Back Issue #92 by TwoMorrows Publishing

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The Swamp Thing revival of 1982 Q

Swamp Thing in Hollywood Q

Kupperberg & Mignola’s Phantom Stranger Q

Phantom Stranger team-ups Q

The Witching Witching Hour Q

Living Mummy Q

featuring Buckler Buckler,r,, Mayerik, Pasko, Yeates, Yeates, & more

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Marvel horror anthologies

THE RETRO COMICS EXPERIENCE!

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!

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“Flash and Green Lantern in the Bronze Age” (crossover with ALTER EGO #132)! In-depth spotlights of their 1970s and 1980s adventures, MARK WAID’s look at the Flash/GL team, and PAUL KUPPERBERG’s Lost GL Fillins. Bonus: DC’s New York Office Memories, and Green Lantern: Ganthet’s Tale by LARRY NIVEN and JOHN BYRNE. With BARR, BATES, GIBBONS, GRELL, INFANTINO, WEIN, and more. Cover by GEORGE PÉREZ.

“DC Bronze Age Giants and Reprints!” An indepth exploration of DC’s 100-PAGE SUPER SPECTACULARS, plus: a history of comics giants, DC indexes galore, and a salute to “human encyclopedia” E. NELSON BRIDWELL. Featuring the work of PAT BRODERICK, RICH BUCKLER, FRANK FRAZETTA, JOE KUBERT, BOB ROZAKIS, BERNIE WRIGHTSON, and more. Super Spec tribute cover featuring classic art by NICK CARDY.

“Bronze Age Events!” With extensive coverage of the Avengers/Defenders War, JLA/JSA crossovers, Secret Wars, Crisis’ 30th anniversary, Legends, Millennium, Invasion, Infinity Gauntlet, and more! Featuring the work of SAL BUSCEMA, DICK DILLIN, TODD McFARLANE, GEORGE PÉREZ, JOE STATON, LEN WEIN, MARV WOLFMAN, MIKE ZECK, and more. Plus an Avengers vs. Defenders cover by JOHN BYRNE.

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“International Heroes!” Alpha Flight, the New X-Men, Global Guardians, Captain Canuck, and Justice League International, plus SpiderMan in the UK and more. Also: exclusive interview with cover artists STEVE FASTNER and RICH LARSON. Featuring the work of JOHN BYRNE, CHRIS CLAREMONT, DAVE COCKRUM, RICHARD COMELY, KEITH GIFFEN, KEVIN MAGUIRE, and more! Alpha Flight vs. X-Men cover by FASTNER/LARSON.

“Supergirl in the Bronze Age!” Her 1970s and 1980s adventures, including her death in Crisis on Infinite Earths and her many rebirths. Plus: an ALAN BRENNERT interview, behind the scenes of the Supergirl movie starring HELEN SLATER, Who is Superwoman?, and a look at the DC Superheroes Water Ski Show. With PAUL KUPPERBERG, ELLIOT MAGGIN, MARV WOLFMAN, plus a jam cover recreation of ADVENTURE COMICS #397!

“Christmas in the Bronze Age!” Go behind the scenes of comics’ best holiday tales of the 1970s through the early 1990s! And we revisit Superhero Merchandise Catalogs of the late ‘70s! Featuring work by SIMON BISLEY, CHRIS CLAREMONT, JOSÉ LUIS GARCÍALÓPEZ, KEITH GIFFEN, the KUBERT STUDIO, DENNY O’NEIL, STEVE PURCELL, JOHN ROMITA, JR., and more. Cover by MARIE SEVERIN and MIKE ESPOSITO!

“Marvel Bronze Age Giants and Reprints!” In-depth exploration of Marvel’s GIANT-SIZE series, plus indexes galore of Marvel reprint titles, Marvel digests and Fireside Books editions, and the last days of the “Old” X-Men! Featuring work by DAN ADKINS, ROSS ANDRU, RICH BUCKLER, DAVE COCKRUM, GERRY CONWAY, STEVE GERBER, STAN LEE, WERNER ROTH, ROY THOMAS, and more. Cover by JOHN ROMITA, SR.!

“Batman AND Superman!” Bronze Age World’s Finest, Super Sons, Batman/Superman Villain/Partner Swap, Jimmy Olsen and Lois Lane go solo, Superman/Radio Shack giveaways, and JLA #200’s “A League Divided” (as a nod to Batman v. Superman)! Featuring work by BRIAN BOLLAND, RICH BUCKLER, GERRY CONWAY, JACK KIRBY, GEORGE PÉREZ, JIM STARLIN, and more. Cover by DICK GIORDANO!

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“Comics Magazines of the ’70s and ’80s!” From Savage Tales to Epic Illustrated, KIRBY’s “Speak-Out Series,” EISNER’s Spirit magazine, Unpublished PAUL GULACY, MICHAEL USLAN on the Shadow magazine you didn’t see, plus B&Ws from Atlas/Seaboard, Charlton, Skywald, and Warren. Featuring work by NEAL ADAMS, JOHN BOLTON, ARCHIE GOODWIN, DOUG MOENCH, EARL NOREM, ROY THOMAS, and more. Cover by GRAY MORROW!

“Bronze Age Adaptations!” The Shadow, Korak: Son of Tarzan, Battlestar Galactica, The Black Hole, 2001: A Space Odyssey, Worlds Unknown, and Marvel’s 1980s movie adaptations. Plus: PAUL KUPPERBERG surveys prose adaptations of comics! With work by JACK KIRBY, DENNY O’NEIL, FRANK ROBBINS, MICHAEL W. KALUTA, FRANK THORNE, MICHAEL USLAN, and sporting an alternate Kaluta cover produced for DC’s Shadow series!

“Eighties Ladies!” MILLER & SIENKIEWICZ’s Elektra: Assassin, Dazzler, Captain Marvel (Monica Rambeau), Lady Quark, DAN MISHKIN’s Wonder Woman, WILLIAM MESSNER-LOEBS and ADAM KUBERT’s Jezebel Jade, Somerset Holmes, and a look back at Marvel’s Dakota North! Featuring the work of BRUCE JONES, JOHN ROMITA JR., ROGER STERN, and many more, plus a previously unpublished cover by SIENKIEWICZ.

“All-Jerks Issue!” Guy Gardner, Namor in the Bronze Age, J. Jonah Jameson, Flash Thompson, DC’s Biggest Blowhards, the Heckler, Obnoxio the Clown, and Archie’s “pal” Reggie Mantle! Featuring the work of (non-jerks) RICH BUCKLER, KURT BUSIEK, JOHN BYRNE, STEVE ENGLEHART, KEITH GIFFEN, ALAN KUPPERBERG, and many more. Cover-featuring KEVIN MAGUIRE’s iconic Batman/Guy Gardner “One Punch”!

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Volume 1, Number 92 October 2016 EDITOR-IN-CHIEF Michael Eury

Comics’ Bronze Age and Beyond!

PUBLISHER John Morrow DESIGNER Rich Fowlks COVER ARTIST Thomas Yeates COVER COLORIST Glenn Whitmore COVER DESIGNER Michael Kronenberg PROOFREADER Rob Smentek SPECIAL THANKS Michael Browning Mike Mignola Brian K. Morris Rich Buckler N’Kantu Jarrod Buttery Luigi Novi Marc Buxton Martin Pasko John Cimino P. Craig Russell Comicvine Roy Thomas DC Comics Len Wein Steve Ditko Thomas Yeates Grand Comics Database Robert Greenberger Jack C. Harris Karl Heitmueller, Jr. Heritage Comics Auctions Tony Isabella Rob Kelly Jim Kingman Paul Kupperberg Stan Lee Alan Light Andy Mangels Val Mayerik

BACK SEAT DRIVER: Editorial by Michael Eury . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

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BEYOND CAPES: The Living Mummy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 We unwrap the reasons why this Marvel monster didn’t make the big time

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BACKSTAGE PASS: It’s Not Easy Being Green: Swamp Thing . . . . . . . . . . . . . . . . . . . . 3 Movies, TV, cartoons, and action figures—Swampy’s starred in ’em all! INTERVIEW: Martin Pasko, Saga of the Swamp Thing . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 The 1982 Swamp Thing revival from the perspective of its writer INTERVIEW: Thomas Yeates, Saga of the Swamp Thing . . . . . . . . . . . . . . . . . . . . . . . . . 18 The 1982 Swamp Thing revival from the perspective of its artist BEYOND CAPES: The Witching Hour . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 It’s midnight—time to revisit this DC chiller anthology OFF MY CHEST: The Secret Wars of the “Super Hero” Trademark . . . . . . . . . . . . . . . . 31 Halloween costumer Ben Cooper’s trademark tussle… plus the original “Spider Man” costume! PRINCE STREET NEWS: What If Superheroes Wore Their Ben Cooper Costumes? . . . . 36 Karl Heitmueller, Jr.’s latest gutbuster cartoon FLASHBACK: Thank You for Being a Stranger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 Bronze Age Phantom Stranger team-ups PRO2PRO: Paul Kupperberg, Mike Mignola, and P. Craig Russell, The Phantom Stranger . . . 44 Bob Greenberger drops in on the creative team of the 1987 miniseries

INDEX: Marvel Bronze Age Horror Reprint Series . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60 From Beware! to Where Monsters Dwell, reprint info for Marvel’s spookfests BACK TALK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76 Reader reactions

BACK ISSUE™ is published 8 times a year by TwoMorrows Publishing, 10407 Bedfordtown Drive, Raleigh, NC 27614. Michael Eury, Editor-in-Chief. John Morrow, Publisher. Editorial Office: BACK ISSUE, c/o Michael Eury, Editor-in-Chief, 118 Edgewood Avenue NE, Concord, NC 28025. Email: euryman@gmail.com. Eight-issue subscriptions: $73 Economy US, $88 Expedited US, $116 International. Please send subscription orders and funds to TwoMorrows, NOT to the editorial office. Cover art by Thomas Yeates. Swamp Thing and the Phantom Stranger TM & © DC Comics. All Rights Reserved. All characters are © their respective companies. All material © their creators unless otherwise noted. All editorial matter © 2016 Michael Eury and TwoMorrows Publishing except Prince Street News © 2016 Karl Heitmueller, Jr. ISSN 1932-6904. Printed in China. FIRST PRINTING.

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In Memoriam

Darwyn Cooke (1962–2016)

TM & © DC Comics.

Here’s something I wish I would’ve said to Darwyn Cooke: “Thank you.” Darwyn’s art lured me back into comics appreciation after a few rough patches in my career and life had steered me away from the flock. Were it not for his work rekindling that flame, there may not have been a BACK ISSUE magazine or the comics-history books I’ve produced. I’d also thank Darwyn for not listening to my editorial request when he drew the cover for BACK ISSUE #28, our “Heroes Behaving Badly” issue. I asked for a “Flash in jail” cover. He really wanted to do “drunk Iron Man.” I was hesitant because we’d published an Iron Man cover three issues prior, but succumbed to his enthusiasm. Glad I did. His drunk Iron Man cover (look closely at the detail) was the funniest BI cover ever. I can’t thank him personally—at least not in this life— as cancer claimed the life of this talented artist, at age 53, on May 14, 2016, just as this issue was going into production. What a tragic loss for his family and friends. And for the rest of us, as his style was a beacon of light in a business that usually peddles darkness. Rest in Peace, Darwyn Cooke. You will be missed.

ichael Eury

Iron Man TM & © Marvel. Flash TM & © DC.

by M

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by A n d y

Mangels

If a comics historian were to note the most successful DC Comics characters in the media, the list would be as follows: Batman, Superman, Wonder Woman… Swamp Thing? Wait… what?! With two feature films, a threeseason television series, and a short-lived animated series— all under his own name—DC’s haunted muck monster beats out Green Lantern, the Flash, and Aquaman for Hollywood bragging rights. But how did a walking collection of leaves and vines transition from page to screen so many times? Join us as we dig into the saga of the Swamp Thing…

TWISTING TENDRILS

Universally Monstrous At a time when comic-book films were rare, Swamp Thing shambled into theaters and cleared a path for a DC Comics revival and media continuations to follow. (above) Richard Hescox’s movie poster art doubled as (inset) the cover for DC’s movie adaptation. Swamp Thing TM & © DC Comics.

As revealed in BACK ISSUE #6, then-freelance comic writer Len Wein came up with the idea of Swamp Thing during a subway ride, then pitched the story concept to editor Joe Orlando. Meeting up with artistic sometimescollaborator Bernie Wrightson at a housewarming party for Marv Wolfman, Wein pitched Wrightson on the story, which was intended for one of DC’s mystery/horror titles. In it, turn-of-thecentury scientist Alex Olsen is betrayed by his co-worker, Damian Ridge, who wants to woo Olsen’s wife, Linda. Olsen is caught in a chemical explosion, but rather than killing him, the chemicals combine with the swamp matter outside the laboratory, changing Olsen into a monstrous creature known as Swamp Thing. Swamp Thing kills Ridge and saves Linda, but cannot convince his wife that he is alive. Wrightson drew the story in about a week, with art assists by Jeffrey Jones, Alan Weiss, and Michael Kaluta, and photo reference of Louise Jones (now Simonson) as Linda, Kaluta as Ridge, and himself as Olsen. The eight-page story, titled “Swamp Thing,” appeared in House of Secrets #92 (June–July 1971), and was one of the bestselling titles for DC that month (outselling even Superman); it also won the Academy of Comic Book Arts award for “Best Story of the Year.” Wein and Wrightson were almost immediately asked to revive the character for a contemporary series, but they demurred for a year. Eventually, Swamp Thing #1 (Oct.–Nov. 1972) was an updated retelling of the origin story, this time featuring scientist Alec Holland, who is working on a secret bio-restorative formula to help the environment. Holland’s lab is bombed, and Holland himself is doused by chemicals, and escapes, burning, into the Louisiana swamps. There, he eventually rises into a muscular creature who is seemingly made of plant matter, and he sets out to take revenge on the men who caused his “death” and eventually murdered his wife, Linda. The 24-issue series that followed saw Swamp Thing twice face the insane Dr. Anton Arcane, who was searching for the secret to immortality. Arcane’s niece, Abigail Arcane, became a love interest of sorts, and Swamp Thing also battled Arcane’s Un-Men, and the monstrous Gregori Arcane (a.k.a. the Patchwork Man). The series ended with issue #24 (Aug.–Sept. 1976), by which time it had transformed into a spooky superhero-like series. Although he appeared in Challengers of the Unknown for a year and made a few other minor appearances (a planned 1978 revival was killed by the “DC Implosion”), Swamp Thing remained a spooky resident of DC’s character graveyard, until 1982, when he was reborn again in a very surprising way. Halloween Issue • BACK ISSUE • 3

Let’s Run the Cast Bayou From 1982’s Swamp Thing: Dick Durock’s in the rubber suit, flanked by (left inset) Ray Wise, (right top inset) Adrienne Barbeau, and (right bottom inset) Louis Jourdan. Swamp Thing TM & © DC Comics.

THAT THING THAT YOU’VE BEEN CRAVEN

Following his work on such creepy “real world” horror films such as The Last House on the Left (1972), The Hills Have Eyes (1977), Stranger in Our House (1978), and Deadly Blessing (1981), director Wes Craven was chosen to shepherd Swamp Thing to the silver screen, as both director and screenwriter. The feature film project was announced in early 1981. Original plans called for a Georgia or Florida location, with interiors in Los Angeles. Production delays forced filming from March to April, with a tight wrap for June thanks to a threatened strike of the Director’s Guild. The co-producers were Benjamin Melniker, a former MGM vice-president, and Michael Uslan, a former DC staff member who had worked closely with DC on educational opportunities while lecturing at universities about comics, as well as writing comics such as Batman, Beowulf, and The Shadow. Uslan and Melniker had gained the licenses for and planned films for Batman and Swamp Thing in 1979. Artist Steve Bissette would tell Comics Scene magazine’s Daniel Dickholtz in vol. 2 #5 (1989) that the rights contract signed with Uslan and Melniker in 1979 was—in his quoting of Paul Levitz— “the worst contract DC has ever made,” and noted that it covered all materials related to Swamp Thing past, present, and future. With plans for Batman taking a long time to develop, the muck monster was the producer’s first project out of the gate. The story for Craven’s film was relatively close to its comic-book origins, though Craven would later explain that he had changed Cable into a woman to create a Beauty and the Beast-style love story, then had to change Linda into Holland’s sister, rather than his wife. For the film, Dr. Alec Holland (Ray Wise) was a scientist working at a top-secret laboratory in the

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Louisiana swamps. Alongside his sister, Linda (Nannette Brown), Holland is developing a bio-engineering project that will create a plant/animal hybrid which could help crops grow in even the most world’s worst environments. Comely government agent Alice Cable (Adrienne Barbeau) arrives to check on Holland, and is flattered by his attention, then surprised when his experiments have a breakthrough. Even more shocking, though, is the attack by paramilitary forces, working for the evil Dr. Anton Arcane (Louis Jourdan, in a role originally offered to Christopher Lee), a man who will stop at nothing to gain immortality. During an attack on the lab, Linda is killed and Alice escapes, but Alec faces a worse fate—covered in his own experimental bio-restorative chemicals, he catches fire, and runs screaming into the murky swamp. Although Holland is presumably dead, he mutates into a super-strong plant creature known as Swamp Thing (Dick Durock). The man-monster soon does his best to rescue Cable, and eventually battles against Arcane, who has also been mutated by Holland’s stolen formula. The film was shot on location in Charleston, South Carolina, where actress Nannette Brown lived. The lab was created inside an old warehouse, though local construction workers had never built a movie set before, and the completely solid structure had to be chainsawed apart to use as a filmable location. Arcane’s mansion was “played” by Charleston’s Hibernian Hall. Other local locations included Cypress Gardens, Fairlawn Plantation, Magnolia Plantation, and Johns Island. Craven used low angles, shadows, garish colors, and fog to approximate comic-book storytelling. The makeup was the work of Bill Munns, then 32 years old. Munns had come to the producers with a

shockingly low $80,000 bid to create the latex suits to be worn by Swamp Thing and Arcane. Financing delays meant that Munns and his ten-person crew only had six weeks to finish all the suits and specialeffects makeup before filming began. Actor Ray Wise did makeup tests as Swamp Thing, and was set to appear in costume for some scenes, but it was decided that Durock would make a better fit in the monstrous role (after stuntman Bob Minor bowed out). As the costume had been sculpted for the 6’2” Minor, reworking it for the 6’5” Durock was tough. Dick Durock had come to Hollywood in the mid-1960s to pursue some kind of work there, but he was larger than many actors in the field. While painting houses and doing odd jobs, Durock was asked to do some stunt work, and he began training. Following his first job—doubling Guy Williams on the last two episodes of Lost in Space—Durock became a regular on shows such as Star Trek, The Six Million Dollar Man, The Rockford Files, Battlestar Galactica (he was the Imperious Leader), and more. In 1981, Durock got the call for Swamp Thing. “They needed a tall guy and someone said to meet Wes Craven,” Durock told me in a 1991 interview. “Ted Duncan was the stunt coordinator. He asked if I wanted to go to South Carolina to film this thing. He said, ‘It’s kind of a stunt thing where you put on this green suit and do the action.’ It was a five- or six-week run. I went down and had to get Wes Craven’s approval. “The producers wanted the actor who played Alec Holland, Ray Wise, to put a head and shoulder piece on for the closeups. I was to do all the physical stuff—the fights and airboat stuff. Wes is explaining this and he’s watching me. I said, ‘Well, that’s going to be rather difficult to shoot, isn’t it? You can’t go from a full-figure action shot to a closeup.’ He said, ‘You got it. What I would advise you to do is to learn the whole thing so you could do it all.’ That’s ultimately what happened. Everything in green in the first one was me.” Explaining further, Durock said, “If you put somebody else in the same makeup, it wouldn’t fit because it’s molded for me. But if you put them in similar makeup molded for them, you’d see a totally different face… They did a life mask of Ray for appliances for his face. They were going to shoot him in the closeups, but they put them side-by-side and got a totally different look. It seems funny with all the makeup, but it really works that way.” Durock recalled that Wise wasn’t overly displeased, but his agents were. “Technically, there was nothing that could be done. He was 5’10” and couldn’t play the creature with any effectiveness, no matter how good an actor he was. It would be like putting the swamp suit on Dustin Hoffman. That’s not a knock, just noting his size. Ray is a sweetheart of a guy, though, and they did use his voice.” Wise would indeed overdub all of Swampy’s dialogue, with his voice filtered by effects personnel. Although scripted as a werewolf creature (as in the comics), Munn designed a new look for Arcane, incorporating a boar’s face, a lion’s mane, and a reptilian body. The five-piece Arcane suit with a semi-articulated cable-activated head was generally worn by stuntman Ben Bates. For Arcane’s death scene—after Bates collapsed from heat exhaustion—Munn himself wore the suit, spilling his liquid urethane guts. Though Munn’s suits did allow movement for the stuntmen wearing them, tannic acid secretions in the swamp water ate away at the suits, requiring them to be regularly treated with antacids. Assistants stood by just off-camera

This Man, This Monster (top) Designer William Munns works on a life-size clay sculpture of Swamp Thing, mapping out where the vines will grow. (middle) Ray Wise getting put into latex mask by a makeup person who appears to be Ken Horn. (bottom) Makeup artist Ken Horn applies Swamp Thing’s facial prosthetic. Swamp Thing TM & © DC Comics.

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with needles and monofilament thread to fix the constant tears and ruptures in the foam latex. Durock said that “[t]he first suit started getting a little shoddy because nobody knew how it would hold up. Perspiration and the fact that you’re in the water and it picks up 15–20 pounds of water like a sponge… the suit starts deforming. The acidity of the swamp—we shot in a dismal swamp outside of Charleston that had black water and there was so much tannic acid in it—just ate the suit up. It was a constant repair job, and the kids who worked on it were brilliant.” Durock laughed when asked what was going through his mind when wearing a rubber suit in the swamp. “So much for sunglasses and autographs in this Hollywood stardom business… I got these snakes going around, but… I was protected by a thin layer of rubber. Adrienne Barbeau would come out of the water with leeches and everything else!” Of his director, Wes Craven, Durock said that the man was “bright, an intellectual, introspective, very caring about the character and the people he’s working with. He’s an honest man and a delight to work with. I’d look forward to working with him again.” Durock also appreciated Craven’s script. “I liked the structure and the humanity. That, to me, was the essence. I don’t think you ever lost sight of his humanity in the first one.” Craven wasn’t as happy as the film wrapped, however. He complained publicly about his producers’ decisions in the UK’s Starburst magazine, blaming them for firing his cinematographer and production manager, and micromanaging his decisions. Despite the problems, Craven brought Swamp Thing in on the low $2.5–3-million budget (the same as his previous Deadly Blessing), and finished the film on time. With the tagline of “Science transformed him into a monster. Love changed him even more!,” Swamp Thing debuted on February 19, 1982 from Avco-Embassy Pictures, whose president was Frank Capra, Jr., son of the legendary director. United Artists co-financed the film in exchange for the foreign-release rights. Hoping to capitalize on the feature film, DC launched The Saga of the Swamp Thing in May 1982 (on-sale date March 11th), using a photo from the film as its second cover. A few months later, DC published The Saga of the Swamp Thing Annual #1 (on-sale date August 26th), adapting the feature film, and using the movie

Swampy Across the Pond The British one-sheet poster for Swamp Thing, distributed there by United Artists. Artist unknown. (inset) A Durock photo cover appeared on the second issue cover of DC’s newly revived Saga of the Swamp Thing. Swamp Thing TM & © DC Comics.

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poster art by Richard Hescox as the cover. Bruce Jones scripted, with art by Mark Texiera and Tony DeZuniga. Ironically, Len Wein edited the book. DC also produced a Swamp Thing movie contest, offering the winner a trip to New York to visit the DC offices. On the book front, Tor published a novel of the film; originally, Len Wein was to have written it, but with a three-and-a-half week deadline, Wein found himself blocked. Ex-Starlog editor and novelist David Houston completed the job quickly instead. More licensing was initially planned, as seen in a trade ad from 1982. Signed onboard for tie-ins were Mego Corp. for a full line of toys; Ben Cooper for costumes and masks; Donruss trading cards; Funwear for T-shirts; Strata for sleepwear and underwear; Western Graphics for posters; Crown for a hardback book on the movie’s effects; Eclipse Enterprises for a souvenir program, screenplay, and art portfolio; and Grandreams for a poster book. Of the promised licensing, it appears that only the above DC comics, Tor book, and a soundtrack were ever issued. The film garnered mixed-tobad reviews (though Roger Ebert would note that “There’s beauty in this movie, if you know where to look for it”) and poor box office. Uslan blamed Avco-Embassy, noting that the early regional releases were doing well, until the company had an internal staff shakeup; the new folks in charge pulled support from the film, resulting in lower box office. In some press, Uslan and Melniker had already touted a sequel, promising the debuts of the Patchwork Man and Abigail Arcane. They also shopped a Saturday morning Swamp Thing animated series, created with Hanna-Barbera, but both projects were not fully ripened on the vine. Although Swamp Thing did not do well in theatres, it became a huge hit on cable, where viewers could watch it multiple times, and in later television syndication. Both HBO and Showtime reportedly approached the producers about continuing the franchise somehow. An eventual VHS video release was also popular. Swamp Thing’s much later DVD release was problematic. MGM put the DVD out in August 2000, but accidentally used the 93-minute international cut of the film instead of the 91-minute US theatrical cut. The US version was rated PG, but the international version contained slightly more nudity and sexual content. When some parents complained and Blockbuster stores removed the title from their shelves nationwide, MGM recalled the original disc, reissuing it in 2005 with the US cut. Oddly, when Shout! Factory put out a new Blu-ray/DVD combo pack in August 2013, they used the US theatrical widescreen cut as well; although audiences were thus deprived of high definition scenes of a naked Barbeau, the special features did include interviews with Adrienne Barbeau, Len Wein, and Reggie Batts, plus commentary tracks featuring Craven and makeup artist Munn.

RENAISSANCE MONSTER

Even though the Swamp Thing film flopped, The Saga of the Swamp Thing comic itself was soon to garner massive attention, thanks to the work of British writer Alan Moore and artists Steve Bissette and John Totleben. Moore’s transcendent work on the series—beginning with issue #21’s (Feb. 1984) “The Anatomy Lesson”— garnered immense critical acclaim and sales, as well as working in literary, ecological, spiritual, and metaphysical elements. The new Swamp Thing eventually even became the first mainstream comic series to abandon approvals by the Comics Code Authority. In Hollywood, Uslan and Melniker (under their Lightyear Productions banner) were still campaigning for more Swamp Thing, even as the long-gestating Batman feature was finally set to start filming in London. Thanks to Swamp Thing’s cable and syndication success, financing and deals were struck in 1988 for a sequel. The Return of Swamp Thing began production in the summer for a five-week, 27-day shoot. This time filming was done in Savannah, Georgia, and the director was Jim Wynorski, a Roger Corman protégé who was fresh off of Not of This Earth. Wynorski got the job when Wes Craven passed, and after replacement director Bill Malone left the project in its early days. Louis Jourdan returned as Anton Arcane, still searching for immortality. Dick Durock was back in the title role as well, in a newly redesigned foam latex suit created by Carl Fullerton; the suit was faithful to the Bissette/ Totleben comics version, resembling walking vegetation more than a rubber-suited monster. New to the main cast were TV bombshell Heather Locklear as Abigail Arcane and Superman II villainess Sarah Douglas as the evil Dr. Lana Zurreal. The screenplay, a holdover from the potential HBO sequel, was rewritten by Neil Cuthbert and Grant Morris, although some credits for the film (and tie-in novel) read “Derek Spencer and Grant Morris.” It is unclear why “Derek Spencer” became a pseudonym for Neil Cuthbert. Their script was given a much more comedic edge, even as it mined more of the original comic-book roots. This time, after Dr. Arcane has been resurrected, the madman begins splicing genes from swamp creatures and humans to create a gruesome army of Un-Men (including Leechman, Cockroachman, Hippoman, Slugman, Gatorguy, and Evolvodude, all with makeup by Steve Neill and Todd Masters). Arcane is aided in his tasks by Dr. Zurreal, and opposed by both Swamp Thing and Arcane’s stepdaughter, Abby, who has come to Florida to look into her mother’s mysterious death. When it seems that only a combination of Swampy’s serum and Abby’s blood will bring Arcane immortality, confrontation ensues. The film was also more consciously aware of its comicbook origins. The title sequence, set to Creedence Clearwater Revival’s song “Born on the Bayou,” featured a montage of recent Swamp Thing comic-book covers by Bissette and Totleben. As noted above, the suit was redesigned, with a more organic, vine-covered texture. Even a “love scene” between Swamp Thing and Abby was adapted from those in the Moore-written stories. Durock recalled of his new suit—painted to match the indigenous Georgia flora—that it was much bulkier

than the first one. “The second one weighs about 40 pounds. Here’s the problem with something like Swamp Thing. I can’t recall a film where the guy in the rubber suit is the lead. Generally they bring on the guy in the rubber suit—like with Predator—and he does a few hours of work and he’s out of it. [Swamp Thing] is in almost every scene, every day, for a couple of months. Rubber suits just aren’t meant to last that long, and neither are the guys inside them. [laughs] The suit was brutal. But it was a couple of months and good pay. There wasn’t a hell of a lot of other things going on at the time, and I really wasn’t anxious to get back into the suit, but I did.” Part of what got Durock to sign on were meetings he had with Fullerton, who discussed everything from the action movements needed to placement of the eyes for maximum emotional effect. “I spent three days with him in New Jersey, going over it with Carl Fullerton and Neil Mertz,” Durock said. “We went over the problems and the physical limitations. It’s very hard to lift something over your head in this suit, because it will change the configuration of the suit and it might look bad. There’s

Heather Locklear, A.D. (After Dynasty) The blonde beauty played Abby Arcane alongside Dick Durock (in his re-foliaged costume) in 1989’s The Return of Swamp Thing. Also returning was (top inset) Louis Jourdan. Swamp Thing TM & © DC Comics.

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so much musculature built into it.” Three complete Swamp Thing suits were created by Fullerton and assistant Mertz. Unfortunately for him, Fullerton was unable to be on set during filming—in a Fangoria interview, he blamed the producers for cutting him out of the project once the suits were finished—so Dean Gates took over the practical application of Fullerton’s designs. Noting the problems with the latex suits and both swamp water and heat exhaustion, the producers wisely pushed to have far less of Return of Swamp Thing actually take place in the wetness, and set most of the scenes at night. Durock recalls he had very few problems with the local fauna, though sometimes the other cast and crew did. “Cripes, if I got in there and there were snakes there, they generally took off. Snakes can be aggressive and alligators and so on, but the leeches couldn’t get

“Coming to a cinema near you…” …or maybe not, the poorly distributed, poorly received The Return of Swamp Thing, played for laughs in its promotion while rooting through the relatively humorless garden of Alan Moore’s Saga of the Swamp Thing comics for inspiration. Swamp Thing TM & © DC Comics.

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through the rubber. We had snake wranglers who would walk in before the company got into the area and beat the bushes to get things out of there.” In interviews promoting the film, Heather Locklear lamented the K-Y Jelly that kept Swamp Thing moistlooking, as well as the bugs and crawly things on location. She also made sure that people knew that during the hallucinatory sex scene, she hadn’t eaten a tuber from Swampy, but the leaf from an endive. Sarah Douglas, meanwhile, told reporters that she had only taken the film because there was a film strike in Hollywood and she had no other work to do. A third woman briefly in the film as Miss Poinsettia, scream queen Monique Gabrielle, was the girlfriend of director Wynorski. The film added two comic-relief kids to the story, in attempt to keep the film kid-friendly. As Swamp Thing, Durock even filmed two environmentally aware Greenpeace television PSAs to promote the project. The comedic approach for the film was a more troubling juggling act, though; director Wynorski would eventually tell press that the film was campy in the style of old movie serials, while producer Uslan would say that Swamp Thing was not camp at all… if compared to the old Batman TV series. To promote Return of Swamp Thing, Durock was tasked with putting on the suit again. “I had to do a P.R. trip in New York,” he said. “I was staying in a suite in the Plaza Hotel. A P.R. trip was kind of new to me. They pile you into a limousine and ferry you to New Jersey, where they shot Nickelodeon, then over to MTV, then to VH1, then to NightTracks, and so on. You do about ten of these things in one day, and it’s all live! Then they’re making you up in your room to save time, because they can’t do it in the studios. We found out we had to be careful, though, when the maid came in to do the cleaning and saw me in the suit. To say she was a little surprised is an understatement! [laughs] Later, we’re going down in the elevator of the Plaza and the door opens and this little old lady practically has a stroke. She’s ready to get on the elevator, and here’s this giant walking broccoli! [laughs] But what’s worst of all is trying to cross the street in New York! You know, you’re right out in the middle of 42nd Street, and the cab drivers are taking aim! I thought Godzilla had it bad!” A few years after its release, Durock expressed some displeasure with the tone of Return of Swamp Thing. “The second one I didn’t like as well because I didn’t agree with the concept of making it a very light comedy. But, hell, just give me the script and I’ll say the words. That’s my function. Their function is to set the creative tack. It’s their money and they can do whatever they want with it.” Still, he was clear that he wasn’t throwing personnel under the bus. “We had a great crew and a fine cast… the film just didn’t click to me, though. I’m hesitant to say this because I don’t want anyone on the second one to think this is a bad rap. That’s not the intent. I kind of wish we’d stuck with the concept of the first film. I think it would have been more successful.” Although listed online as opening on May 12, 1989—distributed by Miramax—my notes from my freelance days at Amazing Heroes show that the film actually opened on April 14th, though many parts of the US never even got the movie! Not surprisingly, the film wasn’t remotely as successful as its predecessor, earning an estimated $192,816 at the box office. Reviewers were less kind, with Variety (December 31, 1988) saying that it was, “scientific hokum without the fun. Second attempt to film the DC Comics character will disappoint all but the youngest critters.” Once again, however, Roger Ebert gave the movie a thumbs up. Later, Heather Locklear would win the Razzie Award as Worst Actress for her performance in the film.

DC didn’t do much to support the film, though Peter David did do a novel for Jove Books in May; David rewrote much of the story, tossing in nods to the comic wherever he could. Return of Swamp Thing was first released on VHS later in 1989 by RCA/Columbia Pictures Home Video. Image Entertainment put out the first DVD release in 2003, with two PSAs and a commentary track by Wynorski which seemed contemptuous of the final product. Warner rereleased a new DVD in 2008.

THE SWAMP IS MY WORLD

Following the disappointment of Return of Swamp Thing, it was a surprise to fandom at large to hear that USA Network would be premiering a weekly Swamp Thing TV series starting in Summer 1991. Melniker and Uslan were set to do the executive producing honors again on the series, and brought Durock back with them. “The first [film] was one of the biggest syndication hits of all,” Durock said. “That was the reason for making the second one. But the sequel didn’t generate anything but the series. Even that’s gone off on a different concept, too. It’s different from the second movie. Nobody has the answers… if you knew what the audience wanted, you’d never make a flop.” Following a June production start date, the half-hour Swamp Thing series had a sneak premiere on July 27, 1990, but was pulled back for re-tooling after the debut. Thirteen half-hour episodes had already been shot— one episode every three days!—so when the series returned on September 7th at 10:30 p.m., it mixed in newly-shot darker episodes with the already-shot lighter ones for its 22-episode season. Against all odds, Swamp Thing quickly became USA’s best-rated show. Durock was contracted for six seasons, meaning the producers planned on a long life for the series. In the show’s opening, Durock’s basso profundo voice intoned, “The swamp is my world. It is who I am; it is what I am. I was once a man. I know the evil men do. Do not bring your evil here, I warn you. Beware the wrath of Swamp Thing.”

In addition to Durock, the Swamp Thing regulars were: Mark Lindsay Chapman as Dr. Anton Arcane; Jesse Ziegler as the nine-year-old Jimmy Kipp; and Carrell Myers as his mother, Tressa Kipp. The stories found Arcane still in search of Holland’s bio-restorative formula, and willing to do almost anything to get it, including further experimentation and threats to young Jimmy and other children. Other spooky villainy came from the world of voodoo, robots, strange vegetation, and more. The series filmed on the brand-new Universal Studios Florida facilities and soundstages. Although real swamp locations were shot by the Second Unit crew for the first 13 episodes, the higher location and transportation costs found the producers agreeing to add a standing swamp set on the perimeter of Universal. Durock’s suit for the series was a modified version of the Fullerton suit used in Return of Swamp Thing— Chet and Lisa Zar and Jim Beinke of Alterian Studios worked on the redesigns—but by now, the makeup had changed from a four-hour process on the first film and a two-hour application for the second film to around 45 minutes for the series. Part of the streamlining included doing away with mouth and eye prosthetics, which generally sweated off quickly; instead, makeup was applied, which helped Durock act more cleanly and deliver dialogue as well. As in the film, his dialogue

My Weekly Weeder Swamp Thing became a weekly sci-fi/horror series on the USA Network beginning in 1990, with Dick Durock (seen without makeup in inset) reprising the role. Swamp Thing TM & © DC Comics.

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was electronically altered. Durock worked hard, filming one episode on Monday–Wednesday, and another on Thursday–Saturday, generally shooting ten pages of dialogue per 13–14 hour day. “The biggest problem with these films, and the series as well, is the damn heat,” said Durock while filming Season One. “It is hot! They shoot the series in Orlando, Florida, where it’s 95° in the day and 92° at night and it stays humid… They just keep pouring liquids down me, and occasionally Gatorade. It’s something I can handle. It’s brutally hot. You get a mindset where you understand that this is what you need to do. There have been times when I’ve said, ‘Okay, boys, hold up. It’s time to unzip the suit…’ The last three weeks were all at night. They find they’re getting a better look.” Behind the scenes, the series was a bit of a mess. Original executive producer Joseph Stefano left the series after filming 13 of the first 22 shows, and production was halted for new executive producer Tom Greene to step in. The initial stories mixed threats to the Kipp family in with darker elements from the comic-book series. Poor Jimmy Kipp was even abducted by a child-stealing ring, and never seen again (references to his eventual fate were made in later seasons), although older, hunkier half-brother Will Kipp (Scott Garrison) would take his place. Durock talked with me about Joseph Stefano’s leaving. “The way I saw it was that Joe had a vision of where he wanted to go with this character because that was his job. He’s a brilliant man. He’s responsible for The Outer Limits and the first Psycho script. He had an image of how he wanted the show to go that didn’t jibe with what the networks wanted. I think it was just creative differences.” As for other changes, Durock noted that “there was some restructuring done—not major, that I’m aware of… The shows you’re seeing on the tube are out of chronology as they were shot. After about the fifth or sixth show, the decision was made to change a little bit. They decided to make me more out in the open and willing to create more mayhem. In the first ones shot, [Swamp Thing] was a little more mysterious… If I’m hidden all of the time and talking behind bushes, that’s the original concept. It was to keep me very mysterious and to minimize [Swamp Thing’s] presence. The show was to be like the opening credits, which I really like. That’s what they were going to do with the whole show, but it’s hard to sustain that for a whole half-hour… I think Swamp Thing is going to become a little more willing to kick someone’s rear end, rather than mentalize all of this stuff. He might slap people around more. He doesn’t want to do it, and that’s part of the character I want to protect. He doesn’t like violence, but I think there’ll be more action.” Suave but sinister Arcane actor Mark Lindsay Chapman was British, but the actor’s name already had a tinge of evil to it—Mark David Chapman had shot and killed John Lennon in 1980—and Durock found him easy to work with. “He’s a good actor,” Durock said. “We haven’t had much of a chance to work one-on-one. His character will be darkened. In the first couple of shows he was a character you’d want to backhand across the mouth because he’s kind of a surly wiseguy, as opposed to an extraordinarily evil man who could destroy the Earth.” After the first season concluded, Greene was out, with Tom Blomquist enlisted to step in; he kept the job for the series’ remaining 50 episodes over two following seasons. Blomquist concentrated more on spooky stories and guest-stars, ranging from Tyne Daly, Wolfman Jack, Debby Boone, and Philip Michael Thomas, to pro wrestlers Terry Funk and Kevin Nash. Later stories also found Swamp Thing trying to find a way back to becoming human Alec Holland again, and explorations of the depths and causes of Dr. Arcane’s madness.

Something Borrowed, Something New Dick Durock stood tall through the 72 episodes comprising the three seasons of USA’s Swamp Thing series. (inset) Cast as TV’s Anton Arcane was the mulleted Mark Lindsay Chapman. Swamp Thing TM & © DC Comics.

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Cartoon Creeps From his (left) shortlived animated show to (right) walk-ons in Justice League episodes, Swampy has also conquered television cartoons! Swamp Thing TM & © DC Comics.

The final, third-season episode aired on May 1, 1993. Entitled “That’s a Wrap,” the show had a meta-structure as a film crew came to the swamp to shoot a TV movie about Arcane, only to discover secrets about Swamp Thing. There were many in-jokes and much blurring of lines between TV reality and production reality. It was not an uncommon thing for the crew; “The Swamp Thing Set” had become one of the attractions of Universal Studios Florida as part of the park’s Production Studio Tour. The set opened on June 7, 1990, and was demolished in 1994, following the series’ cancellation. While Swamp Thing was USA Network’s top-rated show for some time, after three seasons and 72 episodes, it reached its end. The series was a hit in Europe, and gained a later cult following when it re-aired on the Sci-Fi Channel and Chiller. From 2008 to 2010, Shout! Factory released multiple volumes of Swamp Thing – The Series on DVD, some organized in proper chronological order, and some in airing order. Two compilation DVDs have also been released, with 2009’s Swamp Thing: Eight Favorite Episodes from Mill Creek Entertainment, and 2010’s Swamp Thing: The Legend Continues from Shout! Factory. Sadly, Dick Durock, the only actor in entertainment history to play the same comics character in two movies and a television series, passed away on September 17, 2009.

Swamp Thing TM & © DC Comics.

SWAMP THING… EARTH REALLY NEEDS YOU!

As if the TV series wasn’t enough, some viewers caught an unannounced Swamp Thing animated pilot on Fox Kids, airing on Halloween day of 1990. The new series—which had been passed over by CBS—was from DiC Entertainment, and seemed a fairly obvious commercial for the new Kenner Swamp Thing toy line. The opening credits for Swamp Thing featured a rewritten version of the song “Wild Thing” by the Troggs, here changed into “Swamp Thing.” The series featured the voice of Len Carlson in the title role. Once again, Anton Arcane (voiced by Don Francks) was the lead villain, who waged war on the swamps with his trio of monstrous Un-Men: serpentine voodoo Dr. Deemo (Errol Slue), flying zombie-bat Skinman (Gordon Masten), and plant-killing leech-monster Weed Killer (Joe Matheson). Aiding Swamp Thing in the battle for ecological justice were Native-American Tomahawk (Harvey Atkin), African-American Vietnam veteran Bayou Jack (Philip Akin), beautiful Abigail Arcane (Paulina Gillis), and young Delbert (Jonathan Potts) and J. T. (Richard Yearwood). Fox aired the rest of the five-part Swamp Thing miniseries weekly, from April 20th to May 11th, 1991. By then, Kenner had already released its toy line, and various other licensed materials began appearing, including a board game, clothing, school supplies, and video games for the NES and Game Boy and Tiger. Fox didn’t re-air the series, nor renew it for further episodes, but it still managed life. NBC reran it during Chip and Pepper’s Cartoon Madness in Fall 1991, and years later, the Sci-Fi Channel would air it as well. Two VHS volumes were released in 1992, while UAVCO released the entire series as Swamp Thing – Guardian of the Earth to DVD in 2004.

