Category Archives: Harvey Covers

Green Hornet #8, Another Harvey Cover

Green Hornet #8
Green Hornet #8 (August 1942), art by Joe Simon

When I started this blog, one of my projects was to review the covers that Al Avison, Joe Simon and Jack Kirby did for early Harvey comics. I love cover art and these early Harvey covers have some of the best work that Simon and Kirby did during that period. Unfortunately these are rare comics and generally in poor shape making restoration difficult. During the first eight months of my bloggin I was able to post on twenty Harvey covers, but a few remained to be restored and reviewed. Speed #23 presents some formidable restoration challenges. Every so often I take a look at it, however so far I just have not felt ready to take in on. I would love to write a better review of Champ #22, but I do not have a good enough of a scan to do a proper restoration. That was also the problem with Green Hornet #8, at least up to now. Now after a year, I am finally able to add another chapter to my writing on the Harvey covers.

Harvey covers can be divided into two time groups. The first were for the pocket sized comics that Al Harvey first published. The cover art was drawn by Al Avison or Joe Simon. Jack Kirby did not do any of them despite the fact that all three were involved with creating Captain America comics at that same time. Coincidentally the pocket sized Harvey comics ended at the same time as Simon and Kirby’s termination at Timely. This was followed by a gap of a few months and then Harvey started publication again, this time using the standard comic book size. Avison no longer supplied any covers, he was probably too busy doing Captain America for Timely now that Simon and Kirby were gone. Simon would draw some Harvey covers, but most were done by Jack Kirby. Oddly Joe Simon was responsible for three covers done in one short period of time; Champ #22 and Speed #22 (September) and Green Hornet #8 (August). Green Hornet was a bimonthly. Although Joe had done Champ #19 and Speed #19 (both June) in a Kirby style, the later trio of covers did not seem to reflect much influence from Jack.

It would appear that for Green Hornet #8 Joe resorted to the use of swiping that was so prevalent in the start of his comic book career. I cannot supply the source, but I am sure the witch was swiped from someplace. The captive young lady has a Will Eisner look to me. The Spirit had been published as a newspaper insert for some time so Joe was certainly aware of it. However my search through the DC archive editions has failed to reveal any possible sources for the lady on Simon’s cover. The Green Hornet’s two opponents look like Simon creations. Note their similarity of their checks and jowls with that found in the Hitler from Speed #21 (August), the smaller villain from Champ #19 (June), and the sketch of Hitler in a Zoot suit. Yes Joe used swipes for this cover, as he so often did, yet he has created a very original composition.

The cover tells a story, as just about all Joe Simon covers do. A lady is held captive, terrified of the future revealed in a crystal ball by a truly gruesome witch. But the background shows the Green Hornet arriving to the rescue. But our hero must be careful to negotiate the obstacles separating himself from the damsel in distress, a pit at his feet and a chain stretching across his path. As we follow the Green Hornet’s eyes we find it is no ordinary chain as it ends with a collar on what is the not quite human equivalent of a guard dog. A very effective guard indeed as shown by his blood stained knife. The guard is intent on preventing the Green Hornet from interfering while his diminutive companion’s concentration remains on fulfilling the crystal ball’s prediction of the woman’s fate.

Simon makes effective use of props to heighten the drama. A drip covered candle provides an eerie touch to the scene, it is a device that Simon and Kirby would introduce often for such an effect. A spot light seems come from someplace low off our field of vision. It is a very selective spot light indeed, no shadows are cast by the legs of the two subhuman figures. However shadows are cast by the hand held knife, the chain and the Green Hornet himself. All the shadows that would provide drama to the scene, as always realism is not as important as telling the story. The spot light also aids the composition, diagonally dividing the two darker fields occupied by the villains. The captive is not in the spot light but is highlighted by it, visually connecting her to the hero. It may not have anything to do with Joe, but the colorist use of a green dress also effectively links the damsel with the hero.

Joe Simon may not have been as talented a penciler as Jack Kirby, and some will say that he depended too much on the use of swipes. When it came to laying out a cover and making it tell a story, few at the time were his equal. Green Hornet #8 was truly a thrilling cover. But Joe was not content with just drama, he also included humor, albeit a dark humor. There is a similar touch of black humor in Joe’s cover for Champ #19. Here Simon scatters cob webs about the place as part of the effort to give a dungy look to the scene. How many artists would then turn around and attach webbing from the staff to the witch herself? My favorite piece of humor in this piece is how the beastly guard leads his small partner by the hand, as if he is taking part in a “take your child to work” day. This type of humor is an early manifestation that would fully blossom when Joe was editor of Sick magazine.

