Category Archives: z Archive

Fan Letter

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Posted in 2012/03, Odds & Ends.

Fan letters did not play a part in Simon and Kirby productions. That is not to say that fans did not write letters just that Simon and Kirby comic books did not include a letters section. I have never seen a fan letter to Simon and Kirby but obviously there were some because there does exist a letter that Joe wrote in response to one fan, Ronald. This letter was issued at a critical time. After the failure of Simon and Kirby’s work for Harvey (Stuntman and Boy Explorers Comics), Joe and Jack were forced to find whatever work they could. They ended up simultaneously working for two companies; Hillman (Clue, Real Clue, as well as some other titles) and Prize (Headline). This letter was written at the time that they stopped working for Hillman in order to devote themselves to Prize. Apparently the original fan letter was misplaced and only recovered Simon and Kirby were vacating Hillman.

American Boys’ Comics Inc. was one of the names used by Prize Comics; Crestwood Publications and Feature Publications were two others. The name American Boys’ Comics was used mostly during mid-forties but its use seems to have been discontinued not too long after Joe’s letter. However there was no change of address to accompany the name change.

Ronald must have been very pleased to receive this reply to his fan letter from Joe as he kept very good care of it. The paper has yellowed but the preservation is otherwise very good except for the remains of tape on the four corners. Ronald probably had taped into a scrapbook.

A Joe Simon Video

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Posted in 2012/03, Artists, Odds & Ends, Simon, Joe.

Helping the Simon family has put my work on the next Titan addition to the Simon and Kirby library behind schedule. When there just does not seem enough time life seems to have a way of just making matters even more difficult. Most of my writing for this blog is done during my lunch hour at work but recently I have had to put extra time on my job as well. I hope things will settle down to a more reasonable pace in the near future which will allow me to return to my more regular posting.

In the mean time above is a video of Joe Simon taken by Desert Wind Comics. Joe did signings for Desert Winds. I believe this video was made about a year before his passing.

Weird Mysteries

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Posted in 2012/03, Odds & Ends, Uncategorized.


Weird Mysteries #1 (March 1959), art by George Tuska

This post is not about some strange puzzle of comic book history but rather about a magazine of the name Weird Mysteries. The publisher was Pastime Publications but so far I have not been able to identify any other title that publisher ever released. The indicia provides the publisher’s address which was in Holyoke Massachusetts. Holyoke was the home of a number of printers so the address was likely a convenience probably for a new publisher or one who wanted to hide their association with the title. Today the contents would seem quite tame but at that time there had been public protest about comic books and the Comic Book Authority had been formed a few years before to effectively censor comic book content from material not judged suitable for young readers. The contents of Weird Mysteries #1 would never had been accepted by Comic Book Authority but magazines did not fall under its jurisdiction. But a publisher of a magazine like Weird Mysteries might want to hide from any public scrutiny.


Weird Mysteries #1 (March 1959) Introduction, art by Carl Burgos

The introduction presents Morgue’n the magazine’s “monster of ceremoanies”. It is a fitting opening to a magazine of horror stories frequently with sarcastic content. The attribution of this piece is from the GCD. Actually that is the source for all the credits that I provide in this post. My usually policy with the GCD is trust but verify. While I can verify some of the attributions there are others that I am not familiar enough to do so.


Justice Traps the Guilty #1 (October 1947), pencils by Jack Kirby

The introduction art for Weird Mysteries #1 clearly was swiped from the cover for Justice Traps the Guilty #1 (October 1947). I do not believe that this was a random choice. With the exception of one signed piece of art (discussed below) no credits were provided in Weird Mysteries #1 and to my knowledge nobody has previously suggested who put the magazine together. I believe it was Joe Simon. This is not at all a firm conclusion as it is based on circumstantial evidence. One piece of this circumstantial evidence is the swiping from the cover of JTTG #1. Such swiping was very common for Simon particularly at this period. All the artists that have been credited to work in WM #1 worked for Joe during this period.

