Marvel's British Reprints

For those readers who don't get enough of my musings here (all three of you) I would like to direct you to one of my favorite Bloggers, a gentleman whose posts are often fascinating, illuminating and have a touch of melancholy for a time long gone.

"Kid" Robson was kind enough to allow me to write a Guest Blog, so I thought I'd reminisce about my discovery and interest in Marvel's UK line. I hope you'll pop over there and not only read my post, but wander around the many corners of the comics world that Kid writes about with great passion and enthusiasm. 

http://kidr77.blogspot.com/2013/01/discovering-marvel-uk-guest-post-by.html

More on Charlton

My last post on Charlton garnered a great deal of response, which surprised and pleased me. This time out I'll delve into the more neglected genres and show some examples of a few other Charlton alumni.

Jack Keller worked in the business for many years, early on as background artist for Will Eisner on his Spirit comic strip. Keller's art was spotlighted in Quality comics and became a prolific contributor to Stan Lee at Timely-Atlas on crime and horror stories, but is most recognized for his long and successful run on Kid Colt, Outlaw. Never a flashy artist, Keller had a straightforward style and could tell a story well. His rendition of Kid Colt was not musclebound but more of an average looking guy that readers could relate to. For Charlton he illustrated many western and war stories, but his biggest contribution was on their line of hot rod and car titles, many of which he both wrote and drew, often assisted by his son Gary as letterer. Keller was knowledgeable and enthusiastic over the material (he built model cars in his spare time). In later years he worked for a car dealership. Keller died in 2003.

Hot Rod Racers # 13, March 1967. Story and art by Jack Keller. Keller wrote and drew many of the popular racing features, including Rick Roberts, Clint Curtis and Ken King.

Keller cover art to Teenage Hotrodders # 21, December 1966. 

Along with Jack Keller, Dick Giordano provided many covers for Charlton's popular line-up of Hot Rod comics, although this may possibly be penciled by Pat Masulli. Hot Rods and Racing Cars # 68, March 1964.  This publication ran a healthy 120 issues, from 1951-1973.  

A mid-1960s house ad showcasing Charlton's line of car-related titles. This genre sold well with the general public for over two decades. 

Charlton produced all types of comics. This one starring a horse is interesting for a number of reasons. I doubt it was coincidental that NBC TV aired a show called Fury from 1955-1960, the story of "A horse and the boy who loved him." Black Fury also debuted in 1955, although there was no connection to the TV show. I guess no one at the network was aware of Charlton's comic. Cover by Maurice Whitman, from Black Fury # 16, Nov 1958  

"The Guardian", page 3, Ernie Hart art and possible script, from Black Fury # 18, April 1959

A number of talented artists worked on Black Fury, including Ernie Hart, who was a writer, artist and editor for Timely Comics working in the animation division. Hart may be known to some as "H.E. Huntley", a pseudonym he used while scripting early Marvel "Human Torch" and "Ant-Man" stories. 

While Steve Ditko is best known for his horror/mystery/science fiction stories at Charlton, he also dabbled in the "horse" category. This page is one of the best examples of Ditko's panel to panel choreography and his ability to ring emotion out of an animal, as illustrated in panel two. "The Silver-Tip Outlaw" included no humans in the story and was told in captions. Script likely by Joe Gill; lettering by Jon D'Agostino.  Rocky Lane's Black Jack # 27, May 1959.    

Rocky Lane's Black Jack # 21, January 1958, Maurice Whitman art. Another equine-centered comic was Black Fury, the horse of popular cowboy star Rocky Lane. In a few years Lane would trade places with his companion and become the anonymous VOICE of a horse on the 1961-66 comedy series Mr. Ed! (who said this blog has to only be about COMICS minutiae!) 

   

Pat Masulli was the Executive Editor of Charlton from 1955-1966, taking over from Al Fago. Masulli began at Charlton as a colorist, but also worked as an artist for a number of companies. Even when he was Executive Editor Masulli pencilled covers for Charlton, it's interesting to note that almost all the Charlton editors, including Al Fago (who drew Atomic Mouse), Pat Masulli, Sal Gentile, Dick Giordano and George Wildman, were also artists. Here Masulli is inked by Rocco Mastroserio. Outer Space # 18, August 1958.

Rookie Cop # 30, August 1956. Bill Molno pencils; Vince Alacia inks. 

