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Thursday, January 22, 2026
Monday, January 19, 2026
Journey Into Strange Tales Issue 159: Atlas/Marvel Science Fiction & Horror Comics!
The Marvel/Atlas
Horror Comics
Horror Comics
Part 144
April 1957 Part III
by Peter Enfantino
and Jack Seabrook
Strange Stories of Suspense #14
Cover by Bill Everett
"Beware... a Martian" (a: Al Williamson & Ralph Mayo) ★
"Someone is in the Trunk" (a: Dick Ayers) ★
"When His World Vanished" (a: Robert Q. Sale) ★★
"All Through the Night" (a: Tony DiPreta) ★
"Child's Play!" (a: John Tartaglione) ★
"Inside the Hidden Well!" (a: Doug Wildey) ★★
You know that oddball vagrant who's been living in the small shack on the outskirts of Raffington? You're not going to believe it, but he's really a Martian! At a town hall meeting, the grizzled, bearded old man dispenses with his disguise and introduces himself to the populace as Nardo the Martian!
Nardo insists that he loves the town and really digs the people who live there. Just give him a little time and he'll prove it. Within days, he's not only holding down a job at RR McGowan Manufacturing but also dazzling the boss with his business acumen. But, unknown to Nardo, there's one very unhappy Raffingtonite looking on from the fringes: Horace Vail, who swears he'll bring down the outer space man no matter the cost.
Jerry Slade has been breaking into the rooms of the people he boards with over at Ma Pearson's Home and pawning the valuables for lots of dough. Poor old Mrs. Pearson has no idea Jerry is behind the robberies but something must be done... and quickly. Jerry salivates when his landlady explains that he'll need to share his room with another boarder for a brief time. More booty to loot.
Once his new roommate is off to work, Jerry rummages in the man's oversized trunk when, to his shock and horror, an image leaps out at him. "Someone is in the Trunk." I'll save you the wear and tear on your eyeballs (and patience) and spoil that the "image" is actually Jerry's face reflecting back at him from a mirror inside the trunk. Terrifying! The Ayers art is dreck but giggle-icious in spots, such as the panel of Jerry running (see above), which reveals just how oddly the human body can bend.
"When HIs World Vanished" begins as a fairly intriguing and suspenseful crime drama but then changes lanes midway so that the story can actually fit into a sf/fantasy title. The switch is abrupt and lame and torpedoed whatever interest I had in Rene Lacoeur and his predicament. Robert Q. Sale's art is sketchy and ugly in spots, but serviceable.
Everett Marley mocks his wife, Lois, for her belief in the supernatural until an incredible event hits him right in the face. Coming home from the office the next day, Ev discovers there's a strange woman feeding unfamiliar kids in his kitchen. The woman is clearly not Lois but she identifies Everett as her hubby. Bewildered, he goes to work the next day and a similar conundrum occurs with his co-workers! What the heck is going on?
In the three-page "Child's Play!," a respected professor finds himself testing out toys at a research center. Then, one day, a mysterious gizmo from the future arrives in his in-box. What could this thing be? It's not worth your time to find out. In the finale, "Inside the Hidden Well!," American troops run across a deserting Afrika Corps soldier and take him prisoner. While searching for water, the soldier runs across the fabled oasis that Achilles drew his power from. Once he has several sips, he feels as if his body is made of steel. He heads back to camp to prove he's immortal. Long story short, he gets shot in the heel and dies. "Hidden Well" wins best-of-issue honors simply because it contains a bit of imagination. It's cliched, fer sure, but I'm starving for even a morsel of originality.-Peter
Cover by Bill Everett & Carl Burgos
"You Used to Be Me!" (a: Manny Stallman) ★★
"Murder on His Mind" (a: Pete Morisi) ★1/2
"The Door That Wouldn't Open!" (a: Marvin Stein) ★
"The Voice of Doom!" (a: Gray Morrow) ★★1/2
"Volcano!" (a: Richard Doxsee) ★
"It Walks in the Night!" (a: Paul Reinman) ★★
Radio "ham" Joe Talcott has zeroed in on a frequency from outer space but his other "ham" buddies don't believe him. Or won't. Could be that Joe is a pompous, self-serving, egotistical ass and the fellas don't want to spend another minute with the guy. "But hold on a sec, my bosom buddies..." Carl says, with a tone of elation, "Let's fix that Joe real good. We'll beam in on that alien frequency and pretend we're invaders from space!"
Frank Evans grows up hating and envying rich John Wilson, he of the fancy Caddys and mansion on the hill and swears someday he'll have everything that Wilson owns for himself. With that goal in mind, Evans goes to science college and becomes the most brilliant professor in the world; he invents a mind-switching gizmo and (like every other mad/brilliant Atlas scientist) uses it for selfish reasons. The mad doc switches brains with Wilson and quickly regrets it.
