Journey Into Strange Tales Issue 186: Atlas/Marvel Science Fiction & Fantasy Comics!

 

The Marvel/Atlas 
Horror Comics

Part 171

May-June 1960

by Peter Enfantino

and Jack Seabrook

Journey Into Mystery #58

Cover by Steve Ditko

"Return of the Martian!" (a: Jack Kirby & Dick Ayers) ★1/2

"I Found Rro... the Thing from the Bottomless Pit!" ★★

 (a: Don Heck & Jack Kirby)

"They Called Me a Witch!" (a: Jack Kirby & Joe Sinnott) ★1/2

"Beware!!! Of the Little Toy Men!!" (a: Steve Ditko) ★★1/2

(r: Marvel Super-Heroes #29)

Minutes after the events documented in the riveting "The Martian" (in JIM #57), Zetora the giant orange Martian breaks out of his cell and heads for Manhattan. Leaving a path of destruction behind him, the swim trunks clad behemoth crushes everything the army throws at him and finally reaches his destination: the United Nations building. There, Zetora somehow squeezes in through the small doors and faces the leaders of all the nations on Earth. He delivers his ultimatum: surrender or perish. Seeing no other way around it, the leaders quickly give in like a bunch of children on a playground and hand Earth over to the Martian. 

Luckily, Zetora picks just that moment to fall over dead. You see, earthlings might be immune to the bacteria found on our planet but... Martians are not! So this will be the deux ex machina from here on out I suppose, with Stan throwing his hands up and shrugging. If it worked for H.G., it should work for Jack and Dick, right? "Return of the Martian" is short on substance but it's got some pretty good creature art.

In "I Found Rro... the Thing from the Bottomless Pit!," a New Mexico engineer digs a hole straight through to the Earth's core and releases a fire-breathing dragon that flies all the way to San Francisco and then comes back to the original dig site (why it did this is never revealed, but I assume it just wanted to check out the surroundings). The army blasts the dragon from the sky and the monster slides back into its hole, but not before dropping a small cylinder etched with hieroglyphic-like engravings. When the suddenly very busy United Nations has the scrawl deciphered, it tells the story of a peaceful dragon race at the center of the Earth that was hoping to meet up with new friends. However, in light of Rro's violent reception, the welcome mat has been pulled. Don Heck's Rro doesn't much resemble Ditko's cover creature; someone forget to tell Don that monsters wear shorts.

In 18th-century Salem, seamstress Amanda Dalton falls hard for handsome John Redmond, but his ex-gal, Evelyn, is a jealous shrew and spreads word throughout the village that Amanda is a witch. John denies the accusations to his neighbors and chalks it up to a jilted Evelyn, and the village folk seem to take his word. Still, Amanda turns down John's offer to marry him because... she really is a witch! "They Called Me a Witch!" ends with a twist we've seen on several occasions across several publishers. Without giant monsters, the Kirby/Sinnott art is pretty bland. Oddly enough, someone thought it okay to include the postal statement right on the splash!

In the finale this issue, "Beware!!! Of the Little Toy Men!!," a newspaper reporter tries to convince his editor that a local eccentric millionaire who's passing out free toy men to kids is actually an alien from space laying the groundwork for invasion. His toy men will rise up and conquer Earth when the time is right. Then the editor tells his journalist that he's insane and to get back to work. Regardless of the rebuff, our hero makes it his duty to alert the citizens of Earth. Some truly awesome graphics from Ditko here while the script is lifeless and, in the end, ridiculous. In the final panels, the reporter finally gets his editor to believe him by revealing a secret that should have the boss calling the men in white suits rather than the FBI!-Peter

Tales of Suspense #9

Cover by Jack Kirby & Dick Ayers

"I Saw Diablo! The Demon from the Fifth Dimension!" ★★

(a: Jack Kirby & Dick Ayers)

(r: Strange Tales Annual #1)(r: Monsters on the Prowl #30)

"The Wrath of Chondu!" (a: Doug Wildey) ★★

(r: Weird Wonder Tales #7)

"Time on My Hands!" (a: John Forte) ★

"Earth Will Be Destroyed!" (a: Steve Ditko) ★★

(Crypt of Shadows #19)

"The Return of the Living Robot!" (a: Don Heck) ★

An intrepid adventurer overhears talk in a "gloomy Trinidad cafe" of a monster beyond all knowledge of science, a creature made of smoke that lives in the Sierra Madres. Unable to hold himself back, our hero heads to the Aztec village terrorized by the hazy behemoth. Sure enough, within minutes of arriving, the man is screaming "I Saw Diablo! The Demon from the Fifth Dimension!" The giant cloud telepathically relates his story to the bewildered human; Diablo has been on Earth for centuries, gathering up enough power to take over. Nothing on this puny planet can defeat it.

But just before Diablo gets on the walkie-talkie to his Diablo Brothers, our protagonist gets a brainstorm and fools the demon into heading home, job unfinished. Why would inhabitants of a "fifth dimension" recognize themselves as coming from a "fifth dimension?" Wouldn't they consider themselves the "first" and us the "fifth?" How do they know they're not the "sixth" or "tenth?" This must have been one of the easier big monster strips for Kirby to pump out, since Diablo resembles "The Squiggle from the Fifth Dimension." Though our brave adventurer goes nameless (he's the narrator), years later the character is identified as Ulysses Bloodstone, Monster Hunter. 

Doug Wildey's amazing art is the reason to wade through the three pages of "The Wrath of Chondu!," about a mind-reading showman who gets carjacked and must prove he really can warp men's minds. Wildey's work is extremely atmospheric, very much like that of Gene Colan's, and a breath of fresh air amidst so much monotony. Steve Gerber memorably brought Chondu back to team up with two other Atlas title bad guys (Dr. Nagan from "It Walks Erect" in Mystery Tales #21 and Dr. Morgan from "Prisoner of the Fantastic Fog" back in World of Fantasy #11) to take on The Defenders in that team's 21st issue. 

