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introduction

Space Cabby’s passenger is Professor Anton

manages to lasso a passing meteor

a “gas station” satellite.

Cabby creates a “compass” of sorts

a protective coating of ice

Space Cabby confronts his passenger

a public-service page

two identical boxes!

the function of the 22nd Century’s “videophones”

a back-cover advertisement

In the tradition of many pulp magazine editors, Julius Schwartz would often have one of his freelance cartoonists draw the covers of his science fiction comics, then assign a freelance writer to come up with a story based on the image. One of the visual themes that Julie often turned to was the planet Earth, but an Earth that he and his artists put through many Oddball incarnations and situations in the service of attracting potential readers’ attention. It wasn’t all that unusual to find, on the cover of an issue of MYSTERY IN SPACE or STRANGE ADVENTURES, our planet about to be sliced in half by a gigantic blade, or missing an entire hemisphere, or locked inside a giant safe. This issue of MYSTERY IN SPACE was Julie’s second use of this Oddball cover-gimmick. Hey, what better way to illustrate the concept of a “mystery in space”, eh?

This issue of MYSTERY IN SPACE also features another installment of “Space Cabby”, a character created by writer Otto “Captain Marvel” Binder and cartoonist Howard “Dr. Fate” Sherman who first appeared in the pages of DC’s MYSTERY IN SPACE No. 21 (November, 1954). He reappeared in MYSTERY IN SPACE No. 24 and then consistently appeared in every issue of MYSTERY IN SPACE from issue No. 26 through No. 47 (August, 1958.) Although his actual name was never mentioned throughout his surprisingly long run, Space Cabby had a gimmick that was instantly recognizable – he resembled a hard-boiled mid-20th Century cab driver in dress and attitude and drove a flying taxi! After a few stories, his vehicle was updated to reflect the futuristic nature of the series, which remained unmistakably Oddball.

Editor Julius Schwartz was born on June 19th, 1915, in the Bronx, New York. With Mort Weisinger (who would go on to edit most of DC’s “SUPERMAN Family” titles in the 1950s and 1960s), Julie co-edited the first science fiction fanzine, THE TIME TRAVELER, in 1932. He founded Solar Sales Service in 1934, the first literary agent to specialize in representing science fiction stories. From 1936 to 1944, Schwartz represented a number of well-known science fiction authors, including H. P. (THE DUNWICH HORROR) Lovecraft, Ray (THE ILLUSTRATED MAN) Bradbury, Robert (PSYCHO) Bloch and Alfred (THE STARS MY DESTINATION) Bester. In 1939, he helped to organize the first World Science Fiction Convention in New York City on July 4, 1939. In 1944, Julie embarked on a 45-year-long association with DC Comics (then “All-American Comics”) as an editor on such books as ALL-AMERICAN COMICS and ALL-STAR COMICS, even though he’d never even read a comic book before his job interview with editor/cartoonist Sheldon Mayer. After overseeing ALL-AMERICAN WESTERN and THE ADVENTURES OF REX THE WONDER DOG, he became associated with such science-fiction titles as MYSTERY IN SPACE and STRANGE ADVENTURES, then editorially rebooted many of their original line of superheroes with updated incarnations of The Flash, Green Lantern, The Atom, Hawkman and The Justice League Of America, arguably making Julius Schwartz the prime architect of DC’s “Silver Age Of Comics”. He also assumed the editorship of the “New Look” BATMAN and DETECTIVE COMICS, as well as the (temporarily)Kryptonite-less SUPERMAN and ACTION COMICS a few years later. Schwartz then launched DC’s line of science fiction graphic novels, adapting work by Ray Bradbury, Harlan Ellison and Larry Niven, among others. In 1984, Julie received the “Forry” Award from the Los Angeles Fantasy Society for “Service To The Field Of Science Fiction”, received the First Fandom Hall Of Fame Award at the 44th World Science Fiction Convention in 1986, and has also received the Shazam, Eagle, Inkpot, Alley and Jules Verne Awards. Julie officially retired in 1985, but still worked as a consultant for DC comics and attended conventions as their “goodwill ambassador.” In 2000, his autobiography, MAN OF TWO WORLDS: MY LIFE IN SCIENCE FICTION AND COMICS (written with Brian M. Thomsen) was published. (At the 2001 San Diego Comic-Con International, it was my great honor to have Julie and Mark Evanier participate in a special “Julius Schwartz Edition” of my Oddball Comics slide show presentation, wherein he reacted to and commented upon dozens of cover-images of comics he’s edited -- not to mention proved, once and for all, just what a good sport he really is!) Although not a writer himself (it’s said that Julie had written a mere three complete stories, at best), the title of “Living Legend” was hard-earned through his profound understanding of what makes a good story, how writers and artists create, and how to make a comic book sell like crazy. (If for no other reason, his brilliant sense of cover-concept and design made Julie a respected figure for aficionados of Oddball Comics!) He co-plotted, coaxed and wheedled hundreds of stories out of seasoned pros, trained dozens of talented newcomers. It’s no wonder why, despite Julie’s outwardly irascible personality, he was held in such beloved esteem by most people involved in the business of making funnybooks. Julius Schwartz died on February 8, 2004.

