Category Archives: Periods

The Wide Angle Scream, The Pinup

Posted February 22, 2008 in 2008/02, 5 Studio, Artists, Harvey, Kirby, Jack, Periods, Serial Posts, Wide Angle Scream, z Archive.

Towards the end of 1950 Simon and Kirby had some hit titles all published by Prize. For the crime genre there were Headline and Justice Traps the Guilty. Having two titles in the same genre is always a sign of a success. More important would be the Young Romance and Young Love titles for the romance genre that Joe and Jack started. However Simon and Kirby were not ones to just sit back and milk past achievements, they were always trying to produce new titles. October of 1950 would see the release of two new S&K productions. For Prize again they would release their first in the horror genre, Black Magic. That title would run for about five years and would be joined in 1952 by Strange World of Your Dreams, again an indication of success. Simon and Kirby would also release in October Boys’ Ranch, only it would be published by Harvey Comics. Boys’ Ranch is considered by many fans as one of Simon and Kirby’s greatest creations. Unfortunately it was not so well received at the time and the title only lasted six issues.

Boys’ Ranch may not have been as big a success as Joe and Jack had hoped, but it was not for lack of trying. S&K used in Boys’ Ranch some things that they had never tried before, among which were pinups. I am not sure where the idea for the pinups came but Simon and Kirby put it to good use. Each issue of Boys’ Ranch contained both introductory and centerfold pinups. Pinups are unlike splash pages since without any attachment to a story a pinup can be a self sufficient entity. In this respect they are much more like cover art except the image need not be crowded by a prominent title. As stand-alone pieces of art, The Boys’ Ranch pinups represent some of the finest work that Simon and Kirby did. With the expanse that the double page provides, the centerfold pinups are particularly effective.

Boys’ Ranch #1 (October 1950) “Boys’ Ranch”, art by Jack Kirby
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The centerfold for the first issue introduces the cast and the locale. We find Tommy learning how to lasso cattle while Wabash loafs with his guitar. Angel threatens to use his marksmanship to get Wabash moving. Three sides of the image are framed with rough timber with the title hanging from the top post. The complete circumference is edged with cattle skulls, pistols and other western paraphernalia reminiscent of the bottom edge of the wide splash from Captain America #8 (November 1941). This emphasis on design, unusual in the Boys’ Ranch splashes, does not save this particular centerfold. The more distant view used is not Jack Kirby’s forte for he generally does better when he thrusts his cast into the foreground. There are lots of assorted details provided, many requiring explanations from captions, but just not enough interest to hold our attention long. This is a rare example, in my opinion, of a Kirby double page piece of art that does not come up to his usual high standards.

Boys’ Ranch #2 (December 1950) “Four Massacres”, art by Jack Kirby
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Another more distant view but this time Kirby makes it more interesting by providing more to look at. It is a crowded image but because this is in a comic book and a reader would tend to view it from left to right there should have been no difficulty in finding the Boys’ Ranch characters on the far left as they enter the town. I will leave it up to my readers to ferret out all the details. This splash is filled with individuals and groups all telling their own little stories, no need for captions to explain it all. Whatever the reasons for the short comings of the wide pinup from Boys’ Ranch #1, Jack is now clearly getting into the control of this new format.

Boys’ Ranch #3 (February 1951) “Social Night in Town”, art by Jack Kirby
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With “Social Night in Town” Jack Kirby is in top form; this is certainly one of his classic drawings. This is Kirby at his best, a slugfest up close and personal. I like to think of this sort of composition as Kirby’s comic book equivalent of Jackson Pollock. There is no true focus to the image as it is an all over drawing with every portion as important as any other. Jack’s mastery of exaggerated perspective allows him to make this look easy but I honestly cannot think of another comic artist who could come close to providing such an exciting fight scene. Kirby has done this sort of thing before in for example “The Villain from Valhalla” in Adventure Comics #75 (June 1942), but the wide format allows a treatment just not possible on a single page. It would sound much too dry to describe all the details but I cannot help point out Wabash clinging in relative safety high on the near center post enjoying watching all the proceedings. Relative is the operative word because note the knife sticking in the post below him and the chair flying high on the right. The theme of cowboy’s letting off steam in a bar fight may not have been a cliche in 1950 but it soon would be. Comic books could do it in a way that television or movies simple could not match no matter how hard they tried. Not that their directors would likely have noticed Kirby’s work in 1950, but they should have.

As wonderful as “Social Night in Town” is, the best was yet to come. Unfortunately that will have to be covered in the next chapter.

The Art of Romance, Chapter 3, The Field No Longer Their’s Alone

by Harry Mendryk

Posted February 15, 2008 in 2008/02, 5 Studio, Art of Romance, Artists, Draut, Bill, Infantino, Carmine, Kirby Or Not, Kirby, Jack, Meskin, Mort, Periods, Prize, Robinson, Jerry, Serial Posts, Topic, z Archive.

(Young Romance #5 – #8)

In this chapter I will be writing about the next four issues of Young Romance (#5 to #8). For the most part this set is a continuation of the earlier issues. The main artists were same; Jack Kirby, Bill Draut and the team of Jerry Robinson and Mort Meskin. A couple of minor artists that appeared in issues #1 and #2 do not reappear, but a new one would have a contribution which I will discuss in more detail below. Young Romance is still on a bimonthly schedule. This is surprising because by now S&K and Prize were surely aware that they had a hit. When the crime genre Headline (starting with issue #23, March 1947) was a success Simon and Kirby launched Justice Traps the Guilty for Prize seven months later. Yet after over a year they neither made Young Romance a monthly nor created another title. Other publishers had not failed to notice; based on “All the Romance Comics Ever Published (?)” romance titles began to appear published by Fox (My Life #4, September 1948), Timely (My Romance #1, September), and Fawcett (Sweethearts #68, October). Perhaps Prize along with Simon and Kirby were surprised at their own success and fearful that it was just a fad.

Young Romance #8 (November 1948) “Love or Pity”, art by Jack Kirby

Jack Kirby continued to be the most prominent artist for Young Romance. Kirby did nine out of the twenty stories in these four issues, or 97 out of 177 pages. It may have been even more since as I will discuss below a tenth story may also have been penciled by Jack. Kirby would continue to create the first story in the comic. This lead story would remain the longest story in the comic with thirteen or fourteen pages while other stories would have at most nine pages. The design of the lead story splash page would continue to have a character’s speech balloon used as the title caption. I particularly like the splash for “Love or Pity”. The design is done quite well with a close-up of a couple dominating the page and another section enacting a little scene like some sort of tableau. We have seen this emphasis in design for some of Simon and Kirby’s double page splashes, but it is also to be found in a number of the smaller splashes drawn by Kirby in Young Romance. In the depiction of the large couple we only get to see the face of the woman, the man’s face and his emotions remain a mystery. The woman arches her left eyebrow, looks askance and her hand’s placement on the man’s shoulder seems tentative. All this makes her appear apprehensive and her attempt to dispel her concerns by moving closer into the man’s embrace seems to have failed. From the title caption we learn why, she is uncertain about the man’s true feelings. Many have described Kirby’s woman as not being truly beautiful but it is a criticism I do not share. I find the woman in this splash attractive enough and, more importantly, very human. While some other artists might have been able to make the woman appear even more beautiful I do not know any that are able to invest them with the same sensitivity that Kirby has. Jack does not draw Barbie dolls but rather woman whose appearance reflects their personality and emotions. I find that makes Kirby’s woman truly beautiful indeed.

The second section of the splash depicts a crowd looking disapprovingly on as the woman runs away in shame. Jack has chosen a low viewing angle so that the woman towers over the background crowd giving drama to the scene. The woman’s pose is rather unusual; she looks more like she is tripping and about to fall. Not an inappropriate metaphor for her descent into scandal. The second section is well done but its impact suffers from its diminished size. Envision this section enlarged and expanded toward the right and you can imagine what a double page romance splash might have looked like had Simon and Kirby ever done one. It is too bad they never did.

Young Romance #6 (July 1948) “Disgrace”, art by Jack Kirby

One change that seemed to have taken place from the earlier issues of Young Romance was that action no longer appeared quite as commonly in Jack Kirby’s romance stories. Not that action disappeared completely, it would always show up in more Kirby romance stories then it does in those by any of the other studio artists. “Disgrace” is a case in point. If I had to pick one Kirby romance story most likely to satisfy the general Kirby readership, this would be the one. The heroine feels trapped in a coal mining town which she detests for the violence its inhabitants so frequently adopt. Her brother has managed to escape the town but she is dismayed at his career as a prize fighter and his particularly brutal nature. She falls in love with a man only to discover that he also is a professional boxer. She cannot accept more violence in her life so she breaks it off. Later she finds to her horror that her brother and former love are scheduled to meet in the arena. Where does her loyalty lie, with her violent brother or the man she still loves? Jack Kirby is justly famous for his depiction of a punch and the fight in this story is a pure slugfest.

Young Romance #8 (November 1948) “Love Can Strike So Suddenly”, art by Jack Kirby

Kirby may have tuned down his use of action but he still looked for means to keep his stories exciting. One of his techniques was to make use of the exotic location of some of the stories. Had the splash of “Love Can Strike So Suddenly” depicted a normal local it would have seemed quite banal. All the main characters are just standing around. Even the dialog is not nearly dramatic enough to rescue this page. However by inserting his cast into a street in India, Jack has made this one of his memorable splashes. I am sure Kirby has swiped this from some source, perhaps National Geographic, but I am also certain that he has made his version far more interesting then the original. I have recently discussed this story; it is the source for a swipe used years later in Simon and Kirby’s own romance comic In Love.

