Category Archives: Periods

In the Beginning, Chapter 4, Red Raven #1

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Posted in 2011/10, Artists, Assorted, Breifer, Dick, Kirby, Jack, Lettering, Periods, Serial Posts, Start of S&K, Topic, z Archive and tagged , , ,

Red Raven #1 (August 1940), pencils by Jack Kirby, layouts, inks and letters by Joe Simon

It is not surprising that Joe Simon became Timely’s first comic book editor in August 1940 (cover date, the calendar date would be around February or March). After all he had been working with that title for Fox Comics so he certainly had the credentials. Fox was a small publisher that had recently started up with an output limited to comic books while Timely was a larger outfit with a variety of publication formats who wanted to take control of and expand their comic book line. Just the place to provide better opportunities and probably a financial boast as well. What is surprising is that at that same time Simon managed to get Timely to release a new comic book title, the Red Raven.

The cover was penciled by Jack Kirby however the layouts were probably provided by Joe Simon. This conclusion is supported by a cover with a similar theme that Joe did for Science Comics #5 (June 1940). Further the Red Raven #1 cover has an unusual perspective. Simon had used similar unusual and distorted perspectives for the covers for Science Comics #5 and Blue Beetle Comics #3 (July 1940) (for both see Art by Joe Simon, Chapter 3, Working for the Fox). While previously Kirby had not done anything similar. The Red Raven covers is a swipe from Hal Foster’s Prince Valiant (Jack Kirby, Fanboy) which both Joe and Jack followed.

Red Raven #1 (August 1940) “The Red Raven”, pencils by Louis Casenueve

The artists that have been identified with work in Red Raven #1 did not seem to have previously worked for Timely. This is not surprising because before Joe Simon’s arrival as editor Timely comic books were put together by Funnies Inc. run by Lloyd Jacquet. Joe was expected to create a comic art bullpen for Timely and therefore would likely use artist not affiliated with the Funnies shop. The choice of the artist, Louis Casenueve, to draw the feature story is a bit surprising. Did Joe think Casenueve was a better artist than Jack Kirby? I doubt it. In “The Comic Book Makers” Joe tells how Kirby did not immediately follow him to Timely but instead continued at Fox. Joe said it took three months for Kirby to come to Timely however the evidence seems to indicate otherwise. The last Blue Beetle strip that Kirby did for Fox was published on March 9, 1940. Syndication strips are usually created only a week or so before publication. Comic books however have a longer period between creation and release. Further the cover date is actually advanced to indicate when it might be removed from the newsstands. All together the cover date is expected to be dated five to six months after the work began. This means that the first comic books that Jack would work on after Fox would be cover dated August or September. I therefore believe that Joe was correct about Jack staying at Fox but not a few months but instead a couple of weeks or so. Therefore when Joe started working on Red Raven #1 Jack may still have been working at Fox and available only on a moonlighting basis. Simon may have assigned the feature story to another artist and by the time Kirby transferred to Timely it was too late to change artists.

Red Raven #1 (August 1940) “The Red Raven”, letters by unidentified letterer

The lettering for “The Red Raven” feature story uses the same double line border for captions as had been seen in the Blue Bolt #3 story that appeared the same month. As mentioned previously, some have stated that this was trait that was characteristic for Howard Ferguson.

Prize Comics #7 (December 1940) “The Black Owl” letters by Howard Ferguson

However I do not believe Ferguson lettered “The Red Raven”. Above is an early but very typical example of Ferguson’s lettering. Note the differences between the two in the letters ‘G’, ‘K’ and ‘Y’. The letterer for Red Raven also had an unusual ‘E’ with unequal arm lengths. There is a bit of variation but generally the shortest is the upper arm and the longest the middle one. I have to caution that the earliest lettering that I do attribute to Ferguson differs from the Black Owl example that I have provided. For instance it lacks the small vertical stroke on the letter ‘C’ that was characteristic of Ferguson. I will provide examples when I return to this subject in a future chapter.

Blue Bolt #3 (August 1940) letters by unidentified letter

I repeat above the lettering for Blue Bolt #3. Note the differences between ‘G’, ‘J’, ‘M’, ‘W’ and ‘Y’. Since there were both published the same months these certainly were done by different letterers.

Red Raven #1 (August 1940) “The Human Top”, pencils and inks by Dick Briefer

Dick Briefer had previously worked at the Iger and Eisner shop (Jumbo Comics) at the same time as Jack Kirby so perhaps that was the association that gave him the opportunity to be included in this comic. In a few months Briefer would create his first Frankenstein story (Prize Comics #7, December 1940, The Early Frankenstein of Dick Briefer) so this story gives a view of his style before Dick began his more cartoon-like approach began. The lettering for “The Human Top” is unlike that found in any of the other stories included in Red Raven so perhaps it was lettered by Briefer himself. Briefer provided initials on the last page of the story.

Red Raven #1 (August 1940) “Mercury in the 20th Century”, pencils, inks and letters by Jack Kirby

Jack Kirby did two stories for Red Raven #1. The first, “Mercury in the 20th Century”, was an early example of a mythological theme. Kirby would return to the use of mythology frequently in the future. The story was written by Martin Bursten (the correct spelling should have been Burstein). It is unclear how closely Kirby followed Burstein’s script as in later years Simon and Kirby often altered scripts that they drew. Certainly Kirby had the opportunity since not only did he do the pencils but he also did the lettering. The inking on the first page appears to be Kirby’s as well but the rest of the story looks like it was inked by another artist). I believe the other inker was Joe Simon. If my inking attribution is correct this would be the first story drawn by Kirby and inked by Simon. Simon inked Kirby’s pages for Blue Bolt #3 but Jack only contributed three pages to that story. Together they seem to mark a change in the working relationship between Joe and Jack. Probably not yet a full partnership but different than the relationship between an editor and an artist.

Red Raven #1 (August 1940) “Comet Pierce”, pencils, inks and letters by Jack Kirby

Kirby also drew “Comet Pierce” which was the first piece to bear the Jack Kirby name. This story’s science fiction theme is so similar to others that Kirby had previously done that the suggestion is that he was involved in either the plotting or the writing of the script. The inking is consistent throughout the story and I am pretty certain that it was inked by Kirby himself. Jack also provided the lettering.

The question is should “Comet Pierce” be considered Simon and Kirby creation. There is no way that this can be answered with any certainty. Joe Simon was the editor of the comic and therefore likely provided some input to the story as well as those done by other artists. However so far I can find no definitive evidence that Joe’s involvement in “Cosmic Carson” was any different from that of any editor. So while Joe and Jack were working together I do not consider this a Simon and Kirby story.