In order to the receive lower mailing costs for literature, comic books had to include a text story. Often not much effort seemed to be given to this story, as a young comic book reader I never read them. Harvey comics had an interesting approach to the text stories, as some of their covers declared:

READ the THRILLING Story behind the COVER — INSIDE —

What is interesting about the text story for Green Hornet #8 is not what it adds to the understanding of the cover, rather how it deviates. In the story the lady is held captive in a building across the street from the offices where the Green Hornet’s alter ego works as a newspaper reporter. Nothing in the story suggests that woman was held in the sort of dungeon that the cover portrays. Rather the story describes her place of confinement as a small room adorn to look like a fortune telling shop. In the story there is a fortune teller whose crystal ball reveals a fatal future for the beautiful captive, but without an indication that the soothsayer was an ugly witch. The short tale includes two “toughs” without giving the impression that they were almost subhuman. Neither is described in the story as small as the one shown on the cover depiction. Nor does the story mention the use of knives by the toughs. I find it hard to believe that an author presented with a copy of this exotic cover art would have written this more mundane story. More likely Joe Simon received the finished story and, realizing that the cover would have to be more exciting if it was going to sell the comic, spiced it up.

Green Hornet #9 (October 1942)

Green Hornet #9
Green Hornet #9 (October 1942)

When I started this Simon and Kirby blog one of the first subjects I posted about were the Harvey covers done by Jack and Joe. These comics are rare and generally in poor condition and so these covers are not often seen. But they are some of my favorite covers. I have not forgotten to finish up that series of post, but I do not have access to two of them (Speed #22 and Green Hornet #8) and two others are technically very challenging to restore (Speed #23 and Green Hornet #9). Well I finally have restored GH #9 and I am sure the reader will agree it was worth the effort.

Green Hornet #9 is another of my favorite Harvey covers (along with Champ #19 and #20). Jack Kirby’s touch is all over this one. In it he uses the mirror to great effect. The crook is so started by seeing the Green Hornet in the mirror and has turned so quickly to confront him that his cigar and its reflection still hang in the air. Although the crook is reaching for his gun, the Green Hornet already has the drop on him. However the mirror reveals to us that yet another gun carrying foe is climbing into the room be hind them. This device of a gun carrying foe, or sometimes the hero, sneaking in through a window or door was used by S&K a number of times while working for National. But the thing is, if we can see the crook in the mirror should not the heroes?

Well the cover says “Read the story behind the cover”. This was one of the clever ideas that some of these early Harvey covers used. The text story, required to insure a low cost delivery by the U.S. Post Office, was based on the cover, or perhaps it was the other way around. From the story we learn that the crook by the dresser is the Jackal and the gun carrying foe is Dapper Dan. The key passage reads:

Just as he was gloating over piles of money in his drawers, he heard stealthy steps creep toward him. Instinctively he reached for his automatic and glanced at the mirror. It was the Green Hornet!

“Keep jour hands from that roscoe!” the Green Hornet ordered.

The Jackal scowled and obeyed. But when he looked at the mirror again, his spirits rose. Hefting an automatic, Dapper Dan was coming through the fire escape window.

Dapper Dan was just as visible to the Green Hornet and Kato as he was to the Jackal. Almost unperceived, Kato moved sidewise, and as Dapper Dan set a foot into the apartment, Kato turned around. Then Dapper Dan found himself sailing through the air toward the wall, which he struck hard with his head. He fell on the floor without a groan.

It was jiu-jitsu carried to perfection.

Green Hornet #9
Green Hornet #9 original art

The original art for this cover still exists and it was up for auction by Heritage a few years ago. It reveals there was more to the art that was either covered up by stats (of the “film strip” and the title) or painted out with white-out. The now missing parts are interesting but frankly superfluous. Whoever made the decision to remove them was absolutely correct. The finished cover is much more focused.

Some experts and scholars also attribute part or all of the Green Hornet #10 to Kirby. I presume this is because of the use of a criminal clown similar to that by Jack for Green Hornet #7. But to me this more like swiping. Although it is conceivable that Kirby might return to the idea of a killer clown, I doubt he would have used for GH #10 a costume so similar to that from GH #7. Further the folding of the clown’s costume has a flair unlike how Jack would handle it. The killer clown also shows up for the cover of Speed #21. That cover looks like it was done primarily by Joe Simon and it would not be surprising to find Joe using the same costume. But I do not see Joe’s hand in the art for GH #10. The car, the Green Hornet figure and the overall composition do not remind me of either Jack or Joe. I therefore do not accept Green Hornet as by either Simon or Kirby.

