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For approximately the last year Kirby was producing much more of the Prize romance art then any other artist.
I thought I would present Kirby’s farewell (at least for now) from the Prize romance comics with a bang. For various reasons I guess I am going to provide a bit more of Meskin’s work then usual but he is such a great artist anyway.
While the splash is interesting in itself, but the real reason I want to post about this story is that Mort repeats the splash posses in the story as well. Usually I only include examples of the unidentified artists if they were sufficiently talented. Single page features were often done by less talented artists who were probably studio assistants.
Despite the fact that today many fans point to Boys’ Ranch as one of Simon and Kirby best efforts it was at the time a commercial failure. Another indication of Jack’s decreased involvement in the art from this period is that Bill Draut did the lead story for Young Romance #36. Most of the rest of the romance work was done by two artists; John Prentice with 25 pages and Marvin Stein with 24 pages.
Kirby’s splashes are almost always interesting but occasionally they are quite unique. I particularly like how the bottom row starts with the couple in the foreground and a TV studio as the background, then Mort comes in for a close-up without the studio background, before ending by once again pushing the couple into the background of the studio. John Prentice has become a regular presence in Simon and Kirby productions, especially the romance comics.
While the splash page to this story looks like typical Prentice inking other pages seem to be a combination of his own inking techniques and the Studio Style. A page from another Prentice story from the same period provides a more typical example of Prentice inking. Previously I have had mixed feelings about Marvin Stein and in particular felt his romance art was little more then adequate. Vic Donahue has not made an appearance in a Simon and Kirby production for almost a year (last seen in YL #13, September 1950, see Chapter 11 of The Art of Romance). I am always impressed by the number of talented comic book artists that had worked for Simon and Kirby at one time or another. Black Magic #4 to #6 were released during the same period as Boys’ Ranch #4 to #6 (for Harvey Comics). The period discussed in this chapter roughly corresponds with chapter 15 of my serial post The Art of Romance. While Jack Kirby did all the covers for Black Magic (as he would throughout the first run) in terms of the number of pages drawn he was not the primary artist for Black Magic like he was in the earlier issues. I am afraid I am giving short shift to Mort Meskin by only including one example despite the fact that he produced far more work then any other artist. Black Magic seems to have given Bill Draut the confidence to draw the type of characters that had all but disappeared from his romance work.
I am not sure why but John Prentice did not seem to do as much work for Black Magic as compared to what he did for the romance titles. BM #3 (February) marked the earliest appearance of pencils by George Roussos in a Simon and Kirby production. Vic Donahue has not been appearing in Simon and Kirby productions for a while and this is the only work that I have assigned to him for 1951.
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There were short periods when they reverted back to graphic covers but beginning in May 1951 for Young Romance and July 1951 for Young Love all the romance covers used photographs. Up to this point there was only one comic produced by Simon and Kirby with a cover drawn by another artist (My Date #4, September 1947, drawn by Mort Meskin and Jerry Robinson). That was not particularly surprising because that was typical for the Simon and Kirby studio. With just a couple exceptions the features start with a story splash (a splash that is actually part of the story) or no splash at all.
At this time it was actually one that he preferred but not often used by the other studio artists. Note the same odd panel shape although this time Kirby did not successfully connect the upper right with the rest of the image.
Of the five drawn covers from March and April three of them illustrated a story from the interior. But I do regret that Mort never did any more action packed stories like those he drew during the war, features like the Vigilante and Johnny Quick. The story’s protagonist, Lola, lives a double life which Meskin highlights with his splash.
Unfortunately he does not really pull it off since the upper right corner does not visually connect with the rest of the splash. While I find the story splashes and splash-less stories interesting, I must admit to missing the more traditional splashes. This would be one of the few exceptions of a Prize romance cover done from this period by an artist other then Draut, Meskin or Prentice. While there were periods during the Simon and Kirby collaboration that support that legend there are other times that do not.
While it was not unusual for the first story of Young Love to be done by artists other then Kirby, Young Romance was the flagship title and up to now Jack almost always provided the lead story.
He still drew great splashes and his stories were still unique compared to other studio artists (suggesting that Jack was rewriting the scripts while he was drawing them). It is an unusual story for any romance title because it main characters are all in their advanced years. One obvious difference is that Meskin is uncharacteristic in his use of busy brushwork found throughout the splash. This results in tall narrow panels that Mort put to good use especially in the second panel of page 5.