Some other circumstantial evidence will be discussed below. To my mind the most significant support of Joe’s involvement is that he had possessed the flats for the entire contents of Weird Mysteries #1. Flats are proofs of the black art just as they would be printed (that is four pages to a sheet). Joe kept quite a number of flats but the majority of them were for comics that he had involvement of one kind or another. For instance he had flats for some of the Harvey comics that included Simon and Kirby material such as Stuntman and Boy Explorers. Joe even had the flats for the first issue of Captain America (now there is an untapped treasure). He also had flats for comics that he was the editor as, for instance, Race for the Moon. There are a some flats where I have found no evidence of Joe’s involvement (so far) but they are a small minority.


Weird Mysteries #1 (March 1959) “The Ragman”, art by George Tuska

Besides the cover art, George Tuska provided some interior stories for Weird Mysteries #1 as well. Tuska is, for me, the easiest artist to spot in this magazine. One of his most outstanding features of his comic book art style is the jutting jaws that he often provides to men which is very obvious in the scan I provide from “The Ragman”. If I am right that Weird Mysteries was Joe’s project than this would seem to be the first time that Tuska worked for Simon. George shortly help Joe with superhero work for Archie Comics (see Double Life of Private Strong, the Final Issue).

Note the use of typesetting in place of hand lettering. Typesetting was used throughout the magazine. While I do not remember anything that Joe produced before this made use of typesetting, it became standard for the magazine Sick that Joe would begin to produce in the not too distant future (the first issue of Sick was cover dated August 1960).


Weird Mysteries #1 (March 1959) “From Fear to Eternity”, art by Angelo Torres

I really not that familiar with Angelo Torres’ work. This is largely due to the fact that I have not yet studied the long running Sick magazine where Torres is said to have done some work. But pieces like “From Fear to Eternity” seems a good match to art that I have seen attributed to Torres.

This might be a good time to mention the production of the original art. Line art in the magazine was inked in the typical method for comic books, that is through the use of pen or brush. The grey tones however were produced in a manner not normally found in comic books of the day. I am sure I will think of it later, but presently the name escapes for the special art boards used (the name was supplied by Mark Evanier in the comments, it is Craftint). When a special chemical was painted on the board grey tones emerged. These tones were not like water colors but rather consisted of small dots suitable for printing. This provided a cost and time saving method for producing the art. Again while Joe had not previously used this technique it was typical for the magazine Sick. Although we can not be certain, but the technique used to produce the art probably was the same as used for Sick. That is all the text and captions would be produced by typesetting and applied to the art board. The artist would in turn ink in the art and provide the gray tones after which it was camera ready.


Weird Mysteries #1 (March 1959) “A Good Daughter”, art by Joe Orlando

At this time Joe was also putting together art for Prize romance comics. One of the artist that he employed was Joe Orlando (see the Art of Romance, Chapter 37).


Weird Mysteries #1 (March 1959) “A Shriek in the Night”, art by Carl Burgos

Another piece that can be attributed to Carl Burgos. Carl met Joe quite early in their careers when Joe was just starting working in comic books and Carl already had his big hit, the Human Torch. Simon was Timely’s first editor but Burgos at least initially worked through the shop Funnies Inc. As far as I been able to determine Burgos did no work for Simon (with or without Kirby) until Race for the Moon #3 (November 1958) where he contributed two single page pieces (both titled “Report from Space”). Carl would also help Joe with layouts for the Adventures of the Fly (Burgos does the Fly).


Weird Mysteries #1 (March 1959) “Twin Bads”, art by Paul Reinman

“Twin Bads” is the only piece in Weird Mysteries signed by the artist. Paul was working for Joe at this time mostly for romances comics (see Art of Romance, Chapter 36, Chapter 37 and Chapter 38) but he also did at least one story for the re-launched Black Magic (“The Night of August 9th”, BM #42, July 1960).


Weird Mysteries #1 (March 1959) “Sick Greeting Cards”, art by unidentified artist

I do not know the artist, but the two page work “Sick Greeting Cards” is another piece of circumstantial evidence linking Weird Mysteries #1 to Simon. A little over a year later Simon would create a new Mad clone that he would call Sick (The End of Simon and Kirby, Chapter 10). Sick was filled with a sarcastic humor that in places appeared in Weird Mysteries #1, as for example “Sick Greeting Cards”.

