Back Issue #155

November 202

4

No10.1.9555

™

House of Mystery TM & © DC Comics. All Rights Reserved.

$

This issue is HAUNTED!

House of Mystery • House of Secrets • The Unexpected • Haunted Tank • Marvel’s mystery anthologies • Eerie Publications • Elvira’s House of Mystery & more!

Satiate Your Sinister Side!

“Greetings, creep culturists! For my debut

All characters and properties TM & © their respective owners.

issue, I, the CRYPTOLOGIST (with the help of FROM THE TOMB editor PETER NORMANTON), have exhumed the worst Horror Comics excesses of the 1950s, Killer “B” movies to die for, and the creepiest, kookiest toys that crossed your boney little fingers as a child! But wait... do you dare enter the House of Usher, or choose sides in the skirmish between the Addams Family and The Munsters?! Can you stand to gaze at Warren magazine frontispieces by this issue’s cover artist BERNIE WRIGHTSON, or spend some Hammer Time with that studio’s most frightening films? And if Atlas pre-Code covers or terrifying science-fiction are more than you can take, stay away! All this, and more, is lurching toward you in TwoMorrows Publishing’s latest, and most decrepit, magazine—just for retro horror fans, and featuring my henchmen WILL MURRAY, MARK VOGER, BARRY FORSHAW, TIM LEESE, PETE VON SHOLLY, and STEVE and MICHAEL KRONENBERG!” (84-page FULL-COLOR magazine) $10.95 (Digital Edition) $4.99

Now Shipping!

TwoMorrows.

The Future of Comics Horror History.

TwoMorrows Publishing 10407 Bedfordtown Drive Raleigh, NC 27614 USA 919-449-0344 E-mail:

store@twomorrows.com

CRYPTOLOGY #2

CRYPTOLOGY #3

CRYPTOLOGY #4

The Cryptologist and his ghastly little band have cooked up more grisly morsels, including: ROGER HILL’s conversation with our diabolical cover artist DON HECK, severed hand films, pre-Code comic book terrors, the otherworldly horrors of Hammer’s Quatermass, another Killer “B” movie classic, plus spooky old radio shows, and the horror-inspired covers of the Shadow’s own comic book. Start the ghoul-year with retro-horror done right by FORSHAW, the KRONENBERGS, LEESE, RICHARD HAND, VON SHOLLY, and editor PETER NORMANTON.

This third wretched issue inflicts the dread of MARS ATTACKS upon you—the banned cards, the model kits, the despicable comics, and a few words from the film’s deranged storyboard artist PETE VON SHOLLY! The chilling poster art of REYNOLD BROWN gets brought up from the Cryptologist’s vault, along with a host of terrifying puppets from film, and more comic books they’d prefer you forget! Plus, more Hammer Time, JUSTIN MARRIOT on obscure ’70s fear-filled paperbacks, another Killer “B” film, and more to satiate your sinister side!

Our fourth putrid tome treats you to ALEX ROSS’ gory lowdown on his Universal Monsters paintings! Hammer Time brings you face-to-face with the “Brides of Dracula”, and the Cryptologist resurrects 3-D horror movies and comics of the 1950s! Learn the origins of slasher films, and chill to the pre-Code artwork of Atlas’ BILL EVERETT and ACG’s 3-D maestro HARRY LAZARUS. Plus, another Killer “B” movie and more awaits retro horror fans, by NORMANTON, the KRONENBERGS, LEESE, VOGER, and VON SHOLLY!

(84-page FULL-COLOR magazine) $10.95 (Digital Edition) $4.99 • Ships January 2025

(84-page FULL-COLOR magazine) $10.95 (Digital Edition) $4.99 • Ships April 2025

(84-page FULL-COLOR magazine) $10.95 (Digital Edition) $4.99 • Ships July 2025

Order at twomorrows.com

Four-issue subscriptions: $53 in the US

$

78 International 19 Digital Only

$

Volume 1, Number 155 October 2024 EDITOR-IN-CHIEF Michael Eury

Comics’ Bronze Age and Beyond!

ASSOCIATE EDITOR Roger Ash PUBLISHER John Morrow DESIGNER Rich J. Fowlks COVER ARTISTS José Luis García-López and Bernie Wrightson (Alternate, unused cover for DC Comics’ The House of Mystery #251.

Original art scan courtesy of Heritage Auctions.)

COVER COLORIST Glenn Whitmore COVER DESIGNER Michael Kronenberg PROOFREADER Kevin Sharp SPECIAL THANKS Mike Baron James Heath Lantz Mike W. Barr Paul Levitz Jonathan Brown Ed Lute Gary Cohn Ralph Macchio DC Comics Dave Manak Tom DeFalco Alissa MarmolJ. M. DeMatteis Cernat Jim Fern Dan Mishkin Jack C. Harris Stuart Moore Heritage Auctions Eddie Muller Dan Johnson Bob Rozakis Tom King John K. Snyder III Michael Robin Snyder Kronenberg Jim Steranko Steve Kronenberg Trevor Von Eeden Paul Kupperberg John Wells Rod Labbe

Don’t STEAL our Digital Editions!

C’mon citizen, DO THE RIGHT THING! A Mom & Pop publisher like us needs every sale just to survive! DON’T DOWNLOAD OR READ ILLEGAL COPIES ONLINE! Buy affordable, legal downloads only at

www.twomorrows.com or through our Digital Storefront at

www.comicshistory.org & DON’T SHARE THEM WITH FRIENDS OR POST THEM ONLINE. Help us keep producing great publications like this one!

BACKSEAT DRIVER: Editorial by Michael Eury. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 FLASHBACK: The House of Mystery and the House of Secrets. . . . . . . . . . . . . . . . . . . 3 The haunted houses built by Joe Orlando and other DC editors and creators BEYOND CAPES: DC’s Other Houses of Mystery. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Gothic-inspired line expansions opened the door for the mysterious Mister E OFF MY CHEST: The Haunted Tank: Being At War with Our Past. . . . . . . . . . . . . . . . 32 A pastor/comic fan considers the problematic Confederate heritage behind DC’s enduring war feature WHAT THE—?!: My Brief Love Affair with Eerie Publications . . . . . . . . . . . . . . . . . . . 37 A personal discovery of Eerie Publications’ gore-drenched comic mags FLASHBACK: Do You Dare Enter… The Tower of Shadows? . . . . . . . . . . . . . . . . . . . . . 41 Marvel’s ill-fated attempts at Bronze Age horror anthologies BEYOND CAPES: The Unexpected . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50 Steady your nerves for a sizzling survey of one of DC’s most sinister anthologies FLASHBACK: Elvira’s House of Mystery. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 Move over, Cain—the Mistress of the Dark is moving in!

BACKSTAGE PASS: House II: The Second Story. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 Tom DeFalco and Ralph Macchio were surprised to be asked about this little-known adaptation BACK TALK: Reader Reactions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

BACK ISSUE™ issue 155, October 2024 (ISSN 1932-6904) is published monthly (except Jan., March, May, and Nov.) by TwoMorrows Publishing, 10407 Bedfordtown Drive, Raleigh, NC 27614, USA. Phone: (919) 449-0344. Periodicals postage paid at Raleigh, NC. POSTMASTER: Send address changes to Back Issue, c/o TwoMorrows, 10407 Bedfordtown Drive, Raleigh, NC 27614.

Michael Eury, Editor-in-Chief. Roger Ash, Associate Editor. John Morrow, Publisher. Editorial Office: BACK ISSUE, c/o Roger Ash, Associate Editor, 2715 Birchwood Pass, Apt. 7, Cross Plains, WI 53528.

Email: rogerash@hotmail.com. Eight-issue subscriptions: $97 Economy US, $147 International, $39 Digital.

Please send subscription orders and funds to TwoMorrows, NOT to the editorial office. Cover artwork by José Luis García-López and Bernie Wrightson, originally produced as the cover of House of Mystery #251 but unpublished. All characters depicted are TM & © DC Comics. All Rights Reserved. All editorial matter © 2024 TwoMorrows and Michael Eury. Printed in China. FIRST PRINTING

Haunted Issue • BACK ISSUE • 1

by M

Beware! This issue is haunted!

In the pages that follow, you will find stories about haunted houses, haunted hearts, haunted creative personnel, and a haunted weapon of war.

What you may not realize is that these pages are also haunted by an editor… …now retired.

I’m writing these words in mid-May 2024, but by the time they appear in print I will no longer be the editor-in-chief of BACK ISSUE magazine, having retired on Friday, August 30, 2024.

There was a time in the not too distant past that I dismissed the idea of retirement. I love my job curating this Eisner Award–winning museum of Bronze Age comic book treasures, and on the side I’m offered opportunities to research and write about my passions in books, magazine articles, and special projects. I have long worked from the comfort of my home office, and have editorially helmed this fine magazine since co-developing and launching it in 2003. Like so many of you, I’ve spent a lifetime with my nose burrowed into old comic books—but I’m the lucky guy with the job of producing a magazine that celebrates them. Retire…? No way!

But nothing’s been quite the same for any of us since the pandemic, has it?

During the past few years, I’ve battled a number of medical abnormalities that have dramatically altered my life. The demands of managing myriad details for two periodicals (our sister mag RetroFan being the other) are no longer manageable for me, and as such I have now officially retired.

What does that mean for BACK ISSUE? Well, our “haunted house” of Bronze Age antiquities is getting a new “curator”! After considering a number of possible replacement candidates with publisher John Morrow, I’m pleased to announce that Roger Ash (rogerash@hotmail.com) has become the new editor of BACK ISSUE, effective September 1, 2024! A longtime contributor to this magazine, Roger also has industry connections through his previous work with Westfield Comics and the Baltimore Comic-Con— and he is bustling with enthusiasm about picking up the editorial reins of this publication.

I will be haunting the next few issues, however, since multiple editions of BACK ISSUE are in production simultaneously, in various stages. The credits in our next few editions will reflect our transition as the editorial reins are passed. Despite the change in editors, BI will continue to entertain and enlighten you just as we have done since November 2003!

I’ve been in the comic book business off and on since 1986, but at heart I’m still a kid from a small town who dreamed of working in comics. I was fortunate enough to achieve that goal. I’ve learned from some of the industry’s most talented creators and am honored, through my TwoMorrows publications, to have played a small role in the preservation of comic book and pop culture history.

BACK ISSUE may have been my editorial “baby,” but I haven’t done it alone. Each of our many contributors has played a role in making this magazine an Eisner Award winner, including you readers and retailers who support it. Thank you.

But I must offer my deepest gratitude to my boss and friend John Morrow for letting me play funnybook mad scientist for over two decades. Thank you, John!

Now… enough of this mushy stuff. It’s time for you to be haunted not by editorial nostalgia but by creepy comic books. Onward!

2 • BACK ISSUE • Haunted Issue

ichael Eury

(Eury)Man of 1,000 faces Our editor-in-chief’s mug has appeared in these pages a number of times over the years, and we will miss it sorely! Happy retirement, Michael!!

by J o

hn Wells

It wasn’t the oldest house on the block, but it had seen better days. Touring the property, Joe Orlando saw a real fixer-upper and he was already envisioning candidates who could bring it back to life. In the right hands, the House of Mystery could be a trendsetter.

The “House of Mystery” name had been employed for years in such projects as a 1930 newspaper serial by Austin J. Small, a 1934 movie starring Ed Lowry and Verna Hillie, and a kid-friendly, award-winning radio series from 1945 to 1950 where Roger Elliot (played by John Briggs) told spooky stories to youngsters. With the radio show out of the picture, DC launched a House of Mystery comic book in October 1951 (inset). Edited by Jack Schiff, it was a vehicle for DC to establish a foothold in the horror genre without actually getting those feet dirty. Unlike the often-graphic excesses of other publishers, DC took its younger audience into account and kept things clean, often explaining away seemingly supernatural situations with rational explanations.

By the time a companion House of Secrets title debuted in September 1956, the winds were shifting, and both residences found fantasy and science fiction sweeping away the last vestiges of horror-lite. The new approach stuck around into the 1960s, with superheroes and costumed characters moving in. “Eclipso” and “Prince Ra-Man” were on a double-bill when The House of Secrets was shuttered in July 1966. House of Mystery fared better, its own dual features—“Dial H For Hero” and “Manhunter From Mars”—carrying on through 1967.

Do You Dare Enter…?

The Comics Code Authority grants you permission! DC’s Bronze Age horror craze actually started in the late Silver Age with this, the first retooled issue of The House of Mystery, #174 (May–June 1968). Cover by either Joe Orlando and George Roussos, or Mort Meskin, from a Carmine Infantino layout. (Unless otherwise noted, all art scans accompanying this article are courtesy of John Wells.)

TM & © DC Comics

Haunted Issue • BACK ISSUE • 3

JOE ORLANDO TAKES UP RESIDENCE

Ghosts of Dr. Graves and Strange Suspense Stories in 1967.

It was time for DC to get a piece of the action, and Besieged by Marvel Comics’ rising popularity and Executive Vice President Irwin Donenfeld asked watching sales slip as the buzz from the Batman TV Infantino to make it happen. show wore off, to shake things up DC promoted “We did that,” Infantino noted in Comic Book artist Carmine Infantino to head its editorial Artist #1 (1998), “but we also did other things department. Those changes included the because we were also doing other things because recruitment of new editors and the exploration we didn’t want to tip our hand to Marvel that of genres unconnected to superheroes. were going to jump into the [genre].” In the Although the horror genre had been drastically pages of the On the Drawing Board (OTDB) curtailed by the mid-1950s’ institution of the fanzine, rumors flew. Dick Giordano would Comics Code, it hadn’t gone away. be editing a revival of ACG’s Adventures into the Indeed, Warren’s black-and-white horror Unknown title, OTDB #65 declared, with a Steve mags as well as four-color ghost books from Ditko–created “Dr. Strange–type” as its lead.

Dell and Gold Key—all published without Never mind, reported the next issue. “There Code oversight—were thriving in the 1960s. carmine infantino is also talk from DC of reviving the Phantom Even with full Code approval, Charlton was © Luigi Novi / Wikimedia Commons.

Stranger as a possible co-feature in House of doing a booming business with Ghostly Tales, whose successful 1966 launch led to companion titles Many Mystery,” OTDB #64 mentioned in January 1968. This, too, did

COVER OF MYSTERY House of Mystery #174’s cover—which opens our article—has become iconic, as well as replicated. Preceding its production was the alternate version shown here, attributed to longtime artist Mort Meskin.

Meskin made a name for himself on DC Golden Age features including “Johnny Quick” and “Wildcat” and in the Silver Age on House of Secrets’ “Mark Merlin” series. He left comics for commercial art in 1965, but three years later purportedly inquired about new DC assignments.

“There was a reference in a 1968 Murray Boltinoff lettercol (probably Unexpected) to Meskin having returned to DC after at least three years of not being there, and of course, he seemingly never showed up anywhere,” according to Mike Tiefenbacher, former editor of The Comic Reader.

“I even asked Carmine specifically in 1971 when I interviewed him, and naturally, he had no answer for me. Jim Aparo included Meskin in his sneaks in that Aquaman story where he listed all of his DC contemporaries [during the Sea King’s visit to the trippy “City on the Edge of Nowhere” in Aquaman #50, artist Aparo drew DC creators’ surnames within the watery background of page 11, panel 1— ed.], as I recall the only guy who wasn’t obviously doing new work. [The unpublished HOM #174 cover art] looks to me like the proof that he had returned, and likely dropped in to see Murray while delivering his art, prompting the mention.”

Tiefenbacher adds that while he suspects Meskin worked from an Infantino layout—as Orlando also recalled regarding his version of the same cover— Meskin’s art “seems to have been refined, something that was likely to happen if he’d gone to an ad agency following his final Mark Merlin stories, and especially since he could finally take his time.

But the inking looks like his to me, as do the poses, and those kids’ faces look like his style as well.

“Looking at the actual published cover, I would say it too is an Infantino/Meskin collaboration!

Those kids’ faces are Meskin faces, and the inking is too sophisticated for Roussos—look at that lovely brickwork!—who’d collaborated with Meskin for years.”

4 • BACK ISSUE • Haunted Issue

not come to pass, although the Stranger eventually returned in that December’s Showcase #80.

Meanwhile, DC editor Murray Boltinoff was foiled in his plans to revamp Tales of the Unexpected when his intended “Secret Six” feature was handed off to Giordano for its own title.

Instead, Boltinoff went the supernatural route, adding paranormal investigator “Johnny Peril” as the new headline feature with

episodic Code-approved horror stories in the back. The title was abbreviated to The Unexpected as of issue #105 in December 1967 [expect an Unexpected article later this ish—ed.].

Then it was Joe Orlando’s turn. The 40-year-old editor had first come to prominence as an artist on EC’s legendary horror comics line from 1951 to 1955. Despite a prolific post-EC career, Orlando never got the genre out of his blood and

The Adams Family Editor Joe Orlando wisely tapped superstar artist Neal Adams to illustrate some of the retooled House of Mystery’s earliest covers.

Here’s a creepy quartet exhumed from the vaults of Heritage Comics Auctions (www.ha.com): (top) HOM #175 and 176, and (bottom) #178 and 182.

TM & © DC Comics.

Haunted Issue • BACK ISSUE • 5

Raising Cain This Orlando-drawn splash from HOM #175 instantly convinced readers that the book’s new caretaker was quite able to handle the task!

TM & © DC Comics.

contributed to Warren’s Creepy and Eerie magazines throughout the 1960s. It was only natural that he’d channel that experience into his makeover of House of Mystery, effective with issue #174, on sale in March 1968.

Drawn by either Mort Meskin or Orlando and George Roussos (from an Infantino layout), the cover depicted children in the foreground being beckoned by a skeletal hand and glowing eyes to approach weathered doors. “Do you dare enter,” the cover copy screamed, “the House of Mystery?” (The atmospheric logo was designed by Gaspar Saladino.)

Despite the impressive imagery, HOM #174 was a virtual ashcan, consisting of reprinted spooky stories from House of Secrets #13, 17, 43, and 58. The only hint of things to come was a one-page cartoon by Sergio Aragonés where a vampire crowed, “You just got yourselves a hundred years of bad luck! For this is Page 13!”

House of Mystery #175 offered true proof on concept, establishing many of the book’s defining elements. Above and beyond everything was the wiry, shaggy-

6 • BACK ISSUE • Haunted Issue

haired man with granny specs and a goatee who appeared on the Orlando-illustrated first page.

“Welcome, fellow tenants,” he declared, “now that you’ve paid your cheap twelve cent rent for this broken-down hovel, you’re stuck!

This pad is rent controlled, so I don’t have to fix your plumbing, patch up your rat holes, replace your broken windows. I’ve got orders to ignore you, freeze you and generally make your life miserable. So welcome to the House of Mystery. By the way, my name is Cain…

Cain the able caretaker.”

Cain was part of a long tradition of horror hosts that included EC’s Crypt Keeper, Vault Keeper, and Old Witch of the 1950s; Warren’s Uncle Creepy (1964) and Uncle Eerie (1966); and Charlton’s I. M. Dedd (1966) and Dr. Graves (1967). Orlando was also motivated by the budgetary requirement that part of every issue had to use reprints. “I had ten pages to make it look like a new offering,” he told Cooke in Comic Book Artist #1. “I decided that I would use one page to introduce a new character that would introduce the book, which is, of course, from my many discussions with [EC’s] Bill Gaines joe orlando and Al Feldstein. I knew that they Photo by J. Michael Catron. had gotten their idea for hosts from the old radio shows.”

Orlando intended to have Cain inserted into the splash of each reprint and mock their cheesiness, but he ultimately only did so once in issue #177.

The same issue introduced “Cain’s Mail Room,” the book’s letters column, whose missives were answered by the caretaker himself (as ghostwritten over the years by Orlando and a succession of others).

“His name always stood for evil, which gave him the proper horror twinge,” Orlando observed to Paul Levitz in The Amazing World of DC Comics #6 (1975). “Originally, I used to write all this dialogue and it was all pseudo-hip. I was very surprised by the reaction it got from the readers, particularly the girls who associated him with their grandfather.”

Cain’s typical role in an issue was strictly that of narrator, but the very first original story to appear in the House of Mystery (HOM) reboot—Sergio Aragonés and Jack Sparling’s “House of Gargoyles” (HOM #175)—inserted him into the plot. It told of mysterious gargoyles that suddenly emerged atop the House of Mystery and the secrets of their origin discovered by a group of kids. “Neal Adams drew a gargoyles cover during the HOM relaunch,” Aragonés told Jerry Boyd in BACK ISSUE #52 (2011).

“They needed a story inside to match.”

At the end of the story, Cain retrieved a baby gargoyle as a pet. It returned in issue #182 with the name of Gregory and stuck around until the final issue of House of Mystery. Gregory the Gargoyle even managed a single humor filler page (by Dave Manak) in HOM #280 (1980).

Adams’ “House of Gargoyles” cover featured an element that Orlando used without fail on the front of every issue: children in peril. “Bill Gaines told me a long time ago that the best-selling covers

he had published were ones that featured boys in danger,” Orlando recalled in CBA #1. “He got the idea from an illustration in Tom Sawyer where Tom was in a graveyard and witness to a murder.

That concept, in many different ways, worked over and over again. Neal did the best covers for House of Mystery. Many times, he would walk in with a sketch he had come up with himself and I would get a story written for the sketch. It was a fun way to work—to have that kind of rapport with artists, writers, and creative director.”

House of Mystery #175 also expanded Sergio Aragonés’ presence in the book, not only continuing his “Page 13” feature but adding pages of horror-tinged sight gags with the umbrella title “Cain’s Game Room.” The logistical problems of also working around a fixed filler on page 13 was eventually too much for the former. It was retitled “Room 13” with issue #185 and Aragonés quit drawing it after issue #190, followed by two final pages by John Costanza (#194) and Lore Shoberg (#198). A different Aragonés filler—“Cain’s Gargoyles”—emerged to replace it, running intermittently between issues #188 and 239 (1970–1976), with a last Dave Manak page seen in issue #280 (1980).

“Cain’s Game Room” was the most enduring, though. Its final installment, also by Manak, ran in House of Mystery #297 (1981).

Aragonés was far from the only fresh talent to appear in House of Mystery. While Murray Boltinoff preferred established pros in Unexpected, Orlando saw great potential in the new generation of comic book fans that craved a place at the table. Having recently sold a Blackhawk script to Dick Giordano, a 22-year-old writer received an offer from Orlando. He’d “seen my horror fanzine Stories of Suspense,” Marv Wolfman recalled to Richard Arndt in Alter Ego #113 (2012), and “asked me to re-dialogue a horror story he’d bought from another writer.” That tale—HOM #176’s “Roots of Evil”—was soon followed by a Wolfman-scripted three-pager in issue #179.

The latter represented the first published artwork by Bernie (then Berni) Wrightson. The 19-year-old’s sample art at a convention had impressed Carmine Infantino and Dick Giordano enough for them to offer him their upcoming “Nightmaster” series. Performance anxiety got the best of the teenager, but Infantino was sympathetic.

‘We shouldn’t have given you a book right off the bat,’ Wrightson recalled him saying, in Comic Book Artist #5 (1999). ‘You’re intimidated and we’re going to take you off this. […] We’ll put you on the fillers for the mystery books to break you in.’

“I had an awful lot of help from Joe Orlando,” Wrightson told Cooke in CBA #5. “He was the best guy for me and any young artist. I learned so much

What’re You Laughing At? House of Mystery not only raised goosebumps, it tickled funny bones with one-page humor features.

Here, from issue #177 (Nov.–Dec. 1968), are an Orlando-drawn “Room 13” door hanger and a “Cain’s Game Room” gag page illo’ed by the one and only Sergio Aragonés.

TM & © DC Comics.

Haunted Issue • BACK ISSUE • 7

Raising Kane (top) The earliest published DC work by soon-to-be-superstar Berni(e) Wrightson, illustrating a Marv Wolfman story in House of Mystery #179 (Mar.–Apr. 1969). (bottom) Writer Mike Friedrich’s “His Name Is… Cain Kane!” from #180, brought its artist, penciler Gil Kane, closer to his work than he might’ve desired. Inks by the wonderful Wally Wood.

TM & © DC Comics.

from him in my first couple years in comics. I would bring stuff in and Joe, in his very kind, non-judgmental, gentle way would find a panel on the page and take out his pad of tracing paper that he kept in his desk.

He’d take a sheet out and lay it over, and he’d say, ‘Y’know, you might want to think about this,’ and he would redraw the panel very quickly, with stick figures. He would teach composition and shortcuts that enhance the work. He had a way of thinking pictorially that I had never before been exposed to or would have considered. He was there, pointing me very gently in the right direction. He was very much a mentor who really cared about me.”

Orlando saw little potential in the samples of budding artist Len Wein, proposing instead that he submit some story premises. Wein sold “The Final Day of Nicholas Toombs,” which was illustrated by Jack Sparling but deemed too weak for publication. The 20-year-old went on to much greater things as both a writer and editor, but he never forgot that first script. Nor did Orlando, who joked in Amazing World of DC Comics #6 (1975), “One day I’ll get mad at him and publish [it] just to annoy him.”

Luckily for Len, that day never came, but the unpublished art for the entire story was eventually sold by Heritage Auctions in 2006.

For most of their entire existence, much of the horror line—certainly those edited by Orlando and successors—became a virtual classroom for budding writers and artists, a place that they could learn and polish their craft before graduating to the big-name superhero titles. At the same time, the books were also a haven for industry veterans who had no interest in men in tights.

Jack Oleck, whose credits included scripts for EC, had fled comics after the anti-horror backlash of the mid-1950s, devoting his time to writing novels and editing and publishing Interior Decorator News.

It’s unclear whether Orlando reached out to his old EC colleague, or whether Oleck’s famed brother-in-law Joe Simon broached the subject, but the veteran writer was soon a prodigious contributor to DC’s chillers.

Longtime magazine cartoonist John Albano found a new career in comic books, roughing out his scripts for Orlando as cartoony pages that were then rendered in more dramatic fashion for a variety of artists.

He also fell back on his traditional cartooning for a few “Cain’s Game Room” fillers. Jerry Grandinetti and Jack Sparling, whose careers dated back to the 1940s, were among the longtime illustrators to appear frequently in DC’s horror revival.

Longtime Green Lantern artist Gil Kane craved work in other genres and showed up in House of Mystery #180 (on sale in March 1969) for a pair of stories embellished by fellow legend Wallace Wood. The latter tale—scripted by Mike Friedrich—was a particular delight. It found Kane himself moving into the House of Mystery for privacy in drawing comics.

Furious when Orlando invaded his new workspace, the cartoonist murdered him… only to have his departed editor (and Friedrich, too) exact supernatural revenge.

By this time, the title was an unqualified hit, enough so that the entire genre would soon be described as “mystery,” a proxy for the Comics Code–prohibited word “horror.” In December 1968, the Dick Giordano–edited Witching Hour joined the fold, featuring a trio of witches as hostesses in framing sequences exquisitely drawn by Alex Toth. As the rest of the comics industry began to take notice of the genre’s success, work began on a fourth DC mystery book.

8 • BACK ISSUE • Haunted Issue

‘HOUSE OF SECRETS’ GETS A RENOVATION

Revived in June 1969 after a three-year absence with issue #81 (inset), House of Secrets implied a kinship with House of Mystery. Cain suggested Abel and the name of HOS’ host was set. “I turned to the people around me,” Orlando noted in Comic Book Artist #1 (1998), and he looked at his assistant Mark Hanerfeld. “It’s just a writer’s trick to take people’s personalities and inject them into your characters.

Mark stuttered when he got nervous. He was short and heavy, so Abel was short and heavy. Abel was a good counterpoint to Cain, who was tall and thin.” For his part, Hanerfeld (also editor of The Comic Reader fanzine) was delighted, sharing an Orlando sketch in May 1969’s TCR #73. He later posed for a photo in character with Len Wein joining him as Cain (published in, among other locations, 1997’s The Dreaming #10).

Perpetually bullied by brother Cain, Abel had only the unseen Goldie for companionship. Although Dick Giordano was the nominal editor on the new book, Orlando was fully involved in its development. Unlike HOM, House of Secrets opened with an official origin story (by Mike Friedrich, Jerry Grandenetti, and George Roussos) that comically revealed how a sentient old building in the Kentucky hills acquired its new caretaker. Gaspar Saladino’s new cover logo included the book’s catchphrase: “There’s no escape from… the House of Secrets!”

“The haunted House of Secrets came from a lunch Joe, Carmine, and I had together,” Giordano recalled in CBA #1. “The idea was that the house itself was alive and thinks Abel is just stupid and silly.

So, it would slam windows on his fingers, and he knows the house is after him all the time. That was the whole idea behind the book.” The gag extended to the book’s letters column, where the dwelling itself responded to reader missives: “The House of Secrets Speaks!” In a personal touch, Goldie was named after the invisible friend of Giordano’s son.

In advance of HOS #81, May 1969’s DC Special #4 introduced Abel in the first gathering of all the DC mystery hosts, also including Cain, the Three Witches, and Unexpected’s Mad Mod Witch and Judge Gallows. Mark Hanerfeld himself wrote the new material in the issue (with art by Bill Draut) that surrounded a batch of 1950s reprints.

Although Orlando’s Cain occasionally became an active participant in House of Mystery, he generally only introduced stories. Giordano preferred comedic interstitial continuities that ran between the stories in Witching Hour and House of Secrets. “The stories were just incidental,” he declared in CBA #1, “but the fun I had was with the bridges.” The Abel sections were scripted by a 16-year-old named Gerry Conway, whose first published work ran in HOS #81. The young man soon became invaluable, later describing himself to Gary Groth in The Comics Journal #69 (1981) as having been “an unofficial

He Ain’t Heavy (well, then again…), He’s My Brother (top) “Who’s the creep… on the end?” asks this self-entitled young DC reader in DC Special #4’s playfully insulting introduction of Abel.

Written by Mark Hanerfeld and drawn by Bill Draut, this panel also depicts the Witching Hour and Unexpected hosts. (center left) House of Secrets host Abel, rendered by Joe Orlando for readers of The Comics Reader #73. (center right) Len Wein as Cain and Mark Hanerfeld as Abel. From The Dreaming #10. (bottom) The sinister siblings and freaky friends, from a 1969 DC house ad.

TM & © DC Comics.

Haunted Issue • BACK ISSUE • 9

House of Secret Origins (top) The revamped horror format for House of Secrets began with #81 (Aug.–Sept. 1969).

Cover by Adams. The issue included not only the origin of the House of Secrets itself, (bottom) it also sets up Abel and makes clear his uneasy relationship with his domineering brother. Script by Gerry Conway, art

by Bill Draut.

TM & © DC Comics.

10 • BACK ISSUE • Haunted Issue

assistant on [HOS], assembling the issues with Dick. Conway and artist Bill Draut exclusively produced the Abel framing sequences through the end of 1970 (HOS #90).

Len Wein also played things for laughs in short stories involving cartoon animals (HOS #85, with artist Ralph Reese) and the recurring “Day After Doomsday.” Its name and concept swiped from an Archie Goodwin/Dan Adkins tale in Warren’s Eerie #8 (1967), the shorts were comedic takes on the end of the world. Wein and Sparling had follow-ups in Witching Hour #9 and HOS #95 and 97, but the feature survived both with irregular appearances in Weird War Tales in the 1970s and beyond. [Editor’s note: See BI #58 for a Weird War Tales history.]

Neal Adams followed the Orlando formula of imperiled children for most of his House of Secrets covers. Issues #88 and 89 in 1970 abruptly broke from tradition to depict women fleeing ancient dwellings, the trade dress on the latter blatantly following that of the era’s popular gothic romance novels. Sales were evidently encouraging enough for DC to launch two gothic titles—Dark Mansion of Forbidden Love and Sinister House of Secret Love—in the summer of 1971 [more info to follow later in this issue—ed.].

Adams had drawn only a few interior tales for HOM #178, 179, and 186 (plus inks over Rich Buckler in HOS #90), but he was perfectly suited to illustrate a Batman/ House of Mystery “team-up” for The Brave and the Bold #93, which reached newsstands just before Halloween 1970. Written by Denny O’Neil, it followed an exhausted Bruce Wayne on a vacation that led to a supernatural adventure. Cain appeared at intervals as a Greek chorus, including this amusing justification: “He’s inside a castle… and a castle is a house… and since he doesn’t know what he’s getting into, it’s a mystery. So, in case any of you don’t get it, the Batman is in the House of Mystery.”

Adams followed up by illustrating the bridging sequence for Witching Hour #13, wherein Cain, Abel, and the Mad Mod Witch joined the Three Witches to celebrate New Year’s Eve 1970. The Witches’ Cynthia had also paid a visit to Abel earlier in the year (HOS #88), following guest appearances by Cain (HOS #83, 85).

Elsewhere, Cain stepped in to host issues of Super DC Giant #S-20 (“House of Mystery”, Aug. 1970) and DC Special #11 (“Beware… the Monsters are Here!”, Jan. 1971), largely comprising 1950s short stories.

The mystery line rang in 1971 with a new status quo.

Dick Giordano was gone as editor, his horror titles handed off to Murray Boltinoff (with Witching Hour #14) and Joe Orlando (with House of Secrets #91). Each of them dropped the interstitial sequences that Giordano had loved in favor of a single introductory page. Abel appeared in the intro/ outro panels in every full story in each issue and invisible friend Goldie was mentioned no more. The same headshot of Abel was pasted into the splash of most stories in HOS #91, a practice that would continue on many stories for the duration of the horror books’ existence.

“All of Joe’s mystery titles paul levitz pulled from a common art inventory,” Paul Levitz tells © Luigi Novi / Wikimedia Commons.

BACK ISSUE. “Some stories had a really nice Cain or Abel image that you wouldn’t want to screw with, but many didn’t.”

The cover-featured lead story in House of Secrets #92 (on sale in April 1971) didn’t even bother with a stat of Abel. Instead, its star narrated the eight-pager himself. Readers not only didn’t object; they begged for more. The tale—by Len Wein and Bernie Wrightson—was entitled “Swamp Thing” and it was a tragedy about a scientist named Alex Olsen who was transformed into a pulpy creature and forever separated from his beloved Linda. (Wrightson modeled the heroine on future writer/editor Louise Jones, now Simonson.)

“We did the story and I pretty much forgot about it,” Wrightson later told Jon Cooke in Comic Book Artist #5. “The issue came out and it was apparently [DC’s] bestselling comic book that month, beating out Superman and Batman. They got a lot of fan mail on it.”

Orlando and Carmine Infantino quickly vowed to get the gang back together for an ongoing Swamp Thing comic book. Retooling the concept to support a continuing series, Wein and Wrightson delivered issue #1 for publication in August 1972.

In the 16 months between the two Swamp Thing stories, the mystery line had undergone notable changes. From June 1971 through April 1972 (HOM #194–200 and HOS #93–98), DC’s comic books had uniformly expanded from 32 pages to 48, with an attendant price increase from 15¢ to 25¢. It was meant to be an industry-wide shift, but Marvel backed out almost immediately and DC and a few others were locked into a more expensive package for a year. The effect on sales was brutal.

The horror books weathered the storm, supplementing new material with 1950s– 1960s reprints for the duration. Arguably, the books were thriving in terms of popularity.

House of Mystery went monthly with issue #194 (on sale in July 1971), doubling its frequency. House of Secrets followed suit In June 1972, going monthly with issue #99.

Furthermore, Orlando now had Forbidden Tales of Dark Mansion, Secrets of Sinister House, and Weird Mystery Tales (each bimonthly) added to his mystery dance card.

SOHH #6 introduced a new hostess, a crone with a raven perched on her shoulder, as rendered by Michael Kaluta. “Eve was the last of the Biblical three,” Orlando remarked in Amazing World of DC Comics #6, “and when I created her, I had in mind the traveling aunt who has been around the world and returned with a slightly tarnished reputation that no one talks about, because of her wealth.” After Murray Boltinoff took over Sinister House, Eve moved to Weird Mystery Tales [see BI #78, our “Weird Issue,” for the scoop on WMT—ed.].

Neal Adams had mostly left the genre by this time. Initially replacing him on the covers were rising star Bernie Wrightson (also doing the HOM intro pages), the aforementioned Michael Kaluta, Nick Cardy, Jack Sparling, and others. Ultimately, Argentinian artist Luis Dominguez became the principal cover artist on both HOM and HOS, gradually at first in 1973. Also absent, more often than not, were kids in danger. With the Comics Code liberalized to a degree in 1971, publishers could push the envelope a bit more explicitly than they had in the past.

The more meaningful change was in the credit boxes. The new blood that Orlando and Giordano had nurtured was moving on, either to DC superhero features or to positions over at Marvel. Consequently, despite continued contributions from more youthful creators like Maxene Fabe, Michael Fleisher, and Steve Skeates (all just shy of 30 years old), the horror writers were skewing older. Jack Oleck and John Albano were now joined by other veteran DC talent like Arnold Drake and George Kashdan.

