Written almost entirely by Harvey Kurtzman, the first issue also featured illustrations by Kurtzman himself, along with Wally Wood, Will Elder, Jack Davis and John Severin.

( Kurtzman and Will Elder returned to Mad for a short time in the mid-1980s as an illustrating team.

According to a May 2008 posting on The Comics Journal's website, the second effort " resulted in waves of lawyers raining upon the strip ’ s creators, ultimately leading to Kurtzman and Elder handing the copyright to the story over to Archie and signing an agreement promising never to reproduce it again.

Despite the above legal wrangling, Archie Comics never took any action against Kurtzman or Elder for their 1954 Mad magazine story " Starchie ".

Regular contributors included Wally Wood, Jack Davis, Will Elder, George Evans, Harry Harrison, Graham Ingels, Al Williamson, Johnny Craig, Reed Crandall, Jack Kamen, Bernard Krigstein, John Severin, Joe Orlando and Frank Frazetta, along with editor / artists Harvey Kurtzman and Al Feldstein.

In Mad # 4 ( April – May 1953 ), The Shadow was spoofed by Harvey Kurtzman and Will Elder.

His editors, Al Feldstein and Harvey Kurtzman, who also drew covers and stories, gave assignments to such prominent and highly accomplished freelance artists as Johnny Craig, Reed Crandall, Jack Davis, Will Elder, George Evans, Frank Frazetta, Graham Ingels, Jack Kamen, Bernard Krigstein, Joe Orlando, John Severin, Al Williamson, Basil Wolverton, and Wally Wood.

Harvey Kurtzman and Will Elder satirized the series in Mads fifth issue ( June-July 1953 ) with " Outer Sanctum!

Mad also lost two of its top cartoonists in the dispute's aftermath, when Will Elder and Jack Davis chose to follow Kurtzman.

Kurtzman and Elder continued to work at Playboy for another three decades, chiefly producing the sumptuously-colored and sight-gag loaded Little Annie Fanny.

He attended the High School of Music & Art in New York City, together with future EC Comics and Mad artists Harvey Kurtzman, Will Elder, Al Jaffee and Al Feldstein.

Little Annie Fanny is a comic series created by Harvey Kurtzman and Will Elder that debuted in the October 1962 issue of the men's magazine Playboy.

After leaving Mad, Mr. Kurtzman and Mr. Elder with other colleagues created Trump and later Humbug.

Clarke was one of the artists who took up the slack after original editor Harvey Kurtzman left Mad, taking two of its three primary artists ( Will Elder and Jack Davis ) with him.

Artists who contributed included Kurtzman and EC regulars such as John Severin, Jack Davis, Wally Wood, George Evans and Will Elder.

Artists who contributed included Kurtzman and other EC regulars such as John Severin, Jack Davis, Wally Wood, George Evans, Will Elder, Reed Crandall and Bernard Krigstein.

In starting Help !, Kurtzman brought along several artists from his Mad collaborations, including Will Elder, Jack Davis, John Severin and Al Jaffee.

Artists included Al Feldstein, Johnny Craig, George Evans, Jack Kamen, Wally Wood, Graham Ingels, Harvey Kurtzman, Jack Davis, George Roussos, Sid Check, Al Williamson, Fred Peters, Joe Orlando, Will Elder, Reed Crandall, Bernard Krigstein and Frank Frazetta.

The contributing interior artists were Craig, Feldstein, Wood, Davis, George Evans, Jack Kamen, Graham Ingels, Harvey Kurtzman, Al Williamson, Joe Orlando, Reed Crandall, Bernard Krigstein, Will Elder, Fred Peters and Howard Larsen.

Artists who drew stories for this EC title were Feldstein, Frazetta, Williamson, Orlando, Wally Wood, Harvey Kurtzman, George Roussos, Harrison, Reed Crandall, Will Elder, Bernard Krigstein, Jack Kamen, John Severin and Mac Elkin.

The other Weird Science interior artists were Feldstein, Frank Frazetta, Al Williamson, Joe Orlando, George Evans, Harvey Kurtzman, George Roussos, Harrison, Will Elder, Jack Kamen, Sid Check and Jack Olesen.

Cover of Little Annie Fanny collected strips publication, copyright Harvey Kurtzman ( Author ), Will Elder ( Author ), Dark Horse ( November 7, 2001 )

Several of the project's contributing artists had previously worked with Kurtzman when he was the editor of Mad, including Wallace Wood, Jack Davis, Al Jaffee and Will Elder.

During high school, he began to avidly read Mad magazine, which was then edited by Harvey Kurtzman ; this later influenced his work.

Kurtzman left Gaines ' employ a year later anyway and was replaced by Al Feldstein, who had been Gaines ' most prolific editor during the EC Comics run.

Harvey Kurtzman and Wally Wood satirized the strip in Mad as " Little Orphan Melvin ", and later Kurtzman produced a long-running series for Playboy, Little Annie Fanny, in which the lead character is a busty, voluptuous waif who continually loses her clothes and falls into strange sexual situations.

Because Mad had a considerable effect on popular culture, Kurtzman was later described by The New York Times as having been " one of the most important figures in postwar America.

Kurtzman made his greatest impact as the writer-editor and sometimes artist for EC's satirical MAD Comics, and its war comics Frontline Combat and Two-Fisted Tales ; later, Kurtzman produced Playboy's " Little Annie Fanny ".

Interior artwork was by Elder, Kurtzman, Wood, Davis, Jaffee and Arnold Roth.

Bakshi enlisted comic book and pulp fiction artists and writers Harvey Kurtzman, Lin Carter, Gray Morrow, Archie Goodwin, Wally Wood and Jim Steranko to work at the studio.

In Please Kill Me: The Uncensored Oral History of Punk, McNeil said that the magazine was inspired by two chief influences: Harvey Kurtzman and The Dictators ' debut album The Dictators Go Girl Crazy !, indicating that the magazine was started strictly so that its creators could " hang out with the Dictators ".

In Walz v. Tax Commission, the Court ruled that a legitimate action could not entangle government with religion ; in Lemon v. Kurtzman, these points were combined, declaring that an action was not establishment if

However, just how much of that success was due to the original Kurtzman template that he left for his successor, and how much should be credited to the Al Feldstein system and the depth of the post-Kurtzman talent pool, can be argued without resolution.

Transformer's Alex Kurtzman and Roberto Orci are said to be on board as producers.

This story, set in post-war America, would be a pulp-adventure strip inspired by the likes of Terry and the Pirates as well as the EC Comics war stories created by Harvey Kurtzman.

Towards the end of 1953, a decrease in interest due to the end of the Korean War, as well as Kurtzman becoming overwhelmed with his work on Mad required changes to be made.

But the spirit with which Kurtzman created some of the most masterful stories of their kind would, like the servicemen they commemorated, not easily be forgotten.

And far from being just a label of meaningless hype, the concept proved to be a major step for EC, providing Gaines and Feldstein with a forum for expressing their views on the human condition just as Two-Fisted Tales and Frontline Combat were for Harvey Kurtzman.

Indeed, the fact that in this case, the funding was given to the parents to disburse as they chose, whereas in Lemon v. Kurtzman the funding at question was given directly to the schools, this was a key part of the Private Choice test.

Whereas Feldstein allowed his artists to draw the story in any manner they desired, Kurtzman developed detailed layouts for each story and required his artists to follow them exactly.

The title originated in 1950 when Harvey Kurtzman suggested to William Gaines that they publish an adventure comic.

Whereas Feldstein allowed his artists to draw the story however they chose, Kurtzman prepared detailed layouts for each story and required his artists to follow them exactly.