EC Comics! It's An Entertaining Comic! The Final Issue!

The EC Reign Month by Month 1950-1956
The Final Issue: The Picto-Fiction Titles
The Third (and Fourth) Issues + The Wrap-Up

Rudy Nappi

Shock Illustrated 3 (May 1956)

"Curiosity Killed"★★★
Story by Al Feldstein
Art by Reed Crandall
(from Tales from the Crypt #36)

"The Demon"★★1/2
Story by John Larner
Art by Graham Ingels

"Sin Doll"★★★
Story by Daniel Keyes
Art by Jack Kamen

"One Man's Meat"★★★1/2
Story by Jack Oleck
Art by George Evans

"Curiosity Killed"

Henrietta Clayton suspects her neighbor Wallace murdered his wife Emily and begins to watch his movements closely. She observes that he comes home every day with a shoebox and figures out that he is carrying out an elaborate scheme, cutting his wife's body into pieces small enough to fit in a can carried away by a pigeon, then emptying the contents of the can so it can be eaten by dogs. When she explains this to her husband, he reveals that he plans to do the same to her.

One of Feldstein's loonier ideas, "Curiosity Killed" originally appeared in shorter form in Tales From the Crypt. It's still fun, though a bit drawn out, and I think I'd enjoy anything drawn by Reed Crandall.

There's been a murder in the wax museum! A madman named Ellis cut the throat of another victim right in front of a wax figure of himself and escaped unseen! The police are nervous and, when a reporter named Hardy mocks them, they challenge him to demonstrate his courage by spending a night in the waxworks alone. He agrees and the night is a horror, since the wax dummy of Ellis comes to life and holds a knife to Hardy's throat. In the morning, the police find him dead of fright, with nary a mark on him; Ellis had been caught the evening before, uptown.

"The Demon"

An uncredited adaptation of A.M. Burrage's classic 1931 story, "The Waxworks," "The Demon" adds a nonsensical murder at the beginning before getting down to business. Ingels does a decent job with the illustrations but there's little new here, and I wonder why they didn't credit the source. Didn't they learn their lesson after Ray Bradbury caught them?

Laura awakens after another night spent with a strange man and sobs to her rag doll, Lorelei. She receives an unexpected visit from her former beau, Fred, who is distraught at having been dumped. He shoots her and then himself, but his suicidal aim is better than his homicidal one, and she is barely injured. Laura has a breakdown but is quickly cured by a stay in a hospital; when she gets out, she picks up a sailor and beds him. Disgusted with her own behavior, she begins psychoanalysis and discovers that her disorder stems from a reaction to her emotionally abusive father. Now that the mental floodgates are open, the former "Sin Doll" looks forward to a cure.

"Sin Doll"

One of the better psychology stories I've read in the EC line, this tells an extended tale over the course of 20 pages. Kamen's art is at its best, for the most part, and the problems Laura encounters and their causes fit together logically.

Paul is a milquetoast whose wife, Myra, treats him with scorn. He finds out that she's cheating on him with a man named Marsh, but when he begs her to give up her lover she is unmoved. Things were so much better when Paul and Myra spent their honeymoon at the lake! After Myra stays away for two weeks, she comes home and it becomes clear that Marsh has stopped returning her calls. Paul takes her back to the lake to try to recapture the old magic and makes her a nice dinner but, when she scorns him, he reveals that the meat that made up the main course was cut from her lover's body.

The ending of "One Man's Meat" took me completely by surprise! I fully expected Paul to snap and murder Myra. Instead, we get a reminder of the great, ghoulish EC style of yore, albeit without the gore. Evans's art is superb throughout.-Jack

"One Man's Meat"

Peter: "The Demon" starts off as a variation on (ohholyJesusnotthisagain) the hackneyed "night alone in a wax museum" plot, then veers a bit into a more satisfactory territory with its genuinely creepy climax. Yeah, I was ready to crow on about the fact that Ellis can hold his breath for hours at a time and that surely Inspector Clouseau is heading up the search in the wax museum when writer John Larner throws in a perfectly acceptable twist. Really nice Ingels pencils here as well.

"Sin Doll" is a sleazy (without being fun sleazy) dip into subtle nymphomania and endless psychobabble that runs on at least ten pages too long and gets us absolutely nowhere when it finishes up. By this time, my moaning and groaning about Jack Kamen's stencils is probably getting as old as I am after reading this crap, but I'll just say this and leave well enough alone: I thought for sure this story was going down a different alley when Laura saw Fred (the guy who had recently eaten his gun) in a sailor's suit on the bus. Of course, that was a misunderstanding on my part due to the fact that all of Kamen's characters look exactly alike!

"One Man's Meat" (oh, is that title a double entendre or what?) is the kind of story EC historians should stumble over themselves to call "groundbreaking" or "daring" or "hell razing," but that I would call "tawdry" or "cheap" or (once again) "sleazy." It might be historic if Jack Oleck had told it like it is, daring to address the issue without masking it in an apron or an aversion to dusting ("Not that Paul was that type"). It's a wonder we don't see our poor, put-upon protagonist dancing in his living room, clad only in Myra's panties and a feather boa, singing show tunes. If Paul is such a dandy, how the heck did he get the upper hand on Marsh? Oh, and if Jack didn't mention it already, that final panel is a rip-off of Roald Dahl's "Lamb to the Slaughter."

Reed Crandall

Crime Illustrated 3 
(Cover-dated June 1956 but never released)

"Deadline" ★★★
Story by Al Feldstein
Art by Reed Crandall
(From Shock SuspenStories #12)

"Repeat Performance" ★★
Story by Jack Oleck
Art by Wally Wood

"Wanted for Murder" ★★★ 1/2
Story by John Larner
Art by Al Williamson

"Booby Trap"  ★1/2
Story by Al Feldstein
Art by Charles Sultan

"Out of My Mind" ★ 1/2
Story by Al Feldstein
Art by Jack Kamen
(From Crime SuspenStories #6)

"Deadline"

Lawrence Greig was a fine reporter till he began to hit the bottle hard. Now he's just a drunk, begging the managing editor of the Morning Globe for a break. Greig is in love with a beauty named Annie and needs cash to keep seeing her, so the editor tells him he can have his job back if he digs up a front page story. Wandering the streets, he enters a greasy spoon and happens upon a murder--the owner of the place just killed his wife in the back room and tells Greig that she was a tramp. The reporter calls in his story but hears the woman let out a moan. He bashes her skull in so as not to lose his big story but is horrified to see that the woman he just killed is his beloved Annie!

