Golden Age Comics: Fiction House 1953-54

Description

GOLDEN AGE COMICS



FICTION HOUSE 1953-54



Comics ordered chronologically.



Ghost Comics

Jumbo Comics

Planet Comics

Indians

Monster

Wings Comics

...and more....



Plus two extras:



Golden Age Sheena, reprint

Planet comics v2 01



Enjoy and seed.





From Wikipedia

---------------

Publisher Thurman T. Scott, whose Fiction House group included the pulp imprints Glen-Kel and Real Adventures Publishing Co., expanded into comic books in the late 1930s when that emerging medium began to seem a viable adjunct to the fading pulps. Receptive to a sales call by Eisner & Iger, one of the prominent "packagers" of that time who produced complete comic books on demand for publishers looking to enter the field, Scott released Jumbo Comics #1 (Sept. 1938).

House ad for "The Big 6 of the Comics!" advises, "Look for the Bull's-Eye..... Fiction House Magazines".

House ad for "The Big 6 of the Comics!" advises, "Look for the Bull's-Eye..... Fiction House Magazines".



Fiction House star Sheena appeared in that initial issue. Will Eisner and S.M. "Jerry" Iger had created the leggy, leopard-wearing jungle goddess for the British magazine Wags, under the joint pseudonym "W. Morgan Thomas". But their much-imitated "female Tarzan" only became famous when writer "William Thomas" and artist Mort Meskin took over her exploits in Jumbo #1.







Fiction House's other features in that initial foray included the period adventure "Hawks of the Seas" (continuing a story from Quality Comics' Feature Funnies #12, after Eisner-Iger and Quality had had a falling out), and several now-obscure strips ("Peter Pupp"; "ZX-5 Spies in Action"; "Spencer Steel"; "Inspector Dayton") that nonetheless include future industry legend Jack Kirby's first comic-book work following his debut in Wild Boy Magazine:[1] the science fiction feature The Diary of Dr. Hayward (under the pseudonym "Curt Davis"), the modern-West crimefighter strip Wilton of the West (as "Fred Sande"), and Part One of the swashbuckling serialization of Alexandre Dumas, père's The Count of Monte Cristo (as "Jack Curtiss"), each four pages long.



"The big 6 of the comics"



Jumbo proved a hit, and Fiction House would go on to publish Jungle Comics; the aviation-themed Wings Comics; the science fiction title Planet Comics; Rangers Comics; and Fight Comics during the early 1940s Γ?? most of these series taking their titles and themes from the Fiction House pulps. Fiction House referred to these titles in its regular house ads as "The Big Six," but the company also published several other titles, among them the Western-themed Indians and Firehair, jungle titles Sheena, Queen of the Jungle and Wambi, and five issues of Eisner's The Spirit.



Quickly developing its own staff, Fiction House employed either in-house or on a freelance basis such talented artists as Meskin, Matt Baker (the first prominent African-American artist in comics), Nick Cardy, George Evans, Bob Powell, and the British Lee Elias, as well as such rare female comics artists as Ruth Atkinson, Fran Hopper, Lilly Renée, and Marcia Snyder.



Trina Robbins, in The Great Women Superheroes (Kitchen Sink Press, 1996, ISBN 0-87816-481-2), wrote:

Γ?? [M]ost of [Fiction House's] pulp-style action stories either starred or featured strong, beautiful, competent heroines. They were war nurses, aviatrixes, girl detectives, counterspies, and animal skin-clad jungle queens, and they were in command. Guns blazing, daggers unsheathed, sword in hand, they leaped across the pages, ready to take on any villain. And they did not need rescuing. Γ??



Despite such pre-feminist pedigree, Fiction House found itself targeted in psychiatrist Dr. Fredric Wertham's famous book Seduction of the Innocent (1954), which in part blamed comic books for an increase in juvenile delinquency. Aside from the ostensible effects of gory horror in comic books, Wertham cast blame on the sexy, pneumatic heroines of Fiction House, Fox Comics and other companies. A subsequent, wide-ranging investigation by the Senate Subcommittee on Juvenile Delinquency, coupled with outcry by parents, a downturn in comics sales, the demise of the pulps, and the rise of television and paperback novels competing for readers and leisure time, Fiction House faced an increasingly difficult business environment, and soon closed shop.

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