Etext of US Congress. Senate. Committee on the Judiciary.
Juvenile Deliquency. 1955-6. 
Library of Congress Catalogue Card Number 77-90720
84th Congress 1st Session  

SENATE Report No. 62  
Comic Books and Juvenile Deliquency
Interim Report of the Committee on the judiciary pursuant to
S. Res. 89 and S. Res. 190 (83d Cong. 1st Sess.) - (83d Cong. 2d
Sess.)

A Part of the Investigation of Juvenile Delinquency in the United
States

Committee on the Judiciary
Harley M. Kilgore, West Virginia, Chairman

James O. Eastland, Mississippi
Estes Kefauver, Tennessee
Olin D. Johnston, South Carolina
Thomas C. Hennings, Jr., Missouri
John L McClellan, Arkansas
Price Daniel, Texas
Joseph C. O'Mahoney, Wyoming
Alexander Wiley, Wisconsin
William Langer, North Dakota
William E. Jenner, Indiana
Authur V. Watkins, Utah
Everett KcKinley Dirksen, Illinois
Herman Welker, Idaho
John Marshall Butler, Maryland
 
Subcommittee To Investigate Juvenile Delinquency in the United
States
Estes Kefauver, Tennessee, Chairman 
 

Thomas C. Hennings, Jr. Missouri
Olin D. Johnston, South Carolina
William Langer, North Dakota
Alexabder Wiley, Wisconsin
James H. Bobo General Counsel

Note- Former Senator Robert C. Hendrickson, New Jersey, served
as chairman of this subcommittee until December 13, 1954.
Senator Johnston and Senator Wiley did not participate in this
report, having been appointed to the sub-committee on February 7,
1955. 

Contents

I. Introduction
Scope of this interim report  

II. A brief history of the development of the comic-book industry 
First comic book appeared in 1935  

An overview of the organization and operation of the comic-book
industry  

III. The Nature of crime and horror comic books  

Specific examples of material dealt with at New York hearings  
Methods utilized in crime and horror comics to portray violence  

IV. Crime and horror comics as a contributing factor in juvenile
delinquency  

Crime and horror comics and the well-adjusted and normally law
abiding child  

Crime and horror comics may appeal to and thus give support and
sanction to already existing antisocial tendencies  

Techniques of crime are taught by crime and horror comics  

Criminal careers are glamorized in crime and horror comic books  

Defenders of law and order frequenctly represented as all
powerfull beings who kill and commit other crimes to defend
"justice"  

Excessive reading of crime and horror comics is considered
symptomatic of emotional pathology  

Need exists for more specific research to fully ascertain the
possible effects of this type of reading marterial upon children  

V. Other questionable aspects of comic books  

Weapons and pseydomedical nostrims advertised in comic books
designed for children  

Misuse of mailing lists compiled through comic-book
advertisements  

The exportation of crime and horror comic books  

VI. Comic books as a medium of communication  

VII. Where should responsibility for policing crime and horror
comics rest?  

Comic books and authority  

Responsibility of parents, assisted by citizens' groups 

Role of Child Study Association as an evaluator of comics 

Responsibility of the comic-book industry for self-regulation 

Newsdealers unable to assume adequate responsibility 

Wholesalers are not most feasible parties to regulate content 

Printer cannot feasibly regulate content  

Distributor holds one of the key positions in comic-book industry  

Publisher has primary responsibility for subject and treatment 

Past attempts at industry self-regulation 

Current efforts at industry self-regulation 

VIII. Conclusions 

Only one part of investigation into the mass media of
communication  

Appendix  

Senate Resolution 89 (83d Cong., 1st sess.)  

Senate Resolution 190 (83d. Cong., 2d sess.)  

Section of the United States Code requiring statement of
ownership to be filed annually with postmaster  

Code of National Cartoonists Society  

Code of the Association of Comics Magazines Publishers, 1948  

Code of the Comics Magazine Association of America, Inc.,
adopted October 26, 1954  

Correspondence from the Committee on Evaluation of Comic
Books, Cincinnati, Ohio  

List of comic book publishers and comic book titles, spring 1954  

Chart showing the organization of the comic-book industry in the
United States, according to distributor, comic group, publisher, in
the spring of 1954 

84th Congress 1st Session  

SENATE

Report No. 62  

COMIC BOOKS AND JUVENILE DELINQUENCY
A PART OF THE INVESTIGATION OF JUVENILE
DELINQUENCY IN THE UNITED STATES

March 14 (legislative Day, March 10), 1955.  

Ordered to be printed  Mr. Kefauver, from the Committee on the
Judiciary, submitted the following

INTERIM REPORT

[Pursuant to S. Res. 89, 83d Cong., 1st sess., and S. Res. 190, 83d
Cong., 2d sess.] 

I. Introduction

The Subcommittee To Investigate Juvenile Delinquency, pursuant
to authorization in Senate Resolution 89, 83d Congress, 1st
session, and Senate Resolution 190 of the 2s session of said
Congress, has been making a "full and complete study of juvenile
delinquency in the United States," including its "extent and
character" and "its causes and contributing factors." In addition to
a number of community hearings that have been held in major
cities, the subcommuttee has undertaken studies of various special
problems affecting juvenile delinquency.

Over a period of several months the subcommitee has received a
vast amount of mail from parents expressing concern regarding the
possible deleterious effect upon their children of certain of the
media of mass communication. This led to an inquiry into the
possible relationship to juvenile delinquency of these media.

Members of the subcommittee have emphatically stated at public
hearings that freedom of speech and freedom of the press are not
at issue. They are fully aware of the long, hard, bitter fight that has
been waged through the ages to achieve and maintain those
freedoms. They agree that these freedoms, as well as other
freedoms in the Bill of Rights, must not be abrogated.

The subcommittee has no proposal for censorship. It moved into
the mass media phase of its investigations with no preconceived
opinions in regard to the possible need for new legislation.

Consistent with this position, it is firmly believed that the public is
entitled to be fully informed on all aspects of this matter and to
know all the facts. It was the consensus that the need existed for a
thorough, objective investigation to determine whether, as has
been alleged, certian types of mass communication media are to be
reckoned with as contributing to the country's alarming rise in
juvenile delinquency. These include: "crime and horror" comic
books and other types of printed matter; the radio, television, and
motion pictures.

In its investigations of mass media, as in its investigation of other
phases of the total problem, the subcommittee has not been
searching for "one cause." Delinquency is the product of many
related causal factors. But it can scarcely be questioned that the
impact of these media does constitue a significant factor in the
total problem.

Juvenile delinquency in America today must be viewed in the
framework of the total comminuty-climate in which children live.
Certainly, none of the children who get into trouble live in a social
vacuum. One of the most significant changes of the past quarter
century has been the wide diffusion of the printed word,
particularly in certain periodicals, plus the phenominal growth of
radio and television audiences. 

The child today in the process of growing up is constantly exposed
to sights and sounds of a kind and quality undreamed of in
previous generations. As these sights and saounds can be a
powerful force for good, so too can they be a powerful
counterpoise working evil. Their very quantity makes them a
factor to be reckoned with in determining the total climate
encountered by today's children during their formative years.

SCOPE OF THIS INTERIM REPORT

The first phace of the subcommittee's investigation of the mass
media of comminication dealt with so-called comic books. This
report is an interim one dealing with certain aspects of the findings
to date of the investigation in this field. While it is not presumed to
be comprehensive of the material that can be explored in this field,
this interim report is based upon the public hearings in New York
City on April 21, 22, and June 4, 1954, and upon research by
members of the staff of the subcommittee. Because of the limited
extent ofthe studies that exist on this subject, due in part to the
comparatively recent introduction of comic books, there remains a
considerable area which deserves careful and scientific
exploration.

When looking at the question: What are "comic books?" we find
that many, including all those with which the subcommittee's
investigation was conserned, were found to be neither humorour
nor books. They are thin, 32-page pamphlets usually trimmed to 7
by 10 1/2 inches. Most of them sell for 10 cents a copy. They are
issued monthly, bimonthly, quarterly, semiannually, or as one-time
publications. They are wire-stitched in a glossy paper cover on
which, in the crime and horror type, there has been printed in
gaudy colors an often grim and lurid scene contrived to intrigue
prospoective purchasers into buying them. The inside page contain
from 3 to 5 stories told in pictures with balloon captions. The
pictures are artists' line drawings printed in color, intended to tell
part of the story by showing the characters in action. In the case of
crime and horror comic books, the story and the action are often
quite horrendous. 

Not all comic books were considered in this investigation. The
subcommittee was concerned only with those dealing with crime
and horror. It was estimated that by the spring of 1954 over 30
million copies of crime and horror comic books were being
pronted each month. 1 If only 50 perscent of that number were
sold by the retailers, the annual gross from crime and horror comic
books had reached $18 million. These constituted approximately
20 percent of the total output of comic books. The inquiry was not
concerned in this phase with the comic strips that appear daily in
most of our newspapers.

1. This estimate is slightly different from the estimate prepared by
the staff of the subcommitte prior to the New York hearings on
April 21 and 22, 1954. 

The methods utilized in investigatiing the possible effects of crime
and horror comic books included several steps. These included the
sending of samples of such books to psychiatrists and
psychologists to obtain their opinions as to the possible effects of
this type of printed matter upon children. The staff of the Library
of Congress prepared a useful summarization of articles and books
pretaining to the subject.

2 The subcommittee's staff conducted extensive research into the
organization of the comic-book industry and interviewed many
individuals concerned with that industry. This was done prior to
the public hearings in New York.

2. See Hearings Before Subcommitte To Investigate Juvenile
Delinquency (Comic Books) of the Committee on the Judiciary,
U.S. Senate, 83d Cong., 2d sess., pp.12-23, Washington:
Government Printing Office, 1954 

II. A Brief History of the Development of the Comic Book
Industry

The first comic strip to appear in a newspaper was Outcault's
"Yellow Kid" which was introduced in the New York World in
1896. The concept, however, of an entire publication devoted to
comics was not developed intil 1911 when the Chicago American
offered preprints of Bud Fisher's Mutt and Jeff in pamphlet form as
a premium for clipping coupons from six daily issues.

FIRST COMIC BOOK APPEARED IN 1935 

The pattern for present-day comic books was set in 1935 when
Now Fun, a 64-page collection of original material printed in four
colors, was put on the newsstands. Action Comics were put on sale
in 1938, and Superman Quarterly Managzine appeared in 1939.
The number of comic book publishers has increased and the
circulation figures have risen astonishingly since that time.

It has been estimated conservatively that in 1940 publishers of at
least 150 comic-book titles had annual revenues of over 20
million. Ten years later, in 1950 about 300 comic-book titles were
being published with annual revenues of nearly 41 million. The
upswing in the next 3 years brought the number of titles to over
650 and the gross to about 90 million.3 Average monthly
circulation jumped from close to 17 million copies in 1940 to 68
million in 1953.

3. No accurate figures are available. Many of the newer publishers
of comic books do not report to the Audit Bureau of Circulations
nor to the Controlled Circulation Audits, the twi firms that
compile curvulation figures. The subcommittee, in making the
above estimate, took the most conservative estimate. It assumed
that 300,000 copies of each comic-book title were printed, even
though information fiven to the subcommitee indicated that is a
minimum print order and that some print orders are close to the
million mark. It was also assumed that one-half of the comic books
printed were sold, even though information given was to the effect
that the "break-even" point for the average publisher would more
likely be closer to 65 percent. And finally it was assumed that
one-half of all the comic books were published monthly and that
the remainder were published bimonthly, even though information
furnished by the publishers themselves indicate that more than
one-half of the comic books were published monthly. See
McNickle, Roma K., Policing the Comics, Editorial Research
Reports, 1205 19th street NW., Washington E.C. , vol. I, 1952, pp.
229-330. See also N. W. Ayer & Son's Directory of Newspapers
and Periodicals for the Years 1945 through 1953. 

In the years between 1945 and 1954, two stricking changes took
place in the comic-book industry. The first was the great uncrease
in the number of comic books published adn the number of firms
engaged in their publication. The second was the increase numbers
of comic books dealing with crime and horror and featureing
sexually suggestive and sadistic illustrations. This increase of
materials featuring brutality and violence is being offered to any
child who has the 10-cent purchase price. That these examples of
crime and horror are aimed at children is clearky evident from the
advertisements with which each issue is replete.

AN OVERVIEW OF THE ORGANIZATION AND OPERATION
OF THE COMIC-BOOK INDUSTRY

On first impression, the present comic-book industry would seem
to comprise many different publishing firms with no apparent
relationship to one to another. On closer scrutiny, howevery, it is
fount that the picture is entirely different.

Information obtained by the subcommitee indicates that, while
there are 112 seemingly seperate and distinct corporations engaged
in the publication of comic books, these corporations, through
such decices as common-stock holders and officer and family ties
are in fact owned and controlled by a relatively small group of
men and women. Thus the 676 comic-book titles are published by
111 corporations owned by only 121 persons or families in
addition to 1 coporation which has many stockholders. 4

4. Listing of publishers and titles shown on Pp.39-44 of appendix
to this report. 

The majority of these publishers maintain editorial offices in New
York City. While the editorial content of comic books is
determinded in New York City, the actual printing, binding and
distribution usually takes place at printing establishments often
located in other States far removed from the editorial offices.

A view of the steps involved in producing and distributing a comic
book affods some insight into the problems confronting the
industry in determining an editorial content acceptable for reading
by children.

While ultimate responsibility for editorial content rests with the
publishers, their training and backgroups vary widely. One, for
example, combines publication of comic books with an active law
practive. Some publish "girlie" magazines and comic books from
the same editorial office. Some publish well-known pocket-sized
book editions. One man publishes both comic books and the
pseudomedical type of sex books. Several include pseudoscience
books among their publications. One fact is clearly noted: A
background in knowledge of child education and development is
not a requisite to becoming a publisher of crime and horror comic
books designed for children.

Neither the editor, the script writer nor the artist is required to
possess such a background. A majority of the comic-books
publishers employ one or more editors. Some also employ writers
and artist on a permanent basis, although more frequently they
utlize such persons on a free-lance arrangement.

The publisher, and his editor, establish the general theme and tone
of a particular comic book. the idea for the story is them conceived
by the editor or writer. Once the idea is firmed-up, the writer
prepares a short symopsis. This is reviewed by the editor who
directs such changes as he sees fit. In some of the smaller
publishing firms, the publisher himself may sit on this story
conference. In the larger firms, the publisher does not attempt
detailed review of story content. 

After the synopsis is agreed upon, the writer prepares a script
which sets forth, panel by panel, the action to be illustrated and
dialogue for the "balloons." The editor again reviews the script and
indicates the revisions to be made. The artist, following the
directions in the script, then prepares black and white drawings
which are reviewed by the editor who orders such changes as he
wants. The drawings are not colored by the original artist, but by
other persons in the employ of the publisher, or by the printer
under instructions from the editor. 

Three of four stories are then grouped together to form a comic
book of 32 pages. Not all of these pages contain illustrated stories.
Some may be used for advertising space. Others may be used for
short stories without illustration for "fan" clubs or correspondence. 

The layout for the comic books, complete with original drawings
and color scheme, is then sent to the printer according to a
prearranged time schedule. Inside pages are printed on "newsprint"
and the cover is printed on a slightly heavier, glossy paper. These
two operations are sometimes accomplished at different printing
plants.

The mimimum pront order for any one issue of a comic book is
apporoximately 300,000, although press runs of 750,000 for a
single issue are not uncommom. The publishers' experience has
shown that this minimum is neccessary to assure such widespread
coverage as will provide the opportinuty for sufficient sales to
cover costs and, hopefully, result in profits on that particular issue.
With 95,000 to 110,000 newsdealers in the country, a press run of
300,000 would put only 3 copoes of the comic book on the shelves
of each dealer if evenly distributed.

After an issue of a comic book is printed, the copies are not
shipped to the distributor as one might expect, but directly to the
local wholesaler. Shipments are made by mail, freight, express and
truck. Such shipments are made by the printing concern at the
direction of and in accordance with the instructions supplied by
the distributor. The wholesaler then supplies the newsdealer, who
is the retailer from whom the public buys.

Virtually every community of appreciable size in the United States
has at least one independently owned wholesaler who distributes
comic books for one or a number of the independent national
distributors. It is estimated the 950 independent wholesalers
operate within the United States. In addition, the American News
Co. maintains its own 400 company-owned-and-operated
branches, in the capacity of wholesale concerns. Moreover, a
subsidiary of the American News Co., called the Union News Co.,
has branches which supply newsstands at railway stations,
subways, and some hotels.

If the printer and the wholesaler perform the physical fuction of
distributing comic books, who then is the distributor and what is
his role in the total industry picture? Thirteen national distributors
handle comic books within the continental United States. Some
distributors are also publishers and handle their own publications.
Others do not publish but deal with a number of independent
publishers. The American News Co. sends meterials only to its
company-owned wholesalers. The other 12 distributors route
materials to independently owned wholesalers.

The distributor is a cross between a financier, a statistician, and a
publishers' salesman or representative. His financial function is
performed through the advance payments he makes to the
publisher. He will often advance up to 25 percent against the final
accounting, which will take place (3 or 4 months later) when the
total sales of a particular issue can be computed. His statistical
function consists of determining those wholesalers to whom a
given comic book can supplied to each. His function as salesman
consists of directiong "on the road" representatives who seek to
maintain satisfactory customer relations with the wholesaler. This
agent urges the wholesaler to carry and to push the sales of a larger
number of the publications carried by the distributor whom he
represents.

The distributor maintains a record for each wholesaler with whom
he does business. He lists the title and the issue of each comic
book delivered, the quantity shipped, the quantity sold, and the
number eventually returned unsold. Future calculations are made
on the basis of past performance. As each new issue is prepared,
the distributor gages sales possibilities. He then orders a given
number of shipping labels bearing the name and address of each
wholesaler and the number of copies tp be sent to that wholesaler.
These lables are delivered to the printer.

Thus the comic book, conceived by the editor and writer, given
concrete form by the artist, and put into mass production by the
printer on order of the publisher, reachers the business of a
wholesaler in a particular area, having been shopped there by the
printer under a lable prepared by a national distributor. It is now
ready for its journey onto the shelves of the newsdealer.

The wholesaler also maintains records as to the sales made by
newsdealers serviced by him. On the basis of these records, the
wholesaler makes up a bundle for his newsdealers. It is a mixed
bundle. It contains a number of copies of each of the comic books
he has reveived for distribution since his last distribution day. The
bundle might also contain copies of "girlie" magazines, men's
sports, popular scientific publications, motion picture and
televiision periodicals, and other types of literary, news and
household publications. In other words, the bundle prepared for
delivery to the newsdealer can and does run the gamut of many
tpes of managzines, depending on what the wholesaler distributes.
The bundle is then delivered by a truckdriver to the retailer who
operates a newsstand in a small store, on the street, or in a station,
to drugstores, candy stores, and other retail outlets.

