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     I've been thinking since Memorial Day, and as we approach July 4th, what a deep influence World War II had on many comic book artists of the 40's, 50's and 60's, and ongoing on the entire industry through the continuation of characters created in that era. - Simon and Kirby
Will Eisner
Lou Fine
Mac Raboy
Joe Kubert
Stan Lee
Carmine Infantino
Gil Kane
And so many others. Whether they served in the military, or simply grew up in that era, their concepts of right and wrong, of good and evil, the face and form of evil as portrayed in comics, was largely shaped by their battlefield experience, or by their experience living through the WW II era at home, watching newsreels, viewing the devastation daily, regularly viewing the propaganda that drove the Axis powers to conquest and genocide. In the modern era, the concept of evil is an abstraction, the line between good and evil much more gray. But the black-and-white contrast of good and evil was deeply felt by the generation of artists that began comics in the Golden Age of comics during WW II, and even in the late 1930's prior to the war's beginning in September 1939. Jack Kirby served in Northern France in 1944, and no doubt saw a lot of evil there firsthand. Many war comics Kirby did over four decades are somewhat autobiographical of his own experiences on the battlefield. The first of these I sampled was Kirby's run in OUR FIGHTING FORCES 151-162 (1974-1975)    In many ways, even though Kirby's 70's DC work was 30 years after the war, it was the most explicitly representative of how WW II had shaped Kirby's perception of evil. MISTER MIRACLE 7 (1972) opens with a scene where children abducted from Earth are brought by air-ships to an indoctrination and training camp on Apokalips. And from the moment the doors open, the new arrivals are beaten with clubs by harrassers, and driven running all the way to their barracks. Reminiscent of Jews arriving in railcars at a Nazi concentration camp.  FOREVER PEOPLE 3 introduces Glorious Godfrey and his Justifiers, who parallel Nazi storm troopers in their indoctrinated ability to rationalize violence, murder, even suicide, in the name of their cause. I see Glorious Godfrey as Joseph Goebbels, a propaganda mininster. Although Kirby also said that Billy Graham's speaking style is a big influence on shaping the character.  Also big in Kirby's Fourth World series was the concept of anti-life, sacrificing one's own life and happiness to become a cog in the machine of a fanatical cause. Again, a concept rooted in Kirby's WW II experience with Nazism. Even Kirby's lighter works such as KAMANDI present battle scenes that have a WW II feel to them. One scene I recall from KAMANDI 10, after a fierce battle, Ben Boxer says to Kamandi : "It was us or them. I'm glad we won." Kirby is one example. Joe Kubert likewise demonstrates a deep influence from WW II, a majority of his work being in DC's war books, with a special focus on World War II in a majority of the stories. Not just the work of a number of artists from that period, but the comic book industry as a whole seems deeply impacted by this wartime-shaped focus on good and evil, and on Nazis or Nazi-patterned images as the embodiment of evil.    
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Roy Thomas could join that list.
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Yeah, he was a big comics fan as a kid in the '40s. Bought everything.
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Somehow Roy Thomas never occurred to me as a World war II-influenced creator. I was speaking primarily of those creators who served in WW II, although I did mention those after, on into the Silver Age and beyond, who were influenced by the WW II period. Which Roy Thomas, as you say, certainly is. Roy Thomas, probably more than any other creator, expanding on the continuity established by Stan Lee, has made the largest contribution to preserving the Golden Age of comics, on into the modern era. What Stan Lee did beginning with resurrecting Captain America and the Sub-Mariner, Roy Thomas expanded with his work in AVENGERS, THE INVADERS, the Vision as the re-animated body of the Golden Age Human Torch, and so on at Marvel. And then Thomas did the same at DC in 1980 when he left Marvel, with the Justice Society in ALL-STAR SQUADRON, INFINITY INC., and YOUNG ALL-STARS, as well as tapping into the Golden Age roots and expanding on the history of many other characters in SECRET ORIGINS, and on the Shazam characters in DC COMICS PRESENTS, and in several other series. I also found this letter a very insightful commentary on the WW II influence on two of the most influential creators of the Golden Age. From WORDSMITH # 8 letter column (February 1987) : It's generally accepted that the tremendous comics boom of the '40s was also a reaction to Nazism, and that the current superhero comics are still riding on the inertia of that 40's explosion.
People needed escapist literature. The costumed heroes fought Nazism in a way soldiers never could.
Many of the early writers and artists in comics were Jews --from Eisner, to Simon and Kirby, to Siegal and Shuster.