John Broome (1913 - 1999) is widely regarded as one of the finest writers ever to work in the comic book field. Initially working as a science-fiction writer for the pulp magazines of the 1940s, Broome shifted his career to writing comic books at the urging of his friend and literary agent, DC Comics editor Julius Schwartz. Beginning in 1946, Broome wrote for nearly all of Schwartz’s DC titles – sometimes under the pseudonyms “John Osgood” and “Edgar Ray Meritt” -- including the “Golden Age” JUSTICE SOCIETY OF AMERICA, “Green Lantern” and “Flash” and the “Silver Age” STRANGE ADVENTURES, MYSTERY IN SPACE, JUSTICE LEAGUE OF AMERICA, GREEN LANTERN, THE FLASH and many others. He co-created many characters and concepts for DC, including the “Atomic Knights”, most of the Flash’s “Rogue’s Gallery” of supervillains, “Elongated Man”, the “Guardians Of Oa” and “Detective Chimp”. Broome received comic fandom’s Alley Award for writing “Doorway To The Unknown!”, an unusual story appearing in the pages of THE FLASH No. 148 (November, 1964). A devoted world traveler, Broome often crafting his stories while on the move, but he began to lose his enthusiasm for writing comics and retired from the field in 1970. Rather than returning to the United States, Broome and his wife decided to live in Paris, France, eventually settling down in Tokyo, Japan, where he taught English. In 1998, he returned briefly to the USA to attend the San Diego Comic-Con as a special guest. There, for the first and last time, he reunited with his old friend Julius Schwartz. Broome also met scores of his fans, many of which were now comic book professionals themselves, having been influenced by the man’s high-quality writing. John Broome died in Thailand in March, 1999.

Cartoonist Sidney “Sid” Greene (? - 1972, USA) began his career in comic books in 1941, working at Lloyd Jacquet’s Funnies Inc. “shop” until 1943. During this period, Greene drew Novelty’s “Target And The Targeteers” and Timely/Marvel’s “The Patriot”. From the mid-1940s on to the decade’s end, he did work for Eastern Color Printing, Charlton’s NEW HEROIC COMICS, Holyoke Publications’ “Fang”, “Inspector Hunt” and “Speed Spaulding” and Ace Periodicals and Hillman’s crime stories. From 1948 to 1955, Greene primarily drew romance comics for Lev Gleason, Orbit and Quality Comics. During this period, Greene also drew comics for Avon (science fiction stories), Ziff-Davis (ROMANTIC MARRIAGE) and Better Publications (DATE WITH DANGER, GANG WORLD, INTIMATE LOVE, NEW ROMANCES and THRILLING ROMANCES. At the same time, he began to freelance for Timely/Atlas/Marvel again, working on ASTONISHING COMICS, “Cliff Mason”, JOURNEY INTO UNKNOWN WORLDS, LOVE CONFESSIONS, LOVE ROMANCES, MYSTERY TALES, MYSTIC, STRANGE TALES, UNCANNY TALES, “Unknown Jungle” and various western, crime, horror, jungle and romance stories. In the mid-1950s, Greene began freelancing for DC; some of his first assignments there include ALL-AMERICAN MEN OF WAR, CHARLIE CHAN, GIRLS' LOVE STORIES, “Rodeo Rick” and SECRET HEARTS. Eventually, through the 1960s and into the 1970s, Greene worked on such DC series as “Adam Strange”, ATOM/ATOM AND HAWKMAN, HAWK AND DOVE,BATMAN, “Elongated Man” in DETECTIVE COMICS, FLASH, GREEN LANTERN, “Hourman”, HOUSE OF MYSTERY, HOUSE OF SECRETS, “Johnny Peril”, JUSTICE LEAGUE OF AMERICA, “Kid Flash”, MYSTERY IN SPACE, OUR ARMY AT WAR, “Robin”, “Spaceman-At-Work”, “Star Rovers”, STRANGE ADVENTURES, “Strange Sports Stories” in BRAVE AND THE BOLD, “Strong Bow”, “Tales Of The Power Ring”, THE UNEXPECTED and THE WITCHING HOUR. In 1969, Sid Greene returned to Marvel to ink stories starring “Ka-Zar” and NICK FURY, AGENT OF S.H.I.E.L.D.

