Category Archives: Artists

Kirby Inkers, Mort Meskin

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Posted in 2007/11, 5 Studio, 6 Mainline, Artists, Assorted, Harvey, Kirby Inkers, Meskin, Mort, Prize, Serial Posts, z Archive and tagged ,

Jack Kirby had a lot of different inkers throughout his long and productive career. During the time of Jack’s collaboration with Joe Simon, most of his inkers were also artists that worked for the S&K studio. Mort Meskin, for one, had a extended and fruitful association with Simon and Kirby. The earliest S&K production that included a Meskin signature was “The Inferior Male” from Young Romance #6 (July 1948) (see previous posts here and here). That particular piece was also signed by Jerry Robinson, the usual assumption is that the first signature (in this case Robinson) was the penciler and the second (Meskin) was the inker. Here support is found in that at least some of the pencils do not appear to by Mort, while the inking is typical of his work that follows. The first work to be signed by Meskin alone came over a year later with “His Engagement Ring” (Young Romance #16, December 1949). There is an even earlier work then both of these that Meskin at least participated in (“Love Or A Career” in Young Romance #3 January 1948). To be honest I am holding back some information that I want to be the subject of my next week’s post. Although Mort’s earlier work for Simon and Kirby was sporadic, from 1950 on he became the most prolific of the studio artists. During this time Meskin’s output may have even exceeded Jack Kirby’s.

Young Romance #18
Young Romance #18 (February 1950) “I Own This Man”, pencils and inks by Mort Meskin

I provide above a splash by Meskin from early in his association with Simon and Kirby. It gives examples of a number of Mort’s spotting techniques. Mort’s most common brush method, actually used much more frequently than apparent in this splash, is to describe clothing folds by using two or more narrow brush lines in close or overlapping paths. These can be found in the pressman’s blue jacket. Note how what the original individual brush strokes are sometimes revealed at the ends of the folds. Another Mort inking style was to often distinctly outline shadows. Once again this splash does not provide the best examples but two of them are present one near the center of the wrestling mat while the other is near Mort’s signature. The wrestlers give Meskin the opportunity to do some real nice simple hatching. The lines vary from thin to quite bold. Often one and occasionally two lines are used to delimit a hatching area. This type of brushing technique is very reminiscent of the S&K Studio style picket fence work. (See the inking glossary for an explanation of my inking terms such as simple hatching and picket fence). I do not know enough about Meskin’s prior inking to say whether this is typical of his work at the time or if this shows he was influenced by the Studio style. The dark spot on the reporter’s right shoulder are suggestive of the Studio style’s shoulder blot. That is misleading as Mort always seems to use these in a way to suggest realistic shadows while in the Studio style they generally appear on both shoulders without any natural explanation.

Young Romance #37
Young Romance #37 (September 1951) “Just to be Near Him” page 2 panel 1, pencils and inks by Mort Meskin

Although it maybe debatable whether my first image represents true Studio style brushwork, later work can certainly be called that. In the above image the pickets of the picket fence inking have become bold and the rails more consistently applied. Mort would sometimes also use standard crosshatching, as seen on our far left and on the lower part of the woman’s dress. When doing so, he would frequently place the crossing lines at an acute angle so that the white spaces are elongated.

Young Romance #29
Young Romance #29 (January 1951) “Diagnosis: Love” page 5 panel 3, pencils and inks by Mort Meskin

The above panel provides a better example of Meskin’s penchant for outlining shadows. That the boldly brushed dark spot on the center man’s jacket is a shadow can be seen by the presence of the profile of a nose. Mort would occasionally have a dark shadow trace a path down one side of a figure, such as the man on our left.

Justice Traps the Guilty #56
Justice Traps the Guilty #56 (November 1953) “G-Man Payoff” page 5 panel 6, pencils and inks by Mort Meskin

When artists both draw and ink their own work the two art stages will sometimes reinforce one another. That is what I believe happened with the eyebrows that Mort gave his men. These eyebrows are inked with a method similar to how Meskin handled clothing folds, two or three narrow overlapping brush strokes would trace the path of the eyebrow. This resulted in eyebrows that were wide, simple and made somewhat angular turns. As we will see below, Mort became so entrenched in inking eyebrows this way that it could affected how he inked Kirby’s pencils.

The above panel also shows how Meskin would sometimes fill in part of a blank background with crosshatching. As is generally the case, here his lines meet at an acute angle, not at right angles some other inkers prefer.