MEANWHILE, BACK IN THE SWAMP

In the 20-plus years since he left the airwaves, Swamp Thing has sprouted up in a few places. In the second season episode of the Justice League cartoon “Comfort and Joy” (aired December 13, 2003), Swampy is seen at a bar. In the debut episode of Justice League Unlimited, “Initiation” (aired July 31, 2004) something that looks like Swamp Thing is visible aboard the Justice League Watchtower. In a later first-season episode named “Wake the Dead” (aired December 18, 2004) a poster with Swamp Thing can be seen. More recently, a promotion for NBC’s late Constantine series showed the mage’s business card with the phone number of 404-248-7182. Viewers who dialed the number got a message that said, “Hello, you’ve reached John Constantine. And that’s John Constantine. If you’re looking for Alec Holland, try the bloody swamp.” Rumors that Swampy would have eventually appeared on the series (had it continued) were buoyed by the appearance of a discarded Swamp Thing skull shown in Constantine’s magical lair. As if coming full circle, Swamp Thing isn’t done on film just yet. Character co-creator Len Wein produced a script dated December 10, 2003 for Warner Bros. and producer Joel Silver. Although that project didn’t go anywhere, Silver announced plans to reboot the Swamp Thing film franchise in 2009, originally planning to use a story written by Akiva Goldsman and producing the film in 3-D. By April 2010, Vincenzo Natali was going to direct, and had written his own script. Unfortunately, in May 2010, Natali exited the Swamp Thing reboot; he later released four of his script pages on Twitter. As of Spring 2011, Silver said the project is in limbo. But the marsh monster may not be finished. In 2008, producer/ director Guillermo del Toro told the LA Times/HeroComplex’s Geoff Boucher that Swamp Thing is “one of the last Holy Grail projects that is still out there.” Del Toro recently has been working on a film series featuring DC’s dark characters, with Swamp Thing as a key part of the story, alongside Constantine, Deadman, Etrigan, and Floronic Man. Swamp Thing, voiced by Mark Hamill, will definitely appear in the 2016 Justice League Action animated series, which has yet to premiere as of this writing. The appearance may only be a small tendril, shooting up through parched Earth, but where there is green, there is hope… that Swamp Thing will rise again. The interviews with Dick Durock were conducted in 1991 by Andy Mangels, for Amazing Heroes. Artwork and photos are courtesy the collection of Andy Mangels and from Heritage Comics Auctions (www.ha.com). ANDY MANGELS is the USA Today bestselling author and co-author of 20 books, including the recent TwoMorrows book Lou Scheimer: Creating the Filmation Generation, as well as Iron Man: Beneath the Armor, and a lot of comic books. Additionally, he has scripted, directed, and produced Special Features for over 40 DVD releases. He is writing a major new comic series in Fall–Winter 2016. His moustache is infamous. www.AndyMangels.com and www.WonderWomanMuseum.com.

Halloween Issue • BACK ISSUE • 11

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A New Saga Begins Swamp Thing editor/co-creator Len Wein cherry-picked writer Martin Pasko and artist Thomas Yeates for this revival of DC’s muck-monster. The Saga of the Swamp Thing #1 (May 1982) cover by Yeates. TM & © DC Comics.

MICHAEL BROWNING: Marty, talk to me about getting the Saga of the Swamp Thing writing job and the pitch for the series. You were well known for your superhero work, so this was a big change. What caused you to want to write a horror-hero comic book? MARTIN PASKO: I didn’t need to pitch it; DC management had decided they needed to have a Swamp Thing ongoing, to exploit the release of the first ST movie, that awful thing that poor Wes Craven had to struggle with. For all I know, a new ST title might have been a condition of DC’s deal with [Swamp Thing movie distributor] Avco-Embassy. All I do know is that that one day, Len Wein called me up out of the blue and offered it to me, and I jumped at it. Wanting to do a horror-hero book was not a big change for me, because I always loved horror. What readers familiar only with my superhero work couldn’t know at the time, but DC editorial did, was that I’d started out writing anthology horror for Warren, and then DC (Creepy, Eerie, House of Mystery, et. al.). I’d created a few original horror-hero concepts—one of which I actually sold to Warren—the others I pitched all over the place, but no takers because by then the “horror fad” of the late ’60s and early ’70s, which had spawned the original ST, was dying down. Only sale I did make other than to Warren was to the revived Atlas Comics’ horror line, but they went belly-up before any of it could be produced or published. By the time we worked on Swamp Thing, Len was an old friend for whom I’d been having a great time writing Plastic Man [in Adventure Comics], and he knew how much I loved and respected his work on “Swampy.” That had come up back when I was assisting Joe Orlando, in which capacity I proofread and sometimes helped place balloons on Len’s last few issues of the book with Berni (now “Bernie”) Wrightson. I guess Len knew that, from that learning experience, I had certainly come to understand the values and creative goals of the original series, never mind all the complex rules about which lettering effects were used for which purpose [laughs]. Len expressed satisfaction with my first SOTST script, and I was especially thrilled that he commented favorably on the very thing I was proudest of: the way I handled the first few pages, the flashback-originrecap sequence, with the rhetorical device of “Hell is…”, “Hell is…”, again and again, building up to the payoff, “Hell is forever.” So I finally felt emboldened to ask him, “Why me?” He told me two things: 1) He’d enjoyed working with me on Plas. 2), I’d written, under a pseudonym, a Daredevil prose story for a paperback series he and Marv Wolfman were packaging for Pocket Books. [Editor’s note: That DD story appeared in Pocket Books’ The Marvel Superheroes, a.k.a. Marvel Novel Series #9, from 1979.] He said he’d been impressed with what he called my “wordsmithing.” Apparently, at the time the SOTST writing assignment had to be filled, I was the only writer available—maybe not the first choice, but available—whom he liked working with and about whom he could also be confident would “understand how the series has to be written.” The day of that phone call was one of the happiest, proudest days of my career. I consider Len one of the finest writers who’s ever worked in this industry, and a real tough act to follow. The very thought that he Halloween Issue • BACK ISSUE • 13

Coming Soon House ad from 1982 promoting Saga of the Swamp Thing. TM & © DC Comics.

might think me capable of following in his footsteps was an enormous compliment. BROWNING: The series was, for me, the most adult comic book I had ever read at that time; it was so much more mature than any of the superhero comics I had read. Talk to me about giving it that more mature tone. PASKO: Not sure I did give it “a more mature tone.” Looking back at the original run, I have to say that whatever “mature tone” you may be referring to was, in my opinion, present in Len’s and Berni’s original. I was simply trying to do justice to that. The only factor I can think of that might explain the tone being “more mature” is that by the time we did SOTST, the industry was already pinning more hopes on the Direct Sale, “non-returnable” market than on newsstand distribution. So we writers were no longer expected to make all our creative decisions on the basis of the assumption that we

were writing primarily for ten-year-olds. Which is also the answer to your next question, about whether it was— BROWNING: Hard getting such an adult story line passed through DC editorial... PASKO: —the answer to which is: No, not at all, for the reason stated above. BROWNING: Talk to me about coming up with the storyline that featured the herald of the anti-Christ. Where did that storyline come from, and did you receive any criticism for basing your story line on the Book of Revelations? PASKO: None that I know of, and I was never aware that doing so was at all controversial. A lot of popular horror has been inspired by the way traditional religion pedals some pretty horrific concepts— The Exorcist and The Omen, to name only two, traded pretty heavily in horrific Biblical prophecy. I don’t know that the “herald of the anti-Christ” idea came from anywhere in particular; it just seemed natural to me to include “an anti-Christ idea,” in some way, in a horror piece. A lot of my ideas came from research. For example, I read Anton LaVey’s Satanic Bible from cover to cover, and there was this wonderful encyclopedia I bought called Man, Myth & Magic, from which I got a lot of inspiration derived from the mysticism of diverse, non-Christian cultures. That’s where I got the idea for the Golem sequence. Great books; couldn’t have done my run on Dr. Fate (the one with Keith Giffen, in The Flash) without ’em. BROWNING: What was the feedback like from DC editorial? PASKO: Not sure how to answer that, because the way the business worked at that time, we didn’t have committees of editors and executives who weighed in our work. My only input came from my editor, and, as far as I was concerned, my only responsibility to DC was to satisfy that editor. If Len was happy, I was happy, and that was that. A simpler, happier, less corporatively intrusive time [laughs]. BROWNING: You continued Len Wein’s pattern of moving Swamp Thing from place to place. What was the reason behind keeping him mobile, and was it ever hard to incorporate that into the stories? PASKO: The “reason” was that, the way the premise was originally set up, Holland/ST was all alone in the world, and he had to be on the move, or where else would the stories come from? I didn’t find it at all difficult to execute the series that way, and, frankly, I never thought much about it. To me, it was

These Kids Suck Swampy encounters teenage vampires in Pasko and Yeates’ Saga of the Swamp Thing #3 (July 1982). (inset) In the 1987 horrorcomedy The Lost Boys, comic-book fans Sam (Corey Haim) and Edgar (Corey Feldman) discover a colony of young bloodsuckers in their neck of the woods. Was this Joel Schumacherdirected film inspired by Pasko’s story? Swamp Thing TM & © DC Comics. The Lost Boys TM & © Warner Bros.

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just one of the “givens”—a part of the “unique selling proposition” that made the original series successful. It was, to me, just an indispensable part of the “format,” one of the ingredients I relied on to inspire stories: I’d say to myself, “What kind of interesting tale can we get out of moving Swampy to such-and-such a place?” What that also did was force me to imagine a weird new environment, which Len and Berni did so beautifully in the original—like in that village populated by “clockwork”-mechanicals that they came up with. That kind of thinking is what led to one of my favorite stories in my run—“A Town Has Turned to Blood”—the “teenage vampire story” that I’m pretty sure had a tiny role in inspiring the film Lost Boys. I say that only because, in a scene in that film set in a comic-book shop, there is a shot framed so that that particular issue of SOTST is prominent on the rack in the background. So I can’t help but feel that that shot was an early example of what fans now call “Easter eggs.” BROWNING: During a time when most kids were buying their comics straight off the spinner rack, you dealt with a lot of adult themes in Harry Kay, the Golem, the anti-Christ, demons, vampires, and other mature issues—in a comic meant for kids. In hindsight and looking back at that era, those were some pretty intense issues you were dealing with. Talk to me about that. PASKO: Don’t wanna seem lazy or dismissive with this brief answer. And I’m flattered that you seem to have found all that so novel and unprecedented. But my answer lies in my above comments about how, at the time, we were all more focused on winning the allegiance of the older fan who was going into the comicbook shops, and less focused on ten-year-olds and spinner racks. BROWNING: I was so wrapped up in Casey’s storyline that I didn’t see her becoming Karen Clancy and the harbinger of doom. Talk to me about her character. PASKO: Casey/Karen just evolved over time, in collaborative consultation with Len and, sometimes, Tom Yeates. I didn’t have any grand plan for her when I introduced her, other than this vague notion that, if I was gonna introduce a mute into the supporting cast, she had to turn out to be telekinetic [laughs]. The idea of making her what you call a “harbinger of doom” was just, to me, a function of craft: I was trained by some really experienced, talented folks who always impressed on me the importance of misdirection, and paying it off with a twist, a surprise—the reveal that comes out of left field, but still “plays fair” with the reader because the

“In the White Room” A child killer is surrounded by photos of his innocent victims on this powerful splash page by Yeates for Saga of the Swamp Thing #4 (Aug. 1982), one of Pasko’s proudest moments on the series. Original art courtesy of Heritage Comics Auctions (www.ha.com). TM & © DC Comics.

foreshadowing was there “in plain sight” from the beginning. Frankly, I wish more comic-book writers today knew how to do that, or even cared about trying to do that. It might make most mainstream comics more readable. BROWNING: I have often said the first 19 issues of Saga of the Swamp Thing might be considered the first issues of the Vertigo line. At the time, did you think you were writing something different? Why or why not? PASKO: Not… because all I was trying to do—all I was worrying about—was not embarrassing myself by failing to address what I considered our greatest challenge: following such an amazing act as Wein and Wrightson. And, indeed, I had no mandate to reinvent the property or take it in a new direction; all we were trying to do was honor and respect the ongoing franchise. That said, I do appreciate that, if SOTST can indeed be considered the linchpin of the Vertigo line, I was, in some very, very small way, instrumental in Vertigo’s creation. When Tom had to leave the series, it was I who suggested to Len that Bissette and Totleben were the guys to take it over. Later, I spent a few hours on the phone with Alan Moore, answering his questions about my longterm plans for the series, to facilitate his taking it in a direction of his own. BROWNING: How hard is writing a horror book as opposed to a superhero comic? PASKO: For me, not at all, but that’s only because I came up in a business in which the core product was much more diverse than it is now. In that biz, a comics writer couldn’t survive if all he or she knew how to do was write superheroes. To eat, we needed to know how to write horror, Westerns, war comics, SF, fantasy, romance, and humor, not just superheroes. I loved that challenge, and had a great deal of fun trying to meet it. I leave it to others to decide how well, if it all, Halloween Issue • BACK ISSUE • 15

“Here’s Lookin’ At You, Kid” (top) Yeates’ desire to draw dinosaurs prompted Pasko to write this issue, SOTST #8 (Dec. 1982). (bottom) After his Devil storyline concluded in Saga of the Swamp Thing #13 (May 1983), Pasko took a couple of issues off. TM & © DC Comics.

I ever did meet it, but I remain proud of the diversity of my bibliography. BROWNING: How much input did Thomas Yeates have on the stories, and how did you two work together? PASKO: Not much input, and I suspect that Tom may have been a little frustrated about that, but both Len and I had come from the tradition that the creation of comics was an assembly line over which the editor had total control. So, as far as I knew, Len and I worked out the stories in our sole discretion, with me deferring to Len’s judgments because he was the boss, and Tom was simply expected, as a professional, to execute whatever we came up with. I think maybe Tom knew that, in terms of seniority—experience in the business— he was the junior party on the team. But, to his credit (and I remember him as a really nice guy, too), he wasn’t at all demanding about having input into the stories. But, in retrospect, in a way I kind of wish he had been. Every so often, he’d just say stuff like, “I’d like to draw some dinosaurs.” And, in response to that, I came up with “Here’s Lookin’ At You, Kid” (SOTST #8), one of my four most favorite Swamp Thing stories. Only one I’m prouder of is “In the White Room” (SOTST #4). I often wonder how much better our stuff might’ve been if the standards of professionalism of that day had encouraged us to work together more closely. BROWNING: What did you think of Thomas Yeates’ art? PASKO: Wow. That’s a tough one, but only because I worked with Tom at the very beginning of his career, and he’s now so much better a renderer, as I hope he himself would agree. But from the very first, he was an extraordinary storyteller. So even if, at times, I may have found his rendering a little less slick than I’d been used to from, say, the likes of Curt Swan, his art always served the best interests of the story, and I considered myself privileged to be his collaborator. BROWNING: What, if any, advice did Len Wein give you about writing Swamp Thing? PASKO: Virtually none except to answer a few questions now and then, and I was always deeply grateful that he had my back in my moments of uncertainty. But he never seemed to be unsure of my approach, and I always felt so deeply honored that he seemed to respect my work enough not to need to “course correct” much. In terms of ego-gratification, this was one the greatest gigs of my career. So cool to have the creator of something you love tell you they like how you’re carrying the torch. BROWNING: Your punk-rock vampire story in issue #3 is, to me, one of the best comics I have ever read. What did you think of Alan Moore using that as a springboard for one of his stories? PASKO: Moore is, of course, one of the true geniuses of our industry. That he was sufficiently intrigued by a favorite-something I’d written to use it as a springboard was an honor. BROWNING: What were sales like during your run? PASKO: No idea. My ST stuff was done before the days of royalty statements, so I was never privy to sales figures. I was happily working just for page rate. BROWNING: You brought in new characters during your run, like Liz Tremayne and Dennis Barclay, who really took the place of Abby Arcane and Matt Cable. Talk to me about those characters, how you came up with their personalities and why you brought in new characters rather than going with the old favorites. PASKO: All that new supporting cast—not just Tremayne and Barclay, but also Casey and Kripptmann and General Sunderland and the Sunderland Corp—all that stuff was done out of necessity. My run on ST—initially, at least—was guided by the assumption that we were tying into the movie, meaning that we were thinking that the broader audience would be familiar with the Arcanes and Cable only as the film had reinvented them. That, I thought, was a bastardization of Len and Berni’s original concepts. Thus I elected, with Len’s blessing, to avoid them until such time as the memory of that hideously inept film had faded from the public’s memory. At that point, toward the end of my run, I started to reintroduce Cable and both Abigail and her father. BROWNING: You brought the anti-Christ storyline to an end with issue #13? Did you plan it to end with issue #13? PASKO: Michael, this is the only one of your questions I really can’t answer, because I simply have no recollection of, nor notes about, what was in my mind. But if your question goes to whether the superstitious significance of the number 13 played a role in our creative planning… no, never paid much attention to issue numbers. That was the editor’s job; I just sent in the scripts. Sorry. BROWNING: Dan Mishkin came in and wrote two issues with art by the Hampton brothers (#14 and 15). Were you needing a break? PASKO: Not a “break,” per se—not in the sense of wanting some time off from the assignment. But I was getting very busy in the much-more-remunerative area of TV animation, and had a day job in that field that was leaving me with much less time to write the book—which is why I ultimately had to give it up, with much regret, about a year or so later. At the time of that fill-in, I’d signaled my concerns to Len in advance, and he graciously accommodated me with that fill-in. BROWNING: When you returned, Yeates was off the book as the regular penciler and Steve Bissette and John Totleben were brought in to do the art. What caused this change and how did it affect your stories? PASKO: I don’t remember it exactly that way. I remember Tom continuing for a few more issues before being replaced by Steve and John. Don’t know why, exactly, Tom had to leave

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The Shape of Things to Come The grotesque Anton Arcane, as seen on this two-page spread (pages 6 and 7) from SOTST #19 (Dec. 1983), Pasko’s final issue. Original art signed by co-plotter/ penciler Stephen Bissette and courtesy of Heritage. TM & © DC Comics.

the book, but I remember it as a seamless transition. Len just called me up one day to tell me Tom needed to move on, and to kindly and solicitously request my thoughts as to a replacement. For all I know, he may have already come to this conclusion himself, but I told him that I thought it would be a good idea to turn to a couple of buddies of Tom’s from the Kubert School, who had already ghosted some pages for Tom. There had been, like, two or three extraordinarily beautiful pages in “Here’s Lookin’ At You, Kid” that Steve and John did. Len diplomatically sparked to my suggestion, and that was that. BROWNING: What did you think of the change in art styles? PASKO: Well, considering that I myself had suggested the new art team, I was just thrilled. Those guys were, of course, geniuses, and honored me with several other issues I was thrilled by, especially my fourth-favorite story: “Stopover in a Place of Secret Truths” (SOTST #16). BROWNING: What caused you to leave the book? PASKO: Nothing other than my promotion to Executive Story Editor at the animation studio I was working for full-time. The resulting 16-hour days left me no time to meet my ST deadlines, so I was forced—with deep, deep regret—to move on. BROWNING: Were you able to wrap up the storylines the way you wanted? PASKO: I wasn’t too terribly concerned about wrapping up storylines because, as I said, I spent some time talking to Moore about what I’d intended—but without any expectation that he’d continue my vision; my intent was solely to give him the tools he might need to reinvent the book and take it in his own direction. BROWNING: What did you think of Alan Moore coming in and wiping the slate clean and getting rid of Swamp Thing’s humanity—something which you kept alive and well for 19 issues? PASKO: It’s hard to argue against Alan’s choices, considering how much more successful his approach made the series, in terms of its greater reception by comics fans of that time. All I can say is that I didn’t have much personal enthusiasm for it, but that means nothing more important nor relevant than that it’s a description of my own personal taste. And what does that matter in the grand scheme of things? Alan approached the series in the context of the great, traditional British love of High Fantasy—a genre that, I confess, I’ve

never had much patience for. (Which is also why I always thought all that Gaiman stuff—the reboot of Sandman; The Endless—all that stuff—was a major snooze.) IMO, Alan “wrote AWAY” from the only aspect of the series that ever, truly engaged me as a writer: the human tragedy of a decent, kind, talented, brilliant, and important man being trapped in the body of an inchoate monster. Once Alec Holland got turned into merely a walking vegetable, and all that (IMO) deeply silly Parliament of Trees horsesh*t started showing up, I dropped out, stayed out, and haven’t “returned” since. BROWNING: Were there any other Swamp Thing stories you had left to tell and, if so, can you tell me about what you might have done with the book? PASKO: No, sorry. The industry in which I worked on ST hadn’t yet begun to be driven by trade-paperback collections and a need for long-term story arcs, so I was never called upon to plan out my ST stuff a year-plus at a time. I hadn’t yet any real idea where I would go with it at the time I had to give up the series. BROWNING: Looking back on those 19 issues, what are your thoughts about them now? PASKO: I stand by what I tried to accomplish as the writer, and greatly appreciate what my collaborators, Messrs. Yeates, Bissette, Totleben, Costanza, and Wein, allowed us to accomplish. Once Alan Moore reinvented the series, it was standard fanboi politik to dismiss everything that had gone before as junk. But now, what we did is being re-evaluated. I don’t have the words to say how gratified I am that, now, that work is being reconsidered in a seemingly less prejudicial light. I remain proud of our sincere attempt to produce an engaging, intelligent, moving, and dramatically satisfying series. Matewan, West Virginia, native MICHAEL BROWNING is an award-winning newspaper editor, writer, and photographer, and is an advisor with The Overstreet Comic Book Price Guide.

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by M

ichael Browning

conducted in April 2016

Groovy Ghoulies Although a relative newcomer at the time, Thomas Yeates made his mark at DC Comics with his Swamp Thing run. Original cover art to The Saga of the Swamp Thing #18 (Nov. 1983) courtesy of Heritage Comics Auctions (www.ha.com). TM & © DC Comics.

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Unwelcome Wagon Pitchforks and torches “greet” Swampy and his little companion Casey as they’re cornered by raving rednecks on the splash page to SOTST #2. Original art courtesy of Heritage. TM & © DC Comics.

MICHAEL BROWNING: Talk to me about getting the Saga of the Swamp Thing job. How did you get picked to draw SOTST? THOMAS YEATES: At that point in my career I was working regularly for DC, doing backup stories. I was happy with that situation and was not very interested in getting tied down on a monthly book. Len Wein was one of the editors I was working with, and one day he told me he would start Swamp Thing up again if I would draw it. It took me while to say yes—I was very leery of that monthly book sort of commitment—but I eventually agreed, obviously. BROWNING: What did you and Martin Pasko discuss about the book before you went to work drawing that first issue? YEATES: I’m sorry, but I really don’t recall. Maybe Marty can answer that one. BROWNING: You gave SOTST a very different mood than what was being done in DC’s regular superhero comics. Talk to me about drawing a superhero book that really wasn’t about superheroes. YEATES: Well, I drew it the way I draw. The art of Bernie Wrightson, Al Williamson, Angelo Torres, Wally Wood, etc., as well as Joe Kubert, inspired me to draw comic books. I have never been much of a superhero comic-book reader, sorry. So the art style of DC’s superhero books wasn’t what I was doing, though I looked at them, appreciated them, and got ideas from them. BROWNING: The original Swamp Thing series was drawn by Bernie Wrightson, Nestor Redondo, and, briefly, by Ernie Chan. What kind of influence did those early issues have on you when drawing SOTST? YEATES: The Wein/Wrightson Swamp Thing run was one of the comics I actually read and collected. So they were a big influence on my style of art, particularly, as I said before, with the terrific Wrightson art. BROWNING: The Saga of the Swamp Thing storylines were offbeat and Martin wrote some very adult themes into the book, like the anti-Christ character, demons, and vampires, which seemed really mature for a comic that was on the stands in the early- to mid-1980s alongside Superman, Batman, and Captain Carrot and His Amazing Zoo Crew. What did you think of the storylines as you were drawing them, and what do you think of them now? YEATES: [Saga of the Swamp Thing] was very well written, though not exactly my cup of tea. But we were a decent team. I have no problem with adult themes, but if I’m going to draw it I have to enjoy what I’m doing. After many, many years I got the issues out and looked through them yesterday. I’m still impressed with Marty’s writing skills, though I think the demons from hell angle may have been dragged out a bit, at least for my tastes. BROWNING: Did you have any reservations drawing a storyline that was based on the anti-Christ and end-ofthe-world prophesy in the Bible’s Book of Revelations? At that time, it surely had to be a very touchy subject, especially with pastors like Pat Robertson bashing storylines in X-Men as sacrilegious and the fervor over whether or not Dungeons and Dragons was a tool of the Devil to warp the minds of role-playing gamers.

On the Road Again The series’ shifting locales kept Thomas busy digging for reference. On this splash page from issue #3—the teen vampire story— Swamp Thing and Casey are heading from North Carolina to Illinois by freight train. TM & © DC Comics.

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Sophisticated Suspense (top) It’s no love boat cruise for Swampy in SOTST #6 (Oct. 1982). (bottom) Yeates’ layouts for an unused version of #9’s cover, and (inset) the published version. (opposite) Yeates/Bissette original cover art for issue #17, courtesy of Heritage. TM & © DC Comics.

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YEATES: No, I have no problem drawing that material, per se. That is, demons materializing out of smoke, monsters, and spooky dungeons, etc. are great fun to draw, no problem there. It’s all just fantasy—I have no belief in any of that particular religious stuff. Just old priesthoods scaring people into obedience, in my opinion. But like anything, too much of it can bother me. I like to jump from theme to theme, which is why I liked doing backup stories so much. If I believed in all that anti-Christ, end-of-times stuff, then drawing it may have had more meaning for me, but I think I eventually felt, “Okay, done that, what’s next?” BROWNING: What did you think of Swamp Thing moving from place to place? What kind of research did you have to do to draw Swamp Thing in the different locales? YEATES: Some of the locations were quite a challenge, but being a fairly young artist it was probably good for me. I’ve always done research, so that was not unusual, though it takes time and time is always short on a monthly title. Marty actually found me a wonderful photo book on an old ocean liner for reference on those two issues. The locations were a little annoying at times, though. I’m a nature lover and looked forward to getting to draw swamps, but we didn’t spend much time in the swamp. Steve Bissette always laughs about that. BROWNING: What kind of feedback did you get on your art and the storylines from DC editor Len Wein and your peers and the fans? YEATES: Mostly good. The book was a success at first. I started getting a lot of other offers and had to learn to turn them down, so the reaction was fairly positive. It played a huge role in launching my career. To this day, that year and a half is my main claim to fame, though not fortune, in the comic-book racket. BROWNING: How much input did you have into the stories? YEATES: Not that much. Though we spoke on the phone and I always chimed in with ideas, the stories were Marty’s. The one exception was the issue where they go to Skull Island and meet King Kong. I suggested that, but Marty turned it into the island of Vietnam War vets hallucinating old movies. I felt bad that the vets were presented in a somewhat negative light, but it was fun to draw. Bissette laid it out for me. BROWNING: I told Marty that my all-time favorite story is the vampires story in Saga of the Swamp Thing #3, the one that Alan Moore built his water vampires storyline off of. What did you think of that issue? YEATES: Brilliant story. Probably the best one—I have no complaints on that one. Marty got me punk rock photo reference and I had blast with that. I’d gone into New York to concerts during the punk era and got a big kick out of the whole thing. I was happy with my cover, too. BROWNING: What was your favorite issue of SOTST, and why? YEATES: The punk-rock vampires were the peak, story-wise, and the story is key for me. But I also enjoyed the Skull Island issue. There are favorite parts in all the issues. BROWNING: You and Marty brought in some very interesting characters, like Liz Tremayne and Dennis Barclay. Talk to me about what you thought about those characters. YEATES: They were good characters. I enjoyed drawing them and liked working with Marty to create them. Despite being awed by what Alan Moore did with Bissette and Totleben, I didn’t like Alan’s treatment of my friends Liz and Dennis. Oh, well… BROWNING: You left Saga of the Swamp Thing after 13 issues. What caused you to leave the book? YEATES: I was ready to move on to one of those other offers I had. As I said, it wasn’t exactly my cup of tea. The Satan-rising theme got a little stale for me, and we’d also tackled child molesting. I was ready to move on to more playful material,

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Under Siege Yeates’ cover to Saga of the Swamp Thing #20 (Jan. 1984), the first issue written by Alan Moore. TM & © DC Comics.

though, with serious themes, too, in the Timespirits series at Marvel/Epic written by the late Steve Perry, Bissette’s friend. BROWNING: I have always heard that you had help throughout your run from Steve Bissette and John Totleben. What was your relationship to those two— why did they help and how much assistance did they give you? YEATES: My art is rather labor-intensive. So, to pencil and ink a monthly book is rough, and I got help regularly. The artists I liked, Williamson particularly, but Wrightson, too, often had their gang of very talented friends helping. It’s normal for comics to at least have a different penciler and inker. I was still in New Jersey when I did those Swamp Things, so I knew a lot of other young artists from the Kubert School I had attended who were available to help out. A guy named Chuck McVay drew the car that crashes at the end of SOTST #1. CARtoons artist Tim Hardin drew most of the cars in the rest of the series, and lots of backgrounds, too, like the hospital, etc.

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Ron Randall assisted me on a few issues. Timothy Truman laid out issue #7 for me. Steve Bissette, Rick Veitch, John Totleben, and I met at the Joe Kubert School, then rented a house together in ’78 for a few years. We went to concerts, camped, went to conventions, and partied together during that time, so I knew them well. It was obvious to me that Steve and John would make a great art team for Swamp Thing, and I hired them to help me whenever possible. By the time I got Swampy in ’82, Steve and John had moved away or I would have used them more. But we’d get together occasionally and I’d give them pages to work on. John did enough on one issue, #10, that I got him credited in it. Rick Veitch and I were still living together, though, and I recall he drew a beautiful bulldozer for me. BROWNING: What were your thoughts about Marty leaving the book and Alan Moore taking over? YEATES: Very mixed. First and foremost, I was and remain extremely proud of my friends’ incredible triumphs on the book and the fact that I’d brought them to Wein when I left. I would have loved to have had some of that glory myself, but I could never have done what Steve and John did, nobody else could do that. I had no idea Marty was going to quit, by the way, and may have stayed on if I knew that, to see what a new writer would bring to the book. BROWNING: What kind of discussions did you have with Alan Moore, if any, about him writing SOTST? YEATES: I met Alan briefly once and talked on the phone a little. I liked him and I wish we could have worked together; he seemed to like my work. I was blown away by his work on Swamp Thing. [Moore’s] V for Vendetta and Promethea also impress the hell out of me. BROWNING: You remained the cover artist for a few issues after Moore took over. What caused you to stay as the cover artist? YEATES: The editor asked me to keep doing them. I loved doing covers and would have kept doing them, but eventually it made more sense for Steve and John to take over. BROWNING: Besides covers, did you do any more work with Bissette/Totleben and Rick Veitch? YEATES: Yes. They didn’t use me on Swamp Thing, but I got all of them to help me a bit on Timespirits. John then got me to help him on Miracleman. Veitch just penciled some Prince Valiants for me when he and his wife Cindy visited a few months ago. BROWNING: What did you think of the work you did on SOTST then and what do you think of it now? YEATES: I was probably a bit critical then, partly due to the rushed quality and amount of text. Today it looks pretty good, for the most part. I was working hard and the coloring by Tatjana Wood was excellent. It’s funny, Scott Allie at Dark Horse asked me to lay out Conan for Cary Nord in my Swamp Thing style. Some folks remember those issues fondly. BROWNING: Do you ever want to return to the character, and did you have any stories that you wanted to tell, but didn’t get a chance? YEATES: I don’t recall if there was a story idea I was hoping to work into it or not. I did revisit the book in the late ’80s, drawing four issues, #86–89. That was fun. And later, I roughed out two issues that Shepard Hendrix finished and Nancy Collins wrote, one of which, #113, won an Eisner Award. Len Wein once asked me to finish a Swamp Thing Special he was working on with Bernie when Bernie bowed out. Unfortunately, that didn’t happen, I wish it had. I continue to draw Swamp Thing at conventions all the time.

by J i

DC Comics’ The Witching Hour debuted in December 1968, the first new anthology entry in a then-gradually surging mystery line that already included the longstanding, revamped House of Mystery and The Unexpected. Artist Carmine Infantino had been appointed art director at National (DC) Comics in 1968, and with his illustrative background the entire DC line, cemented for years in a conservative house style, shifted narrative and visual tones to better compete with the rising, dynamic Marvel Comics. The mystery books, not allowed to be officially marketed as “horror” books because of restrictions imposed by the Comics Code Authority, now emphasized a darker mood and atmosphere, highlighted by Alex Toth’s contributions in WH’s framing sequences that starred three witches: Mordred, symbolizing the crone, Mildred, the mother, and Cynthia, the maiden and Mordred and Mildred’s half-sister, narrators of each issue’s tales of terror. There was fierce competition between these three: Mordred, with her tales of “thunder and lightning… and strange twisting shapes and creatures…! Stories of ghosts that walked!”; Mildred, with her chillers of “The inhabited object. Houses with souls… ships with minds of their own…”; and Cynthia, with her tales of “E.S.P. and psychic phenomena… and hypnotism… of strange perversions of science.” And who judged these tales at night, these brewings of evil, these terrors under a full moon? You and I, the readers, although we were never given a proper letters column in which to discuss them.

m Kingman

DO YOU DARE ENTER … THE HOUSE OF GIORDANO?

Twisted Sisters Opening page to The Witching Hour #4 (Aug.–Sept. 1969), featuring the three witches, (left to right) Mildred, Mordred, and Cynthia. Art by Alex Toth. These faces were reused as corner-box headshots on some early WH covers. TM & © DC Comics.

In the early bimonthly issues of The Witching Hour, the first 13 edited by Dick Giordano, the witches lived in a terrifying castle, apparently somewhere in Eastern Europe. Every evening as the witching hour loomed, Egor, a shadowed man-beast whose face was never seen that lived in the swamp that separated the castle from civilization, would enter the castle and toll its bells at midnight. Mordred, Mildred, and Cynthia would then each tell a tale to see whose was the most frightening. As noted above, Mordred and Mildred’s were more traditional horror stories, steeped in the supernatural and things that go bump in the night, while Cynthia, a stylish hippie with the grace and vernacular to back it up, told tales with a more modern slant. Though the telling of tales was a competition involving the three, Mordred and Mildred always made it clear that they didn’t approve of Cynthia’s hipper and more happening storytelling techniques. © DC Comics. From time to time, civilization or fellow ghoulies encroached. New neighbors were subjected to their tales (issue #4), and in becoming too critical had their house rocketed into the night (the witches did not take their criticism lightly). A mysterious little girl appeared in issue #8, apparently a friend of Egor but certainly no resident of the swamp in her clean attire, staying long enough to pose in a photograph with her beastly friend. Then she was gone, never to return, never to be explained, arguably the truest mystery in the entire series. The most offbeat framing sequence involved the death and resurrection of Mildred in issue Halloween Issue • BACK ISSUE • 23

Cauldron of Creepy Covers From the end of the Silver Age, (top) The Witching Hour #1 (Feb.–Mar. 1969) and (bottom left) issue #4, and (bottom right) issue #5. Cover art by Nick Cardy. Note how the logos on the earliest issues were within characters’ word balloons. TM& © DC Comics.

#11. And in a nifty bit of comics continuity, fellow hosts Cain from House of Mystery, Abel from House of Secrets, and the Mad, Mod Witch from Unexpected dropped by in issue #13. Themes also emerged around the witches’ evening tales: unsavory servants and their masters received their just and unjust due in issue #8; a “double edge,” “double take,” and “double cross,” all written by Steve Skeates, played out in issue #12; and the witches took to space for science-fiction fare in issue #14. Giordano provided up-and-coming writers and artists, along with several veterans, a place to tackle horror considerably suppressed by Comics Code Authority regulations (which would be eased a bit in 1971), but this was talent to be reckoned with: writers Skeates, Mike Friedrich, Len Wein, Gerry Conway, and Marv Wolfman, and artists Toth, Neal Adams, Bernie Wrightson, Gray Morrow, Michael Wm. Kaluta, Jack Sparling, Murphy Anderson, Gil Kane, and Nick Cardy (who, along with Luis Dominguez, illustrated the majority of The Witching Hour’s covers). Highlights during this period included “And in a Far-Off Land!” by Skeates and Wrightson (Witching Hour #3, June–July 1969), the tale of a murderer transported by a witch to a world where he is a mighty, heroic warrior, and the choice he must make once his blanked-out memory has been returned; “The Sole Survivor” by writer unknown (one of many unknown writers throughout the series, more mysteries within a mystery book) and Wrightson (WH #5, Oct.–Nov. 1969), a revenge tale of a self-absorbed captain and his doomed ship and crew, with the revenge coming from an unlikely source; all of issue #9, which featured the debut of “The Day After Doomsday,” later to appear in Weird War Tales, and the destruction of the world (that Mordred assured would be put back together by next issue); “Hold Softly, Hand of Death!” by Conway and Toth (WH #10, Aug.–Sept. 1970), a poignant tale of love lost and reclaimed that is the literary highlight of the series; “The Mark of the Witch” by Jack Oleck and Toth (WH #11, Oct.–Nov. 1970), wherein a man driven insane by committing murder is convinced it was the work of witches, and he’s right; and “The Maze” by Wolfman and Morrow (WH #13, Feb.–Mar. 1971), a harrowing tale of the torture of Harold Martin Beedle by the extraterrestrial Psions, who would go on to play a more prominent role years later in Wolfman and George Pérez’s The New Teen Titans.

MURRAY BOLTINOFF, THE NEW DR. MIDNIGHT

Murray Boltinoff became editor of The Witching Hour with #14. He presided over a few tales left over from Giordano’s tenure (issue #14’s science-fiction theme, blessed with artwork by Jeff Jones and Al Williamson, feels like a Giordano issue), while gradually introducing several changes. The “It’s 12 o’clock… The Witching Hour” cover logo became “It’s Midnight… The Witching 24 • BACK ISSUE • Halloween Issue

Terrifying Trio (top row) Three Witching Hour covers illo’ed by Neal Adams, issues #8, 10, and 13. (BACK ISSUE is not liable for any nightmares induced by staring at these spine-chillers.) TM & © DC Comics.

Hour” with issue #14. In issue #15 the witches’ framing sequences were reduced to an introductory page where the witches, after a brief, argumentative discussion, told their tales sans the competitive edge. In issue #17 they left their castle and moved to a city apartment somewhere in America (most likely New York, but the location was never named), trading in “the fetid murray boltinoff odor of the swamp… the owls, bats, and bullfrogs!” for “polluted air, foul © DC Comics. rivers, noise, gas fumes!” (an exchange between Mildred and Cynthia in issue #18). The gals took a few issues to settle into their new digs. With issue #19 the introductory page adopted a humorous slant involving the witches in different aspects of city life, confrontations with humans, issues with modern technology, the dating life (Mordred dated a werewolf—twice), pointed barbs over each other’s appearance and lifestyle, and on and on (my personal favorite is the witches’ “Women’s Lib” march in Witching Hour #72). These “witches’ splashes” were written by Al (Murray Boltinoff) Case (who revealed himself as their chronicler in issue #50’s letters column) and initially illustrated by Adrian Gonzales and Frank Redondo. Beginning in Witching Hour #35, most of the intros were illustrated by stylish Filipino artist E. R. Cruz. In the tales themselves, the witches began noting that the stories ended at the witching hour. Getting back to the artwork, a wide range of Filipino artists illustrated the majority of the witches’ tales from 1972 until their last appearance in Unexpected in 1981. Spearheaded by then-publisher Carmine Infantino,

Shades of Gray (Morrow) All three witches are on view in this dynamite original page from Witching Hour #10 (Aug.–Sept. 1970), illustrated by groovy Gray Morrow. Note the Zip-a-tone uses, including the matching pattern on Cynthia’s stockings and the office curtains. Courtesy of Heritage Comics Auctions (www.ha.com). TM & © DC Comics.

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Guess Who’s in the House? (top) House of Secrets’ Abel and House of Mystery’s Cain drop in for a visit in issue #13. Art by Adams. (bottom) Original Neal Adams cover art to Witching Hour #14 (Apr.–May 1971), courtesy of Heritage. The logo’s prefix changed to “It’s Midnight” with this issue. TM & © DC Comics.

“the Filipino invasion” brought the outsourced work (at a cheaper page rate) of talented and proficient artists to comic books published in America, and The Witching Hour, along with many of DC’s mystery tales during the 1970s, showcased that work in every issue. The invasion began with “You Can’t Hide from Death!” in WH #16, illustrated by Tony DeZuniga and, being the start of something new, appropriately narrated by Cynthia. A virtual Who’s Who of Filipino artists, including Cruz, DeZuniga, Nestor and Frank Redondo, Gerry Talaoc, Ruben (Rubeny) Yandoc, Alex Nino, Alfredo Alcala, Fred Carrillo, and Abe Ocampo, graced the pages of WH, and the book was more atmospheric for it. (For more on the Filipino artists, I highly recommend David A. Roach’s outstanding “Philippine Comic Book Artists in US Comics,” published in Comic Book Artist #4, Sept. 2004.) While you needed a scorecard to keep track of the artists during Boltinoff’s tenure on Witching Hour, you could count the number of writers, with a small handful of exceptions— notably Bill (Murray Boltinoff) Dennehy—in WH on two fingers: George Kashdan and Carl Wessler. “George Kashdan visited the office often,” recalls longtime DC writer/editor Jack C. Harris, “and almost always plotted a few stories with Murray during his visits. Carl Wessler lived in Florida and, in those days before the Internet, did all of his plotting over the phone and through the mail.”

THE WITCHES BREW (MORE STORIES)

By the end of 1972, The Witching Hour had settled into a monthly gruesome groove that remained unchanged beyond the book’s cancellation in 1978. The three witches told their terrifying tales of witches and warlocks, vampires and vengeance, spooks and spells, killers and coffins, night frights and frightmares, ghastly ghouls and spilled guts (yes, there was even a tale entitled “May I Spill Your Guts?”), corpses and curses, greed and graves, phantom pharaohs and demented demons, haunted hijackings and sinister skulls, vile villages and putrid potions, heinous hovels and chilling chateaus, all triple-threat petrifiers climaxing at the witching hour. The Filipino artists reigned supreme, but as the price of the comic went up and the page count went down, plots began to repeat themselves and © DC Comics. the artwork from time to time appeared rushed. The biggest change was editorially when Harris came on board as assistant editor in 1975. “I came to work for DC in October of 1974,” Harris recalls to BACK ISSUE, “after three years in the Army and graduating from the University of the Arts in Philadelphia. Inspired by news of Michael Uslan’s college course on comics, three friends of mine and I taught a similar course at UArts. This put me in contact with a number of people at DC. After graduation, I applied and got the job and became a ‘Woodchuck,’ one of the assistant editors. I was the replacement for one of the other Woodchucks, Guy H. Lillian III, who was returning to graduate school. I was hired as Murray’s assistant and began working with him immediately. The first Witching Hour I actually worked on was #53. It took a few months for my name to appear officially as assistant editor in the indicia of Witching Hour #59. “As Boltinoff’s assistant,” continues Harris, “I aided Murray on all of his titles. Some of the mystery title stories were interchangeable, but tales in Ghosts had to feature ghosts and the Witching Hour tales had introductions by one of the three witches. Sometimes these intros were added on to stories in inventory. There were lots of stories in inventory. Often, the only new story in any given issue (that is one not in inventory) was the cover story. “Murray was a taskmaster. His background was in journalism, so his approach to the whole job was very, very professional.