Young Romance #7 (September 1948) “Mother Said No” page 4, art by Jack Kirby and Carmine Infantino?

The Jack Kirby Checklist does not include “Mother Said No” among its listings of Kirby’s work. It is easy to understand why, the man in the first panel of the page imaged above does not look he was drawn by Jack. Or does he? Kirby often drew his men with wild eyebrows but these look excessive even for Jack. But how much of these exaggerated eyebrows were in the original drawing and how much were due to the inker’s interpretation of the pencils? The layouts throughout the story look like they were done by Jack. It is hard to be sure, but once the eyebrows are ignored a lot to the drawing looks like Kirby to me.

Charlie Chan #1 (June 1948) “The Hit and Run Murder Case” page 9, art by Carmine Infantino

Nearly identical men’s eyebrows seen in “Mother Said No” can also be found in work that Carmine Infantino did in Charlie Chan. Compare the man in the third panel of page nine of “The Hit and Run Murder Case” shown above to the one in the first panel of the page I previously presented from “Mother Said No”. Further examples of Infantino’s work for the Simon and Kirby studio can be found in an earlier post. While the details of the eyebrows seem to match in the two stories, the proportions used in drawing the faces do not. Nor are Carmine’s layouts in Charlie Chan similar to those found in “Mother Said No”. The inking for “Mother Said No” was done in the studio style which would normally suggest Jack or Joe’s involvement. However Carmine used the studio style inking in some parts of Charlie Chan, particularly the splashes. I really need to do a more thorough comparison, but some of the spotting in “Mother Said No” does not look like it was done by either Jack or Joe. My initial conclusion is that in “Mother Said No” Carmine was inking Jack’s pencils. If that is true what is not clear is whether Kirby’s pencils were not very tight, or if instead they were overwhelmed by Carmine’s inking. In either case I am presently inclined to consider this a joint piece with Jack as the primary artist.

There is a serious problem with the analysis that I presented above because of an interview of Carmine Infantino from The Jack Kirby Collector #34. In that interview Carmine clearly said that Charlie Chan was the only work he did for Simon and Kirby, and later added that he never inked Jack’s pencils. I really want to do a more careful analysis before I am ready to contest Infantino’s statements so for now I consider my conclusions as preliminary. Hopefully a re-examination of this issue will be the subject of another post in not too distant future.

Young Romance #6 (July 1948) “Gossip”, art by Bill Draut

Kirby did not draw all the stories in YR #5 to #8; Bill Draut remained a significant contributor with seven stories out of twenty, or 52 pages out of 177. Bill’s art started to change. Gone were the splashes with an emphasis on design, I do not believe it would reappear in Draut’s work until 1954 for In Love. I suspect Joe Simon had a hand in laying out some of the earlier Draut splashes for Young Romance, but from this point on Draut would do it himself. The other change would be the appearance of more and more traits that would be typical of Draut. Note the brickwork for the fireplace in the “Gossip” splash. This is a Draut trademark that will reappear from time to time through his association with the Simon and Kirby studio. Another Draut trademark, which actually showed up before, is the brunette’s pose. Draut portrays a person’s anger by leaning the torso and thrusting the head forward, and sometimes having the person clench their fists. This is a pose not quite like any that I have seen Kirby use and it is one of the reasons that I do not believe Jack was providing layouts for Bill as some authorities have claimed.

Young Romance #5 (May 1948) “Jealousy”, art by Jerry Robinson and Mort Meskin

The final two contributors to Young Romance #5 to #8 was the team of Jerry Robinson and Mort Meskin. I attribute three stories from issues #5 and #6 to Robinson and Meskin, one of which (“The Inferior Male”) was signed. The Jack Kirby Checklist credits the splash page of “Jealousy” to Jack Kirby as inked by Joe Simon. The expressive formality of the foreground couple is not typical of Kirby. Nor are the long and simple eyebrows usually found in Simon’s inking. The only thing that suggests Kirby/Simon to me is some of the Studio style inking such as the abstract arch at the top of the wall and the picket fence crosshatching on the lower part of the woman’s dress (see inking glossary). However the “Jealousy” splash presents cloth folds created by long, narrow sweeping brush strokes, this is exactly the inking technique used by Mort Meskin. Also note the man has a type of grin that is so typical for Mort. The eyebrows found in “Jealousy” may also be found in the Robinson and Meskin work found in these early issues of Young Romance. The unusual formal pose of the couple would not be surprising for Robinson and Meskin. The only problem with a Robinson and Meskin attribution for the “Jealousy” splash is the Studio style inking which is not found in other R&M art. I think the best explanation for this discrepancy is that either Simon or Kirby in their roll as art editor stepped in to touch up the splash. I feel the splash matches the art in the rest of the story and it all should be attributed to Jerry Robinson and Mort Meskin.

July marked the last month that Robinson and Meskin art would appear in Simon and Kirby productions. Mort Meskin would return by himself over a year later, after which he would be a frequent contributor until the end of the studio. This is all very hard to reconcile with Carmine Infantino’s TJKC #34 interview where he says that he accepted the Charlie Chan job for the experience he would get by working with Kirby and Meskin. Carmine even describes Mort as working right next to Jack. Carmine’s stay was from June 1948 until February 1949 (cover dates). This does overlap Robinson and Meskin’s period (January to July 1948) but is well before Meskin’s solo return in December of 1949. I just do not find it creditable that Mort was working in the studio at a time when he and Robinson were probably producing more work for other publishers then for S&K. Would Mort and Jerry have been working separately? Would the small amount of work for S&K justify Mort’s presence in the studio? I am afraid I have to conclude that Carmine’s memory has failed him; perhaps he has mixed up the time of his presence in the studio with that of his brother Jimmy who did work for S&K at the same time as Meskin.

Chapter 1, A New Genre (YR #1 – #4)
Chapter 2, Early Artists (YR #1 – #4)
Chapter 3, The Field No Longer Their’s Alone (YR #5 – #8)
Chapter 4, An Explosion of Romance (YR #9 – #12, YL #1 – #4)
Chapter 5, New Talent (YR #9 – 12, YL #1 – #4)
Chapter 6, Love on the Range (RWR #1 – #7, WL #1 – #6)
Chapter 7, More Love on the Range (RWR #1 – #7, WL #1 – #6)
Chapter 8, Kirby on the Range? (RWR #1 – #7, WL #1 – #6)
Chapter 9, More Romance (YR #13 – #16, YL #5 – #6)
Chapter 10, The Peak of the Love Glut (YR #17 – #20, YL #7 – #8)
Chapter 11, After the Glut (YR #21 – #23, YL #9 – #10)
Chapter 12, A Smaller Studio (YR #24 – #26, YL #12 – #14)
Chapter 13, Romance Bottoms Out (YR #27 – #29, YL #15 – #17)
Chapter 14, The Third Suspect (YR #30 – #32, YL #18 – #20)
Chapter 15, The Action of Romance (YR #33 – #35, YL #21 – #23)
Chapter 16, Someone Old and Someone New (YR #36 – #38, YL #24 – #26)
Chapter 17, The Assistant (YR #39 – #41, YL #27 – #29)
Chapter 18, Meskin Takes Over (YR #42 – #44, YL #30 – #32)
Chapter 19, More Artists (YR #45 – #47, YL #33 – #35)
Chapter 20, Romance Still Matters (YR #48 – #50, YL #36 – #38, YB #1)
Chapter 21, Roussos Messes Up (YR #51 – #53, YL #39 – #41, YB #2 – 3)
Chapter 22, He’s the Man (YR #54 – #56, YL #42 – #44, YB #4)
Chapter 23, New Ways of Doing Things (YR #57 – #59, YL #45 – #47, YB #5 – #6)
Chapter 24, A New Artist (YR #60 – #62, YL #48 – #50, YB #7 – #8)
Chapter 25, More New Faces (YR #63 – #65, YLe #51 – #53, YB #9 – #11)
Chapter 26, Goodbye Jack (YR #66 – #68, YL #54 – #56, YB #12 – #14)
Chapter 27, The Return of Mort (YR #69 – #71, YL #57 – #59, YB #15 – #17)
Chapter 28, A Glut of Artists (YR #72 – #74, YL #60 – #62, YB #18 & #19, IL #1 & #2)
Chapter 29, Trouble Begins (YR #75 – #77, YL #63 – #65, YB #20 – #22, IL #3 – #5)
Chapter 30, Transition (YR #78 – #80, YL #66 – #68, YBs #23 – #25, IL #6, ILY #7)
Chapter 30, Appendix (YB #23)
Chapter 31, Kirby, Kirby and More Kirby (YR #81 – #82, YL #69 – #70, YB #26 – #27)
Chapter 32, The Kirby Beat Goes On (YR #83 – #84, YL #71 – #72, YB #28 – #29)
Chapter 33, End of an Era (YR #85 – #87, YL #73, YB #30, AFL #1)
Chapter 34, A New Prize Title (YR #88 – #91, AFL #2 – #5, PL #1 – #2)
Chapter 35, Settling In ( YR #92 – #94, AFL #6 – #8, PL #3 – #5)
Appendix, J.O. Is Joe Orlando
Chapter 36, More Kirby (YR #95 – #97, AFL #9 – #11, PL #6 – #8)
Chapter 37, Some Surprises (YR #98 – #100, AFL #12 – #14, PL #9 – #11)
Chapter 38, All Things Must End (YR #101 – #103, AFL #15 – #17, PL #12 – #14)

The Wide Angle Scream, It’s a Crime

by Harry Mendryk

Posted February 9, 2008 in 2008/02, Artists, Kirby, Jack, Periods, Prize, Serial Posts, Wide Angle Scream, z Archive.