"Plain" Margaret in
"Repeat Performance"

"Deadline" may have a predictable finish, but Reed Crandall's art is suitable for a pulp or a 1950s' paperback cover. His shading is especially nice, evoking the despair of the drunken reporter whose last chance goes horribly wrong. This is a far cry from the art of Jack Kamen in the original comic book story.

Handsome George and his plain wife Margaret rent a great apartment at a low price and don't mind that it was the scene of a murder three months before, when David King poisoned his wife, Ruth. Soon, Margaret meets beautiful Lisa Dayton, who lives downstairs with her husband. Lisa cozies up to her new neighbor, George, and before you know it they are lovers. George confesses to Martha and gives her a bitter-tasting drink. Yet when the cops take a dead woman out of the building it isn't Martha, it's Lisa, whose husband poisoned her. He finally got tired of her philandering, since she had also been the other woman in the prior murder.

Assigning Wally Wood to draw a story like "Repeat Performance," with a main character who is described as a plain female, is doomed to failure, and this story has one bad twist after another. The final surprise--Lisa is dead, not Margaret--is poorly executed.

"Wanted for Murder"

An escaped convict named Kempner comes across a beautiful woman bathing naked in a stream and follows her to a campsite, where she joins a man. The convict attacks them and learns that they are Harry and Susan Baird, who bargain for their lives by telling Kempner that they can lead him to a fortune in an abandoned shack. The trio makes its way to the shack, where Kempner is surprised by police, who shackle him to Baird. It seems Baird and Susan are not married: Harry killed her father and they hid his money in the shack!

A taut and suspenseful story, "Wanted for Murder" benefits immensely from Al Williamson's art, especially his depiction of Susan, a real knockout.

"Booby Trap"

Insurance man Frank Bliss meets pretty Joyce Fairbanks at a party. The fact that she is married doesn't stop him from calling her the next morning to ask for a date, an invitation she accepts. Within months they are in love and, before you can say Fred MacMurray, Bliss sells Joyce's husband, Ed, a $30,000 life insurance policy. Frank plans a "Booby Trap"--a man is beaten to death and his body is sent off a cliff in his car. The killer returns to Joyce, who gloats over the success of her plan with her husband to murder Bliss; she will identify his body as that of her husband and collect the insurance money.

Little more than warmed-over Double Indemnity, this story, illustrated by newcomer Sultan, falls apart when the murder occurs and the identity of the killer has to be hidden for the last couple of pages. It's clear there's a twist ending being set up and that can mean only one thing.

Betty Jane Andrews plans to murder her rich husband, Bert. She fakes an attempt on his life to show she's "Out of My Mind," then decides she will kill him for real later that night. Betty murders Bert in his bed with a meat cleaver and pleads insanity at trial, where she is sentenced to the insane asylum run by Bert's brother, Harvey. In the asylum, Betty does a good impression of a lunatic and receives treatments that begin to be a bit much, so she confesses to Harvey that she meant to kill Bert and is perfectly sane. He admits that he knew it all along and orders more treatments for her, since she'll be there a long time.

"Out of My Mind"

What starts out as a fairly entertaining story with a female killer who is hard-boiled and straightforward about her intentions drags on too long and becomes a catalog of treatments in the crazy house. Jack Kamen's art is no more exciting here than in the comics.-Jack

Peter: I liked “Repeat Performance” and “Wanted for Murder” in both script and art department. It’s nice to get a few last glimpses at the work of Wally and Al and there are some comedic moments in “Repeat” that really shine (“George, she . . . she’s simply fascinating,” Margaret told George’s newspaper one day.). Like the best of the crime Pictos, these two stories call to mind Gold Medal crime novels. I was not so fond of “Booby Trap,” which has a climax very reminiscent of “Repeat Performance” and some lazy graphics by Charles Sultan. Roger Hill, in his detailed notes for Crime Illustrated in the Cochran box, remembers that EC fans were not at all happy with Sultan’s work, and it’s easy to see why. Sultan's style is a little too much like Joe Orlando’s and Sultan peppers his stuff with the same kind of swipes as Orlando (here he borrows Liz Taylor for some angles of Joyce). I will say that it’s fascinating that Oleck and Feldstein took advantage of the prose delivery and were able to conceal the similar switcheroos in “Booby” and “Repeat” right up to the last “panel.”

Reed Crandall

Terror Illustrated 3 
(cover dated June 1956 but never released)

"Halloween"★★★★
Story by Al Feldstein
Art by Reed Crandall
(From Shock SuspenStories # 2)

"Keepsake"★★
Story by Jack Oleck
Art by Graham Ingels

"The Mother"★★1/2
Story by John Larner
Art by Jack Davis

"Kid Stuff"★★★
Story by Al Feldstein
Art by George Evans

"The Long Wait"★★★
Story by Al Feldstein
Art by Johnny Craig
(Originally appeared as "Dead Wait" in Vault of Horror # 23)

Ann Dennis takes a job minding the children at Briarwood Orphan Asylum, which is run by the penny-pinching Mr. Critchit. She supplements what little money she gets to buy food for the children by adding her own cash and goes door to door begging for used clothing. Critchit refuses even to buy a pumpkin so the kiddies can celebrate "Halloween" and, when Ann discovers that he's being paid well and keeping most of the money, she confronts him. He begins to strangle her but the children, dressed in their costumes, intervene and use his severed head as their jack o'lantern!

"Halloween"

A classic EC story, brilliantly illustrated by Crandall. Happily, the final panel doesn't shy away from showing us the head, though the lack of color tamps down the gore.

"Keepsake"

When Miss Hetty dies, the old undertaker thinks back to how he had known and loved her since they were children. She grew up and married a salesman named John Price; when he died, only the undertaker knew that Hetty had murdered him. She grew old, lost her mind, and finally died, and when the undertaker visited her home he found that she had taken Price's corpse and slept next to it for years. The faithful undertaker will replace her corpse next to that of her husband.

No one draws old, sad folks quite like Ghastly, but "Keepsake," a rather blatant knockoff of Faulkner's "A Rose for Emily," is so slow-paced that the ending is hardly a shock.

An alcoholic named Krebs leads his wife and kids to shelter of a sort in an abandoned house where rats roam free. In a rage, Krebs strikes his wife and kills her; after he walls up her body, the kids are taken away and he is left alone with the vermin. Krebs begins to think one particular rat is the reincarnation of his wife, but his efforts to kill it backfire and lead to his own demise.

