Interplanetary Episode: The Sequel!

by Larry Rapchak

In late 2002, while attempting to learn more about the mysterious artist Kenneth Landau, I discovered that "Interplanetary Episode's" appearance in January of 1960 was NOT its first; it had, in fact, served as the cover story of ACG's Adventures into the Unknown #61 (Jan-Feb 1955) which was, I believe, the final pre-code issue of this particular title.

And here's the original splash-panel, drawn (and signed) by Kenneth Landau in late 1954. Compare and contrast with the 1960 version shown in part one.

Was the roulette-wheel thing a part of Landau's original drawing, or was it grafted on later? The "wheel of fate" idea mentioned in the text has very little bearing on the story, and it was eliminated in the 1960 version. But Landau's crackling lightning and millions of little scratch-marks for the background give us a preview of the crazy, out-of-kilter feel of the story.

However, things get really interesting upon discovering that most of the 1955 version's crucial plot set-up—the brutal mistreatment of the simpleton Simon by the townsfolk—has been entirely altered from what one sees in the 1960 version! Yes, totally re-drawn by another artist and, oddly, softened a great deal in its emotional impact!

That's right—the Pre-Code version of the story as it appeared in January, 1955 was much more mild and inoffensive than its CODE-era reissue in January, 1960!

Here are a few samples which illustrate these changes along with a bit of a spoiler (as if anyone is going to run out and track this thing down): the climatic outcome of the story is the result of Simple Simon's gradual realization that the people of Earth are, in fact, basically cruel and not worthy of salvation. Thus, the entire plot hinged on our seeing Simon's kindly nature and trust in humanity ultimately destroyed by his personal encounters with the evil townspeople.

So here, in 1955, are a few re-drawn panels from page 2 which illustrate some of these encounters; Simon first rushes to the aid of a stereotypical Italian hot-dog vendor, who has made the mistake of peddling his wares in front of the local butcher shop. The butcher, being a jerk, goes berserk and knocks over the vendor's cart (big deal), as Simon rather sanctimoniously comments: "Folks are good... even if they don't think sometimes." (Oi!) Next, Simon happens upon a big thug stealing a lunch box from a little kid. Again, big deal.

But here are the same two panels, as seen in the 1960 version:



A few things leap out at the reader. The artwork of these two panels is on an entirely different stylistic plane than the first version above; they were obviously drawn by Landau. This meant that the version published in 1960 contained Landau's original artwork. The panel on the right is an example of the artist's quintessentially creepy, sardonic, cartoon-y stylization of his characters, recalling the famous tragic/comic masks that represent opposite poles of human nature. At this point early on in the story, you're not quite sure if you're supposed to be laughing at the main character or not.....

As the 1955 version progresses, (page 3 of the story) Simon finds a wallet which he intends to return to its rightful owner. Problem is, those nasty townsfolk spy him with the wallet, assume he's the one who stole it, and are instantaneously transformed into a lynch mob. In a very one-dimensional, contrived way, this sequence establishes Simon as a sympathetic (and a fully rational, seemingly normal) guy whose only quirk is that he happens to look like a bum.

BUT WHEN THE STORY APPEARED IN 1960, HERE's how the plight of the pathetic Simple Simon unfolds... in Landau's original panels from the same position on page 3:



Here, Simon's "folks are good..." line, spoken to his little 4-legged pal, acquires a whole new sense of pathos. I can't begin to describe the way that this portion of the story left me stricken... for lack of a better word.... numb... when I first read it. Landau's (and the author's) original conception of Simon as helpless, pitiful, and intellectually primitive reaches far deeper into the conscience of the reader than does the silly attempt to sanitize the story in its 1954-55 re-write.

AND HERE, back in 1955, is the final panel of Simon's interaction with the townsfolk, just prior to the first appearance of the aliens:

CONTRASTED with the 1960 version of the same panel, another Landau image that fried my poor young mind:


From this point on in both the '55 and '60 versions, the stories are identical, except for a couple of flashback panels near the end, as Simon recalls his encounters with the residents of Miller's Gap.




A few thoughts, questions, etc:

1.) I'm not particularly knowledgeable about the comics industry; I'm aware of the major controversy which led to the establishment of the Comics Code, and I'm sure that the turmoil during the 1952-54 period left publishers to deal with the impending censorship in any number of ways (the E.C. "New Direction" titles, for instance). I assume that the reworking of "The World That Was" after Landau had completed it was one of many examples of a publisher's last-ditch attempt to placate the incoming Code regime.

2.) It's fascinating to observe the ludicrously bad attempt to match the artistic style of the 1954 re-drawn panels (I'm certain that ACG staffer Ogden Whitney was the culprit) with Landau's unique originals. One assumes that the re-written/re-drawn work was done quickly, and that Landau was not available (or perhaps unwilling) to revise his original work.

3.) Also intriguing is the fact that, under the incoming new Code guidelines, the entire story should have been scrapped, since the alien plot and the final outcome of the story were considerably stronger than anything that would be sanctioned during the ensuing period of censorship. However, in salvaging the story for publication, the folks at ACG knew exactly which specific panels had to be jettisoned---those which depicted the brutal treatment of the retarded main character at the hands of the vicious townsfolk. And I am living proof of the effect of those images upon a sensitive young mind...when they were finally published six years later.

4.) How bizarre is it that ACG chose to publish Landau's ORIGINAL, UN-EDITED artwork in 1960!!? WHY??? If, say, they were behind schedule and needed to fill the issue with a previously published story, why in heck would they not simply reprint the "softer" 1955 version with the Whitney redrawn panels?? Why would they choose to unleash the raw, disturbing ORIGINAL Landau images on an unsuspecting Code-era readership that had been lulled into accepting the "horror-lite" material of the day?

I realize that the case of "The World That Was/Interplanetary Episode" wouldn't even register as a miniscule speck on today's comic consciousness...but it sure is fascinating. As far as I am aware, virtually nothing is known of artist Kenneth Landau, who was but one of a sizable stable of artists cranking out their work as part of the thriving comic book industry way, way back in the early 1950's; I would imagine that, barring some sort of extremely lucky break, very little will ever come to light about Landau himself... and certainly nothing about the bizarre and unsettling story that has served as the topic for this article.

In retrospect, I'm sure that, had I seen them, the typical pre-code comic book skeletons, vampires and zombies would have freaked me out in a fairly predictable way. But nothing could have prepared me for the effect of Landau's pathetic, emaciated simpleton—those skeletal, black eye-sockets weeping tears of grief over his mangy little pooch, just prior to his being pounded by his tormentors; you would have expected that vicious punch from the neanderthal farmer to have pulverized the poor kid into dust and blown him away along the dirt roads of Miller's Gap, Kansas, for all his life was worth; it's so damned upsetting. But, luckily for Simon, things would change dramatically when those repugnant yet noble aliens appeared. And even though, from that point on, the story brightens considerably, I could never begin to shake the emotional trauma of the opening scenes, so devastatingly effective were they rendered.

A powerful and deeply disturbing experience for me, one that fascinates and frightens me more than 50 years later.

Author's Note: I would love to hear from anyone who has any insights into this story and/or artist Ken Landau (no, he was NOT Martin Landau in his pre-acting days, as was sometimes rumored). With the non-stop pressure/deadlines under which the the comics industry operated, I'd be surprised if the story-line of "The World That Was/Interplanetary Episode" was original; it was probably "adapted" from an existing story, or perhaps patched together from more than one. Any information would be greatly appreciated.

Thanks,

Larry Rapchak