The widely diverse assortment of publications, which might be
routed by distributor to the wholesaler and in turn to the retail
newsdealer, was shown in the prepared exhibits of some of the
magazines distributed by the Kable News Co. These exhibits,
which were introduced at the New York hearings, included such
titles as: Suppressed, The Facts About Modern Bootlegging,
Mysteries, Billy Bunny, Exhibit Homes, Haunted Thrills, Zip,
Romance Time, Nifty, Homecraft, Mystery Tales of Horror and
Suspense, Picture Scope, Magazine Digest, Masked Ranger, Gala,
Danger, Voodoo, The Children's Hour, Wham, Radio-Electronics,
Pack O' Fun, Strange Fantasy, Exclusive, Dare, Frolic, Child Life,
Fantastic Fears, Universe, Tops, He, Hunting and Fishing, Danger,
and Tab. The covers of many of these publications carried pictures
of scantily clad females in suggestive poses. The titles of some of
the article as featured on the covers were: "The Lady Is a Man,"
"All-Year Vacation Home," "Sex Before Marriage," "I Was Forced
Into Russia's Fifth Column," "I Sold Myself in the Marriage
Racket," "Athletes Are Lousy Sports," "What's New in
Transistors," "Babes in Boyland," "The Prodigal Son," "Backstage
at Burlesk," "The Smart Drummer," "Rica Rita- Pantie Model,"
"Angel of the Battlefields," "Sexie Tessie Up North," "Joseph and
His Brothers," "Tommy's Bedroom Secret," "Dead End Kids of
Space," "Are Bosomy Beauties a Fad?" "Are Vets Freeloading
Medical Care?" "Sixty Lady-Killers on the Loose," "Evelyn West
vs. Kinsey," "Are Our Churches Really Red?" "The Beauty Is a
Witch," "Slaves to Beauty," "Trouble in Morocco," "Court of
Immoral Women," "Backlashes? Try Educating Your Thumb," and
"Where Bad Girls Make Good." 

The newsdealer is changed for the entire contents of the bundle he
reveives. Howerver, the newsdealer may return the comic books, if
they remain unsold, as in the case of other items, and reveive
credit. The Wholesaler may route the returns to other dealers.
When it is finally determined that certain returns are not salable,
the wholesaler returns them to the distributor, for use in his
accounting with the publisher, returning either the comic books
themselves or their covers. There is also a practive in the indusrty
of putting groups of returned comics books into thicker books, and
reissueing them under a new title and cover for a sale price of 25
cents. 

The distributer and the publisher complete their accounting on the
basis of the returns - either of the covers or the entire comic books
- and payment is made to the publisher for the copies sold. The
amount retained by the distributor is a samll percentage of the total
amount of the sales.

III. The Nature of Crime and Horror Comic Books

It has been pointed out that the so-called crime and horror comic
books of concern to the subcommittee offer short courses in
murder, mayhem, robbery, rape, cannibalism, carnage, necrophilia,
sex, sadism, masochism, and virtually every other form of crime,
degeneracy, bestiality, and horror. These depraved acts are
presented and explained in illustrated detail in an array of comic
books being bought and read saily by thousands of children. These
books evidence a common penchant for violent death in every
form imaginable. Many of the books dwell in detail on verious
forms on insanity and stress sadistic degeneracy. Others are
devoted to cannibalism with monsters in human form feasting on
human bodies, usually the bodies of scantuly clad women.

[Webmasters note: WHOO HOO! I wanna read some of these!]

SPECIFIC EXAMPLES OF MATERIAL DEALT WITH AT NEW
YORK HEARING

To point out more specifically te type of material being dealt with,
a few typical examples of story content and pictures were
presented at the New York hearings on April 21, 1954. From the
few following examples, it will be clearly seen that the major
emphasis of the material then available on America's newsstands
from this segment of the comic book industry dealth with depraved
violence: 

Story No. 1Bottoms Up (Story Comics) 

This story has to do with a confirmed alcoholic who spends all his
wife can earn on alcohol. As a result their small son is severely
neglected. On the day the son is to start in the first grade in school
the mother asks the father to escort him to the school building.
Instead, the father goes to his favorite bootlegger and the son goes
to school by himself. En route the child is struck and killed by an
automobile. Informed of the accident, the mother returns home to
find her husband gloating over his new supply of liquor. The last
four panels show the mother as she proceeds to kill and hack her
spouuse to pieces with an ax. The first panel shows her swinging
the ax, buring the blade in her husband's skull. Blood spurts from
the open wound and the husband is shown with an expression of
agony. The next panel has a montage effect: the husband is lying
on the floor with blood rushing from his skull as the wife is poised
over him. She holds he bloody ax, raised for more blows. The
background shows an enlargement of the fear-filled eyes of the
husband, as well as an enlargement of the bloody ax. To describe
this scene of horror the text states that "And how the silence of the
Hendrick's apartment is broken only by the soft humming of Nora
as she busies herself with her 'work'." She then cuts his body into
smaller pieces and disposes of it by placing the various pieces in
the bottles of liquor her husband had purchased. She then returns
the liquor to the bootlegger and obtains a refund. As she leaves the
bootlegger says: "HMMN, funny! I figured that rye would be inside
Lou by now!" The story ends with the artist admonishing the child
readers in a macabre vein with the following paragraph, "But if
Westlake were to examine the remainder of the case more closely
he'd see that it is Lou who is inside the liquor! Heh, Heh! Sleep
well, kiddies!" We then see three of the bottles - one contains an
eye, one an ear, and one a finger.

Story No. 2 Frisco Mary (Ace Comics)

This story concerns an attractive and glamorous young woman,
Mary, who gains control of a California underwold gang. Under
her leadership the gang embarks on a series of holdups marked for
their ruthlessness and violence. One of these escapades involves
the robbery of a bank. A police officer sounds an alarm thereby
reducing the gang's "take" to a mere $25,000. One of the scenes of
violence in the story shows Mary poised over the wounded police
officer, as he lies on the pavement, pouring bullets into his back
from her submachinegun. The agonies of the stricken officer are
clearly depicted on his face. Mary, who in this particular scene
looks like an average American girl wearing a sweater and skirt
and with her hair in bangs, in response to a plea from one of her
gang members to stop shooting and flee, states: "We could have
got twice as much if it wasn't for this frog-headed rat!!! I'll show
him!"

Story No. 3With Knife in Hand (Atlas Comics)

A promising young surgeon begins to operate on a wounded
criminals in order to gain the money demanded by his spendthrift
wife. After he has ruined his professional career by becoming
associated with the underworld, a criminal comes to get help for
his girl friend who has been shot by the police. In the
accompanying panels the girl is placed upon the operating table;
the doctor discovers that the criminal's girl friend is none other
than his own wife. The scene then shows the doctor committing
suicide by plunging a scaple into his own abdomen. His wife,
gasping for help, also dies on the operating table for a lack of
medical attention. The last scene shows her staring into space,
arms dangling over the sides of the operating table. The doctor is
sprawled on the floor, his hand still clutching the knife handle
protuding from his bloody abdomen. There is a leer on his face and
he is winking at the reader connoting satisfaction at having
wrought revenge upon his unfaithful spouse.

Story No. 4 Head Room (Entertaining Comics)

The female keeper of a decrepit hotel gives special attention to one
of her male boarders. She attempts to win his affection by giving
him lower rates, privileges, etc. Since he is in his room only at
night, she rents the same room for daytime use to a
gruesome-looking man, shown on the first page of the story. There
are repeated reports over the radio of a homicidal maniac at large,
the "Ripper." She comes to suspect the daytime boarder and is
shown searching his room and finding seven gruesome, bloody
heads hanging in his closet. Her privileged boarder comes into the
room and she tells him of her findings. He is then shown
transformed into the gruesome daytime boarder. The last picture
shows him as he decapitates her.

Story No. 5Orphan (Entertaining Comics)

This is the story of a small golden-haired girl named Lucy, of
perpahs 8 or 10 years of age, and the story is told in her own
words. Lucy hates both her parents. Her father is an alcoholic who
beats her when drunk. Her mother, who never wanted Lucy, has a
secret boy friend. The only bright spot in Lucy's life is her Aunt
Kate with whom she would like to live. Lucy's chance to alter the
situation comes when the father, entering the front gate to the
home, meets his wife who is running away with the other man,
who immediately flees. Snatching a gun from the night table, Lucy
shoots and kills her father from the window. She then runs out into
the yard and presses the gun into the hands of her mother, who has
fainted and lies unconscious on the ground. Then through Lucy's
perjured testimony at the following trial, both the mother and her
boy friend are convicted of murdering the father and are
electrocuted. These pictures that show, first, "Mommie" and then
"Stevie" as they sit strapped to the electric chair as the electric
shock strikes them. Other pictues show Lucy's joyous contentment
that it has all worked out as she had planned and she is now free to
live with her Aunt Kate. The last picture shows her winking at the
reader and saying "*** which is just the way I'd hope it would
work out when I shot daddy from the fron bedroom window with
the gun I knew was in the night table and went downstairs and put
the gun in mommy's hand and started the crying act."

Story No. 6Heartless (Story Comics)

This is the story of a petty gangster, Bernie Kellog. He is in a
cheap, smalltown hotel, where he starts to have chest pains and
calls a physician. The doctor gives Bernie a drug to calm his
nerves. The drug makes Bernie feel like talking and he tells the
doctor that he is in the hotel waiting for a women to bring him
$50,000 in blackmail money. He tells the doctor how the woman
begged to be "let off the hook" because her husband didn't have
taht much money. Bernie insists, however, so the women goes
home and commits suicide. As it turns out, the women, Elaine, is
the doctor's wife. One of the pictures then presented shows the
doctor sitting dazedly on the edge of the bed * * * And, stretched
across the bed, we find Bernie with his heart cut out. Bernie is
shown lying dead on the bed with a gaping hole in his chest, a rib
protruding, blood flowing over the bed and onto the floor, his face
fixed in a death mask as he stares at the reader.

Story No. 7Stick in the Mud (Story Comics)

An extremely sadistic schoolteacher gives special attention to one
of her pupils in order to curry favor with the boy's rich, widowed
father. In a year she succeeds in marrying the man, but he turns out
to be a miser. She stabs him to death with a butcher knife
approximately a foot and a half in length and 3 inches wide. The
picture shows the body of the old man, limbs askew, falling to the
floor, emitting a gurgle. There is a large hole in this back and
blood is squirting in all directions. The wife is behind him
clutching the bloody butcher knife. She says: "You stupid old fool!
I've stood for your miserly, penny-pinching ways long enough!
From now on it'll be my money *** and I'll spend it my way! Die
Ezra *** die!" She then covers up her crime by throwing him into
a pen with a wild bull that gores his body to pieces. She now has
the money, but also the stepson whom she hates. The boy suspects
that she killed his father and makes her chase him around the farm
by calling her names. He leads her to some quicksand and she falls
in. Several pictures show her as she begs the boy to get help. He
promises to do so if she confesses to him that she killed his father.
She does so, and he then lets her sink to her death. A closeup is
shown of the terrified women, sunk into the quicksand which is
slowing into her open mouth. The boy is quite satisfied with
himself and walks about the farm humming a tune while others
search for his "lost" stepmother.  

It is appropiate to point out that these were not the only, nor the
worst, pictures and stories gathred by the subcommittee during the
investigation. In fact, they constitue a small sampling of the total
array of crime and horror comic books available to the youth of
this Nation.

METHODS UTILIZED IN CRIME AND HORROR COMICS TO
PORTRAY VIOLENCE

Physical acts shown in the foregoing pictures are not the only
means for portraying violence in the crime nd horror type of comic
books. Violence is frequently demonstrated by the type of
character, plot, and setting of a story; as well as by the sequence of
events and by the language used in the "balloons." The following
are a few examples of some of the decives used in the portrayal of
violence and horror:

1. Character, plot, and setting

The majority of fantasy stories, which pictorially depicted
relatively few physical acts of violence, dealt with supernatural
people and events. More frequently the supernatural phenomena
involved werewolves, vampires, zombies, witches, people
returning from the dead, and animal monsters. Physical violence
usually occurred in only 1 or 2 frames. The total extent of
violence, however, cannot be measured by counting isolated
frames taken out of context. Each frame contributed to the story
buildup of horror and suspense.

One method of portraying horror relates supernatural phenonmena
with real people and things. In this type of story, horror was
portrayed by making use of fantastic supernatural powers and by
identifying these powers with people and animals that really exist.
By association, it is suggested that real policemen may be ghouls
who prey of the citizens of a city. The next-door neighbor may be a
zombie secretly plotting with other zombies, also neighbors, to
take over the world. Ordinary house pets are acutally men's
enemies awaiting the opportunity to destroy him.

Another resource for portraying horror places supernatural beings,
such as werewolves and vampires in highly realistic settings.
Therefor, horror is identified not only with real people but also
with real situations. An example of this type was pointed out in the
hearings by Richard Clendenen, subcommittee executive director.
It was the story of a small orhpan who was adopted by two
individuals ostensibly devoted to the child. After having fattened
him up, they entered his room and night, fangs bared, and it is seen
that they were vampires. The boy however is turned into a
werewolf and attacks the two and claws them. Thus, violence and
horror are not restricted in comic books to the isolated action
shown in each frame. Though there are no frames with physical
violence in some instances, a while story may create horror by its
selection of characters, sequence of events and situations.

2. Language

Words alone, or in conjunction with pictures, may describe
violence and horror more vividlly than the graphic techniques. In
comic books, language is utilized to contribute to horror in several
ways. It may be used to (a) stimulate the reader's anticipation of
horrible things to come; (b) reinforce a belief in supernatural
nomsters; (c) describe desires impossible of being shown
graphically; and (d) describe killings.

One of the more frequent functions of language in crime comics is
to replace graphic portrayals of brutal killings. In such instances
the pictures do not show the weapons in contact with the victims,
more are the victims mangled bodies exposed to the reader. The
acts of killing, however, and their effects on the victims are
imaginatively described in the texts. The following serves as an
illustration of this technique:

A man is shown lifting an ax preparatory to striking his wife on the
floor. In the next frame he lowers the ax, the wife is now show but
the caption reads: "Bertha squealed as Nornman brought the ax
down. The swinging of the steel and the thud of the razor-sharp
metal against flesh cut the squeal short." In the next frame he holds
the ax poised again, the body still is not exposed and the caption
reads: "He brought the ax down again and again, hacking, severing,
dismembering."

In cases similar to the above, violence is portrayed to the reader by
words instead of pictures.

Other symbols are often used to signify violence and horror. The
red backgroup of a picture is used as symbolic of blood. This may
be noted in the following example:

The caption reads: "His (the victim's) shrieks dies to a s bubbling
moan *** then a final death rattle. *** You did not stop swinging
the chair until the thing on the floor was a mass of oozing scarlet
pulp." No body is shown but the entire frame is colored red.

3. Sequence

Another method in which the impressions of horror or violence
may be conveyed is by the sequence of events. Stories may be so
constructed that each frame stimulates the imagination of the
reader up to a shocking climax in the last frame. The sequence
may be carried out through the use of words and pictures which, in
themselves, are unrelated to horror. One of the more subtle
instances where violence was portrayed by neither action, words,
nor color, is the following:

The story is about a man who gets entangled in a swamp. One
frame shows him in the swamp and a huge vulture circling above
the doomed man. The next frame shows the man being carried out
on a stretcher with bandages over his eyes.5

 5 Acknowledge for theis section on methods of portraying
violence in comic books is due Mrs. Marilyn Graalfs of the
department of sociology of the University of Washington who
prepared A Survey of Comic Books in the state of Washington
(mimeographed), Seattle, 1954. This was a report made to
Washington State Council for Children and Youth, having been
prepared in cooperation with the research and statistics section of
the department of public institutions.

IV. Crime and Horror Comic Books as a Contributing Factor in
Juvenile Delinquency

Inquiring into the relationship of crime and horror comic books to
juvenile delinquency, the subcommittee approached this question
without preconveived convictions. It was not assumed that comic
books are a major cause of juvenile delinquencey. On the other
hand, care was taken to avoid stating categorically that these crime
and horror comic books have no effect in aggravating the problem.

However, there are many who accept the idea of the cause and
effect relationship between comic-book reading by children and
antisocial behavior. Many judges have pointed to crime and horror
comic books and have cited cases of children who have explained
their delinquent acts by claiming they got the ideas from such
comic books. This kind of evidence is largely discountied by the
behavioral scientists, who point out that children can hardly be
expected to understand their own behavior, much less explain it. A
child may ascribe his behavior to a comic book he has read, but
such explanations without substantiating findings can scarcely be
considered scientific evidence of causation. 

The behavioral sciences are as yet far from exact. Therefore, it is
not surprising to note some diversity of opinion even among
experts in the fields of criminology, psychology and sociology.
Responsible observers of the American social pattern are in
general agreement that juvenile delinquency has many causes, not
just one. 

Today there are many who consider themselves experts who
persist in explaining all delinquency soly as a product of personlity
maladjustment, while at the other extreme, there are those who
find the influence of the slum to be the source of all difficulties.
Others points soley to the influence of crime and horror comic
books. These people overlook the fact that no one personality trait
or social backgroud distinguishes delinquent children. The endless
variations of circumstance, opportunity, and personal history must
be taken into account. When doing this, it is neccessary to
determine the effects in each case of all the contrubuting factors.

A study of crime and horror comic books should consider their
effects upon children in the total setting of the child's behavior
pattern. It was the concern of the subcommittee to inquire into
expert opinion of the relationship between this material and the
delinquent behavior of children who are (a) considered to be
emotionallly stable and (b) those thought of as emotionally
maladjusted. The following is a brief summary of professional
opinion in which the attempt is made to reflect some of te
divergencies where they exist: 

CRIME AND HORROR COMICS AND THE WELL-ADJUSTED
AND NORMAL LAW ABIDING CHILD

Attention has been given by some experts to the influence of crime
and horror comics on well-adjusted children who normally are not
in conflict with society. Majority opinion seems inclided to view
that it is unlikely that the reading of crime and horror comics
would lead to delinquency in a well-adjusted and noramlly
law-abiding child.