So while I can provide no proof there is a bit of circumstantial evidence that Joe Simon was the editor of Weird Mysteries #1. If that is true than this horror magazine would be a sort of prototype for Sick. The indicia for Weird Mysteries #1 indicates it was supposed to be a bi-monthly title but there was no further issues. Two months is much too short a time for financial returns on the sale of the magazine so its cancellation much have been for other reasons.

Joe Simon’s Yearbook

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Posted in 2012/02, Artists, Simon, Joe, z Archive.

Joe Simon graduated Benjamin Franklin High School of Rochester N.Y. in 1932. Like most American high schools, the graduating class had a year book.

Joe’s artistry was recognized in his yearbook entry along with a fair list his activities. His entry was large enough that it extended into that for the person below. While this was not that unusual it did mean that there were other students who had a smaller entries (otherwise there would not be enough room on the page).

Joe was on the yearbook staff as well. That is him second from the right in the bottom row.

A page was devoted to class prophecy, of which I only show the first paragraph. There he is right at the top of the list. To my knowledge Joe never selected anyone as the prettiest model in New York but he did become a renowned artist. The comic book industry had not started at this time so the art career that he eventually became famous for was not considered.

A page in the back of the yearbook titled Rogue’s Gallery was devoted to small photographs of students when they were very young. Joe’s parents were be no means rich (actually rather poor) so this was not Joe’s personal pony. Rather the pony belonged to the photographer who charged to take such photos. There is no question that this is Joe Simon as he was the only Joseph of the graduating class whose last name began with a ‘S’.


Enlarged Image

It is obvious from his yearbook entry that Joe did quite a lot of artwork while in high school. His family still possess some examples of this work. However Joe’s earliest published cartoon appeared in the back of his yearbook. The original art for this work still exists in Joe’s art collection but the image above is from the yearbook. The individuals depicted (obviously not portraits) are all members of the graduating class. Perhaps these were personal friends of Joe’s because most do not seem to have a prominent roll in the graduating class. In particular, Sidney Yates entry is the yearbook is rather short. The one exception is Wayne Boniface who was the class president.

The different sections of the yearbook were opened with a page containing an illustration executed by Joe. The art was influenced by the Art Deco movement popular in the not too distant past. All the art is in shades of gray and the forms are all simple. Much effort was made by Joe to provide interesting compositions. While the art may appear very different than what Simon would produce years later for comic books, already present was an emphasis on interesting layouts. The printer liked the art so much that he paid Joe for its use in other yearbooks.

Class Acts

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Posted in 2012/02, My Two Cents, Topic, z Archive and tagged , ,

I am afraid I have been very busy helping the Simon family. I hope to resume normal posting soon. In the mean time there are some things I would like to share. Superheroes have not been high on my reading lists although at one time I closely followed Captain America. However I became disenchanted with the writing for that series after Captain America’s death. This is not a rant and I understand that changes will be made to a title from time to time. But I feel that if one is not happy with what he is reading then why read it anymore. There was one limited series that I had been following that seemingly gone into limbo some time ago. Recently The Twelve have been revived so I picked up a copy. While reading it I came across a rather unexpected surprise.


The Twelve #9

I believe this was a rather nice gesture by Marvel. The choice of image is appropriate because this drawing from the first Captain America issue was actually rendered by Joe Simon (although the Bucky figure was done by Jack Kirby). I became curious whether this gesture was present in any other comic book by Marvel. I checked out a Captain America comic book and found the following:


Captain America #8

I have always had a very favorable opinion of Tom Brevoort but now even more so. I get the impression that many fans believe that Joe Simon had an antagonistic relationship with Marvel. Yes Joe went into a legal battle with Marvel over Captain America copyrights not once but twice. But Joe was satisfied with the agreement he finally reached with Marvel. In fact Joe provided some nice statements to the media during Marvel’s death of Captain America event. He once again provided publicity for the recent blockbuster Captain America movie. That included an interview that can be found on the blue ray of the movie.


