Zolnerowich

Hi all you Fiction House devotees! Time to bump this thread. In response to one of my posts on the "1939 comics & history show and tell" thread, a boardie asked me to to provide additional information about those good old days of comics in 1939. I think I took things too seriously, and on a bit of a tangent, but since this thread is the most appropriate place for droning on and on about the early days of Fiction House, I'm re-posting here. Note, I could have gotten things wrong, so feel free to point out any errors, or better yet, add your own tidbits of knowledge. Or just skip this post! -------------------- I'd like to share a bit about the early days of the Eisner-Iger shop, specifically about something I always found confusing -- the first comic book published by Fiction House was Jumbo Comics #1 (on sale July 12, 1938), but as per Grand Comics Database, almost all of the stories in that issue were reprints from various issues in 1937 and early 1938 from a publication titled "Wags [UK] (Editors Press Service, 1937 series)," well before Jumbo Comics #1. So what's up with that? Well... Iger hired a young Eisner (age 19) in 1936 to be his production manager for a comic title ("Wow, What a Magazine!"), which was produced at minimal expense in the back of a New York City sweatshop. This racket folded after a couple issues, but then not long after, Eisner reached out to Iger, proposing they go into business together, in which they would create new comics material for magazine publishers. At that point in time, Iger had established one influential connection, Mr. Joshua B. Powers, who claimed to have been a former secret agent but was now taking advantage of his foreign contacts to set up new publishing deals overseas. Powers purchased the rights of comic strips such as Mutt and Jeff and Tracy, packaging them for distribution in Great Britain, Australia, and South America, and assembled these into the magazine "Wags." Things were going swimmingly for Powers and his comics operation until he had a falling out with one of his partners, leaving Powers without access to British comic strip material. Powers now needed to find original, cheap comic strips, and somehow or other, it was the Eisner-Iger team who was contracted to supply Powers with new stories and art. The Eisner-Iger original work appeared in Wags [UK] from about April 1937 to November 1938, and artists in the Eisner-Iger stable who provided material for Wags [UK] included such soon-to-be influential artists as Bernard Baily, Briefer, Lou Fine, Bob Kane, Jack Kirby, and Mort Meskin, and Eisner of course. So then fast forward to 1939 (perhaps late 1938), when Iger comes calling at the office of Thurman T. Scott, the publisher of Fiction House, which specialized in pulp magazines, including Fight Stories, Wings, Jungle Stories, and Planet Stories (notice any trend here...?). Thurman T. Scott obviously liked what Iger had to offer, and decided to try his hand at the comics. The first of these was Jumbo Comics (note: there was no 'Jumbo Stories' pulp title) under the imprint, Real Adventures Publishing Company, on sale July 12, 1938 (cover date Sept. 1938). It's not clear to me whether Scott was aware that his new Jumbo Comics contained about 90% recycled material from Wags [UK]. Across the first 8 issues of Jumbo Comics (Sept. 1938 to June-July 1939), the only original material to be found in Jumbo Comics was mostly 0.5-page or 1-page filler stories and text. It is clear that by the time the Eisner-Iger shop was getting Jumbo Comics #8 ready for Fiction House, the shop had basically run out of their Wags [UK] material, and had to dip into another continent to pad out the issue, using Wags [Australia] material. I've read elsewhere that one reason for all of the artist pseudonyms (for example, Will Eisner might be "Will Eisner" or "Willis B. Rensie" or "Erwin" or "Carl Heck" or "Major Thorpe," many of which might be attached to a different story in the same issue of Jumbo Comics) was to leave the impression that the Eisner-Iger shop had a deep pool of talented artists and story tellers who could generate endless amounts of "new" material. Interestingly, the first issue of Jumbo Comics that contained all new material, without anything lifted from Wags [UK] or Wags [Australia] , was issue #11. And with issue #12, the Fiction House symbol icon first appeared on the cover. In late 1939 Everett M. "Busy" Arnold, the publisher of Quality Comics, which also had been publishing reprinted material, hired Eisner to produce, write, and draw his own feature (The Spirit) as a comic book insert in the newspapers. Eisner paid off Iger for his half of the studio, and was able to bring some artists with him to Quality Comics, including Lou Fine, where they and other excellent artists (including Jack Cole) built up new material for their line of comic books. I think this early history of Fiction House and Jumbo Comics really illustrates the realities of the Eisner-Iger shop in its earliest days: these two gentleman (though mostly Eisner) had an eye for amazing talent, and they sparked a paradigm shift in the comic medium, despite the fact that their shop was obviously understaffed and stretched very thin. (Much of the above paraphrased and collated from Men of Tomorrow, Gerard Jones 2004; The Lou Fine Comics Treasury 1991; Grand Comics Database)

