JUST MARRIED #18 VG 1961 CHARLTON GIRLS LOVE ROMANCE
JUST MARRIED #37 VG 1964 CHARLTON GIRLS LOVE ROMANCE
JUST MARRIED #50 FN 1966 CHARLTON GIRLS LOVE ROMANCE
JUST MARRIED #59 FN 1968 CHARLTON PILOT PARACHUTE
JUST MARRIED #63 FN 1969 CHARLTON GRAND PRIX DRIVER
HIGH SCHOOL CONFIDENTIAL DIARY #8 FN 1961 CHARLTON GIRLS LOVE ROMANCE
SUMMER LOVE #48 VG 1968 CHARLTON GIRLS LOVE ROMANCE
SUMMER LOVE #48, GD (Charlton, Nov. 1968, Charlton Annual) Swinging Sixties Swingers cover/story
SECRETS OF LOVE AND MARRIAGE #23 VF+ 1961 CHARLTON GIRLS LOVE ROMANCE
TEEN CONFESSIONS #3 FN 1960 CHARLTON GIRLS LOVE ROMANCE BAD GIRL
TEEN CONFESSIONS #10 GD 1961 CHARLTON GIRLS LOVE ROMANCE SWIMSUIT
SWEETHEART DIARY #42 VG 1958 CHARLTON GIRLS LOVE ROMANCE
SWEETHEARTS #78 FN 1964 CHARLTON GIRLS LOVE ROMANCE SAILBOAT
BEST OF ODDBALL CHARLTON (27 of Top 100)
FIRST KISS #1 VG 1957 CHARLTON GRADUATION LOVE ROMANCE
FIRST KISS #3 VG 1958 CHARLTON FOOTBALL CHEERLEADER LOVE ROMANCE
JUST MARRIED #2 VG 1958 CHARLTON SWIMSUIT LOVE ROMANCE
JUST MARRIED #4 FN CHARLTON JUDGE MARRIAGE NAVY SAILOR LOVE ROMANCE
LOVE DIARY #1 VG 1958 CHARLTON SWIMSUIT LOVE ROMANCE
LOVE DIARY #2 VG/FN 1958 CHARLTON LOVE ROMANCE
MY SECRET LIFE #26 VG/FN 1958 CHARLTON JUDGE COURTROOM LOVE ROMANCE
MY SECRET LIFE #46 VG/FN 1962 CHARLTON BERLIN WALL COMMUNISTS LOVE ROMANCE
MY SECRET LIFE #47 VG/FN 1962 CHARLTON NURSES PARATROOPERS LOVE ROMANCE
ROMANTIC STORY #35 VG/FN 1957 CHARLTON LOVE ROMANCE
SECRETS OF LOVE AND MARRIAGE #2 FR/GD CHARLTON *MATT BAKER?*LOVE ROMANCE
SECRETS OF LOVE AND MARRIAGE #
SECRETS OF YOUNG BRIDES #7 FN 1958 CHARLTON NEWLYWEDS LOVE ROMANCE
SWEETHEARTS #30 FN 1955 CHARLTON LOVE ROMANCE
SWEETHEARTS #47 FN 1959 CHARLTON LOVE ROMANCE
Photobucket album link:
http://s1002.photobucket.com/albums/af144/KensingtonQuinncannon/YaleLibraryEsquireShow/?start=all
BRIDES IN LOVE #36, VG (Charlton, June, 1963, Bi-monthly)
Classic Divorce Court cover/story, girls' name inked on cover *RARE*
BRIDES IN LOVE #36, VG (Charlton, June, 1963, Bi-monthly)
Classic Divorce Court cover/story, water stain, no ripples, *RARE*
JUST MARRIED #4, FN(Charlton, Aug. 1958, Quarterly) Justice of the Peace cover, Judge
CAREER GIRL ROMANCES #39, FN (Charlton, Apr. 1967, Bi-monthly)
Tiffany Sinn, The C.I.A. Sweetheart cover/story; Central Intelligence Agency, Espionage Spies Spy
Annie Lane: Girl Adventurer app.
FIGHTIN' ARMY #66, FN- (Charlton, Dec. 1965, Bi-monthly) Classic Vietnam cover, *RARE*
I LOVE YOU #36, (Charlton, Sept. 1961, Bi-monthly) Girl escaping from a mental hospital cover/story
HIGH SCHOOL CONFIDENTIAL STORY #8, (Charlton, Aug. 1961, Bi-monthly)
Looks like a law library. (They're empty all the time, these days. Nice rendevous point for a tryst.)
SUE AND SALLY SMITH, FLYING NURSES #50 VG (Charlton, Mar. 1963, Bi-monthly) Snow Skiing cover/story
SUE AND SALLY SMITH, FLYING NURSES #49 (Charlton, Jan. 1963, , Bi-monthly)
Parachute Paratrooper cover/story
REGISTERED NURSE (Charlton, Summer, 1963, Quarterly) Nurse / Doctor cover/story
Reprints; "The Best of Nurse Betsy Crane and Cynthia Doyle, Nurse in Love"
THREE NURSES (formerly CONFIDENTIAL DIARY, Charlton, Bi-monthly) #18, FN+ (May 1963) Nurse cover/story
EMERGENCY DOCTOR #1, FN (Charlton, Summer, 1963, Quarterly) Surgeon cover/story
EMERGENCY DOCTOR #1, VF (Charlton, Summer, 1963, Quarterly) Surgeon cover/story
THE YOUNG DOCTORS #1, FN+ (Charlton, Jan. 1953, Bi-monthly) green ink scribble below title ("Doc") Doctor cover/story
SWEETHEART DIARY #65, GD (Charlton, Aug. 1962, Bi-monthly) Doctor Dr. Nurse cover/story
INTIMATE #1, FN (Charlton, Dec. 1957, Quarterly) Unwed Mother cover/story
ROMANTIC SECRETS #20, GD (Charlton, Mar. 1959, Quarterly) Christmas cover/story X-Mas Xmas
COWBOY LOVE #30, VG (Charlton, June, 1955, Bi-monthly)
IN LOVE #2, GD (Mainline Publications, Oct./Nov. 1954, Bi-monthly) becomes Charlton's "I Love You"
Early Graphic Novel, "Book Length Love Novel, Adult Reading" Simon and Kirby
http://kirbymuseum.org/blogs/simonandkirby/archives/category/z-archive/200708
The second issue of In Love kept to the concept of a long story broken up into three chapters. “Marilyn’s Men” is about Marilyn Morgan, her brother Jim, Lawyer Bob (he is actually called that), and Dave an airplane pilot. Jim is a constant source of scandals due to his numerous fights over girls, usually someone else’s. Lawyer Bob loves Marilyn, but unfortunately for him she does not return that affection. Marilyn heart still smolders for her high school flame Dave. Always on the look out for a big money making scheme, Jim entices Marilyn’s interest in a new project because this time it involves a deal with Dave for a new airport. This not only leads to a business partnership, but also to the renewal of love between Marilyn and Dave. All is not well because an attempt by Marilyn to prevent Jim from causing another scandal backfires with Jim leaving the partnership. But another scheme of Marilyn’s brings him back.