With the early demise of the Stuntman and Boy Explorer titles, Simon and Kirby’s next important project would be crime anthologies. Perhaps mindful that during the comic book glut it was previously existing titles that made it into the newsstand racks, Prize Comic’s Headline would be converted into a crime genre comic with issue #23 (March 1947). All the art for Headline issues #23 and #24 would be penciled by Jack Kirby, a feat that would not be repeated again until late in 1955. Most likely Simon and Kirby followed the same procedure that Joe reported as being used when launching romance comics; that is preparing the initial issues ahead of time before striking a deal with a publisher. The other thing unique about these first two crime issues of Headline was they both included double page splashes.

Headline #23 (March 1947) “Burned at the Stake”, art by Jack Kirby
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Although the last published double page splashes by Simon and Kirby were designed with two or more sections, we previously saw that enactment section had taken over in three unpublished Stuntman wide splashes. This approach was continued here in “Burned at the Stake”. There is a heading across the top, the story title, an introductory caption and a round panel portrait, but these sections are all subservient to the enactment. We find four armored and armed soldiers approaching a single individual at the top of some stairs. This composition is not just happenstance. Like other Western languages, English is read from left to right and readers have become accustomed to viewing even illustrations in this direction. Placing something higher on the page also provides it with prominence. Thus in this case the eye follows the advancing soldiers from down on the left, upwards and toward the right, until it reaches the main character of the story, Guy Fawkes. Essentially the same composition was found in the enactment section for “The Rescue of Robin Hood“. Only in this case the center of attention was not a hero as Stuntman was. Did the man mean to set off the explosives and if so would the soldiers be in time to prevent him? The double page splash was not meant to answer those questions. Quite the contrary, leaving them unanswered would hopefully entice the viewer to buy the comic book.

Headline #24 (May 1947) “A Phantom Pulls the Trigger”, art by Jack Kirby
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“A Phantom Pulls the Trigger” might mistakenly be considered to be composed contrary to the normal left to right reading. It is true that the primary focus would seem to be the hooded figure on the left, the opposite of the expected location. In this case however the viewer’s progress from left to right is meant to indicate the progress of time, from the action of the firing of the pistol on the left to the affect of the killing of the people on the right. Kirby has countered the diminishing affect of placing the most important figure on the left by increasing his visual size. It is unclear whether the hooded figure is truly meant to be larger then his victims or if he is just closer to the viewer.

A section devoted to the start of the story makes a come back after last being used for the double page splash in Captain America #10 (January 1942). That this strip of panels is not an afterthought can be clearly seen by the way the hooded figure props his feet up on story panels and how the victims are firmly standing or lying upon it.

Simon and Kirby would discontinue using double page splashes in their crime genre comics. In my opinion this was not because crime did not lend itself to exciting wide splashes. I find the double page splashes from Headline #23 and #24 to be very effective and Kirby would pencil a number of single page splashes that could have benefited from a wider format. The problem I believe was due to an inherent weakness in use of the double page splash. For proper printing a wide splash must be placed as the centerfold page. With such a location the splash might be overlooked by a potential customer and thus loose its importance for inducing the purchase of the comic. But that was nothing new; it was a problem from when it was first introduced. What may have been more important was how the double page splashed affected the organization of the comic. Having a wide splash meant that a story had to start at on a particular page in the middle of the comic. This also placed restrictions on the page length for preceding stories as well. Organization of a comic book was simply easier without the wide splash. Now that Simon and Kirby was busy producing Headline and would soon be starting Young Romance, the double page splash may have been considered more trouble then it was worth. It would be a number of years before S&K would return to the wide splash, which is a shame because they did it better then anyone else. However in a few years Joe and Jack would put the centerfold to another good use. But that is a story for the next chapter.

The Wide Angle Scream, American Royalty

by Harry Mendryk

Posted February 2, 2008 in 2008/02, Artists, Harvey, Periods, Serial Posts, Simon, Joe, Wide Angle Scream, z Archive.

I have decided to resurrect this old serial post. I originally started it when I had then begun to restore S&K’s double page splashes. I wanted the restoration to be on the same level that I do for covers. However that required an awful lot of effort since these splashes have twice the area of the covers and the printing quality is much inferior. Eventually the amount of work proved too excessive and other restoration projects became more important. I feel that the subject matter of the serial post is too important and should not be completely abandoned. So I return to the subject although in the future the quality of the restorations will not be quite so high. Since it has now been over a year since my last chapter, I thought I should provide a very broad summary of the previous posts.

Simon and Kirby’s use of a double page splash began with Captain America #6 (September 1941). The five Cap double page splashes had a strong emphasis on design (#6, #7, #8, #9, and #10). The splashes would consist of three sections. One section common to all was what I called the enactment; it is a scene or tableau but is not part of the actual story. The second section is also common to all Captain America wide splashes; it consists of panels for the true start of the story. Although the third section is present in all of these splashes what it comprises of is not consistent, it can be a cast of characters, floating heads or a sort of comic book equivalent of movie trailers.

During the period that Simon and Kirby worked for DC they only produced one double page splash, that was for Boy Commandos #2 (Spring 1943). Here once again the splash was made in three sections. The enactment is present but it consists of a larger number of individuals then ever attempted in Captain America. Some organization is achieved by deploying them around the glass case containing a sleeping beauty, but even so there is so much chaos that it takes some time to sort out all that is taking place. There is also a cast of character sections. Unlike the Cap wide splashes there is no start of the story; instead the third section is given over to a large introductory text.

After returning from the war, Simon and Kirby launched Stuntman and Boy Explorers that were published by Harvey Comics. A wide splash was used with Stuntman. Only two were published but Jack had made worked on three others. The first one (Stuntman #1, April 1946, “The House of Madness”) used an unusual design, effectively two enactments laid out as large panels separated by a sweeping gutter. The second (Stuntman #2, June 1946, “The Rescue of Robin Hood”) reverted to a more standard tri-part design with sections for the title, enactment and cast of characters. Although the exposition is pretty much isolated from the rest of the splash, the title and cast of characters are nicely integrated. I also posted on one of the unpublished wide splash ( “Terror Island”). For the first time Kirby provides just one section, an enactment. There is a title, an introduction and even a floating head of the Panda, but these are subservient to the large enactment and do not achieve the status of their own section.

Because of copyright issues I do not consider it appropriate to reproduce the other two double wide Stuntman splashes. They can be found in Joe Simon’s book “The Comic Book Makers”. Both are further variations of a single large enactment section found in “Terror Island”. In one (“Jungle Lord”) Jack presents a smaller cast as compared to that for “Terror Island”. The enactment takes place in the tree tops where we find Stuntman battling a gorilla in the foreground while in the back Don Daring clings to a tree and a jungle boy makes off with Sandra Sylvan. Since the cast is smaller in the “Jungle Lord” splash as compared to “Terror Island” the action can be brought closer to the reader with dramatic results. The inking of the final wide splash (“The Evil Sons of M. LeBlanc”) was never completed, so it clearly was the last one worked on. This is another single section with Stuntman confronting three opponents. I find that the plain room in “The Evil Sons of M. LeBlanc” as compared to all the foliage of “Jungle Lord” brings greater focus and excitement to the depiction.

The Stuntman period is interesting because it marked the only time during his collaboration with Kirby that Simon did a significant stint at drawing. Early in his association with Jack, the two would draw different pages from the same story. Initially this seemed to be the working method for Captain America but quickly Jack took over all the drawing choirs for the S&K partnership. With the exception of some work done while in the Coast Guard, Joe did not seem to contribute much penciling to what was produced by S&K during the war. But while Kirby was penciling Stuntman and Boy Explorers Joe would pencil three backup features; the Duke of Broadway, the Vagabond Prince and Kid Adonis. Despite what some experts have said, these were drawn entirely by Joe except for a few small parts that Jack altered in his role as an art editor. Joe has said that Harvey kept track of the mail and that the Duke of Broadway got a better reader response then Stuntman. This was likely to be during the period after the original titles had been cancelled and Harvey was printing the unused work in comics such as Green Hornet. After the Harvey Stuntman/Boy Explorers period and until the breakup of the Simon and Kirby team, Joe’s penciling contributions would be uncommon (48 Famous Americans for J. C. Penny and “Deadly Doolittle” for Fighting American).

Boys Explorers #1 (May 1946) “His Highness the Duke of Broadway”, art by Joe Simon
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Joe only did one double wide splash for his Harvey features (“His Highness the Duke of Broadway” from Boy Explorers #1, May 1946). It is actually surprising that he did any considering the short lives of these titles (due to a comic book glut) and the fact that his stories are all back-up features. Like the one from Stuntman #1 a month before, this double page splash is comprised of two sections. Not that use of the same number of sections makes these two splashes truly similar. While that from Stuntman #1 is unusual in being composed of two enactments, the splash for the Duke feature is made of two familiar sections, an enactment on our left and a cast of characters on the right. The cast of characters consists of both full figures and floating heads accompanied by short captions that provide their names and a short description. At ten in number it was quite an ambitious cast, Joe obviously wanted a lot of supporting characters so as to provide the potential for much variation in his stories (unfortunately there would only be five). In this splash much of the cast are floating in front of the cityscape. Even those that are attached to the ground seem unnaturally placed because of the way they block the small avenue (surprisingly small since it is meant to be either Broadway or 42nd Street). The cityscape itself is carefully drawn so to provide an interesting background but subtlety rendered so that the cast would still stand out.

