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

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

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

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

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

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

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

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

Adventure #88 (October 1943) by Jack Kirby

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

Art by Joe Simon, Chapter 13, Wrap Up

Adventure #73 (April 1942) by Jack Kirby

In my recent serial post, The Art of Joe Simon, I discussed and gave a number of examples of Joe Simon’s use of oversized figures on covers. As a rule Jack Kirby did not seem to have any interest in this sort of compositional device. But there are exceptions (and no I do not believe they prove the rule). When Simon and Kirby began to work for DC Jack did do two covers that used an oversized Manhunter (Adventure #73 and #79). Had Jack seen Joe’s use of this device and wanted to try his own hand at it? Or is is possible that Joe did the layout for these covers? In “The Jack FAQ” page 3 Mark Evanier states

During the Simon-Kirby days, Joe Simon did the bulk of the cover designs. (Jack regarded Joe as the best designer of covers the industry has ever seen, though that was by no means the only talent Joe had.)

It is not clear what Mark’s source is for the statement about Joe doing most of the cover layouts. I will decline to provide my own opinion on this issue of layouts. Beliefs are great but they should be backed up with evidence. I feel evidence that can be used to determine who did what layouts is largely lacking. We do have Simon covers from before the S&K team-up, but unfortunately we do not have Kirby covers from the same period. During the time of their collaboration we do not have credits like those that appeared during the Silver Age of comics. I do not believe that it is convincing to use covers done after the breakup as evidence for what was done prior. So as I said we seem to have a lack of evidence.

Despite the many years of Simon and Kirby collaboration to come, these two covers seem to be the only examples of Kirby drawing oversized figures on a cover. But as we saw in previous posts, Simon did return in later years to this compositional technique.

Adventure #79 (October 1942) by Jack Kirby

Previously I posted about the forgotten comic book artist Joe Albistur. Joe worked for S&K from September 1954 to October 1955 (cover dates). Unfortunately I really had no information on him other then the various features he worked on and further Joe Simon was unable to place his name.

Joaquin Albistur

Well after that post I got a comment and from Toni Rodrigues suggesting that the comic book artist may have been the same as Joaquin Albistur an illustrator from Argentina. Toni was kind enough to forward to me a scan of his photograph (above) as well as some examples of Joaquin’s work. Comparing illustration art to comic book work can be misleading, they are two different media. Plus I do not know when the Joaquin art examples were created. Nonetheless I find some resemblance of Joe’s romance work with one of Joaquin’s drawings (see below).

by Joaquin Albistur

I showed Joe Simon the Joaquin photo hoping it would help his memory. Joe said the man look familiar but he could not be sure. However Joe also said that there was an artist from Argentina who did work for S&K that had a very illustrative look. That is a pretty good description of Joe Albistur’s romance work. So although it is not certain, it is likely that Joe and Joaquin are one and the same individual.

Of course it would be nice to get more information about Joaquin particularly about his work in Argentina and when that was done. That could help to confirm or eliminate him as the same artist who worked for S&K. And if he is the same artist it would be nice to learn more about him since we know little about him at the present. So if anyone has more more information please let me know.

When I started this serial post on Joe Simon’s art, I outlined for myself what topics I was going to cover. Initially my plan was to end about the time of the Simon and Kirby breakup. I wanted to avoid the final part of Joe’s career as a comic artist because frankly I do not have a very good handle on all of it. But in the end I have decided to discuss what little I know and admit my ignorance. Joe writes about this part of his career in his book “The Comic Book Makers”. But if you are not careful, it is easy to come away from a reading of what he says with the idea that this was an unimportant part of his career. The fact is the covers Joe drew after the breakup of Simon and Kirby outnumbers what he did earlier.

Young Romance v14 n5 (August 1961) by Joe Simon (signed)

With the exception of one publication (Sick), most of what Joe did after S&K was unsigned and for low budget titles. Outside of Sick, the above Young Romance cover is the only signed late work by Joe Simon that I am aware of. Joe was the editor for some of the Prize comics (Young Love, Young Romance and Black Magic) towards the end of those titles. In Chapter 9 of “The End of Simon and Kirby” I had included an image of another of Joe’s Prize work Young Love #77 (August 1960). As I said in the beginning of this post I do not have a very good handle of Joe’s style, that is particularly true with these romances. I believe there are other Young Love and Young Romance covers by Joe. Although I have not located a convincing example yet, I strongly suspect that Joe also did some covers for the relaunched Black Magic series.

