Last November, in our post about Grim Ghost<\/em> #1<\/a>, we discussed the origins and early days of Atlas\/Seaboard \u2014 the comic-book company launched in 1974 by the founder and previous owner of Marvel Comics, Martin Goodman, and his son Charles (aka \u201cChip\u201d).\u00a0 In this post, we\u2019ll be covering the upstart publisher\u2019s decline and fall, as well as taking a close look at one of Atlas\/Seaboard\u2019s very last releases \u2014 a comic which, ironically, was not only one of the company\u2019s better efforts, but also one of the very few to have any sort of afterlife following its abrupt demise. <\/p>\n Cover to another early Atlas\/Seaboard release, The Scorpion<\/em> #1 (Feb., 1975). Art by Howard Chaykin.<\/p>\n<\/div>\n Cover to one of Atlas\/Seaboard\u2019s earliest releases, Phoenix<\/em> #1 (Jan., 1975). Art by Sal Amendola and Dick Giordano.<\/p>\n<\/div>\n As detailed in that earlier post, Atlas\/Seaboard hit the ground running in the summer of \u201974 with deep pockets and generous creator incentives \u2014 including, but not limited to, a higher page rate than what the competition was offering.\u00a0 It certainly wasn\u2019t hard to understand why prominent professionals like Neal Adams, Dick Giordano, Archie Goodwin, Howard Chaykin, and Wally Wood would be willing to work for them.\u00a0 And while there were some definite duds among Atlas\/Seaboard\u2019s earliest offerings (e.g., Ironjaw<\/em><\/a>) there were others which, if not exploding with originality, still demonstrated a high level of craft (e.g., Wulf the Barbarian<\/em><\/a>)<\/p>\n There was also a genuine diversity in the genres and artistic styles embraced by the line, even as the advertising copy heralded the publisher as \u201cthe new<\/em> House of Ideas\u201d \u2014 a phrase that directly invited comparisons with the Goodmans\u2019 former company.\u00a0 But, as Jeff Rovin \u2014 who, along with Larry Lieber, headed up Atlas\/Seaboard\u2019s editorial staff \u2014 would write over a decade later for a personal retrospective published in The Comics Journal<\/em> #114 (Feb., 1987)<\/a> , the senior Goodman seemed determined to not so much emulate the creativity and freshness of approach that had marked Marvel\u2019s ascendancy over the last fourteen years, but rather to imitate the actual content of Marvel\u2019s then-current output as much as was possible:<\/p>\n \u2026Martin became more and more disgruntled as he read more and more of my comics.\u00a0 And what he decided, without having received a single sales report, was that they didn\u2019t look and read enough like Marvel Comics.<\/p>\n \u00a0<\/p>\n \u201cThat\u2019s right,\u201d I remember telling him with a mixture of disbelief and disappointment.\u00a0 \u201cWhy should they look like Marvels?\u201d<\/p>\n \u00a0<\/p>\n \u201cBecause Marvels sell.\u201d<\/p>\n \u00a0<\/p>\n \u201cSure,\u201d I replied, \u201cbut that\u2019s because the characters have had 10 years to establish themselves, not to mention the newsstand clout Marvel has developed \u2013\u201d<\/p>\n \u00a0<\/p>\n \u201cLook,\u201d he snapped, \u201cI don\u2019t want to argue about this.\u00a0 Just do it.\u201d\u00a0 To which end Martin established a hefty warchest and told Larry and me to go out and hire away as many Marvel people as we could.<\/p>\n<\/blockquote>\n Cover to another later Atlas\/Seaboard release, The Scorpion<\/em> #3 (Jul., 1975). Art by Jim Craig.<\/p>\n<\/div>\n Cover to a later Atlas\/Seaboard release, Phoenix<\/em> #4 (Oct., 1975). Art by Al Milgrom.<\/p>\n<\/div>\n Rovin ended up parting ways with Atlas\/Seaboard in January, 1975, leaving the whole enterprise \u2014 which in addition to the color comic books included black-and-white comics magazines, as well as non-comics periodicals \u2014 in the hands of Larry Lieber.\u00a0 Concurrent with the changes in the editorial offices, a number of the creators who\u2019d helped launch the line in the fall of 1974 \u2014 Chaykin, Larry Hama, and Michael Fleisher being among them \u2014 left the titles they\u2019d helped create.