Red Raven #1 (August 1940) Magar the Mystic, “Re-Creator of Souls”, art by unidentified artist

The lettering for each story in Red Raven seems different and the Magar the Mystic story is no exception. I suspect that most if not all the stories were lettered by the same artist who drew it. This was not that unusual during these early days of the comic book industry and Joe Simon had just arrived at Timely and likely had just begun putting an artist bullpen together. Perhaps the Red Raven story is an exception as the lettering seems more professional than the rest of the stories.

Red Raven #1 (August 1940) “Eternal Brain”, art by Robert Louis Golden

Robert Louis Golden initialed the last page but in later years he seemed to have dropped using Robert. Golden was another former Iger and Eisner studio artist and therefore perhaps another Kirby connection. Golden would do a few stories for Simon and Kirby in 1948 (Its A Crime Chapter 7 and Chapter 8). His drawing style for the Eternal Brain story agrees very well with a Captain Aero story he did a couple of years later (The Captain Aero Connections).

In the Beginning, Chapter 3, Blue Bolt #3

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Posted in 2011/10, 3 Timely, Artists, Kirby, Jack, Lettering, Periods, Serial Posts, Simon, Joe, Start of S&K, z Archive and tagged , ,


Blue Bolt #3 (August 1940) pencils and inks by Joe Simon

Although Simon and Kirby did 10 issues of Blue Bolt, they only provided 2 covers. The cover for Blue Bolt #3 is based on a panel from the story that also was done by Joe and it in turn was a swipe from Flash Gordon by Alex Raymond (Art by Joe Simon, Chapter 4, Footnote). But none of them could be described as close copies. For the cover Simon takes an extremely low view point so that we can see the sole of his boot. The men that Blue Bolt is leading appear to be coming over a ridge through a narrow pass.


Blue Bolt #3 (August 1940) page 10, pencils and inks by Joe Simon

The same Blue Bolt figure appears in panel 3 of page 10. The view point is a little higher than on the cover but still rather low. The background figures are not the same and in the story we can see the soldiers as they advance over a plain. But the story panel still has the narrow pass. 


Blue Bolt #3 (August 1940) page 6, pencils and inks by Joe Simon

Most of the panels on page 10 are distant views which make it harder to see how far Joe’s art has advanced. Page 6 provides closer views allowing that better show his artistic improvement. Simon’s work had already been steadily improving but working with Kirby probably helped.

There is a regular improvement as well in the quality of the writing in the first three issues of Blue Bolt. Actually the story for BB #3 is greatly advanced over BB #2. Was this due to Joe learning as he went? Or is it possible that the script was written by someone else? I doubt if Kirby had anything to do with the improvement as his contribution to BB #3 seems so small (see below). In the future most stories would be written by others after which Joe and Jack would rewrite them to give their stories the special Simon and Kirby quality.


Blue Bolt #3 (August 1940) page 1, pencils by Jack Kirby, inks by Joe Simon

Although the splash panel credits Joe Simon alone, Jack Kirby drew the first page and two other (pages 2 and 7). Whatever their working arrangement was it seems clear that it was not the full partnership that would exist later. Kirby provides even fewer pages for Blue Bolt #3 that he had for BB #2. While Kirby inked his own pages for BB #2 it was Simon that inked Kirby’s pages for BB #3. So Kirby’s contribution had actually diminished.


Blue Bolt #3 (August 1940) page 7, pencils by Jack Kirby, inks by Joe Simon

Joe Simon became quite good at inking Jack Kirby’s pencils. So good that it is often difficult to determine who providing the inking. But for BB #3 Joe’s hand is revealed by his handling of eyes and eyebrows which are merged into one angular form. In the previous chapter I suggested someone other than Joe or Jack inked the cover to Champion #9 (July 1940). Now seeing pages from BB #3 like the one shown above I realize that cover was in fact inked by Simon. Note the smooth and stylized folds on the clothing which are like those found on the Champion #9 cover.


Champion #10 (August 1940) pencils by Jack Kirby, inks by Joe Simon

While there is disagreement on what credits should be applied to the art for the covers of Champion #8 (June 1940) and #9 (July 1940) it is pretty much agreed that Kirby drew the Champion #10 cover. Jack is already showing some of his typical traits such as the hero’s unruly hair, the use of exaggerated perspective and a running stride that is more impressive than realistic.


Blue Bolt #3 (August 1940) letters by unidentified letter

The lettering for Blue Bolt #3 is different from that of BB #1 (by Joe Simon) or BB #2 (by an unidentified letterer). Absent from BB #3 are Simon’s rather unique ‘W’, Kirby’s special horseshoe shaped ‘U’ or BB #2 letterer’s unusual ‘E’. The BB #3 letterer uses a special ‘G’ with a long straight segment that pushes the horizontal bar to a great height. The angular ‘J’ is also unusual but that is not a commonly used letter. Other letters to note are the ‘W’ and ‘M’ where the inner angle does not extend as far as the outer leg segments. Further the ‘M’ has vertical outer lines.


Prize Comics #7 (December 1940) “The Black Owl” letters by Howard Ferguson

Some have suggested that Howard Ferguson did the lettering for BB #3. The timing is certainly possible because at that time Joe Simon had left Fox to become Timely’s first editor where Howard Ferguson was working. I have discussed Ferguson’s lettering (Some Lettering by Howard Ferguson) and I include above an example of his work from just a few months later. They do not look like the same letterer to me. Note the very different forms for the letters ‘C’, ‘G’, ‘J’, ‘K’, ‘M’, and ‘W’. Some have argued that at Ferguson had just begun to do lettering at this time and his work was not initially as professional as it would be later. The suggestion has been made that the unusual double line border to the captions found in BB #3 (see above images) is a  Ferguson trademark. However as we will see in a future chapter Ferguson was not the only one using this special caption border.

When I started this serial post my intentions were to concentrate on Blue Bolt using it to show the beginnings of the Simon and Kirby collaboration. However I find myself referring more and more to sources outside of that title to clarify what is going on. So I have decided to make this a serial post on the early stages of the Simon and Kirby team up with Blue Bolt as just one of the comics included in the discussion. My new plan is to examine Simon and Kirby up to the creation of Captain America. The first two chapters have been re-titled accordingly but otherwise remain unchanged.

In the Beginning, Chapter #2, Blue Bolt #2

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Posted in 2 Fox, 2011/09, Artists, Kirby, Jack, Lettering, Periods, Serial Posts, Simon, Joe, Start of S&K, z Archive and tagged , ,

Blue Bolt #2


Blue Bolt #2 (July 1940) page 9, pencils and inks by Joe Simon

The story art for Blue Bolt #2 looks rather different from that from its predecessor. One reason for this is that (as mentioned in the previous chapter) the first issue was created earlier then the cover date would suggest. While Blue Bolt was drawn earlier it really was not that much earlier, probably just a matter of a few months. The difference between Simon’s art for the two stories show how rapidly he was adapting to working on comic books. The figure art has improved as well as what can be best described as his ability to graphically tell a story. There also appears to be a greater use of design. For example the interesting architecture in the first panel. Even better examples can be found in the long third panel. The wall is built with round stones giving an overall pattern to the background. Frankly this was not so successful as it gives the image a rather cluttered look. More effective are the chains which besides reflect on the imprisonment of Blue Bolt’s men add interest to the panel without disturbing what is important to the story. The chains are inked as silhouettes which removes them of the third dimension but emphasizes their function as a design element.


