Foxhole #6, The End of a Masterpiece

Foxhole #6
Foxhole #6 (September 1955) art by Jack Kirby

With issue #6 Foxhole looses focus a little bit. The cover still declares it was made by veterans and, except possibly for one story, this is true. One change that occurs is that the credit boxes have disappeared. Once again we must rely mostly on the style to identify the artist. For the first time one story shifts completely out of the WWII or Korean time frame. None of this affects the quality of the comic as a whole. With one exception, all the stories are great reads, penciled by some of the same talented artists that we have seen before. Further Jack Kirby is back! Jack provides two stories and that alone makes this issue memorable. Only two things dampen my enthusiasm for this comic. One of the stories really is not all that good and the cover is way below Kirby’s standard.

It is obvious that Simon and Kirby put much effort into their covers. I do not believe any other team or individual artist produced so many covers of such consistently high quality. Disappointing covers are very rare but Foxhole #6 is one of them. The last covers for Police Trap are also poor efforts. Even the last In Love suffers and that was drawn by Bill Draut. Bullseye #6 is a good cover, but the preceding one is not. So many below par covers from such a short period deserves some sort of explanation. I cannot offer a definitive one, but I suspect that the Simon and Kirby studio and the work practices it supported had broken down.

Foxhole #6
Foxhole #6 (September 1955) “Decision At Dieppe” page 1 art by Joe Albistur

A soldier gets wounded and separated from his unit during a commando probe of Germany held Dieppe. He is discovered by a Frenchman who hides him. The Germans take over the house to use as their headquarters effectively making the American soldier a prisoner. His hidden vantage point provides the soldier with the opportunity to observe the brutality of the German occupation.

This is Joe Albistur’s last effort for Foxhole. He would continue to provide some stories for the Prize romances but after a couple months that would end also. Albistur only worked for Simon and Kirby for about a year. Although he did provide enough material that during that time he really can be considered one of the usual suspects (artists who frequently provided work for Simon and Kirby). Like the other usual suspects (Bill Draut, Mort Meskin and John Prentice). Joe Albistur has his own unique style which is easily recognizable. I previously have admired his work for the Prize romances but his Foxhole art has left me even more impressed. Joe would do further comic book work after his Simon and Kirby period. I have not seen much of that work and what little I have seen does not look as good as his S&K material. Is this because I just have not seen enough of it or did Simon and Kirby provide the kind of freedom for Albistur’s style to flourish?

Without credits I cannot say who is responsible for the “Decision At Dieppe” script. In previous Foxhole stories Albistur’s writers were Jack Oleck and Jack Kirby. I really do not have a handle on Oleck’s style yet, but the writing of this story does not appear to have been by Kirby. It is wordier then Kirby’s writing and reads more like the work by someone with a writers background. “Decision At Dieppe” is a good story but I feel that it suffers a little from the effects of the Comic Code. There is one scene where the American soldier is discovered by a German orderly. The text box tells us that the American attacks the German before any alarm can be sounded. Although the art shows the initial confrontation the next scene shows the American alone. We are never provided with anything from the actual fight. Only from reading the text is the story understandable. I am not suggesting that the Comic Code actually censored this part of the story, just that the writer or artist wanted to avoid any possible rejection.

Foxhole #6
Foxhole #6 (September 1955) “Even Steven” page 1 art by Jack Kirby

I really like some of the artists whose work appeared in Foxhole. Still it is nice to see some more stories by Jack Kirby. “Even Steven” is a tale about the vicissitudes of war as told from the viewpoint of a German soldier. In it an American soldier is captured by the German who later is captured by some Americans. The actions of each mirror that of the other. Yet despite the two characters performing essentially the same actions, the readers reaction to each is not the same. The American soldier embodies good while the German is inherently evil. “Kamakaze Joe” was another story from Foxhole that adopted an enemy as the lead character. “Kamakaze Joe” used that enemy’s narration to provide an explanation of his motivations. While we may not be willing to accept his culture we can understand why a Kamakaze pilot did what he did. In “Even Steven” Kirby does not really attempt to provide any understanding of the German soldier. For Jack evil is a basic trait that does not need any explanation. This will be a one of Kirby’s recurring themes in the years to come.

Foxhole #6
Foxhole #6 (September 1955) “Listen To The Boidie” page 1 art by Jack Kirby

“Listen To The Boidie” provides an example of another of Jack’s interests, that of comic absurdities occurring during events that normally would be considered as rather serious. An American line is being faced with an assault from Koreans. We are told this tale by a former Broadway press agent. The Koreans have been relentless and our soldier owes his life to the efforts of a soldier from the south. This southerner happens to be a crack shot with a rifle but his mains interests seems to be bird whistles. He is constantly trying to have the main character give him an audition.

You can trace Kirby’s interests from the start of his career to the end. They may evolve but they are generally present. However “Even Steven” and “Listen To The Boidie” seem especially characteristic of Jack Kirby’s later work. I do not think they would have been at all out of place had they been published in the title called The Losers that Kirby did in the mid ’70s.