Such a large number of cast members required the use of half the splash. But this was the cast for the feature, only some of them would show up in this particular story. With such a large assemblage on the right side Joe needed something on the left to balance. His solution was to present most of the cast together solidly placed on the sidewalk. While this was a satisfactory solution as far as the composition was concerned, frankly it is not very exciting. Joe would do much better and more innovating designs for some of the regular splashes for his features. Still this double wide splash shows an emphasis on design that would disappear from the later ones by Kirby for Stuntman.

Stylistically the drawing for the splash differs from what Joe did in the story itself. Click Collins and Legal Louie are exceptions as they seem to better match what was done for the story. It still looks to me that it was penciled by Simon, only it is closer to what Joe had done previously and to what he would again do later in his career. Nothing on the splash refers to what will be found in the story. Everything is very generic, describing the feature as a whole and not this particular story. All this makes me suspect that Joe did the splash some time before as a presentation piece for the pitch he made to Harvey. Joe was not one to let all that effort to create this splash go to waste, so he appended it to the first story.

Al Avison Did Not Need Any Help

by Harry Mendryk

Posted January 26, 2008 in 2008/01, 4 DC (early), 5 Studio, Artists, Avison, Al, Periods, z Archive.

In my last post for The Art of Romance I discussed the question of Kirby layouts. I gave some evidence to discount the use of Kirby layouts for some of the artists. However I also gave an example where I do believe Jack did provide layouts for another unidentified artist. As that serial post progresses I hope to show that while Kirby did work up layouts to be used by some of the lesser talents, it was not a practice used with most of the comic artists that worked for S&K. This is the opposite of the conclusion one would draw based on attributions given by comic art dealers. According to the dealers Kirby provided layouts for many artists working at the time. Of those artists purportedly working from Kirby designs, perhaps none is more surprising then Al Avison. I say surprising because Avison was not even working for S&K while he was doing the work for which Kirby had supposedly provided layouts. I would have thought that fact alone would have squelched any consideration of Kirby layouts but it has not.
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Captain America #12 (March 1942) “Rozzo the Rebel”, art by Al Avison

Al Avison was one of the first artists that I discussed when I started this blog almost two years ago. Those posts were about the covers that Avison did for early Harvey comics (Speed #14, Speed #15, Speed #16, and Pocket #3. At the time Al was working with Simon and Kirby in the Timely bullpen. It is apparent that Kirby greatly influenced Avison yet Al’s work was still relatively crude. This changed dramatically and seemingly instantaneously when Simon and Kirby departed Timely to begin working for DC. I can only conclude that only when S&K were no longer an intimidating presence could Avison’s talent blossom forth. Avison became the chief penciller for Captain America and did some really nice stuff. Excluding Simon and Kirby, no other golden age artist did Captain America nearly as well as Avison. Unfortunately it will probably be a number of years before any of this material ever gets reprinted in Marvel Masterworks Golden Age series. However one story drawn by Avison has been reprinted in “Marvel Visionaries: Stan Lee” (“The Red Skull’s Deadly Revenge” from Captain America #16). Both Lee and Avison were on top of their form and this is the best Captain America story that I have ever read (again excluding those by Simon and Kirby). The splash to “Rozzo the Rebel” imaged above is typical of Al’s work on Cap. The nice design shows that Al learned a thing or two from Joe Simon as well. Avison emphasis for action and exaggerated perspective (particularly with Bucky) shows Jack Kirby’s influence. Still at this point in his career his assimilation of Jack’s style is not complete enough to mistakenly suggest Kirby layouts. Al’s style is a bit cartoonier then Jack’s, but I do not say that disparagingly as I am not one who believes that the more realistic comic book art is the better it is. My primary criticism of Avison’s Captain America work is that it tends to be overwrought. This is particularly true for the inking, but that was probably done by someone else, often Sid Shore.

Captain America #19 (October 1942) “On To Berlin”, pencils by Al Avison, inks by Sid Shores
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One of the Simon and Kirby trademarks that was continued by Al Avison during his turn at Captain America was the double page splash. Avison may not have been in Simon and Kirby’s league, but he could still put together exciting splashes. What could be more thrilling then Captain America leading the invasion of Europe. Well perhaps having Captain America not only storming the beach but also rescuing an allied prisoner from torture as well. When this comic was created the invasion was almost as much a fantasy as Captain America himself. Not only had the American armed forces not yet really entered the European conflict, we had suffered some serious defeats in the Pacific theater. Even so “On To Berlin” certainly captured the American spirit at that time of crisis. I have not made a careful examination of these golden age comics, but it seems to me that Avison was the primary penciller for Captain America for 1942 after which he is replaced by Syd Shores. This is not supported by the GCD which shows Avison working throughout the war years. Frankly my policy concerning the GCD is trust but verify. Since I am not able to verify some of these attributions at this time, I am not inclined to trust them. Atlas Tales shows Avison last work on Cap has a cover date January 1943. In the past I have found Atlas Tales a more reliable source and in this case they seem to be in agreement with my own understanding. Avison’s disappearance from Timely can most likely be explained as his being drafted for service, the fate of many comic book artists at that time.

All-New #13 (July 1946) “Crime at Floodtime”, art by Al Avison
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Atlas Tales shows Avison returning to do work for Timely after the war. But he does not resume being the principal penciller for Captain America nor does he seem to be working exclusively for them, I think he actually did more post-war work for Harvey. Unfortunately the Harvey comics are not covered by Atlas Tales and my own resources are spotty. My impression is initially Al provided work for the Green Hornet and Boy Heroes. The image of the double page splash form All-New #13 that I show above combines both, the Green Hornet story is sandwiched between some Boy Heroes panels. I am unclear what is meant by “a radio-comic feature via television” but it did provide an excuse for a little cross-over of the two features.

All-New #15 (March 1947) art by Al Avison

Harvey’s All-New title suffered from the same post-war comic glut that doomed Simon and Kirby’s Stuntman and Boy Explorers. The final issue of all three would be black and white copies reduced in both size and contents. As far as I know, All-New #15 was the only time the Boy Heroes appeared on a cover. Surprising they are not present in any of the inside stories. It is Boy Heroes work like this cover that drives the suggestion of the use of Kirby layouts. Although I disagree with the conclusion I perfectly understand what it is based on. This covers has a lot of the action and exaggerated perspective that is so typical of Jack Kirby. However Kirby layouts are not the only explanation, another is simply that Avison had studied and was influenced by Jack’s style. Although parts of this particular work look very Kirby-like in layout, as an ensemble the cover suggests the influence of Alex Schomburg as well.

It is important to realize that although All-New, Stuntman and Boy Explorers were all published by Harvey, Al Avison was not working for Simon and Kirby. All-New included Joe Palooka and Green Hornet stories as well as the Boy Heroes, features that were not produced by Simon and Kirby. Nor did Al Avison’s art appear in Stuntman and Boy Explorers that were Simon and Kirby productions. Boy Heroes was part of the kid gang genre that Jack seemed so fond of, but there can be no question of any direct involvement of Joe or Jack in the creation of the Boy Heroes as they both were in military service when the feature started.

Green Hornet #35 (September 1947) art by Al Avison

Most of the so called Kirby layouts claims are for Boy Heroes art, but Jack Kirby’s influence on Avison can also be seen in his Green Hornet work as well. The fight scene in the third panel is a great example of this. Note also the use of semicircular panels, this along with circular panels were devices that Simon and Kirby developed for Captain America but were used infrequently by S&K at the time that Avison did this art.

Unpublished Boy Heroes, by Al Avison

Frankly although I have begun to discuss the issue of Kirby layouts and will continue to do so, I do not expect mass conversions to my way of thinking. In the case of Al Avison, Joe Simon’s art collection contains what I would describe as a smoking gun that as far as I am concerned lays this issue to rest. These are two unfinished pages of story art penciled by Avison. The one I image above is unmarked but appears to be a Boy Heroes story. Note the circular panel and a figure drawn that could be mistakenly thought to be based on a Kirby layout. The rest of the page has no art, just the panels. It would seem that Al’s working method was to initially pencil out the page as three long panels. These may then be broken up into smaller panels as the work progressed. In the image above you can see that the second tier has already been marked off as two panels while the third remains undivided. What is not found anywhere on this page are layouts of any kind. There are a few pencil marks in the second panel but these would hardly be described as layouts. I am sure Avison knew what he had begun to draw but they certainly do not represent layouts done by Kirby. As meager as these few pencillings are, the rest of the panels are completely blank.

Unpublished comic art, by Al Avison

I do not know what feature the other unfinished page was meant for. I do not believe it was a Boy Heroes page since the leading characters seem to be a man (Dan), a woman (Diane) and a gorilla (Bomba). It is even a better example of Kirby-like art. Dan’s slug is the most Kirby-like I have ever seen done by an artist other then Jack himself. Also some excellently done exaggerated perspective. Note Diane’s pose as she runs into the room, practically as well executed as Kirby could have done it. But once again the lower two panel tiers are completely blank, no sign of any use of layouts.