"The Mother"

Jack Davis's dynamic visuals are the highlight of "The Mother," which meanders from plot point to plot point but which ends on a satisfying note.

Playing in the local cemetery, brother and sister Joey and Melissa fall through a sinkhole and discover an underground cavern, where they find a coffin that houses a vampire! Mom doesn't want them playing near dead things and Dad works a long, hard day, so the kids are basically left to their own devices. Dead pets are one thing, but when a woman is found dead then Joey takes matters in hand and fashions a stake in the shape of a cross. He and Melissa destroy the vampire and go home to the realization that Dad won't ever be coming home.

Young Peter watches The Twilight Zone

George Evans does a fine job on "Kid Stuff" and the story is well-told, even if the end lacks punch. However, if one is going to address the vampire myth, why is the coffin open and bathed in sunlight from above, and why does Dad head off to work each day? Are we supposed to take that "going to work" equals sleeping in his coffin?

Buckley has spent years enduring "The Long Wait" before snatching the opportunity to murder Duval on a remote island and steal his valuable black pearl. He orders Kulu to row him back to civilization, but the native decides to harvest a treasure of his own: the red-haired head of the white man named Buckley!

Terror Illustrated ends with a retread of a decent story that allows Johnny Craig to demonstrate yet again why he was so good at comics and illustration.-Jack

"The Long Wait"

Peter: "Keepsake" is a bit on the long side but it's effective and rather risqué (after all, necrophilia wasn't as widely accepted in the 1950s as it is today). Surely, Oleck was trying to evoke Poe with his flowery prose. "The Mother" has to be the most padded picto-fiction story we've yet encountered and the finale is over the top. "Kid Stuff" is an honest-to-goodness monster story, sadly scarce in the Pictos, but its reveal is predictable and built on a foundation of cheats and misinformation. Did mom know about dad's nighttime occupation? Without getting into salacious detail, I'd say she must have! If so, did she marry him with this peculiar character trait? If so, how did he sire two children? How could she trust a vampire in the house with her two kids? Wouldn't Joey have been afraid of asking his pop about vampires after seeing him in a coffin? Sloppy storytelling.

Rudy Nappi

Confessions Illustrated 3
(cover dated July 1956 but never released)

"High School Bride" ★★ 1/2
"Teen-Age Temptress" ★ 1/2
Stories by Daniel Keyes
Art by Jack Kamen

"Love Cheat" ★★
Story by Daniel Keyes
Art by Johnny Craig

"The Alcoholic" ★
Story by Daniel Keyes
Art by Jack Kamen

"Two Husbands" ★★
Story by Daniel Keyes
Art by Joe Orlando

"High School Bride"

Cathy Martin is head over heels in love with dreamy Lee Everett and he thinks she's pretty keen as well, so they ignore the fact that they're not even out of their teens yet and, before she knows it, Cathy is a "High School Bride"! Their parents don't see things the way the young couple do and Lee's dad forces him to remain in school and get a night job to support his new wife, so the lovebirds move in with Lee's parents to begin their holy matrimony. But marriage isn't all it's cracked up to be, Cathy finds, and Lee is a stick in the mud, working all the time. By the time he gets home, he's not in the mood for... well, you know. Cathy begins to go out on her own at night and is soon carousing with horndog Bob Lowery. At first, she resists his untoward advances but, when a woman can't get free cookies at home, she tends to shop at another store. She lets Bob take her (that way) but the shame is too much and she skips town, heading for the city and a new life.

After a short time, she begins to miss Lee and all the great times they had (revisionist history at work), so she hops a train and heads home. While she's aboard, Cathy worries what Lee might say when she tells him she's been sharing the goodies, but a dizzy spell wipes all that from her mind and, suddenly, she has more to worry about than Lee. A woman knows her own body, but a trip to the family doctor confirms her suspicions... Cathy is about to have a little Lee! Uh oh. Suddenly, Cathy realizes she might not be having a little Lee but rather a little Bob. Suddenly, her husband's reaction is a big deal again ("What would he say when I told him that I was going to have a baby... and that I didn't know if it was his... or Bob's?") but, luckily, sweet strumpet Cathy lives in a 1956 EC world, where men forgive their wives' sins and love them forever, even if the kid looks like the guy who delivers the milk, and Cathy and Lee decide to give it one more go.

"Teen-Age Temptress"

And you thought the first two issues were risqué and middle-fingers at Wertham! The outcome is a little too predictable (and lifted almost whole from "Unfaithful Wife" in the previous issue), but there's no denying that these little sleazy fables are a hoot and highly entertaining. It's always fun to see how Keyes will describe that intimate moment that inevitably befalls our female narrators (I knew that it was wrong. I knew. But it was sweet, too.). In a fascinating essay in the Russ Cochran box set of the Picto-Fictions, EC historian Roger Hill relates how Confessions Illustrated was the only one of the new PF line that was imitated by another publisher (Myron Fass's True Problems, published in June, 1956) and, after Hill's summary of that one-shot, I know I can't sleep at night until I've read it.

The unnamed narrator/protagonist of "Teen-Age Temptress" is one of Daniel Keyes's sleazier creations, a woman seemingly devoid of any morals or self-imposed stop signs. She beds her beau's pompous, bible-thumping father in order to prove he's just as salacious as she but then, after rubbing the infidelity in her boyfriend's face, she is shocked to find the old man hanging from the chandelier. Now sonny refuses to marry her. The disgraced harlot packs her bag and becomes the 34th Confessions Illustrated girl to leave town with her head hung low. I don't know enough about the author (and, in the same Picto-Fiction Cochran volume, John Benson raises doubts as to Keyes's authorship of these CI stories) to raise questions about Daniel Keyes's thoughts about 1950s' women in general, but maybe this was the kind of material he was told to write by Al Feldstein. The "Jezebel" of "Teen-Age Temptress" (and several other of Keyes's female characters) is deeply disturbed and immoral but is surrounded by moral and upstanding males. The one man who strays pays the ultimate price to "bury his dry lips in the soft hollow" of this girl's throat. She's willing to sacrifice her self-esteem just to hurt the boy she claims to love. Of all the Confessions Illustrated stories, this one is probably the nastiest.

