The Freeman fight to save Carmilla Frost from a strange creature who lives for just 24 hours and must procreate. An off-putting outing from regular Killraven writer Don McGregor with art by P. Craig Russell, Keith Giffen and Jack Abel.
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Skar finally catches up to Killraven and the Freemen in Tennessee – and not everyone survives the ensuing battle! While flawed, this issue serves as a great example of Don McGregor and P. Craig Russell’s effort to push the boundaries of the era’s mainstream comics.
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During a layover in what was once West Virginia, Killraven discovers a society of African-American separatists living underground. This strange mix of racially charged dystopian tropes is a tough read from today’s vantage. From the fill-in team of Bill Mantlo, Herb Trimpe and D. Bruce Berry.
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When Hell comes under siege from the demon Brimstone, the Grim Ghost finds himself coming to the aid of Satan. A silly story from Tony Isabella – but not a bad one. The same can not be said for the art, a subpar outing from the usually talented Ernie Colón.
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The Grim Ghost hosts a party for his neighbors, but sneaks out early to send some bad guys to hell. Michael Fleisher and Ernie Colón make the most of this kit-bashed creation.
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Colonial-era highwayman Matthew Dunsinane is put to death, but makes a deal to do Satan’s work in the 20th century. This excellent character debut, from the team of Michael Fleisher and Ernie Colón, is one of the best single issues of the entire Atlas (Seaboard) line.
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Stuntman Jeff Rand is forced to go into action as the Cougar when his brother – a werewolf! – attacks the set. This origin story, by the team of Gary Friedrich and Frank Springer, offers a great surprise ending.
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When a real vampire causes trouble for a horror-movie crew, it’s up to The Cougar to save the day. Not great yet strangely enjoyable, this debut issue by Steve Mitchell, Dan Adkins and Frank Springer is fairly typical of the Atlas (Seaboard) line.
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Under the influence of Crossfire’s Undertaker Machine, Hawkeye and Mockingbird are soon forced to battle each other to the death. A surprise conclusion helps, but, ultimately, Mark Gruenwald’s auteur opus fails to meet its lofty aspirations.
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Now broke and homeless, Hawkeye and Mockingbird continue to come under attack from hired guns sent by Cross Technological Enterprises. Writer/artist Mark Gruenwald serves up some weak villains and a bland story for this miniseries’ penultimate issue.
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