Episode #166: Curt Swan's Earliest Comic Book Stories!

Curt Swan was born on February 17, 1920. To honor his birthday this year, I decided to feature the earliest titles that he drew comic book stories for. Past episodes that featured Curt Swan:

- Episode #2: My Favorite Superman Artist: Curt Swan!
- Episode #61: Happy Birthday, Curt Swan: I Flew With Superman: Superman Annual #9!
- Episode #113: A Curt Swan Toast!

After WWII, writer Eddy "France" Herron, who had written for DC Comics before the war, suggested to Curt Swan that he apply for an art job there, and the rest is history. Since I don't have copies of the individual issues, and the website Mike's Amazing World Of DC Comics didn't have plot synopses for these stories, this episode will be brief histories of these titles.

Curt Swan's first published story was as the penciller for the Boy Commandos story, Brooklyn And Columbus Discover America, the fifth story in World's Finest Comics #21, March/April 1946, published around January 30, 1946. It contained 72 pages for the cover price of 15 cents. Jack Schiff was the editor. The cover was pencilled by Jack Burnley and inked by Charles Paris. It protrayed Robin having tossed a basketball in the air, with Batman and Superman leaping for the tip off.

The Boy Commandos were co-created by Joe Simon and Jack Kirby for National Comics (now DC Comics), after they had left Marvel Comics and their first big creation, Captain America. They were Simon's and Kirby's second hit for National after the Newsboy Legion. The Boy Commandos were inspired by news stories of British Commandos during WWII, before America's entrance into the war. Simon and Kirby combined the idea of commandos with the popular teen gang fad of the comic books, and the Boy Commandos were born. They debuted in Detective Comics #64, June 1942, published around April 28, 1942. The issue contained 64 pages for the cover price of 10 cents. The Boy Commandos premiered in the issue's second story. The Commandos Are Coming. This story was reprinted in Boy Commandos By Joe Simon And Jack Kirby. There were four Boy Commandos: Andre' Chevard from France, Alfie Twidgett from England, Jan Hassen from the Netherlands and Brooklyn from the United States. They were led by Captain Rip Carter.

The Boy Commandos also appeared in their own title, beginning with the Winter 1942 issue. They also appeared in World's Finest Comics beginning with issue #8, also cover dated Winter 1942. Their last appearance in Detective Comics was in issue #150, August 1949, and in World's Finest Comics with issue #41, July/August 1949. Their own title ended with issue #36, November/December 1949.

The adventures of the Boy Commandos would stretch across all fronts of WWII, and their roster would change over time. Jan would be the first to leave, in order to live with relatives in his homeland. His last appearance was in Detective Comics #110, April 1946, in the twelve page story A Flatbush Frolic. Alfy left in Assignment In London, a twelve page story published in Detective Comics #124, June 1947. While the Commandos were assigned to London, Alfie received a letter from an Aunt informing him of acceptance at Oxford University. Alfie didn't want to leave the team, but his fellow Commandos convinced him to take advantage of his opportunity for a higher education. In the same story, Tex, a young rodeo performer also in London, would join the team. The Boy Commandos would join Capt. Carter on his assignment as an international peacekeeper. Andre would make his last appearance in Detective Comics #147, May 1949.

Jack Kirby would return to DC Comics in the early 1970's. One of the new characters he introduced was Dan Turpin, a member of the Metropolis Special Crimes Unit. Turpin was revealed to be the adult Brooklyn in New Gods #5, November 1971.

Len Wein, in DC's Blue Beetle, used grown up versions of the Boy Commandos. The adult Alfie was founder and president of Statistical Occurrences, Ltd., and insurance company that specialized in properties that attracted super humans.Andre was head of the fictional Department Gamma of the French Secret Service, and Capt. Rip Carter was now Gen. Carter.

Curt Swan's second title was Star Spangled Comics #55, April 1946, which was published around February 5, 1946. He drew the issue's first, ten page story, Gabby Strikes A Gusher. Swan's credit as artist was the only known credit so far for the story.