Bill Molno pencils; Dick Giordano inks,  Robin Hood and his Merry Men # 38, August 1958.

Molno pencils; Sal Trapani inks, Jon D'Agostino lettering, "Kelly's Private War," Fightin' Army # 20,  May 1957.  

Although Bill Molno worked for various companies he was most prolific at  Charlton Press, where his quirky but distinctive art appeared throughout the line. You can learn (and view) much more of Molno's work on Lee Hartsfeld's informative blog: http://leescomicrack.blogspot.com/

Fightin' Army # 90, March 1970.  

Sam Glanzman started out in comics in 1939 and worked for a variety of publishers, including Centaur and Harvey. In the 1950s and 1960s he worked primarily for Dell and Charlton, pencilling movie adaptations, war stories and strips such as Kona. At Charlton he drew an unauthorized and short-lived Tarzan series and worked on Hercules. Glanzman was most closely associated with war stories and later wrote and drew a series of autobiographical stories for DC, "U.S.S. Stevens". With writer Willi Franz he drew the feature "The Lonely War of Captain Willy Schultz" in Fightin' Army for a number of years. 

Although Steve Ditko was often seen in Charlton's many ghost comics in the 1950s-1970s, he also worked in other genres from time to time. Here he lends his considerable talents to a war story. Page 2 of "Pied Piper of St. Pierre", possible Joe Gill script, from Fightin' Army # 89, Jan 1970.   

Dick Giordano drew everything at Charlton, including crime stories, romance, hot rods and westerns, and just about all the work was produced with solid craftsmanship. "The Most Desperate Man in Texas", Texas Rangers in Action # 8, July 1957    

Charles Nicholas and Vince Alascia on pencils and inks respectively teamed-up on countless Charlton stories, appearing in every genre with the possible exception of funny animals or cartoon characters (and I could be wrong there!). While their art was competent it often lacked dynamism, but they rose to the occasion from time to time and I've gained respect for their efforts. "The Professionals", Outlaws of the West # 81, May 1970. 

Billy the Kid # 114, September 1975

Warren Sattler illustrated many war, western and ghost stories for Charlton in the 1970s and worked on charcters such as Billy the Kid and Yang. Sattler had an attractive style, as can be seen by the above painted cover. 

A rare example of Steve Ditko on a western. Ditko's use of  body language and facial expressions is evident on this page, including an impressive silent panel. "Enemy Ground", Texas Rangers in Action # 77, April 1970.

Charlton had a huge line of romance comics and included many fine artists, including a young Jose Luis Garcia Lopez, who later went on to produce exceptional work for DC comics.  Cover from Love Diary #56, October 1968. Scan courtesy of Jacque Nodell who has educated me greatly on Romance comics through her blog Sequential Crush. You can read her thoughts on the cover story here:

  http://sequentialcrush.blogspot.dk/2010/05/of-all-romance-comic-books-i-bought.html

Jorge Badia Romero's cover for Time for Love #47, May 1976 from the collection of Jacque Nodell, who has displayed much wonderful art by the neglected Spanish artists on her site.  

Charlton comics ran a continuing story of David and Eileen, a couple in an interfaith marriage, an unusual idea that was probably not seen anywhere else in comics. "Heart-Ache Ahead" from Just Married #93, March 1973. Artwork by A. Martinez and J. Zuniga. Jacque has written a little about the series here:

http://sequentialcrush.blogspot.dk/2012/12/happy-hanukkah-from-charlton.html

Dick Giordano noted his involvement as editor in getting the talented Spanish artists for Charlton in an interview in Whizzard # 18, 1981:

"I made contact with a studio in South America and they were able to produce artwork at a fraction of the normal rate. Having discovered this, I went down to the publisher at the time and said, "rather than the company establishing rates I would like to dispense the money as I see fit as long as we remain within the established budget." I managed to save money a number of ways, partly by using the South American artists. Also, if you look closely you'll see that some of the covers are photostats of the inside art. I did that so I could pay Steve Ditko, Denny O'Neil and others a little more."      

Vince Colletta (aided by a studio of assistants) inked a prolific amount of work for Charlton, particularly on their many Romance comics. From 1959-1963 Joe Sinnott penciled many of Colletta's stories. The cover above consists of  scenes taken from an interior story, a technique employed by Charlton to save money. Romantic Secrets # 31, Feb 1961. Image from the Grand Comic Book Database. 