Sheldon Mayer, whose career dated to the 1930s, became a prolific scripter for the genre as he recovered from cataract surgery.

Open House (left) Gray Morrow’s stylish cover for House of Secrets #89 (Dec. 1970–Jan. 1971) parroted the trade dress then-popularized by TV’s Dark Shadows and its accompanying wave of gothic romance paperbacks. (center) On sale the same month as HOS #89 was Denny O’Neil and Neal Adams’ moody Batman/ House of Mystery team-up in The Brave and the Bold #93. (right) Move over, Cain and Abel. Sorry, I… Vampire.

But the biggest breakout from DC’s horror books was Swamp Thing, a prototypical version of which first appeared here, in House of Secrets #92 (June–July 1971).

Cover by Bernie Wrightson, with colors by Jack Adler. You Swampy fans should check out BI’s earlier coverage of the Muck Monster, in issues #6, 36, 66, and 92.

TM & © DC Comics.

Haunted Issue • BACK ISSUE • 11

THE HOUSE OF INTERNATIONAL ARTISTS

Meanwhile, Orlando had seen great promise in the portfolio of a 37-yearold Filipino illustrator and had him draw Gerry Conway’s “Dark City of Doom” for HOM #188 (July 1970) as an indication of his storytelling abilities.

Impressed, the editor quickly made Tony DeZuniga a major presence not only in his horror books but also his romance and Western titles.

Noting DC’s reliance on reprints during the 1971–1972 expansion, DeZuniga proposed an alternative. “‘Maybe you don’t need to reprint old material,’” he recalled saying in an interview with Bryan Stroud (posted at nerdteam30.com). “‘Maybe you can buy new art.’ […] Finally, Joe Orlando did a little research and he found out that the best they could offer was something like 12 dollars a page. So, I said, ‘For that kind of money you can get new material, but you’ve got to go outside the country.’ You see back when we were starting [in the Philippines], we were getting 50¢ a page. We were making crummy rates. That’s why we were trained to do really fast work.”

Awed by the samples he presented, DC’s Carmine Infantino, joined

by Sol Harrison, soon traveled to Manila with “personal ambassador” DeZuniga at their side. “I went and sure enough we had a big meeting,” DeZuniga told Stroud. “Oh, my God, every artist showed up. It was wonderful. They showed more work. The only problem they noticed was that they were showing beautiful drawings, but they still didn’t know quite how to tell a very clear story. But that’s a minimal problem. That’s easy to disguise. They speak English, all of them, because thank God, we were all taught English as young kids.”

The DC execs ultimately brokered a deal with superb artist Nestor Redondo to employ the creators at his publishing company on DC titles.

“They agreed to page rates up to ten dollars,” DeZuniga related to Stroud.

“Carmine explained that they needed somebody to get all the work and mail to us and all that and clean it up and so the other two dollars goes to those people for coordinating it. They don’t get the whole 12 dollars. And that was still very good money for those guys.”

Along with DeZuniga and Redondo, the likes of Alfredo Alcala, Fred Carrillo, Ernie Chan, E. R. Cruz, Alex Niño, Gerry Talaoc, and Ruben Yandoc defined the look of the DC horror line by late 1972. Amusingly, Redondo even drew Infantino and Orlando into a Bill Meredith–scripted story for June 1972’s House of Secrets #99 about an outof-style horror artist who was willing to strike a devil’s bargain to revive his career.

Sales on the House publications stayed strong in the transition although, as Paul Levitz noted to BI, editor Murray Boltinoff’s “Ghosts always outsold them, as Murray’s other mystery titles often did. He had a great commercial sense. But in the early and mid-’70s the mystery titles often had better sell-through and lower costs (thanks to the Philippine artists) than the superhero or war books. The big-name hero titles sold more copies because they had larger print runs and probably somewhat broader distribution patterns.”

Orlando’s expanding pool of talent made his job much easier. “The mystery books had a big inventory,” he noted in Comic Book Artist #1.

A Little Fright Reading (top) Bernie Wrightson’s meticulously calligraphed frontispiece to 1972’s first House of Mystery paperback collection of Jack Oleck– penned horror tales. Courtesy of Heritage. (bottom inset) John Albano’s illustrated script to the opening page of House of Mystery #201’s (Apr. 1972) “The Demon Within!” (bottom) Published version of the page, with art by Jim Aparo.

TM & © DC Comics.

12 • BACK ISSUE • Haunted Issue

From Klop to Plop Page 2 of HOM #202’s influential “The Poster Plague!,”

by Steve Skeates and Sergio Aragones. On its heels came DC’s “new magazine of weird humor,” Plop!

TM & © DC Comics.

“I would call in a writer (and I was working with three or four writers at the time, and I knew all the cliches). Jack Oleck would come in with 20 ideas and he would go home with 20 stories to write. I found that the most important piece of work an editor can do is not line-edit but idea-edit. At that point, you have either a good story or a lousy story.” Devoting a day to digging into each pitch, Orlando added, “We’d do this once a month and have an inventory of 20 stories, just from Jack alone. I worked differently with each writer, depending on their needs and temperament.”

How prolific was Jack Oleck? By 1973, he’d written so many scripts for the DC horror comics that he was able to adapt 16 of them into prose for two House of Mystery paperbacks. Each volume had an original cover by Bernie Wrightson. [Editor’s note: One of those Wrightson HOM PB covers was repurposed as the cover of BACK ISSUE #52.]

In his 2011 memoir Joe Simon: My Life in Comics, Oleck’s brotherin-law spilled the beans on one of the writer’s secrets. Following Jack’s 1981 death, bound volumes of 1950s comics—including Simon and Kirby’s Black Magic—were returned to Simon. “They were covered in Post-It notes,” he declared. “Each note indicated how many times he had used the story, and where. He was reusing the stories at Marvel, DC—wherever he found work. By keeping track of them, he never sold anyone the same story twice. But a lot of those stories got used three or four times each!”

Meanwhile, House of Mystery won two Shazam! awards (Best Short Story and Best Humor Story) from the Academy of Comic Book Arts for back-to-back issues in 1972. “The Demon Within” (HOM #201) followed a seven-year-old whose ability to become a monster at will was irresistible for pranks on his classmates and big sister. His parents’ solution was—no spoilers—unsettling. John Albano, as usual, submitted the story as cartoony roughs that were superbly brought to life by Jim Aparo. (Always a treat, Aparo tales also ran in HOM #192 and 209 as well as HOS #93, 97, and 105.)

The other Orlando-edited prizewinner was March 1972’s “The Poster Plague!” (HOM #202). Previously rejected by Warren Publishing, Steve Skeates’ plot involved two college students investigating a rash of “Klop is Coming” posters on the campus… with a twist ending. Orlando bought the story but went against type when he chose an artist. In place of the usual realistic horror art, readers found the cartoony stylings of Sergio Aragonés.

The submission came in in the midst of DC’s development of a new humor comic book called Zany that was to include demented takes on DC’s various characters. The effect of pairing a horror script with cartoony art shifted Orlando’s vision of Zany away from its superhero-centric theme to something broader and more subversive. In a conference about Zany, Skeates recalled in Comic Book Artist #5, “Carmine said to Joe, ‘Why don’t you call it Plop! Like the sound effect in Skeates’ story?’ The sound effect in my story was actually ‘Klop!’ and that’s what Joe started saying but somebody chimed in, ‘No, no, Plop! That’s it! The title of the magazine!’” Sure enough, Plop! #1 arrived on spinner racks in June 1973, a demented spinoff of the mystery books with Cain, Abel, and Eve on hand in Aragonés-illustrated bridges for every issue. [Editor’s note: See BACK ISSUE #21 for the story behind Plop!]

Aragonés’ fillers remained a ubiquitous presence headed toward the mid-1970s. While HOM’s Cain pages continued, House of Secrets complemented them with “Abel’s Fables.” The feature began in HOS #93 (June 1971) with pages by Aragonés

and Lore Shoberg. The former drew sight gags while the latter used word balloons. The filler ran in 21 issues overall, the last of them in 1978’s Unexpected #189. Aragonés’ pantomime “Cain and Abel” debuted in HOS #101, making another six appearances in issues #103, 107, 119, 134, DC Super-Stars #13 (1976), and House of Mystery #252 (1977), along with a John Albano/ Michael Kaluta page in Amazing World of DC Comics #6 (1975).

“The Poster Plague!” received an early reprinting in September 1973’s Limited Collectors’ Edition #C-23, a virtual House of Mystery “best of” collection that also included the introductory “House of Gargoyles” and late 1960s tales by Adams, Kane, Toth, Wood, and Wrightson behind a new Cardy cover. The tabloid format was one of DC’s efforts to connect with different audiences via a package and genre that might win readers who ignored superheroes.

100-PAGE SUPER SPECTACULARS

In January 1974, DC also expanded the presence of its 100-Page Super Spectaculars, a weighty package used previously strictly for reprints [see BI #81—ed.]. Now, however, they were being fused with key ongoing titles that would continue to offer 20 pages of new stories but backed with dozens more pages of vintage material. House of Mystery and The Unexpected represented the horror line in the experiment, the former kicking off with issue #224. Because of the larger format, it was reduced to a bimonthly frequency for the duration.

Newly in place as Joe Orlando’s assistant, Paul Levitz was charged with selecting the reprints, and he informs BI that it was “lots of fun. I also made my first ‘business’ contribution to DC by pointing out that with the cheaper Philippine art, we could run more original material than the all-American titles and still have a comparable budget.”

Haunted Issue • BACK ISSUE • 13

Super Spooktacular From House of Mystery’s brief stint as a 100-Page Super Spectacular: (top left) HOM #226’s (Aug.–Sept. 1974) cover, by Luis Dominguez, and (bottom) a word search puzzle by Bob Rozakis, from the same issue. (top right) Gulp! Frank Robbins’ rare Batman art rubbed some readers the wrong way (as we explored in BI #150), but perhaps his most controversial illustration for DC was this disturbing cover for House of Secrets #123 (Sept. 1974).

TM & © DC Comics.

14 • BACK ISSUE • Haunted Issue

At this time, a general rule was in place that any story reprinted

by DC had to be at least five years old, a timeframe long enough that many newer readers would not have read it. Under this edict, the earliest Orlando-edited stories qualified for use and peppered the 1974 issues amidst much older tales. (Unexpected even reprinted material from the earliest 1950s issues of House of Mystery and House of Secrets.)

Episodes featuring two supernatural heroes also slipped in: a couple 1968 Spectre shorts (HOM #224–225) and a trio of 1953 Phantom Stranger tales (HOM #224–226).

Added value came in the form of puzzles created by Bob Rozakis (HOM #225, 226, 228, 229), a “Make Your Own Monster” paper doll spread by Paul Levitz and Dennis Janke (HOM #227), and “Halloween Monster Cards (HOM #228). The coolest extra may have been the Levitz-scripted three-page tour of the House of Mystery, illustrated by newbie Pat Broderick and featuring the first (and last) schematic of Cain’s lovely home (HOM #226).

Breaking the five-year rule, issue #225 reprinted 1971’s Sinister House of Secret Love #1. That set the stage for issue #229’s publication of “Nightmare Castle,” a 36-page tale by Bob Kanigher and Nestor Redondo that had been meant for DC’s gothic romance line before its abrupt end. Cain-era reprints from 1969 and 1970 assured the title’s host was present but there was still the matter of the cover. Gothic romance—even this horror-tinged tale—didn’t fit the House of Mystery brand. Consequently, a Bernie Wrightson monster from an earlier horror cover (1971’s DC 100-Page Super Spectacular #4) was inserted into an image that suggested a giant creature terrorizing a city. An inset panel from “Nightmare Castle”—with zombies!—was added to the scene, and a cover was born. The decision to pull the unused story off the shelf, incidentally, came from Paul Levitz. “No one else was paying attention,” he tells BI. During 1974, House of Secrets carried on as a monthly, both it and House of Mystery benefiting greatly from the two veteran cartoonists who offered a change of pace from the Filipino troupe. Frank Robbins had produced the Johnny Hazard newspaper strip since 1944 but began supplementing his income as a writer at DC in 1968. As an artist, he’d been heavily influenced by superstar Milton Caniff, but his style had evolved in an idiosyncratic direction that horrified many traditionalists when he tried applying it to known quantities like Batman [see BI #150—ed.].

Lively and possessed of a comedic flair, it was greeted more receptively when used on episodic horror stories (or in Plop!) for Orlando.

“I guess Frank needed work and we had scripts available,” Levitz says. “There’s a period around there where we got some amazing work from him, Frank Thorne, and even Ramona Fradon.”

Robbins was also responsible for arguably the ghastliest cover in the Bronze Age horror line’s history. House of Secrets #123 (June 1974) included an increasingly rare Alex Toth story (scripted by Michael Fleisher) entitled “A Connecticut Ice Cream Man in King Arthur’s Court.”

A cover was commissioned, and Robbins delivered the image of a skeletal hand holding an ice cream cone, the “ice cream” rendered as a bloody, decomposing human face. Set against a stark purple background, it couldn’t be missed on a spinner rack.

Ramona Fradon was faced with similar situations. “Working with Joe was fun,” she told Jon Cooke in Comic Book Creator #13 (2016).

“He was always looking for ways to get around the Code, so he’d use humor if he had to.”

Beloved for her open, cartoony style, she was best known for her work on Aquaman and Metamorpho in the 1950s and 1960s.

Returning to comics after her daughter was grown, Fradon was horrified by Marvel’s plot-first method and quickly approached DC, happy with the full scripts Orlando provided. Still, horror comics were a very different experience.

“One story I worked on where a person was killed was just too gruesome,” she recalled in CBC #13. “I had to draw [their] eyes bulging out and [their] swollen tongue sticking out of [their] mouth [HOS #118]. Maybe I got a little carried away on that one. There was another one where they had to change some of the pictures because they were too gross. Another was about somebody butchering horses for dog food [HOM #239] and it was just too graphic.”

HOMOGENIZED HOUSES

As of January 1975, the Super Spec era was over, and House of Mystery was once again a monthly, 32-page package.

Periodic new creators would stop by—notably writers David Michelinie, Martin Pasko, and Mike Pellowski, and artists Paul Kirchner, Al Milgrom, and Arthur Suydam—as would the occasional veteran like the legendary Steve Ditko. On the whole, House of Mystery and House of Secrets, with the same creators on tap and Dominguez on covers, were virtually interchangeable outside of their respective hosts.

As a whole, DC found itself faced with Marvel ferociously cranking out new titles and newcomer Atlas Comics doing the same. In order to preserve market share and rack space, Carmine Infantino was compelled to follow suit. For the mystery line, that meant ensuring that every existing title was monthly (most already were) and adding two more bimonthly books: Tales of Ghost Castle and Secrets of Haunted House. The former was killed after three issues, while the latter offered a venue for all the Orlando office’s hosts: Cain, Abel, Eve, and Weird Mystery Tales’ Destiny.

What happened next wasn’t pretty, but it wasn’t surprising either. Having glutted the racks with 67 discrete horror comics between January and December 1975, DC canceled half of its eight mystery titles and reduced the survivors to bimonthly frequency. House of Mystery’s decreased schedule began with issue #238 in September 1975 but reverted to monthly again by January 1976 (HOM #240). And House of Secrets? It was gone.

At the last, HOS had been handed off to writer Gerry Conway—fresh from Marvel—to launch a Patchwork Man horror spinoff from Swamp Thing. Following November 1975’s full-length opener in HOS #140, the plan was to continue the series with a generic Abel-narrated backup in each issue. Carmine Infantino, not without reason, could see the dominos beginning to fall and canceled the revamp along with a just-launched Man-Bat title before any sales could be gauged. The Patchwork Man story created for House of Secrets #141 eventually found its way into (of all places) a DC-licensed comic book in Finland (Gigant #3, 1983).

Decades later, it finally saw print in the US in House of Secrets: The Bronze Age Omnibus vol. 2 (2019).

Bloodied but unbowed, House of Mystery carried on in 1976. Plop! continued to serve as a secondary home for Cain, Abel, and Eve until its own cancellation with issue #24. That was in August 1976, three months after House of Secrets returned from the grave with issue #141. In the intervening months, Carmine Infantino had been fired by his corporate bosses and replaced by Jenette Kahn. Among her first decisions as DC’s new publisher was a sales review that convinced her that Abel’s stomping grounds deserved a second chance.

With all signs of the Patchwork Man scrubbed away, the revived House of Secrets was no different that it had been before him. That wasn’t necessarily a good thing. The dual Houses were showing clear signs of neglect, their lackluster interiors reflected in equally blah covers often penciled by Ernie Chan or inked by Vince Colletta. Hosts aside, the titles had interchangeable content, but Mystery consistently outsold Secrets for no discernible reason. Perhaps the former had a “better name,” Paul Levitz speculates to BI, or “maybe a slightly better distribution pattern since it was older.”

Change was in the wind, but it applied to standard-bearer House of Mystery. One of Jenette Kahn’s initiatives was to court retailers who saw selling comics as a losing proposition. She envisioned an 80-page “Dollar Comic”—all-new—that would make greater profits for vendors and encourage more of them to feature DC products [see BI #57–ed.]. Inaugurating the program were four titles tapping three genres: superheroes (Superman Family, World’s Finest Comics), war (G.I. Combat), and horror (House of Mystery).

Patchy Results (top) DC attempted to spin off of Swamp Thing’s success with the Patchwork Man in House of Secrets #140 (Feb.–Mar. 1975). Cover by Ernie Chan. (bottom) Original Nestor Redondo/Buddy Gernale art to the title page of an unpublished “Patchwork Man” story intended for HOS #141. Courtesy of Heritage.

TM & © DC Comics.

Haunted Issue • BACK ISSUE • 15

Along with a distinct trade dress and slightly taller height mostly more experienced creators. My first sale was a ten-page to pop out on racks, the early Dollar Comics also sported fine ‘World of Krypton’ story to Superman Family, and I was a regular covers by the long-absent Neal Adams. He joined the festivities contributor to that and House of Mystery for the duration of the late enough that the cover for December 1976’s House of Dollar-sized run, and in the case of the latter, for a year after it Mystery #251 had already been drawn by José Luis García-López went back to a 32-page format.” and Bernie Wrightson. In a throwback to the early days, kids in A percentage of the material was, of course, drawn from peril were in its foreground as a man was about to devoured by Orlando’s inventory. Issue #251 included a Paul Levitz/Michael a giant Venus flytrap in the back. Restaging the layout, Adams Uslan/Frank Redondo tale done for Weird Mystery Tales a few rendered a new version and stuck around to draw covers years earlier as well as a David Vern/Wallace Wood piece for issues #252–254. [Editor’s note: Thanks to the commissioned circa 1972 for Zany, the initial iteration archives of Heritage Auctions, we were able to give of Plop! A Jack Oleck/Alfredo Alcala story from 1972 a new life to that rejected HOM #251 cover art inspired the new flytrap cover. with this very issue’s cover!]

Harkening back to the Giordano-edited mystery With 80 pages of new material (less ads), books, House of Mystery also featured delightful House of Mystery was reinvigorated. There was new interstitial sequences featuring both Cain plenty of room for Filipino and American artists and Abel. “With issue #251,” Kupperberg details to mingle with representations by the likes to BI, “Cain’s hosting duties were expanded to fill of vets such as Ramona Fradon (#251), Frank a five-page intro story, split into three pages at the Robbins (#252), Gil Kane (#253), Steve Ditko front of the book, one page in the middle, and one (#254), and Gray Morrow (#255), and newpage to wrap up the issue and whatever little comers like Sandy Plunkett (#253) and Marshall tale we’d woven around an excuse for Cain to Rogers (#254). Dave Manak, a fixture in Plop!, tell his stories.

PAUL KUPPERBERG now regularly occupied the humor filler post “There was never any intention or attempt © Luigi Novi / Wikimedia Commons. once held by Sergio Aragonés (who was still to make the intros scary. They were page fillrepresented less frequently). ers meant to be mildly amusing and entertaining and to give “DC’s Dollar Comic format was a bonanza for the influx of a sense of unity to a stack of otherwise unrelated stories. In new writers coming into the company in the mid-1970s,” Paul HOM #252, I was able to use my introductory lead-in to a Kupperberg tells BI, “giving homes to our clunky first efforts story I wrote, a sort of ‘secret origin’ of the House of Mystery, ‘The that could be hidden among a lineup of six or ten stories by Devil Strikes in My Old Kentucky Home,’ by artists Don Perlin and Romeo Tanghal. Guest-starring in the introductions was Cain’s brother Abel and the House’s resident dragon, Gregory.

I’d also often have drop-ins by other DC horror hosts, like Destiny and the witches from The Witching Hour, and occasional guest appearances by familiar faces like Dracula, the Mummy, and the Loch Ness Monster. Artists on these John Calnan, Howard Chaykin, Ric Estrada, Dick Ayers, Wayne Howard, and Jack Abel, Tex Blaisdell, and Romeo Tanghal.”

Other fillers included a Rozakis-created maze (#251) and word search (#252) and a centerfold poster of the House grounds by Derek Carter (#252).

Jack C. Harris wrote separate three-page bits elsewhere in the early issues, starting with issue #251’s “Tour of the Top Floor of the House of Mystery.” Unlocking a mailroom, Cain introduced readers to a harried Paul Levitz. Other pros appeared in subsequent Harris shorts, notably Joe Orlando and Jenette Kahn (#252), Jack Adler (#253), Mike Gold (#255), and Murray Boltinoff (#256). Harris and Kupperberg showed up themselves in issue #254’s “Gregory the Gargoyle” three-pager.

Other guest-stars were fictional. Eve popped up in issue #253 and joined the Three Witches at Cain and Abel’s Halloween party in issue #256. (Also present at the party was Harvey H. Harvey, a “roving reporter for the Greenwich Grouser” who first appeared in HOM #255’s bridging pages.) Destiny appeared during the interstitial bits in issues #252 and 253 that led into inventory stories he narrated. They overlapped with Destiny’s return in issue #6 of the revived Secrets of Haunted House, published in March 1977. Initially incorporating all the Orlando hosts as it did before, the book soon focused on Destiny alone.

More Scares Await This Wrightson-drawn full-pager in House of Mystery #250 (Feb. 1977) teased the series’ upcoming overhaul— which began with #251—into an 80-page package.

TM & © DC Comics.

16 • BACK ISSUE • Haunted Issue

Secrets’ comeback was edited by Paul Levitz, who was now DC’s Editorial Coordinator. Joe Orlando, meanwhile, had become the publisher’s managing editor and he began relinquishing his old editorial assignments. Levitz took over House of Mystery with issue #255 (cover-dated Nov.–Dec. 1977, on sale in August) and House of Secrets with issue #149 (on sale in September with a Jan. 1978 cover date).

“I wasn’t the editor earlier, even unofficially,” Levitz emphasizes to BI. “I did usually pick stories out of the inventory, and I liked making extra bucks ($15 each) writing intro pages, so I probably aimed the page count combination to permit that. But Joe okayed the picks and worked with Carmine on covers. As an assistant I sometimes edited scripts, and usually got to suggest a preferred artist on the ones going to the Philippines but I never made art assignments to American artists or bought scripts.”

Among his first acts was exhuming a striking old Bernie Wrightson piece featuring a grotesque swamp creature. Originally seen in the 1971 fanzine Reality #2, it was revised by the artist for a prospective House of Mystery cover but never used beyond centerspread art in The Amazing World of DC Comics #2 (1974).

Levitz was determined to change that, using it as the cover of HOM #255 and commissioning a matching story by newcomer Cary Burkett and artist Frank Redondo.

Another Wrightson cover adorned HOM #256’s Halloween edition after which Joe Orlando was recruited to pencil the next three (with inks by Dick Giordano).

On Levitz’s watch, the lapsed practice of employing new creators on the mystery books made a welcome return. A humble one-pager in issue #255, for starters, was the first published work by penciler Alex Saviuk. In issue #257, Mark Bright essentially drew himself into his first comics story. Scripted by fellow newcomer Scott Edelman, the three-pager dealt with a budding artist willing to go to any lengths to replace an entrenched veteran cartoonist. Other creators early in their pro careers included writer Greg Potter (HOM #259), and artists Michael Golden (HOM #257, 259; HOS #148, 149, 151), and Bob McLeod (HOM #258).

Still a 32-page title, House of Secrets offered limited possibilities for experimentation, but Levitz quickly perked up its covers, with fine pieces by Michael Kaluta (HOS #149, 151, 154), Jim Starlin (HOS #150), Ernie Chan (#152), and Jim Aparo (#153). Issue #151 was bookended by experimental, visually strong stories by artists Arthur Suydam and Michael Golden (with respective scripters Cary Burkett and Roger McKenzie).

Levitz was also a fan of the Phantom Stranger—a character he’d written at the end of the hero’s run in 1975—and decided to return him to the spotlight twice in the fall of 1977. Following a team-up with Deadman in October’s DC Super-Stars #18, the Stranger joined Abel and his skeptic frenemy Dr. Thirteen for a full-length adventure in November’s House of Secrets #150. Gerry Conway wrote a direct sequel to a story of his from HOS #89 (1970) that had involved a Catholic priest and Jewish rabbi pooling their faiths to thwart an incursion by Satan.

Don Heck drew the original and Gerry Talaoc the followup.

“I think Gerry had a gap in his schedule, and I wanted to do something out of the ordinary,” Levitz recalls.

“I had fond memories of his early Phantom Stranger stories that had Dr. Thirteen connections.” In issue #153’s letters column, Levitz teased “that plans are in the works for some new Phantom Stranger stories by Len Wein and Jim Aparo to appear later [in 1978].”

Third Time’s a Charm (top) Bernie Wrightson’s swamp creature illo for the fanzine Reality #2 eventually (bottom) found its way into print in the fanzine The Amazing World of DC Comics #2 before (inset top) new HOM editor Paul Levitz had a story built around it for publication in issue #255 (Nov.– Dec. 1977).

TM & © DC Comics.

Haunted Issue • BACK ISSUE • 17

PLOP GOES THE IMPLOSION

No Secrets (with apologies to Carly Simon) (top) The final issue of House of Secrets, #154 (Oct.–Nov. 1978). Cover by Michael Wm. Kaluta. (inset) Kaluta’s giant-spider cover art intended for Weird Mystery Tales #26 was (bottom) reappropriated for publication in House of Mystery #263.

TM & © DC Comics.

18 • BACK ISSUE • Haunted Issue

Like many of the publisher’s 1978 plans, it was not to be.

June was the month that kicked off the DC Explosion, a companywide makeover that increased the page count of all of its standard books from 17 to 25 pages of story with an attendant price hike from 35¢ to 50¢ [see Keith Dallas and John Wells’ excellent book from TwoMorrows, Comic Book Implosion, for a deep dive into this topic—ed.].

Coinciding with the move, House of Mystery abandoned its Dollar Comic format with issue #260 in June. Had the package not sold as well as hoped? “I wouldn’t assume any particular logic behind the format shifts of that period,” Levitz cautions. “Lots of reactions and over-reactions.”

The reaction that mattered was that of Warner execs, who demanded that the initiative be halted immediately.

DC’s bestsellers would continue on as 40¢ comics on a uniform monthly schedule with a smattering of bimonthly Dollar Comics. The weaker titles were culled from the line immediately. The cancellations included Secrets of Haunted House (for the second time), The Witching Hour, the recently launched Doorway to Nightmare (starring Madame Xanadu), and… House of Secrets, with July 1978’s issue #154.

Seeking to salvage some of the material, DC upgraded The Unexpected to a Dollar Comic effective with issue #189 and effectively made it a triple-feature with the Three Witches and Abel each claiming a third of the book.

Doorway to Nightmare stories also appeared in evennumbered issues. Jack C. Harris was named editor of the collective package.

A Romeo Tanghal– illustrated gag page in issue #190 found Abel slipping off to his new comic book, delighted to finally be free of his abusive old dwelling. His smile fell away once he opened a door at the DC offices that led right back to the House of Secrets.

“We thought you knew,” his editor chortled. “The only rule of your new job is to expect the unexpected!”

House of Mystery handled some of the spillover, too. The Michael Kaluta cover and related Jack Oleck/Bill Draut story meant for the canceled Weird Mystery Tales #26 ran in November 1978’s HOM #265 instead. For the mystery books, coordinating excess inventory was just a typical day at the office.

“The intro page count was downscaled to a single page beginning with HOM #260’s downscaling of page count,” Paul Kupperberg notes, “and I continued writing these horror tableaus through to #275.

By the way and just FYI, I was simultaneously writing the HOM letters columns the whole time I was doing the intros.”

Amidst this tumult, a budding writer named John Marc by such writers as Carl Wessler, Jack Oleck, Bob Kanigher, and DeMatteis was trying desperately to break into comics. His first even Len Wein, that I got to assign to artists, but the most submission to Paul Levitz was not a success, he recalled in DC I actually got to do on the title was come up with cover Through the 80s: The End of Eras (2020). “He took the time to concepts culled from existing stories. This gave me the analyze my stories and offer constructive (sometimes bluntly opportunity to work with stellar cover artists such as Mike constructive) feedback. His reply, dated August 22, 1977 […] Kaluta, Jim Starlin, Joe Orlando, Luis Dominguez, and Steve very politely, succinctly—and accurately—tore my stories Ditko! [Editor’s note: Jack’s excellent 2023 TwoMorrows book to shreds. The last line was a classic. ‘You’re welcome to Working with Ditko details his dealings with the enigmatic submit more ideas in the future, but I suggest you use a co-creator of the Amazing Spider-Man and the Creeper.] professional typing service or type more slowly. The “I also had lots of fun writing intro pages to each physical presentation of your manuscripts leaves issue I edited. Since the inventoried stories were all something to be desired.’” different page lengths, it was easier to just write The 23-year-old absorbed the critique, an intro page than to try and add a page to a persisted, and ultimately sold a script entitled tale that had already been written and/or drawn “The Lady Killer Craves Blood,” which was to fill out each issue. The first intro I wrote (for illustrated by Gerry Talaoc and added to the issue #276) featured the host Cain welcoming inventory files. Following up with more scripts, me on as editor. The illustration (by Romeo DeMatteis felt his momentum building…

Tanghal) was based on a photo taken in front until the DC Implosion. “Marginal creators like of my house, where Publicity Director Mike Gold myself found themselves cut off,” he continued. posed for the image of Cain.

“I remember sitting in the DC waiting room “The last thing I did for House of Mystery with Paul as he gently explained the situawas the intro page for issue #282,” Harris j. m. dematteis tion to me—and my march to comic book concludes, “wherein I go screaming away as Federico Vinci. glory ended.”

Cain welcomes Len Wein at the new editor. As a Happily, the brilliant career of J. M. DeMatteis was merely fan of the book for so long, it was an honor to be involved with postponed. His pre-Implosion scripts began to see print— it, even for a short time.” On sale in April 1980, the issue also including the tale of an obsessed comic book collector in House established Joe Kubert as Wein’s cover artist of choice although of Mystery #270—and other editors like Jack C. Harris began to the renowned illustrator would occasionally cede his spot to reach out for more. Even his “Lady Killer” story finally reached Michael Kaluta going forward. the stands in April 1980 in HOM #282. Four decades later, the writer is a richly acclaimed industry legend.

Major comic book fan writer Don Thompson—later coeditor of The Comics Buyer’s Guide with his wife Maggie— showed up in a House of Mystery credit box during in January 1979, writing “The Mouse of History” for issue #267. Future CBG columnist Robert Ingersoll penned stories of his own that ran in issues #263 and 282.

Paul Levitz took his leave of House of Mystery with issue #275 in September 1979. Cain welcomed Levitz’s successor Jack C. Harris on the following issue’s intro page (drawn by Romeo Tanghal). Asked about his legacy on the title, Levitz tells BI, “I just wanted to ‘do a good job’ and developed some new or newer writers. Marc DeMatteis was the outstanding one. I think I gave the first art assignments to Mike Golden and Denys Cowan, but not because I ‘discovered’ them. I just had short assignments available when Joe or Vinnie Colletta sent for them.”

“When the Dollar Comics format was discontinued,” Jack C. Harris tells BACK ISSUE, “there was a huge cache of inventoried stories in the files. In 1979, I had been on the staff of DC for five years and had worked on many of the other DC mystery titles both as assistant editor to Murray Boltinoff and on my own. Len Wein was going to come onto the editorial staff, but not for a few months, so they needed an interim editor to oversee House of Mystery for about six months. I ‘edited’ the title from issue #276 to 281. I put that in quotes because 90% of what I did was pulled from the large inventory. Most of the stories were complete. All I had to do was approve the coloring. There were some completed scripts

This Ain’t No ‘Liberry’!

A cantankerous comic shop guy is the subject of J. M. DeMatteis’ “The Collector!,” in House of Mystery #270 (July 1979). Art by James Sherman and Joe Rubinstein.

TM & © DC Comics.

Haunted Issue • BACK ISSUE • 19

A VAMPIRE AND AN EDITOR WITH VERTIGO

Housewarming (left) Splash page to HOM #290’s (Mar. 1980) inaugural “I… Vampire” tale, featuring the art of Tom Sutton. (Look for expanded “I… Vampire” coverage in BACK ISSUE #95.) (right) New editor Karen Berger drops in on Cain and the House at the opening of issue #282 (May 1981).

Intro page written

by Berger and drawn

by Romeo Tanghal.

Len Wein’s tenure lasted only a few months longer than Harris’, but he left his mark. The new editor wanted to add something that the book hadn’t had since 1968: an ongoing series. Approaching J. M. DeMatteis, he presented him with the title “I… Vampire” and challenged him to run with it.

“I came back with another idea I’d had cooking for a while, Greenberg the Vampire,” DeMatteis told Don Vaughan in BACK ISSUE #95 (2017).

“Len didn’t think the tale of a Woody Allen–ish, New York vampire fit the bill (I later sold the idea to Marvel), but he liked the fact that there was a love story between two vampires at Greenberg’s core.” Instead, DeMatteis developed a different concept about a vampire named Andrew Bennett, who’d spent centuries fighting the forces of his ex-lover Mary, Queen of Blood. With artist Tom Sutton attached, “I… Vampire” premiered in December 1980 in House of Mystery #290.

Oddly enough, DeMatteis was also inadvertently responsible for finding Wein’s replacement on the title. He was friends with a Brooklyn College student named Karen Berger. Although she’d never had any interest in comic books, she was fascinated by the issues that DeMatteis was sharing with her.

When he told her that Paul Levitz was interviewing for an administrative assistant who wasn’t into comics, she applied for and won the job. Berger impressed her boss enough to become the new editor of House of Mystery as of issue #292. Like

TM & © DC Comics.

20 • BACK ISSUE • Haunted Issue

Harris and Wein before her, she met Cain on a Romeo Tanghal–drawn intro page.

“One of my stories in that issue was actually rejected by the Comics Code,” she recalled to Paul Levitz in 2017 (paullevitz.com/a-conversationwith-karen). “It was written by Marc. I was crestfallen.

Now I wear it as a badge of honor.”

The early 1980s saw a surge of fresh faces contributing to House of Mystery. Some were established pros who’d returned to DC like writer Bruce Jones and artists Keith Giffen, Carmine Infantino, and Dan Spiegle. Others were newcomers such as illustrators Stephen Bissette, Denys Cowan, Jan Duursema, Ron Randall, Marc Silvestri, Mark Texeira, and Thomas Yeates, along with writers like Joey Cavalieri, Robert Loren Fleming, and the team of Dan Mishkin and Gary Cohn. Friends since high school, the latter duo had pooled their strengths to break into comics, ultimately selling a story to Jack C. Harris for Time Warp that led to much more.

Behind a Kaluta cover, the celebratory House of Mystery #300 (cover-dated Jan. 1982, on sale in October 1981) was a fine mix of old and new. Len Wein, Marv Wolfman, and Gerry Conway signified the early days with separate scripts (respectively penciled by Gil Kane, Joe Staton, and Johnny Craig), while Mishkin and Cohn represented the next generation with a cute Cain the Caretaker yarn drawn by Adrian Gonzales and Larry Mahlstedt.

A Bruce Jones/April Campbell tale drawn by Dan Spiegle closed the issue.

Cain, Abel, and the Three Witches were all smiles on the intro page

by Joe Orlando (present as a jester), but sales of the mystery line were no longer cause for festivities. The audience for episodic spinner rack horror was shrinking and there was nothing that could be done. Unexpected, which had reverted to standard size in December 1979, transferred Abel over to Secrets of Haunted House, displacing Destiny as of issue #40, but it had no effect. Secrets, which had been revived for a second time in May 1979, ended with issue #46 in December 1981. There would be no more reprieves. Left in limbo, according to The Comic Reader #196 (Oct. 1981), was a 16-page Batman/Abel story by Robin Snyder and penciler Howard Bender slated for Secrets of Haunted House #49.

