{"id":29,"date":"2016-06-27T09:15:35","date_gmt":"2016-06-27T07:15:35","guid":{"rendered":"http:\/\/twistmyratio.de\/?page_id=29"},"modified":"2017-01-12T17:25:05","modified_gmt":"2017-01-12T16:25:05","slug":"artists-of-quality","status":"publish","type":"page","link":"http:\/\/twistmyratio.de\/?page_id=29","title":{"rendered":"Artists of Quality – QUALITY HORROR"},"content":{"rendered":"

Wartime glory was long past<\/strong> when Quality Comics entered the decade of the 1950s. Gone were the big anthologies like CRACK COMICS, FEATURE COMICS, HIT COMICS, MILITARY COMICS, MODERN COMICS, NATIONAL COMICS and SMASH COMICS.<\/p>\n

\"QualityGallery\"<\/p>\n

Only mixed bag standing<\/strong> was POLICE COMICS. Presenting in the lead KEN SHANNON<\/strong> (who got his own book for 10 issues). Interesting fact: another POLICE feature, namely T-MAN,\u00a0 got his own title, too, and lasted much longer (38 proud issues)!<\/p>\n

POLICE COMICS petered out in 1953 \u2013 as did the spin-off greats like CRACK WESTERN and even DOLL MAN. New in the line-up were only one war book (G.I. COMBAT) and two soon failing teen humor try-outs. So Quality held on to their biggest assets<\/strong> (PLASTIC MAN and BLACKHAWK) and romance titles, a lot of romance titles.<\/p>\n

And they tried their hand at horror \u2013 with just one title, though, the aptly named WEB OF EVIL<\/strong>. Quality was the LAST of the big companies to get on the bandwagon \u2013 in November 1952 (only publishing \u201cshrimp\u201d like Trojan, Sterling and Premier joined the horror craze after that date).<\/p>\n

We don\u2019t know how successful their WEB OF EVIL was, but it lasted for two whole years and 21 issues. They must have sold quite okay. Before we get all tangled up in that evil web<\/strong>, let us have\u2026<\/p>\n

A Look at KEN SHANNON<\/strong><\/h3>\n

Jeez, Ken Shannon, private eye \u2013 the most chunky, beefy and colossal crime fighter<\/strong> there ever was. What\u2019s with this guy\u2019s diet? Is he related in any way to Ben Grimm\u2019s Thing?!<\/p>\n

\"BeefGallery\"<\/p>\n

Anyway, horror lore says KEN SHANNON is a hybrid book \u2013 mixing crime with horror. That is hardly the case. Four stories<\/strong> in ten issues deal with elements (or rather hints) of the fantastic or supernatural<\/strong>. But it all goes up in smoke in the end. There are logical explanations, thank god. So we find the DC ratio-twist at work!
\n(If you are wondering now what I mean by \u201cDC ratio-twist\u201d please confer to the DC HORROR section on this website, to be found under \u201cDC artists\u201d.)<\/em><\/p>\n

We are going to talk about the four stories further down\u2026
\nWhat about the covers? Well, three out of the ten DO have horror covers<\/strong>, nah, let\u2019s say two and a half (see for yourself in our KEN SHANNON horror gallery):<\/p>\n

\"KenGallery\"<\/p>\n

The wonderful (!) cover of KEN SHANNON #3 is a first horror motif (as are #6 + #7). The corresponding story \u201cThe Corpse that Wouldn\u2019t Sleep!\u201d comes across like a promising horror yarn, but ends in a ratio-twist.<\/p>\n

Shannon and assistant Dee Dee are called to the Tarrant mansion. Lady Tarrant\u2019s dead ex-husband is stalking<\/strong> her! The detective spots a ghostly figure in the road and a bat-like creature swooping down on him. In the house they meet the husband\u2019s crippled brother Fred who is confined to a wheelchair and designs puppets. Hmmm? Sound suspicious? You betcha!<\/strong> The plot thickens on page 7 when Shannon and the butler encounter the corpse rising from the grave.<\/p>\n

\"graveRising\"<\/p>\n

Pretty creepy, huh? But on the next page Shannon investigates the brother\u2019s room, finding him gone and swinging from ropes all around the garden. Fred is a human bat, operating a corpse puppet<\/strong> (or the actual corpse made into a puppet, gagggh). Great trickery, impossible to pull off. Doesn\u2019t stop the writers, though.<\/p>\n

\"CorpsePuppet\"<\/p>\n

If you want to see the whole story, I\u2019ll just usher you over to Steven Thompson fantastic blog FOUR COLOR SHADOWS<\/a>.
\nThis is uncannily like DC HORROR\u2019S ratio-twist. Could\u2019ve been the same writers, far as I know\u2026<\/p>\n

KEN SHANNON #4 awaits with a s\u00e9ance story<\/strong> (\u201cThe Case of the All-Seeing Eye!\u201d). The supernatural setting is quickly exposed as a hoax:<\/p>\n

\"Seance\"<\/p>\n

In #6 we get \u201cThe Vampire Mob\u201d as lead story. Alas, the horror in it is pure pretext. An actor portraying count Dracula<\/strong> on stage is killed with a silver bullet. Shannon investigates and finds a Balkan gun running enterprise behind the murderous deed.
\nSee the whole story posted <\/a>on Karswell\u2019s blog THE HORRORS OF IT ALL.<\/p>\n

In issue #7 it\u2019s \u201cThe Ugliest Man in the World!\u201d creeping us out. This, too, is no horror story; the leading man in here is just ugly as a ghoul<\/strong>.<\/p>\n

\"JustUgly\"<\/p>\n

See \u201cThe Ugliest Man in the World!<\/a>\u201d posted on my website about interesting crime comics.<\/p>\n

The motif of an ugly man destroying beauty<\/strong> has been covered as a horror story before. For a fun diversion click on our parent website FIFTIES HORROR and read \u201cHorror on Canvas<\/a>\u201d (from BAFFLING MYSTERIES #6).<\/p>\n