George Wildman took over the editorial post from Sal Gentile in 1971, with Nick Cuti assisting. Wildman also drew the Popeye comic book, which was written by Joe Gill (one of his favorite assignments). Wildman provided information for the fan press and was instrumental in notching up the quality of the Charlton line. This drawing appeared in The Charlton Bullseye # 2 

Wildman explained his editorial policies,  accomplishments and goals in this article from The Charlton Portfolio, 1974 

The Abbott and Costello comic book (which tied-in with a Hanna-Barbera cartoon) starred the famous comedy duo and included quite a few witty covers, such as the one pictured above, referencing one of Charlton's Hot-Rod comics. The interior story was likely scripted by Joe Gill, with art likely by the team of Bill Fraccio and Tony Tallarico. Early issues included witty scripts by Steve Skeates and art by Henry Scarpelli. Gill enjoyed working on humor, as did Steve Skeates,  Abbott and Costello # 14, April 1970. Image from the GCD. Information on possible Tallarico art per Mark Evanier. 

An example of Steve Skeates' offbeat humor, perhaps inspired by master cartoonist Harvey Kurtzman and his "Hey Look" strip. Art by Henry Scarpelli, Abbott and Costello # 2, May 1968.   

Talented artist Gray Morrow did some work for Charlton on their magazine line in the 1970s, as did Neal Adams, mainly on TV related fare such as the Six Million Dollar Man, Emergency and Space:1999. Cover from a stat of the first (magazine) issue, Space 1999 # 1, Nov 1975, as published in The Charlton Bullseye # 3.

In 1985 Charlton made one final attempt at a revival. This ad by Steve Ditko gave him an opportunity to draw characters he had never worked on before, including Yang, The Iron Corporal, Punchy the crow and Lil' Genius! Ad from Amazing Heroes # 82, 1985.

As noted in a news item that accompanied this drawing in The Comics Journal # 103, November 1985, Ditko's poster celebrating Charlton comics included some of the popular hosts such as Dr. Graves, The Mysterious Traveler and Winnie the Witch as well as his own creation, Static, of which he retained copyright. Unfortunately sales on the revived line were dismal and Charlton closed its doors for the final time. For 40 years Charlton had a diverse line of comics, with many hard working artists, writers and editors on their staff. I doubt we'll ever see its type again.    

 With thanks to Robin Snyder, Jacque Nodell and Mark Evanier.

Paul Reinman 1933 Drawing

Some time ago I was contacted by Gideon Remez asking for information about Paul Reinman's background. He discovered I had written an article on Reinman for Alter Ego some years ago and hoped I could assist him. I told him there were few Reinman interviews I was aware of, but Reinman wrote a brief memoir for Alter Ego in the early 1960s, which I passed onto him. In that same period I was over Timely-Atlas expert Michael Vassallo's house, and what does he have on his desk? A Paul Reinman interview that appeared in The Burroughs Bulletin # 13, 1962 (Reinman drew the Tarzan strip a number in 1949-1950). Serendipity! I asked Mike to pass on the info to Gideon, as well as information on Reinman's Atlas work, which he gladly did.

                           Reinman Tarzan strip, 1949. Image from Heritage Auctions.

Gideon is not a comics fan, but his interest in Reinman overlaps with my interest in the lives and history of creators, which extends to many areas, as the article will reveal.

      http://www.tabletmag.com/jewish-arts-and-culture/116021/a-find-unlocks-comic-mystery

I've always found Reinman's work intriguing. I enjoyed his quirky qualities, his sometimes crude, imperfect figures figures and  that spoke of. Crude, perhaps, but with an underlying mood. His background work often overshadowed his figures, and this likely speaks to his primary interests. In the few paintings I've seen his backgrounds and scenery showcased strengths that were only touched upon in his comics work.

An attractive Reinman page that includes impressive rendering of buildings, trees, animals and figures. "The Temptation of Jesus", Bible Tales for Young Folk # 3,  December 1953 

Original artwork to Reinman's cover for The Shadow # 1, August 1964. His use of blacks and scratchy lines provides an atmospheric touch.

Much or Reinman's work outside of comics remains a mystery. It certainly includes undiscovered paintings and advertising art (a field he moved to after he left comics; he was also a courtroom artist), but could include book or record cover illustrations and movie posters, such as the one below. Further research into the work of Paul Reinman may open the door for a better assessment of him artistic talents.