Foxhole #6
Foxhole #6 (September 1955) “The 50th Man” page 1 art by Bill Draut

With “The 50th Man” Foxhole #6 steps out of the WWII or Korean war time period. Heck it even leaves wartime combat entirely. We now enter the gladiator arena during the Roman empire. This story man seem out of place in a comic with the title Foxhole but I say let us not quibble about that. What really is important is the story itself and “The 50th Man” is a great story. We find a gladiator about to undertake his fiftieth match. Win this one and he gets his freedom. He is a mountain of a man, strong and massive. But then why is he so concerned about his small and skinny opponent?

This is our last chance to see Bill Draut do action, well at least for Simon and Kirby. Once again in “The 50th Man” Bill’s action seems handled different then typical of Kirby, so I do not believe Draut is working from layouts.

Foxhole #6
Foxhole #6 (September 1955) “Dear Joan” page 1 art by Rocco “Rocke” Mastroserio

A WAC gets caught in the Battle of the Bulge. While there a letter manages to reach her. It is from her fiance and it is the female equivalent of a “Dear John”. Despondent she goes of to the battle line with a discarded gun hoping to end her pain. She does get shot but is only wounded. Eventually she is taken back to a hospital to recover.

On the face of it this story might seem appropriate for Foxhole. It is after all not your typical war story. With six pages “Dear Joan” would seem to adhere to Foxhole formula of rather short stories. But page count does not tell all. Foxhole stories are general well crafted. It is hard to image how any part a Foxhole tale could be removed without it being severely diminished. They are like well polished gems. “Dear Joan” is not at all like that. Even with only six pages it seems to ramble. We learn from the letter the WAC receives about her romantic ties to a soldier. But then later we are given a flashback to how they met and feel in love. This flashback really seems superfluous. The handling of her attachment to a new soldier that happens in the end seems poorly done. The writing of “Dear Joan” just does not seem up to the Foxhole standard.

The art is signed “Rocke”, which is a nickname used by Rocco Mastroserio. I do not believe Rocke did any previous work for Simon and Kirby but he did have a long history with Charlton. The artistic vision Rocke supplies is also very much at odds with the rest of Foxhole. Although part of the story takes place when the American forces were trapped during the Battle of the Bulge the soldiers all seem clean cut with their uniforms in good shape. Even the heroine seems to be well groomed and wearing makeup. This is WWII as viewed by Hollywood at the time. This is not the sort of war portrayed in the rest of Foxhole.

With Mastroserio’s long involvement with Charlton and because the writing is so unlike the rest of the Foxhole stories, I suspect Charlton supplied this story to augment the rest of the S&K material.

There was a seventh issue of Foxhole published by Charlton. None of the artists for issue #7 had ever worked for Simon and Kirby as far I have been able to determine. The stories themselves are no longer the unique type of tales that are found in the other Foxhole issues. Rather Foxhole #7 has now become a standard war comic and a rather boring one at that. I can only conclude that issue #7 was a purely Charlton production without any input from Simon and Kirby. I understand that for issue #8 Charlton changed the title of the comic and Foxhole was no more. This sort of thing was done to save on postal registration fees and was fairly common. Charlton did the same thing when S&K’s In Love title was changed to I Love You with issue #7 although in that case Kirby supplied the cover.

This is the Simon and Kirby Blog so it should not come as a surprise that I am a big fan of much of the comics that Simon and Kirby produced. That is not to say that everything they put together was of equivalent merit, some of it was better then others. If I were to pick what I felt to be the best S&K title it would be Foxhole. This makes it truly regrettable that this title is out of print (although not out of copyright). Even beat up copies of the original Foxhole comics have become rather pricy. This title begs to receive the same sort of republication that Boys’ Ranch and Fighting American have already received.

But some of Foxhole have been reprinted. In Joe and Jim Simon’s “The Comic Book Makers” Joe describes selling some of the Mainline titles to Israel Waldman. The Foxhole work was published by Super Comics in 1964. The contents of Foxhole #1 was reprinted in Super Comic’s Foxhole #11, Foxhole #2 as Foxhole #12 and Foxhole #3 as Foxhole #18. Super Comics also printed some other comics using the Foxhole title but they do not contain any stories from the original Simon and Kirby’s Foxhole. In keeping with Super Comics general policy, the covers to their Foxhole reprints did not use the original cover art. I have noticed that in the last few years the price of Super Comics have risen dramatically. However this is for high grade books. Low grade Super Comics still show up at comic conventions or eBay from time to time at reasonable prices. The covers may be beat up but who cares, they are not Kirby’s covers anyway! The bad news is that Super Comics are not common so you may have to be patient and diligent.

