“The Drowning Witch” might be dopey, but 1950s Reed Crandall should be celebrated and Crandall only contributed twice to the Atlas pre-codes (the previous was the very EC-ish “Like a Chicken Without a Head” in Uncanny Tales #9). We find out, from the final panel, that the ship is inside a glass bottle and the “beast” is a common house cat. Just before she becomes shark-bait, the old woman curses the ship to lie still on a “sea of glass” and “attacked by a beast with taloned claws.” Immediately both curses come true. His characters have exaggerated faces (a la the work of Graham Ingels) and his resurrected vampire skeleton is a hoot.Īfter an old crone is found guilty of practicing witchcraft, the Captain orders her thrown overboard. Lord Emsmere has his ancestors’ bones dug up and moved to his family’s graveyard at his castle in England but, too late, he discovers the buffoons accidentally dug up the grave of a vampire! “The Bones…” is a silly four-pager but, like Howard Post, Mort Lawrence has an art style that distinguishes itself from others in the Atlas bullpen. This was Post’s final pre-code work for Atlas though he’d be back four more times in the post-CCA era. I’m pleasantly surprised Stan allowed such a rough look into one of his funny books. the Ants” by Carl Stephenson, “Nothing Is Left Alive!” is more notable for its stark and striking artwork by Howard Post, who had a style akin to that of Bernie Krigstein and no other Atlas artist. The third variation in less than four months on the immensely popular “Leinengen Vs. “The Thief!” (a: Larry Woromay & Matt Fox) ★★★Ī sadistic plantation owner waits out an invasion of army ants in Africa. “The Drowning Witch” (a: Reed Crandall) ★★★ “”Nothing Is Left Alive!” (a: Howard Post) ★★★
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