Back in 2009 I wrote the introduction to Marvel's hard cover reprint of the prototypical Atlas pre-code horror title Menace. Marvel published the series in their then ongoing Atlas Masterworks line. The volume turned out wonderful, a "done-in-one" volume that was hopefully one of a steady-stream of varied Atlas reprint volumes (where the source material is endless!). Alas, except for the somewhat ongoing, bi-annual Strange Tales, Journey Into Mystery and Jungle Girl volumes (which also have seemingly nearly ground to a halt), no further branching into the rich breadth of Atlas material has come forth.
If you don't have the collection above, it's probably still available in comic shops, discounted at Tales of Wonder.com or Amazon.com, and worth every penny, as mid-grade copies of the original comics will set you back well over $1000 to acquire issues #1-11. The cover scans below are my personal original copies of the actual comics. No full reprinting of issues will be presented and minimal complete stories shown due to the fact that you should support the series by purchasing the book.
So without any further digression, I present....
These crime issues reached the stands at the same time that Timely’s first horror title, Amazing Mysteries, changed format from horror to crime for its final 2 issues, also sporting photo covers. With Suspense #3 (May/50), the content changed to reflect the blossoming horror field, and it’s interesting to note that Amazing Mysteries started as horror and changed to crime while Suspense started as crime and changed to horror, showing Martin Goodman’s penchant for indiscriminate mixing and matching on a whim. Like a bloodhound following a scent, if he sniffed a change in the newsstand air, all he did was shuffle the deck and deal out the cards again in a different pattern, hoping to get a better hand the second or third time.
Suspense was a licensed title that blared on the cover of the first 8 issues “based on the gripping CBS radio-television series!”, and notable for the fact that many issues of the run, more than half, were thick 52 page issues, issues #1-8 and then #17-23. This gave the reader a lot of value for his dime and one of the main reasons Suspense is well-known as a literal cornucopia of Atlas pre-code horror.
|SUSPENSE #23 (Oct/52)|
The missing Nov/52 letter page (missing from #24) is found instead in My Own Romance #25 (which also has a letter page in #24, Sept/52) and this letter page has a letter from a Joan Clayton from
|MY OWN ROMANCE #25 (Nov/52)|
|BATTLEFIELD #4 (Oct/52)|
Overall, the letter pages are fun and Stan sports the same snappy patter he will use in the future on early Marvel letter pages and Bullpen Bulletin pages. Stan was trying to give this title its own unique feel as it was the only horror title to possess an ongoing letter page.
(The original licenses for Suspense, My Friend Irma and Casey Crime Photographer, were set up by Arthur Perles, brother of Goodman's business lawyer Jerry Perles, in his capacity as Assistant Director of CBS publicity in 1950. Arthur Perles's connection to Goodman goes back even further to 1936, where he was editor on Goodman's short-lived True Crime Magazine pulp.)
A close look at the Atlas line also shows that at the moment Suspense was jettisoned, two other horror titles immediately changed from monthly to bi-monthly, Astonishing and Spellbound. The following month (May) saw Men's Adventures change genre content from war to horror. Goodman was tinkering with titles and genres, attempting to leverage readers’ interest away from competitor’s titles towards his own. With newsstand rack space and title visibility being crucial, covers were becoming more shocking and boundaries were being pushed across the industry.
I covered the Wertham era in great detail here and here:
Wertham part 1
Wertham part 2
Was Stan worried about having his name being attached to material so reviled by “family” oriented segments of society? He and Joe Maneely had already parodied such foolishness in the final issue of Suspense with “The Raving Maniac”, a quick jab struck back in the name of common sense and reason.
Following this, without batting an eye, he seemingly barreled ahead and immediately thrust forth Menace as a counter response. Perhaps the answer is that he was just burned out on horror and when sales stalled due to natural (or unnatural) attrition bolstered by societal pressures, he retrenched and fell back on his forte`, westerns, teen humor and light comedy titles, which were always stronger sellers anyway.