KEN SHANNON #9 presents us \u201cThe Flame of Doom!\u201d, wherein an African sacrificial mask <\/strong>supposedly burns people to death<\/strong>. Story\u2019s a nice Whodunit. A closed room, a murder mystery, some folks gathered to hear the detective\u2019s solution of the case \u2013 in real time<\/strong>, people, yeah. It all happens in an hour. The killing method is laughable (let\u2019s be frank), but these ten pages kept me entertained!<\/p>\n

\"FlameDoom\"<\/p>\n

See \u201cThe Flame of Doom!<\/a>\u201d posted on my website about interesting crime comics.<\/p>\n

The very last (untitled) Ken Shannon story (in issue #10) is about a man hiring Shannon to look for invaders from planet Venus<\/strong>. When he finds them his client unmasks as a man from Saturn \u2013 and starts battling the Venusians!<\/p>\n

\"spacebattle\"<\/p>\n

Holy crap! What now?! The solution comes some panels after. Have a look at the final panels:<\/p>\n

\"nutfarm\"<\/p>\n

Yeah, absolutely logical<\/strong>. Still mind shattering. Ouch!<\/p>\n

\"Crack#51\"<\/p>\n

What do we learn from this? Quality was no stranger to the ratio-twis<\/strong>t, as well!
\nAnd it did affect QUALITY HORROR. That\u2019s why I packed the 22 horror books from Quality into one website along DC HORROR. Check out the Quality flavor of twisted ratio!<\/strong><\/p>\n

 <\/p>\n

Five years before QUALITY HORROR took off with WEB OF EVIL, there was one genuine horror story<\/strong> \u2013 to be found in CRACK COMICS #51 (November 1947). In the lead feature, Captain Triumph battles a werewolf<\/strong>. See the awesome and frightening cover to the right.<\/p>\n

It is a lengthy<\/strong> and wordy and winding 15-page (!) adventure<\/strong> I just flipped through. No surprises.
\nYou know it all from the start. Very boring to us hard-boiled pre-code horror aficionados. They did these kinds of stories much better in the 50s (and needed only four or five pages for it). How the werewolf menace is overcome, you ask?
\nCaptain Triumph delivers a fatal blow<\/strong> to the evil creature!
\nThat took him 15 pages?! Well, it\u2019s not Shakespeare, you know\u2026
\nIf you are still interested in reading this, open the book HERE <\/a>on Comic Book Plus.<\/p>\n

The Artists<\/strong><\/h3>\n

And, well, apart from the output of the Iger Studio, nowhere else are we baffled by so much MYSTERY ARTWORK<\/strong>. Pretty much ALL of our art spotting has to be taken with that special grain of salt concerning artwork from the Quality company.<\/p>\n

Spotting the artwork in Quality comics is a most ungrateful and frustrating task.<\/strong> Like with the Iger Shop, production passed through several hands. Penciling and inking are done by different artists.
\nException to this rule concerning QUALITY HORROR is the work of Louis Ravielli (he only appears in the later issues of WEB and may have delivered from the outside).<\/p>\n

Time for our Who-did-what count (counted were whole stories).
\nNote: All of the following are PENCIL credits.<\/p>\n\n\n\n\n\n\n\n\n\n
Charles Nicholas<\/td>\n28<\/td>\n<\/tr>\n
-mystery artwork-<\/em><\/td>\n23<\/td>\n<\/tr>\n
Jack Cole<\/td>\n17<\/td>\n<\/tr>\n
Louis Ravielli<\/td>\n6<\/td>\n<\/tr>\n
Sheldon Moldoff<\/td>\n2<\/td>\n<\/tr>\n
Sam Citron ?<\/td>\n2<\/td>\n<\/tr>\n
Chuck Cuidera<\/td>\n2<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Each 1: Leo Morey, Bob McCarty, Edward Goldfarb and (maybe) Harry Lazarus.<\/p>\n

Special mention belongs to CHUCK CUIDERA who is credited for almost all the covers<\/strong>. Furthermore he is probably the inker of some Nicholas pencils and some mystery art.<\/p>\n

Some names do pop up or are mentioned. We will now look at the artists associated with QUALITY HORROR. And there\u2019s only four we dare put a name on!<\/p>\n

JACK\u00a0 COLE <\/strong><\/p>\n

Didn\u2019t know there was an US dancer and choreographer by the name of Jack Cole. That\u2019s what you get when you go searching the name on the internet. But HERE\u2019s<\/a> the comic book Jack Cole.
\nHe had it all: talent, wit, success. His wife never disclosed why Cole committed suicide in 1958. Came as a shock to all involved.<\/p>\n

\"FaceCole3\"

Quality artist: Jack Cole<\/p><\/div>\n

Cole was one of the formative artists of the 1940s comic book business<\/strong>. His PLASTIC MAN is a beloved milestone in comics\u2019 history. His wild and dynamic compositions<\/strong> drew the attention of anti-comics-crusader Dr. Fredric Wertham who loved to show sample panels (out of context, because an imaginary dream scene was depicted) from his crime story \u201cMurder, Morphine and Me\u201d (1947).
\nSee short discussion, incriminating panel and story posted<\/a> on the wonderful blog \u201cPappy\u2019s Golden Age Comics\u201d:<\/p>\n

Cole\u2019s contributions to WEB OF EVIL (we credit him with 17 pencil jobs at least) register as the last comic stories<\/strong> this masterful artist did for the industry. As you might know, Cole started a second career<\/strong> away from comic books and created cartoons for the young PLAYBOY magazine in 1954.<\/p>\n

If you want to learn a lot more about Cole and his work we transfer you trustfully to the expert blog \u201cCole\u2019s Comics<\/a>\u201d \u2013 revealing more information about \u201cMurder, Morphine and Me\u201d (scroll down under this link).
\nThe blog discusses some of Cole\u2019s stories for WEB OF EVIL under THIS <\/a>link. When these stories come up in our discussion below, we\u2019ll again post the link \u2013 for your reading comfort.<\/p>\n

 <\/p>\n

\"FaceChuck\"

