystery #15 for the Human Torch and Terry Vance features.

Captain Marvel Adventures #1, Pencils by Jack Kirby (from a bleached page)

I have chosen this chapter to include some moonlighting work that Simon and Kirby did for Fawcett. Unfortunately the dating of this work for is uncertain as the comic books lack dates on the covers or in the indices. One of the works was Captain Marvel Adventures #1. This was the first comic book dedicated to Fawcett’s new hit Captain Marvel. It must have seemed a rather troublesome assignment. Not only did the art have to look like the work that C. C. Beck had previously done on the character, but also Simon and Kirby were not allowed to alter the scripts (Joe Simon’s Fawcett Testimony). The pencils had to be returned to Fawcett for lettering and then picked up again for inking. Yet despite all this the final art is rather nice. Kirby was never very good at imitating other artists and despite the simple lines of the artwork Kirby style keeps showing up. Beck might not have been pleased but in my opinion Simon and Kirby’s version was much more interesting. I have no idea who the inker was but it certainly was not Kirby, Simon or any of the assistants from the Timely bullpen. Whoever it was they did a marvelous job.

Wow Comics #1, Mister Scarlet, Pencils and inks by Jack Kirby, letters by Jack Kirby and Joe Simon

It is uncertain whether this work was done before or after Captain Marvel. In the Fawcett testimony Simon said it came later however that testimony was given some eight years later and therefore might not be accurate.

Mister Scarlet appears to largely be the work of Jack Kirby but Joe Simon’s presence is revealed in some of lettering. His distinctive ‘W’, ‘M’ and other letters make their appearance in some of the text as for instance in the captions in panels 1, 4 and 6 from page 2 shown above. All the Simon letter that I have spotted so far comes from captions and not the word balloons. This suggests that Joe was trying to make an existing story clearer. This feature is also a good reminder about the problems of identifying Joe’s contributions in Simon and Kirby productions. Had this story been lettered by someone other than Kirby and Simon, Joe’s additions would have gone unnoticed.

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Blue Bolt #7 continues the Simon and Kirby collaboration in its purist form, that is with Jack doing the pencils and Joe providing the inks. The only other feature from December that showed such a degree of collaboration was the Black Owl from Prize Comics #7 which I will discuss below. Both of these features were done while moonlighting. As we will see below the features created for their regular gig at Timely were not quite the same joint effort.

The enlarging World War II, romance, betrayal, spies and assassins are just some of the elements of this engaging story. Simon and Kirby were not satisfied with telling a simple confrontation between a hero and a villain they had to put in as much as possible. Ten pages hardly seemed enough to fit all that they included. It does not seem that Blue Bolt had any significant impact on the rest of the comic book industry of the day but it should have.

Blue Bolt #7 (December 1940) Blue Bolt page 8 panel 1, pencils by Jack Kirby, inks by Joe Simon, letters by Howard Ferguson (horizontally flipped image)

Sure Blue Bolt was science fiction but that did not mean that the hero always used a ray gun. Previously Kirby had a penchant for dramatic slugfests but now he began to take that art to a new level.

I present the above image in reverse…

Captain America #1 (March 1941), pencils by Jack Kirby

as I want to highlight that roll Blue Bolt played in laying the groundwork for a future hit. Captain America would appear on newsstands just three months later.

Prize Comics #7 (December 1940) The Black Owl, pencils by Jack Kirby, inks by Joe Simon?, letters by Howard Ferguson

Blue Bolt was not the only moonlighting job that Simon and Kirby produced for December they also did Black Owl for Prize Comics #7. Joe and Jack would end up doing a Black Owl story for three issues which I discussed previously (Simon and Kirby’s Black Owl). All three stories were reprinted in Titan’s “Simon and Kirby Library: Superheroes” (shameless plug). The Black Owl was not a Simon and Kirby creation and I really do not know much about previous appearances of the character.  But of course Simon and Kirby added their distinct touch if in nothing more than the story and art.