A different view is held by Dr. Frederic Wertham, consulting
psychiatrist, Department of Hospitals, New York City. He
mantains that it is primarliy the "normal" child upon whom the
comics have their greatest detrimental effects, and thus it is this
type of individual who is "tempted" and "seduced" into imitating
the crime portrayed in the story. Dr. Wertham has been termed the
"leading crusader against comics." Althought stating that he does
not adhere to a single factor theory of delinquency causation, he
does atrribute a large portion of juvenile offenses to the comics. 6

 6. See Wertham, Frederic, Seduction of the Innocent, New York;
1954. 

A critique of the position that has been held by Dr. Wertham for
many years is found in an article by Prof. Frederic M. Thrasher
entitled, "The Comics and Delinquency: Cause or Scapegoat." This
article which appeared in 1949, pointed to alledged weakness in
Dr. Wertham's approach, the major one bing that his propositions
are not supported by adequate research data. 7 Professor Thrasher
asserted that Dr. Wertham's claims rest upon a selected group of
extreme cases. Although Dr. Wertham has since declared that his
conclusions are based upon a study of thousands of children, he
has not offered the statistical details of his study. He says that he
used control groups, i.e. compared his groups of delinquents with a
similar group on nondelinquents, but he has not described the
groups to prove that difference in incidence of comic-book reading
is other than a selective process. In conclusion, Professor Thrasher
writes:

 *** it may be said that no acceptable evidence has been prodiced
by Wertham or anyone else for the conclusion that the reading
comic magazines has, or nas not, a significant relation to
delinquent behavior. 

A summerization of Professor Threasher's contention is that in
1949, the case against comic books had not been proved pro or
con. His presentation points out the need for more study and
research that subject which has not yet been done.

 7 Thrasher, Frederic M., The Comics and Delinquency: Cause of
Scapegoat, in the Jurnal of Edicational Sociology, December 1949,
pp. 195-905. 

CRIME AND HORROR COMICS MAY APPEAL TO AND
THUS GIVE SUPPORT AND SANCTION TO ALREADY
EXISTING ANTISOCIAL TENDENCIES

Dr. Harris Peck, director of the bureau of mental health services
for the New York City Court of Domestic Relationships, indicated
in his testimoney that there is a possible relationship of crime and
horror comic books to juvenile delinquency through appealing to
and thus giving support and sanction to already existing antisocial
tendencies. 8 While pointing out that it is unlikely that comic
books are a primary cause of juvenile delinquency, he stated that
that it should not be overlooked that certain comic book may aid
and abet, as it were, delinquent behavior which has been set in
motion by other forces already operating on the child. Dr Harris
has also noted the preoccupation with comics of many delinquets
with whom he has come in contact. This observation should be
weighed with reference to the fact tat there are many
nondelinquents who are avid comic-book readers.

 8 See Peck, Harris, testimony in hearings before the Subcomittee
To Investige Juvenile Delinquency of the Committee on the
Judiciary, U.S. Senate, 83d Cong., 2d sess., pp. 63-69,
Washington: Government Printing Office 1954. 

It is appropriate that a distinction be made between the
"emotionally maladjusted" delinquent to which reference has been
made and the "normally adjusted" delinguent. It is quite possible
for an individual to be both socially and psychologically adjusted
within his own group of delinquent companions. While the group
may commit acts of delinquency and be completely out of joint
with society as a whole, the individual members may have the
same normal feelings and needs as members of a law-abiding
group of the same age. Therefor, even though these delinquent
youths are deemed emotionally stable, the content of the crime
comic books may coincide with the attitudes and values of the
group and give support to the group's delinquent activites.

This leads to the conclusion that in both the "emotionally
abnormal" and the "emotionally normal" delinquent, the contents
of crime and horror comic books may become a part of the youth's
total experience and operate as another of the many supports of
antisocial behavior present today in our society.

There exists in a minority opinion that suggests a possible cathartic
effect can be achieved by reading about or looking at a violent
action; that is, a period of calm, or relaxation results. The
possibility was suggested that this effect may become desirable for
certain individuals and may develop into a mechanism by which
they can relieve everyday tension which cannot otherwise be coped
with satisfactorily. However, even among authorities in the field of
child development who agree that such material does have a
cathartic effect, some believe that the same kind of effect might be
achieved more safely through other means for the vicarious
expression of aggression.

TECHNIQUES OF CRIME ARE TAUGHT BY CRIME AND
HORROR COMICS

Another aspect of the contribution of comic books to juvenile
delinquency, in the opinion of a number of experts, was the
indication that more serious forms of delinquency incorporate
knowledge of specific techniques which many comic books
provide. This was considered to be another valid criticism of
comic books, i.e., they offer juveniles a comprehensive written and
pictorial presentation of both methods and techniques of criminal
activites. Dr. Robert H. Felix, director of the National Institute of
Mental Health, attributed this negative feature to comic books
when he wrote:

 They might well be instructive in the techniques of criminal
activity and the avoidance of detection. 9

9 Hearings before the Subcommittee To Investiage Juvenile
Delinquency Comic Book of the Comittee on the Judiciary, U.S.
Senate, 83d Cong., 2d sess., p.11, Washington: Government
Printing Office 1954. 

Offering an example of this practice of teaching crime techniques
via crime through comic books, Dr. Wertham testified:

 *** I had no idea how one would go about stealing from a locker
in Grand Central, but I have comic books which describe that in
minute detail and I could go out and do it. 

Dr. Wertham was the first psychiatrist to call attention of the
American people to crime and horror comics. It in incontrovertible
that he has exerted far-reaching influence through alerting parents'
and citizens' groups to the extent of bestiality and depravity being
dispensed to children through such comics.

Content analysis of crime comics by the subcommittee indicated
that in most instances the crimes as portrayed in these books were
committed with little finesse or imagination. Guns were the most
frequent weapon for murder. "Holdups," safeblowing and payroll
seizures were among the methods employed in robberies.
However, there were stories in which utilization was made of the
following: lead pipes, kitchen knives, wet rawhide belts (tied
around a man's neck to dry in the sun, thereby shrinking and
stranglin him), whips, hot coffee thrown in a person's face,
wrenches, jagged edges of bottles, and acid (for "melting a person's
face"). In a few stories more sophisticated methods of crime were
described. For example, it was explained that it is easier to pick
pockets in a cafeteria because "a man hesitates to drop a tray of
food to see if his pockets have been picked"; and it was suggested
that tires can be stolen from one junkyard and sold to another.

CRIMINAL CAREERS ARE GLAMORIZED IN CRIME AND
HORROR COMIC BOOKS

A number of impressions were obtained from reading how the
criminal moves in his cultural pattern as depiected by the crime
comics. For example, crime may have brought wealth and fame
even though it was sometimes temporary. Large monetary rewards
from crime were shown through scenes of cash being counted or
money being spent on luxurious living. Through committing
bizarre crimes, individuals became widely known figures and
sometimes they became idols, eulogized through the publicity
accorded them in the newspapers. Many of the stories included
texts which describe the sensation experienced by a killer. Killing
was described as the means of acquiring a high degree of
self-confidence, giving the individual a feeling of strength and
power. A highly pleasing physical sensation was also described as
resulting from killing. 

Some stories in comic books showed that membership in the
criminal underworld was dependent upon certain personal
characteristics highly valued by experienced criminals. These
attributes were mainly physical. Criminals were admired for their
"toughness," their hatred for "cops" and a willingness to commit
any type of crime regardless of the risk involved. In their
interpersonal relationships, comic-book criminals never exhibited
such human virtues as consideration of others, charity and the like.
Furthermore, to reinforce the behavior expected of the potential
criminal, names suggestive of toughness were assigned to him. 

In some of the stories, murder for revenge was justified under
certain conditions. The murderers were not apprehended and there
was no suggestion that they would be taken in custody at a future
date. The end of the criminal's career came about, if at all, through
chance factors or by superhuman beings or other ideal types. As
the latter two do not exist in reality, the obvious interpretation
from these stories is that crime does pay if one is ruthless and
clever to a sufficient degree. 

However, defenders and hired apologists for the crime and horror
comic books constantly point out that in the majority of crime and
horror comics, the villain came to a well-deserved end. 

DEFENDERS OF LAW AND ORDER FREQUENTLY
REPRESENTED AS ALL-POWERFUL BEINGS WHO KILL
AND COMMIT OTHER CRIMES TO DEFEND "JUSTICE"

There were a number of comics of the type which pictured the
hero as some sort of supernatural being always impervious to any
physical harm. In these comic books the crime was always real and
the superhuman's triumph over good was unreal. Commenting on
this Dr. Wertham singled out the superman comic books as being
injurious to the ethical development of children. Dr. Wertham
believes these books arouse phantasies of sadistic joy in seeing
other people repeatedly punished while the hero remains immune.
He called this the superman complex. Another witness referred to
this idea when she gave examples of institutionalised children
injuring themselves by jumping off high places in attempts to fly
like the comic-book characters.

Members of the subcommittee believe that in this respect content
of the comic books can be critized. In many crime comics, law and
order are maintained by supernatural and superhuman heroes, and
officers of the law, ineffective in apprehending criminal, must
depend on aid from fantastic characters. The law-enforcement
officials who do solve cases often succeed through "accidental
events." In contrast, actual law-enforcement officials are at a
disadvantage in terms of prestige and the small part they play in
apprehending criminals. The impressions obtained from the comic
books are contrary to the methodical routine work characteristic of
police investigation.

Discussing the ethical content of comic books, Dr. Wertham took
to task the oft-reiterated statement that in these books good wins
over evil and that law and order always in the end. 10 He pointed
out that there are whole comic books in which every single story
ends with the triumph of evil, with a perfect crime unpunished and
actually glorified.

 10 It should be pointed out that there are innumerable stories of
this nature. But in stories containing 32 picture panels, the
criminal often lived splendidly off the fruits of his crimes. It is not
until the last panel that he met his doom at the hands of a fantasy
character or by some stupid mistake. 

EXCESSIVE READING OF CRIME AND HORROR COMICS IS
CONSIDERED SYMPTOMATIC OF EMOTIONAL
PATHOLOGY 

Surveying the work that has been done on the subject, it appears to
be the consensus of the experts that comic-book reading is not the
cause of emotional maladjustment on children. Although
comic-book reading can be a symptom of such maladjustment, the
emotionally disturbed child becuase of abnormal needs may show
in a greater tendency to read books of this kind than will the
normal child. This theory appears as valid as the thinking that
alcoholism is a symptom of an emotional disturbance rather than
its cause.

It as has also been suggested that the child with difficulties may
find in comic books representations of the kinds of problems with
which he is dealing, and that comic books will, therefore, have a
value for him which they do not have for a child who is relatively
free of these troubles. Further, it is stated that the kinds of comic
books a child chooses often provides the child psychiatrist with
some clues to the kinds of problems faced by the child. 

NEED EXISTS FOR MORE SPECIFIC RESEARCH TO FULLY
ASCERTAIN THE POSSIBLE EFFECTS OF THIS TYPE OF
READING MATERIAL UPON CHILDREN 

Although the inquiry revealed the marked differences of opinion
among experts, the need for careful, large-scale research studies
was repeatdly made apparent. Samples of crime and horror comics
were sent to Carl H. Rush, Jr., Ph.D., executive assistant of the
American Psychological Association, and to Dr. R. H. Felix,
Director of the National Institute of Mental Health, so that they
could study them and give their professional opinions as to the
possible effects this type of reading material might have on
children. Both of these individuals commented upon the need for
scientific research in this field.

The few approaches already taken and the reasons for the scarcity
of sound findings on this topic have been indicated by Dr. Rush.
11 It is evident from his brief summary of some studies in this
topic area that research has been concerned with segmental aspects
of the problem. Juvenile delinquency is a developmental problem
and for that reason research should be conducted on a longitudinal
basis in which the subjects of the investigation are examined
periodically over a span of several years. Research of this type is
beyond the means of individual investigators. The financial
support of a foundation or institution is required if the scope of
study is to be adequate.

 11 Ruch, Carl H., letter in hearings before the Subcommittee To
Investigate Juvenile Delinquency Comic Book of the Committee
of the Judiciary, U. S. Senate, 83d Cong., 2d sess., pp. 162-164,
Washington: Government Printing Office, 1954. 

There can be little question that research is much needed on these
problems. If we are to fully understand the impact of crime and
horror comic books upon the behaviour of normal and emotionally
disturbed children, a broad program of research must be
undertaken and means for its support must be provided.
Furthermore, it seems desirable that such research be but one of a
number of controlled studies, each to be directed to one of the
facets of the problem of juvenile delinquency. The influence of
comic books is but one aspect of a larger program which has as its
ultimate objective the determination of the multiple causes of
juvenile delinquency. 

V. Other Questionable Aspects of Comic Books 

Considerable concern has been expressed regarding the type of
advertising often carried in comic books. The repsonses by
children to such ads sometimes results in the development of
mailing lists that are rented to other concerns for the direct mail
solicitation of such children for the purchase of salacious
materials.

WEAPONS AND PSEUDOMEDICAL NOSTRUMS
ADVERTISED IN COMIC BOOKS DESIGNED FOR
CHILDREN 

Among the more objectionable advertisements that came to the
attention of the subcommittee was a full-page advertisement,
labeled "Sportsman's Paradise," operated by a concern listing a
New York address, which shows a variety of weapons that may be
purchased by mail order. Several might be a threat to the safety of
children. Although one line of the coupon reads, "Note: Not sold to
minors under 17, state age," it is needless to say that no real proof
of age was required.

The illustrations in the advertisement introduced at the New York
hearings showed at least 10 dangerous articles that would appeal to
a minor, ranging from a powerful hunting crossbow, a throwing
dagger and a "fireball" slingshot, to a .22-caliber automatic (not
available to New York residents) and an army training rifle. Their
descriptions leave little for the imagination. For example,
"Oriental battle knife- designed for long-distance throwing, it is
made to split a board at 30 feet and is balanced to stick ***";
"Commando knife-real 'Commando' weapon. An all-metal,
needle-pointed, razor-sharp 12-inch knife that may save your life
***"; the " 'Fireball' slingshot-silent, sweet shooting. Extra
powerful- you get that 'feel of accuracy' with your first shots ***";
"Throwing dagger. An exciting sport that provide fun and thrills -
indoors or outdoors. This knife is light in weight and expertly
balanced to stick. Tempered steel blade with double bevel edges
***"; "Arrow sling fun. A new thrill in hunting. Powerful sling fun
sends 12-inch metal-tipped arrows through metal-guide barrel to
300 inch range. Swift. Silent. Accurate. Kills all small game. Five
arrows included ***"; or "Finnish hunting knife, handmade in
Finland. Richly engraved blade with deep blood grooves. Flashy
horse-head handle ***."

Numerous pseudomedical advertisements in comic books and love
managazines are aimed at the teen-ager's desire to glorify his
personal appearance or to improve his physique through easy
measures: a tablet to put on weight; a tablet or chewing gum to
take off weight; hair and scalp formula; skin cleanser or treatment
for pimples; an electrically operated "spot reducer"; a course in
exercises to develop muscles.

An example in point is the advertisement of Kelpidine chewing
gum, supposedly useful in enabling one to reduce weight. Sales of
the article are essentially conducted by mail order. The Post Office
Department advised the subcommittee that it has been interested in
this product for some time. Examination and analysis of Kelpidine
chewing gum by the Food and Drug Administration indicated that
it consists essentially of small squares of chewing gum containing
a small amout of powdered kelp (seaweed). The presence of the
kelp ingredient has no particular significance in the article, and
there was found no reason to believe it was harmful. On the other
hand, there was found no valid reason for concluding that the
article has any particular effectiveness for enabling one to reduce
weight - the primary representation on which it is offered for sale.

Action has been taken by the Federal Trade Commission against
some of the concerns making false advertising claims. In a number
of instances the Food and Drug Administration has taken
exception to the labeling of a product. Nor are the prices of these
temptingly advertised goods within comforable reach of youth in
the deteriorated areas of large cities where certain types of crime
and horror comics are most often found. 

MISUSE OF MAILING LISTS COMPILED THROUGH
COMIC-BOOK ADVERTISEMENTS 

Many business firms making sales by direct mail obtain the names
and addresses of persons from lists which are purchased from
brokers who have in turn secured these lists from still other
mail-order houses. A firm wishing to sell auto seat covers might be
interested in purchaing a mailing list of people who had made
mail-order purchases of auto compasses.

Attention has been called to the fact that juveniles in this country
reveive large quantities of direct-mail advertising for salacious and
sexually stimilating materials. In some instances it has been
pointed out that such advertising was received following a
youngster's response to an advertisement appearing in a comic
book.

The Post Office Department informed the subcommittee that the
mails had been used to advertise and sell a book entitles "The
Illustraded Encyclodedia of Sex," by Dr. A. Willy and others; of
297 complaints received over a period dating from April 1951, 93
concerned mailings to minors. Although the book was not
considered obscene, the methods of advertising by the publisher
included blaring advertisements in numerous magazines, showing
pictures of scantily clad young women in sexually provocative
poses.

Parents from many States complained the the subcommittee that
teen-age sons, daughters, and friends had received advertisements
wich flagrantly describe obscene material. In the New York
investigation it was discovered that Samuael Roth, who for many
yers has been engaged in using the mails to advertise lewd and
lascivious printed materials, had purchased mailing lists that
contained the names of many teen-agers. Roth refused to testify
before the subcommittee, claiming his rights under the fith
ademdment to the Constitution.

It was found that Roth purchased 136,567 names and addresses
from Robert B. Vallon of the Mapleton Service Co. Many of those
names were obtained through correspondence with comic-book
readers. A sample circular, mailed out by Roth to a 16-year-old
high-school student, advertised such books as Wild Passion,
Wanton by Night, Waterfront Hotel, and The Shame of Oscar
Wild, all of which have been declared nonmailable under the
postal obscenity law. Roth's advertisements also carried
descriptions of "seven books of pleasure and sexual excitement
calculated to keep you on blissful heights for days and days. ***"

The devoplment of mailing lists and their sale is now a large-scale
practice. Members of the subcommitee expressed concern that
some purveyors of salacious literature may diliberately seek to
secure mailing lists of juveniles for direct-mail solicitation. One
publisher, Alex Segal, testified that "by mistake" one of his trays
of addressograph plates bearing the names of 400 children was
routed to the publisher of sex literature. Seagle himself advertises
and sells books called How to Hypnotize-A Master Key to
Hypnotism. This advertisement appeared in Quality Comics and
portrayed a male looking at a young female with the caption "What
the thrill of imposing your will on somone? Stravon Publishers
will tell you how." Upon receipt of the book on hypnotism, a child
also received a list of other purchasable material-including sex
literature. Advertisements of such nature have been received by
juveniles as young as 9 years old.

This matter has been under study by the subcommittee, and we
have called it to the attention of the Attorney General, the
Postmaster General, and the Comittees on Post Office and Civil
Service of the Senate and the House. If such actions constitute
violation of the laws dealing with the mails to offer for sale
obscene, lewd, lascivious, or fithly material, when consideration is
given to the fact the offer is being made to persons of immature
years, then we are at loss to being made to understand why
something has not been done to apprehend the offenders. If the
existing statues are found to be inadequate to meeet this situation,
a study will be made to determine what changes will be neccssary
in existing legislation to prohibit such practices.