Quality artist: Chuck Cuidera<\/p><\/div>\n

CHUCK\u00a0 CUIDERA <\/strong><\/p>\n

The inker of BLACKHAWK for over ten years<\/strong>, credited from 1945 to 1956. He\u2019s a phantom to me, I haven\u2019t got the faintest idea what his art looks like. Does he look like Reed Crandall (whose pencils he often worked over)? Does he look like Jack Cole (who was defining the Quality house style)?
\nWhen you go look for Chuck Cuidera pencil work in the database, you\u2019ll get only guesses. There IS signed pencils by him \u2013 in 1942!
\nCuidera signed 11 BLACKHAWK stories from MILITARY COMICS #1 to #11. He was actually responsible for \u201cThe Origin of Blackhawk\u201d<\/strong>. His style in the 40s is an Eisner swipe. Well, they all did it this way.
\nSo he gets better, he picks up tricks from Cole and Crandall \u2013 and ten years later Cuidera might look like the guessmen say he does. All those Cuidera guesses (\u201cChuck Cuidera ?\u201d) might in fact BE Cuidera.<\/p>\n

Cuidera went on to ink for DC Comics in the 1960s (BLACKHAWK again \u2013 and some HAWKMAN, how fitting).<\/p>\n

 <\/p>\n

CHARLES\u00a0 NICHOLAS<\/strong><\/p>\n

This is the man leading our assignment charts, el Numero Uno de QUALITY HORROR<\/strong>. You\u2019ve probably never come across his name. We did. Charles Nicholas is one of the most prolific pre-code horror artists<\/strong>. I and Jim Vadebonceour, Jr. spotted his art only recently \u2013 meaning we could put a name to many stories marked as \u201cmystery art\u201d up to around 2012 when I started researching pre-code horror.<\/p>\n

So. Charles Nicholas. Let\u2019s give the man some credit. He\u2019s in all the number ones<\/strong> \u2013 wait and see; read \u2018em and weep: Veteran starting out with Fox\u2019s MYSTERY MEN COMICS #1<\/strong> from 1939, drawing the \u201cBlue Beetle\u201d feature! He\u2019s also in Quality\u2019s NATIONAL COMICS #1<\/strong> from 1940 and HIT COMICS #1<\/strong> from the same year \u2013 responsible for \u201cKid Patrol\u201d resp. \u201cThe Red Bee\u201d.
\nIn 1941 he works for MARVEL and appears in YOUNG ALLIES #1<\/strong> and USA COMICS #1<\/strong>. Furthermore providing art for \u201cHurricane, Master of Speed\u201d to be published in CAPTAIN AMERICA.
\nNicholas drops off the radar for the year 1943, probably doing his stint in the military. The \u201cMiss America\u201d feature from MARVEL MYSTERY COMICS is added to his workload in 1944.
\nPost-war years and late 40s see him toiling away at Marvel and contributing art for Holyoke\u2019s SPARKLING STARS on the side. In the 1950s Nicholas is assigned to crime stories<\/strong> (CRIME EXPOSED, CRIME MUST LOSE) for a short while and then enters a world of horror!<\/strong><\/p>\n

\"FaceNick2\"

Quality artist: Charles Nicholas<\/p><\/div>\n

ACG<\/strong> lets him draw for all of their four titles<\/strong> ADVENTURES INTO THE UNKNOWN, FORBIDDEN WORLDS, SKELETON HAND and OUT OF THE NIGHT. He appears in ACE HORROR<\/strong>\u2019s titles BAFFLING MYSTERIES, BEYOND and WEB OF MYSTERY. In 1953 he joins the line-up in Quality\u2019s WEB OF EVIL<\/strong>. He\u2019s even sighted at Avon<\/strong>\u2019s EERIE, Story\/Master<\/strong>\u2019s MYSTERIOUS ADVENTURES and Fawcett<\/strong>\u2019s STRANGE SUSPENSE STORIES (although only once each).
\nIn total there are about 66 pre-code horror stories credited to Charles Nicholas!<\/strong><\/p>\n

And he continued doing some code-approved horror stories for Charlton and American Comics Group (ACG). The restless artist remained with Charlton where he \u201cenjoyed\u201d a 23-year run as penciler!<\/p>\n

Confusing footnote:<\/span> the pen name \u201cCharles Nicholas\u201d has been shared briefly by Jack Kirby for a three-month interval at the Fox Features Syndicate AND shared, too, by Chuck Cuidera (whose two first names are CHARLES NICHOLAS Cuidera)!
\nComics historians<\/strong> however claim to have sorted out this mess<\/strong> and state that all of the above is a third man actually called \u201cCharles Nicholas\u201d<\/strong> \u2013 although his birth name was Charles Nicholas Wojtkoski.<\/p>\n

 <\/p>\n

LOUIS\u00a0 RAVIELLI<\/strong><\/p>\n

\"FaceRave1\"

Quality artist: Louis Ravielli<\/p><\/div>\n

I almost cringe by giving a hack and swiper<\/strong> like Ravielli a credit here. But his \u201chackiness\u201d (meaning crude art) made him identifiable<\/strong> from the anonymous Quality crowd.<\/p>\n

It may be an indicator that Quality didn\u2019t give much of a damn<\/strong> about their horror books by giving Ravielli a job in their horror line (and only in the later issues).<\/p>\n

First regular (and often signed) appearances occur at Avon in 1950, where he continued to work into 1956, mainly on titles like CAPTAIN STEVE SAVAGE and FIGHTING UNDERSEA COMMANDOS.
\nRavielli tried to emulate the illustrative style<\/strong> of his Avon colleague Everett Raymond Kinstler \u2013 to little avail. I think he\u2019s sometimes swiping from Al Williamson, too. And his trademark are foggy patches of mist<\/strong> stretching horizontally through his panels.<\/p>\n

The years 1953\/54 see him doing odd jobs for Atlas\/Marvel and Quality. His most spectacular job being the four-page shortie \u201cWhite on Black!<\/a>\u201d for STRANGE TALES #23. Ravielli left the comics business in 1955. On his tab are only 14 horror stories.<\/p>\n

