The Christmas Story in Pictures

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Last week, I forgot to post an accompanying Tribune promotional ad (above) heralding the appearance of its new comic. Not easily overlooked, it is page-high and spans several columns. Somehow I managed. As far as the bit about “internationally famous artist celebrated for his interpretations of Bible stories and personalities,” examples can be found in previous posts on this blog. While “Internationally famous” may have been a bit of a stretch (by the end of 1949, “Mitzi McCoy” had at least appeared in several Canadian papers, in pre-Castro Havana, Cuba’s El Sol, and a Parisian Paper), there is no disputing the acclaim mentioned about Collins’ religious work — Nashville, Tennessee’s Methodist Publishing House published Collins’ “Bible Stories Comics” for seven years in the mid-1940s.

Below, the second week’s promotional push: a spot ad and another 24″-tall multiple-column ad. A detail that I especially like is my grandmother’s handwritten dates on the clippings. While my grandfather died young, at 66, his wife Theresa (who was Kreigh’s senior) lived to be nearly 102. Among other roles, “Teddy” served as Kreigh’s secretary, muse, model, and collaborator, and she delighted everyone she met.

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And finally, here is “tomorrow’s” comic, originally in print 68 years ago today.

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For more information on the career of Kreigh Collins, please visit his page on Facebook.

The Modern Way

In the summer of 1949, Kreigh Collins and Ernest Lynn (his boss at the NEA) came up with an idea for a seasonal year-end sequence for “Mitzi McCoy” — a retelling of the Christmas Story. It also provided a new marketing angle for the fledgling comic strip, as the NEA (and Collins) eagerly tried to expand the strip’s market.

The strip that begins the sequence is a delight. Despite the absence of the strip’s namesake, its other characters shine. The plan for the sequence is neatly laid out for the reader, and includes a (self-deprecating) meta moment when Collins references himself as the guy who is “going to draw the pictures” telling the Christmas story. Stub also offers a strong validation of comics in general. Another nice detail is found in the final panel, where Dick presents the recently-delivered package containing Kreigh’s artwork. The large package is drawn to scale — Collins’s comics were done on 20″ x 30″ illustration boards.

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Rebranded as “The Christmas Story” for newspapers that did not yet carry “Mitzi,” it became the first NEA comic feature to appear in the Chicago Tribune, and ran for five weeks. (For papers that already carried “Mitzi McCoy,” the strip continued under its usual shingle). Its first panel contains the caption “first instalment,” an interesting alternate spelling. (“Mitzi McCoy” used other unusually spelled words on occasion, as when Stub once asked Tim to buy Tiny a “cooky,” or in the strip’s debut, where Mitzi blurted out a hasty “goodby” before leaving town — in her airplane, after she called off her wedding).

Today’s comic first appeared on this day, 68 years ago. The sequence will continue at its original pace — one comic per week. Happy holidays!

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Throwaways Revisited

Ten months after first appearing in Sunday comics sections across North America, “Kevin the Bold” underwent a minor revision. Kreigh Collins began creating special versions for the Chicago Sunday Tribune, as a result of a suggestion made by A. M. Kennedy, the Trib’s Sunday editor. When he received this letter, Collins would have been inking the comics that would run three months later, in October. These are the comics that were featured over the last several weeks.

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A couple of years earlier, the salesforce from the NEA (Collins’ syndicate) had approached the Trib and tried to sell them on the idea of picking up Collins’ first comic feature, “Mitzi McCoy.” Frustrated at the slow pace of negotiations, Kreigh had taken to corresponding directly with the Trib’s brass, and even paid them a visit. Collins had previously lived in Chicago, and was happy to make the 200-mile drive to the big city from his home in West Michigan. His efforts resulted in the Tribune running Collins’ five-week Christmas feature in their Saturday edition, the first NEA strip to grace the Tribune’s pages, and a relationship was forged.

What seemed superfluous to Kennedy were the comic’s throwaway panels. After receiving Kennedy’s letter, Collins mentioned it to his Ernest Lynn, his boss at the NEA. Lynn explained to Kennedy that these small panels were a necessity due to the NEA’s comics formats, but he agreed that Collins could produce special versions for the Trib on occasion.

 

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These unique versions ran eight times, initially on October 28, 1951. With fewer panels, “Kevin” would more closely resemble the Trib’s other comics.

Below are the Chicago Tribune’s comics with their corresponding NEA proofs. The comics work nicely either way. Eliminating the throwaway and enlarging another panel produced handsome results for the Trib, but the original versions’ throwaways are charming as well, allowing for an injection of humor, mood, or feminine beauty. The December 2, 1951 comic simply added a gutter to divide one of its panels into a format from which the NEA could produce its tabloid version.

