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Comedy Comics #9-34 (April 1942 - Sep. 1946, continued from Daring Mystery Comics) continued as Margie Comics#35-49 (Dec. 1946 - Dec. 1949, continued as Reno Browne, Hollywood's Greatest Cowgirl). Comedy Comic V2 #1-10 (May 1948 - Jan. 1950).
Kin Platt (1911 - 2003) was an American writer-artist best known for penning radio comedy and animated TV series, as well as children's mystery novels, for one of which he received the Mystery Writers of America Edgar Award.
He additionally wrote and drew comic books (creating an early funny-animal superhero, Supermouse) and comic strips.
Born December 8, 1911 in New York City to Daniel and Etta Hochberg Platt, Kin Platt in the mid-1930s wrote radio comedy for George Burns, Jack Benny, the comedy team of Stoopnagle and Budd, and The National Biscuit Comedy Hour of 1936. Later in the 1930s, he wrote for Disney and Walter Lantz theatrical cartoons, and he scripted the Robert Benchley film, How to Read (1938).
He broke into comic books with humor stories featuring the character "Happy" in the Better Comics omnibus Best Comics #1 (Nov. 1939). Platt went on to write and draw many features in the next few issues and to draw such features as "Captain Future" in Better's Startling Comics; "The Mask" (no relation to the 1990s Dark Horse Comics character), featuring a district attorney turned costumed crime fighter, in Exciting Comics; and writer Richard Hughes' Doc Savage-like "Doc Strange" (no relation to Marvel Comics' Dr. Strange), in Thrilling Comics.
After doing WWII military service with the U.S. Army Air Force's Air Transport Command from 1943–46, Platt began working for such comic-book companies as Timely Comics (the 1940s predecessor of Marvel Comics), for which his features included "Widjet Witch" in Comedy Comics); and Better/Nedor/Standard, where he created Supermouse in 1948. Additionally, Platt wrote for the Bob Hope and Jerry Lewis comics at DC. For two years he drew the adventures of Pepsi and Pete for the advertising strip, Pepsi Cola Cops.
Al Jaffee, then an editor of Timely's humor comics, recalled in 2004,
I knew Kin. Dave Gantz said that Kin created [the print-advertising comic strip] the Pepsi Cola Cops. I didn't know Kin had done that, but it was his style. That may have been what brought him to Stan Lee. Kin sort of looked like Groucho Marx and had both Groucho's sense of humor and delivery; a very funny guy. He wrote very well and did so in a lot of mediums. He was one of the truly gifted guys in our business, very smart and very talented. Whenever he came into the office, things got lively. I also remember getting together with Kin and his wife in Long Island after the war. I don't doubt that Kin created Squat Car Squad; since it’d been something he was familiar with.
For the New York Herald Tribune Syndicate, Platt wrote and drew the comic strip Mr. and Mrs. from 1947–63, and The Duke and the Duchess from 1950-54. Additionally, he drew theatrical caricatures for such newspapers and magazines as The Village Voice and the Los Angeles Times.
Plat began writing children's books and young-adult mysteries in 1961. He eventually published more than 30 books, including general-reader mysteries. His pseudonyms included Guy West, Alan West, Wesley Simon York, Nick Tall, Nick West, Noah Zark and Kirby Carr. Platt wrote several novels in the "Hitman" series under the name Kirby Carr.
Platt also returned to comics around this time, writing occasional stories for the DC Comics titles G.I. Combat, Our Army at War and Star Spangled War Stories in 1964. His final known comics credit is a 48-page adaptation of Robert Louis Stevenson's Dr. Jekyll and Mr. Hyde in Marvel Classics Comics #1 (1976).
The 1973 film Baxter!, a psychological drama starring Patricia Neal, was based on a book by Platt, The Boy Who Could Make Himself Disappear.
He continued writing books throughout the 1980s, though some novels remained unpublished. This material, as well as unpublished caricatures submitted to magazines and newspapers, was donated to the Howard Gotlieb Archival Research Center at Boston University. “Big Max and the Missing Giraffe” was published posthumously by Harper Trophy in 2005.
Kin Platt's long and varied career began with the drawing of theatrical caricatures in the 1930's. In a way he has dealt in caricature ever since, even in his fiction for young adults that spans the spectrum from old-fashioned adventure yarns to introspective studies of deeply troubled kids. These stories are caricatures not in a negative sense; Platt takes extreme, end-of-the-line cases as his starting point, eschewing comfortable, typical, and familiar protagonists or situations for his fiction. Platt elaborated on the motivation that makes him keep breaking boundaries: "Publishers have been afraid of the kind of books I've wanted to do....I didn't want to keep doing ordinary books. I always felt that I had to stay ahead of everybody else, in my own mind at least....I don't write to make money: I write because the story has to be told." Platt has followed his own dictum and has created a body of work that has expanded the boundaries of what constitutes young adult fiction.
It was a role Platt seemed tailor-made for. Born in New York City, there was nothing comfortable or traditional about his own childhood. He is the first to say that he had a difficult youth, running away from home at age seven, and he was always pushing the bounds of the acceptable. By ten, he was drawing all the time, copying cartoons and dreaming of having his own syndicated comic strip one day. He was also involved in sports, both running and baseball. And to fill any empty hours, he read voraciously and indiscriminately, up to five books per day. "I think boys read more in those days, before books became pretentious, hard covered and high-priced, and pigeon-holed into age categories." He read adventure stories: Tom Swift, the Hardy Boys, and the Rover Boys among others. Later came Jack London, Charles Lamb, Rabelais, Cervantes, and Freud.
Wikipedia and Something About the Author v. 86, 1996.