John Severin: Two-Fisted Comic Book Artist by TwoMorrows Publishing

“Besides John Severin’s inimitable style, there was a feeling of total authenticity to whatever he drew.”— Stan Lee

remaining a workhorse up ’til his final art at age 89. Included in this volume is an “American Eagle” section (with two epic adventures starring the Native American hero), eye-popping art, and extensive personal photos and artifacts (including WWII “Victory Mail” cartoons, handmade greeting cards for his family, and other rarely-seen material). Written by GREG BIGA and multiple Eisner Award-winner JON B. COOKE, this retrospective includes an Introduction by HOWARD CHAYKIN, Foreword by MORT TODD, and Afterword by CHUCK DIXON. With testimonials by many of the late artist’s peers, this profusely illustrated book celebrates the 100th anniversary of the twofisted artist’s birth.

John Severin: Two-Fisted Comic Book Artist is the spirited biography of one of the most prolific creators in the history of American comics. From a start in 1947 at the Simon & Kirby shop, he co-created the legendary Western strip American Eagle, and became an EC Comics mainstay, working with Harvey Kurtzman on MAD, Frontline Combat, and Two-Fisted Tales. In addition to a 40+ year association with Cracked magazine, his pivotal Marvel Comics work included an extended run inking Sgt. Fury and The Hulk, and teaming with sister Marie Severin to create the definitive version of Robert E. Howard’s Kull the Conqueror. Throughout a storied career, Severin freelanced for virtually every major publisher, ISBN-13: 978-1-60549-106-6 ISBN-10: 1-60549-106-3 53995

9 781605 491066

John Severin caricature by Marie Severin. Coloring by Glenn Whitmore. Eagle TM & © the estate of John Severin.

$39.95 in the USA ISBN: 978-1-60549-106-6

TwoMorrows Publishing

Raleigh, North Carolina PRINTED IN CHINA

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TwoMorrows Publishing

John Severin portrait by DREW FRIEDMAN

N I R E V E

S N H O J

t s i t r ook A

B c i m o C d e t

s i F o Tw

TWOMORROWS PUBLISHING Raleigh, North Carolina

JOHN SEVERIN Two-Fisted Comic Book Artist Written by Gregory Biga & Jon B. Cooke • Editing, Design, and Production by Jon B. Cooke Proofread by Kevin Sharp • Published by John Morrow Published with the cooperation of the Estate of John P. Severin

Dedication

This book is dedicated to and in loving memory of our dad, John Powers Severin, one of the finest illustrators of the 20th and 21st centuries. He was a wholly unique human being, with a distinctive artistic talent. He was a patriot, historian, critical thinker, and a God-fearing tough guy from Brooklyn. It was as fascinating to talk to him as it was to watch him draw. We thank God for letting us borrow him (and his gal) for awhile. — Michelina Severin VanGemert

The authors extend their deepest appreciation to Michelina Severin VanGemert

for her generous help, unyielding patience, and continual support

American Eagle comics restoration by Chris Fama

Special thanks to DREW FRIEDMAN for his portrait of John P. Severin, which originally appeared in Heroes of the Comics: Portraits of the Pioneering Legends of Comic Books. Heroes and its companion volume, More Heroes of the Comics, are published by Fantagraphics Books, Seattle, Washington. Front cover image adapted from Prize Comics Western #108 cover by John Severin. Back cover color by Glenn Whitmore. Title page John Severin self-portrait drawn for Famous Cartoonist Button Series produced by Kitchen Sink Press in 1973. Back cover John Severin caricature by Marie Severin produced for Graphic Story Magazine #13 [Spring 1971].

For assistance with this book, the authors extend thanks to:

Ger Apeldoorn, Richard Arndt, Mark Arnold, Bob Bailey, John Benson, Len Brown, Dewey Cassell, Ray Cuthbert, Meb Dawkins, Mike Dubisch, Fantagraphics Books, Steven Fears, Arnie Fenner, Greg Goldstein, Karen Green, Gary Groth, Ted Haycraft, Roger Hill, Cathy Hubka, Denis Kitchen, Stacey Kitchen, Bill Leach, Russ Maheras, Marvel Entertainment, Pat Mazza, Bud Plant, Steve Ringgenberg, Mark Schultz, Cory Sedlmeier, Aaron Sultan, Maggie Thompson, and Dr. Michael J. Vassallo

For providing testimonials, the authors extend our appreciation and gratitude to:

Neal Adams, Jon Bogdanove, John Byrne, Richard Corben, Steve Fastner, Drew Friedman, Russ Heath, Bob McLeod, Jerry Ordway, Steve Rude, Walter Simonson, Joe Sinnott, Roy Thomas, Mike Vosburg, and James Warren John Severin: Two-Fisted Comic Book Artist © Gregory Biga and Jon B. Cooke Editorial package © Gregory Biga, Jon B. Cooke, and TwoMorrows Publishing First Printing • November 2021 • Printed in China • Hardcover ISBN-13: 978-1-60549-106-6 Voices © American Academy of Psychotherapists/Squa Tront © John Benson/”The Million-Year Picnic” © Ray Bradbury Literary Works LLC/Action Comics Weekly, Enemy Ace, G.I. Combat, The Losers, Our Army at War, Our Fighting Forces, Sgt. Rock, Superman, Unknown Soldier TM & © DC Comics/MAD, Melvin of the Apes TM & © E.C. Publications, Inc./Once Upon a Dungeon TM & © the respective estates of Don Edwing and John P. Severin/“Parable” © the respective estates of Jerry DeFuccio & John P. Severin/Smoke Signal © Desert Island Comics/Sgt. York © Dominant/Tarzan TM & © Edgar Rice Burroughs, Inc./Esquire TM & © Esquire Magazine, Inc./The Comics Journal TM & © Fantagraphics Books, Inc./American Eagle, Black Bull, Lazo Kid, Prize Comics Western TM & © Feature Pubs, Inc./Classics Illustrated TM & © First Classics, Inc./Black Jack Slaughter, Cheyenne Hawk, Frontline Combat, Noel Bews, Ruby Ed Coffey, Two-Fisted Tales TM & © William M. Gaines, Agent, Inc./Flash Gordon TM & © Hearst Holdings, Inc./Apache Kid, Sgt. Barney Baxter, Battlefront, Battleground, Black Rider, Devil-Dog Dugan, Incredible Hulk, Ka-Zar, Matt Slade, Monsters on the Prowl, Nick Fury, Not Brand Echh, Rawhide Kid, Savage Tales, Semper Fi, Sgt. Fury and His Howling Commandos, Strange Tales, Sub-Mariner, Two-Gun Kid, Western Gunfighters, Yellow Claw, Zabu TM & © Marvel Characters, Inc./Sir Edward Grey, Witchfinder TM & © Mike Mignola. Captain Easy, Wash Tubbs TM & © Newspaper Enterprise Association, Inc./Step-Up Books TM & © Random House, Inc./Kull the Conqueror TM & © Robert E. Howard Properties LLC/Cracked, Cracked Monster Party, For Monsters Only, Sylvester P. Smythe TM & © Scripps Media, Inc./Blazing Battle Tales, Thrilling Adventure Stories TM & © Seaboard Periodicals, Inc./Eagle, Sagebrush, Ye Hang Ups TM & © the estate of John P. Severin/ Monsters Attack!, Biografix TM & © Mort Todd/Crazy TV trading cards TM & © Topps Chewing Gum Company, Inc./Terry and the Pirates TM & © Tribune Media Services, Inc./Blazing Combat, Creepy TM & © Warren Publishing, Inc./Sojourn TM & © White Cliffs Publishing Co., Inc.

TWOMORROWS PUBLISHING Raleigh, North Carolina www.twomorrows.com

TABLE of CONTENTS Foreword by Mort Todd..........6 Introduction by Howard Chaykin.........10 Chapter One: The Early Years..........12 Chapter Two: “Hobo News” Boy..........20 Chapter Three: Castle on the Hill..........30 Chapter Four: The Okinawa Kid..........38 Chapter Five: The Fourth Musketeer..........48 American Eagle: Special Section..........56 Chapter Six: Two-Fisted Days..........72 Chapter Seven: And Then… Michelina..........84 Chapter Eight: Atlas Slumped..........92 Chapter Nine: The Cracked Man..........100 Chapter Ten: Drawn to History..........110 Chapter Eleven: The Marvel Age of Severin..........116 Chapter Twelve: His Winning Losers..........122 Chapter Thirteen: Better in Black-&-White..........128 Chapter Fourteen: Kull the Collaboration..........132 Chapter Fifteen: Rocky Mountain Man..........140 Chapter Sixteen: The Twilight Years.........146 Afterword by Chuck Dixon..........152 Testimonials..........154 Notes.........158

Foreword

MORT TODD ike many kids growing up in the 1970s,

Mostly known as the star artist for TV and movie parodies,

I first became familiar with John Severin

John drew supplemental stories in alternating styles, ranging

through his art on The Incredible Hulk and

from “big foot” cartoony stuff to mimicking other styles,

Sgt. Fury (inking over the pencils of Herb

while working in a variety of mediums. Some may think

Trimpe and Dick Ayers, respectively), DC

black-&-white a limiting medium compared to color, but

war comics and, of course, Cracked. As a more obsessive

John would stretch any restraints by working in pen-&-ink,

collector, I became aware of his full body of work, picking

wash, gouache, Zip-A-Tone, tone overlays, and famously,

up old copies of his “S.H.I.E.L.D.” stories in Strange Tales,

his use of Duoshade paper. (Duoshade is paper used by

Atlas Comics titles, and EC Two- Fisted Tales and MAD

editorial cartoonists that has invisible tones and cross-

reprints. Little did I realize, some ten years later, I would

hatching that becomes visible with a chemical applied by

become his “boss” at Cracked and enjoy one of the best

brush or pen). John even painted almost every single cover,

creative relationships I’ve ever had!

plus hundreds of other Cracked related covers, despite

I first got hired at Cracked as creative consultant. The

being colorblind! Every now and then, a green flame showed

new owners had bought the magazine from the original pub-

up on a cover and he always made E.T. non-pink because of

lisher, Bob Sproul, and they moved the editorial offices from

this condition.

Florida to New York. They were not particularly happy with

So, when I started at Cracked, there had been three

the new editor they hired to package the magazine and its

issues without any Severin contributions! Sacrilege! The ed-

many reprints. The material he gathered was lame, even by

itor hadn’t been able to get Severin, saying he demanded too

Cracked ’s lowest standards, and looked like reprints from

much for a page rate. I explained to the publishers that with

Sick magazine (which they later were revealed to be!). The

no Severin, there was no Cracked, so they authorized me to

worst part of it: there was no John Severin in the mag!

get Severin back… at almost any cost. I got Severin’s phone

Though my role was to inject some relevance to the mag-

number from Larry Hama’s office at Marvel Comics (he was

azine (the editor was still doing Nixon jokes in the Reagan

just about the only editor using Severin at the time) and I

era), my first mission was to get Severin back on board! I

began an association with him that has positively altered

made it very clear to the publishers that without Severin,

my life.

there was no Cracked. It’s no stretch to say that the only rea-

As it turned out, the Cracked editor had contacted Sever-

son Cracked survived for over 40 years, when other humor

in, offered him a very lousy rate… and demanded a kickback

magazines fell to the wayside, was because of the profession-

on his pay! The editor was not only reprinting material from

alism and versatility of artist John Severin.

other publishers’ magazines, but when he did commission

There had been dozens of issues of Cracked where John

new work, he forced the artists to turn over some of their pay

ended up drawing a third, half, or even more of each issue.

to him! John Severin would have none of this and turned the

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

Prize Comics Western #100; “The Caves” page, Frontline Combat #7; Kull the Conqueror #3; Conan the Reaver page; Sir Edward Grey, Witchfinder: Lost and Gone Forever #1; Semper Fi’ #3; and Blazing Sixguns #16. Details: Incredible Hulk #150; Sgt. Fury #74; and Cracked #150. Background: Conan #16 spread.

Foreword by Mort Todd

editor down. We settled on a page rate of $500 (at a time

missed deadlines (by other artists!), and Severin would come

when most Marvel pages were around $100 for pencils and

through and whip out some new artwork in the nick of time!

inks) and $1,500 for covers… on his condition that he only

Sometimes overnight! And he was no hack; in fact, quite the

work with me and not have to deal with the other editor.

perfectionist. Many Severin originals had a bit of correc-

Within an issue or two, that editor was gone and I took over

tion he did with paste-ups or Wite-Out and ink over it.

the reins of Cracked as editor-in-chief for the next five years.

Sometimes he even drew tone effects with his pen to match

And what a damn fun ride it was! Sev and I probably

the Duoshade on the rest of the page! If he had painted a

spent up to ten hours a week on the phone, and it wasn’t all

full cover and didn’t like it, he’d redo it. For one cover, he

just Cracked business. As a comic geek, I’d always ask about

included the shredded up first version of it. My art director,

his career, from Crestwood, EC, and Atlas to Cracked, as

Cliff Mott, repaired the torn cover and darn if we could see

well as all the legendary creators he worked with. Discus-

what was wrong with the first version!

sions also ranged from films and history to religion and poli-

Although I worked with him almost daily, I never met him

tics. John had some pretty strong convictions that I admired.

personally until I was at Cracked for a few years. We were

For Cracked articles, I’d try to dig up as much reference

planning Cracked ’s 30th anniversary party and wanted John

for artists as possible, particularly for celebrity parodies.

and his wonderful wife, Michelina, to attend. The problem

It was a little tough in those pre-digital 1980s! One of the

was the Severins lived in Denver, Colorado, we were in New

many great things about Severin was his eye for detail, so if

York, and Severin didn’t fly. We ended up booking them

there were ever any historical elements in a story, John had

a first class suite on a train from Denver, which took a few

the reference… in his head! Weapons, clothing, cars, build-

days, and he arrived at Grand Central Station like a movie

ings, furniture; anything from the beginning of time until,

star in the golden age. He was a bear of a man and resembled

as he told me, about 1947, he wouldn’t need any reference.

a cross between John Wayne and Orson Welles (the beard,

Mark Evanier related that, “Jack Kirby used to say that when

not the girth).

he had to research some historical costume or weapon for a

Over the course of a week, we had parties, dinners, and

story, it was just as good to use a John Severin drawing as it

a convention event for the anniversary. John, despite his

was to find a photo of the real thing.”

shy nature, was quite the raconteur and spent a lot of time

I also really enjoyed working with John on my Monsters

talking with fans. All of the legends of the comics industry,

Attack! magazine. He did some fantastic covers and stories

both old friends and newer talent, came out to greet John on

that we collaborated on and I asked him why he hadn’t done

this rare East Coast sojourn and pay homage to the master.

more horror comics, especially at EC. John told me that his

Personally, John made a great impact on me as an artist,

work was too anatomically correct for EC. He had done a

writer, editor, and by inspiring me to do my best in all

sample for Bill Gaines of a severed limb that was so realis-

things. There were a few times he inked my pencils and…

tic, it made Gaines ill. Imagine Gaines trying to rationalize

wow! One illustration had a super-hero throwing a car, and

that on the stand at the Senate Subcommittee on Juvenile

you could see underneath it. My pencils were pretty loose,

Delinquency!

but when the art came back, every nut and bolt, along with

Not only was Severin an incredibly good artist and

the transmission, axles, and tire treads were there! Since it

prolific, he was fast! There were many times over the years

was in my nutty sense of perspective, I thought, “Gee, if I

that pages were lost in the mail, changes were needed, or

need to, I can swipe this next time I gotta draw the underside

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

of cars!” After Cracked, we

served glory to these mainly

continued to work on a few

overlooked gems. Severin

projects together, at Marvel

was Cracked and Cracked

on an unpublished Elvis com-

was Severin. The magazine

ic, advertising, and a daily

thrived for years, under

newspaper comic strip called

MAD ’s massive shadow,

Biografix.

while other satire magazines passed by the wayside… when

A lasting significant influence on me of John’s involves

Severin was contributing,

liquor. Trying to live the role

that is. In the early 2000s,

of the hard-drinking New

when Cracked ownership

York City magazine editor, I

changed hands, they couldn’t

had tried a variety of spirits,

afford Severin and the mag-

but never one I was satisfied

azine went out of business.

with. As a Christmas gift,

When it was relaunched a few

Severin sent me a bottle of

years later as a slick, color

Bushmills whiskey and I dis-

magazine, Severin (and I)

covered my elixir of choice!

decided not to contribute

After that, we both knew what

because of the questionable

to send each other for gifts!

editorial direction, and it

Ironically, despite being a devout Catholic (the Severins had

bombed. Now that it has been sold again, it has resurfaced as

a lot of kids), Bushmills is from the world’s oldest Protestant

a humor website, but not as a magazine… since there is no

distillery. When I heard of John’s passing, I ordered him

Severin, there is no longer Cracked proper.

a shot and poured it on the ground out of respect for my missing homey.

Mort Todd is a writer, artist, publisher, and filmmaker.

John Severin was a one-of-a-kind, dynamic personality

He was former editor-in-chief of Cracked magazine where

with a full life, and he left an amazing legacy that people will

he also created Monsters Attack! At Marvel Comics, he

enjoy for generations to come. He has a wonderful family

launched the Marvel Music imprint and record label.

and a work ethic that kept him drawing to the end. One of

Currently, he publishes a variety of comics through Comicfix

his last pieces was a remarkable cover for a periodical called

and Charlton Neo, including the Severin-related titles,

Smoke Signal, that featured some Native Americans

John Severin’s Billy the Kid, The Monsters Attack!

burning copies of MAD.

Collection, and The Comedy of John Severin. See more at

The majority of comic fans who love John’s work are

www.morttodd.com.

doing themselves a disservice, as they are mostly only aware of his adventure comics. He did thousands of tremendous pages and paintings for Cracked and are worth seeking out. I trust Gregory Biga’s exhaustive volume will give some de-

ñMonsters Attack! #1 [Sept. 1989] cover by John Severin. Foreword by Mort Todd

Introduction

HOWARD CHAYKIN confession, first and foremost… I never met or

short story, “The Million Year Picnic.” Eschewing the Alex

knew John Severin. His sister, Marie, however,

Raymond pulpish-ness of Williamson, or the sensual and

barely knew me, but disliked me intensely.

obsessive antics of Wood, Severin instead delivers a pro-

Why, you ask? Because she willfully misunderstood

foundly human and deeply moving portrayal of a family, with

a comment I made to her about her brother, a remark of

technology and costuming that neither overpowers the nar-

glowing admiration. This remark was made in the mid-

rative, nor interferes with the character’s narrative journey.

1970s, and, despite the efforts of the fabulous Flo Steinberg,

Along with my then nascent embrace of the work of Toth

Marie’s likely best, or perhaps only friend, to explain her

and Krigstein, my appreciation of this job might very well

misunderstanding, she died hating me.

demonstrate my ascension to a more sophisticated under-

Oh, well.

standing of comics, genre be damned… and the development

That said, I worship the work of John Severin, and have

of a more studied, detached, and critical eye.

since I first became aware of it in his work at Marvel in the

This wasn’t sophisticated graphics influenced by indus-

mid-1960s. I used the word “crusty” in my description of

trial design, like Toth… or emotional abstraction in the man-

what I saw in his work to his sister, and maybe that read as an

ner of Krigstein. Rather, Severin brought a matter of fact,

insult, but it was meant as a profound compliment.

mid-century American—socially and politically conservative

While all too many comic books featured textureless and

American, to be very sure—approach to everything he did.

all too slick imagery, with no real humanity, Severin, in his

And then, his work with and for Kurtzman in Frontline

own pencils and inks, and in his inks over others, seemed to represent a rare human scale, a bit shabby and tad used, in a medium that tended to reward polish over nuance. About a year after he started appearing in Jack and Stan’s

Combat and Two-Fisted Tales came to light. That same restraint, that same verisimilitude which informed the work of his with which I was already familiar seemed to have its birth here in these two extraordinary

stuff, I discovered his work for Kurtzman and Feldstein at

runs. His own penciled and inked stories, as well as the

EC—and that was all she wrote.

brilliant collaborations with Will Elder, are among the

To be clear, I arrived at the EC stuff because of, to use Gil Kane’s perfect descriptor, the bravura work of Wallace Wood and Al Williamson. I lacked, at that early age, the eyes

greatest examples of the all too frequently ignored genre of war comics. This work had a grit, a human scale, a common truth that

to identify the qualities in Harvey Kurtzman’s work as writ-

no other war comics before or since possessed. This, I’ve

er/artist/editor, not to mention the brilliance of Bernard

come to gather from anecdotes, as the result of a running

Krigstein or Johnny Craig.

argument between Kurtzman and Severin, two men who

It was all about Weird Science and Weird Fantasy.

today we might call by that awful neologism “frenemies,”

And then I saw Severin’s adaptation of Ray Bradbury’s

who shared a genuine mutual respect in tandem with diamet-

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

rically opposed world-views, deeply liberal and profoundly conservative, respectively. It’s a trope of EC fandom to, if not dismiss, then to disdain the work that Severin and his collaborator, Colin Dawkins, delivered in (The New) Two-Fisted Tales, after Kurtzman was sucked away by the labor intensive, sudden and surprise success of MAD comics. This is unfair to all parties concerned. To be sure, these

When John Severin died, his passing was one more

were not issues or stories bearing the detachment, the depth

milestone in the vanishing world of the men who made our

nor the irony that was Kurtzman’s hallmark. For the record,

industry possible. He got the usual accolades, but because

I regard Kurtzman as a singular genius, for whom Severin,

he wasn’t one of those bombastic crowd-pleasers, the atten-

Elder, Davis, Wood, and the rest of the squad who delivered

tion was limited, not to say muted.

material to the three books that are Kurtzman’s EC legacy did the best work of their careers and their lives. That said, I personally would have killed to see more Ruby Ed Coffey stories, and I know for damned sure I’m not alone. Severin’s career was a long one, and I had the pleasure of working with him just once, on a special stand alone issue

So perhaps it’s time to give this genuine giant, a man who contributed enormously to the sort of comics that seem to have fallen out of fashion with a fickle and all too fatuous audience, his due. And perhaps, some of that audience will outgrow their obsession with that bombast and embrace the subtle humanity of John P. Severin.

of American Century, a book-length Western drawn and

As ever, I remain,

presented by a man in his early 80s with the same verve and

Howard Victor Chaykin… a Prince among Kings.

style that had attracted me in work produced 50 years ago. In the early ’10s, I was in conversation with his wife,

Howard Chaykin is a renowned comic book storyteller

Michelina, who agreed to have John do the artwork for a

with 50 years of experience as professional artist, starting

counter-factual, eight-page story entitled “George Arm-

under the tutelage of Gil Kane. Howard might be best known

strong Custer: The Middle Years.” A few weeks later, she

for his breakout independent comic book, American Flagg!

called back, to say that John would be unable to do the job

and the explicit Black Kiss. Revered as writer as well as art-

due to declining health.

ist, Howard has, as of late, focused his talents on the multiple

I ended up doing the artwork… but, needless to say, as a

story arc Hey Kids! Comics!, an irreverent roman à clef of

fanboy in this regard, it would have been swell to have this

the comic book medium.

eight-page snark-fest drawn and quartered by this master.

ñAmerican Century #24 [July 2003] spread detail by Severin. Introduction by Howard Chaykin

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

Chapter One

THE EARLY YEARS

I think I must have been born reaching for a pencil and I just never stopped. John Severin to John Benson, Graphic Story Magazine #13, Spring 1971

ohn Powers Severin was born on Dec. 26, 1921, and died from prostate cancer, on Feb. 12, 2012. These are facts. However, these dates could not be more trivial regarding the history of this accomplished man. His life was hardly one limited to dates and settings of events. His life was not simply the sum of such ïLittle “Jack” Severin (John’s nickname among immediate family) and his doting mother, Marguerite. òPrerequisite naked baby portrait. John P. Severin, 1922.

mundane things. Severin possessed an extraordinary talent, one astonishingly sharp and vivid up until his passing at age 90, yet it was sadly under-appreciated by the greater world. Still, the man’s achievements hardly went unnoticed by his peers and discerning aficionados, many who rank Severin as among the very greatest of comic book artists, a storyteller of the highest rank. This book, as much a celebration as biography, will (we ñJohn P. Severin did, indeed, dedicate time to his beloved

hope) reveal that greatness and examine a life made as an exam- pastime of drawing, even at ple imbued with old world qualities—being a gentleman, ded- this tender age. ication to family, and finding value in most everyone around him. Beloved son, husband, father, grandfather, friend, and brother (to his only sibling, the equally-talented younger sister, comic book legend Marie Severin), the man had the makings of greatness whether he ever picked up a pencil or not. Chapter One: The Early Years

the 23-year-old working on Wall Street as a bookkeeper for a church pension fund. The following year, Severin was drafted into the U.S. Army, serving “over there” during World War 1 and its aftermath for almost an year. He was honorably discharged on June 14, 1919, from Company D, 305th Infantry, as a private first class. Soon thereafter, having met in New York City, he was engaged to Marguerite J. Powers, of Syracuse, New York, and the two promptly married. Delivered to a mother from County Waterford, Ireland, and an upstate New York father of Irish descent, Marguerite Josephine Powers was born on March 31, 1890—preñMother Marguerite and her firstborn, John Powers Severin.

òTricyclist John, mid-1920s.

The saga of this natural-born artist begins

sumably in Syracuse—the oldest of four sis-

before his birth in Jersey City, New Jersey,

ters (and said to have suffered polio). In 1898,

with the engaging history of the parents of

with their mother, Mary, stricken with tuber-

John Powers and Marie Anita Severin.

culosis, Marguerite and her siblings—the youngest a mere toddler—were sent by their

Father John & Mother Marguerite

father, Abraham (a carpenter who was sen-

John E. Severin was born Hans Abrahamsen,

tenced to six months in the Onondaga Coun-

on Sept. 16, 1893, in Kristiania (today called

ty Penitentiary for “non-support,” in 1903),2

Oslo), Norway, during a period when the

to be cared for by the nuns of the all-girl St.

country was united with neighboring Swe-

Vincent’s Orphan Asylum, in Syracuse. The

den. As a three-year-old, he accompanied his

1900 U.S. Census lists Marguerite (10), Anna

mother and sister as they immigrated to the

(7), Mary (4), and Gertrude (1) as among the

United States. Upon arrival on Ellis Island,

orphanage’s 200 “inmates.”3 The 1910 Cen-

authorities renamed the boy John Edward

sus lists 19-year-old “Margaret Powers” and

Severin, his surname chosen after the first

two sisters, Mary and Gertrude, as still insti-

name of his father. (Marie Severin said that

tutionalized, with her being employed by St.

her paternal grandfather was a shipbuilder.

Vincent’s as “night watch.”4 (Anna married

“But the money was so bad [in Norway] that

a lawyer and lived in East Rockaway, N.Y.,

he moved to the States, set himself up,”)

near the Long Island beach frequented by the

The lad resided in Brooklyn, New York,

sisters when they vacationed.)

living with his uncle and aunt, Sadie E. Sil-

Marguerite and John met when he re-

vertsen. A 1917 draft registration card cites

turned to his Wall Street job and, during the

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

courtship, he proposed standing beneath the Nathan Hale statue in City Hall Park. On the day after Christmas 1921, their first child, John Powers Severin, was born—though why they were living in Jersey City remains a mystery. (Their mother’s maiden name was selected as the baby’s middle name because, Marie said, “On the Powers side, they didn’t have a male to carry on the name, so

it that he was a healthy tot who quickly grew ñIn those halcyon times

my mother added it to my brother’s name.”)

into a strapping all-American boy.

when the Severins resided in Hempstead, the Long Island of the 1920s was flush with idyllic pastures and woods, perfect settings for a boy and his imagination to roam.

“We moved from Jersey City when I was

John was a good deal younger than most

approximately one month old,” John said,

children in his neighborhood. He later re-

“and [we] moved into Bay Ridge, Brooklyn,” where the young family lived at 454 86th

called to family that he had a German Shep-

Street. It was there when the future comics

the area, they enjoyed having the dog around

legend first started drawing. At the tender

so much that young John was invited to join

age of two, while sitting in his high chair, he

them. It seemed John and Buddy were a

depicted steam rising from a cup of tea in a

package deal. This was something that nev-

drawing that, for decades thereafter, would

er bothered John. Playing was playing, and

be treasured by the toddler’s mother. “From

play he did, whether as an imaginary soldier òYoungster John P. Severin

there,” John explained, “we moved out to

charging a hill or knight saving a distressed Hempstead days.

Long Island to start school.”6

damsel. Or he could be just little “Jack”

ard named Buddy. As the local kids played in

sporting his toy rifle in the

Severin tearing through the neighborhood Hempstead Homestead

with faithful companion Buddy, looking for

New York’s Long Island of the 1920s was

adventure.

filled with vacant lots and open fields. And

This was an idyllic period for a boy in

27 Bayview Avenue, in Hempstead village,

America. The 1920s were flush with post-war

nestled in a region where a youngster could

euphoria and joyful excess. It was also a time

leave the house in the morning and have ad-

for the Severin family to vacation, as John and

ventures all day before making it back home

his parents made summer jaunts to an aunt’s

in time for supper. The town was backdrop

house near the shore. There he’d while away

for kids fighting imaginary dragons with

a good part of the day clamming and then

cardboard swords, for cowboys roaming fic-

selling those shellfish to a seafood merchant

titious prairies, or for just listening to Rudy

up the beach. Summer days were also spent

Vallée or Al Jolson crooning on the radio.

running across the sand dunes, traversing

Somehow, this location seems very appropri-

the winding rails, and splashing among ocean

ate for a young John Severin. Family lore has

waves. It was a simple time filled with simple Chapter One: The Early Years

ðBonded Prisoner “‘Pris’ner! Pris’ner! Bonded pris’ner!’ shrieked Roddy Bitts, and touched Penrod and Sam, each in turn, with his sabre. Then, seeing that they paid no attention and that they were at his mercy, he recalled the fact that several times, during earlier stages of the game, both of them had been unnecessarily vigorous in ‘touching’ his own rather plump person. Therefore, the opportunity being excellent, he raised his weapon again, and, repeating the words ‘bonded pris’ner’ as ample explanation of his deed, brought into play the full strength of his good right arm. He used the flat of the sabre.”

fun for the youngster.

up together. There’d

In 1999, Severin

be two or three right

—Excerpt from Penrod and Sam pgs. 17–18.

fondly recalled those

together

winsome days. “I en-

there’d be a whole

joyed total freedom,”

block or two of noth-

he said. “I wandered

ing around… Kids

hither, thither, and

would play out in the

yon with and without

street and play stick-

anyone. I didn’t nec-

ball.”9

essarily have to have

Another

then

pastime

somebody with me to

the youngster enjoyed

take off and go a half-

was “Bonded Pris-

a-dozen miles. Walk

oner,” derived from

the railroad tracks, go

a 1916 boys novel by

swimming, bicycling

Booth

all over the countryside.”