In 1983 Charlton published two issues of their title Battlefield Action that contain some of the original Foxhole work:

Battlefield Action #83 (October 1983)
“Glide Into Glory” from Foxhole #5
“Morale” from Foxhole #5
“Kamakaze Joe” from Foxhole #5

Battlefield Action #84 (December 1983)
“Listen to the Boidie” Foxhole #6
“Even Steven” Foxhole #6
“Decision At Dieppe” Foxhole #6
“‘Hip Pockets’ and the Paper Bullets Foxhole #5

Again none of the original Kirby cover art. I have not been keeping track of Battlefield Action in the marketplace. Still with a 1983 publication date I would suspect that lower grade copies would be reasonably priced.

Reviewing all the Foxhole comics over a relatively short time has been very useful for me. It has allowed me to correct some early misattributions. By doing so I have come to see that Joe Albistur was even more important to Simon and Kirby productions then I had thought. For this short period of time Albistur is truly one of S&K’s usual suspects (along with Bill Draut, Mort Meskin and John Prentice). Joe Albistur’s Foxhole work has only increased my admiration for this fine but underrated artist. I have now reevaluated Bill Draut’s capabilities for drawing action. His early comic book work may have had some faults in this area, but he does some great action art in Foxhole. One thing that I have not mentioned yet is the absence of Mort Meskin in Foxhole. Actually Mort did little work for any of the Mainline titles although he was still drawing for Prize romance comics during this period. Mort seems to be the only one of the usual suspects who did not play a prominent part in the Mainline titles. I do not know why this should be but it seems worth investigating.

Foxhole #5, A New Publisher

Criticism of comic books by some of the public resulted in decreased sales. This was particularly felt by EC which published some of the more objectionable titles. In a domino affect, decrease EC sales lead to financial problems for their distributor Leading News which in turn created difficulties for Simon and Kirby’s new publishing company Mainline that used the same distributor. Eventually S&K had to shutdown Mainline and they then went to Charlton to publish their titles. While the titles had been on a bimonthly schedule, the first Foxhole issue published by Charlton came out with an extra month delay. The whole change in publishers must have been somewhat unexpected because although this was Charlton’s first issue it had a postal declaration which still listed Mainline as the publisher.

Foxhole #5
Foxhole #5 (July 1955) “Glide Into Glory” page 1 art by Bob McCarty

“Glide Into Glory” is about Arkie a wacky glider pilot. Are there any other kind? I see no reason to go into details about some of these Foxhole stories but that is not to say they are not good stories. We have seen Bob McCarty’s work before and here he continues to provide his quality art. The script is also entertaining. I guess the moral of the story is how important the independence streak of Americans was to winning the war.

Foxhole #5
Foxhole #5 (July 1955) “Lucky Stiff” page 3 script by Jack Kirby art by Joe Albistur

Another Kirby and Albistur team up in a story about Wally, a soldier who seems to have all the luck and Barney who wished he had. We previously saw Kirby provide a script that almost seemed appropriate for Black Magic. While “Lucky Stiff” is not so extreme it is still a rather off beat story. I will say that although I understand what Kirby was trying to do I do not feel the end was quite as successful as it should have been. Albistur for his part provides some rather nice art. I like the way he cuts off much of Barney’s face in the second panel of page 3 shown above. I think it is very effective in providing just of note of Barney’s frustration in a panel otherwise devoted to Wally’s calm good fortune.

As I said this is our second example of Jack Kirby as a writer. We have also seen two stories that Jack drew (“Booby Trap” and “Hot Box“). Jack did seem to make writing changes to the stories he drew. In both of these Foxhole stories drawn by Kirby there are small speeches that seem so typical of Jack. This sort of laconic retort shows up not only in other S&K productions drawn by Kirby but in work that Jack did late in his career. These Kirby-ish dialogs do not occur in S&K comics drawn by other artists. Now that does not particularly surprise me but I do find it unexpected that the two examples of Kirby as writer in Foxhole also lack these small Kirby speeches. While it is possible that Jack just did not feel they were appropriate for these stories, I suspect that it reflects on the type of artist Jack was. The scripts that Kirby provided Albistur are rather good but that was not the way Jack preferred to work. It is not so much that Jack was a visual artist as that it was hard for him to separate the writing portion of story telling from the drawing part. Jack’s scripts were more personal when the writing and drawing were done simultaneously.

Foxhole #5
Foxhole #5 (July 1955) “Kamakaze Joe” page 1 art by Art Gates

“Kamakaze Joe” starts with the main character flying his plane into the “Big-E” (the USS Enterprise, an aircraft carrier). This may seem to be more appropriate for near the end of a story, but it was a really effective choice by the writer. After this unusual start, we are taken back to trace the personal history of this Japanese pilot. Here Art Gates really shines. I am sure there was a lot of swiping done but Art has illustrated a story that really seems placed in Japan. The plot makes its way back to where it started and we are then given in the last panel an American perspective of what just happened. I really like “Kamakaze Joe”. Not only does it written from the enemy’s viewpoint but is probably the most realistic story of the entire Foxhole series.

