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"splash-page"

trying to strangle the little monkey!

sends Iron Jaw plunging into a vat of beer directly below him!

now-drunk master criminal

"Iron Jaw’s Rampage Of Danger"

demolishing the lawman’s home

a paralyzed stupor

well-known Disney characters

one that would seem more appropriate on underground "comix" of the late 1960s!

Charles Biro (1911 – 1972) was born in New York and studied art at both the Brooklyn Museum School of Art and the Grand Central School of Art. Following his graduation, he worked as a script and art supervisor at Harry "A" Chesler’s "shop" from 1936 to 1939. There, he met his future collaborator, Bob Wood. Moving to MLJ/Radio Comics/Archie, he created "Steel Sterling" in 1941. Later, Biro and Wood joined Leverett " Lev" Gleason’s Comic House Group in a deal that, surprisingly, included profit-sharing. Biro’s job was to serve as the company’s editorial director and supervising writer. There, they guided the path of the original DAREDEVIL, a mute, boomerang-hurling hero created by Don Rico and Jack Binder, as well as the hero of Gleason’s other title, SILVER STREAK. In 1940, Biro assumed the creative chores on the book, writing, drawing and editing it. Along the way, a trio of Biro-introduced characters, "The Little Wise Guys", gradually took over the series until its end in 1956. Another Biro-and-Wood creation was crusading "Chuck Chandler", AKA "Crimebuster" in BOY COMICS, whose pet monkey "Squeeks" eventually received his own short-lived spin-off comic – in the funny animal genre, no less! Another significant comic book character whose creation is closely associated with Biro is Hillman’s AIRBOY. But the project that assured Charles Biro’s unique place in funnybook history was CRIME DOES NOT PAY (1942), the very first "crime comic". (The title was "inspired" by a feature film produced by MGM.) At Gleason’s urging, Biro and Wood, created the groundbreaking series that lasted long enough to eventually fill the niche left after post-war America’s comic-book-reading youths had gotten their fill of Nazi-bashing superheroes. Replacing SILVER STREAK – but continuing its numbering – the first issue of CRIME DOES NOT PAY (actually No. 22) was cover-dated July, 1942. The 64-page anthology of "true crime stories" featured a violent cover-scene drawn by Biro and even more violent stories inside. Attracting both adult and child readers, all drawn by the book’s lurid but supposedly pro-social content, the sales of CRIME DOES NOT PAY grew until, in 1948, its circulation reached nearly a million copies a month. (This was impressive enough, but publisher Gleason apparently couldn’t resist cover-featuring inflated claims of selling six million copies of each issue!) The book’s gimmick was that, rather than focusing on police and detective heroes, each story would detail the rise of a "real life" criminal and his resume of dastardly deeds, culminating in his inevitably bloody death. Early in its run, CRIME DOES NOT PAY gained a creepy-looking undertaker/host named "Mr. Crime", whose duty was to sardonically introduce and comment on each "true crime" tale. By this time, the series’ success had inspired other publishers to create their own crime comics, and soon, the sales race was on to see who could come up with the most violently perverse material. In response, Gleason, Biro and Wood launched a second title, CRIME AND PUNISHMENT, which was equally well-received by the comic-reading public. It should be noted that, although these books were both ultra-violent and formulaic, Biro, Wood and talented artists such as George Tuska, Dan Barry and Bob Fujitani continued to produce material that kept their company at the top of the increasingly sleazy field. But by 1950, crime comics in general began to attract the ire of their detractors which, most notably, included Dr. Fredric Wertham, crusading psychologist and author of the notorious anti-comics screed, SEDUCTION OF THE INNOCENT (1954). Wertham’s primary targets were the genres of horror comics and crime comics, both of which he was convinced were partially responsible for juvenile delinquency. (It was difficult for the publisher of these decidedly unfunny funnybooks to fight back, although Hillman’s CRIME DETECTIVE featured a caricature of a trussed-up Wertham on the cover of its ninth issue!) His efforts led to a historical 1954 US Senate hearing, in which EC publisher William M. Gaines unsuccessfully attempted to defend and justify his company’s product. This was followed by the formation of a comic book "code" overseen by the newly-formed Comics Magazine Association of America. Due to their over-regulation of the industry, attempting to excise any and all implications of sex and violence, Gaines’ EC switched its attention to MAD (soon to be a magazine) and Gleason’s crime titles were both cancelled in 1955, along with the rest of the embattled genre. CRIME DOES NOT PAY ended with its 147th issue and CRIME AND PUNISHMENT with its 74th; the "Comics Code" seal and its restrictions that their last few issues carried proved to be the books’ downfall, ironically similar to the career arcs of the criminals they starred. Desperate to stay in the comic book business, Gleason and Biro turned to other more wholesome types of funnybooks that would, hopefully, exist above the criticisms and censorship that destroyed their crime comics. Although not nearly as well-known as his crime titles, Gleason had already published such light-hearted kids’ series as CUTIE PIE, DILLY, SQUEEKS, and UNCLE CHARLIE’S FABLES. (And who’s willing to bet that "Uncle Charlie" was actually a reference Charles Biro himself?) Gleason’s newly-formed imprint, "Dandy Comics" – named to further distance the new product from his previous line of notorious crime comics -- published three issues of THE UNBELIEVABLE JIM DANDY, along with three issues of a comedic western series, SHORTY SHINER -- billed as "The Five-Foot Fighter In The Ten Gallon Hat" -- between June, 1956 and October, 1956. Slightly more successful was Biro’s POPPO OF THE POPCORN THEATER (Fuller Publishing Co./Publishers Weekly), a weekly giveaway at supermarkets that ran for 13 issues between 1955 and 1956. Discouraged when he couldn’t come up with a successful follow-up to his triumphs in the crime comics genre, Charles Biro eventually left the comic book business in 1962 for a second career in television, and died a decade later.