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Murray was rather humorless. In all the years I knew him I never heard him laugh and rarely saw him smile. I got the impression he didn’t enjoy the job, but he was always totally professional about it, seeking the best, most visual stories he could drag out of his writers and artists. Part of my job was to send the scripts to artists, give incoming scripts a once-over before Murray edited them, write the letters columns, etc.” With the release of 12 new titles during the fall of 1975, DC canceled several books and reduced the frequency of others, including The Witching Hour, which went from monthly to bimonthly status. Harris left the book to become an editor on his own in 1976. WH would graduate to eight times a year in 1977 and go monthly once again in 1978. Highlights during Boltinoff’s tenure on The Witching Hour include “Freddy is Another Name for Fear!” by George Kashdan and Wally Wood (WH #15, June– July 1971); “A Tomb for the Living!” by Jack Phillips and Jerry Grandenetti (WH #19, Feb.– Mar. 1972), a fine showcase for Grandenetti’s artwork, which he drastically altered in the 1970s from a more mainstream style in the 1960s, adopting a looser, distorted, psychedelia-meetsGerman-cinema approach; “Watch Over My Grave!” by George Kashdan and Nestor Redondo (WH #23, Sept. 1972), a disturbing tale of a group of witches who use an old man to lure his daughter into becoming a witch, and succeed; “Happy Deathday, Sweet 16!” by an unknown writer and Canadian artist Bill Payne (WH #25, Nov. 1972), a tale similar to “Watch Over My Grave!” but with a happier ending, and terrific artwork by the vastly underappreciated Payne; and “Never Kill a Santa Claus” by an unknown writer and Talaoc (WH #28, Feb. 1972), because he may come back to haunt you, just as he haunted Mr. Cranston, a crooked department store owner and murderer of St. Nick. This tale has a fine ending as Santa goes ghostly skeletal before a crowd of scared kiddies. The 100-Page Super Spectacular Witching Hour #38 (Dec. 1973– Jan. 1974) was published just as the ongoing 100-Page Super Spectacular reprint series had its last issue with #DC-22 (starring The Flash) in September of 1973. The one-shot WH Super Spec helped to kick off the next phase of 100-Pagers that would run through several ongoing DC titles until the end of 1974. New stories were included in #38, with “The Ever-Constant Drum” by writer David A. Kaler and artists Reginald and Stanley Pitt the standout among original stories. In this tale set in the African jungle during the time of American slave traders, host Cynthia, who never looked bad, never looked better. Other highlights during the Boltinoff era included “The Killer Eye” by Wessler and Cruz (WH #41, Apr. 1974), the tale of a cursed camera and its greedy owner, and “Haunted Any Houses Lately?” by Kashdan and Nino (WH #47, Oct. 1974), a ghost story wherein Nino makes a skeleton costume look scarier than the real thing—and the actual ghost will send shivers down your spine. “The Corpse Held a Winning Hand” by Wessler and Yandoc (WH #54, May 1975) is right up Rubeny’s artistic alley. I’ve never been a big fan of Yandoc’s, although I’ve really taken to his detailed backgrounds over the years. This story of three losers taking down a card shark followed by the downward spiral of all involved has some gruesome moments,

Another Flying Haunted House! During DC’s unsuccessful “Bigger and Better” page-and price hike to 52 pages at 25 cents, Witching Hour featured new stories fleshed out by mystery reprints from the ’50s and ’60s. The 52-pagers ran from WH #16 through this one, #21 (June–July 1972). Cover by Cardy. TM & © DC Comics.

particularly the abrupt decaying of two of the antagonists. The look of satisfaction on the partially clothed card shark’s skeleton at story’s end is a nice touch. “When Time Ran Out” by Wessler and Cruz (WH #68, Feb.–Mar. 1977) gives deadly new meaning to a clock’s hands of time. “Drone of the Dying” by Kashdan and Lee Elias (WH #70, Apr. 1977) is particularly creepy if you have a thing against bees, and the transformation of woman to queen bee, literally, is a little unsettling. The Witching Hour’s “WitchfulThinking” letters column discussed witchcraft in all its incarnations past and present, supernatural incidents throughout history, occult offerings, “Weirdies Round the World,” horror in Hollywood, a “Superstition of the Month,” and other terror tidbits, once in a while noting a story published in a previous issue. Although the sexy, sultry Cynthia was probably the witch of choice for Witching Hour’s young male audience, it was Mordred, the visually traditional of the three witches, who appeared on the most covers.

AN UNEXPECTED TURN OF EVENTS

The Witching Hour benefited from the DC Explosion of early summer 1978 with eight additional pages of original story and art. Then the spell was abruptly broken and The Witching Hour ran out of time. In the wake of the infamous DC Implosion of late summer 1978, “The Witching Hour” and “House of Secrets” managed to find a home in Unexpected, edited by Harris, which expanded to a Dollar Comic. Unexpected #189 (Jan.–Feb. 1979) was published in October 1978 and included three stories narrated by the three witches, plus their one-page introductory/humor page. The full-page inside front cover showed Mordred, Mildred, and Cynthia approaching their new digs in the House of Secrets, although they hadn’t quite moved out of their city apartment. Because no letters column was published in Unexpected #189, loyal readers were not yet privy to the new editorial setup for “The Witching Hour”: the witches’ chillers would appear in alternating issues of Unexpected, sharing the allotted 20–25-page space with a “Doorway to Nightmare” feature (“House of Secrets,” meanwhile, had stories featured in every issue). This meant a four-month gap between a trio of “WH” tales, and only three appearances a year. While not a complete removal from the publishing schedule (other longstanding titles, such as the canceled Kamandi, the Last Boy on Earth and Our Fighting Forces certainly fared worse), it was quite the fall from monthly status. In Unexpected #191, “The Witching Hour” splash page had the three witches still living in a city apartment, so maybe they only visited Halloween Issue • BACK ISSUE • 27

Filipino Invasion Ruben (Rubeny) Yandoc was among the artists from the Philippines finding work in Bronze Age DC mystery books. Original art to the title page of WH #28’s “April Ghoul’s Day,” courtesy of Heritage. Writer unknown. (inset) The issue’s sinister Santa Claus cover, by Nick Cardy. TM & © DC Comics.

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the House of Secrets. At only 16 pages, this was the smallest page allotment yet for “Witching Hour” features. “The Ouija’s Omen” was highlighted by early work from artist Stephen R. Bissette, who would go on to greater fame in The Saga of the Swamp Thing. The three witches were shown in space wearing space helmets on the wraparound cover, the only time the trio appeared together in cover action (yes, it was only the back cover, but we never saw them together on the front of Witching Hour, outside of their faces in the upper-left-hand corner of early issues). In this issue’s editorial, it was noted, finally, that “The Witching Hour” would be appearing in odd-numbered issues of Unexpected. In June of 1979 DC began including advertising in their Dollar Comics. This didn’t affect the “Witching Hour” content in Unexpected #193 (Sept.–Oct. 1979), which was at 17 pages, one up from #191’s page count. In Unexpected #195 (Jan.–Feb. 1980), the book’s last Dollar Comic, a 25-page “Doorway of Nightmare” tale was included, reducing “The Witching Hour” to three pages. The one-page three witches splash appeared, followed by the two-page “Snake-Fright,” hosted by Cynthia. Unexpected returned to the standard-sized 32-page format with Unexpected #196 (Mar. 1990). While the drastic cut in pages did not mean the end for “The Witching Hour,” readers would no longer be certain by the cover if “The Witching Hour” was even appearing in Unexpected, and even if it was how many pages the feature would be allotted. Several cases in point: Although “The Witching Hour” feature had four pages in Unexpected #197 (Apr. 1980), you wouldn’t know it from the cover as there was no “Witching Hour” logo printed above the

title logo. In Unexpected #198 (May 1980), the three witches were featured with Abel on the splash page, and so for the first time did not have their own “Witching Hour” introductory feature. However, Mordred, Mildred, and Cynthia starred in “Never Hire a Witch Craft!,” narrated by Mordred. “The Witching Hour” logo returned on the cover for the second-to-the-last time on Unexpected #199 (June 1980). (Belated addendum to BACK ISSUE #69’s “Anti-versary” article by this author: Unexpected #200 was touted in earlier letters columns leading up to it as a special Dollar Comic featuring a 25-page “Doorway to Nightmare” tale written by Steve Englehart and illustrated by Marshall Rogers. Instead, Unexpected #200 appeared in the standard-sized format with only 17 pages of story and art, and the “Doorway to Nightmare” tale was later published in 1981’s Madame Xanadu #1.) “8 More New Pages of Story and Art” began in Unexpected #202 (Sept. 1980), and in all June-released DC books (there was also a ten-cent price increase across the board, from 40 to 50 cents). Midway through this issue, the three witches took over the framing sequence from Abel, and Mildred introduced a three-page tale. This

You’ll Blow a Gasket Over Your Casket (left) Witching Hour #30. (right) It’s minus a few paste-ups, but this Nick Cardy original cover art to WH #37 (Dec. 1973) hasn’t lost its creepiness. Courtesy of Heritage. (inset) Unexpected #195. TM & © DC Comics.

Halloween Issue • BACK ISSUE • 29

Sinister Spectacular (top) Witching Hour #38 (Jan. 1974), one of DC’s 100-Page Super Spectaculars. (In case you missed it, BI #81 featured an in-depth look—with an issue-byissue index—of DC’s fondly remembered Super Specs and is still available at twomorrows.com!)

The Final Hour (bottom) Cynthia hosts this tale from the final issue of The Witching Hour, #85 (Oct. 1978). Original art by Ernestro Patricio and Ernie Santiago, courtesy of Heritage. TM & © DC Comics.

TM & © DC Comics.

happened again in Unexpected #203 (Oct. 1980), although Cynthia narrated a seven-page tale. Even with the additional pages, “The Witching Hour” feature remained well under ten pages per issue. In Unexpected #204 (Nov. 1980), the three witches shared the introductory page with Abel and received a one-page “Witching Hour” feature, along with a five-page tale. “The Witching Hour” logo appeared for the last time on the cover of Unexpected #205 (Dec. 1980). In that issue the three witches, Abel, and Judge Gallows appeared on the introductory page, followed by a new Johnny Peril tale, and backed up by “Witching Hour” and “House of Secrets” features. Unexpected had become a mighty crowded book. And yet, it worked: Unexpected #208 (Mar. 1981), for example, had two single-page features starring the three witches, and Cynthia had room to spin a six-page yarn. While the three witches appeared with Abel on the splash page of Unexpected #210 (May 1981), none of them narrated a tale in the book. Then the “Witching Hour” feature returned in the next issue. Dick Giordano became editor of Unexpected for all of one issue with #213 (Aug. 1981), and The Witching Hour‘s first editor included two “WH” tales in the issue. Cary Burkett was on board as editor with Unexpected #214 (Sept. 1981), which kicked off with the three witches booting Abel out of the book, and after the Cynthia-narrated tale the terrible trio appeared at the end of the book only to go their separate ways, an unusual, perhaps foreshadowing, sequence that hadn’t been seen since the Giordano-edited issues of the series. Dave Manak became editor of Unexpected with #215 (Oct. 1981), and suddenly the three witches took over the book. A mysterious cat also made the scene to give the gals trouble. In Unexpected #216 (Nov. 1981), that same darn cat got the three witches unceremoniously booted out of the book. In the framing sequence of Unexpected #217 (Dec. 1981), the three witches were reported missing, and at book’s end a mysterious figure stood over their graves. Then they were alive and well in the All-Hallow’s Eve splash page in Unexpected #218 (Jan. 1982), in which Cynthia inexplicably called her sister “Mouldred,” and Mordred then narrated “The Mask of Medusa.” With that, the three witches were finally, seriously, thoroughly gone from the book, 13 years after their debut in The Witching Hour #1. Mordred, Mildred, and Cynthia appeared years later in Neil Gaiman’s The Sandman #2 (Feb. 1989), summoned by Morpheus to help locate possessions of power stolen from him during a long imprisonment. More was revealed about the witches, a deeper origin that went back centuries. The Witching Hour returned as a Vertigo miniseries in 2000, and received its own Showcase edition in 2011, which collected issues #1–19. Of course, the three witches have never truly left us, so when you hear the tolling of bells at midnight, check your surroundings and be on your guard, for they may be near, demanding that you judge their latest round of terror tales. JIM KINGMAN purchased his first comic book, DC’s World’s Finest Comics #211, on a family road trip in March of 1972, and has been reading and collecting comic books ever since (with no end in sight).

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It all started in the 1930s, when two high school students, writer Jerome Siegel and illustrator Joseph Shuster, created the first superhero, Superman. Today, the superhero business is bigger than ever and has become a pop-culture phenomenon all over the world. With the hundreds of products, movies, cartoons, etc. being released every year bearing the likenesses of DC Comics and Marvel Comics characters, it should be no surprise that both companies jointly own the copyright to the term “Super Hero.” But did you know that wasn’t always the case? Did you know that back in the day, both companies didn’t even recognize the importance of the term? Yup, as crazy as that sounds, it became a big mistake that reluctantly brought the two competing comic-book companies together and changed the market forever. So, however you want to spell it—“Super Hero,” “Super-Hero,” “super hero,” “superhero,” and all its plural forms—the word means a lot more than just your average costumed crimefighter. by J

ohn “THE MEGO STRETCH HULK” Cimino

THERE SHALL COME A SUPERMAN, AND A GENRE SHALL FOLLOW

It states in the Oxford English Dictionary that the term “superman” was coined in the 1903 book Man and Superman by George Bernard Shaw, imitating Friedrich Nietzsche’s “ubermensch.” But it was in 1933 that Jerry Siegel and Joe Shuster first used the word outright in “Reign of the Superman,” a story from their self-made, mail-order fanzine they started in 1932. It was about a poor man who is transformed by a mad scientist into a telepathic giant who wanted to control the Earth. Two years later, they refined the evil, bald-headed madman into a handsome, cape-wearing hero in tights who possessed powers far beyond those of mortal men. He was a champion of the righteous and protector of the weak that fought against evil and had a secret identity of a mild-mannered newspaper reporter named Clark Kent. Siegel and Shuster’s “Super Villain” (which is a term they are also credited as first using) had become a new fictional archetype known as “the Super Hero,” and his name was Superman. Siegel and Shuster first intended their Superman strip for newspaper publication, but they had no luck finding a publisher until December 1937, when DC Comics contracted them to produce a 13-page comic-book story featuring their new character. Thus, Action Comics #1 was released on April 18, 1938 (cover-dated June 1938), and the Super Hero market was born. With a plethora of new Super Hero characters being created, DC Comics would be the first to register (or copyright) “super” in a word when they registered “SUPERMAN” in October of 1939 (it seems that George Shaw never thought to do it back in 1903) since the character and comic were becoming extremely popular and the company didn’t take kindly to all the copycats coming out from other publishers. Soon after that, in November of 1941, DC registered the

What’s in a Name? From the super-’70s, box fronts for Ben Cooper® Batman and Batgirl costumes reflecting the changing “Super Hero” trademark. Batman, Superman, Batgirl, Superman, and Wonder Woman TM & © DC Comics.

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ENTER BEN COOPER, INC. AND THE 1960s SUPER HERO CRAZE

With the success in Super Hero characters by all the comic-book publishers and entertainment companies that invested in them, it was Ben Cooper, Inc. that first sought to register the word “SUPER HEROES” as a trademark for their costumes. During the 1950s, Ben Cooper started producing Halloween costumes of Superman due to the popularity of the Adventures of Superman television series starring George Reeves, and the results were extremely positive. Then, in 1963, Cooper took a chance on producing a costume of a relatively unknown comic character from Marvel at the time known as Spider-Man. It turned out to be Marvel’s very first licensed product, and by 1965 the costume had became very popular with kids. By making costumes of comic characters—Superman,

These Heroes are Super (left) The first use of “Super Hero” on a comic-book cover: Supersnipe #6. (right) Guardian calls ’em like he sees ’em in the fifth panel of this page from his inaugural appearance in StarSpangled Comics #7. Supersnipe © the respective copyright holder. Guardian TM & © DC Comics.

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TM & © DC Comics.

circular image that depicted Superman breaking chains with the “SUPERMAN” logo above him. Collaborators Joe Simon and Jack Kirby are credited as the first people to use the term “Super Hero” in a comic book. It was in their first Newsboy Legion story published in DC Comics’ StarSpangled Comics #7, released in February 1942, where the Legion’s protector, the Guardian, in his first appearance, refers to his costume as making him look like a “comic magazine super-hero.” But it was Street & Smith Publications that first used the word “Super Hero” on the cover of a comic in Supersnipe #6, released in July 1942. Its cover shows “the boy with the most comic books in America” sleeping with a “SuperHero Comics” comic book in his arms. While these are printed examples of the word, it should be noted that the earliestknown occurrence of using the expression of “Super Hero” was in 1917, used to describe a public figure of great accomplishments. Even the 1934 radio serials of Doc Savage would say the word over and over to promote its show. You can say that the term was floating out there in the ether and was gradually becoming more familiar with the mass media. In 1958, DC Comics had first started using the term in a title with the feature “Legion of Super-Heroes,” which ultimately would headline Adventure Comics for most of the next ten years. Then, with the release of Fantastic Four #1 in 1961, Marvel (formerly Atlas) Comics started becoming a major force in the marketplace and began labeling their new comic books using “Super Hero” or “Super Heroes” on them with regularity. While these two companies pioneered the use of the term by bringing it to a more widespread audience in the early ’60s, other comicbook publishers and television shows also used the term in both titles and promotions of their offerings. But despite how popular the term had become by 1965, nobody had yet really seen the importance of it. That is, until a costume designer out of Brooklyn, New York, by the name of Ben Cooper started getting into the mix…

Spider-Man, and Batman (which Cooper first produced in 1964)—Cooper saw the revenue potential in Super Heroes. And once the Super Hero ® craze exploded onto the scene on January 12, 1966, thanks to the Adam West Batman television series, Cooper smartly acquired the licenses for many more comic-book characters from all the major publishers. Now seeking a name for this new line of costumes, Cooper nonchalantly paid $35 in April of 1966 to apply for the registration of “SUPER-HEROES” as a trademark. The thing with trademark claims is that companies have to defend their use of the word or it will be listed as a “generic” term (such as cellophane or kerosene), thus losing trademark protection. Cooper’s application for his costume line claimed he first used the word “SUPER-HEROES” on their products in October 1965. The examiner noted that the mark the company proposed actually showed “SUPER HERO” (rather than “SUPER-HEROES”), which Cooper first used to describe who Spider-Man was on its 1965 costume box (it should be noted that Cooper also used “TV HERO” on that box and “SUPER-HEROS” in a 1967 advertisement, but never got those terms trademarked). Cooper saw the error and agreed that the singular unhyphenated wording was the proper specification they wanted. The examiner soon agreed that the use of the “SUPER HERO” mark was descriptive and necessary for Cooper’s costumes and deemed it worthy of trademark publication. Surprisingly, when the proposed mark was published for opposition in December 1966, neither DC nor Marvel (or anyone else, for that matter) opposed the registration. And with no one complaining, in March 1967 Ben Cooper hastily grabbed the “FAMOUS HEROES” and “GREAT HEROES” trademarks as well for potential alternative costume lines. (You got to admit, that Ben Cooper was goooood.) But Ben Cooper, Inc. wasn’t the only company interested in Super Heroes during the Super Hero boom. Starting in 1966, Ideal Toys produced Captain Action, a 12-inch poseable action figure that could be

The Amazing Spider-Costumes (left) Marvel’s first licensed product, 1963’s Spider-Man costume from Ben Cooper, signed by Stan “The Man” himself! (right) A later “TV Hero” variation. Both from the collection of John Cimino. Spider-Man TM & © Marvel Characters, Inc.

dressed into the outfits of one of several Super Heroes or other adventure characters, such as the Lone Ranger, Buck Rogers, and Flash Gordon. Dress-up accessory Super Hero costume kits included DC’s Superman, Batman, and Aquaman and Marvel’s Captain America, Sgt. Fury, and Spider-Man. Ideal also released Action Boy with Super Hero costume kits of DC’s Superboy, Robin, and Aqualad, as well as the Super Queens, costumed dolls of DC’s Wonder Woman, Batgirl, Supergirl, and Mera. While Cooper didn’t initially have any problems with those toy lines, it was Captain Action’s creator, Stanley A. Weston, and his next toy idea that planted the seeds for the trademark war that would inevitably come.

MEGO AND THE REALIZATION OF “SUPER HEROES”

While Ben Cooper, Inc. secured the use of the trademark “SUPER HERO” for costumes and enjoyed its success, Stan Weston successfully pitched his idea of Super Hero figures consisting of Marvel and DC characters to Marty Abrams of Mego Corp. In November 1972, Mego filed to register “WORLD’S GREATEST SUPERHEROES” (“WGSH”) as a trademark for a new eight-inch toy line under the toy figure category. But Cooper didn’t want anyone messing with its goldmine, so in December of 1973, Cooper filed an opposition to the “WGSH” registration. Within the next month, Cooper applied to register the plural “SUPER HEROES” as a trademark for both costumes and toy figures. The mark was registered for costumes in February 1975, but the proposed mark for toy figures became entangled with Cooper’s opposition to “WGSH.” In July 1974, the examiner suspended further action on the “SUPER HEROES” registration for toy figures until that opposition was decided. Mego filed its answer to the “WGSH” opposition in May 1974, but it soon tired of the proceedings with Cooper, and in December 1975 it assigned its interest to work with both DC and Marvel jointly. It was during this time DC and Marvel started realizing the value for their character likenesses and for the trademark “SUPER HEROES,” which was essential to developing merchandising revenue. By the mid-1970s, DC and Marvel enjoyed licensing revenue not only from Super Hero toys but also from cartoon and live-action television shows. However, comic-book sales were declining. By the time Mego came to the two publishers, both DC and Marvel received more revenue from licensing than from comic books. These factors provided a strong incentive

Quick-Change Artist Licensing impresario Stan Weston’s Captain Action, which premiered in 1966 from Ideal Toys, used the phrase “super heroes” on this first-issue box. Captain Action TM & © Captain Action, LLC. Superman, Batman, Aquaman TM & © DC Comics. Captain America, Sgt. Fury TM & © Marvel Characters, Inc. Phantom, Flash Gordon TM & © King Features. Lone Ranger TM & © DreamWorks Classics. Steve Canyon TM & © Milton Caniff estate.

for DC and Marvel to work with Mego and to obtain total control of the term when used as a trademark. With the three companies now working together on the “WGSH” line, things didn’t look good for Ben Cooper, which was on the outside. Knowing its company was now overmatched, Cooper withdrew its opposition to the “WGSH” mark, and the proceedings were terminated in June 1977. The “WGSH” mark was registered six months later, and Mego got to keep the trademark. At the same time, Cooper again assigned its interest in the trademark application for “SUPER HEROES” for toy figures to DC and Marvel. In the summer of 1979, both publishers requested that the prosecution be continued. It was, and the mark “SUPER HEROES” was registered for use with toy figures in October 1980, and the registration has been active ever since.

DC AND MARVEL: AN UNEASY ULTIMATE ALLIANCE

While DC and Marvel saw the benefits of working together, the companies still remained fierce competitors, and each filed for separate Super Hero-related trademarks. In September 1975, shortly before the companies jointly acquired Mego’s “WGSH” registration, DC started selling belts with a “SUPER HEROES” trademark on them. They filed to register that mark in the belts product category in May 1976. Once DC became friendly with Marvel during these trademark wars, they changed the mark to “SUPERBOY AND THE LEGION OF SUPER-HEROES” in February 1977. Not taking kindly to this move, Marvel filed to register the mark “MARVEL SUPER HEROES” in March 1978 for film, television, and entertainment services, with which DC had no objections. During this time, DC had also assigned the belt product category mark to Marvel and itself jointly. Although DC did show its good graces to Marvel by playing nice, it still liked to try to slip between the lines every now and then when using “SUPER HERO” in a trademark. DC registered “LEGION OF SUPER-HEROES” as a mark in November 1979 to use for titles on their comics, but the examiner initially felt that the proposed word mark might cause confusion with “MARVEL SUPER HEROES,” which Marvel had already registered in the same product category. He also questioned whether the joint use of the words “SUPER HEROES” by both DC and Marvel would be potentially confusing. But DC stated that it was the same as using the word “CELANESE” (a brand name for an acetate rayon yarn or fabric) that competing dress manufacturers used. DC also Halloween Issue • BACK ISSUE • 33

The 1963 Ben Cooper Spider-Man Halloween Costume

by John “THE MEGO STRETCH HULK” Cimino

Here Come the Spider-Men (top) Ben Cooper, Inc.’s “Spider Man” costume, from a 1954 advertisement—eight years before a certain friendly neighborhood Web-Slinger premiered at Marvel Comics! Courtesy of John Cimino. (bottom) Two variations of Ben Cooper’s original Spider Man costume, and its licensed Marvel Spider-Man costume. From the collection of John Cimino. Spider-Man TM & © Marvel Characters, Inc.

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It was by accident that Ben Cooper, Inc. got introduced to a new character called the Amazing Spider-Man from Marvel Comics. The company had been already distributing its own “Spider Man” costume since 1954. But Marvel now owned the legal rights to the name “Spider-Man” when it first published its character in 1962 and Cooper, for whatever reason, simply stopped producing its “Spider Man” costume and licensed the likeness of the Marvel character. In September of 1963, the very first licensed product of Marvel Comics was distributed to stores in the form of a Ben Cooper Spider-Man costume. Any savvy businessman has to wonder why Ben Cooper (who was extremely business savvy) would simply let his idea go straight to Marvel without a hitch. I mean, somebody had to notice that the Stan Lee and Steve Ditko collaborated concept of Spider-Man looked remarkably similar to the Ben Cooper costume design that was made back in 1954 (a full eight years prior to Spidey’s premiere in Amazing Fantasy #15). This conjecture isn’t as far-fetched as some might think because Ben Cooper, Inc. ruled Halloween and New York at this time (their factory was only about ten miles from Marvel), so their costumes were everywhere you looked. Artist Steve Ditko also had the habit of walking to the Marvel offices to submit his work, so he might have seen the costume at one point or another in his travels. This leaves many to ponder if he might’ve been influenced by what Ben Cooper had already created when he got the assignment to design Spider-Man. Not to discredit the genius of Ditko in any way, but it is possible. Who knows, maybe a private deal between Ben Cooper and Marvel’s publisher Martin Goodman was made? Maybe Cooper didn’t say anything because he saw an opportunity to make more money with a real comic-book character because he had done well with Superman in the past? When I personally asked Stan Lee about it, he said: “Martin never told me anything. I was in a little room writing the stories and nobody told me what was going on in the real world.” I sent Steve Ditko a letter about it, and this was his response:” “The burden of proof is on the person who makes the assertion, claim, charge. Some clippings, etc. are not rational proof of anything but some clippings, etc.” With answers like these, the mystery just intensifies. Only Martin Goodman and Ben Cooper could truly answer, but both are long deceased. This infamous story becomes yet another comic-book mystery that fans will always speculate about. For the full story behind Ben Cooper’s Spider Man costume, check out my blog: Hero-Envy.blogspot.com. The viewpoints in this guest editorial do not necessarily reflect the opinions of BACK ISSUE magazine or of TwoMorrows Publishing.

stated that there is no confusion between them and Marvel because they each have their own specific wordings on the “SUPER HERO” mark that could distinguish one from the other. DC won the case and permission was granted. As a result, the mark “LEGION OF SUPERHEROES” was passed and was registered to use as a title on their comics. Despite the two publishers’ antics, DC and Marvel both knew they needed each other to make things easier when it came to licensing off their characters and generating maximum revenue. They applied for joint registration of the “SUPER HEROES” mark for comic books and toy figures in July 1979. It would pass, and remains active to this day. Going forward into the 1980s, the “SUPER HEROES” mark was registered jointly by both companies into a wide variety of product categories including bags, clocks, jackets, clothing, supplies, bikes, foods, and entertainment services (anyone who was a kid at this time, as I was, can fondly remember seeing all the wonderful Super Hero items in stores). All these products went along nicely with the costumes, toys, comics, and belts that came before them. Having the majority ownership power in the mark “SUPER HERO,” DC and Marvel set out to conquer its last obstacle: Ben Cooper, Inc., the company that started this mess. By the mid-’80s, Cooper was having major financial struggles due to plummeting costume sales, even though it was still the largest Halloween costume company in the US. Taking on the combined forces of the two biggest comic-book publishers which held the trademarks on the most popular Super Hero characters was not on the menu at the time, and the company couldn’t handle the added financial strain. So, in 1983, DC and Marvel finally obtained the rights of the original “SUPER HERO” and the plural “SUPER HEROES” trademarks for costumes. The singular mark (but not the plural) still remains active today. This effectively completed the joint strategy of DC and Marvel to gain total control of the term “SUPER HERO” through trademark registration. But they were just beginning…

ONLY TO THOSE WHO BE WORTHY

Getting all the various registration “SUPER HERO” marks was only the first step in DC’s and Marvel’s plan to control the use of the mark on products. They also wanted to make sure other outlets didn’t get a chance to use it as well, in any form or variation. By the 1990s, when publishers would introduce Super Hero characters in their comics, none were able to describe them as such on their covers. DC and Marvel would carefully monitor all trademark registration applications, and once the applications were published for opposition, they would simply ask for extensions on their claims, letting the expenses build up on the applicant. As a result, companies often abandoned their applications or simply stayed away from using the term altogether. DC and Marvel first started using this ingenious strategy in April 1983, just three months before finally gaining the costume trademark rights from Ben Cooper. Another company that encountered trademark problems over this term was Leo A. Gutman, Inc. Gutman filed to register the mark of “SUPER-ACTION HEROES” in June 1981 for entertainment services and published for opposition in November 1982, with DC and Marvel becoming aware of the application filed for the trademark registration of “SUPER HEROES” in the same product categories in September 1982. Predictably, this application was delayed by the examiner review because of its similarity to Gutman’s mark. Eventually, in March 1984, it was published for opposition, and the mark was registered three months later in June. That same month, Gutman lost its motion to dismiss the opposition to its own registration. Rather than face a trial and spend even more money than it already had, Gutman started negotiations, and in December 1984 assigned its rights to

The “WGSH” Brand (left) A boxed Superman figure from Mego’s “World’s Greatest Super- Heroes” line, a ’70s favorite. (bottom) Even the little ones could be a Super Hero! Superman, Wonder Woman, Batman, Robin, Aquaman TM & © DC Comics. Captain America, Spider-Man, Hulk TM & © Marvel Characters, Inc. Tarzan TM & © ERB, Inc.

DC and Marvel. The trademark “SUPER-ACTION HEROES” was registered by DC and Marvel in April 1985 (that’s real power, folks). There would be six more attempts at registration of Super Hero–related marks in the early ’90s, but all were soon quickly abandoned. More cases would pop up throughout the years, but DC and Marvel continually managed to obtain an abandonment or a settlement. It seems that the trademark wars are now over and the two publishers stand triumphant with a partnership that is almost unbeatable. In recent times, however, the use of the term “SUPER HERO” (and all its other forms) on products or promotions have been greatly reduced, even though the characters themselves are more popular than ever. DC and Marvel usually use their company names/logos to represent their characters and just about everyone knows who and what they represent (the same can be said about other companies). It’s a far cry from the days when Ben Cooper, Inc. first registered the mark to promote its costumes just so people would know who these crazy characters were. Today, everyone knows they’re “Supa Dupa,” and no word, logo, or title will ever change that… BANG!! JOHN CIMINO is a Silver and Bronze Age comic, cartoon, and memorabilia expert who runs a business called “Saturday Morning Collectibles.” He buys, sells, appraises, and gives seminars on everything pop culture. He contributes articles to Alter Ego and The Jack Kirby Collector and represents some of comicdom’s biggest names and brings them to a Comic-Con near you. John also likes to think he’s really Captain Marvel, but people just don’t have the heart to tell him he’s just an obsessed fanboy who loves to play superheroes with his daughter Bryn. Read his blog at Hero-Envy.blogspot.com, contact him at johnstretch@live.com, or follow him on Twitter at @Elastic_Hulk, because he likes attention.

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TwoMorrows

The Future of Comics History.

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AL PLASTINO: LAST SUPERMAN STANDING With a comics career dating back to 1941, including inking early issues of Captain America, AL PLASTINO was one of the last surviving penciler/inkers of his era. Laboring uncredited on SUPERMAN for two decades (1948-1968), he co-created SUPERGIRL, BRAINIAC, and the LEGION OF SUPER-HEROES, drawing those characters’ first appearances, and illustrating the initial comics story to feature KRYPTONITE. He was called upon to help maintain the DC Comics house-style by redrawing other artists’ Superman heads, most notoriously on JACK KIRBY’S JIMMY OLSEN series, much to his chagrin. His career even included working on classic daily and Sunday newspaper strips like NANCY, JOE PALOOKA, BATMAN, and others. With a Foreword by PAUL LEVITZ, this book (by EDDY ZENO, author of CURT SWAN: A LIFE IN COMICS) was completed just weeks before Al’s recent passing. In these pages, the artist remembers both his struggles and triumphs in the world of comics, cartooning and beyond. A near-century of insights shared by Al, his family, and contemporaries ALLEN BELLMAN, NICK CARDY, JOE GIELLA, and CARMINE INFANTINO—along with successors JON BOGDANOVE, JERRY ORDWAY, AND MARK WAID—paint a layered portrait of Plastino’s life and career. And a wealth of illustrations show just how influential a figure he is in the history of comics. (112-page trade paperback) $17.95 • (COLOR Digital Edition) $5.95 • ISBN: 978-1-60549-066-3 • NOW SHIPPING!

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2016 “Book of the Year” Winner at the Rondo Hatton Classic Horror Awards

The Creepy, Kooky Monster Craze In America, 1957-1972

All characters TM & © their respective owners.

Time-trip back to the frightening era of 1957-1972, when monsters stomped into the American mainstream! This profusely illustrated full-color hardcover covers that creepy, kooky Monster Craze through features on Famous Monsters of Filmland magazine, the #1 hit “Monster Mash,” Aurora’s model kits, TV shows (Shock Theatre, The Addams Family, The Munsters, and Dark Shadows), “Mars Attacks” trading cards, Eerie Publications, Planet of the Apes, and more! It features interviews with JAMES WARREN (Creepy, Eerie, and Vampirella magazines), FORREST J ACKERMAN (Famous Monsters of Filmland), JOHN ASTIN (The Addams Family), AL LEWIS (The Munsters), JONATHAN FRID (Dark Shadows), GEORGE BARRIS (monster car customizer), ED “BIG DADDY” ROTH (Rat Fink), BOBBY (BORIS) PICKETT (Monster Mash singer/songwriter) and others, with a Foreword by TV horror host ZACHERLEY, the “Cool Ghoul.” Written by MARK VOGER (author of “The Dark Age”). (192-page FULL-COLOR HARDCOVER) $39.95 • (Digital Edition) $13.95 • ISBN: 978-1-60549-064-9 • NOW SHIPPING!

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by R o b

Kelly

First Encounter We’re up in arms over this gripping Neal Adams cover for the first Batman/Phantom Stranger team-up, in The Brave and the Bold (B&B) #89 (Apr.–May 1970). TM & © DC Comics.

As you might imagine, someone named the Phantom Stranger doesn’t lend himself to being a team player. You can’t look the guy in the eye. He rarely answers any question directly. He comes and goes at will. He never ponies up for gas. And yet, as we’ll see, he’s been a popular team-up star in the DC Comics Universe since his first (re)appearance almost 50 years ago. DC clearly had high hopes for the character, when he was (re)introduced in Showcase #80 (Feb. 1969). His first appearance was an odd hybrid of new material by Mike Freidrich, Jerry Grandinetti, and Bill Draut surrounding reprints from the 1950s Phantom Stranger series, but he quickly graduated into his own book a few months later. The new/old mix continued for a few issues, and then took off for a solid run of horror-tinged mystery stories that continued into the mid-1970s. But it didn’t take long at all for DC to bring the Phantom Stranger into its burgeoning larger universe. In The Brave and the Bold #89 (Apr.–May 1970, written by Bob Haney and drawn by Ross Andru and Mike Esposito), the descendents of a religious sect who settled Gotham City centuries ago show up to demand reparations, in the form of the land itself! As you might imagine, most of Gotham’s citizenry and political class are against this— except for Councilman Bruce Wayne, who quickly agrees to turn over the Wayne Foundation building to the sect and its leader, Josiah Heller! As Heller watches from his newfound, lofty perch, the Phantom Stranger arrives, much to Heller’s displeasure. He tries to attack the Stranger, who disappears before Heller can lay a hand on him. Naturally, Batman gets involved, who at one point tries to put this stranger under “Bat-Arrest” (really), wrongly assuming he is in league with Heller. Eventually, professional wet blanket Dr. Thirteen shows up, trying to convince anyone who will listen that the Stranger is a dangerous fraud. But all that is put aside when it’s the Stranger who reveals that Heller is a criminal, and is instrumental in stopping his mad quest for power. The story ends with Batman realizing that this Phantom Stranger guy may be weird, but he’s a force for good. And with that, the template for almost all of the Stranger’s future guest appearances is set. Sales must have been particularly solid for that issue, because the Stranger returned to B&B just nine issues later, in #98 (Oct.–Nov. 1971), again written by Haney but this time drawn by The Phantom Stranger’s artist, the legendary Jim Aparo, in the first time he rendered Batman (but certainly not the last). In “Mansion of the Misbegotten,” Batman goes to visit his godson (uh, because he has one of those), a little tyke named Enoch (!), who lives in a big, creepy mansion with his mom. It seems like the misbegotten mansion in question is haunted by some sort of ghostly blob of light, and the Phantom Stranger shows up to tell Bats the bad news: the house is a cover for a coven of witches! As if that wasn’t bad enough, little Enoch is the evil being they all worship! This being a Bob Haney story, there’re more, much more, and it all ends with little Enoch alive, still Batman’s godson and probably a sore spot for DC continuity cop E. Nelson Bridwell for decades to come. Having dealt with the Stranger earlier, this time Batman is much more willing to trust what the Stranger tells him, even the bad news about Enoch. The Phantom Stranger then showed up in Justice League of America #103 (Dec. 1972), going so far as to calling the various team members together (including Batman, who vouches for him) to alert them to a mystical threat brewing in the small town of Rutland, Vermont. Writer Len Wein was writing the Phantom Stranger solo series and JLA at the time, so it was only natural for them to cross over. Wein had the Stranger pull the ultimate mike drop at the end of the story, when the JLAers offer him membership, only for the mysterious one to disappear before ever giving them an answer! Despite some later writers considering the Stranger a full-fledged JLAer, Wein never did, as he told me in a 2008 interview for my blog JLASatellite.com: “He was offered membership but vanished, as per usual, without actually accepting the offer. Over the years, other writers have assumed PS was a member, but in my world, he never really said yes.” Wein used the Stranger again in the classic “The Man Who Murdered Santa Claus!” (Justice League of America #110, Apr. 1974, drawn by Dick Dillin and Dick Giordano), with the mystery man showing up at the end Halloween Issue • BACK ISSUE • 39

to help the team defeat the Key, who believed he managed to kill many of the JLAers once and for all (SPOILER ALERT: He didn’t). Wein’s assertion that despite all this team participation, the Stranger wasn’t an actual League member was challenged just a few months later in Wonder Woman #218 (July 1975, written by Martin Pasko and drawn by Kurt Schaffenberger), when he is one of the JLAers who subject a newly repowered Wonder Woman to a series of trials to determine whether she’s “fit” to rejoin the team. If he’s not a member, why is he in on this? Maybe that’s because in this issue, it’s malevolent mage Felix Faust who is causing problems, a perfect villain for the Stranger. However, when it comes time to vote on Wonder Woman’s membership, the Stranger once again disappears before officially casting a ballot. A few months later, however, in Wonder Woman #222 (Mar. 1976), the Stranger shows up just to cast a vote, which he does—in Wonder Woman’s favor. That makes it unanimous, and the Amazing Amazon is welcomed back into the Justice League. (To underline his pro-member status even further, the Stranger attends a JLA party, held at the satellite, seen as a poster in Limited Collectors’ Edition #C-46, an all-reprint Justice League treasury.) After the power of the Comics Code Authority diminished in the early 1970s, DC and Marvel had gone full blast on horror/supernatural characters and titles. When this wave crashed, it took many of those characters down with it, leading to the cancellation of the Phantom Stranger’s solo title, leaving him “homeless” for the first time in his rebooted career. After a few more appearances with the JLA (in issues #139, 145, and 146, all written by Steve Englehart), he

co-headlined DC Super-Stars #18 (Winter 1978) with Deadman, squaring off against longtime foe Tala, and also tangling with Dr. Thirteen, still doggedly on the Stranger’s tail. The book is divided into two stories, with the first (Deadman) leading into the second (the Stranger), with both heroes meeting up for the third chapter. It reads like a “lost” issue of The Phantom Stranger, as it deals with some plot threads left over in the last issue of his series. Oddly, it references a story in House of Secrets #150, which had not yet been published. Also appearing in the story: Gerry Conway (who wrote the issue), Carla Conway, Martin Pasko, Paul Levitz, and Romeo Tanghal, meaning they are now all officially owned by DC Comics. Despite not having a solo book, 1978 was a busy year for the Stranger: He reappeared in Justice League of America (#150, again fighting the Key), and then co-starred with Superman and Batman in World’s Finest Comics (#249) to help out when the Man of Steel is turned into a vampire. After the Man of Steel is incapacitated by a mysterious force at the bottom of the sea, Batman goes to investigate, where the Phantom Stranger is there waiting for him… underwater! After it becomes clear that Superman has turned into a “Vampire of Steel,” the Stranger gets really hands on, going so far as to track down a magic stake with which Batman has to use on his old pal. It’s only at the last moment that the true nature of the evil is revealed, and Superman is saved. That same month, remembering his mystery roots, the Stranger popped up in The House of Secrets (#150, Mar. 1978) to tell a story about a man named Thomas Corbett, a warlock who once tried to kill a friend of the Stranger’s. In May, he participated in the book-length adventure “There Shall Come a Gathering” in Showcase #100, a story featuring every character to headline the title to date, rubbing shoulders with not just the Flash and Green Lantern, but also Sugar and Spike, Dolphin, Angel and the Ape, and dozens more. A disruption in the time stream starts pulling Earth from its orbit, so a large group of heroes meet on the JLA Satellite to address the problem. They break up into smaller groups to keep our big blue marble spinning, as well as dealing with catastrophes on the planet itself. When Flash and some of the others fail in their outer space mission, they call in some “big guns,” one of which is the Stranger. He, along with Flash, Green Lantern, the Atom, Adam Strange, and Space Ranger hold a séance, which conjures up the Spectre. The Spectre then tries to literally hold Earth in its place, while the cause of all this trouble (I’m not saying it was aliens—but it was aliens) is dealt with by some of the other heroes, including Lois Lane and the aforementioned Angel. Written by Pauls Kupperberg and Levitz and drawn by Joe Staton, “Gathering” remains a high-water mark for DC anniversary issues, managing to give each of the main heroes (including the Stranger) a moment to shine while also finding a way to work in dozens of disparate characters. After some more appearances in Justice League, the Stranger re-teamed with Batman in Brave and the Bold #145, once again drawn by Jim Aparo and written by Bob Haney. In “A Choice of Dooms!” these two men of mystery join forces to stop a voodoo cult. At one point the

Just One of the Guys (inset top) The Stranger played a role in Wonder Woman’s “Twelve Trials.” Cover to WW #218 (June–July 1975) by Bob Oksner. (inset middle) Nick Cardy’s hair-raising cover to Justice League of America #103 (Dec. 1972). (middle) The Stranger fades out after being offered JLA membership. (bottom) Terry Austin and Dick Giordano’s JLA Satellite pinup from Limited Collectors’ Edition #C-46, showing PS with the JLA. TM & © DC Comics.