The other three-pager this issue, "Time on My Hands!," concerns a thief who steals into a government building and jumps in a just completed time machine. He sets the dial to 1975, jumps out, and heads for the local library, where he looks up the winning nags for the races on the day after he left. The knucklehead then heads back to his craft, only to find it missing. When he tells a passing cop that he's misplaced his time machine, the cop runs him in. Time machines have been illegal since 1973! Besides, the cop sighs, the dope parked his gizmo in a garbage disposal and it's been incinerated. This is an almost note for note rewrite of "Trapped in Tomorrow" from Strange Tales #68 (April 1959). The ink is barely dry before Stan is ripping himself off now.

Having destroyed their own world through nuclear war, the inhabitants of Gorgon look to make another world their own: Earth. The planet's supreme ruler orders his scientists to lock in their terrifying U-Gun on Earth and fire when ready. "Earth Will Be Destroyed!" But the eggheads are perplexed, since the U-Gun simply spins in circles, unable to fix on its target. Ya know why? Cuz Gorgon is a tiny speck on a microscope slide and it's about to be washed away. Another groaner aided significantly by the dazzling pencil of Mr. Ditko. Last up is "The Return of the Living Robot!," a sequel to last issue's "It Walks By Night!" The Living Robot survives his fall into the sea and vows vengeance on mankind by... returning to civilization and changing the dumb laws that make robots illegal. 

No destruction or widespread panic in this guy's plans. The Robot steals the identity of his friend, Cyril Stredford, a man who has the ear of the House of Commons and pleads his case to the government. Just as the law is about to be repealed, the real Cyril bursts through the doors, screaming "I Was Attacked by the Living Robot Who Wasn't Really Me!" The Robot grabs a hunk of the highway, but Cyril catches up to him and, in a brutal brawl, tosses the artificial man off a roof and then ponders whether a good robot like himself can change the views of mankind. Yep, Cyril is a robot too!!! Who'd a thunk? As dumb as this entry is, I do like the idea of sequels to these Atlas tales. I'm not saying that will raise the level of quality, but it's an interesting idea.-Peter

Tales to Astonish #9

Cover by Jack Kirby & Dick Ayers

"Return of the Genie!" (a: Jack Kirby & Dick Ayers) ★★

(r: Vault of Evil #11)

"No Way Out" (a: Steve Ditko) ★

(r: Where Monsters Dwell #34)

"I Saw Droom the Living Lizard!" (a: Don Heck) ★1/2

(r: Fantasy Masterpieces #8)(r: Where Monsters Dwell #28)

"Fangs of the Bear" (a: Doug Wildey) ★

(r: Crypt of Shadows #13)

After months of being stuck in a bottle resting in swamp mud, the genie is freed when an old feller happens by and pulls the cork for a peek inside. Seeking revenge on the human race, the genie flies to Manhattan and covers it with a magic vapor that removes the law of gravity. He then flies to Chicago and reduces everyone to insect size, then to Detroit, where he turns domestic pets into giants, and on to other cities.

His big idea is to bring the moon to Earth, scaring people who fear a collision. Finally, he creates an army of goliaths and takes over one country after another. The genie plans to take over the galaxy but, when his spaceship exits Earth's atmosphere, he loses his powers. Next thing he knows, he's back in the bottle in the swamp, aware that he'll remain trapped until he learns a lesson about greed.

Kirby and Ayers draw some decent panels depicting the mad genie, but the story goes nowhere. Was any reader clamoring for the "Return of the Genie!"? I know I wasn't.

In the 21st century, man can travel to the farthest reaches of our nine planets (Pluto still counted) but some mysterious barrier prevents ships from going any further. Is there "No Way Out"? Dr. Harris, a top scientist, volunteers to pilot a spaceship to the barrier and see what's up. He gets there and can't break through, so he heads home, where he sees a fish bowl and suspects that mankind is being protected, like fish in a bowl, by some mysterious force.

Far from Ditko's best work and a terrible story to boot. There is unintentional hilarity when Harris gets out of his rocket ship and takes a power drill to the invisible space barrier. Nope! That doesn't work either.

Hoping to solve the problem of overpopulation, a scientist named Henry Gordon invents a serum to make produce grow bigger so it can provide more food for hungry people. When some of his serum accidentally spills on a lizard, it grows to enormous size! "I Saw Droom the Living Lizard!" thinks the scientist, and Droom starts knocking over buildings.

The military can't stop Droom and the president declares a state of emergency. Droom heads out to the country and plucks a bomber from the sky before it can drop a nuclear bomb on him! Finally, the military attaches rockets to Droom and launches him into outer space! Droom stops growing, spends ten million years in suspended animation, and ends up on the primitive planet known as Earth, where his kind will rule until they die out.

Hoo boy, not another story where it turns out that the events we're seeing a) did not happen on Earth and b) happened a really long time ago. What a shock! Heck probably wasn't the best choice to draw this story, but how many pages could Kirby crank out in a month? Wait--don't answer that.

A man invents a robot teddy bear and sells it to a toy shop where rich people shop, intending to use the cuddly little guy to commit robberies. A rich couple buys the bear and takes it home, so the inventor has the bear steal a jewelry box and return to the lab. The next day, the inventor sells the same bear back to the toy store, claiming it's a new one, and it's purchased by a poor young man who takes it home and gives it to his disabled son. Despite the inventor's best efforts to recall it, the bear refuses to leave the boy's side. The inventor grabs a gun, goes to the family's apartment, and demands that they give him the teddy bear. The bear attacks the man and squeezes him till he passes out; the cops come and take the crook away and the boy and his bear live happily ever after.

