After learning the alien threat still lives, Phoenix races to New York to stop the annihilation of the city. Heavy with Biblical allusions, this series, by artist Sal Amendola and new writer Gabriel Levy, still has potential.
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An astronaut rescued in the Arctic by aliens flees when he discovers his saviors’ plan to obliterate humanity. While not all that original, Jeff Rovin and Sal Amendola’s Phoenix debut shows potential.
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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 Jenny Blake 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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A poor-man’s trio of EC-inspired tales from writers Russ Jones and Jack Younger and artists Jerry Grandenetti and Mike Sekowsky.
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With Weird Tales of the Macabre, Atlas (Seaboard) was clearly looking to emulate Warren’s Creepy-and-Eerie formula. The short-lived company actually did a pretty good job of it, with nice art here from the likes of Jeffrey Catherine Jones, Pat Boyette, Ernie Colón and others.
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Following World War II, twin infant brothers – one good, one scarred – are raised in a monastery and trained in the fighting arts. There’s nothing shockingly original here as writer Ed Fedory and artist Jim Craig team for a kung-fu tale typical of the era.
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