MENACE #1 (Mar/53):
Cover: Bill Everett
#C-169 "One Head Too Many!" (7 pages) - Stan Lee script, Bill Everett art
TEXT STORY #C-281 "Quest" (2 pages)
#C-189 "The Man Who Couldn't Move" (5 pages) - Stan Lee script, George Tuska art
#C-188 "Poor Mr. Watkins" (5 pages) - Stan Lee script, Werner Roth art
#C-190 "They Wait In Their ... Dungeon!" (6 pages) - Stan Lee script, Russ Heath art
Tuska, an Eisner/Iger and Chesler shop alumni from as far back as 1939, freelanced for Stan Lee from 1949 to 1957 in all genres except humor. His Atlas character features included Rocky Jordan in Private Eye, Clark Mason in Spy Fighters, Doug Grant in Spy Cases, Rex Lane in Young Men, Man-oo The Mighty in Jungle Tales, Greg Knight in Lorna The Jungle Girl, Captain Jet Dixon in Space Squadron, Speed Carter in Speed carter Spaceman, a turn on Two-Gun Kid in Black Rider and Wild Western, and Black Rider in Two-Gun Kid. Prior to that, and concurrently, he worked for practically “every” comic book publisher in the industry and is considered one of the most prolific artists of all time. One of his specialties was gritty crime comics and he did superlative work for Lev Gleason in that regard, as well as in Atlas titles like All-True Crime, Amazing Detective Cases, Crime Can't Win, Crime Cases, Crime Exposed, Crime Must Lose and Justice Comics.
Roth was a fabulous stylist whose work for Stan Lee goes back to 1950 on tiles as diverse as Reno Brown and Venus. He worked everywhere and drew tons of genre filler stories including 14 great romance stories from 1952 to 1956, two scripted by Stan Lee, in titles like My Own Romance, Love Tales, Lovers, True tales of Love, Girl Confessions and Actual Confessions. Without a doubt, he did his finest work on Atlas character features. He drew Captain Jet Dixon in Space Squadron for three issues following George Tuska in 1951. In the westerns he drew the gunfighter Matt Slade and Kid Slade, as well as being the long-time artist on The Apache Kid, his greatest western character. But even that takes a back seat to Roth’s masterpiece, Lorna, The Jungle Girl.
Heath was nearly unsurpassable in his ability to depict dark, brooding and grim hopelessness, and was one of the top three Atlas cover artists of this period, joining Bill Everett and Joe Maneely. He began at Timely in 1948 and broke in on westerns like Two-Gun Kid, Kid Colt, Rex Hart and Arizona Kid. By the time the bullpen closed down Heath was freelancing all over the place on pre-code horror and tons of war stories across every title Atlas published. His work petered out in the post-code period as he was working primarily for National but did do a fair amount of humor work in the Mad magazine clones Crazy, Wild and Riot, as well as in the first issue of the Mad Magazine copycat Snafu. Heath returned to Stan for a tiny handful of pre-hero stories in 1959 and 1960. I asked Russ last year about his recollections of this period and his answer was that while he enjoyed the work, he had no real preference between horror and other genres. He enjoyed them all equally.
premium was but was pretty sure if the offer was made, copies certainly were sent out.
MENACE #2 (Apr/53):
Cover: Bill Everett
#C-289 "The Man in Black" (7 pages) - Stan Lee script, George Tuska art
TEXT STORY #C-368 "Fair Exchange" (2 pages)
#C-288 "Burton's Blood!" (6 pages) - Stan Lee script, Bill Everett art
#C-298? "Rocket To The Moon" (5 pages) - Stan Lee script, Joe Sinnott art
#C-287 "On With The Dance!" (5 pages) - Stan Lee script, Russ Heath art
The first story, “The Man In Black”, is a cold war communist spy thriller by George Tuska without any supernatural elements, yet the cover box sports a shrouded man dressed in black within a graveyard setting! Once again, obviously, the covers are drawn before the artist knows what the stories are even about, seemingly basing the images on the titles alone.
Joe Sinnott began his career ghosting for artist Tom Gill on Red Warrior and Kent Blake and in his Atlas tenure drew hundreds of stories in every genre including character features like, Rick Davis in Spy Thrillers, Iron Mike McGraw in Marines in Battle, Devil Dog Dugan and The Kid From Texas. His greatest Atlas character feature was the western Arrowhead, both in his own four issue run, and as a back-up in Wild Western, Black Rider and Ringo Kid #1.
Stan would re-use this plot several times in the pre-hero period, with Steve Ditko, “For Whom The Drum Beats!” in Tales To Astonish #22 (Aug/61), and with Don Heck, “Dance, You Fool” in Tales To Astonish #34 (Aug/62). All three stories have exactly the same plot.