"Love Cheat"

In "Love Cheat," Andrea has had enough of her dead-end life. Do you blame her? She's a young, gorgeous woman stuck in a 9-to-5 waitress job at the diner her husband, Tim, sunk his last penny into, far from the bright lights and gaiety she desires. So, when a Hollywood producer comes into the diner one day and sweeps her off her feet with promises of stardom, riches, and romance, Andrea slips out the back door and begins a new life. But, as so many of her CI sisters can attest, life is full of simple promises and paper dreams and, very soon, Andrea learns that something that sounds too good to be true usually unravels by page nine. Mr. Hollywood puts Andrea up in an expensive hotel but then ditches her after he gets what he wants (wink, wink) and leaves her with a boatload of bills. With no other recourse, the depressed dame takes a job as a waitress in a seedy diner (oh, the irony!) and settles in for a miserable life. An angel with extra-large wings arrives in the form of hubby, Tim, who hired private dicks to hunt Andrea down and is now on his knee, begging her to come back. Life as a waitress in your husband's Five-and-Diner ain't so bad, you know? Well, I knew it was only a matter of time before these things started settling into a pattern and lost the variety that hooked me in the first place. How many more wives who desire a better life so they leave their devoted husband and fall on hard times only to be rescued by said hubby? The Craig art is a plus and there are a few giggles here and there (as when Andrea gives up her sweeties to the producer and sighs, "How could I deny him what he wanted?"), but the writing is certainly on the wall.

"The Alcoholic"

Jill loves to make a drunken spectacle of herself at the parties she attends with panty-waist husband, Bill, but it seems that Bill has had just about enough. He accuses her of drinking to excess so she can come on to the other men at the party and Jill tells him that she only drinks because she's sick to death of his rules and regulations. Friend Dr. Cottrell suggests that both of them should be in therapy and, after a particularly lengthy scream-fest (and Jill's arrest for drunken driving), the couple agree to see a therapist. It's there that Bill makes his stunning confession: it's he who's "The Alcoholic," and he's been one for years. Y'see, his mom was an alky and his dad killed himself to escape her and ever since then Bill has hated what liquor can do to a person and yet, two-faced dork that he is, he's kept his sickness from Jill all these years and tortured her with his accusations! But the psychiatrist brings all of Bill's self-loathing and mom-hatred to the surface and it all escapes like so many bubbles from flat champagne. All that's left is the make-up kiss, fifty thousand bucks in psychiatry bills, and lawsuits from Jill's drunken accident. In so many ways, "The Alcoholic" is a stunning departure from any other story that appeared in Confessions Illustrated. For one, it's the longest (at sixteen pages) and the wordiest; two, there's no first-person narrative; and three, it's easily the most boring and insipid trash to appear in the rag, lacking anything remotely close to a new thought or interesting thread. Bill's alcoholism almost seems to be dropped in to make things spicy at the climax. Only one ludicrous scene brought a smile to my face: when Jill and Bill have a nasty argument in the kitchen, the fiery babe slaps her husband's sandwich from his hand and "the bread and meat flew in all directions." In his notes in the Cochran box, John Benson theorizes that "The Alcoholic" was not written for CI. I'd second that theory and further hypothesize that the script was actually written for Psychoanalysis and, when that title mercifully imploded, re-written with a new therapist.

"Two Husbands"

In the final story in the final issue, Ellen discovers, to her shock and amazement, that she has "Two Husbands"! How in the world did this poor girl find herself in such a pickle? I'm glad you asked. Seems that first husband, Bruce, was captured by the enemy and presumed dead in Korea. Ellen, being your typical weak woman of the 1950s, decided she couldn't raise her two kids on her own (and she needed another man for, you know, that stuff) and married one of Bruce's army buddies, Andy, who's taken good care of his new family for the last year. That is, until Ellen gets the note from the War Department, beginning with the sentence, "Er, Um, We may have been a bit presumptuous with our proclamation of Bruce's death..." So, now, with her two husbands in the room together, Ellen must make a really hard choice: Bruce or Andy? At least, CI goes out on a high note (or would have, had this issue ever seen a newsstand) with "Two Husbands," the shortest tattle-tale to appear in the zine yet, another departure. Ellen's predicament is not a result of overactive womanly wants or a desire to see the big city; Ellen sincerely thinks she's making the best choice for her two children, despite the fact that she might not even love her second husband. Joe Orlando exits EC with a highly derivative set of pencils (Ellen is clearly patterned after Elizabeth Taylor, one might say a little too derivative), a skill he'd carry over in his work the following decade over at DC. Oh, and a note on the cover report at top: that's not the cover that would have been used for #3 but one derived from another source and used in the Cochran box set. -Peter

Jack: I agree with your assessment of this issue for the most part, Peter. In "High-School Bride," we learn that a married woman is not punished for sleeping with another man. In "Teen-Age Temptress," the woman is not married, so she must be punished for sleeping with her boyfriend's father. Two Kamen stories in a row is too much Kamen. I loved the line: "the sweet roundness of me was temptingly near" her male target. Seeing Johnny Craig's art on "Love Cheat" was a welcome break from the Kamen onslaught and, once again, a married woman is forgiven for straying. It's back to Kamen in "The Alcoholic," a story I had to force myself to finish reading. It lacks the melodramatic charm of the best Confessions and is dull and preachy. "Two Husbands" is almost as dull but only half as long. It seems like these Picto-Fiction mags ran out of steam by the last issue.

Rudy Nappi

Shock Illustrated 4
(Cover dated July 1956 but never released)

"Headwork"★★
Story Uncredited
Art by Jack Kamen

"Came the Dawn"★★★★
Story by Al Feldstein
Art by Frank Frazetta
(from Shock SuspenStories #9)

"The Survivor"★★1/2
Story Uncredited
Art by George Evans

"Another Man's Poison"★★
Story by Al Feldstein
Art by Jack Kamen
(Originally appeared as "Medicine" in
Crime SuspenStories #9)

"Alter Ego"★★1/2
Story Uncredited
Art by Graham Ingels

"Headwork"

Burton hates his wife, and for good reason: she's fat, ugly, and cruel to him. Finally, he kills her and cuts her into fourteen pieces; he mails her head to the hotel by a lake where they spent their honeymoon and where he booked a return trip for them both, and he buries the other bits in the park. Just as he's about to leave on vacation, the mailman brings back the head, which Burton drops. It rolls down the front steps and the wrapping comes off, exposing his wife's severed head to the cop on the beat. Too bad she'd canceled their trip right before he killed her and the hotel mailed back his package!

Shock #4 is off to a shaky start with "Headwork," yet another variation on a story we saw just last issue! Kamen's work is back to normal, which is not a good thing, and Burton's wife is hideous.