Art Gates also provides the art to a single page story called “Morale”. This is more the Art Gates that I am familiar from S&K romance comics. For them art seemed to specialize in single page pieces. Some gag pieces and other regular stories. But because the emphasis in Foxhole was the veteran status of the creators, S&K also made use of Gates for some longer stories as well.

Foxhole #5
Foxhole #5 (July 1955) “‘Hip Pockets’ And The Paper Bullets” page 1 art by Bill Draut

Bill Draut returns with another very short (three pages) story. I am sure that by now it is pretty obvious that I am very fond of the work by Bill, particularly as seen in Foxhole. I also feel he was a good at inking his own work, using a spotting technique with both similarities and differences from the S&K shop style. However Draut has taken his spotting too far in the splash panel in “Hip Pockets”. I understand what Bill is trying to do. What he wants is to give his soldiers a dirty and unkempt look. It actually works effectively in most of the rest of the story. For the splash panel he was too heavy handed in the spotting and the result is in all honesty a mess.

Otherwise the story itself is a good one. A artillary man nick named “Hip Pockets” was from the old school, that is WW II. While fighting in Korea he is dismayed when he is ordered to fire propaganda leftlets into the enemy line.

2007 New York Comicon

For me this year’s Comicon is an improvement, I got in. That is not to say I was very happy how they handled it. There was only one small entrance into the show. This meant that even with tickets (the show was sold out so you had to have tickets) it took an hour to get in. For some special events (like Stan Lee’s signings) you had to go outside the show to get tickets. Having spent over an hour on line I was not about to go out again and have to wait on line once more.

Once in the show the crowds were generally manageable. They did have wider aisles so generally it was not too hard to walk around. That is except for Artist Alley. That was a disaster. Narrow walkways made passage painfully slow and difficult.

It’s not the San Diego show but I think it could be. However San Diego was a show that grew into what it is today. New York has had to start up running. The show’s management has made improvements but they have to make a whole lot more. If they don’t do so quick enough I am afraid the Comicon will never go much beyond what it is today.

I went to a couple of interesting panels. One on a movie that is being made of Will Eisner’s Spirit. Frank Miller was not there, but he will be directing it. Boy talk about mixed feelings. Frank is great and Sin City, both the graphic novels and the movie, were masterpieces. I look forward to the movie 300. The panel made it sound that the Spirit movie was going to be on the dark side. But the Spirit resides in Central City not Sin City. We shall see.

Also a panel on the Marvel Bullpen. Ralph Macchio, Gene Colan, Joe Sinnott, Fabulous Flo (sorry I do not remember her last name) and of course Stan Lee. Very entertaining and off course Stan stole the show. Not that he did this in a mean spirited way. Often Stan would redirect questions aimed at him to one of the other panelists. During questioning from the audience many of the speakers prefaced their questions with gratitude to Stan for all that he did. At one point Lee said that he did not deserve all the credit. That there were other artists that were important to Marvel’s success such as Jack Kirby, etc. He then added something to the effect of “but of course I was the most important”. Now if you read this it may make Stan sound bad. But to hear and see it delivered it was something else entirely. Nothing in the original questions required him to say anything about Jack or the other artists. His remarks about the importance of these artists sounded absolutely sincere. In his statement about his own importance Stan was obviously hamming it up and it was clearly meant to be a joke.

As for Simon and Kirby I did not see much original art. There was the cover art for the Harvey Fighting American. That is a bit of a puzzle for me because Joe still has “original art” for this cover made from stats. Why would he have done that if he still had the original art? My guess is that the art had already passed from his hands. Maybe Kirby had it or maybe it was already belonged to a collector. I did see once piece that was an important clue as to the identity of an artist that worked for S&K or perhaps Simon alone. I will post more on that if clue turns out to be valid.

The Comicon has thrown my scanning schedule out of whack. But I do have some more Foxhole ready that I can post on next week. Perhaps, just perhaps, I’ll be able to wrap Foxhole up.

Foxhole #4, Enter the Comic Code

Foxhole #4
Foxhole #4 (April 1955) unused cover by Jack Kirby

Public criticism about the contents of comics had lead to the creation of the Comic Code. Although not a legal requirement, publishers knew that they must submit their work to this agency for approval or be rejected by most newsstands. Simon and Kirby’s company Mainline was no exception to this. So when along with their other titles Foxhole #4 was submitted for approval the Comic Code rejected the cover. Its depiction of a dead enemy sniper was too much for the delicate sensibilities of the young. In all honesty even without showing any direct signs of violence it is a very compelling but disturbing piece of art. S&K’s substitute cover had a close-ups of a face wear camouflage makeup. Simon and Kirby could still produce great covers within the Comic Code framework.