MENACE #3 (May/53):
Cover: Bill Everett
#C-608 "Men In Black" (5 pages) - Stan Lee script, John Romita art
TEXT STORY #C-461 "The Urge to Kill" (2 pages)
#C-482 "Werewolf!" (6 pages) - Stan Lee script, Bill Everett art
TEXT ILLO. from #A-644 splash in Strange Tales #9 (Aug/50) by Marty Elkin
#C-607 "Rodeo!" (5 pages) - Stan Lee script, Russ Heath art
#C-323 "You're Gonna Live Forever" (7 pages) - Stan Lee script, Joe Maneely art
Our final story this issue is the first by Joe Maneely, Atlas’ most prolific artist of the 1950’s, on the seven page “You’re Gonna Live Forever”. In a briskly paced tale, a harried fugitive hides out in a scientist’s lab where he drinks an elixir that will allow him to live forever. Totally invulnerable, neither bullets, nor automobiles, can kill him. Heading down south to cool his heels and plan his next move, fate steps in.
Joe Maneely was to Atlas what Jack Kirby was to Marvel, and his accomplishments in the 1950’s are too voluminous to list here. For a nice overview of his career, I’ll recommend a 12 page biography I wrote in the recently published Black Knight / Yellow Claw
MENACE #4 (June/53):
Cover: Bill Everett
#C-814 "A Vampire Is Born" (6 pages) - Stan Lee script, Fred Kida art
#C-753? "Escape To The Moon!" (5 pages) - Stan Lee script, Russ Heath art
TEXT STORY #C-520 "The Scheming Woman" (2 pages)
#C-807 "Genius!" (5 pages) - Stan Lee script, Joe Maneely art
#C-683 "The Madman (7 pages) - Stan Lee script, Bill Everett art
Kida also drew Waku, Prince of the Bantu in Jungle Tales and Jann of the Jungle, Willie The Wise-Guy, and following Joe Maneely on Ringo Kid in Ringo Kid and Wild Western, and The Black Knight. Kida, at some point, was possibly on staff in the post-code period, part of a friendly, close-knit group consisting of Kida, Joe Maneely, John Severin, Bill Everett and Stan Goldberg.
The third story is Joe Maneely’s “Genius!”, a story I recall being reprinted in the 1970’s in one of Marvel’s horror reprint titles. A child genius grows up, arrogantly looking down on “regular” humanity, ultimately becoming bored with his life. When contacted telepathically by a superior female brain from Saturn (with an accompanying gorgeous image of the brain’s owner), he uses his fortune to build a rocket to join her, only to be shocked by what is under her mask. A silly story admirably drawn in Joe Maneely’s inimitable style. Note that Joe draws Stan Lee into the story on the splash page as the child genius’ father! This is the same caricature of Stan that Joe drew in Suspense #29’s “The Raving Maniac”. Hell, any horror comic with both Joe Maneely "and" Bill Everett is worth 10 times the price of admission!
The fourth issue ends with Bill Everett’s cover story “The Madman” (titled “The Four-Armed Man“ on the cover), as previewed by Stan Lee at the end of issue #3. In a creepy tale of a dark, decrepit insane asylum, a pretty young nurse begins her new job working for a gaunt, elderly doctor. One of the patients deemed pathologically insane (and forbidden for her to speak to) shouts over and over about having seen four-armed men from under the earth plotting to overthrow humanity. After sneaking off to see him, the last panel sports a surprise and
Never one to let a good plot go un-reused, Stan will repeat this exact same story, pretty young nurse and all, with Jack Kirby and Dick Ayers in Tales to Astonish #26 (Dec/61), “Look Out!! Here Come The …Four-Armed Men!!”, this time likely scripted by Larry Lieber, utilizing Stan’s original story/plot. This re-hash cannot hold a candle to Bill Everett’s original treasure.
Stan ends the issue again requesting letters of comment on all the stories and previews the next issue #5’s highlight, “The Zombie”, showing that he was plotting and writing stories well in advance of publication.
MENACE #5 (July/53):
Cover: Bill Everett
#C-952 "Zombie!" (7 pages) - Stan Lee script, Bill Everett art
TEXT STORY #9687 "Mind Over Matter" (2 pages)
#C-999 "Crack-Down!" (5 pages) - Stan Lee script, Joe Maneely art
TEXT ILLO. unknown Dick Ayers panel
#C-968 "Nightmare!" (5 pages) - Stan Lee script, George Tuska art
#C-969 "Rocket Ship!" (6 pages) - Stan Lee script, Russ Heath art
Here is a scan of the splash from my own original issue of Menace #5, slightly cleaned up by myself...