The Newsboy Legion were Simon and Kirby's first big hit for National Comics (DC). They first appeared in Star Spangled Comics #7, April 1942, published around February 5, 1942. The issue contained 32 pages for the cover price of a dime. The editor was Whitney Ellsworth, and the cover was pencilled by Jack Kirby and inked by Joe Simon. The Newsboys premiered in the 13 page story, The Story Of The Newsboy Legion, co-written and pencilled by Jack Kirby, and co-written and inked by Joe Simon. This story was reprinted in Newsboy Legion By Joe Simon And Kack Kirby.

Suicide Slum in Metropolis was the home of the Newsboys, who lived up to their name, scraping by selling newspapers on street corners. Back in that era, young boys sold newspapers on street corners or had paper routes for home delivery, like my own Father in Sanford, Florida in the 1930's. Four boys comprised the Newsboys, leader Tommy Tompkins, team genius Big Words, Gabby (whose name explains his main characteristic) and Scrapper, the tough guy on the team. Scrapper most resembled the boyhood Jack Kirby.

The Newsboys would at times get in trouble with the law, but beat cop Jim Harper, who patrolled Suicide Slum, had a soft spot for the Newsboys. Harper would soon take on the superhero guise of The Guardian, and shortly thereafter become the legal guardian of the Newsboys. Their last appearance was in Star Spangled Comics #64, January 1947, in the story Criminal Cruise, pencilled by Curt Swan and inked by Steve Brodie.

Jack Kirby would bring back the Newsboys in Superman's Pal Jimmy Olsen #133, October 1970. This new version was not the originals, but their sons. The fathers worked at a government genetics project. This new team was updated during this era of civil rights with the edition of African American make Walter "Flipper Dipper" Johnson. He was fascinated by scuba diving, and his nickname would soon be shortened to "Flip".

The Newsboys were re-introduced after John Byrne's Superman reboot of the Man Of Steel mini-series in Superman Annual #2, 1998 and further developed by Karl Kesel in The Adventures Of Superman. This Newsboy Legion were clones of the original, who worked at Project Cadmus. A clone of the original Guardian also became a supporting character in Metropolis. The Newsboys helped break Kon-El (Conner Kent/Superboy) out of Project Cadmus. The Newsboys who were previously known by their nicknames were given proper names: Gabby was Johnny Garbrielli, Big Words: Anthony Rodriguez and Scrapper: Patrick MacGuire. They were briefly joined by the Guardian's niece, "Famous" Bobby Harper, who would eventually go live with another relative.

Curt Swan's third title was Real Fact Comics #7, March/April 1947, published around January 17, 1947. It contained 48 pages for the cover price of 10 cents. The editor was Jack Schiff, and the cover was drawn by Win Mortimer. Swan drew the issue's second story, The Tragedy Of The Titanic. His credit is the only one known for this story, at this time.

Real Fun Comics premiered with the March/April 1946, and its last issue was #21, July/August 1949. Jack Schiff served as editor for the entire run of this title, which was an anthology title presenting short biographical stories of famous people. It did contain a few fictional stories. The first fictional story appeared in issue #5, November/December 1946, in the cover story, The True Story Of Batman And Robin, drawn by Win Mortimer. The reason this is really a fictional story is that it gave Bob Kane solo credit for the creation of Batman. For a detailed look at the inaccuracies of this story, go to Bob Jourdain's blog, The Golden Age Of Comic Books, January 3, 2009, Real Fact ... Or Fiction?

Issue #6 introduced the science fiction character Tommy Tomorrow in the story Columbus Of Space, pencilled by Howard Sherman and inked by Virgil Finlay. This story was reprinted in Pulp Fiction Library: Mystery In Space.

Curt Swan even illustrated a Batman related story before he began his long run as one of the definitive Superman artists ever. He pencilled a Robin solo story in Star Spangled Comics #72, September 1947, published around July 1, 1947. It contained 48 pages for the cover price of 10 cents. The editor was Jack Schiff, and Curt also pencilled the cover, which was inked by Stan Kaye, and featured the first story in the issue, Robin Crusoe. Swan's inker on the story was John Fischetti, and the art credits were the only ones known for this story.

Robin took the Batplane on a solo test flight, but a sever storm caused him to crash land on a deserted island. He used his utility belt to fashion tools and weapons to survive on the island while he awaited rescue. When the renegade Nazi crew of a submarine landed on the island, Robin used his wits and his tools to defeat and capture the Nazi's. He then used the submarine's radio to alert Batman. This story was reprinted in Robin Archives vol. I.