Ghosts and Unexpected were each canceled two months later. House of Mystery clung to life, its name still deemed strong enough to warrant a May 1982 reprint digest (DC Special Blue Ribbon Digest #24) and an October 1982 Superman team-up (DC Comics Presents #53).

The regular title continued to offer the occasional surprise for those paying attention. Curt Swan and Murphy Anderson stopped by to draw a funny page written by Steve Ringgenberg (HOM #302).

Teenager Stephen DeStefano’s energetic cartoony correspondence with DC’s Answer Man Bob Rozakis led to him breaking in with a one-page “I… Baby Vampire” in issue #306, a feature that recurred in HOM #313 and 321. Along with other gags in issues #311, 314, and 321, DeStefano used his page in HOM #315 to reveal that Abel—postcancellation—was now the House of Mystery’s janitor.

“I… Vampire” survived J. M. DeMatteis’ departure for Marvel, passing into the hands of Bruce Jones and then co-writers Mishkin and Cohn, who united with Tom Sutton to definitively end the saga in issue #319. Two issues later, Karen Berger locked the doors on The House of Mystery itself.

Mishkin and Cohn, joined by artist Adrian Gonzales, penned “This Property is Condemned” for issue #321. Guest-starring Berger and Orlando, it found an exasperated Cain being informed that his home was being demolished in favor of the Condo of Fun. “Frankly, Cain,” his editor informed him, “we’re after a more upscale market. This is a business, after all.” In the end, the caretaker prevailed, but it was a pyrrhic victory. The house collapsed around him, and a second Cain stepped into the foreground to narrate the story to a close.

“The House may be canceled, but it can never be destroyed… not as long as humans harbor secret fears within their hearts. And though banished from the newsstands, Cain too still lives.”

“It was fun to write,” Dan Mishkin tells BACK ISSUE. “I’m fairly certain it was Karen Berger who asked for a framing sequence that would basically announce this was the final issue of HOM. Taking a meta approach and having Cain be given his walking papers

by DC sounds like something I might have suggested, but I just don’t know.” An amused Cohn adds that he and his partner made a cameo on the splash page: “Oh, look, it’s dan mishkin Mishkin–Cohn, the two-headed writer!” © Luigi Novi / Wikimedia Commons.

Sandwiched between the larger story were a pair of DeStefano gags and two last horror tales. One of them was “Government Vampire,” which involved a soldier being bitten by

He’s Teething! (top) Stephen DeStefano’s “I… Baby Vampire” strip from House of Mystery #306 (July 1982). (Looking for more li’l heroes?

Check out BI #153, our “Big Baby Issue” starring the X-Babies, still on sale at TwoMorrows.com!) (bottom) Writers Dan Mishkin and Gary Cohn, with artist Adrian Gonzales, helped close the door on The House of Mystery with issue #321 (Oct. 1983).

TM & © DC Comics.

Haunted Issue • BACK ISSUE • 21

We Dig These Brothers The House of Mystery was gone but not forgotten

by Cain and Abel in this delightful 2000 Michael Wm. Kaluta illustration commemorating the DC horror series.

Original art courtesy of Heritage. (inset) Kaluta had earlier laid the House to rest by drawing the cover for its final issue, #321.

TM & © DC Comics.

vampires during the Vietnam War and eventually becoming a presidential advisor. Written by J. M. DeMatteis, it was the same story that the Comics Code had previously rejected for Karen Berger’s first issue of House of Mystery. This time, she laughed in her 2017 interview with Paul Levitz, “it went through with flying colors.”

In the wake of House of Mystery’s demise, much attention was focused on the fact that the mystery books had served as a training ground for newcomers. To that end, a title called New Talent Showcase [see BI #71—ed.] was launched in October 1983, affording opportunities for young writers and artists to flex their muscles in genres other than horror.

That same month, however, a British writer named Alan Moore took over the Saga of Swamp Thing comic book with issue #20 and quickly made it apparent that there was nothing wrong with the horror genre, per se. That is very much another story, but it’s important to note that Moore reintroduced Cain and Abel in Swamp Thing #33’s “Abandoned Houses” in 1984.

Their appearance was essentially a framing sequence to justify a reprint of House of Secrets #92’s first Swamp Thing story. Set within a dream of Abigail Cable, it re-contextualized the nature of the Houses of Mystery and Secrets, enriching the mythology of the mystery hosts.

Those observations weren’t immediately acted upon. Instead, House of Mystery alumni Mishkin and Cohn revived Cain for their Blue Devil title in issue #20 in October 1985. Now the caretaker of the House of Weirdness, he served as BD’s landlord in a property whose doorways could take one from the west coast to the east in the blink of an eye.

That same month, Cain’s old home was claimed by a real-life TV horror hostess in Elvira’s House of Mystery #1. A continuation of New Talent Showcase, it attempted to preserve the old mystery mix of newer creators and less-in-demand older ones.

By licensing Cassandra Peterson’s film persona, DC hoped to 22 • BACK ISSUE • Haunted Issue

draw in readers who might have ignored the House of Mystery name on its own. The series ultimately ran 11 issues and one Christmas special, revealing near the end that Cain, Abel, Destiny, and the Three Witches were all still in the House of Mystery and haunting Elvira [as you’ll read later in this issue in our Elvira’s House of Mystery article—ed.].

Ultimately, it was Neil Gaiman who finally solidified the hosts’ place in DC mythology, incorporating them all into his 1989 Sandman series, beginning with issue #2. Building on the earlier Alan Moore story, he situated many of them within the Dreaming, reconceiving some of them—notably the Three Witches—and making one—Tales of Ghost Castle’s obscure Lucien—a major supporting character. Editing Moore’s Swamp Thing and Gaiman’s Sandman was none other than former HOM editor Karen Berger, who would editorially steer DC’s “Mature Readers”–labeled new wave of horror titles into the prestigious Vertigo imprint.

The evergreen popularity of Gaiman’s Sandman—readily available in trades and hardbacks, and recently explored in these pages in BACK ISSUE #151—ensured that the Houses of Mystery and Secrets would remain a familiar part of DC lore.

Cain and Abel not only continue to emerge in periodic DC titles, but the first several years of both House of Mystery and House of Secrets have been collected in both black-andwhite trade paperbacks and handsome color hardback Omnibus editions. Those old houses may have been drafty and in need of new paint jobs, but they were built to last.

JOHN WELLS is a comics historian specializing in DC Comics. He is the author of the TwoMorrows books American Comic Book Chronicles: 1960–1964 and 1965–1969, and co-author (with Keith Dallas) of the book Comic Book Explosion.

by A l i s s a

Marmol-Cernat

Haunted Hearts Gothic romance cast its dark shadows upon these early Bronze Age DC titles: (left) Dark Mansion of Forbidden Love #1 (Sept.–Oct. 1971).

Cover painting by George Ziel. (right) Sinister House of Secret Love #1 (Oct.–Nov. 1971).

Cover painting by Victor Kalin.

TM & © DC Comics.

DC Comics’ long-standing tradition of horror anthologies is well known among comic book enthusiasts of all ages, the genre having seen a sudden surge in popularity at the dawn of the Bronze Age, after surviving the troubled 1950s and the limitations imposed by the Comics Code Authority. Even now, yearly Halloween specials call back to the classics.

However, either through a multitude of adaptations featuring their hosts or mere longevity, it’s really only House of Mystery and House of Secrets that have breached the mainstream and may be considered—if you’ll excuse the pun—household names.

But what about all those other sinister houses and forbidden mansions counted among DC’s menagerie of horrors? It’s high time you, dear reader, joined BACK ISSUE in an exploration of these twisting hallways of the obscure.

BAD ROMANCE

Dark Mansion of Forbidden Love and Sinister House of Secret Love were DC’s proverbial other houses. Sister titles and effectively companion pieces to one another, they both initially showcased full-length tales of gothic romance before an abrupt rebranding to Forbidden Tales of Dark Mansion and Secrets of Sinister House with their respective fifth issues in the summer of 1972.

According to American Comic Book Chronicles: The 1970s, the 1966 soap opera Dark Shadows served as the original inspiration for the books. While the similarities to the hit TV show are undeniable, the stories published within those first five issues most certainly hail from the gothic literary tradition made famous by the likes of Mary Shelley and Charlotte Brontë. In fact, virtually every staple of the Haunted Issue • BACK ISSUE • 23

genre is present and the tales within invariably seen outside of general romance comics, the one follow the same structure: an innocent heroine other ostensibly “feminine” genre. falls for a handsome stranger with a mysterious Every issue featured a painted cover by artists past, and must contend with supposedly supersuch as Jeffrey Catherine Jones, Victor Kalin, natural, ultimately mundane forces that wish and Jerome Podwil, among others—all darkly to do her harm before she can earn her atmospheric covers, more reminiscent of happy ending. pulps than anything else, and undoubtedly If seemingly repetitive at a glance, these visually striking on the stands. As the late Joe gothic romances were compelling, mature, Orlando—later the editor on both titles—put often genuinely eerie, and altogether different it in an interview published in Comic Book from their more famous contemporaries. It Artist #1 (Spring 1998), “That’s because at that comes as no surprise then that Dorothy time, the Gothics in the paperback market Woolfolk, one of the first women in the were doing so well. I studied the covers on dorothy woolfolk industry, was the editor behind Dark Mansion the paperbacks and they always had the of Forbidden Love, as well as the first issue of woman in the foreground, a sinister guy Sinister House of Secret Love, and both series showcased an pursuing them, and a house or castle in the background with astounding number of female protagonists never before always one window lit. So that was a formula I used.”

Forbidden Tales Although the series’ title changed to (left) Forbidden Tales of Dark Mansion with issue #5 (May–June 1972), its hypnotic Nick Cardy cover art still suggested the book’s gothic content.

Before long, with a new logo, Dark Mansion was delivering standard DC horror fare—often buoyed by extraordinary artwork such as (right) Michael Wm. Kaluta’s macabre melting man on the cover of #13 (Oct.–Nov. 1973).

TM & © DC Comics.

24 • BACK ISSUE • Haunted Issue

THE REALM OF THE DARK MANSION

Dark Mansion of Forbidden Love #1 (Sept.–Oct. 1971), the first of the gothic line to hit the shelves, told the tale of Laura Chandler, an orphan set on investigating the death of her best friend after accepting the offer to work and live in the imposing Langfrey House—the site of her friend’s mysterious death, and her husband’s ancestral home. One of the most memorable sequences involves Laura’s late-night wanderings around the manor and her bizarre encounter with a ghostly looking young girl confined to a disused floor of the house; as the girl frightens Laura away with a sing-song chant of “Mommy locked me up… Mommy locked me u-up…,” it becomes immediately apparent that this is to be one of the most chilling stories of the bunch.

It was a fitting start for a new variety of horror comics, and this first issue even came with a real life mystery of its own. While the story is magnificently rendered by Tony DeZuniga, the unknown writer is only mentioned in the letters column of the second issue as “an Englishwoman who, for reasons of her own, wished to remain anonymous.”

The rest of the series follows the tone set by its debut, with Tony DeZuniga and Don Heck alternating as regular interior artists, and Jack Oleck and Dorothy Manning penning an issue each amongst a gaggle of uncredited writers. Most stories were period pieces, best exemplified by the Dracula-esque “Kiss of Death” in #3 and its strange tale of the enigmatic Baron Dravko and the beautiful nurse he’d summoned to his castle.

By issue #5 (May–June 1972), the book would become Forbidden Tales of Dark Mansion but it would take another issue for its contents to fall in line with the more familiar—and no doubt commercially successful—type of horror anthologies DC was publishing at the time.

This final issue centered around romance, entitled “They All Came to Die” and attributed to the creative team of Jack Oleck and Don Heck, evidently took its cues from Agatha Christie’s And Then There Were None and saw six people trapped on an island with a killer intent on making each of them pay for their greatest secrets.

The following issue, which also marked the end of Dorothy Woolfolk’s tenure as editor, ushered in the classic anthology format with a double feature consisting of a high-stakes Jack Kirby tale about a crime-solving psychic and an unsettling story of one woman’s pursuit of riches by Mike Friedrich and Jose Delbo.

It wasn’t just the theme and format that would change for the former gothic romance title, though; issue #7 (Sept.–Oct. 1972)— the first published under Joe Orlando’s editorship—completed the transformation into something of a House of Mystery/Secrets replica by introducing a host for the first time in the book’s history. Unlike Cain and Abel’s humorous hijinks, the Witch of the Dark Mansion left a much more tonally appropriate impression—first seen in an eye-catching Michael Kaluta splash page, the Witch was a thin, purple-clad woman with a wild mane of dark hair raising a toast to “dark mansions!” against the sinister silhouette of one such house with a chained man kneeling at her feet. The Witch would continue appearing in every issue of the anthology, even once Denny O’Neil assumed editorial reins with #13 (Oct.–Nov. 1973), and right up until an untimely cancellation with issue #15 (Feb.–Mar. 1974).

Interestingly enough, if Forbidden Tales of Dark Mansion occupies the annals of the obscure, then at the very least it certainly hasn’t been forgotten altogether—its host would later resurface as a supporting

Urban Renewal With its fourth and final issue (Apr.–May 1972) under its original Sinister House of Secret Love title (top), a change in logo occurred. Cover by Tony DeZuniga. The title was renamed Secrets of Sinister House with #5 and soon eschewed its gothic roots, featuring traditional DC horror material like (bottom) this eye-catching Nick Cardy cover on issue #16 (Jan.–Feb. 1974).

TM & © DC Comics.

Haunted Issue • BACK ISSUE • 25

character in the James Robinson/Tony Harris seminal classic Starman under the name of Charity. If there’s any doubt as to our Witch’s identity, during Charity’s first appearance in Starman #2 (Dec. 1994), she helpfully explains: “Down south, I had a house big and damp. Locals had a name for it… ‘The Dark Mansion,’ they called it. And they’d come to hear my stories… my ‘forbidden tales.’”

It’s a nice reminder that even the short-lived Dark Mansion still lives on somewhere out there.

CAN YOU FACE THE…

Sinister House of Secret Love kept to much the same trajectory as its sister title, although issue #1 (Oct.–Nov. 1971) actually featured two stories before reverting to the full-length novel format. Its debut showcased a thrilling drama entitled “The Curse of the MacIntyres” with art by Don Heck, which followed the quintessentially gothic setup of a recently orphaned young woman moving to a desolate castle in the Scottish countryside with a strange cousin she’d only just met, and the appropriately named “A Night to Remember—A Day to Forget!” by John Calnan and Vince Colletta—one of the rare outings set in the then-present, a tale of enduring love between the ghost of a sea captain and a tourist who resembles his sweetheart of so long ago.

By the next issue, Joe Orlando would take over as editor from Dorothy Woolfolk and #2 (Dec. 1970–Jan. 1971)— “a graphic novel of gothic terror,” as described on the cover—explored an intense tale of two lovers torn apart by a demon-worshiping cult in “To Wed the Devil,” written by Len Wein and Orlando himself.

The real highlight of the series comes in issue #3 (Feb.– Mar. 1972) with “Bride of the Falcon,” written by Frank Robbins and drawn by Alex Toth with inks by Frank Giacoia.

The titular bride is an American magazine proofreader named Kathy who, after starting a long-distance relationship with an Italian count, comes to the isolated Isola Tranquillo for a new life with the count and his paralyzed mother, but all is not what it seems. With a contemporary setting and gothic sensibilities, Toth’s pencils are dynamic, deeply concerned with creating atmosphere and so firmly set on showcasing the get-up-and-go fashion of the early 1970s that the story can be counted among some

The Lighthouse of Mystery Luis Dominguez, no stranger to mid-’70s DC spooky covers and stories, provided this cover art for Secrets of Haunted House #1 (Apr.–May 1975).

TM & © DC Comics.

26 • BACK ISSUE • Haunted Issue

of the most exciting work in the legendary cartoonist’s catalog.

Although the series would revolve around gothic romance for one issue longer, the next issue marked the end of the run under the book’s original moniker. Now called Secrets of Sinister House, the series retained its initial numbering and the next issue saw the last of the thrilling romantic tales that had once made the two companion titles so unique in the midst of DC’s other horror books.

By issue #6 (Aug.–Sept. 1972), the series would officially become an anthology and even find a host in the biblical Eve—depicted as a crone with an affinity for ravens, and first introduced in an extended prologue drawn by Michael Kaluta. Cain and Abel would also have occasional guest appearances throughout the series’ various framing sequences, although their relationship with Eve is never firmly established as familial or otherwise.

Around that same time, the book also gained a letters column entitled “Witch’s Tales,” which Eve “answered” in-character, and that ran until her final appearance in issue #15. That also marked the end of Joe Orlando’s time on the series; and under Murray Boltinoff’s editorship, the book switched focus in favor of exploring the concept of “sinister houses”—“We will aim each story here to fit specifically, to relate directly to its title of Sinister House,” as stated in the announcement of a new editorial direction in #16 (Jan.–Feb. 1974).

Ultimately, it turned out the new direction wasn’t meant to be, and Secrets of Sinister House was suddenly canceled two issues later. All the same, the series had had a good run, having outlived Forbidden Tales of Dark Mansion by a couple months and even landed a hefty collection of reprints in 2010’s Showcase Presents: Secrets of Sinister House.

WE DEFY YOU TO UNLOCK THE SHOCKING…

Secrets of Haunted House was the last of DC’s so-called “other houses,” and the most successful outside the mainstay big two. Unlike its predecessors, there were no genre changes to contend with and the anthology lasted for four years and 46 issues. However, this isn’t to say that the book’s history is altogether untroubled.

After a five-issue run under editor Joe Orlando, which introduced the ominous Destiny as host and featured stories by the usual suspects such as Jack Oleck and Robert Kanigher, a two-year gap in publication inexplicably followed. The series eventually returned with issue #6 (June 1977) with Paul Levitz as editor and kept to its usual bimonthly schedule, even being treated to a 48-page showcase of standalone “all-new chillers” in DC Special Series #12 (Spring 1978), until an abrupt cancellation with issue #14 (Oct. 1978) at the dawn of what we colloquially know as the DC Implosion.

CAN’T KEEP A GOOD HOUSE DOWN

As far as this “look” goes, Mister E’s design The DC Implosion wasn’t to be the end of certainly makes for an especially memorable Secrets of Haunted House, though. A year lat- one in the general landscape of horror comics—the all-white suit, the salter, the book was resurrected as a monthly and-pepper hair, the red glasses, title with editor Jack C. Harris brought and the white cane permanently on board, and the anthology’s real carried around in a pleasant claim to fame quickly approachdevotion to the every-day realism ing. of his disability. In fact, Mister E Speaking to BACK ISSUE about has a surprising connection to one his early days on the book, of the most iconic blind heroes in Harris recalls, “I began working the business. According to Harris, on Secrets of Haunted House “The biggest revelation I can tell during one of the many and freyou about Mister E was that he was quent editorial changes that ocoriginally created to be the Earthcurred at DC. When I first began One parallel to Earth-Two’s Doctor working there, I was Murray Mid-Nite! The higher-ups at DC Boltinoff’s assistant editor and jack c. harris nixed that idea, feeling that there cut my teeth on titles Murray Facebook. were already too many parallels.” edited, such as Ghosts. When I Despite that missed connection with the inherited the title, there were dozens of stories in inventory; so many, in fact, that I didn’t Justice Society of America, Mister E still had commission more than one new story and a cover per issue. Most of the non-cover stories were just pulled from the files.”

It was around this time that the series saw the introduction of its first and only recurring character: the infamous Mister E. Later given new life in a Vertigo-esque darker incarnation, the Mister E who made his debut in Secrets of Haunted House #31 (Dec. 1980) was just what his name dictated—a mystery. Created by Bob Rozakis and Jack C. Harris with art by Dan Spiegle, that first appearance was an unmitigated breath of fresh air, built around an unconventional story structure that follows audiencesurrogate Kelly O’Toole long before we meet our enigmatic protagonist and a bait-andswitch climax that reveals Kelly’s benefactor and employer to be the “twice-cursed” man that Mister E had been hunting down off-panel.

As a matter of fact, E appears startlingly little in this initial story and the readers never do learn any more about him beyond the business card he hands Kelly that declares him to be a historian.

Sharing a few insights with BACK ISSUE about the process behind Mister E’s creation, writer Bob Rozakis explains: “Jack was the editor of Secrets of Haunted House and wanted to add a series character to the book. He tapped me to be the writer, and so we sat down and started working out details. We hit on the idea of the character being blind and the line ‘Blind he may be, but evil he can see.’ I pushed for Boston as the locale because I thought the area’s history would lend itself to plot ideas.

We kicked around some names, but it was not until I was home that evening that ‘Mister E’ (‘mystery’) hit me. Editors don’t get creator credit, so I don’t think Jack has ever gotten any recognition other than that first issue.

Dan Spiegle’s first contribution came when he received the script and drew the story.”

“Most of the stories were created during editorial meetings,” adds Jack C. Harris. “The scripts were 99% Bob’s with my 1% editorial input. The artist followed Bob’s detailed descriptions for Mister E’s ‘look’.”

Your Destiny Awaits Courtesy of Heritage Auctions, original art by Russ Heath from DC Special Series #12 (Spring 1978), a.k.a.

Secrets of Haunted House Special, featuring the cowled caretaker Destiny and other DC horror hosts.

TM & © DC Comics.

Haunted Issue • BACK ISSUE • 27

The House of Mister E (left) The opening page of issue #31’s Mister E tale, by Bob Rozakis and Dan Spiegle. (right) Twice-cursed, indeed! Vampires and werewolves??

That’s a lethal combo! Original cover art by Rich Buckler and Bob Smith, for Secrets of Haunted House #32 (Jan. 1981).

Courtesy of Heritage.

TM & © DC Comics.

plenty of strange adventures of his own during Reflecting on the character he co-created, his regular feature in Secrets of Haunted House. Rozakis tells BACK ISSUE, “I was disappointed Lasting for ten issues until #41 (Oct. 1981), the when Jack left and Dave Manak took over the historian encountered everything from zombies book because Dave had no interest in keeping to leprechauns to a Frankenstein-like creature, E in the lineup. Looking back at the series, not to mention demons and supernatural hounds. it was a lot of fun to write; particularly the More often than not, Mister E seemed to be armed stories that were inspired by historical and with nothing more than an uncanny sense literary sources. I would have enjoyed of timing. continuing to turn out new adventures As Rozakis reveals, “We wanted for E, Kelly, et al. to maintain an air of mystery about “I was somewhat disappointed what powers Mister E had or didn’t by the later use and ‘Vertigo-ization’ have. The cover of the first story of the character, particularly the was set up so the readers could reason for his blindness,” Rozakis not be sure who was the hero reveals. “I told Jack that the line and who was the villain. Kelly from the Simon and Garfunkel (who got her first name from song, ‘Flowers Never Bend with Jack’s first wife) was essentially the the Rainfall,’ summed it up: ‘I am ‘Watson’ to Mister E’s ‘Holmes.’ blinded by the light of God and She was not really sure what E’s truth and right.’” powers were either.”

To that end, Harris confirms bob rozakis

By Mister E’s final story, he’d a final factoid that never got © Luigi Novi / Wikimedia Commons. gained another assistant in David the chance to be explored: Neu, and the trio seemed well on their way “We never got around to telling his origin, to a bright future of mystery-solving. Editorial but we were kicking around the idea that changes, however, ensured a swift end to he lost his eyesight and gained his powers E’s adventures, and Secrets of Haunted House because he actually got to see God faceitself only lasted another five issues after Jack to-face.”

C. Harris’ departure.

28 • BACK ISSUE • Haunted Issue

Freed from Limbo (left) Neil Gaiman incorporated Mister E into his evolving supernatural corner of the DC Universe in Books of Magic #4 (June 1991). Cover

by Paul Johnson.

On its heels came (right) a four-issue Mister E miniseries.

Cover art to Mister E #1 (June 1991) by Merritt Dekle.

TM & © DC Comics.

A DARK TURN

helm, the four-issue miniseries explored the dark corners of While Secrets of Haunted House might have been down for E’s traumatized psyche while undertaking themes of sexuality the count, its breakout star was not. Nine years after his and childhood abuse in a manner now rarely seen outside of last appearance, Mister E resurfaced in Neil Gaiman’s The DC’s mature imprints.

Chatting with BACK ISSUE about the origins of this daring Books of Magic. One of the four mystics tasked with teaching young Tim Hunter about magic, Mister E now made title in the pre-Vertigo era, series editor Stuart Moore reveals: for an intimidating figure. The real shock came in issue #4 “Mister E was one of the DC mystical characters who’d been (Apr. 1991), where Mister E takes Tim to the end of time, revamped in Neil Gaiman’s original Books of Magic miniseries.

Karen Berger, as I remember, wanted at least one spinoff and having glimpsed a future in which the boy may one from the book—we did a long-running Tim Hunter day pose a threat to humanity, proceeds to try and series a few years later, but in the meantime, I was kill him before he’s unceremoniously stopped by asked if I’d come up with something involving Destiny and Death alike. one of the other characters. I’d worked with Yet, in many ways, Mister E was the same K. W. Jeter before; he’d written several acclaimed man he’d always been. The character who’d sci-fi novels at that point and I knew he had come back from apparent obscurity was less an interest in comics. He took the Mister E a complete reinvention of Rozakis and Harris’ character as Neil had reconceived it, and made original version and more of a radical expanthe whole thing even more twisted and bizarre. sion on preexisting themes—the foundation “There were limits on content, of course, but of that paranormal investigator and historian of we were pushing them constantly—that was nine years past taken to a natural extreme, a one of the exciting things about that time. The fascinating one in a landmark series that would culture was changing fast around us, and we herald the coming of the Vertigo imprint. stuart moore really wanted to keep up. It was actually a bit In effect, the religious angles glimpsed in © Luigi Novi / Wikimedia Commons. tricky because—and people don’t remember Secrets of Haunted House had only been made clearer; E’s powers were now defined as the ability to sense this—Neil’s original series was not mature-rated. By the evil in a literal version of his first appearance’s tagline (“Blind time we started doing the spinoffs, we were getting close to he may be—but evil he can see—!”) and a penchant for spinning the editorial group off into Vertigo, and most of the walking through time, which did account for his “right time, titles got the rating—Doom Patrol, which had been all-ages, right place” approach to previous cases. As written by Gaiman, picked up the mature label in the middle of Grant Morrison’s Mister E’s outlook is succinctly explained in that final issue: run. Mister E really couldn’t have been done any other way.

“I remember it being very stylish—I loved John K. Snyder’s “I do not permit affection, or lack thereof, to influence my actions. There is good, and there is evil. The good must be art,” Moore continues. “I don’t think it had the impact some of our other projects did, possibly because the character himself protected, the evil eradicated.”

It is with that sentiment in mind that Mister E would find his is so cold, so distant. The series was probably the first project way into a whirlwind self-titled book of his own that very same I started from scratch at DC, so it holds a warm little place in year. With writer K. W. Jeter and artist John K. Snyder III at the my cold little heart.”

Haunted Issue • BACK ISSUE • 29

As cold and distant as Mister E might have been, on K.W. Jeter’s notes and suggestions. I also created the there’s no denying the impact the book had as one logo for the series. It’s important to note at this point of the forerunners of Vertigo. At the very least, it Tim Hunter was a brand new character, first introserved to highlight the need for an imprint that duced in The Books of Magic. Because the storyencouraged pushing boundaries and it certainly line had Mister E hunting Tim Hunter through changed the perception of the character for different time periods, I shifted Hunter’s age decades to come. throughout to echo Mister E’s pursuit of Tim Looking back on the project, artist John K. Hunter to Mister E’s childhood self, who had Snyder III tells BACK ISSUE, “The writer K.W. been tormented by his father.”

Jeter definitely had a direction he wanted to go Indeed, the book follows Mister E’s attempts with the story, so I followed through with that. to return from the end of time and kill Tim, His scripts had a very literary format, so there although he finds himself sidetracked by the were some openings to add elements narratively aforementioned Shadower and Temptress— in a visual way. two entities that represent repressed parts of E “There was no real backstory to Mister E, himself, and that ultimately call back to the john k. snyder iii so it was all pretty much building from the abuse he’d suffered at his father’s hands.

Photo by Cara Zimmerman Walton. ground up. I designed secondary characters “K.W. Jeter’s script did approach some such as the Temptress and the Shadower and others based very heavy themes, but I had just come off of adapting Joseph Conrad’s The Secret Agent,” recalls Snyder. “After working on Conrad, I was certainly up to dealing with more of the darker side of the human condition. Visually, I worked in a nearcartoon style depicting Mister E’s brutal childhood past, like a children’s book gone horribly wrong. Jay Geldhof’s inking greatly added to emphasize this look. Like with the developments between Mister E and The Temptress in #3, I was following K. W. Jeter’s script and working to convey it in the layouts literally like a maze, which is the title of the issue. I think the point was to present it all with a sense of ambiguity for the reader to draw their own conclusions about what the meaning of it all was, to allow for some personal interpretation.”

John K. Snyder’s art is still one of the most striking aspects of the miniseries, dynamic and dizzying as to highlight Mister E’s mental state. Elaborating on his process, Snyder explains, “I recall thinking to fully capture Jeter’s time and space-shifting script that the pages needed to have a complete sense of chaos, odd-shaped and tilted panels, a general sense of organized disarray. I was also inspired by the beautifully stylized covers

by Merrit Dekkle, a great choice by editor Stuart Moore. I was a huge David Lynch fan at the time (and still to this day), and his work with Blue Velvet and Twin Peaks was still very new, so that style of interweaving portrayals of contrasting beauty and violence and abuse in a poetic, dream/nightmare-like way was also an influence as well.

“Jay Geldhof did a knockout job on the inks,” Snyder contends, “again emphasizing the changing scenes and layout, and helped bring a clarity to it all. It was a great collaboration.

Along with Tom Ziuko’s bold colors and John Workman’s excellent lettering. I think the book holds up well, and I’m very proud of the work that everyone did on this series, which historically has a place as one of the early beginnings of the Vertigo imprint.

It was an honor to be there at the start.”

The title concludes with Mister E breaking the cycle of abuse started by his father and choosing to let Tim Hunter live. The decision, difficult as it had been, marked a turning point in E’s characterization and set up his gradual return to normalcy in The Trenchcoat Brigade (1999). Although that would be his last starring role until 2021’s Justice League Dark Annual, Mister E’s dark night of the soul throughout the 1990s remains a phenomenal and deeply complex character study, as well as definite proof that the legacy of Secrets of See No Evil?

Haunted House isn’t likely to be forgotten Original Mister E artwork courtesy of penciler anytime soon.

John K. Snyder III: Page 2 from issue #1. Script by K. W. Jeter, inks by Jay Geldhof.

TM & © DC Comics.

30 • BACK ISSUE • Haunted Issue

ALISSA MARMOL-CERNAT is a London-based aspiring filmmaker and freelance writer. A longtime reader of DC Comics, she spends most of her time hunting down back issues.

THE RETRO COMICS EXPERIENCE!

TM

Edited by MICHAEL EURY, BACK ISSUE magazine celebrates comic books of the 1970s, 1980s, and today through recurring (and rotating) departments like “Pro2Pro” (dialogue between professionals), “BackStage Pass” (behind-the-scenes of comicsbased media), “Greatest Stories Never Told” (spotlighting unrealized comics series or stories), and more!

Go to www.twomorrows.com for other issues, and an ULTIMATE BUNDLE, with most issues at HALF-PRICE!

BACK ISSUE #145

BACK ISSUE #146

ER EISN RD !!

AWA NER WIN

BACK ISSUE #141

BACK ISSUE #142

BACK ISSUE #144

SPIES AND P.I.s! Nick Fury from Howling Commando to Agent of S.H.I.E.L.D., Ms. Tree’s MAX ALLAN COLLINS and TERRY BEATTY in a Pro2Pro interview, MARK EVANIER on his Crossfire series, a Hydra villain history, WILL EISNER’s John Law, Checkmate, and Tim Trench and Mike Mauser. With ENGLEHART, ERWIN, HALL, ISABELLA, KUPPERBERG, STATON, THOMAS, and cover by DAVE JOHNSON!

SUPER ISSUE! Superboy’s Bronze Age adventures, and interviews with GERARD CHRISTOPHER and STACY HAIDUK of the Superboy live-action TV series. Plus: Super Goof, Super Richie (Rich), Super-Dagwood, Super Mario Bros., Frank Thorne’s Far Out Green Super Cool, NICK MEGLIN and JACK DAVIS’ Superfan, and more! Featuring a Superboy and Krypto cover by DAVE COCKRUM! Edited by MICHAEL EURY.

BRONZE AGE SAVAGE LANDS, starring Ka-Zar in the 1970s! Plus: Turok—Dinosaur Hunter, DON GLUT’s Dagar and Tragg, Annihilus and the Negative Zone, Planet of Vampires, Pat Mills’s Flesh (from 2000AD), and WALTER SIMONSON and MIKE MIGNOLA’s Wolverine: The Jungle Adventure. With CONWAY, GULACY, HAMA, NICIEZA, SEARS, THOMAS, and more! JOHN BUSCEMA cover!

(84-page FULL-COLOR magazine) $10.95 (Digital Edition) $4.99

(84-page FULL-COLOR magazine) $10.95 (Digital Edition) $4.99

(84-page FULL-COLOR magazine) $10.95 (Digital Edition) $4.99

BACK ISSUE #147

BACK ISSUE #148

BACK ISSUE #149

SPIDER-ROGUES ISSUE! Villain histories of Dr. Octopus, Lizard, Kingpin, Spidey’s mob foes, the Jackal and Carrion, Tarantula, Puma, plus the rehabilitation of Sandman!

Featuring the work of ANDRU, SAL BUSCEMA, CONWAY, DeFALCO, GIL KANE, McFARLANE, MILLER, POLLARD, JOHN ROMITA JR. & SR., STERN, THOMAS, WEIN, WOLFMAN, and more!

DUSTY ABELL cover!

MEN WITHOUT FEAR, featuring Daredevil’s swinging ’70s adventures!

Plus: Challengers of the Unknown in the Bronze Age, JEPH LOEB interview about his Challs and DD projects with TIM SALE, Sinestro and Mr. Fear histories, superheroes with disabilities, and... Who Is Hal Jordan? Featuring CONWAY, ENGLEHART, McKENZIE, ROZAKIS, STATON, THOMAS, WOLFMAN, & more! GENE COLAN cover!

Great Hera, it’s the 20TH ANNIVERSARY OF BACK ISSUE, featuring a tribute to the late, great GEORGE PÉREZ! Wonder Woman: The George Pérez Years, Pérez’s 20 Greatest Hits of the Bronze Age, Pérez’s fanzine days, a Pérez remembrance by MARV WOLFMAN, a Wonder Woman interview with MINDY NEWELL, and more!

With a stunning Wonder Woman cover

by Pérez!

DC SUPER-STARS OF SPACE! Adam Strange in the Bronze Age (with RICHARD BRUNING & ANDY KUBERT), From Beyond the Unknown, the Fabulous World of Krypton, Vartox, a Mongul history, the Omega Men, and more! Featuring CARY BATES, DAVE GIBBONS, DAN JURGENS, CURT SWAN, PETER J. TOMASI, MARV WOLFMAN, and more! Cover by CARMINE INFANTINO & MURPHY ANDERSON!

’80s INDIE HEROES: The American, Aztec Ace, Dynamo Joe, Evangeline, Journey, Megaton Man, Trekker, Whisper, and Zot! Featuring CHUCK DIXON, PHIL FOGLIO, STEVEN GRANT, RICH LARSON, SCOTT McCLOUD, WILLIAM MESSNER-LOEBS, DOUG MOENCH, RON RANDALL, DON SIMPSON, MARK VERHEIDEN, CHRIS WARNER & more superstar creators. Cover

by NORM BREYFOGLE!

(84-page FULL-COLOR magazine) $10.95 (Digital Edition) $4.99

(84-page FULL-COLOR magazine) $10.95 (Digital Edition) $4.99

(84-page FULL-COLOR magazine) $10.95 (Digital Edition) $4.99

(84-page FULL-COLOR magazine) $10.95 (Digital Edition) $4.99

(84-page FULL-COLOR magazine) $10.95 (Digital Edition) $4.99

TwoMorrows.

The Future of Comics History.

BACK ISSUE #151

BACK ISSUE #152

BACK ISSUE #153

BACK ISSUE #154

DREAMS AND NIGHTMARES! A who’s who of artists of NEIL GAIMAN’s The Sandman plus a GAIMAN interview, Sandman Mystery Theatre’s MATT WAGNER and STEVEN T. SEAGLE, Dr. Strange’s nemesis Nightmare, Marvel’s Sleepwalker, Casper’s horse Nightmare, with SHELLY BOND, BOB BUDIANSKY, STEVE ENGLEHART, ALISA KWITNEY, and others! KELLEY JONES cover.

MARVELMANIA ISSUE! SAL BUSCEMA’s Avengers, FABIAN NICIEZA’s Captain America, and KURT BUSIEK and ALEX ROSS’s Marvels turns 30! Plus: Marvelmania International, Marvel Age, Marvel Classics, PAUL KUPPERBERG’s Marvel Novels, and Marvel Value Stamps.