The modified panels were successful, but it became apparent that they weren’t needed in all cases. Lynn pointed this out in a letter he sent Kreigh a couple weeks later, specifically mentioning the November 4, 1951 comic, shown below.

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By my count, there were eight comics with the throwaway panels eliminated; the final one was published on January 27, 1952. I don’t have examples showing the throwaways for two of the dates — November 11 and 18, 1952 — those BW proofs are missing. Worse yet is the fate suffered by the proof of the January 13, 1952 comic.

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In this case, the collaborating “artist” was either my brother or myself, or one of my cousins. As kids, when we’d go visit Gramma Teddy, she had a wonderful collection of comics for us to read out in Grandpa’s old studio — we must have also thought of them as coloring book fodder. Oh well, at least the October 28, 1951 comic remained unscathed! It’s an absolute masterpiece.

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Cliffhanger

In another dramatic episode, Kevin faces von Blunt on foot. Calm as ever, and despite the Baron’s duplicity, Kevin continues to fight honorably. The comic ends with a genuine cliffhanger, and for me, this wasn’t the only mystery it held.

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My comics collection came about largely through packages periodically sent by my uncle (also named Kevin). At this point, I have copies in some form or another of the first 15 years of my grandfather’s comics. Initially, I didn’t have many of the earliest “Kevin”s, but I did have this compelling cliffhanger.

At the time, I wasn’t even sure which newspaper it came from; now it is obvious that its origin was the Chicago Sunday Tribune. What added to its mystery was its lack of a date, and the reverse side of the comic didn’t yield any clues, either. The NEA copyright line identifies it as from 1952, but in lieu of a publication date, its panels were sequentially numbered (to my knowledge, the only time it occurred with Kreigh’s comics, and in my opinion, completely unnecessary).

Every year or so (as my uncle cleared out the old family homestead), a new comics bonanza would arrive. Eventually, the gaps were filled (until October 21, 1962, anyway), and it became apparent that this comic was dated January 6, 1952. Meanwhile, the fates of Kevin and Baron von Blunt also became known.

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Von Blunt’s remains were identified by the spectators, but there was no sign of Kevin, and he was feared (and to the reader, appeared) dead. Kevin’s apparent demise has left both Stub and Princess Lea heartbroken, and as the comic transitioned to a new chapter, a new character was introduced.

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Suddenly, sadness became elation, as it was discovered that Glaustark’s savior, Kevin, lived. Kevin’s adventures would also continue. The tale of Brett Hartz and his grandfather previously appeared on this blog, and can be seen here.

For more information on the career of Kreigh Collins, please visit his page on Facebook.

Honor vs. Treachery

The December 16, 1951 comic is another beauty. Wonderfully drawn and superbly reproduced, Kevin and Stub are quite relaxed despite the impending danger. In fact, Stub seems more interested in Kevin’s love life than his imminent battle with Baron von Blunt.

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Whereas Kevin stands for honor, von Blunt represents treachery. Knocked from his mount by foul play, Kevin must face the Baron on foot. However, his hours of training with Stub will prove to have paid off.

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The trick of the thrown claymore was demonstrated a year earlier, in one of the earliest “Kevin the Bold” episodes. Despite its success, Kevin still faced the daunting task of facing von Blunt, this time armed with a dagger. He has kept his cool, and perhaps the Baron has underestimated Kevin yet again.

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Stay tuned — next week features the battle’s dramatic conclusion.

For more information on the career of Kreigh Collins, please visit his page on Facebook.

Strangers in the Night

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Brought together by chance, Kevin hears a firsthand account of the plight of the Glaustarkians from a beautiful young woman he initially believes to be a peasant. A nightwatchman soon confirms what Kevin had heard from the peasant, and Kevin realizes what must be done.

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The December 9, 1951 comic is another gem. Its nine panels are filled with beautifully-illustrated horses and settings, witty dialog, and charming examples of the principal characters’ qualities. When Kevin strikes the gong, he startles his horse Satan, and appears to crack the gong itself. Stub fearlessly confronts von Blunt in one panel and nearly swoons at the end, when he discovers Princess Lea’s scented handkerchief.

In case you were wondering if the help wanted ad Kreigh Collins had placed in the Grand Rapids Herald produced any results, sure enough — it worked. A local gentleman named Frank Tatroe filled the bill. If you compare the second photo below with the penultimate panel of the December 9 comic, you can see for yourself.

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For more information on the career of Kreigh Collins, please visit his page on Facebook.

The Slide

Early “Kevin the Bold” sequences could stretch over a significant chunk of the calendar. This one, featuring Baron von Blunt, ran for 18 weeks. The Search for Sadea, whose principals appeared in last week’s post, had 22 episodes, and lasted nearly half a year). Such long storylines allowed character development in the strip, and its stories and stunning illustrations proved to very popular with readers. The November 4, 1951 comic is exquisite.

