GGA_Fan

Thanks Craig! Dibble deserves far more public admiration, highly overlooked. I really can not get enough of his saucy, wild and creative work, and can find very little information about him on the internet. Glad I'm not the only one that sees something special in his artwork and stories.

Here's a small list of some my top favorite Comic Book Artists. My criteria is skillful, illustrative drawing and inking talent, amongst other creative skills used to draw beautiful women in believable context of their given environments. 1/. Matt Baker 2/. Frank Frazetta 3/. Wallace Wood 4/. Will Eisner 5/. Jack Kamen 6/. Roy Crane 7/. Alex Schomburg 8/. Reed Crandall 9/. Paul Gustavson 10/. Bill Ward Kudos to the following artists for their own styles which I also appreciate greatly: Dan Decarlo Al Hartley L.B. Cole Basil Wolverton (though he did not draw a lot of GGA) Al Feldstein Zack Mosely Ray Moore Klaus Nordling Bob Powell Syd Shores Ogden Whitney Joe Shuster Bernard Dibble This list is non-binding, and non-inclusive and may change or expand depending on other artists I forgot to mention

I know whatcha mean about that 'speechless' piece. I am curious as to the size of the original art on that image, and how many hours of work he must have put into it. But it was worth every second, because he really created an amazing world, one in fine dimension, and one that was constructed in pencil and ink. Many artists can learn a lot from Williamson's art.

Cool thread and info.

Researching comics at the DCM, I came across something that may be of interest to L.B. Cole art appreciators. While it is not a cover per say, it is the inside front cover of 4 Most Comics V7 #4, in which the Editors offer a small, cute interview with Cole (that issue's front cover artist). I mention cute, because 4 Most was targeting more of a juvenile demographic. I hope this has not been posted before.

Don't forget, Bryant created some nice covers for Feature Comics too. Thanks a lot G.A.tor for the reply. It definitely confirmed what I was thinking. I just implemented a new 'Better Known' category. Of course, classifying artists in such categories is subjective I suppose, and no one will agree with them all. There's some GA artists that are difficult for me to classify because they may fall close to boundaries of other label categories, like Al Bryant. But I believe your experienced opinion is representative of most GA comic scholars, and I respect that. Thanks again. (thumbs u

Normally, it's hard to trust raw grades on eBay, for VF's generally arrive as F+ etc. I was looking at a bunch of books by that seller because he was offering a vast amount of GA romance books lately. But check out his Feedback report. A lot of Negative's and Neutrals.

Hi G.A.tor If you had to classify artist Al Bryant into one of the following category labels, in your opinion which would you select? *Legendary *Significant *Known Examples I have noted (so you can relate to my standards) for my ongoing GA research has been (this is not a complete list): *Legendary - Eisner, Baker, Frazetta, Joe Shuster *Significant - Nordling, Gustavson, Creig Flessel, Sheldon Mayer *Known: Sahle, H.C. Kiefer, Rodlow Willard, Fran Matera, Ed Waldman, Walt Spouse, Manny Stallman , Norman Nodel Personally, I feel Bryant should fall into the 'Significant' category, but am I being bias because I favor his art? Should I create an additional category for my personal research between 'Significant' and 'Known'? Perhaps a 'Better Known' between the two would make classification easier for me? Your opinion would help solidify my decision.

. Another two from the story 'The Other Woman' .

. I've updated this busy image to include the censored words 'Searing' and ensuring that the fairer sex does not close their eyes while pretending. I've got a few more samples to post later. .

Not just the threat of nuclear masturbation, they'd probably all-but-soon forget to brush their teeth, then try puffing on a cigarette, become Communists and worst of all, listening to that noisy rock'n'roll music too. As a civilized society we can't tolerate that. Before locking them up in chastity belts, I'd have to spank all the pretty girls over 18 yrs. old, (for their own good of course), and then send them to Church for some reconditioning. Thank goodness for censorship, it keeps our country clean. Comic books corrupt, indeed.

Do you mean to say that the uncensored version of 'Punch & Rudy' only appears in a 1990s reprint? What if the original art had been lost to time, then we'd never know what was supposed to be in that blank panel. Black Cat Mystery #51/Punch & Rudy story is an astonishing account of censorship. I am stunned having read that thread, & confused about it too (seems to inspire more questions than it does answers as to the whats, whys, wheres and hows surrounding that story). Thanks Jayman

Very insightful info! I definitely need to take into account self-censorship resulting from reader complaints to the publisher, and from pressure from advertisers (stemming from public pressure). When I said that 'more than a decade of lame product with art and writing to match', I meant in context of similar genres that had been so victimized by the censors such as Horror, Crime, GGA/Jungle, Romance and so on. A good example may be Atals' Lorna the Jungle Girl, precode had huge headlights, post-code seemed bland (especially when compared to Rulah), Fox's Phantom Lady vs Ajax's Phantom Lady, or post-code Charlton Horror titles etc. compared to pre-code EC, Story Comics, Key Publications horror tiles. The results to the Crime and Horror genres from censorship is detrimental. You're right though, certain titles may not be adversely effected, like Disney's Ducks, and TV/Movie comics and others (which I have nothing against, and do appreciate on a different, sentimental scale).

. While researching a few post-code GA romance stories from True Bride's Experiences #16 (1956), published by Harvey, I noted that they were in-fact reprints of a stories which appeared originally in Teen-Age Brides #1 (1953). That is how this topic arose, as I compared the stories and art between the two. I've taken some time to illustrate several examples. Some censored efforts seemed minor, while some others were major over-hauls, a virtual dismantling of the original panels in question. In chronological order, here are the first three examples I noticed. .

A variety of collateral things catch my interest as I continue my studies into GA Comics. One recent 'research-by-product issue' that is worthy of further focus is the 'CENSORSHIP' of comics. I am vaguely aware of self censorship of reprinted stories by publishers such as Quality Comics and Fiction House (in the early '50s), and find it extremely fascinating. I suppose the major force responsible for comic book censorship, from the mid 1950s and '60s, was the CCA (The Comics Code Authority). This was self-regulating independent body, established in Sept. 1954, to enforce a code of ethics and standards for the industry, to satisfy public concern over fantastic horror and crime comic-book content. We all know the result of the CCA, which was (IMO) more than a decade of lame product with art and writing to match, (until the Silver Age Superhero era began). While most of us realize the CCA products were now bruised and disabled, seeing before and after examples are impossible to envision, unless we are dealing with reprints of pre-code stories. And as I searched the back-posts here, I couldn't locate any threads invested to 'Comic Book Censorship'. I would welcome anyone else here to contribute any other examples of comic book censorship (by any authority, whether inter-publication or by a third party such as the CCA) of any comic book genre from any era. What do you think Censors may have been thinking in rendering their decisions, and how did they think they were protecting society from their rulings?