                                

                     Reinman Bustin' Loose movie poster, circa 1981

Kirby's Losers: A Personal Journey Into Hell

“I had the privilege of doing “The Losers” for DC, a war story, and I put some real elements in there, some elements that I’d experienced, and of course that facilitated the realism for the story, which made it acceptable. It wasn’t a fantasy war story. It was the “Real McCoy.”  But the characters had color, and they had a reason for being there. It was their story but their surroundings were real, and they were accepted by the reader.”  

 Jack Kirby interview conducted by James Van Hise, The Golden Age of Comics # 6, November 1983.

Jack Kirby’s “The Losers”, originally appearing in the title series Our Fighting Forces, rated little attention in their original presentation, but it is one of the artists’ unsung classics. Though war comics were still a part of DC’s lineup in 1974, they were often ignored by the majority of comics’ fans, whose interests fixated primarily on the latest superhero fantasies. Even a monolithic creator like Jack Kirby could not engender excitement, but these stories are worth a closer examination.

The Losers premiered on the cover of G I. Combat # 138 (Oct/Nov 1969), as “The Born Losers.” Gunner, Sarge, Captain Storm and Johnny Cloud were familiar to fans of DC war comics, having appeared in various features over the years, some dating back to 1959. It is likely that either Joe Kubert, the series editor, or Robert Kanigher, the main writer and creator, decided on a team approach, in an attempt to turn the tide on waning fan interest for the individual characters. Their intent was to gauge the pulse on reader reaction, launching them in a popular series, The Haunted Tank, which headlined G.I. Combat. The story, entitled “The Losers” (the name was shortened from “The Born Losers” at the last moment, due to copyright issues), was written by Robert Kanigher and drawn by Russ Heath. Their try-out was a success: eight months later The Losers took over the lead spot in Our Fighting Forces # 123 (Jun 1970). Ken Barr was the initial artist, followed by Ross Andru and, for the longest duration, John Severin, an excellent storyteller who brought a sense of drama and authenticity to the stories.

In 1974, Jack Kirby was handed the editorial reigns of Our Fighting Forces from the departing Archie Goodwin. As with all the comics Kirby produced for DC, management expected him to both write and draw the strip. Kirby was reluctant to take over existing characters, preferring instead to work on projects of his own design. At Marvel, he and Stan Lee succeeded in reviving Bill Everett’s Sub-Mariner in The Fantastic Four, and later, at DC, Kirby lent his perspective to mainstays like Jimmy Olsen and Superman (who he inherited as a crucial supporting character in the comic). In almost every instance, any similarity to their traditional personas was negligible. Fans were dismayed by the abrupt shift from earlier Losers plot-lines, and their harsh criticisms often filled the letters pages. For good or ill, Kirby’s individual take on characterization was a key aspect of all his comics work, and the Losers were no exception.

It has been reported that Kirby was at odds with “The Losers” moniker, which might not only be construed as a reflection of the veterans they portrayed, but of the book itself. Kirby’s naming of titles/characters usually tended toward the optimistic (Forever People, Mr. Miracle) but with no authority to alter the designation, he forged ahead. Despite any editorial division, Kirby’s strong work ethic, stellar professionalism and fierce independence paved the way for a freewheeling series of stories.

Kirby’s World War II experiences provided the impetus for the Losers’ adventures - shaping an intimate, insider’s look into the nature of combat. The result, quite often, exposed a bleak, malevolent landscape, punctuated by abrupt violence and swift fatalities. Comedic passages were also scattered throughout, in an effort to present an even-handed account. Additionally, it offered a glimpse of the defense mechanisms that were essential to a soldiers’ equanimity, and the means by which one could bear the incomprehensible.

Jack Kirby was no stranger to war comics. Paired with partner Joe Simon, he created The Boy Commandos for DC shortly after the outset of World War II (Detective Comics # 64, cover-dated Jun 1942). In the 1950s, he and Simon produced Foxhole for their own company, Crestwood. 

Kirby’s cover for the first issue of Foxhole (October 1954) was ironic for its depiction of life on the front line. It showed a bandaged and bloody soldier, his one good eye staring out at the viewer. In the background, medics assist the wounded and collect the dead. The soldier is observed writing a letter to his mother. Kirby uses the notepad paper as an integral component of the cover. The copy reads:

             “Dear Mom: The war is like a picnic!—Today we spent A DAY AT THE BEACH!”