Cartoonist Norman Maurer (5/13/1926 – 11/26/1986) began working in the comic book field on such features as "The Little Wise Guys" in DAREDEVIL COMICS and "Crimebuster" in BOY COMICS, both for Lev Gleason. He went on to write and draw St. John’s THREE STOOGES and a MAD imitation, WHACK! Partnered with Joe Kubert, he created the first 3-D comic book, St. John’s MIGHTY MOUSE 3-D, in 1953. Not coincidentally, he also became the Three Stooges’ Moe Howard’s son-in-law when he married Moe’s daughter Joan. After writing DENNIS THE MENACE gags for Hank Ketcham, he became a film producer, as well as managing the careers of the Three Stooges. His films include SPACE MASTER X-7 (1958, associate producer), THE ANGRY RED PLANET (1959: as producer, he created the polarized "Cinemagic" process), THE THREE STOOGES IN ORBIT (1962; story and producer), THE THREE STOOGES GO AROUND THE WORLD IN A DAZE (1963, director and one-sheet artist!), THE THREE STOOGES MEET HERCULES (1963; story and producer), THE THREE STOOGES SCRAPBOOK (1963, producer), THE OUTLAWS IS COMING! (1965, story and director), WHO’S MINDING THE MINT (1967, producer), STAR SPANGLED SALESMAN (1968, producer), THE MAD ROOM (1969, producer) as well as producing the pilot for the never-aired KOOK’S TOUR (1970) TV show starring the geriatric Three Stooges. Maurer also worked extensively in animation, primarily for Hanna-Barbera Productions. His cartoon credits include THE NEW THREE STOOGES (1965, executive producer), THE NEW SCOOBY-DOO MOVIES (1972, writer), SPEED BUGGY (1973, writer), DYNOMUTT, DOG WONDER (1976, story editor), FANGFACE (1978, writer), THE THREE ROBONIC STOOGES (1978, creator and executive producer). And between 1972 and 1974, Norman Maurer returned to his roots, writing and drawing seven issues of THE LITTLE STOOGES, an Oddball Gold Key comic book series starring the supposed sons of the original Three Stooges!