"Comes the Dawn"

A hunter returns to his lodge to find that a beautiful, naked woman had taken refuge there, lost and wet from falling in a stream. She's Cathy Maxwell, recovering from a broken engagement. He's Bob Ames, stunned at her voluptuous beauty. "That night, Cathy was a furnace of consuming desire, and I was her stoker." In the morning, Bob hears a radio report of an escaped homicidal maniac who fits Cathy's description. He shoves her out the door and ignores her pleas to be let in; she screams and he opens the door to find her dead, murdered by the real maniac.

It's fascinating to see Frazetta's work in progress here and I almost like it better than what the finished product might have looked like, since my imagination fills in the rest.

The Survivor"

When the sole survivor of the shipwrecked Dolphin is picked up by a passing vessel, the captain wonders how she survived when the crewmen did not. Little does he know that spinster Miss Anniston and her cat Phoebe made it onto a lifeboat and then a deserted island, where one by one the men died or were killed. In the end, all that was left was the cat, which survived by snacking on its owner.

Some sharp Evans art is wasted in "The Survivor" which, at 10 pages, seems way too long. I figured out that the surprise ending would have the cat as the only one to make it; getting there was really just turning pages.

Nora Haines is consumed by jealousy because she thinks her husband, Luther, a brain surgeon, is cheating on her with his nurse. She spikes his four o'clock dose of medicine with cyanide and promptly gets in a car crash that leaves her needing--you guessed it--brain surgery. Too bad Luther's nurse remembers to give him his medicine right before he heads to the OR.

"Another Man's Poison"

Shock #4 is shaping up to be more useful for historical interest than entertainment value. "Another Man's Poison" is dull and, at twelve pages, twice as long as it needs to be. More and more, I'm beginning to see why EC Comics stories ended on page seven.

George Perry is an unimportant man who notices another man on the bus who reminds him of himself. George decides he must kill the other man, so he befriends him. George invites the man, whose name is Walter, to dinner, planning to murder him, but George gets a surprise when he reads Walter's diary and discovers that his double has identical plans for him.

Ghastly doesn't have much to do in "Alter Ego," a rather predictable little tale, and by the end I thought it was about time to close the books on EC. -Jack

"Alter Ego"

Peter: Well, this is certainly bonus coverage, dissecting a magazine that not only was never published but never even assembled! Again, for the full story, I would prod interested readers to fork over some dough for the Russ Cochran box set which goes above and beyond in its completeness, including the Frazetta art for "Came the Dawn," which only exists on art boards! As for the contents of SI #4, "Headwork" is a drab, lifeless thing with one of the dumbest climaxes to grace an EC tale ever. So, the packaging around Pearl's head managed to make a round-trip to the hotel and back but came completely unraveled when falling from Burton's hands? And the text on page four--"A storekeeper nodded. Ryan, the neighborhood policeman, waved."--describes the scene one way, but the art shows exactly the opposite, suggesting that Jack Kamen had pretty much given up by this point and was probably searching the funny book want ads for a new bullpen to haunt. "The Survivor" aims to throw the reader off the scent (When the seamen left, she began a meticulous toilet...), but it's obvious right from the get-go who the "survivor" is, and the climax comes off as supremely stupid rather than shocking. I doubt so much fuss would be paid to a cat. The only question I have is why the feline waited until Mrs. Anniston was dead to munch on corpses. At least SI goes out on a high note with "Alter Ego," a nicely told story that would fit very well in a collection of Roald Dahl tales or dramatized on Alfred Hitchcock Presents. Yes, the reveal is predictable but, for me at least, the twist was secondary to the details of George's drab life and how he aimed to interrupt it for just a bit with something new.

THE WRAP

Peter: From the very beginning of this massive project, I took extensive (some would say anally-extensive) notes and rated every single one of the 1167 stories we read and commented on. Those who don't find lists or numbers interesting, feel free to skip this section. One note before the outraged start sending death threats: the percentage represents the stories given a  ★★1/2 or higher, so if a title is given a 50% rating, that means I found half of the stories at least "good." It's pretty tough to hit a homer every time at the plate (Ty Cobb ended up with a record .366 lifetime batting average, which means more than six times out of ten he didn't connect).

TITLE                                ISSUES   STORIES    ★★1/2 +    ★★★★       PERCENTAGE

Frontline Combat                  15              60               49                 5                     82%    
Piracy                                      7              28               21                 5                     75%
Valor                                       5              20               14                 1                     70%                  
Two-Fisted Tales                   24              96              62                 8                     65%
Aces High                               5              20               13                 2                     65%
Shock SuspenStories            18              72               44               10                     61%
Weird Fantasy                       22              88               53               10                     60%
WSF/Incredible SF               11              41               23                 1                     56%
Haunt of Fear                        28            111               56                 5                     50%
Mad                                       23             80                36               10                    45%
Weird Science                       22             88                40                 8                    45%
Crime SuspenStories            27            107                44                 1                    41%
Tales from the Crypt             30           120                46                 6                    38%
Vault of Horror                     29            116               29                 5                     34%
Impact                                    5              20                 5                  1                    25%
MD                                         5              20                3                   0                   15%
Panic                                    12              48                 6                  0                    13%
Extra                                      5              20                 2                  0                    10%
Psychoanalysis                      4              12                 0                  0                      0%

TOTALS                            297          1167            546                 79                    47%


Our Twenty Favorite EC Stories of All Time!

Jack

1. "Poetic Justice" (Haunt of Fear #12)
2. "Big 'If'" (Frontline Combat #5)
3. "Halloween" (Shock SuspenStories #2)
4. "A Little Stranger" (Haunt of Fear #14)
5. 'Taint the Meat ... It's the Humanity!" (Tales from the Crypt #32)
6. "Horror We? How's Bayou?" (Haunt of Fear #17)
7. "Mars is Heaven!" (Weird Science #18)
8. "Shadow!" (Mad #4)
9. "Foul Play!" (Haunt of Fear #19)
10. "Outer Sanctum!" (Mad #5)
11. "Carrion Death" (Shock SuspenStories #9)
12. "Strop! You're Killing Me!" (Tales from the Crypt #37)
13. "Whirlpool!" (Vault of Horror #32)
14. "Squeeze Play" (Shock SuspenStories #13)
15. "...And All Through the House..." (Vault of Horror #35)
16. "Shoe-Button Eyes!" (Vault of Horror #35)
17.  "Flesh Garden!" (Mad #11)
18. "Starchie!" (Mad #12)
19. "Blind Alleys" (Tales from the Crypt #46)
20. "Master Race" (Impact #1)