The Art of Joe Simon, Appendix 1, Champ #22 Confirmed

Champ #22
Champ #22 (September 1942) by Joe Simon (signed Glaven)

When I last wrote about the cover to Champ #22 (Art by Joe Simon, Chapter 7, Glaven) all I had was a very low resolution scan from GCD. At that time I attributed it to Joe Simon because I suspected that the signature would be the same as on Speed #22 which was signed Glaven. Nelson Glaven was the alternate name for Ned Gibman, one of Joe Simon’s high school friends.

Well Terry O’Neill of Terry’s Comics was kind enough to send a scan of the cover. The resolution is too low for me to do my standard restoration so please excuse my use of an only slightly corrected cover. But the resolution is not too low to clearly show that the signature is in fact Glaven. So an attribution to Joe Simon is pretty certain.

Art by Joe Simon, Chapter 7, Glaven

Art by Joe Simon, Chapter 8, Off to War

Champ #23 (October 1942)

Champ #23
Champ #23 (October 1942) by Jack Kirby

The Liberty Lads in action one last time, at least as done by S&K. Some of the forced perspective, especially in the thrown Japanese soldier, have the distinct Kirby touch. So he is probably the primary penciler. A good compositional touch of contrasting the foreground with the background. The Japanese soldiers with their pistols and rifles do not stand a chance against the Liberty Lads with their tank and machine gun, not to mention their most powerful weapon of all, the American flag. The US tank has just demolished the Japanese vehicle so badly that it one can no longer make out what it was. Even the cloud of smoke raised by the tank and machine gun completely overpowers the puny gun smoke of the only Japanese soldier still fighting. The Japanese do not stand a chance against the might of the US. Of course this comic came out in August 1942 at a point where America was doing rather poorly against the military forces of Japan.

Art by Joe Simon, Chapter 7, Glaven

There were three Harvey comics from the same period as the Jon Henri covers that I did not include in my last chapter; Champ #22 (September 1942), Speed #22 (September) and Green Hornet #8 (August). To me they always seemed to be very different and previously I did not consider them as done by Simon and Kirby. However Speed #22 is included in the Jack Kirby Checklist and I understand that recently some have attributed Champ #22 to Joe Simon. I still say these three covers are stylistically distinct from the Jon Henri covers, but I now realize I erred in not believing them as work by Joe Simon.

In a footnote to chapter 2, I mentioned providing to Joe Simon copies of my restoration of two stories from Daring Mystery #2 (February 1940). One was signed as Gregory Sykes and Joe revealed that in high school he and his friends sometimes used another name and his was Gregory G. Sykes. But the conversation did not end there. Joe also said that as a comic book artist he thought he had used three pseudonyms. He knew two of them (Jon Henri and Gregory Sykes) but could not recall the third so he felt he might have been mistaken. As Joe did not remember these Daring Mystery stories at all, he began to read them with much interest. At one point Joe stopped and chuckled, he said that in the Phantom Bullet story he had used the name Nelson Glaven for one of the characters. Nelson Glaven was the alternate name for Ned Gibman, one of his high school friends. I did not say anything, but I immediately recognized the name Glaven.

The cover to Speed #22 was signed Glaven. I had never talked to Joe about this cover since I had already decided (incorrectly) that he did not do it. Still I always had thought it was an excellent piece of comic art and had wanted to know more about the artist. However my search for more information on Glaven always came up empty and I had concluded it was a pseudonym. Now Joe has provided the information to link him to the Glaven alias. Actually I should have known better when I previously felt that Speed #22 was the wrong style for Joe Simon. I have been saying for some time that Joe could and did adopt different styles.

Speed #22
Speed #22 (September 1942) by Joe Simon (signed Glaven)

Speed #22 is a great cover. The planes diving out of formation leading to a similarly diving Captain Freedom and then to a bomb is very effective. This sort of formal device and the more static layout it provides is not the sort of thing usually found in covers by Simon and Kirby. But Joe did experiment with different compositions from time to time and this apparently is an example of that. This cover is so different from other work by Simon that I cannot provide any drawing features to link this particular cover to Joe. However the inking is done with a brush in a manner very much like the inking of some of the Jon Henri covers, particularly the form lines on the airplanes and the boots.