Writer Otto Oscar Binder (08/26/1911 - 10/13/1974) was born in Bessemer, Michigan. The youngest of six children of Austrian immigrants, the Binder family -- pronounced with a short "i" -- relocated to Chicago, Illinois in 1922, Otto and his brother Earl became completely obsessed with science fiction and began to write as a team. The brothers cracked the science fiction print market in 1930 with “The First Martian”, appearing in a 1932 issue of AMAZING STORIES under the pseudonym of “Eando Binder”. Earl eventually followed a career in the iron industry, Otto retained their mutual pen name, attaching it to most of his science fiction writing for the rest of his life. (His books include LORDS OF CREATION (1949), ADAM LINK -- ROBOT (1965), ANTON YORK, IMMORTAL (1965), ENSLAVED BRAINS (1965), THE AVENGERS BATTLE THE EARTH-WRECKER (1967) and WHAT WE REALLY KNOW ABOUT FLYING SAUCERS (1967). During a two-year stint as the literary agent of science-fantasy author Otis Adelbert Kline, Otto began writing for the Mort Weisinger-edited THRILLING WONDER STORIES and the Ray Palmer-edited AMAZING STORIES. It was for Palmer that Otto created “I, Robot”, the first story of “Adam Link”, a humanoid mechanism with a human personality. In 1939, thanks to his other brother, Jack, Otto began working on stories for comic books, working through Harry “A” Chesler’s “shop”, initially as an artist but soon, in 1940, writing scripts for Fawcett Comics’ features “Captain Venture”, “The Golden Arrow”, “Bulletman” and “El Carim”. In 1941, Fawcett editor Ed France Herron tapped Otto to begin writing stories for their “Big Red Cheese”, Captain Marvel. Eventually, Otto wrote over half of Fawcett’s entire output of “Captain Marvel family” stories, 986 of them in all. Along the way, he co-created such mainstay characters as Mary Marvel, Uncle Dudley, Tawky Tawny, Black Adam, Mr. Mind, Sivana Jr. and Georgia Sivana for Fawcett. He also wrote scripts for most of Fawcett’s other characters at one time or another, including Captain Marvel, Jr. and Hoppy The Marvel Bunny. In 1953, when Fawcett finally closed its doors, Otto easily found work at other comic book publishers; fortunately, the prolific writer had been writing for most of them during his thirteen years freelancing for Fawcett. At Marvel/Timely, he had written CAPTAIN AMERICA, THE HUMAN TORCH, SUB-MARINER, THE ALL-WINNERS SQUAD, “The Destroyer”, “The Whizzer” and co-created “Captain Wonder”, “The Young Allies”, “Tommy Tyme” and “Miss America”. For Quality Comics, Otto wrote BLACKHAWK, DOLL MAN, UNCLE SAM and “The Black Condor”, as well as co-creating “Kid Eternity”. For Archie/MLJ, he wrote scripts for “The Shield”. “Steel Sterling”. “The Hangman” and “The Black Hood”. In 1948, Otto started writing for Fawcett’s onetime primary rival, DC/National Periodical Publications. For their STAR-SPANGLED COMICS, he created “Merry, Girl Of 1,000 Gimmicks”, but he soon moved on to writing stories for the various “SUPERMAN family” of titles. Reunited with editor Mort Weisinger, Otto created many of the secondary characters, features and details of the “Superman” mythos, including the Legion Of Super-Heroes, Jimmy Olsen’s special signal-wristwatch (“…zee…zee….zee…”), Elastic Lad, Beppo the Super-Monkey, Brainiac, the Phantom Zone, Lucy Lane (Lois’ kid sister), Titano the Super Ape, Supergirl, Krypto the Super Dog and the first “Imaginary Tale”, as well as wildly expanding on SUPERMAN comic strip writer Alvin Schwartz’s Bizarro. Otto also wrote one of the most beloved “Superman” stories of the “Silver Age Of Comics”, “Superman’s Return To Krypton”. Having mastered the combination of comedy and superheroics while at Fawcett, Otto was the perfect choice to write most of the stories appearing in SUPERMAN’S PAL, JIMMY OLSEN and SUPERMAN’S GIRL FRIEND, LOIS LANE, two of the longest-running (and arguably the best) Oddball Comics of all time. After briefly stepping away from comic books in 1960 to edit SPACE WORLD magazine, Otto returned to the funnybook field to resume working for DC. He also co-created (with cartoonist Frank Thorne) Gold Key’s MIGHTY SAMSON and in collaboration with “Captain Marvel” co-creator C. C. Beck, co-created Molson’s FATMAN THE HUMAN FLYING SAUCER. Although by 1969 he was spending most of his efforts on writing science fiction and non-fiction books on UFOs, Otto kept a hand in comics by adapting FRANKENSTEIN, THE INVISIBLE MAN, THE TIME MACHINE, 20,000 LEAGUES UNDER THE SEA and THE MYSTERIOUS ISLAND to a paperback format in 1973, Otto Binder died in Chestertown, New York on October 13, 1974. In 2004, he was inducted into the San Diego Comic-Con’s Comic Book Hall Of Fame.