Young Romance #30
Young Romance #30 (February 1951) “My Lord and Master” page 3 panel 1, pencils and inks by Mort Meskin

Sometimes Mort will use his brushwork to create a side of a figure that is both a narrow shadow and a wide outline. This does not show up often, but is very distinctive when it does. I am sure further study of Meskin’s abundant output will show other inking techniques that while not common can be useful in determining attributions.

Young Love #68
Young Love #68 (December 1955), pencils and inks by Mort Meskin

Covers are important for the sale of a comic and the higher quality paper allows a superior printing. Therefore artists take more care in the creating artwork for covers. However the S&K studio artists usually did not get a chance to provide cover art, Jack Kirby would do all cover art when a photograph was not used. But when Simon and Kirby launched their own publication company, Mainline, Jack was so busy that for a year the covers for the Prize romance titles would be done by other artists, including Mort Meskin. On none of his romance covers would Mort use picket fence patterns or any of the other traits of S&K Studio style inking. For the spotting on Young Love #68 Mort relied mostly on his use of narrow brush strokes. Note how on YL #68 the back of the man’s jacket and pants has that narrow shadow or wide outline that we saw before.

Mort Meskin was such a prolific artist that the possibility of the use of assistants has to be considered. In preparation for writing this post I reviewed a lot of Mort’s work from 1950 to 1956, there is so much work that I did not have the time to review it all. This review confirmed my previous conviction, Mort had little if any assistance in inking his art. Almost all the spotting looked like it was done by the same hand.

Some of Meskin’s inking techniques are not limited to him alone. The use of narrow, often overlapping brush strokes can also be found in stories by George Roussos as well. This is not too surprising since Mort and George worked together in the late 40’s. The narrow brush strokes were not the only think George picked up from Mort, a lot of his penciling was clearly influenced by Meskin as well. Nonetheless Roussos did not adopt all Mort’s inking techniques so the two can be distinguished. However a discussion about Roussos will have to await another post. I will say that I have yet to find an example of Roussos inking Kirby (that is until the Silver Age).

Boys’ Ranch #4
Boys’ Ranch #4 (April 1951) “The Bugle Blows at Bloody Knife” page 8, pencils by Jack Kirby, inks by Mort Meskin

The Jack Kirby Checklist attributes most of the inking in the classic Boys’ Ranch to Joe Simon. Actually it is not hard to recognize Mort Meskin’s inking in much, if not most, of it, particularly after the first couple of issues. The biggest difficulty I faced with choosing an example of Mort inking Kirby from Boys’ Ranch was that I believe Mort was the penciler for at least some of the work in that title that has generally been credited to Jack. But the drawing in “The Bugle Blows at Bloody Knife” looks so much like Kirby’s that I am confident that he was the penciler. I am equally as confident that Meskin did the inking. Note the narrow clothing folds in panels 3, 4, 5 and 6. See how the shadows have a strong outline, most obvious in panel 4, but can even be found on the officer’s forehead in panel 1. The back of the soldier in panel 3 could be described as either a narrow shadow or wide outline. The eyebrows in panel 1 and 6 are simple with angular turns. All of these are typical Meskin traits.

Police Trap #6
Police Trap #6 (September 1955) “Only the Guilty Run”, page 1, pencils by Jack Kirby, inks by Mort Meskin

The two gun carrying detectives in the background are so typical of Jack Kirby that he must have been the penciler. At a glance the inking appears typical S&K Studio style. But note how the clothing folds are long and narrow. The final giveaway is the thief’s eyebrows are simple with angular turns. There is little doubt that this is another example of Meskin inking Kirby.

Western Tales #32
Western Tales #32 (March 1956), pencils by Jack Kirby, inks by Mort Meskin

My final image is the cover of Western Tales #32. This work was not included in the Jack Kirby Checklist. The last time I posted on it I attributed both the pencils and inks to Joe Simon. The fact that it was not Kirby’s inking and the stiffness of the Indians (especially the one in the right foreground) suggested to me that Joe might be responsible. After all Simon has shown himself to be excellent at mimicking Kirby. However Crockett’s pose seems more dynamic then what Joe has ever done without using swipes, and it was just the sort of thing that Jack was so good at. Perhaps the awkward pose of the Indian on the right was due to the limited area left over from Davy’s figure. As for the inking it simply is not Kirby’s work. Note the long and narrow clothing folds, Davy’s angular eyebrows, and the way his back is outlined by a narrow shadow. None of these are Kirby traits but all are characteristic of Mort Meskin’s inking. This magnificently inked cover shows that Mort had complete mastery of the S&K Studio style. Mort’s brushwork has the same sort of bold confidence that Jack and Joe also possessed. Although it may not be a reliable enough trait to rely on in determining attributions, Meskin’s brush does seem a little more mechanical then either Simon’s or Kirby’s.