In the past I have used Photoshop adjustments to bring out things that had been erased, but when I use that technique here on these two pages of art nothing surfaces. The only conclusion to be reached is that these pages were not done using layouts. If Avison could be so effective without Kirby’s help here, there is no reason to believe any of the other art he produced at this time required Kirby layouts either. Add to that the question of why Jack would provide designs for an artist who was not even working for him? Certainly Al’s earlier work on Captain America showed he did not need such help.

Horrible Mort Meskin

by Harry Mendryk

Posted January 18, 2008 in 2008/01, 5 Studio, Artists, Featured Work, Harvey, Meskin, Mort, Periods, Topic, z Archive.

By 1954 Mort Meskin had been providing work for the Simon and Kirby studio for four years. Even more important then the amount of time spent was the volume of work; Mort executed more work for S&K then any other studio artist. There were even periods that Mort’s page production rates exceeded Kirby’s who was justly famous for his productivity. Mort’s contribution went beyond volume; he played an important part in the S&K classic Boys’ Ranch (1951). It was Mort who persuaded S&K to create that unusual title Strange World of Your Dreams (1952) for which he listed as an Associate Editor. 1954 was an important year for both Meskin and S&K as well. In that year Simon and Kirby would return to the superhero genre with Fighting American published by Prize. Even more important Joe and Jack would create their own comic publishing company called Mainline. Considering Meskin’s contributions in the past, it would be expected that he would play a significant role in these projects, but he did not. Mort provided no help with Fighting American and only shows up in a few initial issues of the Mainline titles. Since Mort was creating art for the Prize romances (still being produced by Simon and Kirby) his absence from the other projects is hard to explain. 1954 was of note for Mort because it marked his return to providing art for DC. This was not an exclusive arrangement, as mentioned above Mort would continue to provide work for the Prize romances. Meskin also did one work for Harvey’s Chamber of Chills.

The hero of this story is the meek and troubled Oscar Pert. He could have been happy, if only he was not oppressed by his wife, Martha. The only important thing in life for Martha was the continual depositing of money into the bank. Everything else must be sacrificed. Oscar lost his friends when he was no longer able to pay club dues. Martha would not even let him spend a little money for milk to give a stray cat. But finally Oscar devises a new means to happiness. We see him in his cellar stealing moments away from Martha, designing some project. His increased sense of contentment is noticed by all but understood by none. That is until Martha discovers his drafting ruler and pawns it off. Apparently that is the last straw because that night Martha hears a strange ticking noise coming from the cellar. She finds a box down there and when she investigates the box’s opening the trap is set. The story ends with Oscar making his own rather gruesome deposit to the bank vault.

Chamber of Chills #24 (July 1954) “Credit and Loss”, art by Mort Meskin

The story was not written by Mort, but he makes the most of it. He is at the top of his form in story telling, and that means a lot because Meskin was a consummate graphic story teller. His shifts in distance and perspective are done not just to provide variation, but as a means to advance the story itself. Take the sequence that starts the tale; a panel of a broken record introduces the theme of repetition, the next panel has advances the theme with a close-up of a woman’s nagging mouth, with the final panel a more distant shot providing an introduction to the main characters of the story and their relationship.

Chamber of Chills #24 (July 1954) “Credit and Loss” page 4 panel 5, art by Mort Meskin

Mort’s art is excellent, particularly the inking. The splash panels uses the S&K studio style with bold picket fence brush work (for an explanation of this term, see the Inking Glossary). The image of the skeletal hands with ledger is not a literal summation of the story but it does effectively symbolize the theme. I cannot explain what the ruled background represents, perhaps another visual reference to a financial ledger? In any case it is a pleasing pattern as if designed by Mondrian. After the splash Meskin drops using the S&K studio style and adopts his more typical inking methods. However that is a little misleading as Mort’s inking is here much more elaborate then what he had previously been using in work that he had done for Simon and Kirby. For example Meskin typically constructed eyebrows as a couple of overlapping simple brush strokes, but for close-ups in “Credit and Loss” the eyebrows are made with numerous brushstrokes that suggest the individual hairs. Instead of simple brushing for shadows on faces, here Mort provides some careful crosshatching. Meskin even seems to take much more effort with the drawing as well. The close-ups of Oscar are some of the best portrayals that Mort has ever done. The large soulful eyes and small chin suggest his submissive character. But note how in the panel I provide above how Mort subtlety reveals Oscar’s awakened spirit of resistance.

With such a great piece of art it is a wonder that Mort Meskin did not do more work for Chamber of Chills. I really do not have the timing of Meskin’s non-S&K work down very well, but perhaps it is nothing more then having been returned to the better paying DC Mort felt no need to pursue work from Harvey. Joe Simon’s collection includes the complete original art for “Credit and Loss”, as well as some other art from the same Chamber of Chills issue. So maybe even at this early date Joe was giving Harvey a hand. If so, Simon was not passing onto Harvey excess S&K material, this story much more deserves being called horror then anything found in S&K’s own Black Magic. The tale goes beyond what Joe and Jack would have considered to be in good taste. Whatever the explanation for its unique status, “Credit and Loss” is a masterpiece. Unfortunately its presence in a rare comic means it has not been seen by many. Maybe someday it will get the reprint treatment it so richly deserves.

The Art of Romance, Chapter 2, Early Artists

by Harry Mendryk

Posted January 12, 2008 in 2008/01, 5 Studio, Art of Romance, Artists, Draut, Bill, Kirby, Jack, Meskin, Mort, Periods, Prize, Robinson, Jerry, Serial Posts, z Archive.

(Young Romance #1 – #4)

Young Romance #1 (September), art by Jack Kirby

Simon and Kirby had a pretty consistent modus operandi for developing a new title. Basically it called for Jack Kirby providing much, if not most, of the initial art. This M.O. was adhered to with Young Romance, for the first four issues Jack drew 10 of the 20 stories. Page production rates (the number of pages of art created in a month) at the time of the release were also very high. Joe Simon has stated that before they went around to various publishers, they had already created the art for the initial issues. That way if some unscrupulous publisher liked the idea but wanted to develop it themselves, Simon and Kirby would have a head start. Therefore the high page production rates are misleading because much of the art was actually done earlier. Even so the initial art for Young Romance was rushed. Not that Jack would sacrifice drawing quality, but the inking would initially be rather simple. S&K shop inking traits such as picket fence crosshatching (see the Inking Glossary) would find limited use. The resulting inks would be reminiscent of the Austere inking style from the late fifties which developed from a similar need for increased art production. Although the inking was simpler what was done was quite beautiful, so once again quality was not sacrificed.

Young Romance #1 (September 1947) “I Was A Pick-Up”, art by Jack Kirby.

The drawing for the romance covers are generally not Jack Kirby’s finest work. Kirby’s forte was action, which was not the sort of thing appropriate for romance. Jack would compensate by using various compositional devices to keep the image visually interesting but this was not completely successful. Much of the impact these covers have is based not so much on the drawing itself as the melodrama that is being depicted. The less then graphically successful covers cannot be blamed entirely on romance genre not being conducive to Jack’s talents. Some of Kirby’s best efforts from the period can be found in romance splashes. The one for “I Was a Pick-Up”, shown above, is a great example. This splash is much more graphically interesting then the cover for the same issue. The compositions centers on the semi-reclining figure of woman. Her posture is deliberately provocative while at the same time projects her discomfort at her current predicament. Her pose is echoed in the foreground of bush and tree trunks with one of the fallen tree’s limbs repeating the lady’s bent legs. Part of the lady’s visual confinement is formed by the tree trunks, the rest is the by the arms of her not so gentleman companion and the door of the car. This composition seems so expressive and natural that is easy to overlook some logical inconsistencies. Why is the car door open? If it is for her eminent escape, why does the lady seem to lounge about as if reluctant to leave? I would say the whole point of this splash is to highlight the illogic of her situation. Part of her is fully aware that she should get out of the car but this is battled by the same temptation that lured her into becoming a “pick-up”. Although nothing explicit by today’s standards, this was steamy stuff indeed. Too proactive for a cover where it might attract the unwanted attentions of those critical of the idea of a romance comic book, but just right to attract the potential purchaser who was interested enough to open the book. Not every Kirby romance splash would be this good, but enough of them are to indicate that Kirby could do great pieces of stand alone romance art. His best romance work would just be a little too much for the cover.

Young Romance #1 (September 1947) “Suspicious Bridegroom”, art by Bill Draut.

Kirby did not pencil all the art for the initial issues of Young Romance. Of the first 20 stories, Kirby did 10 while Bill Draut provided 7. Draut had met Joe Simon in Washington during the war and had accepted Joe’s invitation to join them in New York. Bill was a talented artist but had no previous comic book experience. Even so Draut did some nice work for Simon and Kirby in titles they developed for Harvey in 1946 (Boys Explorers and Stuntman). Although some work by Bill Draut was published after that, it was all stuff left over from that quickly scrapped S&K Harvey line. One wonders what Bill did between that attempt and his appearance in Young Romance over a year later. From YR #1 on until the closing of the studio, Bill Draut would be a consistent presence in Simon and Kirby productions.

Draut was relative new to comic book work, but that did not stop him from trying to be innovating. A good example is the splash page for “Suspicious Bridegroom” shown above. The layering of the caption box and two images over a bicolor background is very effective. Particularly with the way the panel for one of the images is skewed and casts a shadow. The woman is very attractive but seems directed more to appeal to a man then a teenage girl reader. It was not unusual for Bill to present “cheesy” images of woman in his earlier efforts in the romance genre.