Jose

1. “Old Soldiers Never Die” (Two-Fisted Tales #23)
2. “Squeeze Play”
3. “A Little Stranger”
4. “Ping Pong” (Mad #6)
5. “The Handler” (Tales from the Crypt #36)
6. “Enemy Assault” (Frontline Combat #1)
7. “In Gratitude…” (Shock SuspenStories #11)
8. “Surprise Party” (Vault of Horror #37)
9. “Whupped” (Frontline Combat #14)
10. “The People’s Choice” (Weird Science #16)
11. “A Kind of Justice” (Shock SuspenStories #16)
12. “Gasoline Valley” (Mad #15)
13. “Wolf Bait” (Haunt of Fear #13)
14. “Judgment Day” (Weird Fantasy #18)
15. “…so shall ye reap” (Shock SuspenStories #10)
16. “The Aliens” (Weird Fantasy #17)
17. “Mopping Up” (Frontline Combat #7)
18. “Which Witch’s Which” (Vault of Horror #36)
19. “Star Light, Star Bright” (Vault of Horror #34)
20. “A Rottin’ Trick” (Tales from the Crypt #29)

Peter

1. "Master Race"
2. "The People's Choice" (Weird Science #16)
3.  "Poetic Justice"
4.   "The Patriots" (Shock SuspenStories #2)
5.  "Starchie"
6.  "Home to Stay" (Weird Fantasy #13)
7.   "Wolf Bait" (Haunt of Fear #13)
8.   "More Blessed to Give" (Crime SuspenStories #24)
9. "In the Bag" (Shock SuspenStories #18)
10. "The Aliens" (Weird Fantasy #17)
11.  "Squeeze Play"
12.  "Wish You Were Here" (Haunt of Fear #22)
13.  "The Million Year Picnic" (Weird Fantasy #21)
14. "...And All Through the House..."
15. "Carrion Death"
16. "Pipe Dream" (Vault of Horror #36)
17.  "Prairie Schooner" (Tales from the Crypt #40)
18. "The Radioactive Child" (Weird Science #15)
19.  "There Shall Come Soft Rains" (Weird Fantasy #17)
20.  "Jivaro Death!" (Two-Fisted Tales #19)

Next Week...
Will love come to the Losers?

And, Finally!
In Two Weeks...
A New Era Begins!

EC Comics! It's An Entertaining Comic! Issue 68

The EC Reign Month by Month 1950-1956
68: October 1955 Part I

Davis

Impact 4

"The Lonely One" ★★★
Story by Jack Oleck?
Art by Jack Davis

"Fall in Winter" ★★
Story by Carl Wessler
Art by Graham Ingels

"The Bitter End" ★
Story by Al Feldstein?
Art by Reed Crandall

"Country Doctor" ★★1/2
Story by Carl Wessler
Art by George Evans

Benson can't stand Miller and makes his life in a soldier's suit a living hell. What's the beef? Well, Miller is Jewish and Benson is a bigot. He prods Miller at every turn, calls him "yellow" and, at one point, beats the hell out of him. But Miller just keeps doing his job. Things reach a head when Benson finds out that Miller will be getting his corporal stripes; this infuriates the hot-head and he decides he's going to play a nasty prank on his victim. Benson grabs hold of a "dummy grenade" (one that soldiers practice with) and tosses it among Miller and his comrades, screaming "Live grenade!" Benson expects the younger man to turn tail and run but, instead, the kid throws himself on the TNT pineapple, earning the respect of the others in his platoon. Now it's time for Benson to be "The Lonely One."

"The Lonely One"

"The Lonely One"

Well, it took four issues but Al finally decided to throw in a Two-Fisted Tale among the soap opera whatzits and it's not too bad at all; certainly better than most of the war stories that stunk up the last batch of TFTs. It's confusing throughout the story to discern exactly where the prejudice stems from, since Benson's hatred is focused on a kid named Miller, probably one of the most innocuous names around, but thanks to a little research I found an interesting bit about the story in an interview with Bill Gaines that ran in The Comics Journal. Gaines insists that the name was made purposely "bland" so that the story could pass without interference from the Comics Code, an organization that was upholding moral values by eliminating any traces of Jews or Blacks in funny books. This wasn't the first run-in with the numbskulls at the CCA and it wouldn't be the last. Extra star for not ending it with Benson seeing the light and buying Miller a . . . Miller.

"Fall in Winter"

Why is Theodore Hamilton standing on the ledge of a high-rise building, threatening to jump? Through flashbacks, we discover that Theodore has had a rotten day. First, after thirty years of dedicated service, his boss, Mr. Abernathy, lays him off. There's no way his wife, Ruth, will accept the news with anything less than a screaming fit. Then, as Theodore is attempting to board his bus to go home, a woman ahead of him in line drops her purse. Without a second thought, he picks up the purse just as the woman turns and screams "Purse snatcher!" The cops arrive and Theodore panics, racing away with the purse still in hand. The police chase him into the building and onto the ledge where he now stands, but Theodore loses his nerve and begins to inch his way back to the window when he loses his footing and falls. Luckily, the fire department has arrived in time and catches the falling man in their net. The bus driver shows up to dispute the woman's claims and Mr. Abernathy seems to appear in a puff of smoke to deliver the good news: he'll be keeping Theodore on after all. It's a wonderful life! "Fall in Winter" begins as an involving human interest story (something we don't see much of in the New Direction titles); I wanted to know why this old man was up there on the ledge. But then, unfortunately, Carl Wessler decided he was writing a Hollywood B-picture instead and threw in some silly histrionics and outlandish last-second saves. Graham's style is slowly sliding into a post-Crypt tranquility; his characters look a little more human now that he doesn't have to worry about ghouls and swamp witches. Even his women (well, aside from the crazy bus lady) look a little softer.