To summarize, although some of the adversiting in comic books is
of acceptable standards, many advertisements are directed toward
the sale of articles that are potentially harmful to children, or are
fraudulent in that the articles are unable to effect the physical
changes claimed. Because of the manner in which mailing lists are
sold, some juveniles who have answered advertisements appearing
in comic book have been solicited by publishers of obscene or
salacious materials. The question has been raised regarding the
responsibility publishers of comic books should assume for
protecting their young readers, both from the wrong kind of
advertising and from any misuse of resulting mailing lists which
might accrue through the acceptance of advertising from other
than reliable firms.

THE EXPORTATION OF CRIME AND HORROR COMIC
BOOKS 

It has been repeately affirmed that the comic book, native product
of the United States, is provoking discussion in other countries.
Many Americans have expressed indignation of the influence these
books may have upon the children and young adults in other parts
of the world.

Some hold the view that there is no way in which we could give
the young people abroad a more unfavorable and distorted view of
American values, asperaitions, and culteral pattern that through
crime and horror comics. The destructive potentials of the comic
book must be recognized both within our domestic society and in
consideration of our relationship to peoples abroad. Publishers of
undesireable comic books should be made aware of the negative
effects these books may exert upon the thinking and conduct of
persons who read them throughout the work and of the deplorable
impression of the United States gained through their perual.

Several consideration stem from the impact of the comic books
abroad. They are:

1. Information gathered by United States Department of State
personnel in many countries reveals public concern over the spread
of crime and horror comic book reading. As far as can be
ascertained by the subcommittee, concern has been expressed in
almost every European country over the problem posed by the
introduction of American comics, or comics of that pattern, since
World War II.

2. Crime and horror comic books introduced to foreign cultures a
lowered intellectual mileu. Detective and weird stories, American
style, present a hardend verison of killing, robbery, and sadism. 

3. Comic book are distributed in many contries where the
population is other than Caucasian. Materials depicting persons of
other races as criminals may have meanings and implication for
persons of another races which were unforseen by the publisher.

4. There is evidence that comic books are being utilized by the
U.S.S.R. to undermine the morale of youth in many countries by
pointing to crime and horror as portrayed in American comics as
one of the end results of the most successful capitalist nation in the
world.

In Great Britain, where importation of comic books is restricted
because of limitations on dollar exchange, comic books are
published locally from United States copy or sterotypes. An
example of British thought on comic books was expressed on July
17, 1952, in the House of Commons when American style comics
were the subject of pointed criticism. Mr. Mourice Edelman, of the
Labor Party, asserted:

 

It is perfectly true that they were brought to this country in the first
instance by American forces. They were widely read by American
troops, but very rapidly it was found by publishers *** that there
was a considerable market for this type of horror and sadistic
literature; literature which glorifies the brute, literature which
undermines the law simple because it suggests that the superman
is the person who should take the law into his own hands and mete
out justice in his own way. The most sinister thing about these
publications is that they introduce the element of pleasure into
violence. They encourage sadism; and they encourage sadism in
association with an unhealthy sexual stimulation. 

Other members of the House of Commons wher were present and
participating in the debate referred to "the crude and alien idiom to
which all of us take exception"; to the "anxiety among the parents
of this country"; and to the "emphasis upon violence as such."

Repeated recommendations have been made in various parts of the
United Kingdom either to prohibit comic books of this sort or to
establish a semiofficial advisory group to provide guidance to
parents and teachers regarding this type of printed matter.

A Communist magazine, printed in East Germany and devoted to
bitter critizism of the United States, appeared under the name.
"USA im Wort und Bild" (USA in Word and Pictures). The
publication ridicules comic books and similar American attempts
to present the classics in simple form. Some of the phrases read: 

 

Shakespeare in Yankee dialect is the latest "cultural triumph" ***
The "cultural" achievement of the publishers is expressed on the
jacket of the pamphlet: "You can quote the best quotations of
Shakespeare and impress your friends, without reading the play." 

One example of racial antagonism resulting from the distribution
of American-style comic books in Asia is cited by the former
United States Ambassador to India, Chester Bowles, in his recent
book, Ambassador's Report. He reports on page 297 the horrified
reaction of an Indian friend whose son had come into possession of
an American comic book entitled the Mongol Blood-Suckers.
Embassador Bowles describes the comic book as depicting a-

 superman character struggling against half-human colored
Mongolian tribesmen who has been recruted by the Communists to
raid American hospitals in Korea and drink the plasma in the
blood banks. In every picture they were portrayed with yellow
skins, slanted eyes, hideous faces, and dripping jaws. 

At the climax of the story, their leader summoned his followers to
and attack on American troops. "Follow me, blood drinkers of
Mongolia," he cried. "Tonight we dine well of red nectar." A few
panels later he is shown leaping on an American soldier with the
shout, "One rip at the troat, red blood spills over white skins. And
we drink deep."

Ambassador Bowles commented:

 

The Communist propagandists themselves could not possibly
devise a more persuasive way to convince color sensitive Indians
that American believe in the superior civilization of people with
white skins, and that we are indoctrinateng our children with bitter
racial prejudice from the time they learn to read. 13

13 Bowles, Chester, Ambassador's Report, New York, 1954, p.
297. 

Soviet propaganda cites the comic book in support of its favorite
anti-American theme- the degeneracy of American culture.
However, comic books are but one of a number of instruments
used in Soviet propaganda to illustrate this theme. The attacks are
usually supported with examples drawn from the less-desireable
American motion pictures, television programs, literature, drama,
and art.

It is represented in the Soviet propaganda that the United States
crime rate, particularly the incidence of juvenile delinquency, is
largely incited by the murders, robberies, and other crimes
portrayed in "trash literature." The reason such reading matter is
distributed, according to that propaganda, is that the "imperialists"
use it to condition a generation of young automaton who will be
ready to march and kill in the future wars of agression planned by
the capitalists.

VI. Comic Books as a Medium of Communucation 

Crime and horror comic books constitute but a segment, althrough
quite a substantial segment, of the total comic-book industry in the
United States. There are some publishers in this field who have not
produced crime and horror comic books and do no intend to do so.
The members of the subcommittee were particularly interested in
certain aspects of the industry which relate to communication,
education, and public opinion. In those areas, it appears that there
are possibilities for positive contributions.

Joseph W. Musial, educational director of the National Cartoonists
Society, testified as a witness on the use of comics in
informational programs. Appearing with Musial before the
subcommittee were Walt Kelly, president of the National
Cartoonists Society, and Milton Caniff, artist. They pointed to the
widespread adaption of cartoons and comics as a medium of
communication. They spoke of contributions the artists in their
society had made in the public interest, and presented several
exhibits of materials prepared for this purpose.

Mr. Musial in an article described the increasing use of comic
books in communucating messages in public relations. According
to him the techniques used in the comics are especially suited to
exert such mass appeal:

 

So packed with condensed presentation is the cartoon, that
although physically static, it may be said to be in motion a highly
specialized art, it suggests movement, envokes hordes of other
images, tells a story. It tells not of a man but of men; not of a
wedding or a picnic or a fear or an appetite, but of weddings,
picnics, fears, appetites in general. Employing a tremediously
painstaking, exacting art of its own, the cartoon "hits home" to
everyone because its topic and situation are grasped at once by all
who view it. Unlike literal illustration, the cartoon employs
exaggerated measurements and actions and values, and presents
not only truth but universal, recognizable, appreciable truth.
Universal truth is transformed by the cartoon into universal appeal,
and thus the success of the cartoon is accounted for. 13

13 Musial J. W., in Public Relations Journal, November 1951 

Mr. Musial, Mr. Kelly, and Mr. Caniff, presenting the view of the
National Cartoonists Society, offered a rather convincing case for
the subtley and humaneness of the deft cartoon or comic strip.
They pointed out that the comic-book artist is usually not at the top
of his career, but generally a beginner in the field. Mr. Kelly
asserted that the code of the society 14 precluded from
membership any artist who produces indecent or obscene matter or
in any way proves himself to be an objectionable citizen.

 14 The text of the code of the National Cartoonists Society
appears on p. 35 of thie appendix of this report 

The consensus is that the comic art has genuine appeal for a large
segment of the American public. It is apparent that comic books
have assumed major importance in the reading diet of thousands of
American youths. For that reason, it is important that the artwork
be of a high level. Although the cartoonists are not responsible for
the accompanying script, it should measure up to some standards.
Mr. Kelly pledged the Cartoonists Society to continually
improving their own material, but the society - 

 views as unwarranted any additional legislative action that is
intended to censor printed material. 

One of the objections that has been made repeatedly to comic
books is that they contribute to limiting the reading ability and the
reading experience of a vast portion of our youthful population.
This though was dealt with by Robert Warshow in a recent article.
He said:

 *** We are left above all with the fact that for many thousands of
children comic books, whether bad or "good," represent virtually
their only contact with culture. There are children in the schools of
our large cities who carry knives and guns. There are children who
reach the last year of high school without ever reading a single
book. Even leaving aside the increase in juvenile crime there
seems to be lager numbers of children than ever before who,
without going over the line into criminality, live almost entirely in
a juvenile undergroud largely out of touch with the demands of
social responspibility, culture, and personal refinement, and who
grow up into an unhappy isolation where they are sustained by
little else but the routine of the working day, the inceasing clamor
of television and the jukeboxes, and still, in their adult years, the
comic books. This is a very fundamental problem; to blame the
comic books, as Dr. Wertham does, is simple minded. But to say
that the comics do not contrubute to the situation would be like
denying the importance of the children's classics and the great
European novels in the development of an educated man. 15

15. Warshow, Robert; Paul, The Horror Comics and Dr. Wertham
in Commentary, June 1954. 

After hearing the presentation of Mr. Musial, Mr. Kelly, and Mr.
Caniff to the effect that government and private agencies and
philanthropic organizations have recognized the comic book as an
effective medium of communication for worthwhile objectives, it
is apparent too that the comic book can also be an effective
medium of for unworthy objectives. The comic book is recognized
as a means of publicazing crime and horror. There was no
plausible reason offered as to why this medium should be less
impressive when dealing with one kind of subject matter than with
another.

VII. Where Should Responsiblity For Policing Crime and Horror
Comic Books Rest? 

The subcommittee believes that this Nation cannot afford the
calculated risk involved in the continued mass dissenimation of
crime and horror comic books to children.

Where does the responsiblity rest for preventing the distrubution of
such materials?

With the comic book industry?

With the parents, assisted by educational campaigns of civic
organizations?

With governmental censorship either at the Federal, State, or local
levels?

COMIC BOOKS AND AUTHORITY 

The subcomittee flatly rejects all suggestions of governemental
censorship as being totally out of keeping with our basic American
concepts of a free press operating in a free land for a free people.

Canadian experience seems to indicate the futility of such an
approach. Evidence introduced during the subcommittee's hearings
indicated that in 1949 the Canadain Parliament passed a law
making it an offense to print, publish, or sell a crime comic.16
According to the Honorable E. E. Fulton, member of the Canadian
House of Commons, within a year or so following the enactment
of the Canadaian legislation, the crime comic as such almost
completely disappeared from Canadian newsstands. Into the void
poured such flood of love, sex, and girlie magazines that the
Canadian Senate established a special committee to look into the
sale and distrubution of salacious literature.

 16 See Hearings Before the Subcommittee to Investigate Juvenile
Delinquency (Comic Books) of the Committee on the Judiciary, U.
S. Senate, 83d Cong., 2d sess., p.256, Washington: Government
Printing Office, 1954. 

After a bit, however, there crept into Canada the crime comic in its
orignal form. It also began to appear in an alternative form, i.e.,
the horror comic. Mr Fulton ascribed many reasons for the
reapperance on the Canadian newsstands of crime and horror
comics, despite the criminal statue: inability to reach a major
publisher for prosecution since they are, in the main, in the United
States; relaxation of public vigilance so that there was no longer
the constant supervision of newsstands to pick out offensive
publications and bring them to the attention of the authorities and
demand prosecution; and, inability and unwillingness of customs
officials to act as censors.

Legislation has been enacted by three States, New York, New
Jersy, and Idaho, to prohibit what is known as tie-in sales
practices. There was testimoney before the subcommittee that
some newsdealers handle crime and horror comic books because
they fear they will be penalized by the wholesaler if they refuse to
do so. This penalty frequently takes the form of withholding more
popular periodicals from the newsdealer who refuses to sell crime
and horror comics or other objectional publications. Evidence
heard by the subcommittee indicated that such practices are
geographically widespread but scattered.

Testimoney was also presented to the subcommittee that these
restrictive practices did not exist.

It was suggested to the subcommittee that Federal legislation
prohibiting tie-in sales on all printed matter involved in interstate
commerce would be of marked assistance. However, while the
subcommittee is of the opinion that such a Federal statue is not
needed at this time, this matter has been brought to the attention of
the Attorney General to determine if the charges of tie-in sales, if
substantiated, constitute violations of the antitrust laws as
presently enacted.

RESPONSIBILITY OF PARENTS, ASSISTED BY CITIZEN
GROUPS 

There is no doubt that much can and has been accomplished
toward elimitating crime and horror comic books from newsstands
through vigorous citizen action in local communities. Children can
be guided away from the purchases of crime and horror stories.
Complaints directed to the vendor and wholesaler, if repeated, will
requently result in the removal of particluar publications from the
newsstands.

Effective steps of this nature have been taken in several parts of
the United States. For example, the citizens of Hartford, Conn.,
spurred on by the Hartford Courant, have been successful in
cleaning up the newsstands of their city. Another example of
effective citizen action was the formation several years ago in
Cincinnati, Ohio, of a committee on evaluation of comic books. 17
Its purpose is to make a study of comics in the spring of each year,
and to pass on findings to parents. The Cincinnati committee
points out that more than 80 prominet citizens are members of the
committee. It publishes an annual list of comic books, together
with a rating of each comic. 

 17 See evaluations of comic books by that committee in Hearings
Before the Subcommittee To Investage Juvenile Delinquency
(Comic Books) of the Committee on the Judiciary, United States
Senate, 83d Cong., 2d sess., pp.36-53, Washington: Government
Printing Office, 1954 

William M. Gaines, publisher of Entertaining Comics Group,
ridiculed the efforts of parents' groups to restrain their children
from reading crime and horror comics. Gaines who publishes some
of the most sadistic crime and horror comic books with
monstrosities that nature has been incapable of, issued a page
which was reprinted with the testimoney from the Hew York
hearings. 18 Under the heading "Are you a Red Dupe?" Gaines
prints the story of Melvin Blizunken-Skovitchsky, who lived in
Soviet Russia and printed comic books, but some people did not
believe that other persons possessed sufficient intelligence to
decided what the wanted to read. Consequently, the secret police
came, smashed poor Melvin's four-color press and left Melvin
hanging from a tree. Gains' message at the end reads:

 So the next time some joker gets up at a PTA meeting, or starts
jabbering about "the naughty comic books" at your local candy
store, give him the once-over. We are not saying is his a
Communist. He may be a dupe. He may not even read the Daily
Worker. It is just that he's swallowed the Red bait- hook, line and
sinker.

18 Hearings Before the Subcommittee To Investage Juvenile
Delinquency (Comic Books) of the Committee on the Judiciary,
United States Senate, 83d Cong., 2d sess., pp.36-53, Washington:
Government Printing Office, 1954 

The subcommittee does not ridicule such efforts. It believes that
parents have a full measure of responsibility for the reading
material reaching their children and that civic organizations can do
a worthy job by calling the attention of parents to those materials
offered for children's reading that fall beflow the American
standard of decency by glorfying crime, horror, and sadism. 

The tempter of children cannot excuse his attempts to gain
personal wealth through disregard of cultural values by crying that
the parents should have been more vigilant. The simple fact
remains that all this constant vigilance on the part of parents and
civic organizations would not have been neccessary if the persons
responsible for producing and distributing comic books had
exercised that measure of self-restraint and common decency
which the American people have a right to expect from an industry
aiming its product so largely at the young and impressionable
minds of our children. 

ROLE OF CHILD STUDY ASSOCIATION AS AN
EVALUATOR OF COMICS 

The Child Study Association of America includes among its
functions the provision of guidance to parents and teachers on
reading materials for children. In its review of such reading
material, the association has, quite commendebly, concerned itself
with comic books.

In 1943 and again in 1948 surveys of comic books were made by
the association. These surveys were carried out by members of the
association's book committee. Miss Josette Frank of the
association's staff served as editorial adviser. Some attention to
comic books has been given in various other materials produced by
the association and members of its staff.

Although some objections are voiced to certain aspects of comic
book publications- exploitation of horror and sex, poor drawings,
illegible lettering and bad taste - these statements fall far short, in
opinion of the subcommittee, of presenting a realistic picture
either of the percenctage of comic books devoted to crime and
horror or the volume of compentent opinion which is concerned
with their effects upon children.

These statements were given particularly close scrutiny during the
subcommittee's hearing since the Child Study Association has
recieved financial donations from a major comic book publisher,
National Comics, and Miss Josette Frank is also a salaried
consultant to the same firm. This means that in reviewing and
commenting upon comic book reading materials for children, the
association was infact passing judgement upon a product from
which it and a member of its staff were receiving financial
benefits.

Moreover, the character of the comic-book industry's output has
undergone change since 1943 and 1948. The persentage of comic
books decoted to crime and horror had increased materially by the
spring of 1954.

In a book issued in the spring on 1954 on chilren's reading
materials, Miss Josette Frank, its author, devotes one chapter to the
comics. This material, although current, devotes but 2 of its 12
pages to a review of objections to comic books as reading
materials for children. The opinions of psychiatrists and
psycholocgists cited are selected from those secured in connection
with the 1948 survey of comic books conducted by the Child Sutdy
Association of America.

It is probably theoretically possible for an organization to be
objective in evaluating the products of a company which
contributes to its support and retains one of its staff members. The
subcommittee believes, however, that in fairness to the parents
who look to the association for guidance, the association should
make known in any evaluation of comic books, its affiliations with
the comic-book industry.

In drawing conclusions relative to this "conflict of interest," the
subcommittee wishes to be entirely fair and clearly understood.
After careful review of all available date the subcommittee
specifically finds:

(1) That the Child Study Association is to be commended in
including comic books within its evaluation activities.

(2) That there is no reason to criticize a publisher for employing
qualified consultats.

(3) That the association's statements on comic books and those of
its staff member conserned do not adequately reflect either the
character of the total present-day product of the industry or the
substance of qualifies consultants.

(4) That, although the Child Study Association maintains that the
contributions it received from the publishers did not color its
judgement, a reasonable doubt as to the association's objectivity in
this matter is raised by the fact that, in the face of a rising tide of
crime and horror comic books, the association continued to
distribute evaluations which inadequately and unrealistically
reflected the current situation. 

(5) That the Child Study Association in confronted with a serious
ethical question in relation to these practices and that it cannot
fairly represent itself as an objective, impartial reporter on reading
materials for children so long as they continue. 