Young Romance #1 (September 1947) “Suspicious Bridegroom” page 7, art by Bill Draut.

Not all of Draut’s attempts at being innovation were successful. On the top of the splash page for “Suspicious Bridegroom” we find the declaration:

YOU CAN LIVE THIS TRUE STORY… A NEW TECHNIQUE IN COMICS!

The announced technique, showing up in much of the story, consists of providing the images as if view through someone’s eyes. Well that is what it was meant to be but actually it looks like a view from some sort of bizarre binoculars, what with the circular views surrounded by irregular folds (eyelids?) and numerous eyelashes. Frankly the technique is not very effective since it puts a severe limit on what can be shown in a panel. Worse yet it is actually kind of creepy and that casts a chilling effect on was meant to be a romantic scene in the fourth panel. Fortunately this innovation was not to be repeated in future work by Bill Draut or any other artist working for Simon and Kirby. Even though it was a failure, you still have to admire the daring of the attempt.

Young Romance #3 (January 1948) “Love or a Career?”, art by Jerry Robinson and Mort Meskin.

In YR #3 (“Love or a Career?”) and YR #4 (“I Love You, Frank Gerard”) are stories by another artists, or more correctly a pair of artists, Jerry Robinson and Mort Meskin. These two works are unsigned but in the same style as signed work done a few months later (see my post on the cover for My Date #4). I have not seen enough of either artist’s earlier work to be confident about how the two artists collaborated, but my suspicion is that most of the pencils were done by Robinson and Meskin did most of the inking. I am not sure how Simon and Kirby met Jerry Robinson, but Meskin was well known from the time that S&K worked for DC. There is a story of both Kirby and Meskin facing deadlines and ending up in the DC bullpen on adjacent drawing tables. Each was intent on getting their own jobs done while other artists gathered to watch two of the industries greatest and most prolific artists racing away. I have not come across any comments from Jack Kirby about Meskin, but Joe has repeatedly expressed his admiration for Mort’s work.

Now that I have introduced most of the artists from the first four issues of Young Romance, this seems to appropriate time to address a subject that I have avoided in the past, that is the question of Kirby layouts. This is a claim that many people have declared about work done by the various artists who worked for the Simon and Kirby studio. Unfortunately the use of Kirby layouts is not the only possible explanation for other artists doing Kirby-like work. Many admired Jack’s artistry so it is not surprising that they would imitate or even swipe from Kirby. From time to time Jack would also assume the job of art editor and fix up the work from other artists prior to publication (for example). One of the criteria I use to distinguish Kirby layouts from things like swipes and art editing is consistency throughout the story. Swiping and art editing will be limited to a few panels here or there, not to the entire story. But if Kirby is truly providing a layout it would be expected that he would do so for the entire story. As for distinguishing a Kirby layout from a Kirby imitator it is necessary to compare the work in question to the layouts found in contemporary Kirby stories. It is expected that Kirby would provide layouts similar to those of his own stories. While it is possible that Kirby might provide simpler layouts, it is not creditable that he would introduce techniques into a layout that he would not use himself.

Kirby uses an unusual layout for some of his splashes. It consists of a half splash along with a figure or just the head with a speech balloon that serves the place of title caption. The splash from “I Was a Pick-Up” shown earlier is an example of this layout. This layout is not used by any other artist in the first four issues. However it is not the only splash layout used by Kirby either. Careful examination shows that it is only used on for the first story in the comic. So although it is very distinctive layout, the fact that the other artists do not use it does not prove their stories were not done using Kirby layouts. Although I call this a Kirby layout I might be more accurate to ascribing it to Simon and Kirby. Both Joe and Jack have said that Joe did layouts for some covers and splashes. Did Joe consistently provide layouts? Was Joe providing layouts for Jack only early in their collaboration? At this point I do not have really firm answers for these questions. It does seem to me that many of the splashes and covers have emphasis on design found in work that Joe did prior to working with Jack and would continue to use after they broke up. However this fondness for certain types of designs disappears from Jacks work once he split from Joe. Therefore I am inclined to feel Joe provided some layout guidance to many of Jack’s covers and splashes. However nothing in the layout of Jack stories seem unique to his period of partnership with Joe, so I believe that the story layouts at this stage are Kirby’s alone.

As I previously mentioned, Bill Draut did some interesting designs for some of his splash pages in these early Young Romance issues. He used tilted panels in two of his splashes, a device that does not appear in any Kirby drawn splash from the same comics. Draut also would occasionally introduce a “sexy” or “cheesy” pose; this is something Jack was not seen to do. Bill Draut would develop his own way of telling a story which is only beginning to appear in these early romance works. Still the story layouts that he uses for these first issues of Young Romance only occasionally, if at all, remind one of Kirby. So I would conclude that there are no Kirby layouts under the Bill Draut pencils in the first four issues of Young Romance. Actually this is a conclusion that I have reached for all of Bill Draut’s work for S&K.

The opening splash panel is generally used to as a sort of comic book equivalent of a movie trailer. That is it provides a sort of condensation of what the story will be about. However the splash panel normally is not actually part of the story itself. Sometimes the entire first page is given over to the splash. Five splashes by Kirby and two by Draut from the first twenty stories are full page splashes. I am not sure that much can be deduced from the use of full page splashes, except perhaps that Kirby was more prone to use them then the other artists. Often the first page would be a combination of a splash panel and one or two story panels, and how they are laid out is informative. Kirby’s next most frequent first page arrangement, with three cases, places a single story panel in the lower right corner. That layout is not used by any of the other Young Romance artists. The other arrangement that Jack used was to restrict the splash panel to the top of the page, and provide two story panels below. This is the most common arrangement in the first four issues; Kirby did it twice, Draut five times and another artist also used it once, for a total of eight out of twenty stories. Another possible layout is for the splash panel to occupy the left while the two story panels are placed on the right. That arrangement was not used by either Kirby or Draut in the first YR comics but is used for both stories provided by Jerry Robinson and Mort Meskin. To me this strongly suggests that Jack did not provide layouts to Robinson and Meskin.

Young Romance #3 (January 1948) “Love or a Career?” page 7 panel 1, art by Jerry Robinson and Mort Meskin

As was the case with Bill Draut, the way that Robinson and Meskin present the story is not consistently like what Kirby did. One exception that might be made is provided in the above panel. Jack Kirby was justly famous for his use of exaggerated perspective. The way the man holds his hand out toward the view does remind one of Jack’s techniques. In my opinion Robinson and Meskin are not as successful in their effort as Kirby would have been, so I do not think this would be an example of Kirby stepping in as an art editor. Although Kirby did have a fondness for this sort of difficult perspective, he did not use it, or anything like it, in any of the stories that he drew for YR #1 through #4. If Jack did not use it for his own drawings, I do not think it would be likely that he would use it in layouts for other artists at that same time. Therefore I conclude that this panel is an example of Robinson and Meskin being influenced by Kirby and it is not based on Kirby layouts.

Young Romance #2 (November 1947) “Dangerous Romance”, by unidentified artist

Normally I do not associate the use of floating heads with Kirby’s covers or splashes. They were not used extensively by Kirby during the S&K period and became extremely rare after he left Joe. Simon on the other had used them on some of his covers done early in his career as well as after the split-up. Whether it is another suggestion that Joe may have been involved in laying out some of the splashes, or that Jack may have just adopted if for a period, but the use of floating heads becomes frequent in the initial Young Romance comics. Five out of ten Kirby splashes use floating heads; on the other hand this device is not used in any of the stories by Draut or Robinson and Meskin. This is another suggestion that Jack did not provide those artists with layouts. But the design technique does show up in the story “Dangerous Romance” in Young Romance #2. The story layout is similar to that Kirby would use for his own work, and this similarity is found throughout the story. The inking also seems to mimic S&K studio style. Note the abstract arc shadow in the splash, and something akin to should blots are sometimes used in the story (see the Inking Glossary for explanation of these terms). Even the penciling is reminiscent of Jack’s work. I do not believe this is an example of a heavy handed inker working over Kirby pencils. As far as I know no one has ever attributed the drawing of this story to Jack. So the conclusion I reach is that this is an example of an artist working from Kirby layouts and trying, not very successfully, to mimic Kirby as close as he was able. Unfortunately I have no idea who the artist was.

Young Romance #1 (September 1947) “Summer Song” page 6, art by Jack Kirby and an unidentified artist.

There was a time in the past that I did not believe “Summer Song” was penciled by Jack Kirby. I found that pages such as the one imaged above deviated in ways that could not be explained by some heavy handed inker. Christopher Harder (a fine S&K scholar) pointed out to me that the art seem to progress from very much like Kirby’s work in the beginning followed by work that looked less and less like Jack’s. You can see what he means be comparing the above image with another from early in the story that I provided last week in the first chapter of this serial post. I remained perplexed about the attribution of this story until one day Joe Simon showed me an article from a Marvel publication. I deeply regret not borrowing it, because I have not yet come across it again in Joe’s collection. It was an interview with an artist, I am sure it was either Joe Sinnott or John Romita. What I do remember clearly was one part where the artist describes approaching Simon and Kirby about a position they had open. The artist described the work as an in-betweener. He went on to say that Jack would draw the story pretty tightly to begin with and then get much looser and close it with some more tight pencils. The hired artist would then tighten up all in between pages and ink the whole thing. This would allow Jack to work more quickly and yet maintain some control over the final results. (Incidentally the artist interviewed said that S&K provided him with samples to work on to show how well he could do the work, but that he never followed through with it). When I read that interview I realized he was describing exactly what had been done in “Summer Song”. In fact when I reexamined the final page of the story it did look more Kirby-like then those done in the middle. It would not be accurate to call such an arrangement as Kirby layouts, Jack contribution was too much for that. Nor would it be correct to describe the other artists as just the inker, for he did much more then just ink Jack’s pencils. So I have decided to attribute the work to both artists. Unfortunately once again I have no idea who the second artist was. In The Complete Jack Kirby, Greg Theakston attributes the inking of this story to Charles Nicolas but gives no explanation how he came that that conclusion.