"The Bitter End"

Nicholas Bullard is an embarrassment to his father, Gerard, who only wants Nicky to follow in the old man's shoes and become a multi-million dollar businessman. Nicky would rather be an artsy-fartsy, sensitive mama's boy (where have we heard this before?), so he rebels every chance he gets. Why, Nicky won't even date fabulous Sheila Cochrane, heir to the Cochrane millions, and instead becomes involved with a simple diner waitress. Pshaw! to that. Gerard pulls strings and has Nicky sent to New Guinea on a one-year business trek but, after all his letters to his son go unanswered, he has a change of heart and has him shipped home. To his surprise, Nicky's diner girl, Iris, shows up at Gerard's door, with baby in tow, to inform him that his son died while in New Guinea. Iris vows that Gerard will never see his grandson again. I kept waiting for "the Psychiatrist" to show up to tell Gerard what he was doing wrong and tell Nick that he's really telling his father, with his actions, that the family tree needs to be pulled down. It's not some of Reed Crandall's best work either; it's a rather hum-drum affair.

"Country Doctor"

On this cold and snowy night, "Country Doctor" Joseph Brown is called out for two emergencies: farmer Eddie has had a run-in with his tractor, and young couple Fred and Alice are expecting their first child. Fred insists that Dr. Brown hurry as his wife is in pain but Brown deems farmer Eddie to be the more serious of the two. Several times while mending Ed's crushed leg, Brown receives pleading calls from Fred but tells the man to calm down, babies are born every day. Eventually Dr. Brown gets to the young couple's house but, unfortunately, it's too late: Alice and the baby are both dead. He sobs as Eddie's son, Chet, takes him home in their sleigh through the snow and Chet feels really guilty that Dr. Brown's daughter, Alice, died while the doc was helping his father. This is a tough one. I liked the little-town atmosphere of "Country Doctor" and, of course, the George Evans illustrations, but the twist is a cheap one, thrown in because there just has to be an O. Henry to wrap up an EC story, right?  I think the story would have had more of an Impact had it left well enough alone. The Doc would have been wracked with guilt regardless and that final panel, where Brown pretty much lays the guilt on Chet's doorstep ("I . . . choke . . . I promised to take a look in at your father, Chet . . .") is an odd turn. -Peter

Jack- This is a very strong issue for a New Direction comic. Davis is very good at drawing war stories and, though the Korean War was over and had stopped appearing as a location for EC tales some time ago, "The Lonely One" is not a bad little offering. It took me a minute to figure out that Miller was Jewish, which shows that Gaines was wise to pick such a bland name, but the cover telegraphed what should have been a more unexpected ending. I liked the Woolrichian sense of dread at the start of "Fall in Winter" and was surprised that attempted suicide paid off so handsomely; I also liked Ingels's smoother artwork. I was stunned to read your criticism of Crandall's work in "The Bitter End," since I was marveling at the magazine-quality illustrations on every page. I think it's some of Crandall's best EC work. Of course, George Evans is no slouch, either, and rivals Crandall for my favorite EC artist of 1955. I did not see the end of "Country Doctor" coming in advance but I sure liked the visuals.

Davis

Incredible Science Fiction 31

"You, Rocket"★★1/2
Story by Jack Oleck
Art by Wally Wood

"Fulfillment"★★1/2
Story by Jack Oleck
Art by Bernie Krigstein

"Time to Leave"★★★
Story by Jack Oleck
Art by Roy Krenkel and Al Williamson

"Has-Been"★★★
Story by Jack Oleck
Art by Wally Wood

Peter suggests another
new blog to Jack
("You, Rocket")

After rocket engineer Allan Crane is killed in a rocket car accident, nearby scientists harvest his brain to use for an audacious project--they will link it to a spaceship and thus avoid the necessity of putting a man in space, something that has so far failed due to the fact that the astronauts went insane when confronted with the vast reaches of space. Allan's brain is trained to pilot a ship and he becomes convinced of his own power and importance. Launch day comes and the ship takes off, but when he sees the vast void Allan's brain turns the ship around, crying "Mama" like an infant and heading back to Earth.

Wally Wood was my favorite EC artist when it came to science fiction stories, but Jack Oleck is not my favorite writer of these tales. "You, Rocket" plods along as if it's going somewhere and seems vaguely like a Bradbury ripoff until the final panel which, oddly enough, does not clue the reader in that it's "the end." I turned the page thinking there was more only to find that that was it. Not a sign of a great finish.

Carter's pose recalls the early EC
work of Al Feldstein in this panel
from "Time to Leave"

Ancient Egyptians worship the image of the god Ra. Many years before, a disabled space ship landed on an unfamiliar planet. The skipper of the ship was a meek man and his wife a shrew; he enjoyed the primitive planet but she couldn't wait to leave. She nagged him until he used the ship's blasters illegally to destroy the jungle around it so that a rescue ship could find them easily. Soon, the rescue ship arrived and repaired the disabled ship; as it took off, a primitive man on the planet observed  the skipper in his oxygen ask. Back to ancient Egypt and now we see that the image of Ra resembles the space ship captain in his oxygen mask.

The good news is that Bernie Krigstein can drew a pretty sweet gal, even if she is a nagging beast. The bad news is that Jack Oleck falls back on one of the oldest tropes of bad science fiction, that being the idea that ancient astronauts visited our planet long ago and the reality of their existence became legend over time. "Fulfillment" is a poor excuse for a science fiction story but Krigstein's work is better than what I've seen from him in quite awhile.

In the year 2954, a man named Garvin calmly welcomes another "Prim," or time traveler; this time, it's Dr. Arnold Carter from North America in 1955. Garvin tells Carter that he'll show him around the city but he's sure that Carter will want to rush back home. Carter argues but, as he witnesses the emotionless perfection of the future city, he is repelled and when it's "Time to Leave" he is surprised that Garvin wants to join him.

A nice wordless panel by Wood
("Has-Been")

Better than the first two stories but still seeming long at six pages, "Time to Leave" seems like an anti-Communist screed with gorgeous art by Krenkel and Williamson. The future city has men and women who all dress alike and everyone has the same amount of money. Dance shows are performed by robots. It really doesn't seem as bad as all that, but Carter can't wait to get back to sloppy, emotional 1955.

A space ship captain worries that he's a "Has-Been," too old to fight in outer space battles due to a slowing of his reflexes. This appears to be borne out when he misses a shot during a confrontation with another ship, and he thinks back to his own father's lament that he was too old to fight in space. Working his way onto the force, the young man made the cut for space flight and worked his way up to captain. Now he's past his prime and his second-in-command must intervene to save their ship. Back home and decommissioned, his father welcomes home the captain--who has reached the ripe old age of fifteen.