Prize Comics #7 (December 1940) The Black Owl, letters by Howard Ferguson

Howard Ferguson provided the lettering for the Black Owl story. I have previously provided the lettering samples for Ferguson’s Prize Comics #7 but I have since made a correction and some additions to it. A recap of the more useful features would seem in order. The most useful trait for identifying Ferguson lettering is the little vertical stroke attached to the upper end of the letter ‘C’. Another useful trait is the very shallow hook for the letter ‘J’ but unfortunately that is not a common letter. Some other traits are less useful but still should be noted particularly the way the upper portions of the letters ‘P’ and ‘R’ predominate over the lower portion. The letter ‘S’ is similarly often affected by a predominate upper portion but there is some variation in this feature. Another trait is found in some but not all ‘N’ is the manner that the left vertical stroke is sometimes tilted downward to the left somewhat. Perhaps not as useful than the letter ‘C’ but certainly easier spot is Ferguson’s special handling of the first letter in captions (examples are provided above). I believe all these traits (except the special ‘N’) were retained by Ferguson the rest of his career. I plan to review his entire career after I finish this serial post.

In is at this time that in my opinion Ferguson’s lettering has gone from good to great. This is not due to form of his letters which has changed only a little from previous work. Rather it steady and firm hand used and the spacing and legibility of the final results. Ferguson’s work is not mechanical but neither is it overly variable.

Besides an improvement in quality, the lettering differs from what was done not that long ago for Blue Bolt #5 (October 1940) by three changes.

I have previously pointed out the special handling of the first letter in captions. Such enlarged and specially formed letters are similar to the first letter of chapters often found in older books. The analogy is not perfect but it is close enough that I have decided to adopt the name given to them, drop capitals (or drop caps for short). Drop caps were used by other comic book letterers but Ferguson began using a special version where the letter is created a negative space in a black field such as the two final examples in the image above. I shall refer to these as negative drop caps. It was the introduction of negative drop caps that is one of the things that distinguish Prize #7 from Blue Bolt #5. But there appears to be two flavors of negative drop caps. The first that appeared in Blue Bolt #6 and the Terry Vance feature from Marvel Mystery #13 (both November 1940) had vertically oriented letters. Later in Blue Bolt #7, Prize Comics #7 and the Human Torch and the Terry Vance features from Marvel Mystery #14 (all December 1940) Ferguson introduced negative spot caps that were tilted.

The second change in Ferguson lettering concerns the letter ‘G’. In Blue Bolt #6 (November 1940) and earlier Howard constructed the ‘G’ with a small horizontal element on the left side of the bottom of the character and does not extend to the right. In Prize Comics #7 and the Human Torch story from Marvel Mystery #14 (both December 1940) Ferguson extends the small horizontal so that it appears on both the left and the right side. Interestingly Blue Bolt #7 (December 1940) uses the old form of ‘G’ for most of the first page of the story while otherwise using the new ‘G’. The old ‘G’ is used in BB #5 (October), BB #6 (November) and the Terry Vance stories from MM #13 and #14 (November and December). As mentioned both forms of ‘G’ appear in BB #7 (December). Only the newer ‘G’ appears in the Human Torch of MM #14 (December).

The third change involves the form of the letters ‘I’ and ‘J’. Ferguson’s older form for these letters excluded any horizontal elements while the newer form did. While the letter ‘I’ is common enough, horizontal strokes are not supposed to be added when the letter is used with others to form a word. Unfortunately the isolated use of ‘I’ and the use of ‘J’ are not too common. The old form of ‘I’ and ‘J’ appear in BB #5 (October), BB #6, Terry Vance from MM #13 (November) and BB #7 (December) with the new forms used in PC #7 and the Terry Vance feature of MM #14 (both December).

With these three changes in Ferguson’s lettering it would seem possible to sort out the relative order that Ferguson lettered the work appearing in the months from October to December. Regrettably it turns out that no ordering is possible that will satisfy all three criteria for all cases. The few cases of lettering by Ferguson from later periods suggest that perhaps he was not consistent in his use of ‘G’. Hopefully this question will be answered as my review progresses.