Most of the art in this story was done by Bill Draut, and he does a great job. There are a lot of examples I could provide. There is a nice fight scene that starts the story, a great splash page, some interesting flying sequences, and more. Instead I have selected a page with no real action because it shows how well Bill could choreograph a page. I suspect some of the credit should go to the writer for so nicely directing the whole thing. But it was probably Draut who figured how to visually make it all work. We see Marilyn and Lawyer Bob enter the park. As they sit there is a flying pigeon in the foreground. Next a close-up of a pigeon and the couple’s legs. Marilyn cites the pigeon as a metaphor for freedom. Then the pigeon is startled and flies away with the shadow of a plane showing the source of that disturbance. It is Dave’s plane that the couple look up at as if flies away. Finally it is back to focusing on the couple as we learn the depths of Marilyn’s feeling for and about Dave and Bob. All very cinematic.
That page and others do not have a Kirby feel to them so I once again doubt that Draut was working from Kirby layouts. There is one exception, a panel with Jim taking a drag from a cigarette while talking to Marilyn. Marilyn’s pose seems pure Draut, but Jim is so Kirby-like that I suspect Jack has stepped in to redraw the brother.
Kirby did not draw any of the pages for the first two chapters of the story, but Jack did four of the seven pages of the last chapter. The first three pages are by Jack, followed by three pages by Bill and ending with another page by Kirby. I find it surprising that Jack’s contribution came so late in the story. Draut is a good artist but lets face it, Kirby is a better one, and also the boss. Normally I would expect that if Kirby only worked on part of a story it would be the splash pages and the start. An advertisement in In Love #1 shows that at least some of the art for “Marilyn’s Men” was already completed at the time issue #1 went to the printers. So perhaps Jacks significant involvement in In Love #1 precluded initially working on issue #2 until the last chapter. If chapter 3 is thought of as a story in itself, Jack’s involvement with the starting pages and the end is just what would be expected. Jack did a beautiful job on the splash page, I believe he inked it as well. I will discuss the second page of the chapter below but I do not believe Jack was the primary inker. The third page (shown above) is a bit of a surprise, although clearly drawn by Jack it looks like the inker tried to make it looked like it was done by Draut. I do not think it was Draut who did this inking. Previously I wrote on Kirby imitating Draut and other artists in the content pages of Harvey romances. What was done here was just as unsuccessful. I suspect the attempt was made to provide a transition from the Kirby page to those done solely by Draut. It does provide a transition but at the cost of a truly ugly page of art. The same sort of Kirby transformed into Draut occurs on the last page as well, and it is just as unsuccessful.
I supply the image for the second page of the third chapter above (page 17 of the entire story). The sequence actually starts with two panels on the splash page showing Marilyn as she passes through the park alone. The first five panels on page 17 is a sequence of two of Marilyn and the man, followed by one of the man meeting another women and then another two of Marilyn and the couple. Except for one panel where the man is up close, Jack generally puts Marilyn in the foreground with the background used for the man or couple, who are the actual focus of the panels. The next two panels show only the couple and the last has the couple again with Marilyn retreating in the background. The whole sequence is just a marvelous example of obtaining drama and tension just by the way the art is laid out. Kirby is justly famous for how he portrays action in a story, action-less drama on the other hand is not something that Jack did not do very often. Although rare, pages like this one or the one I wrote about from Foxhole #2 show that Kirby was a master of pure drama as well.
The writing for this story is truly superior. All the pieces of the plot fit well together. Marilyn’s interference with her brother Jim in the last chapter makes no sense without Jim’s fight and scandal in the first chapter. The plot moves not just to provide an interesting tale, but as a means of presenting the cast of characters and providing their motivations. The character of Marilyn is a particular surprise. Generally a businesswomen in romance comics would be expected to abandon her career and find fulfillment in love. Not Marilyn, she gets it all, love and her career. When Marilyn’s interference in Jim’s love life backfires you would expect that she would have learn her lesson. Instead Marilyn no longer tries to break up Jim and his new girlfriend, but interferes once again in his life to bring him back to business partnership. One thing sets this story apart from many Simon and Kirby romances and that is emphasis on action. Since action is so often found in romance stories that Jack drew, I believe this indicates that Kirby played a significant part in the writing of this story. There are phrases here and there that also sound like Kirby’s writing. However most of the scripting does not sound like Jack’s, so I suppose another writer was involved as well.
As I reread these issues I realize that it is not just the full length feature story that sets In Love apart. Most romance comic book stories can be summarized as boy meets girl, a problem occurs, finally love conquers all. (Do not trivialize romance comics because of this, superhero stories can be summarized into an even simpler formula). The closest that In Love stories come to that formula is “Bride of the Star” that I posted on earlier. Even there it was so much as love conquered all as that the man regained his own self confidence about pitching which allowed love to resume. The two short backup pieces in In Love #1 were both about already married woman. “Marilyn’s Men” is just as much about Marilyn’s relationship with her brother as it is about her love life. The backup in In Love #2 was more about the love of a mother for her child then it was the love between a man and a woman. It does seem that Simon and Kirby were trying to make In Love different from the rest of the romance titles just like the effort to make the rest of the Mainline titles standout from their competitors.
TRUE LIFE SECRETS #23, FN- (Charlton, Nov./Dec. 1954, Bi-monthly) glossy cover, GGA
Classic Good Girl Art Humor, The Best Charlton comic, ever.
TRUE LIFE SECRETS #28 VG 1955 CHARLTON LOVE ROMANCE
HOLLYWOOD ROMANCES #46, VG (Charlton, Nov. 1966, Quarterly) 22.22
Rolling Stones cover/story
CAREER GIRL ROMANCES #32, VG (Charlton, Jan. 1966, Bi-monthly)
Elvis Presley cover/story, Hermans Hermits, Johnny Rivers apps.
Back Cover
SUMMER LOVE #48, GD (Charlton, Nov. 1968, Charlton Annual) Swinging Sixties Swingers cover/story
(SUMMER LOVE Oct. 1967, Unpublished) Gerber 10, (Unknown original artwork exists)
SUMMER LOVE #47, VG (Oct. 1966, Charlton Annual) Beatles cover/story; Giant-Sized 22.22
SUMMER LOVE #46, GD (Oct. 1965, Charlton Annual) Beatles cover/story
love diary 1
http://i38.photobucket.com/albums/e114/0OllllO0/photo-coming-soon.jpg
ERROR COVER - 10 MINUTE CROSSWORD COVER,
blank inside front cover, early 1960's romance comic book inside
Back Cover
ROMANCE COMIC BOOKS
One comics form, though it enjoyed a decades-long history, became a casualty to the changing mores of the culture (in addition to the other vectors that lead comics to extinction). The perceived obsolescence of the monogamistic ideal, as viewed through the selective lens of the sexual revolutionary, rendered tales that idealized old-school approaches to pair-bonding themselves obsolescent. Sometime between the fifties, romance literature (including prose and comics) would shift from fantasies about meeting and marrying Prince Charming to fantasies about husbands who conveniently die to clear the field for the newer, younger, and more interesting Prince Charmings (see publishers like Harlequin, et al). In the process, comics fans - which, over time, increasingly comes to mean superhero comics fans - came to view romance comics with a sneer, in spite of a much more solid grounding in reality and an overall greater relevance to readers even vaguely within the gene pool. Examined as literature, however, the romance comic does not necessarily have less to offer, storytelling-wise, than, say, the superhero comic; it just averages a more plausible wardrobe all around, a few less space aliens, and sound effects less likely to rouse the children from their naps. And, as with other specimens of the other comics - the pieces that once existed before superhero comics consumed the market - the romance comic generally played a variation of one of a set of fairly reliable themes.