Featuring JACK KIRBY, KEVIN MAGUIRE, ROY THOMAS, and more! SAL BUSCEMA cover.

BIG BABY ISSUE! X-Babies, the last days of Sugar and Spike, FF’s Franklin Richards, Superbaby vs. Luthor, Dennis the Menace Bonus Magazine, Baby Snoots, Marvel and Harvey kid humor comics, & more! With ARTHUR ADAMS, CARY BATES, JOHN BYRNE, CHRIS CLAREMONT, SCOTT LOBDELL, SHELDON MAYER, CURT SWAN, ROY THOMAS, and other grownup creators. Cover by ARTHUR ADAMS.

BRONZE AGE NOT-READY-FORPRIMETIME DC HEROES! Black Canary, Elongated Man, Lilith, Metamorpho, Nubia, Odd Man, Ultraa of Earth-Prime, Vartox, and Jimmy Olsen as Mr. Action! Plus: Jason’s Quest! Featuring MIKE W. BARR, CARY BATES, STEVE DITKO, BOB HANEY, DENNY O’NEIL, MIKE SEKOWSKY, MARK WAID, and more ready-for-primetime talent. Retro cover by NICK CARDY.

(84-page FULL-COLOR magazine) $10.95 (Digital Edition) $4.99

(84-page FULL-COLOR magazine) $10.95 (Digital Edition) $4.99

(84-page FULL-COLOR magazine) $10.95 (Digital Edition) $4.99

(84-page FULL-COLOR magazine) $10.95 (Digital Edition) $4.99

TwoMorrows Publishing 10407 Bedfordtown Drive Raleigh, NC 27614 USA 919-449-0344 E-mail:

store@twomorrows.com

Order at twomorrows.com

The South shall rise... from the dead. The ghost of the Confederate States of America has figuratively hung over the United States of America for generations. In the work we discuss in this essay, the ghost becomes literal. As a Southerner, the phantom of a bygone area has hung over my head and taunted me from the past. How do we relate to the time when an economic system built on the atrocities of slavery ripped our country apart, and teach that shameful history? Do we confront it head-on? Do we put our heads 32 • BACK ISSUE • Haunted Issue

under the sheets to hide from it and pretend it is not there?

Our country and culture have failed to answer these questions and to make any real amends for this ghoulish history. The complexities of this tortured relationship can be found in the pages of DC Comics’ war feature “The Haunted Tank,” which appeared in the series G.I. Combat. This series weaves the complexity of the USA’s Civil War into battle action while peering into a multi-generational family dynamic that reflects the painful intricacies of the dynamic above.

Haunted by History

by J o

nathan R. Brown

(top left) The imposing figure of General J.E.B. Stuart, from the dust jacket painting of John W. Thomason, Jr.’s biography of the Confederate officer, New York: Scribner’s first edition, 1930. (main) In DC Comics’ long-running “Haunted Tank” feature in G.I. Combat, the ghost of General Stuart guided his descendent ad his tank mates through the perils of World War II. Undated specialty illo by longtime Haunted Tank artist Sam Glanzman. Both, courtesy of Heritage Auctions (www.ha.com). (bottom left) In recent years, opposition to the glorification of the Confederacy has led to some communities’ removals of statues of Confederate heroes, like this monument to General Robert E. Lee, losing its berth at Lee Circle in New Orleans, Louisiana, on May 19, 2017. Photo courtesy of Infrogmation of New Orleans/Wikimedia Commons.

The Haunted Tank TM & © DC Comics.

‘INTRODUCING THE HAUNTED TANK’

In this article, we will examine how creators engaged the concept of war as an evolving concept through the eyes of the Stuart family that connected through war even after death. We will provide a character synopsis of General J.E.B. Stuart and how he related to the crew of a tank that bore his name. By doing these things we will hopefully gain an understanding of how “The Haunted Tank” was able to outlast other DC war features. Finally, we will conclude by looking at the 2008 Vertigo miniseries that confronted the racist and vile nature of the Confederacy head-on and how it forever tied these sins into the fabric of the Haunted Tank forever.

The Haunted Tank, the creation of writer Robert Kanigher and artist Russ Heath, was introduced in G.I. Combat #87 (Apr.–May 1961). Kanigher, the series’ mainstay, would be joined on the Haunted Tank by several legendary artists in addition to Heath including Joe Kubert, Sam Glanzman, and Dick Ayers. The serialized story would have one of the longest runs of any DC Comics war feature, ending in 1987 when G.I. Combat was canceled with issue #288 (Mar. 1987), the final story penned by series creator Kanigher and illustrated by Glanzman. Murray Boltinoff would serve as the series’ long-running editor starting with G.I. Combat #74 and staying with the crew until the demise of the book.

At the heart of the story is the crew of an M3 Stuart tank, a nimble, light machine that saw extensive use in the North African and European theaters during World War II. The series meticulously details the tank’s engagements in these harrowing battlegrounds, providing a visceral depiction of warfare.

However, it’d the Haunted Tank’s unique supernatural twist that sets it apart. The tank is haunted by the ghost of Confederate General J.E.B. Stuart, an audacious cavalry commander known for his daring maneuvers during the US Civil War. This spectral presence is not just any haunting; General Stuart is a distant relative of the tank’s commander, Lt. Jeb Stuart, creating a profound personal connection between the past and present.

The ghost of General Stuart, visible exclusively to Jeb, assumes the role of a guardian angel to the Haunted Issue • BACK ISSUE • 33

Ghostly Guardian Lt. Stuart and crew christen “The Haunted Tank” in G.I. Combat #150 (Oct.–Nov. 1971).

Story by Bob Kanigher, art by Russ Heath. Original art to story page 14 courtesy of Heritage.

TM & © DC Comics.

crew. He does not merely linger as a silent specter; instead, he actively engages with Jeb, offering invaluable tactical advice drawn from his own combat experiences, imparting historical wisdom, and providing moral support during the crew’s most perilous moments.

This blend of historical military action with the supernatural element of a guiding spirit creates a rich, multi-layered narrative. General Stuart’s presence connects the valor and tactics of 19th-Century warfare with the mechanized combat of World War II. This dynamic between the ghostly advisor and the tank crew adds depth to the storyline, exploring themes of legacy, duty, and the enduring nature of courage across different eras of conflict. The “Haunted Tank” series stands out for its ability to weave these elements together, creating a compelling tale that resonates with both war history enthusiasts and fans of supernatural fiction.

The series’ introductory story in G.I. Combat #87 is aptly entitled “Introducing the Haunted Tank.” From the beginning, the reader finds themselves in the middle of World War II action.

An M-3 Stuart tank is taking damage from an enemy Tiger tank. The crew has been incapacitated. All of a sudden the tank begins to move on its own and disables the other combatant.

After escaping this encounter, the crew begins to come to. Briefly, we are introduced to Slim Stryker, Rick Rawlins, and Arch Asher, the crew of this particular M3 Stuart tank. In this first issue, we don’t get much of a sense of their personalities, for it is their commander Jeb Stuart who is the heart of this story. Just like the tank he commands, he is named after Confederate General J.E.B. Stuart. Present-day Jeb flashes back to his boyhood where he idolized the Southern cavalry leader. We see scenes of Jeb playing war imagining what he would have been like to be the CSA leader. He gives thanks to his father—he named him after the general—and it is revealed that Jeb is the blood descendant of the aforementioned warmonger. The depiction moves to Jeb visiting a memorial to his ancestor and being in awe of what he sees as a great man. The story takes an interesting turn as it is revealed Jeb has been able to hear the voice of his long-deceased family member, and has carried that with him into the present moment where he now finds himself to be a commander in his own theater of war.

In the second part of the story, we return to the present battle. Our weary and hurt crew is not out of the woods yet as more Tiger tanks are encroaching on their position. It is here the voice returns to Jeb and offers advice. Our Stuart takes the advice of the disembodied voice and delivers salvation to his crew. At the end of the story, the crew reflects on how miraculous their escape was. We are given an inner monologue where Jeb reveals he believes this voice to be that of his dead Civil War–fighting ancestor. He is thankful for his presence and hopes one day the voice will reveal itself to the crew.

This first issue does not offer much about the complexities of the relationship a US soldier has with a past family member who actively fought against the United States of America. That notion is practically omitted. What we do see is a glorified view of the Confederacy, its leaders, and the soldiers who fought for their cause. These figures are idolized by young boys. They are worthy of monuments. There is simply no sense that the Confederates were enemies of the country our tank crew now fights for. However, as the story continues, our protagonist’s relationship to the past will evolve, similarly to how mainstream culture’s understanding and presentation of the Civil War and its participants evolved.

‘THE BATTLE ORIGIN OF THE HAUNTED TANK’

The first two years of the series tell the stories that follow the introductory comic. While we can see characters develop and the ghost of Stuart begins to materialize more and more, we still do not have much of a sense of how all of this began.

That would all change in G.I. Combat #114 (Oct.–Nov. 1965), with the story entitled “The 34 • BACK ISSUE • Haunted Issue

Battle Origin of the Haunted Tank,” by Kanigher and Heath.

The tale opens up with the living Jeb shouting, “You heard what I said! A ghost is the guardian of my M-3 Stuart tank!

What ghost? Who else but the ghost of General J.E.B. Stuart— the world-famous Confederate cavalry genius—would haunt the tank bearing his name—and commanded by A.T.C. bearing his name too—Lt. Jeb Stuart—That’s me! Yeah! That’s what I said! I am in command of the only Haunted Tank in the world!” As we read further, we learn that Lt. Jeb has been injured in combat and is fed up that no one else understands that they are working with a Haunted Tank. He turns his attention from the dismissive crew and begs General J.E.B. to reveal himself so that others can take him seriously. The ghostly counterpart tries to convince his living counterpart that it is enough that they can commune. However, the Earthly protagonist continues to plead for the dearly departed figure to reveal himself. In a brilliant move on the part of the creators, the general reveals himself, not to the crew but to the reader. The Confederate leader begins to tell the story of how he became connected with the team. It is revealed he had gathered with other warmongers from throughout history. He is then charged by Alexander the Great to go to the modern-day war and lend his expertise to the warriors of the land of living—specifically, those who fight alongside his ancestor in the tank that bears his name. The Southern leader detests the idea and tries to break away from the collective, but Alexander the Great will not allow him. J.E.B. points out he fought against the army these troops now fight for. However, he is impressed with the crew’s bravery.

He watches as they escape certain death, and decides he can provide them assistance. He surrenders his point, takes charge, rejoins the land of the living, and forms a union with the Tank’s crew, a crew that still does not see their ethereal fifth man.

It is here we begin to see the relationship the ghostly general has with his modern-day cavalry. At the same time, the relationship with his ancestor is not yet fully adversarial; it’s complicated by the fact that the Confederate States of America were enemies in war with the United States of America. This is not a cause J.E.B. wants to take on without persuasion. The portrayal of General Stuart’s ghost navigates complex territory, intertwining valor with the contentious history of the Confederacy. Stuart, in life, was a figure marked by his loyalty to a cause that, fundamentally, sought to preserve the institution of slavery in the American South. This darker aspect of his legacy casts a shadow over his character in the series, raising questions about heroism, honor, and the complexities of historical memory.

As a spectral advisor visible only to the tank commander Jeb, General Stuart’s role is ambiguous. While he provides tactical advice and moral support, drawing from his Civil War experiences, his presence is a constant reminder of the divisive and tragic aspects of American history. This duality creates tension within the narrative, where the valor and tactical genius of Stuart are juxtaposed against the morally reprehensible cause he fought for.

‘Whose War Is It, Anyway?’

While the Confederate battle flag was occasionally seen flapping behind the Haunted Tank on G.I. Combat covers, issue #260’s (Dec. 1983) cover by Joe Kubert courageously challenged the reader to consider the cultural implications of the stars and bars.

TM & © DC Comics.

‘THE DEATH OF THE HAUNTED TANK’

As the series continued, the relationship between the Jebs would continue to grow in complexity. While admiration and respect are present, this is seen by Lt. Stuart adorning the M-3 with a Confederate battle flag, there are times when the relationship will take antagonistic turns as General J.E.B. begins to expect more loyalty.

G.I. Combat #150 (Oct.–Nov. 1971), by Kanigher and Heath under a cover by Kubert, contained the story “The Death of the Haunted Tank.”

The issue begins with General Stuart informing Lt. Stuart it is time for the ghostly general to say goodbye, noting that he has been recalled by a higher authority and that war is never the place to build ongoing relationships. After the general departs, Lt. Jeb is at a loss, angered and grieved by what he perceives to be a betrayal.

In light of the figure from the past’s exit, our modern time’s protagonist questions his own identity. He believed himself to be the leader of the only Haunted Tank in the world, and how capable he is to lead if he is left to his own devices. Jeb Stuart, like many who find themselves in war, is not given much time to dwell on philosophical matters as the Haunted Tank crew is once again thrust into battle. This skirmish takes a dramatic turn and the M-3 Stuart tank is destroyed by Nazi airstrikes. The crew barely escapes with their lives and is overcome with the desire to leave tank combat behind.

At this point, Lt. Stuart steps up and becomes a leader in his own right. He rallies the men and leverages the war effort’s need for their skills. He tells them they have to find a new tank—a task he knows that is nearly impossible as he is told by higherups there are no more tanks. Lt. Stuart is permitted to take his team to a tank depot to assemble one out of spare parts. As the team prepares to depart in their new war vehicle, they dub it “The Haunted Tank” so it will stand as a tribute to their past adventures in the face of new ones. They also choose to mount the Confederate battle flag upon the vehicle. In doing so, General Stuart appears to Lt. Stuart to announce his return, and that he will take his spot in the new machine, noting it was never the tank that was haunted but the men who fought in it. The imagery also prompts the reader to ask, If we hang on to the relics of the past are we not also haunted by them?

It is important to note that while “The Haunted Tank” is a work of historical fiction, General J.E.B. Stuart was an actual historical figure, a Confederate officer renowned as a cavalry genius. James Ewell Brown “J.E.B.” Stuart was born on Haunted Issue • BACK ISSUE • 35

February 6, 1833, in Patrick County, Virginia. Stuart graduated from West Point in 1854 and served in the US Army before his home state of Virginia seceded from the Union in 1861, prompting him to resign his commission and join the Confederacy. Stuart’s career and life were cut short during the Gettysburg Campaign.

On May 11, 1864, at the Battle of Yellow Tavern, just north of Richmond, Virginia, Stuart was mortally wounded. He died the following day, May 12, 1864, at the age of 31. His death was a significant blow to the Confederate Army, depriving it of one of its most dynamic and effective leaders. The use of this real figure is poignant because J.E.B. Stuart is a figure that embodies the contradictions and complexities of the American Civil War. He was known for his chivalrous manner, a reflection of the era’s ideals of honor and knightly conduct in warfare. Yet, these attributes coexisted with the harsh realities of a conflict that was, at its core, about the preservation or abolition of slavery.

Stuart’s legacy, like that of many of his contemporaries, is viewed through a dual lens: he is both celebrated for his military genius and critiqued for the cause he chose to serve.

As noted earlier, the Jebs would take part in their last serialized story in the final issue of G.I. Combat, issue #288, which went on sale in November 1986. This story, like so many others that preceded it, was written by Robert Kanigher and drawn by Sam Glanzman, under a Joe Kubert cover, all for editor Murray Boltinoff. In this yarn, General Stuart is primarily relegated to the role of an observer of the events that unfold. Lt. Stuart and his crew oversleep and are running late for a mission. Things take an unusual turn when each member discovers they are missing one of their dog tags. As the story progresses, we see that the team has been pulled into two directions, and in that, they have presented a choice. They can leave the war and find peace or stay in the battle. Lt. Jeb holds a desire to move on from the constant battle and let go. However, he recognizes the cause they fight for is just. The team decides to continue to fight, as there is honor in battle. As the series draws to an end the book recognizes war is ongoing and the legacy of these characters is that they are tied to fights.

CONFRONTING THE HISTORY BEHIND ‘THE HAUNTED TANK’

The Haunted Tank characters and concept would later appear sporadically, mostly in collected editions of DC war material and in cameos. [Editor’s note: Of particular interest to BACK ISSUE–era readers are DC Special Blue Ribbon Digest #12 (Aug. 1981),

All in the Family Writer Frank Marraffino and artist Henry Flint introduced a new member of the Stuart family in The Haunted Tank #1 (Feb. 2009), the first of a five-issue miniseries published under DC’s cuttingedge Vertigo imprint. (right) Flint variant cover to issue #1.

TM & © DC Comics.

36 • BACK ISSUE • Haunted Issue

starring the Haunted Tank; an unusual 1994 crossover in The Demon vol. 3 #46–48; and two meaty volumes (2006 and 2008) of Showcase Presents: The Haunted Tank.]

An all-new comic book focused solely on the Haunted Tank would not materialize until late 2008, in this case a five-issue miniseries titled The Haunted Tank, appearing under the Vertigo imprint. The Haunted Tank was written by Frank Marraffino and illustrated by Henry Flint, with the reliable Joe Kubert returning to draw the main cover for the first issue. In this series, Lt. Jeb Stuart is no longer our central protagonist. Our focus shifts to a more modern conflict, the war in Iraq. General J.E.B. Stuart returns, with more of his actual past on display, most notably the confirmation that he was a plantation and slave owner. General Stuart is once again drawn to an ancestor in the throes of battle— however, this time there is a shock in store for the old Confederate hero as he is called in to aid tank commander Jamal Stuart, a Black soldier in the United States Army.

As the series progresses we see flashes of the brutal past juxtaposed with the violence occurring in the present story world. The duo of characters find themselves in an antagonistic role to each other as they sort through the past that made them relatives. The story builds and places General Stuart’s racist past actions on the center stage. We as readers learn this hero, whom mainstream culture has celebrated, abused children and treated Black people inhumanely.

Commander Jamal Stuart wrestles with having this vile paranormal figure connected to him through blood and does not let the ghostly figure whitewash his past. As various battles occur on multiple fronts, the question hangs, How did these two men come to be related?

At the end of the series, General Stuart admits that he raped a slave woman named Sallie and in this repugnant act, a child was conceived, providing the familial link that ties Jamal to J.E.B. This portion of the story also serves to retcon the original origin we were presented at the start of this article. Alexander the Great has nothing to do with the ghostly general being tied to earthly war. It is a curse upon J.E.B. Stuart for his actions against young women. He is cursed to never know peace. Upon learning the spirit’s true origin, Jamal Stuart is able to physically punch the ghost and expresses his desire to be rid of the menace. General Stuart informs the younger man that their connection is not easily severed and notes their differing ideologies will forever have them entangled in a civil war.

Our relationship to the past is messy. No matter our outlook, we are forever haunted by what came before. If we lean too hard into veneration, we fail to face a reality that could have been destructive and harmful to shared humanity. This prevents us from disassembling the institutions that were set up with ill intent and allows our curses to forever entangle us. If we center ourselves completely on the past, we fail to live into a moment and remain entangled with conflicts we cannot win. The serialized stories that focus on the Haunted Tank display the complexities of our relationships with history in myriad ways. Its story depicts how overly celebrating the past place is a constant cycle of repeating history. The conundrums of the stories that evolved during its long run show us our relationship with the past should be that of ongoing questions and adjustment. Finally, the modern story shows we must confront our past so we are no longer consumed by it.

JONATHAN RIKARD BROWN holds an MA in Religious Studies from the University of Georgia, and an MDiv from Candler School off Theology. He serves as a pastor in the Baltimore-Washington Annual Conference of the United Methodist Church. He is deeply interested in the intersection of faith and pop culture, especially how comics reflect our modern mythological identity.

by R o d

Labbe

Man, That’s Gross! …and it’s one of Eerie Publications’ tamer covers (and the only Eerie Pubs cover we’re showing in its entirety in this article, to keep our family-friendly audience from tossing its cookies). Were you one of those MonsterKids like Rod Labbe who dug Tales of Voodoo vol. 2 #1 (Feb. 1969)?

Cover art by Golden Age great Carl Burgos.

We’d skipped CCD (Confraternity of Christian Doctrine) training that Monday night in early November, a growing habit for us.

As expatriates of Catholic school, my good buddy Don Bolduc and I were expected to attend weekly two-hour “Catechism” lessons (a.k.a. CCD). It was 1968, and sophisticated teenagers like ourselves embraced rebellion, not religion.

Penance and eternal damnation? Genuflecting and absolution?

No way, man! Uh-uh.

Donald—who, at 15, already had his driver’s license—picked me up ostensibly for CCD, but unshackled, we cruised around town, dissecting sophomore year at Waterville (Maine) High School and the swirling social drama it entailed.

I’d known Don since first grade, a tried and true MonsterKid. Our conversations were usually fast and freewheeling, with rarely a dull spot. If the topic happened to be horror-related, we’d go on and on, stopping only because of time constraints or interruptions.

As you’ve probably guessed, the guy was my best friend.

“Hey, I bought something really weird (he emphasized that word) from Joe’s (Joe’s Smoke Shoppe, downtown Waterville’s primary source for genre material) last Saturday,” he said.

“Kinda reminds me of Creepy.”

“Cool. What’s it called?” I asked, obviously interested.

“Let’s stop off at my house, and I’ll show you.”

Ten minutes later, we were standing in his bedroom. Donald flicked the overhead light and casually pointed to a nearby bookcase. “Look on top of Famous Monsters, young sir.”

I reached over and extracted a magazine, appropriately titled Weird. My eyes practically popped from their sockets as I took in every aspect of that truly heinous painted cover, featuring ferocious monsters and a buxom, tormented woman, her legs torn off and ravaged stumps gushing blood!

Oh, and let’s not forget the snarling werewolf, brandishing one extremity like a trophy.

Inside, I saw 1950s black-and-white pulp comics culled from some obscure archival source. The men wore doublebreasted suits, bowties, and fedoras, while the women sashayed around in skirts, ankle-strapped heels, furs, and padded shoulders. Why’d Donald waste his precious allowance buying stories straight out of a Joan Crawford movie? He, a modern-thinking lad? Made no sense!

We were diehard Creepy and Eerie fans, leaders of an admittedly slim pack. Warren’s comics showcased stunning artwork and plots by Frank Frazetta, Jack Davis, Steve Ditko, Wally Wood, Archie Goodwin, and Joe Orlando, genuine innovators. The moment I beheld Weird, I wasn’t thinking Frazetta (Herschell Gordon Lewis, maybe, but definitely not Frank). Goodbye, polished, professional, and startling. Hello…

Donald laughed, a distant sound, emanating from a separate plane of existence. Then, I knew. I understood.

Amid the overcoats, Dodge Coupes, and pinstriped jackets, illustrations of atrocious savagery assailed my senses. People ripped apart, their bones and undulating ligaments exposed in loving detail (including facial injuries), gouts of black blood spurting!

“It’s yours,” he said. “Per the rules of she who shall remain nameless, I’m not allowed to buy ’em anymore.”

My mother was more progressive than Mrs. Bolduc, thank God, and I gladly accepted Don’s gift. A flurry of collecting commenced, stretching from November 1968, right up to today.

I examined my prize closely. An “Eerie Publication,” the indicia read. Were similar books on sale, per chance? Pumped for adventure, I scoured the shelves and racks at Joe’s. Surprise, surprise! Right beside Weird sat Tales of Voodoo vol. 2 #1.

Haunted Issue • BACK ISSUE • 37

35 cents cascaded into Joe’s cash register, and Tales of Voodoo was mine.

The cover continued Weird’s audacious tradition of leaving little to the imagination. As envisioned by artist Carlos Burgos, a robed priest (in the background) slices off the head of a tiny doll, just as a hunchbacked dwarf (front and center) beheads an unconscious vampire woman. Her lifeless body lay on the ground, ruined neck spouting a veritable geyser of scarlet, pale hands clutching desperately.

I sat on my bunk bed and carefully turned to the contents page, instinctively practicing collector’s etiquette: mustn’t bend, fold, or mutilate. Right away, I was back in the shadowy realm of cheap newsprint, exaggerated expressions, tough dames, and lots of people screaming, “Aieeee!” and “Gahhhh!”

Talk about mutilation! “Death Strikes Four” started the mayhem, a macabre tale of an ancient and ambulatory clock tower.

Here’s their frantic intro: “What special and horrible oil was it that made the clock run after fifty years of rust and decay? Why did it always strike the wrong hour? And how, above all, did the demon clock manage to move from place to place? Was it alive? Could it think? Could it kill?

Come along with the four unfortunates who found out the truth about the clock that went insane!”

Wealthy Howard Morris is dying and solicits one last promise from Peter, his grandson. “Go… to… Marsdale,” he gasps, “and kill clock.” Peter is confused. Marsdale’s the family estate, but what could grandfather have meant by “kill clock?”

Together with his fiancée and two friends, Alice and Mike, he travels to Marsdale and finds Uncle Howard’s ancestral home in disrepair. A huge, imposing clock tower rises above the mansion. Mike, an amateur writer, thinks the tower would be the perfect inspiration for a murder mystery. That afternoon, he decides to check out the place alone… without informing his companions, naturally.

Upstairs, where antiquated clockworks stand frozen, Mike is inexplicably locked in. Gears begin clanking, the floor beneath his feet falls away, and he tumbles into the machinery. His demise is lovingly depicted. Crunch, crunch, crunch, squish!

Agonizing shrieks alarm the others. No sign of Mike anywhere, but they do find the clock, operating smoothly. Who oiled it? And with what?

I won’t reveal any spoilers, though I will say I noticed a distinct similarity between “Death Strikes Four” and Stephen King’s classic short story, “The Mangler.” Both concern sentient machines that uproot themselves after “drinking” human blood and supernaturally chase, frighten, and devour people. Mere coincidence? I wonder.

Flip! I was onto the next monsterpiece, a delicious tidbit entitled “Dragon Egg,” described thusly: “The egg hatched and what spilled out was a thing from another age, and it cried for blood.

Yeeeechh!”

I followed with “Congo Terror,” where “beauty, greed, and a lush deadly jungle combine to bring you a spine-snapping tale of untold terror from beyond civilization!” Spine-snapping? Whoa, I was seriously on a roll here. Could anything be gorier?

Yes! “The Vanishing Dead,” story number four.

“Even a gravedigger has feelings, but the doctor had to learn the hard way—a ghoulish 38 • BACK ISSUE • Haunted Issue

grisly tale of graveyards.” Sounds like an experience not easily forgotten. Brr… The fifth selection, “Mask of the Monster,” promised thrills, chills, and plenty of bloody chaos. “Lucy Rowan was beautiful. One night, as she worked late, shadows began to gather and creep, and soon a terror she’d never dreamed possible would come knocking. It was all part of a deadly game of revenge!”

I had a feeling Lucy wasn’t going to leave her office unscathed. Aieeee!

And speaking of vengeance… “Cadaver’s Revenge” filled the sixth spot. “It’s not a comfortable feeling to have a tombstone crush you, especially when you’re buried up to your neck!” Well, that’s what you get for spending your leisurely evening hours exhuming rotting corpses.

All of those shockers were nothing compared to the piece de resistance, “Hair-ee-eee!”

Delicate Pat Patrick is a mama’s boy. She’d let his locks grow, which makes him an easy target for neighborhood bullies. “Where are your ribbons, Patty?” they’d snidely jeer. “Sissy!” When Mommy accompanies him for a bigboy haircut, Pat can’t wait to be like everyone else… until the barber takes shears to that gorgeous mane!

Disaster! Pat screeches in pain. His hair has feeling—it’s alive!

Yes, alive, and within hours, Pat’s sumptuous golden locks have transformed him into an entity that consumes living human flesh. The populace is clearly quite upset. They band together to capture “hair-ee-eee,” ambushing it with a bubbling vat of HAIR REMOVER! Hair-ee-eee reacts, growing smaller and settling into a “death-like rigidity.”

But looks are often deceiving! Two of his attackers check Hair-ee-eee’s pulse, and he rises up and absorbs them!

Like most tragic monster tales, Man’s ingenuity saves the day. Mortally injured, Hairee-ee-eee begins convulsing and shrinks into a “small pile of dandruff.”

The end.

Dandruff. Wow. Just wow.

The deluge continued. Weird’s February 1969 issue showed up at Joe’s, sporting a cover difficult to describe… but I’ll try! Three human-sized glass cylinders. In one, a greenskinned ogre spits up blood. In the second, a stoic skeleton stares out with blank eye-sockets. The third holds a nude vampire woman, whose body is slowly being eaten away by an acid bath. We see blood, glistening bones, organs, and her stunned face.

Front and center, a hunchbacked monstrosity orchestrates the chaos via an electronic control panel! Gah! I’ll admit it. Eerie Publications’ covers are what attracted me, since they were absolutely fearless.

Each pushed the envelope of good taste, and I mean, they pushed hard.

Weird’s May 1969 issue, for example, portrayed a hippie peace demonstration that gave new meaning to the term “flower power.” A conclave of bearded protesters, bearing signs reading, “love, not hate” and “down with violence,” watches as one

gruesome double-headed “peacenik” attempts to decapitate a blonde female vampire. This is what passed as children’s entertainment in the ’60s?

The nadir of horror covers—what has gone on to achieve well-deserved notoriety as comicdom’s most revolting, repulsive, ghastly, and nauseating four-color nightmare—graced Eerie’s Terror Tales vol 1. #8 (May 1969).

Terror Tales, Weird, and Tales of Voodoo were pretty much identical.

Same pre-Code comic stories, same emphasis on unbridled bloodshed.

Only the covers set them apart, and Terror Tales won a well-deserved top place in the “Horror Cover Hall of Infamy.”

Against a putrid green backdrop, we’re presented with an ugly slobbering giant relishing his dinner of two vampire women, and he’s noshing them like drumsticks (thank you, Silver Age artist Chic Stone), noshing, drooling and foaming at the mouth. What a delightful culinary tableau, straight out of Martha Stewart Living.

I proudly carried my delectable bonbon home and decided to read it during “Friday TV dinner hour,” our weekly family ritual in front of the tube. Between servings of Swanson Salisbury Steak, fried chicken, and Chef Boyardee pizza from a box, I flashed my younger sister the magazine.

“Isn’t this yummy?” I asked, acting like I was unveiling a brand-new household appliance.

“So colorful!”

One glimpse of Terror Tales’ famished monster and my sister gagged, ran for the downstairs bathroom, and expelled a full course fried chicken TV dinner (complete with brownie).

“Maaa!” she bawled, flushing the toilet.

“Ronnie’s makin’ me siiiick! Tell him ta stop!”

In walks mater. “Hand it over,” she said.

“What? Just a stoopid monster mag.”

“Let me be the judge of that.”

“Okay. Here.”

Even today, 55 years hence, I can see the disgusted expression on her face. Ha-ha!

An official edict came down: no more torturing my sensitive sister with “gross” comics... significantly, Mom said nothing about not buying them. Instantly, I thought of Donald and Mrs. Bolduc. What a bombastic meltdown she’d undergo, ogling that ravenous, impolite ogre. Absolutely no manners! The poor woman would drag her screaming son to Confession or arrange an impromptu exorcism. Out, Satan! Get thee back to Hades!

By July 1969, I’d thrown myself joyfully into full Eerie “collecting mode” and had even sent away for back issues. Meanwhile, Tales from the Tomb and Horror Tales were introduced, and I was in gore heaven.

Cue Murphy’s Law, the ultimate party pooper.

September’s selections suddenly pulled their punches, hinting at an alternate direction. Instead of ’50s ambiance, I was reading about pot dens and people dropping acid and “freaking out.” These newer stories weren’t up to the established Eerie standard (however low), using gray washes to cover up sloppy, inferior artwork.

Softening and updating content was bad enough—but I considered covers untouchable. Wrong! After Witches’ Tales #1, published that summer (depicting a maniacal witch squashing zombies to mush beneath a press, courtesy of the prolific Chic Stone), Eerie’s collective covers lost their joyously FUBAR quality.

The outrageousness of an ogre noshing dead vampire women gave way to over-the-top cartoony scenes, laughable rather than vomit-inducing. What was going on?

Unbeknownst to me, many “family-friendly” newsstand owners had stopped carrying Eerie’s output, claiming their covers offended civilized

sensibilities (and stomachs, no doubt). The Sharon Tate/Rosemary and Leno LaBianca murders added fuel; on August 9 and 10, 1969, Charlie Manson and his followers committed real-life slaughter, eclipsing anything seen in Weird, Terror Tales, etc.

Late 1969 also marked an end to my short but passionate love affair with Eerie Publications.

Though no longer a slavish devotee, I treasured the issues I’d collected and kept them bagged, backed, and boxed (away from greasy fingers and extremes of heat and moisture. Yes, I was and still am a condition fanatic!).

Knock-knock. Who’s there? Murphy’s Law, of course!

One innocuous fall weekend, I arrived home from college to discover that Mom had sold my entire stash in a garage sale. She received 70 bucks for a collection that ran the gamut: Famous Monsters, Monster World, Castle of Frankenstein, Warren’s Creepy (#1–25) and Eerie, Modern Monsters, Monster Mania, and yes, Weird, Tales of Voodoo, Terror Tales, and the rest. Aieeee!

Honestly, I didn’t know if I should laugh or cry.

Reality told me it was an opportunity to move on, to finally grow up and reject the silly baubles of childhood. Not that I had much choice. Suitably chastened, I not only grew up, I grew old, and 1969 melded into 2024. I’m now collecting Social Security, and those “silly baubles of childhood” are commanding premium prices as “hot stuff” on the secondary market. Go figure.

Eerie Publications closed its vile corporate doors in 1981, writing finis to a comics era unlike any other. EC’s infamous Vault of Horror and Weird Science may have had stronger cultural impact, but Eerie’s totally unhinged masterpieces eclipsed them for utter lunacy.

Eleven series were produced under their sanguine umbrella: Weird, Tales of Voodoo, Tales from the Crypt (one-shot, before EC slapped them with a “cease and desist”), Terror Tales, Tales from the Tomb, Witches’ Tales, Horror Tales, Weird Worlds, Strange Galaxy, Weird Vampire Tales, and Terrors of Dracula.

For me and countless MonsterKids, the vicarious thrills of reading and enjoying those frankly appalling periodicals cannot be replicated. They live on in retrospectives (hardcover tomes, like The Best/Worst of Eerie Publications), nostalgic articles, and pop culture auctions.

It was kismet that I stumbled upon eBay during their formative years, and through them, I’ve procured many prized items from my youth. One was Tales of Voodoo vol. 2 #1, booking for over $100 (near mint to mint shape). My replacement copy set me back a nominal $12.00.

Alas, there are some irretrievable touchstones forever out of reach. Best teenaged friend Donald, co-conspirator, fellow hooky-player, monster lover, and all-around good guy, passed away in October of 1995 at age 42… leaving me to carry the torch. If it weren’t for his generosity and adventurous spirit, I’d never have even heard of Eerie Publications.

I will, therefore, raise a celebratory glass to him in absentia. Excelsior, Don, ol’ buddy. Thanks for the night-time cruises, great talks, and Weird memories!

ROD LABBE is a New England-based writer specializing in Baby Boomer pop culture and all it entails.

Haunted Issue • BACK ISSUE • 39

Get RetroFan back issues!

Many early issues are close to selling out!

Order online, or by mail include $4 US postage for the first magazine, and $2 for each additional magazine on the same order.

SUBSCRIBE: $73 US $ 111 International $ 29 Digital

RETROFAN #26

RETROFAN #22

RETROFAN #23

RETROFAN #24

RETROFAN #25

Surf’s up as SIXTIES BEACH MOVIES make a RetroFan splash! Plus: He-Man and the Masters of the Universe, ZORRO’s Saturday morning cartoon, TV’s THE WILD, WILD WEST, CARtoons and other drag-mags, VALSPEAK, and more fun, fab features!

Like, totally! Featuring columns by ANDY MANGELS, WILL MURRAY, SCOTT SAAVEDRA, SCOTT SHAW, and MARK VOGER! Edited by MICHAEL EURY.

Meet the stars behind the Black Lagoon: RICOU BROWNING, BEN CHAPMAN, JULIE ADAMS, and LORI NELSON! Plus SHADOW CHASERS, featuring show creator KENNETH JOHNSON. Also: THE BEATLES’ YELLOW SUBMARINE, FLASH GORDON cartoons, TV’s cult classic THE PRISONER and kid’s show ZOOM, COLORFORMS, M&Ms, and more fun, fab features! Edited by MICHAEL EURY.

Interviews with Lost in Space’s ANGELA CARTWRIGHT and BILL MUMY, and Land of the Lost’s WESLEY EURE! Revisit Leave It to Beaver with JERRY MATHERS, TONY DOW, and KEN OSMOND! Plus: UNDERDOG, Rankin-Bass’ stop-motion classic THE LITTLE DRUMMER BOY, Christmas gifts you didn’t want, the CABBAGE PATCH KIDS fad, and more!