Marvel Mystery #14 (December 1940) The Vision, pencils, inks and letters by Jack Kirby,

The Vision became a regular Marvel Mystery Comics features with his second appearance in MM #14 (December 1940). As in the previous issue, Kirby would provide pencils, inks and letters for the Vision story. Even today the Simon and Kirby Vision is a largely neglected feature and at that time it was very much overshadowed by the Human Torch and the Sub-Mariner. (This story was reprinted in “The Best of Simon and Kirby”, another shameless plug).

Lettering by Howard Ferguson also appeared in Marvel Mystery #14 in the Human Torch and the Terry Vance features.

Human Torch #2(1) (Fall 1940) the Human Torch “Introducing Toro”, pencils by Carl Burgos, lettering by Howard Ferguson

As mentioned in the previous chapter, Timely did not release a Red Raven #2 issue. Instead that titles mailing license was used instead for a new title, Human Torch Comics #2. That the first issue was numbered 2 has brought about confusion to the numbering of the title even back when it was released. I have added “(1)” to the issue number to indicate it is actually the first issue. The cover is dated as Fall 1940 which means there might be some question as to what month to assign it. However Marvel Mystery #13 (November 1940) and #14 (December 1940) have house advertisement for the Human Torch #2(1). The MM ads provides a release date of September 25. Normally comics are cover dated about two months after their release so it is seems appropriate to assign HT #2(1) to December.

This issue has been reprinted in the Golden Age Masterwork series. Unfortunately Marvel did a horrendous job re-creating it. I have discussed this previously (The Human Torch #2) but I feel I need to emphasize here that the reprint volume is useless for anything beyond a casual reading. It is simply not possible to use this reprint book to examine the art or lettering. Luckily I will be using scans from the original comic in my discussions here.

Human Torch #2(1) (Fall 1940) the Fiery Mask “The Strange Case of the Bloodless Corpses”, pencils and inks by Joe Simon, letters by Howard Ferguson

The Fiery Mask was one of Simon’s earliest creations having first appeared in Daring Mystery #1 (January 1940, Daring Mystery and Joe Simon BK (Before Kirby)). Another artist drew the character for Daring Mystery #5 (June 1940) but Simon returned with Kirby’s help to provide the Fiery Mask for Daring Mystery #6 (September 1940). Simon worked on the Fiery Mask one last time for Human Torch #2(1) (Fall 1940). I periodically get asked, but I really feel this was a solo effort because I cannot find any sign that Kirby had anything to do with this Fiery Mask story, “The Strange Case of the Bloodless Corpses”. Simon’s comic book art improved rapidly so that even though only a short period had past the art style for HT #2(1) Fiery Mask story shows it was definitely drawn when Simon became editor at Timely and was not some older inventoried story from when he first started working in comics. Still it would be nice to provide a more accurate date for the story as it theoretically have been done a few months earlier and inventoried or it could have been drawn later specifically for the HT #2(1) issue.

Fortunately the lettering Howard Ferguson did for the story may provide a clue. As mentioned before Ferguson’s work had been undergoing development during this period. The Fiery Mask story lacks negative drop caps and uses the older form of the letters ‘G’, ‘I’ and ‘J’. Therefore I believe it must have been done no later than the work for Blue Bolt #5 (October 1940). It likely was originally intended for Daring Mystery #7 which possibly was meant to be released in October or November but that publication of that issue was delayed until April 1941. Or alternatively it might have been meant for Red Raven Comics #2 which should have come out in October but that title got cancelled. But in any case the Fiery Mask story was done earlier than the Human Torch story in the same issue as that story was lettered by Ferguson but with the tilted negative drop caps, the new ‘I’ and ‘J’ and mostly using the new ‘G’ all of which suggests a December date.

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Blue Bolt #6 is the second feature to include Simon and Kirby credits. Once again Kirby provides the pencils while Simon does the inking. Although it is not known who wrote the script, the story has the special Simon and Kirby quality that already was very different from the standard comic book fare of the day. Now the green sorceress is joined by Marto, a man with enlarged head and an atrophied body who uses a special mechanical device to overcome his physical limitations.