Captain America White by Jeph Loeb and Tim Sale

Many comic book professionals had good things to say about Joe but some went a little further to show their appreciation. Among Joe’s possession was this copy of Captain America White signed by Tim Sale. I do not know how Mr. Sale got this copy to Joe but it is nice to see that he was willing to go through a little extra effort. This has special meaning for me because I am a big fan of Loeb and Sale’s work. While a number of writers and artists like to rewrite comic book history, I feel Loeb and Sale explore it.

So thank you Marvel, Tom Brevoort and Tim Sale for these class acts.

Blue Bolt Covers

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Posted in 2 Fox, 2012/01, Artists, Featured Work, Kirby, Jack, Periods, Simon, Joe, Topic, z Archive and tagged , , ,


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

As previously discussed, Joe Simon’s creation of the feature Blue Bolt occurred somewhat earlier than the cover date of Blue Bolt #1 would suggest. Joe supplied it to Funnies Inc. a shop run by Lloyd Jacquet that put together comic books for other publishers. Blue Bolt was just one of a number of features that Simon created for the shop. But apparently Jacquet and Novelty Press must have seen some special potential in Blue Bolt and used it as the title feature for a new comic book. Had that had been the intention all along it would be expected that Simon would do the cover art but since that was not the case we cannot assume he drew the cover. There are reasons to believe that Simon was not the cover artist and little to suggest he was. To my knowledge only the eyes of the Green Sorceress look like they might have been done by Simon. However many comic book artists found difficulty in getting eyes to sit properly on a face viewed from an angle. Otherwise none of the figures look like any other art that we can more confidently attribute to Joe. The Green Sorceress’ hair seems tamed in comparison to Simon’s depiction in the story. The dragon does not resemble the monsters in the story either. Blue Bolt’s cape lacks the distinct zigzag contour found in the story although Simon would abandon this device in future issues. Blue Bolt’s helmet includes a lightning bolt emblem that is missing from the story art. The gloves and boots have a three dimensional presence that Simon generally avoided and specifically did not use for Blue Bolt. Finally the composition is very untypical of Simon particularly the lack of any background elements causing Blue Bolt to float. It is hard to escape the conclusion that despite what some have claimed the cover art for Blue Bolt #1 was not done by Joe Simon.

Jacquet’s shop had a number of comic book artist which could have been called upon to draw the cover. Perhaps the most famous were Carl Burgos and Bill Everett but I think it can safely be said that the style of the cover art does not match either of these two artists.


Blue Bolt #2 (July 1940), art by W. E. Rowland

Fortunately the next Blue Bolt cover was signed so there can be no question that it was drawn by William E. Rowland. The cover art for BB #2 shares some features with that for BB #1. In particular the more three dimensional aspects of the gloves and boots as well as the lightning bolt design on the helmet. I feel that the Blue Bolt’s face looks similar in the two covers. However Rowland goes even further in giving the gloves and boots a real physical presence. Further he has added details to the gloves that were missing from the BB #1 cover such as the lightning bolt and small circular shapes and lines that border the opening of the glove. While I would not rule out that Rowland was the cover artist for BB #1, I do not find the similarities strong enough to convince me that he was.


Blue Bolt #1 (June 1940) “Page Parks”, art by W. E. Rowland

The signature on the cover of BB #2 is particularly valuable because I doubt that Rowland would otherwise have been credited for the art. Apparently Rowland only worked on comic books for a few years (1939 to 1942) and even during that period he did not seem to do a lot of work. I have discussed one story by Rowland from Prize Comics #7 (December 1940) previously (Ted O’Neil). Frankly it was a rather unfair comparison of his take on the feature with Simon and Kirby’s. The purpose of the post was to highlight how radical Simon and Kirby’s work was compared to the work by more typical comic book artists even at this early stage in their career. Blue Bolt #1 also has a story drawn by Rowland and a scan of a page is provided above. Rowland is a good comic book artist, better than most contemporaries, but judging from the work I have seen so far it is hard to understand why he would have been selected to provide cover art. Whatever the basis for that decision it turned out to be a good one because Rowland’s cover art is rather nice and far superior to his story art.