Edited by MICHAEL EURY.

Meet Mission: Impossible’s LYNDA DAY GEORGE in an exclusive interview!

Celebrate Rambo’s 50th birthday with his creator, novelist DAVID MORRELL! Plus: TV faves WKRP IN CINCINNATI and SPACE: 1999, Fleisher’s and Filmation’s SUPERMAN cartoons, commercial jingles, JERRY LEWIS and BOB HOPE comic books, and more fun, fab features! Edited

by MICHAEL EURY.

(84-page FULL-COLOR magazine) $10.95 (Digital Edition) $4.99

(84-page FULL-COLOR magazine) $10.95 (Digital Edition) $4.99

(84-page FULL-COLOR magazine) $10.95 (Digital Edition) $4.99

(84-page FULL-COLOR magazine) $10.95 (Digital Edition) $4.99

RETROFAN #27

RETROFAN #28

RETROFAN #29

RETROFAN #30

The saga of Saturday morning’s Super Friends, Part One! Plus: A history of MR. T, TV’s AVENGERS (Steed and Mrs. Peel), Daktari’s CHERYL MILLER, Mexican movie monsters, John and Yoko’s nation of Nutopia, ELIZABETH SHEPHERD (the actress who almost played Emma Peel), and more! With ANDY MANGELS, WILL MURRAY, SCOTT SAAVEDRA, SCOTT SHAW, MARK VOGER, & MICHAEL EURY.

Interview with Captain Kangaroo BOB KEESHAN, The ROCKFORD FILES, teen monster movies, the Kung Fu and BRUCE LEE crazes, JACK KIRBY’s comedy comics, DON DRYSDALE’s TV drop-ins, outrageous toys, Challenge of the Super Friends, and more fun, fab features! Featuring columns

by ANDY MANGELS, WILL MURRAY, SCOTT SAAVEDRA, SCOTT SHAW, and MARK VOGER! Edited by MICHAEL EURY.

The BRITISH INVASION of the Sixties, interview with Bond Girl TRINA PARKS, The Mighty Hercules, Horror Hostess MOONA LISA, World’s Greatest Super Friends, TV Guide Fall Previews, the Frito Bandito, a Popeye Super Collector, and more fun, fab features! Featuring columns by ANDY MANGELS, WILL MURRAY, SCOTT SAAVEDRA, SCOTT SHAW, and MARK VOGER! Edited by MICHAEL EURY.

The story behind BOB CLAMPETT’s Beany & Cecil, western queen DALE EVANS, an interview with Mr. Ed’s ALAN YOUNG, Miami Vice, The Sixties’ Wackiest Robots, Muscle-Maker CHARLES ATLAS, Super Powers Team—Galactic Guardians, and more fun, fab features! Featuring columns

by ANDY MANGELS, WILL MURRAY, SCOTT SAAVEDRA, SCOTT SHAW, and MARK VOGER! Edited by MICHAEL EURY.

The Brady Bunch’s FLORENCE HENDERSON, the UNKNOWN COMIC revealed, Hanna-Barbera’s Top Cat, a Barbie history, RANKIN/BASS’ Frosty the Snowman, Dell Comics’ Monster Super-Heroes, Slushy Drinks, and more fun, fab features! Featuring columns by ANDY MANGELS, WILL MURRAY, SCOTT SAAVEDRA, SCOTT SHAW, and MARK VOGER! Edited by MICHAEL EURY.

(84-page FULL-COLOR magazine) $10.95 (Digital Edition) $4.99

(84-page FULL-COLOR magazine) $10.95 (Digital Edition) $4.99

(84-page FULL-COLOR magazine) $10.95 (Digital Edition) $4.99

(84-page FULL-COLOR magazine) $10.95 (Digital Edition) $4.99

(84-page FULL-COLOR magazine) $10.95 (Digital Edition) $4.99

TwoMorrows.

The Future of Pop History.

RETROFAN #31

RETROFAN #32

RETROFAN #33

RETROFAN #34

Magic memories of ELIZABETH MONTGOMERY for the 60th Anniversary of TV’s Bewitched! Plus: The ’70s thriller Time After Time (with NICHOLAS MEYER, MALCOLM McDOWELL, and DAVID WARNER), The Alvin Show, BUFFALO BOB SMITH and Howdy Doody, Peter Gunn, Saturday morning’s Run Joe Run and Big John Little John, a trip to Camp Crystal Lake, and more fun, fab features!

Featuring a profile of The Partridge Family’s heartthrob DAVID CASSIDY, THUNDARR THE BARBARIAN, LEGO blocks, Who Created Mighty Mouse?, BUCKAROO BANZAI turns forty, Planet Patrol, an encounter with SONNY AND CHER, Disco Fever, and more! Featuring columns by ANDY MANGELS, WILL MURRAY, SCOTT SAAVEDRA, SCOTT SHAW, and MARK VOGER. Edited by MICHAEL EURY.

Meet the Bionic Duo, LEE MAJORS and LINDSAY WAGNER! Plus: Hot Wheels: The Early Years, Fantastic Four cartoons, Modesty Blaise, Hostess snacks, TV Westerns, Movie Icons vs. the Axis Powers, the San Diego Chicken, and more!

Featuring columns by ANDY MANGELS, WILL MURRAY, SCOTT SAAVEDRA, SCOTT SHAW, and MARK VOGER. Edited

by MICHAEL EURY.

Take a ride with CHiPs’ ERIK ESTRADA and LARRY WILCOX! Plus: an interview with movie Hercules STEVE REEVES, WeirdOhs cartoonist BILL CAMPBELL, Plastic Man on Saturday mornings, TINY TIM, Remo Williams, the search for a Disney artist, and more! Featuring columns by ANDY MANGELS, WILL MURRAY, SCOTT SAAVEDRA, SCOTT SHAW, and MARK VOGER. Edited by MICHAEL EURY.

(84-page FULL-COLOR magazine) $10.95 (Digital Edition) $4.99

(84-page FULL-COLOR magazine) $10.95 (Digital Edition) $4.99

(84-page FULL-COLOR magazine) $10.95 (Digital Edition) $4.99

(84-page FULL-COLOR magazine) $10.95 (Digital Edition) $4.99

TwoMorrows Publishing 10407 Bedfordtown Drive Raleigh, NC 27614 USA 919-449-0344 E-mail:

store@twomorrows.com

Order at

www.twomorrows.com

RetroFan is no longer sold at Barnes & Noble stores, but still avalable at comic book shops and by mail.

by M

ichael Kronenberg

Mind-Blowing Mayhem John Romita, Sr.’s covers to Marvel’s entries in the (burgeoning) Bronze Age horror anthology trend: (left) Tower of Shadows #1 (Sept.

1969), with its host Digger seen in the corner box; and Chamber of Darkness #1 (Oct. 1969), unveiling host Headstone P. Gravely in the corner box.

TM & © Marvel.

Inspired by EC Comics’ acclaimed horror titles and their Tower of Shadows would last only nine issues and Chamber of “Ghoulunatic” hosts the Old Witch, the Crypt Keeper, and the Darkness would only survive for eight issues. Nearly forgotten Vault Keeper, Warren Publications launched the blacknow, both titles featured work by some of comics’ best and-white magazine Creepy in 1964, hosted by Uncle writers and artists: Denny O’Neil, Roy Thomas, Archie Creepy. Two years later, after the success of Creepy, Goodwin, Neal Adams, Jim Steranko, John Buscema, Warren launched the companion magazine Eerie, Johnny Craig, Wally Wood, and Bernie Wrightson. hosted by Cousin Eerie. In 1968, National TOS and COD were also fertile ground for new Periodicals (DC Comics) shifted House of talent like Barry Smith, Gerry Conway, Len Wein, Mystery back to a horror anthology, hosted by Gary Friedrich, and Marv Wolfman. But both Cain. In 1969, DC followed with the revival of series could not overcome poor sales, extremely House of Secrets as a horror anthology, hosted uneven stories, and a lack of editorial identity.

by Cain’s brother Abel. Both titles saw a jump DC had Joe Orlando editing their horror titles, in sales, thanks to former EC artist Joe Orlando bringing his EC experience, but Stan Lee’s direction taking the helm as editor. With superhero for TOS and COD was disjointed and distracted. sales beginning to wane, Marvel Comics’ As each series moved along during their brief stan lee Stan Lee wanted to create his own horror tenure, they became more populated by titles that could compete with DC’s recent reprints from Marvel’s stock of horror tales from TM & © Marvel. successes. In 1969, Marvel launched Tower of the late ’50s/early ’60s. However, there were Shadows (TOS), followed the next month by Chamber of several excellent stories, two of which would help change Darkness (COD). TOS was hosted by the ghoulish Digger and comics history, and one story that would help push a legend COD hosted by Headstone P. Gravely. away from Marvel and to DC. Haunted Issue • BACK ISSUE • 41

‘AT THE STROKE OF MIDNIGHT’

Murnau. Steranko uses warm and cool colors to create tension, The most highly regarded story to come out of either series was along with dynamic angles and contrasting panel sizes. Steranko “At the Stroke of Midnight,” from Tower of Shadows #1 (Sept. said, “If reality can be symbolized by color, then the unreality 1969), written and illustrated by Jim Steranko. The gothic noir of memory can be expressed by no color.” Steranko colored story opens with the main characters, Lou and Marie Fowler, the story for a mere $10 per page. He equates the size of a entering Shadow House, the creepy, old home of Lou’s uncle, panel with a shot in a movie and the story’s seven pages contain 90 panels, which was the typical number for a full-length which Lou has inherited after murdering him. Lou and comic book story. One page has 22 panels. Steranko Marie are searching for the uncle’s fortune that they uses varying cinematic techniques within the story: believe is hidden somewhere in the house. Marie is master shots, traveling pan/tracking shots, optical a classic gold digger and Lou a meek, henpecked zooms, and more—all of which lead to energy, husband. Steranko fills the story with eerie, noirish tension, and masterful innovation. atmosphere that builds to an EC-style ending as The final page packs a dramatic punch, as the Marie and Lou face a fateful punishment for their couple becomes trapped in another time as a crime, served up by the specter of Lou’s uncle. foreboding figure in the distance stands next to a For this story, Steranko tapped the work of guillotine. Revealed, via a cinematic zoom, to be H. P. Lovecraft, whose stories had recently been the dead uncle ominously pointing at the couple, revived in paperback. Originally titled “The Lurking “You’re next.” A quick cut to an extreme closeFear at Shadow House.” Steranko’s “At the up of Marie terrified and screaming, her face Stroke of Midnight” script strived for this story to bathed in scarlet red (an acknowledgement contain high suspense like a great piece of fiction jim steranko to EC Comics). The final panel, like the splash or a great film. He shattered the standard comic © Luigi Novi / Wikimedia Commons. page, is a haunting, long shot of Shadow House book approach with an outpouring of storytelling devices unseen in comics before and heavily influenced by rendered in muted color tones. It’s a tour de force unlike anycinema. Rendered in a more realistic style than his previous work, thing Marvel readers had ever seen.

After submitting the story to Stan Lee, Steranko voiced his and diametrically opposed to the Marvel house style, Steranko’s story oozes with symbolism and expressionism, like the film noir concern that any editing would destroy the tenuous balance movies of the 1940s and the silent films of Fritz Lang and F. W. he’d built. Lee leaned on his editorial muscle by first rejecting

Stricken At Midnight From the archives of Heritage Auctions (www.ha.com) hails this stunning original artwork

by Jim Steranko, intended for the cover of Tower of Shadows #1 but rejected by editor Stan Lee. TM & © Marvel.

42 • BACK ISSUE • Haunted Issue

Steranko’s terrifying and eye-catching cover art, along with his innovative TOS logo design. Lee then told Steranko to change the title to “At the Stroke of Midnight.” Steranko argued that Stan had other books that needed editing and that this short story that he had put so much sweat and effort into was “hands off.” Ignoring Steranko’s demand, Lee, who seemingly did not understand Steranko’s uniquely innovative panel construction and storytelling style, ordered more changes. Their argument escalated, with Steranko threatening, “Change one line or word and you can find yourself another artist!” Lee fired him on the spot.

Steranko: “The reason I had a little altercation with them is because they edited some of my work. They changed certain things that I didn’t feel should be changed. And I insisted that we couldn’t continue on that basis. ...

For example, my horror story ‘At the Stroke of Midnight’ had a line of dialogue added.

The meek husband said, ‘I’m nervous because it’s closer to midnight’ or something like that; simply a gratuitous line. It wasn’t my title and it didn’t have that line in it. Stan originally wanted that story to be called ‘Let Them Eat Cake,’ which I didn’t approve of. We had disagreements about the way I told stories. ...

If you’re a publisher and you want my work, you get it my way or you don’t get it at all.

“There are a number of things that can pose problems to comics storytelling. I was experimenting with these elements to develop an advanced technique of graphic narration. Take the placement of balloons, for example. I was able to position them so they were less obtrusive to the story flow. I wrote the text so that all the lines would be justified, that is, they are all flush with each other. Gutters also interrupt the flow of the story. I have constantly tried to adapt, eliminate or bypass the gutters to manipulate the illusion of time. I want to make it easier for the reader to move from panel to panel. A few of the balloons were also moved and the effect I was reaching for was broken.”

STERANKO! The founding fathers of superhero comics—Eisner, Lee, Kirby, Gains, Mayer, Siegel, and Shuster, and the rest—were so many things: talented, desperate, literate, illiterate, insane, obsessed, brilliant, fraudulent, silly, corny, manic… but what they weren’t, what almost no one in the industry was, perhaps to its eternal credit, was cool.

This was a business of outsiders, of men and women who wanted to succeed in other venues, from commercial art to newspaper strips, who reluctantly settled for almost accidentally creating one of the greatest American art forms. And for three decades, from horror comics to the horror of the Washington comic witch hunts, these wonderful, genius nerds poured their dreams into their panels, making new worlds out of ink and inspiration.

And then came Steranko. And he… well, g*dd*mn, he was cool.

From how he carried himself to how he talked, to his wild background, to the stories he told: he projected that mid-’60s nonchalance, that, swinging London, Steve McQueen, Parker, who-cares, I-can-do-it-better-than-you-without-even-trying, never-look-back pure unadulterated swagger. Hell, this guy even chose comics, came to comics not out of necessity but out of desire. Unlike all the scrappers in the Bullpen, Steranko had other gigs he was turning down. He was in comics for comics, for the revolution that could be brought to the page, that he was prepared to deliver right there, right then.

And that trailblazing ambition is in those very few issues Steranko wrote and drew in his very short time in comics. Those are cool books. Those are cool stories. He made heroes super. He made romances modern. He made spies sexy. (Everyone knows that after Steranko took over, Nick Fury wasn’t Nick Fury: He was Jim, with an eye patch.) That attitude, that unprecedented confidence in both his style and his penmanship, may have never been matched again in the medium. He was a man of his moment, a man who transformed his moment, and what a cool as ice moment it was.

— Tom King Writer, Batman, Mister Miracle, The Human Target

A month later, after things cooled off, Lee brought Steranko back into the fold, but this was the beginning of the end for Steranko at Marvel.

He would illustrate one more Marvel story, the Leepenned romance “My Heart Broke in Hollywood!”

Despite Lee’s attempts to interfere, “At the Stroke of Midnight” would go on to win the 1969 Alley Award for Best Feature Story and continues to influence comic book storytelling to this day.

In 1973, “At the Stroke of Midnight” was adapted as a short film titled Shadow House and produced by the American Film Institute. Scripted by Steranko, he was also the production designer. It starred John Fiedler (The Odd Couple, 12 Angry Men, and the voice of Winnie the Pooh) as Lou, Joanna Phillips as Marie, and veteran Hollywood character actor John Carradine as Lou’s uncle. The film is very faithful to Steranko’s TOS story and appropriately atmospheric.

The film was aired on A&E Network. A poor quality but viewable version is available on YouTube. (See Eddie Muller and Tom King’s sidebars for more about Steranko and “At the Stroke of Midnight.”)

Haunted Issue • BACK ISSUE • 43

Dark Shadows A chilling entrance into Shadow House, rendered in cinematic glory by the unmatchable Jim Steranko.

From Tower of Shadows #1’s “At the Stroke of Midnight.”

Special thanks to Michael Kronenberg for this article’s interior page scans.

TM & © Marvel.

‘THE MONSTER’

Chamber of Darkness #4 (Apr. 1970) featured one of the last Marvel stories by Jack Kirby before he signed with DC Comics. In this seven-pager, a wealthy, ugly, and lonely man is believed to be a monster by the ignorant people of his village.

A tragic story that echoes both The Hunchback of Notre Dame and Frankenstein.

There are several reasons why 1970 would be the end of Kirby at Marvel. He’d failed to come to an agreement for a new contract with Marvel publisher Martin Goodman. Goodman didn’t recognize Kirby’s tremendous contributions to Marvel’s success for over 30 years. Instead, it was believed that Stan Lee had done it all and Kirby was just an artist who drew what Lee told him.

Lee decided to feature his most popular artists in TOS and COD’s debut issues: Steranko in TOS #1 and Kirby in COD #1. The COD story would be plotted and drawn by Kirby and scripted by Lee. A horror/supernatural story was familiar ground

for both from their Atlas/early Marvel days. Kirby dove into the story with relish, providing some of his best penciled work in a long while. (Kirby’s original penciled pages can be seen in The Jack Kirby Collector #13, 1996.)

Lee didn’t like the story or the art that Kirby had submitted. Kirby was contacted by the Marvel offices and told that the job was rejected and being sent back to him with many changes and corrections that Lee wanted done. This was an insult to Kirby, but as a true professional, he reworked his pages, including cutting and pasting panels to change the story to meet Lee’s requests. Lee then decided he did not want to write the script for the reworked pages, perhaps as a concession because he knew Kirby wanted to start writing his own material or because he still hated the revised pages. Kirby provided a script for the revised pages, but several parts of his script were altered before the final lettering; these final changes were most likely done by Lee. Art changes were made to the story’s villain by the Marvel Bullpen and the story’s inker John Verpoorten. Some felt that the character too closely resembled the Fantastic Four villain Quasimodo (Kirby referred to the character as “Hunchy” in his border notes). Kirby’s script on the last page was completely discarded and a new ending was written, most likely by Lee, without Kirby’s knowledge. All of this resulted in “The Monster” not appearing in COD #1 as originally intended, but in COD #4. Whether this was the final straw that sent Kirby to DC is not known, but it certainly helped to push him out the door. The following issue of COD (#5, June 1970) would feature Kirby’s last story in the series titled “…And Fear Shall Follow.” In addition to the art (John Verpoorten inks), Kirby wrote the story about an American U-2 pilot who crashes his plane in China. He escapes from the wreckage, but a strange man pursues him relentlessly, even walking through walls. The pilot eventually realizes that he died in the crash and the man is going to escort him to the world beyond.

ENTER STARR THE SLAYER— ALIAS CONAN THE BARBARIAN

In the foreword to The Barry Windsor-Smith Conan Archives, Roy Thomas writes that in the late 1960s, readers began bombarding Marvel with letters demanding “sword and sorcery” comics. Paperback versions of Tolkein’s Lord of the Rings, Edgar Rice Burroughs’ John Carter, Warlord of Mars, and in particular Robert E. Howard’s Conan with their quintessential Frank Frazetta covers had become incredibly popular. TOS already featured two excellent sword and sorcery stories written and illustrated by comics legend Wally Wood.

Unexpectedly, the story “The Sword and the Sorcerers” by Roy Thomas and Barry Smith in Chamber of Darkness #4 would become a fortuitous preview for one of Marvel’s most heralded comics of all-time—Conan the Barbarian. The plot, loosely based on Conan creator and pulp author Robert E. Howard, is as follows: Novelist Len Carson plans to write one final story in his popular sword and sorcery series to kill off the protagonist, Starr the Slayer. But his creation comes to life and kills him in self-defense. This seemingly innocuous sto44 • BACK ISSUE • Haunted Issue

STERANKO NOIR I can’t overstate the impact “At the Stroke of Midnight” had on me. It’s like the Kennedy assassination—I remember exactly where I was. Eleven years old. Summer of ’69 and I’m spending it mostly reading comics in Boyes Hot Springs, California. I find Tower of Shadows #1 on a spinner rack at the Fiesta Market. I was already a fan of Steranko thanks to Strange Tales and Nick Fury, Agent of S.H.I.E.L.D., but this was something else—it dropped a bomb in my head. I spent the rest of my vacation studying the intricacies in the writing, design, and illustration and copying the panels. It opened a new world to me—like the time portal in the story—because I suddenly became more interested in the Hows and Whys behind its creation, than the story itself. I realized there was a magician behind it, orchestrating the whole thing. A daring and original magician—these eight pages were unlike anything I’d seen before.

The following year, Steranko published his History of Comics and let the world in on all the stuff that had influenced him. He led me to Will Eisner, and later I discovered the significance Bernie Krigstein had on Jim’s layouts, particularly “At the Stroke of Midnight.” By the time I was in high school, the school district had added “Film Literacy” to the curriculum, and my “term paper” was an A/V presentation showing the connection between “illustrated stories” and movies (yes, I used one of those boxy old overhead projectors!). Of course, “At the Stroke…” was the centerpiece of the whole thing. In many ways, this single story played a big part in fostering my interest in filmmaking.

As I learned more about the tumultuous creation of “At the Stroke…” and Jim’s battles with Stan Lee over the cover art and page design, it very much set the stage for what I do now—not just presenting movies but relating the backstories of their creation. Jim’s personality and temperament led to many power struggles and creative clashes, but what’s so great about his stuff is that it inspires deep-dive analysis, and yet, examining it and dissecting it never diminishes the magic. He was creating for posterity, and when left to his own devices, he succeeded completely. It’s not a huge body of work, but it’s timeless. It blew a kid’s mind on a summer day in 1969 and it still excites that 65-year-old kid today.

— Eddie Muller Host, TCM’s Noir Alley

ry ends up being a primer for Thomas and Smith’s Conan the Barbarian #1 (cover date Oct. 1970), released a mere six months after this story was published. Neither Thomas nor Smith knew at the time that they would eventually be teamed on Conan.

When British artist Barry Smith first arrived at Marvel, he was primarily imitating Jack Kirby, followed by a period where he was influenced by Steranko’s narrative style. These influences can be seen in his TOS and COD stories. By the time of “The Sword and the Sorcerers,” Smith took his Kirby/Steranko in-

fluence and combined it with inspiration from pre-Raphaelite artists to give his work a distinct look. Starr the Slayer is a dead ringer for Conan. Smith draws him in nearly the exact same way he’d later draw Conan, with a horned helmet, chest medallion, and knee-high sandals. His pre-Raphaelite influence also proved perfect for Conan’s Hyborian Age setting.

Roy Thomas had recently approached Stan Lee about acquiring the rights to Howard’s Conan character. Though Lee was only mildly interested, he encouraged Thomas to Haunted Issue • BACK ISSUE • 45

The ‘King’ of Monsters (left) “The Monster” in Chamber of Darkness #4 (Apr. 1970) was one of the final stories produced for Marvel by Jack “King” Kirby before his historic and well-publicized leap to DC Comics, where he’d soon introduce his enduring Fourth World. Note that Kirby also penned the tale. Inks by John Verpoorten. (right) Marvel’s dynamic duo of Roy Thomas and Barry Windsor-Smith brought wizards and swordplay into Chamber of Darkness #4 by introducing Starr the Slayer, their prototypical version of Robert E. Howard’s Conan the Barbarian.

TM & © Marvel.

work up a proposal to publisher Martin Goodman, which Goodman accepted. On a meager budget from Goodman’s office, Thomas wrote a letter to the Howard estate offering $200 per issue for the use of Conan as a Marvel hero. To Thomas’ surprise, they accepted. With that, Thomas began writing the first issue of Conan the Barbarian, but who would draw it? With $200 an issue going to the Howard estate, Marvel was not going to assign one of their high-paid, top-tier artists like John Buscema (who seemed to be the logical choice). In a 1998 interview for Comic Book Artist, Barry Smith said, “I believe that Stan wasn’t wholly behind the idea of a Conan comic and, if I recall, he was against putting an important artist on a book that was probably going to tank. Obviously, I was not considered an important artist at that period.” Thanks to his “trial run” in COD #4, the 22-yearold Barry Smith became Conan’s first Marvel artist, and the rest is comic book history.

On the letters page of Chamber of Darkness #6, editor Stan barry winsdor-smith Lee responded to a letter about T & S’s story in issue #4, that the first issue of Conan would be released next month. A house ad Portrait by Michael Netzer. for Conan the Barbarian #1’s debut appears opposite that letters page.

H. P. LOVECRAFT

Both TOS and COD adapted three H. P. Lovecraft stories. Considered one of the greatest writers of supernatural/horror fiction, Stephen King stated, “Lovecraft was the twentieth century’s greatest practitioner of the classic horror tale and was responsible for my own fascination with horror and the macabre. He’s the largest influence on my writing.”

In the late 1960s and early 1970s, Lovecraft’s stories began gaining popularity with a new generation thanks to paperback reprints. Marvel arranged with Arkham House, who owned the rights to and published Lovecraft’s work, to adapt three stories. The first was “The Terrible Old Man” in Tower of Shadows #3 (Jan. 1970), written by Roy Thomas, with pencils by Barry Smith and inks by John Verpoorten and Dan Adkins. The story concerns a strange old man

jack kirby

46 • BACK ISSUE • Haunted Issue

PORTRAITS FROM THE PIT I’ll never forget the night I read “Pickman’s Model” for the first time. I was home alone and it was late. As a lifelong fan of all things horror, I was anxious to dig into H. P. Lovecraft, that storied bard of the dark, and I began with the terrifying and twisted tale of Richard Pickman and his private chamber of horrors. Lovecraft’s icy style soon began to take hold and creep beneath my skin. I felt uneasy, hearing odd noises emanating from the attic, looking over my shoulder as if some unseen presence was invading my space. No other literary work has ever sent such a chill through my bones. “Pickman’s Model” is a supreme example of Lovecraft’s unique ability to suffuse his readers with an unsettling psychic dread. He takes us through the putridity of Boston’s underbelly; we scan the rotted walls of Pickman’s moldering manse, shudder at the unearthly sounds emanating from his underground cellar, savor the depraved descriptions of Pickman’s artwork, depicting demonic creatures attacking and devouring their human victims. Roy Thomas’ comic book adaptation is faithful to Lovecraft’s original plot, and Tom Palmer’s artwork captures the cobwebbed crawlspaces in Pickman’s crumbling crypts. But even the best graphic artist can’t capture the primordial fear evoked by any Lovecraft story—especially “Pickman’s Model.”

— Steve Kronenberg Managing Editor, Noir City Magazine, and columnist, Cryptology Magazine

Lovecraft Country The writer and artist adapting H. P. Lovecraft’s “Pickman’s Model”—Roy Thomas and Tom Palmer— introduce their story in the last issue of Tower of Shadows, #9 (Jan. 1971).

TM & © Marvel.

Haunted Issue • BACK ISSUE • 47

who lives in an ancient house, speaks to weird, mystical bottles, and is the target of a robbery by a gang of thieves. The robbers are met with a gruesome death at the hands of the old man.

In Chamber of Darkness #5 (June 1970), Roy Thomas adapts Lovecraft’s 1921 story “The Music of Erich Zann” as “The Music from Beyond,” with art by EC Comics legend Johnny Craig. In this story, a student takes a room at a strange lodge in Paris. He hears odd music that intrigues him. It comes from the room above his where an old mute plays a violin in front of a mysterious window. During a visit to the old man’s room, he sees that the window leads to a weird abyss filled with bizarre music.

The last adaptation of Lovecraft was “Pickman’s Model” in the Tower of Shadows #9 (Jan. 1971), the final issue of the series. Once again, Roy Thomas writes the script, and the art is provided by Tom Palmer. Thomas and Palmer introduce the story on the splash page.

Palmer, considered one of the greatest inkers in Marvel history, gets the opportunity to show that he was also a talented artist and storyteller. “Pickman’s Model” is one of Lovecraft’s most famous stories and was first published in Weird Tales (1926). An artist’s work is so horrific and monstrous that no one wants to view his paintings at a gallery exhibit. An art critic is intrigued by the realism of the paintings and is brought to the artist’s studio. He discovers that the artist is depicting real monsters from life. “Pickman’s Model” was also adapted in a 1971 episode of Night Gallery and a 2022 episode of Guillermo del Toro’s Cabinet of Curiosities. (See Steve Kronenberg’s sidebar about this story.)

THE END

Kull and Void (top) Bernie Wrightson art for the cover of the unpublished Tower of Shadows #10.

Courtesy of Heritage.

The cover features Robert E. Howard’s King Kull, whose feature at Marvel began with (bottom) Creatures on the Loose #10 (Mar. 1971), a retitling of the former TOS series,

by Herb Trimpe and Marie Severin.

TM & © Marvel. King Kull © Conan Properties International, LLC.

48 • BACK ISSUE • Haunted Issue

By the fourth issue, both series abandoned their horror hosts. Sporadically, some stories would be introduced by the story’s writer and/or artist. The last two issues of COD and TOS predominantly featured reprints. “Pickman’s Model” was the only new story to appear in the last issue of TOS. The highlights of the final issues would be covers by roy thomas Bernie Wrightson along with a story illustrated by Wrightson. Less than a © Luigi Novi / Wikimedia Commons. year after TOS’s cancellation, Len Wein and Wrightson would debut Swamp Thing in DC’s House of Secrets #92.

Tower of Shadows would be retitled Creatures on the Loose and Chamber of Darkness would change to Monsters on the Prowl. COTL would reach #37 before it was canceled and MOTP, which primarily featured reprints, would end at #30.

Special thanks to Jim Steranko, Eddie Muller, Tom King, and Steve Kronenberg for their assistance. These sources were invaluable: Steranko: Graphic Prince of Darkness, Steranko: Graphic Narrative, TomBrevoort.com, and the TwoMorrows book Marvel Comics in the 1970s.

BACK ISSUE cover designer MICHAEL KRONENBERG is an award-winning artist and graphic designer for the Film Noir Foundation, the designer of TwoMorrows’ new Cryptology magazine, the creator/designer of the boxing magazine Ringside Seat, and the co-author (with Michael Eury) of TwoMorrows’ book, The Batcave Companion.

$1,000,000 PAID FOR ORIGINAL COMIC ART! COLLECTOR PAYING TOP DOLLAR FOR “ANY AND ALL” ORIGINAL COMIC BOOK AND COMIC STRIP ARTWORK FROM THE 1930S TO PRESENT! COVERS, PINUPS, PAGES, IT DOESN’T MATTER! 1 PAGE OR ENTIRE COLLECTIONS SOUGHT! CALL OR EMAIL ME ANYTIME!

330-221-5665 mikeburkey@aol.com OR SEND YOUR LIST TO:

MIKE BURKEY

P.O. BOX 455 • RAVENNA, OH 44266 CASH IS WAITING, SO HURRY!!!!!

Advertise With Us! Magazine Ad Rates

RetroFan • BrickJournal • Cryptology Back Issue • Comic Book Creator Alter Ego • Jack Kirby Collector Back cover or inside cover: $900 ($800 for two or more) Full-page interior: $700 ($600 for two or more) Half-page interior: $400 ($350 for two or more) Quarter-page interior: $200 ($175 for two or more) AD SIZES: COVERS & FULL-PAGE: 8.375” wide x 10.875” tall trim size, add 1/8” bleed. (7.625” x 10.125” live area.)

HALF-PAGE: 7.625” x 4.875” live area (no bleeds).

QUARTER-PAGE: 3.6875” x 4.875” live area (no bleeds).

Call or e-mail for frequency discounts!

Run ads across our full magazine line for even greater savings!

Send ad copy and payment (US funds) to: TwoMorrows Publishing 10407 Bedfordtown Drive Raleigh, NC 27614 919-449-0344 E-mail: twomorrow@aol.com

We accept check, money order, and all major credit cards; include card number and expiration date.

These rates are for digital ads supplied (PDF, JPEG, TIF, EPS, or InDesign files accepted).

No agency discounts apply.

Our magazines are no longer at Barnes & Noble or in Apps!

But they’re available through comic book shops, subscription, and print & digital editions at www.twomorrows.com PLUS: Check out our new digital storefront and start your permanent digital collection:

www.comicshistory.org

Statement of Ownership, Management, and Circulation Publication Title: Back Issue Publication Number: 1932-6904 Filing Date: July 4, 2024 Issue Frequency: Monthly, except for January, March, May, and November Number of Issues Published Annually: 8 Annual Subscription Price: $97 Address of Known Office of Publication and General Business Office of Publisher: TwoMorrows Publishing, 10407 Bedfordtown Dr., Raleigh, NC 27614 Contact Person: John Morrow Telephone: 919-449-0344 Editor: Michael Eury, 112 Fairmount Way, New Bern, NC 28562 Publisher and Managing Editor: John Morrow, TwoMorrows Publishing, 10407 Bedfordtown Dr., Raleigh, NC 27614 Owner: John Morrow, 10407 Bedfordtown Dr., Raleigh, NC 27614 Known Bondholders, Mortgagees, and Other Security Holders: None Issue Date for Circulation Data: July 2024 Average No. Copies Each Issue During Preceding 12 Months: 3888 No. Copies of Single Issue Published Nearest to Filing Date: 3200 Paid Circulation (By Mail and Outside the Mail) (1) Mailed Outside-County Paid Subscriptions Stated on PS Form 3541 (Include paid distribution above nominal rate, advertiser’s proof copies, and exchange copies): 280 (2) Mailed In-County Paid Subscriptions Stated on PS Form 3541 (Include paid distribution above nominal rate, advertiser’s proof copies, and exchange copies): 0 (3) Paid Distribution Outside the Mails Including Sales Through Dealers and Carriers, Street Vendors, Counter Sales, and Other Paid Distribution Outside USPS®: 2432 (4) Paid Distribution by Other Classes of Mail Through the USPS (e.g., First-Class Mail®): 52 Total Paid Distribution: 2764 Free or Nominal Rate Distribution (By Mail and Outside the Mail) (1) Free or Nominal Rate Outside-County Copies included on PS Form 3541: 109 (2) Free or Nominal Rate In-County Copies Included on PS Form 3541: 0 (3) Free or Nominal Rate Copies Mailed at Other Classes Through the USPS (e.g., First-Class Mail): 0 (4) Free or Nominal Rate Distribution Outside the Mail (Carriers or other means): 0 Total Free or Nominal Rate Distribution: 109 Total Distribution: 2873 Copies not Distributed: 327 Total: 3200 Percent Paid: 96% I certify that all information furnished on this form is true and complete. I understand that anyone who furnishes false or misleading information on this form or who omits material or information requested on the form may be subject to criminal sanctions (including fines and imprisonment) and/or civil sanctions (including civil penalties).

John Morrow, publisher

In 1968, horror comics were poised to make a comeback at DC Comics. This move would open up a new market for the publisher and create a hit line for DC in the Bronze Age. The success of these books was due to a man who knew a thing or two about the genre, Joe Orlando. Orlando had been a part of the legendary EC Comics bullpen of the early 1950s, a pool of talent that included one of the greatest lineups of artists any publisher ever had. When it came to the company’s output, their crowning achievements were their horror comics: Tales from the Crypt, Vault of Horror, and Haunt of Fear, featuring the work of a who’s who of artist greats that included Jack Davis, Johnny Craig, and Graham Ingels, as well as Orlando. Orlando had also had recent success helping to launch Warren’s black-and-white magazine, Creepy, in 1964.

DC’s decision to take a chance on horror comics was a bold venture at the time. After all, “horror” was still a dirty word in the business. It had been less than 15 years since the entire comic book industry came under intense scrutiny by parents, teachers, and other concerned citizens outraged at the violence and sex in comics.

The pressure back then was so great to clean up the industry, the US Senate even held an inquiry to investigate the perceived harm comics were causing America’s youth. And it had been horror comics (as well as crime comics), just like the ones EC put out, that helped put the entire medium in the crosshairs.

DC hedged its bet on horror by rolling Orlando’s new line out under the preferred term, “mystery books.” But a monster hit by any other name is still a monster hit. As detailed in this issue’s opening article, Orlando took two old standbys, House of Mystery and House of Secrets, and led DC into scary new territory, with more mystery titles following from both Orlando and other editors.

What you are about to read, however, is the history of a book in DC’s mystery line, one Orlando didn’t edit himself, even though he would have an impact on it in several ways. This is a story we think you will find most… Unexpected.

HISTORY FROM THE CRYPT

Before we dive into the comic book that Unexpected was destined to become, we must look at the comic book that it used to be and the events that helped reshape it.

Originally titled Tales of the Unexpected, the first issue of this series was cover-dated February– March 1956. Tales of the Unexpected launched less

Cheating Death After a few years of format and logo changes, DC’s The Unexpected settled into its Bronze Age logo with issue #115 (Oct.–Nov. 1969).

Cover by Neal Adams.