\u00a0 And in many cases, the writers and artists who replaced them proceeded to give those features extreme makeovers which left them looking a lot more like standard Marvel Comics fare of the time \u2014 and Marvel superhero<\/em> comics fare, most of all.<\/p>\n But even as the company\u2019s creative ambitions \u2014 not to mention Martin Goodman\u2019s financial largess \u2014 appeared to wane, new features developed by new creators (new to Atlas\/Seaboard, anyway) continued to appear on the racks.\u00a0 One of the very last of these was Demon-Hunter<\/em>, conceived by artist\/plotter Rich Buckler and brought to fruition with the assistance of writer David Anthony Kraft, who\u2019d recently joined the Atlas\/Seaboard staff as an assistant to Larry Lieber.<\/p>\n As discussed in our Astonishing Tales<\/em> #31 post<\/a> a few weeks ago, Rich Buckler was a very busy man at this time, with a slate that included pencilling the monthly Fantastic Four<\/em> title and overseeing the production of the bi-monthly Astonishing Tales<\/em> (featuring yet another Buckler-originated character concept, Deathlok), both for Marvel.\u00a0 Given the trouble he seemed to be having meeting his \u201cDeathlok\u201d deadlines, it\u2019s anyone\u2019s guess as to why or how he thought he\u2019d be able to handle yet another project where he\u2019d be responsible for directing the ongoing storyline as well as providing the art; but that\u2019s what happened.\u00a0 (For the record, Buckler also found the time to draw a number of covers, as well as one additional story \u2014 \u201cMan-Monster\u201d in Tales of Evil<\/em> #3 \u2014 for Atlas\/Seaboard during this period; in fact, he even managed to squeeze in a few art jobs for DC Comics.)<\/p>\n That\u2019s twenty-seven, count \u2019em, twenty-seven<\/em> panels Rich Buckler has drawn on the page above.\u00a0 Maybe not a record, but still, quite impressive.<\/p>\n As he did in his contemporaneous \u201cDeathlok\u201d material, Buckler makes frequent use in this story of the sort of sophisticated graphic storytelling techniques we associate with the work of Will Eisner, Bernard Krigstein, and Jim Steranko \u2014 which makes for a very different overall look from the Jack Kirby-emulating (sometimes Jack Kirby-appropriating<\/em>) style he was employing on Fantastic Four<\/em><\/a> and other Marvel comics<\/a> during this era.\u00a0 Your humble blogger is inclined to think of this as being Buckler\u2019s \u201creal\u201d style \u2014 although, based on statements made by the late artist in various interviews over the years, he himself would probably have referred to it as being just one of several different, but equally valid, styles he regularly employed, dependent on what the particular job he was working on called for.<\/p>\n In addition to being the title of our present story \u2014 and<\/em> the current occupation of its protagonist \u2014 \u201cHarvester of Eyes\u201d is the title of a 1974 song by Blue \u00d6yster Cult<\/a>, a fact that\u2019s acknowledged in the story\u2019s dedication to \u201cBuck Dharma and the boys\u201d<\/a>.\u00a0 As we\u2019ve noted previously, Rich Buckler was a huge rock music fan who enjoyed seeding his stories with song titles and other lyrical references.<\/p>\n Along with its employment of unconventional page layouts here and there, the opening sequence of Demon-Hunter\u2019s debut parallels that of Deathlok<\/a> in another way, as well \u2014 in both cases we see our protagonist not only already empowered and \u201ccostumed\u201d, but acting as a cold-blooded assassin for hire.<\/p>\n Wavy panel borders are generally used in comics as a way of signifying a flashback, or dream-state, or some other trait that sets the action in those panels apart from those preceding or following them.\u00a0 But that doesn\u2019t really seem to be the case, here, so I\u2019m not sure this was an effective storytelling choice.<\/p>\n I get that Gideon Cross doesn\u2019t have to change out of his spandex onesie to hide his secret identity, due to his magical camouflage powers \u2014 but is the thing really so comfortable that he never takes it off, even when relaxing alone?\u00a0 Or are we supposed to think he can\u2019t<\/em> remove it?