Blue Bolt #2 (July 1940) page 4, pencils and inks by Jack Kirby

The other reason that the art for Blue Bolt #2 looks so different from that in #1 is that some of it was created by Jack Kirby although only Joe Simon was given credit in the splash. In the future Kirby would be the primary penciller of Simon and Kirby productions but that was not the case here. Simon created 6 1/3 of the pages while Kirby only did 3 2/3 pages. Fractions are used in these counts because on the first page Joe did the splash while Jack did the story art. The precise tally is that Simon did pages 1 (splash only), 3 and 6 through 10 while Kirby did pages 1 (story only), 2, 4 and 5. Each artist inked his own pencils.

Note that Kirby introduces a foreground chain in the first splash-like panel but to very different effect. Here the chain is not so much a design element as a means of adding depth to the image. The chain is also carefully inked to provide it with a full dimensionality that is very different from the flat silhouettes that Simon used.


Blue Bolt #1, art by Joe Simon
Blue Bolt #2, page 10, panel 7, art by Joe Simon
Blue Bolt #2, page 1, panel 2, art by Jack Kirby

It is interesting to compare Simon’s artistic progress from Blue Bolt #1 to #2 as well as Kirby’s efforts from issue #2. I have chosen close-up of Dr. Bertoff to provide these comparisons. In BB #1 and much of BB #2 Simon portrays Dr. Bertoff as a rather “ratty” looking individual. A surprising unflattering depiction of a scientific genius. However Dr. Bertoff gets better treatment in some of Simon’s BB #2 art. Now part of this improvement can be credited to Joe’s rapid advancements as a comic book artist. However comparing Simon’s best depiction of Dr. Bertoff with that by Kirby suggests that Joe was also being influenced by Jack. Kirby was never very good at adopting other comic book artists styles but that was something that Simon was very adept at. During this time Joe was doing the cover art for the Fox Comics successfully mimicking Lou Fine. Now Joe was trying to copy Jack’s style. This was desirable because it would give stories produced by Simon and Kirby a unified look. At this early time Simon only achieved limited success at mimicking Kirby but he would greatly improve in the future.


Blue Bolt #2 (July 1940) page 3 panel 5, pencils and inks by Joe Simon

Kirby drew impressive machinery throughout his career. This can be seen even at this early stage in his career as for example the “electro-beam atom smasher” from the splash-like first panel of page 4 shown earlier. Jack did similarly impressive devices on every page of this Blue Bolt story that he drew. Machinery appeared on some of the pages that Simon did but generally more distant views less rich in details. Even in the few close-ups that Joe provided (such as the example from page 5 provided above) his versions were no match for Kirby’s more interesting depictions. It is not clear whether Kirby was given those pages to draw because they would contain such machinery or that Jack inserted such fantastic devices whenever he could.


Blue Bolt #2 (July 1940) story letters by unidentified letterer

From past work that Joe Simon and Jack Kirby did it might be expected that either they would letter the pages that they drew or the lettering would be done by one of them. But neither of these likely possibilities was the case. Both Joe and Jack had very distinctive lettering styles (see Early Lettering by Joe Simon and Jack Kirby as a Letterer). But nowhere in Blue Bolt #2 can be found the unique lettering such as Joe’s ‘W’ or Jack’s ‘U’. Instead the story has one rather remarkable ‘E’, shaped like a ‘C’ with a bisected with a short horizontal stroke. I have never seen either Joe or Jack use anything quite like it. Joe’s lettering would improve in years to come and some of his more eccentric traits would become more conservative. In particular his peculiar ‘W’ would become more standardized. So while it is possible that Joe might have temporarily stopped using his more unusual ‘W’ and adopted an equally unique ‘E’ the rest of the lettering still do not look like Simon’s. The BB #2 letters seem rather squat and blocking compared to Joe’s. The ‘R’ often exhibit a curved right leg however when Joe curved that same leg it he curved it in the opposite direction. As for Kirby not only does the Blue Bolt #2 lack Jack’s horseshoe shaped ‘U’ but the manner of writing ‘K’ is also different between the two. My conclusion is that just like Simon brought Jack in to help with the art, he brought in someone else to do the lettering.


Blue Bolt #2 (July 1940) splash letters by unidentified letterer

The lettering in the splash looks different from the story lettering. Of course much of this is due to the fact that the splash lettering is slanted while in the story the letters are all very vertical. But the splash lettering also looks less squat and uses a more standard form for the ‘E’ and ‘R’ letters. There is one exception found on the last panel on page 8 where the tilted splash lettering is used for a single word. The switch in lettering could have been done to put more emphasis on the word (nowhere in the story does the letterer use the common technique of employing bold lettering to provide emphasis). But it is also possible that the tilted lettering was added later to correct some problem with the original script or lettering. Without the original art it is hard to be sure. My suspicion is that all the lettering, including the splash, was done by one individual. The main piece of evidence to support this is the form of the letter ‘G’ common to both where there is a straight vertical or near vertical segment attached to the horizontal stroke.


Champion Comics #9 (July 1940) art by Joe Simon and Jack Kirby

Champion Comics #9 came out the same month as Blue Bolt #2. It featured cover art that should be credited to Joe Simon and Jack Kirby. As I mentioned in the previous chapter of this serial post (Blue Bolt #1) I suspect that the Champion #8 (June 1940) cover was the first joint work by Simon and Kirby but I admit not everyone may favor that opinion. Most agree that Champion #9 was a Simon and Kirby production. It appears that Kirby was involved in at least some, if not most, of the penciling. Some have pointed out the way the sole of the runner’s foot is turned to the viewer and have credited this as a Kirby trait. However both Joe and Jack would use this device in the future. As far as I know this is the earliest occurrence of the peculiar technique and therefore it cannot be used to distinguish between the two artists. For it to be used an earlier example would have to be found used by one but not the other artist and to date I have not seen one. While the figure art has a Kirby appearance it is not completely typical of Kirby. I attribute that to Simon’s involvement in the art. The form lines on the runner’s boots look like the work of Simon but much of the rest of the inking does not look like either Joe’s or Jack’s work. So I suspect a third artist may have been involved in the inking.