Cartoonist William Overgard (1926 – 1990) started out in comic books at the urging of Milton (TERRY AND THE PIRATES) Caniff – creating the western hero "Black Diamond" for Lev Gleason’s BLACK DIAMOND WESTERN and drawing many satirical take-offs for WHACK! (alongside stories drawn by Norman Maurer -- but he’s probably best known as the longtime artist on the STEVE ROPER (AND MIKE NOMAD) syndicated newspaper comic strip until 1982, written by Allen Saunders (and originally drawn by Bill (KATY KEENE) Woggon’s brother, Elmer). Overgard also drew Dell’s JUNGLE JIM and JIM BOWIE funnybooks. He even ghost-penciled the STEVE CANYON strip for Milton Caniff. Overgard also wrote and drew his own comic strip, RUDY (about a retired show biz chimp living in modern Hollywood. He also wrote a number of novels (THE MAN FROM RAFFLES, THE DIVIDE, A FEW GOOD MEN, SHANGHAI TANGO, etc.) and television and movie scripts, including THE LAST DINOSAUR (1977), THE BERMUDA DEPTHS (1978), THE BUSHIDO BLADE and THE IVORY APE (both 1980).

INTRODUCTORY CAPTION: No need to look under your bed at night, or to bolt our doors against Iron Jaw! There isn’t a chance that he’d waste his time merely on us! He’s out for bigger game…but if you get in his ambitious way as Crimebuster does – LOOK OUT! – Charles Biro

Trapped by the police and Crimebuster during one of his gang’s warehouse heists, Iron Jaw outsmarts his captors with an unexploded tear gas grenade and escapes, hitching a ride on the back of a truck that’s transporting huge spools of metal cables. Crimebuster and Squeeks give chase, but they’re forced to quit when Iron Jaw sends the huge spools rolling toward them. Then the metal-mouthed criminal steals the truck and heads for Culligan’s Carnival.

IRON JAW: This time I really out-foxed Crimebuster! A carnival! My luck is really holding out! With the head start I’ve got, it’s a cinch to find a good hiding spot among this carney crowd!

Hoping to evade capture, Iron Jaw dresses himself in a handy gorilla suit, then turns an empty cage into his hideout. It’s not long before Crimebuster and Squeeks arrive at the carnival, looking for a trace of Iron Jaw. But when they pass the "gorilla’s" cage, the little monkey goes ape with suspicion:

SQUEEKS: SQUEEK! SQUEEK!

IRON JAW (in gorilla disguise): GRUNT!

CRIMEBUSTER: What’s the matter, Squeeks? Is he a long lost relative of yours? C’mon, Squeeks! Shake hands with your grandpa!

When Crimebuster holds his simian pal closer to the cage, Iron Jaw loses control and grabs poor Squeeks, trying to strangle the little monkey! But when the brave little monkey bites his hand right through the glove, Iron Jaw reacts in pain, losing his gorilla headpiece, revealing his true identity to Crimebuster!

CRIMEBUSTER: YOU’RE HURTING HIM! LET HIM GO, YOU STUPID APE!

SQUEEKS: SQUEEK! SQUEEK!

IRON JAW (in gorilla disguise): OUCH! MY HAND!

CRIMEBUSTER: IRON JAW! Well, well, an English-speaking gorilla! THERE! Now we can display you to the public permanently! IRON JAW, THE TALKING APE! I think you’ll be safe there for a few minutes while I use the car radio to call Loover and the police!

Crimebuster locks his old foe inside the carnival cage, but Iron Jaw is not one to be deterred by such a small setback. Reaching through the bars, the ex-Nazi grabs and removes a wooden wheel block, allowing his cage to roll down the hill -- crashing through the wall of a nearby brewery! Still wearing his gorilla suit, Iron Jaw dashes up a scaffold and into the depths of the beer factory with Crimebuster and Squeeks hot on his hairy trail:

CRIMEBUSTER: Give yourself up, Iron Jaw! The police are on their way over! You’re all washed up – why not admit it?

IRON JAW (in gorilla disguise): WHAT? Give in to a runt like you? I’m smarter and stronger than you! I’ve proved it to you time after time and I’ll prove it again! Here is a sample of what I mean!