The Boy Wonder first appeared in Star Spangled Comics with issue #65, February 1947, published around December 3, 1946. He had solo adventures in this title through issue #130, July 1952, published around May 7, 1952. That issue contained 32 pages for the cover price of a dime. Jack Schiff was the editor, and the cover was drawn by Leonard Starr, featuring that issue's first story, the eight page The Haunted Town starring Dr. 13. Robin's last appearance in this title was in this issue's second, 6 page story, Stone Deaf Robin. Batman would sometimes make cameo appearances in these solo Robin stories.

Star Spangled Comics was a mostly superhero anthology title which originally starred the Star Spangled Kid in its first issue, co-created by Jerry Siegel. (For more information about Jerry Siegel's other superhero creations in Episode #20: Jerry Siegel's Other Artists!) As mentioned before, the Newsboy Legion appeared in this title as well as Robin. Tomahawk would also make appearances in this title before earning his own title. Near the end of the title's run, it featured what passed for horror or suspense stories in DC Comics. The title would become Star Spangled War Stories with issues 131 - 133, August - October 1952. The numbering would changed to #3 with the November 1952 issue, and issues 131 - 133 would be retroactively considered #'s 0 - 2. The final issue for this title would be #204, February/March 1977. It would undergo one final title change, becoming Unknown Soldier with issue #205, April/May 1977, and finally end with issue #268, October 1982.

Curt Swan's first issue of Gang Busters was issue #7, December/January 1948, published around October 8, 1948. It contained 48 pages for the cover price of 10 cents. Jack Schiff was the editor and the cover was drawn by Dan Barry. Swan pencilled the final story of the issue, the 10 page T-Man In The Big House, which was inked by Steve Brodie.

Gang Busters originally began as a radio show, originally titled G-Men. It premiered on the NBC Radio Network on July 20, 1935, sponsored by Chevrolet. It claimed to be the only national program that brings you authentic police case histories. It dramatized only closed FBI cases, at the insistence of Director J. Edgar Hoover. The title of the radio show was changed to Gang Busters with the January 15, 1936 episode. Its last episode was broadcast on November 20, 1957. The series was broadcast on several networks. It was first broadcast on NBC July 20 - October 12, 1935. CBS picked it up from January 15, 1936 - June 15, 1940. Sponsors included Colgate-Palmolive and Cue Magazine. It appeared on the Blue Network (originally the NBC Blue Network, and would eventually evolve into the ABC radio network) from October 11, 1940 - December 25, 1948, sponsored by a variety of companies. Gang Busters returned to CBS from January 8, 1949 - June 25, 1955, sponsored by Grape Nuts and Wrigley's Chewing Gum, The series made its final run on the Mutual Broadcast System from October 5, 1955 - November 27, 1957. One of the series' narrators was Norman Schwartzkopf, Sr, former head of the New Jersey State Police and father of Gen. Schwartzkopf.

The radio series was adapted by DC Comics, and the first issue premiered with the December/January 1947 cover date. It contained 48 pages for 10 cents, and the editor was Jack Schiff. The final issue of the comic book series was #67, December/January 1958, published around October 14, 1958. The motto of the crime anthology was You Can't Beat The Law!, fitting with DC Comics' conservative management.

The final Curt Swan story featured in this episode is the Tommy Tomorrow story, The Interplanetary Aquarium, the third story in Action Comics #127, Dcember 1948, published around October 20, 1948. It contained 48 pages for a dime, and the editor was Mort Weisinger. The cover was drawn by Al Plastino, featuring the Superman story, Superman Takes The Consequences. In that story, Superman appeared on the popular radio show which was hosted by Ralph Edwards. (I remember watching the TV show of the same name, hosted by Bob Barker, in the late 1960's and early 1970's,)


The Interplanetary Aquarium was eight pages long and written by Otto Binder, and inked by John Fischetti. In this story, Tommy Tomorrow graduated from Space Port West Point in 1988. (Being someone who grew up watching the Apollo Moon missions, it's sad to see that the space program is not more advanced than what it is.) Tommy's mission was to find alien fish for the Interplanetary Aquarium.Gotham City was not only the capital of Earth, but of the Solar System as well. Beginning with Action Comics #150, November 1950, the timeline of these stories was pushed forward into the mid 21st Century. Tommy was now a Colonel in the Planeteers, a 21st Century police force. He was created by editor Jack Schiff, writer George Kashlwn, Bernie Breslauer, illustrator Virgil Finlay and artist Howard Sherman.