Young Hearts In Love #17 (from proof) by Joe Simon

Joe Simon also did cover work for Super Comics. That publisher would buy art from failed comic books and reprint the material with new covers. In his book Joe describes selling them some of the S&K Mainline comics. Super Comics had a lot of different titles but were probably not big sellers and I do not have access to very many of them. The above image of Young Hearts #17 is from a proof in Joe’s collection. Notice the similarity of the title lettering to that originally used for Young Love and Young Romance. Joe also did the cover for Young Hearts #18.

Daring Adventure #15 (1964) by Joe Simon

But Joe not only did romance covers for Super Comics, he also did some superheroes. I believe he did the covers for Daring Adventures #10 to #17 (1963 and 1964). For these Joe used the rather simple style we saw before in Alarming Tales #4. But notice on DA #15 the Kirby-ish leaping figure. Also note the use of the oversized figure, in this case of the villain, that we have seen Simon use all the way back on his work on Blue Beetle for Fox Comics. Joe also did the cover for The Spirit #12 (1964) where unexpectedly the Spirit is attacking a foe with the villain’s own robot.

Jigsaw #3 (unpublished, from original art) by Joe Simon

From 1965 until 1967 Joe did some editorial work for Harvey Comics on some, mostly superhero, titles. I do not believe he did any of the stories, but Joe did supply some of the covers. Perhaps because they were done for his long time friend’s company, I feel Joe put more effort into them then he did on the Super Comics covers. Although Simon still mostly worked in the simpler drawing and inking style, in the cover for Jigsaw #3 he returned to a bold inking not much removed from the old S&K shop style. Joe commented to me that he thought he had copied the Jigsaw figure from the splash page of the story. But I am unable to confirm that since Jigsaw #3 was never published.

Dick Tracy #129 (from proof) by Joe Simon

But the late 60’s covers were not the only ones Joe did for Harvey. Earlier he also did some Dick Tracy covers. Determining which ones is a bit of a problem. Joe was essentially ghosting on these covers, adopting the rather simple and stylized drawing of the original newspaper strips. To make it even more difficult Al Avison was also doing some of these covers at about the same time. The above proof is from Joe’s collection so we can be pretty certain it was done by him.

Harvey Hits Magazine (from proof) by Joe Simon

Simon also did some Phantom covers for Harvey. Here he did not have to copy another’s style. To me they seem like standard Simon art for after the S&K breakup and do not at all suggest work by Jack Kirby. But apparently there must be something in them to suggest Jack, because dealers often credit Kirby for these covers.

Sick #69 (August 1969) by Joe Simon

However it is the covers to Sick Magazine that comprises most of the art work Joe did after Simon and Kirby. Joe was editor for this Mad imitation for a number of years (1960 to 1968) during which he did many of the covers but even afterwards he continued to supply cover art. In this work Joe let loose his visual humor and he obviously put much effort into these covers.

Well that wraps up my serial post on the Art of Joe Simon. I have added a checklist but like all my checklists it is a work in progress. Joe was a talented artist, better them most people give him credit for. Unfortunately that talent, particularly his talent for adopting different styles, has led many experts and scholars to attribute some of his works to other artists. Over and over again I get the uncomfortable feeling that critics have used quality of the work as a means of distinguishing between artists; if a page is good Kirby must have done it, otherwise it was done by Simon. I feel this is a flawed technique and the proper way to determine artistic credit is to examine a piece of work for the traits of the individual artists. It is also to keep in mind that when one artists tries to mimic another that some traits are easy to copy and should not be relied upon. Other features are more unique to one artists and are harder for another artist to duplicate; these are the ones useful for attributions. I did not do this serial post with the idea of convincing everyone of the correctness of the work I credit to Simon. But it would be great if I could help move the problem of attributions toward a discussion of the evidence from the art itself and away from the simple credit declarations that the experts are so fond of.

Art by Joe Simon, Chapter 12, Covering the Fly

Art by Joe Simon, Appendix 2, Daring Adventures #12

After “48 Famous Americans” S&K entered a period of abundant work mainly producing crime, horror and romance genre comics. As far as I can tell, Joe did not pencil anything during this period. I say that rather hesitantly. While working on my serial post “The End of Simon and Kirby” I reexamined a lot of S&K material. Suddenly I realize one story that I always thought as drawn by Kirby and was listed in the Jack Kirby Checklist had actually been done by Joe Simon. It seemed pretty obvious and I was quite surprised that I did not notice it before. I will discuss this story below but the point is if I had missed that work by Simon I might have missed others.

