Of all comics genres the one most likely to have tales told by hosts is that of werewolves, vampires and ghosts; In short it's horror comics that boast such boon companions - to them, this toast...

     There are several reasons why an outside narrator to introduce and provide closing commentary on stories was used mostly by horror-fantasy comics. Firstly, the congenial hosts provided contrast to the creepiness of the yarns themselves. Secondly, the genre lent itself to the creation of charming caricatures; so often these characters were done in a much lighter vein than the material they presented. Thirdly, there was probably some borrowing of these "framing" figures from the old radio shows - a direct source of inspiration. Fourthly, there were more horror/fantasy short story comics than any other kind. And since EC's horror comics were such trend-setters, there were many imitations of The Old Witch, and the Vault Keeper and Crypt Keeper. Since EC's GhouLunatics have gotten some good air-time (literally in the Crypt Keeper's case) let's look at a few of the other top horror hosts from the early 1950s.

     Fawcett's This Magazine Is Haunted had prologues and epilogues provided by the somber skull-faced top-hatted Doctor Death. This elegantly macabre host was the creation of Shelly Moldoff, who drew the covers and one of the yarns inside for the first thirteen issues. Shelly had packaged a horror comic for Bill Gaines to use at EC back when all they offered was western, romance, crime, and humor titles; but, purportedly, Gaines appropriated the concept.

     This Magazine Is Haunted #5 (June 1952) may not feature the most dynamic cover of Shelly's run, but it's a solid spooker nonetheless. The three yarns inside are all top notch. "The Slithering Horror of Skontong Swamp" is superb - a quite nicely - wrought narrative shifted into overdrive by fabulous George Evans art. A prison inmate escapes from death row while walking the last mile, but has to contend with the supernatural spawn of Skontong Swamp. He manages to elude their slimy clutches; they pursue and their clammy hands catch up with him again and again. He allows himself to be recaptured by the police and sits gleefully in the electric chair, hoping that his nightmare will soon be over. Of course it isn't. Evans paces the 11-pager to perfection.

     "The Ghost of Fanciful Hawkins" is a tale of a lovable but somewhat ludicrous hick whom the local bullies are always teasing about his size 15 shoes. After the prettiest girl in town falls for him, the meanest bully attacks Hawkins, who falls into the river and drowns. Thereafter the murderer always hears a pair of big squishy shoes stalking him, and the ghost eventually maneuvers him to that same spot on the riverbank where he meets the same watery fate. There's a marvelous framing sequence at the end (in addition to Dr. D's obligatory appearances) that gives the story depth. It has ten terrific pages ably drawn by veteran artist Bob Powell.

     "The Last Man" is a pretty good eight-page finale about four carnies who spend the night in a haunted house. While not as spectacular as the previous two tales, it still satisfies.

     Ace may have produced grade-B horror comics, but in Hand of Fate they had an effective host who progressed from last-panel moralizing in earlier issues to a more ubiquitous presence at the end of the title's run. The white-robed and hooded Fate seemed to suffer as he charted souls on the downward paths of evil, sometimes even issuing warnings to the hapless Hell-bound victims. Fate evolved from "the Unknown," a similar character who'd been hosting weirdies in Ace mags since 1947. Hand of Fate #23 (June 1954) leads off with a yarn illustrated by Ace's star artist, Lou Cameron, whose work provides the best reason for collecting their four (other-wise) lackluster fantasy titles.

     "He Who Robs the Dead" is a standard treatment of a grave-robber finally digging his just desserts made special by Cameron's mastery. Throughout most of the story the panels are framed by bones - except for the mid-story page where he strikes it rich and the panels are bordered by greenbacks! Although it's the only "no host" story in the book it's easily the most rewarding.

     "Shattering the Time Barrier" is fairly well conceived: a prison executioner who operates the electric chair is tinkering with his machine and accidentally opens up a dimensional doorway through which come the ghosts of inmates he has offed. They attack him, but back him up against the machine's power switch, and when it shuts down they are destroyed. He goes into the ghost world and recruits them to come back and murder tyrants and crime bosses. Throughout the story Fate is there, imploring him to stop before he becomes more evil than the ones he executes. By failing to heed Fate he signs his own death warrant.

     Next comes "Hell Beyond the Crystal Ball," which amply demonstrates Ace's aptitude for awkward titles. After failing to invent a time machine, a frustrated scientist makes a deal with the devil that transports him into the future. But, as Fate reminds us every few panels, this was not wise. This story gets a little extra credit for its goofy yet entertaining art.

     "Thrust of a Ghost Lance" (another "ouch" title) tells of an old Italian family that for generations has sold armor that breaks down on the battlefield. It's feeble formula supernatural vengeance from start to finish.

     The "secret king" of horror hosts, the first and longest running, is Drew Murdoch, Special Investigator, from Fiction House's 'Ghost Gallery' in Jumbo and Ghost Comics. He hosts some stories, appears as a character in others, and some times merely takes authorial credit. Ghost #2 (Sept 1952) contains one story of each type. 'Ghost Gallery' began in Jumbo #42 in 1942 and ran through Jumbo #167 (the last issue) in 1953. Some (or all) of the material in Ghost #2 may be reprints.

     Murdoch hosts "I Woke in Terror" about a mother and her two young children who move into a house where a murder has been committed. The corpse is still in a trunk in the basement. The victim's ghost appears before the kids and leads them down to the cellar, but just then the killers return to remove the evidence. The spook saves the kids and traps the crooks, but despite the formula plot the story is quite charming - as are all four in this excellent issue.

     "The Four Phantoms" tells how a teacher caught in a flood with three students gives her life to save theirs and promises them just before she dies that she will come to them when they need her most. She helps the first through a crisis when, as a young bank teller, he's tempted to steal money himself during a robbery. She persuades him to help stop the thieves. The young lady she talks out of committing suicide soon gets the acting break she despaired over. And the other man she convinces to stand his ground during the war when his fellows have all fallen. Murdoch isn't so much a character here as a person told the stories by the three on their annual visit to the teacher's grave.

      "Ghost Squadron" featured wartime supernatural stories, and "Spies Can't Die" relates how a pair of Yankee spies in Russia get information out. After one gets killed he helps the other escape. Again, it's a "paint by numbers" plot that's done just right and enhanced by Rafael Astarita's beautiful linework.

     The final 'Ghost Gallery' yarn has a mother whose love is strong enough to send her spirit forth to save her kidnapped son after she's been shot and lies in a coma. Again, it's predictable yet pleasurable. It's a memorable book to have accomplished that trick four times in a row.

     There are a host of other horror hosts - some better than others - but these three are reliable guides into this great genre at its early 1950s peak.

Pat Calhoun has been collecting, researching and appreciating comic books since the early 1960s, and is a nationally recognized comic book historian. Pat resides in Santa Rosa, California.