•  

    Lana Comics 1  Lana Comics 2 Lana Comics 3 Lana Comics 4 Lana Comics 5

    Lana Comics 6 Lana Comics 7 Lana Comics 8 Little Lana 9

     

     

Click on each image to view larger
1 2 3
4 5 6
7 8 9

Comics missing:



Free web hostingWeb hosting

Lana Comics #1-7 (Aug. 1948-Aug. 1949) continued into Little Lana #8-9 (Nov. 1949-March 1950)

Lana Comics #1Good girl art (GGA) is found in drawings or paintings which feature a strong emphasis on attractive women no matter what the subject or situation. GGA was most commonly featured in comic books, pulp magazines and crime fiction. When cited as an art movement, it is usually capitalized as Good Girl Art.

The term describes the work of illustrators skilled at creating sexy female figure art; it is "girl art" which is "good". Popular culture historian Richard A. Lupoff defined it as: “ A cover illustration depicting an attractive young woman, usually in skimpy or form-fitting clothing, and designed for erotic stimulation. The term does not apply to the morality of the "good girl", who is often a gun moll, tough cookie or wicked temptress."

The term Good Girl Art (with all initial capitals) was coined in the early 1970s by veteran comic book dealer and The Comic Book Price Guide advisor David T. Alexander, formerly co-owner of the American Comic Book Company. Alexander inserted the term in his company's sale lists to highlight specific panels and covers with sexy women in comic books from Fiction House and other publishers. Shortly after The Comic Book Price Guide was created by Robert Overstreet, the duo of David and his business partner Terry Stroud began to contribute historical, reference and pricing information regarding this particular genre. David currently owns and operates David T. Alexander Collectibles in Tampa, Florida, and continues to sell Good Girl Art comics.

It was during this era that the terms Good Girl Art and Esoteric Comics became widely used by the collecting community. Use of the phrase has since expanded to indicate a style of artwork in which attractive female characters of comic books, cartoons and covers for digest magazines, paperbacks and pulp magazines are rendered in a lush manner and are shown in provocative (and sometimes very improbable) situations and locations, such as outer space. The artwork sometimes involves bondage or damsel-in-distress situations.

A strong influence on the movement was illustrator Rolf Armstrong (1889–1960), labeled the "Father of Good Girl Art" because of his creamy calendar art for Brown & Bigelow and iridescent illustrations for such magazines as American Weekly, College Humor, Life, Judge, Photoplay, Pictorial Review and Woman's Home Companion, along with his advertisements for Hires Root Beer, Palmolive, Pepsi, Oneida Silverware and other products.Torchy

During the peak period of comic book Good Girl Art, the 1940s to the 1950s, leading artists of the movement included Bill Ward (for his Torchy) and Matt Baker. Arguably the king of Good Girl Art, Baker was one of the few African Americans working as an artist during the Golden Age of Comics. Today, Baker's rendition of Phantom Lady is considered a collectors item, and much of his GGA is sought after. During this period, GGA also found its way into newspaper comic strips. One of the early examples was Russell Stamm's Invisible Scarlet O'Neil, a superheroine who was regularly shown in her lingerie.

Torchy made her comic-book debut as main character of a backup feature of Quality Comics' Doll Man #8 (Spring 1946). Her feature was later published in all but two issues through #30 (September 1950), resuming in #35 (August 1951) through #47 (October 1953), as well as in Modern Comics #53-102 (Sept. 1946 - Oct. 1950). A solo series, Torchy, had six issues (Nov. 1949 - Sept. 1950), some with art by Gill Fox.

Several Torchy stories, including some Fort Hamilton comic strips, were reprinted in Innovation Comics' 100-page, squarebound trade paperback Bill Ward's Torchy, The Blonde Bombshell #1 (Jan. 1992). Others have been reprinted in The Betty Pages #1 (1987).