òWhile they resided in Hempstead, Long Island, the Severin brood was never far from the beach. Here’s a rare photo of the four family members together, this in the early ’30s.

and

Tarkington,

Penrod and Sam. The activity involved toy

Reminiscing about the rural nature of

swords and captured opponents, a game that,

Long Island in that bucolic time, Severin

he said, “We all got a big kick out of it.”10

said, “I was around chickens and farmers and

His devout mother made sure young John

boats constantly. And beaches. God, I can

attended Catholic school. Regarding religion

tell you about beaches in the old days…”8

in the Severin household, Marie recalled,

Of his Hempstead neighborhood, he

“My father was whatever Norwegians are and

shared, “It was nice. Houses weren’t jammed

then he converted [to Catholicism]. I was in grammar school when he converted…” But, Marie explained, her father’s new spiritual transformation wasn’t due to any proselytizing wife. “He was always bringing her to church and he liked it,” she said. “He liked these Catholics, so he got into it, you know, bringing her there. So he joined ’em. Made it convenient, you know? He got into the whole thing. We weren’t big devotional people, but they sent me and John to Catholic school.”11 As households go, the Severins could rightly boast of a playful home. Marie said, “My father was a big jokester. My mother, she was a person who enjoyed life. You’d

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

come and you’d have troubles, and she was,

joyous event for the tight-knit Severin clan—

‘All right. I’m right with you,’ but, by the

and perhaps a surprise, too, as mother Mar-

end, she’d have you laughing. She was very

guerite was nearly 40 when “Mirthful Marie”

good that way. And my father, he could be

made her entrance. (Marguerite—affection-

very funny!”12

ately called “Peg” by her husband—remained

By all appearances, both parents were

in close touch with her three sisters and her

quite supportive of their children’s creative

only daughter was named in their honor:

endeavors and, in fact, despite his workaday

Marie for Mary, Anita for Anna, and her con-

employment as bean-counter, the senior

firmation name would be Gertrude.)

John had his own artistic talent, which soon

Big brother John was significantly older

found an outlet on chic and trendy Fifth Av-

than his effervescent, rambunctious sibling,

enue, after the birth of the couple’s second—

whose name was to be indelibly tied to his

and final—child.

during their adult years as comic book professionals. In the meantime, back then, his

Along Comes Marie

little sister had arrived into a loving abode.

She was born a little more than two months

“It was so nice,” she said. “[Our parents] al-

before Black Thursday, nine weeks and a day

ways reacted well to us and took the time to ñMarie was called “Babe,” as

prior to the stock market crash, when society began its awful descent into the Great De-

play with us. It was a happy family. My brother throughout their lifetimes. was seven years older that I was. So, it was al- Babe in the late ’20s.

pression. But the birth of Marie Anita Sever-

most like having two daddies. He always took

in, on Aug. 21, 1929, in East Rockaway, was a

care of me. Always kept me busy. He was a elder John’s claim to fame was

well as “Ri-Ri,” by her parents

òAside from his progeny, the as designer and illustrator of

big help to me growing up because he took Elizabeth Arden’s Blue Grass the time. And he was fun. He was a funny guy perfume and its blue horse mascot. Blue Grass is a

and he was clever.” Marie added with a laugh, fragrance still popular today. “Well, the whole family was nuts, anyway.”13 Nuts, maybe. Talented, definitely. As the nation’s economic woes accelerated, the Severin bread-earner lost work as an oil company accountant and, to keep the cupboards stocked, he traded in his bookkeeper’s pencil for a commercial artist’s Crow Quill pen, at least for a time. (Marie later shared that their father had Chapter One: The Early Years

attended New York City’s Pratt Institute and

younger John said, “being an accountant and

was renowned in the homestead for his won-

an artist at the same time…”15

derful paintings.)

Maybe due to his skill with numbers, the elder John imbued his offspring with a devo-

ñElizabeth Arden. ðVarious pics of John & Marie. òLittle boy Severin.

Luck of the Norwegian

tion to factual accuracy. The Severin family

Just as the Depression was bearing down

kept reference books available in their home,

on the country, resulting in widespread un-

including multiple encyclopedia sets, as one

employment, the elder John fortuitously

unacceptable answer in the home was “I

secured work as an illustrator-designer for

don’t know.” An expectation for problem-

cosmetic maven Elizabeth Arden, “He would

solving, self-advocacy, and self-determina-

design the labels, packaging design, bottle

tion was instilled in the Severin children.

ornamentation,” Marie explained.

For instance, when younger John was at the

Florence Nightingale Graham, known in

kitchen table drawing a Revolutionary War

business as Elizabeth Arden (who, ironically,

battle scene, it was this mutual commitment

started out, albeit briefly, as a bookkeeper

that sent him to the bookcase for definitive

herself), was a remarkable entrepreneur, one

sources. Even at this early age, John P. Sev-

who single-handedly built a cosmetics em-

erin went for facts instead of “winging it.”

pire to become among the richest women in

(Comic book artist Richard Corben*

the world. And she had faith in the abilities

weighed in on this laudable aspect in Sever-

of John E. Severin, selecting him as her own

in’s approach to storytelling. “Most comic

personal designer. His most famous contri-

artists,” Corben said, “even the good ones,

bution was to design the Blue Grass brand

seemed to have a habit of ‘faking’ the hard

with its iconic azure-colored horse illustra-

stuff, like cars, guns, saddles, etc.… just the

tion, a perfume still produced today.

sort of things the adolescent audience would

Alternating work between the Arden’s Fifth Avenue Manhattan offices and the

pounce on. If John Severin ever ‘faked’ anything, I would be surprised.”)16

Queens manufacturing facility in Long Is-

Though spared the misery so many other

land City, the elder John was given his own

families experienced at the time, young John

studio, submitting initial designs directly to

did witness examples of hard times… and of

the boss lady herself for approval. He worked

generosity very close by. “There were peo-

at the company until his death in 1968, two

ple who were living next door to us who had

years after Elizabeth’s demise.

a rather large chicken coop,” he explained,

For a stretch, perhaps as a hedge against

“that they cleaned out completely, put in a

precarious times, the elder John continued

heater, and had some old folks living in it…

to toil as a number cruncher in addition to

people were doing all kinds of things to help

his design work. “He split 50/50 between

one another… I guess you need some sort of

being an accountant, which is kind of weird,”

calamity for everyone to pull together.”17

*More peer testimonials featured on pgs. 154–157. 18

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

Chapter One: The Early Years

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

Chapter Two

“HOBO NEWS” BOY

In high school, I had a whole lot of fun doing cartoons for the Hobo News. John Severin to Mark Voger, Asbury Park Press, Jan. 7, 1996

hen John Severin turned 13, the family òYoung John P. Severin standing above the Brooklyn skyline

ïScrapbook page containing various John Severin drawings from 1939, some perhaps produced with the intention to sell to his first professional outlet, the Hobo News. At center might be his first sale, titled “The Newcomer.”

moved from the sticks of verdant Long during his teen years. Island into the bustling New York City borough where his father had been raised. The Severins took up residence in Brooklyn, at the newly-built Harding Court apartth ment building, at 574 77 Street, in Bay Ridge. Their fellow apartment-dwellers were, like the elder John, mostly skilled professionals born of the Scandinavian Peninsula—Denmark, Norway, and Sweden. (The Bay Ridge neighborhood was, in fact, a major Norwegian enclave, the largest such community in the United States, numbering some 30,00o by 1971.) In his teenage years, the younger John consumed a steady diet of adventure material, including the fiction of Robert Louis Stevenson, Rudyard Kipling, and Arthur Conan Doyle. “The usual line of stuff,” he said in 1970. “I went on to The Knights of the Round Table. And when you get about so high, you’ve got all the Tarzan books, J. Allen St. John illustrations all through… All they really did was conjure up all sorts of pic-

ñThe Hobo News, a fervently patriotic weekly, was appropriately anti-fascist even before the U.S. entry into WWII.

tures in my head. When the book was illustrated, that was even better. It made the book twice as good because you had something to tie into. And since I drew… I think I must of been Chapter Two: The “Hobo News” Boy

The Hobo News By the time the family settled in Brooklyn, the American comic book was just starting to make headway into mainstream popular culture, but not only did John neglect to consider the medium a viable venue for a burgeoning cartoonist to find work, he was utterly oblivious to the form until he entered the business in 1947! But, a decade earlier, the teen did chance upon a publication willing to pay actual money for his fledgling efforts. “When I was in high school,” John said, “I had a lot of fun doing cartoons for the Hobo News… this rag sheet—quite thick, as ñDuring New York City’s 1941 newsdealer strike, the only newspapers dealers could sell were PM, the Brooklyn Eagle, Daily Worker—and the Hobo News, which sported the modest tagline, “A Little Fun To Match The Sorrow.”

born reaching for a pencil, and I just never stopped. All I knew was: I was going to draw and I did wherever I was. Even so, the thought of being an artist remained a [vague notion].”18 Still, he later shared, as for making pock-

òThe Hobo News featured a copious number of cartoons, including a steady amount supplied by young J.P. Severin, for which the editors paid him a buck per accepted submission!

et change, the boy was ever resourceful, redeeming Coke bottles and salvaging tin foil from discarded cigarette packs to peddle to the junk man who made his weekly rounds.

a matter of fact—full of philosophy, cartoons, poems, all having to do with hobo life.”19 The Hobo News was an irreverent weekly tabloid of its time, lasting from the latter years of the Great Depression until 1948, a paper that relied upon a network of homeless vendors for its circulation. The News proudly declared it was a publication produced by hobos for hobos. An admiring article described one reprehensible habit of the tabloid: “The paper constantly violated U.S. copyright law by regularly printing articles that had earlier appeared in Collier’s, the New Yorker, and the Saturday Evening Post, without the permission from these publications. As far as injunctions against this practice, [the publisher] feared none. He asserted, ‘No self-respecting litigator would ever stoop to sue a newspaper with such a pathetic name.’” 20 But the Hobo News did legitimately purchase some features, among them numerous cartoons from John P. Severin, a teenager

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

making his first professional sale. Upon first

lifestyle, and it was a period when his par-

encountering the weekly, he realized, “After

ents always expressed their appreciation.

looking at the Hobo News, I knew that it was

His mother would giggle when entertained

something that I could do. So I drew up about

by John and Marie’s antics, endlessly elated

ten cartoons. I figured maybe they’d buy one

by her children. And, despite the insecure

or two. I went down there and I approached

times, his father always kept a cool head

the boss man. It was in the basement of this

about finances and, to his credit, continually

building [in a] dopey section of town. Down

supported his kids’ drawing and he spurred

in the basement, they had all the presses and,

on their imaginations. Hard times left scars

in the back, they had this little office. So they

everywhere, but the Severin household was

just passed me past all the guys working to the back room, and I introduced myself, and

too filled with happiness to buckle under the building, where the Severins lived starting in the 1930s. At crushing despair never far from their door.

he looked at the cartoons and bought them.

That being said, there were always col- the 23-unit residence were

So I said, ‘Can I come back down next week?’ and he said, ‘Sure.’ So I did, and he kept buy-

orful anecdotes Depression-era youngsters grants. òJohn (far left) and later shared as adults. Often times these Marie, aged 14–15 and 7–8,

ing them.’ John added with a chuckle, “So

stories revolve around hardship or violence. with unidentified cousins.

ñHarding Court apartment

the time, most occupants of skilled Scandinavian immi-

respectively, on a door stoop

I kept doing them.”21 The boy received the princely sum of $1 per submission. (The World Encyclopedia of Comics [1976] initiated a chronological error that, for years, plagued interviewers—and sometimes the artist himself!—when it stated, “Although he had no academic art training, Severin began drawing cartoons for the Hobo News in 1932 and continued until 1936.”22 In fact, the paper had debuted in 1937, with the young artist likely contributing even after transferring out of St. John’s Preparatory School, in 1938. Thus, however precocious as the talented youngster was, John was 16 and not 11 when he started selling cartoons.) Brooklyn Street Life and Culture In later times, Severin spoke to his own children about the Depression that, thanks to elder John’s secure job at Elizabeth Arden, the apartment was blessed with a middle-class Chapter Two: The “Hobo News” Boy

The younger John relayed to his

tion of an unknown antagonist pitted against

children about the time he

the resilient, underdog spirit of a reluctant

was chased by a boy on a

hero would resurface in his storytelling in the

bicycle. He couldn’t exactly

While the burgeoning adventure comic

why he was being

books somehow eluded his notice despite

pursued, but he

gaining an ever-growing audience among

vividly

recalled

those in his age group, the adolescent ab-

sprinting in his

sorbed the era’s pop culture. He attended his

loafers

the

fair share of Saturday matinées and watched

sidewalk as a fast

Westerns, war stories, and exotic adven-

as possible. And,

tures flickering across the neighborhood

every time he looked

movie screens. He even specifically recalled

over his shoulder, he

the first movie he ever saw, Wings, and also

saw the bike rider gaining

said he “enjoyed the tar out of John Wayne’s

distance. Eventually, he slowed

stuff.”23 But as much as the youngster was

down, dropped to his knees to “turtle

attracted to such films as Gunga Din and its

shell” his body close to the ground, and bow

like, the historical inaccuracies portrayed

his shoulders backward toward his adversary.

in Hollywood period movies—particularly

The front tire hit him on his side and the bike

shoot ’em up Westerns—nagged at John, who

flipped over forward. The kid on the bicycle

had developed a passionate interest in histo-

landed in a heap a few feet past him. Severin

ry and, presumably, getting it right.

remember

ñThough at times questioning the accuracy of the earlier Western films starring the Duke, John Severin confessed he “enjoyed the tar out of John Wayne’s stuff.”

ðJohn P. Severin, mid-1930s.

òThe old library at St. John’s Preparatory School from approximately the time when John the younger attended.

decades to come.

stood up, tossed the bike aside, and resumed

In his future professional career, John did

running home. He never precisely learned

his best to be an example as an absolute stick-

why he was being chased down by some

ler for keeping it real. Asked if he strove to

strange person he didn’t know, but the no-

make his own Westerns authentic as opposed to the less-than-accurate work of some peers, the artist replied, “Yes, for the most part. It’s more fun for me. I just couldn’t stand some of those Westerns. They were done so haphazardly. They’d take the movies that were made in the early ’30s, late ’30s, and [say] this was the West. It wasn’t the West. It never occurred that way and it used to annoy the hell out of me. So, in my own fashion, I would try to be as accurate as possible, and still stick to the script, of course.”24

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

Book Learning Books remained a lifelong passion for John and he became renowned for his crowded reference library, about which he once exclaimed, “Oh, good lord, I… man alive, I’ve got bookshelves full of all sorts of crap, God almighty. I’ve got books on saddles, books on weapons, books on history of the Western, you know, the Spanish Western, and then our pioneers and working its way up.”25 But any interest in formal education? Not so much. “John didn’t like school,” admitted Marie. “Well, he liked reading and history like I did, but he didn’t like the studying, you know? Math and stuff like that. He could do it. He was a good student. But he’d rather draw. In drawing, you teach yourself because he was constantly bringing books from the library and my father had two sets of encyclopedias. When you’re a foreign-born, you want to know when to shake hands with ’em in the country, so we’d got the encyclopedias and didn’t have to run always to the library.”26 Much as the young student appreciated the discipline instilled by the Catholic institution, St. John’s Prep simply couldn’t satisfy his itch to be creative. “[W]hen given the opportunity to do an essay or something,” he said, “I would take off into my own direction, do my own research, forgetting the schoolbooks and everything else, and do a good job. When I’d get back into the schoolwork part, that was a waste of time. My marks were indicative of the kind of effort I was putting into it.”27 Then the prospect arose to switch to a remarkable new high school recently established just across the river from Brooklyn. Chapter Two: The “Hobo News” Boy

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

Chapter Two: The “Hobo News” Boy

Under the Influences John Powers Severin, like all cartoonists, was

most rabid appreciation for Western-theme painter

inspired by the work of those who came before him

Charles Marion Russell [1864–1926] (“Wagons,”

and, once he joined the brotherhood of comic book

1921, seen at bottom left) whose nickname, “the

artists, less with the artistry of his peers in the

cowboy’s artist,” speaks to Russell’s superb

business. He would cite the work of adven-

renditions of scenes from the Old West. With

ture comic strip creators Milton Caniff (Terry

Severin’s own pronounced affection for draw-

and the Pirates, seen at center), Alex Raymond

ing Westerns, one could be hard-pressed to

(Flash Gordon, below), Hal Foster (Tarzan, bottom right, and Prince Valiant), and, most notably, Roy Crane (Wash Tubbs/ Captain Easy and Buz Sawyer, next page, lower portion), as important to his development as storyteller. Significant, too, was Severin’s al-

identify a predecessor who better reflects the same dedication to authenticity and respect for the dignity of both cowboy and Native American. Severin also selected Edwin Austin Abbey [1852–1911] (“King Lear,” 1898, seen next page, top), whose Arthurian and Shakespearean paintings enthralled the cartoonist.

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

No other cartoonist had greater influence on the storytelling—and style, we surmise—of John P. Severin than did Royston Campbell Crane, creator of the newspaper adventure comic strip. Roy Crane’s Wash Tubbs (and Sunday strip version, Captain Easy) and Buz Sawyer had their dynamic combination of humor, action, and pathos (all exceedingly well-drawn and expertly staged, to boot!). “Before illustrators brought serious authenticity to comics,” wrote comics historian R.C. Harvey, “there was Roy Crane. And it was the work of Roy Crane—those often funny stories of treasure hunts and melodramatic villainy and pretty girls and a hook-nosed soldier of fortune—that an entire generation of cartoonists sought to equal as they invented and refined the adventure comic strip. All of them, like Crane, were seeking adventure for the fun of it.”28

Chapter Two: The “Hobo News” Boy

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

Chapter Three

CASTLE ON THE HILL

My evolution was like real evolution— haphazard as all hell! John Severin to Gary Groth, The Comics Journal #215, Aug. 1999

he list of future comic book professionals who passed through the halls of New York City’s High School of Music and Art during its early years is a veritable muster of Hall of Famers: Ross Andru; Al Feldstein; Al Jaffee; Everett Raymond Kinstler; Mike Esposito; Frank Bolle; perhaps one of the few bona fide geniuses in the field, ïThe view from St. Nicholas Park of the High School of Music and Art—today the A. Philip Randolph High School— located in Harlem, on West 135th Street, New York City.

Harvey Kurtzman; and… John Powers Severin. Will Elder, among the first class to graduate the school (and future Severin collaborator), put it this way: “If you look at the people who have graduated from that school, it reads like a Who’s Who of American cultural icons, musicians, artists, amazing people.”29 (Among those creative classmates was beautiful Bess Myerson, future first—and only—Miss America who was Jewish and, because of her forthright pride exhibited ñJohn Severin during his about that heritage, Bess was considered a heroine within the

secondary school years.

nation’s Jewish community.) Nicknamed the “Castle on the Hill” and located uptown, on Harlem’s West 135th Street, the school was the creation of legendary New York City Mayor Fiorello H. LaGuardia, who ñHigh School of Music and Art yearbook from 1940.

reasoned that exceptionally creative students should be gathered to nurture their talents and be exposed to high culture. Chapter Three: Castle on the Hill

ñSketch of World War I soldiers by Severin, 1940.

òThe young artist in repose.

Healthy Competition

would, of course, go on to be an important

Considered the first public high school in

creative partner with Severin during a for-

the United States specializing in the study

mative time in their early years carving out a

of music and art, attending M&A was trans-

living in the comic book business.)

formative for any number, including Elder,

One purpose of M&A as a “magnet

who said the experience “turned my life

school” was to attract qualified students from

around,” and he cited that, in addition to

across the city’s five boroughs and give them

meeting “very interesting people”31 who

exposure to cultural diversity, an aspect that

inspired him, the school provided a vital

delighted John Severin. “I tell you, it was

benefit. “There’s also a tremendous feeling

wonderful for this reason,” Severin said, “I

of competition,” he said. “Competition was

had always been around people who worked

good in a case like that. You want to be bet-

and did all kinds of oddball things, but no-

ter than your friends, show them that you can

body was an artist. Well, there were members

do as good or better than they. It worked. It

of the family who were violin players, diddly-

made me stand out in class.” (Will Elder

do with the paints here and there, but you

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

didn’t talk to anybody about art. They would

right out of the same mold. So it was a much

say things like, ‘Oh, John. John draws.’ That

looser, easier going, bohemian style of high

was the extent of the conversation about

school than I ever dreamed there was. Not

John and what he liked to do. ‘He was an

that there weren’t rules and regulations, and

oddball. He liked to draw.’ And now I’m in

you’d have to abide by them, don’t make any

this high school where, my God in heaven,

mistake about that. But, at the same time,

everybody’s talking this stuff constantly and

this was really freedom to me. Wow! I wasn’t

bringing up new ideas. Oh, it was a wonder-

too sure I liked it.” After a pause and with a

ful atmosphere especially for somebody like

chuckle, Severin added, “It grew on me.”34

me, who didn’t have that around him.”33 But what the upright, straight-shoot-

Making Contacts

ing Bay Ridge boy raised with strict Catho-

Upon adapting to the permissive atmo-

lic schooling found intimidating was to be

sphere, the teen thrived at the progressive ñTeenage John P. Severin.

thrust into such an undisciplined environ-

school and importantly made connections

ment, among a decidedly weird and eclectic

among the student body that later had a pro- òWestern theme drawings by

bunch gathered from hither and yon. “The population was all these eccentrics,” he

found impact on the trajectory of his career. Art student, 1940. And, professionally, no association proved

said. “They’re all artists, musicians, ballet

more important than one John made with

dancers, etc.… So these people are entirely

underclassman Harvey Kurtzman. As Kurtz-

different. Also the teachers, the faculty, were

man biographer Bill Schelly related:

the High School of Music and

Chapter Three: Castle on the Hill

Enter Dawkins A lifelong, hugely gratifying—and quite fruitful—friendship Severin established at M&A was with a classmate said to have been born on an Oklahoma Indian reservation. Colin Campbell Dawkins II was in the first M&A graduating class and, during those years before their extensive collaboration in the 1950s (and, briefly, in the latter ’70s), he ñLifelong buddies Colin Dawkins (left) and John P. Severin.

òSeverin sketches from the 1930s.

Kurtzman’s third year in high school marked the beginning of his friendship with

his best friend—became playful chums.

John Severin, another promising illustrator

“John and I used to exchange drawings,”

and cartoonist. Kurtzman and Severin made

Dawkins said. “We’d start wars. We shared

an unlikely duo. Harvey was 15. John, a se-

the same desk in French class, only in dif-

nior, was 18. Kurtzman hadn’t reached his

ferent [time periods], so he would leave an

adult height of (5'6"). Severin towered over

insulting drawing in his inkwell, and I would

him at 6'2". Kurtzman was Jewish. Severin

pick it up and then return it in kind, although

was Catholic.

he drew so much better than I that he actually

While their friendship hit some low

and Severin—who Dawkins later described as

discouraged me.”36

points in time, during high school and in

Dawkins also recalled, “I was brought up

the immediate post-M&A period, their fre-

on [Rudyard] Kipling’s Stalky & Co., and put

quent correspondence was proof that an

Severin on to it, too. I was Stalky; he was Mc-

ardent bond had been established between

Turk. (If you have not read Stalky & Co., it’s

the two. In his letters to Kurtzman, Severin

still not too late. And you must!)”37

lavishly illustrated the envelopes with pen

Perhaps it was during their school days

drawings often enhanced with watercolors.

when Severin and Dawkins began to dis-

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

cuss a concept that would eventually shape

the AC Spark Plug

into Ruby Ed Coffey, a rare EC Comics con-

Company (though

tinuing character eventually featured in the

likely a subcontrac-

Severin-edited issues of Two-Fisted Tales.

tor for the Flint,

What Severin found appealing, in part, was

Michigan-based

that Ruby Ed resembled not only Roy Crane’s

division of General

Captain Easy, but also a favorite pulp maga-

Motors).

zine hero, “Man of Bronze” Doc Savage.

By his own ad-

Making note of Severin’s ambidexterity,

mission, the talent-

Dawkins divulged, “Severin can write back-

ed artist was just

wards with his left hand while simultaneous-

drifting, bouncing

ly writing forward with his right. He draws

around after M&A.

right-handed, but can do a decent sketch

But, with Amer-

left-handed in a pinch.”

ica thrust into a

global war, it was Drifting

only a matter of

Any notion that M&A’s mission was to pre-

time before Uncle

pare students for jobs after graduation was

Sam would draft

dismissed even before the institution opened

the fit and bright

its doors. In 1935, the New York Times re-

young man for duty,

ported, “In no sense will the new school have

though before that

a vocational function, nor does it propose to

happened, the silver

offer specialized training that lead directly to

screen inspired Sev-

employment upon graduation. This meets

erin to sign up.

the objection raised by some that the city will

On July 3, 1942, the movie Sergeant York, ñAccording to family mem-

be preparing young people for a field that is

about real-life Alvin C. York, the most deco- ically inspired by the Howard rated soldier of World War I, was playing at Hawks-directed Sergeant York

already overcrowded.”39

bers, it was upon being patriot[1941], when 21-year-old John

Upon leaving M&A, that policy was to

Manhattan’s lavish Strand Theatre on Broad- Severin marched down to the

John’s disadvantage, as while some peers went on to college and a few to profession-

way, and perhaps it was there where young for service on July 4, 1942. Severin saw the patriotic Howard Hawks-

al jobs, the Bay Ridge lad couldn’t find work

directed spectacle (with its Oscar-winning Brooklyn Eagle, July 3, 1942.

using his talents. Instead, hearing from his

performance by Gary Cooper). Regardless

father’s friend that employment was available

of where he watched it on that Friday, Sev-

in Long Island City, Severin found a job as

erin later told his kids that he had seen the

apprentice machinist making 20 millime-

motion picture and was so motivated that he

ter shells for the Royal and Free French Air

volunteered for military service the following

Forces in their fight against the Nazis, at

morning, Independence Day 1942.

recruiting station to sign up òNewspaper ad from the

Chapter Three: Castle on the Hill

Colin C. Dawkins II, Gray Flannel Man John Severin met upperclassman Colin Campbell

able to attend M&A, whose students were required

Dawkins II in the late 1930s, and not only did they

to reside in a NYC borough, remains in question.)

enter into a lifelong friendship, but, at various times,

Dawkins was in the first M&A graduating class

the pair later became a perfectly attuned and

and he and Severin maintained a prolific corre-

talented creative team. Dawkins was

spondence post-M&A (evidence of which

attending the High School of Music

survives, as Dawkins saved Severin’s

and Art to study portrait painting,

exquisitely illustrated envelopes,

an interest he continued to pur-

along with the letters). Before

sue through life, though never

Selective Service caught up with

professionally.

Dawkins, he was squeezing in

Dawkins, son of a Wall

two years at Trenton’s New

Street stockbroker, would boast

Jersey State Teachers College,

he was born on Oklahoma’s

where he majored in art and his-

Osage Indian Reservation (one

tory. According to a yearbook, he

account says “near”; another 60

played a bit part in a school theatri-

miles south in Tulsa), on Sept. 8, 1922. When the boy was born, Colin Sr., a

cal performance of “Disraeli.” Self-described as “an adequate student”

Yale graduate, was employed as engineer by Tulsa’s

and “avid radio work-shopper,”40 after graduating

“Prince of Petroleum,” the famous Josh Cosden.

he worked as program assistant on the CBS radio

By 1930, after Cosden’s fortune was wiped out, the Dawkins family moved back east to the New

program, The All-Night Show, at the WABC facility. On Sept. 10, 1943, Uncle Sam enlisted the young

York City suburb of Bayonne, New Jersey, and Colin

man as a private in the Army Air Corps, where he

Sr. worked as an independent broker at the New

served as editor, cartoonist, and photographer—

York Stock Exchange. (Research indicates that the

“(and all at once)”41—for service publications, in-

family remained in Bayonne, 11 or so miles by car

cluding Randolph Air Force Base’s The Rookie and

from Wall Street, so how exactly a Jersey kid was

Blackland Army Airfield’s Black Landmarks. In May 1945, Dawkins had his sketchbook soft-pencil sketches (mostly portraits of fellow servicemen) exhibited at the Witte Museum, San Antonio, Texas.42 (It appears Dawkins remained stateside for the war’s duration.) After being discharged as corporal, on Mar. 8, 1946, Dawkins’ next civilian job was at an outfit where he’d spend the rest of his 34-year working career, the prestigious—and quintessentially American—advertising agency, J. Walter Thompson. Starting in the mailroom, Dawkins rapidly advanced

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

in the company as “a member of

JWT vice president, in 1965.

the postwar bumper crop, grad-

That aforementioned 1954

uated to Market Research, soon

profile ends by describing Daw-

became a junior writer, soon was

kins as painting portraits and he

senior.” By 1949, he was the

“writes the comics his best friend

first American to join the London

draws. ‘We believe one good art-

office after the World War II

ist and one good writer may add

hiatus, where he “scored second

up to one Milton Caniff,’ [Daw-

highest batter in his first game

kins] explains.”46

with London’s cricket team.”44 A

In ’54, Dawkins scripted all the

1954 profile boasts that Dawkins

stories in the Severin-edited issues

“wrote (in four hours flat!) an

of (“The New”) Two-Fisted Tales,

address commemorating Sir Win-

and made marketing suggestions,

ston Churchill’s 50th anniversary

and, when the opportunity arose

as M.P., which was delivered on

in the ’70s to (sort of) resurrect

[the] BBC…” The description continued: Having established a reputation for “writing well, fast,” Colin has kept in high gear ever since. He’s done well by Pan American and Parker Pen in London—Barrett and Dominion Glass in Montreal—Ford International, Mosler, Blue Cross, J.B. Williams in New York. When a 17-page booklet must be turned out in a week or a presentation prepared for a new business prospect, count on Colin! When he’s done with yellow pads, #1 pencils, and the typewriter, he pulls out his drawing pad and sketch pencils and polishes up his “copywriter’s roughs”—the kind art directors respect.45 It is breathtaking to imagine the phenomenal

American Eagle, he scripted the three episodes. Until his friend’s death, Severin remained close pals with Colin Dawkins, who Severin called a “good egg.”47 In 1965, a JWT newsletter related, “[T]he only painting [Dawkins] now has time for is on his 1761 house in Armonk, N.Y., where he lives with his wife and four children, aged 14 to 9. He is a confirmed book-stall browser—’I have a fine collection of Frank Merriwell,’—and has an active interest in local politics and school affairs.”48 Word eventually made it to EC Comics fandom that the uncredited Dawkins was a writer for the

energy level of Colin Campbell Dawkins II. Consider

celebrated comics publisher and, commencing in the

that while he was in England, he was also writing

summer of 1971, he enthusiastically consented to in-

Prize Comics Western scripts with Severin, fitting in

terviews conducted by John Benson about Dawkins’

a brand-new married life with fellow JWT-London

sparse though significant comic book work.

employee Patty Horan, plus creating and then editing the London branch’s house publication. Between 1951 and ’53, he jumped between the

In later years, Pat and Colin divorced and he moved to Manhattan, then Connecticut, and finally eastern Pennsylvania. In 1980, he married British-

New York and Montreal JWT offices, entered fa-

born Hazel Humphreys Richmond. At the age of 64,

therhood with the arrival of Colin III, and initiated

he passed away, in Philadelphia, on Nov. 26, 1986.

his 18-year long stint on the Ford Motor Company

Previous page is Colin Dawkins in 1954 and his Selective Service registration card. This page is clipping from New Castle Tribune, July 9, 1959, regarding CD’s public service for the United Fund.

account, which would result in his being named a

Chapter Three: Castle on the Hill

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

Chapter Four

THE OKINAWA KID

I love the ‘life’ I live—like hell— It just makes living all the more worthwhile. John Severin in a letter to Colin Dawkins, circa 1944

ivilian John Powers Severin, 21 years old and ïPFC Severin of Company B,

1885th Engineers Aviation Bat-

filled with patriotic fervor, traveled to South talion, brandishing an M3 subFerry, on July 4, 1942, at the southern tip of Man- machine gun, commonly called a "grease gun," in a photo

hattan, and signed up for military service at the snapped while the young man served in the Pacific Theater