A few months after Western Tales #32 Meskin would stop providing work to Simon and Kirby. If the GCD is correct, Mort had actually returned to working for DC a couple of years earlier. Now having left S&K, DC would become Mort’s main source of income until he abandoned the comic book industry. Meskin’s final DC period overlaps Jack Kirby’s time there, however none of Kirby’s DC work that I have seen was inked by Mort.

I have not made a thorough examination of Jack Kirby’s work for the purpose of determining what ones were inked by Mort Meskin. I want to hold off on that effort until I review some more S&K artist/inkers. So far the only other one I have posted on was Marvin Stein.

Kirby Inkers, Marvin Stein

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Posted in 2007/06, 5 Studio, 7 Freelance, Artists, DC Kirby, Kirby Inkers, Periods, Prize, Serial Posts, Stein, Marvin, z Archive.

I have written about Kirby inking Kirby, but what about Jack’s other inkers? Scholars of the Silver Age have it comparatively easy, many of Jack’s inkers are actually given credit. This provides a head start even in those cases where no inking credits are given. But in the Simon and Kirby years no inking credits were ever provided. Fortunately most S&K studio artists inked their own work. Therefore examining the work by the studio artists can give insight into what to look for in order to determine if they also were Kirby’s inkers.

I am going to start with Marvin Stein. What I am going to say about Marvin is pretty preliminary. I really have not studied Stein as an artist as much as I have other who had worked for Simon and Kirby. This is probably because I have mixed feelings about Marvin’s art. On the positive side Stein was often good at depicting action. However some of his drawing seems a bit crude.

Marvin Stein starts showing up in Simon and Kirby productions in 1951. Not long after his appearance there seems to have been a change in the production of Headline and Justice Traps the Guilty, two crime titles that S&K had created. Well actually Headline had existed before S&K but was not a more general anthology, it was S&K who converted the title to crime. The postal statement for Headline #46 (March 1951) lists Nevin Fiddler as the editor. About that time the artists for both crime titles changed and Jack Kirby work would no longer appear. Marvin Stein would become a prominent part in the new Prize crime issues. Stein did almost all the covers and usually the first story. It was not that unusual for Stein to provide a second story as well.


Headline #51 (Jan 1952) art by Marvin Stein

There is a photograph that indicates that Marvin worked at the Simon and Kirby studio at one time. Certainly he was greatly influenced by Jack Kirby, particularly in the portrayal of action. But Stein did not pick up any of the typical S&K studio inking. Missing from Marvin’s own work are things like picket fence brush work, abstract arch shadows or shoulder blots (see the inking glossary). Stein did occasionally use something like drop strings.

Justice Traps the Guilty #88
Justice Traps The Guilty #88 (August 1957) “The Spoilers” page 7, art by Marvin Stein

The above image is a typical page of Stein pencils and inking. Marvin’s brushwork tended to be rather blunt. This can be very apparent when the faces are of a smaller size, as for instance in panels 1, 2 and 4. A blunt brush work can even be seen in closer faces as in the criminal in panel 4. Stein often would use very broad cloth folds that seem slightly bent at about the middle of their length as seen on the man in the foreground in the first panel. Cloth folds often have ends that stop abruptly at a right angle (as in the first panel) or a slight angle (there are a couple examples on the man in the second panel). Form and shingle lines are often quite robust. Although not apparent in the image above, Marvin would sometimes make long and simple eyebrows. These eyebrows can resemble those by Bill Draut.

Justice Traps the Guilty #91
Justice Traps the Guilty #91 (February 1958) “Power Failure” page 4 panel 5, art by Marvin Stein

Occasionally Marvin would like to depict faces with a sort of negative highlight, as in the image above. This is done with diagonal brush work and like so much of Stein’s inking in a rather crude manner.