"Fangs of the Bear" wraps up a terrible issue of Tales to Astonish. The bear doesn't even have fangs! It amazes me that Marvel reprinted all four of these stories in the 1970s. I guess they were looking to fill pages and not worried about quality.-Jack

Strange Tales #75

Cover by Jack Kirby & Steve Ditko

"Taboo! The Thing from the Murky Swamp!" 

(a: Jack Kirby & Dick Ayers) ★★1/2

(r: Where Monsters Dwell #2)(r: Weird Wonder Tales #13)

"The Return of the Totem!" (a: Steve Ditko) ★1/2

(r: Weird Wonder Tales #13)

"Doomsday!" (a: Paul Reinman) ★1/2

"I Made the Hulk Live" (a: Don Heck) ★1/2

(r: Tomb of Darkness #22)

Lewis Conrad, the famous explorer whose adventure books sell millions of copies, is in the Amazon Rainforest when he encounters "Taboo! The Thing from the Murky Swamp!" Taboo looks like a great big creature made of mud, but when he picks up Conrad, Taboo uses mental telepathy to explain that he's really an alien who is stranded on Earth. Lewis agrees to help the mucky guy get home and visits the United Nations, where every nation shares its scientific knowledge with him.

Lewis returns to the swamp and gives Taboo a device containing all of the knowledge, but the monster laughs and says he tricked us and will return to destroy all of humanity. Taboo flies off into space, where he blows up--Lewis  put an H-bomb in the device that could be detonated by remote control just in case Taboo was lying.

The splash page by Kirby and Ayers is dynamite and the story's not bad either! I was expecting some pushback from world leaders when Lewis asked if they could share all of their scientific knowledge so that he could give it to a swamp creature, but they didn't have a problem with it. I was glad that Taboo turned out to be a sneaky villain and that we were able to blow him up. That was a pretty neat trick to hide an H-bomb in the device!

"The Return of the Totem!" finds the big wooden pole hopping back to the Indian village after knocking a big hole in the wall of the jail. It picks up teepees and makes mayhem, so the tribe races to a nearby cave and hides. The old Indian visits the police to warn them, but they scoff at the thought of a walking totem pole until it attacks the mayor's home that night. The next day, the totem pole disrupts a company picnic but is stopped by the old Indian, who tosses some magic potion on the pole and causes it to fall off a cliff into water, where it drifts out to sea.

Will the totem return? I certainly hope not. These stories are hard to take and even Ditko seems to realize how silly the idea of a totem pole hopping after people is.

While arguing about whether there is a supernatural force that governs the universe and maintains order, a pair of scientists named Walter and Lynn invent a deadly gas called X-39 that will kill everyone on Earth in 24 hours and accidentally knock over a beaker of the stuff, releasing it into the atmosphere! As it spreads, the scientists chat about all of the terrible battles that have occurred throughout human history. Suddenly, a powerful wind comes out of nowhere and blows the gas safely into space! Now Walter agrees with Lynn that some force protects the universe.

Some of Paul Reinman's panels in "Doomsday!" look a bit like the work of Gil Kane, but this story is essentially a page filler. One would think that scientists would be a bit more careful with a gas that could kill everyone on Earth. Oops! Knocked it over!

A short man named Al vows to get revenge on those who mocked him, so he develops a formula to make him tall and powerful! It doesn't work, so he builds a giant robot outfit that he can wear in his quest to become ruler of the world. Al climbs inside and the suit locks around him, but he realizes that he left the key to the starter on the lab table, so now he's stuck inside!

The most interesting thing about "I Made the Hulk Live" is its title, which anticipates the Marvel hero who will come a few years later. This is another story about a scientist who makes a stupid mistake. Nothing much happens outside of his imagination.-Jack

Thursday on The 100:
No One Said These Were All
Going to Be Good Time Fun Flicks!

And In One Week...
A Genuine
Ditko Classic!

Journey Into Strange Tales Issue 185: Atlas/Marvel Science Fiction & Fantasy Comics!

 

The Marvel/Atlas 
Horror Comics

Part 170

March-April 1960

by Peter Enfantino

and Jack Seabrook

Journey Into Mystery #57

Cover by Jack Kirby & Dick Ayers

"Orogo!! The Nightmare from Outer Space!!" 

(a: Don Heck & Jack Kirby) ★1/2

(r: Fantasy Masterpieces 2)(r: Where Monsters Dwell #12)

"The Earth-Crawlers!" (a: Steve Ditko) ★★1/2

(r: Where Monsters Dwell #12)

"The Metal Monster" (a: Paul Reinman) ★

(r: Where Monsters Dwell #12)

"The Martian Who Stole My Body!" ★1/2

(a: Jack Kirby & Dick Ayers)

(r: Fear #7)

"Orogo!! The Nightmare from Outer Space!!" arrives on Earth looking for laborers to bring back with him in his gargantuan spaceship. No one can avert their gaze from Orogo's hypnotic eye and soon the giant is nudging thousands of earthlings aboard his vessel. Only one man can stand up to the mighty Orogo; ironically, it's an old man who spends his time sitting on a park bench and staring off into space. It's 100% predictable why the elderly gent is not swayed by Orogo's pulsating orb, but the secret is played out over six pages. My favorite panel is when Orogo is defied and his entire metallic body shuts down; it looks like he's throwing a tantrum!

Would-be inventor Henry Salt has a nagging wife who wants her hubby to whip up a gizmo that will make them rich. Henry insists he's working on something that will make the world a better place to live. "Pshaw!" exclaims the old ball and chain, "Get to work on making my life easier!" Shrugging off his first impulse to bury a hatchet in the old crow's head, Henry continues his work.