Army Building, 39 Whitehall Street. From there, he received during World War II. training at Fort Dix, New Jersey, was inducted into the Army

Air Force, and sent to Keesler Air Field, Mississippi. Then he òPFC John Powers Severin, hopped over to Alabama’s Maxwell Air Force Base, and then USAAF Airborne, serial number

12090528. At time of enlistment:

South Dakota’s Ellsworth AFB, where Severin was trained height 72", weight 158 lbs. to be a radio operator and B-17 bomber mechanic. Sometime during his assignment he pursued pilot training, where testing revealed Severin was colorblind, which, while disqualifying him as pilot, proved advantageous in the USAAF camouflage unit at Westover Air Base, near Springfield, Mass. Severin later explained why he called the stint “easygoing”:49 “You just camouflaged something,” he said, “and then everybody stands around saying, ‘Isn’t that grand?’ And we’d have a beer, if somebody could swipe some, and next day we ñIn correspondence to friend Colin Dawkins, Severin included this self-portrait of JPS pondering his V-mail.

go out and we’d dig a silhouette of an airplane and we’d pour oil in the silhouette, and then somebody’d fly over and take photographs and see if it looked like a plane. Or they’d hide a Chapter Four: The Okinawa Kid

Depot Field was fine-graded and laid with “asphaltic concrete” at 150 feet wide with a length of over one-half mile! Severin’s job was to patrol the perimeter of the construction area as crew chief of a half track, likely an M3 equipped with an antiaircraft gun and machine guns. “My action was minor stuff,” he confessed. “Since I was crew chief of the halftrack, I guarded guys when they’re out there

ñAt top are the B-29s that landed on Guam’s North Field. Above is the EAB insignia. òShirtless PFC Severin in a photo taken during his Pacific stint. Inset bottom right is an Army-issue M3 Half-track.

bunch of guys in the weeds with camouflage,

working. Sometimes you’d get bored stiff

and we’d go through, and, of course, I could

and you’d volunteer and go on patrol of the

spot the guys. All but one guy. One guy did

area. Sometimes you’d help out the Marines

get away with it with me. But because I was

in their patrols, pad up their manpower. But

colorblind—this was why they wanted me—I

as far as actual action… nah. Did I get shot

could spot the camouflage much easier than

at? Did I shoot at them? Everybody did. But I

anybody else could. They used me as a deter-

wasn’t combat troop.”52

minant as to whether it was good or bad camouflage. That got boring as all hell!”50

Notably, the Guam “North Field” runways—completed after an eight-month effort by the 1885th and fellow EABs—was used as

Company B, 1885th EAB

landing site for the first B-29 raid on Tokyo,

Now a member of the Airborne, Severin

on Nov. 24, 1944. The following spring, the

transferred to heavy weapons training only

’85th shipped to battle-ravaged Okinawa, ar-

to be dismayed when one of the outfits he

riving just as U.S. forces were mopping up

helped train was “wiped out”51 during action

after the bloodiest battle of World War II,

in North Africa. Eager to get in the fight him-

which overall left, in total, some 172,000

self, he leapt at the chance to serve as a ma-

dead. Some Japanese soldiers ignored the

chine gunner with Company B of the 1885

surrender and hid in caves, occasionally tak-

Engineer Aviation Battalion (EAB), which departed for the Pacific Theater from Seattle, two days after D-Day, on June 8, 1944. One of the 1885th EAB’s missions was, along with other EABs, to construct air bases with runways of enough length to accommodate long range B-29 bombers. The Guam 40

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

ing potshots at the American occupiers. The ’85th was helping to create airfields

on Okinawa intended to be used as staging ground for Operation Downfall, the planned invasion of Japan, predicted to cost as many as 250,000 American lives and the death of countless Japanese. To the relief of Severin and most of civilization, in early August, the ’85 got word that the enemy surrendered, th

negating any U.S. assault onto the Japanese mainland. The Blade, the ’85th’s newsletter on Okinawa, ran a description of troop reaction of hearing the news (which was not to be confirmed for a nail-biting six days): “Friday, 10 August

Lo quas nem ipsam, officid ulluptinihil moluptatem consequ iberatia consequis ulloribus ipsa vendia volo entur? Pelit, nonsequi dolupta temolest, simet peruntium hicit elignate perum lis qui consentium fugit od ma

1945. During the showing of the movie, about 2100 hours [9:00 p.m.], the erroneous rumor came that the war was over. What a demonstration of joy and pent-up emotions. Tracers, flares, searchlights filled the sky. The movie was completely forgotten. For hours, jubilant troops laughed and sang, gave thanks to God, and talked of home and loved ones.”53 (In a battalion publication, Severin depicted the exult in an illo opposite a spectacular aerial photo of Okinawa taken that night.) Craps and Catastrophe In 1945, typhoons Ursula (Sept. 7–15) and Louise (Oct. 2–12) swept through the region, with the latter making a direct hit on Okinawa—the worst such storm to strike the island in 20 years—creating massive damage to the U.S. presence and also, Severin related, to some Japanese hold-outs, who revealed their chilling proximity to the Americans. “These guys, after the typhoon, they’d come creeping out of the caves,” he exclaimed. “My God, they’re ñClockwise from top left is group portrait of the 1885th EAB; cover of award ceremony brochure and PFC Severin on patrol in

starving, they’re hungry, Okinawa; list of company members of the 1885th overlaid with th the typhoon beat the crap Bronze Star and close-up of JPS thlisting; 1885 commendation; and hand-colored JPS illo of ’85 commander Lt. Col. Marvin

out of them. We didn’t Reynolds in the latrine as Japanese soldiers surrender, Jan. 1945. Chapter Four: The Okinawa Kid

“consisting of only two dice and a little open area for the dice to roll across. World War II saw the popularity of craps at its peak, as many soldiers enjoyed playing the game whenever and wherever they could gather a few comrades with some money. It was an extremely portable game, requiring just a pair of dice and a wad of greenbacks. Crap [sic] games broke out on the decks of ships, in the cargo beds of trucks, and inside the fuselages of transport aircraft.”56 Severin described his luck with the game while awaiting discharge from the battalion: “My devotion to the dice did me well at the last… [and] they put us down… and so there know these guys were no more than may-

was about maybe 10 or 20 tents full of guys

be 200 feet away from us half the time. We

who were ready to take off [to go home]. We

didn’t know these guys were that close, all

got paid three months back pay. I was living

this time.”54

with the regimental sergeant major and he

The 1885 EAB received two Bronze th

Stars for their superlative efforts on Guam On this page are illustrations by John Severin about life in the 1885th Engineers Aviation Battalion, produced for a commemorative booklet celebrating the outfit (cover above). Inset right relate to his luck at dice in the war’s final days.

and Okinawa, along with a May 1945 letter of commendation, which cited: “They overcame the almost insurmountable problems of lack of equipment, manpower and material in the completion of the various projects assigned to them.”55 Adding to the two Bronze Stars, Severin was decorated with the AsiaticPacific Theater Ribbon, Army Good Conduct Medal, and American Campaign Ribbon. While waiting to be shipped home, Severin experienced a lucky streak when gambling. The game was dice—more commonly called “craps”—a time-honored wagering pastime particularly popular during that period. “The basic game concept is very simple,” the Skylighters.org website explained,

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

left the tent after we got paid, and we started playing craps. I took the other four guys’ complete pay… just wiped them out. He had similar luck. He went over to the Company C boys, and he took their money. So he came back, and everybody was laughing and telling us we’d cheated, and stuff like that. Then they started talking it up, and they dared us to get into a game together. So we did, and I took his money. That’s the last time I’ve ever had any luck.”57 The ’85th Moves Up! Before the 1885th EAB was deactivated on May 31, 1946, a commemorative booklet was published celebrating the unit’s brief history, which was distributed to those serving in the battalion. In addition to sections devoted to photos of their training and Asiatic achievements, the effort contains a bonanza of outstanding cartoons by Severin about Army life in an Engineer Aviation Battalion, including multiple full-pagers, perhaps his

The ’85th Moves Up commemorative booklet proved to be an excellent showcase for the cartooning talents of PFC Severin, who was given a number of full pages throughout the publication to show off his work, as well as space for numerous funny spot illustrations. Above, right, and below are three full pages, top and bottom depicting their training experience.

first published work as an adult. The precise discharge date of John P. Severin remains unknown (and so too when exactly he was promoted in rank from PFC to corporal), though it appears he stayed on in Okinawa for some months after the surrender. During this period, he contemplated re-upping for another hitch in the service, where, after all, Severin had spent much of his early 20s. But he decided to get on with civilian life. Though there’d be a (hardly unexpected) period for the soldier to adjust to the world back home, old classmate Colin Dawkins would be there to help. Chapter Four: The Okinawa Kid

ñIllustration by John Severin drawn while stationed in Okinawa, 1945. òVarious photographs of Severin while he was in the service.

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

The Severins’ Victory Mail Correspondence The parents and sister of PFC John P. Severin kept up a steady correspondence with their boy in the Army through “Victory Mail,” and the recipient sent back heavily illustrated replies, with the banter between siblings particularly amusing. The National World War II Museum website explains V-mail: V-mail, short for “Victory mail,” was a particular postal system put into place during the war to drastically reduce the space needed to transport mail thus freeing up room for other valuable supplies. Although the V-mail system was only used between June 1942 and November 1945, over 1 billion items were processed through these means. Officially entitled the “Army Micro

Two rolls of V-mail microfilm equated to a staggering 3,200 regular-size letters.

Photographic Mail Service,” War Department Pamphlet No. 21-1 describes V-mail as “an expeditious mail program which provides for quick mail service to and from soldiers overseas. A special form is used which permits the letter to be photographed in microfilm. The small film is transported and then reproduced and delivered. Use of V-mail is urged because it greatly furthers the war effort by saving shipping and airplane space.”58

Chapter Four: The Okinawa Kid

ñNote John’s comment to Marie about keeping their mother from worrying about her first-born stationed in a war zone.

ñAt 14, Marie was already revealing a talent for cartooning— and sharp sense of humor—in her letters to her brother.

ñPFC Severin V-mail to little sister Marie that makes humorous mention of the U.S. Presidential election of 1944.

ñLovely salutation, written in “Brooklynese,” from “yer luvin’ son” to John’s father for the latter’s 51st birthday, in 1944.

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

ñSometimes the private from Company B communicated with a simple cartoon to express the deprivations of military life.

ñThe war in the Pacific finally concluded, “The Okinawa Kid” shares his own joy and relief with a worried mother.

ñAnother expression of post V-J Day relief, this one including a pun about the hardships of the common soldier during WWII.

ñA poignant holiday greeting sent in 1944 during John’s stint in Guam, part of the Mariana Islands, in the western North Pacific. Chapter Four: The Okinawa Kid

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

Chapter Five

THE FOURTH MUSKETEER

I said, “What’s Harvey doing over there? ” And he says, “Drawing comics.” John Severin to John Benson, Graphic Story Monthly #13, Spring 1971

rank J. Reilly was the artist John Severin most wanted to learn from upon returning stateside. The renowned painter/illustrator/muralist/teacher taught at the famed Art Students League of New York, and, eager as the Army war vet was to receive instruction from the master, there was one enormous problem: the list for enrollees to get into Reilly’s class betrayed a 12-month wait. And ïOriginal art featuring American Eagle, star of the break-out series in Prize Western Comics, drawn by John Severin (pencils) and Will Elder (inks). Cover, #93 [May–June 1952].

here’s where Dawkins reemerges into Severin’s daily life. Before his decades-long stint with a top U.S. ad agency, Dawkins òThe young professional artist

in a candid photo from the late

learned of a small art instruction outfit—actually run out of an ’40s/early ’50s. uptown loft—the School for Art Studies, which catered to servicemen who had tuition covered by the G.I. Bill. Thus, for about six months, Severin and his chum received art lessons from Maurice Glickman. “It was okay,” Severin said. “It was a great place to study and do some more practical stuff than what I had been doing naturally and in high school.

ñThe Severin/Elder team was formed at the suggestion of Harvey Kurtzman, with the partnership lasting until each developed a solid handling of both penciling and inking. This is their photo-stat “signature.”

I brought some great books from them, because they had a lot of books that you could buy on the G.I. Bill there. Because you were allotted,… for supplies and so forth. Sometimes I took it out in books. To hell with the supplies! I’d almost rather have the books. I still have the books, I don’t have any supplies.”59 Chapter Five: The Fourth Musketeer

About those early post-war days, Severin

plained, “I brought a couple of paintings up

later said that returning to civilian life posed

to them, and I didn’t realize that the other

nagging but surmountable problems, one

guys were there.”61 The “other guys” were

being the time it took to wipe away the per-

Kurtzman and Will Elder, who had, around

sistent mental fog he experienced when he

1947, established the Charles William Har-

came back to the States after serving over-

vey Studio with Stern. “They propositioned

seas. And it was a chance encounter with an-

me,” Severin continued, “Why don’t I come

other high school pal that helped to clear his

on in the studio and work there for a month

head and give Severin lucid direction.

until I got my feet under me? Which was damn kind of them. So I dropped out of the

ñWill Elder, circa 1945.

Charles William Harvey Studio

school, because I had no big drive to do fine

òFor about a half-year, Severin and Dawkins attended a G.I. Bill-friendly art school in midtown Manhattan, run by artist Maurice Glickman.

As he had with Dawkins, Severin stayed in

art. I wanted to go into the commercial field

contact with former M&A classmates Harvey

and make some money, so I took them up on

Kurtzman as the two became dedicated letter

it and worked there for a while, and they be-

writers after graduation. “We corresponded

gan dropping off parts of jobs to me. It went

before and during the War, and a remarkable

on like that. I was earning a certain amount of

thing about John,” Kurtzman offered in 1981,

money, paying my way, at least.”62

òFrom left, during the days of Charles William Harvey Studio, Kurtzman, Severin, and JPS “bosom buddy” René Goscinny, who went on to great fame as co-creator of Asterix the Gaul in his native France.

“when he wrote letters, he would illustrate

While Dawkins went off to eventual suc-

the outside of the envelope with a watercol-

cess as a J. Walter Thompson copywriter,

or or pen sketch—and I think he was as good

Severin picked up what freelance jobs he

then as he is today. He was born a remarkable

could at the workshop, which he described:

draftsman.”

“The three of them were equally involved in

Fellow grad Charles Stern organized

the studio… and they would sort of spread

M&A alumni art shows and, Severin ex-

[work] around. For instance, if Charlie Stern got a job, he would take it, whether he could do it or not, knowing that Bill Elder or Harvey might be able to do it… Ordinarily, though, they got their own jobs. The purpose of the studio was to have a studio.”63 About the gigs he had a hand in, Severin said, “It would be design work, logos for toy boxes, logos for candy boxes, cards to be included in candy boxes, everything but the candy itself.”64 All the while, Kurtzman was drawing his “Hey Look!” one-pagers for Stan Lee at Timely Comics. “He’d get an assignment from Stan, turn one or two out, and

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

then go back into advertising,” Severin ex-

rope during the War, the cartoonist broke ñSeverin’s gag cartoon depicts

plained. “Then, all of the sudden, he would do another one or two, and he’d drop out of

into comics with his “Rufus De Bree” strip man, gunman to the left, and in Toytown Comics, lasting for the four re- JPS, pistol wielder to the right,

the advertising scene for a day or two. So one

maining issues of the bi-monthly kiddie title. ship through their lifetimes,

day I asked him how much he got per page

Around this time, Elder met with M&A alum- displayed this illo on his wall nus Kurtzman and Stern, and they formed for years. òSeverin at rest.

and how many he could do a day, and when I

the Studio in its heyday. Kurtz-

had an up-and-down relationthough Kurtzman proudly

found out… I said, ‘That’s for me…’”65 As mentioned, Severin wasn’t much aware of the comic book scene. Other than picking up a random Western title once in his youth, the artist was oblivious to the field. But now, sensing an opportunity to earn money, he set about making up sample pages. “Harvey took a look at my work and said, ‘Why don’t you have Bill ink your stuff?’”66 Will Elder Born Wolf William Eisenberg, Elder had attended M&A, where he was renowned as an outrageous prankster, as well as a sublimely talented artist. After serving in EuChapter Five: The Fourth Musketeer

the Charles William

After a close call or two regarding a few

Harvey Studio—its

shady publishers, the duo found legit work

name derived from

with a legendary, longstanding creative

the first names of

team. “Finally,” Severin said, “one day we

the trio. (Years lat-

went up to Crestwood and saw [Joe] Simon

er, upon hearing

and [Jack] Kirby. And Kirby said, ‘Yeah, we

them described as

might be able to try something,’ and he gave

the

Mus-

us our first job.”68 Around that same time,

Severin

Simon and Kirby, who were packaging some

chuckled that he

of Crestwood’s Prize Group line of titles, had

joined up as “d’Art-

hit pay dirt with Young Romance, the wild-

agnan.”)

ly successful comic book that launched the

Three

keteers,

Early on, Stern left the group, set-

ñSeverin and Elder’s first effort, an eight-pager in Headline #32 [Oct.–Nov. ’48]. òSeverin told Jim Vaderboncoeur, Jr. [Squa Tront #11], that he penciled this Justice Traps the Guilty #8 [Jan.–Feb. 1949] tale, which was inked by Jack Kirby and/or Joe Simon and not Will Elder because sometimes Severin penciled quicker than Elder could ink.

highly lucrative romance genre, resulting in the S&K shop’s rapid expansion.

ting out for Europe,

(Kirby took the time to give pointers to

and other artists—

the two newbies on how to adjust the shots

including

René

on a page, how best to alter angles within a

Goscinny, who later co-created the popular

panel, and how to make a visual story more

French comic series Asterix—worked out of

effective than just a series of still images.)

the studio, while Severin and Elder began their soon-to-be celebrated collaboration.

Prize Fighters

“So we turned out a bunch of pages where

Severin and Elder’s first published comic

I penciled and Willy inked, and took them

book story—“The Clue of the Horoscope,”

to every comic company on the planet,”

an eight-page crime story in Headline Comics

Severin said. “It seemed they were all cen-

#32 [Oct.–Nov. 1948]—was, as Severin later

tered around 42

rightly put it, “atrocious” in execution, but it

Street. And we

was a solid start for the team, which achieved

were thrown out

greatness in remarkably speedy fashion. To-

place

gether, they produced perhaps as many as 80

bodily. Now, with

stories for Crestwood, plus some 14 covers,

me, it was all right,

most for their superlative efforts inside Prize

because at the

Comics Western, where the partnership was

time I was a little

given recurring assignments on three of the

heavier than Bill

title’s continuing strips.

every

and I bounced,

The Lazo Kid was a “singing, guitar play-

but that poor guy

ing Mexican cowboy” who developed an

got bruised.”67

almost incomprehensibly thick accent and

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

adopted sidekick, “leetle fran” Pedro, after debuting in PCW #69 [May–June 1948], with Severin contributing pencils to 15 installments. Severin recalled the second Western back-up—the far more colorful “Black Bull” (a.k.a. Cornelius Darcy, wealthy cattle baron of the Triple X Ranch)—as absurd. Accompanying the masked vigilante, Severin related, was “an English butler [riding] alongside of him instead of Tonto, and [Black Bull’s] war whoop was ‘Moooooo!’ M-O-OO-O-O-O. And out of the clear blue, when the girl was in distress, she heard in the woods, ‘Moooooo!’ And then she knew, ‘Here he comes! He’ll save me!’ My God in heaven, ‘Mooooooo!’ Can you beat this?”69 (Severin penciled 11 episodes of Black Bull.) John Severin’s finest achievement in PCW—and certainly, outside his EC Comics

an under-appreciated gem of a series which, ñWestern “super-hero” Black

material, his best work of the entire decade—

often with inker Will Elder and writer Colin drawn by Severin and Elder, Dawkins, the artist indulged his passion for PCW #85 [Jan.–Feb. ’51].

would commence in #85 [Jan.–Feb. 1953] with the introduction of “American Eagle,”

Bull and his trusty man-servant,

ïOn rare occasions, Harvey

the Old West and dedication to historical Kurtzman lent a hand in accuracy. (Severin drew about 40 AE strips.) Severin’s freelance work,

including his inks in PCW #79

Cited by Joe Brancatelli as “one of the [Jan.–Feb. ’50].

few serious, relatively unbiased handling of ò”The Lazo Kid” panel from PCW #90 [Nov.–Dec. ’51].

the American Indian in comic books,”70 the Art by Severin and Elder. premise of the “American Eagle” series was the same-named son of the Native American Crow tribe’s chief, Many Coups, and the young man’s adventures as ally of the white man during the Westward expansion of 19th century America. Bedecked in full warbonnet and battledress—all accented in red, white, and blue, and bald eagle emblems—American Eagle fights side-by-side with Caucasian scout Buck Dolan against tribes hostile to Crows and white folk. Chapter Five: The Fourth Musketeer

creasingly inking his own work (occasionally assisted by Al Williamson), as Will Elder was getting busy over at EC Comics, doing both pencils and inks on his own assignments. On Staff at Timely Before late 1951, when the Charles William Harvey Studio shuttered its doors for good, Severin found work at Stan Lee’s Timely Comics, then occupying space on the 11th floor of the Empire State Building (a dizzying visit for the artist). In between crime and Western assignments (which commenced in mid-1948), Severin had a little fun at the editor’s expense. “I remember buying a cap-and-ball pistol down the street,” he said, “and coming back to Stan’s office and putting it in his face and demanding a raise. He did a Douglas Fairbanks, looked at the gun, stuck his finger in the barrel, and said, ‘Severin, will you get out of here?’”72 Though his Timely stay ended by 1950

ñPrize Comics Western #108 [Nov.–Dec. 1954] cover with pencils and inks by Severin. Scan made from cover proof. ðSeverin and Elder cover for PCW #85 [Jan.–Feb. ’51], the first to feature American Eagle. Next page from top: Severin makes a cameo as villainous Black Jack Powers in PCW #95 [Sept.–Oct. ’52]; very early Severin cover, Best Western #59 [Aug. ’49]; Empire State Building, home of Atlas Comics; and, in case you’re unsure, that’s John Severin rowing and lookalike Stan Lee in color pic. 54

According to Severin, the series was created by Crestwood editor Nevin Fiddler and general manager M.R. Reese. “I was just the artist,” he said. “Gradually, I began adding things to the stories, and finally I realized that my buddy Dawkins could write a better Indian story than this.”71 As PCW started devoting almost all of its pages to the character, Severin was made de facto editor of the title, enlisting Dawkins (now back from his London stint) as main writer and the artist was in-

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

because the editor frowned upon freelancers working for competitors and company policy not allowing creators to sign their work, Severin engaged in good-natured clowning with his boss. “When I first started working there,” he said, “Stan Lee and I used to resemble one another in build, height, and so forth, and it was a strange coincidence that we would wear the same type of clothes certain days. For example, he would come in with slacks and a woolen plaid shirt on a day that I’d show up with the same damn thing. And we’d get each other’s calls down the hall. ‘Stan!’ ‘It’s me, John, not Stan.’ Or, ‘Hey, John. Oh, sorry, Stan, I thought you were Severin.’ And I have a picture on my wall here [inscribed by Lee]: ‘To my very good buddy and look-alike, Honest John.’”73 Working in the Timely bullpen proved difficult for Severin due to the annoying distraction of the bantering between artists, but during the half-year or so he worked in the building, he made the acquaintance of two talented creators who later caroused with Severin upon his return on staff between 1955–57. Veteran Bill Everett and newcomer Joe Maneely, two vitally important—and supremely talented—artists for the publisher, shared Severin’s predilection for intoxicating spirits. (During his days at Charles William Harvey, Severin had become friendly with Jerry DeFuccio, a young, enthusiastic wanna be cartoonist—a pal who introduced Severin to the person who would become the most important relationship in his lifetime—and there was brief talk between DeFuccio and Severin to throw caution to the wind and travel to Australia to start a studio together. After sleeping it off, they thought better of it, but the two soon enough began collaborating.) Chapter Five: The Fourth Musketeer

Written by Nevin Fiddler & M.R. Reese (attributed), art by John Severin (pencils) & Will Elder (inks). Originally appeared in Prize Comics Western #85 [Jan.–Feb. 1951]. Restoration and color by Chris Fama. 56

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

American Eagle Special Section

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

American Eagle Special Section

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

American Eagle Special Section

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

American Eagle Special Section

Likely written by John Severin and/or Colin Dawkins, art by John Severin (pencils & inks). Originally appeared in Prize Comics Western #104 [Mar.–Apr. 1954]. Restoration and color by Chris Fama. 64

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

American Eagle Special Section

6666 | | JOHN JOHN SEVERIN: SEVERIN: TWO-FISTED TWO-FISTED COMIC COMIC BOOK BOOK ARTIST ARTIST

American Chapter Eagle One:Special Title of Section Chapter | | 6767

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

American Eagle Special Section

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

American Eagle Special Section

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

Chapter Six

TWO-FISTED DAYS

The most enjoyment came when Harvey had turned overTwo-FistedTales to me. John Severin to Steven J. Allen, Mirk-Wood Times #2, Mar. 1973

ven before EC Comics and prior to the Charles William Harvey Studio—cartoonist Al Jaffee says his friend had been planning since high school!—Harvey Kurtzman was hoping to recruit his artist buddies into some publication he’d one day oversee. “During a chat with Harvey,” Jaffee shared, “I asked him why he wanted to connect with fellow Music and Art High School grads, which included Will Elder, Charles Stern, John Severin, myself, and others. He told me it was always his lifelong dream to become a publisher and bring in talent he met along

ïSqua Tront #9 illustration

the way. When he arrived at M&A High, he said he took note detail featuring JPS as “scout/ dietician,” likely drawn in the

of certain students whom he would someday hire for his future 1950s. ñSelf-caricature by JPS. òEmblem of William M. publication, whatever that might be.”74 Gaines’ fabled comic book

Aside from his short-lived Humbug in the late ’50s, Kurtz- imprint, EC Comics. man never became a publisher, but he did realize much of that high school dream once a foot was in the door at Entertaining Comics. Upon first arriving in the fall of 1949, when he started ïOuttake from photo shoot for the “EC Artists of the Issue” feature, Frontline Combat #5 [Mar.–Apr. 1952]. From left, John Severin and Will Elder.

receiving assignments for the “New Trend” titles of horror, crime, and science fiction comics, he worked primarily as artist but, hearing that publisher William M. Gaines was looking for new genres to expand the EC line, he spoke up. Chapter Six: Two-Fisted Days

When converting Two-Fisted Tales into a full-fledged war comic, it made sense for Kurtzman to invite the Severin-Elder team to EC. He asked John Severin due to his interest and expertise in drawing the weapons and accouterments of warfare, and Will Elder to ink Severin’s pencils. Bringing them to EC proved to be one of the wisest and most far-reaching decisions Kurtzman made as editor. “When John and Willy used to draw these things, I just loved the results we’d get,” Kurtzman said. “John was just about the best there was in drawing World War II. [Severin] never really appreciated Willy because Willy would really hurt John’s authenticity. John would draw four buttons and Willy would turn them into three-and-a-half, and that would kill John. And yet Willy would ink his stuff with great clarity. And Willy… had been through that scene, [had] been right in the thick of the Ardennes offensive, I think. He knew all about World War II. He got the flavor and got the look.” 76 Indeed, Kurtzman—who became TFT’s credited editor by its third issue—was in love ñIconic Frontline Combat #10 [Jan.–Feb. 1953] cover. òSister Marie nails JPS’s political leanings in this ’50s caricature.

Two-Fisted Tales

with his pal’s work, which complemented his

“Two-Fisted Tales was one of the first really

own devotion to authenticity. “John Severin

exciting things that I got involved in,” Kurtz-

had an uncanny eye for realistic detail, not

man said. “It was the first title I invented. The

just for the costumes, equipment, and back-

concept was that we were going to do blood-

grounds, but even for the ethnic characteris-

and-thunder tales and rip-roaring high ad-

tics—the bone and muscle structures—of his

venture.”

characters, which were sublimely authentic,”

Though at first not the anthology’s of-

he said. “And he could make his characters

ficial editor, he worked on Two-Fisted into

act, too. I was fascinated by John’s pencils,

early summer 1950, as the Korean conflict

because his drawings were so precise. The

dominated the headlines and changed TFT’s

problem always was to come up with inking

direction. Kurtzman’s biographer explained:

that did justice to the pencil drawings.”77

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

By then, Severin was becoming increas-

as both penciler and inker were needed at ñMarie Severin’s gift for cari-

ingly confident of inking his own pencils and grew progressively more miffed at Kurtz-

Kurtzman’s MAD, thereafter leaving Sev- print depicting the famous bullpen grabbing lunch in erin to render his own work without much Patrissy’s Italian Restaurant,

man’s directive to have Elder do the finish-

criticism, even as he contributed to that situated just around the corner

ing. And that insistence chafed the former

game-changing satirical comic book.

cature is captured in this 2004

M&A cohorts’ long-standing, once intense friendship. In retrospect, given Severin’s

Enter Sister Marie

subsequent reputation as among the indus-

After graduating the Catholic all-girls’ Bish-

try’s most sought-after inkers, Kurtzman’s

op McDonnell Memorial High School, in

opinion is arguably misguided and might be

Jan. 1948, Marie Severin was reluctant to

tinged with deeper resentments the two had

attend art school despite her father and

as “frenemies.” Certainly, as politics go, the

brother’s wishes for her to enroll at the

deeply conservative Severin was a polar op-

Pratt Institute. Rather, like her friends,

posite of New York City liberal Kurtzman.

the young lady wanted to work in

Soon enough the question of whose

Manhattan, and she found mundane

inks were better on Severin’s penciled pag-

employment at the Norcross Greeting Card

es would become moot, as Elder’s talents

Company and, subsequently, dull filing work

from EC Comics, on Kenmare Street (right off Lafayette), Lower Manhattan. òGlass ashtray from same, where Gaines and Feldstein would “gorge” on pasta and bread.

Chapter Six: Two-Fisted Days

at some insurance

A bright, funny, engaging woman in her

outfit in the city.

early 20s, Marie fit right in at the 225 Lafay-

Then, in early 1951,

ette Street, becoming the celebrated line’s

word came around

accomplished colorist, and the guys soon

that there might be

learned she was also a wonderful cartoonist,

something

steady

one particularly adept at caricature. That tal-

and less drab where

ent was put to use on a “Thank You” flyer

her brother worked.

sent to letter writers that included her depic-

“Harvey needed a

tion of the EC shop, where she remained un-

colorist to work in

til the color comics line was no more.

the office under his

ñLegend has it that editor/ writer Kurtzman and artist JPS argued bitterly over this Two-Fisted Tales #31 [Jan.– Feb. 1953] story (represented here by a silverprint used as Marie Severin’s color guide). JPS described it as a “flip-out” to Gary Groth, in The Comics Journal #215, pg. 72.

supervision,” John

Grabbing the Reins

said, “and he asked

Famously, Kurtzman came to create MAD

me if I thought my

because he was suffering severe exhaustion

sister would be in-

due to the Herculean effort put into the war

terested or could do

titles—as well as increase his income in the

it. I don’t know what

process, as he believed a humor comic book

he said, but I said,

should theoretically take less time. Ironical-

‘Yes.’ And so she got the job.”78 Marie explained, “Harvey was a stickler

Kurtzman’s expanding attention to it, the

for having it realistic and upgrading the look

editor decided to relinquish editorial duties

of the books. He wanted them to look like

of Two-Fisted Tales, even as Frontline Com-

[the] Prince Valiant [color newspaper strip].

bat was just cancelled, due to dwindling sales

Anyway, that’s how I started, because they

once the Korean War ended, in mid-1953.

figured I could handle that and I started on

Thus Kurtzman asked John Severin if he

Harvey’s books. So I quit my job and started

would edit TFT and the latter recalled, “I

working for them.”79

didn’t know whether I should do it or not.