TM & © DC Comics.

50 • BACK ISSUE • Haunted Issue

by D a n

Johnson

than two years after the aforementioned US Senate Subcommittee hearings that investigated juvenile delinquency and the effect comic books had on this social problem.

There had been concerns over comic book content by the general public for years before this investigation took place. The main concern was over acts of sex, crime, and violence depicted in comic books and how they shaped the impressionable minds of children who read them.

Slowly but surely, the heat was turned up on everyone associated with comics until it reached a boiling point in 1954. In that year, every publisher, including National Periodicals, later known as DC Comics, was in the soup. Eventually, after the Comics Code Authority was launched to help show the public that comics were cleaning up their act, the controversy subsided.

PLAYING IT SAFE

Part of the effort to rebuild trust between publishers and the parents of young readers was axing horror comics altogether. Even though the genre was off the table, anthologies were still popular, especially ones that focused on science fiction and fantasy. And by fantasy, that meant ghost stories and other tales with supernatural elements that skirted the line of horror without fear of parental outrage. Initially, these were the kind of stories featured in Tales of the Unexpected.

As time went on, the focus shifted more and more to science fiction stories. The book began life under editor Jack Schiff, a man who really had a fondness for aliens of all shapes and sizes. After all, he was the editor who had turned Batman into a science fiction hero in the late 1950s and early 1960s. He was also the first editor on House of Mystery and House of Secrets.

When he was removed from the Batman titles in favor of the “New Look” under Julius Schwartz, Schiff took over Mystery in Space and Strange Adventures from Schwartz.

By the late 1950s, covers featuring aliens and other worlds became the norm for this title. Its fate as a science fiction comic book was sealed for certain when it got its own anchor feature. With issue #40 (Aug. 1959), the book became home for Space Ranger, a character that had tryouts in Showcase #15 (Aug. 1958) and 16 (Sept. 1958).

Dubbed “Guardian of the Solar System,” Space Ranger was like a futuristic Batman, hiding his true identity to better fight the threats that loomed in outer space. Space Ranger took over the covers for Tales of the Unexpected starting with issue #43 (Nov. 1959) and remained the book’s cover feature until #82 (May 1964). Beginning with issue #83 (June–July 1964), the Green Glob, a creation of the Guardians of the Universe, was introduced, and it would be featured in stories where it interacted with various humans as it worked to better their lives in amazing ways.

Overall, Tales of the Unexpected was a fun read with some inventive stories and solid artwork across the board. But aliens and science fiction were becoming played out by the end of the 1960s.

This book needed new life and a new direction.

It was time for a new day, one that could only be found in the dead of night.

Beware of the Glob Weird science fiction propelled the earliest issues of Tales of the Unexpected, starting with (top left) this trippy Bill Ely–drawn bird-man cover for issue #1 (Feb.–Mar. 1956). (top right) Space Ranger rocketed into the title beginning with #43 (Nov. 1959)—and check out the washtones on that snazzy Bob Brown cover! (bottom) It’s “The Green Glob,” a short-lived attempt at a recurring feature in Tales of the Unexpected. Excerpt from the “Green Glob” story in issue #83 (June–July 1964). Art by George Roussos.

TM & © DC Comics.

Haunted Issue • BACK ISSUE • 51

Have You the Nerve to Face… the Changing Logos? (left) The book dropped its “Tales of” prefix and trotted out this logo with issue #105 (Feb.–Mar. 1968).

Cover art by Bob Brown and Mike Esposito. (right) This eerie logo bowed on the cover of #110 (Dec. 1968–Jan. 1969). Cover by Neal Adams.

TM & © DC Comics.

Schiff stayed on as editor of Tales of the Unexpected until issue #102 (Sept. 1967), at which time his DC editorship of House of Mystery and House of Secrets also ended. With issue #103 (Nov. 1967), Murray Boltinoff took over the book as its new editor and by the next issue, the tone of Tales of the Unexpected shifted considerably.

First, the Green Glob and the science fiction stories were gone. Issue #104 also featured a Neal Adams cover for a story called “The Master of the Voodoo Machine!” about an inventor creating a duplicating machine that goes wrong when he uses it to kill a rival. The other stories in this issue included “I Was King of Dagger Island,” about two men stranded on an island where they are believed to be gods; “The 24-Hour Nightmare,” where a man finds himself in a town that keeps going further and further back in time; and a one-page text feature called “Curses and Hexing Candles.” The message was clear: Mystery was in.

WHAT’S IN A NAME?

Another indicator that this book was headed in a new direction was the logo for Tales of the Unexpected. Before switching over to become part of the new mystery line, the logo had been slick and futuristic-looking. But with the new focus on horror, the logo took on a look that made it look like it was carved from the ruins of an ancient castle. Also, the design made the word “Unexpected” look like it was coming off the cover at the reader right in the center. With issue #105 (Mar. 1968), the book was called simply The Unexpected, although the new design was kept. The book did gain a header above the title which it kept until near the end of its run. Each issue posed the same challenge to the reader: “Have you the nerve to face the… Unexpected.”

An even newer logo, one that gave off psychedelic shock vibes, would be introduced with #110 (Jan. 1969). And even that one would be changed to the permanent logo that was introduced with #115 (Nov. 1969). So many changes to something as basic as the logo on the cover was not the norm at 52 • BACK ISSUE • Haunted Issue

the time, but it was an indicator of the change taking place as Unexpected embraced its new identity more and more and got a little bolder in letting readers know that there was some scary good fun to be had in this book.

KILLING THE COMPETITION

As DC grew more confident with the mystery books, it became obvious that Orlando’s way of thinking was paying off. Initially, the suggestion to do the mystery books came about because DC’s main rival company, Marvel, was making inroads into the always popular superhero market. As House of Mystery, and then Unexpected and House of Secrets, respectively, began branching out into horror stories, Marvel had nothing like them. [Editor’s note: Well, almost nothing. Check out this issue’s Tower of Shadows article to learn about Marvel’s ill-fated stab at horror anthologies.] Comics like Unexpected gave DC a much-needed edge by offering readers something different, another option on the spinner rack. Also, as sacrilegious as it might sound these days, not all comic book readers are into superheroes.

While the mystery line was successful in grabbing the attention of readers, they also caught the attention of the Comics Code Authority (CCA). “We would have negotiations over my books all the time [with the CCA],” said Orlando in an interview with Jon B. Cooke in Comic Book Artist #1 (Spring 1998). “One of the pleasures I derived from editing was to test the Code’s rules.

I would come up with story ideas that, to give you one example, would depict this man totally beaten to a pulp, pieces of flesh falling off, and then it would turn out to be a robot. I would then argue with the Code, ‘It’s a machine!’”

As fate would have it, a change was coming to the comics industry and the group that determined what was and was not acceptable in comics. Books like Unexpected were about to get a whole lot more freedom. But that was still a few years down the road. In the meantime, there was a new peril for Unexpected. Or rather, an old one.

PERILOUS DECISION

the ones that would later come to be seen in Back during the time Tales of the Unexpected Unexpected. An unnamed Johnny Peril first was going full-tilt with science fiction stories, appeared in Comic Cavalcade #19 (Mar. 1947) it had been popular for anthologies to have in an installment called “Mr. Nobody.” Peril at least one regular feature to anchor a book. would be given a name and return as the star This was done to give a comic a sense of of the feature with issue #22 (Sept. 1947), when the series’ title was changed to “Johnny identity, a regular character with whom Peril Tells Just a Story,” and changed readers could identify and hopefully again later to “Johnny Peril’s Surprise come back the next issue for more Story.” The character started out of their adventures. DC’s other as a reporter who became a mystery books opted to have private investigator, who found horror hosts be the series’ himself involved with otherrecurring characters, such as worldly adventures.

Cain in The House of Mystery, Johnny Peril lasted in Comic Abel in The House of Secrets, and Cavalcade until issue #29 (Oct.– the Three Witches in The Witching Nov. 1948), and beginning with Hour. Unexpected initially stood the next issue the series changed out as it did something different its format to funny animals. by choosing a lead feature— Johnny Peril was relegated to in this case a character with a howard purcell All-Star Comics starting with history with DC which would #42 (Aug.–Sept. 1948) and ran fit nicely with the new mystery until issue #57 (Mar. 1951), when All-Star was format: Johnny Peril.

Johnny Peril was the creation of cartoonist canceled. Through Peril’s runs in both comics, Howard Purcell. Purcell had created the the bulk of his stories were by Purcell, with anthology feature “Just a Story” for DC’s Comic some fill-ins illustrated by the likes of Carmine Cavalcade, starting with issue #15 (June–July Infantino and Joe Kubert.

Johnny Peril got another lease on life by 1946). “Just a Story” featured fantastic tales with a supernatural bent in the same vein as becoming the cover feature for Sensation Comics,

Just a Twice-Told Tale (left) Splash page to writer/artist Howard Purcell’s “Just a Story” from Comic Cavalcade #26 (Apr.–May 1948). (right) Purcell revisited that story 20 years later when its star, Johnny Peril, returned in Unexpected #106 (Apr.–May 1968).

Cover by Purcell and Jack Abel.

TM & © DC Comics.

Haunted Issue • BACK ISSUE • 53

Doorways to Nightmare You could expect almost anything to be haunted—from commuter trains to rock concerts—in the pages of The Unexpected. (left) Cover to issue #116 (Dec. 1969–Jan. 1970), by Nick Cardy. (right) Cover to issue #122 (Dec. 1970–Jan. 1971), by Dick Giordano.

TM & © DC Comics.

no small feat as he replaced Wonder Woman as its headliner.

His feature ran from issue #107 (Jan.–Feb. 1952) to 109 (May–June 1952). The stories in these three issues were written by Robert Kanigher and drawn by Alex Toth. Johnny Peril remained with the book as it was retitled to Sensation Mystery with issue #110 (July–Aug. 1952), as the focus of the book was now on horror stories, which at the time were very popular and selling better than flagging superhero comics.

The transition of Sensation Comics to Sensation Mystery saw Johnny Peril briefly lose his cover-feature status, but he would regain it after a few issues. Kanigher remained on as scribe, with Johnny Peril’s stories being illustrated by such talents as Frank Giacoia, Sy Barry, and Jerry Grandenetti.

Johnny Peril remained in the title until its final issue, #116 (July–Aug. 1953).

While Tales of the Unexpected launched after the implementation of the Comics Code Authority, Sensation Mystery ended just before it was enacted. Looking at the seven issues of Sensation Mystery, one might say this comic was, in spirit, the forerunner of Unexpected—so much so, the addition of Johnny Peril to Unexpected was a logical move.

Johnny Peril began his Unexpected run in issue #106 (Apr.–May 1968). Howard Purcell returned to introduce the character to a new generation, writing and penciling the first tale, with inks by George Roussos. The story, “The Doorway into Time,” was a reworking of the Johnny Peril adventure in 1948’s Comic Cavalcade #26. Purcell produced only this one Johnny Peril story for Unexpected before moving over to Marvel to do the Black Knight in Marvel Super Heroes and a Watcher backup in Silver Surfer. With Purcell’s departure, writer George Kashdan and artist Jack Sparling took over the Johnny Peril strip, with Ed Robbins and Vince Colletta handling art chores for issue #114 (Sept. 1969). Johnny Peril was absent for the next two issues, returning for a final appearance in #117 (Feb.–Mar. 1970) is a tale illustrated by Sid Greene.

54 • BACK ISSUE • Haunted Issue

PRESENTING YOUR HOSTS

While Unexpected didn’t initially embrace having a regular host, eventually a pair were introduced. What made them stand out was the fact that they only made random appearances in the early years of the book. Also, when they did appear, they only presented one story per issue. Eventually, within a few years of their introduction, these hosts were dropped. In truth, they didn’t quite have the same punch as the other mystery hosts. But then, it could be said Unexpected let its stories speak for themselves.

Unexpected’s first host was the Mad Mod Witch, created

by Dave Wood and Jack Sparling. Her first appearance was in Unexpected #108 (Aug.–Sept. 1968). The character was presented as a being that changed with the times, chasing the latest fashion and trends. To that end, she has also been presented as the Mad Flapper Witch, the Mad Punk Witch, and the Mad Yuppie Witch. In an appearance in The Witching Hour #80 (May 1978), it is implied she is a cousin to the Three Witches. When the character was later used in Neil Gaiman’s The Sandman, she was renamed the Fashion Thing and made a citizen of the Dreaming. From 1968 through 1972, the character was featured in Unexpected #108–112, 114–116, and 140. Issue #162 (Jan. 1975), a 100-Page Super Spectacular, reprints her story from #110 (Jan. 1969), “Half a Man is Better Than None,” written by Dave Wood and drawn by Bill Draut.

The other host in Unexpected was a character named Judge Gallows, a.k.a. Judge Quentin Gallows. First appearing in #113 (July 1969) in a story written by Dave Wood and illustrated by Superman artist Curt Swan, Gallows was presented as a retired judge forced to step down from his duties because of his ever-growing erratic behavior. He tells readers about strange and unusual cases that were brought before him during his time on the bench. In later appearances, the character was given also made a part of the Dreaming by Gaiman. Judge Gallows’ appearances were even more sporadic than those of the Mad Mod Witch—he appeared in only four more issues, #118 (May 1970), 121 (Nov. 1970), 125 (July 1971), and 133 (Mar. 1972).

Here Come Da Judge!

That’s a gruesome gavel! Original Curt Swan/Mike Esposito art (courtesy of Heritage) from The Unexpected #113 (June–July 1969), with Judge Gallows introducing writer Dave Wood’s tale “The Tunnel of Fear!”

TM & © DC Comics.

Haunted Issue • BACK ISSUE • 55

Are You Afraid to Ask? (left) Some nerve, that family! The Unexpected #134 (Apr. 1972); cover art by Nick Cardy. This shocker was inspired by the 1969 bestseller, Everything You Always Wanted to Know About Sex* (*But Were Afraid to Ask),

by David Reuben, MD. (right) Also in 1972, Woody Allen’s film adaptation of Everything… was released. Poster courtesy of Heritage.

The Unexpected TM & © DC Comics.

Everything You Always Wanted to Know About Sex © 1972 United Artists.

OPENING THE BLOODGATES… UH, FLOODGATES

TM & © DC Comics.

In 1971, the Comics Code Authority decided to make much-needed updates to their guidelines for permissible content in comic books. The one that impacted DC’s mystery books the most was: “Scenes dealing with, or instruments associated with, walking dead or torture shall not be used. Vampires, ghouls, and werewolves shall be permitted to be used when handled in the classic tradition such as Frankenstein, Dracula, and high-caliber literary works written by Edgar Allan Poe, Saki, [Arthur] Conan Doyle, and other respected authors whose works are read in schools around the world.”

DC’s mystery books, including Unexpected, were given more wiggle room to become full-on horror comics—but there were still tight restrictions, such as publishers not being allowed to use the words “Horror” or “Terror” in their titles. The new freedom in the Comics Code really showed on the covers of Unexpected.

56 • BACK ISSUE • Haunted Issue

The first few years of Unexpected under Boltinoff featured a lot of menaces that were never shown on the cover, but they were heavily implied, usually with a monstrous hand reaching for the victim.

Beginning with the 1971 issues, the covers finally started to show what was lurking inside the comic.

Issue #124 (May 1971; inset) is the first that really stands out as an attempt to gain new freedom on the cover. This one, done by Neal Adams, is for a story called “The Gift of the Ghouls,” about a neighborhood of witches and warlocks confronted by a young boy who is new to town, and who will one day have the power to destroy them all, provided he is allowed to live. The cover shows the witches and warlocks front and center on the cover and it really gives readers an old-school EC vibe. By the end of the year, a lot more of the monsters and ghoulies and especially skeletons (and make no bones about it, there were a lot of skeletons on all the mystery books) were taking the spotlight on the cover.

HUMOR IN A JUGULAR VEIN

Another cover that should be noted is the one for Unexpected #134 (Apr. 1972). This one features a pale, otherworldly looking woman greeting her relatives at the door with her husband wondering what kind of family he married into. One look at his bride and her kin, and it is easy to see what side of the graveyard they come from. The cover also features the title of one of the stories in the issue, “Everything You Always Wanted to Know About Fear… But Were Afraid to Ask.” It’s worth noting since that title parodies the title of Dr. David Reuben’s 1969 bestseller, Everything You Always Wanted to Know About Sex* (*But Were Afraid to Ask). The ghastly characters presented on the cover, along with a story title that hinted at one of the first mainstream sexual manual, shows just how much the Comics Code Authority was relaxing. Plus, both indicate touches of humor, and many critics will tell you that there is a fine line between comedy and horror. And let’s not forget that besides working on EC’s horror comics, Orlando had a history of working on the publisher’s greatest contribution to pop culture, MAD Magazine.

Orlando’s association with MAD is what led him to meeting Dave Manak, who would eventually become very important to Unexpected.

“Sometime in 1971, as a young guy living in Southeast Pennsylvania with no contact with anyone in the comic book industry, I sent a sheet of drawings of my best versions of superheroes to Joe Kubert at DC,” says Manak. “I sent it to Joe because of my love for his art in Sgt. Rock and particularly Enemy Ace. To my shocked delight I got a letter back asking me if I’d like to visit him in New York City at the DC offices and [just like that,] I was on my way to the big city.”

Manak also had a love for humor as well as superheroes. This is what led him to work with Joe Orlando, who he looked upon as a mentor. “After a bunch of visits [with] Kubert, I showed him some humor cartoons I did and

Giants Walk Among Us (top) The Unexpected began a brief stint as a 100-Page Super Spectacular with issue #157 (May–June 1974). Cover by Nick Cardy. (bottom right) The title was one of a handful of DC books whose page counts and price tags expanded in the late 1970s with DC’s “Dollar Comics” line. Unexpected #189 (Jan.–Feb. 1979) cover by Luis Dominguez. (bottom left) Editor (and all-around comics legend) Joe Orlando, at his DC Comics desk in the early 1980s. (bottom center) Dave Manak at his DC desk in 1981.

Manak assisted Orlando and wrote and drew gags for Unexpected and other DC books. Photos courtesy of Dave Manak.

TM & © DC Comics.

Haunted Issue • BACK ISSUE • 57

Helpful Hints Courtesy of the artist, an original art scan of “Do’s and Don’ts for Monsters,” a one-pager written and illustrated by Dave Manak that was published in The Unexpected #199 (June 1980).

TM & © DC Comics.

58 • BACK ISSUE • Haunted Issue

he introduced me to Joe Orlando, who was already famous from his time at MAD Magazine, and that was the meeting that would set things in motion,” says Manak about his breaking into comics. “In about a year, I moved to New York City and started doing some freelance production work at DC to pay the rent and sold my first single-panel cartoon [which appeared] in Plop! #6 (Aug. 1974). Then it wasn’t long before I was penciling and inking stories for Plop! I became good friends with Orlando.”

Plop!, a humor comic also under Orlando, proved to be a classic case of waste not, want not.

The stories created for the mystery books eventually became interchangeable, with the only real difference being which host introduced each story.

Also, Orlando had stockpiled a lot of scripts. “The mystery books had a big inventory,” said Orlando in the Cooke interview. “I would call in a writer (and I was working with three or four writers at the time and I knew all the cliches). Jack Oleck would come in with 20 ideas and he would go home with 20 stories to write.”

With so many stories being produced, a few would eventually prove to be unusable in any of the mystery books. That is how Plop! became the home for stories submitted to comics like Unexpected that just didn’t make the cut. “Joe Orlando had mystery inventory scripts that he couldn’t use so the two of us would sit in Joe’s office rewriting some of them turning them into humor stories for Plop!,” reveals Manak. “I think that’s how I learned how to write comics.”

[Editor’s note: Plop!, DC’s “New Magazine of Weird Humor,” was examined back in BI #21. If you don’t believe me, ask Arms Armstrong.]

UNEXPECTED ASSIST

As Manak was taken under Orlando’s wing on Plop!, Boltinoff got some help of his own in the form of a new assistant, Jack C. Harris, who would eventually take over the editing duties of Unexpected from him. “I guess my real association with Unexpected started back with issue #7 (Nov. 1956), when it was known as Tales of the Unexpected, recalls Harris. “This was the first jack c. harris issue I ever read back at summer camp. It both fascinated and Facebook. frightened me, reading it by flashlight in a cabin the woods. The first one I bought for myself was issue #31 (Nov. 1958) when the title had moved away from the supernatural stories, more into

Cancelled Comic Cavalcade (top) Note from the top-line cover blurbs how material from recently axed DC mysteries was funneled into The Unexpected’s pages. Covers to issues #194 and 195 by Luis Dominguez. (bottom) Jim Starlin delivered this dynamite demon cover for editor Harris’ issue #198 (May 1980). Courtesy of Heritage.

TM & © DC Comics.

Haunted Issue • BACK ISSUE • 59

science fiction, which was a trend by then. I was a big fan when it ran Space Ranger stories as the lead feature for several years. I was still reading it when I joined the staff of DC Comics in October of 1974. My first assignment to DC was as Murray’s assistant editor. The first issue of Unexpected I actually worked on was #162 (Mar. 1975). The book was a 100-Page Super Spectacular then, featuring a mix of new and reprinting material. My editorial duties included selecting some of the reprints, proofreading new stories, writing letters columns, etc. When Murray [left the book] in 1978, I inherited this title along with a number of his other books. My close association with the title is one of the reasons it was handed over to me.”

As Harris settled into his role as an assistant editor and then later editor, he brought with him a quality that Orlando possessed when he took over the mystery line: experience in art. “My training was an art. To me, comic book visuals were the thing,” says Harris. “A startling image was what was needed to grab the readers. I used the method that senior editor Julius Schwartz used. We worked out a dramatic cover image; something that jumped off the stands and pulled the reader in. Then, once the cover was completed and approved, then

we would show it to a writer and have them come up with the accompanying story. We always wanted a surprise or twist ending; something the readers would never expect. You know, unexpected.”

NEVER LET THEM SEE IT COMING

As Harris mentioned, even though Unexpected was mainly using inventory material, he was looking for some new content. When it came to writing stories for Unexpected, the twist at the end was everything. Harris had one instruction for the writers he brought on board to ensure they had a story worthy of publication. “I [would] tell my writers to have someone read their script before they handed it into me, but leave off the last page,” says Harris.

“If whomever could not predict the ending, then they were on the right track. Most times the writers would come in with a plot and play that game with me. They would tell me the story and see if I could guess the ending. If I did, they had to rework it.

If I didn’t, they would have probably made a sale. I was always looking for the twist or the surprise, or the shock—if it met the Comics Code Authority’s guidelines. We sometimes crossed that line, but when we did, we didn’t actually show the shock, but left it off panel and showed characters’ reactions!”

‘I’D BUY THAT FOR A DOLLAR!’

Bicentennial Edition Johnny Peril’s back, in The Unexpected #200 (July 1980).

Cover by Ross Andru and Dick Giordano.

TM & © DC Comics.

60 • BACK ISSUE • Haunted Issue

DC’s mystery books all had decent runs throughout the early to mid-1970s. Besides the established titles like Unexpected, DC expanded its mystery line (with varying degrees of success) to include titles like Ghosts [see BI #52], Secrets of Haunted House, Secrets of Sinister House, and Tales of Ghost Castle.

The expansion of the mystery line was short-lived, though, and many of the books introduced in the 1970s would not survive the end of the decade. An early indicator that DC might be cutting back was when Unexpected went from a monthly status to bimonthly status starting with issue #170 (Dec. 1975).

In addition, the mystery line wasn’t immune from the DC Implosion of 1978. Due the cutbacks, two of the older titles and the most recent addition to the mystery line were all canceled within six months of each other. These books were The Witching Hour, which ended with issue #82 (July 1978); Doorway to Nightmare, which ended with issue #5 (Oct. 1978); and House of Secrets, which ended with issue #154 (Nov. 1978).

Unexpected survived the Implosion and became part of DC’s “Dollar Comics” line beginning with #189 (Feb. 1979). “Dollar Comics” was a short-lived initiative which expanded the page count of a select number of books from 32 to 64 pages and branded them together, all priced at $1.00 each in a package intended to be more lucrative for the retailer than the traditional comic then-priced at 40 cents [see BI #57 for the Dollar Comics story—ed.].

This would save the book from cancellation and the expanded format gave a new home to content originally slated for the three previously mentioned canceled titles.

It was at the launch of the Dollar Comics format that Jack C. Harris took over the editor duties on Unexpected. “At the time, a few of the other mystery titles had been discontinued,” says Harris. “So, I also inherited the inventory of those books as well. As a result, as the editor, I did very little generation of new material. The Dollar Comics format only lasted eight issues, but even when the title returned to the smaller format, most of it was culled from inventory. I usually only plotted the cover story as new material with writers.”

When Unexpected returned to the standard 40-cent comic book format with #196 (Mar. 1980), the title still boasted stories from House of Secrets and The Witching Hour at the top of the cover. Unexpected #199 (June 1980) did likewise. One positive result of the book returning to the standard format was Unexpected also returned to a monthly publishing status. It would remain a monthly book until its cancellation.

IN PERIL AGAIN

As Unexpected was coming up on its milestone 200th issue, cover-dated July 1980, editor Harris decided to mark the occasion by bringing back an old favorite who had been there when the book first became a mystery title: Johnny Peril. “Johnny Peril in Unexpected came about because I wanted something special for #200,” says Harris. “I was a big admirer of Mike W. Barr, too, so this was an opportunity to work with him. I thought a soldier of fortune-type of character could be thrown into any sort of tale Mike wanted to write.”

The writer in question, Mike W. Barr, tells, BACK ISSUE, “As a long-time DC fan, I had been familiar with the existence of Johnny Peril throughout DC’ s history, first as the lead character of a feature called ‘Just a Story,’ though I had never closely followed any of his series. Jack C. Harris told me not to worry too much about following the continuity of any former series too closely. I decided Peril was a private eye who wanted nothing more than ‘a nice, normal case,’ which, of course, fate kept denying him. This probably would have gotten old fast.”

The first Johnny Peril story in over ten years, “House on the Edge of Eternity,” saw the hero facing off with an extradimensional being that is behind a recent disappearance. The story was illustrated by George Tuska and Bob Smith.

“George Tuska did a great job on [the first story], but, due to a plot hole I overlooked, I had to rewrite several pages of the script,” recalls Barr. “I did this cursing the universe, and especially myself, under my breath. But it worked out fine.”

IN PERIL ONE LAST TIME

When he wasn’t angering parents with tales of murderers rabbits, Harris waited to see how Bronze Age readers took to Johnny Peril. The reaction was good enough to warrant Johnny’s return to the pages of Unexpected on a regular basis. “I was delighted,” says Barr. “Peril was my second chance, after the short-lived ‘The Ray’ backup [another DC Implosion casualty—ed.], to establish a cast and have some fun with them. I read the fan mail, so I was aware of the readers’ feelings. Jack and I discussed the direction and were careful to make the series different from the others running in the DC mystery books.”

Johnny Peril began the second life in Unexpected in earnest with issue #205. The art for the second story, “The Second Possession of Angela Lake!,” was handled by Jack Sparling and Bruce Patterson.

Sparling stayed on the feature until issue #209 (Apr. 1981), with Larry Mahlstedt inking his final installment. “I am ashamed by the fact that I was disappointed with the work of penciler Jack

Fadeaway Man Unexpected’s 200th issue reintroduced Johnny Peril to the title in a story written by Mike W. Barr. Original George Tuska/ Bob Smith art from #200’s “Peril” tale courtesy of Heritage.

TM & © DC Comics.

GOING DOWN THE RABBIT HOLE

Beginning with books cover-dated September 1980, all of DC Comics’ standard-size books were expanded to include an extra eight pages for content, and the cover price went up to 50 cents.

Unexpected #202 (Sept. 1980) was the first issue to benefit from the expanded pages. It also contained the one story that is most memorable to Harris.

“Whenever we got pushback from the Code, we changed whatever they objected to,” says Harris.

“We wouldn’t waste time arguing. Sometimes we got reactions from the readers. The most memorable incident was with Unexpected #202, featuring the cover story ‘Hopping Down the Bunny Trail,’ a monstrous Easter story written by Mike Uslan, who would later go on to become the Executive Producer all the Batman feature films. The reaction to that particular story did not come from the Code, but from parents! I received more hate mail from parents for that than any other story. It was a reversal horror story wherein the children who bit the heads off their chocolate Easter bunnies got payback—off-panel, of course, but horrific nonetheless!

Parents hated it, feeling it bordered on blasphemy!”

Even though its control had loosened up, the Comics Code Authority still held a lot of power.

Steering clear of any objectionable material was always a good idea. “I don’t recall any specific stories rejected by the Code,” says Harris. “If [the stories] did run, it was because we altered whatever the objectionable image might have been: such things as hangings, injury to the eye, too sexual, or too sexually suggestive. Mostly, we knew what the Code was looking for, so we avoided it.”

Haunted Issue • BACK ISSUE • 61

Basket Case Luis Dominguez’s creepy cover (right) to writer Michael Uslan’s Easter story “Hopping Down the Bunny Trail” in Unexpected #202 (Sept. 1980). (left) Some parents were hopping mad over scenes like page 4 of the tale by Uslan and artist Tenny Henson.

TM & © DC Comics.

Sparling, and worked to have him replaced by ‘regular’ white guy. At least I could relate to superTrevor Von Eeden,” recalls Barr. “Looking back heroes on some level, being abstractions. Batman’s on the stories, Jack did fine work, and I should my favorite superhero because he’s just a man, have been less of a young opportunist.” not because he’s just a white man. So, I Trevor Von Eeden was brought in was totally uninterested in what I was to take over the penciling duties on drawing during the first two eightJohnny Peril. His first story, “Flight to pagers, and it shows!” the Temple of Death,” appeared in So how did Von Eeden turn Unexpected #210 (May 1981). Von things around on this series? As is Eeden was inked by Brett Breeding. the case with most tough situations The assignment would prove to in life, it came with some help and be a bit of a mixed blessing for the support of someone close to him. “I young artist. “Turns out I did four really like Jack C. Harris,” Von Eeden Johnny Peril stories and the first two says, “and I remember telling myself are terrible!” says Von Eeden. “The before starting the third issue that problem I had with most of my I really should try to do my best mike w. barr DC assignments is that as a young for him, not the character Johnny black kid raised in the Bronx, it was Peril, and take a look at the results! supernaturally difficult for me to relate to the all- I don’t recall Jack giving me any specific advice white that I was always being given to draw, and or instructions—but I clearly recall that he always Johnny Peril was worse than usual. He was just a treated me well, along with Andy Helfer, Dick Giordano, Archie Goodwin, and Bob Greenberger, like a person, and not ‘DC’s black artist,’ and that’s what I responded to. No one but myself ever seemed aware of the reality that I was just a 16-year-old, brown-skinned, immigrant high school kid who’d been thrown into a pool full of sharks and expected to behave like an experienced professional artist when all I wanted to do was learn. But in my entire 25-year career at DC Comics, only a literal handful of editors ever offered me any kind of help, advice, or constructive criticism—I was always ‘DC’s black artist’ and treated as such, but fortunately not be everyone. Thanks, Jack. And forgive me for telling the world your secret, pal, but I’ve always known the ‘C’ stands for ‘Champ.’”

62 • BACK ISSUE • Haunted Issue

ONE LAST GASP

Jack C. Harris departed Unexpected less than a year before its cancellation. His final issue was #212 (July 1981), with Dick Giordano and Cary Burkett editing one issue each, #213 (Aug. 1981) and 214 (Sept. 1981). Joe Orlando set out to find a replacement editor for Unexpected who would help bring it to a conclusion. That is when he called upon his old friend from Plop!, Dave Manak. “Joe asked me to have lunch with him and Dick Giordano,” says Manak. “I had no idea what for. There they asked me if I’d be interested in becoming an editor as well as Dick’s assistant editor. Dick was then DC’s managing editor, but he was still editing the Batman titles. I’d really never thought about that line of work but after a few days I got back to them [and accepted the position]. I had Ghosts, Secrets of Haunted House, Unexpected, and Green Lantern.”

The biggest fallout from the change in the editorial guard was the end of the Johnny Peril feature. Unexpected’s last ongoing character departed one issue after Harris did. “Johnny Peril was canceled due to editorial exhaustion,” says Barr. “Jack was transferred from Editorial and Cary Burkett, who was a great guy, wasn’t quite as enthusiastic, and let the feature die. Then Cary left staff and was replaced by Dave Manak, who had been a freelance writer/artist. I tried to interest Dave in a revival of Peril, but no go. Dave had no interest in series characters.”

As for where the character could have gone had the feature continued, were there any stories featuring the character that Barr would have liked to have told that he never got the chance to do so? “None that I recall,” says Barr. “I was just grateful for the opportunity and for the fun I had with Johnny, psychic Heather Storm, and the rest of the cast. As I’ve written elsewhere, ‘Wherever they are, I hope they’re happy.’”

Besides working with Kubert and Colón, two men he greatly respected, Manak also recalls his other editing duties in a positive light and the content he was looking for in regard to stories for Unexpected. “The way I personally approached editing was pretty basic,” recalls Manak. “Make sure the story had a beginning, middle, and end (or cliffhanger) and to make sure it wasn’t dull. I pretty much learned this from watching Twilight Zone as a kid. As far as I’m concerned, that’s the best storytelling format for any comic book story or series.”

END OF THE LINE

Manak saw all of his mystery books through to their final issues. Secrets of Haunted House was the first to be canceled, with #46 (Mar. 1982). Unexpected went on until #222 and ended the same month as Ghosts did, with Ghosts #112 (May 1982).

Manak soon moved on to doing special projects for DC Comics, most notably overseeing the New Teen Titans anti-drug comics that the company

Abel-Bodied Horror Host We need a smile after that unsettling Easter Bunny imagery! So let’s thank writer/artist Dave Manak for sharing this original art scan of his “Abel’s Fables” one-pager from Unexpected #208.

TM & © DC Comics.

HE HAD IT COVERED

While Manak was not interested in recurring characters in the pages of Unexpected, he was excited about the one thing that every good editor knows will sell a comic book: the covers. Upon taking control, editor Manak noticed that Unexpected had recently featured covers by the man who helped get him into the business, Joe Kubert. It was because of their close friendship that he approached Kubert to do covers for his run on Unexpected. “One of the things I found very cool was personally doing layout sketches for the mystery covers and getting great artists like my old pal, Joe Kubert, to do them,” says Manak. “He loved it! Ernie Colón did some, too.” Indeed, Kubert and Colón alternated doing the covers for the final issues of Unexpected.

Among the covers that Manak helped design is the one for issue #218 (Jan. 1982), that spotlights a story called “Alligator Alley,” written

by Bill Kelley and Glenn Lovell with artwork by Pat Broderick and Kim DeMulder. This cover in particular, done by Colón, holds a special place in Manak’s heart as the artist gifted it to him.

“Either I had to return that cover to him after DC was finished with it, or [Ernie] had it when he came into my office,” recalls Manak. “I said, ‘Hey, Ernie, this cover is magnificent.’ Ernie said, ‘Really? It’s yours!’ That was Ernie.”

Haunted Issue • BACK ISSUE • 63

Trouble-Shooter (left) Title page to the “Johnny Peril” shocker in The Unexpected #213 (Aug. 1981).

Pencils by Trevor Von Eeden and inks by Bob Smith, working from a Barr script. (right) The issue’s cover, by Rich Buckler and Dick Giordano.

TM & © DC Comics.

gave away to schools to help kids say no to drugs.

“Being an editor was fun, but the mystery line was soon going to be gone,” says Manak about his change in careers at DC. “It’s not that I couldn’t have continued with the superhero books, that’s what DC wanted me to do, but I wanted to make a change.”

With the cancellation of Unexpected, the only title left in the mystery line was House of Mystery (which was under editor Karen Berger), and it was destined to end within the next year and a half. The end of the mystery line in the early 1980s was indicative of something that was happening across the board at DC, a shift to almost nothing but superhero books. DC had steadily been cutting back on non-superhero comics throughout the 1970s. The mystery books were one of the last lines to get the axe, just ahead of Westerns and war comics.

64 • BACK ISSUE • Haunted Issue

CRÈME DE LA SCREAM

I want to take a moment to add my own personal two cents’ worth regarding the passing of Unexpected and indeed, all of DC’s mystery books. One of the absolute best things about all of these comics throughout their runs was the range of talent that did stories for them. But then the Bronze Age was a truly amazing time for comics. The 1970s and 1980s saw a lot of promising new writers and artists entering the comics industry, but there were so many talents from the Golden Age and the Silver Age still around and producing quality work. Not all of them were made for superhero comics.

Anthologies like Unexpected were made to let them shine in their own special way.

The first couple of years of Unexpected’s new direction featured a steady stream of comic book legends. This book featured stories by such notable talents as Otto Binder, Gil Kane, Lee Elias, Sy Berry, Alex Toth, Dave Wood, Mort Drucker, Jerry Grandenetti, Murphy Anderson, and Curt Swan. The likes of Nick Cardy, Dick Giordano, and Neal Adams provided covers for the series.