Young Romance #93
Young Romance #93 (April 1958) “Jealousy”, pencils by Jack Kirby, inks by Marvin Stein

Among Jack Kirby’s late Prize romance art is one story, “Jealousy”, where the spotting for the facial features is rather blunt. The facial inking looks so much like Marvin Stein’s that I am certain he was Jack’s inker. Note the final panel where the man’s right eyebrow is extended into a crease above the nose. This is a characteristic often seen in Stein’s own art, for instance panel 3 from the Justice Traps the Guilty #88 page I showed earlier. Surprisingly the spotting other then for the faces in this story seems more carefully done then is typical for Stein.

This blunt treatment of facial features does not seem to occur in inking for any other of Kirby’s work for Prize. But otherwise similar spotting can be found in the inking of a number of Kirby stories. Could it be that Marvin Stein used greater care when inking for Kirby then he did on his own work? Depending on the answer to that question, Stein could have been a frequent inker of Kirby or a rare one.

Showcase #6
Showcase #6 (February 1957) “The Secrets of the Sorcerer’s Box”, page 6, panel 3, pencils by Jack Kirby, inks by Marvin Stein (from DC Archive edition)

When I wrote the DC chapter to “Jack Kirby Austere Inking” I was hampered by my limited access to the work. I am still not ready for a more thorough evaluation of Jack’s DC period but I have gone back over it with Marvin Stein fresh in my mind. Previous I attributed the inking to the initial Challengers of the Unknown stories to Jack. With my latest review I find a number of examples of inking that look like Stein’s work. Take a look at the face in the panel image I provide above, it has Stein’s blunt brushwork style. Also note that a couple of the cloth folds have the slightly off right angle ends that Stein prefers. There is still inking in the first two Showcase issues that look like Kirby’s brush. The red giant in “Dragon Seed” from Showcase #6 seem much better done then I have every seen Stein do. Also the second page from Showcase #7 with its scenes of the Challenger members doing various daring deeds. The problem is that Stein’s blunt brushwork is rather similar to Jack’s Austere style. I now suspect that most of the inking for Showcase #6 and 7 was actually done by Stein with Kirby doing the more difficult parts and perhaps touching up Marvin’s work as well.

Challengers of the Unknown #3
Challengers of the Unknown #3 (August 1958) “The Menace of the Invincible Challenger”, page 10, panel 2, pencils by Jack Kirby, inks by Marvin Stein (from DC Archive edition)

Marvin Stein did some of the inking for later Challenger stories also. The image above from COTU #3 has the same shadow highlights we saw before from Stein’s crime work. But these later inking differ from Showcase #6 and #7 in that Jack Kirby does not seem to have taken a hand in any of the spotting.

I have added a checklist for Marvin Stein, which like all my checklists are works in progress. However a checklist of Stein’s inking Kirby will have to wait, at least until I have reviewed some of the other Kirby inkers.

Joe Simon on CNN

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Posted in 2007/04, Artists, Simon, Joe, z Archive.

I do not have cable so I knew I would not see Joe Simon’s appearance on CNN. But through the magic of YouTube I can now view it as can you.

The Astonishing Jack Oleck

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Posted in 2007/03, Artists, Oleck, Jack, z Archive.

Jack Oleck
Jack Oleck

From “The Comic Book Makers” by Joe Simon and Jim Simon we learn some information on Jack Oleck. We find that Jack was a writer frequently used by the Simon and Kirby studio. Also that he was Joe Simon’s brother-in-law. From Foxhole we also learn that Jack had been a Sergeant in the Army.

Recently I have posted about two stories from Foxhole that were scripted by Jack Oleck (“Office Upstairs” in #3 and “Thirty Year Man” in #4). In terms of getting an idea of Oleck’s writings at that time this is not a lot to go. This would be all that we would have if it were not for copy of part of a script that Joe Simon has in his collection. The page has Jack’s address and the comic for which it was written. The story was “His Brother’s Keeper” and was published in Astonishing #55 (November 1956) by Atlas.

Astonishing #55
Astonishing #55 (November 1956) “His Brother’s Keeper”, script by Jack Oleck, art by John Forte

We find Larry Collins on Mars as he resists returning to his spaceship for the return trip to Earth. This was his first space voyage and he has developed a fear of returning to space. He does not care that if he does not overcome his fear he will never return home. Larry runs away so the Captain enlists the help of Larry’s older brother who also happens to be on Mars. It is a fun four page story but despite the blurb on the splash page it is not one of the most astonishing story you will have ever read.