RESPONSIBILITY OF THE COMIC-BOOK INDUSTRY FOR
SELF-REGULATION 

The subcommittee believes that the American people have a right
to expect that the comic-book industry should shoulder the major
responsibility for seeing to it that the comic books placed so
temptingly before our Nation's children at every corner newsstand
are clean, decent, and fit to be read by children. This grave
responsibility rests squarely on every segment of the comic-book
industry. No one engaged in any phase of this cast operation - from
the artists and the authors to the newsstand dealers, from the
publisher to printer to distributor to the wholesaler - can escape
some measure of responsibility. A few persons engaged in this
business have it within their power to do more than others to
insure that this reading matter is suited to children. But many of
those in the comic-book industry who had the opportunity to act to
prevent abuses harmful to children have failed to do so.

In short, neither the comic-book industry nor any other sector of
the media of mass communications can absolve itself from
responsibility for the effects of its product. Attempts to shift all
responsibility to parents are unjustified. Claims of the absolute
right of an industry to produce what it pleases unless it is proven
"beyond a reasonable doubt" that such a product is damaging to
children, are unjustified. Parents have a right to expect that the
producers of materials that may influence their children's thinking
will exercise a high degree of caution. They have a right to expect
the hightest degree of care. And the American people have a right
to demand that this degree of care be exercised at all times, in all
ways, and with respect to all mass media. 

What kind of responsibility for content can and should be assumed
by each segment of the comic-book industry?

NEWSDEALERS UNABLE TO ASSUME ADEQUATE
RESPONSIBILITY 

In larger cities such as New York or Chicago, the newsdealer
offers for sale as many as 600 to 1,000 titles. Time does not permit
him to sort and inspect these magazines at the moment of delivery.
He is restricted as to space. So far as he is aware of the contents of
a particular publication, he if he wishes, may "keep that magazine
from moving," either by placing it below the counter of by hanging
it in an obscure spot. But frequently, he is unaware of the contents,
he may also be hampered in his efforts to prevent certain
publications form moving by pressures exerted by the wholesaler
or his representative. Such pressures may take the form of delays
in the refunds he receives for his unsold magazines or delays in the
delivery of bundles or routing of his bundles to the wrong address.
Evidence presented to the subcommittee also indicatedd that in
some instances he may be subjected to the addictional presures of
tie-in sales, that is, if he refuses to handle crime and or horror
comics his supply of the best selling and most profitable
periodicals is withheld or drastically reduced. The newsdealer is
usually operating on small capital and is often a disabled veteran.
He has not been in a position to select the periodicals on his
shelves, and therefore he is not in a position to assume effective
responsibility for eliminating crime and horror comics from the
channels of distribution.

These facts do not mean that the newsdealer should not make
every effort to discontinue handling publications which he knows
to be objectionable; or that he should not make known his
objections to such publications through such channels that exist for
him, perhaps through a local organization of newsdealers.

WHOLESALERS ARE NOT MOST FEASIBLE PARTIES TO
REGULATE CONTENT 

The wholesaler receives cartons containing thousands of copies of
the publications he is to distribute. The carton has an outside label
which designates to the contents. It would be possible for the
wholesaler to refuse to handle certain titles. He could return a
carton to the national distributor or to the publisher unopened.
However, there are in the United States approximately 950
independent wholesalers and some 400 branches of the American
News Co. The suggestion that these 1,350 firms be utilized as
censors to cut of the supply of crime and horror comic books to the
newsstands would appear to be highly impractical and wasteful.

It is not presumed to say that the wholesaler should be absolved of
all responsibility for the printed matter offered for sale. Both as
individuals and as members of 1 of the 8 organizations of
wholesalers in this country, the wholesaler can and should make
his influence felt in efforts to curtail distribution of objectionable
reading materials for children.

The subcommittee notes with approval that the parent body of
these organizations, the Bureau of Independent Publishers and
Distributiors, has given some attention to offensive reading
materials on newsstands. It is hoped that further attention will be
given the matter and that concerted action will be taken.

PRINTER CANNOT FEASIBLY REGULATE CONTENT 

The printer of crime and horror comics may be responsible for
doing only a portion of the printing job. One printer may do the
covers and another the inside pages. A single publisher may use
several different printers for his work. For these reasons, it would
seem impractical to suggest that the printer be thrust into a
screening role. Once again, however, it does not seem
unreasonable to expect a reputable printer to refuse to print
material, the reading of which in his estimation may influence
children negatively.

DISTRIBUTOR HOLDS ONE OF THE KEY POSITIONS IN
COMIC-BOOK INDUSTRY 

There are only 13 national distributors of comic books. 19
Although the distributor does not have an opportunity for review
of individual issues prior to publication, it is not unrealistic to
assume that he should be able to maintain familarity with the
general nature of the publications he handles month after month.
Indeed, through a system of advances, the national distributor is
frequently in the position of being the financial backer, in part, of
the publication he distributes.

 19 Listings of comic book distributors by groups and publishers
appears in the appendix of this report, pp.44-50. 

It is the opinion of the subcommittee that because of his key
position in the industry, a major responsibility falls upon the
national distributor for the content of the printed matter he
distributes. The subcommittee is glad to note a majority of the
distributors have expressed agreement with this point of view.
Some of the 13 distributes have never handled crime and horror
comic titles. In certain instances they have worked with publishers
to end the changing the character of the contents of comic books.
The subcommittee notes these developments with approval. It will
be even more resassured when those distributors who have been
carrying large numbers of crime and horror titles discontinue such
publications. 

The responsibility of the national distributor to guard against
distributing reading materials to children which are detrimental to
their welfare, cannot be dischanged, however, by discontinuing a
few titles when he public furor arises. As responsible members of
the community, and as persons engaged in an industry which plays
a large part in molding the impressionable minds of the youth, they
should maintain constant, continuing supervision over the
publications they distribute.

PUBLISHER HAS PRIMARY RESPONSIBILITY FOR SUBJECT
AND TREATMENT 

Within the industry, primary responsibility for the contents of each
comic book rests squarely upon the shoulders of its publisher. The
publisher can be discriminating. He is the creator of the comic
book and he shapes his own editoral policy. The writers and artists
who work on the contents are employed by him and are under his
direction. The attitude of the owners is reflected in the tenor of the
work of the writers and artists.

Vast differences exist between the types of comics produced by
publishers in this field. The largest single publisher of comic
books does not list crime or horror comics among its nearly 100
comic-book titles, and never has. At the other extreme is the
publisher who at the time of the New York hearings specialized in
crime and horror and whose only standard regarding content was
in terms of "what sells." 

It has already been indicated that a large number of undesirable
comic-book titles have heen discontinued or revamped. Initiative
for this change has come from the individual publisher as well as
from the distributor. Several publishers have written to the
subcommittee regarding their desire to be absolved of the critizism
of in any way contributing to juvenile delinquency through their
publications. One publisher has notified his readers that he is
discontinuing his crime and horror line in favor of other and less
controversial themes.

Again the subcommittee feels that this is progress in the right
direction. As in the case of the distributors, however, the
subcommittee also feels that the publishers of children's comic
books cannot discharge their responsibility to the Nation's youth by
merely discontinuing the publication of a few individual titles. It
can be fully discharged only as they seek and support ways and
means if insuring that the industry's product permanently measures
up to its standards of morality and decency which American
parents have the right to expect.

PAST ATTEMPTS AT INDUSTRY SELF-REGULATION 

In 1948, public indignation at the flood of crime, sex, and horror
comic books made itself heard in ever louder tones. It was in that
year that the National Association of Prosecuting Attorneys added
its voice to that many other organizations and agencies by passing
a resolution strongly recommending "that legislation be adopted
designed to prohibit the sale of objectionable crime, sex, and
horror comis to juveniles." Ordinances designed to curb the sale of
crime and horror comics to juveniles were in fact passed by some
communities. This was at a time when there were only 34
publishers of comic books whose montly sales of about 270 titles
amounted to approximately 50 million copies. And at that time,
too, the number of titles dealing with crime and horror were
relatively few compared to the increasing numbers that have
appeared on the newsstands in succeeding years.

On July 1, 1948, the comic-book industry- or at least a part of it-
reacted to this mounting criticism. An Association of Comics
Magazine Publishers (ACMP) was formed in New York City and it
adopted a six-point code of editorial practices. 19 At the time, the
New York Times reported:

 The self-policing, in an industry that has been meeting a growing
criticism from educators' and parents' groups, marks only the first
step in a plan for raising the moral tone of comic magazines ***.

19 See the code of the Association of Comic Magazine Publishers,
p. 35 in the appendix of this report. 

Even from the beginning, the association was plagued by lack of
unity of purpose and objectivess within the industry itself. Only 12
major publishers joined the association and they were responsible
for publishing only one-third of the comic books issued. Two other
publishers agreed to abide by the code. Many of the publishers
who did not join the association or adhere to the code were
sincerely motivated. They believed that since the materials they
published did not deal with crime or horror there was no need for
them to participate in the organization. 

Mrs. Helen Meyer, vice president of Dell Publications, testified: 

With regard to Dell's refusal to belong to the Comic Book
Association, Dell had no other alternative. When the association
was first introduced, we, after thorough examination, saw that Dell
would be used as an umbrella for the crime comic publishers. Dell,
along with these publishers, would display the same seal. How
could the newsdealer afford the time to examine the contents of
each comic he handled? The parents and children, too, would
suffer from misrepresentation. Dell didn't need a code set down by
an association, with regard to its practices of good taste. We
weren't interested in trying to go up the marginal line in our
comic-book operation, as we knew we were appealing, in the
main, to children. 

Undaunted by not having all the publishers as members, the
association went ahead with its original concept. An advisory
committee that included educators, the superintendent of schools
of New York City, and the New York State librarian met with
publishers with a view to raising the language levels and
improving the story content of comic magazines. A seal signifying
conformity with the six-point code of editorial practives was
adopted and issued to members. However, this effort at
self-regulation of the industry was doomed to failure for a variety
of reasons. Not only were not all the publishers memebers from
the very beginning, but many of those who originally were
members resigned from the association. They resigned for various
reasons.

Mr. Henry Edward Schultz, attoney for the association, stated two
of the reasons for the defections:

 Some of them felt that they should not be associated with some of
the elements in the industry that they felt were publishing products
inferior to theirs and there is also, in passing, a great deal of
internecine warfare in this industry, a lot of old difficulties which
mitigated a strong, well-knit attempt to organize. In addition, other
publishers such as William Gaines resigned from the association
rather than meet the standards of the code. 

Finally, in 1950, to quote Mr. Schultz:

 the defections became so bad we could not afford to continue ***
(the) precensorship arrangement and that has been discarded.
Today we do no self-regulation at all except as it may exist in the
minds of the editors and they proceed in their daily work ***. The
association, I would say, is out of business and so is the code. 

Meanwhile, however, those publishers who continued as members
also continued to imprint on the covers of their comic books the
seal of approval which bore the words: "Athorized ACMP.
Conforms to the Comics Code." This practice was continued even
though the association was for all intents and purposes defunct and
even though none of the comics were reviewed at any point by of
for the association. As a matter of fact, some highly objectionable
comic books dealing with crime and horror were introduced at the
subcommittee hearings bearing such imprint. The subcommittee
believes that this practice was highly questionable and most
assuredely calculated to mislead the parents of the children buying
such comic books. 

Why did this attempt at self-regulation in the industry fail? There
were many reasons and they offer some lessons in judging future
attempts at industry self-regulation.

It is the subcommittee's opinion that, if self-regulation by an
industry to succeed, there are certain attributes and certian
mechanisms which it must have. This earlier attempt of the
comic-book industry at self-regulation lacked many of these.

In the first place, the code itself must be clear and explicit.

In the second place, there must be a wide publication education of
the code and the meaning it has for the public when making
purchases.

In the third place, the public must be sold this idea of restricting
purchases of comics to those carrying the seal of approval. This, of
course, becomes difficult if nummerous publishers do not
subscribe to the code and particularly, if some of the
nonsubscribers are majoor publishers of good, clean comic books.
Such a course of action permits the unscrupulous publisher, who is
unwilling to meet the standards of the code, to hide behind the
skirts, so the speak, of the reputable publisher who does not
display the seal for other reasons. If those who are not adherents to
the code are numerous enough, then adherence or nonadherence is
meaningless in the public eye and enforcement machinery breaks
down.

Finally, there must be established enforcement machinery to make
certain that the code's standards are adhered to. This machinery
should have sufficient, well-trained staff imbued with the spirit
that theirs is a task which, if well performed, can help the children
of our Nation. If it is not well performed, it can affect them
adversely. In addition, this enforcement machinery should be so
established and operated that it is independence of thought and
action should be maintained at all times lest the entire endeavor
become beclouded with suspicion.

CURRENT EFFORTS AT SELF-REGULATION 

Following the hearings of the subcommittee on the effects of crime
and horror comic books and intensified community action
throughout the country in protesting to objectionable comic books,
establishment of the Comics Magazine Association of America
was announced. A code was adopted on October 26, 1954. 21
Charles F. Murphy, formerly a city magistrate in New York, was
named code administrator. Jonh Goldwater, president of the
Comics Magazine Association of America, said that a staff of
professional reviewers will be selected to assist the code
administrator in inspecting all comic books before they are
printed. The code provides for a ban on all horror and terror comic
books but not on crime comic books. A seal of approval will be
printed on all comic books approved by the code administrator.

 21 See the code of the Comics Magazine Association of America,
pp. 36-38 in the appendix of this report. 

It is the consensus of the subcommittee that the establisment of
this new association, the adoption of a code, and the appointment
of a code administartor are steps in the right direction. This effort
at self-regulation on the part of the comic boook industry is in
accordance with suggestions made by the subcommittee. Whether
the fact that not all publishers of comic books are members of the
association will impair the effectiveness of this latest attempt at
self-regulation, as it did in the previous attempt, remains to be
seen. However, since the association and the code authority have
so recently been organized, it is still too early to form a judgement
as to either the sincerity of the effectiveness of this latest attempt
at self-regulation by the comic book industry. The subcommittee
intends to watch with great interest the activities of this association
and will report at a later date on this effort by the comic book
industry to eliminate objectionable comic books. At any rate, the
subcommittee is convinced that if this latest effort at industry
self-regulation does not succeed, then other ways and means must-
and will- be found to prevent our Nation's young from being
harmed by crime and horror comic books.

VIII. Conclusions 

While not attempting to review the several findings included in
this report, the subcommittee wishes to reiterate its belief that this
country cannot affored the calculated risk involved in feeding its
children, through comic books, a concentrated diet of crime,
horror, and violence. There was substantial, although not
unanimous, agreement among the experts that there may be
detrimental and delinquency-producing effects upon both the
emotionally disturbed child and the emotionally normal
delinquent. Children of either type may gain suggestion, support,
and sanction from reading crime and horror comics.

There are many who believe that the boys and girls who are the
most avid and extensive consumers of such comics are those who
are least able to tolerate this type of reading material. The
excessive reading of this material is viewed by some observers as
sometimes being symptomatic of some emotional maladjustment,
that is, comic book reading may be a workable "diagnostic
indicator" or an underlying pathologcal condition of a child.

It is during childhood that the individual's concepts of right and
wrong and his reactions to society's standards are largely
developed. Those responsible for the operation of every form of
the mass media of communication, including comic books, which
cater to the education or entertainment of children have, therefore,
a responsibility to grear their products to these special
considerations.

Standards for such products, wheather in the form of a code of by
the policies of individual producers, should not be aimed to
eliminate only that which can be proved beyond doubt to
demoralize youth. Rather the aim should be to eliminate all
materials that potentially exert detrimental effects.

To achieve this end, it will require continuing vigilance on the part
of parents, publishers and citizens' groups. The work that has been
done by citizens' and parents' groups in calling attention to the
problem of crime and horror comics has been far-reaching in its
impact.

The subcommittee notes with some surprise that little attention has
been paid by educational and welfare agencies to the potential
dangers, as well as benefits, to children presented by the growth of
the comic book industry. As spokesmen in behalf of children, their
responsibility requires that they be concerned for the child and the
whole world in which he lives. The campaign against juvenile
delinquency cannot be won by anything less than an all-out attack
upon all conditions contributing to the problem. 

The interest of our young citizens would not be served by
postponing all precautionary measures until the exact kind and
degree of influence exerted by comic books upon children's
behavior is fully determined through carefull research. Sole
responsibility for stimulating, formulating and carrying out such
research cannot be assumed by parents' or citizens' groups. Rather
is must also be assumed by the educational and social welfare
agencies and organizations concerned.

In the meantime, the welfare of this Nation's young makes it
mandatory that all concerned unite in supporting sincere efforts of
the industry to raise the standards of its products and in demanding
adequate standards of decency and good taste. Nor should these
united efforts be relaxed in the face of monentary gains.
Continuing vigilance is essential in sustaining this effort.

ONLY ONE PART OF INVESTIGATION INTO THE MASS
MEDIA OF COMMUNICATION 

The subcommittee wishes to call particular attention to the fact
that its exploration of crime and horror comic books as a
contributing factor to juvenile delinquency is only one part of its
investigation into the mass communication.

A future report of the subcommittee will contain certain additional
recommendations which will deal with the several media and, as
such, will have further bearing upon the problem of crime and
horror comics.

APPENDIX 

Senate Resolution 89 

(83d Cong., 1st sess.) 

 Resolved, that the Committee on the Judiciary, or any duly
authorized subcommittee thereof, is authorized and directed to
conduct a full and complete study ofjuvenile delinquency in the
United States. In the conduct of such investigation special
attention shall be given to (1) determining the extent and character
of juvenile delinquency in the United States and its causes and
contributing factors, (2) the adequacy of exiisting provisions of
law, including chapters 402 and 403 of title 18 of the United States
Code, in dealing with youthful offenders of Federal laws, (3)
sentences imposed on, or other correctional action taken with
respect to, youthful offenders by Federal courts, and (4) the extent
to which juveniles are violating Federal laws relating to the sale or
use of narcotics.

SEC. 2. The committee, or any duly authorized subcommittee
thereof, is authorized to sit and act at such places and times during
the sessions, recesses, and adjourned periods of the Senate, to hold
such hearings, to require by subpenas or otherwise the attendance
of such witnesses and the production of such books, papers, and
documents, to administer such oaths, to take such testimony, to
procure such printing and binding, and, within the amound
appropiated therefor, to make such expendutures as it deems
advisable. The cost of stenographic services to report hearings of
the committee or subcommittee shall not be in excess of 40 cents
per hundred words. Subpenas shall be issued by the chairman of
the committee or the subcommittee, any may be served by any
person designated by such chairman.

A majority of the members of the committee, or duly authorized
subcommittee thereof, shall constitute a quorum for the transaction
of business, except that a lesser number to be fixed by the
committee, or by such subcommittee, shall comstitute a quorum
for the purpose of administering oaths and taking sworn testimony.