Careful manipulation of point of view was an important aspect of Meskin’s art during this period providing his stories with what could be described as a cinematic approach. In the last chapter I provided an example where Prentice seemed to be adopting some of the Studio Style inking techniques. Most of the cloth folds are done in Prentice’s typical brush work but note the abstract arch shadows (panels 1, 2 and 4), picket fence crosshatching (panels 3 and 4) and shoulder blot (panel 6). Again note the cloth folds some of which are long and sweeping and few could be called oval or spatulate in shape. Even in the last chapter I noted his presence and gave an example image but did not provide more detailed examination. The Alice in Wonderland cast was probable requested by the script writer although the wonderland that Alice desires in the story did not include these delightful characters. Most fans are probably familiar with him for the work he did many years later on Amazing Spider-Man. The sort of wistful expression with tilted head of the woman in the center of the splash panel can be found in some signed pieces from a few years later. Both titles were bimonthlies which mean that the greatest amount of work produced by the Simon and Kirby studio was for Young Romance and Young Love both of which were monthlies.
Not that the half page splash is so visually different but the fact that the splash panel is actually the first story panel. You normally would not see something like the sailor with the white hat in Bill’s love stories at this time.
Despite having two stories in that BM #5 and one in the next issue, it is odd that Roussos has not yet appeared in either Young Romance or Young Love. In this case we find picket fence crosshatching (Inking Glossary) on the hooded figure and a rounded shadow in the upper right corner. Do not get me wrong Roussos pencils and inking are on the crude side but his use of blacks makes it really work. It is an odd story and it allows Vic to draw the type of characters that would not have been appropriate for romance work. Thanks for viewing "Secret love affair movie quotes".You can also find us on popular social media sites including Facbook, Pinterest, Google+ & Tumblr. When she confronted Joe Simpson, he admitted to being gay and that he’d been having an affair with Hill, 21. Now after three years they suddenly switched back to drawn covers; Young Brides #13 (March 1954) would be their last photographic cover.
It is not much of a splash, perhaps it should not be called a splash at all, but it shows that the old Mort still had what it took to do action.
Remember this is a period where most features start with a story splash so this was a bit of a deviation. But look closely at the positions of things like the arms and the reader will see that these are in fact redrawn and not just stats. Probably the only reason Mort used this panel shape was the room it provided for the speech balloons. I have no idea who this inker is but his inking certainly has given Meskin’s pencils a rather unique look. There seem to be more deviations to the type of splashes used during the period covered in this chapter. Donahue last appeared in Young Love #13 (September 1950) so he has been missing for some time. After that Joe and Jack would only be working on the two monthly romance titles and the bimonthly Black Magic all of them for Prize Comics. The single previous exception was for YR #12 (July 1949) and Draut was the feature artist on that occasion as well.
But it must be remembered that Jack was a boss and his income depended on the how good sales were for the S&K titles not on how many pages of art he drew.
Two of them will be discussed below and the third has not been identified but only provided a single page.
This uniqueness was often the result of placing more action into the story, something that Kirby excelled at. Here while riding a train a man pauses from reading his book to reflect on a past relationship. Bill does a good job with the soliloquy splash and as any good splash it succeeds in its roll as the story’s preview. This panel layout was one that previously Leonard Starr was fond of using so one wonders if perhaps Meskin picked it up from him. Although it was possible it could have been Joe or Jack touching up John’s work the picket fence crosshatching (see my Inking Glossary for explanations of some of my inking terminology) my opinion was and still is that it was the work of John himself. However Marvin had been working hard at improving his art and although signs of improvement have been noted before now his efforts really seems to bare fruit during this period. Having seen much of Marvin Steins work in the romance, crime, western and horror genres it is quite a pleasure to see him so successful at a more cartoon-like drawing. Others like Leonard Starr and John Severin worked for more limited durations but provided their share of work during that time.
Andru was clearly an enterprising individual who formed his own company on three occasions.
This is not at all unusual for while Simon and Kirby are most famous for their superheroes most of the work they did during their collaboration was for love comics.
It is amazing how Kirby has managed to make the woman both beautiful and evil; no haggard witch here is just a cold and angry heart. It is one of those cases where Jack, so famous for his action, has managed to make exciting art out of nothing more then talking heads.
I admit that Mort did some great work for DC after leaving the Simon and Kirby studio but that unfortunately was done under the severely detrimental effects of Comic Code censoring.
Typically splash panels are used as the comic book equivalent of a movie trailer; they provide a sort of a synopsis of the story to entice the reader.
Since George did a lot of inking and was well known to Joe and Jack there is the possibility that he has help with inking Kirby’s work prior to this but I have seen nothing that confirms that conjecture.