Meanwhile, in Africa, disgraced voodoo witch doctor Tutaku escapes from prison and swears vengeance on all mankind. He heads back to his hut, grabs his magic potion, and stands triumphantly on a cliff overlooking the valley. He dumps the formula out over the land but then, in an unfortunate accident, he is killed by his own secret potion. Down in the valley, the vegetation goes wild, growing to mammoth proportions and absorbing all the water around it. Scientists decree that the world will end soon as a dry and arid wasteland if something isn't done.

Coincidentally, back at Henry Salt's place, the quasi-scientist is demonstrating to a prospective buyer the incredible function of his new invention: a machine that can stop rain from falling in certain areas. What are the chances? Henry's attention is diverted to a nearby TV screen and he learns about the troubles in Africa. After contacting the State Department, Henry is rushed to the "dark continent" by the military and saves the world! Hurrah! I can only thank Henry for having the wherewithal to work on such a niche gizmo or we would all have succumbed to "The Earth-Crawlers!" sooner or later. What would the benefits of such a machine be? I was completely caught up in this silly yarn thanks to the imaginative script and Ditko gloss.

Construction foreman Mason accepts a job in Europe to build a road through an ancient forest but runs afoul of a group of gypsies who place a curse on him. Shortly thereafter, Mason is attacked and stalked by his own bulldozer. Salvation arrives in the form of one of the gypsies who elicits a promise from the construction boss to detour his road away from the forest. A really dumb and suspenseless fantasy yarn with ho-hum graphics from the declining Paul Reinman. It's obvious that when Stan and his brother/writing partner Larry Leiber were cooking up "The Metal Monster!" they thought it perfectly fine to "borrow" from Theodore Sturgeon's "Killdozer!" (a story that would, ironically, pop up fourteen years later in an authorized adaptation in Worlds Unknown #6).

The day is not going great for John Warren. First, his Dalmatian, the uniquely named "Spot," won't behave and then John runs into a rogue Martian (here on Earth avoiding persecution on his home planet) who switches places with our hapless hero. John is stuck inside a gigantic red-orange body and can't make his neighbors see the truth. After all is said and done, the authorities take his word for it when Spot starts licking his gargantuan feet. You can't fool a dog! John gets the Martian to switch bodies and the world is safe again. Well, who knows, since the sequel, "The Martian Returns!," debuts next issue. "The Martian Who Stole My Body!" follows the Lee/Kirby (or is it really just Kirby/Kirby?) formula to a tee; pert near every gigantic menace from here on out will sport swimming trunks to preserve their modesty.-Peter

Tales of Suspense #8

Cover by Jack Kirby & Dick Ayers

"Monstro... the Menace from the Murky Depths!" ★★1/2

(a: Jack Kirby & Dick Ayers)

"The Story of Sammy Snork!" (a: Bill Everett) ★

"I Am the Changing Man!" (a: Steve Ditko) ★★

"The Runaway Planet!" (a: Doug Wildey) ★

"It Walks by Night!" (a: Don Heck) ★★

The stinkin' commies are up to no good again, this time testing atomic weapons and exposing the sea's creatures to radioactivity. Thus is born "Monstro... the Menace from the Murky Depths!," a gargantuan octopus who slinks his way into a commie port and begins destroying everything around it. In an awkward show of good faith, the American government allows Professor Faraday to fly behind the Iron Curtain to study and hopefully defeat the newly-monikered Monstro!

Faraday dives down into the sea to get a better look at the monster and evidently sees something no one else can see. He surfaces and explains to the stinkin' Red military officials that within 24 hours Monstro will disappear. Taking this as a show of cowardice, the Reds give Faraday a less than appreciative boot in the ass on his way out of town. Sure enough, the next day, the giant octopus disappears and Faraday explains to his Washington boss that he immediately recognized that Monstro had been exposed to a huge dose of radioactivity due to atomic testing and the side effects would only last a day. Chuckling, Faraday turns to the window and hopes that this will be a lesson for the commies: it's not good to mess with atomic weapons (well, unless you're the U.S., I guess).

"Monstro..." isn't more brilliant than "Orogo" or "Mummex" or "Gorgolla," but I really like the Kirby/Ayers vision this time out. Sure, Monstro never shows more than four or five of his deadly tentacles and he's got a funny set of peepers, but he's one of the more dynamic giants we've seen so far. 

By 1960, the three-page sf/f tale had become virtually extinct in the Atlas titles, yet in this issue we have two, neither of which is noteworthy. First up is "The Story of Sammy Snork!," wherein the titular bank robber stows away on a carnival ride purporting to be a Martian spaceship. Guess what? You're not going to believe it but... yep... it's a real spaceship! Sammy goes to Mars and becomes an exhibit in a zoo. Never saw that ending coming. In "The Runaway Planet!," brilliant and really smart Professor Hauptmann insists the planet that's heading for a collision with Earth will never hit. The Prof is sure that God has more of a plan for us than extinction by accident. He's kinda right. What these two short-shorts have in common is some nice art and cliche-riddled writing. Both also look like they may be "vault" stories, which would explain their length.

Ozak is sent from the planet Deth to scout an invasion plan for Earth. Ozak's greatest asset is that he can assimilate any shape or form so he impersonates television reporters and newscasters in order to spread disinformation and sow the seeds of anarchy. Unfortunately for "The Changing Man!," his awesome ability becomes his Achille's heel and his plot is derailed. The reveal is pretty silly, but Ditko (who would create a "Changing Man" character several years later for DC) does his best to keep us turning pages. 