The copy of the script only covers the first page and the very start of the second. The published version closely follows the original script. The only change is one small portions in the first panel which I have struck out. Actually I feel it was a good choice of editing since the excised portions was not really necessary. I have copied the original script below.

Legend:
Larry Collins had lost his nerve somewhere in the void between earth and Mars, and there was just one man who might help him to find it again…

Splash:
A rocket port on Mars. Not necessary to show any rockets. A group of uniformed spacemen is dragging Larry Collins toward a gate leading onto field. Larry is also a spaceman in uniform, very young. Over gate is sign: MARS ROCKET PORT. This entrance for ship’s crew only. Looking on is a ship’s captain.

Captain:
I don’t care! I’d rather stay on Mars forever than go back in space! I’m afraid! You can’t force me to go!

1

Art:
Men have dragged Larry through gate. Here a mechanic who is working on a rocket motor which has been set up on a stand turn.

Captain:
I can try! Lots of men lose their nerve on their first trip in space. They stay wherever their ship sets down. Forever! They haven’t the courage to made the return trip.

2

Art:
Larry still struggles. Mechanic has stopped working, watches.

Captain:
But you’re one of my crew. You’re my responsibility. I can’t let you exile yourself. Think of your family, your brother…

Larry:
My brother isn’t a coward! But I am! I can’t help it.

Page 2

1

Art:
Larry has started to fight even harder.

Captain:
You must! Think of him. You told me that that’s why you became

As far I know, Jack Oleck’s work for Atlas Comics had not been noted by any comic book historian. He is not listed in the database at Atlas Tales which has a wealth of information. Of course it is difficult to know who the writers were during this period because credits were not normally provided. Oleck did this script after the break up of the Simon and Kirby studio and before the Atlas Implosion. Before the Implosion Atlas published about 85 titles (from Tom Lammers “Tales of the Implosion”). So it is not surprising that they employed some writers, probably on a freelance basis. After the Implosion Atlas could only 16 bimonthly comic book. Under those circumstances most, or perhaps all, of the writing could be handled by Stan Lee and his brother Larry Lieber alone. The services of many freelance scripters such as Jack Oleck was no longer needed.

Jack Oleck also did writing for DC comics. When he started is not at all clear. A search of the Internet indicates that he was scripting for DC in the 70’s. It is likely he also wrote for them before that but since the comics did not provide credits during that period we cannot be sure.

Ben Oda

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Posted in 2007/02, Artists, Oda, Ben, z Archive.

Ben Oda
Ben Oda

There are a lot of comic book blogs and I do not have much spare time. So I probably have visited only a small fraction of them. I have taken a clue from Google and check out blogs and web pages that link to me. I figure I might find something interesting from someone who has found something in my blog. Well one such link was from Brian Hayes’ The Hayfamzone Blog. While going though his archives I came across his post The Great Ben Oda.

Well it is just great to see someone write about Ben Oda. As Brian says, Ben Oda worked many years for Simon and Kirby. There is not much more I can add to that but I thought I would share a couple of photographs. The one above shows Ben in his car. Ben was a hard worker but judging from his car I would say he did quite nicely. Joe Simon once told me how proud Ben was about his car. The photograph below shows Nishi Oda (Ben’s wife), Harriet Simon (Joe’s wife) and Ben. Joe once told me that Nishi also did lettering.

Nishi Oda, Harriet Simon and Ben Oda
Nishi Oda, Harriet Simon and Ben Oda

Alex Toth on Mort Meskin

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Posted in 2006/12, Artists, Meskin, Mort, z Archive.

Today I read an article by Alex Toth called “Homage to Mort Meskin: Maestro” that had been published in Robin Snyder’s History of the Comics (April 1992, v. 3, n. 4). Toth provided some interesting observations about Meskin’s talent. I think he was pretty much describing Mort’s work from the 40’s.

What I found most interesting was Alex’s description of the working method that he saw Mort use in the mid 40’s. Mort would use a soft pencil and a lot of smudging to produce an overall gray tone to the entire sheet of paper. Then Mort would use a kneaded eraser to remove gray to produce first the panel borders, then solid white shapes inside the panels including captions and work balloons as well as the figures. Only when he had completely blocked out the entire page did he proceed to use a pencil to provide the details.

This is a very different approach then what Joe Simon describes in his and Jim Simon’s book “The Comic Book Makers”. When Mort first came to work for Simon and Kirby he was unable to produce any pages of art. He was seemingly paralyzed by the blank page. Joe’s solution was to have someone each day put some scribbles of the page. Apparently it was not important what was initially placed on the paper, it was enough to free up Mort’s creative juices.

