A fast 'n fun Atlas weirdie for ya today, one that goes hand in boney hand with the man who lost his honkin' head via voodoo schmoodoo from last week, with great art from good 'ol Russ Heath, and from the October 1952 issue of Spellbound #8.
That's a fun one, and the ending remained a mystery the entire time, even though the components of it were obvious.
I love the last panel; it's a great callback to the opening scene and a great image. I guess the skeleton sentries do work!
I also like that this story didn't involve any double-crosses, his brother didn't know he was going to kill him and there was no revenge to be sought, just a greedy idiot getting what he deserved.
Gosh I really love the last panel on page two. A lovely marriage of inking and color, with well detailed faces and such an excellent use of white for the highlights. The splash panel is also a standout for its use of white, and I really dig the bottom frame in which brother Eric appears, replacing the skeleton in the panel before. I also love that every page thereafter is anchored by a classic Atlas four-panel progression, each to a different kind of effect. The one on the last page feels like a Heath ode to Ditko.
2 comments:
That's a fun one, and the ending remained a mystery the entire time, even though the components of it were obvious.
I love the last panel; it's a great callback to the opening scene and a great image. I guess the skeleton sentries do work!
I also like that this story didn't involve any double-crosses, his brother didn't know he was going to kill him and there was no revenge to be sought, just a greedy idiot getting what he deserved.
Very nice skeleton work, too!
Gosh I really love the last panel on page two. A lovely marriage of inking and color, with well detailed faces and such an excellent use of white for the highlights. The splash panel is also a standout for its use of white, and I really dig the bottom frame in which brother Eric appears, replacing the skeleton in the panel before. I also love that every page thereafter is anchored by a classic Atlas four-panel progression, each to a different kind of effect. The one on the last page feels like a Heath ode to Ditko.
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