In the Beginning, Chapter #1, Blue Bolt #1

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Posted in 2 Fox, 2011/09, Artists, Kirby, Jack, Periods, Serial Posts, Simon, Joe, Start of S&K, z Archive and tagged , ,

I have decided to do a serial post on the first ten issues of Blue Bolt (June 1940 to March 1941). It was during this feature that the Simon and Kirby collaboration first developed. There were other comics that Joe and Jack worked on during the start of their partnership but that work was done a piece here and a piece there. However Blue Bolt was a monthly feature allowing us to examine Simon and Kirby learning to work together. But I will use this opportunity to discuss some of the other early work that the two did together or individually during that period.

The first issue of Blue Bolt is cover dated June 1940*. At that time Simon was editor for Fox Comics having started in May. Jack Kirby was also working for Fox primarily on the Blue Beetle syndication strip. Kirby previous experience had also been in syndication strips (although some ended up published in comic books) but in May Jack did some comic book art for Fox as well as moonlighting elsewhere. It surely is no coincidence that Kirby provided stories for Fox during the same month that Simon began as editor. It is even possible that Joe encouraged or even helped Jack to find work moonlighting outside of Fox as that happened at the same time.

Joe Simon had spent about seven years working as a staff artist for newspapers before entering the comic book field. His earliest published comic books were “The Fantastic Thriller of the Walking Corpses” (the Fiery Mask story for Daring Mystery #1), “Solar Patrol” and cover for Silver Streak #2 and another cover for Keen Detective Funnies #17 all cover dated January 1940. However the publication dates for Joe’s early work did not reflect very well the order that the art was actually created. Simon’s earliest comic book work appears to have been the western “Ranch Dude” but that did not appear until Amazing Man #10 from March. Joe was supplying this early work to Funnies Incorporated a shop run by Lloyd Jacquet who apparently held on to some of the stories before finding a use for them. Something similar happened to the first Blue Bolt story but for a special reason. Although Simon supplied it with no more special thought than any of the other art he did, Jacquet recognized the potential for using it for launching a new comic book title. This was quite a coup especially for someone so new to the comic book industry as Joe was. It is uncertain when the art for first Blue Bolt story was actually created but judging from the style I would say it was quite early. Of course not as early as “Ranch Dude” but not too long afterwards.


Blue Bolt #1 (June 1940), art by an unidentified artist

Since Simon had no idea about Jacquet’s intentions of using the first Blue Bolt story as the main feature of a new title, he would not have supplied cover art with the story but of course theoretically Joe could have supplied it later. Some have credit Simon for the cover art but I disagree. The style does not seem quite right to me compared to work that Simon is known to have done at that time. Further the dragons in the story have beaks while the one from the cover has a mouth more like an alligator.


Blue Bolt #1 (June 1940), pencils, inks, script and lettering by Joe Simon

Joe Simon not only penciled the story but he inked and lettered it as well. I remember when the reprint books on Fletcher Hanks came out the introduction remarked that one of the things that made that artist special was that he did all penciling, inking and lettering the story himself. Actually that was not so unusual during the comic book industry’s earlier years. Joe provided all the art except coloring on most of his early works. That is not to say Simon was equally proficient in all aspects of the art. While unconventional and interesting, I would not describe Simon’s lettering as very good. Even today Joe feels his lettering never became truly professional. The lettering for Blue Bolt #1 is in his initial style, examples of which can be seen in my post Early Lettering by Joe Simon. Two aspects of the lettering that may seem unusual to modern readers are the use of borderless captions and the placing of some captions at the bottom of the panel. Joe was a fan of Hal Foster who used low and borderless captions in his Prince Valiant syndication strip.

The art itself is somewhat primitive. While Simon was an accomplished newspaper staff his previous work did not include sequential story telling. Further his newspaper work had been either realistic or cartoonish while comic books required something in between. So it is not surprising that Joe’s earlier art was a bit rough and the story a little weak. This was earlier in the history of comic books and the industry employed many artists whose work was not even as good as Simon’s initial efforts. We can be critical of Simon’s early work knowing what was to come but it should be remembered that the Blue Bolt character and the first story that went with it was good enough for a publisher to release a new title based on it. Something that never happened for most comic book artists and Joe’s time in the business then could be measured in months. Joe learned fast and by the time that Blue Bolt #1 was released he had already been doing covers for Fox Comics that in the past had been attributed to Lou Fine until his small signatures were found (Art by Joe Simon, Chapter 3, Working for the Fox). Even at this stage Simon was better than most comic book artists working in the industry.

One of characteristics of Joe’s early work was one that stayed with him throughout his career, his frequent use of swiping. Some of the swipes come from Prince Valiant (by Hal Foster), Flash Gordon (by Alex Raymond) and pulp art. There may have been other sources as well since some images occur multiple times in Simon’s art but the source of the swipes has not been identified. This topic has been discussed more thoroughly in the serial post Art by Joe Simon. Further discussion of Blue Bolt #1 can be found in Chapter 4, Transition.

Champion Comics #8 (June 1940) art by Joe Simon and Jack Kirby?

The covers that Simon did for Fox Comics were not the only art that came out the same month as Blue Bolt #1. I have long been puzzled by the correct attributions for the cover art of Champion Comics #8 (June 1940). The art has generally been credited to Joe Simon and in the past that had been my opinion as well. But Joe had certainly met Jack Kirby by this time. The background architecture uses an unusual and varied perspective that can be found in a number of the Fox covers that Simon did but does not occur in any of Kirby’s solo efforts. The figure art is different than that found on the covers that Joe did for Fox Comics. But that is not surprising because Joe was purposely mimicking Lou Fine for Fox in order to provide continuity with the earlier covers now that Fox was no longer using Eisner and Iger to produce the comic art. Not only would Simon not have to mimic Fine for the Champion #8 cover but since it was for a different publisher it would actually be undesirable to do so. Unfortunately there are no earlier cover art by Jack Kirby to compare with Champion #8. There is something Kirby-ish about the figure art but Joe could have picked that up having seen Jack’s work. Kirby would become famous for his slugfests but the hero’s advisory falls back from the punch in a rather stiff and awkward manner that seems hard to accept as something Jack would do even at this early stage in his career.

One rather intriguing aspect of this cover is the elaborate gun. Kirby had a long history of drawing interesting and elaborate machinery. A fanciful gun also appears in the splash for Cosmic Carson story for Science Comics #4 (May 1940, see Early Jack Kirby, Chapter 2, Working for Fox). It has been suggested that the gun from Champion #8 was swiped by Simon from that Cosmic Carson splash. However it is not a close copy and the two guns are quite different. Unlike Kirby, Simon does not have a history of drawing elaborate devices. We shall in future chapters that when machinery appears in Blue Bolt it is Jack, not Joe, that provides it. It is hard for me to accept that Kirby did not have something to do with gun from Champion #8. While I still give Joe Simon most of the credit for the Champion #8 cover I now feel Jack Kirby was involved in some capacity as well. This is important because if I am right than the cover for Champion #8 would be the earliest Simon and Kirby collaboration.
 
footnotes:

* Like most of my posts, I am going to be using cover dates. True calendar dates for the release of the comic would be about two months earlier and for the creation of the art five or six months earlier except in special cases like Blue Bolt #1 were the art was not used for some time.