I have wondered, like you, what they thought as the rumours came in about the imprisonment and extermination of their relatives in Europe.
Your speculations are perceptive and convincing, showing a wide range of reaction ( It is interesting that the reaction to anti-semitism in France in the 1870's by Impressionist painters is widely documented, but we may never know what pulp-writers and cartoonists in America thought about the Nazis a scant 50 years ago).
In WORDSMITH # 5, [ the character ] Eric Hassel sees the Aryan hero of the pulps as a super-man.
I have to wonder if Jerry Siegal saw the Jew of the late 1930s as his Superman.
Like the Jew of the thirties, Superman comes from a world ( Krypton, like Europe) which is being destroyed.
Though the parents cannot leave (German emigration laws) they did manage to get their baby out while they awaited their deaths.
The baby was adopted in the new world where he anglicized his name ( Kal-El to Clark Kent ).
He was told he would walk among them but he would not be one of them. ( Many Jews feel apart from Christian society. They can pass for Christian, if they so desire, but many take up two identities: that of "assimilationists" when they are in the company of Christians, and their truer cultural identity when in the company of fellow members of ther religion.)
And Kryptonite becomes a reminder of the "old world" to the assimilationist Jew. It is a piece of the old world, reminding them of their origins and sapping their will to survive. [ Perhaps by raising the despairing memory of their great racial genocide. ]
Lois Lane becomes the Shiksa goddess. She looks good, but she's untouchable because many Jews do not marry outside their religion.
The bottle city of Kandor is the shtetle, the old Jewish village [in Europe] where Superman (or the assimilationist Jew) can truly feel at home.
Perry white is the Rabbi.
Luthor is Hitler.
Braniac is Eichman.
Sorry if I got carried away there, but this theory --which I first heard from a friend of mine named Paul Truster-- was too interesting to just let go by, without sharing.
Ron Kasman,
Toronto, Canada --------------------  "This Man, This Wonder Boy..."
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Quote:
Wonder Boy shared with us:
Quote:
It's generally accepted that the tremendous comics boom of the '40s was also a reaction to Nazism, and that the current superhero comics are still riding on the inertia of that 40's explosion.
People needed escapist literature. The costumed heroes fought Nazism in a way soldiers never could.
Many of the early writers and artists in comics were Jews --from Eisner, to Simon and Kirby, to Siegal and Shuster.
I have wondered, like you, what they thought as the rumours came in about the imprisonment and extermination of their relatives in Europe.
Your speculations are perceptive and convincing, showing a wide range of reaction ( It is interesting that the reaction to anti-semitism in France in the 1870's by Impressionist painters is widely documented, but we may never know what pulp-writers and cartoonists in America thought about the Nazis a scant 50 years ago).
In WORDSMITH # 5, [ the character ] Eric Hassel sees the Aryan hero of the pulps as a super-man.
I have to wonder if Jerry Siegal saw the Jew of the late 1930s as his Superman.
Like the Jew of the thirties, Superman comes from a world ( Krypton, like Europe) which is being destroyed.
Though the parents cannot leave (German emigration laws) they did manage to get their baby out while they awaited their deaths.
The baby was adopted in the new world where he anglicized his name ( Kal-El to Clark Kent ).
He was told he would walk among them but he would not be one of them. ( Many Jews feel apart from Christian society. They can pass for Christian, if they so desire, but many take up two identities: that of "assimilationists" when they are in the company of Christians, and their truer cultural identity when in the company of fellow members of ther religion.)
And Kryptonite becomes a reminder of the "old world" to the assimilationist Jew. It is a piece of the old world, reminding them of their origins and sapping their will to survive. [ Perhaps by raising the despairing memory of their great racial genocide. ]
Lois Lane becomes the Shiksa goddess. She looks good, but she's untouchable because many Jews do not marry outside their religion.
The bottle city of Kandor is the shtetle, the old Jewish village [in Europe] where Superman (or the assimilationist Jew) can truly feel at home.
Perry white is the Rabbi.
Luthor is Hitler.
Braniac is Eichman.
Sorry if I got carried away there, but this theory --which I first heard from a friend of mine named Paul Truster-- was too interesting to just let go by, without sharing.
Ron Kasman,
Toronto, Canada
We all wear a green carnation.
