MURDER, MORPHINE AND ME

We'll linger a little while longer on the narrow line between crime and horror with one of the most notorious pre-Code comic stories ever printed.

"Murder, Morphine and Me", written (probably) and drawn by Jack Cole appeared in TRUE CRIME COMICS Vol. 1 No. 2, published by the obscure Magazine Village Inc. and it seems to be the only comic title they published. I'm wondering if it's possible it was produced by Cole and then dropped when he went elsewhere to work.

The cover date of May 1947 has come into question and was later determined to be actually published on March 3rd in 1948, making the true cover date May 1948.

What distinguishes this story is its overt brutality, violence and drug theme, hitting all the right buttons for Dr. Fredric Wertham to call it out in "Seduction of the Innocent". It is also infamous for its frightening "injury to the eye" panel which he included in the book. While multiple injury to eye panels appeared during this era, this one has been most often used as a prime example.

Now, let's read Mary Kennedy's confession . . .

WEIRD AND WILD PUNCH COMICS COVERS

From the strangely silly to the slightly sinister, these covers from pre-Code Harry A. Chesler comics incorporate crossovers from several common themes with an emphasis on crime and horror.

Chesler was the first "comic packager", that is, a studio comprised of writers, artists. letterers and colorists who produced comic books for other publishers who didn't want to invest in the expense of hiring their own staff.

Worth noting is that Chesler's PUNCH COMICS was mentioned in Dr. Fredric Wertham's "Seduction of the Innocent".

Here are some examples of the splash pages from PUNCH COMICS #1 (December 1941). They are not horror related, but they'll give you a look at the imaginative ideas that comic book artists would come up with for dramatic scenes.

PUPPET PERIL!

Not used as much as other subject matter in pre-Code horror comics were puppets . . . the evil and murderous kind, of course. This tale, "Puppet Peril" is from WEIRD ADVENTURES #2 (July-August 1951), published by P.L. Publishing. Some claim the company was located in Canada because of the "Printed in Canada" notice on the indicia, but they were actually out of Rockefeller Plaza in New York, where other American comics publishers were based.

Nevertheless, P.L. was one of the most obscure of publishers, preferring non-super hero titles, such as Westerns and romance, and were all published in the last quarter of 1951. WEIRD ADVENTURES began as a crime book, and then for the next (and last) two issues switched to horror, likely in reaction to horror titles gaining popularity.

As far as art credit goes, comics historian Jim Vadeboncoeur, Jr. identifies it as being a collaboration between possibly Lou Morales (because of the initials "LM" hidden on the store sign of the splash page) and Harry Harrison. The Fantagraphics anthology of reprints, "Four Color Fear: Forgotten Horror Comics of the 1950s" (September 2010) credits Ernie Bache and and Harry Harrison.

And for all you SOTI fans, included in this story are a couple of hypodermic needle panels.

Sorry to "string you along" -- here's "Puppet Peril" for your weekend dose of illustrated horror!

STARTLING L.B. COLE COVERS

Star Publications, Inc. was founded by artist L.B. Cole and attorney Gerhard Kramer in 1949 and lasted until 1954 after Fredric Wertham included a number of their titles in his book, "Seduction of the Innocent" which became instrumental during the United States Senate Subcommittee on Juvenile Delinquency hearings held in April of that year.

The imprint specialized in crime, horror, romance and funny animal titles. Italian illustrator Bruno Premiani was the primary editor, with additional editing by Cole. Premiani would go on to co-create the Doom Patrol and Teen Titans for DC. Some of the artists that contributed work to Star were Frank Frazetta, Joe Kubert, Alvin Hollingsworth and Wallace Wood.

STARTLING TERROR TALES was published from 1952-1954. L.B. Cole drew the covers for the 13-issue run in varying styles. His most remarkable are the ones he created with bright, lurid covers and, along with the electrically-charged titling must have really made these jump off the stands.