Last up is "It Walks By Night!," wherein we discover that by 1999 mankind has become fat and lazy and depends on robots for all activities. Then, when the robots rebel against their human masters, androids are declared illegal, rounded up, and destroyed. But one lone scientist swims against the tide, building what he considers to be a bigger, stronger robot, ignoring the fact that if he's caught he'll be executed. His plan is discovered when he's testing his new toy out in the woods and the authorities converge on him, destroying the machine and cornering the genius on a high cliff. Opting for death by fall rather than firing squad, our hero (?) takes the dive. Later, after the cops have left, the man rises from the water with a bit of his metal skin showing through. Oh my God, he's a robot too! To be continued next issue. That last panel, of course, is full-on cheat, since we're given no clues throughout that this guy is anything but a brilliant but flawed scientist. Heck's design for the Robot: Mach II in "It Walks..." is just a little too close to that of "Orogo" in JIM #57. This is the second tale this month with a sequel on the horizon.-Peter

Tales to Astonish #8

Cover by Jack Kirby & Steve Ditko

"I Dared Defy the Floating Head!" (a: Paul Reinman) ★

(r: Where Creatures Roam #2)

"I Live Again!" (a: Steve Ditko) ★

(r: Where Creatures Roam #3)

"I-Am-The-Genie!" (a: Jack Kirby & Steve Ditko) ★★

(r: Fear #1)

"Mummex---King of the Mummies!" (a: Don Heck) ★★

(r: Fear #1)

On a hot summer day in 1965 in New York City, a huge, green, floating head appears in the sky and announces that it is the harbinger of an invasion force from the planet, Aqua Mentorus. Air force jets open fire but the head disappears and reappears over Long Island. The head explains that it can travel by thought alone and also cause destruction, something it demonstrates by willing an empty warehouse to blow up.

Fortunately, a teenager named Bruce quickly deduces that the head is just a projection and its booming voice is coming from loudspeakers. The cops arrest a group of criminals in Central Park who had planned to force an evacuation of the city so they could loot it. The mayor thanks Bruce for teaching everyone the lesson of not panicking in the face of danger.

"I Dared Defy the Floating Head!" is not a good start to this issue. The art by Paul Reinman is below average and the premise is idiotic. Why would New Yorkers not figure out that the head was being projected and the voice was coming from speakers? It's more likely that they would've ignored it.

One of the statues (presumably Evil) from last issue's "I Spent Midnight with the Thing on Bald Mountain!" announces that "I Live Again!" and climbs back up the mountain to find an empty castle. It goes on a rampage, destroying everything in its path. The living statue hops a ship to America and reaches Florida, where it enters a dark place that it thinks it can wait, undisturbed, before wreaking more havoc. Oops! The statue is on a rocket ship that takes off for outer space, never to return.

Well, I guess that's that. There was no sign of the Good statute that also fell off the mountain in the prior story. This story is at least as bad as the one about the floating head and Ditko, whose art is usually good, isn't even trying. If it weren't signed, I'd wonder if someone else drew it.

While he's in prison, Freddie Sykes passes the time by reading fairy tales. His favorite story is the one about the genie, so when he's released, Freddie heads to the library and does some research. He reads about an old gypsy who tossed a bottle with a genie in a swamp, so he heads south, locates the bottle, pulls the cork, and out comes a giant genie!

Freddie demands a solid gold castle, which the genie provides. He asks for a winged horse and gets one. Freddie's demands grow more outrageous: he tells the genie to make the Atlantic Ocean disappear and to blot out the sun. Finally, Freddie decides that he wants to trade places with the genie. The genie agrees, but what Freddie didn't realize is that, once he's a genie, he has to obey orders! The former genie confines the evil Freddie to a bottle and leaves him to ponder his fate.

The story in "I-Am-The-Genie!" is run of the mill but the art is interesting in that it's about 80% Ditko and 20% Kirby. There's the standard Kirby panel at the bottom of page five where a crowd of onlookers gaze up in horror, and the panel in the middle of page six showing the genie's face is pure Kirby, but the rest of the story is much more Ditko than Kirby, and I prefer that.

Paul Fleming's archaeological trip to Egypt takes a surprising turn when "Mummex---King of the Mummies!" suddenly rises from the desert sand. The huge mummy wanders around, looking for something in one pyramid after another before heading to Cairo. He pulls the roof off of a museum and looks inside before giving up and returning to the desert. Fleming discovers that Mummex had a spaceship buried in the sand--he was an alien from another planet and he departed from Earth!

On the planet Andromeda, Mummex--whose real name is Rakka-takes off his mummy bandages, which protected his body during space travel, and announces that he was unable to find any stranded spacemen on Earth. It turns out he's with the Galactic Missing Persons Bureau!

I feel like a broken record. Don Heck's art is pretty nice but the story is dopey. There is never any sense of menace from the enormous mummy, which just lumbers around looking for something and then departs. The revelation that it's an alien is worthy of a big groan.-Jack

Strange Tales #74

Cover by Jack Kirby & Dick Ayers

"Gorgolla! The Living Gargoyle!!" (a: Jack Kirby & Dick Ayers) ★★

(r: Where Monsters Dwell #1) (r: Astonishing Tales #22) (r: Where Monsters Dwell #35)

"Beware the Hands of Hundu!" (a: Don Heck) ★1/2

(r: Where Monsters Dwell #35)

"I Was Trapped in the Nightmare World" (a: Paul Reinman) ★1/2

"When the Totem Walks!" (a: Steve Ditko) ★★

(r: Weird Wonder Tales #10)

David Hartnell's summer assignment for his architecture class is to research the origin of gargoyles. He travels to Tibet and finds a remote valley with a gigantic stone wall. Behind the wall, David discovers "Gorgolla! The Living Gargoyle!!" The giant stone creature picks David up and nearly talks him to sleep, explaining how all the gargoyles on Earth are actually (surprise, surprise) aliens who traveled here from the faraway planet of Stonus Five and are waiting on buildings for the right time to attack the human race.

Gorgolla explains the awful events that will follow and, despite David's pleas, the creature sends out the signal for the gargoyles to stop hanging out atop buildings and start attacking. To the giant gargoyle's dismay, gargoyles arrive from all over the Earth and attack Gorgolla! Why did they turn on their leader? The gargoyles helpfully explain to David that they watched humans and learned of love and charity, which beats their slave status on Stonus Five. They're happy to serve as guardians of the human race. David goes back to class at summer's end and tells the prof that he was unable to learn the origin of gargoyles, deciding that the story of Gorgolla should be kept secret.