Adventure #75 (June 1942) “Beware of Mr. Meek” by Jack Kirby

Fighting American #6 February 1955) “Deadly Doolittle” by Joe Simon

When we approach the end of the Simon and Kirby collaboration, work penciled by Joe reappears. However in some cases saying Joe is the artist depends on you think what makes someone the creator of a piece. In his book “The Comic Book Makers” Joe describes an incident where S&K got caught by Prize for reusing old romance art with new scripting. So far I have not found the stories that Joe is talking about. But in Fighting American #6 (February 1955) there is a story “Deadly Doolittle” that clearly was redone from “Beware of Mr. Meek” a Manhunter story from Adventure #75 (June 1942). But the FA story was not made by reworking stats from the older comic to change the uniforms, rather the entire story was redrawn. Much of this was done to remove some older layout techniques that Simon and Kirby no longer used. Early in their collaboration parts of figures would frequently extend well beyond the panel edges entering other panels. The FA story was redrawn so that things remained in their panels. But this was not done by just eliminating the parts outside of the original panels but by recomposing the panel instead. I find Simon’s touch in all of this work. It is particularly interesting to see Joe redo some of Jack’s classic socko punches. Joe tries valiantly but does not quite succeed in capturing Jack’s effect. I find a lot of Simon touch in this story and all the Kirby effects seem to be transmitted through Joe’s sensibilities.

Cockeyed #4 (April 1956) “Guys and Dolls” by Joe Simon
Enlarged view

The last piece of worked signed jointly as Simon and Kirby is the unusual “Guys and Dolls” that appeared in the Mad-takeoff Cockeyed #4 (April 1956). This is included in the Jack Kirby Checklist, although I really cannot say why. The art looks much closer to cover work that Joe would do later for Sick then anything I have seen Jack do. Further the visual humor looks like Joe’s and does not seem to match Jack’s humor work. For me the most convincing evidence is that this works appears to have been done with an air brush. Joe Simon was a master with this tool having learned it while working for a newspaper at the beginning of his career. He would return to using it for not only the Sick covers but also for some of his advertisement work. I have seen nothing that indicates Jack had done any air brush art.

Alarming Tales #1 (September 1957) by Joe Simon

I doubt many would say that the figure in the flying chair and the background from the cover of Alarming Tales #1 (September 1957) were done by Jack Kirby. I clearly see Joe’s touch and believe he did this cover. But I can see why many see Kirby’s presence in the bottom part of the cover. I feel Joe did this portion also but he is swiping or mimicking Jack for parts of it. I presented a color image in a chapter of the “End of Simon and Kirby”. But the coloring makes it difficult to clearly see the figures, so above I provide a restoration of the line art. To me the lady on the left and the man looking out of his car seem to a have Kirby look to them. But the man pointing (third from right) and the man on the far right look more like the work of Simon.

Black Cat Mystic #60 (November 1957) by Joe Simon

Not long after Alarming Tales #1, Joe did a cover for Black Cat Mystic #60 (November 1957). Notice the similarity of the man with the two from the AT #1 cover.

Black Cat Mystic #60 (November 1957) “The Woman Who Discovered America 67 Years Before Columbus” by Joe Simon

Black Cat Mystic #60 has the story drawn by Joe Simon that I mentioned at the beginning of this post. This short (2 pages) story is listed in the Jack Kirby Checklist, but as I said I now disagree with that attribution. We have in this work Joe mimicking Jack quite successfully. The men have a Kirby-ish look but a careful examination of the eyebrows reveal the more simple form that Simon preferred. The woman also comes from a Kirby source, such as some of the unused covers for Black Magic #1. But the woman’s eyes give away the fact that this was Joe’s pencil work. The hand of the woman in the splash panel is not drawn the way that Kirby would have done it. I am sure some will say that some panels of the second page of the Mayans were done by Jack. But I suspect even this includes subjects that were drawn from art history sources that both Joe and Jack used.

Alarming Tales #4 (March 1958) by Joe Simon

Covers begin to appear at this time where Joe seems to abandon any attempt of mimicking Kirby. I provide an image of Alarming Tales #4 (March 1958) as an example. Here we find a simpler style of drawing and inking that Joe will often use from here on. Once again Joe has adopts a new style.

Art by Joe Simon, Chapter 10, A History Lesson

Art by Joe Simon, Chapter 12, Covering the Fly