The setup is laughable but, for some reason (lack of sleep?), I never saw the twist coming and the Stallman art is pleasing as well. It does make one giggle when one thinks about all the dough Evans could make with his invention but instead insists he must own everything the other guy possesses.
Vaudeville performer Frank Mason has wandered into a life of crime and now imagines the voice of his partner, Johnny Mason, ringing in his head, urging him to give himself up to the cops. Frank deep sixes that idea and promises to ventilate Johnny once he gets his hands on him. Breaking into "the old theatrical warehouse" where Johnny shacks up, Frank is surrounded by the cops and forced to surrender. One of the cops remarks that Frank must be insane thinking the man is hearing the voice of Johnny Mason, Frank's ventriloquist dummy!
I could see the climax coming right from the get-go thanks to the various "clues" the scripter threw in my face, but "Murder on His Mind" is almost worth the read to catch a glimpse of what 1950s cops were really like. Mason gets a stiff right in the breadbasket from two nattily dressed detectives. I thought that only happened in Manhunt.
Okay, pay attention, cuz I ain't repeating myself. Frankie Walford is a good-for-nothing bum who's been living off his genius inventor-guy father. His pop tells him if he goes straight and stops hanging out with JDs, the new gizmo the old man is working on will net him millions. "Pshaw!" exclaims the young louse. Pop dies and leaves his newest invention to junior, but there's a proviso: the kid, now 24, must prove his soul is full of love and he no longer wants to rob pizza vendors for fun and pocket change.
Pop's lawyer swears to Frankie that the old man isn't kidding; the thing he invented could revolutionize time travel (or something like that), but it's hidden away behind an impenetrable door. The only way the door will open is if Frankie proves his worth. Good luck with that. "The Door That Wouldn't Open!" is yet another badly illustrated snoozer about a brilliant Atlas scientist. In 1957, there were more time machine inventors than there were color TV sets in New York. Why didn't these guys get together and form a club to blow off a little steam instead of disrupting the natural timeline?
And that's exactly what the trio do. The prank comes off so well that Joe runs off screaming into the night, never to be seen again. The mates congratulate Carl on a job well done but the joke's on these two dorks: Carl is an alien readying an armada to invade Earth. Thank goodness he was tipped off to Joe's discovery! For three pages, I thought "The Voice of Doom!" was going to end with the obligatory "I meant to disguise my voice as a Martian but my tire blew out and I never made it to the microphone. Jeepers! Joe's telling the truth!" but thank goodness we got a bit of a variant for once. I enjoyed that last second twist almost as much as I enjoyed Gray Morrow's art, very much like George Evans in spots.
Speaking of time travel, Giovanni, the lead protagonist of "Volcano!," has developed yet another form of time travel: a pill. Giovanni has become obsessed with a treasure his ancestor left behind just before Vesuvius erupted and he's keen on traveling back and nabbing the big prize. In the end, our hero becomes a hero when he foregoes the treasure to save some children who are about to be lavalized. Another conceit of the comics code: all brilliant but selfish scientists must see the error of their ways before that final panel.
In the final saga of this special "Brilliant Atlas Inventors of 1957" issue of Strange Tales, a brilliant inventor creates a new form of plastic that can change shape with just a thought. While the egghead is demonstrating the elasticity of the goop to a pair of plastic company owners, one of the trio wills the plastic to take on a gorilla form. Then the ape walks out the door... The Reinman art is, as usual, nice to look at but, seriously, I've had it up to here with messages tacked on to stories about money-hungry creators. Let the innovators make a little dough once in a while.-Peter
Strange Tales of the Unusual #9
Cover by Bill Everett
"They Meet at Night!" (a: Mac L. Pakula) ★1/2
"Prophet of Doom!" (a: Jim Mooney) ★1/2
(r: Chamber of Chills #14)
"A Matter of Life or Death!" (a: Sol Brodsky) ★
(r: Creatures on the Loose #32)
"Mind Reader!" (a: Bernie Krigstein) ★★★
"Stowaway in the Sky!" (a: Ed Winiarski) ★
"Captured by the Cave Men!" (a: Tony DiPreta) ★
An old farmer named Morse sees something fall from the sky behind a copse and goes to investigate. He finds a man named Shoreham, who insists he saw a Martian spaceship land and overheard the Martians say that they had visited Earth a thousand years ago and can only come once per millennium. They're here to capture a human to take back to Mars as a specimen! Morse plays along and follows Shoreham as they approach the ship; suddenly, Shoreham leaps up and knocks Morse unconscious. Morse awakens on the Martian rocket ship, en route to the Red Planet, and happily anticipates returning to the home he left a thousand years ago.
Just because an ending is surprising doesn't make it satisfying. Why did Morse trick Shoreham into thinking him a human farmer? Why does Morse think that "it will go hard with him [Shoreham] when we arrive"? Is it because he's bringing home a Martian rather than a human? I need answers that "They Meet at Night!" fails to provide.