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The artists that appeared on the covers were the same ones that dominated the interiors; for the most part that would be Bill Draut, Mort Meskin and John Prentice. As we will see the same artist will provide work for these Kirby-lacking issues that had been used previously.
Well this is not fight but the only things not rushing through the air are the irate husband and his frightened wife.
The fight scene does not lead into the story but serves the more tradition purpose of providing a preview. Simon and Kirby always kept the more controversial images inside and this is no exceptions. However a story with that title not only does not appear inside it would never be published by Simon and Kirby. Just a couple of running kids but probably better then anybody actually doing superheroes at this time except, of course, for Jack Kirby.
While the use of stats would be common in work that Joe Simon did years later, I have not been able to find any examples from the Simon and Kirby collaboration up to this point in time.
While I prefer Meskin’s own inking, this unknown inker is rather interesting and much better then George Roussos inks.
Perhaps this is a hint that Simon and Kirby are moving away from their more recent approach. While this does look like Donahue’s work it seems a rather poor piece of art considering the quality of work Vic was doing four years ago. Young Romance entered its fourth year and I believe both romance titles were still selling very well. During the period covered in this chapter Meskin has maintained the first place position but now Bill Draut has replaced Jack for the second place. But as I have pointed out before, Jack also excelled at comic book art that did not rely on action. Normally the splash would be expected to show a head shot or half figure of the former love object.
The odd thing about this piece is that usually the lead story used the soliloquy format where the protagonist’s speech balloon tells what the story is about and provides the title. Mort also takes care to make the camp fire scene occur at night providing the nearby faces shadowed from below as appropriate for the position of the fire. Starr also used a 3 rows by 3 panel layout where he would decrease the height of two rows so that the remaining row would have similarly tall panels. Panel 6 truly has shoulder blots because they appear on both shoulders while a shadow would only be appropriate foe the man’s right side.


But the round shape in the first panel is not abstract at all but is clearly meant to be the moon. Marvin developed a style for his crime and western work that owed much to what he learned from Jack Kirby. Even though this piece is unsigned enough of Vic’s mannerisms remain to credit Vic with this story such as the tilt he often gives the heads of females or the way he occasionally reverts to fine pen work often as simple hatching.
Yet others made brief appearances and only did a few pieces for instance Bernie Krigstein and Steve Ditko. But even Bill was not the second most prolific artist in the issues covered; surprisingly that would go to the newcomer George Roussos who did 20 pages.
Part of what makes a page like the one shown above so vital is how Kirby changes the expressions in every panel. He had previously worked for Hillman so perhaps he had done some drawing in that genre there.
That Simon and Kirby both knew Roussos is indicated by a sketches both did for him in 1942 (Joe did Hitler in a zoot suite (Poking Fun at Hitler) and Jack did the Boy Commands (A Belated Happy Birthday to Jack Kirby). While there is classical picket fence crosshatching on the right ghostly figure it changes as it proceeds to the left and becomes an inking technique not found in the Studio Style. Vic was one of the lesser talents in the Simon and Kirby studio and now that all three of the usual suspects (Bill Draut, Mort Meskin and John Prentice) are present Donahue will rarely appear again if at all (my database has no more entries for him after this one). The line up for the period covered in this chapter is Bob McCarty (50 pages), John Prentice (49 pages), Bill Draut (44 pages), Mort Meskin (37 pages) and Jack Kirby (25 pages) with some very minor contributions by some other artists.
One of the things that attract me to Simon and Kirby romance comics, besides the great art, is how well they reflect the times. Bill has used that soliloquy splash before so he was aware of Simon and Kirby’s preference for using that splash format for the lead story. Both do well at having the splash background support the story needed although it is not clear how much of this was the result of the artist and how much came from the writer. While I am not certain that the picket fence crosshatching was not by John, the abstract arches are so untypical for Prentice that I believe this is Joe or Jack stepping to do some touching up. The arc of the left side of the second panel is meant to be the entrance to an arched hallway.
For that more action oriented art Stein also developed an inking style that was blunt but well controlled; a style very suitable for the genre it was used on. Vic also appeared in this same month in Black Magic #6 (Chapter 2 of the Little Shop of Horrors) in a signed piece but I have to admit I did not find that work particularly appealing. My database indicates Ross will appear in a couple more Simon and Kirby romances in the near future and again under different circumstances in 1954. Vic Donahue who has been absent from Simon and Kirby productions for some months does a single 5 page story. Since the characters are all past their youth Jack can push his already exaggerated eyebrows to much advantage. Beat up trash cans, littered bottles and yeah I am sure that man in the background is just asking directions from the woman. George also knew Mort Meskin and had inked some of Mort’s work for DC (Early Mort Meskin). There the shadow is built with short strokes that initially look like the pickets from the picket fence crosshatching but without the rails.