"Nine Lives for Victory" as reprinted in Boy Commandos # 2, Dec 1973. Originally published in BC # 2, Spring 1943. Joe Simon inks; Howard Ferguson letters.

"Booby Trap", Foxhole # 2, Dec 1954. Kirby story ? 

In all likelihood, Kirby wrote many of the stories, and may have performed similar duties for Atlas in 1959, on their anthology title, Battle.

Kirby's superb use of perspective is evident on the splash page to "Ring of Steel!", from Battle # 65, Aug 1959. Kirby pencils; Chris Rule inks, Artie Simek letters; Kirby story ? 

"A Tank Knows no Mercy!", Battle # 70, June 1960. Steve Ditko's crisp, vibrant inks add depth to Kirby's pencils. Kirby may have also scripted this story. A tank will play an important part in his "Losers" story 14 years later. 

In 1963, responding to the popularity of DC’s war line, Stan Lee  and Jack Kirby created Sgt. Fury and his Howling Commandos, an offbeat, ethnically diverse WWII combat unit.

Dynamic splash page to Sgt. Fury # 2, July 1963. Dick Ayers inks.  

Lee and Kirby appropriated key aspects of the formula used in their other team books, notably Fantastic Four and The Avengers, sans super powers, and occurring in real locales during the European campaign. Kirby, who encountered warfare first-hand, reportedly took exception to the lighthearted touch favored by Editor Lee (who had a desk job during the war), and asked to be taken off the strip after seven issues. While replacement Dick Ayers supplied serviceable interior art, more often than not, Lee continued to assign Kirby cover duties (on not only Sgt. Fury but virtually the entire Marvel line), fully conscious of both their aesthetic quality and sales performance. One outstanding example was Sgt. Fury # 16, brilliantly inked by Chic Stone. It portrayed Fury and the Howlers on the verge of exhaustion as they stagger through the sweltering desert heat. Kirby’s use of body language strongly implies the weight of their burden.

Stan Goldberg's two-toned colors add to the feeling of oppressive heat that confront the Howler's. Sgt. Fury # 16, Mar 1965. 

While the hodgepodge of tomfoolery and exaggerated physicality was unmistakable in Sgt. Fury, on Kirby’s watch there was – at the very least – a glimmer of realism. Almost a decade would go by before Kirby again found himself working in the genre.

Kirby’s first Losers’ story appeared in Our Fighting Forces # 151 (Nov 1974). There are no formal introductions to the “Special Forces Unit” (one of the few references that remained from Kanigher’s period): they (and the readers) are immediately thrust into a skirmish. Kirby’s opening caption sets the mood:

              “Night is DANGER! –Night is TERROR! – Night is a WHISPERING voice!”

 

Kirby in action! John Severin's Loser's faces still adorn the right side. D. Bruce Berry inks. Our Fighting Forces # 151, Nov 1974.

The Losers are assigned to rescue a famous concert pianist from a German stronghold in occupied France. In the guise of a humble maid, the woman goes unnoticed by her Nazi captors; her frumpish appearance being a benefit, in this instance. Soon after, Gunner is taken captive and brought to the house. Here he confronts the major, who takes great pleasure in playing Wagner on the piano. The Nazis threaten to kill every woman in the house if Gunner does not disclose her identity, but his teammates arrive in time to stop the bloodbath. The major is shot by Sarge in the melee, and as his life begins to fade away, he discovers the “maid’s” true identity. In his last moments, he is overwhelmed by Wagner’s haunting melodies; visions of Valkyrie’s hovering overhead, as the pianists’ fingers nimbly stroke the ivories. Kirby’s dialogue, often accused by critics of being problematic (this author included) is curiously effective here. The staccato delivery and blocky sentences, while awkward at times, manage to propel the drama, providing a good sense of the moment.  

“A Small Place in Hell” (Our Fighting Forces # 152) showcases Kirby’s magnificent use of sound effects, echoing the work of two masters in the comics’ field - Harvey Kurtzman and Will Eisner. Both men achieved recognition by creating a sense of sound in a silent medium: Kurtzman for his signature war vignettes at EC; and Eisner for his innovative run on the Spirit newspaper strip. The noise of battle and unrelenting gunfire is palpable as words overwhelm the art. There is no sense of tranquility in the cruel world the Losers inhabit – a fact that Kirby articulated throughout his run.