One of the best non-fiction books about the early age of comics is "Men of Tomorrow" by Gerard Jones (2004). I highly recommend. The history of Fox is pretty legendary, involving a publisher/huckster (Victor Fox), his idea to create a new Superman-like character, the talents of the Eisner-Iger shop furnishing said character (Wonder Man, in Wonder Comics #1, on sale March 17, 1939; cover date May 1939), a legal battle with Detective Comics over copyright infringement, and a cease-and-desist order by the court. There's a lot of other fascinating stuff about Fox, but for the sake of sitting down to dinner on time, I would refer you to that book by Gerard Jones. But I can share a little bit more about the early days of the Eisner-Iger shop, specifically about something I always found confusing -- the first comic book published by Fiction House was Jumbo Comics #1 (on sale July 12, 1938), but as per Grand Comics Database, almost all of the stories in that issue were reprints from various issues in 1937 and early 1938 from a publication titled "Wags [UK] (Editors Press Service, 1937 series)," well before Jumbo Comics #1. So what's up with that? Well... Iger hired a young Eisner (age 19) in 1936 to be his production manager for a comic title ("Wow, What a Magazine!"), which was produced at minimal expense in the back of a New York City sweatshop. This racket folded after a couple issues, but then not long after, Eisner reached out to Iger, proposing they go into business together, in which they would create new comics material for magazine publishers. At that point in time, Iger had established one influential connection, Mr. Joshua B. Powers, who claimed to have been a former secret agent but was now taking advantage of his foreign contacts to set up new publishing deals overseas. Powers purchased the rights of comic strips such as Mutt and Jeff and Tracy, packaging them for distribution in Great Britain, Australia, and South America, and assembled these into the magazine "Wags." Things were going swimmingly for Powers and his comics operation until he had a falling out with one of his partners, leaving Powers without access to British comic strip material. Powers now needed to find original, cheap comic strips, and somehow or other, it was the Eisner-Iger team who was contracted to supply Powers with new stories and art. The Eisner-Iger original work appeared in Wags [UK] from about April 1937 to November 1938, and artists in the Eisner-Iger stable who provided material for Wags [UK] included such soon-to-be influential artists as Bernard Baily, Briefer, Lou Fine, Bob Kane, Jack Kirby, and Mort Meskin, and Eisner of course. So then fast forward to 1939 (perhaps late 1938), when Iger comes calling at the office of Thurman T. Scott, the publisher of Fiction House, which specialized in pulp magazines, including Fight Stories, Wings, Jungle Stories, and Planet Stories (notice any trend here...?). Thurman T. Scott obviously liked what Iger had to offer, and decided to try his hand at the comics. The first of these was Jumbo Comics (note: there was no 'Jumbo Stories' pulp title) under the imprint, Real Adventures Publishing Company, on sale July 12, 1938 (cover date Sept. 1938). It's not clear to me whether Scott was aware that his new Jumbo Comics contained about 90% recycled material from Wags [UK]. Across the first 8 issues of Jumbo Comics (Sept. 1938 to June-July 1939), the only original material to be found in Jumbo Comics was mostly 0.5-page or 1-page filler stories and text. It is clear that by the time the Eisner-Iger shop was getting Jumbo Comics #8 ready for Fiction House, the shop had basically run out of their Wags [UK] material, and had to dip into another continent to pad out the issue, using Wags [Australia] material. I've read elsewhere that one reason for all of the artist pseudonyms (for example, Will Eisner might be "Will Eisner" or "Willis B. Rensie" or "Erwin" or "Carl Heck" or "Major Thorpe," many of which might be attached to a different story in the same issue of Jumbo Comics) was to leave the impression that the Eisner-Iger shop had a deep pool of talented artists and story tellers who could generate endless amounts of "new" material. Interestingly, the first issue of Jumbo Comics that contained all new material, without anything lifted from Wags [UK] or Wags [Australia] , was issue #11. And with issue #12, the Fiction House symbol icon first appeared on the cover. In late 1939 Everett M. "Busy" Arnold, the publisher of Quality Comics, which also had been publishing reprinted material, hired Eisner to produce, write, and draw his own feature (The Spirit) as a comic book insert in the newspapers. Eisner paid off Iger for his half of the studio, and was able to bring some artists with him to Quality Comics, including Lou Fine, where they and other excellent artists (including Jack Cole) built up new material for their line of comic books. I think this early history of Fiction House and Jumbo Comics really illustrates the realities of the Eisner-Iger shop in its earliest days: these two gentleman (though mostly Eisner) had an eye for amazing talent, and they sparked a paradigm shift in the comic medium, despite the fact that their shop was obviously understaffed and stretched very thin. (Much of the above paraphrased and collated from Men of Tomorrow, Gerard Jones 2004; The Lou Fine Comics Treasury 1991; Grand Comics Database)

