{"id":5,"date":"2013-08-07T15:59:19","date_gmt":"2013-08-07T13:59:19","guid":{"rendered":"http:\/\/charm-of-charlton.de\/?page_id=5"},"modified":"2013-09-16T12:26:39","modified_gmt":"2013-09-16T10:26:39","slug":"artists-of-fawcett","status":"publish","type":"page","link":"https:\/\/charm-of-charlton.de\/","title":{"rendered":"Artists of Fawcett"},"content":{"rendered":"

This website takes an in-depth-look at the 74 pre-code horror comic books from Fawcett and Charlton publishing companies.<\/strong>
\nIdentifying artists, analyzing stories, hinting at nifty details, bespeaking points of interest, poking fun at inadaquacies and posting whole stories. By the way: almost all of the books are available to view and\/or download at the Digital Comic Museum.<\/p>\n

I took care of some missing issues. So enjoy. And I\u2019m working on completing the whole run, of course. Every issue has been freshly indexed (with the fabulous help of art spotting wizard Jim Vadeboncoeur, Jr.) on the Grand Comics Database <\/a>\u2013 the link will show you all available data, including cover shots and story descriptions.<\/p>\n

FAWCETT HORROR<\/strong><\/h1>\n

They put out 42 horror comic books, published under 5 titles, which sound quite alike and are bound to be confused.<\/p>\n

There\u2019s the foolish sounding flagship title THIS MAGAZINE IS HAUNTED<\/strong>.
\nLaunched a month later is WORLDS BEYOND, instantly retitled WORLDS OF FEAR<\/strong>.
\nEnter UNKNOWN WORLD<\/strong> in summer 1952 \u2013 and instantly renamed STRANGE STORIES FROM ANOTHER WORLD<\/strong>. So far, so good. We can handle that.
\nBEWARE! TERROR TALES<\/strong> comes out at the same time.
\nAnd a fifth (shortest lived) title called STRANGE SUSPENSE STORIES<\/strong>. Whooaah.<\/p>\n

\"unknownworld\"<\/a>

A Fawcett #1<\/p><\/div>\n

Who can tell apart STRANGE SUSPENSE STORIES from STRANGE STORIES FROM ANOTHER WORLD respectively all those other WORLD(S)-books!? I find this indeed almost annoying.
\nOnly Atlas\/Marvel ran more continuing horror titles.<\/p>\n

But it proved to be a short run for Fawcett, because doom lurked in the shadows<\/strong> (in form of a six year long, tedious lawsuit with rival publisher DC about the infringement on Superman\u2019s copyright by the mighty Captain Marvel).
\nFawcett may not be that heartbroken to leave the hectic comic book business behind, though. They were still thriving with their GOLD MEDAL BOOKS, presenting the eager public with \u201cpaperback originals\u201d (an \u201cinvention\u201d brought to the US in 1939).<\/p>\n

As one of the big comic books outfits, Fawcett joined the horror craze quite late<\/strong> \u2013 in the autumn of 1951. Testing the murky waters with their \u201cflagship\u201d title THIS MAGAZINE IS HAUNTED. Only rival company DC stalled a bit longer, launching their HOUSE OF MYSTERY in December.
\nThe rest of publishers to follow were small fry. With the exception of Quality Comics, of course. The November of 1952 saw the publication of their only horror book, WEB OF EVIL.
\nWe wonder today, how and when and by whom the decision was made to put out a new series. In Fawcett\u2019s case, however, we have a first-hand account straight from the horse\u2019s mouth.<\/p>\n

How horror came to Fawcett \u2013 Moldoff\u2019s payback<\/h3>\n

The artist Sheldon \u201cShelly\u201d Moldoff<\/strong> worked in the late 1940s on the EC title \u201cMoon Girl\u201d. He claims to have sold Bill Gaines the idea of publishing horror comic books<\/strong> (which Gaines proudly boasted to have been his very own invention, even so in front of the senate subcommittee in 1954).
\nMoldoff seems to have been sold down the river over legal hassles and Gaines not wanting to cut him in on the profits. The whole matter is fascinatingly captured and retold in the following dialogue.<\/p>\n