Police Trap #6

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Posted in 2011/08, 6 Mainline, Artists, Featured Work, Kirby, Jack, Meskin, Mort, Periods, Police Trap, Topic, z Archive and tagged , ,

Police Trap #5 (July 1955) was the first issue published by Charlton. It appears to be composed largely of work that was already in the work at the time of the sudden failure of Simon and Kirby’s own publishing company, Mainline. It would expected most of that work would be used up and Police Trap #6 would consists of newly created work. All of the work on issue #6 was drawn by Jack Kirby. Previously Kirby’s involvement was largely limited to providing covers with the only Kirby story appearing in Police Trap #5. Jack’s greater presence can be explained as a means of offsetting recent financial loses. The cost of creating the Mainline comics was covered by Simon and Kirby to be paid back by a share of the profits. However with the sudden demise of Leader News Joe and Jack would not get the money to recover their publication costs. Their incomes from Prize Comics were based on a share of the profits but with all the negative public criticism against comic books those royalties were probably down as well. By providing all the art for Police Trap #6, Kirby probably hoped to decrease the production costs, increase sales (and therefore his share of the profits) but also be paid as the artist as well.


Police Trap #6 (July 1955), pencils by Jack Kirby

The cover of Police Trap #6 is another less than spectacular piece of art. But it is interesting as a rare example of Kirby swiping from another comic book artist, in this case Marvin Stein. This is not a close copy, Kirby did not need any help in how to draw figures. Rather it is the unusual idea that Kirby picked up, that of counterfeiter’s being candidly filmed by the police. I had previously written about this swipe (A Criminal Swipe) where I provided an image of the Stein cover that Kirby swiped. In that post I offered the possibility that it was actually Stein that swiped from Kirby and that this cover was an unused piece left over from Simon and Kirby’s earlier efforts in the crime genre from 1947 to 1951). However I now consider this unlikely as the art for the Police Trap #6 cover does not seem to match
the style used during the earlier period.


Police Trap #6 (July 1955) “The Amateur”, pencils by Jack Kirby, inks by Mort Meskin

As mentioned above, Jack Kirby drew all the art for this issue which makes Police Trap #6 a special comic. Needless to say the art is all well done. Kirby had a flair for graphically telling a story. Note the short sequence of story panels at the bottom of the splash page. It starts out typically enough but then proceeds to two panels with captions or speech balloons. Text was not required to explain the story and in fact the lack of text makes the panels even more effective.

Police Trap #6 is also special in that all the art was inked by the same artist. I’ll explain why I think this inker was Mort Meskin below where his hand is even more obvious but here I will discuss why I believe it was not either Simon or Kirby that did the inking. Normally that might not be too difficult to determine because both Jack and Joe were much better inkers than many of the other artists they used to ink Kirby’s pencils. Here, however, we have a great inking job. Not only that but it is done in what I describe as the Studio style. On this page (and others in this book) can be found shoulder blots, picket fence crosshatching and abstract arc shadows (see my Inking Glossary for an explanation of the terms I am using). But note that the shoulder blots are not done in a manner typical for Simon and Kirby. They are less abstract and more apt to be broken up into pieces. The most glaring example of this is found in the man in the blue suite. There are other suggestions that this was not inked by either Simon or Kirby. Note the simple eyebrows even in the more close-up views provided in the splash panel.

It is unclear whether some of the typical Studio style techniques were done by the inker or instead were added by either Kirby or Simon afterwards. For example the abstract arc shadow in the first story panel is done in a very typical style. My suspicion is that the original inker provided these touches as well as they are so well integrated with the surrounding artwork. If this is true it is another indication on how well acquainted the inker was with techniques previously used in the now defunct Simon and Kirby studio.


Police Trap #6 (July 1955) “The Debt”, pencils by Jack Kirby, inks by Mort Meskin Albistur

The story panels for the first page of “The Debt” follows the same pattern as seen in “The Amateur”. First an introduction panel that quickly places the reader into the action followed by two panels without text that show how the action unfolded. The big difference between the two stories is that while “The Amateur” has a typical splash the splash found in “The Debt” is actually a story panel as well. While collaborating with Simon, Kirby worked from scripts created by various writers but which he would then customarily rewrite. It is unclear how much of the published story was rewritten but there are often phrases that sound very much like Kirby. But who can say whether the original writer originated these unusual textless story sequences or that Kirby rewrote them into the script.


Police Trap #6 (July 1955) “The $64 Question”, pencils by Jack Kirby, inks by Mort Meskin

The $64,000 Question was a popular game show in the 50’s and even today you occasionally here someone use that term a colloquialism for a significant question. However that show first appeared on television in June 1955 much too late to have influenced this story (whose creation start around February of that year). However there was an earlier game show that was on the radio from 1950 to 1952 that was actually called the $64 Question. Although it was off the air when this story was created I am sure that was that show that formed the genesis of this story’s title.


Police Trap #6 (July 1955) “Only The Guilty Run”, pencils by Jack Kirby, inks by Mort Meskin

All the stories in this issue were inked by the same artist. “Only The Guilty Run” is the story that most convincingly shows that this inker was Mort Meskin. Like all the other stories from this issue the inking was done in the Studio style. Most noticeable in the splash is his use of picket fence crosshatching. Of course other inkers used this technique most notably both Kirby and Simon. However Meskin executed picket fence crosshatching with an almost mechanical control compared to the more spontaneous use by Kirby or the more rougher brushwork by Simon. Observe how Meskin’s “rails” and “pickets” are almost consistent in width and the “rails” are placed to almost entirely contain the “pickets”. Other Meskin inking characteristics can be found in the simplified and often angular eyebrows particularly those of the escaping thief in the splash panel. Of course since credits were not provided inking attributions can never be given with absolute certainty but I am as confident as it is possible to be that this inking was by Mort Meskin.

While the art may convince me that Meskin was inking there Kirby pencils I am somewhat puzzled how this came about. While Mort had inked Jack’s work before, generally he was too busy penciling and inking his own work. There were exceptions to this most notably in Boys’ Ranch (1950 to 1951) and Captain 3-D (1953). However in 1954 he had started working for DC. Meskin still did some work for Simon and Kirby but this was largely limited to some covers and nowhere near his prolific output when the S&K studio was going strong. Yet here he is providing a lot of inking for a single issue (plus one Kirby story for the previous issue). Very perplexing.


Police Trap #6 (July 1955) “Third Degree”, pencils by Jack Kirby, inks by Mort Meskin

Despite the Comic Code all the stories from this issue are really quite good but I have to admit that I find “Third Degree” the least satisfying. The interrogation of the housewife by the burly police officer seems a bit forced. Still that story and all the others in this issue leaves one with a desire for another all Kirby crime comic. Unfortunately it was not to be, at least for some years (see Jack Kirby’s “In the Days of the Mob”) and never again with Joe Simon.