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Stranger changes a bad guy’s gun into a snake mostly just to freak him out, which shows that, hey, even the Phantom Stranger can have a little fun sometimes! He then jumped over to Superman, helping the Man of Steel take on no less than Dracula and Frankenstein in issue #344 (Feb. 1980), in a story co-written by Paul Levitz and Len Wein and drawn by Curt Swan. The Stranger doesn’t do a whole lot this time around, pretty much just appearing at the end of the story, but the issue is worth it just for José Luis García-López’s brilliantly scary, moody cover. After attending a Christmas party with Madame Xanadu being thrown at the House of Mystery (DC Special Series #21), and (thanks to an impish Terry Austin) making a gag cameo in The Uncanny X-Men #125 (told you he gets around!), the Stranger continued with the “equal time” bit by appearing in DC Comics Presents #25 (Sept. 1980), teaming with Superman to take on the Stranger’s old nemesis Tala. After the Stranger appears unexpectedly in the Fortress of Solitude, the story changes the formula up a bit—the Stranger explains to Superman that there’s trouble a-brewin’, and disappears as usual. But the story (by Paul Levitz) then follows the Stranger, who finds himself face-to-face with his longtime foe. Tala’s plot involves taking over Pete Ross (wow, that’s a plan) and using him to take control of Superman. For most of the issue, Superman and the Stranger are not together, making this team-up an interesting change of pace. He went back to Batman (c’mon Stranger, there are other heroes in the DCU other than the big two!) in Detective Comics #500, appearing in Alan Brennert and Dick Giordano’s classic “To Kill a Legend,” which led off the anniversary issue. In “Legend,” the Stranger appears to offer Batman something truly special—the chance to right the wrong that set him on his path, namely the murder of his parents. Explaining that this horrible crime might be taking place on an alternate Earth, the Stranger tells Batman that, if he wants, he can be sent there to prevent it. Robin—meeting the Stranger for first time—is dubious in the extreme, but nevertheless Batman takes the trip. Aside from the gut-level appeal of the tale, writer Brennert throws in some great moments of characterization, like when the Stranger goes so far as to call Batman his “friend.” An instant classic, “To Kill a Legend” has been reprinted many times (and discussed in depth in these very pages) and remains of the great Batman stories of all time. Brennert doesn’t recall whose idea it was include the Stranger in the story

(perhaps the suggestion of editor Paul Levitz), but had this to say when I interviewed him in 2009 just about this story: “I did like using the Stranger. I liked the idea of him coming to Batman and offering him a chance to alleviate some of the guilt and grief he’s carried over since his parents’ death. It was a chance to show superheroes acting like real people, not just fighting crime but showing real kindness to one another (and I also had fun contrasting the Stranger’s stentorian pronouncements with Robin’s more casual attitude).” The Stranger’s very next appearance was yet another anniversary issue, Justice League of America #200, written by Gerry Conway and drawn by an all-star roster of artists such as George Pérez, Joe Kubert, Gil Kane, Dick Giordano, and more [Editor’s note: We gave that landmark issue a close inspection recently in BACK ISSUE #87, in case you missed it]. The Stranger appears in Chapter 2 (drawn, again, by Aparo), there to ensure that Aquaman—under the spell of the Apellax aliens—defeats Red Tornado, which he does with a well-aimed lightning bolt, which puts the android out of commission long enough for the Sea King to escape. Like Kupperberg and Levitz did with Showcase #100, Conway manages to throw a wonderful party, giving each member of the JLA plus a gaggle of guest stars a moment in the sun while still telling a powerful, dynamic story of superheroic adventure. For those of you watching closely, you can’t help but notice that for a guy so concerned with being an outsider, a loner, a man of mystery, the Stranger sure does show up at a lot of parties—House of Secrets #150, Showcase #100, Detective Comics #500, and Justice League of America #200: Plan an anniversary issue, and the Stranger will be there! After a few years of guest-starring gigs, the Stranger returned to lead-star status with a backup feature in the new Saga of the Swamp Thing series, written by Bruce Jones and Dan Spiegle. With the second issue, the feature was taken over by Mike W. Barr, who mostly eschewed an ongoing Stranger-centric storyline, instead featuring one-off horror or mystery-tinged morality tales in which the Stranger acted as narrator and occasional participant. Barr spoke to me in 2009 about his work on the strip: “The glory—and the curse—of Phantom Stranger is that he works on a number of levels. I wrote the first Who’s Who entry for him, where I referred to his occupation as ‘conscience, advocate.’ The glory of the character is that he can be used equally well in the role of active hero or the role of narrator. The curse of the character is

A Pair o’ Aparo Covers (left) An extra-length team-up in DC Super Stars #18 (Winter 1978). (right) The spooksters first met when Deadman guest-starred in The Phantom Stranger #33 (Oct.–Nov. 1974). A year later, Deadman returned for the final three issues of the Stranger’s book, #39–41. TM & © DC Comics.

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Voodoo You Think You Are? (top) Our mystery man can hold his breath and speak underwater, as seen on this original art page illustrated and autographed by Kurt Schaffenberger, from World’s Finest Comics #249 (Feb.–Mar. 1978). Courtesy of Heritage (www.ha.com). (inset top) The Stranger’s on pins and needles on this Aparo cover to B&B #145 (Dec. 1978). (bottom) Inker Terry Austin snuck the Phantom Stranger (and Popeye) into this John Byrne-penciled panel in Marvel’s X-Men #125. Batman and Phantom Stranger TM & © DC Comics. X-Men TM & © Marvel Characters, Inc.

that he can be used equally well in the role of active hero or the role of narrator. It takes a firm understanding of the character to realize which role he’s playing, and I know of no way to obtain that understanding other than just to read lots of stories about him.” The Stranger eventually joined Swamp Thing in issues #14 and 15 (June and July 1983) for a book-length team-up, written by Dan Mishkin and drawn by Bo and Scott Hampton. Thanks to some toxic chemicals illegally dumped in the swamp, a scientist gets transformed into a crystalline creature and goes mad. Moody and somewhat poetic, this two-parter served as a fine swan song for the Stranger’s run in the book. Like Barr, Mishkin was aware that the character has to be handled with care, due to the vague nature of his abilities: “It’s something you have to be careful with. You keep things mysterious and that gives you some leeway in how you portray the character and his abilities, but that same 42 • BACK ISSUE • Halloween Issue

leeway makes it very easy to handle the character inconsistently— he can end up being too conveniently powerful when you need him to be, but sometimes powerless before things readers would expect to be no problem for him based on earlier stories.” The Stranger reappeared with the Justice League in issues #210–212 (Jan.–Mar. 1983) of their series, for a three-parter entitled “When a World Dies Screaming.” When Professor Ray Palmer learns that a mysterious “X-Element” has started disappearing from Earth, a series of disasters start occurring, and he calls in his JLA pals to help. This leads to a battle between two warring alien factions who also want the X-Element, and when Superman and some of the others find themselves needing some extra muscle, the Phantom Stranger appears! He even sticks around long enough to fight other battles alongside the JLA, but (of course) disappears without a word after the battle is over. Written once again by Gerry Conway and drawn by Rich Buckler, “Screaming” was originally produced for a JLA treasury comic. After DC grew cold on the idea of their tabloid comics featuring original content, the story was put on the shelf and then broken into three parts and published about half a decade later. (That sound you hear is this author sobbing at the idea of a Justice League treasury comic that could have been.) Mike W. Barr grabbed the Stranger again for an appearance in the Christmas-themed “The Hand That Rocks the Cradle” (Batman and the Outsiders #8, Mar. 1984, drawn by Jim Aparo), picking up some story threads Barr left dangling in Saga of the Swamp Thing #5. Another of the Stranger’s old foes, Tannarak, makes a return, using a newborn infant as his spirit’s host body. Barr has some fun putting Batman—always in charge—in the awkward and slightly humbling position of being around another hero who is not the least bit intimidated by the Darknight Detective. Paul Kupperberg had the Stranger guest in DC Comics Presents #72 (“Madness in a Dark Dimension!,” Aug. 1984, drawn by Alex Saviuk), where he helps Superman and the Joker (!) defeat the otherworldly baddy Maaldor. Maaldor was defeated by Superman and Stranger’s on-and-off-again squeeze Madame Xanadu in a previous DCCP, but he is now poised to escape from the dimension he was trapped in. This dimension is so daunting to those of a “normal” mind, only someone as disturbed as the Joker can navigate it. This leads to a sequence where the Stranger takes control of the Joker’s mind, but doesn’t do the obvious when he had the chance. He could have spared Batman and the citizens of Gotham City a lot of grief had he just made some small adjustments… (Paul Kupperberg would end up being a major creative force in the history of the Phantom Stranger, as you’ll see explained in this very same BACK ISSUE you’re reading!) After a walk-on in Justice League of America #231 (which would prove to be the character’s final appearance in the title), the Stranger

showed up (in all places) in The Fury of Firestorm #32 (Feb. 1985), written by R.J.M. Lofficier and drawn by Alan Kupperberg. Firestorm recognizes the Stranger from the JLA’s computer files, but is still leery of the guy. Of course, the Stranger proves he’s a good guy by helping the Nuclear Man defeat a ghostly crook who takes over the Martin Stein half of our titular hero. That same year, Dan Mishkin and writing partner Gary Cohn brought the Stranger into their new lighthearted superhero title, Blue Devil, for the Blue Devil Summer Fun Annual. Teaming up with the Demon, Man-Bat, the Creeper, Black Orchid, and old flame Madame Xanadu, the Stranger gets a number of wonderfully funny moments, including one where Xanadu mocks him for his “man of mystery” bit, something the Stranger doesn’t take too kindly to! They help Blue Devil take on Felix Faust, and work so well together that the Creeper proposes they form a permanent team: the Creeper and the Spirit Squad! This is met with a less-than-enthusiastic response from the other heroes. The Stranger’s final pre-Crisis team-up took place in another Annual, this time Swamp Thing Annual #2, written by Alan Moore and drawn by Steven Bissette and John Totleben, right in the heart of that creative team’s historic run on the book. You can’t find a better set of examples of how malleable the Stranger is a character than these two consecutive appearances— in Blue Devil, the Stranger plays straight man (mostly) in a frothy, lighthearted adventure that pokes fun at DC’s horror comics conventions. And then you have “Down Amongst the Dead Men,” which features no less than the Swamp Thing traveling through Hell itself to rescue the soul of his beloved Abby Arcane. The Stranger accompanies Swamp Thing on his journey, leading him to an audience with the Spectre, who has begun to lose his connection to humanity ever since abandoning his identity as Jim Corrigan. When the Spectre initially refuses to help, the Stranger has the temerity to question him, which elicits a laugh from the Spectre and this comment: “Of all the presences, you were always my favorite.” He then allows the two men (?) to continue on, which leads to a meeting with the Demon, who takes Swamp Thing the rest of the way. Alan Moore clearly had a fondness for the Stranger, and it shows in this appearance. Bissette and Totleben give us some bona-fide, thoroughly un-mysterious closeups of the Stranger, yet he still seems just as unknowable. He even gets to smile. The Phantom Stranger would appear here and there in Crisis on Infinite Earths, only taking part in the universe-spanning fight on a mystical level. He made several more guest turns in Alan Moore’s run on Swamp Thing, got a Who’s Who listing (appropriately drawn by Jim Aparo), showed up for the DC Challenge, participated in DC’s Crisis follow-up “event,” Legends, and had what might be his finest solo star moment in Secret Origins #10, which featured no less than four possible origins for the character. Featuring outstanding work by Jim Aparo, Mike W. Barr, Ernie Colón, José Luis GarcíaLópez, Paul Levitz, Dan Mishkin, Alan Moore, and Joe Orlando, Secret Origins #10 is essential reading for anyone interested in the Phantom Stranger—which you must be, or why else are you reading this?

As the decades since his first modest appearances have shown, the Phantom Stranger is one of DC’s most durable characters, someone any decent writer can find use for to add some magical mystery to whatever story they’re crafting. Whether it be leading man, guest-star, or simply narrator, the Phantom Stranger might not at first seem like someone you’d want to spend a lot of time with, but eventually you’ll get a glimpse of what’s going on in the shadows. And as difficult as he can be sometimes, you know he’s always fighting against the forces of evil, a fight that never ends… ROB KELLY is a writer, illustrator, and comics historian. He is the co-host of The Fire And Water Podcast, the co-creator/writer of the award- winning webcomic Ace Kilroy, and the creator of the book Hey Kids, Comics!: True-Life Tales from the Spinner Rack. He runs a blog devoted to the Phantom Stranger, IAmThePhantomStranger. blogspot.com.

Creepy Company Phantom Stranger was among DC’s spooksters congregating in 1985’s Blue Devil Annual #1. Cover art by Paris Cullins and Gary Martin, courtesy of Heritage. (inset) The Creeper’s rejected recommendation. TM & © DC Comics.

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by R o b e r t

Greenberger

conducted in January 2016 is and transcribed by Brian K. Morr

Among the many genres that gained in ascendency in comic books of the early 1950s, the supernatural had the widest variety of approaches, with E.C. Comics going for high-quality, visceral storytelling while the more conservative DC Comics dipped its toes into the world of the paranormal with a brand-new series featuring an enigmatic figure known only as the Phantom Stranger. A creation of John Broome, the Phantom Stranger arrived in the Spring of 1952 in his own bimonthly title, his earliest exploits illustrated by Carmine Infantino and Sy Barry. The series lasted a mere six issues before vanishing, with the character largely being forgotten. When the mystery genre was freshened in the late 1960s under editor Joe Orlando, the Phantom Stranger was rediscovered and reprinted under a Neal Adams cover in Showcase #80 (Feb. 1969). That was merely a stunt designed to announce his revived title, which arrived a few months later with a May–June 1969 cover date. At first, the series featured Phantom Stranger reprints plus “Dr. Thirteen, Ghost-Breaker” oldies that first appeared in Star-Spangled Comics, with new material framing the reprints and connecting Dr. Thirteen to the Stranger. Thankfully, The Phantom Stranger found an audience and new stories, from writers Robert Kanigher, Gerry Conway, and Mike Friedrich, began appearing. It wasn’t until writer Len Wein and artist Jim Aparo arrived before the series found its footing and took on a unique identity. The character remained a fixture of the DC Universe, with Wein even having him make appearances in Justice League of America. By the early 1980s, the Phantom Stranger was an occasional guest-star and was a little-seen utility player. In 1986, that changed when writer John Ostrander chose to use him to oppose Darkseid in the Legends miniseries. A tie-in issue of Secret Origins featured four all-star creative teams each presenting a possible origin story for the Phantom Stranger. Enter writer Paul Kupperberg, at the time best known for his Superman stories and for creating Arion, Lord High Mage of Atlantis. Kupperberg pitched a miniseries that was a fresh approach to the character at a time when interest was high in him. Assigned to illustrate the series was Mike Mignola, new at the time to DC. In fact, his first DC work was illustrating Spectre foe Wotan for me in the final issue of the first run of Who’s Who (issue #26, Apr. 1987). Mignola had already established himself as a superior draftsman with work on the Rocket Raccoon miniseries, The Incredible Hulk, Alpha Flight, Mr. Monster’s Super Duper Special, and The Chronicles of Corum before becoming a DC mainstay in the latter 1980s. Inking Mignola on the Phantom Stranger miniseries was P. Craig Russell. Mignola declined to participate in an interview about The Phantom Stranger but did offer, “I really don’t have much to add about this book. I do remember that Eclipso was fun to draw and the underground stuff was okay, but mostly I remember being super-frustrated that Mike Carlin sold me on the book saying it was nothing but monsters and mostly I remember drawing hotel rooms and Ronald Reagan. Nothing against the story, it just wasn’t what Mike led me to believe it was going to be, and I had to draw it much faster than I was comfortable drawing (why only the first issue was finished pencils)—I had no love for the character (I was always a Marvel guy).” – Robert Greenberger

The Mysterious Stranger A 1987 Phantom Stranger illo by Mike Mignola, courtesy of Heritage Comics Auctions (www.ha.com). TM & © DC Comics.

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ROBERT GREENBERGER: All right, Paul, so let’s talk GREENBERGER: You didn’t write him, really, until what, DC Comics Presents? about the Phantom Stranger. PAUL KUPPERBERG: Let us talk about the Phantom KUPPERBERG: Well, I did kind of, sort of, write him in Showcase #100. He was one of the characters in that Stranger’s sins. GREENBERGER: You were too young to read the book because it had all the characters who had appeared when it came out in the ’50s, so when did you first in Showcase. But even in that, I remember being intimidated by writing the character because I liked encounter the Phantom Stranger? KUPPERBERG: Showcase, that 1960s Showcase issue him so much. I was such a fan, touching him was like, “Ooh, my goodness. What damage might I do?” But that reprinted his original stories. yeah, and then came the DC Comics Presents which was GREENBERGER: Yeah, issue #80. the Joker… and somebody else? KUPPERBERG: Correct. GREENBERGER: No, it’s Superman, Joker, GREENBERGER: So, what was the appeal? Phantom Stranger. But that’s an odd KUPPERBERG: Well, first of all, there combination. Where did you come up was a Neal Adams cover which was with that? just spooky and gorgeous, and I had KUPPERBERG: That was likely a Julie recently discovered his work. I was [Schwartz, the series’ editor] bit. It just blown away by it. What was it, sounds like his kind of thing. I would 1967, ’68? walk in and say, “How about Superman GREENBERGER: It was February 1969 and Phantom Stranger?” And he’d cover date, on sale in late 1968. answer, “Okay, but use the Joker, too.” KUPPERBERG: Yeah, so I’m 12 or 13 Well, okay. years old at the time. And then there are GREENBERGER: It made perfect sense. these—I think it was Jerry Grandenetti KUPPERBERG: Yes, well, you know, who did the bridge story and stuff? that was the way [Julie] worked. He GREENBERGER: Yep. Mike Friedrich could often put together things that wrote the bridging pages for © Luigi Novi / Wikimedia Commons. didn’t really fit because it was unusual. Grandenetti and Bill Draut. KUPPERBERG: I liked Grandenetti’s stuff. He had this You don’t normally associate the Joker with Superman kind of weird, kooky style that really appealed to me. or something like the Phantom Stranger, so let’s throw I always liked off-kilter artists like that. And the stories this maniac up against that. But, yeah, it was a lot of were just cool. There was that typical 1950s’ “There fun to do. is no such thing as horror, it’s all a mystery.” But the GREENBERGER: Were you as intimidated the second Stranger was kinda given a little bit more leeway in time around? those stories. He was a little bit more—they left it more KUPPERBERG: No, I’d gotten over it. I mean, here, up in the air, more questionable about him than they the real intimidating character, ultimately when I got did in those normal kind of stories. He was just cool around to him, was writing Superman himself, and I and different and looked great. You know, the cloak had gotten over that so I was pretty much ready to take on anybody at that point. and the suit and the hat and everything. GREENBERGER: Oh, yeah. No question. I remember he GREENBERGER: Okay, so here you are, in the mid-1980s. looked really different when I saw those Neal Adams My research shows that you originally pitched the covers at first, but I didn’t really get into him until I Phantom Stranger miniseries to Denny [O’Neil]. KUPPERBERG: Yes. guess Len Wein and Jim Aparo did their arc. KUPPERBERG: Yes. That was one of the great runs of GREENBERGER: Where did all this come from? You’re not usually known for writing the supernatural. that character, for sure.

Famous First Editions (left) The first appearance of the character in The Phantom Stranger #1 (Aug.–Sept. 1952). Cover by Carmine Infantino. (center) The Stranger returns in Showcase #80 (Feb. 1969). Cover by Neal Adams. (right) Back in print! The Phantom Stranger #1 (May–June 1969). Cover by Bill Draut. TM & © DC Comics.

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KUPPERBERG: Well, I had the Arion character. That was with sword and sorcery… supernatural, I guess, and I’d done a lot of stories for DC’s mystery titles. And I used to spend time hanging out in Denny’s office, just shooting the sh*t. I was looking around for a project and I realized that I could craft a Phantom Stranger miniseries that would appeal to his lapsed Catholic sense of guilt [Greenberger laughs] and could make a very easy sell, so I did. I went in and I pitched him the idea as Phantom Stranger as a Christ figure who has come to live among mankind to feel their pain and suffering and you know, yadda, yadda, yadda. GREENBERGER: And it got up to Denny as the editor before it got handed over to [Mike] Carlin?

KUPPERBERG: Yes, it did. Denny loved the idea—or at least liked it— and it got approved. I don’t think we had an artist assigned, although I was kind of like, “Oh, get Fred Carrillo. He should do it.” And I think Aparo was on the Batman stuff in those days. GREENBERGER: Definitely Outsiders. KUPPERBERG: Yeah, so then Carlin got hired at DC and they went around to the editors and said, “What have you got that he can get going on?” So they were looking at projects that already had some momentum so that he could kind of go in there running. GREENBERGER: I was delighted to give him MASK. [Editor’s note: MASK was a mid-’80s animation and toy tie-in.] KUPPERBERG: MASK? Yeah, I’m sure he was delighted to receive it. GREENBERGER: [laughs] Actually, he was delighted because it got him working with Curt Swan. KUPPERBERG: Ah, there you go, there you go. GREENBERGER: All right, so Carlin picked Mignola? KUPPERBERG: Yeah. Yeah, we kind of talked about it and I had mentioned Carillo and all that. And he had worked with Mike at Marvel on something or other, I don’t remember what, or just knew Mike. [Interviewer’s note: Carlin had not edited Mignola at Marvel, but they were friendly up at the Marvel offices.] And yeah, he’s the one who came in with Mike. He pitched this to him and I think you’ll have to talk to Mike. I don’t know what his situation was at the time, but I guess he was looking to transition over to DC and do some more work, or had he already started on Cosmic Odyssey? GREENBERGER: No, he had not. Were you familiar with Mike’s work? KUPPERBERG: You know, I don’t remember. I really don’t remember if I was. GREENBERGER: Okay. KUPPERBERG: I was familiar with [inker P.] Craig Russell’s work. GREENBERGER: Sure. KUPPERBERG: But Mike was relatively new. GREENBERGER: When Mike Carlin took on the Phantom Stranger project from Denny O’Neil, had you written it yet? Or was it still an outline? KUPPERBERG: I think I may have written the first issue or so by then, but I don’t really remember. I had a pretty thorough outline for the four issues. GREENBERGER: Carlin did not have as religious a bent as Denny. Did the content appeal to him at all? KUPPERBERG: I think he just… this was just kind of a book to edit. I think it was something handed to him that was already in progress and he was certainly encouraging, and then look what he did with it. He gave it to two great artists, a great letterer [John Workman], and a great colorist [Petra Scotese], and gave me a really great four-issue miniseries with my name on it. So, obviously, he cared about the book, but I don’t think the subject matter itself—it was a superhero/supernatural comic to him. GREENBERGER: Let’s talk about the noteworthy things about the timing of the miniseries… By the time this book came out in ’87, the Phantom Stranger was all over the place through Legends. And I edited the Secret Origins with him, so it seemed to be his time in the sun. Do you think that helped? KUPPERBERG: Oh, yeah. I think between that and, really, the artwork, I think people were taking notice of this thing. I’m relatively proud of the script, too. Looking back at it now, could it have done with a little bit of editing? Sure, but I’m happy with the way the whole thing turned out. I think it’s a well-constructed, well-done story—it all came together right. GREENBERGER: Usually, when a character like that gets a series, he comes with his own rogues’ gallery and supporting cast, but you avoided all of that. Was that conscious?

The Truth is Out There (Or is It?) (top) Paul Kupperberg, at the 1982 San Diego Comic-Con, five years before his Phantom Stranger miniseries. Photo by Alan Light. (bottom) A super-star lineup, under this Jim Aparo cover, explored a quartet of possible beginnings for our spooky star in Secret Origins #10 (Jan. 1987). (Secret Origins will be examined in BACK ISSUE #98.) TM & © DC Comics.

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Back from Limbo (top) Mignola/Russell covers to The Phantom Stranger fourissue miniseries. (bottom) Eclipso, who in the campy Silver Age could be vanquished by a flash bulb, was a much more serious threat in the Phantom Stranger’s miniseries, as witnessed in this encounter with the Stranger in issue #3. TM & © DC Comics.

KUPPERBERG: I wanted to stay away from that stuff. I was trying to do a more down-to-earth, DCU-oriented story. That’s why I used Jimmy Olsen, Valentina Vostok—who was in the New Doom Patrol… GREENBERGER: You also used Commissioner Gordon and Jenet Klyburn. KUPPERBERG: Right, as well as Eclipso and Bruce Gordon. I was looking to avoid the usual suspects. I wanted it to be Phantom Stranger in a new situation, facing a new set of foes and new challenges. GREENBERGER: And I suspect that may be one of the reasons why it worked as well. It was this whole combination of a new writer and new artist, a new set of situations, rather than Phantom Stranger versus [supernatural supervillainess] Tala. KUPPERBERG: Yeah, and Phantom Stranger’s one of those characters that you have to be careful with because you can go omnipotent with him, and once you’re dealing with an omnipotent character, then you’ve got to create “kryptonite,” some artificial thing to take him down. So I wanted my guy to be at a very human level at this point. The Lords of Chaos and Order were playing in all around the DC Universe in those days, weren’t they? GREENBERGER: Oh, yeah. KUPPERBERG: Yeah, that whole Eclipso thing, and so [the Lords] were saying, “Give it up, mankind is done. Go away, come back another time.” And the Phantom Stranger says, “No, no, no, I’m not going to give up on them,” and he’s thrown into their midst without his powers. GREENBERGER: Which is great, because it really did work. KUPPERBERG: Sometimes, I get lucky. GREENBERGER: Well, yeah. It was a good confluence of timing and a good artistic choice and all. Do you recall what the fan reaction was? KUPPERBERG: I don’t, offhand. I mean, I’ve gotten lots of compliments on it over the years, but at the time, I’m assuming it wasn’t quite good enough to get its own [ongoing] book. [chuckles] Courtesy of Comicvine. GREENBERGER: Was there talk about it? KUPPERBERG: Not that I remember, no. When Action Comics Weekly started, in ’88, that was later in the year. [Editor’s note: Kupperberg scripted several eight-page Phantom Stranger stories that appeared in Action Comics Weekly. That anthology incarnation of DC’s long-running title will be explored at length in BACK ISSUE #98.] GREENBERGER: Now, originally, the Stranger showed up in Action Comics Weekly in a series of one-off stories which, thankfully, Fred Carrillo was drawing most of. KUPPERBERG: Well, Fred Carrillo drew some of that. I think I did like a three- or four-parter that Carrillo did. [Editor’s note: The four-part Phantom Stranger “Cat and Mouse” story by Paul Kupperberg and Fred Carrillo ran in Action Comics Weekly #631–634.] But overall, there was some incredible freakin’ art in these things. There was Kyle Baker [#610]… just flipping through here quickly… Tom Grindberg [#613–614]… there we go… oh, Joe Orlando [#617]. GREENBERGER: Joe Orlando did such little art, that was a real treat. KUPPERBERG: Yeah, yeah. José Luis García-López [#623, 641]. GREENBERGER: It certainly looked good. KUPPERBERG: It sure did. [Editor’s note: No argument there! And let’s not forget that Andy Kubert also drew a Kupperberg Phantom Stranger tale, in ACW #636.] GREENBERGER: I remember when we were talking about using the Phantom Stranger as an interstitial feature in Action Comics Weekly to buy us time while we were getting the next major series ready. You were writing all these one-off and handfuls of stories, that you were trying to keep the Stranger Halloween Issue • BACK ISSUE • 47

“Tommy’s Monster” (left) Pre-lettering art page to Kupperberg’s Phantom Stranger tale from Action Comics Weekly #641 (Mar. 7, 1989), illustrated by the always amazing José Luis García-López. Scan courtesy of Paul Kupperberg. TM & © DC Comics.

grounded and connected to humanity—like the example you kept coming up with was the Phantom Stranger goes home after work and sits in the Barcalounger. KUPPERBERG: Yeah, I had a scene where he and Bruce Gordon are sitting around in his apartment, because he’s got to live somewhere. Yeah, he’s a person now. GREENBERGER: Since were telling these eight-page stories, you avoided bringing any of the old cast back. KUPPERBERG: Pretty much, except for that multi-part story that Carrillo did, and that was what’s-her-name and—Cassandra [Craft] and… that guy. GREENBERGER: What, Tannarak? That guy, or Dr. Thirteen? KUPPERBERG: Yeah, Tannarak. Now, did I ever use Dr. Thirteen? Did he ever appear? GREENBERGER: Not that I recall. KUPPERBERG: Because I had done that Dr. Thirteen backup series earlier for Jack [C. Harris]. Was it for Secrets of Haunted House? GREENBERGER: Ah, it was in Ghosts. KUPPERBERG: Ghosts, okay, right. Yeah. That ran for a whole bunch of parts, and I don’t think I used the Phantom Stranger. I did use Spectre in that, but I don’t think I used Phantom Stranger. [Editor’s note: Kupperberg scripted a Dr. Thirteen series that appeared in Ghosts #95–99 and 101–102 in 1980 and 1981. The Spectre guest-starred along the way.] GREENBERGER: Now, interestingly, during all of this time, you were pretty much the only guy writing the Phantom Stranger in the late ’80s. You even found a way to work him in our Power Girl miniseries.

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KUPPERBERG: Yeah. I loved to tie all my stuff together in some little way. And Power Girl, in those days, had a supernatural origin. She’d gone from being the Earth-Two Supergirl from Krypton to being Arion’s granddaughter. GREENBERGER: People have yet to forgive me for that one. KUPPERBERG: Yeah, well, I point out—every time I mention it, I make sure to point out that it was you and Gerry Conway who came up with the idea… I just wrote it. But, yeah, I like to bring all my stuff together so that there’s some sort of a tie-in. GREENBERGER: Right. So the villain in the Power Girl piece was Garn Daanuth. KUPPERBERG: Yeah, who was Arion’s main antagonist. GREENBERGER: Right. So you found a way to work the Stranger in the last two chapters, which was sort of fun. KUPPERBERG: Well, supernatural is supernatural. GREENBERGER: But then you didn’t get to write him again, that I can tell. KUPPERBERG: I think that was the end of it, yeah. GREENBERGER: Before Action Comics Weekly went bye-bye, were there more Phantom Stranger stories that you had in the works? KUPPERBERG: You know, actually, now that you mention it, [searches for something in his files] there was one by Janke. Dennis Janke penciled it. GREENBERGER: Oh, really? KUPPERBERG: I have Xeroxes of the pencils, but I don’t have a script. But, yeah, I have—it’s seven pages and I have Xeroxes of the pencils, but not the story itself, which looks like it’s based on the Nazi march in Skokie, Illinois.

GREENBERGER: Oh, sure. KUPPERBERG: So, yeah, I guess there was at least one that went unpublished. GREENBERGER: Now the Stranger continues to endure. You know, DC is still using him today in the New 52. KUPPERBERG: No, no, he’s not the Phantom Stranger now. He’s the Phantom “Bill” or whoever. They gave him an origin. He can’t be the “Stranger” when we know his name and where he’s from. [chuckles] GREENBERGER: The basic character is still around. KUPPERBERG: Yes. GREENBERGER: Before he got a New 52 origin, nobody knew his origin. That was the whole fun of doing that issue of Secret Origins. KUPPERBERG: Yes, the four different origins by [Alan] Moore and [Paul] Levitz. GREENBERGER: And Dan Mishkin and Gary Cohn, and Mike W. Barr, yes. So do you think one of the appealing elements to the Stranger is the fact that we had no idea who he was? KUPPERBERG: Oh, yeah, absolutely. These days, comics are totally incapable of letting any detail go without back-filling it with details until the original intent of the character gets smothered. The Phantom Stranger’s really one of those characters whose origin should remain a mystery. I mean, it’s in the name. GREENBERGER: Sure. KUPPERBERG: So, yeah, I never wanted to learn his origin. I never thought about him having an origin when I wrote him. He just was. He’s just one of those characters who is exactly what he seems to be. He’s a mysterious figure who appears in times of trouble and shows you the way. He’s holding the lantern to light the way for you, but I don’t know who he is. GREENBERGER: I like that. And in some ways, that hews back to the classic Western figures who stroll into town, solve the problem, and then ride off at the end. KUPPERBERG: Sure. Yeah, it’s a classic trope and it’s just fine. There’s even something more ennobling about characters when you don’t know what drives them. It’s kind of like, “Wow, they’re doing all this,” in the Portrait by Michael Netzer. case of the Westerns. It’s usually some *sshole who makes everybody suffer before saving them. GREENBERGER: Right. KUPPERBERG: But in the case of a character like Phantom Stranger, here’s a guy who just is, a force of good. Why’s he doing this? I don’t know. He’s just here. You don’t even have to ask the question. I guess the whole Jesus parallel—well, no, I guess everybody knows the Secret Origin of Jesus. [chuckles] GREENBERGER: Yeah. The other thing that you did differently, looking back at the work, was by grounding him to humanity, you also added some dark humor, in both the miniseries and then the Action stories.

Stranger Unplugged (opposite page, right) Paul kindly contributed this scan of the title page pencils (by Dennis Janke) to a Phantom Stranger tale planned for Action Comics Weekly that went unpublished after the title abandoned its anthology format. The Phantom Stranger TM & © DC Comics.

A Brief Chat with P. Craig Russell One of the finest illustrators in comics, P. Craig Russell is perhaps best known for his work on Michael Moorcock’s Elric, published by First Comics in the 1980s. Prior to that, he had a lengthy résumé of superhero stories for Marvel and more fanciful tales for Epic Illustrated and Eclipse magazine. By the mid-1980s, he was inking Steve Ditko on ROM: Spaceknight for Mike Carlin at Marvel, so it was a natural decision for Carlin to have Russell bring his brushes to ink Mignola on the Phantom Stranger miniseries. What follows is an email interview conducted in February 2016. ROBERT GREENBERGER: When did you first encounter the character of the Phantom Stranger? P. CRAIG RUSSELL: As a kid in the ’60s, I was somewhat aware of the character through occasional appearances in DC Comics, but it was a series of PS covers by a very young Neal Adams that grabbed my attention. GREENBERGER: Were you a fan of his series at any point? RUSSELL: I was a fan of everything at one point, buying literally every comic that hit the stands. GREENBERGER: How did you come to ink Mike Mignola on the miniseries? At the time you were working on Elric and inking Steve Ditko on ROM for Mike Carlin but had done little for DC by this point. RUSSELL: I had been inking a few of Mike’s [Mignola] earlier stories at Marvel, and I assume it was on the basis of that or Mike’s recommendation that I was offered the series to ink. Up to that time, for DC I had only inked two issues of a Batman story [Batman Family #18–19] with art by a very young Michael Golden and two issues of a Batman story [Detective Comics #481–482] over layouts by a very young Jim Starlin (we were all very young; do you see a theme here?). GREENBERGER: What was the appeal to the assignment? RUSSELL: The appeal was simple: I loved inking Mike’s work. He was an obviously rapidly evolving major talent and until he rightly assumed inking duties on his own work I had the pleasure of inking nearly 300 pages of his work. GREENBERGER: What do you think you brought to Mike’s pencils? RUSSELL: At the time Mike was feeling his way into his own unique style and was playing around with a more classic illustration style, more cross-hatching and intricate detail. I was simpatico with that and even added to it in places. That approach would be very out of place today with Mike’s mature style. GREENBERGER: This has the supernatural, regular people, the Stranger, and Eclipso. Was there something specific you really enjoyed working on? RUSSELL: All the visual flourishes that accompany a story of the supernatural are fun to explore. This series had that. Also, city busses. GREENBERGER: How do you like the finished work? RUSSELL: I’m generally happy with it. Going through my copies of the art I now see where I could have had a stronger line in places, but overall this one doesn’t embarrass me. GREENBERGER: Why do you think the miniseries has endured in popularity? RUSSELL: It’s a fun read with good art. Halloween Issue • BACK ISSUE • 49

Art Team Supreme The Mignola/Russell team’s handiwork in original art form, from issue #2. Courtesy of Heritage Comics Auctions. TM & © DC Comics.

KUPPERBERG: Yeah. GREENBERGER: Was that intentional on your part to vary the tone from when Len and Conway and the others wrote them? KUPPERBERG: Yeah, partly. And partly just my natural inclination that most of my characters have some darkness and it’s who I am … I look at everything through a humorous lens, darkly. So part of it was just my natural inclination. But I was trying to do him differently. I didn’t want him to be striding around with a pseudo-Shakespearian speech pattern and posturing. By the time I got to write the Phantom Stranger, I had spent several years writing Superman and Superboy and Supergirl and Superman newspaper strip and Superman DC Presents and Superman Ehapa German Edition Album stories [Editor’s note: Publisher Ehapa produced original Superman stories for the European market during the early to mid-’80s], and all kinds of superhero stuff on top of that. And superheroes are, no matter how well you do them, they’re never going to be realistic because there’s never been a superhero. In the history of mankind, nobody has ever put on a costume and gone out to fight crime, much less with superpowers. So anything we’d ever do in the realm of superhero comics is, by its very nature, unrealistic. GREENBERGER: Yep. KUPPERBERG: And then there’s that tendency to have what I call “the Ultimate Nullifier Effect.” You write yourself into a corner, it doesn’t matter because you can always pull the Ultimate Nullifier out of your behind and save yourself. “Superman, I thought you were dead.” “I was, but I went to the planet Fonebone and got better.” [Greenberger laughs] He’s always got that, right? GREENBERGER: Sure. KUPPERBERG: But in Phantom Stranger, even though, yes, I was dealing with supernatural elements, in horror, the story isn’t about the monster. It’s about the victim, and the victim is very human. And my stories were 50 • BACK ISSUE • Halloween Issue

about the victim. They weren’t about the Stranger so much. I mean, the miniseries was more about the Stranger, but it was also about Jimmy Olsen, it was also about Jim Gordon, it’s also about Valentina Vostok. And in the Action Comics Weekly series, all the stories were about the victim. They were about this person who something weird was happening to and the Phantom Stranger was the mysterious figure who swept in and used his wisdom and power to save the day. GREENBERGER: That sounds absolutely brilliant. KUPPERBERG: Thank you. I just made it up. GREENBERGER: I’m sure you did, because you do that for a living. You make things up. KUPPERBERG: Yeah, yeah. GREENBERGER: Why do you think it took so long for this story to be collected, considering how well regarded it has been since its publication? KUPPERBERG: I think part of it, there was always kind of a resistance to it on a sales level. I mean, there isn’t a lot of intense Phantom Stranger material out there, certainly not in collections. GREENBERGER: Right. KUPPERBERG: A year or so ago I asked one of DC’s collected editions editors—I believe it was still Bob Joy—why this was never reprinted. And Bob said, “That’s one of the books I’ve always wanted to get done before the move to L.A.,” but DC no longer had the negatives of the miniseries. GREENBERGER: Oh, seriously? It was one of those books? [Interviewer’s note: DC’s foreign department at one time sent the actual film negatives from runs of various titles, rather than duplicate the film. As a result, large numbers of titles saw reprint projects delayed due to lack of material availability or the necessary budget to recreate the artwork.] KUPPERBERG: Seriously. Yes, and it didn’t cost out to recreate the art for that book so it wasn’t getting reprinted. Somebody via Facebook—which sometimes comes in handy and is not always an evil place of whining and complaining—somebody told me they had a British edition of it and someone else pointed out a Spanish edition. I had a pretty good idea how things still worked at DC in those days from personal experience, including the Film Library, so I assumed they had sent the miniseries to those foreign publishers, which likely never returned it. I passed this information on to Scott Nybakken and Bob, and they got in touch with the publisher. And I never heard back from them directly, but then a few months ago, there was an announcement that there was indeed a trade paperback coming of your Secret Origins issue and the four-issue miniseries. That was supposed to come out, I think, early this year, but then got pushed back to the middle of the year— GREENBERGER: Yeah, it’s due in April, I think. KUPPERBERG: —and I think may have disappeared on Amazon since, but I’m not sure. I don’t know if they pulled it and then they’re going to re-list it or what. So I don’t know what the status is of that right now, but I’d be very, very disappointed if they finally didn’t finally get to it. [Interviewer’s note: The miniseries was initially to be collected in 2008 under the title The Phantom Stranger: Heart of a Stranger. Then, The Phantom Stranger was solicited in Fall 2015 for a mid-2016 release, containing the miniseries, Action Comics Weekly #610, 613– 614, 617, 623, 631–634, Secret Origins #10, and DC Comics Presents #72, but was removed from the release schedule. At press time, no new release date had been announced.] Follow writer/editor/educator ROBERT GREENBERGER at bobgreenberger.com.

by M a r c

Buxton

Hello, boys and ghouls, and a very Happy Halloween to you. Care to join me on a journey? It might be a dangerous trip, fraught with tales of nostalgia—of candy stores and newsstands, of the smell of old newsprint in an Age of Bronze. You see, my dear, weary travelers, in this age—this Bronze Age— things had a tendency to get a bit scary, especially in the pages of Marvel Comics. Colorful superheroes were always the order of day at the house that Stan and Jack built, but during the early ’70s, these primaryhued champions of justice had to share the spotlight with some of the greatest monsters to creep, plod, and flap onto a comics page. For the Bronze Age was not just an age of heroes—no, my dearest children of the night, it was an age of monsters. But not every monster is created equal, and while some creatures of the night thrilled at cringing readers, others faded into the darkness to become almost forgotten. Almost forgotten, my dear, brave children, for the tombs of history remain open and it is up to us, the intrepid explorers of comic-book lore, to find the truth about these obscure creeps. All this brings us to the focus of this expedition—the Living Mummy, Marvel’s monster that didn’t make the big time. Yes, sadly, the Living Mummy did not achieve the heights of financial or critical success that some of Marvel’s other monsters did, but it wasn’t for lack of trying, as some of the most innovative and famed creators of the Bronze Age took a shot at Marvel’s mummy. But like all great mummies, there seemed to be a curse surrounding this monster character. So join me on an archeological expedition into yesteryear as we attempt to discover the cause of the curse of the Living Mummy and try to figure out why this creature was the monster that didn’t make it.

THE MYSTERIES OF MARVEL’S MUMMY

N’Kantu Can, Too! Marvel’s shambling monster-hero’s first appearance, in Supernatural Thrillers #5 (Aug. 1973). Cover by Rich Buckler, Frank Giacoia, and John Romita, Sr. TM & © Marvel Characters, Inc.

In that bygone era of bell-bottoms and disco, Marvel had already achieved major success by mining its own versions of the characters of the Universal Films pantheon of classic monsters. Dracula had become a Marvel mainstay in Tomb of Dracula, the House of Ideas found its own tragic Lawrence Talbot-like lycanthrope in Werewolf by Night, and the Frankenstein Monster was thrilling readers in his own eponymous title. Since Marvel found such great degrees of fan love with its own versions of Dracula, Frankenstein, and the Wolf Man, it made sense that the powers-that-be at Marvel decided to dive deeper into the Universal archive of terror. With all due respect to Frankenstein’s blushing bride, the Mummy was the most iconic Universal Monster that Marvel had yet to exploit. This bandage-wrapped terror of the sands starred in five films for Universal (six if you count the rather toothless 1955 horror comedy Abbott and Costello Meet the Mummy) and was a late-night TV monster-mash staple. Hammer Film Productions followed Universal with four garish Mummy flicks of its own, solidifying the Mummy as a true horror icon. And as with most pop-culture trends of the era, Marvel wanted in on the act. But now, as we turn the pages of the Book of Anubis to try and find the secrets of the Living Mummy and answer the question of why this horror staple © Luigi Novi / failed to gain a comic-book audience, we turn our Wikimedia Commons. attentions to the genesis of the character. Like most characters at Marvel, the Living Mummy began with the Man himself. “Stan wanted a mummy character,” the legendary Roy Thomas informed horror aficionados in a 2001 interview with Comic Book Artist entitled “Son of Stan: Roy’s Years of Horror.” “And we couldn’t just call him ‘The Mummy,’ so we came up with The Living Mummy.” So it was Stan Lee that brought the Living Mummy to life, but it was other big Marvel Bullpen names that animated this monster. BACK ISSUE asked Rascally Roy what he remembered about the creation of the Living Mummy, but the creator’s memories were fuzzy in regard to the bandaged monster. When asked exactly what jumped out to him about Marvel’s mummy creation, Thomas replied, “Unfortunately, Halloween Issue • BACK ISSUE • 51

almost nothing… during the period when we were trying to nail down every type of monster ‘hero’ we could in our titles, with vampires, werewolves, the Frankenstein Monster, et al. A mummy seemed a good idea, and we needed a trademark-able name, so The Living Mummy seemed a good bet. I turned it over to the writer, and after that I had relatively little to do with it except to look over the art and finished stories at some point.” But these vagaries make the monster that much more intriguing. In regard to the reasons why the Mummy and other monster mags of the ’70s failed, Thomas told Comic Book Artist back in ’01, “The ones that sank, sank, and the ones that swam, swam.” So even Roy Thomas, master keeper of comic-book history, does not remember the fine details of this monster character. So it seems our expedition might have come to a halt. But let us open another ancient door in the tomb of history and see what we find. Hmm, it seems this ancient

chamber contains the great Rich Buckler, artist extraordinaire. Perhaps he remembers something about his time drawing The Living Mummy. “I had very little to do with The Living Mummy,” Buckler informs BACK ISSUE. “I designed the character and drew the story, but it was mostly Steve Gerber’s baby.” Ah, therein lies the rub—the creator that had the most to do with the Living Mummy is sadly no longer with us. Steve Gerber, the brilliant mind that birthed so many great Marvel tales of the ’70s, was the central creator of the Living Mummy. Maybe only Gerber can tell us for sure what inspired the character or why it ultimately failed. What is for certain is that Gerber infused the Living Mummy strip with the same social awareness and frenetic energy that exemplified all Gerber comics from that era. The most fascinating aspect of The Living Mummy was that Gerber and Marvel did not delve into the usual wells of lore to find their mummy anti-hero. Instead of being the prototypical Egyptian priest, warrior, or pharaoh, the Living Mummy MarvelWikia.com was a former African slave-turnedfreedom fighter doomed to walk the Earth millennia after his death. Now keep in mind, ’70s comics weren’t really known for diversity, not like today, but to go in a different direction than all the Egyptian-inspired Universal and Hammer films was a daring move for Marvel. There was plenty of Egypt to go around, though. Early, the book was set in Egypt and there were Egyptian trappings everywhere, but the Living Mummy was a very different sort of soul, with a background and ethnicity that defied generations of Mummy films. Perhaps the world just wasn’t ready for that sort of breaking of iconic tradition. One wonders if breaking the tropes established in the many Mummy pictures of the 20th Century doomed Marvel’s Mummy to the cancellation pile. But through the lens of history, making the Living Mummy Afro-centric was a daring move on Marvel’s part. Thomas agrees, telling BACK ISSUE that making the Living Mummy black was “probably the writer’s idea… a good one.” Amen, Roy! But none of this gets us closer to the truth. Maybe former Living Mummy artist and fan favorite Val Mayerik can tell us something about Marvel’s Mummy’s beginnings. “I guess I never really knew the origin of the character,” Mayerik tells BACK ISSUE. “All I know is that Rich Buckler drew it before I did.” The artist did tell us that there were some problematic technical aspects of the character, though. “It did become a pain to

Living Mummy, Take One This house ad for Supernatural Thrillers #5 shows the Buckler/Giacoia cover art before its Romita alterations. Compare it against the published version on our opening page—major alterations were a redrawing of the woman’s figure, decay added to the Mummy’s bandages, and the balcony cop’s gun being repositioned to fire at the Mummy instead of his victim. (inset) Spellbound #10, from 1952, with a different Marvel mummy. TM & © Marvel Characters, Inc.