I leave you with this thrilling excerpt from an interview Roy Thomas (RT) did with Sheldon Moldoff for ALTER EGO #4 (the essential fanzine from TwoMorrows Publishing):<\/p>\n

RT: EC changed the title to \u201cMoon Girl Fights Crime\u201d, and then dropped \u201cMoon Girl\u201d totally and turned it into a love comic called \u201cA Moon… a Girl… Romance\u201d for four issues. I guess she just never caught on in that time when super-heroes weren’t the big thing anymore.<\/em><\/p>\n

\"MoonGirl\"<\/a>

A „Moon Girl“ action page by Sheldon Moldoff<\/p><\/div>\n

MOLDOFF: Well, as I said, you’ve got to come out at the right time and the right place. An interesting part of my career – and I have written proof, since I’ve kept all my records from ‚way back.
\nWhen Max Gaines was killed in his motorboat accident, his son Bill took over EC. I had met Bill before, but now he was in charge, and I was doing some work for him. I asked him, „How’s things going?“ He said, „Lousy. The family’s considering closing up and getting out of the comic book business.“
\nI said, „Bill, if I give you an idea which I think will be the next trend, will you give me a contract and a percentage of sales if it shows a profit? I only want it if there’s a profit; I’d get paid a percentage of the profit. I think I know what’s going to come in next.“ And he said, „I’d be glad to!“ I said, „Okay, I’m going to bring you a couple of titles and a little breakdown, and show you what I have in mind.“
\nSo when I came back, I showed him two titles. One was \u201cTales of the Supernatural\u201d, and the other was \u201cThis Magazine Is Haunted\u201d. And I said, „This is going to be it: horror. This is going to come on strong.“<\/p>\n

RT: What made you think that? Was it the former success of radio shows like \u201cInner Sanctum\u201d?<\/em><\/p>\n

MOLDOFF: I just had a feeling. You know, Roy, I have a box of ideas I showed to different people over my career. Many of them have become reality, but not for me! Do you know what I’m saying?
\nI was always trying, and I just had a feeling this was it, that horror was going to come in. So he said to me, „I’m going to give you a contract. I’ll have Dave Alterbaum draw up a contract.“
\nI went home and I started on it. I got Johnny Craig to draw two stories and a cover. Gardner Fox wrote a story; another fellow also did one, I drew a story, and I put the book together. Meanwhile, Dave Alterbaum drew up a contract. I knew him; he had been Max Gaines‘ lawyer.<\/p>\n

RT: And now he was Bill Gaines‘ lawyer.<\/em><\/p>\n

MOLDOFF: He was the family lawyer! So I bring the work down, and Gaines has the contract ready, and I sign it, and I’m all excited about it, you know? And he looked at me and said, „Terrific.“ He likes it.
\nI said, „I’ve got some other artists lined up. Do you want me to start on the next one?“
\nHe said, „No, wait, hold it. I’ll let you know.“
\nSo I go home, and weeks go by, and I don’t hear from him. So I called him again and said, „Are you ready for a second issue?“
\nHe said, „No, just hold it; I’ll get back to you.“
\nMonths go by, and in the meantime I’m busy with other work, I’m doing other things-and now, quite a few months later, I see on the newsstand Bill Gaines‘ horror books, \u201cTales from the Crypt\u201d and all this other stuff!<\/p>\n