At seven pages, this may be the longest story we've read yet. It's not bad, and the inks by Dick Ayers really bring out all of Kirby's artistic quirks. The gargoyles really look similar to the sort of creatures we'll see in a few years in the superhero comics.

Hundu's paintings bring him fame and fortune, but nothing brings him any closer to Anne, the woman he loves, since she's in love with a writer named Mark Walker. When Anne sends Hundu a telegram that she's marrying Mark, the artist loses his temper and lashes out at the old man who cleans his studio. Mark decides to take a trip to Europe to forget his sorrow. In Germany, he sees an old gypsy man and convinces the fellow to sit for a portrait. The old gypsy gets sick before the portrait is finished and gives Hundu a box of oil paints that will make any picture he creates come true!

Hundu discovers that the paints work and uses them to create a picture of his rival, Mark, in prison on Death Row. After starting on a self-portrait of himself as dictator of the world, Hundu leaves his studio for the night. While he's gone, the old cleaner accidentally knocks the painting out the window and it falls three floors to the ground. As a result, Hundu lies broken on the floor, unable to reach the magic paint. Once it is all washed down the drain, everything Hundu magically created disappears, and Mark and Anne live happily ever after.

"Beware the Hands of Hundu" doesn't even try to make sense. The first thing Hundu paints is a silly hat on a picture of himself, in order to confirm that he was a fool for dealing with the gypsy, but the next thing he paints (of course) is a treasure chest filled with jewels. He then paints Mark on death row, followed by a picture of the Empire State Building upside down! In the end, if the paint's disappearance makes everything go back to normal, why is Hundu still injured? This is not one of Don Heck's better efforts.

Mr. Brown has a theory that people have similar dreams because there is a dream world that everyone visits while they sleep. He goes to sleep and enters the dream world, where he encounters ghostly figures and strange things. In the end, the ghostly figures reveal that they are afraid of him and consider him a nightmare creature. He awakens and wonders if life is but a dream.

"I Was Trapped in the Nightmare World" is slightly better than watching paint dry, but not by much. It's too bad this wasn't assigned to Ditko, who would have made the dream world more interesting.

Hunk and Bull escape from prison one night and make their way to a small Indian village by dawn, where they hold the natives at gunpoint and demand food. The convicts decide that they will have to kill all the Indians to eliminate them as witnesses, so an old man asks a large totem pole to come to life. That night, Hunk and Bull discover that, "When the Totem Walks!," it's coming after them! Bullets don't stop it, so the cons head back to the prison, thinking they'll be safe, but the totem pole bends the bars on the prison window and... continued next issue!

It's a little far-fetched to think of a large totem pole chasing anyone--it does more of a hop or a teeter-totter than a walk--but Ditko pulls it off and the story is reasonably enjoyable. Will we start to see more continued stories now?-Jack

On Thursday...
Peter Openly
Invites Derision

And Next Week...
Beware of...
RRO!!!

Journey Into Strange Tales Issue 168: Atlas/Marvel Horror & Science Fiction Comics!

The Marvel/Atlas 
Horror Comics

Part 153

August 1957 Part II

by Peter Enfantino

and Jack Seabrook

Mystery Tales #54

Cover by Fred Kida

"The Last Lap" (a: Reed Crandall) ★★

"Prisoners of the Valley of Fear!" (a: Jay Scott Pike) ★1/2

"Death of a Gambling Man!" (a: Frank Bolle) ★

"Can of Soup!" (a: Robert Q. Sale) ★

"Nobody!" (a: George Klein) ★1/2

"The Labyrinth!" (a: Sid Check) ★★

Race car driver Rex Bilbo will do anything to win and that includes cutting his competitors off at the final lap. This is how Rex wins. Then along comes "The Kid," the fastest racer anyone's ever seen. Rex knows he can't beat the newbie, so he loosens the young man's tires; next day, on "The Last Lap," The Kid hits the wall and... bloooey!

The other racers know what Rex has done but can't prove it. But they'll get him, they promise. One night, when Rex is working on his GTO, The Kid rises from the grave (still wearing his speed racer outfit) and heads for the track. Next thing we see is Rex's new auto, with real human skin upholstery, Rex's eyeballs as headlights, and a tank full of blood. Alas, that's not what happens, but in the early pages it sure seems like we're going to get the first honest-to-gosh EC-style revenge tale in years and the cherry on top is the Reed Crandall art. The CCA wouldn't have okayed my scenario, but the sappy (and inane) climax we're given is safe enough for the 8-year-olds. No nightmares here.

Planes flying through Austria are disappearing from sonar without a trace. Government agent Alfonse Grumet suspects foul play, so he commandeers a dirigible to fly the same path in hopes the truth will unravel. Sure enough, the blimp reaches the same area as the missing planes and is stopped in mid-air by a huge net. The net brings the vehicle to a landing and Grumet and crew are taken prisoner by a group of bald ruffians. Grumet is taken to the wizard of this Valley of Fear, disgraced Professor Kalendru, whose theories of... something... drew waves of laughter from his colleagues.

As his revenge, Kalendru traveled to this deserted valley and created a city of miracles. Kalendru orders his mute slaves to take the dirigible to a populated city and kidnap hundreds of people in order to build Kalendru's army of slaves. But Grumet has an ace up his sleeve and puts the kibosh on the evil emperor's plot. Everything about "Prisoners of the Valley of Fear!" smells like an old cinema serial, with hidden cities, beast-men, and an explosive finale. The elements it's lacking are a good script and excitement. We're never really clued in to what Kalendru's goal is; he builds a "paradise" to get even for all the slights aimed at him through the years. Heck of a revenge.