Not only was there a dramatic drop in Kirby contribution he did not appear in any of the April issues and would not again for some time to come. While I do not have an explanation for the switch to photographic covers, I do believe I can provide a good reason for Kirby’s absence. I think this was done on purpose to make the switch in?distinct styles less jarring to the reader.
Adding the work for Black Magic only increases the disparity (Meskin 78, Draut 67 and Kirby 60 pages). I describe the comparison as unfair because Kirby is such a great artist the comparison will tend to make Draut’s work poorer then the excellent art it really is.
They are not the spatulate or oval shape typical of Kirby but tend to be long with roughly parallel edges and with a more or less flat and sometimes slanted ends. The shadow on the right side seems to be the light of the window falling on the darken exterior. Neither the pencil nor inking style would be very appropriate for romance work so instead Marvin used a more refined style for both. Some have said it was a comic publishing company in which case Andru and Esposito were three years ahead of Simon and Kirby’s Mainline (although Al Harvey was much earlier then them all). Considering that Andru’s earlier pieces for Joe and Jack are unsigned there is also the possibility I will find more as my reviews progress. Note the building on our right; the way the bricks are roughly inked as solid black is a mannerism often used by Draut. The rounded shadow in the upper corner has a ragged edge that again is not typical of the way it usually is done in the Studio Style.
The word balloon that introduces the story provides the plot of young lovers facing family disapproval but does not explain the basis of their problem other then age. But the comparison is useful because it highlights the nuanced emotions Kirby gives his characters compared to the more static ones that Draut provides. Not only was the bold inking brush restrained but Marvin sometimes used a pen to create crosshatching.
I am not one to automatically attribute good inking jobs to Kirby but the way the spotting is done on the white shirt in the splash and the use of bold cloth folds make me believe that at least much of the spotting was done by Jack himself.
Years later John would do some work for Simon and Kirby’s Police Trap and later yet take over the syndication detective strip Rip Kirby. The difference is all the more striking when it is considered that Meskin and Draut were doing all there own inking while Kirby was not. Kirby presents the couple passing through a gate carrying their luggage presumable off to start their new life together. While Kirby is justly famous for the exciting action the work he did for romance pushed him to be equally adept at portraying more subtle emotions. There is some picket fence crosshatching that again does not look typical of the brush work of either Kirby or Simon.
His figure drawing has improved but he still retains one of his earlier trademark tendencies to give his woman eyes that are set at an angle with each other. If MR Publications was actually producing comic books for another publisher to release then Simon and Kirby had been doing that for years (and Will Eisner doing it still earlier). A lot of the times these very short pieces just did not seem to get the same attention from the various studio artists as they gave to the more substantial stories.
My knowledge of John Prentice work outside of the Simon and Kirby studio is sadly incomplete but I am working on rectifying that defect.
However Simon and Kirby were well aware of the danger in the husbands rage as he learns his lesson when his temper turns on some pet birds. The sign on the entrance indicates they are leaving the servant’s quarters and therefore theirs is a romance that breaks the class boundary between the rich and their servants. At a glance this might be mistaken for a Studio Style shoulder blot but see how it appears on only one of the shoulders and is clearly integrated with the shadow on the side of the face. MR Publications was short lived and it would be interesting to determine the timing of that company or its demise and the appearance of Andru’s in Simon and Kirby productions. Most of the Fighting American art was drawn by Jack but he his contributions to the Mainline titles (Bullseye, In Love, Police Trap and Foxhole) would be relatively low.
With Joe or Jack I am never sure if shoulder blots were meant to indicate shadows or the turn of the form but Prentice always seems quite clear with his intent. The pure black area on the man’s left shoulder seems an appropriate shadow but then the picket fence crosshatching on the opposite side does not.
Many people believe that Kirby did the art while Simon handled the business but the reality is that both Jack and Joe did whatever had to be done to get the comics out.
At a glance this splash is nothing more the two standing figures but Jack embodies an entire story in it. Since I have found both Simon and Kirby touching up other artists works distinguishing between their efforts and that of the original artists adopting Studio Style techniques can be a difficult conundrum. I am sure some of these more mundane but essential business needs kept Kirby from the drawing board. Of course the viewer is expected to be enticed to read the story to get the full explanation. The distinction becomes important when trying to detect Prentice’s hand in the inking of work by Jack Kirby.
Some have suggested that John was the inker for some of Kirby’s art and he certainly is a candidate for that type of work.




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