SEC. 3. The committee shall report its findings, together with its
recommendations for such legislation as it deems adviseable, to
the Senate at the earliest date practicable but not later than January
31, 1954. 

SEC. 4. For the purposes of this resolution, the committee, or any
duly authorized subcommittee thereof, is authorized to employ
upon a temporary basis such techincal, clerical, and other
assistants as it deems adviseable. The expenses of the committee
under this resolution, which shall not exceed $44,000, shall be
paid from the contingent fund of the Senate upon vouchers
approved by the chairman of the committee. 

Senate Resolution 190(83d Cong., 2d sess.)

 Resolved, That section 3 of S. Res. 89, Eighty-third Congress,
agreed to June 1, 1954 (authorizing the Committee on the
Judiciary to make a study of juvenile delinquency in the United
States), is amended to read as follows:

"SEC. 3. The committee shall make a preliminary report of its
findings, together with its recommendations for such legislation as
it deems advisable, to the Senate not later than February 28, 1954,
and shall make a final report of such findings and
recommendations to the Senate at the earliest date practicable but
not later than January 31, 1955."

SEC. 2. The limitation of expenditures under S. Res. 89 is
increased by $175,000, and such sum together with any
unexpended balance of the sum previoulsy authorized to be
expended under such resolution shall be paid from the contingent
fund of the Senate upon vouchers approved by the chairman of the
committee.

Title 39 - U.S. CodeSEC. 233. SWORN STATEMENTS
RELATING TO NEWSPAPERS AND OTHER PUBLICATIONS.

It shall be the duty of the editor, publisher, business manager, or
owner of every newspaper, magazine, periodical, or other
publication to file with the Postmaster General and the postmaster
at the office at which said publication is entered, not later than the
1st day of October each year, on blanks furnished by the Post
Office Department, a sworn statement setting forth the names and
post-office addresses of the editor and managing editor, publisher,
business managers, and owners andd in addition the stockholders,
if the publication be owned by a corporation; and also, in the case
of daily and weekly, semiweekly, triweekly newspapers, there
shall be included in such statement the average of the numbr of
copies of each issue of such publication sold or distributed to paid
subscribers during the preceding twelve months: Provided, That
the provisions of this paragraph shall not apply to religious,
fraternal, temperance, and scientific, or other similar publications:
Provided further, That it shall not be necessary to include in such
statement the names of persons owning less than 1 per centum of
the total amount of stock, bonds, mortgages, or other securties. A
copy of such sworn statement shall be published in the second
issue of such newspaper, magazine, or other publication shall be
denied the privileges of the mail if it shall fail to comply with the
provisions of this paragraph within ten days after notice by
registered letter of such failure. (August 24, 1912, ch. 3389, sec. 2,
37 Stat. 553; March 3, 1933, ch. 207, 47 Stat. 1486, ch. 533, 60
Stat. 416.)

AMENDMENTS

1946- Act July 2, 1946, amended section by inserting "and weekly,
semiweekly, triweekly" between "daily" and "newspapers" in first
sentence. 

Code of the National Cartoonists Society

We, the members of the National Cartoonists Society, believe:

1. That we should preserve our present high standards of artistic
achievement and good taste in our relationship with the public and
with those agencies that distrubute cartoons for professional use.

2. That our work should comply with the established standards of
morality and decency; and we should condemn any violations of
such standards.

3. That promising talent should be encouraged and guided to the
fulllest extent.

4. That cartoonists, as creators of characters, symbols, and ideas,
which become tangible financial properties are entitled to the
protection and just rewards those properties deserve.

5. On the freedoms guaranteed by our Government and pledge
ourselves to resist any attempts to interfere with these freedoms.

Code of the Association of Comics Magazine Publishers, 1948

1. Crime should not be presented in such a way as to throw
sympathy against law and justice or to inspire others with the
desire for imitation. No comics shall show the details and methods
of a crime committed by a youth. Police-men, judges, Government
officials, and respected institutions should not be portrayed as
stupid or ineffective, or represented in such a way as to weaken
respect for established authority.

2. No scenes of sadistic torture should be shown.

3. Sexy, wanton comics, should not be published. No drawing
should show a female indecently or unduly exposed and in no
event more nude than in a bathing suit commonly worn in the
United States.

4. Vulgar and obscene language should never be used. Slang
should be kept to a minimum and used only when essential to the
story.

5. Divorce should not be treated humorously nor represented as
glamorous or alluring.

6. Ridicule or attack on any religious or racial group is never
permissible.

Code of the Comics Magazines Association of America, Inc.

Adopted October 26, 1954

PREAMBLE 

The comic-book medium, having come of age on the American
cultural scene, must measure up to its responsibilities.

Constantly improving techniques and higher standards go hand in
hand with these responsibilities.

To make a positive contribution to contemporary life, the industry
must seek new areas for developing sound, wholesome
entertainment. The people responsible for writing, drawing,
printing, publishing, and selling comic books have done a
commendable job in the past, and have been striving toward this
goal.

Their record of progress and continuing improvement compares
favorably with other media in the communications industry. An
outstanding example is the development of comic books as a
unique and effective tool for instruction and education. Comic
books have also made their contribution in the field of letters and
criticism of contemporary life.

In keeping with the American tradition, the members of this
industry will and must continue to work together in the future.

In the same tradition, members of the industry must see to it that
gains made in this medium are not lost and that violations of
standards of good taste, which might tend toward corruption of the
comic book as an instructive and wholesome form of
entertainment, will be eliminated.

Therefore, the Comics Magazine Association of America, Inc. has
adopted this code, and placed strong powers of enforcement in the
hands of an independent code authority.

Further, members of the association have endorsed the purpose
and spirit of this code as a vital instrument to the growth of the
industry.

To this end, they have pledged themselves to conscientiously
adhere to its principles and to abide by all decisions based on the
code made by the administrator.

They are confident that this positive and forthright statement will
provide an effective bulwark for the protection and enhancement
of the American reading public, and that it will become a
landmark in the history of self-regulation for the entire
communications industry.

CODE FOR EDITORIAL MATTER

General Standards - Part A

1.Crimes shall never be presented in such a way as to create
sympathy for the criminal, to promote distrust of the forces of law
and justice, or to inspire others with a desire to imitate criminals.

2.No comics shall explicitly present the unique details and
methods of a crime.

3.Policemen, judges, government officials, and respected
institutions shall never be presented in such a way as to create
disrespect for established authority.

4.If crime is depicted it shall be as a sordid and unpleasant
activity.

5.Criminals shall not be presented so as to be rendered glamorous
or to occupy a position which creates the desire for emulation.

6.In every instance good shall triumph over evil and the criminal
punished for his misdeeds.

7.Scenes of excessive violence shall be prohibited. Scenes of
brutal torture, excessive and unnecessary knife and gun play,
physical agony, gory and gruesome crime shall be eliminated.

8.No unique or unusual methods of concealing weapons shall be
shown.

9.Instances of law enforcement officers dying as a result of a
criminal's activities should be discouraged.

10.The crime of kidnapping shall never be portrayed in any detail,
nor shall any profit accrue to the abductor or kidnapper. The
criminal or the kidnapper must be punished in every case.

11.The letter of the word "crime" on a comics magazine shall
never be appreciably greater than the other words contained in the
title. The word "crime" shall never appear alone on a cover.

12.Restraint in the use of the word "crime" in titles or subtitles
shall be exercised. 

General Standards - Part B

1.No comic magazine shall use the word "horror" or "terror" in its
title.

2.All scenes of horror, excessive bloodshed, gory or gruesome
crimes, depravity, lust, sadism, masochism shall not be permitted.

3.All lurid, unsavory, gruesome illustrations shall be eliminated.

4.Inclusion of stories dealing with evil shall be used or or shall be
published only where the intent is to illustrate a moral issue and in
no case shall evil be presented alluringly nor so as to injure the
sensibilities of the reader.

5.Scenes dealing with, or instruments associated with walking
dead, torture vampires and vampirism, ghouls, cannibalism, and
werewolfism are prohibited.

General Standards - Part C

All elements or techniques not specifically mentioned herein, but
which are contrary to the spirit and intent of the Code, and are
considered violations of good taste or decency, shall be prohibited. 

 Dialogue

1.Profanity, obscenity, smut, vulgarity, or words or symbols which
have acquired undesirable meanings are forbidden. 

2.Special precautions to avoid references to physical afflictions or
deformities shall be taken. 

3.Although slang and colloquialisms are acceptable, excessive use
should be discouraged and wherever possible good grammar shall
be employed. 

 Religion 

1.Ridicule or attack on any religious or racial group is never
permissible. 

 Costume

1.Nudity in any form is prohibited, as is indecent or undue
exposure.

2.Suggestive and salacious illustration or suggestive posture is
unacceptable.

3.All characters shall be depicted in dress reasonably acceptable to
society.

4.Females shall be drawn realistically without exaggeration of any
physical qualities.

NOTE. - It should be recognized that all prohibitions dealing with
costume, dialogue, or artwork applies as specifically to the cover
of a comic magazine as they do to the contents.

Marriage and Sex

1.Divorce shall not be treated humorously nor shall be represented
as desirable. 

2.Illicit sex relations are neither to be hinted at or portrayed.
Violent love scenes as well as sexual abnormalities are
unacceptable. 

3.Respect for parents, the moral code, and for honorable behavior
shall be fostered. A sympathetic understanding of the problems of
love is not a license for moral distortion. 

4.The treatment of love-romance stories shall emphasize the value
of the home and the sanctity of marriage. 

5.Passion or romantic interest shall never be treated in such a way
as to stimulate the lower and baser emotions. 

6.Seduction and rape shall never be shown or suggested. 

7.Sex perversion or any inference to same is strictly forbidden. 

CODE FOR ADVERTISING MATTER

1.Liquor and tobacco advertizing is not acceptable. 

2.Advertisement of sex or sex instructions books are unacceptable. 

3.The sale of picture postcards, "pin-ups," "art studies," or any
other reproduction of nude or semi-nude figures is prohibited. 

4.Advertising for the sale of knives, concealable weapons, or
realistic gun facsimiles is prohibited. 

5.Advertising for the sale of fireworks is prohibited. 

6.Advertising dealing with the sale of gambling equipment or
printed matter dealing with gambling shall not be accepted. 

7.Nudity with meretricious purpose and salacious postures shall
not be permitted in the advertising of any product; clothed figures
shall never be presented in such a way as to be offensive or
contrary to good taste or morals. 

8.To the best of his ability, each publisher shall ascertain that all
statements made in advertisements conform to the fact and avoid
misinterpretation. 

9.Advertisement of medical, health, or toiletry products of
questionable nature are to be rejected. Advertisements for medical,
health or toiletry products endorsed by the American Medical
Association, or the American Dental Association, shall be deemed
acceptable if they conform with all other conditions of the
advertising code.

CORRESPONDENCE FROM THE COMMITTEE ON
EVALUATION OF COMIC BOOKS, CINCINNATI, OHIO

The work of the committee on evaluation of comic books at
Cincinnati, Ohio, in an example of what can be accomplished by
citizen action in dealing with the problem of comic books. The
Cincinnati committee has been a nonprofit group and is not
subsidized by the comic-book industry. It is composed of
public-spirited citizens who have sought to be objective. The
committee's evaluations, prepared by a staff of 84 trained
reviewers, have been widely reprinted and circulated. The
Reverend Jesse L. Murrell is chairman of the excutive committee
of the committee on evaluation of comic books.

On page 41 of the comic book hearings before the Subcommittee
To Investigate Juvenile Delinquency, the July 1953 list of the
Cincinnati committeee's evaluation of comic books was accurately
reprinted. Since that time Ham Fisher, cartoonist, who draws "Joe
Palooka Adventures" comic books, submitted the folllowing
correspondence from the committee on evaluation of comic books
with the request that it be printed:

Committee On Evaluation of Comic Books,

Cincinnati, Ohio, November 4, 1954.

Mr. Ham Fisher,

New York, N.Y.

Dear Mr. Fisher: In answer to your telephone inquiry of
Wednesday, November 3, I have looked up our files on Joe
Palooka Adventures, and find that the issue which our reviewers
reas was March 1954. It is No. 82. This issue is pretty well devoted
to prize fighting, and the criticism seems to fall with the second
story, where on the seventh page, I believe it is, Joe is being so
pommeled by his opponent that he sees his vision, or
semiconscioussness, the terrible ordeal of somebody, perhaps
himself, hung up by his wrists and being lashed by a whip. This
situation occurs in at least four frames, and our reviewers feel that
this, together with the very rough pommeling that is going on in
the whole story, would give to a small child a horrible feeling of
cruelty to man. It would therefore fall into the area of morbid
emotionality, and as you will notice in the enclosed list of
evaluated comic books, where, at the end, we have our criteria it
shows that Joe Palooka is objectionable because of No. 29. You
will see that that is, "Stories and pictures that tend to anything
having a sadistic imlication or suggesting use of black magic."

I do not read the comic-book magazines for pleasure, and therefore
do not know what you have in Joe Palooka from time to time, but I
would suggest that you attempt to avoid such situations as
described here, even though they are the imagination of someone
who is suffering, for the reson that, to a child it is all in the picture.

I have looked over copies of the eight evaluations we have made of
comic books since the summer of 1948, and find that we have
rated Joe Palooka each time except July 1952. In the July 1951
review, Joe Palooka rated "No objection." In the year 1948, the
spring of 1949, December 1949, August 1950, and July 1953, it
rated "Some objection" which in our category does not militate
against a comic book's use by children or young people, but has
some minor characteristic which the reviewers would like to see
improved. This usually has to do with physical setup. In the April
1954 review this comic book was rated "Objectionable" for the
reason of its sadistic implications in the second story. 

It is fair to say that our committee considers Joe Palooka to be a
very good comic book.

Yours cordially,

Jesse L. Murrell.

Committee on Evaulation of Comic Books.

Cincinnati, Ohio, November 8, 1954.

Mr. Fisher: I sent the telegram to Newsweek according to your
request and here is the copy:

"NEWSWEEK MAGAZINE"

New York City: 

"Having heard that the March issue of Joe Palooka Adventures
comic book which the committee on evaluation of comic books in
Cincinnati had rated objectionale has caused quite a stir. I desire to
advise you that we have reviewing copies of this magazine since
1948 and that this is the first issue that has received the objectional
rating. We consider this comic one of the very good ones but it so
happened that this particular issue carried four frames that our
reviewers thought would be frightening to small children.

"Jesse L. Murrell, Chairman,"

I trust this will help to put you and your product in the proper light
and I am very sorry thtat you have been distrubed.

We appreciate your zeal for our common cause of better comic
books and your efforts in behalf of clean young manhood. 

Cordially,

Jesse L. Murrell

Comic Book Publishers and Comic Book Titles, Spring 1954

A.A. Wyn, Inc. 23 West 47th Street, New York, N.Y. (Ace):

Glamorous Romances, Hand of Fate, Love Experience, Real Love,
Web of Mystery

Ace Magazines, Inc., 23 West 47th Street, New York, N.Y. (Ace):

Complete Love, Ten Story Love

Allen Hardy Associates, 500 Fifth Avenue, New York, N.Y. (Allen
Hardy):

Danger, Death Valley, Dynamite, House of Horror, Love and
Kisses, Weird Terror

Animirth Comics Inc., 270 Park Avenue, New York, N.Y. (Atlas):

Adventures Into Weird Worlds, Homer Hooper, Marines in Battle,
3D Action, Riot, Western

Outlaws

Archie Comic Publications, Inc., 241 Church Street, New York,
N.Y.:

Archie Comics (7 titles), Pep Comics, Wilbur Comics

Aragon Magazines, Inc., 175 Fifth Avenue, New York, N.Y.
(Stanley P. Morse):

Mister Mystery

Arnold Publications, Inc., 347 Madison Avenue, New York, N.Y.
(Quality):

Buster Bear, Marmaduke Mouse

Atlas News Co., Inc., 270 Park Avenue, New York, N.Y. (Atlas):

Buck Duck, Lovers, Police Action

Avon Periodicals, Inc., 575 Madison Avenue, New York, N.Y.
(Avon):

All True Detective Cases, Eerie, Funny Tunes, Jesse James, Merry
Mouse, Peter Rabit, 

Peter Rabbit Jumbo Book, Realistic Romance, Romantic Love,
Sensational Police Cases,

Space Comics, Space Mouse, Space Thrillers, Spotty The Pup,
Super Pup, Wild Bill Hickok 

Bard Publishing Corp., 270 PArk Avenue, New York, N.Y.
(Atlas):

Patsy Walker

Best Syndicated Features, Inc., 45 West 45th Street, New York,
N.Y. (ACG):

Adventures Into The Unknown, The Kilroys, Romantic Adventures

Better Publications, Inc., 10 East 40th Street, New York, N.Y.
(Standard):

Exciting War, Popular Romances

Beverly Publishing Co., 480 Lexington Avenue, New York, N.Y.:

Secret Hearts

Broadcast Features Publications, Inc., 270 Park Avenue, New
York, N.Y. (Atlas):

Girls' Life, My Friend Irma

Canam Publishers Sales Corp., 270 Park Avenue, New York, N.Y.
(Atlas):

Arrow Head, Black Rider, Journey Into Mystery, 3D Tales of the
West.

