I’ve presented The Hundred Comic Monthly #16 before, but I wish to bring it up again briefly in the context of recent discussion on the Hart Amos covers.
This cover is a bit of an anomaly in the Amos repertoire for K. G. Murray. For one thing the box layout is atypical of Amos. As discussed previously, Amos typically contrived a montage or group scene for the anthologies. There are a couple of occasions in which Amos employed the box format, for example Giant Superman Album #1 and Colossal Comic #24, but each of these is an exceptional case.
The other notable fact about this cover is that, similarly to “The Girl in the Bottle”, it’s an instance of Amos reproducing an existing image for the lead feature, in this case for “The Eagle Who Caged People!” from Wonder Woman #91, July 1957. I suspect this may have been originally intended as the sole image for this issue’s cover, and it was later decided to opt for an ‘all-star’ anthology-type cover, hence its prominence in the final layout. This scenario would also explain why it is the only ‘content-‘ or ‘plot-based’ image on the cover.
This cover is a bit of an anomaly in the Amos repertoire for K. G. Murray. For one thing the box layout is atypical of Amos. As discussed previously, Amos typically contrived a montage or group scene for the anthologies. There are a couple of occasions in which Amos employed the box format, for example Giant Superman Album #1 and Colossal Comic #24, but each of these is an exceptional case.
The other notable fact about this cover is that, similarly to “The Girl in the Bottle”, it’s an instance of Amos reproducing an existing image for the lead feature, in this case for “The Eagle Who Caged People!” from Wonder Woman #91, July 1957. I suspect this may have been originally intended as the sole image for this issue’s cover, and it was later decided to opt for an ‘all-star’ anthology-type cover, hence its prominence in the final layout. This scenario would also explain why it is the only ‘content-‘ or ‘plot-based’ image on the cover.
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