After the Simon and Kirby shop closed Mort did some work for DC. Presumable the unorthodox working procedure that Simon described changed. I cannot imagine DC editors would care enough to provide Mort with marked up pages.

The closing of Toth’s article about Meskin:

His meaning and intellect were not given the editorial, environmental or fiscal appreciation due him, and so, as in so many other cases in our curious profession, he was distressed enough with it until his only solace was to leave it- and so he did. The loss was ours…

Joe Simon, The Patriot

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Posted in 1 Early, 2006/11, Artists, Periods, Simon, Joe, z Archive.

The Patriot #3
The Patriot #3 (August 1939) by Joe Simon

Today it is hard to believe that there every was much of a Nazi party in America. But in February 1939 22,000 Nazi supporters attended a rally at Madison Square Gardens. At this rally Fritz Kuhn attack the president, calling him Frank D. Rosenfeld. But the rally also attracted numerous protesters. So although the American Nazi population then was enormous by today’s standards they still a fringe group that would not have been considered patriots. Even though there was a large isolationist movement and no signs yet of the US entering the war, there was also many who could called themselves patriots and considered the Axis powers as enemies of the United States.

The Patriot #2
The Patriot #2 (July 1939) by Joe Simon

In 1939 Joe Simon was working in the newspaper business, his efforts in comic books had not yet started. Any doubts where Joe stood politically can be erased by his contribution to a publication called “The Patriot”. Joe provided that quintessential American symbol, the bald eagle, for one cover. On another he mocked the three dictatorial leaders, Adolf Hitler, Benito Mussolini, and Joseph Stalin. The Patriot was a slightly over tabloid size magazine. It was rather thin, 20 pages including the covers. There was a lot of local advertisement, so it probably had limited distribution. With a title like The Patriot one might suspect it was suitable for reader with an extreme right political philosophy. But the articles in the magazine are about extolling American scenery, products and of course freedom. Pretty tame stuff and very much centrist for the political spectrum of those days.

The Patriot #2
The Patriot #2 (July 1939) by Joe Simon

But Joe’s views were not shared by all the people he worked with. Joe got his initial start in newspapers and a lot of guidance from Adolf Edler. Adolf sometimes would tell people he had been off to a nudist colony. In reality he was off to a Nazi Bund camp. You would think Adolf’s political convictions would have problems working with someone Jewish like Joe Simon. Quite the contrary, in fact Adolf seemed to actively hire Jewish workers and got along with them quite well. Apparently Edler’s tie to the American Nazi movement was due to his fondness for his homeland. But letters he received letters from Germany told of increasing persecution of Jews. Dismayed with what he learned led him to abandon the Nazi Bund group.

Joe Simon and Adolf Edler
Joe Simon and Adolf Edler

There was a lot of newspaper buyouts and closings and Joe lost his job. Joe moved to New York City and entered the comic book industry. Perhaps due to the experience he got from newspapers or perhaps just due to pure ambition, Joe rose rapidly from an artist to an art editor. When Joe and Jack Kirby created the ultimate patriotic hero, Captain America, who better to appear on the first cover as his adversary then Adolf Hitler himself. America had not yet entered the war, but there can be no question where Joe and Jack stood. Captain America Comics was a big hit, so many in the public probably agreed. In the 1954 Simon and Kirby created a new patriotic hero, the Fighting American. But times had changed and the Fighting American had a short run. S&K returned to the same thing once again in 1959 with their own version of the Shield (Secret Life of Private Strong) but this time it was cancelled due to legal threats from DC. Still the patriotic spirit did not leave Joe. In 2001 after 9/11 Joe responded by creating an altered version of the classic Captain American #1 cover. I wish I could include an image but alas because of legal questions I cannot. It shows Captain America delivering his famous punch not to Adolf Hitler but to Osama Bin Laden. Since I cannot show the 9/11 cover let me end this post with an image of the less often seen confrontation between Hitler and Captain America from the cover of issue #2.

Captain America #2
Captain America #2 (April 1940) by Jack Kirby and Joe Simon

Not Joe Simon, Daring Adventures #11 and #17

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Posted in 2006/11, 8 Marvel, Artists, Assorted, Periods, Simon, Joe, z Archive.

Daring Adventures #17
Daring Adventures #17 (1964) by Ross Andru and Mike Esposito?