Chipiden Publications Corp., 270 Park Avenue, New York, N.Y.
(Atlas):

Human Torch, Strange Tales

Classic Syndicate, Inc., 270 Park Avenue, New York, N.Y. (Atlas):

Crazy

Close-Up, Inc., 241 Church Street, New York, N.Y. (Archie):

Archie's Girls Betty & Veronica, Ginger Comics, Katy Keane
Comics, Laugh Comics, Super 

Duck Comics, Suzie Comics

Comic Combine Corp, 270 Park Avenue, New York, N.Y. (Atlas):

Men's Adventures, Sub Mariner, The Outlaw Kid

Comic Favorites, Inc., 347 Madison Avenue, New York, N.Y.
(Quality):

Gabby, Jonesy

Comic Magazines, 347 Madison Avenue, New York, N.Y.
(Quality):

Blackhawk, Brides Romances, Candy, G.I. Combat, G.I.
Sweethearts, Heart Throbs, Love 

Confessions, Love Letters, Love Secrets, Plastic Man, T-Man, True
War Romances, Web 

of Evil, Wedding Bells

Cornell Publishing Corp., 270 Park Avenue, New York, N.Y.
(Atlas):

Crime Fighters, Spaceman

Crestwood Publishing Co., Inc., 1790 Broadway, New York, N.Y.
(Prize):

Black Magic, Young Love

Current Detective Stories, Inc., 270 Park Avenue, New York, N.Y.
(Atlas):

Navy Action

Dell Publishing Co., Inc., 261 Fifth Avenue, New York N.Y.
(Dell):

Monthlies: Edgar Rice Burroughs' Tarzan, Gene Audry Comics,
Loony Toons and Merrie 

Melodies Comics, Marge's Little Lulu, Roy Rogers Comics, The
Lone Ranger, Tom and 

Jerry Comics, Walter Lantz New Funnies

Bimonthlies: Bugs Bunny, Carl Anderson's Henry, Cisco Kid,
Howdy Doody, Little Iodine, 

MGM's Lassie, Porky Pig, Walter Lantz Andy Panda, Walter Lantz
Woody Woodpecker

Quarterlies: Ben Bowie & His Mountain Men, Flying A's, Range
Rider, Henry Aldrich, Hi-Yo 

Silver, I Love Lucy, Indain Chief, Jace Pearson-Texas Rangers,
King of the Royal Mounted, 

Marge's Tubby, Popeye, Queen of the West-Dale Evans, Rex
Allen, Rin Tin Tin, Rootie 

Kazootie, Sergeant Preston of the Yukon, Tom Corbett-Space
Cadet, Tonto, Trigger, Tweety 

& Sylvester, Walt Kelly's Pogo Possum, Western Roundup, Wild
Bill Elliott, Zane Grey's

Picturized Editions

Semi-annuals: Andy Hardy, Beany & Cecil, Bozo the Clown, Buck
Jones, Francis The Talking 

Mule, Gerald McBoing Boing, Johnny Mack Brown, Krazy Kat,
Little Scouts, Max Brand's 

Silvertipp, Oswald The Rabbit, Zorro

Annuals: Beetle Bailey, Bugs Bunny (Album, Christmas Funnies,
Halloween Parade, Vacation 

Funnies, Charlie McCarthy, Daffy, Double Trouble With Goober,
Elmer Fudd, Ernest Haycox's 

Western Marshal, Flash Gordon, Frosty The Snowman, Gypsy
Cult, Jungle Jim, Knights of the 

Round Table, Little Beaver, Marge's Little Lulu - Tubby Annual,
Milton Caniff's Steve 

Canyon, Napoleon, Prince Valiant, Rageddy Ann & Andy,
Rhubarb The Millionaire Cat, 

Rivets, Rusty Riley, Santa Claus Funnies, Son of Black Beauty,
Spike N'Tyke, Super Curcus, 

Susie Q. Smith, The Brownies, The Green Hornet, The Little King,
The Lone Ranger's 

Western Treasury, Tom & Jerry (Summer Fun, Winter Carnival),
3D Flukey Kazootie, 3D 

Rootie Kazootie, Uncle Wiggly, Walt Kelly's Pogo Parade, Walter
Lantz Woody Woodpecker 

Back to School

Educational Comics, Inc., 225 Lafayette Street, New York, N.Y.
(EC): 

Mad

Excellent Publications, Inc., 30 East 60th Street, New York, N.Y.
(Farrell):

Billy Bunny, Swift Arrow

Fables Publishing Co., Inc., 225 Lafayette Street, New York, N.Y.
(EC): 

Haunt of Fear, Two-Fisted Tales, Weird Science-Fantasy

Family Comics, Inc., 1860 Broadway, New York, N.Y. (Harvey):

Casper

Famous Authors, Ltd., 101 Fifth Avenue, New York, N.Y.
(Classics Illustrated):

Classics Illustrated, Junior Series: No. 501-Snow White and The
Seven Dwarfs,

No. 502-The Ugly Duckling, No. 503-Cinderella, No. 504-The
Pied Piper, 

No. 505-Sleeping Beauty, No. 506-The Three Pigs, No. 507-Jack
and The Beanstalk, 

No. 508-Goldilocks and The Three Bears, No. 509-Beauty and The
Beast, 

No. 510-Little Red Riding Riding Hood

Famous Funnies Publications, 500 Fifth Avenue, New York, N.Y.
(Famous):

Famous Funnies, New Heroic Comics, Personal Love

Farrell Comics, Inc., 30 East 60th Street, New York, N.Y.
(Farrell):

Haunted Thrills, Lone Rider, Strange Fantasy

Fawcett Publications, Inc., 67 West 44th Street, New York, N.Y.
(Fawcett):

Captain Marvel Adventures, Funny Animals, Hopalong Cassidy,
Lash LaRue, Marvel Family, 

Rocky Lane, 6-Gun Heroes, Tex Ritter, This Magazine is Haunted

Feature Publications, Inc., 1790 Broadway, New York, N.Y.
(Prize):

Frankenstein, Prize Western Comics, Young Brides, Young
Romance

Fiction House, Inc., 1658 Summer Street, Stamford Comm.
(Fiction House):

Ghost Stories

Fight Stories, Inc., 1658 Summer Street, Stamford Comm. (Fiction
House):

Knockout, Monster

Foto Parade, Inc., 270 Park Avenue, New York, N.Y. (Atlas):

Battle

Four Star Publications, Inc., 30 East Street, New York, N.Y.
(Farrell):

Fantastic Fears, Voodoo

Gem Publications, Inc., 270 Park Avenue, New York, N.Y. (Atlas):

Patsy & Hedy

Gilberton Co., Inc., 101 Fifth Avenue, New York, N.Y. (Classics
Illustrated):

Classics Illustrated: No. 1-The Three Musketeers, No. 2-Ivanhoe,
No. 3-Count of Mone Cristo, 

No. 4-Last of the Mohicans, No. 5-Moby Dick, No. 6-A Tale of
Two Cities, No. 7-Robin 

Hood, No. 10-Robinson Crusoe, No. 11-Don Quixote, No. 12-Rip
Van Winkle and The The 

Headless Horseman, No. 13-Dr. Jekyll and Mr. Hyde, No.
15-Uncle Tom's Cabin, No. 17-The 

Deerslayer, No. 18-The Hunchback of Notre Dame, No.
19-Huckleberry Fin, No. 20-The 

Corsican Brothers, No. 21-3 Famous Mysteries, No. 22-The
Pathfinder, No. 23-Oliver Twist, 

No. 24-A Connecticut Yankee in Authur's Court, No. 25-Two
Years Before the Mast, 

No. 26-Frankenstein, No.27-Adventues of Marco Polo, No.
28-Michael Strongoff, 

No. 29-Prince and The Pauper, No. 31-Black Arrow, No. 32-Lorna
Doone, No. 34-Mysterious 

Island, No. 37-The Piioneers, No. 39-Jane Eyre, No. 40-Mysteries
by Edgar Allen Poe, 

No. 42-Swiss Family Robinson, No. 46-Kidnapped, No. 47-Twenty
Thousand Leagues Under 

the Sea, No. 48-David Copperfield, No. 49-Alice in Wonderland,
No. 50-Adventures of 

Tom Sawyer, No. 51-The Spy, No. 52-The House of Seven Gables,
No. 54-Man In The Iron 

Mask, No. 55-Silas Marner, No. 57-The Song of Kiawatha, No.
58-The Prairie, 

No. 62-Western Stories, No. 64-Treasure Island, No. 67-The
Scottish Chiefs, 

No. 68-Julius Ceasar, No. 69-Around The World In Eighty Days,
No. 70-The Pilot, 

No. 72-The Oregon Trail, No. 75-Lady of The Lake, No.
76-Prisoner of Zenda, 

No. 77-The Iliad, No. 78-Joan of Arc, No. 79-Cyano De Bergerac,
No. 80-White Fang, 

No. 83-The Jungle Book, No. 85-The Sea Wolf, No. 86-Under
Two Flags, No. 87-A 

Midsummer Night's Dream, No. 88-Men of Iron, No. 89-Crime
and Punishment, 

No. 90-Green Mansions, No. 91-The Call of the Wild, No. 92-The
Courtship of Miles 

Standish and Evangeline, No. 93-Pudd'nhead Wilson, No.
94-David Balfour, 

No. 95-All Quiet On The Western Front, No. 96-Daniel Boone,
No. 97-King Solomon's 

Mines, No. 98-The Red Badge of Courage, No. 99-Hamlet, No.
100-Mutiny On The Bounty, 

No. 101-William Tell, No. 102-Bring 'Em Back Alive, No.
105-From the Earth to The 

Moon, No. 106-Buffalo Bill, No. 107-King of The Khyber Rifles,
No. 108-Knights of 

The Round Table, No. 109-Oitcairn's Island, No. 110-A Study In
Scarlet, No. 111-The 

Talisman, No. 112-Kit Carson, No. 113-The Forty-Five
Guardsmen, No. 114-The Red 

Rover, No. 115-How I Found Livingstone, No. 116-The Bottle
Imp, No. 117-Captains 

Courageous, No. 118-Rob Roy, No. 119-Soldiers of Fortune, No.
120-The Hurricane 

Picture Progress (issue monthly during school year)

Gilmor Magazines, Inc., 175 Fifth Avenue, New York, N.Y.
(Stanley P. Morse):

Radiant Love, Weird Mysteries

Glen-Kel Publishing Co., 1658 Summer Street, Stamford, Conn.
(Fiction House):

Jungle Comics, Kaanga Jungle King

Harvey Enterprises, Inc., 1860 Broadway, New York, N.Y.
(Harvey):

Dotty Dripple, First Love, Little Dot

Harvey Picture Magazines, Inc., 1860 Broadway, New York, N.Y.
(Harvey):

Little Audry, Warfront

Harvey Publications, Inc., 1860 Broadway, New York, N.Y.
(Harvey):

Blondie Comics, Dagwood Comics, Daisy and Her Pups, Dick
Tracy Comics, Joe Palooka Comics, Little Max Comics, Sad Sack
Comics, Tomb of Terror

Harvey Publications, 1860 Broadway, New York, N.Y. (Harvey):

Jiggs & Maggie, Katzenjammer Kids, Rags Rabbit, Riply's Believe
It or NotHeadline Publications Corp., 270 Park Avenue, New
York, N.Y. (Atlas):

Dixie Dugen, Fighting America, Headline Comics, Justice Traps
the Guilty

Hercules Publishing Corp., 270 Park Avenue, New York, N.Y.
(Atlas):

Ringo Kid, Spy Cases, Two Gun Kid

Home Comics, Inc., 1860 Broadway, New York, N.Y. (Harvey):

Black CAt, First Romance, Hi-School Romance, Love Problems,
Teen Age Brides

I.C. Publishing Co., 225 Lafayette Street, New York, N.Y. (EC):

Tales FRom The Crypt

Illustrated Humor, Inc., 1860 Broadway, New York, N.Y.
(Harvey):

Flip

Interstate Publishing Corp., 270 Park Avenue, New York, N.Y.
(Atlas):

Outlaw Fighters, Wild, Young Men

Jay Jay Corp., North Eighth Street, St. Louis, Mo.:

Judo Joe

Joseph A. Wolfert, 32 Broadway, New York, N.Y.:

Algie, Aminal Adventures, Blazing Western, Crime Detector,
Police Against Crime

Junior Books, Inc., 23 West 47th Street, New York, N.Y. (ACE):

Crime Must Pay The Penalty

K.K. Publications, Inc., Poughkeepsie, New York, N.Y. (Dell):

Red Ryder Comics, Walt Disney Comics and Stories

Key Publications, Inc., 45 West 45th Street, New York, N.Y.
(Stanley P. Morrse):

Hector, Ideal Romance, Peter Cottontails, Weird Chills

Leading Magazines Corp., Inc., 270 Park Avenue, New York, N.Y.
(Atlas):

Kid Colt Outlaw

Leverett S. Gleason, 114 East 32d Street, New York, N.Y. (Lev
Gleason):

Black Diamond, Boy Illustories, Boy Loves Girl, Buster Crabbe,
Crime Does Not Pay, 

Crime and Punishment, Daredevil, Lovers Lane, Squeeks

Literary Enterprises, Inc., 100 East 40th Street, New York, N.Y.
(Standard):

Buster Bunny, Lucky Duck, Sniffy The Pip, Supermouse

L. L. Publishing Co., Inc., 225 Lafayette Street, New York, N.Y.
(EC):

Crime Suspense Stories, The Vault of Horror

Love Romances Publishing Co., Inc., 1658 Summer Street,
Standord, Conn. (Fiction House):

Planet Comics

Magazine Enterprises, 11 Park Place, New York, N.Y. (ME):

Badmen of the West, Best of the West, Cave Girl, Dream Book of
Love, Dream Book of 

Romance, Durango Kid, Ghost Rider, Great Western, Home Run,
Hot Dog, Muggsy Mouse, 

Red Fox, Red Hawk, Straight Arrow, Tim Holt (now Red Mask),
Undercover Girl, 

White Indian

Male Publishing Corp., 270 Park Avenue, New York, N.Y. (Atlas):

Justice, Spellbound, World's Greatest Songs

Manvis Publications, Inc., 270 Park Avenue, New York, N.Y.
(Atlas):

True Secrets

Marjean Magazine Corp., 270 Park Avenue, New York, N.Y.
(Atlas):

My Own Romance

Marvel Comics, Inc., 270 Park Avenue, New York, N.Y. (Atlas):

Marvel Tales

Master Comics, Inc., 11 East 44th Street, New York, N.Y.:

Dark Mysteries

Mikeross Publications, Inc., 55 West 42d Street, New York, N.Y.:

Get Lost, Heart and Soul

Miss America Publishing Corp., 270 Park Avenue, New York,
N.Y. (Atlas):

Miss America

Mystery Publishing Co., Inc. 500 Fifth Avenue, New York, N.Y.
(Allen Hardy):

All True Romance, Dear Lonely Hearts, Horrific, Noodnik

National Comics Publications, Inc., 430 Lexington Avenue, New
York, N.Y. (Superman-DC):

Action Comics, Adventure Coomics, All American Men of War,
All Star Western,

Animal Antics, Batman, Big Town, Bob Hope (The Adventures
of), Buzzy, Comic

Cavalcade, Date With Judy, Detective Comics, Everything
Happens to Harvey,

Flippety and Flop, Fox and Crow, Funny Folks, Funny Stuff, Gang
Buster, Here's Howie, 

Hopalong Cassidy, House of Mystery, Leading Comics, Leave it to
Binky, 

Martin and Lewis, Mr. District Attorney, Mutt and Jeff, Mystery in
Space, 

Our Army at War, Peter Panda, Peter Porkchops, Real Screen
Comics, Rex the 

Wonder Dog, Star Spangled War Stories, Strange Adventures,
Superboy, Superman, 

Tomhawk, Western Comics, Wonder Woman, World's Finest
Comics

Newsstand Publications, Inc., 270 Park Avenue, New York, N.Y.
(Atlas):

Man Comics

Official Magazine Corp., 270 Park Avenue, New York, N.Y.
(Atlas):

Battleground, Bible Tales for Young Folk, Little Lizzie, Lorna The
Jungle Girl, Mystic, 

Wendy Parker

Our Publishing Co., 114 East 32d Street, New York, N.Y.:

Love Diary, Love Journal

Peridical House, Inc., 23 West 47th Street, New York, N.Y.
(ACE):

Baffling Mysteries, Love at First Sight

Pflaum, George A., 38 West 5th Street, Dayton, Ohio:

The World Is His Paarish, Treasure Chest of Fuun and Fact

Postal Publications, Inc., 270 Park Avenue, New York, N.Y.
(Atlas):

Battlefront, Patsy and Her Pals

Premier Magazines, Inc., 11 East 44th Street, New York, N.Y.
(PM):

Animal Fun, Horror from the Tomb, Masked Ranger, Nuts, Police
Against Crime,

True Love Confessions

Prime Publications, Inc., 270 Park Avenue, New York, N.Y.
(Atlas):

Captain America, Uncanny Tales

Real Adventures Publishing Co., Inc., 1658 Summer Street,
Standord, Conn. (Fiction House):

The Spirit, 3D Sheena, 3D Circus, The First Christmas

Regis Publications, Inc., 45 West Street, New York, N.Y. (ACG):

Cookie Comics, Funny Films, Lovelorn

Ribage Publishing Corp., 480 Lexington Amenue, New York,
N.Y.:

Crime Mysteries, Youthul Romances

St. Johns Publications, 545 Fifth Avenue, New York, N.Y.
(Preferred):

Abbott & Costello, Authentic Police Cases, Basil, Bingo The
Monkey Doodle Boy, 

Crime on the Run, Cinderella Love, Daring Adventures, Diary
Secrets, Dinky Duck, 

Fightin' Marines, Fly Boy, Gandy Goose, Heckle and Jeckle, House
of Terrors, 

Invisible Boy, Kid Cowboy, Kid Carrots, Little Eva, Little Ike,
Little Roqufort, 

Lucy the Real Gone Gal, Mighty Mouse Adventures Stories, Meet
Miss Pepper, Mopsy, 

Nightmare, North West Mounties, 1,000,000 Years Ago, Paul
Terry, Pictoral 

Romances, Perfect Love, Romantic Marriage, Teen Age
Romances, Teen Age 

Temptations, Terrytoons, The Hawk, The Whack, Three Stooges,
Tor & CheeChee, 

True Love Pictoral, Wartime Romances, Western Bandit Trails,
Weird Horrors, 

Wild Boy. 3D-series: 9 of the above titles.

Scope Magazines, Inc., 45 West 45th Street, New York, N.Y.
(ACG):

Giggle Comics, Ha Ha Comics, Out of the Night.

Signal Publishing Co., 125 East 46th Street, New York N.Y.

Girls' Love Stories, Girls Romances.

Song Hits, Inc., Division Street, Derby, Conn. (CDC):

Atomic Mouse, Cowboy Western, Crime and Justice, Eh! Funny
Animals, Haunted, Hot Rods 

and Racing Cars, Lash La Rue Western, My Little Margie, Packet
Squad In Action, 

Rocky Lane Western, Romandtic Story, Six-Gun Heroes, Space
Adventures, Strange 

Suspense Stories, Sweethearts, Tex Ritter Western, The Thing,
True Life Secrets, 

TV Teens, Zoo Funnies.

Sphere Publishing Co., 270 Park Avenue, New York, N.Y. (Atlas):

Combat Kelly, Millie the Model Comics.

Sport Action, Inc., 270 Park Avenue, New York, N.Y. (Atlas):

Combat Casey.

Standard Magazines, Inc., 10 East 40th Street, New York, N.Y.:

Intimate Love, Thrilling Romances.

Stanhall Publications, Inc., 480 Lexington Avenue, New York,
N.Y.

Briadway-Hollywood Blackouts, Farmers Daughter, G.I. Jane,
Muggy Doo, Oh Brother.

Stanmor Publications, Inc., 175 Fifth Avenue, New York, N.Y.
(Stanley P. Morse):

Battle Cry.

Star Publications, Inc., 545 Fifth Avenue, New York, N.Y. (Star):

All Famous Police Cases, Confessions of Love, Confessions of
Romances, Frisky Animals, 

Fun Comics, Ghostly Weird Stories, Mighty Bear, Popular Teen
Agers, Shocking Mystery 

Cases, Spool, Startling Terror Tales, Super Cat, Terrifying Tales,
Terrors of The 

Jungle, The Horrors, The Outlaws, Top Love Stories, True to Life
Romances, Unsane.