Foxhole #4
Foxhole #4 (April 1955) “Find And Fire” page 1 art by Bill Draut

The rejected cover for Foxhole #4 was based on an interior story “Find And Fire” by Bill Draut. It is unclear to me whether the cover developed from the story or the other way around. Often Simon and Kirby productions have this cover/story connection. Not infrequently each does not tell quite the same tale. Draut’s story starts with a splash very different from Jack’s original cover. Most of what we see is just the tree foliage. Only the sniper’s hand and firing rifle are visible. By doing so Bill has captured horror of having to cope with an unseen foe. The story itself is about a medical corpsman having to deal with a Japanese sniper alone. As a medic he is not supposed to fight and does not carry a gun. The Japanese, and the sniper in particular, did not care about such niceties and the American is forced to confront the sniper armed with only a knife. Its a great story illustrated by one of S&K’s top talents.

Foxhole #4
Foxhole #4 (April 1955) “Thirty Year Man” page 1 script by Jack Oleck art by Joe Albistur

This time instead of Jack Kirby, Jack Oleck provided the script for the artist Joe Albistur. It is a great story about a professional soldier and the outfit he first trains and then fights with. The plot is not all that surprising but with it Albistur manages to present some great art. Look at that splash panel. Joe is marvelous at capturing people and their gestures but here he out does himself. There twelve individuals portrayed, each one uniquely. Only the face of two men are partially visible and yet Joe infuses them with personality. Elsewhere in the story there is a fight sequences with four panels without text. Previously we saw Bill Draut draw something similar. Could Oleck have written Draut’s story also and provided similar directions? Or could both artists have decided to do this themselves? However the decision was made it was an effective device to use in cases like this were the image was sufficient and words were not only superfulous but were actually detrimental.

This is the second Foxhole piece credited to Jack Oleck. Two scripts are not much to work with in trying to understand Oleck’s writing style, but it is all we have. Actually that is not true. From Joe Simon’s collection I have part of another script by Oleck. That will be the subject of a future post.

Foxhole #4
Foxhole #4 (April 1955) “Mayhem In The Sky” page 1 art by Art Gates

As I have said before I enjoy most of the stories in Foxhole. They are generally well written and the artists are very talented. I also get a kick out of “Mayhem In The Sky” but probably for reasons that were not originally intended. It is like watching a slasher movie where much of the fun is knowing that when someone goes out into the night to investigate a noise that he will be the next victim. This story is about an American plane that will be bringing some Japanese prisoner to Australia. The only guard will be wounded Australian soldier. Did I hear the background music become foreboding? When the plane reaches altitude it is placed on autopilot and the co-pilot takes a nap! At this point the background music is downright chilly. Needless to say it is not a stalker that is unleashed but a plane full of Japanese soldiers. Yeah it all seems a bit unbelievable but it is fun.

Foxhole #4
Foxhole #4 (April 1955) “Suicide Run” page 1 art by Bob McCarty

Bob McCarty, a veteran of the Air Force, illustrates a submarine story. This is typical of Foxhole. Although written by veterans they are not autobiographical stories. Still the real service that the creators experienced does imbue Foxhole stories with special qualities. The men in the stories are not the clean cut heroes depicted in movies of that time.

Foxhole #4
Foxhole #4 (April 1955) “It’s Mutual” page 1 art by Ted Galindo

“It’s Mutual” is the earliest artwork for S&K by Ted Galindo that I am aware of. Hereafter Ted would often be employed by Simon and Kirby and, after the S&K studio breakup, by Joe Simon. Generally Simon and Kirby used the more talented artists of their day. Unfortunately I feel Galindo is an exception, I would call his work adequate at best.

Coming Attractions and Other Comments

Well next weekend is the big N.Y. comic convention. Last year I was one of those who spent a couple of hours on line only to be turned away. I did help Joe Simon with his appearance the next day. But helping Joe kept me so busy that I really did not get to see much. Joe will not be showing up this year and I have bought my ticket in advance. Hopefully things will work out better this time. Unfortunately there does not seem to be any Kirby panel. Where is our east coast Mark Evanier? I will be on the look-out for anything of interest concerning Simon and Kirby. We will see if I find anything worth posting about.

I have scans ready from Foxhole #4 so even with the convention going on I am sure I will be posting on that issue. I hope my readers do not mind this review of comics which have so little Kirby art. The artists who worked for S&K may not have been in Kirby’s class (who was?) but they are talented nonetheless. Focusing on this one title has helped me clear up some attribution errors I have previously made. My biggest surprise was how often Joe Albistur shows up. S&K really relied on him a lot during this period. I plan to give this sort of treatment to the other Mainline titles and Win A Prize.

Recently I have been trying to inventory Joe Simon’s collection of original art. It is so great to look at so much stuff, including the art from Foxhole that I have been posting about. One of the surprises is how much work Joe did with DC during the ’70s. When I posted on the Sandman #1 cover I mentioned that the comic art was given the job number SK-2. Well DC also used JS numbering for work that Joe provided and they go up into the mid 300’s. Much of it was for romance comics Young Romance and Young Love. There are a few pieces, some with JS job numbers, that were “Written Off”. I suspect this means that DC felt they would not publish them even though they paid for the work. I suspect that they were concerned about getting Comic Code approval.