P.S.
I have had a comment about why I believe this inker was Mort Meskin and not Marvin Stein. For readers who also wonder about this I suggest checking my previous posts Kirby Inkers, Mort Meskin and Kirby Inkers, Marvin Stein.

Police Trap #5

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Posted in 2011/08, 6 Mainline, Albistur, Jo, Artists, Draut, Bill, Featured Work, Kirby, Jack, Periods, Police Trap, Topic, z Archive and tagged , , ,

Police Trap and the other Mainline titles had been distributed by Leader News. During this period there was a renew public protest about the contents of comic books. The publisher that attracted the greatest amount of negative criticism was probably EC and some newsstands refused to accept their comics. Unfortunately Leader News also distributed EC and the boycott lead to their eventual failure. Without a distributor this meant the end of Simon and Kirby’s publishing company as well. But work had already begun on the art for the unpublished issues of the Mainline comics so Joe and Jack looked for a publisher willing to take on the titles. They made a deal Charlton and after an addition two month delay Police Trap #5 finally made it to the newsstands. This was the first issue of Police Traps to be submitted to the new Comic Code Authority although I doubt there was much of a problem with getting approval.


Police Trap #5 (July 1955), pencils and inks by Jack Kirby

Compared to previous issue, the cover was not all that great. I cannot think of a Simon and Kirby cover that I would describe as poor but obviously some were better than others and this one was one of their poorest. I suspect that with the failure of Mainline and the search for a new publisher, Simon and Kirby just did not give the cover art as much attention as they previously would have.


Police Trap #5 (July 1955) “The Gun”, pencils and inks by Bill Draut

Bill Draut had drawn stories for Police Trap #1 and #3 so his presence here comes as no surprise. Draut provides “The Gun” with his usual well crafted art. However coming after his really great work on “Tough Beat” (Police Trap #3) this story can seem to be a bit of a let down. Due to financial problems arising from the collapse of Mainline, Simon and Kirby were forced to close down their studio. It seems that Joe and Jack continued to work together for a time but limited or stopped employing other artists. “The Gun” was probably work already completed before Mainline’s sudden collapse. Simon and Kirby would use some further work by Draut in the coming months but not much. Draut would work for other publishers but with the collapse of the comic book industry it must have been a difficult time for him. I am sure he eventually looked back at his time with Simon and Kirby as the golden age of his career.


Police Trap #5 (July 1955) “The Test”, pencils and inks by Joaquin Albistur

“The Test” was another fine piece of work by Joaquin Albistur. Albistur only worked for Simon and Kirby for a limited period of time, a little over a year. Probably Joaquin also looked for work after the closing of the Simon and Kirby studio. I have seen some original art for a smaller publisher but I am not sure when it was done. Albistur may have found some work but it does not appear he found much. At some point he returned to his native country Argentina.


Police Trap #5 (July 1955) “Bad Influence”, art by an unidentified artist

I am not sure who the artist was that drew “Bad Influence”. I will not claim he was one of my favorite Simon and Kirby artists but he did a good job on this story.


Police Trap #5 (July 1955) “Short Visit”, art by an unidentified artist

Another unidentified artist only in this case not nearly as talented as the one who did “Bad Influence”. Note the rather awkward pose of the policeman.


Police Trap #5 (July 1955) “Alibi?”, pencils by Jack Kirby, inks by Mort Meskin?

Up to now, Jack Kirby’s contribution to Police Trap was limited to the covers, one pinup (derived from an unused cover) and one splash panel. Was “Alibi” originally planned for issue #5 or was Jack filling in for working missing at the time of the collapse of Mainline? Who can say? But it is nice to see a Kirby working on a crime story again since the last one he did back in 1950. The tall vertical splash was rather unusual for Kirby and a reminder that Kirby was comfortable with any panel layout.

I am a little puzzled by the inking of this piece. Previously I have attributed the inking to Mort Meskin and there are parts that remind me of his work. Particularly the elderly woman in the second story panel. However there are other portions that do not look like Meskin’s brush for instance the sleeve of the older detective in the splash panel. During earlier periods I would explain this by the use of multiple artists sometimes used to ink Kirby’s art (describe by Joe Simon as an assembly line). With the bust up of the Simon and Kirby studio this now seems likely that only a single inker would be used (although either Simon or Kirby could be expected to do some touch up work). While I may hesitate to attribute the inking of this piece to Meskin, Mort was the inker for some other Kirby pencils that will be discussed when issue #6 is covered.

Police Trap #4

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Posted in 2011/07, 6 Mainline, Albistur, Jo, Artists, Kirby, Jack, Periods, Police Trap, z Archive.


Police Trap #4 March 1955), pencils and inks by Jack Kirby

Another dramatic cover by Jack Kirby but the subject matter (setting oil fires) is not a typical crime. The pose of the fugitive is similar to that used on the cover of Captain America #7 (October 1941). The cover includes a little insert for a story drawn by Jo Albistur (to be discussed below). Such use of inserts is not typical of Simon and Kirby covers but was done on occassion (for instance on Young Romance #12, July 1949). Interestingly the covers refer to the story as “An Honest Day’s Work” although in the interior the story is titled “All in a Day’s Work”.

This cover and In Love #4, which came out in the same month, were the first Mainline titles to have a stamp declaring “another Simon Kirby smash hit”. Simon and Kirby were not mentioned in any of the previously released issues and they did not sign any of the art. Such anonimity, quite unusual for the typcially self promotors, was probably an attempt to minimize conflicts with Prize Comics for whom Simon and Kirby continued to produce titles. However Police Trap #4 and In Love #4 included postal statements listing Joe and Jack as the editors so the gig was now up in any case. The choice of a stamp may have been suggested by the coming Comic Code whose stamp of approval would first appear on the next issue.


Police Trap #4 March 1955) “All In A Day’s Work”, pencils and inks by Joaquin Albistur

Joanquin Albistur supplied the feature story for this issue, “All In A Day’s Work”. There are a number of features that I find attractive in Albistur’s style all of which are found in this particular story. I particularly like Jo’s careful use of body language and gesture as in the panel with the policeman shaking the newspaper and his brother’s use of the pillow to drown out his lecture. But what really makes this story unique Albistur handling of the skyscraper views. The rendering of the brickwork would normally be overdone but in this case adds much to the effect of the dissy perspectives.


Police Trap #4 March 1955) “Doctor For The Dead”, pencils by an unidentified artist

I may not have identified the artist for “Doctor For The Dead” but that does not mean he did not do a nice job. There are some aspects of the lettering that look unusual for a Simon and Kirby production. For instance the colored ‘M’ that starts the title caption or the scripted ‘T’ from the story caption. Perhaps this is another piece that was picked up from a failed comic book publisher.