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Captain America's resurrection by Stan Lee, Jack Kirby and George Roussos stands out as perhaps the best single story ressurecting a Golden Age hero, and among the best stories linking the modern comics era to the Golden Age.  I also love the way Sub-Mariner is incorporated into the story, tossing away the block of ice containing Captain America's frozen body, to break up a cult of eskimo worshippers. Captain America remains the ultimate Golden Age tribute in comics, because he is a W W II combat veteran brought with his youth intact (through cryogenic freezing) into the modern era, and carries the firsthand memory of fighting the Nazis. And this was explored well by Roger Stern and John Byrne in CAPTAIN AMERICA 247-255 (1980-1981)    Where despite living in the modern world, Captain America (Steve Rogers) still has the old-fashioned sensibilities, musical taste, speech mannerisms, and dating standards of the 40's era. So we get to see his W W II-veteran perspective of the modern world. ( I loved how this was similarly done in the 1983 movie The Philadelphia Experiment, where a WW II scientific naval experiment aboard a U.S. battleship sends two sailors forward in time to 1983. Especially the scene where one of the W W II sailors (portrayed by Michael Pare) watches a speech on television by then-President Ronald Reagan, who had been only an actor in the 1940's. He asks a girl: "Hey, I know this guy. Is this another movie?" And she answers: "No..." )
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Quote:
It's generally accepted that the tremendous comics boom of the '40s was also a reaction to Nazism, and that the current superhero comics are still riding on the inertia of that 40's explosion.
People needed escapist literature. The costumed heroes fought Nazism in a way soldiers never could.
Many of the early writers and artists in comics were Jews --from Eisner, to Simon and Kirby, to Siegal and Shuster.
I have wondered, like you, what they thought as the rumours came in about the imprisonment and extermination of their relatives in Europe.
Your speculations are perceptive and convincing, showing a wide range of reaction ( It is interesting that the reaction to anti-semitism in France in the 1870's by Impressionist painters is widely documented, but we may never know what pulp-writers and cartoonists in America thought about the Nazis a scant 50 years ago).
In WORDSMITH # 5, [ the character ] Eric Hassel sees the Aryan hero of the pulps as a super-man.
I have to wonder if Jerry Siegal saw the Jew of the late 1930s as his Superman.
Like the Jew of the thirties, Superman comes from a world (Krypton, like Europe) which is being destroyed.
Though the parents cannot leave (German emigration laws) they did manage to get their baby out while they awaited their deaths.
The baby was adopted in the new world where he anglicized his name ( Kal-El to Clark Kent ).
He was told he would walk among them but he would not be one of them. ( Many Jews feel apart from Christian society. They can pass for Christian, if they so desire, but many take up two identities: that of "assimilationists" when they are in the company of Christians, and their truer cultural identity when in the company of fellow members of ther religion.)
And Kryptonite becomes a reminder of the "old world" to the assimilationist Jew. It is a piece of the old world, reminding them of their origins and sapping their will to survive. [ Perhaps by raising the despairing memory of their great racial genocide. ]
Lois Lane becomes the Shiksa goddess. She looks good, but she's untouchable because many Jews do not marry outside their religion.
The bottle city of Kandor is the shtetle, the old Jewish village [in Europe] where Superman (or the assimilationist Jew) can truly feel at home.
Perry white is the Rabbi.
Luthor is Hitler.
Braniac is Eichman.
Sorry if I got carried away there, but this theory --which I first heard from a friend of mine named Paul Truster-- was too interesting to just let go by, without sharing.
Ron Kasman,
Toronto, Canada
I'd say this is completely spot-on. I've heard a lot of this before, but the stuff about Kryptonite is a new one, and pretty accurate as well.
Not so sure about his comparing Perry White to a rabbi and Brainiac to Eichman and all that. But the rest 'd definitely agree with.