Featured Cover, Fighting American #4

Fighting American #4
Fighting American #4 (October 1954) by Jack Kirby

Another great FA cover done during the period when this title was more about humor then about being the typical superhero. In common with the cover for Fighting American #3 we find our hero about to spring a surprise on his clueless foes. I love the line “let me kill Speedboy just this once”. It is a great cover filled with Kirby’s unique humor touches such as the absurdity of Rhode Island Red lighting her cigar with a torch. I find that Jack had his own way of humor which includes the physical appearance of the subjects. To me it is very different then what Joe Simon did for the covers of Sick. It is also why I am always surprised that many still think that Guys and Dolls was done by Jack when its visual humor is so much like Joe’s.

I am rather surprised about the green face that the colorist provided for Yuscha Liffso. It makes him look not so much funny as weird. I guess it is the only thing about the cover that I find objectionable.

There were three more issues to Fighting American, not including the Harvey issue. Unfortunately these later covers just do not have the “punch” found on the first four issues. These last issues came out at the same time as the Mainline titles so I suspect Jack’s creative energies were going there instead.

Foxhole #3, The Writers Jack Kirby and Jack Oleck

Foxhole #3
Foxhole Comics #3 (February 1955) “The Face” art by Joe Albistur, script by Jack Kirby

The artist for “The Face” is Joe Albistur who does marvelous work. Earlier I had misattributed this story art to John Prentice. To be honest at that time I did not look carefully at the story and relied on an old attribution from my database. When I scanned and restored the story it was just so obvious that Albistur, not Prentice, was the artist. Albistur’s men are often quite varied and he is good at capturing traits and gestures. Men by Prentice often follow a more restricted mold with long faces and small eyes. At times Joe would do a man’s face in a manner similar to John. Even so Joe’s work can usually be distinguished by their more rough appearance while John’s are done in a smoother manner. When it comes to women the two artists are worlds apart. Prentice’s women have a sophisticated beauty while Albistur’s are more earthy. A nurse in “The Face” is a clear giveaway that the artist is Albistur. Joe only worked for Simon and Kirby for about a year, with cover dates from September 1954 to October 1955. During that time Albistur shows up often and for that limited period he can be considered one of the usual suspects for S&K productions.

Although Albistur is a fine artist what makes “The Face” a special treat is that Jack Kirby is credited. Since the art was obviously not done by Jack that means he must have been the writer. I do not have any doubts that Jack contributed to the writing of many Simon and Kirby productions. We know however that S&K employed writers. My understanding is generally Jack and Joe Simon would verbally provide an outline of a plot to their writers. Then when the script came back S&K might then make whatever alterations they saw fit. The suggestion for “The Face” is that Jack did a more complete approach to the writing. Joe Albistur was from Argentina and did not serve in the U.S. army. So to keep with the basic premise behind Foxhole the writer would have to be someone with military service. Certainly Jack filled that requirement. But I am not sure why someone like Jack Oleck was not used since he also was a veteran. The Kirby & Albistur combination would be used again in another issue of Foxhole. Jack Kirby’s art output had dropped during the period that the Mainline comics were being produced. I cannot help but wonder if one of the reasons for this more limited Kirby art production was due to his doing more writing. Unfortunately credits were not given in the other S&K titles so it is hard to be sure.

Our narrator flies a Spitfire as part of a British air force strike on Nazi occupied France. During a dogfight our hero gets badly wounded by enemy gunfire. With great difficulty he manages to fly his plane back to home base but makes a crash landing. Up to this point this is very much a war story, now it seems to turn into something from Black Magic. While our hero believes himself to be dying and familiar face appears to him. It is not the face of someone close to him but it is familiar nonetheless. We are taken back to before the war when our narrator was visiting Vienna where he met the man. This individual was trying to escape from the Gestapo who were after him because of his religion. The comic does not say, but obviously he is Jewish. Our hero helps the man escape to Switzerland but never managed to find out either his name or profession. Now the story returns to wartime and our injured airman comes to a finds out what the importance of the man whose face he has seen.

It is easy to imagine that this is a Kirby plot. Although a war story it has the sort of plot twist that is common in S&K productions like Black Magic. There is nothing in the writing that suggest that this was not done by Kirby or that anyone else played a significant part in creating the script. On the other hand missing from the script are any of the typical Kirby laconic speeches. I have remarked previously about these. They are frequently delivered as a retort to someone else, have an odd sort of off topic quality, and are a little over the top. These short speeches often are found in Kirby drawn S&K pieces and re-occur late in his career when he once again was able to achieve more control over his work. I leave further discussion of this subject off until later when I review another Kirby/Albistur story from Foxhole.

