before they went to press, and only allow the Code mark to appear if the comic passed their standards. The Code was alarmingly strict. It barred publishers from using the words 'crime,' 'horror' or 'terror' in their titles, thus forcing EC to abandon some of their most popular titles. Police officers could not be portrayed in a negative light, and if a villain committed murder, he would have to be caught and punished by the end of the story. No mention was allowed of vampires, werewolves or zombies, another swipe at EC. Years later when Marvel introduced zombies into their books, they had to call them 'zuvembies' in order to pass the Code. In general, DC and Marvel were supportive of the Code, but EC struggled to cope with the new rules, and eventually abandoned most of their titles to focus on Mad Magazine, which did not need Code approval. The code also contained provisions against suggestive or salacious illustration, and required that females be drawn realistically without undue exposure. This was a knock at Fiction House's good girl art covers, and may have contributed to Fiction House's closure. Magazines and comic strips North American comic books tend to be around 7 by 10 inches in size. Magazines vary, but are usually larger. Comic books tended to have a Comic Code label marking them as suitable for children, while magazines had no such requirement. This led to magazines becoming one of the most common formats for adult comics. Playboy magazine first came out in 1953. It would feature single panel cartoons by artists such as Alberto Vargas, Archie Comics artist Dan DeCarlo, Plastic Man creator Jack Cole, LeRoy Neiman and later Olivia De Berardinis and Dean Yeagle. In the mid-1960s, Playboy magazine started including a multipage strip called Little Annie Fanny by EC alumni Harvey Kurtzman and Will Elder with an occasional assist from artist Frank Frazetta. Annie had trouble keeping her clothes on, a trend seen also in the strips The Adventures of Phoebe Zeit-Geist, Wallace Wood's Sally Forth, and Penthouses Oh Wicked Wanda by Ron Embleton and Frederic Mullally. Penthouse would later put out a number of erotic comic magazines: Penthouse Comix, Penthouse Men's Adventure and Penthouse Max with the likes of Adam Hughes contributing artwork. From 1965, Warren Publishing started publishing two black and white magazines, Creepy and Eerie, commissioning work from the artists who had worked