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

It was only with the third issue that Simon had his single chance to provide the cover art for Blue Bolt. Much could be said about the technical problems with the art. The cloth folds are a confusing mess and the perspective of the forward leg is not quite accurate. But these and others faults are nothing more than nick-picking that do not significantly distract from the cover’s impact. The figure of Blue Bolt was swiped from Alex Raymond’s Flash Gordon (see Art by Joe Simon, Chapter 4, Footnote) but Joe has infused the figure with excitement. Simon also uses a low viewing angle so that Blue Bolt can tower over his supporting soldiers. It is a effective depiction of an attaching force coming through some mountainous pass.

There was a time that some attributed this cover art to Jack Kirby but nowadays there is general agreement that Simon drew the cover. Perhaps the most convincing evidence that Kirby did not draw the figure is the somewhat problematic nature of the perspective of Blue Bolt’s leg, Kirby’s use of perspective was always very convincing. While it is now known that Kirby did sometimes use swipes I have never seen an example of Jack swiping from the same source more than once. However this twice use of Raymond’s Flash Gordon running figure would not be unusual for Simon.


Blue Bolt #5 (October 1940), art by W. E. Rowland

Blue Bolt did not appear on every cover of the comic that bore his name. The next appearance of Blue Bolt was for issue #5 and once again Rowland has the honors. While this cover shares some stylistic features with the one Rowland did for BB #2 there have been important advances as well. Blue Bolt’s glove and boots have an even more exaggerated three dimensional look. The figures have become more massive and muscular and the inking finer and more detailed. While Rowland did a good job on the cover for BB #2, this one is a masterpiece.


Blue Bolt #7 (December 1940), pencils by Jack Kirby, inks by Joe Simon

Issue #7 marked Blue Bolt’s final cover appearance during the Simon and Kirby run. It would be Jack Kirby’s only Blue Bolt cover. While not a bad cover it was not one of Jack’s finest either. I feel much of the blame comes from the action portrayed. Jumping out of a plane just does not have the impact of, for example, attempting to stop a bomb from exploding (as seen in the cover for Champion #10, August 1940). The rather unimpressive aircraft do not help either. I am not sure what they are meant to be since they lack propellers or jet engines. Rocket planes?

The Next Two Simon and Kirby Library Volumes From Titan

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Posted in 2012/01, Publications, Topic, z Archive.

Titan has announced the next two volumes for the Simon and Kirby Library as has been reported in Comic Book Resources. One of them, Horror, had been previously announced and is now scheduled for release in 2013. The book scheduled for the fall of 2012 is Science Fiction. Because the material in this volume was so dear to Joe Simon he held it back and it was not part of the original agreement with Titan. However recent events had caused those plans to be altered.

As I wrote above, the Simon and Kirby science fiction was very important to Joe. One of Joe’s earliest creations and the first that can be described as a real hit was Blue Bolt. It was while working on Blue Bolt that the Simon and Kirby collaboration took root. Most of the initial Blue Bolt stories had been previously reprinted some years ago in a small trade back. Considering the state of the art at the time it was a valiant effort but by today’s standards somewhat flawed. But the most puzzling thing about this earlier reprint was that it failed to include the origin story from the first issue. I am happy to write that the Titan volume will include first story and that all the stories have been fully restored. If you have seen the Crime volume from the Simon and Kirby Library you know what to expect. I showed Joe the Blue Bolt restorations a few weeks before his passing and he was quite pleased.

Who was the best Kirby inker is a much debated issue. I would say that nobody was better inking Kirby than Kirby himself closely followed by Joe Simon. But putting those two titans aside who did the best job inking Kirby? Of course most fans would probably chose some silver or bronze age inker. But I would say the best Kirby inking work appeared in Race for the Moon published in 1958. In his recent autobiography, “My Life In Comics”, Joe says this was the joint effort of Reed Crandall, Angelo Torres and Al Williamson. It was a beautiful job but one that did not live up to its full potential due to the notorious poor printing of Harvey Comics. Fortunately all of the Race for the Moon material will be restored in the Titan volume using either original art or flats (production proofs of the line art, the next best thing to original art). Altogether the Science Fiction book will include 82 pages based on original art and 18 from flats.