Origins
A great die-off of superheroes began with the end of World War II. The loss of military contracts to provide disposable reading matter to servicemen overseas ate into sales figures; the aging of a readership in a day when one generally considered teenagers too old for reading comics moved domestic patrons out of the market; and, of course, not all heroes had what it takes to create an enduring readership. If the superhero ailed in those days, comics creators themselves kept moving to attempt to present material that would engage readers and, therefore, move off the news stands. Sometimes existing genres rose into the vacancies created by expiring superhero material; sometimes publishers crowded out failing heroes to make way for other, theoretically more commercial material. In this era, we saw as a defining event the eviction of Green Lantern from his own title to make space for a wonder dog strip. After the end of the war, popular interest somewhat shifted from martial concerns (say, costumed heroes) to domestic ones (say, radio serials and movies dealing with romance). Radio, television, and theater consumed increasing chunks of recreation time in the decade immediately following the end of the War, and two innovative talents from the thirties and forties - Joe Simon and Jack Kirby - decided to test the waters of romance in comic book form in 1947. For its moment, the form would flower, even spawning sub-variants such as cowboy romance material and Black romance comics. And the flagship romance comic, Young Romance, would endure through over 200 issues and over 20 years, spanning more than one publisher in the decades of its existence.
Conventions
False confessions became an early conceit of the romance comics back in the day when the entire genre belonged to its creators, Simon and Kirby. Given the fictional device of first-person narration combined with the relentless maleness of the two creators, one can see as inevitable that a certain amount of fraud (of the kind absolved by willing suspension of belief) would originate with comics with female protagonists. Magazines with titles like True This and Real That led the way for this approach. Moralism also played a central role, as it would in a number of comics forms that predated the Code that arose to address the immorality of the form. Characters met bad ends in proportion to the bad deeds they perpetrated; blackmailers and scoundrels could expect disgrace, jail, or even death so reliably that one would assume moral laws drove the physics of comics. One may also note that, since the romance comics barely endured into the seventies, that the morality they depicted resounded with pre-sexual revolution themes. Hence a norm of hetero-monogamy prevailed. This provided the third key element: The monogamistic happy ending that stood as the Mecca all characters seemed to seek in the romance comics. In an age where Everyman seemed to view marriage as central to long-term happiness - certainly an arguable position - all tales sought, and either achieved or failed to achieve, this goal. With some combination of the three principle conventions of the form, romance comics furthermore explored tales which typically fell into categories such as Cinderella fantasies, near escapes, tragic endings, fantastic redemptions, and just deserts.
Cinderella Fantasies
A harsh commercial of an earlier decade featured a young girl, playing with some dolls, and babbling on about how a prince would someday take her as his wife and solve, once and for all, her material needs. This particular gem of advertising ended with the claim that the young heroine could expect to appear on the welfare rolls with a head full of such fantasies. While one might well invite the authors of such shock-and-naysaying material to lighten up or at least leave the pessimism at home a few days out of the year, the Cinderella Fantasy does still offer a sometimes-destructive lure to females in a variety of cultures. The fantasy tends to do its damage by training young people to expect a Prince Charming - a kind of deus ex machina but with money and big pectorals - to make everything right. While one focuses one's strategies on waiting for unlikely happenings such as the timely appearance of a Prince, one does not invest in a future made better through one's own efforts; and this applies across lines of sex, gender, or whatever folks call it these days. Preparing for the worst does more good than idling away time hoping for the best without human effort to back it up. The romance comic originated in a day where western culture offered many fewer opportunities for self-reliance for females, and quietly expired in a period that suggested new possibilities. Perhaps the perceived "corniness" of Cinderella-fantasy material helped bring the romance comics down; and perhaps such fantasy became less and less relevant. The publishers of the pure-prose bodice-ripper don't seem to think so, however.
Near Escapes
The near escape story enjoyed a flexible range of components, depending on the thing from which our protagonists - typically female - needed to escape. Their own pasts, simple bad luck, or the schemes of wicked rivals for a partner's affections (or of wicked contenders for their own) provided the raw material for the near escape story. Temptation frequently played a central role in stories of this sort. Partially because this helped real people to relate to fictional stories, and partially because too much strength of character can make players dishwater dull, our stalwart heroines risked falling into the gap between what they wanted, what they could have, and what they should have, a differential frequently thrown into contrast by desires for material security or simple devotion from a tenuous partner in love. However, the moral determinism of many comics - the poetic justice that could, if necessary, overturn natural law - ultimately righted wrongs brought about by the evil intent of characters in the romance comics. So, if one looks at contemporaneous material, one can see a common pattern of karmic retribution. The Comics Code Authority did not invent this morality; it just codified it as an editorial standard with the power of preemptive censorship for material that failed to comply.
Tragic Endings
On one level, romance comics dared take a more adult approach than many other forms of comics, including the earlier and later superhero comics. Free from the burdens created by combining a shared universe/continuity model with an ongoing monthly publishing schedule, the romance comic could, if the story required, kill off major players (who, we must admit, probably never appeared before and almost certainly would never appear again anyway). This gave a freedom lacking from comics forms that use editorial models that claim to allow for or even require change yet must not dispose of the intellectual properties that move the books in the first place. A widow or ex-lover could relate the details of the event which forever separated her from her beau. The five-and-ten pager, after all, allowed creators to reach for effect rather than requiring them to build on a canon of stories. If the tone writers and artists sought required the Loving Husband to die saving the world from the Hun so that his bereaved could get maudlin and reflect on an idealized version of a short yet intense marriage, they could slaughter with impunity.
Fantastic Redemptions
Although wickedness tended to bring characters to well-deserved bad ends, plenty of stories allowed once-wayward characters a chance to redeem themselves from a past not always fully of their own creation. Variants of the Reform School Girl Romance and the Poor Girl Transcends Her Humble Origins made for a consistent fodder of the romance comics. In general, though, these stories deal with either reformed characters - meaning protagonists with a seedy past but a fairly upright present or those who, in the present, do little worse than attempt to conceal a long-past seediness lest it wreck their futures. And they also conveyed a moralistic, and frequently unrealistic, message about the concrete and external benefits due to those who reform on an abstract and internal level. With this kind of story, the wish-fulfillment element of the romance comics shows more strongly than in many of the other versions.