After Tommy Tomorrow's appeared in Real Fact Comics from issues 6, 8, 13 and 16 (1947 - 48). Action Comics #127 was his first appearance in Action Comics, where he would appear through issue #251, April 1959.  Tommy's stories also appeared in World's Finest Comics from issues 102 - 124 (1959 - 1962), and would finish up in Showcase issues 41, 42,44,46 and 47 (1962 - 63).

Next Episode: Superman Family Of Comics Cover Dated March/April 1955: Superman's Pal Jimmy Olsen #4 & World's Finest Comics #75!


In Two Weeks: Superman Titles Cover Dated August 1958: Superman #123 & Action Comics #243!

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Thanks for listening to the Superman Fan Podcast and, as always, thanks to Jerry Siegel and Joe Shuster.

Episode #113: A Curt Swan Toast!

Curt Swan's birthday was February 17, 1920. To commemorate his birthday this year I decided to give a toast to Mr. Swan, through the words of some of his peers in the comic book industry , as recorded in Eddy Zeno's book, Curt Swan: A Life In Comics. It was published by Vanguard Productions in November 2002. I featured this book on episode #52. In that episode I gave an overview of the contents but did not go into many specifics of the boigraphy. On future episodes around Curt Swan's birthday, I would like to interview some comic book pros who worked with Curt. This year I did not have the time to set up and record an interview, so I decided to settle for an imaginary banquet in Curt's honor using the words of some comic pros as told in Eddy Zeno's book.

I want to begin with the famous comic strip artist Mort Walker, creator of Beetle Bailey, Hi & Lois and other strips. He considered Curt one of his closest friends and they knew each other for over 40 years. According to Mort, they met around 1955 through their mutual friend, cartoonist John Fischetti. What Mort admired most about Curt's art style was his realistic anatomy. Mort called Curt's Man of Steel, "the best anatomically correct Superman."

Next to the podium is Murphy Anderson, one of Curt Swan's most popular inkers. Murphy enjoyed Curt's sense of humor. They became friends at the DC Comics offices during the late 1950's - early 1960's, although they rearely socialized much outside the office. Murphy's favorite project that he and Curt collaborated on was the Superman origin story published in one of DC's oversized Treasury Editions (which I have a copy of in DC's Collector's Edition Superman #C-31). It was laid out by Carmine Infantino, and Curt did the finished pencils.

Carmine Infantino also mentioned the same Superman origin story as his personal favorite, and considered himself fortunate to layout the art for Curt Swan. Carmine described Curt as a very under-rated artist.

Following Carmine was Julius Schwartz. Ever the editor, the first thing he mentioned about Curt Swan was that he never missed a deadline. Julie, as his friends called him, attended a number of comic book conventions with Curt later in the artists life. Curt enjoyed the interaction with his fans during this period of his life, but not the lack of work. Julie wished that Curt could have seen Jerry Sienfeld tell Larry King, when he promoted his then upcoming American Express commercials with Superman, that he insisted that the Man of Steel be the Curt Swan Superman. He was familiar with Curt after many years at the DC Comics offices, but did not really get to know Curt until he became editor of the Superman titles. When Curt would go to the offices to deliver the finished pencilled art for a story, he and Julius would chat, and Julius would have both a check and a new script ready for Curt. Julie noted that Curt appreciated this, as Julie's best friend Mort Weisinger would at times make Curt wait while he finished editing a script. Schwartz noted that Mort could be tough on his "slaves", as Mort called the talent that worked for him. Julie also had an anecdote about Superman scripter Eliot S! Maggin, who would go on a tangent in his scripts, telling jokes, etc. Curt would comlain that when he finished reading the script for a certain panel, that he would sometimes forget what he was supposed to draw. Julie also shared an anecdote about Murphy Anderson. Murphy never appeared in public without a coat and tie to a comic book convention, even for breakfast. At a small show Julie forbade Murphy from wearing a coat and tie. Murphy appeared in a windbreaker.