“Zombie!” was the apex of both creators’ pre-code horror work, a genre soon to be short-circuited by the advent of the comics code. Yet, the "Zombie" would live again. Flash forward exactly 20 years. Marvel editor Roy Thomas was in the midst of a full-fledged horror revival both in the four color comics (Werewolf by Night, Tomb of Dracula, Ghost Rider) and the black and white magazines (Dracula Lives, Vampire Tales). Together with writer Steve Gerber, the Zombie was revived and given a name (Simon Garth) and his own black and white magazine, Tales of the Zombie, lasting 11 issues from 1973 to 1975.
Following part one of this new debut story, the original Everett 7-pager is reprinted, time-lined to follow the events in the opening tale (and will be reprinted a third time in the final issue, an annual, #11). Strangely, the Everett gem, while reprinted in black and white, has a page 2 in two-tone black and green. I checked this against a second copy I have of this issue and it's the same in both. Inexplicably, a handful of other pages in the book similarly have this weird green-tone coloring effect.
Further, Marvel in the 1970's touched up the artwork (changing hair and eyes) and even changed exposition and dialogue from the original story to update continuity towards the now ongoing series with a backstory. Even the image of Simon Garth's daughter was re-drawn, turning her from a brunette in the original Everett story to a blonde in the new series (including re-drawing the panel to reflect this in the reprint). Garth's hair is also changed from slick 1950's short, to a mangy-long 1970's style.
Then the second part of the debut story concludes at the end of the book with artwork by John Buscema again, this time assisted by Syd Shores. Horror stories, both new and Atlas reprints, filled out the rest of the magazine and this format would persist throughout the run. Simon Garth, “The Zombie!”, has since secured a fixture of sorts in the Marvel universe.
MENACE #6 (Aug/53):
Cover: Bill Everett
#D-046 "The Graymoor Ghost" (7 pages) - Stan Lee script, Bill Everett art
TEXT STORY #8745 "Trapped" (2 pages)
#D-166? "Checkmate!" (6 pages) - Stan Lee script, Gene Colan art
#D-304? "The Corpse" (4 pages) - Stan Lee script, Russ Heath art
#D-144 "Flying Saucer!" (6 pages) - Stan Lee script, John Romita art
The second story is the first in this title by Gene Colan, “Checkmate!”, a story about a European chess champion and murder without any supernatural elements, perhaps better suited for an issue of Justice Comics. Colan renders the story in realistic images, using his mastery of shadow, shading and realism to a great cinematic effect, like a noir film unfolding.
|Lawbreakers Always Lose #1 (Sept/48)|
|Lawbreakers Always Lose #2 (June/48)|
Gene also drew select stories of the Human Torch and Captain
|Human Torch #31 (July/48)|
|Captain America #72 (May/49)|
When the staff was let go, Gene became a voluminous freelancer, working in all genres. By the post-code period, he worked nearly exclusively in the Atlas war books, drawing over 200 stories there in a two and a half year period alone. All of these post-code stories in "all" genres are unsigned (as Gene was concurrently over at National) and featured large, single panel splash pages.
|TRUE SECRETS #38 (May/56)|
|Marines In Battle #10 (Feb/56)|
In the Marvel age, Gene was the long-running definitive artist on Daredevil, drew Iron Man in Tales of Suspense, and drew the Sub-Mariner and Dr. Strange. In the 1970’s he did brilliant work on Howard The Duck and reached his peak on his masterpiece, Tomb of Dracula. A master of light and shadow who brought a cinematic approach to comic book storytelling, Gene Colan is one of the absolute greats of comic art.
The issue ends with a science fiction story by John Romita, “Flying Saucer!”. In 1953, with the country in the cold war midst of the first UFO hysteria, flying saucers were all the rage as exhibited by cheap B-films of the era and sci-fi comic books and pulps. This story about an alien invasion ends on a silly note with Stan really stretching this time for a shock ending. At the very end, Stan once again asks for letters from readers and wasn't kidding when he mentioned last issue he’d be using readers’ ideas for future stories!