The Art of Romance, Chapter 1, A New Genre

by Harry Mendryk

Posted January 5, 2008 in 2008/01, 5 Studio, Art of Romance, Periods, Prize, Serial Posts, z Archive.

(Young Romance #1 – #4)

I am sure when most fans think about Simon and Kirby they have in mind titles like Captain America, Boy Commandos, Stuntman, Boys’ Ranch, Fighting American, and so on. Super heroes, kid gangs, and lots of action. No doubt about it, those were great comics. Fans, particularly the more die hard ones, also appreciate S&K take on crime (Headline, Justice Traps the Guilty, and Police Trap) and horror (Black Magic and Strange World of Your Dreams). But when fans bring up Simon & Kirby I suspect they rarely talk about the romance titles (Young Romance, Young Love, Young Brides and In Love). However to understand Joe, Jack and what they did, the romance titles really are a good place to go for two reasons. The first is that it was a whole new genre. Despite what some would have you believe, there were no prior romance comics to serve as prototypes. Joe and Jack had to figure it all out themselves. The second reason concerns how much romance work S&K did. For the period starting on September 1947 (the first issue of Young Romance) and ending with October 1956 (in November Battleground #14 came out and Jack had begun freelancing) Kirby drew 1679 romance pages (covers and stories) compared to 1652 pages for all other genre combined. During this period super heroes and kid gangs came and went but romance was pretty much a constant.

Romance pulps could have served as prototypes for romance comic plots. But comics are also a visual media and pulps could not help with that aspect. To make matters worse by the time Simon and Kirby began working on romances they had already abandoned devices they had previously used to make their pages more exciting. Largely gone were the variously shaped panels and in their place would be a pretty standard comic grid. Also the extension of figures outside of a panel into other panels was no longer done. But Kirby had shown in his crime work that he did not have to use those graphic devices to make exciting comics. However crimes stories could have a lot of action and violence, stuff that Jack excelled at. What could be done with a subject like romance?

Young Romance #1 (September 1947) ” I Was A Pick-Up” page 8, art by Jack Kirby

Well one thing Kirby did was keep the action. Well of course there could be no super heroes or kid gangs in a romance story but Jack would often include a fight. If Jack wanted variation from always having a fight he would add a sport scene or something similar to inject some action. In the first four issues of Young Romance Jack did 10 stories which have 4 fights, 3 slaps, 2 rescues, 1 swimming race and 1 suicide. The use of action is not limited to the Kirby drawn stories, in the 8 non-Kirby stories we find another fight, a fire, a ransom, a blackmail bust, and a robbery trial. Do not get the wrong idea, the stories in the early issues of YR fit the romance genre just fine. The fights and action scenes play a very small part of the plot. Like any proper romance, the story resolves around the love angle. Despite the “for the more adult readers of comics” claim of the cover, the target audience was clearly teenage girls. I cannot help wondering what those romance readers thought about the fights. Perhaps it did not bother them much since as a new genre they had not yet developed their own expectations. Regardless of whether the original readers liked the action that Kirby brought to romance, for the modern truly adult reader, Jack’s stories have special interest.

Young Romance #1 (September 1947) “Summer Song” page 2, art by Jack Kirby and unidentified artist

Fights and sports were not the only unexpected touches that Kirby used in his romances. Jack often showed the first meeting of a couple (at least for the story) with a rather physical greeting from the man towards the woman. This sort of roughhousing seems more appropriate for younger individuals than those portrayed. But perhaps Kirby was showing his savvy about the experience of the readers who were younger then the couples of the stories.

Young Romance #3 (January 1948) “Campus Outcast” page 2, art by Bill Draut

As I mentioned above, the use of action was not restricted to the Kirby stories in the early issues of Young Romance. In later issues action would remain a part in the Kirby drawn stories but would play less of a part in those done by other artists. I interpret this emphasis on action as an indication of Kirby’s involvement in the plotting of his own scripts. Further that in the earlier issues Jack also helped plot the stories for some of the other artists as well. Another indication of Kirby plotting for artists can be found in a page done by Bill Draut. The first panel of the page shown above has the same type of physical greeting that appears in some of the Kirby pages as well.

This is the beginning of a serial post Simon and Kirby romance comics. As mentioned above, Joe and Jack’s involvement in romance titles was long and fruitful. It will take a lot of posts to cover this topic adequately. I do not want to turn this blog into one on just the romance genre, so this serial post will not be as continuous as some previous ones. Instead chapters will appear from time to time, interspersed among posts on other S&K subjects. However I have not finished writing about the first few issues of Young Romance, so next week I will return with a chapter about the initial artists.

The Milton Caniff Connection

by Harry Mendryk

Posted December 21, 2007 in 2007/12, 5 Studio, Hillman, Periods, z Archive.

In 1934 Captain Joseph Patterson offered Milton Caniff the opportunity to create an adventure strip for syndication. Milton had been on salary working for Associated Press, now he would have a share in the profits his strip would generate. But the strip would not truly be his, as was customary at the time Caniff’s creation would actually be owned by Patterson’s syndicate. The strip was named Terry and the Pirates and it became very popular. Milton had free reign, Patterson respected Caniff’s capability and never exercised any editorial control of the comic strip. That is until Milt introduced the Japanese into his story. Caniff wanted Terry and the Pirates to be realistic. Since the story was located in China, after their invasion of that country it made sense for the Japanese to be a part of the story. Captain Patterson however was an isolationist and he ordered Milton to keep the Japanese out of Terry and the Pirates. Since Patterson’s syndicate was the true owner of Terry, Milton had no choice but to submit to this demand. Patterson’s isolationism, like that of many other Americans, would change a very short time later when Japan attached Pearl Harbor. Caniff no longer faced opposition and the real war would enter Terry and the Pirates.

Editorial interference was not the only problem Caniff faced due to his contractual arrangement for Terry and the Pirates. Milton had phlebitis, a condition where at any time a blood clot might form in his leg and then travel to another part of his body resulting in death. With care this might never happen but it was a possibility that could neither be eliminated nor predicted. There was little chance that Patterson would ever remove Caniff as the artist for Terry and the Pirates, but if Milt died all money from the strip would stop, leaving his wife without any source of income.

Terry and the Pirates was a very successful strip, in no small part due to Caniff’s injection of the real world into the story. Polls indicated Terry’s popularity, but they showed that the strip was not the most popular one. However the polls did not tell the full story and there is little doubt that Milton Caniff was the most followed cartoonist during the war years. This was due not only to Terry and the Pirates but also because of Male Call, a strip that Caniff produced for the armed service newspapers. Male Call was a bit too risque for family newspapers but was recognized as a great morale boaster for the men in our military forces.

After the war Caniff was approached by Marshall Field III who asked what sort of deal would entice him to leave Terry and the Pirates and create a new strip? Milton was very happy with his present financial status but questions of editorial control and security for his wife were still concerns. Caniff’s reply to Marshall’s question was simple, Milt wanted complete ownership of the strip. This was an unheard of demand, but Field did not hesitate to accept it. A deal was quickly reached that would be very rewarding for Caniff. Unfortunately Caniff still had nearly two years to go on his contract with Patterson. While that contract was in effect anything Caniff drew could be considered the property of Patterson. This left Field in the unusual position of trying to get newspapers to sign on without anything to show, not even the subject or name of the new strip. Based solely on Milton Caniff’s reputation, Field’s sales force managed to sign up 144 newspapers. All of this brought a lot of media attention and public interest as to what Caniff’s new strip would be like.

Joe Simon and Jack Kirby had special reason to be reminded of Milton Caniff. Shortly after the war Simon and Kirby had produced some new comics (Stuntman and Boy Explorers) for Harvey comics. These new titles suffered a quick death due to the glut of comics that were released once wartime paper restrictions had been lifted. With so much to choose from newsstands would provide rack space only for those titles with good recognition, new comics were out of luck. Harvey felt he had the answer to that problem, create a new title using a popular syndication strip. Not only did this provide instant recognition, only the cover art needed be made and the strips rearranged to fit the comic book format. This had been a successful approach for Harvey in the past with Joe Palooka and he now tried it with Terry and the Pirates. Joe and Jack would surely be aware of this not only because they were good friends with Al Harvey, but also because one of their Boy Explorers stories (“The Isle Where Women Rule”) would appear in the initial issues of Terry and the Pirates.

