Al Williamson and Wally Wood team up for SPACE ACE!

Two renowned masters of Science Fiction art, Al Williamson and Wally Wood, join forces in their early days in comics. The story is "DEATH IN DEEP SPACE!", and stars the hero Space Ace. This particular Space Ace story comes from JET POWERS #4, published by Magazine Enterprises in 1951.

Both artists were young men, in the early stages of their careers. After World War II, young Wood came to New York to seek his fortune as a comic book artist. While he was knocking on doors with his portfolio, he met another ex-Airborne paratrooper-cum-artist named John Severin, and the two became friends. Severin introduced Wood to the other artists he worked with at the Charles William Harvey Studio, notably Will Elder and Harvey Kurtzman. Impressed with Wood's talent, they referred him to Will Eisner. Eisner quickly hired Wood, and one of the first jobs Wood did for Eisner-Iger Studios was doing lettering on Eisner's THE SPIRIT. 

Wood continued to soak in the environment and hone his craft, and soon began attending Burne Hogath's Cartoonist's and Illustrator's School. Among the people he met there were Roy Krenkel, Jack Abel, Ross Andru, Harry Harrison, and Al Williamson. It was 1948.

When they worked on this Space Ace tale, it was actually one of the first sci-fi comics Williamson had done (his first being Space Ace in JET POWERS #3), while Wood had already had success doing sci-fi in Captain Science(Youthful Comics), and also An Earthman On Venus, and Flying Saucers for AVON.

The result is a gorgeous little story where the pictures overshadow the words. What sticks in the memory is the imagery that signaled great things that were to come.

-Digitally Restored Comic Art-

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Romance with a little "Junk In The Trunk"!

Here is an interesting romance story from GREAT LOVER ROMANCES #3 in 1952

that looks at the touchy subject of love and looks, or more specifically, love and weight. It's called "TOO FAT FOR LOVE!" and features artwork by Myron Fass.

Over 60 years have passed since this story was first published, and since then some things have changed, while other things have not. People today, as then, still care how they are perceived and how they fit into the general society.Still the same, and probably even more so, is the prevailing trend of belittling or ostracizing anyone who doesn't meet our (or our peers) sense of what is acceptable. Someone who is overweight is considered to be "not as good" by those who do not suffer from such obvious physical  aberrations. Society at large has always held the overweight person in contempt, as an object of derisive humor, and ascribed the stigma of social outcast to such.

Conversely, the realist concludes that people come in all shapes and sizes, and as the old adage states, one "cannot judge a book by it's cover", and, again, "Beauty is only skin deep".These axioms remain with us throughout the generations because they hold true. 

How will this story deal with the issue?

Take a look and see for yourself...

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Well, what do you think?

The story kind of "cops out", so to speak, by having our leading lady unable to find happiness while being overweight. No, instead she forces herself to fit into society's mold before she allows herself to realize any kind of romantic fulfillment. On the other hand, the character of Richard highlights the more welcoming understanding by professing his love for her even though she physically did not fit into the norm.

Surely today such a story could hardly be published, insofar as there is an acceptance in modern times that there exists a niche for practically any physicality or orientation imaginable...someone somewhere is going to desire you no matter how you look.

What did you make of the psychiatrist's prognosis, or his assertions? Did they hold any truth, or was it merely comic book psycho-babble?

Tee Hee Hee!! It's Harvey Kurtzman's GIGGLING KILLER!

More great stuff from Harvey Kurtzman. 

This story was written and drawn entirely by Kurtzman for EC Comics CRIME SUSPENSTORIES #3, cover date Feb.-Mar. 1951. At this point, Kurtzman had been with EC for about a year and was starting to come into his own. His TWO-FISTED TALES had just come out a few months earlier, the first issue of his FRONTLINE COMBAT would emerge in July, and a little over a year later his creation MAD would transform humorous comics and impact popular culture irrevocably. 

His simple yet powerful imagery tells the story perfectly, as extraneous matter is eschewed for streamlined focus upon that which conveys the story only. This tale, as many others of his at this time, exemplified Kurtzman's masterful condensation of design, that feature becoming his trademark of sorts. As only he can, Kurtzman perfectly captures a mixture of humor, humanity, and horror, and he is able to shift these gears so fast that often the readers head spins. 

Kurtzman is aided and abetted  in this feat by Marie Severin, whose choice of simple, bold colors blend seamlessly to match Kurtzman's storytelling beautifully. Characters and objects are toned in solid primary shades, and all this compels us to relish the basic straightforwardness of presentation. It is laden with blocks of stark, contrasting hues, minimalist yet elegant. It is comparable to a simple hearty meal of  meat and potatoes, sans dainty frills, being in itself delicious and filling, and taking it in we find ourselves unmistakenly full and satisfied, needing absolutely no more to complete the sensory experience.

The end result is both fascinating and enjoyable. He is able to draw us in to the drama, and leads us through events that culminate almost too quickly, and we are left wanting more.

I hope you enjoy it as much as I do.

"THE GIGGLING KILLER!"

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original cover - art by Johnny Craig

Originally published by EC Comics in 1951, 

my scans are from my reprint copy published by Russ Cochran in 1993.

One Of The Best - Kurtzman and Wood's Classic SUPERDUPERMAN! (+ Special Bonus!)

It is classic, an epitome of the genre, it's drawn fantastically, and it's uproariously hilarious.

Sure, I know it's been around, and many of you have seen it before somewhere, but it never goes out of style.

You just cannot go wrong with this one.

So, here you go. From MAD #4 (1953), published by EC Comics, with a story written and storyboarded by the legendary Harvey Kurtzman, and jaw-dropping artwork by the equally legendary Wally Wood, here you go.

The one, 

the only,

SUPERDUPERMAN!

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SPECIAL BONUS!!

Here's your bonus treat!

A very rare and special artifact  --  

Here is the original rough thumbnail storyboard layout for the SUPERDUPERMAN story!

Penciled by Harvey Kurtzman on a 8 3/4" X  6" piece of lined-ruled notebook paper is 

the kernel of genius for the story that would change comics forever!

Both Kurtzman and Wood were really at the top of their game here, 

and now we get a rare glimpse into the creative process

of this unbelievably awesome comic story!

See how tight Kurtzman thought out his stories, 

and see how much more Wally Wood brings to the party,

 making this a one of a kind gem!

Here it is in it's approximate original size!

(Actual size 8.75" x 6")

(click to see)

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Now here it is broken up / blown up so you can see it better...

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(original document courtesy Heritage Auctions)

So, that's that! Until next time,

Adios!

Sayonara!

Arrivederci!

Hasta la vista!