——————————————————————————-<\/p>\n

Next confusing footnote about further possible artists:<\/span>\u00a0 Jerry Bails\u2019 \u201cWho\u2019s Who of American Comic Books<\/a>\u201d credits a certain Irvin Steinberg<\/strong> to have penciled horror at Quality in 1954. Huh! We do not know anything about that. Some entries to the (generally fabulous) Who’s Who are sadly false …<\/p>\n

The Covers<\/strong><\/h3>\n

Fright scenes, fright scenes, fright scenes<\/strong>!
\nOn QUALITY HORROR\u2019s title pages there\u2019s always someone being frightened by something!<\/strong><\/p>\n

A white skeletal zombie frightens a building crew, a witch frightens two people in a row boat, a ghostly apparition frightens a couple in a ship\u2019s cabin, a monster rears its ugly head and frightens a woman, a looming spectre frightens a passer-by in the street, a corpse at the window frightens a man inside the room\u2026
\nand these motifs sometimes repeat themselves!
\nSome of these are wonderful, some are only run-of-the-mill. Presenting you here my favorite three<\/strong> covers:<\/p>\n

\"favethreegallery\"<\/p>\n

QUALITY HORROR often works with a full splash.
\nMeaning they start off with one big splash panel \u2013 which is nice. Looking good. Took me awhile to figure their system (which is quite simple). The lead story gets a full page splash in each issue!<\/strong> The other stories have the usual ones consisting of three panels.<\/p>\n

The Stories <\/strong><\/h3>\n

QUALITY HORROR does not find its own footing. The writers take motifs out of the \u201cHow to do horror\u201d model kit<\/strong> and paste together their kind of horror stories. Am very much reminded of the practice at STANDARD HORROR. Do one story about each of these topics: ghosts, witches, genies, devils, demons, magic artifacts, zombies, shrunken heads\u2026 and so on\u2026<\/p>\n

Quality employs only ONE NARRATIVE \u2013 the all-knowing third person<\/strong>.
\nThere are no first-person narratives (\u201cI\u201d) and also no second-person narratives (\u201cYou\u201d). And no hosted stories. No host characters<\/strong> greet the reader to offer guidance, irony or morale.<\/p>\n

STORY TITLES <\/strong><\/h3>\n

Quality liked alliterations<\/strong>! \u201cPhantom Freaks\u201d, \u201cDance of Death\u201d, \u201cMonster of the Mist\u201d, \u201cHangman\u2019s Horror\u201d, \u201cThe Beast from Beyond\u201d, \u201cFlaming Vengeance\u201d, \u201cTimepiece of Terror\u201d, \u201cHideout in Hell\u201d, \u201cThe Medium of Murder\u201d and \u201cThe Hamlet of Horror\u201d.<\/p>\n

Anything with DEATH<\/strong> was another favorite.<\/p>\n

\u201cDeath\u2019s Album\u201d, \u201cRehearsal for Death\u201d, \u201cDance of Death\u201d, \u201cOrgy of Death\u201d, \u201cThe Man Who Cheated Death\u201d, \u201cDeath Prowls the Streets\u201d, \u201cDeath\u2019s Highway\u201d, \u201cThe Shrunken Heads of Dr. Death\u201d, \u201cThe Witch of Death\u201d, \u201cDeath\u2019s Vengeance\u201d, \u201cScared to Death\u201d, \u201cDeath\u2019s Album\u201d and \u2013 of course \u2013 \u201cDeath from the Tomb\u201d.<\/p>\n

And they had a run of titles beginning with CORPSE<\/strong>.<\/p>\n

\u201cThe Corpse that Wouldn\u2019t Die!\u201d, \u201cThe Corpse that Wouldn\u2019t Hide\u201d, \u201cThe Sealed Corpse\u201d, \u201cThe Corpse Who Prowled by Night\u201d and \u201cThe Uninvited Corpse\u201d.<\/p>\n

QUALITY HORROR sounds a lot like DC HORROR (\u201cThe Man Who\u2026\u201d), actually. Sometimes they sounded exactly like the product of the competition:<\/p>\n

\u201cGhosts of Doom\u201d (in WEB #1)<\/p>\n

\u201cThe Man Who Saw Doom\u201d (in WEB #6)<\/p>\n

\u201cThe Man Who Cheated Death\u201d (in WEB #7)<\/p>\n

\u201cCreature of Doom\u201d (in WEB #8)<\/p>\n

\u201cThe Moulder of Doom\u201d (in WEB #11)<\/p>\n

\u201cThe Man Who Lived Forever\u201d (in WEB #21)<\/p>\n

\u201cThe Monster They Couldn\u2019t Kill\u201d (in WEB #11)<\/p>\n

\u201cThe Brain that Wouldn\u2019t Die\u201d (in WEB #10)<\/p>\n

\u201cThe Fiend Who Lived Forever\u201d (in WEB #17)<\/p>\n

I wonder if they speculated on being confused with DC books\u2026<\/p>\n

In general is QUALITY HORROR a more outlandish version of DC HORROR.<\/p>\n

A word about color, too\u2026<\/strong><\/p>\n

The coloring of Quality\u2019s pages<\/strong> is (right behind FAWCETT HORROR) abysmal<\/strong>. A big hogwashing affair, dispersing the artists\u2019 efforts beneath it. Check out a page from WEB #3. Whole characters and areas are drowned in the same tone<\/strong>; foreground and background are separated by color. I find that plain awful.
\nI am tempted to bring out my 3D-glasses and try if it will look better\u2026<\/p>\n