Just Deserts
Wicked women and scandalous rakes both appeared, as a kind of ferment, in many tales of the old romance comics. Without the Serpent in Eden, after all, the story amounts to little more than two people picking fruit off trees all day and trying to invent new ways to combat the ever-mounting boredom. Someone has to make trouble or nothing might ever happen. [Misbehaving beaux and belles, as staples of the form.] As well, the Just Deserts model of romance comics story served its wish fulfillment aspect rather well. People whom others have wronged, after all, may wish to see some of the suffering bad people inflict return to them rather than fall exclusively on the shoulders of the innocent and the exploited. Typical romance-comics offenses include mate-stealing; mate-killing, to replace an older model with a newer one; concealment of an ongoing lurid or criminal double life; and a repertoire of methods for ruining the lives of married couples for the sake of attempting to have more than one deserves. The moralism of the form makes itself well-felt here. Ignore the nihilism of twentieth-century classical prose pieces like Kafka's "The Metamorphosis;" the rogue and the vampire (in the old sense of the term, used to label a woman as greedy and parasitic) either found themselves alone, or in jail, or even dead.
The Fate of the Form
A multi-tiered attack ultimately caused the romance comics, after a quarter of a century, to disappear from the news racks. No one of these forces killed off the form - indeed, it could resurface someday - but the combination of factors working against this genre ultimately smothered it under its cumulative weight. A changing morality made their moral emphasis appear quaint and dated (by modern standards, the emphasis on hetero-monogamy might appear positively malign); the reward of home and hearth began to seem irrelevant or even a form of bondage; across all genres, comics had suffered in the mid and late fifties from factors including growing disinterest and a censorship of prior restraint; the post-Stan Lee comics would preempt somewhat the romance theme by allowing superheroes solid romantic connections; and, finally, the superhero comic would come to dominate the aesthetic ecosystem of the form to the point of crowding out other material, regardless of genre.
The Talent
Names that one normally doesn't associate with the romance comic, since they attach to other, previous or subsequent, achievements, belong in the canon of romance comic talent, including its inventors, Joe Simon and Jack Kirby. Observers of the medium suggest that a number of canonical figures of fifties and sixties comics (or that got their start there) did so in the early romance comics, acquiring a different set of skills than required by the superhero stories that once propelled the medium. Names like Matt Baker, Frank Frazetta, Everett R. Kinstler, Jay Scott Pike, John Romita Senior, Leonard Starr, Alex Toth, and Wally Wood belong in this set (according to Jim Korkis in Teen Angst). Some would go on to distinguish themselves in other genres, including, but not limited to, the ubiquitous superhero form. We can add other names to this. Marie Severin, for instance, described one Marvel job she received doctoring old romance comic pages from the sixties to make the clothes more appropriate for 1970, installing details like flared trouser cuffs and pointy collars (a task of considerable tedium). A particular set of talents developed in the romance form, including skills not always acquirable in today's superhero-dominated comics market. In a romance comic, the credibility of characters and settings assumes an importance generally foreign to more fantastic genres: Anatomy that never occurs in nature, clothing that would violate the dress code of a circus, and facial expressions that fall into two categories (snarl and non-snarl) would all ruin the plausibility of a romance comic. So artists learned to bring out the nuances of emoting faces, the detail of conventional clothing, and human bodies that suggested the beautiful but not the impossible. Using Romita as an example - if an exceptional one - we can note that his assumption of the artistic role on Amazing Spider-Man saw an increasingly expressive set of characters and a definitely more beautiful female (and, for that matter, male) cast. Romita may not have worked in the wildly imaginative manner typical of Ditko on pieces like Dr. Strange stories, but he certainly brought a great deal to the books he worked on, regardless of the subject matter, and the best things he brought seemed relevant to his romance comics background. Owing to the small footprint that romance comics seems to have left on fandom - the superhero form dominates fandom in a way that leaves some of the once-diverse comics medium to the attention of scholarly historians of the subject - locating a canonical list of the artists and writers who made their careers on this material represents a problem of the very availability of the information.
The DC romance comics of late sixties and early seventies had absolutely gorgeous art and the stories were sophisticated and very mod in their reflection of the new morality of the times: inter-racial love and unwed mothers, as well as thinly-guised allusions to prostitution and lesbianism. However, the Charlton romance comics of the same era were probably the absolute worst comics ever produced. Each issue gave the impression that, after having blown the entire monthly budget on a beautiful cover, the editors parceled out the interior pages for peanuts to very talented high school student relatives of the staff. On top of the bad art, Charlton used mechanical lettering, which contributed chilliness to their pages. Sudsy soaps with torrid titles like “Love Thy Neighbor” and “The Hippy and the Cop” promised more than they delivered. With dismal stories and hideous art, Charltons truly are undiscovered gems if you like oddball, weirdo comics.
In romance comics prior to 1965 the most a woman could aspire to was the position of nurse, private secretary or model. And they always gave it up anyway to get married and become housewives. The entire country had changed drastically by the mid-sixties and romance comics tried to keep up with the change and failed miserably. Although our heroines moved up in the world; they evolved from working-class waitresses and housewives into college students, airline stewardesses, rock stars and models, the stories remained mostly the same: some fetching, lush-lipped heroine, tear in her eye, agonizing over - something - a lost love, a lost job, parents who just don’t understand, sexist pig boyfriends, back-stabbin’b!tches.
Some of these comics got pretty sordid or as sordid as they were allowed to exist in those days. Cheating, underage sex, wild parties, bad crowds: these topics were still somewhat taboo at that time. Often the art featured classic “good girl” art featuring “headlights,” spanking panels, slapping panels, shower scenes, negligee panels, etc. An even seemier story appears in … from the ….issue of …
Interesting "generation gap" comics emerged as the publishers tried to appeal to mid-to-late teenage girls The writers wanted to be "with it" but in many cases just didn't know quite how. Unfortunately, in a desperate attempt to be hip, the stories read as though they were written by clueless 45 year old men. Which they were. The results are unintentionally hilarious. Embarrassingly pseudo-hip dialogue such as…I can’t pick just one. On every page someone says something incredibly strange. It’s all…simply…too…much. You’ll be beside yourself saying, “Did I just read that correctly? I can’t believe I’m reading this. Is this how it really was? They couldn’t have actually done, said or wore those things. It’s all just so…alien. And they thought it was cool.” Haircuts, fashion and slang in these comics captures that tasteless late-1960’s to mid-1970s era of groovy hippies and hot disco music.
These types of comics are the source of the generic “pop art” look seen today on hundreds of campy T-shirts, cups, greeting cards, kitchen magnets and Roy Lichtenstein’s Ban-Day dot oil paintings. A virtual treasure trove of clip art. Real corny period pieces. A sociology student could write a thesis and a fashion student could find inspiration. The rest of us are ROTFL. These books are still unresearched in the Overstreet Comic Book Price Guide for the most part.
Joe Gill, who wrote most of Charlton’s romance comics, says he always felt a responsibility to keep the stories clean and moral. “I knew what I was writing was being read by young, impressionable people…and I didn’t want to corrupt them. You know, virtue has its own rewards…(laughs) and all that s--t. Television changed all the values of the (subsequent) generation enormously. They found out about sex and drugs. It was pretty sordid. And these harmless little comics had no place in their lives.” The books were looked at with the same derision as Harlequin books and TV soap operas. Gill remembers that, “I worked for Stan Lee way back when and as assignments were getting rarer he offered me some romance assignments - and I wouldn’t do them. I thought they were sissy stuff. I’d rather go work on the docks.” Later, of course, with a family to feed, Gill changed his mind and while at Charlton went on to become probably the most prolific romance comic book writer of all time.
optic nerve
ah zatanna postcard
The Matrix Comics is a collection of short comic book stories set in the fictional universe of The Matrix series. Originally presented as webcomics on the series' official website, the stories have since been featured in two printed volumes published by the Wachowski Brothers' company Burlyman Entertainment.
