Random Happenstance

In ramping up for Halloween, I've set up posts for multiple horror comics, ranging from not-too-shabby to just-above-poor. But I shouldn't miss the opportunity to look at a classic, albeit a reprinted one: from 1991, Gladstone's Vault of Horror #5, reprinting EC's Vault of Horror #19 and Weird Fantasy #8, both from 1951.

Before getting into the contents, I love love love these reprints: I have a good pile, but I know I don't have all of them. I think Gladstone was doing double issue reprints, while another publisher, Russ Cochran, would reprint the Vault of Horror #19 portion as VoH #8 in 1994. If you were trying to get a particular story out of the reprints, I could see that as being a puzzler, especially before the internet. I also know these EC comics have been reprinted multiple times in fancier formats: I think this issue would've been in Dark Horse's EC Archives volume 2, but I couldn't find it on Amazon for the life of me. Those would have better paper and remastered color, but...those would be for readers that were already fans, wouldn't they? Not something that would fall into someone's hands and make them a fan for life. Or afterlife, considering. From pulp these came, from pulp let them return.

Since I mentioned these were reprinted pre-internet, the stories are of course pre-pre-internet; and I wondered if they would still be relatable if a youngster were to read them today. Then again, gore can be timeless; so now I wonder if these would cause an uproar for a new Comics Code. Let's see! First up was Johnny Craig's "Southern Hospitality," in which gigolo Abner Scanlon marries a beautiful and rich southern belle, only to discover the family was really going broke, but was too proud to admit it. The family also idolizes great-grandpappy General Sebastian Cornelius Jackson; and by this point I know Abner's a louse but I'm still on Team Abner. I feel like I've read a lot of these horror comics with conniving, gold-digging husbands and wives; which seems weird: the kids that were reading these wouldn't have been afraid of that, right? But I suppose it's a good object lesson: try and marry rich and you'll end up with your skull sucked out of your face or something.

"The Jellyfish" feels more timely. (Story by William M. Gaines and Al Feldstein, art by Jack Davis.) Two brothers run a pharmaceutical supply company: one wants to make a quick pile of cash by diluting their insulin 50%, which he does over the protests of his "spineless jellyfish" brother. When people start dying from the useless, diluted doses; the FDA investigates, and the mean brother frames the jellyfish, who's so broken he doesn't even fight the charges and gets a ten year rap. Which gives him time to work on a little revenge project, which would show which brother was really the jellyfish.

Feldstein and Gaines probably wrote most of these, and did this next one with Jack Kamen art: "Daddy Lost His Head!" After her mother dies, little Kathy is left with a cruel, neglectful step-dad; but the witch next door fixes her up with a caramel voodoo dolly. What you imagine is more horrible than what you see here. Last was "Reunion," with art by Graham Ingels: Lillian married a man that was fourteen years older, and her eye had started to stray when he started to get a bit run-down. She falls in with the younger Roger, but before she can ask for a divorce her husband is paralyzed from polio. Unable to leave an invalid, Lillian and Roger plan to meet again in five years, to see if they still felt the same way. They do, then plan to meet five years after that: by now Roger notes they're not getting any younger, but Lillian still can't leave. Three years later, her husband finally dies, but Lillian can't find Roger, with good reason: he'd been killed in a train wreck, two years prior. Still, he said he'd be there...the ending of this one leans towards Lillian losing her mind, but I suppose it could be interpreted as romantic? Maybe?

Since we've got it handy, let's look at Weird Fantasy #8, opening with "The Origin of the Species!" In the futuristic future of...1997, two archaeologist brothers argue if the origin of man will be found in space or by digging on earth. Still, they see each other off warmly, wishing each other luck, although they can't both be right...can they? (Story and art by Al Feldstein.)

"It Didn't Matter," written by Al Feldstein, art by Jack Kamen; features a fairly standard EC sci-fi plot: something fantastic has been invented! How can I use it for crime and/or murder? And how will it backfire on me? In this case it's a matter-transmitter, and like "Daddy Lost His Head!" it's left to the imagination. In "The Slave Ship" a crew of slavers in 1839 ditch their cargo to avoid prosecution, but get their just desserts in space. It's not especially scientifically accurate, but still satisfying. (Written by Al Feldstein, art by George Roussos.)

The issue wraps up with Wally Wood's "The Enemies of the Colony," the earthlings colonizing the planet Rullah love the friendly, harmless Rokos and hate the dragon-like "hydra-files" that feed on them. But as often was the case in these, they've made a wrong assumption that will cost them.

EC reprints are an always-grab for me when I find them; and I encourage you to do the same. Unless you're nearby, then shove off, they're mine! Maybe I should've subscribed like the ad said...