IRON JAW (in gorilla disguise): This conveyor belt will carry me to the far end and I’ll be out of here before Crimebuster can get down the ladder again. HA! HA! HA! HA! So long, Crimebuster! I’ll see you around!

CRIMEBUSTER: What you forgot, Iron Jaw, is that this machine also has a lever marked BRAKE! And another one marked LOWER! Get ready, pal, you’re going on a free binge!

Quick-thinking Crimebuster yanks the lever and sends Iron Jaw plunging into a vat of beer directly below him! Then, raising him, Crimebuster taunts his helpless enemy:

CRIMEBUSTER: HA! HA! It’s a shame this beer isn’t in cans, Squeeks, then the old can-opener puss could get himself a workout! I wish we could offer you some pretzels to go with the beer, but we’re fresh out! Just say when you’ve had enough!

IRON JAW (in gorilla disguise): >Sput!< >Gulp!<

After he’s raised and lowered into the beer vat a few times, the now-drunk master criminal is in no condition to offer the arriving police any resistance.

POLICE DETECTIVE LOOVER: Good work, C.B.! You did a swell job. This time I brought a whole troop of men! I’m not taking any chances of him escaping again!

CRIMEBUSTER: I don’t think he’ll cause us much trouble this time – not in his condition!

IRON JAW (in gorilla disguise, singing): Sweet Ado-line >hic< My Ado-line >hic

Also included in this issue of BOY COMICS/ILLUSTORIES are the following stories, features and advertisements:

• "Hey, Fellers! You Should’ve Seen Jimmy Lick Big Butch With Ju-Jitsu!", a black-and-white, inside-front-cover strip-ad for mail-order Oriental martial arts lessons from the "Super Mail Order Company".
  
