Stuntman #2 (June 1946) “House of Madness”
Enlarged view

When I finished up the posts of the Captain America double page splashes I said that Simon and Kirby would not repeat those sort of designs. Well I lied. Stuntman #2 has the same sort of emphasis of design over composition seen in the Cap spreads. It is interesting to compare this splash with one from the Boy Commandos with a similar medieval theme.

I have hoped that my discussions on the design elements would make it clear what the distinction was between design and composition, at least as I use the terms. Composition is how a scene is arranged, that is in comics how the figures and non-figurative elements are arranged and how they direct the eye. Design is how disjoint parts, the text and different images, are arranged on the page. For instance in the image on the right side of Stuntman #2 is composed with the attacking knights starting on the lower left and rising as the eye goes toward the right until it meets the pivotal Stuntman and finally the defended Don Darling and Sandra Sylvan. The composition does not end there as the large candlestick brings the eye down, and (although not really part of the scene) the cast of characters bring the eye back to the start of the image. Actually that is just a condensed description. Notice the use of arcs (the curtains, shadows, the stonework for the pillar and the doorway) along the top and how they are used to highlight certain figures. Particularly effective is Stuntman’s placement in front of the pillar, despite the fact that he is closely surrounded by other figures this placement makes him standout. This is a marvelous composition and Kirby’s penciling is just fantastic.

But the right hand scene is just part of the page and that is why I said earlier that the design was more important then the composition in Stuntman #2. Like most of the Cap double splashes, here we find a three part layout. Starting on the left is the title section, followed on the right by the enactment and below with the cast of characters. The title compartment depicts an archery contest. On the left a series of colorful pendants almost hide a figure blowing a horn. The competition between four archers is arranged along the bottom. The archers are alternated with their targets, the backs of which provide the cast of characters. The rest of the title section scene is left bare so that the Simon and Kirby credits, the Stuntman title and the story title are prominently shown. The story title is nicely placed on the drape hanging from the horn, a similar device was used in the Boy Commandos spread. An interesting touch is how the introduction text is placed on a wall in the enactment section and how the text is lined up to fit the perspective of this wall.

Except for the left edge of the enactment compartment, the whole splash is nicely integrated. I find this a much more successful effort then that for Stuntman #1. It is really a shame that this title fell victim to the post-war comic glut. There are three unpublished double page splashes for Stuntman. Unfortunately I do not have any scans for them right now but perhaps I will get a chance to pick up something from Joe Simon.

Stuntman #1 (April 1946) “House of Madness”
Enlarged view

When Joe Simon rejoined Jack Kirby after the war rather then just return to working for DC the two decided to produce their own comic books. They turned to Joe’s old friend Al Harvey to do the publication for Stuntman and Boy Explorers Comics. Now they had complete control over the contents and did not have to deal with DC’s editors. Wishing to recreate the success they enjoyed with Captain America S&K returned to the use of the double page splash in Stuntman.

The first Stuntman wide splash, “House of Madness” was published three years after the Boy Commandos splash. But the Stuntman Splash does not continue with the type of layout used in the Boy Commandos. Nor does Stuntman look back at the approach for double wide splashes found in Captain America. Instead we find Simon and Kirby using an entirely new design approach. In Stuntman we find two sections separated by a sweeping gutter, as if the splash was composed of two large irregularly shaped story panels.

The left panel starts at the top with the declaration that this is a Simon and Kirby production of Stuntman. The story title, “House of Madness” is embedded in the iris of a large bloodshot floating eye. Proceeding down we see that the eye appears to be some sort of projection by a beam emanating from a building complex on the lower right of the panel. As if in response to this signal, a car races in from the left. It is hard to be sure who the driver is but the red head and blue “collar” suggest it might be Stuntman at the wheel.

The right panel shows a scene of typical Kirby composition. Perhaps composition is not the best term, because Jack laid out his figures more with the intent of covering the area and not as much concern about unifying the movement. We find Stuntman in the midst of a leap. He has just physically burst into the room, the pieces of wood debris are falling with him. It might seem that if you project his flight Stuntman would miss the crowd shown below. But Simon and Kirby splashes (and covers also) should not be taken so literally. Had S&K tried to present a more “correct” representation we would have been presented with the soles of Stuntman’s feet and would not have been able to see his face. No, we can be sure that Stuntman is truly about to attack the crowd below. His opponents include a bearded giant holding Don Darling and Sandra Sylvan easily under each arm. Also appearing is a modern day Icarus about to take flight, a gun firing dwarf and a witch. A sign makes it clear that these characters are both crazy and dangerous.

Including in the panel is text written on what appears to be a scroll like piece of paper. From this text we are provided with the information that it really is Stuntman in the car racing toward a mental hospital to save his friends from the danger of an insane but evil group.

I have mixed feelings about this particular splash. On the one hand it is an interesting idea to use two enactments to introduce the story. However you really need to read the text in the second panel to realize what the first panel is meant to depict. Further there is really little to visually connect the two panels. All there is is the text banner along the top and the partial overlapping by the Stuntman title. Otherwise the panels provide very different views and compositions. This two scene design for a wide splash would not be repeated.