Police Trap #4 March 1955) “One-Armed Bandit”, pencils and inks by Joaquin Albistur

Joaquin Albistur is back as the artist for another story, “One-Armed Bandit”. The splash panel is a great example of why I like this artist so much. The confrontation between a detective and two hoods is all placed on the left side of the panel. You do not need to read the word balloons to determine which of the two criminals is the boss man. The background hardly deserves that term because the figures there are only slightly smaller than the foreground characters. Each person in the splash has their own distinct personality with the exception of the two cops.


Police Trap #4 March 1955) “Fly Cop”, pencils by an unidentified artist and Jack Kirby

Another unidentified artist provides almost all the art for “Fly Cop”. But there in the insert at the top of the splash page is a contribution by Jack Kirby. Jack often played the role as art director in the Simon and Kirby studio adding and sometime correcting the art drawn by others. Most of the time when this was done Kirby would add something to make the splash page a bit more interesting. Usually Jack would ink these additions himself suggesting that these were last minute alterations. I believe the original art for this page still exists and it would be interesting to see if it shows signs of alterations or whether Kirby’s contribution was planned from the start.

Police Trap #3

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Posted in 2011/06, 6 Mainline, Artists, Draut, Bill, Kirby, Jack, Periods, Police Trap, z Archive and tagged , , ,


Police Trap #3 (January 1955), pencils and inks by Jack Kirby

The cover for Police Trap #3 departed from the more serene covers used for the first two issues. Instead PT #3 was a typically well done Kirby slugfest. Such dramatic punches were often found in Simon and Kirby stories but rarely appeared on the crime covers. I can think of only one other case (Headline #45, January 1951) and that one was not nearly as nicely done as this cover. There was another cover considered for issue #3 but in the end never used. The alternative cover featured some motorcycle policeman and while a good cover it was not nearly as dramatic as this one.


Police Trap #3 (January 1955), “Hick Cop”, art by W. E. Hargis

It is always nice when an artist signs his work. Otherwise it becomes difficult to determine attributions since credits were not usually provided. There was also another signed S&K production piece by William Hargis (Young Love #62, October 1954, “Too Darned Innocent” ). I really need to do some careful comparison with some of the other unattributed pieces from this period as it is likely there exists some unsigned pieces by Hargis as well. Still it appears that Hargis only worked for Joe and Jack during a short period. Most of his work at this time seemed to have been for Quality Comics.

A number of artists appeared for a short time in Simon and Kirby productions from this period. Most were not that impressive but Hargis was an exception. He graphically tells the story well and has a pleasing drawing style. Hargis uses details to provide insight into his characters. I love the way that the sheriff has a hole in the sole of his shoe in the first story panel.


Police Trap #3 (January 1955), “The Mountie”, pencils and inks by Joaquin Albistur

Albistur is one of my favorite S&K artists from this period. “The Mountie” is a typical example of his talent. The mounted policemen have disappeared from most American cities but still have a presence, although diminished, in New York City. I have not seen any in the last few months but I would regularly hear them go down my street. It is not at all clear to me whether horses are an effective police tool but they certainly make for great public relations. Whenever I see them they always attract photographers and animal lovers.


Police Trap #3 (January 1955), “Murder At The Frolics”, art by an unidentified artist

AS I have said, there were a number of artists that worked a short time for Joe and Jack during this period. Of course I wish I could identify them all but for academic reasons as frankly many were little more than adequate. The biggest problem with this particular artist is that his figures tend to be a bit stiff as, for instance, in the last panel of this page.


Police Trap #3 (January 1955), “Tough Beat”, pencils and inks by Bill Draut

I really like Bill Draut’s art, at least while he worked for Simon and Kirby. But this particular splash page has got to be one of my favorites. Generally Bill did not do full page splashes and in a way this is not one either. What Draut has done was combine two splashes separated by the title caption. The top shows a deserted neighborhood with only a single policeman in the background. Very simple but lovingly handled with great attention to the tenement buildings. The bottom seems pure chaos but actually is not. Helped by nice work by the colorist, the lower splash focuses on the confrontation between a cop and some locals seemingly concerning some youth the policeman has apprehended. Bill has provided an interesting and varied crowd. The juxtaposition of the quiet and noisy street scenes makes the page all that more interesting.


Police Trap #3 (January 1955), “Tough Beat” last panel of page 6, pencils and inks by Bill Draut

I have seen the original art for “Tough Beat” and the upper portion of the splash page, the quiet street scene, was inked on tracing paper. I found this puzzling until I noticed the last panel of the story was the same street scene with different inking. Apparently Draut placed the tracing paper over the final panel and used it as a guide for working on the upper part of the splash page. Faster than manually copying the art onto the actual illustration board while the use of tracing paper would be undetectable in the final printed version.

Police Trap #2

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Posted in 2011/06, 6 Mainline, Artists, Kirby, Jack, Periods, Police Trap, Prentice, John, z Archive.


Police Trap #2 (November 1954), pencils and inks by Jack Kirby

A cover similar in concept to that used for the first issue. This time the muster room is portrayed:

This is where the officers relax, unbutton their jackets, have their shoes shined, smoke, bull session, rough-house, write reports, and just ease up after a hard day on the beat…

But would we really expect a muster room to have a shoe shine stand or a drunk sleeping it off? But perhaps the most unusual feature of this cover is one easy to overlook. Look carefully at the third policeman from our left, he is African American. Race did not play an important part of Simon and Kirby productions. When other races were depicted, most often it was Asians but otherwise Simon and Kirby comics were almost uniformly populated by whites. African Americans were generally invisible as they were in many popular media of the day. One glaring exception was Whitewash from the Young Allies a Simon and Kirby creation for Timely Comics. However stereotypical and (to modern eyes) objectionable characters like Whitewash were not part of Simon and Kirby productions that preceded or followed Young Allies. Further Whitewash seems to be delegated small rolls in the splashes from Young Allies that were actually drawn by Jack Kirby (Young Allies and the L Word). This suggests that the presence of Whitewash in Young Allies was not due to Simon and Kirby idea but dictated by someone else. As for the Police Trap #2 cover it is not at all obvious that the policeman was drawn by Jack Kirby as an African American but rather it was the colorist who made him so. Unlike their other comics where the coloring was the responsibility of the publisher, Simon and Kirby were the actual publisher of Police Trap and therefore they were responsible at some level for the coloring. I do not know if Joe or Jack actually colored this cover but minimally they assigned the colorist and approved the results.


Police Trap #2 (November 1954) “The Hoodlum”, pencils and inks by John Prentice

“Usual suspects” Bill Draut and Mort Meskin are absent from the second issue of Police Trap but it does contain the third of the regular Simon and Kirby artists, John Prentice. John does his typical excellent job on the art. Perhaps my only criticism is that he has made the two policemen too similar in appearance. At times I find it difficult to determine who is being represented as for example the last panel of this page.