A bank president named Morse (apparently back from Mars already--see prior story) is visited by a man named Drew whom he fired four years ago for stealing. Now Drew announces that he's been studying in Tibet and can see the future. For example, Morse is about to faint (he does) and Drew is about to rob the vault in the confusion (he does). Drew walks out of the bank and boards a train, where he becomes a "Prophet of Doom!" when he has a vision of an impending train crash. He pulls the emergency cord and exits the train; moments later, the crash occurs and a piece of flying metal knocks him out. Drew wakes up to see police standing over him, having found the stolen loot in his pockets. They add that it was his tug on the emergency cord that caused the crash, which would not have happened had he not acted.
Jim Mooney turns in his standard, professional job on this tale, which fails to generate much excitement. I wonder how difficult it is to go to Tibet and learn how to foresee the future? It might come in handy with sports betting.
Tom Baker is a gardener who always buys the same products at Harry Farris's gardening supply store. One day, Farris talks Baker into buying a new product, a can of Lamond's Shur-Kil insecticide. Fifteen minutes after Tom leaves, Harry gets a call from the Lamond Chemical Company saying that they made a mistake and he'd better get that can back--it's "A Matter of Life or Death!" Harry races to get the police to help him find Tom, while Tom tries everything to open the impenetrable can--an axe, a drill, a steamroller--nothing works. Finally, he throws it far into the dump and it explodes! Harry arrives to tell him that the can was mistakenly filled with nitroglycerine!
Sol Brodsky's art is bad, but the panels that frame this story are worse since they feature Death himself as narrator. In the last two panels, he informs any readers left awake that it wasn't Tom's time to die. Apparently that's why he couldn't open the can. However, if it was filled with nitro and exploded when he tossed it in the dump, you'd think it would have blown up when run over by a steamroller!
In the fall of 1942, a Nazi sergeant named Hans Reuger is respected as a "Mind Reader!" and given an assignment: go to Newark, NJ, pretend to be an American G.I., and plant a time bomb in a munitions plane. Rechristened Harry Judson, the saboteur is dropped off by a submarine and paddles a raft ashore, where he meets Private Eddie White at a cafe. The two hit it off right away and Eddie says he put in for assignment to a U.S.O unit.
After spending lots of time together for a week, Harry tells Eddie his outfit is on the move, and the men agree to meet for the last time that night. Harry plants the time bomb and then meets Eddie in a hotel lobby. They exchange presents, but Harry tells Eddie not to open his till after midnight. At 12:01, Eddie opens his gift, a lollipop labeled "sucker." By 12:09, Harry is on a U-boat, where he opens Eddie's gift--the time bomb Harry placed at the munitions plant! The next morning, Eddie opens a letter and reads about his new U.S.O. assignment, where he will entertain the troops with his mind-reading act!
Forget the silly ending and just sit back and delight in four more pages of outstanding work by EC alumnus Krigstein, who is fast becoming the main reason to read Atlas comics of 1957. His draftsmanship is excellent and he's working twice as hard as anyone else in the shop, cramming small panels into his pages to try to make sense of another overly convoluted and wordy plot by Wessler. He does a darn good job and even creates some suspense at the end.
Ralph Healy is an aeronautical engineer who discovers Neutralium, a metal that floats on air and will revolutionize air travel. On his first test flight in a plane built with the substance, Ralph is held at gunpoint by two stowaways who want him to fly the plane behind the Iron Curtain. Ralph says no and two of his men are thrown out of the plane in midair. Appearing to agree to proceed to the Communist country, Ralph flies on, but when he lands, it's back in America. Turns out the two men tossed from the plane were wearing Neutralium suits and turned the plane around in midair from outside!
Groan. If the script weren't bad enough, we have to deal with more amateurish art by Winiarski. His panels look like they could have come from one of the backup (far far back) stories in an early 1940s comic.
On an archaeological expedition, Dr., Curt Ford wishes pretty Dr. Betty Cooper were less cold toward him. She thaws out fast when she falls down a deep hole and the duo are "Captured By the Cave Men!," members of an advanced species driven underground long, long ago by the more apelike ancestors of the human race. Curt throws a handy switch and he and Betty climb to the surface right before the big hole is sealed over and the menace avoided. Now it's Curt and Betty, no more of this "Dr. Ford" and "Dr. Cooper."
This isn't a particularly strange or unusual tale. In fact, the mediocre art by Tony DiPreta and the by-the-numbers plot are all too common in Atlas mags these days.-Jack
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| Next Week... The Jungle Drums of Gene Colan! |
Monday, January 12, 2026
Journey Into Strange Tales Issue 158: Atlas/Marvel Science Fiction & Horror Comics!
