Elsa Finlay
Albert Bernard Feldstein (/ˈfɛldstiːn/ FELD-steen; October 24, 1925 – April 29, 2014) was an American writer, editor, and artist whose influence shaped the golden age of comic books and the rise of satirical magazine culture. Best known for his groundbreaking work at EC Comics and as the editor of Mad magazine from 1956 to 1985, Feldstein transformed American humor publishing, elevated comic book storytelling, and tackled bold, socially relevant themes. After retiring from Mad, he became an accomplished painter of Western landscapes and wildlife.
Infobox: Al Feldstein
Born: October 24, 1925 — Brooklyn, New York, U.S.
Died: April 29, 2014 (aged 88) — near Livingston, Montana, U.S.
Professions: Writer, Artist, Editor
Notable Works: EC Comics covers, co-plotter of Master Race, Editor of Mad (1956–1985)
Awards:
- Inkpot Award (1994)
- Will Eisner Award Hall of Fame (2003)
- Bram Stoker Lifetime Achievement Award (2011)
- Honorary Doctorate of Arts, Rocky Mountain College (1999)
- Top 100, Arts for the Parks (1984, 1999)
Early Life and Education
Al Feldstein was born in Brooklyn, New York, to Jewish parents Max, a dental mold maker originally from Eastern Europe, and Beatrice Feldstein, a homemaker. Growing up during the Great Depression, he developed an early passion for drawing, often sketching on scrap paper and entering local art contests. At age 13, his talent was publicly recognized when he won a poster contest at the 1939 New York World’s Fair, a pivotal moment that solidified his desire to pursue art professionally.
He attended the High School of Music and Art in Manhattan, a prestigious institution for young creatives, where he studied illustration, painting, and design under notable instructors who encouraged his versatility. His time there exposed him to a vibrant community of future illustrators and designers, and he contributed artwork to school publications. Following graduation, and during the height of World War II, Feldstein served stateside in the Army Air Forces, where he applied his skills to training materials, technical diagrams, and morale posters.
While still in high school, Feldstein began working at Jerry Iger’s S. M. Iger Studio, a leading comic book art packager supplying content to multiple publishers. Initially assigned to menial tasks such as fetching supplies and erasing pencils, he quickly advanced to inking backgrounds, then penciling figures, and eventually creating complete pages.
His first notable credited work was on Sheena, Queen of the Jungle, where his dynamic jungle scenes gained attention. After graduation, Feldstein enrolled at the Art Students League, further refining his anatomy and composition skills. He freelanced for various publishers, including Fox Comics, where he not only created Junior and Sunny but also adapted the popular radio sitcom Meet Corliss Archer into comic form, showcasing his adaptability in both humor and drama.
Career at EC Comics
In 1948, Feldstein joined Bill Gaines at EC Comics during a transformative period for the publisher. Initially hired as an artist, he soon expanded his role to include writing and editing, earning a reputation for crafting gripping, twist-ending stories and designing visually arresting covers that stood out on crowded newsstands. He was known for his meticulous editorial process, often reworking scripts multiple times to ensure pacing, dialogue, and surprise endings met his high standards. By the early 1950s, he was simultaneously editing and writing for seven EC titles, blending horror, science fiction, crime, and socially conscious narratives with a level of sophistication rarely seen in comics of the era.
Feldstein championed progressive and, at times, controversial themes, including racial equality, opposition to censorship, anti-war sentiment, environmental awareness, and critiques of societal hypocrisy. He also wasn’t afraid to publish cautionary tales about juvenile delinquency, corruption, and the dangers of mob mentality—subjects often sidestepped by mainstream entertainment. His editorial vision attracted a stable of top-tier writers such as Harlan Ellison, Otto Binder, and Carl Wessler, and a roster of artists whose unique styles made EC’s books instantly recognizable. Under his encouragement, each artist was free to preserve their individual style, from the eerie detail of Graham Ingels to the dynamic realism of Wally Wood.
Key New Trend titles under his leadership included:
- Weird Science (imaginative science fiction with a moral core)
- Weird Fantasy (speculative stories often laced with social commentary)
- Tales from the Crypt (macabre horror with ironic twists)
- The Haunt of Fear
- The Vault of Horror
- Shock SuspenStories (hard-hitting contemporary dramas tackling racism, domestic violence, and political corruption)
- Crime SuspenStories
- Panic (humorous companion to Mad)
- Piracy (adventure tales of the high seas)
When the Comics Code Authority crackdown in 1955 forced Gaines to shut down most of EC’s line, Feldstein pivoted to editing the short-lived New Direction titles, which included socially conscious war and medical dramas, and the experimental Picto-Fiction magazines that combined illustrated art with prose storytelling. Despite critical praise, these efforts could not overcome industry censorship and distribution challenges, leading to his departure from EC.