The sounds of war as translated to comics. D. Bruce Berry inks and lettering. Our Fighting Forces # 152, Jan 1975.

In “The Partisans” (Our Fighting Forces # 155) Sarge is the principal player. He is wounded and stunned by a blast, and begins to taste his own death in the form of an advancing tank. Page 11 and 14 are particularly disturbing, and eerily reminiscent of the surreal, incoherent sights witnessed on 9/11. While almost all of Kirby’s work possesses a larger than life quality (which has particular potency in the comic book medium), he was also skilled at touching on real-life events with razor sharp precision. At times the drama is so harrowing that one can’t help but become immersed in it and, in some way, almost comprehend the chronic nightmares that traumatized Kirby throughout his life, as recounted in interviews by his wife Roz.     

Sarge stunned and devastated. Berry inks and letters. Our Fighting Forces # 155, May 1975. 

Kirby’s war is an intricate web, populated by both those who sought a moral high ground, as well as unsavory types that lack principles. In Our Fighting Forces # 157-158 (Kirby’s only two-part story) we meet “Panama Fattie”, a woman who exploits the conditions around her, selling weapons to the Japanese in return for vast profits.

In swift, sadistic fashion, and with a casual smile, the plump woman coldly guns down an inspector who discovers her treachery. Despite her abhorrent behavior, and with minimal exposition, Kirby evokes a degree of sympathy for “Fattie”. The reader is informed of the pain and loneliness she has lived with throughout her life. Her words are tinged with cynicism and bitterness:

 “The kinda guy I go for don’t go for ME---but soon I’ll have enough dough to buy one…”

When “Fattie” meets up with the Losers they are unaware of her crimes, and she escorts them to her club. She is attracted to Capt. Storm, who has mutual feelings for Lil (her real name). Tensions mount when Sarge callously refers to Lil as “Fattie.” Storm takes exception to the obvious affront and the two struggle, but their fight is cut short when they both lose consciousness, after having been drugged (along with their teammates) by Lil, and are faced with imminent execution.     

In the conclusion, while the Losers remain captives of Lil and her gang of mercenaries, a Japanese Kamikaze mission is underway to blow up the Panama Canal. Storm tries to sway Lil, asking: “Is this the way YOU want it?” Lil touches Storms’ cheek tenderly, explaining how she is consoled by the large sums of cash, rationalizing her dubious behavior. The Losers stall for time, mounting a frantic attack on their assassins, but in the scuffle Lil gets the drop on Storm and his team. She aims a gun at him, but is incapable of pulling the trigger. Lil makes her getaway in a truck, and now it is Storm who has her in his sights. Storm hesitates: their feelings are too strong and neither can hurt the other. Seizing Storm’s rifle, Sarge blows out the tires, forcing Lil to retreat into the jungle. Lil reaches the Japanese outpost, demanding to see the Lieutenant, as the squad sternly admonishes her to leave. She shoots a soldier and is gunned down in return, while in tandem, Storm races in vain to her rescue. In the aftermath, Kirby draws us in to a tender moment, where Storm closes the eyes of his dying Lil. Her end is violent as much as it is inevitable, a direct result of the path she chose in life.

The tragic end of "Fattie". Mike Royer inks and letters, Our Fighting Forces # 158, Aug 1975. 

The Losers play a minimal role in “Mile A Minute Jones” (Our Fighting Forces # 159), a story that echoes the unusual friendship that transpired between runners Jesse Owens (an African American) and Carl Ludwig Long (a German) during the 1936 Berlin Olympics. In Kirby’s allegory, Henry Jones substitutes for Owens. He is a soldier whose platoon was massacred by the Nazis, and we observe him as he frantically tries to elude the enemy. Only one member of their division can keep pace with Jones: Bruno Borman, who fires a warning shot from his rifle. Both men are surprised to encounter each other in such bizarre surroundings, but despite the circumstances, Borman demonstrates great fondness and respect for Jones, a fellow athlete. Nevertheless, in the world they now inhabit, Borman must follow the orders of his commanding officers.