The Marvel/Atlas
Horror Comics
Horror Comics
Part 143
April 1957 Part II
by Peter Enfantino
and Jack Seabrook
Cover by John Severin
"Mystery of the Silent Fog!" (a: Bernard Baily) ★
"The Fish Men!" (a: Marvin Stein) ★★
"The Betrayer" (a: Dick Ayers) ★
"The Too-Perfect Crime!" (a: Pete Morisi) ★
"The City That Died!" (a: Ed Winiarski) ★1/2
"Midnight on the Moor!" (a: Mort Drucker) ★★
After a rollicking storm leaves the town of Middleton enveloped in a thick haze of "silent" fog, the townsfolk become rattled and start throwing out crazed theories about what's happening to them. When the town idiot ventures into the fog and returns with a wild tale of seeing outer space all around the town, the mayor posits that the town is the target of an experiment by government scientists to see how normal people react to space travel.
During a routine dive in his bid to be the man who discovers Atlantis, deep-sea diver Hank Ferris stumbles upon a series of holes in the bottom of the sea. Upon further investigation, he finds the portals are actually windows above the world of "The Fish Men!" The gilled goons capture Hank and explain they were just about to commence their worldwide invasion of the surface world and Hank is invited along to watch.
Hank shivers in fear as he realizes the gill men easily outnumber his surface world brothers and sisters. But, in the grand tradition of War of the Worlds, nature steps in to halt the illegal immigration of these sea thugs. The sun burns their scaled skin and the warriors are forced back into the depths to plan another invasion some rainy day. A perfectly enjoyable (albeit completely inane) fantasy that neither taxes the brain nor scars the eyeballs. The Marvin Stein art at times reminded me of Don Heck's work.
In the three-page mundanity known as "The Too-Perfect Crime!," Roger Reynolds invents a camera that can shrink its subject to miniature size so, naturally, Roger starts photographing expensive sports cars on the street and taking them home in his pocket. Later, he reverses the process and sells the autos for big bucks. But when the cops get suspicious, Roger turns the camera on himself so he can hide. Problem is, once the detectives have left, the dope can't reach the camera to revert himself back to normal size.
Another ridiculous denouement awaits those who make it through the four pages of "Midnight on the Moor!," wherein businessman Ken Barrow becomes stranded in Edinburgh mere hours before an important board meeting. His only way out is a haunted stretch of swamp. Will Ken make it? The only way I made it was focusing on the joys of Mort Drucker's penciling. Mort singlehandedly represents the word "art" in this dismal issue of Mystery Tales.-Peter
Cover by Bill Everett
"Those Who Vanish!" (a: Richard Doxsee) ★★1/2
"The Straw Man!" (a: Joe Maneely) ★
"The Day the World Ended!" (a: Robert Q. Sale) ★1/2
"Dinosaur" (a: Bernie Krigstein) ★★★
"The Swami Strikes Back!" (a: Ed Winiarski) ★
"Maha the Demon!" (a: John Forte) ★1/2
Unlike Mystery Tales #52, Mystic #58 has more than its share of good art and it gets started quickly with the atmospheric work Richard Doxsee contributes to "Those Who Vanish!" Clyde Duvlin is a genius inventor who just can't stand to be patient and wait his turn, so he schemes to rid himself of the upper rungs of management at World Electronics. Clyde invents a camera that transports its subject to wherever the developed picture is mailed and he takes advantage of the US Postal Service by mailing pics of all his bosses to places hither and yon.
Word is sent out to the government that nothing can contain the chemical and Americans watch as it dissolves miles of earth and moves downward, seemingly to the core of the planet itself. When the government appeals to the stinkin' commies to ally with them to find an antidote, the entire world joins forces and a solution to the solution is found. The Nations are at last United in peace while Mrs. Norath scolds her husband for dumping the juice and holding the antidote the whole time. With "The Day the World Ended!," writer Carl Wessler probably counted on very few of his 8-year-old readers being familiar with the old Lights Out radio show and its 1938 episode "Oxychloride X," which Wessler happily ripped off, later cashing his $27 check from Stan.
Egregious in both art and script, "The Swami Strikes Back!" tells the tale of a group of college punks who kidnap the titular entertainer to teach them how to project their spirit. In this way, they can rob a bank. Hard to believe a four-page story could take so long to read but allow for nodding-off time. Nap time continues with "Maha the Demon," about a museum guard who unwittingly unleashes an ancient pharaoh onto present day streets. The "stranger in a strange land" angle is amusing for a couple panels but then the entire affair ends tediously.-Peter
Cover by Bill Everett
"The Iron Trap" (a: Dick Ayers) ★
"The Forbidden Room" (a: Joe Sinnott) ★1/2
(r: Tomb of Darkness #11)
"The Sinking Man!" (a: Angelo Torres) ★★
"He Hides in the Tower" (a: Bernie Krigstein) ★★
"In the Dark Attic!" (a: Dave Berg) ★1/2
"The Clock Strikes Thirteen" (a: Howard O'Donnell) ★
An unhappy physicist named Andrew Kastro is experimenting with atomic matter when it explodes, causing a brief flash of light and making everything in the room giant-sized! After two hours, he grows back to normal size and it dawns on the genius that it was he who got smaller while everything around him stayed the same. Like most Atlas protagonists, Andrew's thoughts turn to crime, and he decides that he'll shrink himself down and steal a valuable pearl from a museum. All goes as planned until Andrew forgets about the two-hour limit on his small size and is caught in "The Iron Trap"--a ventilating shaft--as he exits the museum with the pearl.