\"Colorfright2\"<\/p>\n

It gets better, though. Issues from # 5 on aren\u2019t as hurtful as the early ones! They do start to care. Sorry for exaggerating<\/strong>. But Quality\u2019s first tries at coloring their horror books indeed were frightful!<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\n
    \n
  • Ken Shannon #1<\/li>\n<\/ul>\n<\/td>\n
October 1951<\/strong><\/td>\n\n
    \n
  • Blackhawk #45<\/li>\n
  • Candy #24<\/li>\n
  • Diary Loves #15<\/li>\n
  • Doll Man #36<\/li>\n
  • Love Confessions #13<\/li>\n
  • Love Letters #14<\/li>\n
  • Police Comics #108<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
<\/td>\nNovember 1951<\/strong><\/td>\n\n
    \n
  • Blackhawk #46<\/li>\n
  • Crack Western #75<\/li>\n
  • Diary Loves #16<\/li>\n
  • Love Confessions #14<\/li>\n
  • Love Letters #15<\/li>\n
  • Marmaduke Mouse #27<\/li>\n
  • Plastic Man #32<\/li>\n
  • Police Comics #109<\/li>\n
  • T-Man #2<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
\n
    \n
  • Ken Shannon #2<\/li>\n<\/ul>\n<\/td>\n
December 1951<\/strong><\/td>\n\n
    \n
  • Blackhawk #47<\/li>\n
  • Candy #25<\/li>\n
  • Diary Loves #17<\/li>\n
  • Doll Man #37<\/li>\n
  • Love Confessions #15<\/li>\n
  • Love Letters #16<\/li>\n
  • Police Comics #110<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
<\/td>\nJanuary 1952<\/strong><\/td>\n\n
    \n
  • Blackhawk #48<\/li>\n
  • Crack Western #76<\/li>\n
  • Diary Loves #18<\/li>\n
  • Love Confessions #16<\/li>\n
  • Love Letters #17<\/li>\n
  • Marmaduke Mouse #28<\/li>\n
  • Plastic Man #33<\/li>\n
  • Police Comics #111<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
\n
    \n
  • Ken Shannon #3<\/li>\n<\/ul>\n<\/td>\n
February 1952<\/strong><\/td>\n\n
    \n
  • Blackhawk #49<\/li>\n
  • Candy #26<\/li>\n
  • Diary Loves #19<\/li>\n
  • Doll Man #38<\/li>\n
  • Love Confessions #17<\/li>\n
  • Love Letters #18<\/li>\n
  • Police Comics #112<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
<\/td>\nMarch 1952<\/strong><\/td>\n\n
    \n
  • Blackhawk #50<\/li>\n
  • Crack Western #77<\/li>\n
  • Diary Loves #20<\/li>\n
  • Heart Throbs #9\u00a0 (back from 16-month hiatus)<\/li>\n
  • Love Confessions #18<\/li>\n
  • Love Letters #19<\/li>\n
  • Marmaduke Mouse #29<\/li>\n
  • Plastic Man #34<\/li>\n
  • Police Comics #113<\/li>\n
  • T-Man #4<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
\n
    \n
  • Ken Shannon #4<\/li>\n<\/ul>\n<\/td>\n
\n

April 1952<\/strong><\/p>\n<\/td>\n

\n
    \n
  • Blackhawk #51<\/li>\n
  • Candy #27<\/li>\n
  • Diary Loves #21<\/li>\n
  • Doll Man #39<\/li>\n
  • Heart Throbs #10<\/li>\n
  • Love Confessions #19<\/li>\n
  • Love Letters #20<\/li>\n
  • Plastic Man #35<\/li>\n
  • Police Comics #114<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
<\/td>\nMay 1952<\/strong><\/td>\n\n
    \n
  • Blackhawk #52<\/li>\n
  • Crack Western #78<\/li>\n
  • Marmaduke Mouse #30<\/li>\n
  • Police Comics #115<\/li>\n
  • T-Man #5<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
\n
    \n
  • Ken Shannon #5<\/li>\n<\/ul>\n<\/td>\n
\n

June 1952<\/strong><\/p>\n<\/td>\n

\n
    \n
  • Blackhawk #53<\/li>\n
  • Candy #28<\/li>\n
  • Diary Loves #22<\/li>\n
  • Doll Man #40<\/li>\n
  • Heart Throbs #11<\/li>\n
  • Love Confessions #20<\/li>\n
  • Love Letters #21<\/li>\n
  • Police Comics #116<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
<\/td>\nJuly 1952<\/strong><\/td>\n\n
    \n
  • Blackhawk #54<\/li>\n
  • Crack Western #79<\/li>\n
  • Diary Loves #23<\/li>\n
  • Heart Throbs #12<\/li>\n
  • Love Confessions #21<\/li>\n
  • Love Letters #22<\/li>\n
  • Marmaduke Mouse #31<\/li>\n
  • Plastic Man #36<\/li>\n
  • Police Comics #117<\/li>\n
  • T-Man #6<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
\n
    \n
  • Ken Shannon #6<\/li>\n<\/ul>\n<\/td>\n
\n

August 1952<\/strong><\/p>\n<\/td>\n

\n
    \n
  • Blackhawk #55<\/li>\n
  • Candy #29<\/li>\n
  • Diary Loves #24<\/li>\n
  • Doll Man #41<\/li>\n
  • Heart Throbs #13<\/li>\n
  • Love Confessions #22<\/li>\n
  • Love Letters #23<\/li>\n
  • Marmaduke Mouse #32<\/li>\n
  • Police Comics #118<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
<\/td>\nSeptember 1952<\/strong><\/td>\n\n
    \n
  • Blackhawk #56<\/li>\n
  • Candy #30<\/li>\n
  • Crack Western #80<\/li>\n
  • Diary Loves #25<\/li>\n
  • Heart Throbs #14<\/li>\n
  • Love Confessions #23<\/li>\n
  • Love Letters #24<\/li>\n
  • Plastic Man #37<\/li>\n
  • Police Comics #119<\/li>\n
  • T-Man #7<\/li>\n
  • True War Romances #1 (first issue)<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
\n
    \n
  • Ken Shannon #7<\/li>\n<\/ul>\n<\/td>\n
\n