Writer Colin Dawkins nursed a grudge decades after a letter-writer inferred that the skydiving get-up in “Lost City”ð [Two-Fisted Tales #38, July ’54] was silly. In fact, the uniform was based on reallife daredevil Clem Sohn’s “wingsuit,” which he used in his airshow act, in the 1930s. In 1936, Sohn died in a related mishap, at 26. 76

ly, due to MAD’s ever-growing success and

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

Then I decided, what the hell, maybe I could have some fun with it. I liked all kinds of adventure stories and wouldn’t have to keep it a war book.”80 In fact, publisher Bill Gaines had already decided to convert the title into an adventure anthology. Gaines also resolved that Severin, who

Immediately,

Dawkins

volunteered ñJPS caricatures the entire EC bullpen in this subscription/

was in all but one of MAD ’s first ten issues,

his advertising savvy and suggested TFT’s thank you mailer, circa 1952.

needed to quit the now monthly humor title.

reboot have its own distinctive look and add

The artist recalled Gaines saying, “‘If Sever-

“The New” logo type atop the title. It was

in takes over that, we’ll have to put somebody

also determined that this updated TFT would

else in his slot at MAD.’ And they asked me.

feature continuing characters from issue

‘Okay,’ I said,” adding with a chuckle, “‘Sure,

to issue (something virtually unheard of at

MAD won’t last another six months.’”81

EC, though de rigueur at other publishers).

Severin then gave his busy copywriter

Those characters included Ruby Ed Coffey,

buddy a call and thus Colin Dawkins came on

modeled after Little Orphan Annie’s Daddy

board as writer and uncredited co-editor. In

Warbucks, with a Doc Savage-like team

fact, Severin himself was never listed in the

of adventurers; Scotland Yard detective ñKurtzman, circa 1960.

indicia during his tenure on TFT #36 [Jan. 1954]–#39 [Oct. ’54], in which he drew all

inspector Noel Bews; Cheyenne Hawk, an John Severin, featured continuing characters. From left: Ruby American Eagle-type hero; and Black Jack Ed Coffey, Black Jack Slaugh-

the covers and 14 of the 16 stories therein.

Slaughter, Old West lawman.

òTwo-Fisted Tales as edited by

ter; Scotland Yard detective Noel Bews; Cheyenne Hawk.

Chapter Six: Two-Fisted Days

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

Chapter Six: Two-Fisted Days

understands how to use human postures and facial expressions to subtly reveal character, and his action sequences show a full understanding of human movement. Above all, he brings to every aspect of his work a strong sense of realism.82 During the revamp, “Severin discovered that he didn’t have editorial autonomy and was required to have his work reviewed by Kurtzman. This led to unspecified disagreements.”83 Upon Severin complaining, Kurtzman backed off somewhat, but after four issues, Severin still resigned as TFT editor. This and arguments over art techniques led to life long tensions between the men.

ñAt a certain point, both JPS and Will Elder got too busy with their individual EC assignments to continue their partnership. This is the splash page for a JPS penciled and inked story from TFT #38 [July ’54]. ðSeverin had a few jobs for the Al Feldstein-edited EC titles, including this Ray Bradbury adaptation from Weird Fantasy #21 [Sept.–Oct. ’53]. Inks by Will Elder. ïPages 78–79 are “The ‘New’ Two-Fisted Tales” covers of the TFT issues edited by John Severin with help from his buddy, writer Colin Dawkins. 80

End of the Line Severin’s run as TFT editor lasted a year, and John Benson smartly assesses the effort: The “New” Two-Fisted Tales is really John Severin’s book. Severin determined what direction the book would take, and it’s his art that makes it memorable. Severin’s pictures are masterfully composed, and when Elder stopped inking for him, he quickly developed his own clean rendering style with an excellent feel for shadows and blacks. Severin

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

Kurtzman said of the split, “John and I drifted apart. We sometimes worked well together and sometimes there were tensions. And unhappily, we did drift apart.”84 Severin verified the above quote and added, “It didn’t take a hell of a lot in those days to get me annoyed and apparently he was in the same boat. So, between the two of us, we messed up a pretty good friendship.”85 Of course, John Severin’s EC legacy includes wonderful humor work in those nine issues of MAD comics, as well as a quartet of science-fiction stories for Weird Fantasy (including Severin and Elder’s classic “Million Year Picnic,” in WF #21 [Oct. ’53]) and four handsome stories in Extra! [1955].

Meanwhile, Back on the Prairie All through his years at EC Comics, Severin (and often Elder) continued producing ever-improving artwork on the Prize Comics Western assignments, particularly “American Eagle.” Severin said, “I wanted the American Eagle to be something more, to be more—if you’re going to do Indian, let’s do Indian. You know, he isn’t just another Superman in a loincloth or some damn thing… So wanting it to be better and throw in as much as Dawkins and I knew of the West and Western lore, I felt that we could do a much

ñMAD editor Harvey Kurtzman had a negative fixation on John Severin’s inking ability and also felt the artist was perhaps less suited for humorous material, though JPS did appear in nine of the first ten issues of the legendary satirical comic book. This splash page appeared in MAD #2 [Dec. ’52–Jan. ’53], and the Tarzan parody actually earned a return story four issues later, also drawn by JPS. òSeverin’s first assignment for MAD, seen here in a pair of panels, was in #1 [Oct.–Nov. 1952], a parody of the Western genre called “Varmint.”

better job for the book.”86 Alas, upon leaving EC and securing a salaried job in the Atlas Comics bullpen (where Stan Lee continued to forbid anyone working at rival outfits), Severin left Crestwood behind, where PCW and the artist’s beloved American Eagle lasted just a few more issues. Chapter Six: Two-Fisted Days

MAD Man Jerome Alphonse DeFuccio Responding to an opening question directed his way in Comics Interview #120 [May 1993], Jerry DeFuccio boasted that a good friend also happened to be family. Asked to reveal something hitherto unknown about himself, the gregarious gent answered, “Well, let’s see, you know that I’m the cousin of John Severin? He’s married to my cousin.”87 And it’s absolutely true that Defuccio introduced first cousin Michelina DeFuccio (nicknamed Micky) to his pal! But Jerome Alphonse DeFuccio wasn’t just a mere cousin-in-law to some renowned artist, as he was entitled to boast of much more. MAD magazine associate editor for a quarter-century (1955–80), he was a participant at the legendary EC Comics and also recognized as a valued historian in the field.

But despite his father’s disapproval, young

DeFuccio was born July 3, 1925, in Jersey City,

DeFuccio pursued his budding interest and even

New Jersey, the only child of Dr. Charles Pasquale

dabbled as cartoonist himself, as illustrator in the

DeFuccio [1889–1955]

high school yearbook. “When I was in a Jesuit prep

and Drusiana “Daisy”

school,” he shared, “we used to, like, have a holy

Lettieri [b. 1890], who

day off and I would go over to Lexington Avenue [in

died at 28 when the boy

Manhattan] and visit some of the comic book hous-

was three. Charles, a

es. They were very nice to me. They would let me

prominent pediatrician—

watch them work and, I guess, my favorite was Reed

who had been knighted

Crandall, who did such phenomenal work on Black-

by the King of Italy for service work—remarried in

hawk… I also met Jack Cole, who did Plastic Man.

1936, to Irish-born Mary Hennessey, mother of

He was very patient. I guess Crandall and Jack Cole

Jerry’s half-brother, Charles [b. 1938].

were the two biggies of my prep school days.”89

Growing up, the boy became enamored with the

Following his dad’s lead, DeFuccio enrolled in

brand-new medium then taking the world by storm,

the pre-med program at St. Peter’s College, but the

but he had a big problem. “My dad hated comics,”

temptation of comics remained irresistible. “It was

DeFuccio confessed. “I used to sneak comics into the

Alex Toth that I looked up in the Manhattan phone

house. I can remember Dad coming out of his exam-

book and he graciously invited me to his apartment

ining room with his stethoscope around his neck and

—on Lexington and 75th in those days,” he said in

he would frisk me—looking for comics.”88

1972. “Subsequently I’d visit Alex and watch him

Above inset is an illo by teenage Jerry DeFuccio appearing in the “Prophecy” section of his 1943 prep school yearbook. Above right and next page are portraits of DeFuccio by John Severin.

work, while his mother—a very attractive woman

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

with [Zsa Zsa] Gabor verve and a beguiling Hungar-

ian accent—kept the goodies and desserts coming.

of Prize Comics Western, gave DeFuccio assign-

Or I’d visit the studio Alex shared with Joe Kubert on

ments scripting some “American Eagle” episodes).

the top floor of a lovely Park Avenue brownstone.”90

“I palled around with John Severin so much,

He added, “You can well imagine that my pre-

and I admired him in particular,” DeFuccio said,

med course held little allure for me after I had met

“because when he drew a uniform, it really looked

these two professional giants. My cultured physician

like a uniform. He was very, very correct in all

father, knighted by the ‘little king’ of Italy, Emmanuel,

buttons and every part of the uniform.”93

rubbed elbows and banqueted with great surgeons

Soon enough, DeFuccio went off to finish his

and Metropolitan Opera singers, such as the leonine

college studies, but, upon returning in 1955, Kurtz-

Giovanni Martinelli. But, to me, Alex Toth and Joe

man was gone from MAD magazine and the entire

Kubert were true nobility.”91

comics line was no more. He stayed on as an editor,

By then, between classes at Fordham University

helmed much of MAD’s original paperback

(where he had transfered to study communications),

line, unsuccessfully pitched a syndicated

DeFuccio was looking for freelance writing work as

comic strip, was a major help to Jules

he’d gained some experience scribing amateur

Feiffer regarding The Great Comic Book

radio shows throughout his schooling. On

Heroes (for “giving unstintingly of

a whim, he sent some radio adaptations

his time, his memory, and his old

to a comic book professional he knew as

comic book collection”94), became

“Kurtz,” an editor who signed that name

Cracked magazine associate editor

and then added a little stick figure of a man.

and ace collaborator with Severin,

Of course, he had connected with Harvey

as one of the artist’s two fave writers.

Kurtzman, who was impressed and promptly

In the early 1970s, “I tried to put

hired him to write text pages in the EC war titles

out my own magazine once,” De-

(for $12.50 per). At that time, the artist/writ-

Fuccio shared, “with [the work of]

er/editor was overburdened. “Harvey was

Reed Crandall, Alex Toth, and John

doing so much research on authenticity,”

Severin, but the man who was

DeFuccio explained, “that sometimes it

backing me pulled out on the mon-

would take him as much as two to two-

ey even though I had a lot of stories

and-a-half weeks to do one war story.”92

done. I had paid for the art myself and

And so began his stint as Kurtzman’s

I had written the stories. So I was rather

assistant/researcher. Now on payroll

disappointed.”95 He then sold the handful

and socializing with the fabled EC crew,

of adventure tales (three sporting Severin

DeFuccio became particularly close to John

art) to Joe Kubert, who featured them

Severin. Thus, when the newcomer was

as back-ups in his DC Comics war titles.

given a chance to write full

After a valiant battle with cancer,

scripts, his now cousin-in-law was

DeFuccio passed away on Aug. 9,

often the artist (who, as de facto editor

2000, at the age of 76. Chapter Six: Two-Fisted Days

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

Chapter Seven

AND THEN… MICHELINA

No Need... for Buried Gold, You’re All the Treasure I Need John Severin Valentine’s Day card to Michelina Severin, circa 1950s

hough an exact date when John Severin met future wife Michelina Ruth DeFuccio remains unknown, there are amusing details of the couple’s first ïMichelina Ruth DeFuccio as a fetching teenager posing in her native Florida environs. òSmitten husband John Severin would create homemade greeting cards for his beloved. This Valentine is from 1969.

encounter about which their children still recalled some 70 years after that fateful moment. First, let the stage be set: Annoyed that no challenging jobs were to be found in her hometown of Miami, 25-year-old Michelina traveled north to her late father’s native Jersey City to seek work in the big city, where cousin Jerry recently found a position at EC Comics as Harvey Kurtzman’s assistant. Maybe it was during lunch at Patrissy’s or around the corner and upstairs at the innovative comic book company, where Jerry introduced the beauti- ñUndated photograph of John and Michelina Severin, who

ful young lady to eligible bachelor—and dashingly handsome were married in Miami, Florida, swashbuckler-type—Alfonso Williamson, Jr., a boyish charm- on the day before Valentine’s er then barely in his 20s. The two hit it off and started dating. It’s uncertain how involved this relationship became, but

Day, in 1953. Jerry DeFuccio, first cousin of the bride, was best man, and John’s sister, Marie, was maid of honor.

Al Williamson, just beginning a career, did go so far as to introduce Michelina to his mother, Sally. After his date complimented Sally on a chair she owned, soon thereafter Williamson gifted DeFuccio with that same piece of furniture, which today brightens the home of Michelina’s daughter Cathy. Chapter Seven: And Then… Michelina

Was Michelina

on the Southern branch of the DeFuccio clan

enchanted by Wil-

as Jerry rang up first cousin Michelina to ask

liamson’s crooked

her to brew them a pot of coffee to help the

smile and jaunty

boys sober up, as they were coming over.

demeanor? Daugh-

Family legend has it that the half-asleep

ter Michelina ex-

Michelina, none too thrilled to be awakened

claimed, “He was Al

at such a late hour and, with curlers in her

Williamson! I mean,

hair, she had zero interest in meeting anoth-

he was so handsome

er of Jerry’s inebriated artist friends. (Adding

and charming. What

to the scenario, Michelina’s bags had been

wouldn’t

packed as she, frustrated by a fruitless job

want to date him?”

search, was poised to catch the morning train

woman

But any longbe-

As their mom, always with a smile, lat-

Michelina

er related to the half-dozen Severin kids,

and the suave Alex

Michelina then opened the door and there

Raymond acolyte—a man soon to be consid-

stood their father and her future husband,

ered one of the greatest illustrators to ever

artwork tucked under one arm, umbrella un-

grace the comics world—would be met with

der the other. Whether or not the image of

a formidable challenge in the guise of John

this tipsy, John Wayne-sized cartoonist on

Powers Severin.

the threshold immediately won her heart re-

term

future

tween Clockwise from above on this two-page spread is John Severin’s 1953 Valentine to Michelina DeFuccio, which alludes to the rivalry between suitors JPS and Al Williamson; the newlyweds; wedding notice of nuptials from the Miami Herald, Feb. 14, 1953, pg. B-3; portrait of the vivacious Michelina; undated pic of the married couple; and former rivals for the affections of Michelina, Al Williamson (left) and JPS.

mained a secret Michelina forever held close.

How John Met His Match

But circumstances suggest that some spark

In 1949, Michelina’s father, Frank [b. 1897]

must have ignited an attraction within the

died suddenly, at 52, and thus she, her sister

young lady as, the very next day, she chose

Dolores

headed for the Sunshine State.)

[1930–

not to board that Florida-bound train.

2008], and mother

As for his reaction upon meeting the

Frankie (née By-

spouse-to-be, there was no doubt to anyone

num) [1898–1990]

with eyes to see that, after he first caught

came to New Jersey

sight on this bella donna, John was hopeless-

from Florida, and

ly thunderstruck. The following morning,

one night in late

the first of many letters of adoration arrived

1952, after tipping

at Michelina’s door. The daily missives con-

glasses in a local

tinued without fail, as the smitten 31-year-old

saloon, EC buddies

cartoonist was vigorously determined to win

Jerry DeFuccio and

the heart of the Southern belle. It took a mere

Severin paid a call

five dates for John to propose to Michelina.

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

Perhaps to Al Williamson’s chagrin, three months after having met, John and Michelina were married at the Sts. Peter & Paul Catholic Church, in Miami, on the day after Valentine’s Day, 1953. Attending the newlyweds were sister Marie and cousin Jerry. Doubtless, the bride’s fascinating pedigree of Italian and Dutch heritage made for a lovely vision, blessed as she was with an exotic Mediterranean allure combined with blond hair and blue eyes. (Suggested one, she was a mix of Sophia Loren and Lana Turner!) And their union, resulting in six offspring, lasted just three days shy of their 59th wedding anniversary, when Michelina’s beloved left this mortal coil. (About five years before his

Evidence suggests that Severin’s future

departure, John jokingly shared with family

missus shared his affinity for the Duke well

that, considering the heavily Spanish-ac-

before they met, as the Miami News of Aug.

cented priest marrying them and unfamiliar

13, 1939, includes some John Wayne trivia

Southern utterances heard during mass, he

sent in by 12-year-old Michelina DeFuc-

wasn’t exactly sure if he and Michelina had

cio. In the newspaper’s “Bits About Movie

actually made it official during the service!)

Stars” column, the girl shared info about Hollywood’s new Stagecoach star once being

Michelina Ruth DeFuccio

director John Ford’s property master.97

Named for her paternal grandmother, Michelina was born on Jan. 5, 1927, in Miami, the oldest of three sisters—middle sister Frances had died, in 1945, at the tender age of 16. Their father, Frank, was seven years younger than his brother Charles (father of Jerry DeFuccio) and Frank worked as salesman in the South, where he met and wed Georgiaborn Frankie Elizabeth Bynum. In 1925, after a stint managing the Morris Lippman pawnshop in Memphis, Tenn., Frank took his wife (a seamstress by trade) to Miami, where their girls were born and raised. Chapter Seven: And Then… Michelina

gofer for a Miami radio station. While it was menial labor making poor use of her creative ability, it did enable her to help bring money into the home during those strapped years. (Her father was listed as unemployed in the 1940 Census, as it cited her mother’s sewing work comprising the family’s main income.) After high school, Michelina moved into the banking world, where she developed a strong accounting and business acumen. Her reliability led to advancement opportunities and she rose to become personal assistant to a vice president of a major Miami bank. At 19, she was entrusted with keys to the vault. Michelina’s flair for the creative and her ñDelightful snapshot of Marie Severin (left) and her sister-inlaw, Michelina, circa mid-’50s.

òFrom left is young Charles DeFuccio (standing), his and Jerry’s uncle John Palmera, John Severin, Michelina DeFuccio Severin, Jerry DeFuccio, and his and Charles’ aunt, Mary DeFuccio Palmera. Photo probably from the mid-’50s.

From an early age, Michelina possessed a

no-nonsense, practical accounting skills—a

drive for business and she also developed a

rare combination in anyone!—served her

strong aesthetic sense. Her children fondly

family well in the years to come. Particular-

recalled the woman’s amazing sense of inte-

ly when she became the pragmatic, shrewd

rior design and impeccable taste. Had there

business manager and stern bulwark fielding

been an outlet for it in her youth, it’s likely

endless phone calls from pleading conven-

that interior decorating would’ve been Mi-

tion organizers and rabid fans howling for

chelina’s career of choice.

commissions from a much sought-after, free-

However, at 10, Michelina worked as a

lance comic book artist awash in assignments for multiple publishers. Despite their competition for the heart of Michelina, both Severin and Williamson held no grudge against the other, as Severin enlisted his former rival’s help when overwhelmed—often on his “American Eagle” assignments. (The best of his run was produced simultaneous to the EC Comics material.) “The only time I farmed things out was when things got so heavy,” Severin said, “I wasn’t going to make the deadline. You know, I’d have Al over and he’d work on one page and I’d work on another.”98

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

Marschall put two and two together and jumped on his bike, later sharing, “[Severin]

rented

that studio—or old strip-mall

space-

Home in Norwood

cum-studio—to work

After living in several New Jersey garden-

in peace. His house

level apartments, the newlyweds found per-

in Norwood was not

manent residence in a three-floor abode at

large.”99 (Though

150 Kensington Avenue, Norwood, N.J.,

his family certainly

where the Severin clan lived until 1970.

was!)

Between 1953 and ’61, there would be

When the art-

multiple additions to the household. Mary

ist answered the

Frances was first, then came Michelina Do-

knocking at the door, Marschall found a ñThe Severin home in Nor-

lores [1955], and third was John Powers [1956]. Margaret Louise [1959] followed and

guarded, but engaging new friend. “John was of the house in the mid-’50s. top left are good buddies not in any way a hermit, but he was very shy. Inset JPS (left) and Russ Heath, who

the twins, Ruth Anne and Catherine Eliz-

He was not unfriendly, but he was a private visited Norwood on occasion.

abeth [1961] rounded the count to an even half-dozen offspring. All the children were

person. He was not impatient… not at all. He portrait of Michelina. òBack from left is John P. Sevwas very gracious that first day, and we talked row erin; his father, John E.; sister

enrolled into area Catholic schools, the old-

for a couple hours. There was never a short Marie. Second row is John, Jr.;

er ones attending the Immaculate Conception School, where Dad

wood with an inset illo by JPS

Inset center is JPS’s Valentine

Michelina Dolores; Marguerite,

visit thereafter with John. No mat- JPS and Marie’s mother; Mary. Front row are the twins, Ruth ter what his deadlines.”100 and Catherine; and Margaret.

would often contribute his talents as poster maker and scenery artist for the co-ed school’s annual talent show. To find solace from a rowdy domicile, the extremely busy cartoonist rented storefront space in Harrington Park, where he worked in quiet to meet his numerous commitments. Rick Marschall, the future comic strip historian growing up in nearby Closter, caught wind that Severin lived in the area and a cartoonist was occupying local store space. Chapter Seven: And Then… Michelina

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

Chapter Seven: And Then… Michelina

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

Chapter Eight

ATLAS SLUMPED

We had lots of fun... Joe[Maneely] and I. It was a real loss when he died. John Severin to Jim Vadeboncoeur, Jr., Squa Tront #11, 2005

tan Lee, the editor-in-chief of Martin Goodman’s comics line, had held on tight during the wild rollercoaster ride of the American comic book industry in the 1950s. Though he ïQuartet of covers by John Severin, drawn during his days with Stan Lee at Atlas, 1955–57. Clockwise from top left: Black Rider #1 [Sept. ’57], Devil Dog Dugan #1 [July ’56], Yellow Claw #2 [Dec. ’56], and Sergeant Barney Barker #1 [Aug. ’56]. òComics Code Authority seal of approval, which cluttered up its share of comic book covers between 1954 and 2011.

later referred to this period as his “Limbo Years,” that decade would start with the publishing outfit flooding the comics racks with 60 titles, many of them knock-offs of other companies’ successes. By the end of ’51, Timely officially became Atlas Comics, named for Goodman’s new distribution company. When EC Comics hit it big with its three horror books, Atlas jumped in with a raft of wanna bes, 18 titles in total, making the company the most prolific horror comics publisher ever. And, after the Korean conflict erupted, when war comics joined horror to become a hit genre, Atlas put out 19 books to ñGoateed John Severin

smoking a pipe, circa sometime

EC’s two, with many contributors to the former liberally ref- in the 1950s. erencing Kurtzman’s Two-Fisted Tales and Frontline Combat. In fact, Severin found amusement in clipping panels from his own EC combat stories to compare with those of Atlas war artists swiping his work. Then he’d send the pasted-up evidence to tease his lookalike buddy Stan Lee (whose offices had moved from the vertigo-inducing Empire State Building).

Chapter Eight: Atlas Slumped

The tumult of that period hit a crescendo with the public attack on “crime comics,” em-

ñJPS good buddy and Atlas mainstay Joe Maneely. òThe Three Musketeers (from left): Bill Everett, Joe Maneely, and John Severin, as depicted by Marie Severin, when all were working at Atlas Comics.

the horror comic book contained scenes of hari-kari, stabbings, and murder.101

bodied during Spring 1954 with the double-

The impact of the repressive hysteria

whammy of the publication of Dr. Fredric

devastated the business. By one count, some

Wertham’s anti-comics screed, Seduction of

900 comic book professionals left the field

the Innocent, and the U.S. Senate Subcom-

permanently,102 and of 99 companies list-

mittee on Juvenile Delinquency hearings,

ed in Seduction of the Innocent’s notorious

which sealed the fate of EC Comics and sent

“Bibliographical Note,”103 only nine pub-

panic through the other imprints.

lishers survived into the ’60s. Between 1954–

Though the Atlas business manager testifying at the hearings preferred to discuss Bi-

56, industry output went from approximately 650 separate titles down to about 250.

ble Tales for Young Folk, it was Strange Tales #28 [May 1954] the inquisitor waved before

The Bullpen Reborn

the publishing executive, pointing out that

Somehow Atlas survived the culling, adhering to the restrictions of the newly-formed Comics Code Authority, to which Goodman’s outfit was a signatory, and the company did well enough by 1955 to hire a salaried in-house staff, which included John Severin. Commuting the hour or so from New Jersey for the next two years, Severin worked nineto-five in the bullpen, which he described as “one gigantic room which there were all the artists, letterers, inkers, all together.”105 With the demise of EC’s color comics and MAD transforming into a black-&-white magazine, there was little work available for colorist Marie Severin, so she followed brother John’s lead to seek work at Atlas. “I went up to Stan because there wasn’t that much going on at EC,” she said, “and he wanted a good colorist and he knew I knew reproduction on comics.”106 Doubtless one reason the Atlas editor enjoyed having the Severin siblings in-house was he recognized their respective abilities to draw in a humorous style and, of course,

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

John’s participation in MAD, as Lee intended to launch his own knock-off, Snafu. Of Severin, Atlas regular Joe Sinnott fondly remembered a “Fargo Kid” story the two (sort of) collaborated on [Two-Gun Western #7, Nov. 1956]. “Stan Lee called and told me, ‘John Severin had just done a cover, and it was a Western and we like it. We want you to do the inside story, but we want you try to do the splash as much like John’s [cover] as possible.’ So, I did the splash just like John did on the cover. It was pretty close and I thought it came out pretty nice.”107 (One authoritative checklist, though, inversely cites Severin as replicating Sinnott’s layout!)

Three Amigos Occupying drawing tables alongside John and Marie in the Atlas bullpen were Bill Everett and Joe Maneely, two of the greatest comic book artists of all time. The three men hit it off spectacularly and they’d be referred

to by co-workers as the “Three Musketeers.” ñTense moment as depicted by JPS for the cover art of

John and Maneely, especially, worked more Battleground #20 [Sept. 1957]. While not necessarily on this

closely in real time than most artists, as each specific piece, during their time would pencil and ink on one another’s pages together at Atlas Comics, JPS and Joe Maneely would pitch

then hand them over for the other to work on. in on each other’s respective assignments, with Maneely

This sometimes included John drawing pan- sometimes adding background els upside down on Maneely’s page as they details implementing his tradelabored over it together, at the same time. “I

mark thin-line technique.

just adapted my style to his, which was rea- ïJPS cover art graces Battlefront #43 [Nov. 1956]. sonably easy,” John said.108 Chapter Eight: Atlas Slumped

ñEmblem of Atlas Distribution, which was also used on the Atlas comic book line covers. ðThree pages from bravura art team Jack Kirby (pencils) and JPS (inks), from Yellow Claw #4 [Apr. ’57]. òJohn Severin’s five-pager was the lead story in Journey into Unknown Worlds #38 [Oct. 1955].

The threesome, all family men who com-

Joe Maneely, while Severin guzzles a liquor

muted to work in New York City and lived in

bottle, with all three attired as gunfighters.

the New Jersey suburbs, were regular guests

Much as Severin enjoyed partaking into

in each other’s homes—with their kids play-

his final days of life, if he were troubled by

ing together—and they often shared meals at

drink, there’s been no mention. But Everett

the same table. “And when we’d get paid,”

struggled with acute alcoholism until the late

Severin said, “we’d go out and drink a lot.”109

1960s, when he quit and joined the fellowship

The trio’s epic carousing, which contin-

of Alcoholics Anonymous (and, in gratitude

ued even after the Atlas bullpen had been

to the person who introduced him to A.A.,

disbanded, was memorialized in a Marie Sev-

he would sneak her name into panels inked

erin cartoon, “The Farewell Party,” which

on Jack Kirby’s Thor work). But, as a direct

depicted drunken “Wild Bill” Everett and

result of partying with Everett and Severin,

“Jovial John” Severin dragging an inebriated

Maneely’s life took a far more tragic turn. On Friday night, June 6, 1958, Maneely, then working with Stan Lee on Mrs. Lyon’s Cubs, a syndicated newspaper comic strip, was out boozing it up with his friends. By the wee hours of Saturday, Maneely left his drinking buddies and was on the commuter train home. “What actually happened,” Atlas expert Dr. Michael J. Vassallo wrote, “will probably never be known, but he apparently fell between the cars and was killed instantly. He was only 32 years old and left a devastated wife and three young daughters.”110

Atlas Collapses In a catastrophic business decision made about a year before Maneely’s untimely death, publisher Martin Goodman shuttered his Atlas distribution arm and hitched the company’s wagon to American News Company for distribution. Within months, ANC collapsed. The entire bullpen—except for editor Lee—was thrown out of work, as Atlas went from 35 titles in the month of Jan. 1957 to just eight in Jan. ’58, its output restricted 96

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

by a new distributor (one owned by

pre-’60s stretch made for some ex-

competitor DC Comics).

cellent published comics, a time

While sister Marie found a job at

when he reveled in cover work, cre-

a Brooklyn greeting card company to

ating 166 Atlas covers—mostly depict-

pay the bills (though maybe not the

ing Western themes—compared to a

rent, as she still lived with her par-

total of five covers for EC and 30 for

ents), one source said that business

Prize. The era also showed him to be

was so slow for brother John that he

an exceptional inker, among the very

111

was employed at a match factory.

best, as exemplified by his exquisite

But, if that were so, such work could

rendering over Jack Kirby’s pencils

not have been long-lived as the car-

in Yellow Claw #4 [Apr. 1957].

toonist, now in his mid-30s, was con-

It was also a time when it was

sistently finding freelance gigs (albeit

firmly established that no matter the

likely lower-paying jobs compared to

rate, no matter the publisher, and no

his salaried days at Atlas).

matter the assignment content, John

However short, Severin’s stint with Stan Lee during his post-EC/

Powers Severin was dedicated to giving every job his absolute best. Chapter Eight: Atlas Slumped

The Story of The Story of Checks With the entire comics industry in turmoil and the very specific—and oh-so-real—economic hardship that the 1957 collapse of Atlas had thrust upon family man John Severin, it’s nothing short of ironic to learn what happened in the year that followed. In Sept. 1958, the artist’s work would be prominently featured in a publication that, with its multiple printings over the next 20+ years, can very likely boast the highest print-run of any single comic in history. Marie Severin had also been scrambling for work when she heard tell that a friend’s brother was running the public information department at the Federal Reserve Bank of New York, where she was promptly hired for a multitude of tasks—postermaking, graphs, visuals for TV appearances, even serving as a tour guide. “They were wonderful,” she exclaimed. “I worked there for a while, but not too long. That was an experience. They were putting out a comic book explaining the new routing system they were putting on the checks—those numbers at the bottom of checks—which they used to identify

cy to have a new Commandment done. My God, all

where the checks originated.”112

the money spent. Having a baby wouldn’t take this

The project was described in a Federal Reserve

long, y’know? But we got it okayed. And then I gave

press release: “A 20-page colored comic book will be

my brother the artwork because he’d get it done a

distributed to high schools throughout the country

heck of a lot faster than I would. I said, ‘John, would

through the 12 Federal Reserve Banks. Entitled, The

you draw this?’ And he grabbed it. So that was

Story of Checks, the booklet traces the origin and

good… And John did a great job on it, and it was a

history of checkbook money.”113

big hit. I forget now the copies. It was, at the time,

Whether the project was conceived because there

the biggest print order of a comic, because it went

was a new employee on the premises with comic

to all 12 Federal Reserve System banks, which then

book experience isn’t known, but it was one wisely

distributed it to their local banks, so it was distribut-

dropped on Marie’s lap. “And I designed the book,”

ed all over the place. It was a good deal.”114

she said. “I did the storytelling and the whole thing,

Indeed, the comic book was an astounding

had it cleared, which was like, 32 rooms to the papa-

success as it went through innumerable updates for

Above inset is cover of the second [1962] edition of The Story of Checks. On the next page, with Marie’s breakdowns and John’s finishes, is a spread and detail from that 20-page booklet.

the new printings, well into the 1970s (eventually

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

made obsolete in 1981 by The Story of Checks and

Electronic Payments). One newspaper wrote, “The

As the Federal Reserve saw it, the thing needed to

book goes into the mechanics of checking consider-

make a high school student understand was a

ably more readably and almost as thoroughly as the

colored comic book.”116

Bank’s monthly reports on matters economic.”115

The resulting publication

Still, the format was criticized

is a delightful combination

by the Detroit Free Press ed-

of the brother and sister’s

itorial page, which, under the

collaborative work—Marie

headline, “Know Your Read-

providing the rough layouts,

er,” snorted: “About the most

which John finished with his

unflattering assessment of

usual panache as inker.

modern education we’ve en-

Predominately rendered in

countered has come from the

a humorous cartoon style,

Federal Reserve Bank of New

The Story of Checks makes

York. It has issued a publica-

for a fascinating counter-

tion intended for high school

point to the siblings’ 1970s

students which endeavors

adventure masterwork,

to explain all about checks.