I guess one theme of this post, at least for me, is what was I thinking? When I did my original serial post on the Art of Joe Simon, I stated that I believed Joe did the covers for Daring Adventure #10 to #17. At that time I had only seen (and restored) the cover to DA #15, but Joe had also included DA #16 in his book “The Comic Book Makers”. But I had only seen DA #9, 10, 11, 12, 17 and 18 on GCD. The images they provide are not the highest quality (it would almost seem they have a policy of excluding restored covers). Apparently I could see enough to exclude #9 and 18 from being Joe’s work. But for some reason I thought that #10, 11 and 17 might be, I just cannot remember what that reason was. After I had a chance to restore DA #12 and 16 I posted that I no longer sure that #11 and 17 were by Joe but that I wanted think about it some more (apparently I had already excluded DA #10). Well I thought some more, but I can really find nothing in DA #11 or 17 to suggest that they were Simon’s creations.

I decided to restore DA #17 anyway as I thought it might make an interesting comparison to Joe’s work at that time. Similar comparisons could be made to DA #11. The GCD attributes both of these covers to penciling by Ross Andru and inking by Mike Esposito. I am familiar with Andru’s romance work during the 50’s because some of it appeared in the Prize comics that Simon and Kirby produced. I am not knowledgeable about Andru’s later or superhero work. So I have used the GCD attribution above, with a question mark not because I think it is wrong but because I just do not know enough to make a judgment. In the rest of this post I will assume the pencil artist really was Andru. I would greatly appreciate it if there is anyone reading this who feels they are familiar enough with Ross Andru’s work to give an opinion.

Daring Adventures #17
Daring Adventures #17 “Riddle of Toys” (reprint) by Mac Raboy
Larger Image

The first think that strikes one about DA #17 compared to Simon’s DA covers it how good the figure drawing is in DA #17. It is not that Joe is a bad figure artist, it is just that at least here Andru seems so much better. Really nice form and although the anatomy is not completely accurate the short comings really do not distract from overall affect, quite the contrary. It is a bit hard to imagine a real figure under Falstaff’s cloths. The legs are too widely separated and there does not seem to be enough room in the torso for both hips and chests. But to me these are really not truly “errors”. With these sort of distortions Ross has presented a truly marvelous and intimidating villain. Although the cover Falstaff is clearly based on the character for the reprinted story inside the comic, the Andru has created an even better version. That is no small compliment because the story was drawn by Mac Raboy, one of the greatest of the golden age artists. The Green Lama is not quite as impressive but his slimmer figure is appropriate for this particular hero. There is one unfortunate change, the Green Lama’s original hood has been modified to a face mask. That by itself is not so bad, but Ross leaves the back of the hood as a small bump which gives the hero a rather ridiculous look.

Although based on this cover I would believe that Andru was a better figure drawer then Simon, when it comes to the composition or design of the cover the reverse is true. There are some rare exceptions, but in general Joe does an very good job of laying out his covers. In DA #17 notice how all the toys in the background are scattered around the the main characters. Although this “clutter” might be more realistic, it detracts from the antagonists and the story the cover is trying to present. Joe seems much more sensitive to where he places secondary features and he makes sure that the action is well placed. Raboy’s splash shows how this could be done. Notice how the toys almost ring about villains while the Green Lama flies in as if toward a target. With all the toys you would think the image should be cluttered, but with careful arrangement it not only do the toys not detract but actually direct the eye.

As I mentioned above, Falstaff by himself is a well done threatening villain. But the pose adopted by the Green Lama is rather unfortunate. Because of him I always feel the two are dancing rather then about to enter a fight. What is the hero supposed to be doing? Whatever it is meant to be, it just is not properly done. Again this is the sort of mistake that you rarely see Joe Simon fall into.

Ann Brewster Meets Frankenstein

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Posted in 2006/10, Artists, Brewster, Ann, z Archive.

Classic Comics #26
Classic Comics #26 “Frankenstein”

No this is not a post about one of the many “Frankenstein Meets XXX” movies (one my favorite was “Frankenstein Meets Godzilla”). Ann Brewster was one of the many talented artists that worked for Simon and Kirby. Brewster did a single piece for S&K in 1949 and then a number of stories from April to November 1955. That later period was during the time Jack was not doing Prize romances so he could concentrate on the work for Mainline, the publishing company that Joe and Jack had started up. There is a single piece with a cover date of June 1956 but this might have been a story left over from the Ann’s 1955 period.