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always have to delineate all those bandages.” Yipes! That sounds like a horror in and of itself. But as to why the character became Marvel’s monster that didn’t make it, Mayerik says, “I don’t know why the Mummy was less popular than the other three characters. Maybe he just wasn’t creepy enough.” Mayerik may have a point, because compared to the horrors in Gene Colan’s Tomb of Dracula or Mike Ploog’s Frankenstein’s Monster, perhaps the single-toned Living Mummy did seem rather tame. Perhaps it was the success of Marvel’s other monsters that overshadowed the Living Mummy. Or perhaps there is more to it than that. Surely, comics living legend and historian Len Wein, the man who created Wolverine and Swamp Thing, has some memories that can help us. We asked Wein how he got the writing gig on The Living Mummy postGerber, and the scribe cryptically replied, “I have absolutely no memory. I was probably the right guy to talk by the right office door at the right minute.” Another historical dead end, kids… it sounds like some of the creators of yesteryear devoured too many tana leaves. But Wein does agree with Mayerik about the Mummy’s Spartan design, saying that “perhaps the fact that the visual itself was rather unexciting” led to the failure to launch of The Living Mummy. However, Wein respectfully adds, “The stories, certainly, were strong enough.” Strong indeed, as Gerber infused the strip with so much atmosphere and energy that other writers couldn’t help but be swept into the atmospheric mists of the Living Mummy’s world. Yet, it wasn’t enough.

SUPERNATURAL THRILLERS

Perhaps a deep dive into the issues themselves might lend us some wisdom to why The Living Mummy was one of Marvel’s least-successful creature features. The Living Mummy burst upon the comic-book horror scene in Supernatural Thrillers #5 (Aug. 1973). Before the bandaged boogieman appeared in the pages of this fright mag, Supernatural Thrillers featured a strange array of adaptations, from Theodore Sturgeon’s 1940 short story It! to H. G. Wells’ 1897 novella The Invisible Man to a sort of sequel to The Legend of Sleepy Hollow entitled The Headless Horseman Rides Again. Legends like Jim Steranko, Roy Thomas, Marie Severin, Gary Friedrich, Gil Kane, and Val Mayerik all brought their A-game to make Supernatural Thrillers one of the classiest creepfests in comics. But in that bygone era, many, many horror anthologies filled the comic-book racks, as monsters and ghouls vied for space with superheroes and almost every other genre imaginable. Marvel seemed to want a stabilizing force for Supernatural Thrillers, so it turned to one of the most iconic monsters in the horror Mount Rushmore, the Mummy. The cover of Supernatural Thrillers #5 speaks to late-night viewings at a cheap grindhouse theatre. Our Mummy, our Living Mummy, is

Bum Wrap The Living Mummy rears his bandaged head in this pulse-pounding splash from Supernatural Thrillers #5. Original Rich Buckler/Frank Chiaramonte art courtesy of Heritage Comics Auctions (www.ha.com). TM & © Marvel Characters, Inc.

rampaging through a modernday city, clutching a buxom black woman in his mighty, bandaged arms. The cover speaks to not only the horror trend of the ’70s but the Blaxploitation trend as well. The cover really pops with garish blurbs promising “The Revenge of the Monster” and warning, “…bullets cannot stop him!” It is an extraordinary piece of business by Rich Buckler, Frank Giacoia, and John Romita, Sr., and even though the artist may not be able to help us discover the secret of our Living Mummy, the cover stands as a testament to the power of this first issue. As we mentioned, this Mummy’s debut was penned by Steve Gerber and right away, Gerber grounds the reader in a sense of modernity and the real world. The first characters we meet are two Israeli fighters, a man and a woman, embedded in Egypt. The two lament the constant state of war that region of the world is suffering, but their meditations on geopolitical strife are soon interrupted by our Mummy. The Living Mummy lashes out at the man but spares the woman. Right out of the gate, Gerber infuses his monster with something that no classic Universal movie mummy had ever really had—a sense of humanity. Traditionally, film mummies have been shambling, emotionless beasts, and other than Boris Karloff’s lament for love lost, this became a trope of the classic mummy legend. But Gerber’s Living Mummy had a sense of honor, and soon that honor would be explained. Gerber then flashes back to ancient Egypt, and this is where Buckler truly shines, as every panel is rendered with an anachronistic energy that is impressive to behold. Through this flashback, Gerber proves that his Living Mummy isn’t your typical mummy. No, this mummy has more in common with Moses or Spartacus than Boris Karloff’s Imhotep or Christopher Lee’s Kharis. Gerber introduces fans to N’Kantu, a mighty Nubian chieftainturned-slave who has sworn to liberate his people Photo by John Tighe. from a cruel pharaoh’s enslavement. N’Kantu leads a revolt and frees his people, killing the pharaoh, but the former slaveturned-savior pays the ultimate price. The pharaoh’s high priest, a man named Nephrus, imprisons N’Kantu and orders his blood replaced with an immortality formula. He binds N’Kantu in tight wrappings and locks Halloween Issue • BACK ISSUE • 53

The Vault of Val (top) While John Romita, Sr. provided this Marvel-icious cover for the Living Mummy’s second appearance in Supernatural Thrillers #7 (June 1974), inside (bottom), artist Val Mayerik offered a gruesome rendition of the monster-hero which included… that damnable eye (with apologies to Poe)! Page 3 from the issue. TM & © Marvel Characters, Inc.

him in a sarcophagus, dooming the savior to an eternity of being buried alive. This is where Gerber goes from comic-book writer to true horror maven as the whole burial sequence is imbued with a sense of pure claustrophobic terror. N’Kantu is buried and an earthquake strikes, killing Nephrus. N’Kantu suffers through his un-life, until he is revived in the modern era. This tale of ancient terror is revealed to readers by one Dr. Skarab, who confides the secret of N’Kantu to his two assistants, Ron and Janice. Gerber doesn’t exactly go out of his way to imbue these two young black students with any sense of character. They are supposed to be allies to N’Kantu, sort of like the Mummy’s Rick Jones, but they kind of just stand around and listen to Skarab. And oh, by the by, Skarab looks exactly like Nephrus. Anyway, things get up to date as N’Kantu rampages around a modern city and puts his impressive strength and invulnerability on display. N’Kantu gets brought down by a stray power line, and we end things with the prone mummy being taken by Skarab. If we are trying to find out why the Living Mummy was Marvel’s monster that didn’t make it, there is nothing in this debut that reveals that ancient riddle. Gerber and Buckler built a true, modern-day monster while juxtaposing many Marvel hero tropes with the traditions of classic horror. N’Kantu was a hero before he was wrapped up in those bandages, and his ethnicity makes him stand out from the myriad mummies that came before.

THE LIVING MUMMY RETURNS

The Living Mummy would rise again in Supernatural Thrillers #7 (June 1974) and mark the beginning of the Living Mummy’s run in the title. For those keeping score at home, issue #6 was the aforementioned Roy Thomas and Gil Kane Headless Horseman yarn, but #7 brought us more N’Kantu goodness. Issue #7 also marked the first of many creative changes for The Living Mummy as Buckler was replaced by Val Mayerik. Maybe this creative shuffling is our next clue to why the Living Mummy failed to find the same success as Dracula or Werewolf by Night. But as of issue #7, we still had the stabilizing force of Gerber, so let us delve into this ancient piece of papyrus I found on eBay. Issue #7 boasts an absolutely killer John Romita, Sr. cover, with a blurb informing that the Living Mummy was back “By popular demand! Now in his own sinister series!” Sadly, this cover does not boast any images of the diverse cast found within the pages of the comic. Instead, the black cast is replaced by generic Caucasians. Half of this issue is spent recapping N’Kantu’s origin, which gives the story the feel of a late-night rerun, but it is fascinating to see the differences between Bucker and Mayerik’s approaches to this tragic tale. Mayerik’s Living Mummy is more detailed, with a grotesque bulging eye and a face twisted with pain. This issue also introduces a new setting as the Living Mummy went from Egypt to New York, and a new status quo for N’Kantu himself as it was revealed that the electricity that laid the Living Mummy low in his first appearance restored the creature to sanity. With this, Gerber had N’Kantu narrate his Courtesy ComicVine. own tale as the Mummy views the sights of a modern-day New York. It was an effective story conceit, as readers got to see this world through N’Kantu’s ancient eyes. Other than that, the issue read like an issue of The Incredible Hulk, as N’Kantu stops a mugging and runs afoul of the NYPD. The Living Mummy goes on a typical misunderstood-hero rampage and disappears down a blind alley.

EARTH, WIND, AND MUMMY

Gerber never got to reveal what happened to N’Kantu after the Living Mummy disappeared in the alley, because with the monster’s third appearance, writer Tony Isabella took over the writing chores of Supernatural Thrillers. And of all the mighty artists and scribes that put quill to parchment to bring N’Kantu to life, Mr. Isabella provides BACK ISSUE with the most insight into the 54 • BACK ISSUE • Halloween Issue

character. On how Isabella landed the Living Mummy gig, the writer tells BACK ISSUE, “I was working at my desk in the editorial department when Roy Thomas told me Steve Gerber was leaving the book. He asked me if I wanted to take it on. I said yes. Things were fairly informal in those days.” With so much not established about N’Kantu, it must have been difficult to follow in Gerber’s very capable footsteps. But Isabella was up for the challenge. “I don’t know if I gave the assignment much thought before I agreed to write it, but if I had, following Steve Gerber, one of my favorite writers, would have been the kind of challenge I loved. I would have also been happy to work with fellow Ohio guy Val Mayerik, because I thought he was a terrific artist.” Isabella was clearly up to the task of breathing life into a cipher like N’Kantu and his first issue, Supernatural Thrillers #8 (Aug. 1974), took things in a very different direction than the much-grounded Gerber issues. On page one of his first issue, Isabella pulled his title character into a strange void. All of a sudden, the sands of Egypt and the dark alleys of New York were far in the rear view as Isabella and Mayerik went very metaphysical. There was just something wonderfully surreal about a mummy floating in space, and when N’Kantu was quickly set upon by creatures made of earth and wind, things got even stranger. Soon, the Living Mummy met four beings known as the Elementals—Hydron: Lord of the Waters, Magnum: Master of the Earth, Hellfire: Wielder of the Flame, and Zephyr: Mistress of the Winds. The four brag to N’Kantu that they once ruled the Earth and would do so again once they got their hands on the Scarlet Scarab. You see, long ago a warrior named Dann and a wizard named Garret forged the mystical Scarlet Scarab to cast the Elementals out of reality. The warrior and wizard succeeded and the four masters of the elements were banished to the nether dimension. Now, if you are a dedicated reader of mags like BACK ISSUE, you probably realize that Dan Garrett was the name of the original Blue Beetle, and this wellplayed little tribute to the classic character almost led to the arrival of a new hero to the Marvel Universe. “It’s been a long time since I’ve read or thought about my Living Mummy run,” Isabella tells BACK ISSUE. “As best as I can recall, the key to defeating the Elementals was N’Kantu joining forces with Dr. Alexi Skarab, the descendent of the evil wizard Nephrus. Professor duo built toward the introduction of the Skarab would have channeled an Scarlet Scarab, a Marvel hero that would ancient Egyptian warrior to become never fully emerge. Now, that name the Scarlet Scarab, Marvel’s version Professor Abdul might ring familiar to some of the Blue Beetle.” Now, let that sink in, X-Men faithful. Abdul was also known classic Marvel fans—through the as the Living Pharaoh, a villain that Living Mummy, Isabella almost merged technology and mysticism gifted the Marvel Universe with a and used Egyptian inspired gadgetry Blue Beetle-inspired hero. Portrait by Michael Netzer. in his attempts to become a modern“The professor would have sacrificed his life in the process,” Isabella continues. “But the day pharaoh. Abdul was last seen being taken down by Egyptian warrior would live and retain the power to the X-Man known as Havok, but now, in Supernatural become the Scarlet Scarab. Though both N’Kantu Thrillers #9, the Living Pharaoh had to take on Marvel’s and the warrior had being out of their own time in latest monster. At the beginning of the issue, N’Kantu common, they would not be able to overcome their broke free of the Elementals and wandered into Abdul’s ancient differences. They would each go their own pyramid. The two fought, with the Mummy winning. way… with the Scarlet Scarab out in the world for use An unrevealed figure made off with the Scarlet Scarab as Isabella planted the seeds for a hero that would never by myself or other Marvel writers.” Fans would have to wait to see more of the Scarlet rise. (Hey, Marvel writers of today, there’s a dangling plot Scarab artifact, as Isabella’s first issue ended with Zephyr thread for you!) The issue ended with Dr. Skarab, Ron, gaining control of N’Kantu and sending him back to and Janice arriving in Egypt, seeking the Living Mummy. Egypt to seize the Scarab from one Professor Abdul. As Isabella informs us, Dr. Skarab was supposed to be Isabella’s saga continued in Supernatural Thrillers #9 instrumental in the arrival of the Scarlet Scarab, but things (Oct. 1974), still drawn by Mayerik, as the creative went in other directions for the Living Mummy.

Mummy’s the Word! Our hero has his wrapped hands full in this fight scene as rendered by Val Mayerik, courtesy of Heritage. From writer Tony Isabella’s first issue, Supernatural Thrillers #8 (Aug. 1974). TM & © Marvel Characters, Inc.

Halloween Issue • BACK ISSUE • 55

It’s Strange, Doc Detail from the cover of ST #11 (Feb. 1975), illo’ed by Frank Brunner, who had just finished his celebrated stint on Dr. Strange. (inset) Cover to #9, by Kane and Milgrom. TM & © Marvel Characters, Inc.

While Isabella’s run was infused with creative energy, it strayed very far from the cultural material that inspired it. At its core, The Living Mummy was a loving tribute to the Mummy films of yesteryear. But Isabella had no nostalgic fervor for the original Mummy films. “I had seen the original Universal movie on Cleveland TV as a youngster, probably hosted by the legendary Ernie Anderson as Ghoulardi, but I had not, at that time, seen any of the Hammer or other Universal films. My inspirations were Steve Gerber’s previous stories of N’Kantu and his informing me that he had no idea where the Living Mummy was going at the end of his final issue. I had to figure out where that portal was taking N’Kantu for the start of my first issue. Unfortunately, I have no memory of how I came up with the idea that the Elementals were on the other side of the portal or how I came up with those villains.” The Gerber influence on Isabella’s work was joyfully obvious as Isabella’s time on The Living Mummy was exemplified by the experimental and unexpected. Perhaps things got a little too experimental as fans coming for a classic take on a horror icon got a potpourri of ideas involving metaphysical beings, old X-Men foes, classic Egyptology, and a tribute to a classic superhero not owned by Marvel. Today, reading these archives of the past, it is fascinating to see men with the creative acumen as Gerber, Mayerik, Buckler, and Isabella try to infuse a tabula rasa character like N’Kantu with a sense of energy and purpose. These books feel like an early melding of some of the elements that would make later Vertigo comics so special, but perhaps early ’70s Marvelites were just not ready for a Mummy character that strayed so far from the expected elements established by Universal.

THE TOMB TALES CONTINUE

But for now, dear, intrepid explorers into history, let us delve deeper into the remaining Living Mummy appearances and see what we find. Issue #10 of Supernatural Thrillers (Dec. 1974) was co-plotted by Len Wein, furthering the creative revolving door on the book. This issue not only continued the quest for the Scarlet Scarab but also featured a flashback to N’Kantu’s past that would have been right at home in an issue of Jungle Action. Plus there was the introduction of Asp, the man who absconded with the Scarlet Scarab, as well as the introduction of a beautiful Israeli soldier named Racha Meyer. The book featured a multi-page battle between N’Kantu and a tank, and listen, a mummy versus a tank is always awesome. The issue also saw Zephyr arrive on Earth in pursuit of N’Kantu and the Scarab. The book turned into a buffet of story elements, but nothing that connected the Living Mummy to his classic horror roots. The book had now become an experimental superhero book starring a tragic hero rather than a Universal Monster riff, and while that may be a fascinating direction to look back upon, perhaps it was off-putting for readers of the day. Issue #11 (Feb. 1975) saw Isabella back as a solo writing act, and overflowing with story elements. Through a two-page illustrated text sequence, Isabella told the origin of Asp, a lifelong conman trying to make one last big score with the Scarlet Scarab. The issue saw Zephyr arrive on Earth and take control of N’Kantu, plus saw the return of Dr. Skarab and the arrival of the rest of the Elementals to punish the treacherous Zephyr. Isabella certainly was world-building The Living Mummy’s little corner of the Marvel Universe and 56 • BACK ISSUE • Halloween Issue

creating a supporting cast as rich and diverse as the one Marv Wolfman and Gene Colan introduced in the much more commercially successful horror mag Tomb of Dracula. At this point, the book had story direction but continued to vacillate between experimental superhero book and monster yarn. Things continued in issue #12 (Apr. 1975), where Isabella got to go big. This issue featured our entire cast going up against the Elementals in Cairo, Egypt. This issue was Isabella at his most ambitious, but it also cast the Living Mummy in a supporting role to many other characters like Zephyr, Asp, and Dr. Skarab. Fans coming for the Mummy got a sweeping action adventure that saw the entire city of Cairo get encased in an elemental bubble (hey, Isabella did Under the Dome decades before Stephen King). As we delve into the shadows of history, my dear, adventurous children, perhaps the fact that The Living Mummy was more a pulpish adventure anthology rather than a straight-up mummy tale caused readers to abandon ship. It’s a shame, really, because as Isabella’s run began winding down, it kept getting bigger. Issue #13 (June 1975) saw the Mummy and Ron struggle to free Zephyr, Asp, and Asp’s pal Olddan from the grasp of Hydron. Again, this was a very exciting issue that gave the reader a worldview of the action happening inside Cairo. Isabella paralleled the geopolitical turmoil of the Middle East with the Mummy-versusElemental conflict happening within the pages of Supernatural Thrillers. Ron and Zephyr got most of the action as N’Kantu remained somewhat of a bystander. As we said, all mummies come with a curse, and that old curse of creative inconstancy struck N’Kantu once again. Isabella was building quite the epic with many moving parts, but in issue #14 of Supernatural Thrillers (Aug. 1975), Isabella was conspicuous by his absence. Instead, Mayerik plotted and drew the issue, with scripting from John Warner. It seems that today, Isabella regrets not giving N’Kantu enough creative attention. “I had ambitious plans for the Living Mummy that I never achieved,” Isabella confides. “I was doing a ridiculous amount of editorial and writing work for Marvel. I was a young man living in New York City and trying to live life large. I didn’t always make the best business and personal choices. All those factors got in the way of my taking The Living Mummy as far as I had hoped I could take it.” With all due respect to Mayerik and Warner, issue #14 suffered from Isabella’s absence. In fairness to Mayerik, the issue maintained the artistic quality as the rest of the series, but it lacked Isabella’s attention to detail. But there is some good stuff to sink our adventure-seeking teeth into, from a flashback of N’Kantu being taken into slavery to Dr. Skarab gaining contact with his ancestor Nephrus—Isabella left enough story fuel to move things forward.

own with Zephyr and Olddan. The Living Mummy was once again an observer in his own book, as the series concluded with others taking the spotlight. The issue’s letters page announced the cancellation of the title due to low sales and ended with a promise that Len Wein would revisit N’Kantu’s adventures in the pages of Incredible Hulk. This would have been a monster mash up for the ages, but, alas, it was never to happen. Fans will never know what would have happened if Isabella had stayed on the book, but Isabella provides some delicious hints: “I wasn’t sure what I would do with N’Kantu after that. I had this vague idea he’d kind of sort of but not really be like a mummified Doc Savage with his aides consisting of the Asp, Miles Olddan, Ron McCallister, Janice Carr, and sometimes Zephyr. I recall I intended to keep the series in Egypt and other parts of the Middle East and Africa. The US already had plenty of heroes.” Oh, my dear, brave children, my explorers into comic-book history, a Doc Savage-inspired mummy comic? Yeah, that sounds like something we would

Fear the Stalking Dead The hand-colored cover color guide to Supernatural Thrillers #13 (June 1975). The cover colorist is uncredited, but the interior story was colored by Janice Cohen. Cover art by Gil Kane and Mike Esposito. TM & © Marvel Characters, Inc.

IT’S A WRAP FOR THE LIVING MUMMY

But things would soon come to a close for N’Kantu as issue #15 (Oct. 1975) would be the final chapter for both The Living Mummy and for Supernatural Thrillers. This issue was penned by John Warner, with art by Tom Sutton. Now, both consistent guiding forces behind The Living Mummy—Isabella and Mayerik—were gone, and two newcomers to the book were left to put a bow on the war between the Elementals and the Living Mummy’s crew. With Isabella and Mayerik gone, all their carefully tied threads became undone. The war with the Elementals ended with a very typical superhero slugfest, no one becoming the Scarlet Scarab, and the denouncement of the whole story dealt with Asp stealing the Scarab and going off on adventures of his Halloween Issue • BACK ISSUE • 57

Walk Like An Egyptian (left) Look who dropped in on Marvel Two-in-One #95 (Jan. 1983)! Cover by Ron Wilson and Chic Stone. (right) Alicia gets a calling on this original art page. By David Anthony Kraft, Alan Kupperberg, and Jon D’Agostino.

certainly have been very interested in, but it was never to be as Supernatural Thrillers came to an abrupt conclusion with the Living Mummy playing second fiddle to his own supporting players. When the Living Mummy did appear again, it was in a team-up with a different Marvel monster. In Marvel Two-in-One #95 (Jan. 1983), N’Kantu teamed with Ben Grimm, a.k.a. the ever-lovin’, blue-eyed Thing. At this point, Marvel Two-in-One was a sort of way station for forgotten heroes, and with issue #95, it was N’Kantu’s turn. Other than the Living Pharaoh, this was the Living Mummy’s first interaction with another Marvel U character. The issue was scripted by David Anthony Kraft and penciled by Alan Kupperberg. The only element from Supernatural Thrillers that made it into this issue was Nephrus, the high priest that cursed N’Kantu with immortality. This issue opened with Alicia Masters, Ben Grimm’s best gal, receiving a crown that transformed her into the bride of Nephrus. Alicia absconded to Egypt, where she met up with an Egyptologist possessed by Nephrus himself. The Thing had to team with the Living Mummy in order to free Alicia and save Egypt. The Thing and the Living Mummy sadly did not have much face-to-face time, nor did they engage in a monster-size brawl, and the whole thing was wrapped up neatly by issue’s end with N’Kantu wandering back into the desert. It wasn’t the most memorable issue of Marvel Two-in-One, but it served as reminder that the Living Mummy was still wandering the sands of the Marvel Universe. Which brings us to the end of this journey, my brave explorers into the unknown. So, why did the Living Mummy become Marvel’s monster that didn’t make it? Why did N’Kantu fail when Dracula, Frankenstein, and Werewolf by Night enjoyed success in the Bronze Age? Tony Isabella, the man who guided N’Kantu through the Mummy’s greatest adventures, has a few ideas. “The monster-hero cycle had already peaked,” Isabella postulates. “The three titles you list were the first wave of Marvel’s creature features. None of the later titles lasted for long.” But Isabella believes there is still hope for N’Kantu and his extended cast. “As is the way of Marvel, nothing is ever gone for good. Even the Manphibian, who appeared in exactly one 1970s story in an obscure black-and-white magazine, is still around today as a member of the Howling Commandos of S.H.I.E.L.D.” As for Isabella himself, the prolific writer laments that he did not stick with Marvel’s Mummy longer. “One of my co-workers was a prolific and talented writer,” Isabella remembers. “He really loved my work on The Living Mummy and on the horror stories I was writing for Marvel’s black-and-white magazines. This writer’s theory of comics writing was that you could and should give one of your books your all and be content with doing decent work on the others. In retrospect, he did just that. One of his books is a classic and it still holds up today. The others… not so 58 • BACK ISSUE • Halloween Issue

much. Had I embraced his theory, The Living Mummy would’ve been my ‘give it your all’ book. I had a steady artist in Val Mayerik and he was perfect for the title. Because The Living Mummy was set in the odd corners of the Marvel Universe, it did not need to tie in with the mainstream superheroes. I thought Val and I could if not give Len Wein and Bernie Wrightson’s Swamp Thing a run for its money, prove worthy of playing on the same field.” Whether N’Kantu could have given Swamp Thing a run for his money if Isabella stayed on the project will never be known. But what is known is that the Living Mummy may have failed to make a monstrous impact on the Marvel U in the ’70s, but that does not mean that N’Kantu has faded into complete obscurity. In recent years, the Living Mummy has appeared in Punisher, in Daredevil, and even on a special Halloween episode of Disney XD’s animated Ultimate Spider-Man, proving that great monsters can never die. And a reread of Gerber, Buckler, Isabella, and Mayerik’s issues of The Living Mummy proves that despite a lackluster response compared to the other Marvel monsters, N’Kantu the Living Mummy was almost a truly great monster who starred in some daring and experimental stories. So keep watching the sands, my intrepid explorers into Bronze Age history, and beware the beat of his cloth-wrapped feet, because when we least expect it, perhaps N’Kantu the Living Mummy will live again! MARC BUXTON is a proud contributor to websites like Comic Book Resources and Den of Geek US. He is an English teacher, and Marc’s loving wife thinks he owns way too many comic books. Marc has been reading comics since the dawn of time and is still deeply in love with every era of the great medium.

TM & © Marvel Characters, Inc.

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MARVEL BRONZE AGE HORROR REPRINT SERIES INDEX

by J a r r o d

[Editor’s note: The sheer volume of reprint series published by Mighty Marvel during the Bronze Age prohibits their indexes from appearing in a single issue of BACK ISSUE. Jazzy Jarrod Buttery has indexed them all, however, and the following index of Marvel’s horror titles continues his superhero and adventure series index presented in BI #86. Jarrod’s indexes of Marvel Western, war, romance, and humor reprints will appear in future editions.]

Cover artists: Ron Wilson and Mike Esposito Editor: Roy Thomas New story: • “Prey For Keeps” Reprints: • “Death Notice!” from Mystic #10 (July 1952) • “I Am the Prisoner of the Voodoo King!” from Journey into Mystery #82 (July 1962)

BEWARE! #1 Mar. 1973 Cover artist: Bill Everett Editor: Roy Thomas Reprints: • “The Werewolf was Afraid!” from Menace #8 (Oct. 1953) • “Too Human to Live!” from Spellbound #16 (Aug. 1953) • “On the Trail of the Witch!” from Tales of Suspense #27 (Mar. 1962) • “Behind the Door” from Spellbound #16 (Aug. 1953) BEWARE! #2 May 1973 Cover artist: John Romita, Sr. Editor: Roy Thomas Reprints: • “Blind Date” from Strange Tales #9 (Aug. 1952) • “O’Malley’s Friend” from Strange Tales #11 (Oct. 1952) • “No Answer” from Astonishing #56 (Dec. 1956) • “The Man from Mars” from Strange Tales #9 (Aug. 1952) • “The Voice of Doom!” from Strange Tales #9 (Aug. 1952)

BEWARE! #5 Nov. 1973 Cover artists: Ron Wilson, John Romita, Sr., and Mike Esposito Editor: Roy Thomas Reprints: • “The Old Lady’s Son” from Mystic #5 (Jan. 1952) • “The Horrible House!” from Adventures into Terror #27 (Jan. 1954) • “Bong!” from Mystic #19 (Apr. 1953) • “You Can Only Die Once!” from Adventures into Terror #8 (Feb. 1952) BEWARE! #6 Jan. 1974 Cover artists: Ron Wilson and Mike Esposito Editor: Roy Thomas Reprints: • “The Deadly Plague!” from Mystery Tales #25 (Jan. 1955) • “Hex!” from Adventures into Terror #14 (Winter 1952) • “Mirror, Mirror on the Wall!” from Mystery Tales #25 (Jan. 1955) • “The Little People” from Adventures into Terror #14 (Winter 1952) BEWARE! #7 Mar. 1974 Cover artists: Bill Everett and Marie Severin Editor: Roy Thomas Reprints: • “Double Feature” from Mystic #30 (May 1954) • “The Storm Walkers!” from Mystic #59 (May 1957) • “The Secret of the Haunted Picture” from Mystical Tales #7 (June 1957)

• “When Warren Woke Up!” from Marvel Tales #138 (Sept. 1955) • “The Lonely Man” from Marvel Tales #126 (Aug. 1954) BEWARE! #8 May 1974 Cover artist: John Romita, Sr. Editor: Roy Thomas Reprints: • “The Helping Hand!” from Marvel Tales #129 (Dec. 1954) • “The Black Dungeon” from Mystic #2 (May 1951) • “The Thing That Stalks Skull Valley!” from Mystic #37 (May 1955) • “They Walk Thru Walls!” from Astonishing #56 (Dec. 1956) CHAMBER OF CHILLS #1 Nov. 1972 Cover artists: Gil Kane and Tom Palmer Editor: Roy Thomas New stories: • “Moon of Madness, Moon of Fear!” • “Delusion for a Dragon Slayer!” Reprints: • “They Wait in Their ... Dungeon!” from Menace #1 (Mar. 1953) CHAMBER OF CHILLS #5 July 1973 Cover artists: Rich Buckler and Tom Palmer Editor: Roy Thomas New stories: • “The Devil’s Dowry!” • “Haunt and Run!” • “A Tomb by Any Other Name!” Reprints: • “It Can’t Miss” from Journey into Mystery #1 (June 1952) CHAMBER OF CHILLS #6 Sept. 1973 Cover artist: John Romita, Sr. Editor: Roy Thomas New story: • “Somewhere Under This Earth!!” • “Where There’s a Will” Reprints: • “A Sight for Sore Eyes” from Spellbound #13 (Mar. 1953) CHAMBER OF CHILLS #7 Nov. 1973

CHAMBER OF CHILLS #8 Jan. 1974 Cover artists: Marie Severin and Ernie Chan Editor: Roy Thomas Reprints: • “She Wouldn’t Stay Dead!” from Mystic #6 (Jan. 1952) • “I Wait in the Dungeon!” from Marvel Tales #117 (Aug. 1953) • “Jerry’s New Job” from Marvel Tales #117 (Aug. 1953) • “Terror in the North!” from Marvel Tales #117 (Aug. 1953) CHAMBER OF CHILLS #9 Mar. 1974 Cover artists: Carl Burgos, Ron Wilson, and Marie Severin Editor: Roy Thomas Reprints: • “The Man Who Changed” from Uncanny Tales #11 (Aug. 1953) • “I Can’t Stop Running!” from Mystery Tales #11 (May 1953) • “One Who Dared” from Mystic #41 (Nov. 1955) • “The Test!” from Mystic #41 (Nov. 1955) CHAMBER OF CHILLS #10 May 1974 Cover artist: Carl Burgos Editor: Roy Thomas Reprints: • “The Lost City” from Journey Into Unknown Worlds #17 (Apr. 1953) • “Harry’s Hideout” from Journey Into Unknown Worlds #17 (Apr. 1953) • “The Man Who Melted!” from Astonishing #36 (Dec. 1954) • “Uncle Gideon’s Gold” from Marvel Tales #117 (Aug. 1953) • “Mother Knows Best” from Mystic #23 (Sept. 1953) CHAMBER OF CHILLS #11 July 1974 Cover artists: Ron Wilson and Frank Giacoia Editor: Roy Thomas TM & © Marvel Characters, Inc.

BEWARE! #3 July 1973 Cover artists: Rich Buckler and Joe Sinnott Editor: Roy Thomas Reprints: • “Don’t Ever Gyp a Gypsy” from Mystery Tales #14 (Aug. 1953) • “The Man Who Ran Away” from Adventures into Terror #27 (Jan. 1954) • “Today I Am a Man” from Mystery Tales #14 (Aug. 1953) • “Marion’s Murderer” from Mystery Tales #14 (Aug. 1953)

BEWARE! #4 Sept. 1973 Cover artist: Gil Kane Editor: Roy Thomas Reprints: • “Horror on Haunted Hill!” from Adventures into Weird Worlds #14 (Jan. 1953) • “Forever Is a Long Time!” from Adventures into Weird Worlds #14 (Jan. 1953) • “A Shriek in the Night” from Adventures into Weird Worlds #14 (Jan. 1953) • “The Man Who Walked on Water!” from Adventures into Weird Worlds #14 (Jan. 1953)

Buttery

60 • BACK ISSUE • Halloween Issue

CHAMBER OF CHILLS #12 Sept. 1974 Cover artists: Larry Lieber and Frank Giacoia Editor: Roy Thomas Reprints: • “The Ice Monster Cometh” from Journey Into Unknown Worlds #17 (Apr. 1953) • “The Old Man’s Secret!” from Adventures into Weird Worlds #16 (Mar. 1953) • “Beware… the Bees!” from Mystic #7 (Mar. 1952) • “The Toy Train” from Mystic #25 (Dec. 1953) CHAMBER OF CHILLS #13 Nov. 1974 Cover artists: Larry Lieber and Frank Giacoia Editor: Roy Thomas Reprints: • “When the Creature Escapes” from World of Suspense #7 (Apr. 1957) • “Missing Persons!” from Mystery Tales #18 (Mar. 1954) • “The Hex!” from Adventure Into Mystery #4 (Nov. 1956) • “Trapped by the Little Men” from Astonishing #60 (Apr. 1957) • “Honest Abe” from Mystery Tales #29 (May 1955) CHAMBER OF CHILLS #14 Jan. 1975 Cover artists: Gil Kane and Al Milgrom Editor: Roy Thomas Reprints: • “Men with Fangs!” from Suspense #25 (Dec. 1952) • “Emily” from Marvel Tales #128 (Nov. 1954) • “Prophet of Doom!” from Strange Tales of the Unusual #9 (Apr. 1957) • “I Come from the Shadow World!” from Tales of Suspense #7 (Jan. 1960) CHAMBER OF CHILLS #15 Mar. 1975 Cover artist: Ron Wilson Editor: Irene Vartanoff

Reprints: • “The Eyes!” from Adventures into Weird Worlds #2 (Feb. 1952) • “The Witch of Landoor” from Uncanny Tales #7 (Apr. 1953) • “Rodeo!” from Menace #3 (May 1953) • “I Was Locked in a ... Haunted House!” from Uncanny Tales #7 (Apr. 1953) CHAMBER OF CHILLS #16 May 1975 Cover artists: Gil Kane and Tom Palmer Editor: Irene Vartanoff Reprints: • “The Room without a Door” from Strange Tales #5 (Feb. 1952) • “Do Not Feed” from Adventures into Weird Worlds #9 (Aug. 1952) • “Masquerade Party” from Strange Tales #83 (Apr. 1961) CHAMBER OF CHILLS #17 July 1975 Cover artists: Ron Wilson and Frank Giacoia Editor: Irene Vartanoff Reprints: • “The Thing in the Locked Room” from Tales of Suspense #29 (May 1962) • “Mystery in Midville” from Uncanny Tales #54 (Apr. 1957) • “Once a Werewolf” from Astonishing #33 (June 1954) • “Good-Bye Forever” from Adventure Into Mystery #3 (Sept. 1956) CHAMBER OF CHILLS #18 Sept. 1975 Cover artist: Ron Wilson Editor: Irene Vartanoff Reprints: • “I Found Monstrom! The Dweller in the Black Swamp!” from Tales to Astonish #11 (Sept. 1960) • “The Day Harrington Died!” from Astonishing #11 (Spring 1952) • “The Specimen!” from Mystery Tales #9 (Mar. 1953) CHAMBER OF CHILLS #19 Nov. 1975 Cover artist: Ron Wilson Editor: Irene Vartanoff Reprints: • “Look Out!! Here Come the ... Four-Armed Men!” from Tales to Astonish #26 (Dec. 1961) • “Dream World!” from Tales to Astonish #26 (Dec. 1961) • “My Brother Must Die” from Men’s Adventures #21 (May 1953)

CHAMBER OF CHILLS #20 Jan. 1976 Cover artists: Ron Wilson and Dan Adkins Editor: Irene Vartanoff Reprints: • “Killer at Large!” from Crimefighters #10 (Nov. 1949) • “The Midnight Visitor!” from Mystic #57 (Mar. 1957) • “Madness in the Morgue!” from Men’s Adventures #26 (Mar. 1954) CHAMBER OF CHILLS #21 Mar. 1976 Cover artists: Ed Hannigan and Tom Palmer Editor: Roger Stern Reprints: • “Put Another Nickel In!!!” from Chamber of Darkness #6 (Aug. 1970) • Venus in “Tidal Wave of Fear” from Venus #18 (Feb. 1952) • “The Girl with the Evil Eyes!” from Astonishing #63 (Aug. 1957) CHAMBER OF CHILLS #22 May 1976 Cover artists: Larry Lieber and Tom Palmer Editor: Roger Stern Reprints: • “A Change of Mind!” from Chamber of Darkness #6 (Aug. 1970) • “The Face in the Mirror” from Uncanny Tales #18 (Mar. 1954) • “He Walked Through Walls!” from Tales to Astonish #26 (Dec. 1961) CHAMBER OF CHILLS #23 July 1976 Cover artists: Ron Wilson and Al Milgrom Editor: Roger Stern Reprints: • “Where Lurks the Ghost!” from Tales to Astonish #25 (Nov. 1961) • “Bat’s Tale” from Marvel Tales #113 (Apr. 1953) • “The Men in the Morgue” from Adventures into Terror #28 (Feb. 1954) • “Gorilla Man” from Men’s Adventures #26 (Mar. 1954) CHAMBER OF CHILLS #24 Sept. 1976 Cover artists: Al Milgrom and Michael Nasser Editor: Roger Stern

Reprints: • “The Underground Gambit!” from Creatures on the Loose #11 (May 1971) • “The Man Who Isn’t There” from Marvel Tales #113 (Apr. 1953) • “A Monster Waits Outside!!” from Tales to Astonish #12 (Oct. 1960) CHAMBER OF CHILLS #25 Nov. 1976 Cover artist: Don Perlin Editor: Roger Stern Reprints: • “The Unbelievable Menace of Moomba” from Tales to Astonish #23 (Sept. 1961) • “I Was Trapped on the Ghost Ship!” from Strange Tales #72 (Dec. 1959) [Editor’s note: Chamber of Darkness #1–5 feature new stories and no reprints.] CHAMBER OF DARKNESS #6 Aug. 1970 Cover artists: Marie Severin and Bill Everett Editor: Stan Lee New stories: • “A Change of Mind!” • “Put Another Nickel In!!!” Reprints: • “I Dared to Defy Merlin’s Black Magic!” from Strange Tales #71 (Oct. 1959) CHAMBER OF DARKNESS #7 Oct. 1970 Cover artist: Bernie Wrightson Editor: Stan Lee New story: • “Gargoyle Every Night” • “Mastermind” Reprints: • “I Wore… the Mask of Drothor!” from Tales to Astonish #11 (Sept. 1960) • “I Found the Abominable Snowman!” from Tales to Astonish #13 (Nov. 1960) CHAMBER OF DARKNESS #8 Dec. 1970 Cover artist: Bernie Wrightson Editor: Stan Lee New story: • “Believe It… Or Not!” • “Mastermind” Reprints: • “I Am the Invisible!” from Tales to Astonish #15 (Jan. 1961) • “A Thousand Years Later…” from Strange Tales #90 (Nov. 1961) • “The Beast That Walks Like a Man!” from Tales to Astonish #14 (Dec. 1960) TM & © Marvel Characters, Inc.

Reprints: • “The Ghoul!” from Adventures into Weird Worlds #10 (Sept. 1952) • “Back From the Dead!” from Tales of Suspense #28 (Apr. 1962) • “Torture Room” from Adventures into Terror #4 (June 1951) • “Werewolf!” from Menace #3 (May 1953)

Halloween Issue • BACK ISSUE • 61

CHAMBER OF DARKNESS SPECIAL #1 Jan. 1972 Cover artist: John Romita, Sr. Editor: Stan Lee Reprints: • “It’s Only Magic!” from Chamber of Darkness #1 (Oct. 1969) • “Mr. Craven Buys His Scream House!” from Chamber of Darkness #1 (Oct. 1969) • “Always Leave ’Em Laughing!” from Chamber of Darkness #1 (Oct. 1969) • “The Face of Fear!” from Chamber of Darkness #2 (Dec. 1969) • “The Day of the Red Death!” from Chamber of Darkness #2 (Dec. 1969) [Editor’s note: Creatures on the Loose retitled from Tower of Shadows. Issue #29 features no reprints and is not indexed.] CREATURES ON THE LOOSE #10 Mar. 1971 Cover artists: Herb Trimpe and Marie Severin Editor: Stan Lee New story: • King Kull in “The Skull of Silence!” Reprints: • “Trull! The Unhuman!” from Tales to Astonish #21 (July 1961) CREATURES ON THE LOOSE #11 May 1971 Cover artists: Jack Kirby, Dick Ayers, and Marie Severin Editor: Stan Lee New story: • “The Underground Gambit!” Reprints: • “The Unbelievable Menace of Moomba” from Tales to Astonish #23 (Sept. 1961) CREATURES ON THE LOOSE #12 July 1971 Cover artists: Jack Kirby, Dick Ayers, and Marie Severin Editor: Stan Lee New story: • “Master and Slave!!” Reprints: • “I Was Captured by Korilla!” from Journey into Mystery #69 (June 1961)

CREATURES ON THE LOOSE #14 Nov. 1971 Cover artists: Jack Kirby and Paul Reinman Editor: Stan Lee Reprints: • “What Happened in… Dead Storage?” from Tales to Astonish #33 (July 1962) • “What Was the Staggering Secret of the 13th Floor” from Tales to Astonish #30 (Apr. 1962) • “Forewarned is Four-Armed!” from Chamber of Darkness #2 (Dec. 1969) CREATURES ON THE LOOSE #15 Jan. 1972 Cover artists: Gil Kane and Joe Sinnott Editor: Stan Lee Reprints: • “Spragg, Conqueror of the Human Race!” from Journey into Mystery #68 (May 1961) • “Where Lurks the Ghost!” from Tales to Astonish #25 (Nov. 1961) • “Help!” from Tales to Astonish #22 (Aug. 1961) CREATURES ON THE LOOSE #16 Mar. 1972 Cover artists: Gil Kane and Bill Everett Editor: Stan Lee New story: • Gullivar Jones in “Warrior of Mars!” Reprints: • “The Impossible Tunnel!” from Strange Tales #96 (May 1962) • “The Frightened Man!” from Tales to Astonish #33 (July 1962) Special feature: • “Gullivar Jones: The First Man on Mars?” text page by Roy Thomas CREATURES ON THE LOOSE #17 May 1972 Cover artist: Gil Kane Editor: Stan Lee New story: • Gullivar Jones in “River of the Dead!”