Huh? I guess Oleck's point here is that things happen so fast in the space race that only the very young have the reflexes to keep up and by their mid-teens they are too slow. The story is pedestrian and, as in all of Oleck's stories this issue, the surprise ending doesn't quite work. At least Wood is on his game, as usual.-Jack

Krigstein delivers "Fulfillment"

Peter: For the most part, this is a pretty good issue of Incredible Science-Fiction, fairly well-written and gorgeously illustrated (how can you find fault in a funny book that serves you up two Woods?), and yet all the stories smack of retread. All four seem very similar to plots we've enjoyed in the past (especially "You, Rocket!" and "Time to Leave"), with tiny tweaks. The best of the bunch, to me, is "Fulfillment," which takes one of the aforementioned EC cliches (the brow-beaten, spineless husband and his shrewish wife) and actually does something interesting with it. The twist in the tail is very effective! Was it just me or did Jack Oleck try to sneak something by the CCA in "Time to Leave," something that would have had Wertham writing another chapter in his infamous diatribe? When Dr. Carter asks why you can't tell the men from the women, the Control replies, "Is there some reason why you should?" Oh, my, subtle homosexuality forced into the suggestive brain of little Tommy! Oh, and why does the Control, after meeting and touring with dozens of other time travelers, suddenly decide that Carter is right, this future is not too great after all? Which begs another question from me: why did EC give up on horror comics after the CCA axe fell? Why not at least try out a few issues of a CCA-approved Tales from the Crypt ("Crypt" was not an outlawed word, after all) and see what happened? Yeah, I know, it probably would have run into trouble eventually (like this title will) and been shut down but the experiment (from a Monday-morning quarterback point of view) would have been fascinating.

Kamen

Psychoanalysis 4

"Freddy Carter: Case No. 101 - Male (Session 4)" ★★
Story by Dan Keyes
Art by Jack Kamen

"Mark Stone: Case No. 103 - Male (Session 4)"  ★
"Mark Stone: Case No. 103 - Male (Final Sessions)"  1/2★
Story by Robert Bernstein
Art by Jack Kamen

Young Freddy Carter shows up for his final session of psychoanalysis with his therapist and unloads on the doc. Seems Freddy's parents have been acting up again. Pop tells Freddy if he doesn't pass his math and engineering finals, he's an embarrassing failure as a son and should seriously think about giving up on life. Mom keeps right on coddling her baby, thinking it's so cute when Freddy tricks his dad into thinking he's studying his geometry workbook when he's really hiding his collection of Emily Dickinson inside. What's a kid to do? More importantly, what's a head-shrinker to do?

If I gotta read this crap, then so do you!

Well, it's been a long time coming but "the Psychiatrist" ushers Mr. and Mrs. Carter into his office and rips them both new ones, scolding them for their behavior and for screwing up this wonderful boy's life. Magically, the veil is lifted and both parents not only agree to go easy on their only child but also to seek professional help themselves! Therapy completed! I'm not sure why but I was able to make it through this particular chapter in the Freddy Carter saga much easier than the previous three. Maybe it's because it's so darned ridiculous and dated. Mr. Carter is so mean-spirited and vicious to his son, I was wondering why editor Feldstein didn't steal Graham Ingels away from Piracy for an afternoon's work. A much better ending (and one that would have fit very well into Ghastly's oeuvre) would have been Freddy burying his therapist's letter opener in the back of Pop's skull.

Is this Freddy or Mark?

My first reaction to the splash page for the latest entry in the "Mark Stone" whining epic is that Freddy Carter got home, changed his suit, and realized he forgot the murder weapon in the doc's office and had to go back but, no, it's a slimmer, more svelte Mark Stone (chalk it up to my not being able to tell the difference between one Kamen character and another) arriving for his fourth session. And a doozy of a session it is, my friends. Mark is suddenly aggressive towards his mental savior but the reasoning is a bit skewed. Seems Mark has been having horrible dreams about his mother running off to Bermuda and leaving him fish in a pan but that's only a metaphor for what's really bothering him: "the Psychiatrist" has told Mark that he's taking a week off and going fishing in Cuba (hmmm . . . fish . . . Cuba . . . Bermuda . . . yeah, this psych stuff is pretty easy) and that terrifies the previously-obese TV writer. According to his therapist, Mark has been transferring all his hates and fears about authority, abandonment, and emotion to his therapist and that's not a good thing. Oh, whoops, our session is over.

No, that's not Mark!

A month later (after a session not illustrated), Mark Stone returns for his final session and he seems to be loaded with anxiety again, but this time it's about the impending cessation of his therapy. He can't get on an airplane without thinking it's going down, he badgers his new girlfriend to marry him, he won't get into the elevator because it's going to crash . . . okay, maybe this head-shrinking stuff isn't that easy. But thank goodness, we have writer Robert Bernstein to sort out the muck. Mark was pressuring Laura to wed him because, without therapy, he saw no future and she provided something stable. Oops, the session is over but his therapist smiles and assures Mark that, yep, maybe he's screwed up enough to come back for three more sessions.

Perhaps my favorite panel
ever published in an EC Comic!

And let's all give a standing ovation to Bill Gaines for pulling the plug on this turkey before we had to endure any more of those meetings. I would assume by the quick wrap-up at the finale of both "Freddy Carter" and "Mark Stone" (I say quick wrap-up but I had to slog through 18 pages of "Stone") that Feldstein knew the jig was up for this New Direction title after only four issues (despite the fact that there must have been at least thirteen loyal readers left). Criticizing Jack Kamen's art after all this time is like shooting the proverbial fish in a barrel but, seriously, can anyone tell me that anything Kamen has done in this series shows any bit of excitement or style? Look at the panels and the only way you can tell the difference between Kamen's characters is that some of them wear dresses and some not. Well, this is the first EC book that I've waved good riddance to but, sadly, it won't be the last. -Peter. 

Jack- It quickly became apparent to me that the real reason Freddy's parents were ending his sessions with the shrink was that the comic was being canceled. The first story is a hoot, from Freddy's Dad calling him a "novel-reading sissy" to a hilarious scene where the shrink dresses down the parents. Mark Stone demonstrates the usefulness of psychoanalysis as a tool for rapid weight loss, but the shrink's insistence on having a question and answer session with his patient seems laughable. By the end of this issue, I felt sorry for Jack Kamen for having to figure out how to draw panels to go along with the endless blather. It was the exciting three-panel sequence where the Psychiatrist cleans his glasses that made me realize it could not have been easy to illustrate this mess. Still, the bizarre idea of doing this comic at all kind of held my interest.

Next Week . . .
Can they really call these cool cats . . .
the Losers?