Larry Hall worked for Matt Trevor, one of the biggest crooks in the city. Trevor is opening a new casino and his biggest enemy is the mayor, whose daughter happens to be in love with Larry. Get all that? Well, when Trevor gets wind of the secret affair, he uses the mayor's daughter as a pawn in his war with her father. Luckily, Larry stumbles on a secret room at the new casino filled with chemicals and stuff. He uses the potions to make the casino disappear, thus preventing any harm to his one true love. Larry has made the ultimate sacrifice. "Death of a Gambling Man!" (hey, spoiler alert!) is cheesy Wessler pulp junk that's good for a couple of chuckles when it changes direction in the final page, but little else.

Starving, a hobo steals a "Can of Soup!" from a truck, unaware that this "soup" is actually nitroglycerine. It's evident right from the get-go what the mystery can is, but what's not clear is why Stan okayed the truly awful Robert Q. Sale art. Yeccch! In the equally brainless "Nobody!," a flight filled to the brim with stinkin' Commies lands in Moscow to find an empty city. Panicked, they jump back onboard and head to the next Red city they can find. Same thing. "Nobody!" In the end, it's all a case of brain manipulation by a stinkin' Commie scientist. They see only what he wants them to see. But the joke's on Ivan when he tries to end the hold on his comrades' brains and the machine goes kaput. So does the plane. 

"The Labyrinth!," the final story in Mystery Tales #54, helps the title go out on a high note (or at least a higher note than the four stories that preceded it). A race of underground men try to make it to the surface world but can't seem to work their way through a maze of tunnels. Turns out the poor chaps are stuck in a subway tunnel. Some nice throwback penciling (meaning it looks like the penciling was done in the 1940s) by Sid Check and a fairly decent twist ending. Quality-wise, the 54-issue run of Mystery Tales was middle of the pack, neither better nor worse than its sister pubs. Two stories from pre-code MT made my Top 50 list: George Tuska's "Marion's Murderer" (from #14) and Bill Benulis's "The Little Monster" (from #15).-Peter

Mystic #61

Cover by Bill Everett

"Someday It Will Open" (a: Richard Doxsee) ★

"The Thirteenth Floor!" (a: Bernard Baily & Gene Fawcette (?)) ★

"Mister Backwards!" (a: Frank Bolle) ★★

"Too Dangerous to Live" (a: Carl Burgos (?)) ★

"The Strange Sea!" (a: Alfonso Greene) ★

"The Face in the Mirror!" (a: Joe Orlando) ★1/2

Professor Klauser returns from the jungles of South America with a souvenir, an odd, stone-like object he dubs a "thought pod." Kaluser is convinced that if he concentrates on something hard enough, that thought will materialize from out of the pod. His colleagues all think he's daft, but Klauser sits in his chair staring at the pod, certain that "Someday It Will Open." And it does. It just doesn't produce anything interesting, unfortunately. Not even the Doxsee art can elevate this one above the basement floor.

Brand is convinced the partying people on "The Thirteenth Floor!" are wearing priceless jewels and he's intent on robbing them. His friends tell him he's nuts since the hotel has no 13th floor, but he's convinced it isn't a mirage. When one of the hotel employees tells him that the hotel used to have a 13th floor but it was destroyed by a fire and never rebuilt, it gives him an idea. He sets a fire and watches as all the "shadow people" run into the elevator. He heads for their jewelry but fate has other ideas. What a dumb story! How can an entire floor of a hotel building be destroyed and removed without affecting the floors above and below? 

Ralph Paval buys a wonderful hourglass at an auction house and quickly learns it has the remarkable power of turning back time. All Ralph has to do is turn the hourglass over and... ta-da!... it's the past. Of course, since Ralph is living in the Atlas Universe, the first thing he does is rob a bank. Then he turns the hourglass over several times and it's ten years before. Ralph takes the money he made from the robbery and invests it in a sure thing in the stock market. Ralph's not as smart as thinks, though, as evidenced by the G-Men who come to arrest him for counterfeiting. The dope used 1957 currency in 1947! You'd think that would be the end of "Mister Backwards!" but, as with Mr. Brand in the previous story, Ralph finds fate has a way of evening things up for time travelers. I thought this one was semi-clever, but my only question would be, if Ralph is going back in time, why does he get to keep the dough he robbed in 1957, a heist he hasn't even committed yet? Am I thinking too much?

Really smart genius Professor Rajec is forced by the stinkin' Commies to build the perfect weapon, an explosive device they plan to use on the enemy. The Reds test three ounces of Rajec's formula and it destroys a square mile of land, but it also gives Rajec a bad case of amnesia; he can't remember the formula. After interrogating and torturing him for weeks, the Commies leave him be, hoping his brain will come around. At last, Rajec tells his bosses he's okay and ready to build another, bigger gizmo. But Rajec has a better idea and a better device to build: an air purifier that will suck up all the radioactivity caused by his first bomb. When last we see the professor, he's driving away with a U.N. escort, and the Commie colonel who once led his interrogation is giving him a thumbs-up. Bar none, "Too Dangerous to Live" contains the fastest (and funniest) transformation from bloodthirsty sadist to peacenik ever portrayed in a funny book strip. 