Phantom Lady first appeared in Quality's Police Comics #1 (Aug, 1941), an anthology title the first issue of which also included the debut of characters such as Plastic Man and the Human Bomb. That issue established her alter ego as Sandra Knight, the beautiful Washington, D.C. debutante daughter of U.S. Senator Henry Knight. The issue established that it was not her first appearance as the Phantom Lady, but it did not go into her origin. Stories published decades later by DC Comics would give her a proper origin, which was altered several times to give Sandra a more active role. Phantom Lady ran as one of the features in Police Comics through #23. Arthur Peddy continued as the artist through #13, with Joe Kubert drawing her feature in Police Comics #14-16; Frank Borth on #17-21; Arthur Peddy returned for #22,; and Rudy Palais on #23. Phantom Lady also appeared in Feature Comics #69-71 as part of a crossover with Spider Widow and the Raven.

After Quality stopped publishing the adventures of Phantom Lady, what was now simply Iger Studios believed it owned the character and assigned it to Fox Feature Syndicate, a move that would later cause confusion as to who actually owned the character's copyright. The Fox version which premiered in Phantom Lady #13 (taking over the numbering of Wotalife Comics) is better known to contemporary comic fans than the Quality version because of the "good girl art" of Matt Baker. Baker altered her costume by changing the colors to red and blue, substantially revealing her cleavage, and adding a very short skirt. Fox published Phantom Lady only through issue 23 (Apr, 1949), though the character guest starred in All-Top Comics #8-17, also with art by Baker. Her rogue's gallery in these two Fox titles included the Avenging Skulls; the Fire Fiend; the Killer Clown; Kurtz, the Robbing Robot; the Subway Slayer; and Vulture.Good Girl Art Quarterly #2

Baker's cover for Phantom Lady #17 (Apr, 1949) was reproduced in Seduction of the Innocent, the 1954 book by Dr. Fredric Wertham denouncing what he saw as the morally corrupting effect of comics on children. The cover, which illustrated Phantom Lady attempting to escape from ropes, was presented by Wertham with a caption that read, "Sexual stimulation by combining 'headlights' with the sadist's dream of tying up a woman." In the meantime, Fox went under and its assets were acquired by other publishers, and a Phantom Lady story from All-Top was then reprinted as a backup feature in Jungle Thrills by Star Publications, which then itself went out of business.

Invisible Scarlet O'Neil is an American comic strip written and drawn by Russell Stamm, who had previously been an assistant to Chester Gould on Dick Tracy. Published by the Chicago Times, it ran from June 3, 1940 to 1956. It focused on Scarlet O'Neil, a plainclothes superhero (and one of the first superheroines) who had the power of invisibility. Scarlet used this power mostly to help out strangers in need and help the police catch dangerous criminals.

Two of the leading creators of GGA for science fiction magazine covers were Earle Bergey (Startling Stories, Thrilling Wonder Stories) and Harold W. McCauley (Imagination, Fantastic Adventures). In the '70's pulp fiction, Hector Garrido drew the GGA book covers of Baroness spy thriller series by Paul Kenyon and The Destroyer men's adventure pulp novels by Warren Murphy and Richard Sapir.

In 1985, Bill Pearson edited and published Good Girls, a collection of artwork by himself, Vince Alascia, Richard Bassford, John Beatty, Stan Drake, Brad W. Foster, Frank Frazetta, Frank Godwin, V. T. Hamlin, David Karbonik, Roy Krenkel, Bob McLeod, Ed Paschke, Victor Perard (author of Anatomy and Drawing and How to Draw), Willy Pogany, Trina Robbins, Kenneth Smith, Wally Wood, Mike Zeck and others.

Since 1990, AC Comics has published 19 issues of his Good Girl Art Quarterly (incorporating several issues of Good Girl Comics), featuring a mix of photos and new comics with reprints of vintage stories. In addition to Baker, Black, Frazetta, Ward and Wood, the artists in this series include Nina Albright, Chris Allen, Nick Alton, Dick Ayers, Frank Bolle, Gill Fox, Brad Gorby, Mark Heike, Chad Hunt, Jack Kamen, Ed Lane, Steve LeBlanc, Bob Lubbers, Billie Marimon, Mark Moore, Ralph Mayo, Pete Morisi, Rudy Palais, Nick Poliwko, Bob Powell, Richard Rome and Maurice Whitman.

From Wikipedia, the free encyclopedia.

Invisible Scarlet O'Neil