Reprints: • “What? What? What Was Gargantus!” from Strange Tales #80 (Jan. 1961) • “The Things From Dimension X!” from Strange Tales #80 (Jan. 1961) CREATURES ON THE LOOSE #18 July 1972 Cover artists: Gil Kane and Joe Sinnott Editor: Stan Lee New story: • Gullivar Jones in “Wasteland— on a Weirdling World!” Reprints: • “Under the Knife!” from Adventures into Terror #11 (Aug. 1951) • “What Lurks in the Mountain?” from Tales of Suspense #17 (May 1961) CREATURES ON THE LOOSE #19 Sept. 1972 Cover artists: Gil Kane and Frank Giacoia Editor: Roy Thomas New story: • Gullivar Jones in “The Long Road to Nowhere!” Reprints: • “The Creature from Krangro” from Tales of Suspense #30 (June 1962) • “Going Down!” from Tales of Suspense #23 (Nov. 1961) CREATURES ON THE LOOSE #20 Nov. 1972 Cover artist: Gil Kane Editor: Roy Thomas New story: • Gullivar Jones in “What Price Victory?” Reprints: • “Only One is Human!” from Tales of Suspense #22 (Oct. 1961) • “For Whom the Drum Beats!” from Tales to Astonish #22 (Aug. 1961) CREATURES ON THE LOOSE #21 Jan. 1973 Cover artist: Jim Steranko Editor: Roy Thomas New story: • Gullivar Jones in “Two Worlds to Win!” Reprints: • “I Was a Prisoner of the Martians!” from Tales to Astonish #4 (July 1959) • “The Green Thing!” from Tales of Suspense #51 (Mar. 1964)

CREATURES ON THE LOOSE #22 Mar. 1973 Cover artist: Jim Steranko Editor: Roy Thomas New story: • Thongor in “Thongor! Warrior of Lost Lemuria!” Reprints: • “Gundar!” from Tales of Suspense #39 (Mar. 1963) Special feature: • “Special Swashbuckling Pronouncement” text column in letters page introducing Thongor CREATURES ON THE LOOSE #23 May 1973 Cover artist: John Romita, Sr. Editor: Roy Thomas New story: • Thongor in “Where Broods the Demon!” Reprints: • “The Coming of the Giants!” from Tales of Suspense #34 (Oct. 1962) CREATURES ON THE LOOSE #24 July 1973 Cover artists: John Romita, Sr. and Ernie Chan Editor: Roy Thomas New story: • Thongor in “Red Swords, Black Wings!” Reprints: • “The Lighthouse from Nowhere!” from Strange Tales #87 (Aug. 1961) CREATURES ON THE LOOSE #25 Sept. 1973 Cover artists: Gil Kane and Frank Giacoia Editor: Roy Thomas New story: • Thongor in “The Wizard of Lemuria!” Reprints: • “When the Eggs Hatch!” from Journey into Unknown Worlds #53 (Jan. 1957) CREATURES ON THE LOOSE #26 Nov. 1973 Cover artist: John Romita, Sr. Editor: Roy Thomas New story: • Thongor in “Tower of the Serpent-Women!” Reprints: • “The Eyes of Mala-Tor” from Astonishing #59 (Mar. 1957)

TM & © Marvel Characters, Inc.

CREATURES ON THE LOOSE #13 Sept. 1971 Cover artists: Jack Kirby, Dick Ayers, and Marie Severin Editor: Stan Lee

New story: • “Where Walks the Werewolf!” Reprints: • “I Was Captured by the Creature from Krogarr!” from Tales to Astonish #25 (Nov. 1961) • “Midnight on Haunted Hill” from Tales to Astonish #28 (Feb. 1962)

62 • BACK ISSUE • Halloween Issue

CREATURES ON THE LOOSE #28 Mar. 1974 Cover artist: John Romita, Sr. Editor: Roy Thomas New story: • Thongor in “Mountain Thunder!” Reprints: • “No Sign of Life” from Amazing Adult Fantasy #10 (Mar. 1962) CREATURES ON THE LOOSE #30 July 1974 Cover artists: Gil Kane and John Romita, Sr. Editor: Roy Thomas New story: • Man-Wolf in “Full Moon, Dark Fear!” Reprints: • “Joe’s Weak Spot” from Uncanny Tales #11 (Aug. 1953) CREATURES ON THE LOOSE #31 Sept. 1974 Cover artists: Gil Kane, Mike Esposito, and Frank Giacoia Editor: Roy Thomas New story: • Man-Wolf in “The Beast Within!” Reprints: • “The Walking Dead!” from Astonishing #10 (Mar. 1952) CREATURES ON THE LOOSE #32 Nov. 1974 Cover artist: John Romita, Sr. Editor: Roy Thomas New story: • Man-Wolf in “Moon of the Hunter!” Reprints: • “A Matter of Life or Death!” from Strange Tales of the Unusual #9 (Apr. 1957) CREATURES ON THE LOOSE #33 Jan. 1975 Cover artists: Gil Kane, Klaus Janson, and John Romita, Sr. Editor: Roy Thomas New story: • Man-Wolf in “Deathgame!” Reprints: • “The Stooge” from Uncanny Tales #6 (Mar. 1953)

CRYPT OF SHADOWS #1 Jan. 1973 Cover artists: Gil Kane and Tom Palmer Editor: Roy Thomas Reprints: • “Midnight on Black Mountain” from Journey into Mystery #17 (Aug. 1954) • “Where Monsters Dwell” from Adventures into Terror #1 (Dec. 1951) • “Don’t Look!” from Journey into Mystery #2 (Aug. 1952) • “The Scarecrow” from Journey into Mystery #2 (Aug. 1952) CRYPT OF SHADOWS #2 Mar. 1973 Cover artists: Jim Starlin and Bill Everett Editor: Roy Thomas Reprints: • “The Death of Danny!” from Journey into Mystery #17 (Aug. 1954) • “The Man Who Couldn’t Move” from Menace #1 (Mar. 1953) • “Innocent Bystander” from Journey into Mystery #5 (Feb. 1953) • “Going… Down!” from Adventures into Terror #7 (Dec. 1951) • “Thru the Door” from Journey into Mystery #2 (Aug. 1952) CRYPT OF SHADOWS #3 May 1973 Cover artist: John Romita, Sr. Editor: Roy Thomas Reprints: • “The Devil and Donald Webster” from Strange Tales #11 (Oct. 1952) • “The Strange Game” from Strange Tales #9 (Aug. 1952) • “Darkness” from Strange Tales #11 (Oct. 1952) • “Walking Ghost” from Strange Tales #11 (Oct. 1952) CRYPT OF SHADOWS #4 July 1973 Cover artist: John Romita, Sr. Editor: Roy Thomas Reprints: • “Locked Up!” from Adventures into Weird Worlds #9 (Aug. 1952) • “The Big Story!” from Adventures into Terror #27 (Jan. 1954) • “The Screaming Man” from Adventures into Terror #27 (Jan. 1954) • “Joe…” from Adventures into Terror #7 (Dec. 1951)

CRYPT OF SHADOWS #5 Sept. 1973 Cover artists: Ron Wilson and Mike Esposito Editor: Roy Thomas Reprints: • “I Die Too Often” from Adventures into Terror #17 (Mar. 1953) • “The Man Who Steals Gravestones!” from Adventures into Weird Worlds #14 (Jan. 1953) • “Red as a Lobster” from Adventures into Terror #17 (Mar. 1953) • “Half Man, Half…?” from Menace #10 (Mar. 1954) CRYPT OF SHADOWS #6 Oct. 1973 Cover artists: Gil Kane and Ernie Chan Editor: Roy Thomas Reprints: • “Don’t Bury Me Deep!” from Adventures into Weird Worlds #5 (Apr. 1952) • “Every Dog Has His Day!” from Mystic #23 (Sept. 1953) • “A Thousand Years” from Journey into Mystery #70 (July 1961) • “Fast Freight” from Mystic #19 (Apr. 1953) CRYPT OF SHADOWS #7 Nov. 1973 Cover artists: Mike Ploog and Herb Trimpe Editor: Roy Thomas Reprints: • “The Haunting of Bluebeard!” from Mystic #10 (July 1952) • “Death and Tommy Norton” from Mystic #11 (Aug. 1952) • “The Man Who Saw Tomorrow” from Mystic #10 (July 1952) • “The Twin!” from Mystery Tales #14 (Aug. 1953) CRYPT OF SHADOWS #8 Jan. 1974 Cover artist: Russ Heath Editor: Roy Thomas Reprints: • “Look Homeward, Werewolf!” from Uncanny Tales #23 (Aug. 1954) • “Ask Me No Questions” from Uncanny Tales #23 (Aug. 1954) • “Smile, Blast Ya, Smile” from Uncanny Tales #23 (Aug. 1954) • “The Man Who Made a Wish!” from Mystic #7 (Mar. 1952) • “Deep Grave, Cold Grave!” from Uncanny Tales #23 (Aug. 1954)

CRYPT OF SHADOWS #9 Mar. 1974 Cover artists: Russ Heath and Mike Esposito Editor: Roy Thomas Reprints: • “The Haunting of Sleepy Hollow!” from Uncanny Tales #22 (July 1954) • “Tomorrow!” from Marvel Tales #138 (Sept. 1955) • “Half-Man!” from Uncanny Tales #22 (July 1954) • “Beyond Death!” from Mystic #30 (May 1954) CRYPT OF SHADOWS #10 May 1974 Cover artists: John Romita, Sr. and Ernie Chan Editor: Roy Thomas Reprints: • “The Man in the Tank!” from Mystery Tales #15 (Sept. 1953) • “You Can’t Touch Bottom” from Marvel Tales #129 (Dec. 1954) • “A Scream in the Dark!” from Mystic #16 (May 1953) • “Devil’s Island” from Uncanny Tales #12 (Sept. 1953) CRYPT OF SHADOWS #11 July 1974 Cover artists: Ron Wilson and Mike Esposito Editor: Roy Thomas Reprints: • “Ghouls in the Graveyard” from Adventures into Terror #12 (Oct. 1952) • “The Hands of Murder” from Adventures into Terror #4 (June 1951) • “Vampire Brats” from Adventures into Terror #4 (June 1951) • “The Brain!” from Adventures into Terror #4 (June 1951) CRYPT OF SHADOWS #12 Sept. 1974 Cover artists: Ron Wilson and Mike Esposito Editor: Roy Thomas Reprints: • “Behind the Locked Door!” from Uncanny Tales #38 (Dec. 1955) • “Dance, You Fool” from Tales to Astonish #34 (Aug. 1962) • “There Grows a Rose” from Mystic #37 (May 1955) • “The Thing in the Water” from Adventures into Terror #4 (June 1951) CRYPT OF SHADOWS #13 Oct. 1974 Cover artists: Larry Lieber and Tom Palmer TM & © Marvel Characters, Inc.

CREATURES ON THE LOOSE #27 Jan. 1974 Cover artist: Vicente Alcazar Editor: Roy Thomas New story: • Thongor in “In the Crypts of Yamath!” Reprints: • “I Come from the Black Void” from Amazing Adult Fantasy #9 (Feb. 1962)

Halloween Issue • BACK ISSUE • 63

Editor: Roy Thomas Reprints: • “The Ghost Comes Back” from Mystic #21 (July 1953) • “Fangs of the Bear” from Tales to Astonish #9 (May 1960) • “Man of Iron!” from Tales to Astonish #31 (May 1962) • “Hate!” from Mystery Tales #25 (Jan. 1955)

Reprints: • “The Menace of Shandu!” from Strange Tales #83 (Apr. 1961) • “My Brother Harry” from Strange Tales #5 (Feb. 1952) • “Inside the Furnace!” from Astonishing #57 (Jan. 1957) • “They Lurk in the Cave!” from Astonishing #57 (Jan. 1957)

CRYPT OF SHADOWS #14 Nov. 1974 Cover artists: Larry Lieber and Tom Palmer Editor: Roy Thomas Reprints: • “The Terror That Creeps” from Marvel Tales #96 (June 1950) • “The Voices!” from Mystery Tales #33 (Sept. 1955) • “Those in a Trance” from Adventure Into Mystery #4 (Nov. 1956) • “The Crooked Stick!” from Mystery Tales #29 (May 1955)

CRYPT OF SHADOWS #18 July 1975 Cover artists: Ron Wilson and Vince Colletta Editor: Irene Vartanoff Reprints: • “The 13th Floor” from Tales to Astonish #30 (Apr. 1962) • “Reign of Fear” from Astonishing #11 (Spring 1952) • “I Dared to Look into the Beyond!” from Tales to Astonish #11 (Sept. 1960) • “The Hog!” from Journey into Mystery #21 (Jan. 1955)

CRYPT OF SHADOWS #15 Jan. 1975 Cover artists: Gil Kane and Klaus Janson Editor: Irene Vartanoff Reprints: • “My Coffin is Crowded” from Suspense #16 (Spring 1952) • “I Know the Power of ... the Genie!” from Tales of Suspense #7 (Jan. 1960) • “The Swami’s Secret!” from Strange Stories of Suspense #16 (Aug. 1957) • “The Man Who Sold His Soul!” from Suspense #25 (Dec. 1952)

CRYPT OF SHADOWS #19 Sept. 1975 Cover artists: Ron Wilson and Frank Giacoia Editor: Irene Vartanoff Reprints: • “I Fought the Colossus!” from Strange Tales #72 (Dec. 1959) • “The Hidden Martians” from Uncanny Tales #14 (Nov. 1953) • “Earth Will Be Destroyed!” from Tales of Suspense #9 (May 1960) • “He Never Reached the Ground!” from World of Fantasy #11 (Apr. 1958)

CRYPT OF SHADOWS #16 Mar. 1975 Cover artists: Ron Wilson and Mike Esposito Editor: Irene Vartanoff Reprints: • “He Lurks in the Shadows” from Uncanny Tales #6 (Mar. 1953) • “The Little Man Who Was There” from Strange Tales #5 (Feb. 1952) • “Love Affair” from Mystery Tales #11 (May 1953) • “He Died Screaming” from Uncanny Tales #3 (Oct. 1952)

CRYPT OF SHADOWS #21 Nov. 1975 Cover artists: Ron Wilson and Mike Esposito Editor: Irene Vartanoff Reprints: • “Help!” from Tales to Astonish #22 (Aug. 1961)

DEAD OF NIGHT #1 Dec. 1973 Cover artist: John Romita, Sr. Editor: Roy Thomas Reprints: • “The Ghost Still Walks” from Adventures into Weird Worlds #6 (May 1952) • “House of Fear!” from Adventures into Weird Worlds #6 (May 1952) • “My Brother… the Ghoul” from Adventures into Weird Worlds #6 (May 1952) • “He Dwells in a Dungeon” from Adventures into Weird Worlds #6 (May 1952) DEAD OF NIGHT #2 Feb. 1974 Cover artist: Harry Anderson Editor: Roy Thomas Reprints: • “He Walks with a Ghost!” from Adventures into Weird Worlds #17 (Apr. 1953) • “The House That Fear Built” from Marvel Tales #125 (July 1954) • “The Nightmare!” from Adventures into Weird Worlds #17 (Apr. 1953) • “The Girl Who Didn’t Exist!” from Uncanny Tales #44 (June 1956) • “The Frightened Man!” from Uncanny Tales #44 (June 1956) DEAD OF NIGHT #3 Apr. 1974 Cover artists: John Severin and Marie Severin Editor: Roy Thomas Reprints: • “The Hidden Graveyard” from Uncanny Tales #23 (Aug. 1954) • “Waitin’ for Satan” from Marvel Tales #114 (May 1953) • “While the City Slumbers!” from Mystic #56 (Feb. 1957) • “Only a Rose” from Spellbound #16 (Aug. 1953) DEAD OF NIGHT #4 June 1974 Cover artist: John Romita, Sr. Editor: Roy Thomas Reprints: • “Werewolf Beware” from Mystery Tales #25 (Jan. 1955)

• “The Death of Me!” from Marvel Tales #126 (Aug. 1954) • “We Meet at Midnight!” from Mystic #8 (May 1952) • “Worse Than Death!” from Spellbound #22 (May 1954) DEAD OF NIGHT #5 Aug. 1974 Cover artists: Larry Lieber, Mike Esposito, and John Romita, Sr. Editor: Roy Thomas Reprints: • “Deep Down” from Uncanny Tales #29 (Feb. 1955) • “The Worst Thirst” from Journey into Mystery #18 (Oct. 1954) • “The 13th Floor” from Adventures into Terror #12 (Oct. 1952) • “One Must Die!” from Adventures into Terror #16 (Feb. 1953) DEAD OF NIGHT #6 Oct. 1974 Cover artists: Larry Lieber and Frank Giacoia Editor: Roy Thomas Reprints: • “Jack the Ripper” from Astonishing #18 (Oct. 1952) • “Down in the Cellar” from Adventures into Weird Worlds #10 (Sept. 1952) • “The Snowman” from Astonishing #36 (Dec. 1954) • “Sarah” from Uncanny Tales #29 (Feb. 1955) DEAD OF NIGHT #7 Dec. 1974 Cover artists: Larry Lieber and Frank Giacoia Editor: Irene Vartanoff Reprints: • “Corpse in the Streets” from Mystic #21 (July 1953) • “The 13th Floor!” from Mystery Tales #21 (Sept. 1954) • “Man Lost!” from Strange Tales of the Unusual #1 (Dec. 1955) • “Deluge!” from World of Fantasy #19 (Aug. 1959) DEAD OF NIGHT #8 Feb. 1975 Cover artists: Arvell Jones and Mike Esposito Editor: Irene Vartanoff Reprints: • “Alone in the Dark!” from Suspense #16 (Spring 1952) • “The Eavesdropper” from Mystic #36 (Mar. 1955) • “The Old Witch” from Mystic #26 (Jan. 1954) • “The Slave!” from Uncanny Tales #3 (Oct. 1952) TM & © Marvel Characters, Inc.

CRYPT OF SHADOWS #17 May 1975 Cover artists: Gil Kane and Tom Palmer Editor: Irene Vartanoff

CRYPT OF SHADOWS #20 Oct. 1975 Cover artists: Ed Hannigan and Dan Adkins Editor: Irene Vartanoff Reprints: • “The Martian Who Stole a City!” from Tales of Suspense #29 (May 1962) • “The Screaming Beasts!” from Men’s Adventures #24 (Nov. 1953) • “The Absent-Minded Professor!” from Tales to Astonish #33 (July 1962)

• “Ashes to Ashes!” from Mystery Tales #9 (Mar. 1953) • “Morgan’s Magic Picture!” from Uncanny Tales #38 (Dec. 1955) • “The Cry of the Sorcerers!” from World of Fantasy #1 (May 1956)

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DEAD OF NIGHT #10 June 1975 Cover artists: Ron Wilson and Frank Giacoia Editor: Irene Vartanoff Reprints: • “I Dream of Doom!” from Strange Tales #96 (May 1962) • “I Wore… the Mask of Drothor!” from Tales to Astonish #11 (Sept. 1960) • “I Was Face-to-Face with the Forbidden Robot!” from Tales to Astonish #11 (Sept. 1960) [Editor’s note: Fear becomes Adventure into Fear with issue #10 and features a new lead story with reprint backups. Issues #15–19 feature no reprints and are not indexed.] FEAR #1 Nov. 1970 Cover artists: Jack Kirby, Dick Ayers, and Marie Severin Editor: Stan Lee Reprints: • “I Found Monstrom! The Dweller in the Black Swamp!” from Tales to Astonish #11 (Sept. 1960) • “I Am the Man Who Will ... Destroy Your World!” from Strange Tales #71 (Oct. 1959) • “I—Am—The—Genie!” from Tales to Astonish #8 (Mar. 1960) • “I Was Face-to-Face With the Forbidden Robot!” from Tales to Astonish #11 (Sept. 1960) • “What Was the Strange Power of Simon Drudd!!” from Tales to Astonish #10 (July 1960) • “Something Lurks Inside!” from Tales to Astonish #10 (July 1960) • “Only I Know When the World Will End!!!” from Tales to Astonish #10 (July 1960) • “I Fought the Man Who Couldn’t Be Killed!” from Strange Tales #71 (Oct. 1959) • “Mummex… King of the Mummies!” from Tales to Astonish #8 (Mar. 1960)

FEAR #2 Jan. 1971 Cover artist: Jack Kirby Editor: Stan Lee Reprints: • “What Was ‘X’ the Thing That Lived!” from Tales to Astonish #20 (June 1961) • “Orrgo… the Unconquerable!” from Strange Tales #90 (Nov. 1961) • “One-Way Journey!” from Tales to Astonish #20 (June 1961) • “I Dared Enter the Forbidden World!” from Tales to Astonish #15 (Jan. 1961) • “The Inhuman!” from Strange Tales #90 (Nov. 1961) • “I Learned the Dread Secret of the Blip!” from Tales to Astonish #15 (Jan. 1961) • “I Defied the Curse of Tut-AhAnka!” from Tales to Astonish #15 (Jan. 1961) FEAR #3 Mar. 1971 Cover artists: Jack Kirby and Steve Ditko Editor: Stan Lee Reprints: • “Zzutak the Thing That Shouldn’t Exist!!” from Strange Tales #88 (Sept. 1961) • “I Must Find Korumbu!” from Journey into Mystery #64 (Jan. 1961) • “The Man Who Hated Monstro!” from Journey into Mystery #92 (May 1963) • “The Gentle Old Man!” from Journey into Mystery #94 (July 1963) • “Journey Into Nowhere!” from Strange Tales #69 (June 1959) • “A Monster Waits Outside!!” from Tales to Astonish #12 (Oct. 1960) • “Save Me! Save Me!” from Tales to Astonish #12 (Oct. 1960) • “The Lifeless Man!” from Strange Tales #88 (Sept. 1961) • “I Dared to Battle ... Rorgg King of the Spider Men!!” from Journey into Mystery #64 (Jan. 1961) FEAR #4 July 1971 Cover artists: Jack Kirby and Dick Ayers (top), Steve Ditko (bottom), and Marie Severin Editor: Stan Lee Reprints: • “Lo-Karr, Bringer of Doom!” from Journey into Mystery #75 (Dec. 1961)

• “Mister Gregory and the Ghost!” from Journey into Mystery #75 (Dec. 1961) • “I Spent a Night in the Haunted Lighthouse!” from Journey into Mystery #56 (Jan. 1960) • “My Nightmare Has No End!” from Tales to Astonish #12 (Oct. 1960) • “The Boy Who Vanished!” from Journey into Mystery #71 (Aug. 1960) • “He Walked Through Walls!” from Tales to Astonish #26 (Dec. 1961) • “I Turned Into a… Martian!” from Journey into Mystery #60 (Sept. 1960) • “I Created Krang!” from Tales to Astonish #14 (Dec. 1960) FEAR #5 Nov. 1971 Cover artists: Jack Kirby and Dick Ayers Editor: Stan Lee Reprints: • “I Am the ... Gorilla-Man” from Tales to Astonish #28 (Feb. 1962) • “One Look Means Doom!” from Journey into Mystery #73 (Oct. 1961) • “Rocket Ship X-200” from Strange Tales #69 (June 1959) • “What Lurks on Channel X?” from Journey into Mystery #73 (Oct. 1961) • “Menace from Mars!” from Journey into Mystery #73 (Oct. 1961) • “The Return of the GorillaMan” from Tales to Astonish #30 (Apr. 1962) FEAR #6 Feb. 1972 Cover artists: Gil Kane and Frank Giacoia Editor: Stan Lee Reprints: • “The Midnight Monster” from Journey into Mystery #79 (Apr. 1962) • “There is a Brain Behind the Fangs!” from Journey into Mystery #62 (Nov. 1960) • “I Took a Journey into Fear!” from Journey into Mystery #63 (Dec. 1960) • “Wings of the Butterfly!” from Journey into Mystery #79 (Apr. 1962) • “The Last Laugh!” from Tales to Astonish #29 (Mar. 1962) • “The Black Ray” from Journey into Mystery #66 (Mar. 1961) • “The Voice of Fate!” from Tales to Astonish #33 (July 1962)

FEAR #7 May 1972 Cover artists: Gil Kane and Frank Giacoia Editor: Stan Lee Reprints: • “I Dream of Doom!” from Strange Tales #96 (May 1962) • “The Curse of M’Gumbu!” from Journey into Mystery #61 (Oct. 1960) • “The Thing Behind the Wall!” from Journey into Mystery #66 (Mar. 1961) • “The Martian Who Stole My Body!” from Journey into Mystery #57 (Mar. 1960) FEAR #8 June 1972 Cover artist: John Severin Editor: Stan Lee Reprints: • “It Crawls By Night!” from Tales of Suspense #26 (Feb. 1962) • “Never Trust a Martian!” from Tales of Suspense #26 (Feb. 1962) • “I Can’t Escape from the Creeping Things!” from Journey into Mystery #62 (Nov. 1960) • “The Face!” from Tales of Suspense #26 (Feb. 1962) FEAR #9 Aug. 1972 Cover artists: Gil Kane and Frank Giacoia Editor: Stan Lee New story: • “The Greatest Magician of All” Reprints: • “I Entered the Dimension of Doom!” from Tales of Suspense #23 (Nov. 1961) • “Dead Man’s Escape!” from Adventures into Terror #11 (Aug. 1952) ADVENTURE INTO FEAR #10 Oct. 1972 Cover artist: Gray Morrow Editor: Roy Thomas New stories: • Man-Thing in “Man-Thing!” • “The Spell of the Sea Witch!!” Reprints: • “There is Something Strange About Mister Jones!” from Tales of Suspense #17 (May 1961) ADVENTURE INTO FEAR #11 Dec. 1972 Cover artist: Neal Adams Editor: Roy Thomas New story: • Man-Thing in “Night of the Nether-Spawn!” TM & © Marvel Characters, Inc.

DEAD OF NIGHT #9 Apr. 1975 Cover artist: John Romita, Sr. Editor: Irene Vartanoff Reprints: • “The Empty Bus!” from Marvel Tales #110 (Dec. 1952) • “Sazzik, the Sorcerer” from Tales of Suspense #32 (Aug. 1962) • “They Melt at Night” from Mystery Tales #33 (Sept. 1955) • “The Sudden Storm” from Astonishing #49 (May 1956)

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Reprints: • “The Spider Waits” from Marvel Tales #105 (Feb. 1952) ADVENTURE INTO FEAR #12 Feb. 1973 Cover artists: Jim Starlin and Herb Trimpe Editor: Roy Thomas New story: • Man-Thing in “No Choice of Colors!” Reprints: • “The Face of Horror” from Menace #8 (Oct. 1953) ADVENTURE INTO FEAR #13 Apr. 1973 Cover artists: Rich Buckler and Frank Giacoia Editor: Roy Thomas New story: • Man-Thing in “Where Worlds Collide!” Reprints: • “Mister Black” from Strange Tales #93 (Feb. 1962) ADVENTURE INTO FEAR #14 June 1973 Cover artist: Alan Weiss Editor: Roy Thomas New story: • Man-Thing in “The Demon Plague!” Reprints: • “Listen, You Fool” from Mystic #14 (Nov. 1952) ADVENTURE INTO FEAR #20 Feb. 1974 Cover artists: Gil Kane and Frank Giacoia Editor: Roy Thomas New story: • Morbius in “Morbius the Living Vampire!” Reprints: • “Midnight in the Wax Museum!” from Astonishing #61 (May 1957) ADVENTURE INTO FEAR #21 Apr. 1974 Cover artists: Gil Kane and Frank Giacoia Editor: Roy Thomas New story: • Morbius in “Project: Second Genesis!” Reprints: • “Sorry… Mr. Hopkins!” from Mystic #8 (May 1952)

Editor: Roy Thomas New stories: • “Yours Truly, Jack the Ripper!” • “More Than Blood!” Reprints: • “The Girl Who Couldn’t Die” from Adventures into Terror #19 (May 1953)

ADVENTURE INTO FEAR #23 Aug. 1974 Cover artists: Gil Kane and Tom Palmer Editor: Roy Thomas New story: • Morbius in “Alone Against Arcturus!” Reprints: • “The Last Stop” from World of Fantasy #10 (Feb. 1958)

JOURNEY INTO MYSTERY #3 Feb. 1973 Cover artists: Gil Kane and Tom Palmer Editor: Roy Thomas New stories: • “The Shambler from the Stars!” • “Revenge from the Rhine!!” Reprints: • “Genius!” from Menace #4 (June 1953)

ADVENTURE INTO FEAR #24 Oct. 1974 Cover artists: Gil Kane and John Romita, Sr. Editor: Roy Thomas New story: • Morbius in “Return to Terror!” Reprints: • “The Two-Faced Man” from World of Fantasy #10 (Feb. 1958)

JOURNEY INTO MYSTERY #6 Aug. 1973 Cover artists: Rich Buckler and Mike Esposito Editor: Roy Thomas Reprints: • “He Who Hesitates…” from Journey into Mystery #8 (May 1953) • “The Strange Case of Mr. Whimple!” from Journey into Mystery #8 (May 1953) • “Indoor Sport!” from Journey into Mystery #8 (May 1953) • “The Tough Guy” from Journey into Mystery #8 (May 1953)

ADVENTURE INTO FEAR #25 Dec. 1974 Cover artists: Gil Kane and Frank Giacoia Editor: Roy Thomas New story: • Morbius in “And What of a Vampire’s Blood...?” Reprints: • “The Faceless Ones” from Adventures into Terror #29 (Mar. 1954) ADVENTURE INTO FEAR #26 Feb. 1974 Cover artists: Gil Kane and Frank Giacoia Editor: Roy Thomas New story: • Morbius in “A Stillborn Genesis!” Reprints: • “A World Gone Mad” from Adventure Into Mystery #3 (Sept. 1956) [Editor’s note: This volume of Journey into Mystery is not to be confused with the earlier anthology series Journey into Mystery, later retitled Thor. Issues #1, 4, and 5 feature all-new stories and are not indexed.] JOURNEY INTO MYSTERY #2 Dec. 1972 Cover artists: Gil Kane and Tom Palmer

JOURNEY INTO MYSTERY #7 Oct. 1973 Cover artists: Jack Kirby and Dick Ayers Editor: Roy Thomas Reprints: • “The Scorpion Strikes!” from Journey into Mystery #82 (July 1962) • “Won’t You Step into My Parlor...???” from Journey into Mystery #80 (May 1962) • “Take a Chair” from Journey into Mystery #82 (July 1962) JOURNEY INTO MYSTERY #8 Dec. 1973 Cover artists: Gil Kane and Ernie Chan Editor: Roy Thomas Reprints: • “The Bewitched Bike!” from Journey into Mystery #4 (Dec. 1952) • “Death Waits Within!” from Journey into Mystery #4 (Dec. 1952) • “Out of the Night” from Mystic #7 (Mar. 1952) • “The Man Who Was Nobody” from Journey into Mystery #15 (Apr. 1954)

JOURNEY INTO MYSTERY #9 Feb. 1974 Cover artist: Russ Heath Editor: Roy Thomas Reprints: • “Coffin of Hell!” from Uncanny Tales #22 (July 1954) • “I Can Hear You Think!” from Mystic #41 (Nov. 1955) • “The New Tenants” from Uncanny Tales #12 (Sept. 1953) • “Wilson’s Woman” from Mystic #30 (May 1954) JOURNEY INTO MYSTERY #10 Apr. 1974 Cover artist: Steve Ditko Editor: Roy Thomas Reprints: • “The Threat of Tim Boo Ba” from Amazing Adult Fantasy #9 (Feb. 1962) • “Something in the Fog!” from Strange Tales #8 (July 1952) • “Plague!” from Uncanny Tales #38 (Dec. 1955) • “Fame!” from Strange Tales #8 (July 1952) • “SHHHH!” from Mystery Tales #15 (Sept. 1953) JOURNEY INTO MYSTERY #11 June 1974 Cover artist: Carl Burgos Editor: Roy Thomas Reprints: • “House for Sale” from Mystic #8 (May 1952) • “The Secret Men” from World of Fantasy #10 (Feb. 1958) • “The Burning Flame” from Mystic #8 (May 1952) • “I Went Through the Veil!” from World of Fantasy #10 (Feb. 1958) • “The Books That Were Alive” from World of Fantasy #10 (Feb. 1958) JOURNEY INTO MYSTERY #12 Aug. 1974 Cover artists: Larry Lieber and Frank Giacoia Editor: Roy Thomas Reprints: • “Kiss of Death” from Adventures into Weird Worlds #16 (Mar. 1953) • “The Genie Lives” from Amazing Adult Fantasy #9 (Feb. 1962) • “The Question!” from Journey into Mystery #16 (June 1954) • “Hide and Shriek” from Mystical Tales #7 (June 1957) JOURNEY INTO MYSTERY #13 Oct. 1974 Cover artists: Larry Lieber and Mike Esposito TM & © Marvel Characters, Inc.

ADVENTURE INTO FEAR #22 June 1974 Cover artists: Ron Wilson and Frank Giacoia

Editor: Roy Thomas New story: • Morbius in “—This Vampire Must Die!” Reprints: • “Willie Brown is Out to Get Me!” from Journey into Mystery #8 (May 1953)

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JOURNEY INTO MYSTERY #14 Dec. 1974 Cover artists: Ron Wilson and Frank Giacoia Editor: Roy Thomas Reprints: • “When Wakes the Sphinx!” from Strange Tales #70 (Aug. 1959) • “The Thing on the Moon” from Strange Tales #79 (Dec. 1960) • “It Came From Nowhere” from Marvel Tales #126 (Aug. 1954) • “If Looks Could Kill!” from Uncanny Tales #11 (Aug. 1953) JOURNEY INTO MYSTERY #15 Feb. 1975 Cover artists: Ron Wilson and Mike Esposito Editor: Irene Vartanoff Reprints: • “I Fought the Molten ManThing!” from Tales of Suspense #7 (Jan. 1960) • “It Was Only a Simple Barber Shop ... or Was It??!” from Tales of Suspense #29 (May 1962) • “Which Wish, Dish…?” from Mystic #36 (Mar. 1955) • “The Hungry Jaws” from Uncanny Tales #11 (Aug. 1953) JOURNEY INTO MYSTERY #16 Apr. 1975 Cover artist: John Romita, Sr. Editor: Irene Vartanoff Reprints: • “The Man Who Said ‘No’” from Strange Tales of the Unusual #10 (June 1957) • “The Rag Doll” from Strange Tales of the Unusual #11 (Aug. 1957) • “The Old Man’s Secret” from Astonishing #54 (Oct. 1956) • “The Thing in the Jungle!” from Strange Tales #51 (Oct. 1956) • “Inside the Mummy Case” from Mystery Tales #51 (Mar. 1957) JOURNEY INTO MYSTERY #17 June 1975 Cover artists: Ron Wilson and Dan Adkins Editor: Irene Vartanoff

Reprints: • “Too Human!” from Journey into Mystery #21 (Jan. 1955) • “The Crackpot” from Tales of Suspense #31 (July 1962) • “The Terrible Touch!” from Marvel Tales #159 (Aug. 1957) • “The Secret of Steven Durham” from World of Fantasy #15 (Dec. 1958) JOURNEY INTO MYSTERY #18 Aug. 1975 Cover artists: Ron Wilson and Frank Giacoia Editor: Irene Vartanoff Reprints: • “The Monster in the Iron Mask!” from Tales of Suspense #31 (July 1962) • “Forever is a Long Long Time!” from Journey into Mystery #74 (Nov. 1961) • “The Thing from the Hidden Swamp” from Tales to Astonish #30 (Apr. 1962) JOURNEY INTO MYSTERY #19 Oct. 1975 Cover artists: Ron Wilson and Mike Esposito Editor: Irene Vartanoff Reprints: • “When the Mummy Walks” from Tales to Astonish #31 (May 1962) • “Dead Planet!” from Tales to Astonish #27 (Jan. 1962) • “They Vanished Forever!” from Strange Tales #98 (July 1962) [Editor’s note: Monsters on the Prowl retitled from Chamber of Darkness.] MONSTERS ON THE PROWL #9 Feb. 1971 Cover artists: Jack Kirby and Dick Ayers Editor: Stan Lee New story: • “Desert Scream!” Reprints: • “I Discovered Gorgilla! The Monster of Midnight Mountain!” from Tales to Astonish #12 (Oct. 1960) • “Kraggoom! The Creature Who Caught An Astronaut!” from Journey into Mystery #78 (Mar. 1962) MONSTERS ON THE PROWL #10 Apr. 1971 Cover artists: Steve Ditko and Marie Severin Editor: Stan Lee New story: • “One Last Wish!”

Reprints: • “I Brought the Roc to Life!” from Journey into Mystery #71 (Aug. 1961) MONSTERS ON THE PROWL #11 June 1971 Cover artists: Jack Kirby, Steve Ditko, and Marie Severin Editor: Stan Lee New story: • “Escape!” Reprints: • Xemnu in “I Was a Slave of the Living Titan!” from Journey Into Mystery #62 (Nov. 1960) MONSTERS ON THE PROWL #12 Aug. 1971 Cover artists: Jack Kirby, George Klein, and Marie Severin Editor: Stan Lee New story: • “The Maiden and the … Monster!” Reprints: • “I Defied Gomdulla—the Living Pharaoh!” from Journey into Mystery #61 (Oct. 1960) • “When the Space Beasts Attack!!” from Tales to Astonish #29 (Mar. 1962) MONSTERS ON THE PROWL #13 Oct. 1971 Cover artists: Marie Severin and Frank Giacoia Editor: Stan Lee Reprints: • “The Sandman Cometh!” from Journey into Mystery #70 (July 1961) • “I Dared Enter the Haunted Forest!” from Journey into Mystery #61 (Oct. 1962) MONSTERS ON THE PROWL #14 Dec. 1971 Cover artists: Gil Kane and Frank Giacoia Editor: Stan Lee Reprints: • Xemnu in “The Return of the Titan!” from Journey into Mystery #66 (Mar. 1961) • “The Gypsy’s Revenge!” from Tales to Astonish #25 (Nov. 1961) • “The Speed Demon” from Journey into Mystery #79 (Apr. 1962) • “I Was Trapped by the Mole Men!” from Strange Tales #73 (Feb. 1960) • “The Voice from Nowhere!” from Tales to Astonish #23 (Sept. 1961) • “The Man Who Played Dead!” from Journey into Mystery #79 (Apr. 1962)

MONSTERS ON THE PROWL #15 Feb. 1972 Cover artist: John Severin Editor: Stan Lee New story: • “Terror of the Pterodactyl!” Reprints: • “The Thing Called… It!” from Strange Tales #82 (Mar. 1961) • “The Man From Mars!” from Journey into Mystery #68 (May 1961) MONSTERS ON THE PROWL #16 Apr. 1972 Cover artist: John Severin Editor: Stan Lee New story: • King Kull in “The Forbidden Swamp” Reprints: • “Where Walks the Ghost” from Journey into Mystery #68 (May 1961) • “Mister Morgan’s Monster” from Strange Tales #99 (Aug. 1962) MONSTERS ON THE PROWL #17 June 1972 Cover artist: Herb Trimpe Editor: Stan Lee Reprints: • It, the Living Colossus in “I Created the Colossus” from Tales of Suspense #14 (Feb. 1961) • “Island of Fear” from Adventures into Terror #11 (Aug. 1952) MONSTERS ON THE PROWL #18 Aug. 1972 Cover artists: Gil Kane and Vince Colletta Editor: Stan Lee Reprints: • “Beware of… Bruttu” from Tales of Suspense #22 (Oct. 1961) • “The New Look” from Journey into Mystery #11 (Aug. 1953) • “The Anatomy of a Nightmare!” from Tales of Suspense #22 (Oct. 1961) MONSTERS ON THE PROWL #19 Oct. 1972 Cover artist: George Roussos Editor: Stan Lee Reprints: • “The Creature from the Black Bog!” from Tales of Suspense #23 (Nov. 1961) • “The Ghost Rode a Roller Coaster!” from Tales of Suspense #30 (June 1962) • “Ed’s Young Wife!” from Adventures into Terror #11 (Aug. 1952) • “The Changeling” from Tales of Suspense #23 (Nov. 1961) TM & © Marvel Characters, Inc.

