The feature's title is an obvious take-off on Harold Gray's Little Orphan Annie - even the logo was done in the same style lettering. Like Adolphe Barreaux's Sally the Sleuth before it and Wallace Wood's Sally Forth after, Annie seldom, if ever, managed to keep her clothing on for the duration of an entire episode. And in the December, 1957 issue, Kurtzman became the first comics creator lionized in the magazine as a hip, with-it practitioner of the arts.Īs for the way the arts are practiced in Playboy itself, "Little Annie Fanny", like all pictorial features in that magazine, featured a great deal of bare female skin. In 1956, after Kurtzman left Mad, Playboy's publisher bankrolled him in a short-lived humor publication called Trump. But Little Annie Fanny was not just Playboy's first full-scale, multi-page comics feature - it was the first in any major American magazine, unless you count the old pulps (nearly extinct by the time Playboy began) as "major" magazines.Īnnie, said by some comics critics to be an outgrowth of Kurtzman's work on Goodman Beaver, debuted in Playboy's October, 1962 issue, but she was the culmination of a working relationship between Kurtzman and Playboy that went back several years. Like nearly all American periodicals of the time, Playboy had been running cartoons for years - in fact, it even had a regular series of them, LeRoy Neiman's femlins. In the latter, at least, his "Little Annie Fanny" reached a high point seldom achieved by cartoon art - thatįeature was done for Playboy magazine, which, whatever you may say about its content, always did a first-rate job of printing color pictures. Harvey Kurtzman, founding editor of Mad magazine, strove for most of his life to advance the boundaries of comics - not just in terms of storytelling, but also in production values. Please contribute to its necessary financial support. If this site is enjoyable or useful to you, LITTLE ANNIE FANNY Medium: Magazine comics
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