\u00a0 If it\u2019s the latter, then of course the same question arises that always does in this kind of situation \u2014 namely, how the hell does the guy go to the bathroom?<\/p>\n OK, so Gideon Cross works as a \u201cHarvester of Eyes\u201d for the \u201cHarvesters of Night\u201d.\u00a0 What, exactly, is the difference?\u00a0 And for that matter, why is Gideon\u2019s gig described as harvesting eyes<\/em>?\u00a0 All we ever see him collect from his victims is blood.\u00a0 In the end, it seems to be a case of Buckler\u2019s picking up on a cool-sounding phrase from a rock song without giving too much thought as to what it might actually mean in the context of his story.<\/p>\n Cross accompanies Damian Severs to his late night rendezvous on the three-miles-out yacht, where he observes a whole lot of cash being exchanged for a whole lot of drugs.\u00a0 He then proceeds on his own to Kennedy International Airport, from where he\u2019s supposed to fly to Jamaica.\u00a0 But our protagonist has become uneasy with his current role as Severs\u2019 assassin, fretting that it \u201cmakes me no better than a sniper<\/strong> myself, like Matthews.\u201d\u00a0 (To which this reader can only reply: well, d\u2019uh<\/em>.)\u00a0 So he determines that before he hands his latest \u201cbloodflask\u201d over to the Cult, he\u2019s going to demand some answers about the reasons for it all..<\/p>\n Watching all this from his hiding place, Demon-Hunter knows now without a doubt that the Cult is evil \u2014 and that if he\u2019s not going to be one of them any longer, then he can only be against them.\u00a0 \u201cFrom now on, I\u2019ll believe in myself!<\/strong>\u201d he silently declares.<\/p>\n It\u2019s kind of an odd way to end this first chapter of Demon-Hunter\u2019s saga, at least if the idea is to build suspense, since presumably all Gideon has to do to spoil the Cult\u2019s subterfuge is to turn his head slightly to the right.\u00a0 But, setting that and the story\u2019s other bobbles aside, this is a pretty solid set-up for an ongoing series \u2014 one that, to quote from one<\/a> of Tom Brevoort\u2019s two (!) blog posts about this comic, came across in 1975 as \u201ca strong synthesis of all of the disparate elements then popular in mainstream culture: occultism, gun-slinging men\u2019s paperback characters, the Godfather and its sequel, and super heroics.\u201d<\/p>\n Following the story\u2019s last page is the Atlas\/Seaboard version of a Marvel Bullpen Bulletins page \u2014 complete with a knockoff of Stan Lee\u2019s famed \u201cSoapbox\u201d column by his younger (and rather less ebullient) brother, Larry Leiber:<\/p>\n I\u2019m not sure exactly when this \u201cHere\u2019s What\u2019s Happening with Atlas\u201d page was put together \u2014 though whenever it was, the publisher obviously still had a lot of comics in various stages of production.\u00a0 By the time Demon-Hunter<\/em> #1 reached stands on June 3rd, however, most of the projects touted here as being \u201ccurrent and upcoming\u201d had already come out \u2014 some by as much as a couple of months.\u00a0 And those that were<\/em> still on the horizon, such as the third and fourth issues of The Barbarians<\/em>, or Man-Monster<\/em> #1, were destined never to appear at all.<\/p>\n Cover to Savage Combat Tales<\/em> #1 (Jul., 1975). Art by Rich Buckler.<\/p>\n<\/div>\n There would in fact be just one more publication released by Atlas\/Seaboard: Savage Combat Tales<\/em> #3, which came out exactly one week after Demon-Hunter<\/em> #1.\u00a0 And that was that; \u201cthe new House of Ideas\u201d was closed for good.<\/p>\n According to just about all accounts (several of which can be found here<\/a>), the decision to pull the plug on the enterprise came down to finances; in the words of one of the publisher\u2019s latter-day writers, Gary Friedrich, \u201cMartin just saw the numbers.\u00a0 After a year or so of losing money, Martin was not the type of guy to continue to throw good money after bad.