  
• "Crimebuster" in "Iron Jaw’s Rampage Of Danger", written by Charles Biro and drawn by Norman Maurer. – "For every poison, there’s an antidote! For every evil, there is good! It is the duty of every good person to help keep the scale strongly balanced in favor of good! Wherever villainy exposes its ugliness, the right guy will fight it! It is too horrible to imagine what would happen if good people stopped fighting for the truth and the right, and the scales were tipped the other way! There would be not only one Iron Jaw, but thousands! Crimebuster thinks one is toon many, don’t you? – Charles Biro" Feigning unconsciousness, Iron Jaw allows himself to be captured, handcuffed and loaded into the state police’s canvas-roofed car. But the moment his captors take their eyes off of him, the metal-mouthed menace uses his synthetic teeth to rip open the car’s roof; then he climbs out and leaps upward, grabbing an overhanging lamp post as the car passes beneath it. When the police see the fleeing felon in their rear-view window, they stop their car and pile out, dashing after the escaped criminal. But Iron Jaw has anticipated this, circling the block and stealing the state police’s own car! Deliberately crashing into the squad car in which Crimebuster is riding, Iron Jaw disables the vehicle before taking off. Next, he phones a local locksmith, claiming he’s locked his keys inside his car, but once the locksmith shows up, Iron Jaw forces the meek shopkeeper to unlock his handcuffs. After stealing the locksmith’s auto, Iron Jaw heads further into the city, where he spots Patch Duffy, "the biggest operator in town". Iron Jaw threatens the mousy little man until he reveals the whereabouts of "the big cheese that’s running the rackets", a crook named Bloody Oxton. But before Iron Jaw can arrive, angry Patch Duffy tips off Bloody Oxton that the metal-mouthed menace is on his way. And unknown to Iron Jaw, Oxton has been busy prepping his gang on an armed robbery they’ve got planned for later that afternoon! Telling his goons to hide, Oxton greets Iron Jaw as his "old friend", striking a deal that Iron Jaw can use his hideout if the ex-Nazi agrees to follow Oxton’s orders. When he agrees, Oxton calls his gang to come out of hiding and resume their "personal business", which Iron Jaw correctly assumes is a bank heist. The robbery goes off without a hitch, but when Oxton and his underlings return to their hideout to count their swag, Iron Jaw surreptitiously grabs their guns and helps himself to their stolen twenty thousand dollars! While Iron Jaw drives off with Oxton’s money and guns, the crime lord makes an anonymous phone call to the police, tipping them off to Iron Jaw’s location. Spotting the police, Iron Jaw ditches his car and takes refuge at a nearby construction site, where he knocks out a watchman and steals a bottle of "nitro-glycerine" from a shed marked "DANGER – EXPLOSIVES". Next, Iron Jaw charters a small plane, and after consulting a map, arranges to be flown over the private residence of police detective Loover. Meanwhile, the construction company’s watchman has recovered and reported Iron Jaw to the state police; soon, an all-points radio bulletin is broadcast to all the cops in the area. As Iron Jaw takes to the sky, Loover, Crimebuster and Squeeks arrive at the lawman’s suburban home "to have a decent meal and get some rest" until the police get some new information regarding Iron Jaw’s whereabouts. In the air above, Iron Jaw circles Loover’s house, preparing to toss the stolen bottle of nitro down at it. When his hired pilot spots the marked bottle of explosive chemicals, he cuts the switch to the motor, causing it to stall. But after they make a forced landing and the pilot races for help, Iron Jaw suspects a trap and takes off again. Just as the metal-mouthed menace approaches Loover’s home, the police detective receives a phone call, warning him of Iron Jaw’s plans of destruction. Just as Loover, Crimebuster and Squeeks dash out of the house, Iron Jaw hurls the bottle of nitro downward, instantly demolishing the lawman’s home. Fortunately, the good guys narrowly escape harm, while a piece of debris from the explosion rips right through the wing of Iron Jaw’s plane, forcing him into a spin. Determined to kill Crimebuster, Iron Jaw dives at the young avenger, but fails to hit his intended victims. Instead, he rips off his landing gear by high-tension wires, overshoots Loover’s property, skid-lands in traffic, loses both his wings -- and finally crashes into the local criminal court! His plane catching fire upon impact, Iron Jaw is in danger of being roasted alive, but Crimebuster extinguishes the blaze, saving Iron Jaw’s life while humiliating the ex-Nazi in the process. With Iron Jaw helplessly sealed inside the plane’s battered metal fuselage, Crimebuster phones a tow truck and tells its operators to haul the captured criminal to jail…but to take the long way, down Main Street, "so everyone can get a good look at this crazy spectacle".
  
  
• "You Too – Can Learn The Secrets Of Developing A ‘Power-Plus’ Body Men Will Envy – Women Admire!", an ad for mail-order bodybuilding lessons from the "Super Mail Order Company’.
  