\"FirstCrypt\"<\/a>

EC’s first horror mag – without Moldoff<\/p><\/div>\n

I say, „What the hell is this?“ I look at it, and sure enough, it’s coming from EC Publications!
\nSo I went running down there, and they’re still at Lafayette Street, and I said, „Bill, what is this?“
\nHe said, „I knew you’d be here.“
\nI said, „Well, do you blame me? We have a contract, and you’re supposed to use mine! I’m supposed to be the horror man!“
\nHe said, „Well, I decided I’m not going to give percentages. I don’t want to give percentages. I’ll give you all the work you want, but no percentages.“
\nI said, „No, we had an agreement, and I want you to honor it!“
\nHe said, „Well, there’s nothing you can do about it, Shelly. I decided I’m not paying anybody percentages.“
\nSo I went down to see Dave Alterbaum, and I said, „Dave, I just came from Bill Gaines‘, and he’s not honoring the contract. What’s this all about?“
\nAnd he put his arm on me and said, „Shelly, you’re young and inexperienced, but you’ll learn. There’s nothing you can do about it. If you try to sue, we’ll blackball you in the business.“
\nWell, I got scared, and I said, „That’s terrible! How do you do such a thing like that?“ He said, „That’s business.“
\nSo I went back and talked to my wife, and I was fretting, and I went to see a lawyer somebody had told me to see. And he looked at me and said, „Sheldon, the contract’s worthless; it doesn’t protect you at all. Next time you have an idea, you get your own lawyer, and you have him protect you! Don’t go and depend on somebody else’s lawyer, because they’ll screw you every time. Unfortunately, there’s nothing you can do about it.“<\/p>\n

RT: Not exactly the avuncular image one usually has of Bill Gaines.<\/em><\/p>\n

MOLDOFF: I ran into Johnny Craig in the subway months later. I said to him, „You know, he really screwed me, Johnny. You did two horror stories for me, and you know damn well he screwed me!“
\nHe didn’t say anything, he just shrugged.
\nI said, „I know you’re in a tough position; you’ve got a lot of work. But you know damn well he screwed me!“ He didn’t say anything, he just shrugged, and he went on to be one of the mainstays of the [EC] horror books.
\nGaines took the horror stories I had packaged, and he put them in different magazines. One magazine article said that this story by Johnny Craig and one \u201cMoon Girl\u201d horror story I drew were the beginning of Gaines‘ horror cycle. They gave credit to those two stories for starting it all. And I still have the sheet in my books which shows that I paid Johnny Craig, and the name of the story, and how much I paid him, and the date! So I have all this material, and there’s no question that I produced that first book.
\nI’m very grateful that DC has come out with this new \u201cBatman\u201d book, and the writer, Les Daniels, finally gave me recognition and credit for all the \u201cBatmans\u201d I did. This fellow Steve Kort\u00e9 has been very nice, too. But I’m tired of this horror nonsense being kicked around as Bill Gaines‘ hall-of-famer, you know, and I want credit for that.<\/p>\n

RT: And if you’ve got proof, there’s no reason you shouldn’t have it, even if Gaines and Feldstein developed the material later in their own way.<\/em><\/p>\n

MOLDOFF: If experts test the paper of the documents I’ve got, they’ll see that the paper goes back to 1948; they’ll see that this is the original. I paid Johnny Craig and I paid Gardner Fox, and what I paid them is written down here. It was the first EC horror book.<\/p>\n

RT: How many of your horror stories did they end up using?<\/em><\/p>\n

MOLDOFF: There were four stories in all. The one I did myself was in \u201cMoon Girl\u201d.<\/p>\n

RT: I know that, later, \u201cThis Magazine Is Haunted\u201d wound up as a Fawcett title.<\/em><\/p>\n