Foxhole #3
Foxhole Comics #3 (February 1955) “Office Upstairs” art by Bob McCarty and script by Jack Oleck

I previously discussed the background story of “Office Upstairs”. It concerns the Death March and the Japanese POW camp in the Philippines. The story itself is narrated by a soldier and begins shortly after Pearl Harbor. The Americans and Bataan are unprepared for the Japanese assault. The soldier also blames the softness of his fellow Americans. In particular the evident softness of the non-combatant who serves as the medical officer. It is only after the Death March and the struggles in the prison camp that the soldier changes his mind about that medical officer.

I have to admit there are parts of this story that are rather corny. Still I find it incredibly moving. As usual Bob McCarty does a excellent job on the art. This is one of the few S&K productions we can say who the writer was. Jack Oleck may have been Joe Simon’s brother-in-law but this story shows he was an accomplished comic book writer. Although Joe has indicated that Jack did a lot of writing for S&K we rarely can say which stories were his. In a future post I will discuss another Foxhole story that is credited to Oleck. At some time I will also write about a story not from Foxhole that Jack Oleck wrote.

Foxhole #3, Bob McCarty and Art Gates

Foxhole #3 had a new development, S&K started to provide a credit box. It really appears that even before this S&K would encourage their artists to sign their work. Well at least artist signatures were not unusual in Simon and Kirby productions. Credit boxes were something else and these appear in no other Simon and Kirby comics. Actually credits were rather unusual in the industry before the Silver Age of comics. There were some special exceptions such as Bob Kane for Batman (of course his credits was for work that was mostly ghosted by other artists). Even Simon and Kirby often got credits when working for Timely or DC. But these were special cases. Bob Kane’s credit was part of the deal he made with DC when he created Batman. While Simon and Kirby’s comics were so successful that their name alone could help sell a comic. Most artists at that time would never get such credit.

The credits now provided in Foxhole were not present to highlight the artist. In fact the credit box does not identify what the cited individual did. In some cases he was the artist, in others the writer. You cannot tell this from the credit box. The information the credit box does supply is what military service the individual had performed. The premise behind Foxhole was that the creators were actual veterans and these credits were used to show that this was actually true. Even so these Foxhole credits provide a window into contributors to Simon and Kirby productions that we may not otherwise have. As far as I know the artist Bob McCarty never signed any of his work for S&K. The credits in Foxhole was the only method I had to help identify his work. We know some of the writers that work for Simon and Kirby but generally we have no idea who did what. But Foxhole provides some stories written by one of them, Jack Oleck. Even more surprising we have some stories written (but not drawn) by Jack Kirby.

Foxhole #3
Foxhole Comics #3 (February 1955) “Chicken” page 3 art by Bob McCarty

You might think you know what to expect from a story with a title like “Chicken” in a war comic book. You would expect a story about bravery and overcoming fear during battle. But this is Foxhole and what you get is something else entirely. Instead we meet Mac, a soldier who has been fighting the Nazis for eighteen days and now finds himself close to Paris. His daydreams of a visit to that city seemed destroyed when he is told that they will not be going to Paris because they are going to let the French underground take it. A chance encounter with a guy in a jeep named Freddy leads Mac to go to Paris despite orders. Freddy tells Mac to ditch his stripes because it will be safer if M.P.s show up. Well Mac and Freddy have a great time in Paris; beer, girls, dancing, the works. That is until the M.P.s show up. But Mack and Freddy are not about to be taken in. They split up and Mac makes it back to his company. There he finds that he is about to go on another campaign. As he prepares Mac sees Freddy only to be surprised at who Freddy really is and we learn what the meaning of the title was.

I like Bob McCarty. He may not have a style as distinct as Draut, Meskin or Prentice but he draws a good story. He does not seem strong in artistic effects like the use of chiaroscuro but knows how to adjust his panel compositions so as to keep the story interesting. His lines are clean and sensitive with a flair and not dry. Simon and Kirby generally used good talent and Bob McCarty is no exception. The credits tell us that Bob served in the U.S. Air Force. The Air Force was part of the Army and not a separate branch of the military during the war.

Foxhole #3
Foxhole Comics #3 (February 1955) “Listen To Me, Sam” page 1 art by Art Gates

This is a story of Joey a young man who desires to revenge the death of his brother who was killed in Korea. Joey switches places with Sam who recently got his draft notice. Joey becomes a good soldier, so good in fact that he becomes a hero. Unfortunately for Sam this leads to deception being discovered.

Foxhole #3
Foxhole Comics #3 (February 1955) G.I. Yaks art by Art Gates

The credits tells us that Art Gates was a Field Correspondent for Yank Magazine. Yank Magazine’s motto was “written by the men… for the men in the service” Art is a bit of a surprise to me. His forte really seems to be gags comics. Yet he also is able, as “Listen To Me, Sam” shows, to draw standard comic book stories. I do not think there were many artists who like Art did both. Art also did some “realistic” pieces for some of Simon and Kirby’s romance comics but those were all very short, generally single page works.

