The first paintings by Milton Luros that I remember seeing featured beautiful women, rendered with a soft, almost flat touch. For some reason the image of a green-skinned Amazon, struggling in bondage as two human spacemen try to drag her into a cage always sticks in my mind. With a light touch, the artist shaped her glamorous lipstick into a snarl of defiance that would make Betty & Veronica proud, and he framed her pointed ears and antennae with a wild mane of red hair. Plus, you’ve got to give those wild alien women credit for their fashion sense - who wouldn’t kill for that strapless red shag mini-dress! Then there was the cracking good composition of a woman fainting in the embrace of a blue-skinned alien man, framed against a vivid red planet. Unlike the previous image, this is very much a loving embrace, the woman’s hand is delicately twined around our blue-skinned superman’s bicep, while his figure is framed by a simple white backlight for dramatic effect. This image is iconic, like some sort of Gone With the Wind in outer space. Years later, when I read Earl Kemp’s article, Cherry Pink and Uncle Milty Time, I was amazed by the number of covers Luros had painted during the 40s and 50s, before his career as a porno publisher took off.