Sterling Comics, Inc., 480 Lexington Avenue, New York, N.Y.:

The Informer, The Tormented.

Story Comics, Inc., 11 East 44th Street, New York, N.Y.:

Fight Against Crime, Mysterious Adventures

Timely Comics, Inc., 270 Park Avenue, New York, N.Y. (Atlas):

Love Romances, Secret Story Romances

Tiny Tot Comics, Inc., 225 Lafayette Street, New York, N.Y. (EC):

Panic, Shock Suspence Stories

Titan Publishing Co., 45 West 45th Street, New York, N.Y.
(ACG):

Forbidden Worlds, Funny Films, Atomic Sub

Toby Press, Inc., 17 East 45th Street, New York, N.Y. (Toby):

Billy The Kid, Felix and His Friends, Felix The Cat, Gabby Hayes,
Great Lover Romances, 

He-Man, John Wayne, Johnny Danger, Lil Abner, Meet Merton,
Return of the Outlaw, 

Sorority Secrets, Super Brat, Tales of Horror, With the Marines

Trogen Magazines, 125 East 46th Street, New York, N.Y.:

Beware

20th Century Comic Corp., 270 Park Avenue, New York, N.Y.
(Atlas):

Astonishing Mystery Tales

USA Comic Magazine Corp., 270 Park Avenue, New York, N.Y.
(Atlas):

War Comics

United Feature Syndicate, Inc., 220 East 42d Street, New York,
N.Y. (United Feature):

Comics on Parade, Fritizi Ritz, Sparkle Comics, Sparkler Comics,
Tip-Top Comics, 

Tip Topper Comics

Unity Publishing Corp., 23 West 47th Street, New York, N.Y.
(Ace):

The BeyondVisual Editions, Inc., 10 East 40th Street, New York,
N.Y. (Standard):

Adventures into Darkness, Dennis The Menace, Joe Yank, Kathy,
New Romances, Out of the 

Shadows, Rocky, The Unseen

Western Fiction Publishing Co., 270 Park Avenue, New York,
N.Y. (Atlas):

Journey Into Unknown Worlds, Wild Western

Witches Tales, Inc., 1860 Broadway, New York, N.Y. (Harvey):

Chamber of Chills, Witches Tales

Wings Publishing Co., 1658 Summer Street, Standord, Conn.
(Fiction House):

Indians, Wings Comics

Zenith Publishing Corp., 270 Park Avenue, New York, N.Y.
(Atlas):

Girl Confessions, The Monkey and The Bear

Ziff-Davis Publishing Co., 366 Madison Avenue, New York, N.Y.:

G.I. Joe

ORGANIZATION OF THE COMIC BOOK INDUSTRY IN THE
UNITED STATES ACCORDING TO DISTRIBUTOR, COMIC
GROUP, AND PUBLISHER, IN THE SPRING OF 1954

Ace News Corp., 23 West 47th Street, New York, N.Y.; A.A.
Wyn, president; 5 publishers, 11 comic titles.

Comic groups, publiishers, and number of comic-book titles

Ace Fiction Group, 23 West 47th Street, New York, N.Y. Owners:
A.A. Wyn, Rose Wyn.

Publisher: 

Number of titles 

 5

Ace Magazines, Inc.  2

Junior Books, Inc. . 1

Peridical House, Inc. . 2

Unity Publishing Corp  1

(The) American News Co., Inc., 131 Varick Street, New York,
N.Y.; P. O'Connell, president; 26 publishers, 287 comic titles.

Comic groups, publiishers, and number of comic-book titles

Archie Comic Group, 241 Church Street, New York, N.Y.
OPwners: Maurice Coyne, John L. Goldwater, Louis H. Silberkleit.

Publisher: 

Number of titles 

Archie Comic Publications, Inc. .. 9

Close-Up, Inc. . 6

Dell Comi Group, 264 Fifth Avenue, New York, N.Y. Owners:
George T., Delacorte, Jr. Margarita Delacorte, 687 stockholders of
Wester Printing & Lithopgraphing Co.

Publisher: 

Number of titles 

Dell Comics . 88

K. K. Publications, Inc .. 19

Famous Funnies Group, 500 Fifth Avenue, New York, N.Y.
Owners: Stockholder: James H. Darcey, David S. Hibbard, Sylvia
S. Hibbard, Eric Pape, William B. Pape, William J. Pape, E.
Robert Stevenson, Elizabeth B. Stevenson, Robert I, Stevenson, J.
Warren Upson.

Publisher: 

Number of titles 

Famous Funnies Publications  3

Fiction House, Inc., 1658 Summer Street, Stamford, Conn. Owner:
J.G. Scott

Publisher: 

Number of titles 

Fiction House, Inc. .. 1

Fight Stories, Inc. . 1

Slying Stories, Inc. .. 2

Glen-Kel Publishing Co., Inc. . 2

Love Romances Publishing Co., Inc. .. 1

Real Adventures Publishing Co.  4

Wings Publishing Co., Inc. .. 2

Jay Jay Publications, 316 North 8th Street, St. Louis, Mo. Owners:
B.M. Mirsh, R. Grable, R. Messing, Sr., R. Messing, Jr.

Publisher: 

Number of titles 

Jay Jay Corp  1

Magainze Enterprises, 11 Park Place, New York, N. Y. Owner:
Vincent Sullivan

Publisher: 

Number of titles 

Magazine Enterprises . 17

Preferred Comics Group, 545 Fifth Avenue, New York, N.Y.
Owner: Archer St. John

Publisher: 

Number of titles 

St. John Publications . 55

Quality Romance Group, 347 Madison Avenue, New York, N.Y.
Owners: Everett M. Arnold, Claire C. Arnold.

Publisher: 

Number of titles 

Arnold Publications, Inc. .. 2

Comic Favorites, Inc. . 2

Comic Magazines .. 14

Standard Comics Group, 10 East 40th Street, New York, N.Y.
Owner: Ned L. Pines.

Publisher: 

Number of titles 

Better Publications, Inc.  2

Literary Enterprises, Inc. .. 4

Standard Magazines, Inc. . 2

Visual Editions, Inc. . 8

Star Publications, 545 Fifth Avenue, New York, N.Y. Owner: J.
Kramer.

Publisher: 

Number of titles 

Star Publications, Inc.  19

Toby Press Group, 17 East 45th Street, New York, N.Y. Owner:
Elliott A. Caplin.

Publisher: 

Number of titles 

Toby Press, Inc. . 16

United Feature Comic Group, 220 East 42d Street, New York,
N.Y. Owners: Karl A. Bickel, Winfred Scripps Ellis, Margaret C.
Hawkins, W.W. Hawkings, Jack R. Howard, Margaret R. Howard,
Roy W. Haward, Charles W. Scripps, Edward W. Scripps,
Florence Scripps Kellogg, John P. Scripps, Robert P. Scripps, The
Eleen Browning Scripps Foundation.

Publisher: 

Number of titles 

United Feature Syndicate, Inc. . 6

Ziff-Davis Publishing Co., 366 Madison Avenue, New York, N.Y.
Owners: B.G. Davis, Sylvia Davis, Amelia Ziff.

Publisher: 

Number of titles 

Ziff-Davis Publishing Co.  1

DISTRIBUTOR

Atlas Magazines, Inc., 270 Park Avenue, New York, N.Y.; Martin
Goodman, president; 31 publishers 64 comic titles.

Comic groups, publishers, and number of comic-book titles

Magazine Management Co., Marvel Comic Group (Atlas), 270
Park Avenue, New York, N.Y. Owners: Martin Goodman, Jean
Goodman.

Publisher: 

Number of titles 

Animirth Comics, Inc. . 6

Atlas News Co., Inc. .. 3

Bard Publishing Corp 1

Broadcast Features Publications, Inc. . 2

Canam Publishers Sales Corp. 4

Chipiden Publishing Corp.. 2

Classic Syndicate, Inc.  1

Comic Combine Corp.. 3

Cornell Publishing Corp. 2

Current Detective Stories. 1

Foto Parade, Inc. . 1

Gen Publications, Inc.  1

Hercules Publishing Corp. 3

Interstate Publishing Corp 3

Leading Magazine Corp 1

Male Publishing Corp. 3

Manvis Publications, Inc.  1

Marvel Comics, Inc. .. 1

Miss America Publshing Corp 1

Newsstand Publications, Inc. . 1

Official Magazine Corp. 6

Postal Publications, Inc. .. 2

Prime Publications, Inc. .. 2

Sphere Publications, Inc. . 2

Sports Action, Inc. .. 1

Timely Comics, Inc.  2

20th Century Comic Corp. 2

USA Comic Magazine Corp 1

Western Fiction Publishing Corp 2

Zenith Publishing Corp 2

DISTRIBUTOR

Capital Distributing Co., Derby, Comm.; Robert A. Baker,
circulation director; 1 publisher, 21 comic titles.Comic groups,
publishers, and number of comic-book titles

Charlton Comics Group, Division Street, Derby, Comm. Owners:
Edward Levy, John Santangelo.

Publisher: 

Number of titles 

Song Hits, Inc.  21

DISTRIBUTOR

Curtis Circulation Co., Independence Square, Philadelphia, Pa;
Benjamin Allen, president; 2 publishers, 103 comic titles.

Comic groups, publishers, and number of comic-book titles

William E. Kanter, 101 Fifth Avenue, New York, N.Y. Owners:
Albert L. Kanter, Hal Kanter, Maurice Janter, Rose Kanter,
William E. Kanter.

Publisher: 

Number of titles 

Famous Authors, Ltd. . 10

Gilberton Co., Inc. . 93

DISTRIBUTOR

Fawcett Publications, Inc., 67 West 44th Street, New York, N.Y.;
Roger Fawcett, vice president; 1 publisher, 9 comic titles.

Comic groups, publishers, and number of comic-book titles

Fawcett Publications, Inc., Fawcett Place, Greenwich, Conn.
Stockholders: Claire Sue Bagg, James Wesley Bagg, Marion
Fawcett Bagg, William Bagg, Gordon W. Fawcett, Helen Aline
Fawcett, John Fawcett, John Roger, Fawcett, Mary Blair Fawcett,
Michael Blair Fawcett, Roger Fawcett, Roscoe K. Fawcett, Marie
F. Fawcett, Thomas Knowlton Fawcett, Vivian D. Fawcett, W.H.
Fawcettt, Jr., W.H. Fawcett III, William Blair Fawcett, Mrs.
Virginia Kerr, (Estate of) Mira King, Gloria Fawcett Leary, Mrs.
Eva Roberts.

Publisher: 

Number of titles 

Fawcett Publications, Inc. .. 9

DISTRIBUTOR

Gilberton Co., Inc., 101 Fifth Avenue, New York, N.Y.; William
E. Kanter, vice president; 1 publisher, 1 comic title.

Comic groups, publishers, and number of comic-book titles

Gilberton Co., Inc., 101 Fifth Avenue, New York, N.Y. Owners:
Albert L. Kanter, Hal Kanter, Maurice Kanter, Rose Kanter,
William E. Kanter.

Publisher: 

Number of titles 

Gilberton Co., Inc. .. 1

DISTRIBUTOR

Hearst Magazine (International Circulation Division of) 250 West
55th Street, New York, N.Y.; R.E. Haig, vice president; 1
publisher 16 comic titles.

Comic groups, publishers, and number of comic-book titles

Avon Comics Group, 575 Madison Avenue, New York, N.Y.
Owners: Joseph Meyers, Maurice Diamond, Harry Rebell.

Publisher: 

Number of titles 

Avon Periodicals, Inc.  16

DISTRIBUTOR

Independent News Co., 480 Lexington Avenue, New York, N.Y.;
Paul H. Sampliner, prsident; 10 publishers, 65 comic titles.

Comic groups, publishers, and number of comic-book titles

American Comics Group, 45 West 45th Street, New York, N.Y.
Owners: Fredrick H. Igner, Frances Sanger.

Publisher: 

Number of titles 

Best Syndicated Features .. 3

Regis Publications, Inc. .. 3

Scope Magazines, Inc.  3

Titan Publishing Co. .. 3

Beverly Publishing Co., 480 Lexington Avenue, New York, N.Y.
Owners: Gizella F. Frank, Sonia Iger, George H. Levy.

Publisher: 

Number of titles 

Beverly Publishing Co. . 1

National Comics Group, 480 Lexington Avenue, New York, N.Y.
Owners: A. Donenfeld, G. Donenefeld, H. Honenefeld, I.
Donenfeld, S. Donenfeld, J.L. Golinko, F. Iger, J.S. Liebowitz, R.
Liebowitz. A. I. Menin, P.H. Sampliner, S.U. Sampliner.

Publisher: 

Number of titles 

National Comics Publications, Inc. . 40

Prize Comic Group, 1790 Broadway, New York, N.Y. Owners:
Michael M. Bleier, Paul Epstein.

Publisher: 

Number of titles 

Crestwood Publishing Co., Inc.  2

Feature Publications, Inc. .. 4

Headline Publications, Inc.  4

Signal Publishing Co., 125 East 46th Street, New York, N.Y.
Owners: Avrum Ben-Avi, Irwin Donenfeld, Harry C., Lieb.

Publisher: 

Number of titles 

Signal Publishing Co.. 2

DISTRIBUTOR

Kable News Co., 500 Fifth Avenue, New York, N.Y.; Samuel
James Campbell, chairman of board; 11 publishers, 36 comic
titles.

Comic groups, publishers, and number of comic-book titles

Farrell Comic Group, 30 East 60th Street, New York, N.Y.
Owners: Robert W. Farrell, S. Lichtenbert.

Publisher: 

Number of titles 

Excellent Publications, Inc.  2

Farrell Comic, Inc. . 3

Four Star Publications, Inc.  2

Allen Hardy, 500 Fifth Avenue, New York, N.Y. Owners: Philip
Birch, Jerry Feldmann, Allan Hardy, Harry Lutz. Coowner of
Mystery Publishing Co., Inc.: Samuel J. Campbell

Publisher: 

Number of titles 

Allen Hardy Associates.. 6

Mystery Publishing Co., Inc.  4

Stanley P. Morse, 175 Fifth Avenue, New York, N.Y. Owners of
Aragon, Gilmor and Stanmor: Gilbert Singer, Michael Morse,
Stanley P. Morse. Owners of Key: S. Lichtenbert, Stanley P.
Morse.

Publisher: 

Number of titles 

Aragon Magazines, Inc. .. 1

Gilimor Magazines, Inc. .. 2

Key Publications, Inc.  4

Stanmor Publications, Inc. .. 1

Premier Magazines, Inc., 11 East 44th Street, New York, N.Y.
Owner: Lew A. Stricoff.

Publisher: 

Number of titles 

Premier Magazines, Inc. . 6

Joseph A. Wolfert, 32 Broadway, New York, N.Y. Owner:
HJoseph A. Wolfert.

Publisher: 

Number of titles 

Joseph A. Wolfert 5

DISTRIBUTOR 

Leader News Co., Inc., 114 East 47th Street, New York N.Y.;
Michael Estrow, president; 12 publishers, 24 comic titles.

Comic groups, publishers, and number of comic-book titles

Entertaining Comics Group, 225 Lafayette Street, New York, N.Y.
Owners: William M. Gaines, Jesse K. Gaines. Coowner of Tiny
Tot: Virginia E. MacAdie

Publisher: 

Number of titles 

Educational Comics. 1

Fables Publishing Co., Inc. . 3

I.C. Publishing Co., Inc. .. 1

L.L. Publishing Co.  2

Tiny Tot Comics.. 2

Master Comics, Inc., 11 East 44th Street, New York, N.Y. Owners:
Michael Estrow and Stanley M. Estrow as agents for Leader News
Co.

Publisher: 

Number of titles 

Master Comics. 1

Mikeross Publications, Inc., 55 West 42d Street, New York, N.Y.
Publishers: Ross Andru, Michael Esposito.

Publisher: 

Number of titles 

Mikeross Publications, Inc.  2

Ribage Publishing Corp., 480 Lexington Avenue, New York, N.Y.
Owners: Michael Estrow and Stanley M. Estrow as agents for
Leader News Co.

Publisher: 

Number of titles 

Ribage Publishing Corp. . 2

Stanhall Publications, Inc., 480 Lexington Avenue, New York,
N.Y. Owners: Michael Estrow and Stanley M. Estrow as agents for
Leader News Co.

Publisher: 

Number of titles 

Stanhall Publications, Inc. .. 5

Sterling Comics, Inc., 480 Lexington Avenue, New York, N.Y.
Owners: Sidney Chenkin, Eleanor Grupsmith, Peter V.D.
Voorhees, Martin Smith

Publisher: 

Number of titles 

Sterling Comics, Inc. . 2

Story Comic, Inc., 11 Est 44th Street, New York, N.Y. Owners:
William K. Friedman, Morton Myers.

Publisher: 

Number of titles 

Trogan Magazines, Inc. .. 1

DISTRIBUTOR 

George A. Pflaum, 38 West 5th Street, Dayton, Ohio; George A.
Pflaum, Jr.; 1 publisher, 2 comic titles.

Comic groups, publishers, and number of comic-book titles

George A. Pflaum, 38 West 5th Street, Dayton Ohio. Owners: Mrs.
Mary Pflaum Fischer, George A. Pflaum, Sr., Mrs. George A.
Pflaum.

Publisher: 

Number of titles 

George A. Pflaum, Publisher. 2

DISTRIBUTOR 

Publishers Distributing Corp., 1481 Broadway, New York, N.Y.;
I.S. Manheimer, president; 10 publishers, 37 comic titles.

Comic groups, publishers, and number of comic-book titles

Lev Gleason Comics, 114 East 32d Street, New York, N.Y.
Owners: Leverett S. Gleason, Garol L. Rosenthal, Edward
Rosenthal, Ellen J. Rosenthal, Jane Rosenthal, Judy Rosenthal,
Morton Rosenthal, Pat Rosenthal, Peter Rosenthal, Rosalind
Rosenthal.

Publisher: 

Number of titles 

Leverett S. Gleason 9

Harvey Comics Group, Inc., 1860 Broadway, New York, N.Y.
Owners: Alfred Harvey, Leon Harvey, Robert B. Harvey.

Publisher: 

Number of titles 

Family Comics, Inc.  1

Harvey Enterprises, Inc.  3

Harvey Picture Magazines, Inc.  2

Harvey Publications 4

Harvey Publications Inc.  8

Home Comics, Inc.  5

Illustrated Humor, Inc.  1

Witches Tales, Inc.  2

Our Publishing Co., 114 East 32d Street, New York, N.Y. Owner:
Ray R. Hermann.

Publisher: 

Number of titles 