Groan! Dick Ayers was uninspired and his art is lifeless. The story isn't much different from "The Too-Perfect Crime!" in this month's Mystery Tales in that both deal with someone who accidentally discovers how to shrink himself and turns to crime. You'd think these brilliant scientists would see the pitfalls.
Helen is an aging woman whose husband forbids her to enter "The Forbidden Room" in their mansion. She can think of little else and finally opens the door one night while her husband sleeps. Inside the room she sees... her husband, who welcomes her! As she reaches for him he disappears; she passes out and wakes up on a psychologist's couch, where she is told that she is really an aging spinster about to wed who has finally conquered her fear of marriage, which was represented by the forbidden room. Got it? Even Joe Sinnott can't make this interesting.
The sole survivor of an explosion on a ship, Andrews finds himself on an island that is strangely familiar. He recognizes one thing after another and finally comes to a time machine; pushing a button, he finds himself back in the water, just having left the sinking ship and heading for the island, where the events will play out time after time.
"The Sinking Man!" is only three pages long and still seems tedious, but the art by Angelo Torres is at least bearable, if hardly his finest work.
From the moment Tony Lund sees Dorwin Manor, he becomes obsessed with the idea that there must be money hidden in the basement. He meets and seduces Madge, a pretty servant who works at the manor, and when she is about to elope with him he sneaks into the basement and finds the cash. Arnold Dorwin catches him in the act and a gun battle ensues, but Tony ends up locked in the attic after Arnold turns out to be a ghost and Madge discovers Tony's treachery.
I have to hand it to Bernie Krigstein--he put more effort into this terrible script than most Atlas artists would have. "He Hides in the Tower" has enough twists, turns, and verbiage for a ten- or twenty-page story, yet none of it is interesting or original.
A young man is used to using his handsome face to cheat people, so when he is approached on the street by a wrinkled old man offering to paint his portrait, the young man jumps at the chance, figuring he can cheat the old man out of some valuable pictures. Up the stairs they go till they are together "In the Dark Attic!," where the artist seems to paint an imaginary portrait on an imaginary canvas. In the end, the old man wraps the imaginary canvas around his face and, when the young man emerges into the daylight, he does not realize that the old man's wrinkled face has replaced his own.
Villagers are shaken when "The Clock Strikes Thirteen," thinking that the imported edifice bears a curse. Little do they know that Fuller faked the thirteenth strike, certain that everyone in town will be so focused on the clock the next day that he can rob the local bank. Rob it he does and, when he's trying to get out of town, he's easily captured. It seems the thirteenth strike presaged someone about to suffer a great loss, and that someone turned out to be Fuller.
It's back to Earth after some pretty decent art this issue, as Howard O'Donnell puts no effort into illustrating a story that is needlessly complicated and has yet another letdown of an ending.-Jack
Cover by Carl Burgos
"At the End of the Dark Hall" (a: John Forte) ★★
"Don't Throw That Switch" (a: Ted Galindo) ★
"The Gypsies' Secret!" (a: Angelo Torres) ★★1/2
"No Way Out!" (a: Robert Q. Sale) ★
"The Fury of Nick Foster!" (a: Harry Lazarus) ★
"The Unhuman" (a: John Tartaglione) ★
Pierre Denoir steals a woman's purse and flees through the fog-shrouded Parisian streets, ducking into a building and racing down the stairs. "At the End of the Dark Hall" he opens a door that reveals a group of criminals seated round a long table. Pierre recognizes them and remarks that they are all supposed to be dead! They chase him around for a while and he at first begs to join them and then grabs a gun and takes a wild shot before racing back up the stairs and into the waiting arms of the police. The fog has lifted and they point to the sign above the building entrance that reads "Mme. Rousseau's Wax Works."
It's nice to admit that, for once, Carl Wessler surprised me with the ending of this story. I was expecting Pierre to realize that he was dead just like the rest of the criminals. Instead, we get the old bit about the wax dummies seeming to come to life. John Forte's art, which I don't usually like very much, is rather evocative in the panels with fog and in the candlelit cellar.