The comics' editor was Spencer Lamm. The Wachowski Brothers, the creators of The Matrix series, contributed one script to the project, "Bits and Pieces of Information", aspects of which were later included in The Animatrix short animated film "The Second Renaissance".
This book is the sole result of Larry and Andy Wachowski's love of comics. In collaboration with many of the top names in comics, these one dozen stories set in the world of THE MATRIX expand and further the mythos of the film trilogy. From Larry and Andy Wachowski themselves, to names that have played a part in some of the most influential comics of the past two decades (see below), we present a collection born of talent and respect for THE MATRIX itself.
Based on concepts by the Wachowski Brothers - writers and directors of THE MATRIX TRILOGY.
Edited by Spencer Lamm - director of TheMatrix.com and editor of THE ART OF THE MATRIX.
Stories and art by:
Larry and Andy Wachowski (BOUND, THE MATRIX)
Geof Darrow (HARD BOILED, CONCEPTUAL DESIGNER: THE MATRIX TRILOGY)
Bill Sienkiewicz (ELEKTRA: ASSASSIN, STRAY TOASTERS)
Neil Gaiman (THE SANDMAN, AMERICAN GODS)
Ted McKeever (METROPOL, SUPERMAN: METROPOLIS)
John Van Fleet (TYPHOID, BATMAN: THE CHALICE)
Dave Gibbons (WATCHMEN, MARTHA WASHINGTON)
David Lapham (STRAY BULLETS, MURDER ME DEAD)
Kaare Andrews (HULK & SPIDER-MAN COVERS)
Peter Bagge (YEAH!, HATE)
Paul Chadwick (CONCRETE, THE WORLD BELOW)
Troy Nixey (BATMAN: THE GASWORKS, TROUT)
Dave McCaig (VAMPIRE SLAYER, ANGEL)
Gregory Ruth (SUDDEN GRAVITY, FREAKS OF THE HEARTLAND)
Steve Skroce (WOLVERINE, KEY STORYBOARD ARTIST: THE MATRIX TRILOGY)
Ryder Windham (STAR WARS COMICS)
Kilian Plunkett (ALIENS: LABYRINTH, SUPERMAN: RED SON).
INTRODUCTION
The Matrix comics have, up until now, been exclusively available online at TheMatrix.com. At the site, we¹re into our third series. The dozen stories found here collect four from each series, spanning nearly five years. Considering some were written before the first film was even released, it is about time for them to be in print and on bookshelves. The emails asking us to do just this haven¹t hurt, either.
It was Andy and Larry who suggested we do comics, back in the very first days. Not adaptations, to be clear, but new stories. They said, ³Why create adaptations when the film already tells that particular story? Why be redundant?² Years forward, of course, they would take this to new heights with the sequels, crisscrossing the plots of the game ENTER THE MATRIX, the anime series THE ANIMATRIX, and yes, the comics, too, with the films themselves. At the core, Larry and Andy love storytelling, in any form. On comics specifically, they happen to be big fans going back many years, well before they themselves became professional comic book writers (or film directors, for that matter). You need look no farther than their story, BITS AND PIECES OF INFORMATION, here in this book, and then consider how this was first written in 1998 (and illustrated by Geof Darrow, the trilogy¹s key conceptual designer, by no small coincidence).
So from day one, as fans of comics, we began gathering stories set in the world of THE MATRIX. Of these early days, one fairly easy detail to forget ‹ back then we were contacting writers and artists for a film no one had seen or even heard of. Not everyone we approached was immediately receptive. However, those that connected with the script and storyboards saw the potential of what was coming on screen, and committed to the project.
We were and continue to be very fortunate, as the writers and artists that accepted our invitation have consistently brought a deep passion and understanding, each embracing and connecting with the material, adding their own unique perspective. What is more, as the sequels got under way and we continued, we never stopped receiving exceptional material from an ever larger pool of consummate professionals. For proof of this, simply begin turning the pages.
This long overdue collection also happens to be the debut of BURLY MAN ENTERTAINMENT, a new company from the Brothers Wachowski. THE BURLY MAN was the first screenplay Larry and Andy developed for the now defunct Four Corners Productions. Both are long-time devotees of the wrestling scenario and had hoped to revive the genre in the same fresh way they breathed new life into action movies with The Matrix films.
I asked them if they thought the Coen Brothers had perhaps referenced their script in the film BARTON FINK. Larry hadn¹t seen it. (He said he didn¹t like subtitled movies. I told him it wasn¹t subtitled and then he amended that he didn¹t like movies that sounded like they were subtitled either). Andy had seen it but his only comment was, ³Coulda¹ been a good movie if they put some wrestlin¹ in it.²
As always, it remains a pleasure; enjoy what follows.
Spencer Lamm
October, 2003
"Bits and Pieces of Information" Larry Wachowski; Andy Wachowski Geof Darrow
Darrow worked as a concept artist on all three Matrix films.
Aspects of this story were later incorporated into the Animatrix short film "The Second Renaissance".
"A Life Less Empty" Ted McKeever
"Goliath" Neil Gaiman Bill Sienkiewicz, Gregory Ruth
A short story; illustrations were added at a later date.
"Burning Hope" John Van Fleet
"Butterfly" Dave Gibbons
"A Sword of a Different Color" Troy Nixey
"Get It?" Peter Bagge
"There Are No Flowers in the Real World" David Lapham
Also released with Stray Bullets #2 for Free Comic Book Day in 2002.
"The Miller's Tale" Paul Chadwick
"Artistic Freedom" Ryder Windham Kilian Plunkett
"Hunters and Collectors" Gregory Ruth
Australian DC Romance Aussie DC Romance Reprint - Early Bronze Age
Brit Romance Digests - Where Warren Publishing got their art.
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KISSING CHAOS
BLACK KISS
PEEPSHOW
EPIC
STARCHILD
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WASTE L.A.
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BERLIN
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HARD KNOCK none
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PEEPSHOW
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LUNAR DONUT
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LA PACIFICA
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SOULWIND
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LONE WOLF AND CUB
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JENNY FINN
OJO
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THE MATRIX COMICS GRAPHIC NOVEL VOL. 1, 1st EDITION TPB Auction
THE MATRIX COMICS GRAPHIC NOVEL VOL. 1, 1st EDITION TPB
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3d 00h
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1ST ED *NORMAN ROCKWELL* MY LIFE AS AN ILLUSTRATOR BIO Buy it now
1ST ED *NORMAN ROCKWELL* MY LIFE AS AN ILLUSTRATOR BIO
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27d 19h
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KISSING CHAOS
BLACK KISS
PEEPSHOW
EPIC
STARCHILD
http://s540.photobucket.com/albums/gg348/SHARPSHOOTER_7_SCANS/INDY%...