October 1952<\/strong><\/p>\n<\/td>\n

\n
    \n
  • Blackhawk #57<\/li>\n
  • Candy #31<\/li>\n
  • Diary Loves #26<\/li>\n
  • Doll Man #42<\/li>\n
  • G.I. Combat #1 (first issue)<\/li>\n
  • Heart Throbs #15<\/li>\n
  • Love Confessions #24<\/li>\n
  • Love Letters #25<\/li>\n
  • Marmaduke Mouse #33<\/li>\n
  • Police Comics #120<\/li>\n
  • True War Romances #2<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
\n
    \n
  • Web of Evil #1<\/li>\n<\/ul>\n<\/td>\n
November 1952<\/strong><\/td>\n\n
    \n
  • Blackhawk #58<\/li>\n
  • Candy #32<\/li>\n
  • Crack Western #81<\/li>\n
  • Plastic Man #38<\/li>\n
  • Police Comics #121<\/li>\n
  • T-Man #8<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
\n
    \n
  • Ken Shannon #8<\/li>\n<\/ul>\n<\/td>\n
\n

December 1952<\/strong><\/p>\n<\/td>\n

\n
    \n
  • Blackhawk #59<\/li>\n
  • Candy #33<\/li>\n
  • Diary Loves #27<\/li>\n
  • Doll Man #43<\/li>\n
  • G.I. Combat #2<\/li>\n
  • Heart Throbs #16<\/li>\n
  • Love Confessions #25<\/li>\n
  • Love Letters #26<\/li>\n
  • Marmaduke Mouse #34<\/li>\n
  • Police Comics #122<\/li>\n
  • True War Romances #3<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
\n
    \n
  • Web of Evil #2<\/li>\n<\/ul>\n<\/td>\n
January 1953 <\/strong><\/td>\n\n
    \n
  • Blackhawk #60<\/li>\n
  • Candy #34<\/li>\n
  • Crack Western #82<\/li>\n
  • Diary Loves #28<\/li>\n
  • Heart Throbs #17<\/li>\n
  • Love Confessions #26<\/li>\n
  • Love Letters #27<\/li>\n
  • Plastic Man #39<\/li>\n
  • Police Comics #123<\/li>\n
  • T-Man #9<\/li>\n
  • True War Romances #4<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
\n
    \n
  • Ken Shannon #9<\/li>\n<\/ul>\n<\/td>\n
\n

February 1953<\/strong><\/p>\n<\/td>\n

\n
    \n
  • Blackhawk #61<\/li>\n
  • Candy #35 Diary Loves #29<\/li>\n
  • Doll Man #44<\/li>\n
  • G.I. Combat #3<\/li>\n
  • Heart Throbs #18<\/li>\n
  • Love Confessions #27<\/li>\n
  • Love Letters #28<\/li>\n
  • Marmaduke Mouse #35<\/li>\n
  • Police Comics #124<\/li>\n
  • True War Romances #5<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
\n
    \n
  • Web of Evil #3<\/li>\n<\/ul>\n<\/td>\n
March 1953 <\/strong><\/td>\n\n
    \n
  • Blackhawk #62<\/li>\n
  • Candy #36<\/li>\n
  • Crack Western #83<\/li>\n
  • Diary Loves #30<\/li>\n
  • G.I. Combat #4<\/li>\n
  • Heart Throbs #19<\/li>\n
  • Love Confessions #28<\/li>\n
  • Love Letters #29<\/li>\n
  • Plastic Man #40<\/li>\n
  • T-Man #10<\/li>\n
  • True War Romances #6<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
\n
    \n
  • Ken Shannon #10<\/li>\n<\/ul>\n<\/td>\n
\n