Walter Garland learns a terrible secret from his dying grandfather--the old man has spent eighty years maintaining a machine that kept an unknown person from aging. The old man dies before he can tell Walter the young man's identity (hint, hint) and Walter quickly determines that his sworn enemy, Howard Blye, must be the man! Walter confronts Howard, who cries "Don't Throw That Switch!" and begins to pay blackmail money and welcome Walter into high society. Walter falls hard for Howard's fiance Joyce and, in order to get rid of his rival, turns off the machine. Not surprisingly, the young man who has been kept vibrant for eight decades turns out to be Walter.
Unlike the prior story, I knew what was going to happen in this one by the end of page one. The art by Ted Galindo does nothing to elevate the tired storytelling.
Tony Hayden is a con man who travels from town to town selling fake patent medicine at sideshows and carnivals. In one location he happens on a gypsy settlement and thinks he can make a quick buck selling his "medicine" (flavored water) to the seemingly ignorant folk. His spiel is interrupted by Kazar, a burly, bald Roma who says that Tony's product is fake and no substitute for the real thing that Kazar doles out. Kazar agrees to give Tony his secret formula to help his people and Tony promptly makes up more fake bottles of medicine and sells them as if they were Kazar's elixir. The people revolt once the trickery is discovered and they beat Tony and leave him in an alley. Kazar appears and cures Tony with his own formula before disappearing and leaving Tony to lament his failure to recognize a genuine cure-all.
"The Gypsies' Secret!" benefits greatly from fine work by Angelo Torres, who seems to rise to the occasion when given anything resembling an interesting script. This time out, the story mostly makes sense and has a satisfying ending, though I question why Kazar was so willing to give Tony his formula when Tony is obviously dishonest and Kazar could simply have given it to his own people himself.
Caught again on his sixth attempt to break out of prison, Blackie doesn't plan to give up, even though it seems that there is "No Way Out." A new prisoner says he's a chemistry professor and tells Blackie about a formula he's made from powdered wings that will give anyone who drinks it the ability to fly. Blackie takes a drink and is flying over the prison walls when he finds himself drawn toward the searchlight--too bad he didn't know the wings were those of moths!
Robert Sales's art isn't getting any more attractive and this three-pager is just plain silly. Some of Sales's panels really look like he's struggling with anatomy and perspective.
Nick Lazarus is a deep sea diver hired to recover undersea plant specimens for a scientist. Sick of encounters with sharks, Nick is excited to receive a radio message inviting him to join a salvage job where he thinks he'll get rich. The scientist insists that Nick finish out his contract, so Nick lies and says he sees nothing but rocks on the ocean floor. He tosses the ship's charts of the ocean floor overboard to force the scientist to abandon the mission, but when Nick brings up samples of undersea rocks he learns that they mention a treasure house in Atlantis, whose riches Nick will never find now due to the loss of the charts.
Holy cow, what a complicated way to get to yet another Atlantis ending! Harry Lazarus's art is mediocre and the script, undoubtedly by Wessler or Oleck, adds nothing new to the Atlas canon.
Who is leaving the mysterious notes that answer the major problems faced by scientists working on Project Satellite? Dr. Taylor decides that one of his fellow scientists must be "The Unhuman," a mutant with super brain powers. Dr. Fenn is shot and dies just before he reveals the identity of the unhuman. After Dr. Taylor rules out the other two, he is shocked when Dr. Fenn appears, having faked his own death. Taylor says the world isn't ready for Fenn's brilliance, so Fenn agrees and vanishes. This story should have vanished! The world wasn't ready for such uninteresting art and prose.-Jack
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| Next Week... More Krigstein Magic To Save Us From Madness! |
Monday, January 5, 2026
Journey Into Strange Tales Issue 157: Atlas/Marvel Science Fiction & Horror Comics!
The Marvel/Atlas
Horror Comics
Horror Comics
Part 142
April 1957 Part I
by Peter Enfantino
and Jack Seabrook
Cover by Bill Everett
"The House of Fear!" (a: John Forte) ★
"The Monster in the Mist!" (a: Al Williamson & Ralph Mayo) ★★1/2
(r: Monsters Unleashed #7)
"The Trap!" (a: Tony DiPreta) ★
"Secret of the Golden Idol" (a: Syd Shores) ★★1/2
"Trapped by the Little Men!" (a: Pete Morisi) ★
(r: Chamber of Chills #13)
"When He Presses the Button!" (a: Ed Winiarski) ★1/2
Leo Lucas inadvertently shacks up in a haunted house one stormy night and must fight for his life to escape. The next night, he's relating the story to his buddies and one of them, the egotistical Rod Bailey, claims there's a rational explanation for everything and, for fifty bucks, he'll stay the night in the house just to prove his theory. The boys take him up on his offer and that night Rod finds himself in "The House of Fear!" Dreadful stuff with a twist that's been done a thousand times before and the uninspiring art adds nothing.