The Losers, whose task involves the capture of a general, stumble upon the scene, taking Borman prisoner. He soon escapes, racing through the fields in an attempt to warn his fellow paratroopers. Jones uses every ounce of stamina to overtake Borman; he focuses intently on a white line, similar to the one he trailed in the Olympics. As his thoughts drift back to the moment he beat his challenger, his desire to win overwhelms him. Jones leaps at Borman, but fails to stop him. In this contest, Borman is the victor, but his triumph is short-lived. Attempting to pursue the Losers he is blown up in a land mine. In the conclusion, Jones and company are rescued by a plane, but Kirby also explores the flip-side of this dirty coin, as he focuses on the littered corpses of the paratroopers scattered upon the grass. In two panels he highlights Bruno Borman’s face in close-up: a frozen image, his mouth open wide and eye sockets hollow. Kirby’s visual choices are telling: by concentrating on the dead soldier, he accentuates both the senselessness and the finality of the moment. It reflects an artist who, even thirty years later, was still trying to come to grips with the brutality of warfare.

A pattern of death. Royer inks and letters, Our Fighting Forces # 159, Sept 1975. 

“Ivan” (Our Fighting Forces # 160) is a story stripped bare of sentiment. In a double-page splash we view a group of civilians lined up against a wall; their faces denote fear, revulsion and resignation. With cold efficiency they are brutally mowed down in a hail of gunfire, their bodies ripped apart as they crumple to the ground. It is a chilling sight by comic book standards of the day (then heavily regulated by the Comics Code Authority), and while Kirby understood the limitations imposed on him, and had his own standards of good taste, his point was made with alarming intensity (without bloodshed or gory details). It was a scene he would reenact only a few years later in the Silver Surfer Graphic Novel. Kirby’s caption tells a stark tale:

“This is a war which has jumped all previous boundaries---civilians are killed, NOT by accident, but by DESIGN! They LOOK wrong---they THINK wrong---they TALK in ways intolerable to those with the gun---and when the gun begins to bark, it cannot see men, women and children---its sights are centered on labels---thousands of DYING labels---“

The senselessness and brutality of war. Royer inks and letters, Our Fighting Forces # 160, Oct 1975.

 Kirby’s words suggest pain of a personal nature, one that hits uncomfortably close to home. While he does not specifically reference the Jewish experience, or emphasize his own religious background, they are part of the massacre, discarded like refuse by the Nazi machine. It is a poignant page, one of Jack Kirby’s finest moments in a long and noteworthy career.

The story involves a mother and her son, Ivan, two Russians who double-cross civilians, pretending to shelter them from the Nazis in exchange for cash. This is a ruse, for while in their care, the “benefactors” pillage their homes, steal their valuables, and, ultimately turn them over to the Nazis for execution. The Losers, disguised as SS troops, stay in the house of Ivan and his mother on an undercover mission (Kirby stretches credibility to the breaking point when he has Johnny Cloud, a Native American, disguised as a Nazi). Once The Losers discover their misdeeds, they leap into action. First, taking a group of soldiers by surprise, and then gunning them down. Although Sarge wants to kill Ivan, he opts for a more fitting end, knocking him out and placing the gun in his hand. When the SS find their fellow soldiers murdered, it is Ivan who is the obvious suspect. He is sent to be executed alongside men, women and even children. As he frantically pleads his innocence, Ivan becomes a victim of his own appalling actions.      

Ivan joins those he betrayed. panel three is particularly effective.  

        

 Jack Kirby’s run on "the Losers" ended after thirteen issues, when he accepted an offer to return to Marvel. Robert Kanigher immediately resumed his role as writer and resolved his earlier story-lines. Mark Evanier, Kirby’s former assistant, suggested to Marvel that a 1940s setting might better fit Kirby’s writing style (Kirby’s contract called for him to edit, write and draw his own material), either on a WWII era Captain America series, or a return to Sgt. Fury. Those ideas were rejected; the former due to Roy Thomas’s use of Captain America in The Invaders (a strip that teamed Cap with the Original Human Torch and Sub-Mariner); the latter due to a lack of interest in war comics (Sgt. Fury was still being published, albeit in reprint form). While Kirby had many more combat experiences to share, "the Losers" would be his final outlet for such fare in comics – although in person, and in interviews, the urge to relive those terrible moments was overwhelming.

