Samson and company head up the Huz’n in a river boat, visit the Met Cloisters and fight a radioactive unicorn. A gorgeous George Wilson cover fronts this rather bland outing from the creative team of John Warner and Jack Abel.
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A pair of law enforcement tough guys – the NYPD’s Sam Lomax and cop-turned-P.I. Luke Malone – blow away bad guys with Magnums. Gary Friedrich serves up two crime stories long on silly and short on grit, while the work of artists Mike Sekowsky and Mike Ploog suffers from unsympathetic inking.
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A sales catalog of toys, posters, books and other merchandise featuring DC and Marvel superheroes and other genre creations. This publication – produced by the Joe Kubert School of Cartoon and Graphic Art – would have blown Little Me’s mind.
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Samson and friends encounter survivors living in the ruins of the N’Yark Macy’s who worship pre-disaster Givingthanks Day Parade balloons. Goofy, post-apocalyptic fun from the creative team of Arnold Drake and Jack Abel.
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Satan sends Corrupta to Greenwich Village in a sneaky effort to capture his sister Devilina’s soul. Atlas (Seaboard) apes Warren’s B&W-magazine style with this C-list collection stories from the likes of Ric Estrada, John Albano, Frank Thorne and others.
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This collection of Warren reprints features stunning Bernie Wrightson horror art, albeit buried under some poor full-color production.
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Dracula hooks up with his fourth cousin and their progeny would eventually terrorize coeds in New York City. Excellent Frank Thorne art can’t save this subpar one off from Gary Friedrich.
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A reluctant werewolf turns to Dr. Strongfort Stearn, AKA Mr. Monster, for protection from the Were-Devils Athletic Club. Canadian Golden Age character Mr. Monster gets a late-Bronze-Age remix in this fun debut issue from Michael T. Gilbert and William Messner-Loebs.
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Wulf joins forces with the Free Swordsmen’s Guild to save the city of Rama-Kesh from a magically induced drought. Another surprisingly strong outing from the Atlas (Seaboard) team of Larry Hama and Klaus Janson.
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Targitt heads to Alaska to foil a plot by an American corporation and Third-World powers to manipulate world oil prices. Gabriel Levy and Ric Meyers’ story might have limited appeal, but the visual storytelling – by 1950s comic-book artist Howard Nostrand – is strong.
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