Famous Funnies #76 (November 1940) Lightnin’ and the Lone Rider, pencils, inks and letters by Jack Kirby

Kirby seemed to have a fascination with advanced beings with large heads. The earliest prototype appeared in a western feature that Jack work on called Lightnin’ and the Lone Rider. Actually this feature had been appearing in Famous Funnies at the same time as Blue Bolt #6. The Lone Rider was initially developed as a syndication strip back in late 1938 to early 1939 (Early Jack Kirby, Chapter 1, Lighting and the Lone Ranger). However it appears Kirby returned to the feature sometime later. Exactly when is uncertain but I believe it was while Kirby was still working for Fox Comics (Early Jack Kirby, Chapter 3, Moonlighting). However based on the art style I believe it was done before Kirby started working with Joe Simon and therefore outside the current discussion. However the recent appearance of the large headed adversary in Famous Funnies may have inspired Kirby to create an updated version for Blue Bolt.

Tales of Suspense #94 (October 1967) pencils by Jack Kirby, inks by Joe Sinnott, letters by Sam Rosen

It is surprising how some ideas seem to lay dormant for years before Kirby would return to them. If there was another appearance of the Marto character I do not recall it. But in 1967 Kirby returned to the theme when he created Modok. While the background stories were very different, the similarity between Marto and Modok is too great to be require much discussion.

Blue Bolt #6 (November 1940), letters by Howard Ferguson

The first six pages of the Blue Bolt feature were lettered by Howard Ferguson. The seventh page has some lettering by Ferguson but most of the page was lettered by Joe Simon. The style of the letters has not change at all from examples from the previous month. The use of circular or square shapes attached to the first letter of captions is also the same as what has been seen earlier. One new feature in Ferguson’s repertoire is the use of other abstract shapes with the first caption letter such as the oval and double square show above. The most interesting addition is the rendering of the letter as a negative space on a circular black field such as the ‘C’ and ‘M’ shown above. This simple but elegant design was the most effective design that Ferguson adopted. Unfortunately Ferguson had no control on how the colorist would handle it. When a separate color was added the letter would stand out. But without that special color addition the design becomes more abstract and harder to read as a letter. Unfortunately the colorist failed to apply a separate color to many of these negative letters in Blue Bolt #6.

Blue Bolt #6 (November 1940), letters by Joe Simon

Joe Simon did the lettering for most of page 7 and all of pages 8 to 10. Here Simon does a more careful job at lettering but the basic form of the letters remains the same. As mention previously the ‘W’ that Simon used is very helpful in spotting his work and while not quite as distinct his ‘M’ is useful as well. There still are occasional little elaborations that Simon uses like the ‘S’ and ‘R’ shown above. The lettering for page 9 seems particularly well done. Also found on that page are special first caption letters, something Simon normally did not do. While unusual for Simon, the use of open letters (which allow the addition of a color) was also done by other letterers. However Joe places one ‘B’ as a negative letter on a black circular field. This must have been a response to what Ferguson was doing in the same story. Simon’s design is not as abstract as Ferguson’s but it still an effective device.

Marvel Mystery #13 (November 1940) The Vision, pencils, inks and letters by Jack Kirby

In the previous chapter I mentioned the unusual lack of Kirby art in the Timely comics for October. The one explanation I provided was that Kirby might have done some art for Red Raven #2 only it was never published due to the abrupt cancellation of that title. Here I will suggest another (but not necessarily conflicting) explanation. Kirby might have been busy creating a new feature as in this month Marvel Mystery #13 debuted “The Vision”. The pencils, inks and letters were all done by Kirby. The only thing that suggests that Simon was involved (other than as the editor) was the motif of the Vision being able to appear from smoke of any kind. This is similar to the power of the Flame, a Fox comics feature, who could transport using fire as a portal. While Kirby had worked for Fox Comics he had nothing to do with the Flame. Simon on the other hand was not only the editor for the comics that included the Flame but had also drew the character on some of the covers.

As I mentioned Jack did the lettering for the Vision story. Kirby’s lettering was unchanged from the last time we saw it (Red Raven #1, August 1940 see In the Beginning, Chapter 5). Ferguson provided lettering for the Terry Vance feature from MM #13 in a style that matches his work in Blue Bolt #6.

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