Next up was Sheldon Moldoff, who inked Curt Swan's pencils during the 1960's. Editor Mort Weisinger liked his inks, so Sheldon inked many Superman, World's Finest and Legion Of Super-Heroes stories. Sheldon said that Curt liked his inking as well, because they kept the same "feeling" that Curt put into his pencils. Sheldon felt that other inkers made the Man of Steel their Superman, not a Curt Swan Superman.

After Sheldon, Elliot S! Maggin elaborated on the story Julius told about his scripts. Elliot was thrilled with the first of his stories that he ever saw drawn, Must There Be A Superman from Superman #247, January 1972, by Curt Swan. He was chagrined to learn that Curt Swan didn't like him - or so Elliot was told. He noted that in the early 1970's, divide and conquer was a respected management technique by the more conservative editors of DC Comics. At that time, Elliot described himself as still a kid, so he would folow rabbit trails in his scripts: write at length aobut scenes, characters and motivations, or tell jokes. He also noted that Curt Swan was a mature adult who didn't have time for sophomoric humor. The story goes that one day Curt brought in the pencilled pages of the latest story and told Julie that he would "throttle" Elliot if he didn't stop the "elaborate digressions". With Elliot being a young, rookie comic book writer, Julie jumped on it and Elliot would be reminded, at times, that Curt didn't like him. For 15 years Elliot wrote stories that Curt illustrated, but they rarely met. Whenver they were in DC's offices, Elliot usually found somewhere else to be; he didn't want to give Curt another reason to "throttle" him. Elliot and Curt would not really get together until the mid-1980's, at a comic book convention in central New York state. Elliot had avoided Curt at the convention until after breakfast Sunday morning. Curt approached Elliot and asked, "Can I interest you in a little libation?" Elliot described himself as a sucker for anyone who knew how to use the language. They talked until dusk about everything, and Elliot found that they had a lot in common. Their three favorite subjects were Superman, Julie Schwartz and politics. They both believed in Truth, Justice & The American Way. Elliot described Curt's politics as to his own left on the political spectrum. Curt and Elliot spent a lot of time together, many times over beer and scotch, and good naturedly ribbed Julie for keeping them at odds all those years. Elliot summed up his thoughts about Curt Swan by describing him as a good man whom he wished he had known better.

Next at the podium was Len Wein, who, last year lost his home to a fire. Len started off by describing Curt Swan as the most humanistic artist he ever worked with. Curt was the best at portraying people interacting naturally. He could not think of a single time he was unhappy with how Curt rendered what Len envisioned. Most of the scripts Len wrote for Curt were "full" script, with a few "Marvel style" (Len noted that Marvel did not invent the "plot" style, which started in the 1940's, but was its most famouse practicioner.) Personally, Len preferred working "Marvel" style because he felt that gave the best collaboration with the artist. The only drawback with that writing style is when he was not sure how the artist would interpret his plot. That was never a concern with an artist of Curt Swan's experience. Len's first Superman story was Danger - Monster At Work for Superman #246, December 1971. In that story he introduced the people who lived in Clark Kent's apartment building. Len also described inker Murphy Anderson and penciller Curt Swan as an unbeatable team. He also said that he learned more about story structure and storytelling from Julius Schwartz than any other editor. Len reminisced that he would go to the DC Comics offices more than other freelancers because he enjoyed the interaction, and used those trips as motivation to get his work done. Curt would appear every few weeks to deliver his latest pencilled story and pick up the next script. Len said he and Curt had a long term, on and off relationship, and that Curt Swan was a very friendly, open guy. He also said that Julie would tell the story that Curt Swan drew to get money to go golfing.