\"SheldonMoldoff\"<\/a>

Finally got his own horror book: Sheldon Moldoff<\/p><\/div>\n

MOLDOFF: Right. As a matter of fact, I had shown \u201cThis Magazine Is Haunted\u201d and \u201cTales of the Supernatural\u201d to [Fawcett executive editor] Will Lieberson before I showed them to Bill Gaines, because I trusted Will Lieberson much more. He showed it to the big guys at Fawcett, and he said, „Shelly, Fawcett doesn’t want to get into horror now; they don’t want to touch that.“
\nThen I went to Bill Gaines! He was my second choice. But after horror started to catch on, I came back and Will Lieberson said, „Let me bring it back to Fawcett again, and see if they’ll take the title.“ And so they did; they took \u201cThis Magazine Is Haunted\u201d and \u201cWorlds of Fear\u201d and then \u201cStrange Suspense Stories\u201d. What they did was pay me $100 for the title, and give me as much work as I wanted, and I also did the covers. So that went on that way.<\/p>\n

RT: Until the whole horror thing collapsed.<\/em><\/p>\n

MOLDOFF: Well, it had its run, like everything else. They got a little too deadly, a little too gruesome.<\/p>\n

RT: I don’t think Fawcett’s horror comics were ever as strong as at EC and a few other companies.<\/em><\/p>\n

MOLDOFF: Lieberson said that Fawcett wouldn’t go for it. In fact, there was a girl editor named Ginny Proviserio. I did a romance comic with her, and then she did the horror, she did \u201cHaunted\u201d.<\/p>\n

I believe this version is true to fact.<\/strong> Feels like the affair over which Harvey Kurtzman left EC in anger (the quarrel over MAD in 1956).<\/p>\n

Spotlight: The Covers<\/strong><\/h1>\n

Moldoff was no good artist \u2013 but so weren\u2019t Graham Ingels, Wallace Wood and Jack Davis in 1950. They got better, much better; Moldoff didn\u2019t.<\/p>\n

Nonetheless FAWCETT HORROR has impressed me deeply<\/strong>. They got fine and well-balanced scripts, not too wordy, not too heady, not imitating others, never boring, caring for characters, intelligent, and often ending on a valid twist.<\/p>\n

Too bad the artwork wasn\u2019t always up to it<\/strong>. FAWCETT HORROR is missing an artist in their stable. Like Cameron and Zansky at Ace, like Toth and Celardo at Standard, like Benulis and Abel at Fiction House, like Ditko at Charlton and so on\u2026<\/p>\n

\"NormanCover\"<\/a>

The best FAWCETT HORROR title pages were done by Norman Saunders<\/p><\/div>\n

Okay, they got George Evans and Bob Powell<\/strong>. But Evans leaves very soon (too soon!) for EC and Powell only contributes the odd job from the outside. FAWCETT HORROR\u2019s regulars are craftsmen but no artists. Bernard Baily? Sheldon Moldoff? Bob McCarty?
\nThey\u2019re all okay and doing fine, but they\u2019re sadly nothing to get excited about.<\/p>\n

Still I say: Please read these books. They will broaden your pre-code-horizon. Because they are very well written. For the greater part.<\/p>\n

The covers of their horror magazines are not very good<\/strong> \u2013 in my opinion. They are always a bit \u201coff\u201d, focusing on weird picture details, depicting people seldomly in full figure, transporting a grubby, scruffy, cruddy, mucky and grungy feeling. (as a German I fell in love with these adjectives \u2013 and got carried away, sorry for that<\/em>)<\/p>\n

George Evans (a great artist) can\u2019t draw horror covers. Sheldon Moldoff works no magic, let alone with covers. Bernard Baily did fantastic covers (for rival publisher Gilmor\/ Key\/ Stanmor!); his Fawcett title attempts lack every bit of oomph and are looking rather awkward. According to Grand Comics Database, Baily LEFT Fawcett to become cover artist for the competition! That\u2019s a blow.<\/p>\n

Of course there\u2019s Norman Saunders<\/strong>. Fawcett brought him in to do six wondrous covers<\/strong>, executed like paintings. These are what is remembered most about FAWCETT HORROR. Six. At least six.<\/p>\n