MENACE #7 (Sept/53):
Cover: Carl Burgos
#D-290 "Fresh Out of Flesh!" (7 pages) - Stan Lee script, Syd Shores art
TEXT STORY: #D-173 "The Dream Castle" (2 pages)
#D-276 "The Planet of Living Death" (6 pages) - Stan Lee script, Russ Heath art
#D-225 "The Witch in the Woods" (5 pages) - Stan Lee script, Joe Sinnott art
#D-225 "Your Name is Frankenstein!" (5 pages) - Stan Lee script, Joe Maneely art
With issue #7, we get the first change in the Menace format that prevailed for the first six issues. For the first time the cover is drawn by someone other than Bill Everett, nor will
Shores hailed back to 1940 at Timely, his earliest work out of the Chesler shop on features like "The Terror" in Mystic Comics, Mr. Liberty / Major Liberty in USA Comics (scripted by his wife's first cousin, Phil Sturm), assisted on earliest issues of Simon & Kirby’s Captain America (later becoming the major Captain America artist of the 1940’s, primarily inked by Vince Alascia), Blonde Phantom and others.
|U.S.A. COMICS #1 (Aug/41) (Major Liberty) p.1|
|WILD WESTERN #36 (Sept/54) p.1|
During the Atlas years, Shores freelanced across all genres and on features as diverse as Battle Brady, Battleship Burke, Black Knight, Lo-Zar and Man-oo in Jungle Action, Sailor Sweeney, Greg Knight in Lorna, The Jungle Girl and Tales of the Jungle/The Unknown Jungle in several jungle titles, a jungle documentary type feature.
Joe Sinnott is next on a humorous take on the contemporaneous anti-horror comics hysteria being stirred by Dr. Fredric Wertham. In “The Witch in the Woods”, we see a large splash of a young boy reading an issue of Uncanny Tales in bed, only to be chastised by his father. Dear old dad then proceeds to choose “better” reading material for his son, a Grimm fairy tale about Hansel & Gretel, only to be shocked at the violence of the child’s fairy tale ending, violence even worse than his son’s comic book! Look for a Graham Ingels “old witch” swipe on page 3, panel 6.
The issue ends on a high note as the final story is the classic take on Mary Shelley’s famous monster, “Your Name is Frankenstein!”. With a plot and an ending that we will see over and over through the years on stories like “A Monster Among Us” in Amazing Adult Fantasy #8 (Jan/62), Joe Maneely renders a wonderful version of an iconic horror character. Page one alone is chilling as Maneely gives us a 4-panel sequence of the monster rising from the swamp, slowly brushes himself off and turns to face the reader. The words spoken in the last panel ring familiar “…no, the only real monsters on earth are … we humans!”. Stan ends the book asking readers to write in with their favorite “types” of stories, hoping to give readers what they want. It looks like Stan's interest is waning.
MENACE #8 (Oct/53):
Cover: Carl Burgos
#C-332 "The Lizard-Man" (6 pages) - Stan Lee script, Joe Maneely art
#D-159 "The Werewolf Was Afraid" (4 pages) - Unknown script, John Romita art
TEXT STORY: #D-272 "The Collector" (2 pages)
#D-325 "The Face Of Horror" (5 pages) - Stan Lee script, Russ Heath art
#D-233 "3-Dimensions" (3 pages) - Script unknown, Russ Heath art
#D-255 "The Wooden Woman" (5 pages) - Unknown script, Bob Fujitani art
Stan and Russ Heath then team-up for a final time in Russ’ 8th story and Stan’s very last, “The Face of Horror”, batting out one last hit. An ugly man would do anything to have his face fixed, and gets one last shock at the end.
Heath follows this up with a second story this issue, “3-Dimensions”, a three-pager scripted by an unknown writer. Nicely rendered, nothing special here. It's very rare to see 2 consecutive stories by the same artist in an Atlas anthology book.
Menace now goes on hiatus, appearing again after three months, cover dated Jan/54.
MENACE #9 (Jan/54):
Cover: Gene Colan
#D-386? ""Kill Me A Monster" (5 pages) - Unknown script, Paul Reinman art
TEXT STORY: #D-407 "The Groom Wore Black" (2 pages)
#D-385 "Blood Relation" (4 pages) - Unknown script, Ed Winiarski art
#D-449 "The Fangs Of The Wolf" (5 pages) - Unknown script, Bill Everett art
#D-406 "Symphony In Death" (5 pages) - Unknown script, Joe Maneely art
#D-438 "The Walking Dead" (4 pages) - Unknown script, John Forte art
Reinman was a veteran golden-age artist who drew a handful of stories for Timely in the early 1940’s (The Whizzer in All Winners #2) and bounced around the industry, specifically doing a lot of work for National. In 1950 he drew the syndicated feature Merrie Chase and Tarzan, returning to Stan Lee in early 1951 and peaking as an artist in 1952-53 on Atlas war stories in titles like Battlefield, Battle, War Action, War Combat and Men In Action. His specialty was WWII and cold war stories where his Caniff-influenced style harshly depicted Nazi horrors and concentration camp brutalities. Trained as a fine artist, Reinman’s inking of his own work exhibited an excellent use of lighting in his panels and while he worked for years afterward, never hit this peak again. Following the Atlas implosion, Reinman worked on early issues of Cracked, did work for Charlton and returned in the pre-hero period, becoming the fourth artist behind the pre-hero clique of Jack Kirby, Steve Ditko and Don Heck on fantasy and sci-fi vignettes. In the Marvel age he inked Jack Kirby on early issues of the Avengers and X-Men before leaving for Archie Publications and Tower, ending his career at Skywald and Western in the early 1970’s.