Despite biting off a little more than it could chew, "The Monster in the Mist!" is a fun and nicely etched little thriller, granting us a reprieve for just a moment from haunted buildings and warring Venusians and giving us a taste of what was to come in a few years. We could use a few more of these tales.
"The Trap!" is a cockamamie bit of nonsense about a businessman who discovers an auditor is in the office to do his books. Ordinarily not a problem, but this guy has been embezzling a ton of dough from the company, so he gets the bright idea of kidnapping the auditor while he whips up a new set of ledgers. Unbeknownst to our loser protagonist, the agent is a robot and he's quickly replaced by a newer, more efficient model. It's disheartening to see how bland Tony DiPreta's work had become by 1957; the eeriness of his older work gave way to simple sketching and no enthusiasm. The robot reveal is thrown in almost as an afterthought.
In "Secret of the Golden Idol," a petty thief steals a priceless statue that supposedly holds the secret of unlimited wealth. Try as he may, the dope just can't figure out the clues and ends up behind bars. There's really not much to this one, but it possesses a certain charm (the thief believes the idol's eyes--one red and one green--are telling him which direction to turn in search of his fortune) and Syd Shores's graphics are certainly a cut above those of DiPreta and Forte.
The Ace Detective Agency sends their best man, Haley, out to find an eccentric scientist who's become the heir to a fortune. When Haley tracks the egghead down, the goofball is working on a time travel machine and insists he has no time for business. He flips a switch and Haley ends up back at the beginning of the story. "When He Presses the Button!" advances the genre of time traveling not one iota but extra points go to the uncredited writer (I'd guess Wessler) for repeating the opening almost verbatim on the closing page. These guys weren't paid much, so hats off to this guy for padding his script.-Peter
Cover by Bill Everett
"The Demon's Shadow!" (a: Ted Galindo) ★★
"Which One of Us Is Me?" (a: John Forte) ★★
"The Eyes That Never Closed!" (a: Joe Orlando) ★★
"Something in the House" (a: Robert Q. Sale) ★
"A Scream on the Screen!" (a: Christopher Rule) ★★
"What Happened to Harrison!" (a: Howard O'Donnell) ★1/2
Greedy explorer Jory is searching for the Temple of El Kasid, rumored to contain a priceless collection of golden idols. Jory finds his temple and enters the secret room containing the treasure but then discovers that the statues are of explorers before him. Suddenly, lasers shoot from the eyes of one of the idols and Jory becomes the latest exhibit in the temple.
Larry and Kit Keith buy an old house and begin to fix it up but they quickly learn the structure is a money pit. They pour their life savings into the building but new cracks form every day. Still, they love that house! One night, a quartet of armed robbers break in and hold the Keiths hostage, explaining they just robbed a warehouse and need a spot to chill. No one would think to look for them in this old dump. But the thieves soon learn there's "Something in the House," something that's protecting the Keiths and isn't happy about the break-in. Unremarkable script and art.
In the closer, "What Happened to Harrison!," Professor Sims creates a machine that can "send a man's subconscious back in time" but Professor Harrison isn't buying this theory. He challenges Sims to test his theory in front of a board of scientists and Harrison agrees. The test subject turns out to be a man who saved Harrison's father from drowning years before and the experiment begins. Harrison smells a rat and attempts to throw the demonstration off but fate intervenes and tragedy strikes. A very predictable conclusion, especially since Prof. Sims warns against the outcome all through the story. A very average final piece to a very average issue of Journey Into Mystery.-Peter
Cover by John Severin & Carl Burgos
"The Man Who Went Too Far!" (a: Richard Doxsee) ★★
(r: Amazing Adventures #22)
"They Won't Die!" (a: Pete Morisi) ★1/2
"Your Life for Mine!" (a: Marvin Stein) ★
"The Wrong Choice!" (a: Werner Roth) ★
"The Voice in the Night!" (a: Frank Bolle) ★★
"The Impossible" (a: Bill Everett) ★1/2
(r: Amazing Adventures #25)
Richard Doxsee's art is the highlight of this wordy tale that must have been penned by Carl Wessler. It keeps circling around a slightly interesting premise but never quite gets there, and the conclusion is disappointing, promising carnage without actually showing anything but footprints.
This big yawn of a story is fortunate to feature the art of Pete Morisi, who enlivens the dull proceedings with a few nice depictions of Dan falling out of a window.
"Your Life for Mine!" is dreadful, with Kirbyesque art by Marvin Stein that looks forward to the style that will dominate Marvel comics in several years.
It seems like we see a variation on this twist ending every few issues in Atlas comics, with a character either ending up too big or too small--usually too small. Here, Werner Roth's panels don't add much to the convoluted tale, which starts out above the water but ends up with yet another greedy man getting his just desserts.
There's a lot to like in this one, even though the surprise ending is hard to swallow. Bruner is a terror in the prison camp and makes it clear that he wants to be the one to catch and kill Bill when they're in the woods, so it seems implausible that he was really the one who helped Bill escape. Still, the sheer wackiness of the story and some smooth art by Frank Bolle make this the most enjoyable entry in this issue.