"Well when I talk to people I don't have to worry about spelling." - wannabuyamonkey
"If Schumacher’s last effort was the final nail in the coffin then Year One would’ve been the crazy guy who stormed the graveyard, dug up the coffin and put a bullet through the franchise’s corpse just to make sure." -- From a review of Darren Aronofsky & Frank Miller's "Batman: Year One" script
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I think he was just having fun and being intentionally hyperbolic with Perry White, Luthor and Braniac at the end. But beyond that was serious and making good analogies. I'm not sure all of it was intended by Shuster and Siegel, but the metaphoric potential for it to represent Jews fleeing Europe is certainly there regrdless. Another series that manifests well the World War II influence on two generations of comics creators is SGT FURY AND HIS HOWLING COMMANDOS. Kirby illustrated issues 1-7, and issue 13 (this last issue sports a team-up of the Howlers with Captain America and Bucky in two-fisted WW II action), in 1963-1964.     Issues 1-3 are by Lee/Kirby/Ayers 4-7 are Lee/Kirby/Roussous 8-12 are Lee/Ayers/Roussous 13 is Lee/Kirby/Ayers And the remainder of the series is largely a Dick Ayers tour-de-force, which ran a very respectable 167 issues. Issues 1-13 were recently collected in a hardcover MARVEL MASTERWORKS edition. Which is an incredible deal, because for the same price as other Masterworks volumes (usually about 220 pages), this one features 309 pages of riproaring commando action. As the Howlers would say: WAAH-HOOO !! And I think these are very under-rated stories, that are often over-looked when folks are listing classic early Marvel runs. It certainly is a reflection of the WW II experience of the men who created these stories. Also a surprise to me is that all the early creators were W W II veterans. Stan Lee rose to Sgt in the Signal Corps. Kirby, I've known for a long time, served in northern France. And Ayers as well had been a Corporal in the Air Force. Which is proudly mentioned in the credits of many issues.
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Quote:
Darknight613 said:
Quote:
It's generally accepted that the tremendous comics boom of the '40s was also a reaction to Nazism, and that the current superhero comics are still riding on the inertia of that 40's explosion.
People needed escapist literature. The costumed heroes fought Nazism in a way soldiers never could.
Many of the early writers and artists in comics were Jews --from Eisner, to Simon and Kirby, to Siegal and Shuster.
I have wondered, like you, what they thought as the rumours came in about the imprisonment and extermination of their relatives in Europe.
Your speculations are perceptive and convincing, showing a wide range of reaction ( It is interesting that the reaction to anti-semitism in France in the 1870's by Impressionist painters is widely documented, but we may never know what pulp-writers and cartoonists in America thought about the Nazis a scant 50 years ago).
In WORDSMITH # 5, [ the character ] Eric Hassel sees the Aryan hero of the pulps as a super-man.
I have to wonder if Jerry Siegal saw the Jew of the late 1930s as his Superman.
Like the Jew of the thirties, Superman comes from a world (Krypton, like Europe) which is being destroyed.
Though the parents cannot leave (German emigration laws) they did manage to get their baby out while they awaited their deaths.
The baby was adopted in the new world where he anglicized his name ( Kal-El to Clark Kent ).
He was told he would walk among them but he would not be one of them. ( Many Jews feel apart from Christian society. They can pass for Christian, if they so desire, but many take up two identities: that of "assimilationists" when they are in the company of Christians, and their truer cultural identity when in the company of fellow members of ther religion.)
And Kryptonite becomes a reminder of the "old world" to the assimilationist Jew. It is a piece of the old world, reminding them of their origins and sapping their will to survive. [ Perhaps by raising the despairing memory of their great racial genocide. ]
Lois Lane becomes the Shiksa goddess. She looks good, but she's untouchable because many Jews do not marry outside their religion.
The bottle city of Kandor is the shtetle, the old Jewish village [in Europe] where Superman (or the assimilationist Jew) can truly feel at home.
Perry white is the Rabbi.
Luthor is Hitler.
Braniac is Eichman.
Sorry if I got carried away there, but this theory --which I first heard from a friend of mine named Paul Truster-- was too interesting to just let go by, without sharing.
Ron Kasman,
Toronto, Canada
I'd say this is completely spot-on. I've heard a lot of this before, but the stuff about Kryptonite is a new one, and pretty accurate as well.
Not so sure about his comparing Perry White to a rabbi and Brainiac to Eichman and all that. But the rest 'd definitely agree with.
Personally, I think it would be more accurate to compare Braniac to Albert Speer. They were both technocrats.
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 Here's an interview of Joe Kubert, regarding his most recent SGT ROCK graphic novel with writer Brian Azzarrello: Although Kubert edited the whole DC line of war titles in the 60's and 70's, including G I COMBAT, OUR FIGHTING FORCES, STAR SPANGLED WAR, and FOUR STAR BATTLE TALES, I always considered OUR ARMY AT WAR (SGT ROCK) to be the title that was his most personal work. It's the title where Kubert was most involved in storytelling, not only editing the series, but also drawing, and even writing the stories for many decades, from the late 1950's on up to the present. I thought it surprising that Kubert said in the interview that he saw Sgt. Rock as a guy who didn't enjoy fighting. Most relevant to this topic, this portion of the interview:
TIM O'SHEA: Speaking of Yossel: April 19, 1943, it's clearly an extremely personal work, given that the story examines what would have happened to your family had they been in Poland's Warsaw Ghetto (rather than moving to America in the 1920s, as your family did)? Critical response understandably has been strong, but what's been the reaction of contemporaries in your family--has it been a painful work for some of them to read?
