Happy 85th Anniversary DC Comics and New Fun #1

Although it was a risk in the midst of the Depression, it was a logical venture for the Major with his experience in the newspaper syndicate business and writing for adventure pulps. However, he needed something unique, not reprints from newspapers or copying European magazines. Lloyd Jacquet, his first editor, stated, “He also knew that the American presentation of such material would have to be different, and merely importing or translating European-produced features for republication here was not the answer. That is why he was not unduly concerned when he saw a British paper called “Comic Cuts” appear on the newsstands.”

1). Lloyd Jacquet, “The Coming of the Comic [Book],” Newsdealer (July 1957), reprinted in Comic Book Marketplace #88 (December 2001).

From the beginning the idea was to create something unique. MWN was a strategist and before undertaking any endeavor he considered all the possibilities. His earlier foray publishing his newspaper syndicate in 1925-26 indicates the idea for a comics magazine was already percolating. He not only published comic strips in panels but also a full page of comics and adapted stories from the classics in comic book form such as Ivanhoe, Treasure Island and The Three Musketeers.

A person who takes an enormous risk in the midst of a Depression to create something entirely new is hardly the type of person to do so because he couldn’t get rights to reprint newspaper comic strips. Let’s retire that myth. It is demeaning to the tremendous effort and energy that Wheeler-Nicholson put forth in his comics venture.

A main ingredient in the creation of New Fun and all that came after is that The Major was a creator throughout his life. It is the primary difference between the Major and most other publishers who followed in his wake. He not only experienced the business end of publishing but unlike Harry Donenfeld, Jack Liebowitz, Martin Goodman, John Goldwater and others who were involved with the business end of publishing and printing he was also a creator. The Major was unique in this regard at the very beginning of the industry. There were other publishers who came later that were also creators such as Will Eisner but the Major led the way.

As a creative person he chafed under the bureaucracy of the military constantly advocating new ideas and ways to modernize the army. Although the military was ultimately not a good fit for him, it did prepare him for later endeavors in many ways. He was an extraordinarily disciplined person and it helped to hone his natural talent for leading especially in regard to collaborative creative efforts. His editorial suggestions in letters to Jerry Siegel are subtle and respectful. When he began to work with Siegel and Shuster, the Major gave them a number of ideas such as “Slam Bradley,” “Federal Men” and “Calling all Cars.” He had respect for their ability to execute these ideas.

He also understood creators’ rights and followed the pulp practice of “first American Serial Rights,” which generally meant that once a piece was published then the creator retained the rights. MWN stated this in a letter to Jerry Siegel regarding Dr. Occult. “Strictly speaking Dr. Occult belongs to you and we will release all rights to you other than first serial, any time you so desire.” 2) At the beginning of the industry MWN advocated creator’s rights, which is in direct opposition to what occurred with Siegel and Shuster and others once Donenfeld and Liebowitz took over the company.

2). Malcolm Wheeler-Nicholson, letter to Jerry Siegel, March 16, 1937.

Another unique aspect of the Major’s comics magazines is their evolution from the pulps. As Lloyd Jacquet noted, “Now we had a little book shelf in the Major’s office, in lieu of files, and on it were placed some of the new ideas which were constantly cooking up for our new-found magazine business. These ideas were rough dummies of other comic books that we wistfully wished we could publish. Major Nicholson’s pulp background helped here, for it was a natural step from the “general” title of comics (of the funny type, incidentally), to the western, and the detective, aviation, and so forth, that were even then the backbone of the pulp mag sales on the newsstands all over.” 3).

3). Jacquet. Ibid.

It’s not surprising that the pulps played an important role in the development of comics since pulp stories have heroes, heroines and storylines that easily translate to comics panels. Barry O’Neill, appearing in “New Fun #1” and considered to be DC’s first action hero, began life in one of the Major’s pulp stories. “Sandra of the Secret Service” appears to have been created by the Major as well and is typical of his heroines being beautiful, smart, able to ride, shoot well and take care of herself in difficult situations.