Unfortunately I do not have scans for the covers of Champ #22 or Green Hornet #8. The Grand Comic Book Database (GCD) does have scans but I do not think it would be good web etiquette for me to link to the images directly so let me provide a link to the GCD. It might be easier to follow what I say if you open up some new windows and use them to get the images for Champ #22 and Green Hornet #8. Don’t worry, I’ll wait for you to get back.

Champ #22 signature
Champ #22 (September 1942) close-up of signature with close-up of Speed #22 for comparison

Unfortunately the GCD scan is has too low a resolution to clearly read it. I provide a blowup of the GCD scan and one from Speed #22 for comparison. I think Champ #22 may also been signed Glaven but it is hard to be sure. This issue is unique among the Champ covers we have examined in that the Human Meteor has replaced the Liberty Lads. The cover has the appearance of being constructed from a number of different swipes. The hooded foe in the lower right corner came from Lou Fine’s Wonderworld #7 cover. I do not have my own scan of that cover, but Comicartville does.

The lady being thrown into the pool seems unnatural. Her hair and general pose looks more like she is lying down rather then falling. I am sure she was taken from someplace. I cannot identify other swipes but that is not to say there were not any. The Human Meteor and his young sidekick both have large ears that are not quite placed on the head correctly. This unusual treatment of ears viewed from the back is also a characteristic of Jack Kirby at this time. But the anatomy and pose of the Human Meteor just does not otherwise look like Jack’s work. I am not bothered by Joe’s use of swipes, what is important is the story the cover tells. Unlike most of Joe’s covers, I am not at all clear what is supposed to be going on here. Is the Human Meteor attacking the hooded villains or trying to catch the falling woman? What type of sling-shot does the sidekick have and what is he doing with it? Have the heroes interrupted some evil ritual or did the villain push the woman into the pool as a response to the sudden appearance of the Human Meteor? It is this failure to clearly tell the story that for me makes this one of the Joe Simon’s poorer efforts.

Is the cover to Green Hornet #8 (August 1942) also by Joe? The two villains on the right are crudely done, but their cheeks and jowls remind me of the of the members of the circle on Speed #21 (except for the clown) which I have already attributed to Simon. Once again there seems to be signs of swiping. Although I cannot provide any source, the damsel in distress looks an awful lot like she was originally done by Will Eisner. Although not among my favorite Simon covers, it is an improvement over Champ #22. Here is a story that can be easily read. A crystal ball predicts a dim future for the chained woman. A fiendish pair was advancing with drawn daggers to insure the prediction would come true. That is until they were interrupted by our hero. The Green Hornet will save the day, assuming he is careful where he takes his next step. I like the touches of humor. The fiends arrive holding hands with the smaller one carrying his knife in his mouth. The cobwebs show up not only on the walls and floors, but also connects the robed figure to his staff. I guess my biggest problem with this cover is not that he swiped the figure of the woman, but that it appears that Joe changed her so little.

Simon and Kirby would do the last of these Harvey cover in October (Green Hornet #9). I do not accept Green Hornet #10 as a Simon and Kirby piece. Perhaps they became too busy to do any more. S&K were very successful at DC but with the war on they knew that sooner or later they would be drafted. Joe’s solo work during this war time period will be discussed in the next chapter.

Art by Joe Simon, Chapter 6, Jon Henri

Art by Joe Simon, Appendix 1, Champ 22 Confirmed

Art by Joe Simon, Chapter 6, Jon Henri

Champ #18
Champ #18 (May 1942) by Jack Kirby (signed Jon Henri)

Starting with a cover date of April 1942 and ending in October are a series of 13 Harvey covers that were obviously done by Simon and Kirby (Speed #17 to #21 and #23; Champ #18 to #21 and #23; and Green Hornet #7 and #9). I say obvious, because they were done at the same time as S&K were producing work for DC and all this work show Simon and Kirby forging their own unique style. But none of the Harvey covers are signed by Joe or Jack. Instead some bear the signature of Jon Henri. Joe has said that he came up with this name. Henry is Joe’s middle name and he liked Jon so much that one of his son’s has it as a middle name. But the presence of the Jon Henri’s signature on some Harvey covers that clearly were penciled by Jack Kirby indicates that this name could not be a pseudonym for Joe Simon alone.