Working from his heart and gut, Jack Kirby’s adaptation of "the Losers" explored conditions GI’s were apt to confront in the throes of war. As portrayed by Kirby, the Losers were a battered, gritty and tough lot, whose darker potential was suggested and understood in blink of the eye fashion, and certainly went beyond that which was depicted on the page. Kirby gave the sense that these guys let expletives fly and told dirty jokes. This was the true power of Kirby’s pen: you got the story outside the panel as much as the one told inside. Of course, you also had the attitude, so the low down was always in your midst. The mean streets of New York City’s Lower East Side, where Kirby spent his formative years, ultimately informed both his personal outlook and professional life. In truth, The Losers is an autobiographical story buried in a mainstream package, and, arguably, the best solo work of Jack Kirby’s career.

“There is nothing that you would call “romantic” about war. Sure, in the movies and on television they paint a great picture of the fellowship that it creates. I’ve seen war bring lots of people together, but I can tell you that the cost is extremely high: not just in terms of lives, but in the human spirit. I think that we are diminished by war; our character as a race is somehow reduced by each war that we allow to happen. Hitler had to be destroyed, there was no choice and I was glad to do my duty – but if there were another way to bring him down I would have preferred it. Perhaps the Germans would have been defeated by their own ambition; they could not possibly hold all of Europe forever – the more you force people down, the more they will push back. It is human nature to be free and I feel that eventually there would have been a revolt. Perhaps it was the right thing to do, but I do not think this applies to other wars that this country has fought. This country has always been at war – it was started by war. Perhaps that is how it will end.” 

Conversations with Jack” by Ray Wyman, Jr. Based upon interviews with Jack from August 1989 through June 1992. Excerpt published in the Jack Kirby Collector # 27, February 2000. 

With special thanks to Frank Mastopaolo, Barry Pearl and Mark Evanier for their invaluable editing, suggestions and assistance.             

Maurice Bramley

There are plenty of twists and turns on the road of comic books and their history, many of which are both unusual and fascinating. For instance take Maurice Bramley, a name I suspect few recognize. His involvement drawing Marvel characters is largely unknown because he worked for an Australian company, Horwitz, in the 1950s and 1960s, pencilling many covers based on the originals by artists like John Severin and Jack Kirby. Horvitz reprinted stories of Kid Colt, Rawhide Kid, Two-Gun Kid, Ringo Kid and Apache Kid, as well as war and superhero stories, and reprinted other companies work as well. For a more detailed history of Howvitz, accompanied by examples of many Bramley covers, please go to this wonderful site:

         http://www.ausreprints.com/content/?skin=14685

While Bramley was often reworking the original covers, unlike artists that copy the styles of those artists, he brings a personality of his own to the artwork. Bramley's work has a distinct charm and he reinterpets many cover scenes with a decided flair. Bramley was not a young kid breaking into comics, indeed, he had worked in commerical art and magazine illustration for years before he drew any comic books. To learn more about Bramley, go here:

    http://www.ausreprints.com/content/?skin=14685

Horwitz appears to have ended publication in 1965, so many of the later Marvel Super Hero stories were not printed there, but they did reprint early issues of Fantastic Four, Spider-Man, Human Torch, Daredevil and Ant-Man. Its interesting to see Bramley's interpretations of the characters. There is an old world charm to his art and it fits well with the odd conglomeration of heroes.

Maurice Bramley's cover for Daredevil # 1, Horwitz, 1965. Based on the original by Jack Kirby and Bill Everett. While closely resembling the Kirby/Everett DD figure there are enough touches to make this one interesting on its own, including the boxing scene added in the lower left hand corner.

Not only did Branley draw covers for Horvitz, he also pencilled new stories as fillers in the interior. Unfortunately none featured Marvel characters, although I would have liked to see him working on a Human Torch or Ant-Man tale.

Maurice Bramley's cover to Two-Gun Kid # 40, Horwitz, signed in the lower right hand corner.

 In researching Bramley and Horwitz publishing, I discovered Danny Best wrote about him in detail on his blog some years ago, so I bow to his greater knowledge in this area and point you to those posts:

http://ohdannyboy.blogspot.com/2006/08/aussie-marvels-horwitz-and-maurice.html

http://ohdannyboy.blogspot.com/2006/10/maurice-bramley-part-iii.html

http://ohdannyboy.blogspot.com/2006/11/maurice-bramley-john-dixon-keith.html

http://ohdannyboy.blogspot.com/2006/10/maurice-bramley-part-iii.html

A talented artist who did exciting work outside of comics, Bramley transitioned into the business, bringing an unusual style and quality to his work. Bramley is another fascinating piece of the comic book puzzle, one that continues to unearth new areas of exploration.