Kull the Conqueror. Chapter Eight: Atlas Slumped

100

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

Chapter Nine

THE CRACKED MAN

When I got into Cracked magazine, boy, that took everything. John Severin to Steve Ringgenberg, Nov. 7, 2002

òFreaky Cracked #24 [April 1962] cover by John Severin. While his work may not have been the favorites of his fans, the artist told Aaron Sultan in 2007, “To tell you the truth, I really enjoyed doing Cracked because of the variety of stuff that was going on, and it was so constant. There’d be two pages, three pages, a cover, a back cover, four pages. All different subject matter.”

y the last half of 1957, Sol Brodsky, who previous- òSylvester P. Smythe, Cracked magazine mascot, rendered

ly worked alongside Stan Lee during lean times as by John Severin. half of Atlas’s “two-man department,” was short of steady work and eager to get busy after the Atlas debacle. He connected with start-up publisher Robert C. Sproul and, with funding from money-man Bernie Brill, they prepared a magazine to grab some of the MAD readership. (Kurtzman’s creation, when it morphed from comic book into black-&-white magazine, was a huge newsstand success story, with peak sales of 2.1 million, by 1974.) “Knowing I could do this comic stuff,” Severin said, “[Sol] asked me to come in on it.”118 Sproul had learned the ropes in the circulation department at Ace Books and he partnered with the prominent science fiction paperback publisher to produce magazines under the Candar imprint, and he found early success with a “men’s sweat” line, starting with Man’s Action, in 1958. Explained one history, “Sproul took well to the market, expanding to five magazines, most of which were published into the ’70s.”119

ïJohn Severin at his drawing table, later 1960s, before moving to Denver (where the artist discarded his toupée for good).

Under Sproul’s Major Publications (a Candar subsidiary), Cracked became the entrepreneur’s most successful title, as it ultimately boasted a circulation of 500,000 by the late Chapter Nine: The Cracked Man

101

ñCertainly among the oddest of John Severin oddities are his illustrations for an excerpt of William S. Burroughs’ famous Beat novel, Junkie, which were featured in the “men’s sweat” magazine, Wildcat Adventures #1 [June 1959].

ðRobert C. Sproul in 1960.

òAside from Cracked, John Severin also provided art for a number of other Major Magazines periodicals published by Bob Sproul, including gag cartoons for College Laughs digest. Here are two JPS covers from ’62 and ’63, respectively.

1960s (though that number plummeted to

speedy, and versatile John Severin, who be-

25,000 by the year 2000, some 15 years after

came the mag’s primary art contributor over

Sproul sold his company).

some 45 years. During that span, it was not unusual for Severin to

Mazagine Man

draw most of any given issue,

In the same year of Cracked ’s

as one history of the humor

debut, at least eight other

“mazagine” related:

MAD knock-off periodicals

Ultimately, Cracked prob-

were launched, though none

ably wouldn’t have survived if

but Cracked existed beyond

it weren’t for the talents of John

1959. (Sick would arrive in 1960,

Severin. There were many issues

and that Joe Simon creation survived

almost entirely drawn by him. For in-

until 1980, after 134 issues.) Essential to

stance, Severin singlehandedly drew the en-

Cracked ’s success was the presence of

tire issue of Cracked #26 [Sept. 1962], minus

its mainstay artist, the amazingly prolific,

a one-page Bill Elder reprint and a subscription ad by Bill Ward, totaling 50 pages! 120 The plentiful work Sproul offered was a long-term godsend for Severin, who’d been hitting the bricks hard since the fall of Atlas, snapping up assignments wherever he could. Satire Associates, Inc.—which cutely employed a child-sized satyr drawn by Severin as mascot—offered jobs in its short-lived Sporty and Loco magazines (the latter included a plethora of Severin art in its three issues). Severin featured the impish satyr on his cover art for Mike Britt’s Squatront #1 [1959],

102

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

a fanzine devoted to EC Comics—quite likely

Britt’s name into Cracked and Loco, as well ñThree examples of JPS’s

the first piece of art by a comic book profes-

as Two-Gun Kid #53 [Apr. ’60].

sional specifically produced for a fan publication—and he even discussed writing a “col-

Safe Harbor

umn with inside stories and anecdotes about

By numerous reports, Bob Sproul was an

the EC glory days and the comic book indus-

easygoing boss and one who highly valued his

try in general.”

star contributor. “He was a very loose pub-

121

For fun, the artist snuck

saucy gag cartoons. ïIn lean times, JPS worked for Charlton on their Western titles. Cheyenne Kid #24 [Sept. 1960]. òVoices journal used JPS gags relating to psychotherapy.

lisher,” cartoonist Tony Tallarico shared. “If he gave you something and you thought of something better, he let you go ahead and do it. That’s what made Sproul the kind of person he was. People liked to work for him. He was not a pain in the ass where he went over every page and said, ‘Hey, you gotta do this and that.’ It was never like that.”122 Still, it could be hard for freelancers to get paid. “Sproul was fine,” Cracked contributor Warren Sattler said. “I loved him. They were wonderful, except when he came to pay. I had to wait three months, but that’s typical of almost every magazine I ever worked for.”123 One of the few publisher dictates given to Cracked ’s editors was that Sproul alone Chapter Nine: The Cracked Man

103

“At the Art Gallery” [Cracked #26, Nov. 1962], written by future underground comix pioneer Jay Lynch, was Severin’s absolutely flawless imitation of MAD artist Don Martin’s style, signed “J. Lewis.” Other pseudonyms used were: LePoer (French for Powers), Nireves (Severin backwards), Sigbjorn (Swedish for Severin), Noel (for being born the day after Christmas), and even Double-O Severin (first used on a James Bond spoof).

Tinting His Craft While generally overlooked by fans of Severin’s comic book art, his Cracked pages showcased the artist’s versatility not only in adapting other cartoonists’ styles, but also in technique. In the humor mag, he became expert in perfecting the use of Craftint Doubletone Paper, described as “seemingly magical paper as an illustration board with a latent pattern on its surface that, when brushed with a liquid developer… appears where desired.”125 (Perhaps the foremost Craftint practitioner was Roy Crane, a cartoonist ñJohn and Michelina’s second oldest child, Michelina Dolores, revealed that her father’s cover painting for Cracked #5 [Oct. 1958] used the three oldest Severin kids as models. From left, John Powers, Jr., Michelina Dolores, and Mary Frances. ðJPS caricature of Johnny Carson, from Cracked.

was to deal with John Severin.

who profoundly influenced

As wife Michelina explained,

Severin). “Harvey was the

“John was a separate entity.

one who started me on that

They would pay John regu-

stuff,” he said. “I started us-

larly whether he did work or

ing [Craftint] and I really en-

not. Sproul set it up that way. I

joyed it. I’m not at all like Roy

know other people would have

Crane, but I sure wish I was.

problems getting paid.”

So I kept off and on sticking

124

Next page: at top is JPS’s header illustration for the inhouse advertising section run in Cracked, circa early 1960s. At bottom right is a James Montgomery Flagg pastiche by JPS, used for subscription ads in Cracked magazine. 104

In truth, the artist was

it on things like explosions

conversely a blessing for the

and so forth. Eventually, of

humor magazine, as Severin

course, I was put in a position

could draw in multiple styles

where I could use Craftint on

under various pen-names.

the whole doggone job. You

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

know, working for Cracked magazine.”126 (A side-effect over

text accompanied by hypodermic needle imagery was in stark

time of using Craftint is a drastic, unsightly yellowing of the

contrast to Burroughs’ laconic, matter-of-fact writing style.

original art.)

Virtuous Work Never in Playboy Maybe, Though…

In addition to donating his talents to his children’s parochial

Likely in his post-MAD years, Harvey Kurtzman showed

school, Severin did poster work for Norwood fire department

Hugh Hefner some of Severin’s material and the Playboy ed-

fundraising and, in the late ’50s/early ’60s—doubtless at the

itor liked what he saw. But after Kurtzman conveyed to the

request of his friend Colin Dawkins, whose ad agency han-

artist that Hefner hoped to see more samples, Severin balked,

dled the pro bono account—he created editorial cartoons for

saying, “That’s crazy. I’m not going to work for Playboy.”127

Religion in American Life, Inc., a nondenominational nation-

Despite that vow, the staunchly conservative, Catholic

al group promoting church and synagogue attendance.

family man delved into racy material during those meager years for Sproul’s College Laughs cartoon digest, contributing three covers and innumerable b-&-w cartoons featuring buxom women, often signing the gags with his “Powers” pseudonym. (Interestingly, in his archives, Severin did leave behind color, single-panel cartoons, perhaps rendered in this period as Playboy or Esquire submissions, probably unpublished, one a risqué gag about a medieval knight and damsel post-coitus, the other featuring a pair of devils in Hell.) One of the great Severin curiosities (and maybe a challenge to his strict moral code) are his illustrations for an excerpt of William Burrough’s seminal Beat novel, Junkie, about a heroin addict, appearing in Sproul’s “men’s sweat” magazine, Wildcat Adventures [#1, June 1959]. A prized collectible today, the feature’s hysterically sensational editorial Chapter Nine: The Cracked Man

105

Curiously, through the ’60s, Severin was a regular, prolific cartoonist for Voices, the American Academy of Psychotherapists journal,

and

his

headshrinker gags were so appreciated by the editors—who unequivocally

de-

clared, “We love Mr. Severin”—that he ñJPS cover for POW! #1 [Aug. ’66]. ðJPS color gag cartoons, perhaps intended for Playboy. òTopps test-marketed these Crazy TV cards by JPS in 1968. Next page is JPS caricature of Henry Winkler as The Fonz.

was

honored

opined, “While there’s no disguising that

with a “Best of Severin” section in the Sum-

Cracked ’s look and subject matter [were]

mer/Fall 1969 edition, subsequently re-

shamelessly cribbed [from MAD] right down

printed as a 10-page stand-alone booklet to

to its nebbish janitor mascot, Sylvester T.

entertain patients in psychotherapist waiting

Smythe, it was undeniably a handsome piece

rooms.128 (Gahan Wilson was another nota-

of work.”129

ble contributor to the quarterly, which used

Severin, responsible for much of the

gag cartoons into at least the early 1970s.)

allure the mag exhibited, endured a steady

Forty-Five Years of Cracked Cracked began as a haven for Atlas refugees, boasting Bill Everett, Russ Heath, and Joe Maneely (among others) as contributors, and soon even a few Humbug castaways, including Jack Davis and Will Elder, briefly came aboard when that Kurtzman effort went under. Editor Sol Brodsky left Cracked with #10 [Aug. 1959], lured by Stan Lee to become production man at Goodman’s reborn comics division (soon rechristened Marvel Comics). By then, Cracked was running on full steam and, as MAD knock-offs go, it was a pretty nifty presentation. One survey 106

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

stream of editors, as the artist appeared in virtually every

targets, due to a publisher detecting possible reader trends.

issue, with his painted covers and movie and television par-

For instance, in the 1970s, The Godfather, Kung Fu, Hap-

odies showcasing an uncanny talent to expertly caricature

py Days, M*A*S*H, Jaws, Star Wars, and Mork and Mindy

celebrities. Future editor Mort Todd made note that Sev-

each rated multiple Cracked covers (sometimes featured to-

erin’s approach was a departure from the cartooniness of

gether on the same cover!), as Sproul extracted every pos-

MAD mainstay caricaturist Mort Drucker, possessing

sible sale out of a popular movie or TV show. And, of

a quality not quite definable. “[Severin’s] ability to do

course, Severin’s

likenesses was incredible,” Todd exclaimed. “It wasn’t

spectacular ability

really caricature, like giving big noses on Bob Hope. It

to capture likeness-

was spoof… I wouldn’t call it ‘photo realistic,’ either. He could capture likenesses like hell.”130 Severin’s dedication made for an editor’s

es was on full display on each and every cover. In 1985, Bob Sproul cashed out and sold Cracked. The new owners chose an edi-

dream, Todd explained. “He was just the

tor who promptly

consummate professional.

dropped

He could take any work

Severin contributor

and do it quick. Quick as hell.

after the artist had been in

There were times we’d give him

every one of the preceding 212

basically an overnight deadline and

issues. Soon enough, Severin fan

we’d get it Fed Ex-ed the next day.”131

Mort Todd (Michael Delle-Femine)

Despite his heavy Cracked commitment during

was the new editor. “As soon as I got there,

the early years, the artist worked for a wide variety of

I said, ‘This magazine is gonna die without

publishers, including comic-book outfits DC, Charl-

Severin,’” Todd exclaimed. “‘This magazine is

ton, Prize, Harvey, Gilberton, Dell, even covers for

Severin. You cannot do Cracked without Sev-

cut-rate I.W. Publishing, as well as a one-off assign-

erin.’”132 During his five-year stint, Todd re-

ment for British imprint Fleetway. He also moonlight-

hired Severin, hired former MAD mainstay Don

ed for Stan Lee, toiling on post-Atlas Western titles.

Martin, brought Steve Ditko on board, pub-

Naturally following the lead of MAD, Major Publi-

lished early work by Dan Clowes, and launched

cations expanded the Cracked brand with a stream of

Monsters Attack!, which utilized Severin covers and

reprint specials and paperback collections, often with

interior art. The Mort Todd years at Cracked were,

Severin covers and new material by the artist, and

in essence, a return to the mag’s glory days.

Sproul even took a crack at grabbing some of the Fa-

In his career, John Severin would produce more

mous Monsters of Filmland readership with For Mon-

work for Cracked (which folded in 2004) than any

sters Only [1965–72] and Monster Howls [1966], mags

other publisher. By one historian’s count, only eight

often adorned with Severin covers and material.

issues out of Cracked’s 365 didn’t include his art. If

Over the years, Cracked did develop—to some de-

he longed to instead toil over more prestigious

gree—an approach separate from its competitor, partic-

material, the Cracked work never gave any

ularly with its chronic revisiting of the same satirical

hint. Ever the pro, Severin always did his best. Chapter Nine: The Cracked Man

107

Along with his regular assignments for Cracked, JPS also contributed to other Sproul publications, including For Monsters Only (above is #2’s cover and #7 back cover). Interestingly, JPS’s arrangement with Sproul was for the cartoonist to retain ownership of his “Ye Hang Ups” gags and Sagebrush strips. In 1964, Pocket Books published the JPS and Don Edwing gag cartoon collection, Once Upon a Dungeon. On the next page is the original art featuring regular Cracked characters, provenance unknown.

108

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

Chapter Nine: The Cracked Man All characters TM & © their respective rights holders.

109

110

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

Chapter Ten

DRAWN TO HISTORY

I’d always been interested in doing things in an accurate way, an authentic way. John Severin to Mark Voger, Asbury Park Press, Jan. 7, 1996

o be completely accurate, John Severin was al- Previous page features a detail of JPS’s 1983 contribution to

ways captivated by American history, particularly the World’s Famous Comic the annals of the Old West and U.S. Civil War, en- Books Artists Portfolio (Édi-

tions Déesse, Paris, 1983), one

thusiasms the artist was able to indulge with freelance assign- of 16 plates by comics greats. ments at Crestwood and with Harvey Kurtzman at EC Comics. ïJPS hand-colored a numIn the early 1950s, perhaps stoked by Kurtzman’s dedica- ber of Civil War-era military

figures, which he framed and

tion to authenticity and his own enduring passion for history, hung in the Severin home.

Severin joined the ranks of the Company of Military Collec- òPortrait of a “Crow Warrior” tors & Historians, a hobbyist group “made up of profession- by John Severin. al and amateur historians, curators, and collectors who wish to preserve the material military culture”133 of the Western hemisphere. Between 1953–64, as a “Fellow,” the artist contributed at least 17 illustrations accurately depicting combatant uniforms, mostly those of the War Between the States. Initially, the illos appeared in black-&-white in the organization’s quarterly journal—which debuted in 1949 and, Lo quas nem ipsam, officid ulluptinihil moluptatem consequ iberatia consequis ulloribus ipsa vendia volo entur? Pelit, nonsequi dolupta temolest, simet peruntium hicit elignate perum lis qui consentium fugit od ma

numbering some 275 quarterly issues, is still being published today—with any number made into colored prints and some also collected into bound volumes alongside those by other illustrators, including MAD artist George Woodbridge, who was also known as “America’s Dean of Uniform Illustration.” Chapter Ten: Drawn to History

111

Back during his Prize Comics Western days, Severin entertained a fascination with 19th century Native American culture courtesy of agreeable editors. “I would suggest let’s do a single page of Indian artifacts, Western lore, and so on and so forth, and they’d say, ‘Sure.’ So I’d go home and draw up a bunch of stuff, decorate it with Indian designs or whatever, bring it back and they’d take it and ñIssue of Military Collector & Historian containing JPS work. ðOne-pager by JPS in PCW #89 [Sept.–Oct. ’51].òColor print by JPS, one of 17 or so made available to the Fellows of the Company of Military Collectors & Historians.

print it.”134

Special Issues Kurtzman’s war books were renowned for painstaking fidelity to accurate detail and, because he suffered a physical breakdown due to (literally) exhaustive dedication to exactitude, the result was his greatest achievement, MAD. Ironically, that mania for being factually correct began because of Severin: “I started getting him research for different things, especially when he got into the Civil War. I started him on the research. He wasn’t aware there was such—well, like most people, they think there were gray and blue uniforms and that was sort of it. I got him started on that, and the next thing you know he was contacting [Civil War expert] Fletcher Pratt and trying to find out all the minor details of all the different battles that went on.”135 With the assist of Pratt, Kurtzman had planned an ambitious series within his titles to cover the entire conflict, amounting to some 28 stories. Alas, readers proved indifferent to the editor’s three published issues [Frontline Combat #9, Two-Fisted Tales #31, 35], and the project was

112

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

his experience going on undersea

patrol,

and

the editor also sent his artists out for first-hand reports. Severin recalled being directed to a National Guard battalion on Long Island quashed. “All the stuff I put into the [12

to ride around inside

published] Civil War stories,” explained

a tank. “He went

Kurtzman, “it just wasn’t that popular. They

to all ends,” the

essentially were too subtle by comic book

artist said of his

standards. A little too quiet. It was like ask-

intense editor,

ing a kid to read The New York Times.”

“to get his in-

136

Ever hungry for factual input, Kurtzman

formation.”137

famously dispatched assistant Jerry DeFuccio to a U.S. Navy submarine base and recount

The Gilberton Horror In the wake of the near collapse of comics, into the late 1950s, John Severin, like some of his peers, found assignments at the Gil-

ñCompany of Military Historians print. ïCovers of Gilberton titles that include JPS work and JPS page from Classics Illustrated Special Issue #144A [June ’58]. òArt from framed picture in the Severin home.

berton Company, publishers of Classics Illustrated. One could surmise that the outfit— notable sticklers for detail with its historical Special Issues—would be a perfect match for the artist. Instead, he found the experience working on two jobs “a horror.” “Oh, God!” Severin exclaimed. “First of all, they didn’t know what the hell they were doing… Everything had to be explained in detail so that you knew what you were supposed to do. I did Kit Carson [Chapter 6, Blazing the Trails West, Classics Illustrated #144A, June 1958]… ‘Now, this has to be accurate,’ they told me. And I understood. I had all the information in the world about Kit Carson. I went home and I drew Kit Carson… The rifles Chapter Ten: Drawn to History

113

were right. The

look like it.’ So I went home and I drew your

Indians

typical comic book hero…”138

the

The other gig was to illustrate The Last

accouterments

of the Mohicans by James Fenimore Cooper

were correct. And

[Classics Illustrated #4, May 1959]. “So I got

I brought it in.

out my British uniforms and everything and

Apparently, they

I’m going along there, Jim dandy grand,” the

had given me the

artist related. “I inked in little things here

second half of the

and there—the insignia on the Englishman’s

book to do. The

hat or the fire lock on the musket. I penciled

first half of the

all the rest real tight so they’d know what was

book was to be

going on. I did up to 10 or 12 pages of this

done by someone

stuff, and… we had some kind of a disagree-

else, who I didn’t

ment about the fact that the Indians wore

know at the time.

the uniforms or some fool thing… [the edi-

When I turned it

tor] thought that we were doing something

in, they told me I

grand, and I knew that this was a comic book

was going to have

to keep kids from reading the classics, which

to change Kit Carson all the way through the

is the title of it. You know: read this and you

story. And I said, ‘Why? What’s wrong?’ And

won’t have to read a book. So I told him the

they said. ‘Well,

hell with it and I gave him the 12 pages and

he doesn’t look

left… I didn’t even take any damn money. I

like the Kit Carson

didn’t want the damn thing.”139

right.

ñJPS Last of the Mohicans page. Inks by Stephen Addeo. òJPS cover for his Step Up Books job. ðArt from same.

114

were All

that the other artist

(Among his fellow pros, Severin wasn’t

drew.’… And they

alone in being frustrated with Gilberton, as

showed me a cou-

any number of comic book veterans had their

ple of pages… He

stays cut short at the company, all too often

had drawn a typical

quitting in exasperation because of picky ed-

comic book man

itors. Among them, Jack Kirby, onetime Sev-

hero. I said, ‘But

erin employer and longtime admirer. After

that isn’t Kit Car-

Severin passed away, former Kirby assistant

son. That’s just

Mark Evanier shared an insight in a memo-

a…’ But he said,

rial blog entry which related that Jack Kirby

‘This is already

would say, when research regarding a histor-

in, and you have

ical artifact was needed for an assignment,

to change yours,

look at a John Severin drawing, which was

because it doesn’t

just as good as “the real thing.”)140

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

Severin Steps Up In the early 1960s, Random House established its heavily illustrated Step-Up Books imprint, a set of hardcovers—a level above their “I Can Read” line—intended for second and third graders. Regarding the U.S. history series, former EC artists Jack Davis, George Evans, and Angelo Torres were tapped to provide art. And so was John Severin, who illustrated The Adventures of Lewis and Clark, published in 1968, a recounting of the Corps of Discovery Expedition of the early 19th century. “Chock full of illustrations to keep [kids] happy,” Severin said. “Big type to let them read. A lot of fun to do, but kind of a waste of time, money-wise. Because, after taking the time off from comics to do it, I ended up with the same amount of money. It sounds like an awful lot of money if you’re not doing anything else. But when you’re dropping comics to do it… that’s why I never went and did any more. One was enough. It was a lot of fun, but geez! Unless they were going to pay me twice the rates, you know… on top of that, I had to go and pick up all my old contacts again. ‘Hey. Hey! I’m back! I’m back!’”141 The two-color work he submitted was gorgeous, with the artist providing separate overlays—one for black ink, the other for dark red—for some 30 illustrations, full-pagers and illos spread across two pages. He also provided a full-color cover. Around the same time as The Adventures of Lewis and Clark, Severin wrote a biographical sketch for his “Cartoons by Severin” feature published in Voices, the psychotherapist journal. He shared, “The day of a freelance cartoonist can be a very long one and leave much time for the ‘uncommercial’ side of the man. I have a strong interest in archeology and anthropology, but must leave my researching and discovering to what I learn from reading… I do not have time for the paintings, etchings, or original children’s books I long to do. I have never put a philosophy of cartooning into words before, but if I were to do so, I would have to say that I feel any subject is suitable for satire when done within the bounds of good taste, morals, and in the proper publication.”142 Chapter Ten: Drawn to History

115

116

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

Chapter Eleven

THE MARVEL AGE OF SEVERIN

Working for Marvel was always amusing (I don’t mean “funny”). John Severin to Jim Amash, The Jack Kirby Collector #25, Aug. 1999

nto the 1960s, John Severin remained busy with his steady Cracked humor work, with only occasional outside jobs—including a few covers for Joe Simon at Harvey Comics and Israel Waldman at I.W., respectively, as well as two one-pagers for Harvey Kurtzman’s Help! magazine (and, believe it or not, a side-gig contributing one-panel illustrations for the National Enquirer’s “Strange Happenings” column!)—but it wasn’t until 1965 when the artist reconnected somewhat permanently with Stan Lee, who was now riding high with his Marvel Comics Group, formerly known as Atlas. The combination of Jack Kirby pencils and Severin inks, an art team (assuredly one made in heaven) only previously ñDick Ayers (left) and John Severin remained life-long

seen eight years prior in the last issue of Yellow Claw, was re- friends and they joined born in three outstanding installments of “Nick Fury, Agent together to resurrect the Sgt.

Fury creative team with writer

of S.H.I.E.L.D.,” Strange Tales #136–138 [Sept.–Nov. ’65]. Gary Friedrich for the one-shot

Bombast [Apr. 1993], overseen

ñWhile conservative JPS chafed at the anti-war themes liberal writer Gary Friedrich put into his Sgt. Fury scripts, the artist did his duty. Sgt. Fury #64 [Mar. 1969]. ïDynamic Severin illustration featuring Sgt. Fury and his Howling Commandos.

This exquisite trio of stories proved to be the beginning of by Roy Thomas and published Severin’s first Marvel phase, where, for the next ten years, he by Topps Comics. In an interview with Thomas [Alter Ego

was primarily utilized as an inker (aside from solo cover work). #31, Dec. 2003, pg. 24], Ayers chuckled that, on Fury, “If I

Of their glorious, brief re-teaming, Severin referred back put a ribbon on a guy’s chest, to the Yellow Claw job. “Jack’s pencils were always complete,” when John did it, it would be he said, “so again I was enjoying the inking on the ace.”143

the Good Conduct Medal, but he’d help me to identify it.”

Chapter Eleven: The Marvel Age of Severin

117

118

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

Days of Fury The spy character Nick Fury, of course, was an updating of a Lee and Kirby star of Marvel’s singular mid’60s war title, a book Severin would be closely associated in the closing years of the decade. In an interview, Severin

recalled

chatting with Kirby before the Fury years when, after they both attended a business conference in midtown Manhattan,

tween 1967–70, he was instrumental in hav- ñTwo unforgettable full-pages

the two went out for coffee. Kirby was producing a daily newspaper comic strip at the

ing a hand in 34 issues of Sgt. Fury and His inked with panache by JPS. At Howling Commandos, the comic book star- left is splash page from Strange

time and asked Severin if he’d like to become

ring a tough, cigar-smoking sergeant with a right is ST #138 [Nov. ’65].

a partner in a new strip Kirby was conceptu-

squad of oddball G.I.s.

penciled by Jack Kirby and

Tales #136 [Sept. 1965]. At

alizing. “The story would be set in Europe

At the same time as the Strange Tales

during WWII,” Severin recalled, “the hero

assignments, Severin had joined former EC

ïOriginal art page by JPS from Not Brand Echh #1 [Aug. ’67]. òThree killer covers by JPS, Western Gunfighters #8–10 [April–July 1972].

would be a tough, cigar-smoking sergeant with a squad of oddball G.I.s—sort of an adult Boy Commandos.”144 To his later regret,

Severin

turned down Kirby’s

offer

but,

soon enough, beChapter Eleven: The Marvel Age of Severin

119

As mentioned, during that same period, Severin also helped publisher Sproul encroach on Warren’s Famous Monsters territory with covers and illustrations for the oneshot Monster Howls [1966] and For Monsters Only [10 issues, one annual, 1965–72].

Master Embellisher For whatever reason, Stan Lee found wanting Severin’s solo issues as both penciler and inker of Sgt. Fury [#44, July 1967–#46, Sept. ’67], but kept him on as inker when the editor reinstated penciler Dick Ayers to the war book. Curiously, as an artist working solo, Severin was approved for 20 or so Fury covers between 1969 and ’73. (In Lee’s defense, perhaps Marvel’s editor-in-chief was responding to scripter Gary Friedrich, who complained of “literal chicken scratching” on the Fury art boards he needed to dialogue. “I was given [sparsely penciled pages] with John Severin on a couple of issues of Sgt. Fury that he penciled,”

ñIncredible Hulk #109 [Nov. ’68] page and ðcover, and ò#141 [July ’71] splash detail featuring Herb Trimpe pencils, JPS inks. Next page, Sub-Mariner #38 [June ’71] and Two-Gun Kid #102 [Jan. ’72].

Comics compatriots to be part of Blazing Combat, where he contributed excellent work for scripter/editor Archie Goodwin through the war comic’s spectacular (albeit short) four-issue run [Oct. 1965–July ’66]. And, while since his days at EC, Severin steadfastly refused to draw horror stories, the artist nonetheless produced macabre work for Creepy and Eerie over his short time freelancing for Jim Warren’s black-&white comics outfit during the ’60s.