Spotlight: The Artists<\/strong><\/h1>\n

Fawcett used very few artists to fill their 42 horror books.
\nThis is partly due to their only-three-stories-a-book-policy, but then again they relied on a small bunch of contributors. Let\u2019s take a look at the guys.<\/p>\n

Sheldon Moldoff<\/h2>\n
\"MoldoffPic\"<\/a>

Fawcett artist – Sheldon Moldoff<\/p><\/div>\n

The tragic central character of FAWCETT HORROR. Thrown out the door at EC, he launches HIS OWN line of comic books. To what avail?
\nMoldoff was motor and most prolific artist for FAWCETT HORROR<\/strong>. Does being turned off by his drawings give me the right me to call him \u201ctragic\u201d?!
\nHe got to fill his own issues, got to do his own thing. For a whole three years.<\/p>\n

Were his books any good?
\nSurely not as good as those from the cheeky bastards over at EC, not as smooth and sensational as the products of Harvey and Atlas, not as impact-laden as the books from Comic Media, Avon, Story, Master or Gilmor\/Key\/Stanmor, not as glossy and clean-looking as those from Standard, Fiction House, St. John or Ziff-Davis \u2013 and surely not as nonsensical and hilarious as those comics from Ajax-Farrell or Superior.<\/p>\n

Fawcett held their own. I dearly hope so, anyway. Sheldon Moldoff ran with the pack. In the end he left his mark on the pre-code horror craze. We should be thankful for that. When Charlton takes over in the winter of 1953\/54 Moldoff is shown the door again.
\nThere\u2019s tragic for you\u2026<\/p>\n

Bernard Baily<\/h2>\n
\"BailyPic\"<\/a>

Fawcett artist – Bernard Baily<\/p><\/div>\n

One of the great horror cover artists! Not for Fawcett, though (as mentioned above).
\nBaily had been working on DC\u2019s \u201cSpectre\u201d feature in MORE FUN COMICS and started tackling FAWCETT HORROR (and suspense stories) in 1951 \u2013 being a \u201cfounding father\u201d of their horror line and contributing to THIS MAGAZINE IS HAUNTED #1.<\/p>\n

Can\u2019t say I care much for his style, though. He looks like a cross of Evans and Powell (which sounds spectacular, but isn\u2019t when you see it). His stories are more than okay, but I feel like something\u2019s missing.<\/p>\n

He\u2019ll go down in horror history as the artist of \u201cAIEEEEE! The Teeth!\u201d, one of the wackiest pre-code horror yarns there ever was. His splash page depicting flying dentures is kind of a prototypical figurehead of comic book craziness of the mid 1950s (if you get my mental\/dental drift\u2026).
\nAllegedly Baily found work for DC\u2019s line of code-approved horror books from 1956 on.<\/p>\n

Bob Powell<\/h2>\n
\"PowellPic\"<\/a>

Fawcett artist – Bob Powell<\/p><\/div>\n

One of my favorite artists in pre-code horror. Top five of the fifties. Going out on a limb here. In my humble opinion Powell is better than Ingels, Davis, Ditko or Cameron. For me he\u2019s up there with Krigstein, Kurtzman, Craig and (yes) Crandall. The way these guys set up \u201clights\u201d and \u201ccamera\u201d \u2013 absolute magic.<\/p>\n

Powell is a visionary of\u2026 ahm\u2026 vision. And fun, too. There\u2019s a caricatural quality<\/strong> to his pudgy and feisty characters.
\nWere it not for Bob Powell, FAWCETT HORROR may have been a puny footnote in horror history.<\/p>\n

Bob Powell (and his small studio) is of course renowned for contributing massively to HARVEY HORROR. But apart from them and Fawcett he also did a few jobs for Ziff-Davis\u2019 EERIE ADVENTURES and WEIRD THRILLERS (as well as the singular odd job for St. John and Atlas).
\nWe\u2019re only talking horror stories, folks; Powell did tons of other stuff \u2013 and never looked bad.<\/p>\n