|MERRIE CHASE - art by Paul Reinman (8-31-50)|
The last story is a 4-page zombie clunker, adequately drawn by John Forte. The basic plot and execution of the story is not up to Menace's previous standards by any means. At the end of this book, an “editor’s” voice invites the reader back next issue without any further comments. This does not sound like Stan Lee any longer and he's probably left the editorship of this title.
MENACE #10 (Mar/54):
Cover: Russ Heath
#D-599 "Half Man, Half ... ?" (5 pages) - Unknown script, Robert Q. Sale art
TEXT STORY #9762 "The Haunted Lake" (2 pages)
#D-699 "The Night Crawlers" (4 pages) - Unknown script, Tony DiPreta art
#D-565 "The Fake!" (5 pages) - Unknown script, Al Eadeh art
#D-666 "The Plotters!" (3 pages) - Unknown script, Sheldon Moldoff art
#D-636 "In The Cardboard Box" (6 pages) - Unknown script, Joe Sinnott art
Robert Q. Sale draws the cover story, “Half Man, Half…?”, a sci-fi tale of mutated monsters and a traitorous atomic scientist, with an unexpected ending. I might also add that the cover image has absolutely nothing to do with the actual story.
Al Eadeh follows with a great story, one of my all-time favorites, “The Fake!”. In a past essay, you may recall I mentioned that Al Eadeh could draw both beautiful women and horrendous hags equally well. This story give him the chance to do both in the same story, on the same woman! (Although there is no way in heck I’ll believe make-up could transform this horror into a beauty!) Eadeh worked all around the comic book industry in the early 1950’s. For Stan Lee he seemingly appears in 1950 drawing romance stories, possibly as a freelancer, and works through 1954, including a short run on Black Rider in 1951, returning for additional stories in 1957, before leaving comics forever. Although his career was brief, Al Eadeh left some memorable comic stories and is worthy of my presenting the entire 5 pages!
Shelly Moldoff follows with a short, weak 3-pager about an attempt to take over the earth by one of its zoological denizens. We have recently seen a strange signed Moldoff story penciled by Ed Moline in Strange Tales #20. Moldoff only drew a tiny handful of stories for Stan Lee and is one of the giants in National’s history, hailing back to 1938 and onward through the years. Shelly also did early work for EC, including Moon Girl.
Menace #11 (May/54):
Cover: Harry Anderson
#D-922 "I, The Robot" (5 pages) - Unknown script, John Romita art
TEXT STORY #D-925 "Gambler's Haunt" (2 pages)
#D-977 "A Fate Worse Than Death" (4 pages) - Unknown script, Sy Moskowitz art
#E-014 "Only A Beast" (4 pages) - Unknown script, Al Eadeh art
#D-915 "My Other Body" (5 pages) - Unknown script, Jack Katz art
#E-059 "Locked In!" (5 pages) - Unknown script, Bob Powell art
Sy Moskowitz is next on “A Fate Worse Than Death”, about a marooned explorer on Mars and an ugly Martian maiden who wants to marry him. Moskowitz drew about 15 stories for Atlas in 1954 and 1955, including at least 5 inking Joe Kubert. Asking Kubert about this once, Joe couldn’t ever recall working with Sy.
Al Eadeh is back again in a clunker this time titled “Only a Beast”.
Katz drew about 30 stories for Atlas in primarily in 1954 & 1955, usually specializing in period war stories in titles like
[2014 note: Titan Books is in the process of collecting the entire run of this opus in a series of beautiful black and white hardcover reprint collections. As of this writing, one volume has been released.]
|Astonishing #35 |
(would be contents of never published Menace #12!)