120

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

the writer said. “I’d just get stuff, there was nothing there. So I’d just write some dialogue and hope he’d draw something that would fit it.”)145 Friedrich was delighted with the Ayers/ Severin team. “It sure made the book look great. Severin is a great talent.” He added with a chuckle, “John didn’t much care for my anti-war stance and he’d come in and grumble about it every once in a while.”146 (The artist was also an on-again, off-again inker on the companion war title, Captain Savage and His Leatherneck Raiders—later …His Battlefield Raiders—published between 1968–70.) In ’68, the team of penciler Herb Trimpe and inker John Severin introduced their classic rendition of The Incredible Hulk in a three-issue run [#108, Oct. ’68–#110, Dec. ’68], returning for another trio of issues [#131, Sept. ’70–#133, Nov. ’70], and then 15 issues between #141 [July ’71] and #155 [Sept. ’72]. Long considered a high-water mark in the exploits of the green behemoth, their handsome collaboration had no bigger fan than penciler Trimpe himself, who selected Severin as his overall favorite inker. Trimpe also said of his frequent art part-

In the new decade about to arrive, Sev-

ner, “John was good. I met John, talked

erin, on his own and as inker, produced an

to him on a number of occasions. He was a

extraordinary array of Western covers for the

gentleman and a scholar. He’s another one of

House of Ideas, and, with the ’70s arrival of

these non-egos, a mega-guy, totally! I don’t

sword-&-sorcery—an entirely new (and wild-

think people have a concept of who they

ly popular) genre to comic books—the artist,

were. I don’t know what it was. They were

now pushing 50 and preparing to move his

professionals in one branch of the world of

family west to the Rocky Mountain region,

commercial art. Comics are a branch of com-

was on the cusp of another career peak, this

mercial art. They weren’t into ego, it wasn’t

one in artistic partnership with a tremen-

the fanboy thing, it wasn’t like that at all.”147

dously talented sister. Chapter Eleven: The Marvel Age of Severin

121

122

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

Chapter Twelve

HIS WINNING LOSERS

Joe Kubert’s all right... He’s a good guy... Good old Joe. John Severin to Steve Ringgenberg, Comic Book Marketplace #98, Jan. 2003

ohn Severin’s 1970s stint at DC Comics òFor three glorious story arcs

in Unknown Solder [1981–82],

primarily came about due to his enduring and JPS was able to indulge his inbuddy-buddy friendship with Joe Kubert, then ed- terest in World War I bi-planes with a trio of multi-part “Ene-

itor of the company’s war comics line, as well as a my Ace” tales written by Bob

Kanigher. Panel from Unknown

top creator at the imprint. Both comic book vets shared Soldier #261 [Mar. 1982]. a mutual appreciation that stretched back to the days of EC. In fact, Severin had a running gag involving the legendary artist, one initiated on the day they first met. Upon being introduced, Severin took notice of Kubert’s muscular build and, when hands were grasped, Severin dropped to the floor as if Kubert’s grip had crushed the life out of him! Ever after, when the two comic book giants shook hands, Severin repeated the collapse to Kubert’s uproarious and appreciative laughter. Severin’s association with DC actually dated back to the late 1950s, when he briefly freelanced for Robert Kanigher’s war titles. The artist said of his experience with the notorious editor, “I can only say he was happiest when you turned in a ñThe artist, in full gunslinger regalia, poses for the camera. ïClose-up of JPS’s spectacular work on “The Losers” opening spread in Our Fighting Forces #137 [May–June 1972].

well-drawn or well-inked job. When it looked like you had taken as much interest in drawing it and inking it as he had taken in writing it. Because most of the stories I got from him were things he had written himself.”148 Chapter Twelve: His Winning Losers

123

Bob

124

Jerry DeFuccio Redux

er also scripted

As previously mentioned, Severin’s cous-

Severin’s

assign-

in-in-law and friend, Jerry DeFuccio, was

ments during the

moonlighting from his associate editor job

artist’s DC tenure

at MAD by putting together his own adven-

between 1971–74,

ture comics magazine. The anthology was

when the pair pro-

to be bankrolled by a partner who suddenly

duced “The Los-

reneged on the financing, leaving DeFuccio

ers” feature in an

with a handful of stories, the art of which had

unbroken 20-issue

already been paid for with his own money. He

run of Our Fighting

found a home for the tales—all written by De-

Forces [#131–150].

Fuccio, with four drawn by Severin and one

Some years lat-

by Reed Crandall—in Kubert’s DC war titles.

er, the pair reunit-

Two of the DeFuccio/Severin collabora-

ed for three “Ene-

tions depicted stories starring their creation,

my Ace” multi-part

Sgt. Tubridy, who had first appeared in the

stories in 1981–82

Kurtzman EC war books. Of those exploits,

[Unknown Soldier

John Garcia and John Benson wrote:

260–

It’s a shame Severin and his good pal did

261, 265–267], providing Severin with the

so few stories together. Influenced by Rudy-

welcome opportunity to render World War

ard Kipling and P.C. Wren, DeFuccio’s sto-

I biplanes in aerial combat, as well as present

ries are completely unlike anything Kurtz-

his take on one of Joe Kubert’s most beloved

man would have done. His and Severin’s

signature characters, Hans Von Hammer,

four Sgt. Tubridy stories are love poems to

the haunted German air ace otherwise known

the British Army in Afghanistan, the Empire

as “The Hammer of Hell.”

worship made more palatable by the realistic

#251–253, ñThe single cover by Severin assigned to the artist during his early 1970s DC Comics stint, G.I. Combat #166 [Nov. ’73]. ðAt top, two-pager by JPS from Atlas/Seaboard’s Blazing Battle Tales #1 [July ’75] and panel from JPS Sgt. Rock story, Our Army at War #272 [Sept. ’74]. òJPS’s Losers, Our Fighting Forces #135 [Feb. ’72].

Kanigh-

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

forces of the unglamorous lives of the enlisted men. Two were

The Big Move

done for Kurtzman at EC, but the two published 16 years lat-

By the early months of 1970, John and Michelina made the

er in DC’s war titles were perhaps even

decision to move the Severin clan to a

better, “Back of Beyond” [Star Spangled

more rustic, wholesome climate, at least

War Stories #162, May 1972] is a John

when compared to Norwood, New Jer-

Ford-style vignette about petty thieves

sey’s proximity to the threatening per-

enlisting in the British Army to avoid

missiveness of the Big Apple. After all,

prison. “Parable” [Our Fighting Forces

the couple had five daughters to worry

#124, Apr. 1970] mixes a little Somerset

about, with the oldest barely 16 and the

Maugham with the Kipling in its tale of

swingin’ ’60s only just ended!

a British trooper going native.149 There were two other fine DeFuc-

Over the course of a single weekend, Michelina flew out to Denver, Colora-

cio/Severin collaborations in DC war books and the friends

do, met a realtor, selected a five-bedroom home in the city’s

later crossed paths professionally when DeFuccio joined

Cherry Creek neighborhood, and bought it. Soon enough,

Cracked magazine as an editor from 1989–92.

John loaded up the family station wagon to make the trek to Chapter Twelve: His Winning Losers

125

gage. (Michelina’s mother went to Denver to be close to the family until passing in 1990.) In those years, for a freelancer whose livelihood had always been inextricably bound to maintaining relationships with editors of the New York City-based comic book industry, moving a half-continent away for a new life out west was a daring risk. A year prior, Jack Kirby had pioneered such a change (though his trek was all the way to the Pacific coast of California), as air mail and other courier services had became more reliable to deliver assignments safely back east. By 1970, Severin was a consummate professional, highly regarded throughout the business and beyond, well established as a dependable artist who consistently delivered top-notch work. Hence, during that time, he had less to fear in moving 1,800 miles away from his publishers than any newcomer. One shortcoming of Severin’s relocation was an isolation from cultural hubs. Occurring, as it did, during a period when comics fandom was expanding rapidly and with appreciation growing for his work, the artist was left in a bubble, a man often surprised to ñDeFuccio/Severin story that appeared in Our Fighting Forces #124 [April 1970]. Their creation, Sgt. Tubridy, actually first appeared in their EC Comics work of the early 1950s! ðRecent pic of the old Severin home at 228 Race Street when the family moved to Denver, Colorado, in winter 1970. The next page includes the cover for Sojourn #1 [Sept. 1977], first page of JPS’s three-pager in the same issue, one of the consolation prints Sojourn editor Joe Kubert sent to subscribers after the anthology was canceled with #2. 126

the Rocky Mountain state along with his son

learn how (rightfully) beloved his work was

and two daughters. Michelina, meanwhile,

by fans and the importance of his presence in

flew ahead, with the second oldest and the

the history of American comics. Still, there

twins, to set up house. When they arrived

were more important things than adulation.

at 228 Race Street, a stone’s throw from the Denver Country Club, the Colorado sun was shining bright and snow frosted the tree leaves, making for a veritable winter wonderland. After the moving van arrived, John’s drawing board was swiftly set up to get the family man back to work and cover the mort-

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

Return of the Native American By 1977 or so, Joe Kubert teamed up with entrepreneur Ivan Snyder for various projects, including an ambitious tabloid-size comics anthology, Sojourn, which featured episodes of adventure series by some of the finest creators in the industry. John Severin was approached and he immediately enlisted old chum Colin Dawkins to (sort of) resurrect American Eagle. The ad agency vice-president was nearing retirement age, and by then contemplating an ambitious history of his fabled employer, J. Walter Thompson. To avoid any potential trademark dispute, the artist named the series “Eagle,” and produced arguably the most exquisite work of his life, a trio of three-page chapters to be printed at 12" x 18". Heartbreakingly, Sojourn was cancelled by #2 and the final “Eagle” installment published in The Rook #14 [Apr. 1982], which added a new half-page to speedily wrap up the storyline. Chapter Twelve: His Winning Losers

127

128

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

Chapter Thirteen

BETTER IN BLACK-&-WHITE

I love black-&-white. I hate color... You know what it is? I’m colorblind. John Severin to Gary Groth, The Comics Journal #216, Oct. 1999

agle,” despite its disappointingly short run in Joe Kubert’s Sojourn tabloid, was perhaps John Severin’s greatest achievement in comics art and ïJPS frontispiece (with slight digital manipulation) for Blazing Combat #1 [Oct. 1965]. ðTwo panels from JPS Weird Tales of the Macabre #2 [Mar. 1975] story. òDetail from JPS story in Blazing Combat #1.

certainly the finest black-&-white work of his career. The artist so loved the feature that when the National Cartoonist Society asked in 1978 for an illustration to be included in a limited edition portfolio, he created a piece nothing short of epic, a spectacular battle scene titled, “The Eagle Taking Coup.”* Aside from humor work for Cracked and other wanna be MAD satire magazines, Severin’s first major foray into black&-white work was, as said, for Archie Goodwin, during his mid- to later ’60s run as chief writer and editor of Warren Publishing’s horror and war comics magazines. Joining a Murderer’s Row of former EC Comics artists, Severin contributed some seven stories and six one-pagers during the ’60s, departing with editor Goodwin’s last issue of Creepy [#17, Oct. ’67]. Severin was featured in all four issues of Blazing Combat [Oct. ’65–July ’66], drawing a story in each and sparing no effort with his artistry. Considered among the finest comics ever, the magazine was a worthy and spiritual successor to Harvey Kurtzman’s Frontline Combat and Two-Fisted Tales.

*The original art of same is seen as endpapers at the front of this book. Chapter Thirteen: Better in Black-&-White

129

Geez, It’s Louise! After an arid creative stretch during the late ’60s and early ’70s, Warren Publications experienced its second Golden Age, much due to the presence of editor Bill Dubay and his effervescent successor, Louise Jones (now Simonson). Through attentiveness and kindly support, never mind an immense degree of charm, “Weezie,” as she was nicknamed, was able to entice great work from veteran Warren stalwarts, as well as from gifted newcomers. Of the old-timers, Simonson recalled one in particular. “John Severin!” she exclaimed. “The man was a perfectionist. The bulk of his work was done for the humor books— which paid much better than Warren did—and I felt very privileged to have him. Though I never met the man in person, I had a crush on him over the phone. He lived out in Colorado and I had a crush on him long distance. There was something so adorable about him that when I met [current husband and comics great] Walter [Simonson], I thought, ‘Y’know, he really reminds me of John Severin.’ And that was Walter’s big selling point!” Amid laughter, she added, “Funny, I don’t even know if John would remember me—and yet, today, evOf particular note from that early Warren period is Sev-

ery once in a while, I’ll hear Walter on the phone with some

erin’s superb art for the Western horror story, “Dark Rid-

young assistant editor and I’ll think, “Yeah, maybe Walter’s

er” [Eerie #8, Mar. ’67], a tale of the Old West about three

her John Severin!”150

horsemen in a mountainous region, pursued by a mysterious stranger during a snowstorm, all lovingly rendered.

130

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

Due to his initial mid-’70s art for the publisher, Severin received the Warren Award for “Best All-Around Artist,” in

1975, a well-deserved accolade for his Creepy work, the only Warren title he toiled on during the decade. For that magazine, the artist delivered 157 pages (including 22 pages sporting his inks over Carmine Infantino’s pencils, making for an intriguing teaming!), amounting to 17 stories with his pencils and inks, and three with inks alone. In the early ’80s, his Sojourn “Eagle” strips, plus a previously unprinted third chapter, were in The Rook Magazine #12–14 [Dec. ’81–Apr. ’82], where returning editor Dubay opted not to use Ben Oda’s fine, elegant lettering, instead pasting on less appealing typeset text.

Black,White, & Severin All Over The artist departed Warren immediately after Weezie Jones left for Marvel Comics (and soon to marry Walter), and the new decade was greeted with growing appreciation for

ent in Blazing Battle Tales [#1, July ’75].)

the creators who helped make EC the great-

The ’70s comics scene, with its print/

est comics company of all time, nearly a quar-

portfolio boom, gave Severin—and his

ter century since it ended four-color fare.

sister—an opportunity to create glorious

In 1980, Russ Cochran collected the entire

monochromatic imagery featuring a certain

run of Two-Fisted Tales—with stories print-

Atlantis-born Valusian king.

ñRare instance of Wally Wood being inked by someone else—in this case John Severin. “Creeps,” Creepy #78 [Mar. ’76]. òJPS self-portrait, early ’70s. Previous page is (top) from Creepy #10 [Aug. ’66] and Thrilling Adventure Stories #2 [Aug. ’75], both by JPS.

ed in black-&-white—in an oversize fourvolume hardcover set that included commentary by Severin, Colin Dawkins, and Harvey Kurtzman. The Frontline Combat: The Complete EC Library set followed in 1982. Back in the mid-1970s, sublime examples of Severin b-&-w work also made it into the short-lived Atlas/Seaboard Periodicals’ comics mags, Thrilling Adventure Stories [#2, Aug. 1975] and Weird Tales of the Macabre [#2, Mar. 1975]. (He also had a single color two-pager about a Bronze Star recipiChapter Thirteen: Better in Black-&-White

131

132

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

Chapter Fourteen

KULL THE COLLABORATION

My stuff... err... my sister’s stuff and my stuff is down to earth, more real. John Severin to Arnie Fenner & Byron L. Roark, REH: Lone Star Fictioneer #4, Spring 1976

ull, born of Atlantis, king of Valusia, conqueror and destroyer from the Thurian Age, Robert E. Howard pulp creation and crowned predecessor to barbaric ïPlate from the Severin siblings’ Kull II [1977] portfolio, though some plates were all by JPS, such as this beauty.

descendant Conan, was never quite so splendidly rendered in comic books than by the sister-and-brother team of Marie and John Severin, as a more perfect a pairing of penciler and inker could hardly be imagined. Opined one sharp observer:

òKull—king, conqueror, and destroyer—by John Severin.

The Severins… immediately made the character their own. These issues (along with Mike Ploog’s first issue, #10) stand as the best comic book portrayals of Kull and some of the most beautiful comic art ever published. Marie’s ability to capture the dynamic style of Marvel storytelling, with John’s Hal Foster-ish inking, created a synthesis that was so perfect for Kull that, as with the Windsor-Smith and Buscema Conans or Alan Weiss Solomon Kanes, it’s practically impossible to see a comic book version any other way. The Severins’ Kull is the standard ñWhen Kull the Conqueror was briefly cancelled after #2, the series was to continue in the typically all-reprint title, Monsters on the Prowl, though only one such episode appeared, in #16 [Apr. ’72]. Cover by John Severin.

by which all comic book versions have been compared.151 From 1971 until ’73, the duo rendered the sword-&-sorcery tales of Kull—as adept wielding a blade as literary cousin Conan, though a far more introspective fellow—for eight issues of Kull the Conqueror, as well as a pair of Kull short stories in Chapter Fourteen: Kull the Collaboration

133

ñAnother plate from Middle Earth’s Kull II portfolio, this one with pencils by Marie and inks by John Severin.

ñEvocative cover by JPS, Kull the Conqueror #4 [Sept. ’72]. 134

other books. The twosome also produced an

Kull the Comic Book

outstanding portfolio, Kull II [seven plates],

Upon Marvel licensing the property from

for Middle Earth, in 1977, a sequel to the all-

the Howard estate, Kull had a bumpy ride

John Severin Kull set [six plates], published

art-wise. Bernie Wrightson, submitting his

in 1973 by Denver’s Goblin Graphix.

inaugural Marvel assignment, saw his “Skull

Acclaim for the Severins’ work came fore-

of Silence,” the publisher’s first Kull story,

most from inside the Bullpen, from no less

badly reproduced in Creatures on the Loose

than Marvel’s art director of that era, John

and his cover art rejected. Plus Ross Andru

Romita, Sr., who worked side-by-side with

and Wally Wood, the art team for Kull the

the female half of the team. Calling their Kull

Conqueror #1 (its cover greatly revised by

the Conqueror work a “landmark series,”152

Marie Severin), turned in a terrific job, but

Romita gushed, “She was not just somebody

quit when Kull suddenly became a quarterly.

that would do small stuff. She could do major

Roy Thomas, Howard enthusiast and

stuff, and she was a great storyteller, and she

Marvel editor who championed the arrival

had a great feel for strong characters. And

of sword-&-sorcery at the House of Ideas,

I think some of the greatest stuff done was

was foggy on why Marie was initially chosen

when she penciled and her brother inked on

as penciler of Kull #2. “Whether it was Stan

Kull. It was sensational.”153

[Lee]’s idea or mine to have Marie become

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

the new penciler, I don’t remember—though

line the next issue

I suspect it was Stan’s, since he’d loved her

of the Atlas mon-

cover figure for #1. She, in turn, suggested

ster reprint title,

we ask her brother to ink the issue…”

Kull the Conquer-

Thomas continued, “As it turned out,

or was officially

John liked the idea of inking his little sister,

relaunched

and they made a magnificent combo for a

#3 [July ’72]. Thus

number of issues, probably the most iconic

the Severin team

one of any run of Kull comics anywhere.”154

resumed their su-

Despite their superb debut as Kull ’s

perb run on the

new art team in Kull #2 [Sept. ’71], the title

title, certainly one

was abruptly cancelled by publisher Mar-

of the most beau-

tin Goodman. Soon, though, the character

tifully

was made the star of the (otherwise reprint)

series of the 1970s, a fitting complement to ñThe Severin siblings in the

Monsters on the Prowl #16 [April ’72], in a 10-page tour de force introducing villainous

the stellar work emerging super-star artist of their Kull the Conqueror Windsor-Smith was producing at the same collaboration.

Thulsa Doom, Kull’s vile arch nemesis.

time on Marvel’s trailblazing sword-&-sor- and John’s inks, on this Kull

Before the follow-up episode was to head-

with

rendered early 1970s, around the time òCompare Marie’s pencils

cery comic book, Conan the Barbarian.

the Conqueror #2 [Sept. ’71] splash page.

Chapter Fourteen: Kull the Collaboration

135

136

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

The Way of All Good Things However iconic the pair’s collaboration on Kull (ending with #9 [July ’73]), higher-ups decided to change the title’s direction, one without the Severins. “Though the art was first-rate and the stories faithfully continued the Kull legend,” wrote one, “the book had subtly changed from its first two classic issues and sales were dropping. For one thing, the Severins’ art had quieted down, becoming more civilized, leaving Kull looking more like Prince Valiant than Conan the Conqueror. This is not meant as a knock to their artwork or Hal Foster’s; it’s just that their fine kind of storytelling wasn’t selling books.”155 Asked his favorite Kull work, John referred to a four-page story in Conan the Barbarian #10 [Oct. ’71]), saying, “The poem, ‘The King and the Oak.’ I liked that. But give credit to Marie for that—I may have taken out a leaf or added one—but it was her art.”156 The brother also acknowledged his sister as responsible for the overall look of their

nine-plus issues together. “I’d have to say ñThe Severins’ Kull was

featured in a four-pager within

that 90% of the actual design was Marie’s Conan the Barbarian #10

[Oct. ’71], adapting a poem

idea. I’d do individual slight alterations on by Robert E. Howard. occasion, but it was basically all Marie’s. I ïIn 1975, convenience store might throw in some extras, but the chain 7-Eleven produced a changes were all very slight.”157 During an interview conduct-

Kull Slurpee cup featuring JPS artwork; the Kull II portfolio cover envelope, with pencils by Marie and inks by John.

ed with John about Kull, the artist On the previous page, note

message JPS wrote to the Mar-

teased his inquisitors about a fasci- vel bullpen regarding keeping nating project he had in the works: under watch this original cover “my idea for my own magazine.”158

art for Kull the Conqueror #9 [July 1973].

Chapter Fourteen: Kull the Collaboration

137

The Marvelous Career of Mirthful Marie Around 1964, her stint at the Federal Reserve Bank of New York ended, Marie Severin brought her portfolio over to former employer Stan Lee at Martin Goodman’s comic book outfit, now renamed Marvel Comics, and Lee promptly put her to work in the production department. Toiling alongside the men of an ever-expanding Bullpen, Severin, who could adapt seamlessly to other artists’ styles, was initially used for corrections and changes. “When someone put the wrong costume on, I was making corrections and things,” she said. “You never knew if Stan was going to say, ‘I want another balloon in there,’ for whatever reason. Often he’d say, ‘Turn the head around.’ In those days, it took forever to get a pho-

doing paste-ups; she should be drawing,’” Severin

tostat, so you’d usually redraw it and paste it up.”

recalled. “[Steve] Ditko had just quit, and Bill Everett

In 1966, Severin created freelance illustrations

was getting sick, so I took over ‘Doctor Strange’ [in

159

for the hip, slick magazine, Esquire, where she

Strange Tales]. I was on staff all those years because

depicted college students as super-heroes, all effec-

I wanted something steady. I didn’t want to be walk-

tively drawn in the fashion of Jack Kirby. Publisher

ing around New York in heels with a portfolio.”160

Goodman took a look at the trendy mag (which

After eight issues of Strange Tales, Severin drew

contained an article on his comics line), and said of

the “Hulk” series in Tales to Astonish and, that

the Bullpen’s lone female artist, “‘She shouldn’t be

same year, found her niche as the perfect super-

138

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

hero parody artist in the pages of Not Brand Echh, a regular comic book that made fun of the genre and, especially, Marvel’s own characters. While the title expired in less than two years, Not Brand Echh proved a showcase for her humorous cartooning— John Romita, Sr., referred to her as the “heart and soul” of the title161—and she began to be widely recognized as a truly great cartoonist. Around the same time Not Brand Echh bit the dust, Esquire once again came a’callin’, this time to give Severin a job illustrating its Oct. ’69 cover, caricaturing “Broadway Joe” Namath, celebrity Jets quarterback, and replicating King Kong’s final stand atop the Empire State Building. Doubtless, this became the most prominent, widely-seen piece of Marie Severin art in American popular culture. Severin, who lived with her parents before they died (her father in 1968, and mother in 1981), was content with single life. Asked if she dated, Severin replied, “Yeah, a little bit, but I never got that crazy about anybody. Or, if I did, it was always somebody

At Marvel, Severin penciled Sub-Mariner [1969–

married.” She added with a laugh, “Because the

72], the last of her regular super-hero assignments,

good ones go first.”162 Severin then reckoned she

though she did a significant amount of work for the

just wasn’t the “marrying kind,” sharing, “I liked

outfit’s kiddie comics in the 1980s. And, of course,

the idea. I love kids, but it didn’t bother me. I was

there was the epic collaboration with John on Kull

always busy. I enjoyed [men’s] company and the

the Conqueror [1971–73], about which she could

sex bit didn’t bother me that much, you know?… I

only proclaim, “Weren’t they great? I loved ’em!”164

wasn’t driven by that. I was always occupied with

The woman’s accomplishments are far too many

something going on in my head. All of a sudden,

to relate here, but suffice to say Marie Severin was a

‘Oh! Look at that! I’m 30. How’d that happen?’”

powerhouse and legend in the American comic book

Any maternal instinct assuredly was sated with

industry. The San Diego Comic-Con recognized her

frequent visits to brother John’s crowded New Jersey

with an Inkpot Award in 1988 and, in 2001, she was

home, as she enjoyed seeing her nieces and nephew,

inducted into the Will Eisner Comics Hall of Fame. In

and the brood’s affection for Aunt Marie was return-

2017, along with John and other EC Comics lumi-

ed in full. Also, unburdened with parental duty, she

naries, she entered the Harvey Awards Hall of Fame.

had an active social life with her many friends.

Her biography, Marie Severin: The Mirthful Mistress

On the previous page is, at top, Marie and John at the beach, and, at bottom, pics of adolescent Marie. At top right is Marie’s cover art gracing Esquire, Vol. 72, #4 [whole #431], Oct. 1969.

of Comics, was nominated for a 2013 Eisner Award.

163

She passed away, at age 89, on Aug. 29, 2018. Chapter Fourteen: Kull the Collaboration

139

140

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

Chapter Fifteen

ROCKY MOUNTAIN MAN

I never consider anything I do “just another job.” I just give it my best. John Severin to Craig Miller, Spectrum Super Special #3, Nov. 2005

hat John Severin had in mind for a new ïSpectacular JPS cover art for Squa Tront #11 [2003], the EC fanzine’s special John Severin issue, featuring King Kull battling the serpent men. The artist produced this piece at the age of 81! òSylvester P. Smythe with bat buds, a detail from the cover of Cracked Monster Party #1 [July 1988].

magazine was recently recalled by one of the REH: Lone Star Fictioneer interviewers who had visited the artist’s Denver home in 1976. Editor Arnie Fenner said: “It was going to be a combination of comics and prose fiction, all with a military history theme. He planned initially to do all the art and Jerry DeFuccio to be the primary writer, and, if it took off, he would bring in other artists and writers, but it never got out the idea phase, as far as I know.”165 Still, by the mid-1980s, the artist did find a like-minded editor in Larry Hama, renowned for his scripting on G.I. Joe, who was relaunching Savage Tales as a black-&-white men’s adventure magazine. Writer Archie Goodwin and Severin reteamed for the first two issues, and the artist contributed to all

ñJohn Powers Severin,

eight issues of the magazine, each one a period tale featuring living Rocky Mountain way, gunplay or fisticuffs—respectively, set in Siberia, 1920; Indo- mid-’70s. china, 1955; Middle East, 1190; The Bronx, 1930s; Colorado, 1909; as well as Westerns dating between the 1880s and 1916. The ’Nam, a month-by-month retelling of the Vietnam War from a U.S. combat troop perspective, sprang from Savage Tales and that color title would spin off its own new series. Chapter Fifteen: Rocky Mountain Man

141

person retires at 65, was as good as ever, with no intention of putting away his pen, and gaining new fans with every new assignment. “The stories were engaging and fit nicely next to Marvel’s ’Nam, but the real draw of this book was the art by Severin,” wrote one about Semper Fi’. “This was my introduction to Severin… and he killed it… Severin was a revelation to my young eyes, His figure work and the detail within the backgrounds was astounding and beautiful, some of the best work coming out of Marvel at that time.”166 While promoting Semper Fi’, Severin revealed, “My uncle was with the Fighting 69th [New York Infantry Regiment] and he would tell me stories about the First World War. I even remember sitting at the knee of the celebrated Father Duffy, their chaplain… From there, my interest just grew. History was always my best subject in school.”167 A few years prior, in 1983, when French

ñJohn Severin’s cover art for Semper Fi #1 [Dec. 1988], which chronicled the exploits of the U.S. Marine Corps from inception to present day. The series lasted for nine issues and JPS’s work appeared in each.

ðOne of the very few examples of super-hero work by John P. Severin, who was much better known for his genre work, particularly in adventure, war, and Westerns. Action Comics Weekly #630 [Dec. 13, 1988], featuring Superman. 142

Semper Fi’ Short-lived monthly Semper Fi’ [#1, Dec. 1988–#9, Aug. ’89] was devoted to “Tales of the Marine Corps,” spanning the decades, written by former Corpsman Michael P. Palladino, and all but the final issue was graced with artwork by Severin. The artist penciled and inked issues #1, 4, and 7, and inked Joe Kubert youngest son Andy’s pencils in #2, 3, 5, 6, and 8. (Andy was about 25 at the time.) Severin, then older than when the average

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

print publisher Éditions Déesse was soliciting artwork from “World’s Famous Comic Book Artists” for a prestigious limited edition portfolio, Severin delivered a piece entitled “Rallying Around the Flag, Boys,” portraying Confederate soldiers engaged in battle. Of course, every detail was remarkably accurate.

Mort Todd Since 1958, Severin had produced his contracted work for Cracked, but when Bob Sproul de- ñJPS’s “Rallying Around the Flag, Boys” print from the 1983 World’s Famous cided to sell the humor magazine in 1985, the Comic Books Artists Portfolio [Éditions Déesse, Paris, 1983]—detail on pg. 112. òSplash page of the gorgeous collaboration, “Raid,”by writer Archie Goodwin

new owners, as discussed, had second thoughts and artist JPS, a five-pager featured in Savage Tales #2 [Dec 1985]. about the mag’s most prolific contributor. There was a row and the artist was let go. Recent hire Mort Todd knew the bosses had made a terrible mistake. The 23-year-old soon-to-be Cracked editor—who previously socialized with fellow cartoonists Daniel Clowes and Rick Altergott—let higher-ups know of their folly. “I was hired, at first, as a creative consulting editor,” Todd said, “and the first thing I told the publishers was that Cracked would soon die without the Severin powerhouse at the graphic helm. My first mandate was to get John back at any cost and I did.”168 Certainly in a creative sense, Cracked thrived under Todd’s editorship. As said, in a huge coup, Don Martin, late of MAD, was hired in 1987; Steve Ditko came on board; and Todd published early work by peers Clowes, Altergott, Bob Fingerman, J.D. King, and Peter Bagge, along with others. The editor recalled one time Ditko visited. “We would get art in from Severin, and Ditko would be in the office and he would just pore over it. Literally, put his

Chapter Fifteen: Rocky Mountain Man

143

finger on it and go over

wanted to do a ‘serious’ monster magazine.

the lines, processing

Here I am working with Severin and [Gene]

Severin’s artwork. For

Colan and Ditko, and I’m like, ‘We can get

the longest time, I was

all the best horror artists, these EC, Atlas,

always trying to get a

and Warren artists. Let’s do a kick-ass mag-

piece where we could

azine.’”170 Monsters Attack! was a valiant

have Severin ink Ditko,

effort—sort of an amalgam of Creepy and Fa-

because Steve would’ve

mous Monsters—lasting five issues [1989–90]

enjoyed it.”169

and ending about the time Todd departed

Todd and the pubnotice

Todd and Severin remained friends, to-

of healthy sales for

gether planning an ambitious, if ill-fated

Cracked’s

monster-

Elvis Presley comic book biography for the

themed reprint collec-

short-lived and equally star-crossed Marvel

tions, and so was born

Music imprint in 1994. The two were able to

the quarterly Cracked

jam on a (highly truncated) Elvis biography

Monster Party [1988], sporting Severin cov-

that was actually printed as an installment of

ers. The success of the new mag gave Todd

their “Celebrity Biografix” comic strip that

an idea. “Since the Monster Party magazine

appeared for a time in the New York Post,

did so well,” he explained, “I decided I really

starting in 2000. (For a birthday surprise,

lishers

ñMort Todd created this shortlived though lively horror title. Monsters Attack! #4 [Sept. ’90] cover by JPS. òTodd and Severin teamed up for the Biografix comic strip in 2000.

Cracked and moved on to Marvel Comics.

took

Todd enlisted Russ Heath to illustrate a strip celebrating the life of John Severin.)