And that range talent only grew as unexpected entered the 1970s. “One of the greatest things about working on the mystery books of the time was working with the talent,” recalls Jack C. Harris. “It wasn’t so much, ‘I can’t believe he’s doing a story for us!’; It was more, ‘I can’t believe I get to edit the books they’re working on!’ It was all in a day’s work, but it was still a thrill to be able to see your name in the same credit box as some of the all-time greats.”

Dave Manak, speaking of his time on Unexpected as it was ending its run, and DC in general, made

mention of the creators with whom he collaborated.

“I got to work with talents the likes of Keith Giffen, Robert Kanigher, Mark Texeira, Gary Cohn, Dan Mishkin, Paul Levitz, Paris Cullins, Steve Ditko, Tony DeZuniga, Jack C. Harris, Bob Rozakis, Steve Skeates, Trevor Von Eeden, Steven Bissette, Paul Kupperberg, Joey Cavalieri, Greg LaRocque, Ernie Colón, Pat Broderick, Andrew Helfer, Gerry Conway, Mike Zeck, Mark Silvestri... I’d gotten to know most of these people simply by hanging out at the DC offices in the 1970s. It really was a community of freelance writers and artists. So it was easy to work with them.”

What must be noted is some of the names Manak mentioned weren’t yet comics legends when he worked with them.

Besides losing a safe haven for some of comics’ greatest writers and artists, the phasing out of anthologies meant DC also lost a valuable training ground for new talent. You could literally see generations overlapping in the pages of Unexpected. For example, two of the best artists in the entire history of horror comics were published in its pages, just a few years apart.

One at the beginning of his career and the other just as his career was winding down. Issue #191 (June 1979) featured “What Demon Dwells Within Me,” written by George Kashdan. The artwork for this story was by Steve Bissette, who went on to redefine Swamp Thing with Alan Moore; plus, he helped break new ground in modern comics regarding artistic freedom.

Remember that dreaded foe of horror comics, the Comics Code Authority? Bissette was working on Saga of the Swamp Thing when DC Comics

decided to publish that book without the Code’s stamp on the cover. It was a move that helped lessen the power that the Code held over the industry, and that gave the team on Saga of the Swamp Thing the creative freedom to create one of the most influential and highly regarded runs in the history of comics.

Meanwhile, Johnny Craig, the artist who defined EC’s Vault Keeper, did a story in Unexpected #195 (Feb. 1980) called “Deadly Homecoming,” written

by Denny O’Neil. This was one of Craig’s final stories before retiring from comics.

The artists are the most obvious examples of Unexpected’s wonderful bounty of talent, but also look at the writers. Bissette’s story was by the co-creator of Tommy Tomorrow and the man who oversaw Action Comics at the tail end of the Golden Age. Craig’s story was by the man who brought relevance to DC with the legendary Green Lantern/ Green Arrow stories and edited Batman after the release of Frank Miller’s The Dark Knight Returns as

Manak’s Manias (left) Editor Dave Manak was thrilled to have Joe Kubert provide some Unexpected cover art, like issue #215’s shocker. (left) Penciler Ernie Colón kindly gave Dave the original cover art to issue #218 (Jan. 1982, inked by Giordano) as a thank-you for his editor’s help with its layout.

TM & © DC Comics.

Haunted Issue • BACK ISSUE • 65

AN UNEXPECTED TV TWIST On a lazy Sunday afternoon a few months before press time, my wife and I were binge-watching reruns of the 1980s spooky anthology Tales from the Darkside. The episode “My Ghostwriter—The Vampire” caught me eye, and it wasn’t because it starred one-time Taxi driver Jeff Conaway (whose “a hickey from Kenickie is like a Hallmark card: when you care enough to send the very best” line from Grease pops into my head whenever I think of the actor). The opening credits cited it as being adapted from a DC Comics story. News to me! An Internet search turned up this terrific trivia…

“My Ghostwriter—The Vampire,” about a struggling horror novelist making a deal not with the Devil but with a vampire to write about the bloodsucker’s nocturnal activities, was Tales from the Darkside Season Three/ Episode 14, originally airing on February 1, 1987; cast alongside Conaway as the writer was Roy Dotrice as the vampire.

This was an adaptation of the DC story “My Ghost-Writer—The Vampire,” written by Scott Edelman and illustrated by Tenny Henson, originally published in The Unexpected #197 (Apr. 1980), under a cover by Luis Dominguez.

Edelman, along with Peter O’Keefe, adapted the story into the Darkside teleplay.

— Michael Eury, editor-in-chief

Unexpected TM & © DC Comics.

Screencap from Tales from the Darkside © Laurel Entertainment.

Unexpected Treat The Unexpected #195 (Feb. 1980) included this Denny O’Neil story drawn by veteran EC Comics artist Johnny Craig, one of Craig’s last published works.

TM & © DC Comics.

well as during the second wave of Batmania generated by the 1989 Batman movie.

Something truly amazing was lost with DC shutting down books like Unexpected. “Yes, is a pity that no one in charge was interested in continuing,” says Robin Snyder, a frequent contributor to Unexpected in its final days. “Manak did what he could to breathe life, originality and possibility into those old titles, but management had thrown in the towel. As you observe, rookies might have been given space to learn and grow. Old-timers who would not be welcome in Batman and Superman might have had something original to say in Unexpected. And, God knows, there were oh, so many covers, scripts, and finished stories by [talents like] E. Nelson Bridwell, Fred Carrillo, Sid Cheek, Steve Ditko, Joe Gill, Don Heck, Robert Kanigher, Sheldon Mayer, Nestor Redondo, Mike Sekowsky, Bernie Wrightson, and dozens of others in inventory.

The title might have continued full steam ahead using pages from that inventory plus new material.”

Considering what Snyder says about the inventory that was left unused, perhaps that represents the scariest story of all: the thought of what could have been but will never be.

A longtime contributor to BACK ISSUE, comics writer DAN JOHNSON is a co-founder, editor, and writer for Empire Comics Lab (empirecomicslab.com) and Old School Comics. Dan has written for Antarctic Press, Campfire Graphic Novels, Golden Kid Comics.

InDELLible Comics, and ACP Comics, and is a gag writer for the Dennis the Menace comic strip.

66 • BACK ISSUE • Haunted Issue

The decade of the 1980s gave those who grew up during the BACK ISSUE era numerous icons of every genre in every medium. The Terminator, Yoda, Freddy Krueger, and Charles Lee “Chucky” Ray are just a few examples of such characters.

Yet, few have crossed over in those genres and mediums like the Queen of Halloween herself, Elvira, Mistress of the Dark. BACK ISSUE will continue to tour the macabre haunted houses in comics with Elvira’s time in DC Comics’ House of Mystery.

Think of it as Trick or Treat with Elvira providing the treats... of scary comic book stories.

THE HOUSE‘S NEW OCCUPANT

by J a

mes Heath Lantz

Cassandra Peterson was born in Manhattan, Kansas, on September 17, 1951. She spent her formative years fascinated by the horror genre while other girls her age were into dolls.

Peterson began her show business career as a dancer in Las Vegas when she was a teenager, eventually acting in such movies as Diamonds Are Forever and Cheech and Chong’s Next Movie and in television shows like Happy Days and Fantasy Island.

Six years after the death of horror host Larry “Seymour” Vincent, producers wanted to bring the horror anthology Fright Night back to television in some form. Cassandra Peterson had created a character inspired by Kabuki makeup, the Ronettes, and a Valley Girl character she played in the improvisational troupe the Groundlings.

Elvira, Mistress of the Dark debuted with the premiere of Movie Macabre on September 26, 1981. Elvira served as the host who introduced horror and science fiction films with her unique brand of humor during the show’s five-year run. [Editor’s note: To learn more, check out the profile of Elvira in issue #2 of our sister magazine, RetroFan; it’s still available in digital form at www.twomorrows.com.] Elvira proved to be so popular she was in film and television roles and appeared as a frequent Tonight Show guest. One such appearance even featured Tonight’s guesthost Joan Rivers briefly showing the audience the first issue of the Elvira’s House of Mystery (EHOM) comic book.

House of Mystery, as detailed in this issue’s opening article, began during the heyday of Golden Age pre-Code horror comics with its first issue released on October 5, 1951. The terrifying abode closed its doors in 1983 with the caretaker Cain evicted and the house condemned in issue #321.

The Cain Scrutiny Who’s that in the House (of Mystery)?

Could it be… Satan? Naw… it’s the Mistress of the Dark, horror schlock queen Elvira!

Cover to Elvira’s House of Mystery #1 (Jan. 1986) by Brian Bolland.

TM & © DC Comics.

Haunted Issue • BACK ISSUE • 67

From East to West DC’s Elvira’s House of Mystery depicted its hostess in a variety of settings and scenarios—with the Mistress of the Dark’s sharp wit never wavering.

Covers to issues #2 (Apr. 1986) and 3 both penciled by Denys Cowan; #2’s cover is inked

by Rick Magyar and #3’s by Dick Giordano.

TM & © DC Comics.

DC Comics would revive the series with Elvira, the mega- to quipping in the classic style she used in Movie Macabre, popular Hostess with the Mostess. Elvira proved to be as the Mistress of the Dark must find clues to Cain’s whereversatile as the comics medium. Her wit, charm, and overall abouts hidden within the tales of terror recounted by the personality verified that she was more than the Queen of spirits within the eerie abode. Elvira’s job as narrator/host/ Halloween while breaking the fourth wall at times. Whether finder of lost Cains is not an easy one, as it sometimes has she was perusing numerous DC Comics publications looking her bantering and verbally squabbling with the House of for Cain in Elvira’s House of Mystery #5, a cowgirl sheriff Mystery’s supernatural occupants. introducing the first story in #3, an astronaut, a To aid the Hostess with the Mostess in her time-traveler and a robot befuddling Adam Strange quest, readers were asked in an essay contest to in #7, a tribute to the Statue of Liberty on the write about what happened to Cain. The winner cover of #8, a teacher in #10, or a red-and-white was announced, and his writing published in clad Mistress of Christmas in a pinup by Paul the letters page of Elvira’s House of Mystery Gulacy in Elvira’s House of Mystery Presents #11 (Jan. 1987). First prize champion David Elvira’s Haunted Holiday Special #1, Elvira Annandale of Canada was unavailable for proved she could do and be anything the visual comment to BACK ISSUE. However, legend has medium of comic books demanded without the it he spends his summers and holidays in both need a huge Hollywood budget. the House of Mystery and House of Secrets lisOne of the most important things about tening to the numerous tales of terror. working on a comic book based on a film, For those of you wondering about Cain’s television series, or celebrity is the artist’s fate, all two of you needn’t worry. Wrapjim fern renderings of the famous people portrayed around host segments “Elvira’s Film Festival” within the pages. Elvira, Mistress of the Dark (Nov. 1986’s Elvira’s House of Mystery #9) and is perhaps one of the most brilliant examples of how good “The Cain Mutiny” (#10) reveal the ex-caretaker is trapped the images can look. Jim Fern, who inked several stories in in a projector roll. Once he’s liberated, Cain banters with six of the 11 issues of Elvira’s House of Mystery, took time Elvira, thereby smashing the aforementioned fourth wall to out of his busy schedule to discuss his work on the series. see who will introduce EHOM #10’s first story. The Mistress “I will say one thing up front,” Fern tells BACK ISSUE’s readers. of the Dark is not amused when Cain upstages her. He “I was asked by editor Ed Hannigan to redraw many of Elvira’s eventually agrees to be her partner until he meets Elvira’s new faces that the other artists did because likenesses are my forte. assistant—Cain’s brother Abel, who aids Elvira in torturing Cassandra Peterson liked what I was doing and wanted me to Cain while the trio look at the Find Cain Contest entries be the one who made sure all the faces were looking like her.” in EHOM #11. In the meantime, the Hostess with the Elvira’s time in the DC Universe begins in issue #1 (Jan. Mostess is welcomed with zombified open arms by Cain, 1986), when she finds sanctuary from an angry mob in Abel, and the Three Witches of The Witching Hour by the end the empty House of Mystery. She must listen to stories of of that issue, proving that Elvira is a force to be reckoned previous occupants while occupying the house. In addition with, even in comic books.

68 • BACK ISSUE • Haunted Issue

WITHIN THE HOUSE’S WALLS

In addition to Elvira’s maniacal wit and ability to look at the lighter and darker sides of the House of Mystery and its macabre tales, the stories recounted within each issue of Elvira’s House of Mystery have something for every taste. Those fascinated with Asian cultures can delight in Dennis Yee and Jim Fern’s fairy tale adventure in “Once Upon A Time...” from EHOM #1 and the samurai-themed second issue. Elvira’s House of Mystery #6 turned the house and its stories sideways. Issue #7, with its Bill Sienkiewicz cover featuring Adam Strange and a robotic Elvira, took readers through time and space in its science fiction–themed stories, while Western fans could saddle up in the opening host segment and first feature of EHOM #3.

Speaking of Elvira’s House of Mystery #3, it’s the only issue to not feature the Comics Code Authority’s approval seal. This is due to what censors considered at the time to be scenes of implied nudity. However, Elvira’s intro in #5’s “Clue Number 1” also had a panel with something similar alongside a double entendre. Yet, its cover had the CCA logo. Perhaps the House of Mystery worked its magic on the CCA so the those involved could get to know its new charismatic Caretaker of the Dark.

Continuing our discussion of Elvira’s House of Mystery #5, that issue features “Waddell and the Beev,” a story that is full of surprises and is Jim Fern’s favorite of all his EHOM work. “Everything about it was ‘beefy,’” Fern recalls. “Rory Metcalf’s story, Tom Grindberg’s pencils and composition of the art inside the panels, and hopefully my inks. Oddly enough, the DC paper stock Tom had was this nice, thin, smooth paper, which was the best I’ve ever worked on, and I was never able to find paper like this again from DC. But that’s ‘inside baseball’ stuff. ‘Waddell and the Beev’ was like something of a combination Alfred Hitchcock Presents, The Outer Limits, One Step Beyond, The Twilight Zone, and the TV movie Trilogy of Terror, from 1975 starring Karen Black who buys a fetish doll that comes to life. ‘Waddell and the Beev’ was about an angry drunk, Waddell, that worked in a theme park as Billy Beaver, the ‘Beev,’ a beaver TV cartoon character. Waddell was mean to the kids while in costume as the Beev. Then somehow, Billy Beaver and his other friends, which the theme park represents, come to life through Waddell’s TV at home to warn him that he’d better shape up. Well, he didn’t, and the ‘real’ cartoon characters exact their revenge. I mean, it was a simple, but twisted story on many levels. Emblematic of all those things you fear, hating your job and risk[ing] being fired because of it, having an employee damaging your business reputation then tries to blackmail you (Waddell tries to blackmail his boss), your favorite TV character being nasty to you at a theme park ruining your idolized childhood expectations, little creepy animal creatures who come to life and pass through your television and are invading your home and threatening your life. Fun stuff.”

I’m Worried About the Beaver (top) Page 4 from inker Jim Fern’s favorite EHOM story, “Waddell and the Beav,” from issue #5.

Written by Rory Metcalf and penciled by Tom Grindberg. Also shown are (bottom) an excerpt from Elvira’s commentary about the tale. and (inset) the issue’s Mark Beachum/ Kyle Baker cover.

TM & © DC Comics.

Haunted Issue • BACK ISSUE • 69

In Space No One Can Hear You Scream (left) Robot Elvira—and Adam Strange, too!— on Bill Sienkiewicz’s cosmically cool cover to Elvira’s House of Mystery #7 (Sept.

1986). (right) Title page to Mike W. Barr and Thomas Yeates’ “Star Born,” an extraordinary DC horror tale which eventually found its way into print in Elvira’s House of Mystery #7.

TM & © DC Comics.

While the first story of Elvira’s House of Mystery a talented young artist whom I had gotten to #7, “The Doll Maker,” is great in its own right, know a little and liked a lot. Tom drew the one cannot overlook Mike W. Barr and Tom story up gorgeously, but in the interim DC’s Yeates’ “Star Born.” In an effort to save Earth, mystery books were canceled, and the story Doctor Harold Parms must find new sources of was exiled to the slush pile. Then, Tom secured energy in space. The power of two mutants permission from DC to print the story in a can allow a ship to travel at light speed. portfolio of some kind to showcase his The pair used in this experiment work. I had to sign a wavier to allow fall in love and are about to bring this, which I was happy to do, as long a child into the world. Yet, they as I got a copy for my collection. learn that solo missions will be At least the story would see print the next phase of Parms’ plans. somewhere. Then, some time Rather than be separated, the later, I learned ‘Star Born’ would couple commit suicide. Yet, their appear in the semi-revival title offspring, a living ship named Elvira’s House of Mystery. I was Devvie, which is short for Endeavor, glad to hear this, as I had always hurls himself into a sun with Doctor felt the story deserved a larger Parms on board, thus giving his audience. I loved completing parents the justice they and all the script, seeing Tom’s art for mike w. barr mutants deserve. the story and, long after, being Star Trek scribe Barr discusses told it would finally be printed.

“Star Born” and Elvira’s House of Mystery with I always liked that story.

BACK ISSUE. “I have no idea what kind of arrangement “To the best of my recollection,” Barr recalls, DC had with the Elvira people or how it came “‘Star Born’ was the last story I wrote for any about,” Barr opines of Elvira’s House of Mystery. of DC’s then-fading mystery titles, like House of “But going through the title’s contents on the Mystery. I think I wrote the story for Len Wein, Grand Comics Database (www.comics.org), the who was then editing the title. I was pleased majority of the stories appear to be inventory when the script was then given to Tom Yeates, material rather than newly commissioned

70 • BACK ISSUE • Haunted Issue

tales, which makes sense given that DC must have had hundreds of pages of unpublished stories on file. Looking at some of the titles, though, I wonder why it took until issue #7 to print ‘Star Born.’ But as a lifelong Adam Strange fan, it was cool to be published in the issue with Adam on the cover. Bill Sienkiewicz’s robot version of Elvira was swell.” [Editor’s note: The history of DC’s spacefarer Adam Strange—with an Adam Strange cover

by Carmine Infantino and Murphy Anderson—can be found in BACK ISSUE #148.]

Mike Baron tells BACK ISSUE Says Barr of his unpublished how “Gruesome Gretchen” came work, “I think very few of the to be. “It was built around a pun. stories published in EHOM were I try not to use puns these days,” actually commissioned for that Baron admits. “They’re too cheap title. There were a couple of short and easy. I’m pretty sure DC mystery stories I vaguely recall solicited that story. It may have writing that were drawn but never been Mike Gold, who was my published, but they are probably main editor there. Since then, best left lost to history… the everything I do has changed. I mike baron House of History.” drew that story out by hand in Facebook.

Another gem in the published a legal pad and gave my crude Elvira’s House of Mystery tales is Mike Baron and layouts to the artist. That’s how I wrote comics Bjorn Ousland’s “Gruesome Gretchen” in #8’s for 20 years. I haven’t drawn a script out in a pun-filled issue. Bullied Gretchen is saved by long time, but I will draw, if the artist needs me the elderly Lyla, whose Needles and Notions to show him something.” shop is stocked with an array of unusual curios.

Credited in six issues of Elvira’s House Of Lyla’s mirrors show Gretchen’s possible futures. Mystery, Jim Fern was as versatile as Elvira, Yet, she isn’t sure if she is dreaming or not. Mistress of the Dark when it came to his work However, she tries to get her mother to quit on the title. “All the [EHOM] stories I did were smoking and drinking. Gretchen is growing up printed,” Fern states. “There was one story hopeful for whatever may come her way by editor Ed Hannigan gave me to pencil, but and the story’s ending.

I couldn’t figure out how to handle it. I was

House of Mirrors (right) Things are looking rather gruesome for poor Gretchen, aren’t they? Story page 8 from “Gruesome Gretchen” by Mike Baron and Bjorn Ousland, from EHOM #8 (Oct. 1986). (left) The issue’s cover, by Dwight Turner and Dick Giordano.

TM & © DC Comics.

Haunted Issue • BACK ISSUE • 71

mostly an inker and had penciled a few small jobs, but this particular story took place on a Learjet, and I had no idea what the inside of a plane looked like.

I couldn’t for the life of me find enough reference for it, so my mind couldn’t figure out how to work out the dynamics. I wound up giving the story back to Ed. That was rough for me to not be able to accomplish something. I was new at learning how to pencil, and still even learning how to be a better inker. From the issues of Elvira’s House of Mystery I’ve revisited for this interview, that particular story was never used.”

Many comic book industry professionals are fans at heart, and Fern is no exception. “I opened the package of the next job sent to me to ink, and I saw it’s Gene Colan’s pencils! I was gobsmacked. Gene Colan was an icon to us artists, and here I was holding his ethereal pencils in my hands!

“This was for the last issue, #11,” Fern continues.

“He penciled the narrative sequences of Elvira with Cain and Abel between each story. I believe I did a pretty good job of inking his pencils. His were the easiest pencils for me to ink, ever. My natural method of using line work seemed to work in sync with his. It was like having similar handwriting.

And I don’t mean I was as good as he was, or as good as any of the famous inkers who have worked on him, I’m just saying that his rhythm of line work was naturally similar with mine. So for me it felt harmonious to work on him. It was like skating on ice. How the end product looked with my inks I can only hope was good enough for him if he had seen it.”

Elvira’s House of Mystery was among the DC titles that ended after the company’s 1985–1986 Crisis on Infinite Earths event [which gets a 40th anniversary examination in the upcoming BACK ISSUE #159—ed.].

However, Elvira and Cassandra Peterson continue to be a part of the world’s culture to this day. Peterson has appeared in film and television, both as Elvira and other characters, and Elvira has had her 1988 movie adapted by Marvel Comics, and two other series of comic books. Claypool’s 1993 Elvira, Mistress of the Dark ran for 166 issues, and at this writing Dynamite Publishing currently produces new material starring the Queen of Halloween, thereby proving Elvira will long be with fans of horror, humor, and the night both within and outside of comic books.

Dedicated to my beautiful and wife without fear Laura, Mistress of My Heart; Jadis, Pupino, Odino, and our four-legged feline and canine caretakers of the House of Mystery, true fans of the macabre; my nephew Kento, who wants a beard like Cain’s; plus Cassandra Peterson, Jim Fern, Mike W. Barr, Mike Baron, and everyone who has, who had, and who will always make Elvira’s adventures in and out of comic books larger than life. May the spirits guide your paths always.

Swept Off Our Feet (top) Rocketeer auteur Dave Stevens’ eye-catching cover to EHOM’s final issue, #11 (Jan. 1987). (bottom) Inside, our Hostess with the Mostess encounters erstwhile caretakers Cain and Abel—in a sequence penciled by Tomb of Dracula master Gene Colan and inked by Jim Fern!

TM & © DC Comics.

72 • BACK ISSUE • Haunted Issue

JAMES HEATH LANTZ is a freelance writer whose stories, essays, and reviews can be found online and in print at Sequart.org, Superman Homepage, his blog and such publications as his self-published Trilogy of Tales and PS Artbooks’ Roy Thomas Presents Sheena vol. 3. James currently lives in Italy with his wife Laura and their family of cats, dogs, and humans from Italy, Japan, and the United States.

Under Rapid Construction

by E d

Lute

You may not even remember this 1987 New World Pictures movie, much less the blink-and-youmissed-it adaptation that Marvel Comics produced. (left) House II movie poster, courtesy of Heritage Auctions (www.ha.com). (right) Marvel’s House II: The Second Story #1 (Oct. 1987). Cover art by Hilary Barta.

All comic book scans illustrating this article are courtesy of Ed Lute.

House II © 1987 New World Pictures. Marvel Comics logo TM & © Marvel.

Marvel Comics has adapted some of the biggest movies ever, including Star Wars (and its sequels), all five original Planet of the Apes films (the first two in color in Adventures on the Planet of the Apes), Star Trek: The Motion Picture, the three original Indiana Jones movies, and House II: The Second Story. Yes, you read that right. House II received a comic book adaption from the House of Ideas.

Then-Marvel editor-in-chief Tom DeFalco and writer Ralph Macchio graciously spoke with BACK ISSUE to unlock the door to the House II story itself and also explore the behind-thescenes story of this adaption. Don’t be scared, though. It’s just a story… or is it?

attempted to purchase toy companies Kenner and Mattel to further expand beyond their movie roots.

As a subsidiary of New World Entertainment, Marvel was asked to adapt one of New World’s upcoming films into the comic book format.

That film was the 1987 movie House II: The Second Story. Let’s open the door for the players involved to share their recollections…

TOM DeFALCO: We were purchased by New World Entertainment. They were releasing House II and they knew that we did movie adaptations in comics. They asked us/told us [laughs] that they would really like us to adapt this film.

‘HOUSE II: THE SECOND STORY’ We were doing adaptions of science fiction New World Pictures (founded by brothers movies. We were doing blockbusters. New Gene and Roger Corman in 1970) was trying to World was not a blockbuster studio. Actually, become more than a movie production New World had a great business model. They tom defalco company when they acquired Marvel Comics would do low-budget films as long as they were Hildy DeFalco. from Cadence Industries in 1986. In 1987, doing the low-budget films they were doing New World changed its name to New World Entertainment terrific. When they started to do the high-budget movies and as a sign that they were diversifying. They also unsuccessfully blockbusters, that’s what kind of sunk them.

Haunted Issue • BACK ISSUE • 73

The thing I remember most about it was that the deadline I’m ready to do it.” was so tight. They had sent us the script for the movie. It I was happy doing movie adaptations. I did a lot of the was so tight though that in order to get reference I had to movie adaptations at Marvel. I did Dune and I did Independence fly out to California go through their photo book, pick out Day and Meteor, and so many others. I did Spidey Super reference pictures, and have them make copies then.

Stories. People would ask me why would you do Spidey I flew out to Los Angeles one night—I was there for the Super Stories, and I said because I get a full page rate for whole day—and then I came back to New York the following writing three [word] balloons a page. I’m getting the full day. It was a quick trip. That’s how tight the deadlines were page rate, it’s okay with me. on it. The average time for a comic being assigned to When this one came up, I said to myself, “I’m the hitting the stands was six months. We had about a one who does Marvel movie adaptations, so I’m happy month to work on House II. to do it.” I took it on, with the five bucks from Tom With the tight deadline, I knew that we DeFalco, of course [laughs]. needed this done, and we needed this done now. I told the gentleman who was editing DeFALCO: I know that if I told Ralph he the adaptation—it was Howard Mackie—I couldn’t do it, he would have to do it. So, it told him that they need to get it done, so cost me five bucks to know the script would be get it done. [laughs]. We had a month to get done on time. it done from beginning to end. I believe that MACCHIO: We were on a crash deadline.

Howard showed up at a scheduling meeting I said, “Give me the movie script and I’ll get and [Marvel Production Traffic Manager] right on it.” At the time, we were not doing Virginia Romita asked him, “How are you full scripts. We were still working the Marvel going to get it done?” Howard took the Method. This is where you basically break ralph macchio script and threw it at Ralph Macchio and the story down as a plot and you don’t do Facebook. said, “You are going to adapt House II.” full script. Full script is where you do it panelby-panel with scene description and dialogue. That takes so RALPH MACCHIO: Howard Mackie had been assigned as much longer. editor and said it was going to have to be done rather quickly.

Today, when I work for Marvel, I have to do full script. I think Very, very fast. Tom DeFalco, who was in the meeting, bet me to myself, “Gee, I wish I could go back to the Marvel Method,” five bucks that I wouldn’t take it on because of how quickly which originated with Stan. He was working with such it had to be done. I told him, “I’ll take your five bucks, Tom. great storytellers and he could write a paragraph or two and I’m going to take it on. As long as there is a check involved, give it to Kirby or give it to Ditko and they would make it into a real story. When I was working at Marvel, we had somewhat more detailed plots and we would break it down into five- or six-page segments, and that’s what I did with House II. So, this way the artist could get rolling on it right away. And when the art came back, I would put on the dialogue in. I could look at the dialogue from the film script and match it the pictures and we were off to the races.

The comic was just based on the script. I had not seen the movie before I wrote it. I’ve seen it since then a number of times on television, though. That was true with a lot of the adaptations.

We had not seen the movies for those I mentioned earlier: Meteor, Independence Day, and Dune. That came along later.

If we were able to do something like that.

We based the adaption on the screenplay. We would get the most updated versions of the screenplay. Sometimes the studio would fowl up and we wouldn’t get the most updated script. We would get an earlier version of the script. I remember working on something because they had made significant changes and I had to go back and rewrite a lot of stuff. [The scripts] have blue pages and pink pages indicating updates in the scripts. That has the scene description in it and it has the dialogue. I would read through the screenplay three or four times. I would take an afternoon and I would just read through it until I had committed a lot of it to memory. Then I would sit down and say, “Okay, I’ve got 48 pages.” I would then go, “I’ve got to break this down plot-wise.” So, I would say, “What stuff do I want to have happen in the first five pages?” and I would scribble down

McLaughlin Manor Macabre The chilling opening page of Marvel’s House II adaptation.

Script by Ralph Macchio, pencil layouts by Alan Kupperberg, and finishes by a houseful of talented illustrators.

House II © 1987 New World Pictures.

74 • BACK ISSUE • Haunted Issue

House Party Marvel’s House II adaptation concluded with this pinup by Hilary Barta.

House II © 1987 New World Pictures.

what was going to happen. Then I would do the same for 6-10, 11-15, on and on until I got to 48. I would then make sure I had the important stuff and make sure that I didn’t leave anything important out. Once I got it done, I would have it approved by Howard Mackie then it would go to the artist. I read the screenplay and wrote the plot over a weekend because everything was so tight to get it done.

Artist Alan Kupperberg was hired to do the House II layouts, with several other artists doing the finishes in order to get the book done quickly. The other artists included Hilary Barta, Danny Bulanadi, Jose Marzan, and Pat Redding.

Kupperberg pitched in on the finishes as well.

MACCHIO: Alan was very fast—that’s why he was chosen for this assignment. We would call him “King Kupps” for fun. To me, he was a very underrated guy. He could knock out the layouts. That’s the most difficult thing for the artist—being able to tell the story. After that you can bring in a lot of guys, and that’s what Howard did. This wasn’t unheard of on projects that you needed done quickly and have them do the finishes on and the backgrounds, etc.

The actual storytelling layouts that was on Kupperberg’s shoulders. If I remember right, I thought he did a fine job.

He told the story excellently and I didn’t have any problems working my script into his artwork. That all worked out very nicely.

House II, a sequel to the 1986 film House, was a horror movie with a humorous bent, the story of a young couple who move into a house that had been in the family for generations. They learn of a powerful crystal skull which may be hidden somewhere on the property. In their search for it, they end up reviving a long-dead ancestor as a zombie and opening up time portals into various eras such as the reign of the Aztec Empire and the Old West.

MACCHIO: It’s a fun romp. A little ghoulish horror mixed in with some crazy kind of humor. It seemed to work. It seemed to be aware of what it was doing and winking at the audience too but not making fun of the material because there’s some pretty horrific material in there. It’s a little bit like The Evil Dead. Sam Raimi liked to put that ghoulish humor in there. It was fun to do. I knew they needed it fast.

It was always fun to work on any movie adaptation. I’m sorry that Marvel doesn’t do them as much anymore.

I was trying to capture the feel of the movie. It’s a horror movie but it has comedic elements. As quickly as you have to do these projects, you still really want to give the reader your best effort within the time constraints and please the studio as well. New World Pictures had just bought us and we were certainly aware of that as well. I really committed a lot of the stuff to memory having read the screenplay several times, tried to get the flavor of it without having seen the movie, based just on the screenplay. I did try to capture that. The title House II: The Second Story is great. I love word play.

DeFALCO: Ralph Macchio is a very, very talented writer. He’s got the skills. He’s got this wicked sense of humor that I find very amusing.

So, did either DeFalco or Macchio ever think they would be interviewed about this adaption?

DeFALCO: I never thought I would be interviewed about [the House II adaption]. Absolutely not. Not in a million years.

MACCHIO: No, I never thought I would get asked about it at all, let alone interviewed for it. [laughs] The House II adaption wasn’t the highlight of Marvel’s movie adaptions, but Macchio did a great job of capturing the feel of the film. This was an interesting time for Marvel Comics, which not only adapted House II, but also a twoissue miniseries for the New World–produced television series Sledge Hammer [see BACK ISSUE #128]. In a few years, the publisher would soon have a new owner and another set of problems besides being encouraged to adapt low-budget movies into four-color form.

Thanks go out to Tom DeFalco and Ralph Macchio for their time and assistance with this article.

Thanks also go out to Howard Mackie who agreed to be interviewed but was unable to do so by the deadline.

ED LUTE braved rereading the House II adaption and rewatching the movie for BACK ISSUE readers.

He loves comic book adaptions of movies and still enjoys reading them to this day.

Haunted Issue • BACK ISSUE • 75

TwoMorrows Books Now Shipping!

IT ROSE FROM THE TOMB

WORKING WITH DITKO

JACK KIRBY’S DINGBAT LOVE

BEST OF SIMON & KIRBY’S

MAINLINE COMICS

CHRISTOPHER IRVING explores the superhero serials (1941-1952) of Superman, Captain America, Spy Smasher, Captain Marvel, and others, and the comic creators and film-makers who brought them to life!

(160-page COLOR HARDCOVER) $39.95 (Digital Edition) $15.99 ISBN: 978-1-60549-119-6

CLIFFHANGER!

An all-new examination of the 20th Century’s best horror comics, from the 1940s to the ’70s, by PETER NORMANTON!

JACK C. HARRIS recalls collaborating with STEVE DITKO on The Creeper, Shade, Demon, Wonder Woman, The Fly, & more, plus Ditko’s unused Batman design!

The final complete, unpublished Jack Kirby stories in existence: Two unused 1970s DC DINGBATS OF DANGER STREET tales, plus TRUE-LIFE DIVORCE & SOUL LOVE mags!

Collects JOE SIMON & JACK KIRBY’s 1954-56 series BULLSEYE (the complete run), plus all the Kirby FOXHOLE, POLICE TRAP, and IN LOVE stories, fully restored!

(192-page paperback with COLOR) $31.95 (Digital Edition) $15.99 ISBN: 978-1-60549-123-3

(128-page COLOR SOFTCOVER) $24.95 (Digital Edition) $13.99 ISBN: 978-1-60549-122-6

(176-page COLOR HARDCOVER) $43.95 (Digital Edition) $14.99 ISBN: 978-1-60549-091-5

(262-page COLOR HARDCOVER) $49.95 ISBN: 978-1-60549-118-9

IT CREPT FROM THE TOMB

TEAM-UP COMPANION

KIRBY & LEE: STUF’ SAID

AMERICAN TV COMICS

Digs up the best of FROM THE TOMB (the UK’s preeminent horror comics history magazine), with early RICHARD CORBEN art, HP LOVECRAFT, and more!

MICHAEL EURY examines team-up comic books of the Silver and Bronze Ages of Comics in a lushly illustrated selection of informative essays, special features, and trivia-loaded issue-by-issue indexes!

(192-page paperback with COLOR) $29.95 (Digital Edition) $10.99 ISBN: 978-1-60549-081-6

(256-page COLOR SOFTCOVER) $39.95 (Digital Edition) $15.99 ISBN: 978-1-60549-112-7

REED CRANDALL

Illustrator of the Comics

HERO-A-GO-GO!

Presents JACK KIRBY and STAN LEE’s own words to examine the complicated relationship of the creators of the Marvel Universe!

(176-page COLOR SOFTCOVER) $26.95 (Digital Edition) $12.99 ISBN: 978-1-60549-094-6

JOHN SEVERIN

TWO-FISTED COMIC ARTIST

(1940s-1980s)

THE LIFE & ART OF

DAVE COCKRUM

History of over 300 TV shows and 2000+ comic book adaptations, from well-known series (STAR TREK, PARTRIDGE FAMILY, THE MUNSTERS) to lesser-known shows.

GLEN CADIGAN’s bio of the artist who redesigned the Legion of Super-Heroes and introduced X-Men characters Storm, Nightcrawler, Colossus, and Logan!

(192-page COLOR SOFTCOVER) $29.95 (Digital Edition) $15.99 ISBN: 978-1-60549-107-3

(160-page COLOR SOFTCOVER) $27.95 HC: $36.95 • (Digital Edition) $14.99 ISBN: 978-1-60549-113-4

ALTER EGO COLLECTORS' ITEM CLASSICS

Master of the Comics

MAC RABOY

History of Crandall’s life and career, from Golden Age Quality Comics, to Warren war and horror, Flash Gordon, and beyond!

Looks at comics' 1960s CAMP AGE, when spies liked their wars cold and their women warm, and TV's Batman shook a mean cape!

Biography of the EC, MARVEL and MAD mainstay, co-creator of American Eagle, and 40+ year CRACKED magazine contributor.