It’s also worth noting the evolution of the Major’s comics magazines. It’s clear there were constant innovations and evolutions of the form. The first covers of “New Fun #1” through “New Fun #6” were tabloid size and featured a full-page comic story consisting of 4 panels. By December 1935 the second magazine the Major published, “New Comics #1” was no longer tabloid size and had a full-page cover illustration. “More Fun” soon followed the same format by March of 1936. The covers that Creig Flessel began drawing for “Detective Comics,” in 1937 were a unique combination of the action of pulp magazine covers in cartoon style.

The interior pages of “New Fun #1” and #2 were in black and white followed by some comics in color in “New Fun #3.” Innovations in the artwork appeared fairly soon. With the ability to work on a full page or a three-quarter page, artists moved away from the strict format of newspaper strips. The manner in which panels were organized helped to tell the story as can be seen in the Bob Merritt strip in “More Fun #30” drawn by Leo O’Mealia.

“New Fun #1” had a number of non-fiction articles and one fictional story—a kind of hybrid between the idea of a newspaper and a comic book. Within 2 years by February 1937 with the appearance of “Detective Comics #1” on newsstands we now have a comic devoted to a single theme and appearing much like comics today. In those years from 1934 to April 1938 the Major created characters, comics, wrote perhaps around 450 scripts, developed 4 magazine titles including “Detective Comics” published 63 magazines, discovered talents like Siegel and Shuster, Bob Kane, Creig Flessel, Sheldon Mayer, Vincent Sullivan, Whitney Ellsworth and Walt Kelly among others. It was a phenomenal surge of energy that helped to found an industry.

Like many of you I’m anxiously awaiting the release in early April of DC’s special anniversary reprint of New Fun #1. It’s going to be thrilling to finally hold it in my hands. Because these early magazines are rare most people have not seen them. It will make a difference in the way comics historians, journalists, and fans view this beginning of DC Comics to see an exact reprint of the original. My wish is that comics scholars, journalists and others who teach and promote comics will take the time to look at “New Fun #1” and see the through line that leads right up to “Action Comics #1.” There is a continuum from “New Fun #1” to what we consider the modern comic book and it all happened in just three short years. “New Fun #1,” thanks to the Major, is the foundation of DC comics and where the entire modern industry got its start.

After the Major lost his comics company to his partners in a forced bankruptcy, he went on to write about real heroes during World War II publishing three non-fiction books on politics and military strategy and numerous articles in Look, Harper’s Magazine and many others. He also continued writing adventure stories for the pulps.

His last creative endeavor may have been the closest to his dream as a “gentleman inventor” much like his character Bob Merritt. In 1948 on a trip to Sweden he discovered a formula for industrial paint, developed it and patented it and developed other patents for building construction. He continued writing almost every day of his life. The Major died September 20, 1965 and is buried in Nassau Knolls Cemetery in Port Washington, NY. His was an amazing life.

There are only 3 non-comics features besides the entreaty to join the Junior Federal Men Club features. I.W. Magovern’s regular “Movies” two pages about the latest movies with a photograph of the Ritz Brothers in “Life Begins in College” and Joe E. Brown in RKO’s “Fit for a King.” It’s full of tidbits about movies and stars like Joel McCrea, Ginger Rogers and Katherine Hepburn and written with a snarky attitude as if Ms. Or Mr. Magovern had themselves a nice martini lunch. Enjoy!

There is a one-page feature on the explorer David Livingstone with two black and white drawings oddly entitled “Are You Handicapped” by Richard Speed. And a one-page for the International Good Neighbor Club by Ann Leslie encouraging readers to correspond with members from around the world. The beginning paragraph puts us in that time and place—“In these troubled days, with war clouds hovering menacingly over Europe and Asia, the work we have begun in our International Good Neighbor Club, seems more important than ever.” It’s a moment of sober thoughts in the midst of the comics.

In spite of what appears to be money problems this magazine is another solid publication with good stories and artwork from a regular group of contributors. It was most likely put together in late summer 1937.

Thanks to Doc DC, Comic Book Plus and Grand Comics Database.