Fandom Recognition John Powers Severin, despite a remarkable history spanning the U.S. comics industry since the late 1940s, a man with an amazing drawing talent which seemed impervious to any diminishing over time, was all too often overlooked by fans and comics historians. But, as the artist was nearing his 80th year, recognition did begin to spread. EC Comics fandom had previously given some attention, when Graphic Story Magazine [#13, Spring 1971] published John Benson’s important Severin interview, and a Robert E. Howard-centric talk appeared 144

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

in the Spring ’76 issue of REH: Lone Star

the bad, and the indifferent. I like them all ñFor Heavy Metal’s 20th an-

Fictioneer [#4], but a career-spanning Q&A didn’t see print until The Comics Journal

because it means somebody was looking.”171 this image entitled “The Plain In Spring 2005, legendary EC Comics of Camlann” [1997]. For the

#215 [Aug. 1999]–#216 [Oct. ’99], conduct-

fanzine Squa Tront devoted most of its 11th in coming, though thankfully

ed by Gary Groth. That chat revealed a playful, modest,

niversary book, JPS produced artist, appreciation was long

arriving in his lifetime. ïSqua

issue to the artist, which included a Tront, renowned EC Comics thorough check- ’zine, devoted #11 [2007] to JPS. òThe Comics Journal

and forthcoming subject,

list and circa 1980 #215–216 [Aug., Oct. ’99] fea-

one who seemed genu-

interview about his

inely appreciative of a

early work, as well

person’s interest in his

as spotlights on old

life and work. “Actual-

collaborators and pals

ly,” he told Groth amid

Colin Dawkins and

the almost sixty-thou-

Jerry DeFuccio.

sand-word conversa-

Perhaps it was late in

tion, “it’s very nice

coming, but the respect

to have you say these

of fans was finally being

things: the good,

paid to the comics master.

tured an epic JPS interview.

Chapter Fifteen: Rocky Mountain Man

145

146

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

Chapter Sixteen

THE TWILIGHT YEARS

As a penciler, John Severin had no equal... an art style uniquely and distinctly his own. Stan Lee statement on John Severin’s passing, 2012

othing—before or since—has ignited fan controver- Previous page is an oversize

color illustration Marie Severin

sy with John P. Severin’s name attached quite like produced to celebrate her the furor surrounding the Rawhide Kid “Slap Leath- brother at the 1998 American Association Comic Book Col-

er” storyline drawn by the artist. The 2003 Marvel five-issue lectors dinner, held at the San Diego Comic-Con.

mini-series re-imagined Johnny Clay, the brightly attired, for- ïJPS illustrated the controvermidable gunslinger and wrongly accused outlaw traversing the sial Rawhide Kid mini-series, Old West, as unabashedly—and quite flamboyantly—gay. When word got out that the two-fisted, NRA card-carrying, all-American conservative comic book artist was portraying a

Slap Leather [April–June 2003]. This detail is from the first issue. òThe artist is clearly delighted with his sister’s clever Two-Fisted Tales pastiche.

Marvel Comics’ Western character as homosexual, umbrage was taken by some. Chuck Dixon, occasional Severin collaborator, suggested the artist must have been tricked by the House of Ideas, as the writer huffed, “But am I to understand that John Powers Severin is drawing this wretched piece of exploitational trash? John objected to (but finally drew) a Western story I wrote in which an unmarried couple were shown together in bed. (This was for the more adult-oriented Savage Tales magazine.) Could he have willingly participated in this? I doubt it very strongly. I’ll bet he was handed a plot with no idea that the subject of the Rawhide Kid’s ‘secret’ would be revealed in the dialogue.”172 Chapter Sixteen: The Twilight Years

147

Dixon

ñThe 1998 Comic-Con International: San Diego awarded JPS with an Inkpot. JPS flanked by Joe Simon (left) and Will Eisner at the ’98 event.

òJPS’s last work for Cracked magazine, 2007.

would

be destined to lose

A few years prior to the “Slap Leather” con-

any such wager, as

troversy, Severin was selected as a guest of

Comic Book Mar-

honor at the 1998 Comic-Con Internation-

ketplace #98 [Jan.

al: San Diego, where he received the Inkpot

2003]

featured

Award for “Achievement in the Comic Arts.”

Severin talking of the then-secret project, an

It was rare for the notoriously reclusive artist

assignment he had no qualms about taking.

to attend such a gathering, but he couldn’t

“The Rawhide Kid is rather effeminate in

resist the chance to rub shoulders with fellow

this story,” he said. ”It may be quite a blow

comics greats, including Will Eisner, Nick

to some of the old fans of Rawhide Kid.”173

Cardy, and one-time boss Joe Simon.

In the unedited transcript of that inter-

To his obvious delight, Severin was sur-

view with Steve Ringgenberg, Severin added,

prised at the annual dinner sponsored by the

“But I’m trying to keep it above the board,

American Association of Comic Book Col-

you know, and not get too swishy. But it’s

lectors, where, while being inducted into the

a lot of fun because they wrote the script in

AACC’s Hall of Fame, he was presented with

such a way that it’s not flagrant in any way.

a gift from his sister in honor of a long career.

It’s just he comes off somewhat of a sissy boy,

Marie drew and colored an oversize Two-Fist-

but he’s a tough hombre still.”174

ed Tales cover pastiche—this one aptly la-

Gay novelist and comics writer Robert

beled “Two-Fisted Talent”—featuring many

Rodi agreed. “Rawhide Kid is definitely a

characters John had depicted over time in a

comedy, but not at the Kid’s expense, Yes,

hilariously overcrowded scenario, includ-

he camps it up and makes overt sexual quips,

ing a prancing American Eagle punching

but he consistently outclasses everyone else

Cracked mascot Sylvester P. Smythe in the

in the book in skill, strength, and savvy. He’s

jaw. (For her own achievements, Marie had

a gay hero who’s got the balls to be fey…”175

been awarded an Inkpot back in 1988.)

Many readers thought the mini-series a hoot. 148

Getting His Due

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

In 2001, John received the Cartoon Art

Museum’s Sparky Award, which “celebrates the significant contributions if cartoon artists who reside in the Western United States, and who embody the talent, innovation, and humanity” of Charles “Sparky” Schulz, creator of the strip Peanuts. (The artist returned the courtesy just before his passing when he donated the original art for Rawhide Kid “Slap Leather” to the museum.) Two years later, in 2003, Severin was inducted into the Will Eisner Award Hall of Fame, at Comic-Con International: San Diego. (He had also shared Alley Awards for “Best War Title” back in 1966 and ’67.)

Brilliant Until the End Certainly one of truly astounding aspects of John Severin’s long and tremendously accomplished career is how razor-sharp his skills continued into his 90th year, as he remained a perpetually sought-after artist. Throughout his 80s, Severin primarily

contributed to Dark Horse Comics, includ- ñThough increasingly using a scratchy style, JPS’s work just

ing an issue of Conan [“Helm,” #18, July prior to his passing showed 2005] and an issue of the Hellboy-related a talented professional still,

at 89 years old, in his prime.

B.P.R.D.: War on Frogs mini-series [#2, This page is from his work on the Sir Edward Grey, Witch-

Dec. 2008]. He previously drew the five-is- finder: Lost and Gone Forever sue Desperadoes: Quiet of the Grave horror mini-series [2011]. ïLikely the Western [July–Nov. 2001] for Homage. His final comics run was another Hellboy-related mini-series, Sir Edward Grey, Witchfinder: Lost and Gone Forever [five is-

artist’s final work was his cover art for the small press comics anthology tabloid, Smoke Signal #10 [2011], which featured an illustration that teased MAD magazine and celebrated Cracked.

Chapter Sixteen: The Twilight Years

149

treatments that put the disease in remission. But, by his late 80s, the cancer returned and extended to the bones. His children who lived in the area—Cathy, Mary, Michelina, and John—provided near constant care, with Ruth and her husband helping from afar. Hospital visits and rehab were the norm until Severin came home to stay, where he enjoyed conversation with his children and sues, Feb.–June 2011], in which he added his

near-constant visits from grandkids, whom

maternal grandfather’s name—Abraham E.

he always greeted with a kiss on the cheek.

Powers—onto a headstone in the story. ñLast page JPS worked on before his passing, the unfinished splash of Howard Chaykin’s “General George Armstrong Custer: The Middle Years,” which was eventually drawn by Chaykin—his splash is above— and published in Dark Horse Presents #22 [Mar. 2013].

òPanel from Sir Edward Grey, Witchfinder: Lost and Gone Forever in which JPS included the name of his maternal grandfather, Abraham E. Powers, on a headstone.

Even during this most difficult time of his

Apparently the artist’s last published

life, Severin remained a gentleman, and he

illustration was for, of all things, a hipster

found comfort, despite the pain, in reaching

alternative comics shop in Brooklyn, Desert

out to hold hands with his longtime bride.

Island Comics. In his piece used as the cov-

As his energy dwindled, Severin was often

er of their comics anthology, Smoke Signal

confined to bed or wheelchair. His final birth-

[#10, 2011], Severin paid one final homage

day was celebrated at Christmas dinner in his

to his longest-lasting account, as the illo

home and, by then, the Severin patriarch was

featured Native Americans burning a pile of

not speaking much. He insisted, however, to

MAD magazines with a woman in the fore-

dress in suit and tie when wheeled up to the

ground happily reading a copy of Cracked.

dinner table. As his son played guitar, Sev-

Despite failing health, Severin accepted

erin was regaled with the “Happy Birthday”

an eight-page assignment from fellow art-

song and, though unable to dance, as was his

ist Howard Chaykin to illustrate the latter’s

habit, he swayed his shoulders side to side

script, “George Armstrong Custer: The Mid-

and tapped his fingers in rhythm on the table.

dle Years,” described as “a bit of speculative

The Severin family kept him home as no

sci-fi historical fiction.” Alas, Severin had

one wanted him to pass into eternity amid

only just started drawing the splash page (in

strangers in unfamiliar surroundings. As

an atypical scratchy style doubtless due to re-

his final day was nearing, generations of the

duced facility brought on by age and physical

Severin family kept vigil and whispered their

malady), which was abandoned and remained

love into John’s ear. One by one, as each

on his drawing board into his remaining days.

family member exited the room, they found a place to sit and mourn. Among the last

150

The Last Christmas

words family heard him say were, “Where’s

Years earlier, in 1987, Severin had been di-

my gal?” With that, he reached out to hold

agnosed with prostate cancer, enduring

darling wife Michelina’s hand.

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

On the evening of Feb. 10, 2012, while sitting up and talking to her father, whose lips were parched, daughter Michelina soaked a sponge with Jack Daniel’s and pressed it to his mouth. John Severin, in what was very likely his last expressive sound, tasted the whiskey, and said, “Um-um-um.”

They Fought the Good Fight John Powers Severin, Sr., passed away on Feb. 12, 2012, at age 90. The Denver Post obituary quoted portions of the family’s statement, which included thoughts from the artist’s old boss and onetime lookalike, Stan Lee: John Severin was one of the nicest, most decent, honorable, straight-shooting men you’d ever hope to meet. Truly, the art world has suffered a great loss with John’s passing—

made every strip he rendered stand out like ñAs a surprise, Mort Todd

but so has the human race. To John’s friends

a winner.176

surreptitiously had JPS chum Russ Heath draw an episode of Todd and JPS’s strip, Biografix, celebrating their pal’s birthday.

and fans worldwide, he has been greatly

John’s beloved Michelina would join her

loved and surely will be greatly missed… He

husband less than three years later, on Jan. 7,

had an art style that was uniquely and dis-

2015 (two days after her 88th birthday). The

tinctly his own. The minute you looked at

couple, married for nearly 60 years, were

his artwork you knew you were looking at a John Severin illustration; it could be no one

buried side by side in Fort Logan National lina Severin. Below are their gravestones. The Cemetery, Denver. Her headstone includes respective couple were interred side by

else. Besides his inimitable style, there was

the epitaph: “They Fought the Good Fight, side at the Fort Logan National

a feeling of total authenticity to whatever

Finished the Race, Kept the Faith.”

òAt left are John and Miche-

Cemetery, in Denver, Colorado. Note Michelina’s epitaph.

he drew, whether it was a Western, a crime story, a superhero saga or a science fiction yarn. Not only was his penciling the very finest, but his inking, too, had a distinctive Severin touch that Chapter Sixteen: The Twilight Years

151

Afterword

CHUCK DIXON etting to work with John Powers Severin was

the others. There’s a realism and honesty in those broken

a fantasy come true for me. Literally.

down, worn, hard-luck characters in his Western stories.

When I was a just a kid with a dream, I

There’s a sense that these people have lived actual lives. His

used to write and draw my own comic stories.

grizzled prospectors, dogged cavalry soldiers, tenacious

Heck, no one else was gonna draw them. It turned out to be

Apaches, weary pioneer women, and steely-eyed lawmen

a fruitless effort other than teaching me a lot about story-

were all inspired by his own immersion in the history and

telling and a little of what a comic artist suffers. I realized

imagery, clothing, and faces in those old photos. Every panel

that I lacked the patience, discipline, and natural talent to

is like a window into another age and all due to Mr. Sever-

be a comic artist, so I turned my hand at trying to be a

in’s dedication that everything be “right,” that everything

comic writer.

look as close to how it might have been back in the day as he

One of my very first spec scripts was a Western, a tight

could make it.

little eight-pager in the style of a Two-Fisted Tales story. I al-

So, I write my little Western story, mostly for my own

ways picture the panels and pages in my head as I write them.

amusement, and I’m happy with it. It’s called “Long Ride

And the art I saw in my mind then was drawn by John Severin.

Home,” and it’s about a gang of outlaws who botch a bank

The reason why is obvious. Mr. Severin was, and is, the

robbery and manage to lose the posse that’s set after them

greatest comics artist in the Western genre who ever lived.

only to become lost in a snowstorm and end up back in the

While he excelled at other genres like war, crime, suspense,

town they were trying to flee. It’s a lean, simple premise in

and adventure, it was in stories of the American West that

which all the conflicts are resolved through violence in the

he really shone. His love of the genre, as well as its history

end. In other words, a Western.

showed through in every panel. No one else drew cowboys,

It sits in a drawer somewhere, written out in longhand for

Indians, outlaws, troopers, prospectors, banditos, or

more than ten years while I work one dead-end job after an-

sodbusters with his degree of authenticity, earnestness, or

other, driving an ice cream truck, mopping floors, working

authority. And that goes for everything down to the most

security.

minute detail of weapons, saddlery, and landscape. His cast of characters was never romanticized or gussied-

Then I hear that Marvel editor Larry Hama is re-starting Savage Tales as an anthology title for crime, war, and

up Hollywood style. Even when his lead character was

Western stories. I submit a few plot ideas to him, including

some duded-up sagebrush super-hero in fringe, doo-dads,

“Long Ride Home.” He likes all my Westerns and tells me

and fancy holsters, Mr. Severin populated the rest of the

to go ahead to scripting. I write up “Long Ride Home” and

story with folks that might have stepped right from his vast

three others, and send them in. I’m walking tall. I’m writing

morgue files of period photographs.

Western comics! It doesn’t get any better than that, does it?

And that, right there, is what separated his work from all 152

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

Well, it does.

Larry calls me after receiving them to inform me that he’s going to assign all my Western scripts to John Severin “if that’s all right with you.” All right with me? Larry knew damn sure it was all right. Hell, it was literally a dream come true. The story I’d imagined being drawn by the master of Western comics was actually going to be drawn by him. No lie, hand to God,

tacular. Exotic locale. Loads of period detail. And set in the

if my comics career ended right then and there, I would have

kind of harsh winter environment that no one drew better.

felt my entire life was justified. It was like a garage band being invited up on stage with the Rolling Stones or a Little Leaguer being drafted by the Yankees. My first Western

A bonus to having yet another dream project drawn by Mr. Severin was my only actual personal contact with the man. I was living on my sister’s horse farm at the time and was

story with art by a man I’d idolized since I was knee-high to a

out in the paddock when my niece yelled from the house to

cayuse? It was Christmas and my birthday all rolled into one.

tell me I had a phone call. When she said it was from some-

And, of course, the end results were everything I expected.

one named Severin, I was at the kitchen phone, breathless,

There was my story, my little cast of characters, brought to life

inside seconds. Mr. Severin called to question me on a

by a master of his craft. In eight pages, Mr. Severin created

choice of small arms in my script. He respectfully suggested

a living, breathing world from my novice effort at writing a

that I was in error and wanted to know if it was okay if he

Western action short story. I know how lottery winners feel.

substituted what he thought would be the proper weapon

It wouldn’t be until years later that Larry told me that Mr.

for the period. I bowed to his judgment. Of course. And I

Severin, upon reading “Long Ride Home,” asked if there

probably babbled incoherently until he graciously thanked

were any more Western scripts by me. Now I know how two-

me for my help and said farewell.

time lottery winners feel.

I’ve been over 30 years in funnybooks and have had some

I only got to do one more story with Mr. Severin, a

awesome, dream-come-true moments. But nothing, not one

eight-pager about American troops guarding the Trans-

thing, comes close to having my words turned to pictures by

Siberian railway during the Russian Civil War, “By Rail To

the king of cowboy comics.

Vladivostok.” This time I knew Mr. Severin would be the artist and wrote a story I would only ever have written for

Chuck Dixon is said to be the most prolific comic book

him. The only time in history where steadfast American sol-

writer of all time, with over 40,000 pages of comics pub-

diers were in direct conflict with Russian Bolsheviks. It was

lished. He is also perhaps best-known for co-creating the

catnip for the man for a lot of reasons; an obscure moment

Batman villain, Bane, and his seminal work on The Punish-

in history that would require research featuring bad guys he

er. In 2014, Chuck received an Inkpot Award at Comic-Con.

(and I) famously held in low regard. The results were spec-

ñOpening panel, “The Long Ride Home,” Savage Tales #8. Afterword by Chuck Dixon

153

The Legacy of John P. Severin: Comic Book Pro Testimonials RICHARD CORBEN, a fan of EC Comics, shared thoughts on Severin’s place in the bullpen: “I first became aware of John Severin’s art from his appearances in the EC Comics, mainly Two-Fisted Tales, Frontline Combat, and occasionally the science fiction comics. Although many diverse styles were showcased in those famous books, I considered Severin to be the most mature and realistic of all of them. Everything he drew had an authoritative clarity that stood by itself.” NEAL ADAMS vividly recalled enjoying EC as a kid. “It seemed like over at EC that everyone was talented and everyone could do everything. [The artists] were not interchangeable, because you could always spot a Harvey Kurtzman layout, but they were all tremendously talented. So, you didn’t look to see the differences. The weird thing about EC is that it was so filled with talent that you didn’t make comparisons. You just go, ‘Here’s a Woody story; here’s a John Severin story.’ You’re reading comic books for the pure joy of reading comic books. There’s no judgment involved; you’re just having a good time.” DREW FRIEDMAN, who studied under Kurtzman at the School of Visual Arts, shared, “I’m fascinated that Severin and Elder were obviously a team for a while there, because Harvey was not crazy about Severin’s inking. Once [Harvey] decided on something, that was it, he never really went back. If he decided he didn’t like Severin’s inks, that was the end of it… He liked his penciling. He was pretty firm about that kind of stuff. I know they had a falling out early on. That was inevitable.” When referring to Severin inking himself versus the Severin/Elder pairing, Friedman enjoyed each. “I liked them both. So, I think Harvey was a little bit hard-assed about insisting on Elder [inking]. I liked the results of both, so I don’t have a particular favorite. I thought Severin was amazing with his line work and I was happy with what Elder did, too. You can’t complain about either one.” ADAMS, never fond of deconstructing art, gave his thoughts on Severin’s inking: “John Severin had what we call a ‘dead’ line. It did not have a lot of variety in the line. That is not necessarily a bad thing. In other words, it may be more contemporary to have a greater variety in a line, but it is not necessarily better. Because style has a lot to do with the individual and whether or not you like it. “Let me say this about Willy Elder: Willy 154

Elder had very close to a ‘dead’ line, as well. Willy did not have a lot of variety to his line. He had some thick and thins, but not the way you’d say Jack Davis does, in any way. Or even Harvey Kurtzman… Harvey, depended on a lot of his stuff, on line thickness and getting the idea down quickly with a bold line. So, for someone to be working with him with what we call a dead line must have been frustrating Maybe [Kurtzman] was trying to get something out of John in a particular instance not realizing that the overall was fantastic.” JERRY ORDWAY became a fan of Severin’s EC work following the release of the Russ Cochran black-&-white reprints in the 1980s. As a kid, he’d appreciated Severin inking Herb Trimpe at Marvel Comics in the 1960s and ’70s. He was surprised to learn Severin was not his own inker on much of the EC work. “It’s just kind of funny, the paradox, because I never thought of John Severin as a penciler. I always thought of him as an all-around artist. “It’s not like Elder dominates that stuff at all. So, to me it’s like he went and penciled it bulletproof. He penciled it really tight.” Ordway was also appreciative of Severin as a writer. “I was actually really impressed that Severin was writing and drawing stories. I always felt that it was inspirational when I saw some artist branch out—‘Look, that guy can write.’ It did always thrill me to see a comic artist who could branch out and then write— ‘Wow! This is good stuff.’ I remember being very impressed when I saw John Severin was writing [stories about] this newspaper reporter [“Steve Rampart,” in Extra!] and he had some guy who was an FBI agent. Those were really cool.” JOHN BYRNE summed up the EC work of Severin—with or without Elder—in the most direct way possible. “Brilliant.” And, quite frankly, that’s a very appropriate word for it. JOE SINNOTT remembered Severin’s talent. “He is in my top three of favorite cartoonists. I have to include Jack Kirby and John Buscema. But [Severin], he was so versatile, and nobody could do a Western or a war story like John could. I remember way, way back, when [Marvel] was Timely Comics, and one of the first war stories I did, Stan [Lee] said, ‘Joe, go out and buy some of John Severin’s comics. Because, if John drew a rifle, you knew it was accurate.’ His war stories were unbelievable. He was so authentic in everything he did. I was a great admirer. I wish I had worked with him.”

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

MIKE VOSBURG was an avid collector of the MAD reprint paperbacks. “As a kid, when I would get those MAD pocket books, they had Jack Davis and Wally Wood in them, who I went absolutely nuts over. Because I had an emotional reaction to them. Whereas, the Severin stuff I looked at, I read, and I laughed at, but it didn’t get me, because his approach was far more intellectual. As I got older, I would look at John Severin’s [MAD] work and go ‘wow!’” FRIEDMAN was introduced to Severin’s humor work in a similar fashion. “The first thing [of John’s] I can remember is ‘Melvin of the Apes.’ I used to stare at those. I had the MAD paperbacks when I was a kid. I just memorized that stuff. It jumped out at me. That cross-hatching work he was doing—the line work—was beautiful, I thought.” BYRNE echoed Friedman. “It was most amusing to see him transfer his detail and accuracy into the humor strips. Melvin of the Apes swinging through microscopically detailed and realistic jungles, for instance.” BOB McLEOD recalled discovering Severin as humor illustrator after years admiring his serious work. “I discovered that he was just as adept at humor… which was my first love. He was even a founding artist at MAD, the main thing I read as a teenager, but he left for Cracked before I started reading MAD, so I didn’t see his MAD work until much later.” STEVE FASTNER remembered Severin’s MAD work: “I really enjoyed his humorous cartoon style. His Tarzan parody in MAD, ‘Melvin of the Apes,’ stands the test of time as great fun.” SINNOTT, boundless in appreciation of Severin’s Western and war stories, had high praise for his humor work. “No one could match his Cracked work. Maybe Jack Davis.” Regardless of how well seen or not these books were, Severin continued to motivate and impress other artists. ADAMS recalled his work from the late ’50s with great respect. “If I were to put a standard on [the artwork of others] I would say the standard should be that one should appreciate the stuff they can’t do more than the stuff they can do. I’m jealous of John Severin because I could never do that [work in his style]. What he did was something I could never do. And therefore, I appreciate it because I could never do it.” FASTNER said, “[Severin] was applying illustration skills to comics with impressive re-

sults. His solid draftsmanship, and his skillful handling of light and shadow showed on every job he did.” When RUSS HEATH had already created a solid reputation for his own work at a time in his and John’s respective careers, there were phone calls back and forth with Severin about clothing or debating what the tread of a specific tire looked like. But later, he most fondly remembered simple things in his friendship with John. “He was one of my very best friends at the time.” Heath said. “We hung out quite a bit together [in the ’50s/’60s]. I remember one time going over to his house, when he lived on a hill overlooking a river, when he lived in Jersey. I went over there at eleven o’clock in the morning. The next thing we know, we’re still sitting talking and [Michelina] says, “Are you coming up to bed?” We had talked for either 11 or 12 hours without stopping. That’s got to be some sort of record.” “I bought Cracked for Severin’s artwork,” FRIEDMAN said. “He wasn’t omnipresent in the early MAD. He was there and then he was gone. So, I think my appreciation probably stems from those early paperbacks. And then, becoming a Cracked reader, I realized that all the best work in Cracked was drawn by him, especially the covers. I picked up on that early on. I noticed things like that. ‘Oh, wow, this guy John Severin, boy, is he prolific.’ He’s all over the magazine. In fact, he is basically the magazine as far as the artwork went. “He’s the Cracked guy. I would see his work occasionally in other comics and the Warren magazines, but the Cracked stuff is what I most paid attention to. I always thought it was terrific. He could switch gears. He could draw in different styles, which was always amazing to me. Aside from being adept at humor, he could obviously do serious work, too, as in all the war stuff and Western stuff. So he was a pretty amazing talent.” ORDWAY remained a fan of Severin’s Cracked work for years. “Cracked was even at newsstands or drug stores that didn’t have comics… there’d always be Cracked and MAD. ‘There’s Cracked… Hey, that’s John Severin.’ I used to buy that just for his work. Everything builds toward the realization that these [former EC] guys were so versatile.” ADAMS saw Severin’s time at Cracked as more of an unfortunate necessity than as an artistic challenge. “John Severin seemed to stay in the mix. Except he was doing Cracked. Cracked, for me, because I was a kid, lasted forever. So, I got to see John Severin’s stuff. And, now he was applying himself to a satirical cartoon type of thing [instead of] doing that

authentic stuff. And I thought ‘No, really? I don’t want to see John Severin do this stuff. I want to see him do Western stuff. I want to see him do prairies and mesas and horses and wagons and stuff like that… gunfighters.’ “It just felt like he had been forced to do something and he did it well, but that the industry had, in one giant cannon ball, blasted all the best artists apart. And they had to fend for themselves. That’s what John Severin, this guy who I felt was one of those authentic, dusty prairie illustrators, was forced to deal with the modern world. And the modern world had turned its back on comics. “Here was somebody to laud, somebody to appreciate, and the business had turned its back on him. And you know what? He survived. He did okay. He just had to alter his stuff and do something else.” McLEOD said, “I didn’t discover John Severin’s work until I began working for Marvel Comics, in 1974, when I also met his multi-talented sister, Marie. I was always impressed with the amount of accurate detail in John’s work, detail that actually served a purpose other than just decoration, as in too much of today’s comic art. His solid compositional skills and his excellent figure drawing were also always on display. He was of the generation of comic artists who had to know how to draw horses rather than super-heroes, when visual storytelling was more important than splash page pin-ups. I consider him one of the best comic artists of the 20th century.” ROY THOMAS remembered well the Marvel days: “It’s not that John couldn’t tell a good story [or] couldn’t draw an exciting enough story, but he wasn’t really into drawing the kind of things that Marvel was looking for with that kind of excitement. He was more of a realistic kind of artist. At the same time, he wanted to make some money and, if his penciling wasn’t quite what they were looking for, we loved the idea, Stan [Lee] did, I did, everybody else did, too, of him taking somebody else’s work that might be a little more exciting, but [they were] not the draftsman that John was… but then, very few people in comics were the draftsman that John Severin was… and make that combination. It seemed to work out for John because he didn’t have to think about it a lot. He didn’t have to plot out stories or anything. He would just get his work and go zooming through it. I think he was pretty fast at it. And it turned out to be beautiful stuff.” WALTER SIMONSON recalled Severin’s Marvel work fondly. “I don’t remember seeing John’s work until I saw [his] three issues of Nick Fury [Strange Tales #136–138 over Jack

Kirby breakdowns] and thought, ‘Oh. I really like this guy’s stuff.’ It was dramatic. It was really nice draftsmanship in that it was very communicative. You really understood what he was showing you. It was restrained and it really had the emotional quality that really carried a story. So, I was a big fan.” ADAMS greatly missed Severin drawing and inking his own stories in comic books during the ’60s. “That John Severin was separated at all from the comic book industry is insane. But you have to attribute that to the fact that everything sort of became vanilla. And, as things become vanilla, then the people who are rum raisin are going to be ousted. And he was rum raisin. “You take a brilliant artist [Severin] with a unique style and unique contribution to make and you put him on [another] penciler… it doesn’t make any sense at all. What he does is he improves the work.” “When he inked, much like Wally Wood, he pretty much overwhelmed the stuff,” ORDWAY said. “Not in a bad way because, clearly, he was fixing a lot of stuff. Severin was probably a little bit of a ‘control’ guy.” “Each penciler brought a little something to it,” said THOMAS. “And John brought this fluidity… sort of a realism to it. You better be looking for some kind of realism because, if you didn’t want a little realism, John wasn’t the right person to do it. He kind of always brought it down to earth. “One thing I had him work on, which was kind of interesting, I had him ink one issue of Sub-Mariner. The one that re-told the origin [#38], with Ross Andru as the penciler. Ross was really a very good, underrated penciler. He told a great story. I could have had anyone ink it, but, with Severin, it was great.” SINNOTT, greatly responsible for the Marvel house style of inking, genuinely loved how Severin inked at the House of Ideas. “I believe John enhanced everyone he inked over. It often came out looking more like Severin than the penciler, but this was good. While most inkers of the time were very slick, Severin’s inks had a gritty look to them which I loved, especially on the Westerns, you wouldn’t want a slick sage brush!” “I’ve been inked by a lot of people who brought very much their own style to the work,” said WALTER SIMONSON. “I wish I had been inked by John in at least one job just to see what it would look like. I know what it would look like… it would look like John.” “I wish he could have inked something of mine,” echoed BYRNE, summing up the thoughts on numerous cartoonists when conComic Book Pro Testimonials

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sidering John Severin’s abilities as inker. In her 80s, MARIE SEVERIN kept her well-known wit as sharp as ever. “Oh, I was delighted that [John and she] could work together. Because we always thought [similarly] in many ways. The storytelling was inherited. “Any of the Kull stories are my favorite that I penciled and he inked, because my stuff never looked so good. We had a similarity in thinking. I’m not as good as John—and I don’t propose to be—but I could put something down [in pencil] and he would completely understand and know what I’m getting at. When you’re related that usually happens. I loved working with him.” ADAMS, who’s worked with his own family members, recalled talking with Marie about her brother during the ’70s and enjoying her self-deprecating humor. “I would ask her about John and she would say very nice things about him… She would talk about how he could draw and how she always felt that she couldn’t. And, somehow, that she would even put pen to paper was embarrassing… In her eyes, John was like the god. He was The Man.” VOSBURG recollected John’s work on Kull with Marie with great admiration. “His King Kull… that stuff just astounded me. “One of the things I learned from Joe Kubert was that an inker is not a tracer. The better you can draw, the better you can ink. I rarely saw editors who understood that process. They were always looking for line… that crisp line. So, when I looked at Severin’s stuff, I felt the same when I looked at somebody like Wood. [Severin] knew how to take the stuff and finish it as an ink drawing. He knew what to do with the drawing to take it to another level… When I look at what Severin does… it occurred to me that, ‘Wait a minute, I didn’t even know that Marie [penciled] those.’ All I saw was the [John] Severin finish.” CORBEN was fond of Severin’s work at Warren Publications: “With the Warren comic magazines, I was rediscovering comics. I saw the very easily recognizable art of John Severin; it was like meeting an old friend after years apart. Once again, his work is head and shoulders above every other artist in the book. Since I hadn’t really followed comics for such a long interval, it hadn’t occurred to me that he had been drawing comics all along. I just hadn’t been there to appreciate them.” JAMES WARREN was extremely brief in expressing admiration: “Johnny Severin was just amazing. He needs to be remembered.” MORT TODD brought up Severin embellishing Wallace Wood for the story ‘Creeps’ in 156