Compiles the sold-out DITKO, KIRBY, and LEE issues, plus new material on each!

Documents the life and career of the master Golden Age artist of Captain Marvel Jr. and other classic characters!

(256-page COLOR SOFTCOVER) $39.95 (Digital Edition) $13.99 ISBN: 978-1-60549-102-8

(272-page COLOR SOFTCOVER) $36.95 (Digital Edition) $13.99 ISBN: 978-1-60549-073-1

(160-page COLOR HARDCOVER) $39.95 (Digital Edition) $14.99 ISBN: 978-1-60549-106-6

(256-page COLOR SOFTCOVER) $35.95 (Digital Edition) $15.99 ISBN: 978-1-60549-116-5

(160-page COLOR HARDCOVER) $39.95 (Digital Edition) $14.99 ISBN: 978-1-60549-090-8

AMERICAN COMIC BOOK CHRONICLES

FULL-COLOR HARDCOVER SERIES

documents each decade of comics history!

8 Volumes covering the 1940s-1990s

TwoMorrows.

The Future of Comics History.

Phone: 919-449-0344 E-mail: store@twomorrows.com Web: www.twomorrows.com

TwoMorrows Publishing • 10407 Bedfordtown Drive • Raleigh, NC 27614 USA

The Super Dictionary is one odd book, combining found art with new and (sometimes very roughly) retouched panels randomly hewn from DC’s history. How they managed to pick a page from an otherwise unpublished story from at least three to four years prior, I’ll never know.

— Chris Franklin Send your comments to: Email: rogerash@hotmail.com (subject: BACK ISSUE) Postal mail: Roger Ash, Editor • BACK ISSUE 2715 Birchwood Pass Apt. 7 • Cross Plains, WI 53528

Find BACK ISSUE on

BATMAN GETS PUSHY

TM & © DC Comics.

Congratulations on BACK ISSUE’s 20th anniversary, and an excellent 150th issue!

I particularly enjoyed Ed Lute’s article on the neverpublished Batman anti-drug story. Despite never knowing of the story’s existence before this, I did instantly recognize that first panel you showed of Batman “pushing” the pusher, however! This image was used in the very strange 1978 book The Super Dictionary published by Warner Educational Books, and Holt, Rinehart and Winston. As you can see in the attached photo, the editors used this image to illustrate the word “push” on page 280. Now, were they in on the nature of the story they pulled this from, giving the definition a double meaning? I’m not sure. When first acquiring the book around 20 years ago, I recognized Frank Robbins’ art style, but I had no idea where the image originated from.

Wow, Chris, that is quite a discovery! Thanks for sharing this.

A ROBBINS ROOTER

I am a huge fan of TwoMorrows Publishing. However, my pile of back issues (no pun intended) mocks me as there just doesn’t seem to be enough hours in the day to get caught up on all of my reading. But, I had to read from cover-to-cover BACK ISSUE #150 so I could give a timely response. What a fun ride! So many great childhood memories relived.

I thoroughly enjoyed the look back at some issues that are etched in my mind and a bunch I missed. My only issue (sorry, another horrible pun) is I kept turning the page to read more about this artist or that artist only to be shocked that was all there was. If I had a complaint it would be I wanted to read so much more. But you only have so many pages—I get it.

I am also one of those fans of Frank Robbins’ style. Too often, especially in this modern era, it seems everyone needs to be super realistic and look the same. I personally enjoy an unique style such as Robbins. Thanks for sharing his story. As a reader in the ’70s, I never realized he was also writing so much or, his past background in newspaper strip art as well.

And, my favorite non-Joker villain has to be the Spook!

— Michael Buchholz

NOT NECESSARILY A BAT-FAN

Though, admittedly, not a big Bat-fan, I very much enjoyed your reminiscing about some of the greats who worked on the book.

You were clever, too, in noting earlier issues where you covered some of the others (like Jim Aparo, and especially Englehart, Rogers and Austin, etc.) so you weren’t inundated with gripes about overlooking someone’s favorites.

Yet, lots of greats under scrutiny, this issue, in a lengthy look back. Some I don’t even think of as Batman artists but top talents that happened to work on a few memorable stories with the character.

Before I get to them, I’d like to point out a few touches I appreciated: Large cover and page reproductions where I didn’t need my magnifying glass to see them.

Testimonials from people who knew or worked with the talents under discussion. Made it seem more personal and appreciative.

Perhaps unintentionally, the Bronze Age cover formats shown contrasting with one another. I still like the full cover area used for one silent image rather than so many blurbs, boxes, and compressed cover visuals with too many elements competing for attention. Even when the main image is compelling, the side elements provide an unwelcome distraction.

Also noteworthy: the correct naming of both co-creators— Kane and Finger—as opposed to the solo claims, attached the stories, even though DC knew better. That was especially ironic in the Batman/Hulk origin pages from that Treasury. They provided the name of the Hulk’s co-creators, something Marvel wasn’t regularly doing then, yet couldn’t even get their character’s co-creators correct, due to some legalities. Glad, four decades later, that’s finally fixed with both companies.

I remember the Irv Novick Batman #204 cover from when I was a kid for a special reason: It was the only comic book for Haunted Issue • BACK ISSUE • 77

sale at the Kroger’s supermarket I visited in the waning days of Batmania. I liked that it was serious, mysterious, and silent; the strange visual, alone, selling the premise. The full moon and black cat gave it additional unease. This, in contrast to the cover of World’s Finest #181, where Batman and Superman are sprinting in fright from a leopard. Batman, on an off day, maybe. But Superman?

Enjoyed the Mike Kaluta layout contrasted with the finished result on the Detective Comics #428 cover. Same basic elements but far better staged.

Yes, Dick Giordano did a pleasing Batman, style-wise. Always looked on-model.

But, even so, I still preferred Terry Austin’s astounding embellishment on Detective.

Dick’s inks on the Clayface issue, while nice, didn’t match his protégé’s earlier efforts.

Bernie Wrightson’s rendition of Batman, in Swamp Thing #7, is still impressive half a century later. He would have been a good fit for Batman in that he could sure do moody, atmospheric characters and backdrops.

My two favorites, here, under the microscope, were Alex Toth and Walter Simonson. Neither are particularly associated with Batman but did outstanding work with him. The Toth pinup and cover demonstrated his mastery of emphasizing only essentials to get his point across. Wonderful material!

Glad he came back from animation to gift us with more comics work. He’s one I didn’t quite recognize as a comic book great on my first exposure. But I certainly wised up in later years.

As mentioned, I was not a particular fan of Batman.

Yet, somehow, extra coins in my pockets, I happened upon Detective #337, with an appealing Aparo cover. My timing could not have been better as it contained the first Goodwin/Simonson “Manhunter” episode. So, quite by chance, I got in just in time for that to unfold. Loved it immediately! Afterwards, it just became second nature to pick up any project Walt was involved with. His work on Batman there and occasionally later was always worthwhile and pleasing. But, really, why wouldn’t it be? He’s clever and talented.

Finally, as to whether readers would like to see Terry Austin’s makeshift B&B covers, a resounding “Yes!” from me.

I recognized Batman and Darkseid, instantly, but was not so lucky with Genius Jones. Had to look him up. Regardless, it’s still a pleasing learning experience, even if I had to work at it. If BACK ISSUE is about back issues, such homework assignments are more than welcome.

Thanks, again, Michael, for a particularly strong, entertaining, and informative issue. When’s your next 100 pager?

— Joe Frank No telling if and when BI will do another 100-pager, Joe, but you can bank on more Terry Austin toons appearing in our mag, alternating with Karl Heitmueller, Jr.’s “Prince Street News” strip.

78 • BACK ISSUE • Haunted Issue

A TOTH TREAT

BACK ISSUE #150 was another entertaining issue of the magazine. My favorite era of Batman is the late ’70s into the early ’80s, so it didn’t take me too long to devour this issue.

A few months ago I was looking online for Alex Toth Batman art and came across Toth Batgirl Underoos concept art from 1981, which I have attached.

— Michael Scott Thiel We’re always happy to publish Alex Toth artwork, Michael.

Thanks for sharing!

BI #150 KICKS BUTT!

I look forward to all issues of BACK ISSUE, and #150 is no exception! I started collecting comics in 1976, and Batman, Detective, and Brave and Bold became immediate favorites. Between trading comics with my friend Jeff Schlossberg, who had started in 1972 or so, and a great LCS opening, Memphis City Comics, I started purchasing back issues, so I have many great Batman comics from earlier in the decade: Batman #232, 234, and 251, Detective #400, a lot of the 100page Super Spectaculars, etc. I couldn’t wait to read this issue—and you and TM & © DC Comics. your writers kicked butt!

One little nit to pick: in his excellent article on Bob Brown, Steven Thompson says toward the end, “The artist’s final take on anything Bat-related came in Batman Family #10 (Mar.-Apr. 1977). Not quite. That issue was distributed in Dec. 1976. The following month, the Brown-illustrated Teen Titans #47 (cover-dated Apr. 1977) was released), which prominently featured Robin. I know many fans have derided that “Rozakis” run, but, hey, I enjoyed it.

— Frank Balkin

SIMON SAYS

Let me start by congratulating you on reaching the landmark 150th issue. How time flies. It hardly seems five minutes since I was sending my good wishes for the BACK ISSUE centenary.

Twenty years, too, so that makes it a double celebration—and a decent party, by the looks of it.

150 issues, and I have to say, this one didn’t disappoint. A stack of great articles featuring both industry titans and the long forgotten—the very essence of BACK ISSUE. Plus, we had Batman from start to finish—so what’s not to like?

The feature on Irv Novick, one of the more overlooked artists of the late ’60s and early ’70s, was a worthy centerpiece. There was nothing flashy with Irv, just solid dependable work. My first exposure to him was as the longtime artist on The Flash, so I’ve always tended to associate him with the Scarlet Speedster rather than the Caped Crusader.

I was very taken with Steven Thompson’s remark, in his article, that Bob Brown’s comics “represent a period that modern readers are unlikely to ever see again.” He also refers to a “clearly sane Batman” who solves crimes, “rather than being entangled in massive, months-long, and increasingly convoluted events.” He might well have added “and increasingly difficult to comprehend” to that testimony, although this also applies today to other major characters,

and not just Batman. These “events”—very often at odds with the hero’s other contemporary adventures—can sometimes drag on interminably.

As a counter to this trend, Mark Waid is currently pressing the nostalgia button at DC with his modern take on the 1970s, most notably with his Batman/Superman: World’s Finest revival. Even so, he can occasionally let current fashions get the better of him, with the result that a story can sometimes stretch out over four or more issues. Rein it in a little, Mark!

The article about the never-published “Deadliest Enemy” comic by O’Neil and Robbins was fascinating. I had to smile at the reference to Phil Handler being supplied with an antidrugs comic by a shadowy “dealer.” Oh, the irony.

Karl Heitmueller, Jr.’s (note the correct spelling) collection of imagined Batman artists of the ’70s was to his usual brilliant standard. On a personal note, I’d have loved to seen his version of an R. Crumb Batman and Catwoman—I can certainly imagine what they might look like!

As for the Dark Knight squarebound $2.95 experiment, it should be remembered that Frank Miller’s Ronin paved the way for this format. Two or three years earlier, this six-issue run —which seems curiously forgotten these days—weighed in at $2.50 a copy (£1.70 in our money, when a regular comic cost 40 pence). It’s possible that without this series, Dark Knight might have been a more difficult sell.

— Simon Bullivant P.S. Re Tom Powers’ letter: Whoops! I’ve gone and put my foot in it again. I’m sorry if I got the date wrong, that was careless—but I’ll take being described as “eloquent” all day long.

P.P.S. Re Mark Waid’s comment on Dick Giordano: He’s right that no one remembers 12 issues of Watchmen taking 15 months to come out. Mind you, I vividly recall that there was a gap of nine months between issues #11 and 12 of Camelot 3000. Sadly, enormous gaps between consecutive issues are relatively commonplace today.

WHERE ARE THE BRONZE AGE SUPERMAN COLLECTED EDITIONS?

I was really looking forward to BI #150, and you didn’t disappoint.

People may not realize it today, but Batman in the ’70s and early ’80s was not hugely popular until Tim Burton’s Batman movie came out in the summer of 1989. (Batman and the Outsiders in the ’80s may have been an exception.) I remember when Batman and Detective Comics were running biweekly, and my local comic shop dealer would tell me that Batman was not a top seller, even with top talents such as Don Newton and Gene Colan doing the art chores. In fact, until New Teen Titans came out, none of the DC titles were doing that great. I was enjoying an occasional Brave and Bold issue, depending on the guest star, but my primary Batman was running on TV in reruns and I was to young to realize that it was a parody.

Batman in the ’70s had great talent behind it with Len Wein, Steve Engleheart, and Don Newton, Jim Aparo, Marshall Rogers doing the art, along with the stars of BACK ISSUE #150, the unsung artists such as Dick Giordano, Irv Novick, Ramona Fradon (Super Friends), Bob Brown, Frank Robbins, etc.

Thing, Hulk, and all Marvel characters TM & © Marvel.

BACK ISSUE TM & © TwoMorrows Publishing. All Rights Reserved.

I am so happy the spotlight was shown on them. Novick did solid work on Batman and his supporting cast. I really didn’t care for Bob Brown. Novick may not have been Neal Adams, but he drew an excellent Batman, bringing him out of his previous camp period of the ’60s. I enjoyed his work almost as much as Aparo in the ’70s.

In fact, I think BACK ISSUE should do a feature on a lot of the dependable, solid artists of the ’70s and ’80s that seem to be ignored today. Especially the master, José Luis García-López, whose body of work pretty much outshone everyone. Look at Alex Saviuk, Don Heck, Pat Broderick, the extremely talented Dan Spiegle, Gene Colan, Bob Hall, Al Milgrom, Dick Dillin, etc.

These are only the DC titles, I wasn’t much of a Marvel guy, but I would put Sal Buscema, Bob Brown, and many ’70s artists in the same category. I feel that Curt Swan, who was may favorite artist before George Pérez and John Byrne came along, is today also neglected, as shown by all the Modern Era Superman stories getting omnibuses and hardcovers and not one Bronze Age one. Not one. The Byrne era gets one, the Triangle Era is getting one. Gil Kane got one. Where is Cary Bates, Elliot S! Maggin, and the great Curt Swan in the Bronze Age? Batman has dozens of Bronze Age reprints as well as the Modern Age hardcovers and omnibuses.

The only disappointment I had with BI #150 was that I wish there had been a slight showcase of Jim Aparo and Don Newton’s work. It has been a while since they were showcased, even though you did have an index in which issue to find them.

One major team on Batman has often been overlooked, and I was glancing at the blurbs of the upcoming issues of BI and don’’t see them mentioned, is the team supreme of Doug Moench and Paul Gulacy. Their work on Batman has been amazing and yet, no hardcover edition seems to showcase them. They did two issues of Batman, two story arcs of Legends of the Dark Knight, and Batman: Outlaws, a prestige format series, besides Gulacy’s incredible run on Catwoman.

In closing, keep up the great work and here’s to the next 150!

— Yaakov Gerber Yaakov, ye ed has also scratched his head, pondering the absence of Bronze Age Superman reprint editions from DC Comics. Hopefully that will change, and soon.

As you’re aware, BACK ISSUE has long preserved the work of many of those craftsmen you cite as “ignored today” through our numerous articles about the comic books they produced. But with the exception of occasional tribute editions, BI will continue to spotlight the comics first, as our name suggests, leaving artist profiles and oral histories to other publications such as Jon B. Cooke’s superb Comic Book Creator.

Next issue: Bronze Age Graphic Novels!

An exploration of the 1980s graphic novels from Marvel, DC, and First Comics.

Plus: Conan GNs and DC’s Science Fiction GN series! Featuring JOHN BOLTON, J. M. DeMATTEIS, JAN DUURSEMA, ROBERT LOREN FLEMING, JACKSON GUICE, KLAUS JANSON, TODD KLEIN, P. CRAIG RUSSELL, JIM STARLIN, ROY THOMAS, RICK VEITCH, and many more all-star creators. Re-presenting the Hulk/ Thing cover art from Marvel Graphic Novel #29, by BERNIE WRIGHTSON! Don’t ask—just BI it! See you in thirty!

Your friendly neighborhood Euryman, Michael Eury, editor-in-chiefin-transition-to-retirement Haunted Issue • BACK ISSUE • 79

19942024 UPDATE #2

TwoMorrows 3

www.twomorrows.com • store@twomorrows.com

ZOWIE!

THE TV SUPERHERO CRAZE IN ’60s POP CULTURE

by MARK VOGER

HOLY PHENOMENON! In the way-out year of 1966, the action comedy “Batman” starring ADAM WEST premiered and triggered a tsunami of super swag, including toys, games, Halloween costumes, puppets, action figures, and lunch boxes. Meanwhile, still more costumed avengers sprang forth on TV (“The Green Hornet,” “Ultraman”), in MOVIES (“The Wild World of Batwoman,” “Rat Pfink and Boo Boo”), and in ANIMATION (“Space Ghost,” “The Marvel Super Heroes”). ZOWIE! traces the history of the superhero genre from early films, through the 1960s TV superhero craze, and its pop culture influence ever since. This 192-page hardcover, in pop art colors that conjure the period, spotlights the coolest collectibles and kookiest knockoffs every ’60s kid begged their parents for, and features interviews with the TV stars (WEST, BURT WARD, YVONNE CRAIG, FRANK GORSHIN, BURGESS MEREDITH, CESAR ROMERO, JULIE NEWMAR, VAN WILLIAMS), the artists behind the comics (JERRY ROBINSON, DICK SPRANG, CARMINE INFANTINO, JOE GIELLA), and others.

Written and designed by MARK VOGER (MONSTER MASH, HOLLY JOLLY), ZOWIE! is one super read!

(192-page FULL-COLOR HARDCOVER) $43.95 • (Digital Edition) $15.99 • ISBN: 978-1-60549-125-7 NOW SHIPPING!

MARVEL COMICS In The EARLY 1960s

AN ISSUE-BY-ISSUE FIELD GUIDE TO A POP CULTURE PHENOMENON

by PIERRE COMTOIS All characters and properties TM & © their respective owners.

This new volume in the ongoing “MARVEL COMICS IN THE...” series takes you all the way back to that company’s legendary beginnings, when gunfighters traveled the West and monsters roamed the Earth! The company’s output in other genres influenced the development of their super-hero characters from Thor to Spider-Man, and featured here are the best of those stories not covered previously, completing issue-by-issue reviews of EVERY MARVEL COMIC OF NOTE FROM 1961-1965! Presented are scores of handy, easy to reference entries on AMAZING FANTASY, TALES OF SUSPENSE (and ASTONISH), STRANGE TALES, JOURNEY INTO MYSTERY, RAWHIDE KID, plus issues of FANTASTIC FOUR, AVENGERS, AMAZING SPIDER-MAN, and others that weren’t in the previous 1960s edition. It’s author PIERRE COMTOIS’ last word on Marvel’s early years, when JACK KIRBY, STEVE DITKO, and DON HECK, together with writer/editor STAN LEE (and brother LARRY LIEBER), built an unprecedented new universe of excitement!

(224-page TRADE PAPERBACK) $29.95 • (Digital Edition) $12.99 • ISBN: 978-1-60549-126-4 NOW SHIPPING!

COMIC BOOK IMPLOSION (EXPANDED EDITION) by KEITH DALLAS & JOHN WELLS

Our magazines are no longer at Barnes & Noble or in Apps!

But they’re available through comic book shops, subscription, and print & digital editions at www.twomorrows.com PLUS: Check out our new digital storefront and start your permanent digital collection:

www.comicshistory.org

NOW IN FULL-COLOR WITH BONUS PAGES! In 1978, DC Comics launched a line-wide expansion known as “The DC Explosion,” but pulled the plug weeks later, cancelling titles and leaving dozens of completed comic book stories unpublished.

Now, that notorious “DC Implosion” is examined with an exhaustive oral history from JENETTE KAHN, PAUL LEVITZ, LEN WEIN, MIKE GOLD, AL MILGROM, and other DC creators of the time, plus commentary by other top pros, examining how it changed the landscape of comics forever! This new EXPANDED EDITION of the Eisner Award-nominated book explodes in FULL-COLOR FOR THE FIRST TIME, with extra coverage of LOST 1970s DC PROJECTS like NINJA THE INVISIBLE and an adaptation of “THE WIZ,” JIM STARLIN’s unaltered cover art for BATMAN FAMILY #21, content meant for canceled Marvel titles such as GODZILLA and MS. MARVEL, and more!

NOW SHIPPING! (144-page FULL-COLOR SOFTCOVER) $26.95 • (Digital Edition) $10.99 • ISBN: 978-1-60549-124-0

ALTER EGO #190

ALTER EGO #191

ALTER EGO #192

ALTER EGO #193

ALTER EGO #194

MITCH MAGLIO examines vintage jungle comics heroes (Kaänga, Ka-Zar, Sheena, Rulah, Jo-Jo/Congo King, Thun’da, Tarzan) with art by LOU FINE, WILL EISNER, FRANK FRAZETTA, MATT BAKER, BOB POWELL, ALEX SCHOMBURG, and others! Plus: the comicbook career of reallife jungle explorers MARTIN AND OSA JOHNSON, FCA, Mr. Monster’s Comic Crypt, and more!

#191 is an FCA (FAWCETT COLLECTORS OF AMERICA) issue! Documenting the influence of MAC RABOY’s Captain Marvel Jr. on the life, career, and look of ELVIS PRESLEY during his stellar career, from the 1950s through the 1970s! Plus: Captain Marvel co-creator BILL PARKER’s complete testimony from the DC vs. Fawcett lawsuit, MICHAEL T. GILBERT in Mr. Monster’s Comic Crypt, and other surprises!

MARK CARLSON-GHOST documents the mid-1950s super-hero revival featuring The Human Torch, Captain America, SubMariner, Fighting American, The Avenger, Phantom Lady, The Flame, Captain Flash, and others—with art by JOHN ROMITA, JOHN BUSCEMA, BILL EVERETT, SIMON & KIRBY, MIKE SEKOWSKY, MORT MESKIN, BOB POWELL, and other greats! Plus FCA, Mr. Monster’s Comic Crypt, and more!

An abridgment of EDDY ZENO’s “Drawn to Greatness” book, showcasing Superman artists who followed JOE SHUSTER: WAYNE BORING, PAUL CASSIDY, FRED RAY, JACK BURNLEY, WIN MORTIMER, and others. With appreciations by ORDWAY, KUPPERBERG, ISABELLA, JURGENS, WAID, MACCHIO, NEARY, NOWLAN, EURY, THOMAS, and more! Plus FCA, Mr. Monster’s Comic Crypt, and more!

ROY THOMAS celebrates 60 years in comics! Career-spanning interview by ALEX GRAND, e-mails to Roy from STAN LEE, the history of Wolverine’s creation, RT’s 1960s fan-letters to JULIUS SCHWARTZ, and his top dozen stories compiled by JOHN CIMINO! With art by BUSCEMA, KANE, ADAMS, WINDSOR-SMITH, COLAN, ORDWAY, BUCKLER, FCA, Mr. Monster’s Comic Crypt, and cover by TONY GRAY!

(84-page FULL-COLOR magazine) $10.95 (Digital Edition) $4.99 • Now shipping!

(84-page FULL-COLOR magazine) $10.95 (Digital Edition) $4.99 • Ships Dec. 2024

(84-page FULL-COLOR magazine) $10.95 (Digital Edition) $4.99 • Ships Feb. 2025

(84-page FULL-COLOR magazine) $10.95 (Digital Edition) $4.99 • Ships April 2025

(84-page FULL-COLOR magazine) $10.95 (Digital Edition) $4.99 • Ships June 2025

KIRBY COLLECTOR #91

KIRBY COLLECTOR #92

KIRBY COLLECTOR #93

KIRBY COLLECTOR #94

BRICKJOURNAL #87

30th Anniversary issue, with KIRBY’S GREATEST VICTORIES! Jack gets the girl (wife ROZ), early hits Captain America and Boy Commandos, surviving WWII, romance comics, Captain Victory and the direct market, his original art battle with Marvel, and finally winning credit! Plus MARK EVANIER, a colossal gallery of Kirby’s winningest pencil art, a never-reprinted SIMON & KIRBY story, and more!

IN THE NEWS! Rare newspaper interviews with Jack, 1973 San Diego panel with Jack and NEAL ADAMS discussing DC’s coloring, strips Kirby ghosted for others, unused strip concepts, collages, a never-reprinted Headline Comics tale, Jimmy Olsen pencil art gallery, 2024 WonderCon Kirby panel (featuring DAVID SCHWARTZ, GLEN GOLD, and RAY WYMAN), and more!

Cover inked by DAVID REDDICK!

SUPPORTING PLAYERS! Almost-major villains like Kanto the Assassin and Diablo, Rodney Rumpkin, Mr. Little, the Falcon, Randu Singh, and others take center stage!

Plus: 1970 interview with Jack by SHEL DORF, MARK EVANIER’s 2024 Kirby Tribute Panel from Comic-Con, neverreprinted Simon & Kirby story, pencil art gallery, and more! Unused Mister Miracle cover inked by MIKE ROYER!

SPACE RACES! Jack’s depictions of cosmic gods and life on other planets, including: how Ego, Tana Nile, and the Recorder took Thor to strange new worlds, OMAC’s space age future, time travelers in Kirby’s work, favorite Kirby sci-fi tropes in his stories, plus: a 1967 LEE/KIRBY interview, MARK EVANIER and other columnists, never-reprinted Simon & Kirby story, robotic pencil art gallery, cover inked by TERRY AUSTIN!

Take to the air with JESSE GROS and his wondrous airships! KEVIN COPA’s renditions of the ships from International Rescue, a.k.a. the Thunderbirds, are also featured, as well as JACK CARLESON and his airliners! Plus BRICKNERD, BANTHA BRICKS: Fans of LEGO Star Wars, step-by-step “You Can Build It” instructions by CHRISTOPHER DECK, and Minifigure Customization with JARED K. BURKS!

(84-page FULL-COLOR magazine) $10.95 (Digital Edition) $4.99 • Now shipping!

(84-page FULL-COLOR magazine) $10.95 (Digital Edition) $4.99 • Ships Winter 2025

(84-page FULL-COLOR magazine) $10.95 (Digital Edition) $4.99 • Ships Spring 2025

(84-page FULL-COLOR magazine) $10.95 (Digital Edition) $4.99 • Summer 2025

(84-page FULL-COLOR magazine) $10.95 (Digital Edition) $4.99 • Ships Nov. 2024

COMIC BOOK CREATOR #36 COMIC BOOK CREATOR #37 COMIC BOOK CREATOR #38 COMIC BOOK CREATOR #39 AMERICAN COMIC BOOK STEVE ENGLEHART is spotlighted in RICK VEITCH discusses his career from THOMAS YEATES career-spanning interCHRONICLES: 1945-49 view about the Kubert School, Swamp

TOM PALMER retrospective, career-spanning interview, and tributes compiled by GREG BIGA. LEE MARRS chats about assisting on Little Orphan Annie, work for DC’s Plop! and underground Pudge, Girl Blimp!

The start of a multi-part look at the life and career of DAN DIDIO, part two of our ARNOLD DRAKE interview, public service comics produced by students at the CENTER FOR CARTOON STUDIES, & more!

a career-spanning interview, former DC Comics’ romance editor BARBARA FRIEDLANDER redeems the late DC editor JACK MILLER, DAN DIDIO discusses going from DC exec to co-publisher, we conclude our 100th birthday celebration for ARNOLD DRAKE, take a look at the 1970s underground comix oddity THE FUNNY PAGES, and more, including HEMBECK!

undergrounds and the Kubert School; the ’80s with 1941, Epic Illustrated and Heavy Metal; to Swamp Thing, The One, Brat Pack, and Maximortal! Plus TOM VEITCH’s history of ’70s underground horror comix, part one of a look at cartoonist ERROL McCARTHY, the story behind Studio Zero— the ’70s collective of artists STARLIN, BRUNNER, WEISS, and others, and more!

Thing, Eclipse Comics, and adventure strips Zorro, Tarzan, and Prince Valiant! GREG POTTER discusses his ’70s Warren horror comics and ’80s reboot of Wonder Woman with GEORGE PÉREZ, WARREN KREMER is celebrated by MARK ARNOLD, plus part one of a look at the work of STEVE WILLIS, part two of ERROL McCARTHY, and more!

(84-page FULL-COLOR magazine) $10.95 (Digital Edition) $4.99 • Now shipping!

(84-page FULL-COLOR magazine) $10.95 (Digital Edition) $4.99 • Ships Winter 2025

(84-page FULL-COLOR magazine) $10.95 (Digital Edition) $4.99 • Ships Spring 2025

(84-page FULL-COLOR magazine) $10.95 (Digital Edition) $4.99 • Summer 2025

Covers the aftermath of WWII, when comics shifted from super-heroes to crime, romance, and western comics, BILL GAINES plotted a new course for EC Comics, and SIEGEL & SHUSTER sued for rights to Superman! By RICHARD ARNDT, KURT MITCHELL, and KEITH DALLAS.

(288-page COLOR HARDCOVER) $49.95 (Digital Edition) $15.99 ISBN: 978-1-60549-099-1

SHIPS FALL 2024

New from TwoMorrows!

BACK ISSUE #156

BACK ISSUE #157

BACK ISSUE #158

BACK ISSUE #159

BACK ISSUE #160

KEITH GIFFEN TRIBUTE ISSUE! Starstudded celebration of the prolific writer/ artist of Legion of Super-Heroes, Rocket Raccoon, Guardians of the Galaxy, Justice League, Lobo, Blue Beetle, and others!

With CARY BATES, TOM BIERBAUM, J.M. DeMATTEIS, DAN DIDIO, ROBERT LOREN FLEMING, CULLY HAMNER, SCOTT KOBLISH, PAUL LEVITZ, KEVIN MAGUIRE, BART SEARS, MARK WAID, and more!

HEY, MISTER ISSUE! The FF’s Mr. Fantastic, STEVE DITKO’s Mr. A, the 40th anniversary of MICHAEL T. GILBERT’s Mr. Monster, Mr. X, the Teen Titans’ Mr. Jupiter, R. CRUMB’s Mr. Natural, Archie’s Mr. Weatherbee, and a Mr. Freeze villain history! Featuring BYRNE, CARDY, CONWAY, DeCARLO, DINI, ENGLEHART, the HERNANDEZ BROS., MIGNOLA, MOTTER, and more!

Cover by ED McGUINNESS.

CRISIS ON INFINITE EARTHS 40th ANNIVERSARY! Pre-Crisis tour of DC’s multiple Earths, analysis of Crisis and its crossovers, Crisis Death List, post-Crisis DC retro projects, guest editorial by MARV WOLFMAN, and more! Featuring BARR, ENGLEHART, GREENBERGER, LEVITZ, MAGGIN, MOENCH, ORDWAY, THOMAS, WAID, and more! With GEORGE PÉREZ’S Crisis on Infinite Earths Index #1 cover.

SUMMER FUN ISSUE! Marvel’s Superhero Swimsuit Editions, Betty and Veronica swimsuit gallery, DC’s Strange Sports Stories, the DC/Marvel softball rivalry, San Diego Comic-Con history, Impossible Man Summer Vacation Specials, DC Slurpee cups, DC/Whitman variants, and more!

Featuring BATES, DeCARLO, HUGHES, JIM LEE, LOPRESTI, MAGGIN, ROZAKIS, STELFREEZE, and more! GUICE cover.

(84-page FULL-COLOR magazine) $10.95 (Digital Edition) $4.99 • Ships Nov. 2024

(84-page FULL-COLOR magazine) $10.95 (Digital Edition) $4.99 • Ships Jan. 2025

(84-page FULL-COLOR magazine) $10.95 (Digital Edition) $4.99 • Ships March 2025

(84-page FULL-COLOR magazine) $10.95 (Digital Edition) $4.99 • Ships May 2025

(84-page FULL-COLOR magazine) $10.95 (Digital Edition) $4.99 • Ships June 2025

All characters TM & © their respective owners.

BRONZE AGE GRAPHIC NOVELS! 1980s GNs from Marvel, DC, and First Comics, Conan GNs, and DC’s Sci-Fi GN series!

With BRENT ANDERSON, JOHN BYRNE, HOWARD CHAYKIN, CHRIS CLAREMONT, JOSÉ LUIS GARCÍA-LÓPEZ, JACK KIRBY, DON MCGREGOR, BOB McLEOD, BILL SIENKIEWICZ, JIM STARLIN, ROY THOMAS, BERNIE WRIGHTSON, and more. WRIGHTSON cover.

RETROFAN #35

RETROFAN #36

RETROFAN #37

RETROFAN #38

Saturday morning super-hero Space Ghost, plus The Beatles, The Jackson 5ive, and other real rockers in animation! Also: The Addams Family’s JOHN ASTIN, Mighty Isis co-stars JOANNA PANG and BRIAN CUTLER, TV’s The Name of the Game, on the set of Evil Dead II, classic coffee ads, and more! With ANDY MANGELS, WILL MURRAY, SCOTT SAAVEDRA, SCOTT SHAW, MARK VOGER & MICHAEL EURY.

Feel the G-Force of Eighties sci-fi toon BATTLE OF THE PLANETS! Plus: The Girl from U.N.C.L.E.’s STEFANIE POWERS, CHUCK CONNORS, The Oddball World of SCTV, Rankin/Bass’ stop-motion Santa Claus Is Coming to Town, TV’s Greatest Catchphrases, one-season TV shows, and more! With ANDY MANGELS, WILL MURRAY, SCOTT SAAVEDRA, SCOTT SHAW, MARK VOGER & MICHAEL EURY.

The Jetsons, Freaky Frankensteins, Gorgeous Ladies of Wrestling’s HOLLYWOOD, the Archies and other Saturday morning rockers, Star Wars copycats, Build Your Own Adventure books, crazy kitchen gadgets, toymaker MARVIN GLASS, and more! Featuring columns by ANDY MANGELS, WILL MURRAY, SCOTT SAAVEDRA, SCOTT SHAW, and MARK VOGER. Edited by MICHAEL EURY.

Tune in to Saturday morning super-heroes Spider-Man and His Amazing Friends, The Mod Squad, Hanna-Barbera cartoonists, Jesus Christ Superstar, Mr. Potato Head, ‘Old Yeller” actress BEVERLY WASHBURN, Flying Nun collectibles, and more! Featuring columns by ANDY MANGELS, WILL MURRAY, SCOTT SAAVEDRA, SCOTT SHAW, and MARK VOGER. Edited by MICHAEL EURY.

(84-page FULL-COLOR magazine) $10.95 (Digital Edition) $4.99 • Ships July 2025

(84-page FULL-COLOR magazine) $10.95 (Digital Edition) $4.99 • Now shipping!

(84-page FULL-COLOR magazine) $10.95 (Digital Edition) $4.99 • Ships Dec. 2024

(84-page FULL-COLOR magazine) $10.95 (Digital Edition) $4.99 • Ships Feb. 2025

(84-page FULL-COLOR magazine) $10.95 (Digital Edition) $4.99 • Ships April 2025

SUBSCRIPTION RATES

2024

Print subscribers get the digital edition free!

ECONOMY US

Poly mailer, backing board

Alter Ego (Six print issues) Back Issue (Eight print issues) BrickJournal (Six print issues) Comic Book Creator (Four print issues) NEW! Cryptology (Four print issues, starts in Oct.) Jack Kirby Collector (Four print issues) RetroFan (Six print issues)

$73 $97 $73 $53 $53 $53 $73

Faster delivery, rigid mailer

PREMIUM US

Non-US orders, rigid mailer

INTERNATIONAL

DIGITAL ONLY

$100 $130 $100 $70 $70 $70 $100

$111 $147 $111 $78 $78 $78 $111

$29 $39 $29 $19 $19 $19 $29

TwoMorrows.

The Future of Comics History.

TwoMorrows Publishing • 10407 Bedfordtown Drive • Raleigh, NC 27614 USA

No print issue

Phone: 919-449-0344 E-mail: store@twomorrows.com Web: www.twomorrows.com Don’t miss exclusive sales, limited editions, and new releases! Sign up for our mailing list:

https://groups.io/g/twomorrows

Download our Free Catalog of all our available books and back issues! https://www.twomorrows.com/media/TwoMorrowsCatalog.pdf

PRINTED IN CHINA

BACK ISSUE #161

MUTANT MAYHEM ISSUE! BARRY WINDSOR-SMITH’s Weapon X Wolverine, the romance of Havok and Polaris, Rogue and Nightcrawler limited series, Brood and Arcade villain histories, “Mutant Massacre” crossover, and more! With JON BOGDANOVE, JOHN BYRNE, CHRIS CLAREMONT, DAVE COCKRUM, LOUISE SIMONSON, MIKE WIERINGO, and more!

WINDSOR-SMITH cover.