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 But work had already begun on the art for the unpublished issues of the Mainline comics so Joe and Jack looked for a publisher willing to take on the titles.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.