Creepy: “There were some pretty cool combos [at Warren], like him and Wally Wood on ‘Creeps.’ I remember talking to him about that and John saying Wally barely did any penciling on it… he was using a lot of assistants then, too. Who can say how involved Woody really was for that. But it came out fantastic.” JON BOGDANOVE remained awestruck by Severin’s workload. “I have matched those physical hours at the desk, but it is the mental endurance that staggers my imagination. The sheer brainpower it takes to process that much visual and narrative information, in such quantities, under such time pressures, seems super-human to me. I can sit at my desk and grind out work, 14–16 hours per day, seven days a week, for weeks at a time, and still pull two consecutive all-nighters if necessary to finish 22 pages in a month. The physical strain of that kind of work-marathon is nothing compared to the mental strain—but maestros like Severin, Kirby, and a few others who could process two to five times as much imagery in the same time-frame…? That is a powerhouse kind of genius entirely separate from the brilliance of their work. To be able to generate such high-quality ideas in such huge quantities, under such duress of time—it awes me!” STEVE RUDE is one such artist. “At a time when everything I seemed to have learned from these great Silver and Golden Age men appears to be turned on its head by the deadline impaired, hyper-exaggerated game-boy types from this current age, it makes me appreciate the past all the more. That’s certainly where my heart will always lie. All the men from that period have earned it many times over.” CORBEN, greatly influenced by Severin, echoed those thoughts regarding the type of storytelling that has become prevalent. “[It’s] more or less celebrating a juvenile posturing in a violent culture. You see I’ve never really been in the mainstream of super-hero comics and I never had the desire to be.” HOWARD CHAYKIN was particularly vocal about this notion of ‘standing on the shoulders of giants’: “I always point out that the most important influences in my life as a cartoonist were Alex Toth, Gil Kane, Wallace Wood, and John Severin. Severin, with his illustrative feel, added to the design that Kurtzman delivered in his [EC] layouts, is an imperishable talent. I love the work.” LARRY HAMA recalled using a goof done to a story that John did for DC to convince him to sign on to Savage Tales. “He did one story, I remember, in one of the DC war comics

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

about the Afrika Corps. He did the correct uniforms for the correct period. He drew the canvas boots instead of the jack boots, the shorts, and the pith helmets. It was just wonderfully researched. So, he drew these wonderful tan Afrika Corps uniforms and the colorist promptly colored them all purple. “He definitely got into doing the Savage Tales stuff [Hama edited]. He really liked that… I’d always been a fan of his. His military stuff was just the best… I sent [John] a script by Chuck Dixon. Chuck was very new at the time and he just couldn’t get any work from anybody else. He didn’t really have any samples of super-hero stuff… I asked him if he could do some gritty Western stuff for Savage Tales. So, he did me up a script and I sent it out to Severin. Severin called me right back and said, ‘Yeah, whoever this [writer] is, send me more.’ So, he proceeded to do a whole bunch of Chuck Dixon Western scripts. We all loved them and he liked to do them. It was sort of a dream thing for Chuck, because he had always wanted to work with John Severin. And to have John Severin do some of your first stuff… how can you beat that?” It was during the time of Semper Fi’ when BOGDANOVE became enamored with Severin’s work. “As an adult, I finally discovered John’s Westerns. Even more than his war comics, I think John’s naturalist genius best comes across in Westerns. Realistic naturalism is as essential to a good Western comic as authenticity of detail—and John did both with assured authority… A Western needs more restraint than super-hero comics. You want to evoke human-level, mortal drama stakes and atmosphere. Much of the time you want cowboy pacing—a bit understated and taciturn, like a Sam Elliot narration—until the shoot-out kicks things up. Most of all, you want to feel you are there, and John’s mastery of black composition and textures always did that.” Once, during her Warren days as editor, a story LOUISE SIMONSON had assigned took place in 1917 and Severin stressed that he had sent in the pages that had military uniforms he had drawn that were used in 1918. “So, I said ‘You know John, what if we change the year the story happens?’ Because, it wasn’t a historical event where it really mattered. And John said ‘Oh, okay.’ So, we changed [the year] and it went out like it was… I loved that he cared enough to want to make it right. I just loved him. I loved talking to him on the phone. He was such a gentleman.” JEFF MARRIOTTE was greatly appreciative of Severin’s commitment to quality

and craft. “Having worked on the business and editorial sides of the business, I’d seen plenty of young artists who were incredibly talented, but who hadn’t really developed a good work ethic. In the early ’90s, artists were very well paid and a 20-something kid with few expenses could make enough money drawing a 22-page comic to hold him for six months (or, alternatively, could blow the whole wad at a casino or strip club and be back begging for work in a few days). It wasn’t uncommon for comics to ship late, because the hotshot young artist of the moment couldn’t do 22 pages in a month. But a 79- or 80-year-old John delivered 22 pages—penciled and inked—every six weeks, like clockwork. And they were incredible pages, rich with detail and emotion. He didn’t take shortcuts; he drew backgrounds; he paid attention to body language and facial expression. Opening each new batch of pages [of Desperadoes]was a thrill.” ADAMS was happy to see Severin back working in mainstream comics. “Only near the end did [publishers] start giving him stuff. It didn’t matter to me; he was doing Westerns. I just wanted to see the cowboy stuff. It was sort of like, if you could take that whole middle area [Cracked] and throw it away and chuck him back [to mainstream comics] and keep him going, that would have been great.” WALTER SIMONSON was excited to work on a Severin project during the ’00s. “He did a six- issue Bat Lash series. For reasons that escape me, I was asked, and did, the covers for all six issues. I will say it was very odd doing covers for a John Severin book. I was happy to do them. I don’t know if John was happy with them. I never talked to him, so I never found out if he liked them or not. At least, on the first one, which has some cowpokes about to lynch Bat Lash, there are two or three guys on their horses surrounding him that I made some effort to try to draw John Severin faces on. I don’t know if I was successful at that and I didn’t try it afterwards. But I did take a crack at it on the first cover. I was delighted to be on the cover of his comics. But I also thought ‘What a waste. [They have John Severin.] What am I doing here?’” ADAMS loved the authenticity Severin showed in his work. “His stuff seemed authentic. He grew up in Brooklyn, [so] what the hell did he know about horses? But, obviously, he went and researched the guys who [drew] horses. And he would study them and even trace them, I’m sure. Which I do. His motivation was to do it correctly. It seemed authentic. It seemed right. It’s sort of like

looking at [Charles Marion] Russell and looking at [Frederic] Remington. I look at his stuff like I look at Remington’s. It looks right. The bandanna looks right, the chaps look right, the stirrups look right, everything looks right.” ORDWAY commented on why so many artists swiped Severin images: “When you see work that is done so accurately, it then does kind of become valid reference.” BOGDANOVE saw Severin as an extension of the Brandywine School of Art. “I gained a much richer appreciation of John’s work when, as a young man, I got into the Golden Age of American illustration. I was learning about Howard Pyle and the generation of greats that were his students, when I came upon John’s Frontline Combat work, and Kull the Conqueror he did with Marie. I suddenly saw the pedigree behind his style. John had a quality in his staging, lighting, and volumetric rendering that struck me as being descendant of Howard Pyle.” John Severin’s friend and fellow comics legend HEATH had his own unique perspective on John’s authenticity. “One time, [Severin] finally consented to go to a comic convention, in Houston, Texas. Anyway, he showed up, for a change. They asked me to get up and say something about him and I said, ‘We’ve been battling back and forth as to who is the more accurate on details. I called him about this coat, and he looked it up, and he’s got the patterns that were used to make this coat from the Civil War.’ I announced to the group and said ‘I give up my rights [as chief perfectionist] to Mr. John Severin.’” SINNOTT explained why he chose Severin among his top three artists of all time. “Kirby was the greatest cartoonist, Buscema the best illustrator, but John Severin had a little bit of both, plus his own individual style which made him unique. I believe, in any case, the three I just mentioned are the tops of all the great artists who made comics what they are.” ORDWAY had a personal response regarding the idea of naturalism versus dynamism in comics. “I have always honestly been attracted to naturalism. I always felt a kinship with that entire group of guys… Including Williamson, Buscema, Severin, Wally Wood… the guys that were Hal Foster and Alex Raymond fans. To me, that has always been the height of comic illustration. I understand that [Severin’s work is] more staged and less bombastic, but I always liked that.” VOSBURG agreed with Ordway. “With Severin’s work, it looked like a movie, it didn’t look like a comic. I wanted to draw like John

Severin. Guys like Severin and Alex Toth were far more influenced by movies than other artists. So, for me, somebody like Severin is what I look for in comics. Growing up as a kid, the only comics I collected were Classics Illustrated. So, I wanted these realistic-looking stories. I loved Jack Kirby, but I also admired these guys who told their stories in a realistic way. I never once believed the acting in [art by other artist] stories the way that I would have believed it in a Severin story. The acting in a Severin story might have been more restrained, but I believed it.” BOGDANOVE was amazed by Severin’s quality of work at the end of his career. “Most comics artists get used up before they die. It’s very hard work, and is usually best endured by young people with stamina and life-force to burn. It’s just the nature of the business. But, what the kids have in stamina, most older artists make up for in skill and experience. “Commonly, the arc of an artist’s career is to improve with age, continue to gain mastery and distill one’s style and artistic vision over the years, until the point one’s physical vision, body, or mind wear out. Because retirement is often financially out of reach for comics artists, the older ones will work for as long as they can keep getting work of any kind. Often, the greatness starts to pass before the artist does. We’ve all known great geniuses whose genius tapered off or even faltered toward the end. This never happened to John. He was one of the few who kept just getting better, right up to the end. An heroic achievement I hope I’ll be able to emulate—when I start getting old.” WALTER SIMONSON summed up Severin in a very direct way: “I don’t know that I’d characterize him as anything other than as a brilliant professional. He brought a level of professionalism and excellence to everything that he did that I saw. And I’m sure to everything he did. He could really draw anything. He informed everything he did with a level of realism—even if it wasn’t photo realism—and accuracy.” CHAYKIN had the opportunity to go from being a fan of John Severin to becoming a collaborator. “I adore the work. His Westerns, his crime stuff… I was lucky enough to do a full issue of American Century with him, doing a period piece, which I thought was just an absolute gas. I loved it. We spoke very briefly and he just ran with the script, and I thought he did an amazing job. John, like Gil Kane (to a certain extent), was delivering work that was on par with the best of his work until he died.” —Testimonials compiled by Greg Biga Comic Book Pro Testimonials

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John Severin: Two-Fisted Comic Book Artist Notes 1998], pg. 56. [Mar. 12, 1965], pg. 10. Marie Severin, “Spotlight #13, pg. 49. 2017]. 24 49 81 108 on ‘Sev,’” interviewed by CBM #98, pg. 55. TCJ #215, pg. 59. Ibid. John Severin, “John Sev82 Jon B. Cooke, Comic Book 25 John Severin, interviewed 50 Ibid. John Benson, The erin, Part the Second,” Creator #16 [Winter 2018], by S.C. Ringgenberg, raw 51 Ibid. Complete EC Library: interviewed by Gary 52 pg. 19. Groth, The Comics Jourtranscript, Nov. 7, 2002. Ibid. Two-Fisted Tales, V4, Russ 2 53 NY Registers of Commitment 26 CBC #16, pg. 23. “A Six Day Diary,” The Cochran [1980], pg. 138. nal #216 [Oct. 1999], 27 to Prisons, V28, pg. 177. TCJ #215, pg. 55. Blade (Ryuku Islands) #2A 83 Harvey Kurtzman, pg. pg. 126. 3 28 109 1900 U.S. Census. Robert C. Harvey, The [Aug. 15, 1945], pg. 1. 280. TCJ #216, pg. 126. 4 54 84 110 1910 U.S. Census. Art of the Funnies: An TCJ #215, pg. 60. TCJ #67, pg. 73. Michael J. Vassallo, 5 55 85 CBC #16, pg. 19. Aesthetic History, The BG Thomas S. Power, TCJ #215, pg. 89. “What If… Joe Maneely 6 John Severin, “John University Press of Missis“Letter of Commendation, 8 6 TCJ #215, pg. 69. Had Lived?,” Comic Severin, Part the First,” sippi [1994], pg. 91. Book Creator #20 [Sum1885th Engineer Aviation 87 Jerry DeFuccio, Comics interviewed by Gary Groth, 29 Will Elder, “Damn You, Battalion,” Headquarters, Interview #120 [May mer 2019], pg. 79. 112 The Comics Journal #215 Larry Storch: The Will 314th Bombardment Wing 1993], pg. 21. CBC #16, pg. 27. 88 [Aug. 1999], pg. 48. Elder Interview,” inter[May 5, 1945], pg. 1. Jerry DeFuccio, Qua Brot 113 Text used verbatim by 7 56 TCJ #215, pg. 49. viewed by Gary Groth, “Craps,” Skylighters web#1 [1985], pg. 33. numerous U.S. newspa8 TCJ #215, pg. 48. The Comics Journal #254 site, www.skylighters.org/ 89 Ibid. pers in Oct. 1958, e.g., 9 TCJ #215, pg. 49. [July 2003], pg. 82. encyclopedia/craps.html. 90 Jerry DeFuccio, “Alias… “Teaching Finance, Com10 30 57 Ibid. TCJ #254, pg. 83. TCJ #215, pg. 61. The Owl,” by David L. ic Book Style,” editorial, 11 31 58 CBC #16, pg. 23. TCJ #254, pg. 80. “Mail Call: V-mail,” Miles, Graphic Story Tallahassee Democrat 12 32 Ibid. Ibid. World #7 [Sept. 1972], National WWII Museum [Oct. 16, 1958], pg. 6. 13 114 Marie Severin, interviewed 33 TCJ #215, pg. 56. Marie Severin, pg. 51. pg. 12. website [Dec. 7, 2019], 34 by Greg Biga [Feb. 26, TCJ #215, pgs. 55–56. https://www.nationalw- 91 Graphic Story World #7, 115 Donald I. Rogers, “Your 35 2017]. Bill Schelly, Harvey pgs. 12, 14. Check Takes a Trip,” Your w2museum.org/war/arti14 92 Marie Severin, Marie Qua Brot #1, pgs. 34–35. Family’s Finances column, Kurtzman: The Man cles/mail-call-v-mail. 59 93 Severin: The Mirthful Who Created Mad and TCJ #215, pg. 61–62. Qua Brot #1, pg. 35. The Town Talk (Alexan94 Mistress of Comics, by Jules Feiffer, “Acknowldria, Louisiana) [Oct. 25, Revolutionized Humor in 60 Harvey Kurtzman, “An Dewey Caswell with AarAmerica, Fantagraphics Interview with the Man edgment,” The Great 1958], pg. 4. on Sultan, TwoMorrows Who Brought Truth to Comic Book Heroes, Dial 116 “Know [2015], pg. 45. Your Reader,” ed36 [2012], pg. 7. Colin Dawkins, “An InterComics,” interviewed Press [1965], pg. 5. itorial, Detroit Free Press 15 95 TCJ #215, pg. 48. view with Colin Dawkins,” by Kim Thompson and Qua Brot #1, pg. 38. [Oct. 3, 1958], pg. 8. 16 96 Richard Corben, email to interviewed by John Gary Groth, The Comics Michelina Dolores Severin, 117 David Hajdu, The TenGreg Biga [Feb. 26, 2017]. Benson, Squa Tront #11 Journal #67 [Oct. 1981], interviewed by Greg Biga Cent Plague, pg. 327. 17 118 [Spring 2005], pg. 5. pg. 72. [Apr. 26, 2017]. TCJ #215, pg. 48. John Severin, “War and 18 37 61 97 John Severin, “Graphic Ibid. TCJ #215, pg. 62. Michelina DeFuccio, “Bits Humor,” Section X col62 Story Magazine Interview: 38 Jim Vadeboncoeur, Jr. Ibid. About Movie Stars,” The umn, interviewed by Mark John Severin,” interMiami News [Aug. 13, (paraphrasing Colin Daw- 63 TCJ #215, pg. 65. Voger, Asbury Park Press 64 viewed by John Benson, kins), “The Early Years: Squa Tront #11, pg. 36. 1939], pg. D-4. [Jan. 7, 1996], pg. 67. 65 98 119 Graphic Story Magazine An Interview with John Ibid. Squa Tront #11, pg. 45. Steven Heller, “Blood, 99 #13 [Spring 1971], pgs. Severin,” Squat Tront #11 66 Ibid. Rick Marschall, “The Sweat, and Tits,” Men’s 67 54–55. [Spring 2005], pg. 40. Ibid. Great Severins, John Adventure Magazines, 19 39 John Severin, “War and Howard A. Shiebler, “New 68 Ibid. and Marie,” blog post, Taschen [2008], pg. 20. 120 Humor,” interviewed by High School of Arts,” The 69 Graphic Story Magazine Yesterday’s Papers Mark Arnold, If You’re Mark Voger, Asbury Park New York Times [Dec. 29, website [Aug. 31, 2018], #13, pg. 47. Cracked, You’re Happy: 70 Press [Jan. 7, ’96], pg. 67. 1935], pg. 13. The World Encyclopedia john-adcock.blogspot. The History of Cracked 20 40 David McCormick, “The “Colin Dawkins, New of Comics, pg. 608. com/2018/08. Mazagine, V1, BearMan71 100 Hobo News was NewsYork: What Next?,” J. Squa Tront #11, pg. 48. Ibid. or Media [2011], pg. 25. 72 101 paper Devoted to Hobo Walter Thompson ComSqua Tront #11, pg. 38. U.S. Senate Subcommit- 121 Mike Britt, “I Was a Culture,” Antique Trader pany News, V9, #16 [April 73 Ibid. tee on Juvenile DelinTeen-Age Squatront 74 website [April 14, 2021], 19, 1954], pg. 4. Al Jaffee, Harvey Kurtzquency hearing, Monroe Editor,” Squa Tront #11, 41 https://www.antiquetIbid. man, email to Bill Schelly, Froelich, Jr., testimony pg. 22. 42 122 endnotes, pg. 613. rader.com/collectibles/ “Dawkins Sketches [Apr. 22, 1954]. Tony Tallarico, If You’re 75 102 the-hobo-news-wasShowing at Witte,” San Harvey Kurtzman, The “Bibliographical Note,” Cracked… V1, pg. 10. 123 newspaper-devoted-toAntonio Express [May 3, Complete EC Library: Seduction of the Inno Warren Sattler, If You’re hobo-culture. 1945], pg. 13. Two-Fisted Tales, V1, Russ cent, Rinehart & Co. Cracked… V1, pg. 10. 21 43 124 TCJ #215, pg. 53. JWT Company News, V9, Cochran [1980], pg. 36. [1954], pgs. 399–400. Michelina DeFuccio Sev22 76 103 Joe Brancatelli, “John #16. Bill Schelly, Harvey “Appendix,” The Tenerin, If You’re Cracked… 43 Powers Severin” entry, Ibid. Kurtzman, pgs. 168–169. Cent Plague: The Great V1, pg. 26. 77 125 The World Encyclopedia 44 Ibid. Harvey Kurtzman, From Comic-Book Scare “Craftint Doubletone: 45 of Comics, edited by Ibid. Aargh! to Zap!: Harvey and How It Changed 20th Century Time-Sav46 Maurice Horn, Chelsea Ibid. Kurtzman’s Visual History America, Farrar, Straus er,” E. Lingle Craig Pres47 House [1976], pg. 608. Graphic Story Magazine of the Comics, Prentice and Giroux [2008], pgs. ervation Lab Blog [Jan. 23 John Severin, “John Sev#13, pg. 54. 3, 2018], https://blogs. Hall Press [1991], pg. 33. 337–351. 105 erin Heads ’Em Off at the 48 “Writers Named JWT Vice 78 John Severin, Marie Squa Tront #11, pg. 39. libraries.indiana.edu/ 106 Pass,” interviewed by S.C. Presidents,” J. Walter Severin, pg. 10. Marie Severin, pg. 49. craiglab/2018/01/03/ 79 107 Ringgenberg, Comic Book Thompson Company Marie Severin, pg. 23. Joe Sinnott, interviewed craftint-doubletone80 News V20, #10 Marketplace #98 [June Graphic Story Magazine by Greg Biga [Feb. 19, 20th-century-time-saver. 1

158

JOHN SEVERIN: TWO-FISTED COMIC BOOK ARTIST

https://www.newsfromTCJ #215, pg. 82. interviewed by Jon B. viewed by Jon B. Cooke, Cracked… V1, pg. 144. me.com/2012/02/14/ TCJ #215, pg. 84. Cooke, Comic Book ArtThe Jack Kirby Collector 171 TCJ #215, pg. 93. 128 “The Best of Severin,”edjohn-severin-r-i-p/. ist V1, #4 [Spring 1999], #18 [Jan. 1998], pg. 43. 172 Chuck Dixon, “Comic 160 itorial comment, Voices: 141 TCJ #216, pg.135. TJKC #18, pg. 42. Book Legends Revealed pg. 96. 142 The Art and Science of John Severin, Voices V5, 151 Craig Miller, introduction, 161 John Romita, Marie #214,” Comic Book Psychotherapy V5, #2 #2, pg. 57. “An Interview with John Severin, pg. 65. Resources website [July 162 [Sum/Fall 1969], pg. 57. 143 John Severin, “They Severin: Drawing the 2, 2009], https://www. CBC #16, pg. 23. 129 David A. Roach, Ultimate Kull,” Spectrum 163 Ibid. cbr.com/comic-bookWere Aces,” interviewed 164 CBC #16, pg. 25. Super Special #3 [Nov. “Cracked” entry, The by Jim Amash, The Jack legends-revealed-214/ 165 173 Slings & Arrows Comic 2005], pg. 46. Arnie Fenner, Facebook CBM #98, pg. 59. Kirby Collector #25 [Aug. 152 Guide, Second Edition 1999], pg. 31. John Romita, interviewed message [Aug. 1, 2021]. 174 John Severin, raw 144 166 [2003], pg. 142. Ibid. by Aaron Sultan, Marie Chris Beckett, “A Fistful Ringgenberg transcript. 130 145 175 Mort Todd, interviewed Gary Friedrich, “Groovy Robert Rodi, “The Buzz” Severin, pg. 66. of Comic Books Can153 by Greg Biga [Mar. 21, Gary & the Marvel John Romita, Marie celled (or Announced) column, The Advocate 2017]. Years,” interviewed by #882 [Feb. 4, 2003], Severin, pg. 65. Too Soon,” Warrior27 131 154 Ibid. Jon B. Cooke, Comic Roy Thomas,“Introducblog [Feb. 3, 2016], pg. 23. 132 176 Ibid. Book Artist #13 [May tion,” Kull the Destroyer: Stan Lee, Severin Family http://www.warrior27. 133 “Why Join the Company 2001], pg. 79. The Original Marvel Statement [Feb. 14, 2012]. net/2016/02/a-fistful-of146 of Military Historians?” Gary Friedrich, CBA #13, Years Omnibus, Marvel comic-books-cancelledhomepage, www.miliKEY pg. 82. [2021], pgs. 10–11. or.html. 147 155 167 tary-historians.org. Herb Trimpe, “The Howard Zimmerman, John Severin, “John Sev- CBA: Comic Book Artist 134 TCJ #215, pg. 69. Incredible Herb,” inter“King Kull Lives,” FOOM erin: Always in Combat,” CBC: Comic Book Creator 135 TCJ #215, pg. 72. viewed by Jon B. Cooke, #14 [June 1976], pg. 24. interviewed by Patrick CBM: Comic Book 136 156 Harvey Kurtzman, The Comic Book Artist #13 John Severin, “Interview: Daniel O’Neill, Comics Marketplace TCJ: The Comics Journal Complete EC Library: [May 2001], pg. 64. John Severin,” interScene V3, #4 [1988], 148 Frontline Combat, V2, TCJ #215, pg. 79. viewed by Arnie Fenner pg. 30. TJKC: The Jack Kirby 149 Russ Cochran [1982]. John Garcia and John and Byron L. Roark, REH: 168 Mort Todd, “Afterword,” Collector 137 TCJ #215, pg. 81. Benson, “Highlights of Lone Star Fictioneer #4 The Comedy of John REH: LSF: REH: Lone Star 138 TCJ #216, pg. 139. an Extraordinary Career,” [Spring 1976], pg. 44. Severin, Fun Ideas Prod./ Fictioneer 139 157 Ibid. Squa Tront #11 [Spring REH: LSF #4, pg. 43. Comicfix [2019], pg. 103. 140 158 169 Mark Evanier, “John Sev2005], pg. 3. Ibid. Mort Todd, If You’re erin, R.I.P.,” News From 150 Louise Simonson, “Weez- 159 Marie Severin, “Marie Cracked… V1, pg. 125. ME blog [Feb. 14, 2012], ie Jones Simonson,” Severin Interview,” inter- 170 Mort Todd, If You’re 126 127

Notes

159

BOOKS FROM TWOMORROWS PUBLISHING

ER EISN RD AWAINEE! M NO

MONSTER MASH

MARK VOGER's time-trip back to 1957-1972, to explore the CREEPY, KOOKY MONSTER CRAZE, when monsters stomped into America's mainstream! (192-page FULL-COLOR HARDCOVER) $39.95 (Digital Edition) $11.99 ISBN: 978-1-60549-064-9

OLD GODS & NEW

Documents the genesis of KIRBY'S FOURTH WORLD series, his gods in THOR and other strips, how those influenced his DC epic, and affected later series like ETERNALS & CAPTAIN VICTORY! (160-page FULL-COLOR trade paperback) $26.95 (Limited HARDCOVER Edition) $35.95 (Digital Edition) $12.99 • ISBN: 978-1-60549-098-4

MIKE GRELL

LIFE IS DRAWING WITHOUT AN ERASER Career-spanning tribute to a comics art legend! (160-page FULL-COLOR TPB) $27.95 ISBN: 978-1-60549-088-5 (176-page LTD. ED. HARDCOVER) $37.95 ISBN: 978-1-60549-087-8 (Digital Edition) $12.99

KIRBY & LEE: STUF’ SAID

ED AND EXP COND SE ION! EDIT

ISBN: 978-1-60549-094-6

THE MLJ COMPANION

Documents the complete history of ARCHIE COMICS’ super-heroes known as the “Mighty Crusaders”, with in-depth examinations of each era of the characters’ history: The GOLDEN AGE (beginning with the Shield, the first patriotic super-hero), the SILVER AGE (spotlighting the campy Mighty Comics issues, and The Fly and Jaguar), the BRONZE AGE (the Red Circle line, and the !mpact imprint published by DC Comics), up to the MODERN AGE, with its Dark Circle imprint! (288-page FULL-COLOR trade paperback) $34.95 (Digital Edition) $14.99 ISBN: 978-1-60549-067-0

OUR ARTISTS AT WAR

Examines War comic books published in the US: EC Comics (Two-Fisted Tales, Frontline Combat), DC Comics (Enemy Ace, All American Men of War, G.I. Combat, Our Fighting Forces, Our Army at War, Star-Spangled War Stories), Warren Publishing (Blazing Combat), Charlton (Willy Schultz and the Iron Corporal) and more! Featuring KURTZMAN, SEVERIN, DAVIS, WOOD, KUBERT, GLANZMAN, KIRBY, and more! (160-page FULL-COLOR TPB) $27.95 (Digital Edition) $14.99 ISBN: 978-1-60549-108-0

(272-page FULL-COLOR trade paperback) $36.95 (Digital Edition) $13.99 ISBN: 978-1-60549-073-1

IT CREPT FROM THE TOMB Digs up the best of FROM THE TOMB (the UK’s preeminent horror comics history magazine): Atomic comics lost to the Cold War, censored British horror comics, the early art of RICHARD CORBEN, Good Girls of a bygone age, TOM SUTTON, DON HECK, LOU MORALES, AL EADEH, BRUCE JONES’ ALIEN WORLDS, HP LOVECRAFT in HEAVY METAL, and more!

EXPANDED SECOND EDITION—16 EXTRA PAGES! Looks back at the creators of the Marvel Universe’s own words, in chronological order, from fanzine, magazine, radio, and television interviews, to paint a picture of JACK KIRBY and STAN LEE’s complicated relationship! Includes recollections from STEVE DITKO, ROY THOMAS, WALLACE WOOD, JOHN ROMITA SR., and other Marvel Bullpenners! (176-page FULL-COLOR trade paperback) $26.95 (Digital Edition) $12.99

HERO-A-GO-GO!

MICHAEL EURY looks at comics' CAMP AGE, when spies liked their wars cold and their women warm, and TV's Batman shook a mean cape!

(192-page trade paperback) $29.95 (Digital Edition) $10.99 ISBN: 978-1-60549-081-6

ER EISN RD AWAINEE! NOM

JACK KIRBY’S DINGBAT LOVE

The final complete, unpublished Jack Kirby stories in existence, presented here for the first time, in cooperation with DC Comics! Two unused 1970s DINGBATS OF DANGER STREET tales, plus TRUE-LIFE DIVORCE and SOUL LOVE magazines! (176-page FULL-COLOR HARDCOVER) $43.95 (Digital Edition) $14.99 ISBN: 978-1-60549-091-5

AMERICAN COMIC BOOK CHRONICLES:

THE WORLD OF TWOMORROWS

Celebrate our 25th anniversary with this retrospective by publisher JOHN MORROW and Comic Book Creator magazine’s JON B. COOKE! Go behind-the-scenes with MICHAEL EURY, ROY THOMAS, GEORGE KHOURY, and a host of other TwoMorrows contributors! Introduction by MARK EVANIER, Foreword by ALEX ROSS, Afterword by PAUL LEVITZ, and a new cover by TOM McWEENEY! (224-page FULL-COLOR TPB) $37.95 (240-page ULTRA-LIMITED HARDCOVER) $75 (Digital Edition) $15.99

8 Volumes Covering The 1940s-1990s

MAC RABOY

Master of the Comics

OR -COL FULLDCOVER HAR RIES SE nting me f docu ecade o d y! c ea h s histor ic com

MAC RABOY perfected his art style on such 1940s comic book creations as DR. VOODOO, BULLETMAN, SPY SMASHER, GREEN LAMA, and his crowning achievement, CAPTAIN MARVEL JR., before moving on to illustrate the FLASH GORDON Sunday newspaper strip. Author ROGER HILL documents the life and career of the master artist in a full-color hardcover with never-before-seen photos, a wealth of rare and unpublished artwork, and the first definitive biography of a true Master of the Comics! (160-page FULL-COLOR HARDCOVER) $39.95 • (Digital Edition) $14.99 ISBN: 978-1-60549-090-8

TwoMorrows. The Future of Pop History.

Phone: 919-449-0344 E-mail: store@twomorrows.com Web: www.twomorrows.com

TwoMorrows Publishing • 10407 Bedfordtown Drive • Raleigh, NC 27614 USA

“Besides John Severin’s inimitable style, there was a feeling of total authenticity to whatever he drew.”— Stan Lee

9 781605 491066

$39.95 in the USA ISBN: 978-1-60549-106-6

TwoMorrows Publishing

Raleigh, North Carolina PRINTED IN CHINA