Paul Krassner to leave Mad to found The Realist in 1958 as an adult-oriented alternative to Mad. Mad continued to be successful for the rest of Gaines' life. By the time Kurtzman left, the EC sign that had hung at the office entrance had been replaced with a Mad one. Gaines sold Mad for $5 million in 1961, and ownership passed to National Periodicals in 1962. Had Kurtzman stayed with Mad, he said he would have urged Gaines to include advertising, as did Feldstein to no avail. Ad revenue might have allowed for higher production values, such as color interiors. Kurtzman intended to keep the focus on a teenage and adult audience, rather than the younger audience Feldstein's Mad appealed to. Kurtzman after Mad Gaines retained all of the work that Kurtzman had done with EC as it was work made for hire. Kurtzman had received bonuses from Gaines for sales of the Mad paperback collections, but this was not stipulated in Kurtzman's contract and Gaines stopped the payments when Kurtzman left. Kurtzman tried to recreate Mads success in one publication after the other. The lavish, full-color Trump was a lusher and more risqué version of Mad. Hefner canceled it after two issues when Playboy Enterprises ran into financial troubles and had to scale back operations. The magazine had been a success in the market, but had already accrued $100,000 in expenses. Hefner said, "I gave Harvey Kurtzman an unlimited budget, and he exceeded it." Humbug, self-financed by its main contributors, lasted eleven issues before distribution and format issues led to its demise. Longer-lasting was Help!, co-published with James Warren. Help! had a low budget and made frequent use of fumetti photographic comics, and printed a number of Goodman Beaver strips by Kurtzman and Elder, some of whose parody subjects—Tarzan, Superman, and Archie—Kurtzman had parodied in Mad. Help! also printed early work by future cartoonists such as Robert Crumb and Gilbert Shelton. Kurtzman approached Hefner to run a Goodman Beaver comic strip in Playboy. In 1962 Hugh Hefner agreed, but Goodman Beaver had to be transformed into the voluptuous female Little Annie Fanny. With Will Elder as primary collaborator the painted, full-color strip ran from 1962 to 1988. Kurtzman reconciled with Gaines by the mid-1980s and contributed some pieces to Mad with art by Elder, coinciding with the retirement of Feldstein. Content and style With the second issue's take on