Irwin Donenfeld, who became DC's editorial director, spoke next. We might have to thank Irwin for being partially responsible for the reprint editions of DC stories we have today. Irwin told how, as part of the art department, he would make negatives of the finished pages to send to the engravers. When he found out that the engravers would rinse the solution off of the negatives for the silver content, he made them return all of the negatives to the art department. Irwin was Curt's boss for many years, but shared a personal anecdote.Curt made an appearance at the school Irwin's son attended. Curt would draw art that would be raffled off and the proceeds given to a local charity. Irwin's son Luke had a ticket and desperately wanted to win. When he didn't, Luke was almost unconsolable. While Luke's mom wanted Luke to learn to be a better sport about it, Irwin decided that this time his son didn't have to lose. After the event Irwin spoke with Curt, who promised Luke that he would draw something for him. Luke received a watercolor Superman drawing, on which Curt wrote, "To Luke, with best wishes, Curt Swan, 11/79." Another unnamed artist at the event also drew sometihing for Luke. As Editorial Director, Irwin oversaw the editors and didn't have a lot of contact with the artists, but knew Curt Swan well. One time Curt entered Irwin's office, and mentioned that he had not had a raise for several years. Irwin took care of it, since he was the boss. Irwin noted that Mort Weisinger was Curt's imediate boss, and Irwin also noted that noone liked Mort, who was not popular with the creators who worked for him. Irwin was another person who admired Curt for his business-like demeanor about his work, who met his deadlines and was on time for his appointments.

Next was Mark Waid, who admired Curt's ability to draw an "alien powerhouse" from deep in outer space and give him humanity. Curt Swan's Superman was a warm and gentle savior without sacrificing his grandeur and power. Mark compared Curt Swan and Christopher Reeve's abilities to protray Superman as a friend. He also noted that he learned professionalism from Curt, in an industry that was often lacking. One of Mark's highlights as editor of Secret Origins was to give Superman work post-Superman. Curt never missed a deadline, even though Mark realized that Curt sometimes pulled all-nighters to help turn around a book quickly. Curt never cheated, perfectly rendering the script in every panel. To Mark, there was no such thing as bad Curt Swan art. Many inkers lined up for the opportunity to ink Curt Swan's art even at this late stage of his career. Once, Curt mentioned to Mark that one of the best inking jobs on his pencilled art was by a then young artist Eric Shanower on the one issue special The Legend Of Aquaman It was one of the jobs over his long career that he was most proud of. While Mark felt that Murphy Anderson's inks over Curt's pencils added a dynamic power to them, his favorite Swan inker was George Klein.

The final speaker tonight was Joe Kubert, whose career has spanned the entire history of comic book history. Since Curt lived in Conneticutt and Joe in New Jersey, the two only met at the DC Comics offices to deliver art. Joe considered Curt the nicest guy he knew. What set Curt Swan above a lot of comic book artists was that many learned how to draw from other comic book artists, while Curt learned from classic illustration and life drawing. Joe noted that Curt Swan was generous with advice to other comic book artists when they asked him. Curt was just as accepting of advice that was given him. Back in the 1970's some DC editors felt that the Superman stories could use a more dynamic panel layout. It fell to Joe's unenviable task to talk to Curt about it. Curt was very open to suggestion and wasn't above learning from others. But Joe went out of his way to make sure this sotry did not detract from what Curt Swan brought to comics.

I want to thank everyone who listened to this imaginary toast to Curt Swan. There were more comic book pros who spoke about Curt Swan, but it will have to wait for another special occasion. Or, better yet, read Eddy Zeno's book, Curt Swan: A Life In Comics for yourself, which would be the best anyway.

Next episode: Clark Kent's Forgotten Girlfriend!

Join the Superman Fan Podcast and My Pull List groups on facebook, and follow the podcast and blogs on twitter @supermanpodcast.

Superman Fan Podcast is a proud member of the League of Comic Book Podcasters at http://www.comicbooknoise.com/league and the Comics Podcast Network! http://www.comicspodcasts.com/.

Superman Fan Podcast is at http://supermanfanpodcast.mypodcast.com/ . Send e-mail about this podcast to supermanfanpodcast@gmail.com.

My Pull List is my spoiler free comic book review blog of the titles I read every week. It can be found at http://mypulllist.blogspot.com/ . Send e-mail about this blog to mypulllist@gmail.com .

Superman and all related characters are trademark and copyright DC Comics.

Thanks for listening to the Superman Fan Podcast and, as always, thanks to Jerry Siegel and Joe Shuster.