  
• "Crimebuster" in "Death Bait", written by Charles Biro and drawn by William Overgard. – "It’s a dangerous game that Iron Jaw and Crimebuster play! It’s for keeps! There’s no device that Shovel-Face wouldn’t use to give Crimebuster a one-way ticket to eternity! No one knows how long their game of ‘Tag, You’re Dead’ will last and who will win! Though we have a ringside seat, we can only cheer for the right guy – hip, hip, and three cheers for Crimebuster! – Charles Biro" With Iron Jaw sealed inside a supposedly escape-proof metal jail cell, Crimebuster and police detective Loover congratulate each other, deciding to take the night off so they can go to the boxing matches. Meanwhile, a gang of three underworld types – led by a criminal chemist named "Brains" Focus – receives word that they’re to "suspend all present sabotage plans" in favor of turning their efforts to break Iron Jaw out of jail. Convinced that he can control Iron Jaw, Brains ignores his buddies’ complaint that Iron Jaw is a "pighead monster" who’ll ruin their organization. Paying with cash (!), Brains purchases the Fearless Oil Company, then uses one of its tanker trucks to deliver a surprise to the prison where Iron Jaw is incarcerated. Their caper goes off as planned; using the tanker truck’s contents, they pump nerve gas into the prison. In minutes, prisoners and guards alike find themselves collapsing in "a paralyzed stupor". Then, donning the guards’ uniforms, they make their way to Iron Jaw’s cell, where the subject of their mission lays, unconscious. Finally, after "borrowing" a ring of keys from an incapacitated guard, Brain and his cronies enter Iron Jaw’s cell and drag him outside. Brains is quite pleased with himself; they pulled off their break-in without firing a shot! Later, back at their hideout, Iron Jaw revives, immediately insisting that Brains and his gang help him murder his "worst enemy", Crimebuster. Brains agrees to cooperate, but only if Iron Jaw accepts his leadership. Of course, the treacherous villain agrees to this, but inwardly vows to do whatever it takes to attain his goal. Meanwhile, police detective Loover and Crimebuster receive word of a break-in at the prison. Racing to the penitentiary, they find everyone there either dead or unconscious. But when one of the guards revives, he gives them an important clue – the nerve gas attack came immediately after uniformed men from the Fearless Oil Company went into the prison’s basement. Arriving at the company’s offices, they’re met by Iron Jaw, who sits at a desk, immobile, claiming he’s still paralyzed by the nerve gas’ effects. What they’re unaware of is that "Iron Jaw" is a dummy that’s hooked up to an explosive charge operated by the real Iron Jaw from elsewhere in the building. But when suspicious Squeeks tips him off, Crimebuster comes to the shocking realization that he’s walking into a booby trap. Intentionally setting off the explosives from a safe distance, Crimebuster tricks Iron Jaw, Brains and their gang into believing that he’s been killed in the blast. As the criminals plan to flee, Crimebuster, Loover and the police make plans of their own, relying on Iron Jaw’s innate cruelty to work in their favor. Sure enough, the ex-Nazi madman secretly observes – and enjoys – as the local fire fighters show up to deal with the aftermath of the explosion, as well as with Loover, who feigns panic and sorrow at Crimebuster’s supposed "death". Spotting Iron Jaw as the satisfied baddie climbs down into a warehouse cellar, unaware that Crimebuster and company are now aware of his location. As the police surround the building, Iron Jaw prepares for a shoot-out, but is disarmed by Brains, who’d prefer to avoid being gunned down in a deadly hail of the cops’ bullets. But as Iron Jaw and his fair-weather friends are forced outside, Crimebuster refuses to trust his old foe, suggesting that they administer a little anaesthetic to him – in the form of tear gas!
  
  
• "Kay Stanley’s Model-Craft Molding And Coloring Sets For Creative Fun", an ad for "a newly designed art that blends modeling and coloring into a delightful hobby for adults and children alike" – including figures of well-known Disney characters – available through mail-order from "Super Mail Order Co."
  
  
• "Riding The Rails", a two-page "Little Wise Guys" text-story, illustrated by William Overgard.
  
  
• A 1/3-page "Statement Of The Ownership, Management, And Circulation Required Of The Act Of Congress Of August 24, 1912, As Amended By The Acts Of March 3, 1933 And July 2, 1946".
  
  
• 1/3 page of various classified advertisements.
  
  
• "The Inside Story Of Professional Wrestling!", an ad for a book featuring a "who’s who and what’s what of wrestling", available through mail-order from the "Super Mail Order Co."
  
  
• "For All Whose Hearts Are Young At The Lowest Price Ever!", an ad for three "cut-out" activities – including "Circus Wonder Show", "Toy-Train Cut-Outs" and "Television Puppet Theatre" – available via mail order from the "Super Mail Order Co."
  
  
• "It’s New! Use Water, Paints Or Crayons! Hey, Gang! Here It Is – 84 Page Magic Paint Book", a black-and-white, inside-back-cover ad for a special coloring book with which you can "use water instead of paints", available through mail-order from the "Super Mail Order Co."
  
  
• "Hundreds & Hundreds Of Pages Of Comics", a back-cover ad (one that would seem more appropriate on underground "comix" of the late 1960s!) that promises "All Different—Coloured—Reg. Sizes—They’re Terrific" and "24 Comic Books For $1.00", available through mail-order from (you guesses it) the "Super Mail Order Co."

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