I could go on about all the important Simon and Kirby science fiction that will be in this volume including some surprises. And I probably will in a future post. But for now let me just say that this will be a very important Simon and Kirby volume that no fan will want to miss.

It is sad that Joe will not see the published results for either of these two volumes of the Simon and Kirby Library. But it is great that the Simon and Kirby legacy will continued to be published by Titan. The books being published by Titan are the only ones authorized by the estates of Joe Simon and Jack Kirby.

A Small Mystery Solved

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Posted in 2012/01, Artists, Odds & Ends, Stein, Marvin, Topic, z Archive and tagged


Justice Traps the Guilty #60A (March 1954) pencils and inks by Marvin Stein

There are many mysteries to be found in the history of comic books. Most are small mysteries, the type that might interest only a handful of fans, but they are mysteries nonetheless. One that has puzzled me over the years is the Justice Traps the Guilty #60A issue. Why #60A and not just #60? Like I said, a small puzzle of that might concern only to the few fans that have an interest in the crime comics published by Prize Comics.


Justice Traps the Guilty #58 (January 1954) pencils and inks by Marvin Stein

JTTG issue #58 was dated January 1954. At the time JTTG was a monthly and therefore March 1954 was the proper month for issue #60, so again why the ‘A’? Prize also used volume numbering to identify their issues. JTTG #58 was volume 7 number 4 and JTTG #60A was volume 7 number 6. So JTTG #59 would expected to be volume 7 number 5 and dated February 1954.


Justice Traps the Guilty #60 (February 1954) pencils and inks by Marvin Stein

However I never saw a copy of JTTG #59 and, as it turns out, with good reason. When I finally found a JTTG dated as February 1954 is was issue #60 (without the ‘A’). The volume numbering was just as expected (volume 7 number 5) but it was not the expected issue #59. Apparently when the February comic was created it was mistakingly marked as issue #60. This error was recognized and corrected by assigning the March comic as #60A. That way all subsequent issues would be correctly numbered.

Yes it was a very small mystery indeed but I was still glad to find the solution. It also allowed me to complete the checklist to Justice Traps the Guilty.

I’ll Be Back, Just Not Now

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Posted in 2011/12, Odds & Ends, z Archive.


For various reasons related to recent events I am not ready to return to normal posting at this time. Hopefully I will return to normal posting next week.

Joe’s Dedications

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Posted in 2011/12, Artists, Odds & Ends, Simon, Joe, Topic, z Archive and tagged

I believe that I was digitally restoring comic book art before anyone else. I say that because I began when consumer scanners first became available. Having my own personal scanner opened up new possibilities. Previously I had used Photoshop to work on my fine arts printmaking. I would have to take my photographic slides to a commercial lab for scanning. It was inconvenient and expensive. After a week or so I would get back a Photo CD. These were special CDs for storing the scans, at the time there were no drives that could burn a standard CD. This was fine for slides, especially since I had no other choice, but having old comic books scanned by a commercial lab was completely out of the question. But when scanners became available to consumers I quickly realized their potential for comic book art restoration. Printers were a different problem as there were few color printers available and they way too expensive. Even the black and white laser printer I bought was a huge investment. But once I assembled these devices I began working on how to use Photoshop to restore the line art from the scans.

After some of what I would describe as trial work I started an ambitious project, to restore the line art for all the Simon and Kirby covers. When I look back I cannot believe decided to do that project. Not only would it require an incredible amount of work but also I did not have all the comics in my collection. It took a long time but I persevered. When I had restored all the covers I bound them by hand into books another time consuming project. In the end I had 24 sets of books (each set consisting of two volumes). Half of these went to Joe Simon for the help he supplied and because, well he was Joe Simon. Some sets went to various people for the scans they provided and a few went out as gifts. A lot of the covers were under copyright protection so it was never my plan to sell any copies and I might add I never have. I have no idea what these books are worth on the market because apparently the recipients valued them so much that none of the books have ever been offered for sale.