I've gotta stop trolling this thread... such amazing books... I'll be Ace-rich and cash-poor before I know it!

Dopey me use it too. I want to read and smell real GA pulp. And the interiors, I think there’s pages with cool art in the interiors.

But seriously, behind his mask of boisterous carnie hijinks, Dum Dum the Man was a sensitive soul with a fondness for the work of Wittgenstein and Echo & The Bunnymen. I only see Dum Dum appearances skyrocketing in price in the days to come.

Wow, the powers of the auto-correct function on the boards are truly bedazzling. For the translation of “insufficiently_thoughtful_person” see the red stripe of text between Ace Kelly and Dinky Dinkerton a couple posts above.

“Plus more than a hundred little insufficiently_thoughtful_person jokes” A real barrel of monkeys and knee-slappers, no doubt!

Yeah it’s pretty good. You might want to erase that scribbling.

Yes, that’s some of Mr. B’s finest work, showing off his producer-writer-director-actor quadruple-threat talents, but that short documentary film was based on the pre-2017 slab.

+1, plus #1. I would add Science #1 to the short list of epic covers: ✔️Electro, not Dynamo ✔️The spectacular color palette ✔️The lady being slowly transformed into Frankenstein’s bride: see the bolt discreetly implanted in her right neck ✔️The yellow radiation cone enveloping her dress ✔️Considerable evidence of nefarious science at work ✔️Lou Fine capturing the milliseconds just before the ogre with red hair realizes the game is up

What a great accomplishment! How many years did it take you to fill this in?

Bring on the 2017 video, Richard! Funny book boardies are much more comfortable with pictures than words.

(It’s never a great idea — no, actually it’s a really reeealy bad idea — to follow a Bedrock phantasmagory of absolutely awe-inspiring rare high grade comic books, but I’ll post anyhow!) Ahem, In 1939 the Eisner/Iger shop was firing on all cylinders. Fiction House and Fox were major beneficiaries, with Lou Fine in the middle of it all. Here’s a couple offerings that I didn’t see posted yet in this thread.

That’ll look so great on a wall!

Very cool, Red! So it looks like a 1950’s release of the 1930’s film for a Spanish-speaking audience. Such awesome graphics. What size is it?

Hmm. Weird. As per Grand Comics Database (comics.org), there is only one Planet #69 listed, with pub date of Winter 1952. Maybe this is a glitch in the online GPA census? None of the surrounding Planet issues show more than one census in GPA. It might be possible that there was a Canadian (or UK or other) version of #69 released in Winter 1953, though GCD should have this information if it were there -- and it's not. The last 8-10 issues of Planet Comics were released sporadically, and many of them (including #69) only included reprints from earlier issues, so there certainly could have been some funny business in the catalogued pub dates. Maybe there are copies of #69 with either the 1952 or 1953 date in the indicia, but again, no comment in GCD on this...

Probably has something to do with the Albacore Tuna Lobby - they’ve got a lot of influence in DC (Dell Comics).

That's because you already own all the nice books!

Two passionate boardies refusing to cry "Uncle"

That's why I didn't end up bidding on the #26!!!

Yes, that! And it's working!

Thanks sagii! In answer to your question: #15 seems to be the toughest of the Planets to track down, really in any kind of grade. There's 15 Universal copies on the CGC census, the highest being 7.5, and then this book at 6.0. Nine of the 15 unrestored copies are at 3.0 grade or less. It's also listed as scarce in Gerber ("7") and in Overstreet. So yes, hard to find!

Oh man, what a total bummer! I really feel for you. Meh, it's not such a great cover. BTW probably the most appropriate use of the "ton of bricks" emoji ever.

Posting the new pickup. Looking forward to paying this off!