In the three-page, "The Strange Sea!," Jeff Marlowe yearns to be a seafaring lad like his ancestors, so he signs up to be a sailor. On his maiden voyage, he's swept overboard by a giant wave but, luckily, he's saved... by his great-grandfather. I know just how Jeff feels, swirling around in a whirlpool of bad comic stories. The finale, the last story ever to appear in Mystic, stars a pair of thieves, one of whom has become something of an animal, brutalizing everyone he comes in contact with. "The Face in the Mirror!" has yet another predictable, inane twist ending and uninspired Joe Orlando art. Four Mystic stories placed in my Pre-Code Top 50 list: Sol Brodsky's "The Devil Birds" (from #4, which landed smack dab in the number one spot), Mort Lawrence's "Help Wanted" (from #19), "The Living and the Dead" (from #26), and Russ Heath's "Who Walks with a Zombie" (from #27).-Peter

Mystical Tales #8

Cover by Fred Kida

"Stone Walls Can't Stop Him!" (a: Doug Wildey) ★★

"The Dream People!" (a: Ruben Moreira) ★1/2

"The Lair of the Thunder Lizard!" (a: Bernie Krigstein) ★★1/2

"The Sleeping Man" (a: Robert Q. Sale) ★1/2

"Try-Out!" (a: Sid Check) ★★

"The Island of No Return" (a: Sam Kweskin) ★

A convicted killer named Carl Brent walks right through the bars of his prison cell as if they were not there! Even "Stone Walls Can't Stop Him!" and he walks through one of those as well on his way to freedom. Roy Anders, the prison guard, doesn't tell anyone because he thinks he'd be ridiculed. He goes home and his wife encourages him to consult his "scrapbook case histories of all the men who have been executed on Death Row." (Roy is clearly a little off.)

Reading about Brent, Roy recalls that the criminal seemed to have a heart, never taking all the cash when he robbed a store and begging for forgiveness from a young woman he mistakenly shot during a holdup. When the woman, whose name was Molly Spinner, died, Carl was sentenced to death. Roy has an idea and drives to the cemetery, where he observes Carl kneeling on Molly's grave, asking her to forgive him. Roy hears her voice granting forgiveness and the guard drives back to the prison, where he learns that Brent was found dead of a heart attack on the floor of his cell, a contented smile on his face.

Doug Wildey does a decent job with this rather mournful story and I enjoyed it. The final twist, such as it is, comes from the surprise on the face of the guard on duty when Roy tells him he knows Carl died with a smile. Not much of a twist, but a pretty good story.

After dreaming of standing before an audience, a playwright named Baker is convinced his new play will be a hit. "The Dream People!" can't be wrong! Instead, his play is rejected and one written by his roommate, Philips, is accepted. Baker lies to Philips and takes his place, taking credit for the work and watching the rehearsals. Philips catches on and threatens to go to the cops, so Baker kills him just as the police burst in. He is tried and convicted and finally realizes that the audience he dreamed of was the members of the jury. Once again, Ruben Moreira works hard with a run of the mill idea.

Old Edouard Duval likes to spin yarns about seeing dinosaurs in a nearby cave, describing it as if it were "The Lair of the Thunder Lizard!" Young Jacques Rambeau doesn't believe it and enlists two friends to explore the caves with him to show that the old man is making up stories. The trio descend into the cave and photograph what lies in the darkness, certain it's nothing. To Rambeau's surprise, when the film is developed, it shows the thunder lizard! Duval volunteers to visit the cave and Rambeau agrees to film the outing; the old man shoots into the darkness and the film records the death of the creature. The cave is sealed off and Duval is a hero! Days later, Rambeau finds a small lizard that crawled into his camera and looked big in the pictures. He doesn't have the heart to burst the old man's bubble. Leave it to Krigstein to wring some emotion out of a weak story by Wessler. The artists gets the feeling of the French folk right and Rambeau's kind decision at the end seems genuine.

In the year 1457, Wolfgang Roebling invents a machine but when he shows it to the authorities they throw him out, insisting that it's evil. On his deathbed, Roebling entrusts the machine to his faithful servant, Karl Rieger, who promises not to give up until the world recognizes Roebling's genius. In a secret cellar room, Rieger sleeps for a century and awakens to show the machine to a man in Italy, who calls it a work of darkness. "The Sleeping Man" nods off in the catacombs for another century, wakes up, and tries his luck in Paris, where he is nearly killed when one of the king's ministers doesn't react well to the invention.

He sleeps for another hundred years in a cave in the Pyrenees, but when he wakes up, the king's secretary tries to steal the machine and Karl runs off to another extended nap in a tower castle. He gets the same reception in England in 1857. Finally, it's 1957 (surprise!) and Karl stows away on a ship to America. He arrives, but the perpetual motion machine Roebling invented 500 years before is scoffed at. Karl finds an underground spot to doze off and the robot hopes that, in a hundred years, the machine will be accepted. I kind of liked this story, not for the hideous art by Sale but rather for the plucky robot who keeps thinking that, if he just tries again in 100 years, people will accept his inventor's gizmo. I did not know he was a robot till the last panel, so I guess Wessler got me this time.

A booking agent named Stanton yawns through a presentation by a man named Lund, who narrates a travelogue to Neptune, the Earth's core, and the moon while showing images from a projector on a screen. He then suggests a talk on telepathy and ESP, but Stanton is unmoved. After the "Try-Out!" fails and Lund exits the office, Stanton is shocked to discover that Lund accidentally left the projector behind and there's no film in it! Sid Check's regular panels with people talking are smooth and the panels where he depicts the wonders presented by Lund are impressive, but they're not enough to make the story interesting.

Bruce Marner bullies everyone in Merville, a small town on the coast of Canada, and has one thing on his mind when he sees Hover Island, where there's a safe filled with gold coins in a long-abandoned bank. Marner commandeers a boat and heads out to "The Island of No Return," but when he gets the gold and tries to navigate his way back to the mainland, he discovers that the boat keeps ending up back at the island. Sam Kweskin's art on this forgettable story is a hair better than that of Robert Q. Sale on "The Sleeping Man," but the narrative is much less interesting.

So ends the short run of Mystical Tales, which never rose above the level of ho-hum. My highest-rated story was "Someone Behind Me!" by Reed Crandall, in #3.-Jack

Next Week...
Watch Helplessly as Matt Fox
Tries to Save Atlas From
the Deadly Implosion!