JOE KUBERT: No. In fact, they were deeply impressed. They are grateful that my Mother and Father had the foresight and ability to go ahead and make the move to America. The irony is recognized. Not a painful irony, but a sad one. For all those relatives and friends who were lost in the Holocaust. And a grateful one for those who were fortunate enough to have survived.
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Sam Glanzman is another World War II veteran who has dedicated a large percentage of his comics storytelling to his war recollections. In particular, his backup stories in STAR SPANGLED WAR and other DC war titles in the 1970s, as a sailor aboard a U.S. Navy destroyer ("D.D. 479") in the Pacific War against the Japanese. One I particularly enjoyed was in STAR SPANGLED 167, with some poetic description of the Battle of Okinawa, and battleship crew's shore leave afterward in the Phillipines.  [ cover by Kaluta, whose style is very compatible with Glanzman's ]Marvel also released two new extended A SAILOR'S STORY graphic novel versions of these stories by Glanzman in the late 1980's. Vol 1 and Vol 2As I said, the comics industry as a whole is still largely focused on characters with a similar World War II mindset of sharply contrasted right and wrong, good and evil. And the attitude formed by these creators, who began the comic book medium in the 1930s and 1940s, whose characters --or similar characters in the same ideological mold-- endure and continue to set the tone for the conviction and heroism we expect from our heroes in comics.
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November 6th, 2012: Americas new Independence Day.
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I really have nothing to add except that Blackhawks is also a classic WWII era comic. It was Quality Comics best selling title (edging out even the character most closely associated with that company, Plastic Man) and was one of the reasons DC bought Quality in the first place. Also, with those of an rpg-bent, check out The Golden Age, a supplement to the Mutants & Masterminds rpg. In addition to having some fun options to set a game during that time period, it also has a solid history of the Golden Age of comics, as well as a chapter about the history, events, fashions, and trends of that era, so you can add some historical detail to your campaign.
Knutreturns said: Spoken like the true Greatest RDCW Champ!
All hail King Snarf!
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I was aware BLACKHAWK was popular, but I wasn't aware it was so popular that it rivalled or surpassed PLASTIC MAN. Air fighter ace comics were produced by many publishers in the Golden Age. Some nicely illustrated ones I enjoyed were in FIGHT COMICS, RANGERS COMICS, and WINGS COMICS, all published by Fiction House in the 40's and early 50's. One World War II/ Nazis title I've re-read quite a few times is the collected THE LOSERS by Jack Kirby (originally published in OUR FIGHTING FORCES 151-162, 1974-1975).  For those not aware, Kirby fought in the European theatre in 1943-1944, in Northern France. These stories written and penciled by Kirby are somewhat autobiographical. With some humorous twists on the random absurdity of war. One story in particular resonated for me, "A Small Place In Hell" from OUR FIGHTING FORCES 152, 1974. Where the Losers are given leave, and instead of being transported to safety behind the lines, are accidentally dropped off in a French town just before it is over-run by the Germans! (Presumably during the Battle of the Bulge, Dec 1944). Another story has the U.S. army create a fake weapon as a bluff, based on the designs of a scrawny soldier with an affection for science fiction pulp magazines that could be a young Kirby. These are atypical war stories, some based on Kirby's own battlefield experiences. Even Kirby's superhero stuff often takes on a similar atmosphere of fighting a war. Two examples I can think of: The Thing vs. the Silver Surfer battle in FANTASTIC FOUR 55, one of the early stories now in the well established Marvel style, where the two adversaries slug each other through buildings and crowds run terrified in the streets, resembling a city under siege from artillery. And NEW GODS 8, from 1972, "The Death Wish of Terrible Turpin", where a detective named Turpin fearlessly takes on Kalibak, and they similarly destroy several buildings before the battle finally ends. Even in books like KAMANDI or FF or OMAC, the template for adversaries in Kirby stories seem to be Hitler and the Nazis. Kirby said in an AMAZING HEROES interview that Darkseid for him was Hitler. His threat being ideology as much as brutal military force.
