Since the earliest days of the industry, when most comics cost 10 cents, publishers experimented with different formats and prices. In 1939 National (later know as DC) published New York World' s Fair Comics, a tie-in to the famous event that took place in Flushing, Queens that same year. Priced at 15 cents with 96 pages of content, it resurfaced as World's Best Comics # 1 (spring 1941), starring popular characters Superman and Batman alongside an assortment of other costumed heroes. The title was tweaked to World's Finest Comics, retaining the same price, although the page count was cut to 72 (and later 64) pages, until 1954 when it reverted to standard size.
Clocking in at 100 pages, Fawcett's premiere issue of America's Greatest Comics was on newsstands circa 1941. One of DC's biggest competitors, their Captain Marvel even outsold Superman for a period of time. Mac Raboy cover art.
Other publishers took note of DC's success, particularly Fawcett with America's Greatest Comics, starring top-seller Captain Marvel, joined by Spy Smasher, Bulletman and various second-tier protagonists. Another heavy-hitter, MLJ, originally focused its attention on superhero fare, but the character of Archie Andrews surpassed expectations and soon became their primary focus, so much so that the company was eventually rebranded as "Archie Comic Publications." An array of 25-centers starring Archie and his teenage gang followed. While these comics sold at various times during the year, the summer months were often a period when extra titles proliferated; in all likelihood maximum sales were attained due to many youngsters being out of school.
Fall 1949 saw the debut of Archie's first Annual. At a whopping 116 pages this comic must have been a boon to parents going for long car rides with their children! Bob Montana cover art.
Boris Karloff's Thriller was based on the anthology TV show of the same name. This 80 page comic was available on newsstands sometime around July, 1962, and included stories by Leo Dorfman and art by Mike Sekowsky, Ray Bailey, Tom Gill, Alberto Giolotti, Giovanni Ticci and Jerry Robinson. To mimic a phrase host Karloff began each show with: "As sure as my name is Nick Caputo, I can assure you this post is a Thriller!"
Dell's Little Lulu was a tremendous success headlined by author John Stanley, who had an affinity for writing about children from their point of view. Cover art by Irving Tripp. Marge's Little Lulu and Tubby at Summer Camp # 5, July 1957.
By 1961 National/DC focused much of their attention on superhero-related content. This led to them crafting 25 cent versions of Superman, Batman, the Flash and Justice League of America, selecting contents from their archives. Archie publications, another powerhouse in the field, published The World of Jughead, Betty and Veronica Summer Fun, Little Archie and Madhouse. Western also embraced the trend with a huge selection of titles such as Hanna Barbera Summer Fun, Popeye, Little Lulu and Boris Karloff's Thriller. Harvey included extra-length presentations of their most successful comics such as Richie Rich, Sad Sack, Little Audrey, Spooky, Little Dot and Blondie.
The comics spotlighted below filled the nation's newsstands in the summer of 1962, offering hours of entertainment for children trekking to the beach or going for long rides on vacation. Into the mix came the beginning of Marvel's Annuals.
While cross-promotion became prominent during the Marvel superhero expansion, evidence points to Lee always being inclined to move in that direction, likely inspired by radio programs such as The Jack Benny and Fred Allen Shows, where the comedians had a running "feud" and supporting characters were often referenced or interacted with each other.
The other title Marvel chose for extra-length treatment was Strange Tales, an ongoing anthology series in publication since 1952, originally consisting of horror material, but toned down to lighter fantasy fare when the Comics Code came into effect, and finally settled into monster-oriented stories in the early 1960s.
This was Kirby's original cover to Strange Tales Annual # 1. Stan Lee obviously felt the monsters needed to be menacing humans, so he instructed Kirby to revise each scenario. It was probably rushed out in the office; Kirby's pencils and inks on the second version being a telltale clue. Since I love minutia I noticed that the bottom right "Shadow Thing" figure and background were utilized (and slightly repositioned) with Kirby adding the fearful citizen, so a trace of Dick Ayers' inking can be seen on the published cover.
Popeye and his cast of characters occupy this impressive cover by Bud Sagendorf, who wrote and drew all the interior stories. This was the first issue published by Western (aka Gold Key) with the numbering continued from Dell's series. Popeye # 66, July 1962.
Western had the rights to many animated cartoons, including Warner Brothers, Hanna-Barbera and Jay Ward. They produced giants for many of them during the summer, including Bugs Bunny, Yogi Bear, Huckleberry Hound and Terrytoons. This attractive cover is attributed to Pete Alvarado and Norm McGary.
Harvey specialized in comics for the small-fry, as the above trio of titles reflect, all of which were on sale during June-July of 1962. Sad Sack cover by George Baker, Richie Rich is uncertain and Casper is by Warren Kremer.
The Adventures of Little Archie # 24. Bob Bolling art and lettering; Victor Gorelick colors. Interior stories and art by Bolling; Joe Edwards, Joe Harold and Dexter Taylor. You could have purchased this comic in August, 1962.
I'd be remiss if I skipped over my favorite character, Jughead, who predated Kramer by half a century or so! Archie Giant Series # 19: The World of Jughead; Samm Schwartz art. If you could time travel back to the late summer of 1962 this comic would be available at your local candy store.
Since there has been much written about that period (including on this blog) I believe its important to look at the bigger picture and get a realistic perspective of what was selling 60 years ago. Mainstream comics were readily available in candy stores, newsstands, luncheonettes, railway stations and many other locations that kids, either on their own or with family, could easily access. Unfortunately, in the decades that followed, the audience for comic books decreased, with children being lured away by a veritable avalanche of diversionary entertainment options. The remaining audience is marginal and consists of many older hard-core superhero fans, or those interested in adult-oriented fare. Gone, for the most part, is the ability - or inclination - to reach out to younger readers. Thus, comics have become of interest primarily to the indoctrinated. Annuals, once a special presentation, produced with care, have been overtaken with superhero pyrotechnics, and such anthologies as Thriller are a thing of the past.
Surviving the superhero explosion of the 1960s and the monster-horror era of the 1970s, Millie's Annuals remained in publication for a healthy run of 13 years, the final issue appearing in 1975. Stan Goldberg pencils (and possible inks), Morrie Kuramoto letters.
Looking at it from an adult perspective I can appreciate the quality of work that went into the various titles. Each company had its own distinct style and the material in general was well-crafted. Many Annuals sold in the hundreds of thousands. Even at Marvel during the superhero boom of the 1960s, Millie the Model remained a solid seller into the 1970s. That audience is largely gone now, and it's doubtful it will ever return. The present generation has many choices with new technology, and the world moves much faster than it did decades ago. Still, those days can be reflected on as a distinct period in time, when comics were truly a part of our popular culture.
There were GIANTS in those days! 96 pages worth! A charming baseball-oriented cover by Fred Ray, from World's Finest Comics # 3, Fall 1941