Foxhole #2, Bill Draut, Jack Kirby and Another

Foxhole #2
Foxhole Comics #2 (December 1954) “Walkie-Talkie” page 3 by Bill Draut

The Commies cut a communication line and later kill the man sent to repair it. They then use the dead soldier’s walkie-talkie to contact the Americans pretending to be the soldier. The fake soldier reports that he is lost and will use the signal strength as a means of finding his way back to headquarters. Of course what the Commies are really doing is using this as a means of locating the American headquarters so that they can attack it.

Like he did in “The Replacement”, here Bill Draut uses an bird’s eye view at the start of the action before zooming in. I find this a very un-Kirby way of telling the story so I am convinced once again that Bill is not working from Kirby layouts. Another nicely done effort by Draut, particularly considering that the story is only three pages long.

Foxhole #2
Foxhole Comics #2 (December 1954) “Hot Box” page 1 by Jack Kirby

Jack Kirby only provided the covers for most issues of Foxhole. However for Foxhole #2 Jack penciled two of the stories. I previously discussed “Booby Trap”. The second Kirby contribution is “Hot Box” a real gem despite its short length of only two pages. What a splash panel! Despite it being a close-up, because of the head gear all you can see of the man are his eyes. Only part of the gun that he is firing is visible and we cannot see his target. But with the low angle viewpoint, the empty cartridges flying about and the effective use of perspective this is one of Kirby’s most exciting splashes. Jack keeps this sort of visual impact in each of the panels that follow. Only two pages, but Kirby makes the most of them. The story itself is rather simple. We are told that the plane was hit by flak during a raid. The aircraft was still flying but a fire had developed. The crew was trying to make it back but the effects from the fire was growing, hence the title for the story. Jack provides a dramatic end, it is almost another splash panel.

Jack Kirby did not draw many stories for Foxhole. Those that he did provide are just so incredible. I suspect that many artists would not give their best effort for such a short story as “Hot Box”. Jack on the other hand seemed to take this shortness as a challenge. He wanted to provide the all excitement of a fuller length story. I believe he was completely successful and that “Hot Box” was the best piece from Foxhole.

Foxhole #2
Foxhole Comics #2 (December 1954) “Dishonorable Discharge” page 1 by unidentified artist

“Dishonorable Discharge” seems a little out of place in Foxhole. For one thing most Foxhole stories are three to six pages long. If we discount Foxhole #7 (which was not a Simon and Kirby production) only “Dishonorable Discharge” is longer having ten pages. I do not know who the artist was but I do not think he did anything else for Foxhole or the other Mainline titles. Further the story itself seem more appropriate for a crime magazine then a war one.

The story takes place in ’36 and ’37 well before the U.S. entered the war. At the start we find Socker Bates doing deep sea diving for the navy. Socker wants to show a girl a good night on the town and he does, spending money like there was no tomorrow. Unfortunately it turns out he stole it from the navy paymaster. Socker is apprehended, sentenced to serve a year in prison and then given a dishonorable discharge. With his bad discharge, Socker has trouble finding work. Eventually he teams up with a down and out character who has a diving suit. Together they do salvage operations. A girl comes between them and Socker finds out that his partner is planning to run off with the girl and the money. That is until Socker Bates decides to take revenge.

Like I said it sounds more like crime genre then war. It is not even appropriate for Police Trap, Mainline’s crime comic. Police Trap focuses on the police angle not the criminal but the police are nowhere to be seen in “Dishonorable Discharge”. This story is so out of place for Mainline that I really do not believe that S&K had it made. Rather I suspect that S&K picked it up, probable at a bargain price, from some failed comic book line. Or perhaps from the artist when the story was rejected by its intended publisher. S&K did something similar when they bought some romance work from the failed publishing company of Ross Andru and Mike Esposito. That romance work ended up in some of the Prize romance comics that S&K were producing at this same time. In any case “Dishonorable Discharge” is one the poorer efforts from the entire Foxhile comics.

Featured Cover, Mystery Men #10

Mystery Men #10
Mystery Men #10 (May 1940) by Joe Simon

I was pleasantly surprised by a gift I received not too long ago from my niece. It was a calendar with a pulp art theme. I had never mentioned to her any interest in pulp art. In fact it is area of Americana that I have not dealt with very much. Anyway the calendar had some great art and was much appreciated. Then while in a book store I spotted “Pulp Art” by Robert Lesser. Well I really have too many books and even with its great price I was reluctant to buy it. That was until I spotted the painting from The Mysterious Wu Fang (see image below). Then I could not resist it, after all now I could consider the book as part of my Simon and Kirby research.

Now there is are four years between these two publications. Did Joe pick up a copy at a used book store or had he kept a copy from when it first came out? Who can say, but there is little doubt that Joe liked the image.

But there was also an unexpected link. When I looked at caption to the illustration of this painting in Lesser’s book it said the original was from the Steranko collection. Seems like Jim and Joe have similar tastes.

The Mysterious Wu Fang
The Mysterious Wu Fang (March 1936) by Jerome Rozen from the book Pulp Art by Robert Lesser