Transforming Mad Magazine
In 1956, after Harvey Kurtzman left Mad, Feldstein took over as editor. Over his 29-year tenure, he not only stabilized the magazine but transformed it into a cultural phenomenon. Circulation grew from under a million to a record-breaking 2.85 million copies per issue in 1974, an unprecedented figure for a humor magazine. This meteoric growth was due to Feldstein’s strategic blend of topical satire, pop culture parody, and sharp political commentary, which resonated across multiple generations of readers. His editorial approach involved meticulous planning of each issue’s flow, balancing feature-length parodies with shorter recurring gags, reader letters, and visual humor, ensuring Mad remained fresh and unpredictable.
Feldstein refined Mad’s satirical voice into one that was irreverent yet intelligent, lampooning everything from television shows and blockbuster films to political scandals and social trends. He encouraged risk-taking and originality, giving artists and writers the freedom to push creative boundaries while maintaining a consistent comedic tone. Under his leadership, Mad became a training ground for some of the most iconic humorists and illustrators of the 20th century.
He assembled a dream team of contributors, including:
- Don Martin, Norman Mingo, Bob Clarke, Kelly Freas
- Mort Drucker, George Woodbridge, Joe Orlando
- Writers Frank Jacobs, Tom Koch, Larry Siegel, Arnie Kogen
- Humorists Antonio Prohías, Paul Coker Jr., Jack Rickard, Don Edwing, Dick DeBartolo, Stan Hart, Dave Berg, Lou Silverstone
By the 1960s, Mad had established a stable format, a rotating lineup of regular features such as the Fold-In, Spy vs. Spy, and The Lighter Side of…, and a loyal readership that viewed the magazine as an essential voice of satire in America.
Retirement and Painting Career
Feldstein retired from Mad in 1985 and returned to painting, a passion reignited when his son gave him an oil paint set. Initially experimenting with oils, he soon developed a preference for acrylics, which allowed him to achieve vivid colors and precise detail in his depictions of nature. He moved to Jackson Hole, Wyoming, where he spent three years immersing himself in the landscapes of the Teton Range and observing wildlife in their natural habitats.
This period was marked by an intense study of light, weather patterns, and animal anatomy, which became hallmarks of his style. Later, he settled in Paradise Valley, Montana, at the edge of Yellowstone National Park, where the sweeping vistas and rich wildlife provided endless inspiration for his Western landscapes, wildlife portraits, and scenes of frontier life.
His subjects ranged from majestic elk and bison to historical depictions of Native American life, frontier settlers, and working cowboys. Twice, his works placed in the Top 100 of Arts for the Parks competition, a prestigious national juried event promoting art of America’s national parks, and his art was exhibited widely across the Northwest, attracting collectors from across the United States.
In recognition of his contributions to both popular culture and fine art, Feldstein received an Honorary Doctorate of Arts from Rocky Mountain College (1999), was inducted into the Will Eisner Award Hall of Fame (2003), and was honored with the Bram Stoker Lifetime Achievement Award (2011) for his lasting influence on horror and dark-themed storytelling.
Death and Legacy
Al Feldstein died on April 29, 2014, at his ranch in Montana, aged 88. His editorial vision transformed Mad into a satirical institution, and his EC Comics stories remain landmarks in socially aware storytelling. His paintings preserve the grandeur of the American West, solidifying his place as a multifaceted artist whose work spanned humor, horror, and high art.
FAQs about Al Feldstein
Q: Who was Al Feldstein?
A: Al Feldstein was an American comic book writer, artist, and editor best known for his work at EC Comics and as the long-time editor of Mad magazine from 1956 to 1985. He was also an accomplished painter of Western landscapes and wildlife.
Q: What was Al Feldstein’s role at EC Comics?
A: Feldstein began as an artist and quickly expanded into writing and editing, overseeing key “New Trend” titles and helping establish EC Comics’ reputation for sophisticated, socially conscious storytelling.
Q: How did Al Feldstein influence Mad magazine?
A: As editor for nearly three decades, he grew Mad’s circulation to record levels, refined its satirical voice, and nurtured a team of legendary humorists and illustrators.
Q: What awards did Al Feldstein receive?
A: Feldstein’s honors include the Inkpot Award (1994), Will Eisner Award Hall of Fame (2003), Bram Stoker Lifetime Achievement Award (2011), and an Honorary Doctorate of Arts from Rocky Mountain College (1999).
Q: What did Feldstein do after retiring from Mad?
A: He devoted himself to painting, creating vivid portrayals of wildlife, Western landscapes, and frontier life, with works exhibited across the United States.