In fact the Jack Kirby Checklist and most experts and scholars credit all of these covers to Jack Kirby. I will be presenting my case for attributing some of the covers to Simon below. Previously we have seen Joe and Jack work on different pages for the same story. In doing so Joe adjusted his style to try to mimic Jack’s. But that work is of limited use to us since in the work for Harvey and DC, Simon and Kirby has already progressed well beyond what they did for Timely. Unfortunately the best comparisons to be made with work by Joe Simon is for material we have not discussed yet. So I will ask you dear reader to try to keep an open mind until I presented some of that evidence in future chapters.

Chame #19
Champ #19 (June 1942) by Joe Simon (signed Jon Henri)

I believe I can see two different artists at work among these Harvey covers. But care must be taken that we do not fall into the trap of crediting the best covers to Jack and the poorer ones to Joe. What we want to look for is differences in style and leave aside for now any value judgments. All the Champ covers in question illustrate the Liberty Lads. But how this young duo are portrayed is not consistent. For four of the five covers the Lads are depicted as young teenagers. But one one cover (Champ #19) the Liberty Lads seem to be a little younger. In my series of posting of the Harvey covers I have already examined Champ #20 and Champ #21 and you can look at those postings for their images. But here I am going to compare Champ #18 to Champ #19.

One thing to note is the exaggerated perspective used for the Japanese just hit by one of the Liberty Labs on the Champ #18 cover. Jack Kirby was the master at this almost 3D effect and although others tried to imitate Jack I do not believe I have ever seen anyone completely succeed. So when I see such a successful job as on Champ #18 (and also on Champ #20 and #23) I feel pretty confident that Jack Kirby was responsible. The one Liberty Lad about to leap on Champ #19 is not quite an exaggerated perspective (although still rather well done). But the lack of exaggerated perspective does not mean it was not done by Jack.

Star Spangled #13
Star Spangled #13 (October 1942) by Jack Kirby

The Liberty Lads on Champ #19 are not only younger they also look familiar. That is because they seemed based on Gabby and Scrapper from the Newsboy Legion. Although in the past it was generally believed that Kirby did not swipe, more recently examples of Kirby swipes have been well documented particularly by Tom Morehouse in TJKC. But why would Jack have to swipe the Liberty Lads on Champ #19 but not on the other four covers? To me the Liberty Lads swipes are more likely to be evidence of Joe’s involvement then Jack. One features that suggests Kirby is the square fist of the policeman on the far roof. Square fists are easily recognized manner used by Jack. But it is so obviously that there is little doubt that Joe Simon would see it also and it would not be hard for Joe to adopt it himself. But note the stiff, straight arm of that same policeman, that does not look like Jack’s work.

By this period Joe Simon has advanced beyond the use of just two expressions that he had learned when he started comic book work (as described in The Comic Book Makers and quoted in Chapter 1 of this series of posts). But there are some expressions that Joe uses more frequently then Jack. One is having both eyebrows raising as they approach the midline. The policeman trying to climb onto the roof in Champ #19 is a good example of this eyebrow rendition.

The master criminal and his diminutive partner on Champ #19 are rather unique. To me they more represent the visual humor that Joe will later show in features like the Duke of Broadway then the type of humor Jack would do. Actually the cover as a whole seems more humorous then suspenseful.

For me Champ #19 is one of those covers that looks so much like the work of Joe Simon that I am amazed that others do not see it. If in the end you do not agree with my attribution of this cover, I doubt you will find convincing any of the other Harvey covers I credit to Joe. The next best example of Simon work would be the Speed #21 (August 1942) that I posted on recently. Here the only Kirby-like feature that I find is the clown’s pointing hand. Everything else looks like Simon’s work to me. The device of an oversized hero is something I associate with Simon more then with Kirby. We have already seen Joe use this in the Blue Beetle #2 cover. Similarly the use of floating heads I believe is more typical of Joe. The style these floating heads seem to be Joe’s, especially the square ness of the jaws.

Speed #19
Speed #19 (June 1942) by Joe Simon (signed Jon Henri)

Another candidate for Simon work is the cover for Speed #19 (June 1942). The Japanese impersonator has the peaked eyebrows that Joe seems to favor. Captain Freedom has Jack’s square fist, but as I mentioned before I do not believe this is a reliable feature for distinguishing between Joe and Jack. I find the arriving Japanese soldiers look more like Simon’s hand. But frankly although I attribute this cover to Joe, it is not with the certainty that I feel for Champ #19 or Speed #21. The only other Speed cover I suspect may have been done by Simon is Speed #23 and that is without much confidence at all. I have not yet restored that cover so I will leave my reasons for saying it was done by Joe for a future post in my Harvey cover topic.