Bill Everett does his usual fine job illustrating "The Impossible," but I'm slightly confused by the end--is the entire village inside a bottle and the minister saying that life can't exist in such a small form? That's what it looks like. It's a dopey ending to a poor issue.-Jack
Cover by Carl Burgos
"The Secret of Murdock Farm!" (a: Joe Orlando) ★1/2
"The Black Blob!" (a: Pete Morisi) ★1/2
"The Man Who Was Replaced" (a: Marvin Stein) ★
"Impossible Island" (a: Bernie Krigstein) ★1/2
"The Man Who Changed!" (a: Sam Kweskin) ★
"It Waits in the Dark!" (a: Tony DiPreta) ★★
Albert Carter works as a soda jerk at a drugstore counter and is unhappy in his work. He finds a newspaper in the cellar and reads a classified ad about a Model T car being sold for $35, so Albert takes a bus out of town to a desolate spot where he learns "The Secret of Murdock Farm!" Intervening when the family who owns the farm is threatened by crooks who want to buy it, Albert falls for pretty Lillian Murdock and fights off the crooks, only to discover that she and her family are the ghosts of people who died years ago. Albert decides a life with a pretty ghost is better than his humdrum existence and runs back toward the farm, begging Lillian and her family to let him join them.
Joe Orlando was such a skilled draftsman that I can't give this convoluted story only one star, but one and a half is the best I can do. Carl Wessler never ceases to amaze me with the amount of pointless twists and turns he can throw into a short story and the utter meaninglessness of most of it.
Herman Miller is a spy who never found anything useful with which to betray his country. Now he's haunted by "The Black Blob!," a floating cloud that no one else can see. The blob tells Herman that it's the harbinger of an alien invasion and it gives him the power to walk through walls and walk on air. The failed spy walks through the thick, metal walls of a government building, hoping he can finally steal some useful secrets. In the morning, he's found dead inside a sealed room that contains lethal rays and a pool of black, oily stuff is on the floor beside him.
As with the prior story, the only thing to recommend this one is the art. Pete Morisi's style is an acquired taste, but I like it. It brings back memories of Charlton and 1970s Atlas comics, which were way more fun than 1950s Atlas comics.
When Phil March returns from his travels a wanted man, he makes his identical twin brother, Ben, "The Man Who Was Replaced." Phil uses hypnosis to confuse Ben and, after a month, he is good enough at the imitation game to fool the secretary at Ben's office. Ben catches on and confronts Bill, who calls the cops on his brother. The cops arrive and arrest both men, one for crimes committed elsewhere and the other for a stock swindle.
The GCD tells us that this tepid tale is written by Jack Oleck, proving that not all the bad stories we're suffering through can be blamed on Carl Wessler. Marvin Stein's art is utterly forgettable.
A Navy patrol plane is forced to make an emergency landing on an "Impossible Island" in the China Sea. They find an alien spacecraft but no sign of aliens until a group of strange, robot-like creatures approach and the men hide in the jungle. After gathering their courage, they discover that the aliens are friendly creatures who welcome humans into the brotherhood of the stars before taking off into space, their survey done.
Even the great Bernie Krigstein can't enliven this one, despite his trademark page layout that features numerous, small panels. One problem is that the color separation is awful, at least in the copy I'm reading, and this makes it hard to tell what's going on some of the time, especially in the last panel on page two, where it looks like a bunch of animals and birds are wrapped in cellophane.
Carl Mason finds an old locket with mystic symbols scratched into its surface and soon every wish he makes is granted. He becomes greedy and his neighbors and clients begin to resent him. When the police come to arrest him for a swindle, his wishes to escape fail because his wife unknowingly polished all the mystic symbols out of the piece of jewelry. Sam Kweskin's art is below average even for Atlas in 1957 and this three-pager treads well-worn ground.
A pair of old explorers named Brooks and Cain discuss the amazing reappearance of John Calder, who had been missing in the Brazilian jungle for twenty years until Cain saw what looked like a spirit of Calder on the edge of the unexplored territory. Cain followed the spirit deep into the jungle and discovered Calder's body lying next to the legendary tree of life. Dragging the sleeping man out of the jungle, Cain rescued him and explains to Brooks that the tree put Calder in a state of suspended animation and then protected an image of him on the edge of the jungle. Brooks is shocked when Calder walks in and looks as if he hasn't aged in twenty years!
Tony DiPreta's art on "It Waits in the Dark!" is nothing special and the surprise ending is one that has been done before, but the jungle setting and the appearance of some Kivaro (Jivaro) Indians made me give this two stars, making it the least bad story in a dud of an issue.-Jack
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| In Our Next Issue... A Double Dose of Bernie Krigstein! |
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