WASTE L.A.
http://s540.photobucket.com/albums/gg348/SHARPSHOOTER_7_SCANS/INDY%...
BERLIN
http://s540.photobucket.com/albums/gg348/SHARPSHOOTER_7_SCANS/INDY%...
http://s540.photobucket.com/albums/gg348/SHARPSHOOTER_7_SCANS/INDY%...
HARD KNOCK none
http://s540.photobucket.com/albums/gg348/SHARPSHOOTER_7_SCANS/INDY%...
PEEPSHOW
http://s586.photobucket.com/albums/ss304/hello0007/comicopolis/?act...
LUNAR DONUT
http://s586.photobucket.com/albums/ss304/hello0007/comicopolis/?act...
LA PACIFICA
http://s540.photobucket.com/albums/gg348/SHARPSHOOTER_7_SCANS/INDY%...
SOULWIND
http://s540.photobucket.com/albums/gg348/SHARPSHOOTER_7_SCANS/INDY%...
LONE WOLF AND CUB
http://s38.photobucket.com/albums/e114/0OllllO0/?action=view&cu...
JENNY FINN
OJO
RAW MEDIA #1 VF/NM SEXY REBEL HORROR VIGIL FAUST EO
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6
1
0
$6.66
21h 31m
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RAW MEDIA #2 VF/NM SEXY REBEL HORROR VIGIL FAUST EO Auction
RAW MEDIA #2 VF/NM SEXY REBEL HORROR VIGIL FAUST EO
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4
0
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$6.66
21h 39m
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RAW MEDIA #3 VF/NM SEXY REBEL HORROR VIGIL FAUST EO Auction
RAW MEDIA #3 VF/NM SEXY REBEL HORROR VIGIL FAUST EO
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2
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0
$6.66
21h 44m
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RAW MEDIA #4 VF/NM SEXY REBEL HORROR VIGIL FAUST EO Auction
RAW MEDIA #4 VF/NM SEXY REBEL HORROR VIGIL FAUST EO
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7
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$6.66
21h 48m
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RAW MEDIA #5 VF/NM SEXY REBEL HORROR VIGIL FAUST EO Auction
RAW MEDIA #5 VF/NM SEXY REBEL HORROR VIGIL FAUST EO
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2
0
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$5.55
21h 53m
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EO #1 VF/NM SEXY REBEL HORROR TIM VIGIL FAUST RAW MEDIA Auction
EO #1 VF/NM SEXY REBEL HORROR TIM VIGIL FAUST RAW MEDIA
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2
0
0
$4.44
22h 02m
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EO #2 VF/NM SEXY REBEL HORROR TIM VIGIL FAUST RAW MEDIA Auction
EO #2 VF/NM SEXY REBEL HORROR TIM VIGIL FAUST RAW MEDIA
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3
0
0
$4.44
22h 05m
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SON OF CELLULOID NM CLIVE BARKER MARILYN MONROE HORROR Auction
SON OF CELLULOID NM CLIVE BARKER MARILYN MONROE HORROR
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21
0
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$7.77
1d 21h
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ROLLING STONES VOODOO LOUNGE NM MARVEL MUSIC 1995 ROCK Auction
ROLLING STONES VOODOO LOUNGE NM MARVEL MUSIC 1995 ROCK
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7
0
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1d 21h
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ALICE COOPER: THE LAST TEMPTATION #1, NM, *NEIL GAIMAN* Auction
ALICE COOPER: THE LAST TEMPTATION #1, NM, *NEIL GAIMAN*
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18
0
0
$3.33
1d 21h
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ALICE COOPER: THE LAST TEMPTATION #2, NM, *NEIL GAIMAN* Auction
ALICE COOPER: THE LAST TEMPTATION #2, NM, *NEIL GAIMAN*
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17
0
0
$3.33
1d 22h
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WORLDWATCH #1 *NM* SCARCE? RARE? SEXY! ELLIS AUTHORITY Auction
WORLDWATCH #1 *NM* SCARCE? RARE? SEXY! ELLIS AUTHORITY
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High bidder:
Member id skeletony69 ( Feedback Score Of 147Teal star icon for feedback score in between 100 to 499)
27
1
1
$11.11
1d 22h
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WORLDWATCH #2 *NM* SCARCE? RARE? SEXY! ELLIS AUTHORITY Auction
WORLDWATCH #2 *NM* SCARCE? RARE? SEXY! ELLIS AUTHORITY
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10
1
0
$11.11
1d 22h
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WORLDWATCH #3 *NM* SCARCE? RARE? SEXY! ELLIS AUTHORITY Auction
WORLDWATCH #3 *NM* SCARCE? RARE? SEXY! ELLIS AUTHORITY
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6
2
0
$11.11
1d 22h
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HOLLYWOOD ROMANCES #46 VG CHARLTON 1966 ROLLING STONES Auction
HOLLYWOOD ROMANCES #46 VG CHARLTON 1966 ROLLING STONES
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4
0
0
$22.22
2d 20h
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SUMMER LOVE #47 VG 1966 CHARLTON BEATLES ROMANCE ANNUAL Auction
SUMMER LOVE #47 VG 1966 CHARLTON BEATLES ROMANCE ANNUAL
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High bidder:
Member id velttopertti ( Feedback Score Of 91Blue star icon for feedback score in between 50 to 99)
14
1
2
$22.22
2d 20h
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CAREER GIRL ROMANCES #32 VG 1966 CHARLTON ELVIS PRESLEY Auction
CAREER GIRL ROMANCES #32 VG 1966 CHARLTON ELVIS PRESLEY
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5
2
0
$33.33
2d 20h
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IN LOVE #2 FR/GD 1954 MAINLINE JACK KIRBY SCARCE? RARE? Auction
IN LOVE #2 FR/GD 1954 MAINLINE JACK KIRBY SCARCE? RARE?
Shipping cost: $3.00
5
0
0
$55.55
2d 20h
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INTIMATE #1 FN 1957 CHARLTON LOVE ROMANCE SCARCE? RARE? Auction
INTIMATE #1 FN 1957 CHARLTON LOVE ROMANCE SCARCE? RARE?
Shipping cost: $3.00
4
0
0
$44.44
2d 20h
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COWBOY LOVE #30 VG 1955 CHARLTON ROMANCE SCARCE? RARE? Auction
COWBOY LOVE #30 VG 1955 CHARLTON ROMANCE SCARCE? RARE?
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1
0
0
$33.33
2d 21h
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BRIDES IN LOVE #36 VG 1963 CHARLTON DIVORCE *VERY RARE* Auction
BRIDES IN LOVE #36 VG 1963 CHARLTON DIVORCE *VERY RARE*
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2
0
0
$44.44
2d 21h
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CAREER GIRL ROMANCES #39 FN 1967 CHARLTON C.I.A. SPIES Auction
CAREER GIRL ROMANCES #39 FN 1967 CHARLTON C.I.A. SPIES
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2
0
0
$22.22
2d 21h
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SUE AND SALLY SMITH, FLYING NURSES #49 FN 1963 CHARLTON Auction
SUE AND SALLY SMITH, FLYING NURSES #49 FN 1963 CHARLTON
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2
1
0
$11.11
2d 21h
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SUE AND SALLY SMITH, FLYING NURSES #50 VG 1963 CHARLTON Auction
SUE AND SALLY SMITH, FLYING NURSES #50 VG 1963 CHARLTON
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3
1
0
$11.11
2d 21h
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REGISTERED NURSE FN+ 1963 CHARLTON DOCTOR SCARCE? RARE? Auction
REGISTERED NURSE FN+ 1963 CHARLTON DOCTOR SCARCE? RARE?