Caniff’s Steve Canyon premier in the weekly papers starting on January 13, 1947. Milt’s opened with an unusual gambit, the title character never makes an appearance throughout the entire week. The most we get to see of him is a portrait photograph that is handled by some of the story characters. The week’s story shows the representative of a wealthy and beautiful businesswoman attempting to meet Steve Canyon to hire him for an unspecified job. Canyon finally makes an appearance in the following Sunday strip, but for the first half of it we do not get to see his face. For Sunday we find Steve walking to his office. Upon arrival he is informed about the representative’s visit. Steve telephones him and effectively declines the job. Only an artist assured of his audience and his own talent would introduce a strip with such a slow buildup. But Caniff is the consummate strip artist and the introduction is anything but boring. It builds on the audience’s anticipation while providing an introduction to all the principals of the first story arc. The reader also learns that Canyon has an air transport business that is not very financially successful. The existing business acumen seems to be provided by his young secretary, a beautiful south Pacific woman.

Airboy Comics v4 #5 (June 1947) “The Flying Fool”, art by Jack Kirby

Simon and Kirby would debut a new feature in Hillman Publication’s June issue of Airboy Comics called the Flying Fool. The introduction begins with the arrival of some shady Chinese characters to the office of a flight service. They tell the beautiful Chinese secretary that they are seeking her boss for a business proposition. That boss, Link Thorne, arrives to find that the proposition is that a rival, Riot O’Hara, wants to take over Thorne’s business. A fight ensues and although he is out numbered, Link Thorne is the winner. Furious Link decides to pay Riot O’Hara an unannounced visit only to discover that she is a beautiful woman. The parallels of this story to Caniff’s Steve Canyon are pretty apparent. Both feature a talented pilot with an independent streak who has a small and not very successful air transport business. Both heroes’ independence nature leads them to reject a proposal from beautiful but ruthless businesswomen. Even the stories have a similar beginning where the businesswomens’ representatives arrive at the air transport offices but do not initially find the owners. There are differences, while Steve Canyon’s office is in an American city Link’s is in China. But that difference is not that significant because Caniff’s previous strip also took place in China. More important is the initial confrontation, while Steve Canyon verbally duels with the businesswoman’s representative over the phone, Link Thorne’s reaction is a typical Kirby slugfest. Also Simon and Kirby use the secretary to provide a taste of comedy into the story. Caniff was not blind to the usefulness of a sidekick to provide a comic element, he had such a character in Terry and the Pirates and would introduce one later in Steve Canyon.

The timing of the creation of the Flying Fool is of special interest. Comic cover titles are generally marked two months later then the actual release date, which would mean that the Flying Fool appeared on the newsstands in April. But the actual creation normally starts three to four months earlier; a month for the distribution, a month for printing, leaving one or two months for the art. Since Milton Caniff’s new strip was kept so secret and the Flying Fool story is so clearly derived from Steve Canyon, the S&K story could not have been started before mid January. This would only have left Joe and Jack a week or two to produce the art. It is a short story and Kirby was famous for his speed, however you cannot tell that it was a rush job from the final product. It is as beautiful an example of a Simon and Kirby production as any from that period.

Terry and the Pirates (left panel from April 17, 1936, right panel from December 20, 1936) art by Milton Caniff (both from “The Complete Terry and the Pirates” by IDW Publishing)

Most of Jack Kirby’s inking was done using a brush. This is not particularly unusual as working with a brush was common for comic inkers. It had not always been so, before comic books there were comic strips and initially they were inked largely with a pen. A brush might be used to flood an area with black, but in that case the black was used as a color. The use of a brush for chiaroscuro effects was first introduced in January 1936 by Noel Sickles in his syndication strip Scorchy Smith. Sickles shared his studio with Milton Caniff who quickly recognized the significance of brush work in both adding realism and saving time. Caniff began to adopt the use of a brush in Terry and the Pirates in March. Terry and the Pirates was much more popular then Scorchy Smith and so most comic artists picked up the brush technique from observing Caniff’s work. Caniff’s influence on Kirby is clear from the similarity of the Flying Fool to Steve Canyon, this surely includes art techniques as well. That right panel sure looks like the shoulder blot that Kirby used so often.

The basics of what I have written here were previously covered by Greg Theakston in his Complete Jack Kirby. However I have been able to add detail to that account because of the recent publication of two books. One is “Meanwhile… A Biography of Milton Caniff” by Robert C. Harvey published by Fantagraphics Books. This is a thorough and lengthy book full of information and insight. I am still in the process of reading it but nonetheless I can heartedly recommend it. The other is the first volume of “The Complete Terry and the Pirates, 1934 – 1936” by IDW Publishing. This is a beautiful volume with excellent reproductions. In fact for me it has become the highest standard for comic reproduction. The colored Sunday strips are nicely cleaned up scans. For reasons that I do not understand, most publishers recolor the work when they reprint it. I find the end result very flat, if not down right ugly. The only happy exception to this is the Spirit Archives where Will Eisner carefully specified the paper and color saturation levels. In the case of Terry and the Pirates this is not just a question of aesthetics, Milton Caniff did the color guides himself. His syndication recognized how important his coloring was and had one engraver whose sole responsibility was the Terry Sunday strips. Recoloring this work would have been a sin that IDW wisely avoided.

Swiping off of Kirby

by Harry Mendryk

Posted December 15, 2007 in 2007/12, 5 Studio, 6 Mainline, Alternate Takes, Artists, Draut, Bill, In Love, Kirby, Jack, Periods, Prize, Topic, z Archive.

Young Romance #8 (November 1948) “Love Can Strike So Suddenly”, art by Jack Kirby

Jack Kirby’s take on romance always seemed to have more of an emphasis on action then most other comic book artists. The above sequence from an early Young Romance is a great example of this. The dramatic plunge of the airplane after hitting an air pocket literally lands a seemingly indifferent lady onto the lap of a reluctant man. The analogy of the airplane’s occupants fall and their falling in love is presented by both the images and accompanying text. It took chance to supply the action needed to overcome the barriers each had placed before their true feelings. This sequence may have played a small part in the overall story but it was pivotal. It was also the quintessence of Kirby’s vision of romance.

In Love #2 (October 1954) “Marilyn’s Men” page 14 panels 5 and 6, art by Bill Draut

In Love #2 (October 1954) “Marilyn’s Men” page 15 panel 1, art by Bill Draut

Kirby’s predilection for action in romance stories stayed with him. Although most of the story “Marilyn’s Men” from In Love #2 was drawn by Bill Draut, I believe that much of the plotting and at least some of the scripting came from Jack. Therefore I feel that the occurrence of essentially the same three panels from Young Romance #8 was not Draut trying to pull something over on his bosses, instead Bill was just following Simon and Kirby’s direction. The premise was similar between the two stories, both involved a plane flight where the relationship between the man and woman changes during the trip. There are significant differences between the two stories as well. In YR it is an accident that breaks down the resistance of both parties, whereas with In Love the pilot’s maneuver is purposeful, showing that it was only Marilyn’s reluctance to love that had to be overcome.

Draut’s swipe is not a close copy of Kirby’s art. Most of the deviation in the art can be attributed to differences in the two stories. Unlike most of the female characters in S&K romances, Marilyn had relatively short hair. Undoubtedly this was visual shorthand for her success as a businesswoman. Unfortunately Marilyn’s shorter hair could not provide the same affect to the first panel where she first is lifted out of her seat. Draut does what he can but Kirby’s heroine had more hair to add drama with. In Kirby’s story the heroine is seated behind the pilot while Marilyn is on his side. Jack therefore can show more of the lady as she goes from her seat to the pilot’s lap. Draut must provide a more foreshortened view and even rotated the pilot in relation to the cabin so that in the end the visual logic of the first scene breaks down. In the second panel Draut has everything under control. In fact here Draut improves on Kirby’s composition by having Marilyn ending up gazing into the pilot’s face, while Kirby left her looking to the side. There is one logical peculiarity in Draut’s presentation. In the first panel Marilyn’s left arm is already on the pilot’s shoulder while his hat is just beginning to come off his head. Yet in the second panel Marilyn’s left hand holds the hat down. How did that transition happen? Jack provides the answer by using the pilot’s headset to constrain the hat’s travel. The final panel, the dramatic view of the kiss, is very similar between the two versions, but by no means identical. The pilot’s face is typical Draut and not a close copy of Kirby’s version. Bill has also added some shadows of the window frames to add even more drama to the scene. While Kirby has good control over the unusual perspective, in Draut’s rendition where is Marilyn’s nose? It does not seem possible to trace its position without violating the man’s facial structure.

In Love #2 (October 1954) art by Bill Draut

Jack was a master at visual storytelling so it comes as no surprise that the dramatic kiss occupies the last panel of his page. In “Marilyn’s Men” the kiss has been placed on the first panel of the page following the other two scenes. This greatly diminishes the impact of the story line. This may not have been Draut’s fault, the layout of the page suggests that the kiss panel was placed there afterwards. Perhaps editing was required to reduce the page count. That it was known then what the proper layout for this sequence was is shown in the cover where not only is the kiss the last panel, but it has also been enlarged.

The three panel sequence from Young Romance #8 hardly stands out as the most memorable panels from Kirby’s early romance work. Even so someone remembered and then used them as a reference for a comic done almost six years later.

Simon and Kirby

Joe Simon and Jack Kirby, their studio, and the artists who worked for them

Category Archives: Periods

The Wide Angle Scream, The Pinup

The Art of Romance, Chapter 3, The Field No Longer Their’s Alone

The Wide Angle Scream, It’s a Crime

The Wide Angle Scream, American Royalty

Al Avison Did Not Need Any Help

Horrible Mort Meskin

The Art of Romance, Chapter 2, Early Artists

The Art of Romance, Chapter 1, A New Genre

The Milton Caniff Connection

Swiping off of Kirby

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