Green Hornet #7
Green Hornet #7 (June 1942) by Jack Kirby and Joe Simon

The covers for both Green Hornet #7 and #9 seem to have been done primarily by Jack Kirby. But on GH #7 there is a floating head. Because of the mask and hat, only the eyes are visible. To me they look like they were done by Simon. It seems that enlargement and floating heads are devices used at times by Joe but not by Jack.

Some readers may have noticed that I did not include Champ #22, Speed #22 or Green Hornet #8 in my list of Simon and Kirby Harvey covers. These covers have characteristics that set them apart from the Jon Henri group. We will examine these three covers along with new information I have obtained from a recent conversation with Joe Simon in the next chapter.

Art by Joe Simon, Chapter 5, Side by Side

Art by Joe Simon, Chapter 7, Glaven

Speed #21 (August 1942)

Speed #21
Speed #21 (August 1942) by Joe Simon

The pointing hand of the clown looks like it was done by Kirby. But only that small detail does. The Japanese, the clown, Hitler and the gangster in a small circle cluelessly looking for Captain Freedom is just the sort of visual humor I come to expect from Joe Simon. And Captain Freedom towering over them, as well as all his floating heads, seem to me to have been done by Joe’s hand. So I make Simon as the primary penciler.

It is wonderful to see all the different approaches to a cover S&K did for Harvey. But actually that was true with S&K during all their collaboration. They always seem to put great effort to make their covers stand out from the rest of the crowd on the racks.

Champ #21 (August 1942)

Chame #21

While I worked on the End Of Simon & Kirby serial post I put on hold my posting on the S&K Harvey covers. But now it is time to resume that effort. I say effort not because of the writing, but the restoration of the images. These Harvey comics are not common and frequently in poor shape. But all these covers are gems and well worth the work.

This cover shows one of the Liberty Lads ejecting from a plane flown by his partner. I am not sure where the boy left the plane, it looks like a one seater. Nor is it clear why the plane had to fly upside down. The plane’s camouflage does not seem effective as the ship’s spot light has been trained on it. The bailing Liberty Lad is just about to open his parachute. It is not at all clear how he is going to attach the ship armed with only a machine gun and with no possibility of surprise. But this sort of logical analysis really is pointless with these Harvey covers, bravery trumps logic.

The bailing Liberty Lab is not in exaggerated perspective, but still seems to have the Kirby touch. So I believe Jack was the primary penciler.

Speed #20 (July 1942)

Speed #20 

I think this is Jack’s penciling because of his typical exagerated perspective. Yet another variation of Captain Freedom’s costume. Jack Kirby was famous for his frequent failures to get costumes right. But in the case of Captain Freedom I am not sure what the correct costume is, it keeps changing even in the stories. Captain Freedom is a true superhero, he has super strength and can fly (or perhaps he is just jumping great distances). But on all the Speed covers that Jack and Joe did they both protray Harvey’s patriotic hero more normal, sort of like they did Captain America.

Green Hornet #7 (June 1942)

Green Hornet #7

I love the way Simon and Kirby make a cover tell a story. The Green Hornet is rushing to attach a killer clown. If the clown carrying a wicked knife wasn’t enough, the lady on the lower level carries a newspaper with headlines that are hard to make out completely but clearly includes “CLOWN … CRIMINAL …”. Behind her is a fallen policeman, his gun laying at his side, clearly the Green Hornet will be taking on one tough clown. The press above is printing the front page for the latest edition declaring “DIES IN ELECTRIC CHAIR” with a picture of the clown, obviously printed ahead of time because the clown escaped before facing his execution. The Green Hornet had better be careful because this clown has nothing to loose.

The Green Hornet cover for June is a bit of a puzzle. The floating head looks like it was done by Joe Simon, The killer clown and the running Green Hornet seem to be Jack Kirby’s hand. The rest of the figures have bits of both. My take on this is that it was original penciled by Jack without the floating head. Joe added the large head and maybe touched up some other parts. Truly a joint effort. Once again signed as Jon Henri.

The inking on this cover includes irregularly patterned “hay” that we have seen before on the cover to Speed #17. When discussing that cover I noted that the same pattern appears in some of Al Avison’s work, including the splash from Pocket #1. Both Speed #17 and GH #7 covers also share some inking styles and lack the S&K shop style that appears on other Harvey covers. I now suspect that both covers were inked by the same artist and that artist may have been Al Avison.