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4
0
0
$22.22
2d 21h
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THREE NURSES (CONFIDENTIAL DIARY #18) FN+ CHARLTON 1963 Auction
THREE NURSES (CONFIDENTIAL DIARY #18) FN+ CHARLTON 1963
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4
1
0
$22.22
2d 21h
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EMERGENCY DOCTOR #1 FN 1963 CHARLTON SURGEON NURSE HTF Auction
EMERGENCY DOCTOR #1 FN 1963 CHARLTON SURGEON NURSE HTF
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2
0
0
$22.22
2d 21h
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THE YOUNG DOCTORS #1 FN 1963 CHARLTON MEDICAL ROMANCE Auction
THE YOUNG DOCTORS #1 FN 1963 CHARLTON MEDICAL ROMANCE
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2
0
0
$11.11
2d 21h
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SWEETHEART DIARY #65 GD 1962 CHARLTON DR DOCTOR NURSE Auction
SWEETHEART DIARY #65 GD 1962 CHARLTON DR DOCTOR NURSE
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5
0
0
$5.55
2d 21h
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I LOVE YOU #36 GD 1961 CHARLTON INSANE MENTAL HOSPITAL Auction
I LOVE YOU #36 GD 1961 CHARLTON INSANE MENTAL HOSPITAL
Shipping cost: $3.00
High bidder:
Member id hugo1018 ( Feedback Score Of 289Teal star icon for feedback score in between 100 to 499)
7
1
2
$6.50
2d 21h
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TRUE LIFE SECRETS #28 VG 1955 CHARLTON ROMANCE SCARCE? Auction
TRUE LIFE SECRETS #28 VG 1955 CHARLTON ROMANCE SCARCE?
Shipping cost: $3.00
5
0
0
$22.22
2d 22h
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FIRST KISS #1 VG 1957 CHARLTON GRADUATION LOVE ROMANCE Auction
FIRST KISS #1 VG 1957 CHARLTON GRADUATION LOVE ROMANCE
Shipping cost: $3.00
3
1
0
$33.33
2d 22h
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FIRST KISS #3 VG- 1958 CHARLTON FOOTBALL CHEERLEADER Auction
FIRST KISS #3 VG- 1958 CHARLTON FOOTBALL CHEERLEADER
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2
0
0
$22.22
2d 22h
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JUST MARRIED #2 VG 1958 CHARLTON SWIMSUIT LOVE ROMANCE Auction
JUST MARRIED #2 VG 1958 CHARLTON SWIMSUIT LOVE ROMANCE
Shipping cost: $3.00
2
1
0
$22.22
2d 22h
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JUST MARRIED #4 FN 1958 CHARLTON JUDGE MARRIAGE SAILOR Auction
JUST MARRIED #4 FN 1958 CHARLTON JUDGE MARRIAGE SAILOR
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2
0
0
$22.22
2d 22h
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LOVE DIARY #1 VG 1958 CHARLTON SWIMSUIT LOVE ROMANCE Auction
LOVE DIARY #1 VG 1958 CHARLTON SWIMSUIT LOVE ROMANCE
Shipping cost: $3.00
1
0
0
$33.33
2d 22h
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LOVE DIARY #2 VG+ 1958 CHARLTON GIRLS LOVE ROMANCE Auction
LOVE DIARY #2 VG+ 1958 CHARLTON GIRLS LOVE ROMANCE
Shipping cost: $3.00
2
0
0
$22.22
2d 22h
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MY SECRET LIFE #26 VG/FN 1958 CHARLTON JUDGE COURTROOM Auction
MY SECRET LIFE #26 VG/FN 1958 CHARLTON JUDGE COURTROOM
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4
1
0
$22.22
2d 22h
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MY SECRET LIFE #46 VG 1962 CHARLTON BERLIN WALL COMMIES Auction
MY SECRET LIFE #46 VG 1962 CHARLTON BERLIN WALL COMMIES
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4
0
0
$22.22
2d 22h
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ROMANTIC STORY #35 VG+ 1957 CHARLTON LOVE ROMANCE KISS Auction
ROMANTIC STORY #35 VG+ 1957 CHARLTON LOVE ROMANCE KISS
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4
0
0
$7.77
2d 22h
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ROMANTIC SECRETS #20 GD 1959 CHARLTON CHRISTMAS X-MAS Auction
ROMANTIC SECRETS #20 GD 1959 CHARLTON CHRISTMAS X-MAS
Shipping cost: $3.00
1
0
0
$22.22
2d 22h
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SECRETS OF LOVE AND MARRIAGE #1 FR 1956 HTF MATT BAKER? Auction
SECRETS OF LOVE AND MARRIAGE #1 FR 1956 HTF MATT BAKER?
Shipping cost: $3.00
2
0
0
$33.33
2d 22h
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SECRETS OF YOUNG BRIDES #7 FN 1958 CHARLTON NEWLYWEDS Auction
SECRETS OF YOUNG BRIDES #7 FN 1958 CHARLTON NEWLYWEDS
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4
0
0
$22.22
2d 22h
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SWEETHEARTS #30 FN 1955 CHARLTON LOVE ROMANCE SCARCE? Auction
SWEETHEARTS #30 FN 1955 CHARLTON LOVE ROMANCE SCARCE?