Editor: Roy Thomas Reprints: • “I Captured the Abominable Snowman” from Strange Worlds #1 (Dec. 1958) • “Revolt of the Robots” from Tales of Suspense #35 (Nov. 1962) • “The Imitation Man” from Strange Tales #100 (Sept. 1962) • “The Terrible Teeth!” from Marvel Tales #114 (May 1953)

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MONSTERS ON THE PROWL #20 Dec. 1972 Cover artists: Gil Kane and Mike Esposito Editor: Roy Thomas Reprints: • “Oog Lives Again!” from Tales of Suspense #27 (Mar. 1962) • “The Dangerous Doll” from Journey Into Mystery #63 (Dec. 1960) • “I Made Time Stand Still” from Tales to Astonish #4 (July 1959) • “Enter… the Robot!” from Tales of Suspense #18 (June 1961) MONSTERS ON THE PROWL #21 Feb. 1973 Cover artists: Gil Kane and Joe Sinnott Editor: Roy Thomas Reprints: • “The Martian Who Stole a City!” from Tales of Suspense #29 (May 1962) • “Nothing Can Save Us!” from Tales of Suspense #29 (May 1962) • “The Drop of Water” from Marvel Tales #105 (Feb. 1952) • “In Little Pieces” from Marvel Tales #105 (Feb. 1952) MONSTERS ON THE PROWL #22 Apr. 1973 Cover artists: Jack Kirby and Dick Ayers Editor: Roy Thomas Reprints: • “When the Monster Strikes!” from Strange Tales #93 (Feb. 1962) • “The Wax People!” from Strange Tales #93 (Feb. 1962) • “Less Than Human” from Tales to Astonish #23 (Sept. 1961) • “Trapped in the Room of Shadows” from Strange Tales #80 (Jan. 1961) MONSTERS ON THE PROWL #23 June 1973 Cover artists: Jack Kirby and Dick Ayers Editor: Roy Thomas Reprints: • “The Return of ... Grogg!” from Strange Tales #87 (Aug. 1961) • “He Kept Him in Stitches!” from Adventures into Terror #15 (Jan. 1953) • “The Macabre Mirror!” from Strange Tales #87 (Aug. 1961)

MONSTERS ON THE PROWL #25 Sept. 1973 Cover artists: Jack Kirby and Dick Ayers Editor: Roy Thomas Reprints: • It, the Living Colossus in “Colossus Lives Again” from Tales of Suspense #20 (Aug. 1961) • “The One Who Watches!” from Strange Stories of Suspense #13 (Feb. 1957) • “I’m Drowning!” from Journey into Mystery #4 (Dec. 1952) MONSTERS ON THE PROWL #26 Oct. 1973 Cover artists: Jack Kirby and Dick Ayers Editor: Roy Thomas Reprints: • “The Two-Headed Thing!!” from Strange Tales #95 (Apr. 1962) • “I Spent a Night in a Haunted House!” from Journey into Mystery #80 (May 1962) • “Where?” from Adventures into Weird Worlds #5 (Apr. 1952) • “Do Not Panic!” from Strange Tales #95 (Apr. 1962) MONSTERS ON THE PROWL #27 Nov. 1973 Cover artists: Jack Kirby and George Klein Editor: Roy Thomas Reprints: • “Sserpo! The Creature Who Crushed the Earth!” from Amazing Adventures #6 (Nov. 1961) • “Earth Will Be Lost Tonight!” from Strange Tales #93 (Feb. 1962) MONSTERS ON THE PROWL #28 June 1974 Cover artists: Jack Kirby, Steve Ditko, and Dick Ayers Editor: Roy Thomas Reprints: • “The Escape of ... Monsteroso!” from Amazing Adventures #5 (Oct. 1961) • “They’re Driving Me Crazy!” from Adventures into Terror #14 (Winter 1952)

MONSTERS ON THE PROWL #29 Aug. 1974 Cover artists: Jack Kirby, John Romita, Sr., and Dick Ayers Editor: Roy Thomas Reprints: • “A Monster at My Window!” from Tales to Astonish #34 (Aug. 1962) • “A Monster Among Us” from Mystic #8 (May 1952) • “The Spy” from World of Suspense #3 (Aug. 1956) • “The Joker!” from Amazing Adventures #5 (Oct. 1961) MONSTERS ON THE PROWL #30 Oct. 1974 Cover artists: Larry Lieber and Frank Giacoia Editor: Roy Thomas Reprints: • “I Saw Diablo! The Demon from the Fifth Dimension!” from Tales of Suspense #9 (May 1960) • “The Strange Fate of the Statue Maker!” from Tales to Astonish #34 (Aug. 1962) • “Only a Beast” from Menace #11 (May 1954) • “The Little Men” from Uncanny Tales #42 (Apr. 1956) [Editor’s note: Tomb of Darkness retitled from Beware!] TOMB OF DARKNESS #9 July 1974 Cover artists: Larry Lieber and Frank Giacoia Editor: Roy Thomas Reprints: • “The Man in the Tomb!” from Mystic #26 (Jan. 1954) • “Juggernaut” from Adventures into Terror #24 (Oct. 1953) • “Good Morning, Mr. Smith!” from Mystic #26 (Jan. 1954) • “The Living and the Dead!” from Mystic #26 (Jan. 1954) TOMB OF DARKNESS #10 Sept. 1974 Cover artists: Larry Lieber and Mike Esposito Editor: Roy Thomas Reprints: • “The Man Who Cried Ghost!” from Adventures into Terror #12 (Oct. 1952) • “Man Alone!” from Journey into Mystery #16 (June 1954) • “The Wooden Man” from Adventures into Weird Worlds #6 (May 1952) • “The Vultures” from Journey into Mystery #16 (June 1954) • “Which Road To Take!” from Uncanny Tales #42 (Apr. 1956)

TOMB OF DARKNESS #11 Nov. 1974 Cover artists: Ron Wilson and Frank Giacoia Editor: Roy Thomas Reprints: • “The Mask of the Mind!” from Marvel Tales #96 (June 1950) • “The Forbidden Room” from Mystical Tales #6 (Apr. 1957) • “Tomb with a View” from Astonishing #17 (Sept. 1952) • “To Build a Robot!” from World of Fantasy #18 (June 1959) • “The Witch’s Son!” from Marvel Tales #96 (June 1950) TOMB OF DARKNESS #12 Jan. 1975 Cover artists: Gil Kane and Klaus Janson Editor: Irene Vartanoff Reprints: • “The Body Snatchers” from Adventures into Terror #24 (Oct. 1953) • “If the Shoe Fits” from Strange Tales #8 (July 1952) • “The Vampire’s Coffin!” from Mystery Tales #15 (Sept. 1953) • “Love Story” from Spellbound #14 (Apr. 1953) TOMB OF DARKNESS #13 Mar. 1975 Cover artist: Sal Buscema Editor: Irene Vartanoff Reprints: • “The Man in the Tomb!” from Mystic #12 (Sept. 1952) • “Alone” from Adventures into Weird Worlds #9 (Aug. 1952) • “Stop the Presses” from Mystic #12 (Sept. 1952) • “The Gal Who Talked Too Much!” from Uncanny Tales #7 (Apr. 1953) TOMB OF DARKNESS #14 May 1975 Cover artists: Gil Kane and Tom Palmer Editor: Irene Vartanoff Reprints: • “Vampire” from Marvel Tales #100 (Apr. 1951) • “The Trap” from Strange Tales #5 (Feb. 1952) • “Wish You Were Here!” from Marvel Tales #159 (Aug. 1957) • “The Strange Power of Mr. Dunn!” from Astonishing #57 (Jan. 1957) TOMB OF DARKNESS #15 July 1975 Cover artists: Ron Wilson and Vince Colletta Editor: Irene Vartanoff TM & © Marvel Characters, Inc.

MONSTERS ON THE PROWL #24 Aug. 1973 Cover artists: Jack Kirby, John Romita, Sr., and Dick Ayers Editor: Roy Thomas

Reprints: • “The Wonder of the Ages!!! Magnetor!” from Strange Tales #84 (May 1961) • “Shangri-La” from Journey Into Unknown Worlds #55 (Mar. 1957) • “They Met on Mars!” from Strange Tales #84 (May 1961)

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TOMB OF DARKNESS #16 Sept. 1975 Cover artists: Ron Wilson and Joe Sinnott Editor: Irene Vartanoff Reprints: • “Back from the Dead!” from Tales of Suspense #28 (Apr. 1962) • “The Last of Mr. Mordeaux” from Astonishing #11 (Spring 1952) • “We Can’t All Be Human!” from Tales of Suspense #38 (Feb. 1963) TOMB OF DARKNESS #17 Nov. 1975 Cover artists: Ron Wilson and Al Milgrom Editor: Irene Vartanoff Reprints: • “Find a Pin and Pick It Up!” from Uncanny Tales #14 (Nov. 1953) • “There’s No Tomorrow” from Astonishing #48 (Apr. 1956) • “The Secret Beyond Belief!” from Astonishing #63 (Aug. 1957) • “The Assassin!” from Marvel Tales #129 (Dec. 1954) TOMB OF DARKNESS #18 Jan. 1976 Cover artists: Ed Hannigan and Tom Palmer Editor: Irene Vartanoff Reprints: • “Something Lurks on Shadow Mountain!” from Chamber of Darkness #3 (Feb. 1970) • “I Unleashed Shagg Upon the World!” from Journey into Mystery #59 (July 1960) • “Eve of Halloween!” from Astonishing #47 (Mar. 1956) TOMB OF DARKNESS #19 Mar. 1976 Cover artists: Ron Wilson and Pablo Marcos Editor: Roger Stern Reprints: • “It’s Only Magic!” from Chamber of Darkness #1 (Oct. 1969) • “My Nightmare Has No End!” from Tales to Astonish #12 (Oct. 1960) • “I Found the Abominable Snowman!” from Tales to Astonish #13 (Nov. 1960)

TOMB OF DARKNESS #20 May 1976 Cover artists: Larry Lieber and Tom Palmer Editor: Roger Stern Reprints: • “…And Fear Shall Follow!” from Chamber of Darkness #5 (June 1970) • “Skull-Face” from Mystery Tales #6 (Dec. 1952) • Venus in “The Kiss of Death!” from Venus #19 (Apr. 1952) TOMB OF DARKNESS #21 July 1976 Cover artists: Larry Lieber and Tom Palmer Editor: Roger Stern Reprints: • “The Day Before Doomsday!” from Strange Tales #99 (Aug. 1962) • “Five Fingers” from Marvel Tales #131 (Feb. 1955) • “You Can’t Kill Me!” from Strange Tales #16 (Mar. 1953) TOMB OF DARKNESS #22 Sept. 1976 Cover artists: Michael Nasser, Pablo Marcos, and John Romita, Sr. Editor: Roger Stern Reprints: • “I Created Grutan!” from Strange Tales #75 (June 1960) • “Brother of a Monster” from Marvel Tales #113 (Apr. 1953) • “The Madman’s Music” from Venus #19 (Apr. 1952) • “They Made Me a Ghost!” from Strange Tales #16 (Mar. 1953) TOMB OF DARKNESS #23 Nov. 1976 Cover artists: Ron Wilson and Frank Giacoia Editor: Roger Stern Reprints: • “Death is a Mountain!” from Men’s Adventures #25 (Jan. 1954) • “Address Unknown” from Marvel Tales #146 (May 1956) • “Spaceship in My Barn” from Astonishing #47 (Mar. 1956) • “The Old Couple!” from Marvel Tales #132 (Mar. 1955) [Editor’s note: Tower of Shadows issues #1–5 feature new stories and no reprints.] TOWER OF SHADOWS #6 July 1970 Cover artist: Marie Severin Editor: Stan Lee

New stories: • “The Ghost-Beast!” • “Contact!” • “The Scream from Beyond!” Reprints: • “Man in the Rat-Hole!” from Strange Tales #78 (Nov. 1960) TOWER OF SHADOWS #7 Sept. 1970 Cover artists: Jack Kirby, Steve Ditko, and Marie Severin Editor: Stan Lee New story: • “The Scream of Things” • “Of Swords and Sorcery!” Reprints: • “I Was Trapped by Titano the Monster That Time Forgot!” from Tales to Astonish #10 (July 1960) TOWER OF SHADOWS #8 Nov. 1970 Cover artist: Bernie Wrightson Editor: Stan Lee New story: • “Sanctuary!” Reprints: • “Behold! I Am the Master of Time!” from Tales to Astonish #14 (Dec. 1960) • “I Found the Hidden World!” from Tales to Astonish #13 (Nov. 1960) • “My Touch Means ... Doom!” from Tales to Astonish #16 (Feb. 1961) TOWER OF SHADOWS #9 Jan. 1971 Cover artist: Bernie Wrightson Editor: Stan Lee New story: • “Pickman’s Model” Reprints: • “I Dared to Enter the Haunted Room!” from Tales to Astonish #17 (Mar. 1961) • “The World that was Lost!” from Strange Tales #69 (June 1959) • “The Threat from the 5th Dimension!” from Strange Tales #69 (June 1959) TOWER OF SHADOWS KING-SIZE SPECIAL #1 Dec. 1971 Cover artist: John Romita, Sr. Editor: Stan Lee Reprints: • “Witch Hunt!” from Tower of Shadows #2 (Nov. 1969) • “One Hungers” from Tower of Shadows #2 (Nov. 1969) • “Look Out, Wyatt… Automation’s Gonna Get Your Job!” from Tower of Shadows #2 (Nov. 1969)

• “A Time to Die!” from Tower of Shadows #1 (Sept. 1969) • “From Beyond the Brink!” from Tower of Shadows #1 (Sept. 1969) • “I Opened the Door to … Nowhere!” from Journey into Mystery #61 (Oct. 1960) [Editor’s note: Becomes Uncanny Tales from the Grave with issue #3.] UNCANNY TALES #1 Dec. 1973 Cover artists: Gil Kane and Tom Palmer Editor: Roy Thomas Reprints: • “Like a Chicken without a Head” from Uncanny Tales #9 (June 1953) • “Rudolph’s Racket” from Uncanny Tales #9 (June 1953) • “Propaganda!” from Uncanny Tales #9 (June 1953) • “Time Marches On!” from Uncanny Tales #9 (June 1953) UNCANNY TALES #2 Feb. 1974 Cover artists: Carl Burgos and John Romita, Sr. Editor: Roy Thomas Reprints: • “The Graves That Moved” from Marvel Tales #126 (Aug. 1954) • “Out of the Swamps!” from Uncanny Tales #44 (June 1956) • “Dead End!” from Uncanny Tales #12 (Sept. 1953) • “Last Seen Climbing a Ladder!” from Marvel Tales #138 (Sept. 1955) • “Superstition” from Mystic #30 (May 1954) UNCANNY TALES FROM THE GRAVE #3 Apr. 1974 Cover artist: Russ Heath Editor: Roy Thomas Reprints: • “The Storm” from Strange Tales #8 (July 1952) • “This Way Out” from Adventures into Weird Worlds #17 (Apr. 1953) • “The Little Monsters” from Marvel Tales #114 (May 1953) • “The Pharaoh Walks!” from Uncanny Tales #38 (Dec. 1955) UNCANNY TALES FROM THE GRAVE #4 June 1974 Cover artists: Sol Brodsky and Mike Esposito Editor: Roy Thomas TM & © Marvel Characters, Inc.

Reprints: • “I Ain’t Got No Body” from Astonishing #33 (June 1954) • “Beware the Future Man!” from Strange Tales #96 (May 1962) • “The Hidden Island” from Uncanny Tales #54 (Apr. 1957) • “I Was Trapped Inside of the Martian Maze” from Tales of Suspense #7 (Jan. 1960)

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Reprints: • “The Vampire Maker” from Adventures into Weird Worlds #13 (Dec. 1952) • “The Furnace!” from Mystic #27 (Feb. 1954) • “Men in Black” from Menace #3 (May 1953) • “The Wooden Box” from Mystic #16 (Jan. 1953)

Editor: Irene Vartanoff Reprints: • “Escape… to What?” from Uncanny Tales #3 (Oct. 1952) • “The Tin Cup” from Uncanny Tales #3 (Oct. 1952) • “Man with a Tail” from Astonishing #18 (Oct. 1952) • “The Toy Soldiers” from Tales to Astonish #39 (Jan. 1963)

UNCANNY TALES FROM THE GRAVE #5 Aug. 1974 Cover artists: Larry Lieber and Mike Esposito Editor: Roy Thomas Reprints: • “The Strange Machine” from Marvel Tales #100 (Apr. 1951) • “A Little Pain Never Hurt Anybody” from Marvel Tales #117 (Aug. 1953) • “The Man In Black” from Menace #2 (Apr. 1953) • “The Little Pests” from Adventures into Terror #12 (Oct. 1952)

UNCANNY TALES FROM THE GRAVE #9 Apr. 1975 Cover artists: Ed Hannigan and Klaus Janson Editor: Irene Vartanoff Reprints: • “Don’t Answer the Phone!” from Strange Tales of the Unusual #10 (June 1957) • “The Nightmare Men” from Strange Tales of the Unusual #10 (June 1957) • “Four Empty Chairs!” from Mystery Tales #51 (Mar. 1957) • “Peter and the Puppet!” from Marvel Tales #110 (Dec. 1952) • “When the Walls Close In!” from Astonishing #54 (Oct. 1956)

UNCANNY TALES FROM THE GRAVE #6 Oct. 1974 Cover artists: Larry Lieber, John Romita, Sr., and Tom Palmer Editor: Roy Thomas Reprints: • “The Last Kkrul” from Astonishing #18 (Oct. 1952) • “Surprise!” from Adventures into Weird Worlds #16 (Mar. 1953) • “I Know the Secret of the Poltergeist!” from Tales to Astonish #1 (Jan. 1959) • “You’re Going to Die Yesterday” from Adventures into Weird Worlds #5 (Apr. 1952) UNCANNY TALES FROM THE GRAVE #7 Dec. 1974 Cover artists: Larry Lieber, Frank Giacoia, and Mike Esposito Editor: Irene Vartanoff Reprints: • “Dance of Death” from Suspense #10 (Sept. 1951) • “A Giant Walks the Earth!” from Strange Tales #70 (Aug. 1959) • “Tornado” from Marvel Tales #130 (Jan. 1955) • “The Last Man On Earth” from Amazing Adult Fantasy #7 (Dec. 1961)

UNCANNY TALES FROM THE GRAVE #11 Aug. 1975 Cover artists: Ed Hannigan and Frank Giacoia Editor: Irene Vartanoff Reprints: • “I Found the Mad Universe!” from Strange Tales #76 (Aug. 1960) • “The Dead Don’t Sleep!” from Adventures into Terror #30 (Apr. 1954) • “I Saw the Elephants’ Graveyard!” from Strange Tales #72 (Dec. 1959) • “Escape!” from Menace #4 (June 1953)

VAULT OF EVIL #1 Feb. 1973 Cover artists: Gil Kane and Tom Palmer Editor: Roy Thomas Reprints: • “The Thing That Grew!” from Adventures into Terror #7 (Dec. 1951) • “The Withered Hand” from Adventures into Terror #19 (May 1953) • “The Man in the Box!” from Journey into Unknown Worlds #33 (Feb. 1955) • “Poor Mister Watkins” from Menace #1 (Mar. 1953) VAULT OF EVIL #2 Apr. 1973 Cover artists: Gil Kane and Mike Ploog Editor: Roy Thomas Reprints: • “The Witching Hours!” from Strange Tales #13 (Dec. 1952) • “The Bugs” from Strange Tales #13 (Dec. 1952) • “How Clumsy Can Ya Be?” from Journey into Mystery #2 (Aug. 1952) • “The Hiding Place” from Strange Tales #13 (Dec. 1952) • “The Unseen!” from Adventure Into Mystery #5 (Jan. 1957) VAULT OF EVIL #3 June 1973 Cover artist: Frank Brunner Editor: Roy Thomas Reprints: • “The Woman Who Wasn’t” from Adventures into Terror #15 (Jan. 1953) • “Jaws of Death” from Adventures into Terror #15 (Jan. 1953) • “The Tarantula!” from Adventures into Terror #15 (Jan. 1953) • “The Lion’s Mouth!” from Adventures into Terror #15 (Jan. 1953)

VAULT OF EVIL #4 Aug. 1973 Cover artist: Frank Brunner Editor: Roy Thomas Reprints: • “The Old Mill” from Strange Tales #8 (July 1952) • “The Face That Followed” from Journey into Mystery #15 (Apr. 1954) • “Who is the Master” from Astonishing #59 (Mar. 1957) • “The Mystery of the Doomed Derelict!” from Mystery Tales #41 (May 1956) • “Till Death Do Us Part” from Journey into Mystery #15 (Apr. 1954) VAULT OF EVIL #5 Sept. 1973 Cover artists: Rich Buckler and John Romita, Sr. Editor: Roy Thomas Reprints: • “My Friend the Ghost” from Spellbound #12 (Feb. 1953) • “On the Spot” from Spellbound #12 (Feb. 1953) • “The Diet of Donald Moore” from Spellbound #12 (Feb. 1953) • “What Happened to Mister Snively?” from Spellbound #12 (Feb. 1953) VAULT OF EVIL #6 Oct. 1973 Cover artists: Gil Kane, John Romita, Sr., and Tony Mortellaro Editor: Roy Thomas Reprints: • “Help Wanted!” from Mystic #19 (Apr. 1953) • “Don’t Shrink Sam’s Head!” from Mystic #23 (Sept. 1953) • “The Other Face” from Journey into Mystery #11 (Aug. 1953) • “They Dive by Night” from Mystic #19 (Apr. 1953) VAULT OF EVIL #7 Nov. 1973 Cover artists: Ron Wilson and Ernie Chan Editor: Roy Thomas Reprints: • “Not Flesh and Blood!” from Mystic #11 (Aug. 1952) • “Detour!” from Mystic #10 (July 1952) • “Horror in the City” from Mystic #11 (Aug. 1952) • “The Black Gloves” from Mystic #11 (Aug. 1952) TM & © Marvel Characters, Inc.

UNCANNY TALES FROM THE GRAVE #8 Feb. 1975 Cover artists: Arvell Jones and Klaus Janson

UNCANNY TALES FROM THE GRAVE #10 June 1975 Cover artists: Arvell Jones and Mike Esposito Editor: Irene Vartanoff Reprints: • “The Strange Magic of Master Khan!” from Strange Tales #77 (Oct. 1960) • “The Dummy and Me!” from Strange Tales #76 (Aug. 1960) • “The Man in the Glass Cage!” from Strange Tales #99 (Aug. 1962) • “The Silent Street!” from World of Fantasy #10 (Feb. 1958)

UNCANNY TALES FROM THE GRAVE #12 Oct. 1975 Cover artists: Ron Wilson and Frank Giacoia Editor: Irene Vartanoff Reprints: • “Titan, the Amphibian from Atlantis!” from Tales of Suspense #28 (Apr. 1962) • “Buried Alive!” from Men’s Adventures #24 (Nov. 1953) • “A Switch in Time!” from Strange Tales #99 (Aug. 1962)

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VAULT OF EVIL #9 Feb. 1974 Cover artist: Russ Heath Editor: Roy Thomas Reprints: • “The Giant Killer” from Marvel Tales #130 (Jan. 1955) • “The Gentlemen of the Jury!” from Adventures into Weird Worlds #17 (Apr. 1953) • “The Dictator!” from Marvel Tales #125 (July 1954) • “Murder!” from Marvel Tales #125 (July 1954) VAULT OF EVIL #10 Apr. 1974 Cover artists: Bill Everett and John Romita, Sr. Editor: Roy Thomas Reprints: • “The Death of a Puppet” from Spellbound #13 (Mar. 1953) • “Let’s Face It” from Spellbound #13 (Mar. 1953) • “The Pitchman!” from Spellbound #13 (Mar. 1953) • “They Wait in the Caves!” from Mystic #52 (Oct. 1956) • “Bertha Gets Buried” from Uncanny Tales #12 (Sept. 1953)

Reprints: • “Locked In!” from Menace #11 (May 1954) • “Close Shave!” from Spellbound #14 (Apr. 1953) • “The Hangman’s Noose” from Adventures into Terror #12 (Oct. 1952) • “Only One to a Customer” from Uncanny Tales #29 (Feb. 1955) VAULT OF EVIL #13 Sept. 1974 Cover artists: Larry Lieber and Vince Colletta Editor: Roy Thomas Reprints: • “The Heat’s On” from Spellbound #14 (Apr. 1953) • “The Telepathic Typewriter” from Uncanny Tales #42 (Apr. 1956) • “The Madman” from Menace #4 (June 1953) • “Contents: One Human!” from Astonishing #46 (Feb. 1956) VAULT OF EVIL #14 Oct. 1974 Cover artists: Ron Wilson and Frank Giacoia Editor: Roy Thomas Reprints: • “The Ghost of Grismore Castle!” from Strange Tales #79 (Dec. 1960) • “The Albatross!” from Uncanny Tales #29 (Feb. 1955) • “Only an Insect!” from Astonishing #10 (Mar. 1952) • “Dorothy’s Doll” from Mystic #21 (July 1953)

VAULT OF EVIL #11 June 1974 Cover artists: Bill Everett and John Romita, Sr. Editor: Roy Thomas Reprints: • “Burton’s Blood” from Menace #2 (Apr. 1953) • “The Tomb” from Mystic #7 (Mar. 1952) • “The Sinister Stone” from World of Fantasy #11 (Apr. 1958) • “Return of the Genie!” from Tales to Astonish #9 (May 1960)

VAULT OF EVIL #15 Nov. 1974 Cover artists: Larry Lieber and Frank Giacoia Editor: Roy Thomas Reprints: • “Don’t Shake Hands with the Devil!” from Marvel Tales #96 (June 1950) • “The Gargoyle from the Fifth Galaxy!” from World of Fantasy #19 (Aug. 1959) • “The Graveyard!” from Mystery Tales #18 (Mar. 1954) • “Arise, Oh Geni…” from World of Fantasy #16 (Feb. 1959)

VAULT OF EVIL #12 Aug. 1974 Cover artists: Larry Lieber and Vince Colletta Editor: Roy Thomas

VAULT OF EVIL #16 Dec. 1974 Cover artists: Larry Lieber and Mike Esposito Editor: Irene Vartanoff

Reprints: • “A Stranger Among Us” from World of Suspense #1 (Apr. 1956) • “Helen’s Hubby!” from Mystery Tales #21 (Sept. 1954) • “The Honeymooners” from Mystic #21 (July 1953) • “Effigy!” from Adventure into Mystery #3 (July 1957) • “The Uncanny Keys” from World of Fantasy #15 (Dec. 1958) VAULT OF EVIL #17 Feb. 1975 Cover artists: Ed Hannigan and Mike Esposito Editor: Irene Vartanoff Reprints: • “I Crawl Through Graves” from Adventures into Weird Worlds #5 (Apr. 1952) • “The Dark Room” from Adventures into Terror #6 (Oct. 1951) • “The Mark of Death!” from Uncanny Tales #6 (Mar. 1953) • “My Other Body!” from Menace #11 (May 1954) VAULT OF EVIL #18 Apr. 1975 Cover artists: Ron Wilson and Frank Giacoia Editor: Irene Vartanoff Reprints: • “A Coffin for Carlos” from Marvel Tales #110 (Dec. 1952) • “No Place to Hide!” from Adventure Into Mystery #5 (Jan. 1957) • “What World is This?” from Mystery Tales #6 (Mar. 1953) • “Mass Murder” from Strange Tales of the Unusual #10 (June 1957) • “The Perfect Hide-Out” from Strange Tales of the Unusual #11 (Aug. 1957) VAULT OF EVIL #19 June 1975 Cover artists: Ron Wilson and Tom Palmer Editor: Irene Vartanoff Reprints: • “Inside the Tomb!” from Uncanny Tales #54 (Apr. 1957) • “Beware!! The Ghosts Surround Me!!” from Strange Tales #76 (Aug. 1960) • “Strange Doings in Cell 4-B!” from World of Fantasy #15 (Dec. 1958) • “The Evil Eye” from Astonishing #33 (June 1954) VAULT OF EVIL #20 Aug. 1975 Cover artists: Ron Wilson and Mike Esposito Editor: Irene Vartanoff

Reprints: • “Quogg!” from Tales to Astonish #30 (Apr. 1962) • “The Stranger in Space!” from Journey into Mystery #53 (July 1959) • “A Scream in the Night!” from Adventures into Terror #30 (Apr. 1954) • “The Warning!” from Uncanny Tales #54 (Apr. 1957) VAULT OF EVIL #21 Sept. 1975 Cover artists: Ron Wilson and Frank Giacoia Editor: Irene Vartanoff Reprints: • “The Victims of Vonntor!” from Uncanny Tales #14 (Nov. 1953) • “Nothing” from Mystic #6 (Jan. 1952) • “Man on the Scaffold!” from Strange Tales #106 (Mar. 1963) • “The Rescue” from Uncanny Tales #37 (Nov. 1955) VAULT OF EVIL #22 Oct. 1975 Cover artists: Ed Hannigan and Klaus Janson Editor: Irene Vartanoff Reprints: • “The Treasure of Planetoid 12!” from Strange Tales #107 (Apr. 1963) • “Lost!” from Mystery Tales #9 (Mar. 1953) • “For the Birds” from Uncanny Tales #14 (Nov. 1953) • “Hunger” from Mystery Tales #9 (Mar. 1953) VAULT OF EVIL #23 Nov. 1975 Cover artists: Ron Wilson and Pablo Marcos Editor: Irene Vartanoff Reprints: • “Mirror, Mirror, on the Wall…” from Tales to Astonish #27 (Jan. 1962) • “The Man in the Morgue” from Mystery Tales #9 (Mar. 1953) • “Dog-Gone!” from Marvel Tales #129 (Dec. 1954) • “Point of View” from Astonishing #33 (June 1954) WEIRD WONDER TALES #1 Dec. 1973 Cover artists: Gil Kane and Frank Giacoia Editor: Roy Thomas Reprints: • “The Thing That Devoured a Planet!” from Adventures into Weird Worlds #2 (Feb. 1952) TM & © Marvel Characters, Inc.

VAULT OF EVIL #8 Dec. 1973 Cover artists: Rich Buckler and Vincente Alcazar Editor: Roy Thomas Reprints: • “Brother Vampire!” from Astonishing #35 (Oct. 1954) • “Collins is in His Coffin!” from Astonishing #35 (Oct. 1954) • “Jessica!” from Astonishing #35 (Oct. 1954) • “The Terrible Trunk!” from Adventures into Weird Worlds #5 (Apr. 1952)

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• “Enter: The Machine Age!” from Journey into Mystery #17 (Aug. 1954) • “It Came from Beneath the Earth!” from Adventures into Weird Worlds #12 (Nov. 1952) • “The Eye of Doom” from Mystic #6 (Jan. 1952) WEIRD WONDER TALES #2 Feb. 1974 Cover artists: Gil Kane and Frank Giacoia Editor: Roy Thomas Reprints: • “Crack-Up!” from Marvel Tales #138 (Sept. 1955) • “I Was Kidnapped by a Flying Saucer!” from Marvel Tales #138 (Sept. 1955) • “The Unwanted!” from Marvel Tales #125 (July 1954) • “Murdock’s Brain!” from Marvel Tales #126 (Aug. 1954) WEIRD WONDER TALES #3 Apr. 1974 Cover artists: Harry Anderson, John Romita, Sr., and Marie Severin Editor: Roy Thomas Reprints: • “The Thing in the Mud!” from Spellbound #22 (May 1954) • “The Monster Men” from Mystic #30 (May 1954) • “The Man from Outer Space” from Uncanny Tales #12 (Sept. 1953) • “When You Believe” from Spellbound #16 (Aug. 1953) WEIRD WONDER TALES #4 June 1974 Cover artists: Jack Kirby, Chris Rule, and John Romita, Sr. Editor: Roy Thomas Reprints: • “The Secret of the Black Planet” from Tales of Suspense #28 (Apr. 1962) • “We Found the Ninth Wonder of the World!” from Tales to Astonish #1 (Jan. 1959) • “I Was the First Man to Set Foot on ... the Mystery Planet!” from Tales to Astonish #1 (Jan. 1959) • “Beyond Belief!” from Uncanny Tales #44 (June 1956)

WEIRD WONDER TALES #6 Oct. 1974 Cover artists: Larry Lieber and Mike Esposito Editor: Roy Thomas Reprints: • “The Man Who Owned a Ghost!” from Astonishing #10 (Mar. 1952) • “Was He Just Seeing Things?” from Astonishing #46 (Feb. 1956) • “Homicide” from Mystic #21 (July 1953) • “The Man in the Crazy Maze” from Strange Tales #100 (Sept. 1962) WEIRD WONDER TALES #7 Dec. 1974 Cover artists: Larry Lieber and Vince Colletta Editor: Irene Vartanoff Reprints: • “It Walks Erect!” from Mystery Tales #21 (Sept. 1954) • “When Marty Moves” from World of Fantasy #13 (Aug. 1958) • “Nightmare at Midnight” from World of Fantasy #11 (Apr. 1958) • “The Wrath of Chondu!” from Tales of Suspense #9 (May 1960) • “Prisoner of the Fantastic Fog” from World of Fantasy #11 (Apr. 1958) WEIRD WONDER TALES #8 Feb. 1975 Cover artists: Ed Hannigan and Tom Palmer Editor: Irene Vartanoff Reprints: • “The Last Laugh” from Adventures into Weird Worlds #9 (Aug. 1952) • “The Corpse” from Suspense #16 (Spring 1952) • “The Lady Vanished” from Mystery Tales #30 (June 1955) • “You’re Gonna Live Forever” from Menace #3 (May 1953) WEIRD WONDER TALES #9 Apr. 1975 Cover artists: Ron Wilson and Frank Giacoia Editor: Irene Vartanoff

Reprints: • “The Murder Mirror!” from Marvel Tales #104 (Dec. 1951) • “The People Who Weren’t” from Adventure into Mystery #5 (Jan. 1957) • “The Time-Saver!” from Mystery Tales #33 (Sept. 1955) • “Enter… the Lizard” from Adventures into Terror #8 (Feb. 1952) WEIRD WONDER TALES #10 June 1975 Cover artists: Gil Kane and Mike Esposito Editor: Irene Vartanoff Reprints: • “Mister Morgan’s Monster” from Strange Tales #99 (Aug. 1962) • “When the Totem Walks!” from Strange Tales #74 (Apr. 1960) • “I am the Beast-Man!” from Strange Tales #77 (Oct. 1960) WEIRD WONDER TALES #11 Aug. 1975 Cover artists: Ron Wilson and Mike Esposito Editor: Irene Vartanoff Reprints: • “The Man Who Found Shangri-La!” from Tales of Suspense #31 (July 1962) • “The Clock-Maker!” from Strange Tales #96 (May 1962) • “I am Dragoom! The Flaming Invader!” from Strange Tales #76 (Aug. 1960) WEIRD WONDER TALES #12 Oct. 1975 Cover artists: Arvell Jones and Frank Giacoia Editor: Irene Vartanoff Reprints: • “Haag! Hunter of Helpless Humans!” from Tales of Suspense #37 (Jan. 1963) • “Never Double-Cross a Martian!” from Uncanny Tales #37 (Nov. 1955) WEIRD WONDER TALES #13 Dec. 1975 Cover artists: Ed Hannigan and Al Milgrom Editor: Irene Vartanoff Reprints: • “The Return of the Totem” from Strange Tales #75 (June 1960) • “Taboo! The Thing from the Murky Swamp!” from Strange Tales #75 (June 1960) • “The Great Disappointment” from Journey into Unknown Worlds #17 (Apr. 1953)

WEIRD WONDER TALES #14 Feb. 1976 Cover artists: Ed Hannigan and Tom Palmer Editor: Irene Vartanoff Reprints: • “Evil is a Baaaaad Scene!!” from Tower of Shadows #4 (Mar. 1970) • “The Man Who Couldn’t Be Touched!” from World of Suspense #3 (Aug. 1956) • “There Were 3 Victims!” from Astonishing #53 (Sept. 1956) • “Man in the Dark!” from Mystic #37 (May 1955) WEIRD WONDER TALES #15 Apr. 1976 Cover artists: Ron Wilson and Frank Giacoia Editor: Roger Stern Reprints: • “The Man Who Owned the World!” from Chamber of Darkness #4 (Apr. 1970) • “The Cave of Shaggdorr!” from Strange Tales #95 (Apr. 1962) • “Behold Him! He is the Martian!” from Tales to Astonish #25 (Nov. 1961) WEIRD WONDER TALES #16 June 1976 Cover artists: Rich Buckler and Dan Adkins Editor: Roger Stern Reprints: • “The Shark” from Men’s Adventures #25 (Jan. 1970) • Venus in “The Box of Doom!” from Venus #19 (Apr. 1952) • “It Fell from the Flying Saucer!” from Tales to Astonish #31 (May 1962) WEIRD WONDER TALES #17 Aug. 1976 Cover artists: Larry Lieber and Frank Giacoia Editor: Roger Stern Reprints: • “I Was Captured by the Creature from Krogarr!” from Tales to Astonish #25 (Nov. 1961) • “First Moon-Walk” from Men’s Adventures #26 (Mar. 1954) • Venus in “The Mad Mountain!” from Venus #18 (Feb. 1952) WEIRD WONDER TALES #18 Oct. 1976 Cover artists: Jack Kirby and Klaus Janson Editor: Roger Stern Reprints: • “Krang!” from Tales to Astonish #14 (Dec. 1960) TM & © Marvel Characters, Inc.

WEIRD WONDER TALES #5 Aug. 1974 Cover artists: Larry Lieber, Al Milgrom, and John Romita, Sr. Editor: Roy Thomas Reprints: • “The Thing in Cell 13!” from Strange Tales #81 (Feb. 1961)

• “Greed!” from Astonishing #36 (Dec. 1954) • “I, the Robot” from Menace #11 (May 1954) • “The Invaders” from Tales to Astonish #34 (Aug. 1962)

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WEIRD WONDER TALES #19 Dec. 1976 Cover artists: Jack Kirby and Frank Giacoia Editor: Roger Stern Reprints: • Dr. Druid in “I am Dr. Druid!” from Amazing Adventures #1 (June 1961) • Groot in “I Challenged ... Groot! The Monster from Planet X!” from Tales to Astonish #13 (Nov. 1960) • “The Hypnotist!” from Astonishing #47 (Mar. 1955) WEIRD WONDER TALES #20 Jan. 1977 Cover artists: Jack Kirby and Joe Sinnott Editor: Roger Stern Reprints: • “The Madness!” from Strange Tales #97 (June 1962) • Dr. Druid in “Behold the Power of Zamu!” from Amazing Adventures #3 (Aug. 1961) • “What Happened in the Wax Museum?” from Amazing Adult Fantasy #14 (July 1962) • “One Man’s Leprechaun” from Marvel Tales #146 (May 1956) WEIRD WONDER TALES #21 Mar. 1977 Cover artist: Ernie Chan Editor: Roger Stern Reprints: • Dr. Druid in “Behind the Dreadful Door!” from Strange Tales #97 (June 1962) • Dr. Druid in “I Discovered Gorgilla!” from Tales to Astonish #12 (Oct. 1960) • “Beware of the Giants!” from Amazing Adult Fantasy #14 (July 1962) WEIRD WONDER TALES #22 May 1977 Cover artists: Dave Cockrum and Ernie Chan Editor: Roger Stern Reprints: • Dr. Druid in “The World Below!” from Amazing Adventures #2 (July 1961) • Dr. Druid in “When a Planet Dies!” from Strange Tales #97 (June 1962) • “The Strange Ones” from Marvel Tales #134 (May 1955)

WHERE CREATURES ROAM #1 July 1970 Cover artists: Jack Kirby, Marie Severin, and Steve Ditko Editor: Stan Lee Reprints: • “I am the Brute That Walks!” from Journey into Mystery #65 (Feb. 1961) • “Kragoo!” from Journey into Mystery #65 (Feb. 1961) • “Fear in the Night” from Journey into Mystery #65 (Feb. 1961) WHERE CREATURES ROAM #2 Sept. 1970 Cover artists: Jack Kirby and Steve Ditko Editor: Stan Lee Reprints: • “I Spent Midnight with the Monster on Bald Mountain!” from Tales to Astonish #7 (Jan. 1960) • “I Dared Defy the Floating Head!” from Tales to Astonish #8 (Mar. 1960) • “I am the Man without a Face!” from Strange Tales #71 (Oct. 1959) • “He Waits for Us in the Glacier!” from Tales to Astonish #7 (Jan. 1960) WHERE CREATURES ROAM #3 Nov. 1970 Cover artists: Jack Kirby, Marie Severin, and Steve Ditko Editor: Stan Lee Reprints: • “Here Comes ... Thorg the Unbelievable” from Tales to Astonish #16 (Feb. 1961) • “I Am the Victim of the Sorcerer!” from Tales to Astonish #16 (Feb. 1961) • “Save Me from the Mole Men!” from Tales to Astonish #16 (Feb. 1961) • “I Live Again!” from Tales to Astonish #8 (Mar. 1960) WHERE CREATURES ROAM #4 Jan. 1971 Cover artists: Jack Kirby, Marie Severin, and Steve Ditko Editor: Stan Lee Reprints: • “Vandoom, the Man Who Made a Creature!” from Tales to Astonish #17 (Mar. 1961) • “Beware! of the Ghastly Glass!” from Tales to Astonish #17 (Mar. 1961) WHERE CREATURES ROAM #5 Mar. 1971 Cover artists: Jack Kirby, Marie Severin, and Dick Ayers Editor: Stan Lee

Reprints: • “Gorgilla Strikes Again!” from Tales to Astonish #18 (Apr. 1961) • “Something Missing!!” from Tales to Astonish #24 (Oct. 1961) • “He Waits in the Dark!” from Tales to Astonish #24 (Oct. 1961) WHERE CREATURES ROAM #6 May 1971 Cover artist: Marie Severin Editor: Stan Lee Reprints: • “I Brought Zog Back to Life!” from Journey into Mystery #56 (Jan. 1960) • “The Painting” from Journey into Mystery #71 (Aug. 1961) • “I Planted the Seeds of Doom!” from Journey into Mystery #56 (Jan. 1960) • “I Shrunk Away to Nothing!” from Journey into Mystery #56 (Jan. 1960) WHERE CREATURES ROAM #7 July 1971 Cover artists: Jack Kirby, Marie Severin, and Dick Ayers Editor: Stan Lee Reprints: • “The Glop” from Journey into Mystery #72 (Sept. 1961) • “The Patient in Room 3D” from Journey into Mystery #72 (Sept. 1961) • “Will This Be the End of the World?” from Journey into Mystery #72 (Sept. 1961) WHERE CREATURES ROAM #8 Sept. 1971 Cover artists: Jack Kirby and Dick Ayers Editor: Stan Lee Reprints: • “When the Mummy Walks” from Tales to Astonish #31 (May 1962) • “Where Will You Be, When ... the Spider Strikes” from Journey into Mystery #73 (Oct. 1961) • “Behold Him! He is the Martian!” from Tales to Astonish #25 (Nov. 1961) WHERE MONSTERS DWELL #1 Jan. 1970 Cover artists: Jack Kirby, Steve Ditko, and John Romita, Sr. Editor: Stan Lee Reprints: • “I Brought the Mighty Cyclops Back to Life!” from Tales of Suspense #10 (July 1960)

• “Gorgolla! The Living Gargoyle!!” from Strange Tales #74 (Apr. 1960) • “I Alone Know the Dread Secret of Gor-Kill, the Living Demon!” from Tales of Suspense #12 (Nov. 1960) WHERE MONSTERS DWELL #2 Mar. 1970 Cover artists: Jack Kirby and Dick Ayers Editor: Stan Lee Reprints: • “I Created ... Sporr! The Thing That Could Not Die!” from Tales of Suspense #11 (Sept. 1960) • “I Am Dragoom! The Flaming Invader!” from Strange Tales #76 (Aug. 1960) • “Taboo! The Thing from the Murky Swamp!” from Strange Tales #75 (June 1960) WHERE MONSTERS DWELL #3 May 1970 Cover artists: Marie Severin and Bill Everett Editor: Stan Lee Reprints: • “Grottu, King of the Insects!” from Strange Tales #73 (Feb. 1960) • “I Fought the Colossus!” from Strange Tales #72 (Dec. 1959) • “The Gargoyle!” from Strange Tales #78 (Nov. 1960) • “A Martian Walks Among Us!” from Strange Tales #78 (Nov. 1960) WHERE MONSTERS DWELL #4 July 1970 Cover artists: Marie Severin and Tom Palmer Editor: Stan Lee Reprints: • “Behind My Door Waits ... Medusa!” from Tales of Suspense #10 (July 1960) • “I Met the Thing on Midnight Island!” from Tales of Suspense #12 (Nov. 1960) • “I Was Trapped in Nightmare Valley” from Tales of Suspense #10 (July 1960) • “The Monster in My Cellar!” from Tales of Suspense #12 (Nov. 1960) WHERE MONSTERS DWELL #5 Sept. 1970 Cover artists: Jack Kirby, Dick Ayers, and Marie Severin Editor: Stan Lee TM & © Marvel Characters, Inc.