\u201d\u00a0 It also seems to have happened relatively abruptly, although the final shuttering of the operation took at least a few weeks, and even at the very end there was a certain amount of ambiguity; David A. Kraft (who\u2019d already left his staff job, but was still writing for the company as a freelancer) was simply told that the comics line was being \u201csuspended\u201d, which suggested that the company might regroup and make a comeback.*<\/a>\u00a0 On the other hand, artist Terry Austin later recalled that \u201cWalt [Simonson] and I walked to the Atlas\/Seaboard offices and asked for our artwork back. My recollection is that the receptionist denied that the company had ever published comics.\u201d\u00a0 A number of finished stories and covers by those two artists and others, including Neal Adams and Russ Heath, were evidently never recovered.<\/p>\n The legacy of Atlas\/Seaboard may fairly be described as \u201cmixed\u201d.\u00a0 On the one hand, Jeff Rovin probably knew what he was talking about in 1987 when he characterized the publisher\u2019s story as \u201cthe text-book example of how not to run a comics company\u201d.\u00a0 On the other hand, as Rovin himself acknowledged, the company was a pioneer in the sort of incentives it offered creators; beyond the higher page rates, Atlas\/Seaboard also made a policy of returning artwork, as well as giving creators a contract enabling them to share in the profits for characters they created.\u00a0 True, a lot of the artwork was apparently lost or stolen before it could be returned, and none of the characters remained in print long enough for anyone to make any profit off of them; nevertheless, a precedent had been set.<\/p>\n Relevant to that last point, the post-collapse history of the Atlas\/Seaboard IP over the last half-century has been pretty underwhelming.\u00a0 Back in 2011, Martin Goodman\u2019s grandson Jason attempted to revive the brand with a small line of titles released through Ardden Entertainment; none of the titles, which included reboots of Grim Ghost<\/em>, Phoenix<\/em>, and Wulf<\/em>, as well as a \u201cteam\u201d book called Atlas Unified<\/em>, made it past seven issues (which, admittedly, is three more than any original<\/em> Atlas\/Seaboard title ever got).\u00a0 Much more recently, in 2024, Jason Goodman began another run at it, joining forces with SP Media Group to unveil plans for an \u201cAtlas Cinematic Universe\u201d<\/a>, merchandise, and more.\u00a0 And, indeed, four action figures from Mego<\/a> \u2014 Grim Ghost, Phoenix, the Dragon (from Hands of the Dragon<\/em>), and Devilina (from Atlas\/Seaboard\u2019s black-and-white comics line) \u2014 have evidently been manufactured and shipped, and are available for your purchase, somewhere.\u00a0 Your humble blogger must admit to having a ginormous amount of skepticism regarding the overall financial prospects of a multi-movie franchise based on properties that were published for less than a full year a full half-century ago, and which 99 percent of currently living humans have never even heard of \u2014 but, hey, I\u2019ve been wrong before, and if any of the old Atlas\/Seaboard creators (or their heirs) are able to make a few bucks out of all these shenanigans, good for them.<\/p>\n Opening splash page from the first \u201cDominic Fortune\u201d story, as published in Marvel Preview<\/em> #2 (Jun., 1975). Text by Len Wein; art by Howard Chaykin.<\/p>\n<\/div>\n In the mentime, if we want to talk about comic-book characters that managed to survive the demise of the original Atlas\/Seaboard Publications \u2014 if not quite exactly in their original form \u2014 then we actually need to go back way, way past 2024, or even 2011 \u2014 all the way back to April, 1975, in fact.\u00a0 Yes, that\u2019s actually two months prior<\/em> to when Atlas\/Seaboard shipped its final releases.\u00a0 But it\u2019s also the month that the company brought out its third issue of The Scorpion<\/em>, which found Howard Chaykin\u2019s original character \u2014 an immortal adventurer whose pulp-style exploits were set in the 1930s \u2014 replaced by a present-day spandex-clad superhero\u2026 as well as the month that Marvel Comics released Marvel Preview<\/em> #2, a black-and-white comics magazine feature a strip by Chaykin and writer Len Wein about Dominic Fortune<\/a> \u2014 a not-so-immortal adventurer whose pulp-style exploits were set in the 1930s.