Shipping cost: $3.00
2
1
0
$33.33
2d 22h
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SWEETHEARTS #47 FN 1959 CHARLTON LOVE ROMANCE MALT SHOP Auction
SWEETHEARTS #47 FN 1959 CHARLTON LOVE ROMANCE MALT SHOP
Shipping cost: $3.00
2
0
0
$22.22
2d 23h
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EPSON STYLUS PRO 10600 LARGE FORMAT INKJET PRINTER USED Auction
EPSON STYLUS PRO 10600 LARGE FORMAT INKJET PRINTER USED
Shipping cost: See description
32
1
0
$1,750.00
3d 00h
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THE MATRIX COMICS GRAPHIC NOVEL VOL. 1, 1st EDITION TPB Auction
THE MATRIX COMICS GRAPHIC NOVEL VOL. 1, 1st EDITION TPB
Shipping cost: $3.00
4
0
0
$11.11
3d 00h
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1ST ED *NORMAN ROCKWELL* MY LIFE AS AN ILLUSTRATOR BIO Buy it now
1ST ED *NORMAN ROCKWELL* MY LIFE AS AN ILLUSTRATOR BIO
Shipping cost: $3.00
21
0
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$8.88
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27d 19h
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*RARE SWEETHEART DIARY #14 GD 1953 FAWCETT LOVE ROMANCE Buy it now
*RARE SWEETHEART DIARY #14 GD 1953 FAWCETT LOVE ROMANCE
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0
0
--
$8.88
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29d 20h
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*RARE SWEETHEART DIARY #14 GD 1953 FAWCETT LOVE ROMANCE Buy it now
*RARE SWEETHEART DIARY #14 GD 1953 FAWCETT LOVE ROMANCE
Shipping cost: $3.00
1
0
--
$8.88
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29d 20h
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SWEETHEART DIARY #42 GD 1958 CHARLTON LOVE ROMANCE BIO Buy it now
SWEETHEART DIARY #42 GD 1958 CHARLTON LOVE ROMANCE BIO
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1
0
--
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29d 20h
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SWEETHEARTS #78 FN 1964 CHARLTON LOVE ROMANCE SAILBOATS Buy it now
SWEETHEARTS #78 FN 1964 CHARLTON LOVE ROMANCE SAILBOATS
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0
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29d 20h
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SECRETS OF LOVE AND MARRIAGE #23 *RARE VF 1961 CHARLTON Buy it now
SECRETS OF LOVE AND MARRIAGE #23 *RARE VF 1961 CHARLTON
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0
0
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$19.61
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29d 21h
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JUST MARRIED #18 VG 1961 CHARLTON GIRLS LOVE ROMANCE Buy it now
JUST MARRIED #18 VG 1961 CHARLTON GIRLS LOVE ROMANCE
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0
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29d 21h
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JUST MARRIED #37 VG 1964 CHARLTON GIRLS LOVE ROMANCE Buy it now
JUST MARRIED #37 VG 1964 CHARLTON GIRLS LOVE ROMANCE
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0
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29d 21h
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JUST MARRIED #50 FN 1966 CHARLTON GIRLS LOVE ROMANCE Buy it now
JUST MARRIED #50 FN 1966 CHARLTON GIRLS LOVE ROMANCE
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0
0
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29d 21h
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*LOVE CLASSIC* JUST MARRIED, #59 FN CHARLTON 1968 *WAR* Buy it now
*LOVE CLASSIC* JUST MARRIED, #59 FN CHARLTON 1968 *WAR*
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0
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$19.68
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29d 21h
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*LOVE CLASSIC* JUST MARRIED, #63 FN CHARLTON 1969 *HOT* Buy it now
*LOVE CLASSIC* JUST MARRIED, #63 FN CHARLTON 1969 *HOT*
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1
0
--
$19.69
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29d 21h
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JUST MARRIED, #89 VF CHARLTON 1972 LOVE MOTORCYCLE CHIC Buy it now
JUST MARRIED, #89 VF CHARLTON 1972 LOVE MOTORCYCLE CHIC
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0
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29d 21h
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TEEN-AGE LOVE #81 VF CHARLTON 1972 HIGH SCHOOL CLIQUES Buy it now
TEEN-AGE LOVE #81 VF CHARLTON 1972 HIGH SCHOOL CLIQUES
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0
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29d 21h
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SWEETHEARTS #117, VF CHARLTON 1971 BIKINI SURF *QUEEN* Buy it now
SWEETHEARTS #117, VF CHARLTON 1971 BIKINI SURF *QUEEN*
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29d 21h
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SECRET ROMANCE #44 VF 1979 CHARLTON FAT GIRL CINDERELLA Buy it now
SECRET ROMANCE #44 VF 1979 CHARLTON FAT GIRL CINDERELLA
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1
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--
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29d 21h
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TEEN CONFESSIONS #3 FN CHARLTON 1960 HOT CAR *BAD GIRL* Buy it now
TEEN CONFESSIONS #3 FN CHARLTON 1960 HOT CAR *BAD GIRL*
Shipping cost: Free
0
0
--
$19.60
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29d 23h
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TEEN CONFESSIONS #10 GD CHARLTON 1961 CLASSIC SWIM CAMP Buy it now
TEEN CONFESSIONS #10 GD CHARLTON 1961 CLASSIC SWIM CAMP
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29d 23h
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HIGH SCHOOL CONFIDENTIAL DIARY #8 FN 1961 CHARLTON HIGH Buy it now
HIGH SCHOOL CONFIDENTIAL DIARY #8 FN 1961 CHARLTON HIGH
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2
0
--
$19.61
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29d 23h
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SUMMER LOVE #48 VG 1968 SWINGIN CHARLTON ROMANCE ANNUAL Buy it now
SUMMER LOVE #48 VG 1968 SWINGIN CHARLTON ROMANCE ANNUAL
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1
0
--
$19.68
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29d 23h
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RARE CLASSIC CHARLTON WAR SUBMARINE ATTACK #1 VG- 1958 Buy it now
RARE CLASSIC CHARLTON WAR SUBMARINE ATTACK #1 VG- 1958
Shipping cost: Free
1
0
--
$88.88
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29d 23h
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*RARE CLASSIC CHARLTON VIETNAM FIGHTIN ARMY #66 FN 1965 Buy it now
*RARE CLASSIC CHARLTON VIETNAM FIGHTIN ARMY #66 FN 1965
Shipping cost: Free
1
0
--
$88.88
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29d 23h
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FIGHTIN NAVY #99 FN 1961 FROGMAN S.C.U.B.A. SEA MONSTER Buy it now
FIGHTIN NAVY #99 FN 1961 FROGMAN S.C.U.B.A. SEA MONSTER
Shipping cost: Free
1
0
--
$19.61
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29d 23h
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KISSING CHAOS
BLACK KISS
PEEPSHOW
EPIC
STARCHILD
http://s540.photobucket.com/albums/gg348/SHARPSHOOTER_7_SCANS/INDY%201/?action=view¤t=INDEPENDENTCOMICS2038.jpg
WASTE L.A.
http://s540.photobucket.com/albums/gg348/SHARPSHOOTER_7_SCANS/INDY%201/?action=view¤t=INDEPENDENTCOMICS2055.jpg
BERLIN
http://s540.photobucket.com/albums/gg348/SHARPSHOOTER_7_SCANS/INDY%201/?action=view¤t=INDEPENDENTCOMICS2011.jpg
http://s540.photobucket.com/albums/gg348/SHARPSHOOTER_7_SCANS/INDY%201/?action=view¤t=INDEPENDENTCOMICS2037.jpg
HARD KNOCK none
http://s540.photobucket.com/albums/gg348/SHARPSHOOTER_7_SCANS/INDY%202/?action=view¤t=INDEPENDENTCOMICS053.jpg
PEEPSHOW
http://s586.photobucket.com/albums/ss304/hello0007/comicopolis/?action=view¤t=independent6052.jpg
LUNAR DONUT
http://s586.photobucket.com/albums/ss304/hello0007/comicopolis/?action=view¤t=independent6002.jpg
LA PACIFICA
http://s540.photobucket.com/albums/gg348/SHARPSHOOTER_7_SCANS/INDY%202/?action=view¤t=INDEPENDENTCOMICS017.jpg
SOULWIND
http://s540.photobucket.com/albums/gg348/SHARPSHOOTER_7_SCANS/INDY%202/?action=view¤t=INDEPENDENTCOMICS016.jpg
LONE WOLF AND CUB
http://s38.photobucket.com/albums/e114/0OllllO0/?action=view¤t=100_1390.jpg
JENNY FINN
OJO
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