With those volumes completed I began to think of my next project. I was a little unhappy about only restoring the line art because comic books were meant to have color, or at least the comics during the period that Simon and Kirby were producing them. Fortunately by then color printers had become affordable. So I decided to begin restoring Simon and Kirby work in full color. This time restoring all the Simon and Kirby stories was not considered an option. It would be great if I succeeded in restoring everything but that would be way too many pages to accomplish in any reasonable amount of time. Once again I would hand bind restorations into books. The books would serve more than a personal purpose, we would use them to show publishers what could be done in the way of reprinting Simon and Kirby. This time I would only make two copies of whatever I restored, one for Joe and one for me. In exchange for his copy Joe would provide mine with some art. This was done on the end paper of the book. Now if Joe had just added pencil sketches there would be no problems since mistakes could be erased. But Joe liked to work in color which meant there was little that could be done with any errors.


Bullseye volume

What I expected Joe to provide would be the standard character sketches that comic book artists do all the time. Joe did just that sort of thing for the Bullseye book basing his piece on a drawing that Jack Kirby had done.


Boy Commandos volume

While the Bullseye was a more traditional character drawing, all the others that Joe did incorporated elements of humor. Not necessarily of the side-splitting variety but you can tell he just was not satisfied with just providing a sketch.


Manhunter volume

Surprisingly Joe drew Sandman in a book of Manhunter stories. The accompanying texts suggest that this was not an accident.


Sandman volume

With Sandman appearing in the Manhunter book it is not too surprising that Manhunter appeared in the Sandman book. Once again the text indicates this was deliberately done.


Foxhole volume

A soldier appears in the Foxhole volume but the text imply that this is not just any soldier but is meant to be Jack Kirby. All of Joe’s sketches were done on the end paper at the front of the book except this one which was done on the inside cover.


Foxhole volume

The Foxhole contained two sketches; a colored one on the inside cover (shown earlier) and a pencil sketch on the opposite end paper. This was the only book that got this double treatment as well as the only one dated. Usually Joe got the spelling of my name correctly but here he adds an extra ‘c’.


Duke of Broadway and the Vagabond Prince volume

Years before the current debate about growing disparity between the rich and the 99%, Joe provided his irreverent solution, “Eat the Rich” indeed.


Newsboy Legion volume

Joe sometimes commented about how one youthful character would with minor changes be transformed into another.


Headline volume

I am not sure why Joe put Captain America in a book of crime stories. Perhaps he felt that his humor was not appropriate for the crime genre? But I am not one to complain about getting Captain America art from one of his creators.


Stuntman and Boy Explorers volume

I inadvertently put the cover on upside down for one of Stuntman and Boy Explorer books. Needless to say I was very annoyed at myself about this but there was no way I was going to give the flawed volume to Joe. With his art Joe turned this defective book into something special.


Win A Prize volume

Uncle Giveaway offered prizes to the readers of Win A Prize Comics. Here Joe jokes that money is just paper but there was none left because it all went to Iraq. Joe was a lifelong Republican but he did not like Bush and he felt the Iraq war was a mistake. I believe Joe was still the kind of Republican that was not that unusual when he was younger but today is pretty much extinct, a least on the national level, that is a moderate Republican. Joe was very proud of the work he did to support John D. Rockefeller and similar Republicans.


Alarming Tales volume

A personal favorite because here I am depicted in the company of Joe Simon and Jack Kirby.


Black Magic volume

Nobody would describe Joe as little and nobody that actually knew him would call him nasty. I never met Jack but nasty does not seem appropriate for him either. While not literally a portrait as far as I know this was the last time Joe drew himself with his old partner Jack.

I made a few more reprint volumes that Joe never added art to. I do not remember why that was but I am sure it was not due to any reluctance on Joe’s part. These final volumes were made about the time that negotiations had begun with Titan to reprint Simon and Kirby material. I think we both had other things on our minds. Now I treasure the volumes that Joe did provide his art and humor.