April 1953<\/strong><\/p>\n<\/td>\n

\n
    \n
  • Blackhawk #63<\/li>\n
  • Candy #37<\/li>\n
  • Diary Loves #31 (last issue)<\/li>\n
  • Doll Man #45<\/li>\n
  • G.I. Combat #5<\/li>\n
  • Heart Throbs #20<\/li>\n
  • Love Confessions #29<\/li>\n
  • Love Letters #30<\/li>\n
  • Marmaduke Mouse #36<\/li>\n
  • Police Comics #125<\/li>\n
  • True War Romances #7<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
\n
    \n
  • Web of Evil #4<\/li>\n<\/ul>\n<\/td>\n
May 1953<\/strong><\/td>\n\n
    \n
  • Blackhawk #64<\/li>\n
  • Candy #38<\/li>\n
  • Crack Western #84\u00a0 (last issue)<\/li>\n
  • G.I. Combat #6<\/li>\n
  • Marmaduke Mouse #37<\/li>\n
  • Plastic Man #41<\/li>\n
  • T-Man #11<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
<\/td>\nJune 1953<\/strong><\/td>\n\n
    \n
  • Blackhawk #65<\/li>\n
  • Candy #39<\/li>\n
  • Doll Man #46<\/li>\n
  • G.I. Combat #7<\/li>\n
  • G.I. Sweethearts #32 (first issue)<\/li>\n
  • Heart Throbs #21<\/li>\n
  • Love Confessions #30<\/li>\n
  • Love Letters #31 (goes into 8-month hiatus)<\/li>\n
  • Marmaduke Mouse #38<\/li>\n
  • Police Comics #126<\/li>\n
  • True War Romances #8<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
\n
    \n
  • Web of Evil #5<\/li>\n<\/ul>\n<\/td>\n
July 1953 <\/strong><\/td>\n\n
    \n
  • Blackhawk #66<\/li>\n
  • Candy #40<\/li>\n
  • G.I. Combat #8<\/li>\n
  • Gabby #1\u00a0 (first issue)<\/li>\n
  • Marmaduke Mouse #39<\/li>\n
  • Plastic Man #42<\/li>\n
  • T-Man #12<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
<\/td>\nAugust 1953<\/strong><\/td>\n\n
    \n
  • Blackhawk #67<\/li>\n
  • Candy #41<\/li>\n
  • G.I. Sweethearts #33<\/li>\n
  • Heart Throbs #22 Jonesy #1 (first issue)<\/li>\n
  • Love Confessions #31<\/li>\n
  • Love Secrets #32 (first issue)<\/li>\n
  • Marmaduke Mouse #40<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
\n
    \n
  • Web of Evil #6<\/li>\n<\/ul>\n<\/td>\n
September 1953 <\/strong><\/td>\n\n
    \n
  • Blackhawk #68<\/li>\n
  • Candy #42<\/li>\n
  • G.I. Combat #9<\/li>\n
  • Gabby #2<\/li>\n
  • Marmaduke Mouse #41<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
\n
    \n
  • Web of Evil #7<\/li>\n<\/ul>\n<\/td>\n
October 1953<\/strong><\/td>\n\n
    \n
  • Blackhawk #69<\/li>\n
  • Candy #43<\/li>\n
  • Doll Man #47 (last issue)<\/li>\n
  • G.I. Combat #10<\/li>\n
  • G.I. Sweethearts #34<\/li>\n
  • Heart Throbs #23<\/li>\n
  • Jonesy #2<\/li>\n
  • Love Confessions #32<\/li>\n
  • Love Secrets #33<\/li>\n
  • Marmaduke Mouse #42<\/li>\n
  • Police Comics #127\u00a0 (last issue)<\/li>\n
  • T-Man #13<\/li>\n
  • True War Romances #10<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
\n
    \n
  • Web of Evil #8<\/li>\n<\/ul>\n<\/td>\n
November 1953 <\/strong><\/td>\n\n
    \n
  • Blackhawk #70<\/li>\n
  • Brides Romances #1\u00a0 (first issue)<\/li>\n
  • Candy #44<\/li>\n
  • G.I. Combat #11<\/li>\n
  • G.I. Sweethearts #35<\/li>\n
  • Gabby #3<\/li>\n
  • Heart Throbs #24<\/li>\n
  • Love Confessions #33<\/li>\n
  • Love Secrets #34<\/li>\n
  • Plastic Man #43<\/li>\n
  • True War Romances #11<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
\n
    \n
  • Web of Evil #9<\/li>\n<\/ul>\n<\/td>\n
December 1953 <\/strong><\/td>\n\n
    \n
  • Blackhawk #71<\/li>\n
  • Brides Romances #2<\/li>\n
  • Buster Bear #1\u00a0 (first issue)<\/li>\n
  • Candy #45<\/li>\n
  • G.I. Combat #12<\/li>\n
  • G.I. Sweethearts #36<\/li>\n
  • Gabby #4<\/li>\n
  • Heart Throbs #25<\/li>\n
  • Jonesy #3<\/li>\n
  • Love Confessions #34<\/li>\n
  • Love Secrets #35<\/li>\n
  • Marmaduke Mouse #43<\/li>\n
  • True War Romances #12<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
\n
    \n
  • Web of Evil #10<\/li>\n<\/ul>\n<\/td>\n
January 1954 <\/strong><\/td>\n\n
    \n
  • Blackhawk #72<\/li>\n
  • Brides Romances #3<\/li>\n
  • Candy #46<\/li>\n
  • G.I. Sweethearts #37<\/li>\n
  • Gabby #5<\/li>\n
  • Heart Throbs #26<\/li>\n
  • Love Secrets #36<\/li>\n
  • Marmaduke Mouse #44<\/li>\n
  • Plastic Man #44<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
\n
    \n
  • Web of Evil #11<\/li>\n<\/ul>\n<\/td>\n
February 1954 <\/strong><\/td>\n\n
    \n
  • Blackhawk #73<\/li>\n
  • Buster Bear #2<\/li>\n
  • G.I. Combat #13<\/li>\n
  • Jonesy #4<\/li>\n
  • Love Confessions #35<\/li>\n
  • Love Letters #32\u00a0 (back from 8-month hiatus)<\/li>\n
  • T-Man #14<\/li>\n
  • True War Romances #<\/li>\n
  • 13 Wedding Bells #1 (first issue)<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
\n
    \n
  • Web of Evil #12<\/li>\n<\/ul>\n<\/td>\n
March 1954 <\/strong><\/td>\n\n
    \n
  • Blackhawk #74<\/li>\n
  • Brides Romances #4<\/li>\n
  • Candy #47<\/li>\n
  • G.I. Sweethearts #38<\/li>\n
  • Gabby #6<\/li>\n
  • Heart Throbs #27<\/li>\n
  • Love Secrets #37<\/li>\n
  • Marmaduke Mouse #45<\/li>\n
  • Plastic Man #45<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
\n
    \n
  • Web of Evil #13<\/li>\n<\/ul>\n<\/td>\n
April 1954 <\/strong><\/td>\n\n
    \n
  • Blackhawk #75<\/li>\n
  • Buster Bear #3<\/li>\n
  • G.I. Combat #14<\/li>\n
  • Jonesy #5<\/li>\n
  • Love Confessions #36<\/li>\n
  • Love Letters #33<\/li>\n
  • T-Man #15<\/li>\n
  • True War Romances #14<\/li>\n
  • Wedding Bells #2<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
\n
    \n
  • Web of Evil #14<\/li>\n<\/ul>\n<\/td>\n
May 1954 <\/strong><\/td>\n\n
    \n
  • Blackhawk #76<\/li>\n
  • Brides Romances #5<\/li>\n
  • Candy #48<\/li>\n
  • G.I. Sweethearts #39<\/li>\n
  • Gabby #7<\/li>\n
  • Heart Throbs #28<\/li>\n
  • Love Secrets #38<\/li>\n
  • Marmaduke Mouse #46<\/li>\n
  • Plastic Man #46<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
\n
    \n
  • Web of Evil #15<\/li>\n<\/ul>\n<\/td>\n
June 1954 <\/strong><\/td>\n\n
    \n
  • Blackhawk #77<\/li>\n
  • Buster Bear #4<\/li>\n
  • G.I. Combat #15<\/li>\n
  • Jonesy #6<\/li>\n
  • Love Confessions #37<\/li>\n
  • Love Letters #34<\/li>\n
  • T-Man #16<\/li>\n
  • True War Romances #15<\/li>\n
  • Wedding Bells #3<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
\n
    \n
  • Web of Evil #16<\/li>\n<\/ul>\n<\/td>\n
July 1954 <\/strong><\/td>\n\n
    \n
  • Blackhawk #78<\/li>\n
  • Brides Romances #6<\/li>\n
  • Candy #49<\/li>\n
  • G.I. Sweethearts #40<\/li>\n
  • Gabby #8<\/li>\n
  • Heart Throbs #29<\/li>\n
  • Love Secrets #39<\/li>\n
  • Marmaduke Mouse #47<\/li>\n
  • Plastic Man #47<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
\n
    \n
  • Web of Evil #17<\/li>\n<\/ul>\n<\/td>\n
August 1954 <\/strong><\/td>\n\n
    \n
  • Blackhawk #79<\/li>\n
  • Buster Bear #5<\/li>\n
  • G.I. Combat #16<\/li>\n
  • Jonesy #7<\/li>\n
  • Love Confessions #38<\/li>\n
  • Love Letters #35<\/li>\n
  • T-Man #17<\/li>\n
  • True War Romances #16<\/li>\n
  • Wedding Bells #4<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
\n
    \n
  • Web of Evil #18<\/li>\n<\/ul>\n<\/td>\n
September 1954 <\/strong><\/td>\n\n
    \n
  • Blackhawk #80<\/li>\n
  • Brides Romances #7<\/li>\n
  • Candy #50<\/li>\n
  • G.I. Sweethearts #41<\/li>\n
  • Gabby #9\u00a0 (last issue)<\/li>\n
  • Heart Throbs #30<\/li>\n
  • Love Secrets #40<\/li>\n
  • Marmaduke Mouse #48<\/li>\n
  • Plastic Man #48<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
\n
    \n
  • Web of Evil #19<\/li>\n<\/ul>\n<\/td>\n
October 1954 <\/strong><\/td>\n\n
    \n
  • Blackhawk #81<\/li>\n
  • Buster Bear #6<\/li>\n
  • G.I. Combat #17<\/li>\n
  • Jonesy #8\u00a0 (last issue)<\/li>\n
  • Love Confessions #39<\/li>\n
  • Love Letters #36<\/li>\n
  • T-Man #18<\/li>\n
  • True War Romances #17<\/li>\n
  • Wedding Bells #5<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
\n
    \n
  • Web of Evil #20<\/li>\n<\/ul>\n<\/td>\n
November 1954 <\/strong><\/td>\n\n
    \n
  • Blackhawk #82<\/li>\n
  • Brides Romances #8<\/li>\n
  • Candy #51<\/li>\n
  • G.I. Combat #18<\/li>\n
  • G.I. Sweethearts #42<\/li>\n
  • Heart Throbs #31<\/li>\n
  • Love Secrets #41<\/li>\n
  • Marmaduke Mouse #49<\/li>\n
  • Plastic Man #49<\/li>\n
  • T-Man #19<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
\n
    \n
  • Web of Evil #21<\/li>\n<\/ul>\n<\/td>\n
December 1954 <\/strong><\/td>\n\n
    \n
  • Blackhawk #83<\/li>\n
  • Buster Bear #7<\/li>\n
  • G.I. Combat #19<\/li>\n
  • Love Confessions #40<\/li>\n
  • Love Letters #37<\/li>\n
  • Plastic Man #50<\/li>\n
  • T-Man #20<\/li>\n
  • True War Romances #18<\/li>\n
  • Wedding Bells #6<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
\n
    \n
  • Intrigue #1 (one-shot)<\/li>\n<\/ul>\n<\/td>\n
January 1955<\/strong><\/td>\n\n
    \n
  • Blackhawk #84<\/li>\n
  • Brides Romances #9<\/li>\n
  • Candy #52<\/li>\n
  • G.I. Combat #20<\/li>\n
  • G.I. Sweethearts #43<\/li>\n
  • Heart Throbs #32<\/li>\n
  • Love Secrets #42<\/li>\n
  • Marmaduke Mouse #50<\/li>\n
  • Plastic Man #51<\/li>\n
  • T-Man #21<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