George Evans<\/h2>\n
\"EvansPic\"<\/a>

Fawcett artist – George Evans<\/p><\/div>\n

Fondly remembered for his excellent work on EC\u2019s horror titles (plus CRIME SUSPENSTORIES, SHOCK SUSPENSTORIES and Kurtzman\u2019s war books). A portion of his glamour falls upon his work for Fawcett.<\/p>\n

He was the in-house all-rounder<\/strong>, depicting not only horror, but romance, western and movie comics as well. In 1951 he drew CAPTAIN VIDEO. His style is realistic; all of his characters have coal-black eyes.<\/p>\n

Evans loosened his ties to Fawcett in autumn 1952 (when he delivered first stories for HAUNT OF FEAR, TALES FROM THE CRYPT and VAULT OF HORROR). In February 1953 he was gone.<\/p>\n

Bob McCarty<\/h2>\n
\"McCartyPic\"<\/a>

Fawcett artist – Bob McCarty<\/p><\/div>\n

Interesting artist who has been confused with George Evans. Because he looks like a B-version of Evans<\/strong>. McCarty also loves to draw these trademark coal-black eyes, but bigger.<\/p>\n

He starts out with Fawcett\u2019s western book BOB COLT in 1951, possibly imitating Evans.
\nA year later he\u2019s assigned to FAWCETT HORROR, after he presented material in Prize\u2019s BLACK MAGIC.<\/p>\n

Working for both companies, McCarty published an impressive 33 stories in the horror genre and came second \u2013 considering the output at Fawcett. Only beaten by their \u201cgrand seigneur of horror\u201d, Sheldon Moldoff.<\/p>\n

I think McCarty\u2019s underrated. His distinctive, yet peculiar style is pleasant to look at. No master of comic book art, but a highly valuable asset to FAWCETT HORROR.<\/p>\n

Ed Waldman<\/h2>\n
\"WaldmanPic3\"<\/a>

Fawcett artist – Ed Waldman<\/p><\/div>\n

Forgotten veteran artist who hang around the Chesler, Eisner and Iger Shop since the late 1930s.
\nDid work for EC in 1948\/49, and then drew some gangster comics in 1949 for DS\/PL Publishing. We suspect he came over to FAWCETT HORROR in the summer of 1952.<\/p>\n

He has not been spotted or credited before, because only Jim Vadeboncoeur, Jr. \u201cflashed\u201d on that possibility. And pulled the name \u201cWaldman\u201d out of the crevices of his unfathomable brain\u2026<\/p>\n

Waldman\u2019s style is just strange. Very very very strange! Have a look at his graphic hodgepodge \u2013 if you dare! Then imagine that this guy used to draw romance books!
\nHe signed stories in three issues of Avon\u2019s CAMPUS ROMANCE in 1949\/50 and somehow found his way to Fawcett in 1952, being assigned to horror only. Very strange, indeed.<\/p>\n

Research goes on\u2026 hope to get my hands on those Avon books anytime soon.
\nPostscript September 2013:<\/strong> Waldman’s also been credited with some stories for EC’s pre-trend CRIME PATROL. You’ll find his trademark tilted heads from undershot perspective there as well.<\/p>\n

Maurice Gutwirth<\/h2>\n
\"GutwirthPic\"<\/a>

Fawcett artist – Maurice Gutwirth<\/p><\/div>\n

O no, there he is again. The phantom of the comics opera. Had to deal with Gutwirth when researching ACE HORROR. His crude and edgy style has been confused with Paul Gattuso\u2019s (by fellow art spotters, grrrrowl).<\/p>\n

See for example ACG\u2019s FORBIDDEN WORLDS #6 (\u201cThe Devil\u2019s Typewriter\u201d), attributed to Gattuso. The indexer clearly overlooked a hidden signature \u201cMG\u201d on the page sticking out of the typewriter. I\u2019ll correct that error – if I ever come around doing ACG HORROR. I\u2019ll let it stand for the sheer pedagogic hang of it.<\/p>\n