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Kevin and his men face a huge obstacle in trying to deliver weapons along a dangerous mountain path, but they aren’t the only ones trapped between a rock and a hard place.

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As usual, Kevin’s outrageous plan has worked. Astride his horse Satan (won from Count DeFalcon in a jousting tournament), Kevin successfully led the horses down the cliff. Unfortunately, they are not yet home free.

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A close brush with von Blunt has steeled Kevin’s resolve to deliver the people of Glaustark from under the Baron’s thumb. Hoping to clear his mind, Kevin sets out on an evening walk. Meanwhile, Princess Lea also heads out for the moonlight. Perhaps the night air will benefit both of them.

For more information on the career of Kreigh Collins, please visit his page on Facebook.

Princess Lea Pursued

In preparation for his confrontation with Baron Von Blunt, Kevin musters some forces and makes plans to arm them. His past good deeds help as he calls in a favor. Meanwhile, his antagonist continues his brutal ways.

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About that armor refurbished by Seusenhofer… it looks familiar…

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Rebuffed by beautiful Princess Lea again, Baron Von Blunt seethes with anger. Vowing to destroy Glaustark, the stage is set for conflict. In an extraordinary final splash panel, Kevin arrives at last. As usual, Stub and Kevin are confident. First, Kevin and his men face an arduous journey just to reach Von Blunt. Then, will they be strong enough to overcome the Baron?

For more information on the career of Kreigh Collins, please visit his page on Facebook.

Special Man Is Wanted

Artists and illustrators often have models pose for them — Kreigh Collins frequently enlisted his family with the task. Occasionally, a special situation would call for a hired model, and such was a case for an early “Kevin the Bold” sequence. Getting a help wanted ad on the front page of the local paper was helpful, and the Grand Rapids Herald provided some nice promotion for Collins’ year-old comic.

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The “special man” needed to be of a specific stature, as he would be donning a centuries-old suit of armor recently donated to the Grand Rapids Public Museum. Since historical authenticity was important to Collins, having a live model for reference would be very useful, as knights in armor were a staple of his comic strip.

The newspaper page was trimmed so that no publication date showed, but an article on the page had some information that placed it in late July of 1951. The NEA’s production schedule required comics to be inked two to three months ahead of their publication date, and with this sequence appearing in September, the timing of the newspaper article made sense.

The fifth “Kevin the Bold” sequence introduced a new villain, Baron Von Blunt. Was his new Flemish armor modeled after the set from the Grand Rapids Public Museum?

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Most of the early “Kevin” comics in my collection are from the Chicago Sunday Tribune, but the September 30, 1951 comic shown above ran in the Detroit News. (Most likely, the comic had debuted in the News with this sequence). Collins’ artwork is especially strong in this period, but the printed results from the News are no match for those of the Tribune.

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Kevin and his squire, Stub, had been separated during the previous sequence, in which Kevin was gravely injured. Once reunited, Stub fills his knight in on the details of the task he has been assigned — training an army of men to face Baron Von Blunt, the same ruthless man that had already made an enemy of Kevin. The October 7 comic is another beauty from the Trib, with more to follow.

Of note: The Grand Rapids Public Museum has a rather impressive collection of Kreigh Collins’ original artwork.

For more information on the career of Kreigh Collins, please visit his page on Facebook.

Navel Battle

After several weeks of setup and conflict, this sequence is primed for some classic “Kevin the Bold” ingredients — beautiful women, creepy villains and combat.

Last week’s comic teased with a beautiful drawing of Estrella in its final, double-decked splash panel, and as the sequence continues, Estrella remains prominent. Like many cartoonists, Kreigh Collins used lovely women to help attract readers. However, there were rules, and lines that could not be crossed. As described in this fine article from Vanity Fair about Connecticut cartoonists of the era, you could draw a girl in a bikini but you couldn’t show a navel. Gaze upon Estrella’s tummy and you will notice this to be the case.

With sex appeal now part of the sequence’s mix, it was now time for a new band of villains — this time, cannibals.

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Good fortune has Kevin being saved by Estrella. Despite his brush with death after being kicked off the Polaris, Kevin is quick to go to the aid of the cannibals’ victim, with a creative and dramatic display.

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Another chance encounter reunites Estrella and Diego, but our friends are not out of hot water yet — the cannibals are still in pursuit.

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Kevin’s bluff is enough to deter the savages, and after a final plot twist, the sequence is completed. The story continues with some comics previously featured on this blog — click here to continue following the action.

This Date in Comics History:

Sunday, October 1 (1950) — “Kevin the Bold” debuts in the Chicago Sunday Tribune, and in papers across the U.S. and Canada.

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“Continued” indeed. The strip ran for 18+ years. 

For more information on the career of Kreigh Collins, please visit his page on Facebook.