Police Trap #2 (November 1954) “The Patsy”, art by unidentified artist

In the past I have never come up with even a guess on who did the art for “The Patsy”. But on reviewing it now I find parts, just parts, that remind me of Bob McCarty. For instance the man on the extreme left of the splash panel. But there are other parts that seem so untypical for McCarty such as the unusual perspectives found the last two panels on the same page. I am unable to make sense of this combination of aspects that look like McCarty and those that do not so I continue to leave the attribution as unidentified.


Police Trap #2 (November 1954) “The Alibi Twins”, two panel splash penciled and inks by Jack Kirby, rest of the story by unidentified artist

Except for the covers and one pinup, Jack Kirby did not supply much art for Police Trap until the latter issues. But obviously Jack was still playing his normal roll as untitled art director. Here Kirby provides the first two panels, effectively combining to form a splash, for a story otherwise executed by another unidentified artist. While the vast majority of the stories in Simon and Kirby productions were completely drawn by one artist, it was not that unusual for Kirby to provide the splash either.

The story artist is another of those that appeared only briefly in Simon and Kirby productions of this period. Note the rather bizarre inking in the last panel. The man is completely blacked out except for the hat and his hands. This story is a little longer (9 pages) than most found in Police Trap which were usually 4 to 6 pages long. Further the focus of the story is on the criminal, not the police as was normally the case for this title. Add the unusual lettering in some places (in particular the use of a script for the first letter of captions) and this suggests that the piece may not have been commissioned by Simon and Kirby but instead picked up from some failing comic book publisher.


Police Trap #2 (November 1954) “Desk Sergeant”, pencils and inks by Jack Kirby

I have recently discussed “Desk Sergeant” (The Police Trap Pinup) so will skip commenting on it here.


Police Trap #2 (November 1954) “Gambler’s End”, art by unidentified artist

A short two page piece by an unidentified artist. Unusual use of the first letter of some of the captions (for instance the bold ‘I’ in the splash caption) suggests that this story may also have been picked up from some failed comic book publisher.


Police Trap #2 (November 1954) “Police Trap”, art by unidentified artist

Another short two page piece by an unidentified artist. A lot of talking heads. A better artist might have been able to carry it off but this one is too stiff and the result is a rather uninteresting story. I have detected nothing unusual about the lettering so this piece might have been commissioned by Simon and Kirby.


Police Trap #2 (November 1954) “The Grouch”, pencils and inks by John Prentice

Prentice opens and closes this issue of Police Trap. Actually he is the artist who really carries this issue what with a rather minimal contribution by Jack Kirby and none by Bill Draut or Mort Meskin. All the other artists are just nothing more than adequate. So in effect Prentice pretty much carries this issue.

Police Trap #1, Title for the Heroes

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Posted in 2011/05, 6 Mainline, Artists, Draut, Bill, Kirby, Jack, Meskin, Mort, Periods, Police Trap, Prentice, John, z Archive and tagged , , , ,



Police Trap #1 (September 1954), pencils and inks by Jack Kirby

Crime comics received a lot of undesirable attention during their heyday. It is generally acknowledged now that this criticism was pretty much unwarranted but at that time it accepted by most of the public. One criticism was that crime comics glorified the criminals. Again any modern reader would see that this clearly was not the case, at least for the great majority of crime comics and especially for those that had been produced by Simon and Kirby. But Joe and Jack were well aware of this criticism and so when they launched their own publishing company, Mainline, they included a title Police Trap where the focus was not on the criminals but rather on the police.


Police Trap #1 (September 1954) “The Capture”, pencils and inks by Mort Meskin

Mort Meskin was one of the “usual suspects” of artists that contributed frequently to Simon and Kirby productions. He not only arrived in the studio in time to provide art for some of the crime comics produced by Simon and Kirby but he also continued to supply art for the titles even after they were no longer put together by Joe and Jack (Criminal Artists, Mort Meskin). However this would be the only piece that Mort drew for Police Trap. In fact Meskin typically prolific output seems to have decreased greatly at about this time. He would continue to supply work for the Prize romances but very little for any of the Mainline titles.


Police Trap #1 (September 1954) “Masher”, pencils and inks by Bill Draut

“Usual suspect” Bill Draut drew and inked “Masher”. Draut is most famous for his romance art but he does a fine job on this story. This is probably the most unusual story of this issue and certainly my favorite. The main protagonist is a female police officer. On a personal note my great grandmother was one of the earliest female detective of the New York Police Department. Unfortunately I know very little about her career but among other things she was used as a decoy. She was not very tall but when it came time to apprehend someone she would hold on to them so tightly that the suspects would be unable to escape before her backup arrived to secure the arrest.


Police Trap #1 (September 1954) “Beer Party”, pencils and inks by John Prentice

John Prentice was also a regular contributor to Simon and Kirby productions which means this issue of Police Trap has all the usual suspects. Prentice first work for Joe and Jack appeared in a May 1951 issue of Young Love and he continued to provide art up until the end of the Simon and Kirby studio. John was used primarily for romance comics but he did provide some art for Black Magic. Unfortunately Simon and Kirby were no longer producing crime titles at the time of Prentice’s first appearance but John did so some really nice work in the crime genre prior to that. So “Beer Party” marks a much appreciated return of Prentice to crime. With some nicely handled action and such beautiful art, what is not to like? I particularly love the splash panel. Nobody appears in the splash but it still is a marvelous portrait. Missing plaster and cracked walls show how run down the police station has become. If anything the minimal decorations seem make the room even more depressing. The title captions talks about a shindig but obviously this was going to be a rather small affair. But could you image having a beer party inside a police station today?


Police Trap #1 (September 1954) “The Grafter”, art by unidentified artist

At this time Simon and Kirby were producing four Mainline and four Prize titles. Most of the titles were bimonthlies except for Young Romance and Young Love which were monthly. I suspect producing these titles and running Mainline required a lot of effort for both Joe and Jack. The amount of art that Kirby penciled seems to have dropped and his only contribution to this Police Trap issue was the cover. Further artists new to Simon and Kirby productions make their appearance. One such artist provided the art for “The Grafter”. I cannot claim to be very excited about art but he did an adequate job.


Police Trap #1 (September 1954) “The Beefer”, pencils and inks by Joaquin Albistur

I have recently discussed the part that “The Beefer” played in relationship to the pinup used in Police Trap #2 (The Police Trap Pinup). This story and two others that appeared in Young Romance and Young Love marked the first appearance of Joaquin Albistur in the Simon and Kirby studio. Most of the artist that appeared during this period made rather limited contributions to Simon and Kirby productions but Albistur would provide much work for the relatively short period that he was employed by Joe and Jack (13 months).