     <\/p>\n

    Note: AVON, DC & QUALITY HORROR is a spin-off of the German website FIFTIES HORROR (presenting pre-code horror in general to an unsuspecting public). AVON, DC & QUALITY HORROR specializes in the products of three specific companies and is therefore drafted in the English language. The sister websites ACE HORROR, FAWCETT & CHARLTON HORROR and FICTION HOUSE & STANDARD HORROR are already online. Look for the links just below\u2026<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

    Wartime glory was long past when Quality Comics entered the decade of the 1950s. Gone were the big anthologies like CRACK COMICS, FEATURE COMICS, HIT COMICS, MILITARY COMICS, MODERN COMICS, NATIONAL COMICS and SMASH COMICS. Only mixed bag standing was POLICE COMICS. Presenting in the lead KEN SHANNON (who got his own book for 10 […]<\/p>\n","protected":false},"author":1,"featured_media":56,"parent":0,"menu_order":3,"comment_status":"closed","ping_status":"closed","template":"page-artists.php","meta":{"footnotes":""},"_links":{"self":[{"href":"http:\/\/twistmyratio.de\/index.php?rest_route=\/wp\/v2\/pages\/29"}],"collection":[{"href":"http:\/\/twistmyratio.de\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/twistmyratio.de\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/twistmyratio.de\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/twistmyratio.de\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=29"}],"version-history":[{"count":2,"href":"http:\/\/twistmyratio.de\/index.php?rest_route=\/wp\/v2\/pages\/29\/revisions"}],"predecessor-version":[{"id":1169,"href":"http:\/\/twistmyratio.de\/index.php?rest_route=\/wp\/v2\/pages\/29\/revisions\/1169"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/twistmyratio.de\/index.php?rest_route=\/wp\/v2\/media\/56"}],"wp:attachment":[{"href":"http:\/\/twistmyratio.de\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=29"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}