\u00a0 Not exactly<\/em> the same guy, no\u2026 but pretty damn close.\u00a0 Chaykin\u2019s reworking of his \u201cScorpion\u201d concept (which was even more on-the-nose than his slightly earlier reinvention of DC Comics\u2019 \u201cIronwolf\u201d<\/a> as the creator-owned \u201cCody Starbuck\u201d) would go on to a long, if not necessarily prominent, role in the larger Marvel Universe; which, if nothing else, is\u00a0 a lot more than you can say about either incarnation of Atlas\/Seaboard\u2019s Scorpion, at least at this time of writing.<\/p>\n Cover to Marvel Spotlight<\/em> #33 (Apr., 1977). Art by Rich Buckler and Klaus Janson.<\/p>\n<\/div>\n In similar fashion \u2014 and, in the context of this particular blog post\u2019s primary subject, much closer to home \u2014 Rich Buckler and David Anthony Kraft would bring back Gideon Cross, Demon-Hunter, as Eric Simon Payne, Devil-Slayer at Marvel Comics, a couple of years following his ill-fated initial outing.\u00a0 Pretty much only the names and the costume color-scheme were changed for this one, with the \u201cnew\u201d character making his debut in Marvel Spotlight<\/em> #33 (Apr., 1977) as an antagonist to that other<\/em> Buckler hero, Deathlok the Demolisher, before proceeding on to a stint with Marvel\u2019s \u201cnon-team\u201d, the Defenders, whose adventures were then being scripted by Kraft.\u00a0 There\u2019s a very good chance that some of those comics will be the subjects of their own blog posts in the next few years, so we\u2019ll refrain from going into more details at this time \u2014 and will simply note that, like Dominic Fortune, Devil-Slayer would continue to have a place in the Marvel Universe in the years and decades to follow, even if he never became a breakout star.<\/p>\n Cover to Galaxia Magazine<\/em> #1 (Jun., 1981). Art by Rich Buckler and Dick Giordano.<\/p>\n<\/div>\n But the saga of Demon-Hunter doesn\u2019t even end there.\u00a0 Four years after the introduction of Devil-Slayer at Marvel, Rich Buckler dusted off his original character concept for one more go \u2014 this time as a fully creator-owned project \u2014 in the pages of the black-and-white Galaxia Magazine<\/em> #1 (Jun., 1981), released in the dawning days of the \u201cdirect market\u201d as the first and only offering of the independent publisher Astral Comics.\u00a0 In this incarnation, the hero\u2019s codename was Bloodwing; but his backstory remained the same, as did his \u201creal\u201d name, Gideon Cross.\u00a0 He kept the same costume, as well, albeit with yet another color-scheme switch-up (although since the book\u2019s 8-page Bloodwing story was printed in b&w, that factor was only relevant in regards to the cover).<\/p>\n I didn\u2019t buy this one back in the day, so the chances of it getting its own post from me in 2031 are nil \u2014 however, if you\u2019re curious, Tom Brevoort has blogged about it<\/em>, too (though just once<\/a>, at least so far), and his coverage will likely tell you all you might want to know.\u00a0 So, thanks, Tom!<\/p>\n \u00a0<\/p>\n *Kraft\u2019s account of Atlas\/Seaboard\u2019s final days was first published in the fanzine Deadspawn<\/em> #1 (Jul., 1975), and later reprinted\u00a0in Comic Book Artist<\/em> #16 (Dec., 2001)<\/a>.<\/p>\n![\"\"](\"https:\/\/i0.wp.com\/50yearoldcomics.com\/wp-content\/uploads\/2024\/11\/scorpion1.jpg?resize=195%2C297&ssl=1\")
<\/a><\/p>\n![\"\"](\"https:\/\/i0.wp.com\/50yearoldcomics.com\/wp-content\/uploads\/2024\/11\/phoenix1.jpg?resize=195%2C300&ssl=1\")
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<\/a>Cross quickly decides on a change of destination \u2014 and so, when he flies out of Kennedy, it\u2019s en route not to Jamaica, but rather to Nigeria\u2026<\/p>\n![\"\"](\"https:\/\/i0.wp.com\/50yearoldcomics.com\/wp-content\/uploads\/2025\/04\/dh1-retreat-e1744313947256.jpg?resize=1000%2C1214&ssl=1\")
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<\/a><\/p>\nLike this:<\/h3>\n