• Venus in “The Cartoonist’s Calamity!” from Venus #17 (Dec. 1951)

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Reprints: • “The Return of Taboo!” from Strange Tales #77 (Oct. 1960) • “The Strange Magic of Master Khan!” from Strange Tales #77 (Oct. 1960) • “We Met in the Swamp!” from Tales to Astonish #7 (Jan. 1960) • “I Lived a Ghost Story!” from Tales to Astonish #7 (Jan. 1960) WHERE MONSTERS DWELL #6 Nov. 1970 Cover artists: Jack Kirby, Steve Ditko, and Marie Severin Editor: Stan Lee Reprints: • Groot in “I Challenged ... Groot! The Monster from Planet X!” from Tales to Astonish #13 (Nov. 1960) • “I Dared to Look into the Beyond!” from Tales to Astonish #11 (Sept. 1960) • “My Friend is ... Not Quite Human!” from Tales to Astonish #13 (Nov. 1960) • “When the Saucer Strikes!” from Strange Tales #71 (Oct. 1959) WHERE MONSTERS DWELL #7 Jan. 1971 Cover artists: Jack Kirby, Dick Ayers, and Marie Severin Editor: Stan Lee Reprints: • “Rommbu!” from Tales to Astonish #19 (May 1961) • “The Terrible Trap!” from Tales to Astonish #19 (May 1961) • “The Thing with Red Eyes” from Tales to Astonish #19 (May 1961) WHERE MONSTERS DWELL #8 Mar. 1971 Cover artists: Marie Severin and Bernie Wrightson Editor: Stan Lee Reprints: • “Look Out!! Here Come the ... Four-Armed Men!” from Tales to Astonish #26 (Dec. 1961) • “It Happened on ‘The Silent Screen’ ” from Tales to Astonish #21 (July 1961) • “Run, Rocky, Run!” from Tales to Astonish #26 (Dec. 1961) • “Dream World!” from Tales to Astonish #26 (Dec. 1961)

WHERE MONSTERS DWELL #10 July 1971 Cover artists: Jack Kirby, Steve Ditko, and Marie Severin Editor: Stan Lee Reprints: • “Gigantus! The Monster That ... Walked Like a Man!” from Journey into Mystery #63 (Dec. 1960) • “The Frog-Man!” from Strange Tales #104 (Jan. 1963) • “Barker’s Body Shop!” from Journey into Mystery #89 (Feb. 1963) • “Dinner Time on Deimos!” from Journey into Mystery #94 (July 1963) WHERE MONSTERS DWELL #11 Sept. 1971 Cover artists: Steve Ditko, and Marie Severin Editor: Stan Lee Reprints: • “Gruto! The Creature from Nowhere!” from Journey into Mystery #67 (Apr. 1961) • “We Were Trapped with the Silent Monster!” from Journey into Mystery #60 (Sept. 1960) WHERE MONSTERS DWELL #12 Nov. 1971 Cover artists: Jack Kirby and George Klein Editor: Stan Lee Reprints: • “Orogo!! The Nightmare from Outer Space!!” from Journey into Mystery #57 (Mar. 1960) • “The Earth-Crawlers!” from Journey into Mystery #57 (Mar. 1960) • “The Metal Monster” from Journey into Mystery #57 (Mar. 1960) • “The Last Voyage of Captain Kragg” from Journey into Mystery #67 (Apr. 1961) • “The Pretender!” from Tales to Astonish #31 (May 1962) • “Quogg!” from Tales to Astonish #30 (Apr. 1962) • “The Black Clock!” from Journey into Mystery #67 (Apr. 1961)

WHERE MONSTERS DWELL #13 Jan. 1972 Cover artists: Gil Kane and Frank Giacoia Editor: Stan Lee Reprints: • “I Dared to Battle the Crawling Creature!” from Tales to Astonish #22 (Aug. 1961) • “When Darkness Falls!!” from Journey into Mystery #69 (June 1961) • “The Frightening Fog” from Tales to Astonish #28 (Feb. 1962) WHERE MONSTERS DWELL #14 Mar. 1972 Cover artist: John Severin Editor: Stan Lee Reprints: • “The Green Thing!” from Tales of Suspense #19 (July 1961) • “The Haunted Paper!” from Tales of Suspense #19 (July 1961) • “The Coming of Maaboo!” from Tales of Suspense #19 (July 1961) WHERE MONSTERS DWELL #15 May 1972 Cover artist: John Severin Editor: Stan Lee New story: • “Dead Ringer!” Reprints: • “Kraa the Unhuman” from Tales of Suspense #18 (June 1961) • “Meet the Dead” from Journey into Mystery #11 (Aug. 1961) WHERE MONSTERS DWELL #16 July 1972 Cover artists: Gil Kane and Vince Colletta Editor: Stan Lee Reprints: • “Beware of Googam, Son of Goom!!” from Tales of Suspense #17 (May 1961) • “He Who Laughs Last, Gets ... the Horselaugh” from Adventures into Terror #11 (Aug. 1952) • “I Am… Gorak!” from Tales of Suspense #14 (Feb. 1961) WHERE MONSTERS DWELL #17 Sept. 1972 Cover artists: Gil Kane and Vince Colletta Editor: Roy Thomas Reprints: • “I Opened the Door to ... Nowhere!” from Journey into Mystery #61 (Oct. 1960) • “If the Coat Fits” from Journey into Mystery #11 (Aug. 1961)

• “The World Beyond” from Strange Tales #82 (Mar. 1961) • “The Hidden Vampires” from Journey into Mystery #11 (Aug. 1961) WHERE MONSTERS DWELL #18 Nov. 1972 Cover artists: Jim Starlin and Dave Cockrum Editor: Roy Thomas Reprints: • “The Sacrifice!” from Strange Tales #91 (Dec. 1961) • “The Red Face” from Marvel Tales #105 (Feb. 1952) • “The Mask of Morgumm!” from Strange Tales #91 (Dec. 1961) • “The Man Who Vanished!” from Marvel Tales #105 (Feb. 1952) WHERE MONSTERS DWELL #19 Jan. 1973 Cover artists: Gil Kane and John Romita, Sr. Editor: Roy Thomas Reprints: • “The Insect Man” from Tales of Suspense #24 (Dec. 1961) • “Beware… the Ticking Clocks!” from Tales of Suspense #24 (Dec. 1961) • “Something Lurks in the Fog!” from Tales of Suspense #24 (Dec. 1961) • “Long Live the King!” from Tales of Suspense #24 (Dec. 1961) WHERE MONSTERS DWELL #20 Mar. 1973 Cover artists: Jim Starlin and Frank Giacoia Editor: Roy Thomas Reprints: • “Klagg! His Mission: Destroy Mankind!” from Tales of Suspense #21 (Sept. 1961) • “While the Town Sleeps!” from Mystery Tales #41 (May 1946) • “What Happened to Harry?” from Tales to Astonish #29 (Mar. 1962) WHERE MONSTERS DWELL #21 May 1973 Cover artists: Jack Kirby and Dick Ayers Editor: Roy Thomas Reprints: • Fin Fang Foom in “Fin Fang Foom!” from Strange Tales #89 (Oct. 1961) • “Haunted!” from Journey into Mystery #1 (June 1952) • “The Clutching Hands” from Journey into Mystery #1 (June 1952) TM & © Marvel Characters, Inc.

WHERE MONSTERS DWELL #9 May 1971 Cover artists: Jack Kirby, Steve Ditko, and Marie Severin Editor: Stan Lee

Reprints: • “I Learned the Monstrous Secret of Bombu!” from Journey into Mystery #60 (Sept. 1960) • “I Found the Things from Nowhere” from Journey into Mystery #60 (Sept. 1960) • “The Magic of Mordoo!” from Journey into Mystery #75 (Dec. 1961) • “The Man Who Lost the World!” from Journey into Mystery #75 (Dec. 1961)

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WHERE MONSTERS DWELL #23 Sept. 1973 Cover artists: Jack Kirby and Dick Ayers Editor: Roy Thomas Reprints: • “The Monster Hunts for Me!” from Strange Tales #92 (Jan. 1962) • “Inside the Flying Saucer!” from Strange Tales #92 (Jan. 1962) • “The Hooded Horror!” from Mystic #12 (Sept. 1952) WHERE MONSTERS DWELL #24 Oct. 1973 Cover artists: Jack Kirby and Christopher Rule Editor: Roy Thomas Reprints: • “I Was Trapped by the Things on Easter Island!” from Tales to Astonish #5 (Sept. 1959) • “The Ape Man” from Strange Tales #85 (June 1961) • “The Spice of Life!” from Mystery Tales #11 (May 1953) • “The Monster Escapes!” from Strange Tales #95 (Apr. 1962) WHERE MONSTERS DWELL #25 Nov. 1973 Cover artist: Jack Kirby Editor: Roy Thomas Reprints: • “The Ruler of Earth!” from Journey into Mystery #81 (June 1962) • “They Called Her a Witch!” from Mystic #10 (July 1952) • “When the Earth Vanished!” from Tales of Suspense #13 (Jan. 1961) • “The Man Who Fell!” from Strange Tales #85 (June 1961) WHERE MONSTERS DWELL #26 Jan. 1974 Cover artists: Jack Kirby and Dick Ayers Editor: Roy Thomas

Reprints: • “The Thing Called Metallo!” from Tales of Suspense #16 (Apr. 1961) • “The Man Who Followed!” from Astonishing #35 (Oct. 1954) • “The Executioner” from Uncanny Tales #9 (June 1953) WHERE MONSTERS DWELL #27 Mar. 1974 Cover artists: Jack Kirby and Dick Ayers Editor: Roy Thomas Reprints: • “From Out of the Black Pit Came ... Grogg!” from Strange Tales #83 (Apr. 1961) • “Follow the Leader” from Journey into Mystery #76 (Jan. 1962) WHERE MONSTERS DWELL #28 May 1974 Cover artists: Jack Kirby and Dick Ayers Editor: Roy Thomas Reprints: • “I Saw Droom the Living Lizard!” from Tales to Astonish #9 (May 1960) • “Where Monsters Prowl” from Marvel Tales #125 (July 1954) • “Tough Guy” from Journey Into Unknown Worlds #17 (Apr. 1953) • “The Little Monster” from Mystery Tales #15 (Sept. 1953) WHERE MONSTERS DWELL #29 July 1974 Cover artists: Larry Lieber and Frank Giacoia Editor: Roy Thomas Reprints: • “Ozamm the Terrible!” from Tales to Astonish #39 (Jan. 1963) • “A Fate Worse Than Death” from Menace #11 (May 1954) • “Tennis Anyone?” from Adventures into Terror #24 (Oct. 1953) • “The Wax Men” from Adventures into Terror #24 (Oct. 1953) WHERE MONSTERS DWELL #30 Sept. 1974 Cover artists: Larry Lieber, Vince Colletta, and John Romita, Sr. Editor: Roy Thomas Reprints: • “The Thing in the Black Box!” from Journey into Mystery #74 (Nov. 1961) • “13 Years!” from Spellbound #22 (May 1954)

• “The Man Who Wasn’t” from Journey into Mystery #16 (June 1954) • “Just Suppose…” from Marvel Tales #129 (Dec. 1954) WHERE MONSTERS DWELL #31 Oct. 1974 Cover artists: Larry Lieber and Frank Giacoia Editor: Roy Thomas Reprints: • Warlord Kaa in “I Was in the Clutches of the Living Shadow” from Strange Tales #79 (Dec. 1960) • “The Mental Case” from Uncanny Tales #11 (Aug. 1953) • “Fifty-Fifty!” from Marvel Tales #114 (May 1953) • “Johnny’s Last Jump!” from Mystery Tales #15 (Sept. 1953) WHERE MONSTERS DWELL #32 Nov. 1974 Cover artists: Larry Lieber and Vince Colletta Editor: Roy Thomas Reprints: • “The Return of the Monster” from Marvel Tales #96 (June 1950) • “I Discovered the Secret of the Flying Saucers!” from Strange Worlds #1 (Dec. 1958) • “The Face” from World of Suspense #7 (Apr. 1957) WHERE MONSTERS DWELL #33 Jan. 1975 Cover artists: Gil Kane and Al Milgrom Editor: Roy Thomas Reprints: • “In the Shadow of Tragg” from Monsters on the Prowl #13 (Oct. 1971) • “Backstage Madness!” from Suspense #16 (Spring 1952) • “The Man Who Meddled!” from Marvel Tales #128 (Nov. 1954) • “Forbidden Forest!” from Astonishing #46 (Feb. 1956) WHERE MONSTERS DWELL #34 Mar. 1975 Cover artist: Sal Buscema Editor: Irene Vartanoff Reprints: • “The Man in the Beehive!” from Tales of Suspense #32 (Aug. 1962) • “The Revolt of Wilbur Bixby!” from Spellbound #14 (Apr. 1953) • “Crazy” from Uncanny Tales #3 (Oct. 1952) • “No Way Out” from Tales to Astonish #9 (May 1960)

WHERE MONSTERS DWELL #35 May 1975 Cover artists: Jack Kirby and Dick Ayers Editor: Irene Vartanoff Reprints: • “Gorgolla! The Living Gargoyle!!” from Strange Tales #74 (Apr. 1960) • “Genius!” from Menace #4 (June 1953) • “Beware the Hands of Hundu” from Strange Tales #74 (Apr. 1960) WHERE MONSTERS DWELL #36 July 1975 Cover artists: Ron Wilson and Al Milgrom Editor: Irene Vartanoff Reprints: • “The Missing Link!” from Tales of Suspense #31 (July 1962) • “What Lurks Beneath?” from Astonishing #46 (Feb. 1956) • “The Terrible Fate of Mr. Wren!” from Uncanny Tales #54 (Apr. 1957) • “The Impossible Tunnel!” from Strange Tales #96 (May 1962) WHERE MONSTERS DWELL #37 Sept. 1975 Cover artists: Gil Kane and Vince Colletta Editor: Irene Vartanoff Reprints: • “Behold—the Monster!” from Tales of Suspense #37 (Jan. 1963) • “The Strange Prison!” from Mystic #57 (Mar. 1957) • “The World Beyond” from Strange Tales #82 (Mar. 1961) • “Fangs of the Monster” from Strange Tales #82 (Mar. 1961) WHERE MONSTERS DWELL #38 Oct. 1975 Cover artists: Arvell Jones and John Romita, Sr. Editor: Irene Vartanoff Reprints: • “No Human Can Beat Me!” from Strange Tales #98 (July 1962) • “Mystery of the Mountain” from World of Fantasy #15 (Dec. 1958) • “The Green Man!” from World of Suspense #3 (Aug. 1956) • “King of the Glacier Men” from Journey Into Unknown Worlds #55 (Mar. 1957) TM & © Marvel Characters, Inc.

WHERE MONSTERS DWELL #22 July 1973 Cover artists: Jack Kirby and Steve Ditko Editor: Roy Thomas Reprints: • “Elektro! He Held a World in His Iron Grip!” from Tales of Suspense #13 (Jan. 1961) • “I Found the Girl in the Blue Glass Bottle!” from Tales of Suspense #34 (Oct. 1962) • “The Demon in the Dungeon!” from Tales of Suspense #13 (Jan. 1961)

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ATTENTION, YEATES FANS!

This issue’s cover artist Thomas Yeates’ Zorro newspaper strips have recently been reprinted in new collected editions from German publisher Classic Heroes. For information, visit www.thomasyeates.com.

GIANT-SIZE MARVEL MANIAC

Marvel’s Giant-Size comics are among my favorites, making BACK ISSUE #86 a must-buy. I started reading comics in the summer of 1974, in time for the second issue of most of the Giant-Size titles and a few of the first, and they knocked me out, helping turn what might have been a short-lived hobby into one that’s still going strong. Because Marvels of that period had been cut to 17 to 18 story pages, getting a story of 30 pages, or longer, in the Giant-Size titles was very satisfying. At the time I wouldn’t have known this, but Marvel hadn’t published Annuals with new material since 1968, making these perhaps the longest single-issue stories the company had published in six years. That must have made the Giant-Size comics even more welcome to longtime readers. Some titles were better than others, of course. The Spider-Man and Fantastic Four issues were among the least interesting, it seemed to me even then, and Dracula was a disappointment compared to the Wolfman/Colan/Palmer team on the monthly. That said, Giant-Size FF #2, with a time-travel story to the 1930s reminiscent of the Star Trek episode “A Piece of the Action,” was fun, and when I reread G-S Dracula in the 1980s, #4’s story, by Dave Kraft, struck me as almost avant-garde. The two Steves wrote many of the most successful issues: Englehart, as noted in your article, with Avengers, and Gerber, with Man-Thing and Defenders. Almost every Defenders issue was outstanding, with #3’s cosmic chess game, #4’s Squadron Sinister battle, and #5’s Guardians of the Galaxy team-up all being appropriately epic. Giant-Size Man-Thing, too, if one looks beyond the title, had some of the character’s most distinctive stories: a swamp cult, 76 • BACK ISSUE • Halloween Issue

LOVED THE “BATMAN AND SUPERMAN” ISSUE

Your Batman and Superman issue was terrific! Starting at the beginning, I love how you got an editorial out of the cover art mystery. The Superman figure looks enough like Dick Dillin’s work to where I’m not entirely sold on your final decision, but it was fun reading the clues to this mystery, particularly the interesting factoid about the Craft-Tint artboard. The World’s Finest retrospective was a fun read. One of my earliest comics purchases was WFC #160, showing Dr. Zodiac looming in the background sky. I remember being entranced by that cover—sometimes a certain cover will just grab you and stay in your memory forever. Thanks for reprinting it. The Superman/Batman Fight Gallery made me laugh; for being such good buddies, those guys sure had their differences. The wife of a Facebook friend asked why two heroes were fighting, and I had to explain how it’s a comics tradition: two heroes meet, there’s a misunderstanding, and they pummel each other for a while until they realize their mistake. It seemed strange to have to actually explain something that obvious to someone; it was like explaining how to make toast. It was Just How Comics Work.

Send your comments to: Email: euryman@gmail.com (subject: BACK ISSUE) Postal mail: Michael Eury, Editor-in-Chief • BACK ISSUE 118 Edgewood Ave. NE • Concord, NC 28025

the Entropists, led by a Nixon lookalike in #1, and the teen-bullying story “A Kid’s Night Out” in #4, not to mention the first two Howard the Duck solo stories in #4 and 5. Also on the monster front, Giant-Size Werewolf #2 had a Universal Studios-type meeting between Frankenstein and the Werewolf. Who could resist? And let’s not neglect Giant-Size Conan, which launched an ambitious adaptation of “The Hour of the Dragon,” Robert E. Howard’s only Conan novel. This story by Roy Thomas and Gil Kane lasted through #4, then continued in Savage Sword of Conan #8, by Thomas and Kane, before wrapping up in Savage Sword #10, with John Buscema—shades of the Kree–Skrull War!—stepping in to finish it off. As in The Avengers’ case, where Neal Adams was followed by Buscema, it’s unfortunate the original artist couldn’t have stayed through the whole story, as the change in artists hurts the stories’ ability to stand as cohesive graphic novels. (Intriguingly, Roy even daydreams aloud in the Savage Sword letters page about there one day being a format in which the entire 187-page Conan epic could be compiled—little did he know.) It was disappointing when the Giant-Size issues went all-reprint. Still, Conan #5 was my first exposure to Barry Smith’s Conan, with the reprint of the Elric guest appearances, and Captain America #1 collected four ten-pagers from Tales of Suspense, all action-packed, making this one of the most purely enjoyable Marvel comics of the ’70s. One reason I’m going on about my personal favorites is that I think that’s where your article fell down. There was some great information, especially contemporary notes from The Comic Reader’s news pages and on stories intended for Giant-Size issues but printed elsewhere. Other than the deserved praise for the Avengers, there wasn’t enough about why we love the Giant-Size issues, or why a newcomer might want to investigate them, or which ones someone might want to seek out. Rather, there was a lot of trivia, always a danger with these kinds of pieces. So what if Tony Isabella commissioned short Master of Kung Fu stories for the British weeklies, or that Neal Adams thinks “large-page formats” (did he mean Treasury Editions?) aren’t used well. The big picture, or maybe the large-page format, got a little lost. Well, one reader’s opinion. Still, I appreciated what you were trying to do, and the pieces on reprints and paperbacks, not to mention the indexes, were enlightening, brought back memories, and filled in gaps. Thank you for caring enough to publish this type of stuff! – David Allen

THE COVER CONTROVERSY CONTINUES

I’m about halfway through BI #87, and loving it, Michael. I’ve become intrigued by the minor mystery of your main cover image, and I hope you don’t mind if I throw a couple of ideas into the hopper. First, the Superman figure, and in particular the head, instantly reminds me of the work of Carmine Infantino. I can’t imagine it would have been impossible that Infantino might have at least done the pencil drawing of Superman, and Dick Giordano inked it, is it? Carmine was still laying out many of the DC covers with pencil roughs, and he used to do a lot of DC’s merchandising art, so I think it’s entirely possible he drew this out for Dick to complete. Now, here’s where I get controversial. It struck me as odd that Batman is used in such a static role here, as essentially playing the “damsel in distress” for Superman to save, rather than swooping down dramatically on his rope to help halt the monster’s rampage. But MAYBE he’s filling in for someone else? Suppose in the original design, it was Lois Lane in the dragon’s clutches? But perhaps the manufacturer requested Batman be used in the puzzle instead, so Giordano simply drew the Caped Crusader in LL’s place. I have no proof of this, of course… it just strikes me as a possibility, however remote. – Gene Popa via Facebook

Michal, plans for BACK ISSUE #100 are well underway. It won’t include an index (we did that back in #69, our 10th anniversary issue, and I’d rather save the space for new material). If you’re a member of BI’s Facebook group, though, you can access a BI index prepared by Groovy Giulio Uggè, accessed through the page’s “Files” option.

The Super Sons were never my favorite, but I always thought it was kind of funny how they thumbed their nose at continuity. Haney’s trippy explanation on how they could exist made me wonder, “Okay, so if nobody cares about these boys suddenly appearing out of nowhere in the DCU, what’s the point in keeping the identities of their mothers a secret? Why not have them be revealed as Ursula Andress and Julie Newmar?” (I’m trying to think of sex symbols from 1972… work with me…) And maybe I was the only one, but I thought revealing them to be a computer simulation was kind of clever. “Prince Street News” just gets better every time. The art is a joy to look at, the writing is perfectly on-target, and the little touches in each panel make these strips very enjoyable. Please shackle him to his drawing board and lose the key. Jimmy Olsen and Lois Lane were staples of my comics reading. I agree with Fred Hembeck’s statement about how odd the ideas were, in retrospect. Years ago, a (non-comics reading) friend of mine was looking through some comics I recently bought at a convention. She suddenly burst out laughing. “Superman’s Pal?” It was then that I thought, “Whoa! That is kind of a weird concept for a comic book!” I liked the bit Steven Thompson slipped in about his first printed letter. My first letter appeared in Amazing Spider-Man #127, and I took that issue to school and showed it to everyone I knew (even though they misspelled my hometown of Marlette as “Marletto”). The article on JLA #200 just made me want to go up in the attic, dig it up, and reread it. I sure get a lot of exercise going up and down my stairs, thanks to you guys… And the Travis Langley interview was interesting. I’ll look for his book. Finally, to my favorite part of BI, the letters column. P.C. Hamerlinck’s letter reminded me of an issue of Archie Giant Grab-Bag Comics I picked up somewhere. It was actually five comic books stapled together under one cardstock cover. Their covers were just taken off and they were repurposed as-is. It was pretty weird to see the indicia and the same Sea Monkeys ad repeated throughout the book. Brian Martin made some excellent points on the multiverse concept; namely, nobody I knew really had a problem understanding it. I always wondered if Crisis was created to make it simpler for the creators, not the readers. And come on, Brian, don’t leave us hanging: What did you think the names of the Vision and the Thing were? Do you have any plans set yet for your 100th issue? I’d like to see an index of BI articles, and a look at centennial issues of the past. But whatever you come up with, I’m sure it will be amazing. Sorry to go on like this, but dang it, your magazine is so good! I look forward to every issue! – Michal Jacot

IN THE WAKE OF BATMAN v. SUPERMAN

I’ve been in a funk ever since going to the movies this weekend, and the frustration of a wild goose chase in search of cheaper cat food only added to my foul mood this evening. But it gave me the opportunity to go by my friendly neighborhood comic shop and pick up the latest BI, the Superman/Batman issue. Did I really want to read it? Probably should, though I somewhat glossed over some of the stories. Then I hit page 35, the Jimmy Olsen/ Lois Lane article, and there staring me in the face is Jimmy Olsen #158 and Lois Lane #151, two of the very first comics I ever read. Solution found. No more of today’s $4 disappointing comics for me. I’m going back in time to when they only cost 20 cents. Thank you for providing a conduit to the past and a reminder of why I enjoy comics. As long as I have back issues (and BACK ISSUE), I need not be disappointed for very long. And it’s my pleasure to be part of the team that makes it possible. – Philip Schweier

DICK’S DRAGON

Forgive me if someone posted this already and I missed it, but here [above] is that same dragon again from the cover of the latest BACK ISSUE and from that Superman/Batman puzzle. This is an image I found online. Looks like this dragon fought all the big guns. – Michael Lane via Facebook Michael, thanks for sharing this. Dick’s dragon was one of the Bronze Age’s unheralded extras, it seems. The more I think about this puzzle art conundrum, I wonder if Dick Giordano—who was assigned a handful of DC character puzzle illustrations, probably with the same deadline—found himself under the gun to finish and subcontracted Dick Dillin to lay out the Superman/ Batman/dragon art. Gene Popa’s got an interesting theory, as well. Hmmm… We’ll never know for sure. Halloween Issue • BACK ISSUE • 77

I’ll try to give my comments on BACK ISSUE #87 in the order the articles appear, just so it all makes some kind of sense. I do agree that the cover does not look to be the work of Dick Dillin. I’m not an art scholar, just a fan of the man’s art, but neither of the figures look to be in Dillin’s style, and as you mention, the dragon could easily be a swipe. Ah, if only the creators knew all those years ago that we fans would be so concerned about this stuff. The article on the history of World’s Finest was interesting. The chance to look back on the era when Superman and Batman were best buds was welcome. I’m sure in a lot of readers’ minds that should still be the case. I’m also sure it was always a challenge for writers to find a menace that could occupy two heroes of such different power levels, but then that could be said about anyone writing any series that features more than one protagonist. I once read something by Denny O’Neil where he opined that his view of the dynamic between the two was a left brain/right brain-type of relationship. Does it count that I found both characters more likeable when they were friends? Then we have the Super Sons. Sigh. I’m still not sure if I prefer a comic universe that allows for these sorts of stories or not. Given the current state of superheroes I would have to say yes, but I’m not sure I’d want to revisit these sorts of ideas. Some of them were just too far out. Sounds like some dialogue Bob Haney would have used in his Teen Titans run, doesn’t it? I do admit I bought the collection DC released of these stories a few years ago, but that was more because I am a fan of Dick Dillin’s art than anything else. The stories are kind of fun, but they should definitely be consigned to what I always called Earth-H (for Haney) but that lately seems to be Earth-B (for Boltinoff). That being said, the way Denny O’Neil integrated the Sons into DC continuity was kind of novel, even though I appreciated the fact that he used that story as a springboard for his story in the next issue of World’s Finest more. The article on the crossovers between the two heroes’ supporting casts and villains only served to illustrate how talented creators were able mesh the worlds of the two heroes to almost a greater extent than the whole shared DC Universe concept would require. My favorite memory generated by the article, though, was the printing of the cover to Superman #279. First of all, it’s a great Nick Cardy cover, another artist whose work I am a total fanboy for. But I also remember seeing that issue on the stands next to the issue of Justice League I was buying at the time. Justice League is the first comic I ever bought and ever collected, so this was just at the start of my collecting career and I think the Superman issue was on sale at the same time I bought the first comic I ever purchased all on my own. I have since purchased that issue of Superman, if for nothing other than the cover, but every time I see it, it brings back that specific memory. I would imagine that sort of memory is common among BACK ISSUE readers, and one of the reasons we buy the magazine. Next we have Justice League #200. Like John Trumbull, it was and remains one of my all-time favorite comics. The article did a great job relating the story, and anyone who has read the comic knows just how good a superhero team comic can be. The article did make me think about something that I don’t think gets mentioned enough anymore, and that is Gerry Conway’s tenure as writer of the Justice League. It seems all anyone mentions these days is the Detroit version or that he followed Steve Englehart’s run, and I think that’s totally unfair. First of all, Gerry does mention in the article about how difficult it had become to coordinate all of the heroes in that sort of book and that led him to make the changes he did. Regardless of how anyone feels about those issues, the fact remains that Gerry did a number of fantastic issues long before that.

78 • BACK ISSUE • Halloween Issue

If you will indulge me, I’ll just rattle off a few: Issue #151, with the unluckiest League of all. #155, with the two moons of Earth. #161–165, the induction and history of Zatanna. #175– 176, with the return of Dr. Destiny. #186, a great Shaggy Man battle with the lesser-powered Leaguers. #192–193, the history of the Red Tornado, with stunning George Pérez/John Beatty art. #203–205 is an excellent Royal Flush Gang story with great Don Heck art. And those are just off the top of my head. Any Justice League fan who does not have great memories of Gerry really owes it to themselves to go back and reread some of his oeuvre on the book. Finally, on a personal note, I was proud to read Michal Jacot’s letter and the nice words he wrote about the earlier letter of mine you printed. I was glad he felt I had expressed something a lot of older comic readers feel, and that I had done it well. I must also applaud your editorial wisdom in placing my latest letter next in the column. A fine example of attention to detail. As always, keep up the fantastic work. – Brian Martin

WANTED: A “FOURTH WORLD AFTER KIRBY” ISSUE

I’m a big fan of your magazine, and have been a reader since issue #1. Currently reading the Superman and Batman issue in anticipation of the upcoming movie. Anyway, I think I’ve come up with a good theme for a future issue: “The Fourth World After Kirby.” There is a wealth of good comics that could be covered in such an issue. Here’re a few: • The Return of the New Gods and Mister Miracle revivals from the late ’70s • The Forever People miniseries by DeMatteis and Cullins • Cosmic Odyssey • Starlin and later Evanier’s late-’80s New Gods series • Evanier and Rude’s Mister Miracle Special • John Byrne’s New Gods/Fourth World series • Simonson’s Orion • “The Great Darkness Saga” • Mister Miracle in the Justice League and I’m sure there are others I’ve missed. You could maybe even cover the Fourth World characters’ appearances in the Bruce Timm Superman and Justice League animated series. I realize some of these have previously been covered in BI, but it seems there are still more than enough to fill an issue. I know I, for one, would be thrilled to read a magazine like that and hope to one day see it gracing my collection. Either way, keep up the great work. I’m in it for the long haul. – Mark Reznicek Thanks for your letter, Mark—and your support of BI since issue #1! I really like your “Fourth World After Kirby” theme suggestion. You’re right, some of this has been covered in past issues. And editorially, I’ve avoided some Kirby-spawned material because of our big sister TwoMorrows mag, The Jack Kirby Collector. But BI’s presentations (and to some extent, readership) differ from TJKC’s, so I’m going to seriously consider this for a future issue. What do the rest of you think? And while this proposed theme would invite a non-Kirby-drawn cover of Kirby’s characters, this makes me realize that out of nearly 100 issues, we’ve yet to feature a Kirby cover…

HE’S DREAMING OF A COMIC-BOOK CHRISTMAS

BACK ISSUE #87 was great. I really enjoyed the articles on JLA #200, “Prince Street News” (which is always great), and the pieces on Superman/Batman during the ’70s.

HE’S IN CONWAY’S CORNER

James, thanks for letting us know about that Time Warp Christmas tale. We’ve also discovered a Marvel Fanfare Christmas story we missed in BI #85. There are probably a few more out there we overlooked. Perhaps one day we’ll do another Christmas issue. While some long-time fans quibble about TV’s Gotham series, my favorite aspect of the show is its development of young Bruce Wayne. Traditionally, readers and viewers have seen the flashback of Bruce witnessing his parents’ murders, then we’re fast-forwarded to Bruce as an adult. With Gotham, we’re watching Bruce slowly and methodically develop into a detective (an aspect of the character often lost upon screenwriters) and crimefighter.

THE HAWKS ARE A’COMIN’!

Is there any chance of BACK ISSUE covering The Shadow War of Hawkman as well as the 1980s Hawkman series anytime soon? It is touched on in the Hawkman Companion, but I would like to see it covered in BACK ISSUE, especially in color. Perhaps Hawkman’s 1970s appearances in Showcase, World’s Finest, and more could be included. Thanks for your time. – James Rutledge You got it, James! BACK ISSUE #97 will star “Bird People,” headlined by Hawkman (with a George Pérez cover)! The lead article, “Hawkman in the Bronze Age,” will be written by Doug Zawisza, author of The Hawkman Companion, and will cover Hawkman’s appearances in the ’70s and ’80s. The issue will also include the Superman/Hawkgirl team-up in DC Comics Presents #37, Hawkworld, a Penguin villain history, Hawk and Dove, Blue Falcon and Dynomutt, Condorman, and Nightwing. Shazam! TM & © DC Comics. BACK ISSUE TM & © TwoMorrows.

ASKIN’ FOR KUNG FU

Michael, just a quick note to tell you how much I still appreciate and enjoy your work with this magazine. I don’t buy more than two or three comics a month anymore, but I still keep a pull list so I won’t miss an issue of BACK ISSUE. Having written to you before about my desire to see Iron Fist covered, I want you to know I caught the quick blurb about that in issue #88’s Deadly Hands of Kung Fu feature, and I plan to hold you to it. A couple of ideas for future themes: The first seems so obvious I wonder if you’ve already done it, and I just missed it. How about an issue on superhero headquarters, lairs, caves, etc.? Secondly, and this might be difficult to do, but could you devote an issue to Bronze Age costume changes and/or costumes in general? Specifically, I would love any background and/or sketches involving the Green Arrow upgrade, X-Men wardrobes, and (I admit, most especially) Dave Cockrum and Mike Grell’s Legion makeover. – Dan Stewart I appreciate your dedication to BACK ISSUE, Dan. That makes my day! Re future themes: I plan ahead and have 2017’s themes committed—their covers are even in the works as I write this in mid-May. The Kung Fu issue isn’t one of them, but while it’s fresh in mind, I’m going to slot it in for the January 2018 issue, which will be BI #102. It will include in-depth looks at Master of Kung Fu, Iron Fist, and Power Man and Iron Fist, and other high-kickin’ faves. Re the other themes: Superhero HQs? No, the closest we’ve come is BI #32, on weapons, tech, and data. I think it’d make a great article— I’m not sure if there’s enough info to warrant an entire issue, though. Readers, what do the rest of you think? Re the costumes idea: We did an “Extreme Makeovers” issue way back in BI #12, but other than its cover-featured look at Spider-Man’s black costume it was more an examination of character reinventions than costume remakes. I like your idea and think its worth consideration. Again, I ask, readers— what do you think?

Reading about those times reminded me of when comics were fun, and continuity wasn’t so hard to understand. Contrast that with today’s DC history. I swear they’re just making it worse and worse. But I really enjoyed the most was the interview with Dr. Travis Langley. At least here was an interview with a psychologist who I can agree with. For the past 30 years, I’ve had a hard time with so many Batman writers who had an extremely negative worldview for our favorite Darknight Detective. Dr. Langley’s quotes and stories from Sir Arthur Conan Doyle, Adam West, John Walsh, Candyce Lightner, and others were well chosen. He even included reference to the Earth-Two Batman. You can’t be a better-researched Bat-scholar than that! His analysis of the distinctions between Superman and Batman was excellent, and I feel the same way he does about television’s Gotham. I felt that the pre-Batman era with an emphasis of Gordon and his police force attempting to protect more of Gotham should be a mix of Hill Street Blues and The Untouchables preparing the way for Batman, rather than introducing all of the villains 20 years earlier. I did enjoy the casting of Gordon, Barbara, Bruce, Selina, and Alfred, though. Please tell Dr. Langley that whenever I get done with my current reading list, I will try to pick up his book and give it a look, as long as it’s not a defense of the more “downer,” grittier Batman. It would also be great to know his opinion of Batman v. Superman. I’d also love to encourage BACK ISSUE and perhaps Alter Ego to do more research of Christmas comic stories. Recently, I came across an issue of DC’s Time Warp in a bargain bin that had an excellent Christmas tale I had never read before. I appreciate the “Christmas in the Bronze Age” issue that you did recently [BI #85], but I’m fairly certain there are more holiday tales out there that are lost and deserve a bit more public attention. – James Smith III

Next issue: ALL-CAPTAINS ISSUE! Bronze Age histories of Shazam! (Captain Marvel and the Marvel Family), Captain Mar-Vell, and Captain Carrot and His Amazing Zoo Crew, plus looks back at Captain Storm and the Losers, Captain Universe, and Captain Victory and the Galactic Rangers. Also: Captain Avenger, Captain EO, and… Captain D! Featuring C. C. BECK, PAT BRODERICK, KURT BUSIEK, RICK HOBERG, JACK KIRBY, ELLIOT S. MAGGIN, BILL MANTLO, AL MILGROM, DEAN MULLANEY, DON NEWTON, BOB OKSNER, JOHN RITTER, MIKE ROYER, SCOTT SHAW!, JIM STARLIN, ROY THOMAS, THOMAS YEATES, CAT YRONWODE, and more. Coverfeaturing a 1970 painting of the original Captain Marvel by DAVE COCKRUM! Don’t ask—just BI it! See you in sixty! Your friendly neighborhood Euryman, Michael Eury, editor-in-chief Halloween Issue • BACK ISSUE • 79

TwoMorrows

The Future of Comics History.

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WHE % N YO ORD U ONL ER INE!

THE

MLJ COMPANION

THE MLJ COMPANION documents the complete history of Archie Comics’ super-hero characters known as the “Mighty Crusaders”—THE SHIELD, BLACK HOOD, STEEL STERLING, HANGMAN, MR. JUSTICE, THE FLY, and many others. It features in-depth examinations of each era of the characters’ extensive history: THE GOLDEN AGE (beginning with the Shield, the first patriotic super-hero, who pre-dated Captain America by a full year), THE SILVER AGE (spotlighting those offbeat, campy Mighty Comics issues, and The Fly and Jaguar), THE BRONZE AGE (with the Red Circle line, and the !mpact imprint published by DC Comics), up to THE MODERN AGE, with its Dark Circle imprint (featuring such fan-favorites series as “The Fox” by MARK WAID and DEAN HASPIEL). Plus: Learn what “MLJ” stands for! Uncover such rarities as the Mighty Crusaders board game, and the Shadow’s short-lived career as a spandex-clad superhero! Discover the ill-fated Spectrum line of comics, that was abruptly halted due to its violent content! See where the super-heroes crossed over into Archie, Betty, and Veronica’s world! And read interviews with IRV NOVICK, DICK AYERS, RICH BUCKLER, BILL DuBAY, STEVE ENGLEHART, JIM VALENTINO, JIMMY PALMIOTTI, KELLEY JONES, MICHAEL USLAN, and others who chronicled the Mighty Crusaders’ exploits from the 1940s to today! By RIK OFFENBERGER and PAUL CASTIGLIA, with a cover by IRV NOVICK and JOE RUBINSTEIN.

INCLUDES 64 FULL-COLOR PAGES OF KEY MLJ STORIES! (288-page FULL-COLOR Trade Paperback) $34.95 • (Digital Edition) $12.95 ISBN: 978-1-60549-067-0 • NOW SHIPPING!

COMIC BOOK FEVER

GEORGE KHOURY (author of The Extraordinary Works of Alan Moore and Kimota: The Miracleman Companion) presents a “love letter” to his personal golden age of comics, 1976-1986, covering all the things that made those comics great—the top artists, the coolest stories, and even the best ads! It covers the phenoms that delighted Baby Boomers, Generation X, and beyond: UNCANNY X-MEN, NEW TEEN TITANS, TEENAGE MUTANT NINJA TURTLES, LOVE AND ROCKETS, CRISIS ON INFINITE EARTHS, SUPERMAN VS. SPIDER-MAN, ARCHIE COMICS, HARVEY COMICS, KISS, STAR WARS, ROM, HOSTESS CAKE ADS, GRIT(!), and other milestones! So take a trip back in time to re-experience those epic stories, and feel the heat of COMIC BOOK FEVER once again! With cover art and introduction by ALEX ROSS.

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ALTER EGO #140

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ALTER EGO #144

Golden Age great IRWIN HASEN spotlight, adapted from DAN MAKARA’s film documentary on Hasen, the 1940s artist of the Justice Society, Green Lantern, Wonder Woman, Wildcat, Cat-Man, and numerous other classic heroes—and, for 30 years, the artist of the famous DONDI newspaper strip! Bonus art by his buddies JOE KUBERT, ALEX TOTH, CARMINE INFANTINO, and SHELLY MAYER!

From Detroit to Deathlok, we cover the career of artist RICH BUCKLER: Fantastic Four, The Avengers, Black Panther, Ka-Zar, Dracula, Morbius, a zillion Marvel covers— Batman, Hawkman, and other DC stars— Creepy and Eerie horror—and that’s just in the first half of the 1970s! Plus Mr. Monster, BILL SCHELLY, FCA, and comics expert HAMES WARE on fabulous Golden Age artist RAFAEL ASTARITA!

DAVID SIEGEL talks to RICHARD ARNDT about how, from 1991-2005, he brought the greatest artists of the Golden Age to the San Diego Comic-Con! With art and artifacts by FRADON, GIELLA, MOLDOFF, LAMPERT, CUIDERA, FLESSEL, NORRIS, SULLIVAN, NOVICK, SCHAFFENBERGER, GROTHKOPF, and others! Plus how writer JOHN BROOME got to the Con, Mr. Monster’s Comic Crypt, FCA, and more!

DON GLUT discusses his early years as comic book writer for Marvel, Warren, and Gold Key, with art by SANTOS, MAROTO, CHAN, NEBRES, KUPPERBERG, TUSKA, TRIMPE, SAL BUSCEMA, and others! Also, SAL AMENDOLA and ROY THOMAS on the 1970s professional Academy of Comic Book Arts, founded by STAN LEE and CARMINE INFANTINO! Plus Mr. Monster, FCA, BILL SCHELLY, and more!

MARK CARLSON documents 1940s-50s ACE COMICS (with super-heroes Magno & Davey, Lash Lightning, The Raven, Unknown Soldier, Captain Courageous, Vulcan, and others)! Art by KURTZMAN, MOONEY, BERG, L.B. COLE, PALAIS, and more. Plus: RICHARD ARNDT’s interview with BILL HARRIS (1960s-70s editor of Gold Key and King Comics), FCA, Comic Crypt, and Comic Fandom Archive.

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BACK ISSUE #93

BRICKJOURNAL #41

COMIC BOOK CREATOR #12 COMIC BOOK CREATOR #13 COMIC BOOK CREATOR #14

“All-Captains Issue!” Bronze Age histories of Shazam! (Captain Marvel) and Captain MarVell, Captain Carrot, Captain Storm and the Losers, Captain Universe, and Captain Victory and the Galactic Rangers. Featuring C. C. BECK, PAT BRODERICK, JACK KIRBY, ELLIOT S. MAGGIN, BILL MANTLO, DON NEWTON, BOB OKSNER, SCOTT SHAW!, JIM STARLIN, ROY THOMAS, and more. Cover painting by DAVE COCKRUM!

OUT OF THIS WORLD LEGO! Spacethemed LEGO creations of LIA CHAN, 2001: A Space Odyssey’s Orion space plane by NICK DEAN, and Pre-Classic Space builder CHRIS GIDDENS! Plus: Orbit the LEGO community with JARED K. BURKS’ minifigure customizing, step-by-step “You Can Build It” instructions by CHRISTOPHER DECK, BrickNerd DIY Fan Art, MINDSTORMS robotics by DAMIEN KEE, and more!

JACK KIRBY’s mid-life work examined, from Fantastic Four and Thor at Marvel in the middle ’60s to the Fourth World at DC (including the real-life background drama that unfolded during that tumultuous era)! Plus a career-spanning interview with underground comix pioneer HOWARD CRUSE, the extraordinary cartoonist and graphic novelist of the award-winning Stuck Rubber Baby! Cover by STEVE RUDE!

MICHAEL W. KALUTA feature interview covering his early fans days THE SHADOW, STARSTRUCK, the STUDIO, and Vertigo cover work! Plus RAMONA FRADON talks about her 65+ years in the comic book business on AQUAMAN, METAMORPHO, SUPER-FRIENDS, and SPONGEBOB! Also JAY LYNCH reveals the WACKY PACK MEN who created the Topps trading cards that influenced an entire generation!

Comprehensive KELLEY JONES interview, from early years as Marvel inker to presentday greatness at DC depicting BATMAN, DEADMAN, and SWAMP THING (chockful of rarely-seen artwork)! Plus WILL MURRAY examines the nefarious legacy of Batman co-creator BOB KANE in an investigation into tragic ghosts and rapacious greed. We also look at RAINA TELGEMEIER and her magnificent army of devotees, and more!

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TwoMorrows. The Future of Comics History. DRAW! #32

DRAW! #33

KIRBY COLLECTOR #68

KIRBY COLLECTOR #69

Super-star DC penciler HOWARD PORTER demos his creative process, and JAMAL IGLE discusses everything from storyboarding to penciling as he gives a breakdown of his working methods. Plus there’s Crusty Critic JAMAR NICHOLAS reviewing art supplies, JERRY ORDWAY showing the Ord-Way of doing comics, and Comic Art Bootcamp lessons with BRET BLEVINS and Draw! editor MIKE MANLEY! Mature readers only.

Interview and demo by Electra: Assassin and Stray Toasters superstar BILL SIENKIEWICZ, a look at The Watts Atelier Of The Arts (one of the best training grounds for students to gain the skills they need to get the jobs they want), plus regular columnist JERRY ORDWAY shows the Ord-Way of drawing, JAMAR NICHOLAS reviews the latest art supplies, and BRET BLEVINS and Draw! editor MIKE MANLEY’S Comic Art Bootcamp.

KEY KIRBY CHARACTERS! We go decadeby-decade to examine pivotal characters Jack created throughout his career (including some that might surprise you)! Plus there’s a look at what would’ve happened if Kirby had never left Marvel Comics for DC, how Jack’s work has been repackaged over the decades, MARK EVANIER and other regular columnists, and galleries of unseen Kirby pencil art!

KIRBY’S PARTNERS! Cap/Falcon/Bucky, Sandman & Sandy, Orion & Lightray, Johnny & Ben, Dingbats, Newsboys, plus features on JOE SIMON, MIKE ROYER, CHIC STONE, DICK AYERS, JOE SINNOTT, MIKE THIBODEAUX — even ROZ KIRBY! Also, BATTLE FOR A 3-D WORLD, the 2016 Comic-Con Kirby Tribute Panel, MARK EVANIER, and galleries of Kirby pencil art! Cover inked by JOE SINNOTT!

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