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https://www.haaretz.com/israel-news/.pre...caust-1.6462797Article about a museum exhibit and book devoted to Jewish comics creators from the Golden Age forward, who brought awareness of the Holocaust through their comics stories. (Some might not know that until the 1960's, it was mentioned broadly as "victims of the Nazis" and largely unmentioned in the news media that the victims were primarily Jews. It was in the 1970's and forward that the term Holocaust was popularized. ) Apparently a story by Harvey Kurtzman in 1951 for FRONTLINE COMBAT 3, Nov-Dec 1951, was the first that drew attention in comics to Jews as the special focus of Nazi genocide. Here's a complete list of the 18 comics in the book: https://www.comics.org/issue/1866522/#2540655Some I was aware of, many I was not. Batman 237 "Night of the Reaper" by Dennis O'Neil, and Neal Adams/Dick Giordano (from a plot idea by Harlan Ellison) is probably the most famous one. I was surprised not to see listed the X-MEN: GOD LOVES, MAN KILLS Marvel Graphic Novel (1983), that as I recall, introduced the idea that Magneto was Jewish, and a great overall story on racial hatred. (As I recall, Neal Adams was originally slated to do that graphic novel, but declined due to broken promises by Shooter, at which point it became a Chris Claremont/Brent Anderson project). I recall some later Claremont/Bolton stories that expanded on this, in the mid-1980's CLASSIC X-MEN series, that dealt with Magneto's clashes with the Nazis during World War II. I found out about a decade ago that Neal Adams is Jewish. And pretty obviously, Kurtzman is Jewish as well. And Kubert. Some surprises are that Gene Colan, Gil Kane and several others are Jewish. Some are kind of implied to be Jewish but are not. Ric Estrada was (while alive) from Cuba, and was a Mormon. And even did a several stories adapting tales from the Book of Mormon (see G I COMBAT 169). So while these are stories that gave exposure to the Holocaust, some are Jewish creators involved, some are not.
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Another along those lines is a brief series called "Manimal" by artist Ernie Colon, that ran in the Sal Quartuccio anthology HOT STUF' issues 6-8 (1977-1978), 8 pages per issue, 24 pages total. It stars a Jewish character whose parents were imprisoned in a Nazi concentration camp and were subjected to human experiments, and he was born just after the war ended and they were freed, and as a result of the physiological changes he inherits (without spoiling the story) strange and dangerous physical attributes. 30 years later in the 1970's he works as a scientist in the New York area, and some of his co-workers are Nazi war criminals involved in the experiments that have affected his life. Aside from the one fantasy element, it's a realistic portrayal of nazi war criminals and their decades-long secret network, and their circle of younger 1970's modern day neo-Nazi recruits. Ernie Colon is, for me, a remarkably versatile and talented artist. Some of his other work I really enjoy are the 1975 series GRIM GHOST for Seaboard-Atlas. And the first issue of TIGER-MAN published at the same time. And the first 12 issues of ARAK for DC in 1981, and the preview story for it in WARLORD 48 (later reprinted in issue 37). Colon started out for many years drawing CASPER and RICHIE RICH and other Harvey series in the 1960's, before doing horror stories for the Warren magazines in the early/mid 1970's, and going on to do a wide range of work for Marvel and DC. As of this writing, he's still alive, at age 87.
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Joined: Sep 2001
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. Ernie Colon unfortunately died in August of 2019 at the age of 88, shortly after I posted above. But here are links to some of the Colon work I listed: THE GRIM GHOST 1-3 (1985, Seaboard-Atlas) https://viewcomiconline.com/the-grim-ghost-1975-issue-1/TIGER-MAN (1975, Seaboard-Atlas, issue 1 by Colon, 2-3 by Ditko ) https://viewcomiconline.com/tiger-man-issue-1/THRILLING ADVENTURE STORIES 1 (1975, Tiger-man story, 10 pages) https://viewcomiconline.com/thrilling-adventure-stories-issue-1/WEIRD TALES OF THE MACABRE 1 (1975, Seaboard-Atlas, "Speed Demon" by Colon, 8 pages) https://viewcomiconline.com/weird-tales-of-the-macabre-issue-1/WARLORD 48 ( 1981, DC, 16-page ARAK preview by Colon) https://viewcomiconline.com/warlord-v1-048/ARAK 1-12 (1981, DC, Roy Thomas and Ernie Colon) https://viewcomiconline.com/arak-son-of-thunder-issue-1/HOT STUF' 6-8 (1977, Sal Quartuccio, "Manimal" series) https://viewcomiconline.com/hot-stuf-issue-6/https://viewcomiconline.com/hot-stuf-issue-7/https://viewcomiconline.com/hot-stuf-issue-8/
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