This comic was first published with a date of December 1946. But the scans I provide are from a second printing. However if Overstreet is correct the art was not changed between the two printings. I have seen places on the web where Ann was credited for the cover art. The cover is unsigned so I cannot confirm that. Inside on the title page the illustration is credited to Robert Hayward Webb and Ann Brewster. Does that mean Ann was mainly the inker? Or did they share penciling? Some of the woman look like they were done by Ann. I am not saying Ann did the woman and Robert the men. It is just that I am more familiar with Ann’s romance work where her woman were more distinctive.

When I was going to school I was aware of the Classic Illustrated comics. There were also a company that sold what we referred to as “crib notes”. I did not use either because my teachers were aware of them also. They were always trying to catch people using these shortcuts but asking questions about things were not in the comics or crib notes. Heaven help the student that based his book report on a movie. Movies were (and often still are) so different from the books that teachers had no trouble in finding out any such sloppy cheaters. The truth is I always enjoyed reading. I may have hated writing book reports, but I never had any problems with the reading part (except perhaps for Moby Dick).

I remember reading Frankenstein in school (but I am not sure if it was for a book report or not). Nor am I sure if I have read it since. I remember enough to say that none of the movies were very close to the book, even more recent ones that claim to tell the “true” tale. But my memory is not good enough to be sure that how close this Classic Comic’s version was, but it seems accurate to me. Certainly some of the parts seem very in tuned to the works of a romantic writer. Victor Frankenstein enjoys a walk in the rain. Lightning plays its part in establishing the mode (but was not used in the actual creation of the monster). And the climax occurs in the icy far north. The story was adapted for this comic by Ruth A. Roche who I think did a good job. But going from a book to another media is always a perilous effort. I prefer to read the original book or stories that were made for comics to begin with.

Classic Comics #26
“Frankenstein” by Robert Hayward Webb and Ann Brewster

Although not a masterpiece, I find the art well done. I do find it a little amusing that the monster seems to have been influenced by the early Frankenstein movies. Take a look at how he seems to have a flat top to his head. The panels do not adhere to a simple grid and the scenery plays an important part. I particularly like the page whose image I provide above. Victor has agreed to make a mate for the monster who in return promises to leave and trouble his creator no more. For reasons that I am not at all clear on, Victor leaves his home on the continent (Germany ?) for Scotland. The monster follows Victor unseen to insure his creator keeps his promise. The comic artists have provided a ghost image of the traveling monster that overlaps most of the panels. However this page does have a snafu, the colorist obviously did not read what he was working on because in the last panel he gives an orange color to the white cliffs of Dover!

Not Simon, Daring Mystery Comics #4

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Posted in 1 Early, 2006/09, Artists, Periods, Simon, Joe, z Archive.

Daring Mystery #4
Daring Mystery Comics #4 (May 1940)

Some sources, including the GCD, attribute the feature Trojak from Daring Mystery #4 to Joe Simon. Joe had started producing covers for Fox with cover dates of May. However that would not necessarily indicate that Simon was unavailable to produce stories for Timely. Joe would create Blue Bolt which started in June so he did not work exclusively for Fox.

This particular story is not signed, that by itself is rather unusual for Joe. Before starting for Fox Joe seemed to have signed all his comic book work, including covers although he sometime used an alias. At Fox Joe did not sign all the covers, still 9 out of 16 Fox covers that he did are signed. Joe signed all stories that he drew until he teamed up with Jack Kirby. After that not every thing is signed and if there is a signature it is the joint Simon and Kirby signature. Even the Fiery Mask from Human Torch #1 (Fall 1940) which was drawn by Joe alone, is not signed. So an unsigned story by Joe published in May would be unique.

Simon had his own personal drawing style, but he mimicked other artists at times. For the Fox covers Joe copied Lou Fine’s manner since Lou had done a number of Fox covers previously. When Joe teamed up with Jack he would begin to adopt Kirby’s manner. But this Trojak story was before the Simon and Kirby team up. Further Joe was the original creator for this feature. So there would seem to be no reason for Simon to mimic any other artist. Therefore we should expect Joe’s own unique style. But that style is not found here. The depiction of the woman is the closest to Joe’s but even she can be distinguished. Simon had a technique of joining eyebrows and eyes into a single angular formation, but that also does not show up in this story. I am not sure who the artist was, but he was not Joe.