If Gutwirth is to be confused with anybody, it should be George Appel. He looks extremely similar to Gutwirth. Frankly, I suspect them to be the same person. Kidding – out of desperation. I won\u2019t delve into that matter now and bore you with art spotting nightmares.<\/p>\n

Gutwirth did horror stories for Ace, ACG and Fawcett \u2013 and they look terrible.
\nEven worse than Moldoff. Sorry, but Gutwirth just bores my socks off.<\/p>\n

Bud Thompson<\/h2>\n
\"ThompsonPic\"<\/a>

Fawcett artist – Bud Thompson<\/p><\/div>\n

Veteran Fawcett staffer who worked on CAPTAIN MARVEL JR. from 1945 to 1953.<\/p>\n

When the superhero titles folded, Thompson came over to FAWCETT HORROR and helped out during the last weeks.
\nDid only five full horror stories in the very last issues of THIS MAGAZINE IS HAUNTED.
\nA crying shame.<\/p>\n

I love Thompson\u2019s horror work. This guy\u2019s to be discovered!<\/p>\n

Let\u2019s start the count:
\nWho did how much?<\/h3>\n

Since there were no \u201csmall jobs\u201d at FAWCETT HORROR (except a handful of one-page \u201cfillers\u201d which seem negligible) we counted story assignments, not the sheer number of pages.<\/strong> Those counts may seem pointless (but I love to do them!) and they always unearth a nugget of trivial information you can throw in at comic books nerds\u2019 parties\u2026<\/p>\n

And here is the assignment ranking of our Fawcett horror artists (number of jobs in brackets)<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
Sheldon Moldoff<\/td>\n30<\/td>\n(with possible assistance by Ed Moline in 5 or 6 cases)<\/td>\n<\/tr>\n
Bob McCarty<\/td>\n19<\/td>\n<\/td>\n<\/tr>\n
Bob Powell<\/td>\n13<\/td>\n<\/td>\n<\/tr>\n
Ed Waldman<\/td>\n10<\/td>\n<\/td>\n<\/tr>\n
George Evans<\/td>\n8<\/td>\n<\/td>\n<\/tr>\n
Maurice Gutwirth<\/td>\n8<\/td>\n<\/td>\n<\/tr>\n
Bernard Baily<\/td>\n7<\/td>\n<\/td>\n<\/tr>\n
Leonard Frank<\/td>\n6<\/td>\n<\/td>\n<\/tr>\n
Bud Thompson<\/td>\n5<\/td>\n<\/td>\n<\/tr>\n
Mike Sekowsky<\/td>\n4<\/td>\n(with possible inking by Vince Alascia or others)<\/td>\n<\/tr>\n
Marcus + Mastroserio<\/td>\n3<\/td>\n<\/td>\n<\/tr>\n
„Jokerface“<\/td>\n3<\/td>\n<\/td>\n<\/tr>\n
Max Elkan<\/td>\n2<\/td>\n<\/td>\n<\/tr>\n
William Weltman<\/td>\n2<\/td>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Each 1: Edd Ashe, Lou Cameron, Charles Nicholas, Ross Andru, Anthony Cataldo and Doug Wildey.
\nSome stories are still unidentified, but we got 124 out of 133 – and only 9 stories remain mysterious.<\/p>\n

And here\u2019s the nugget I found: Horror mainstay Moldoff did NOT contribute to the series STRANGE SUSPENSE STORIES. Interesting, huh?
\nWhat do you say? The door\u2019s where? Why have I to leave your party?<\/p>\n

Spotlight: The Authors<\/h1>\n

Concerning the authors of FAWCETT HORROR we can probably attribute credits to all those who wrote the two-page text stories. They are mentioned by name, so here is a list of possible contributors:<\/p>\n