Cartoonist Gil Kane (April 6, 1926 - January 31, 2000) was born as “Eli Katz” in Riga, Latvia; then, in 1929, he and his Jewish family immigrated to New York City. Gil received his first training as a cartoonist at the School Of Industrial Art, later re-named the High School Of Art And Design. A devoted fan of comic strips, comic books and pulp magazines, Gil’s first opportunity to work in the comic book field came along in 1941, as a low-level assistant at Jack Binder’s shop. There, Gil went from erasing pencil marks to inking and finally, drawing pencil artwork. He also started doing freelance work at that time, primarily for MLJ/Archie on “The Scarlet Avenger”, “Inspector Bentley Of Scotland Yard” and “The Shield And Dusty”, but also for Street And Smith, Quality, Holyoke and Timely Comics (the forerunner of Marvel Comics). There, in 1943 and 1944, Gil worked for – and learned from – the team of Joe Simon and Jack Kirby. But before joining the U.S. Army in 1944 – he served in the Pacific theater -- Gil left Timely for DC Comics, and after his service, he returned to the publisher, steadily working on a variety of strips for DC, while, on the sidelines, simultaneously maintaining a healthy freelance workload for other funnybook publishers. (During this period, the cartoonist named Eli Katz was using such pseudonyms as “Pen Star” and “Gil Stack” before settling on “Gil Kane”.) Although Gil particularly enjoyed drawing western strips, he found himself working on nearly every type of comic book genre that DC published during the 1950s. As superheroes started to make a comeback, Gil was tapped by editor Julius Schwartz to co-create one of DC’s most successful re-launches of a character originated during comic’s Golden Age, “Green Lantern”, first appearing in SHOWCASE No. 22 (September – October, 1959), and surprisingly soon, GREEN LANTERN received his own title, cover-dated July – August, 1960, drawn by Gil Kane. Impressed by Gil’s track record, DC assigned him another re-launched character, “The Atom”, premiering in SHOWCASE No. 34 (September – October, 1961)and quickly graduating to his own title, ATOM, its first issue premiering June – July 1962. But even with these successes, Gil began to feel restless, and this led to him freelancing for Tower Comics (T.H.U.N.D.E.R. AGENTS, UNDERSEA AGENT, etc.), King Comics (FLASH GORDON) and finally, Marvel Comics, which had began to surpass DC in fan popularity, if not yet general sales. (In 1968, Gil also published a single issue of an experimental, “adult” comic magazine, HIS NAME IS…SAVAGE! (scripted by Archie Goodwin, and with art assistance by underground cartoonist Roger Brand) but distribution problems cut short his big plans for the title.) Gil’s first gigs for Marvel were on “The Incredible Hulk” in TALES TO ASTONISH and “Captain America” in TALES OF SUSPENSE – signing his work as “Scott Edwards”, but fooling absolutely no one -- but after a period of vacillating between Marvel and DC, Gil decided to work exclusively for “The House Of Ideas”. His work on THE AMAZING SPIDER-MAN -- especially when inked by John Romita, Sr. -- drew rave reviews. In particular, THE AMAZING SPIDER-MAN No.’s 96 – 98 (the notorious anti-drug story that defied the Comics Code Authority) and No.’s 121 and 122 (“The Night Gwen Stacy Died!”) are among the only standout issues of the series since co-creator Steve Ditko left the character. Gil also produced hundreds, if not thousands, of eye-catching covers for Marvel. In 1971, Gil produced the graphic novel BLACKMARK for Bantam Books, another attempt at reaching an audience beyond the funnybook rack, this time in the “swords-and-sorcery” genre, but again, he was ahead of his time, and the project went mostly ignored by his targeted readership. In 1977, Gil left Marvel to produce -- with writer Ron Goulart – STAR HAWKS, a syndicated newspaper comic strip, which endured for nearly five years, ending in 1981. After a few years back at DC, working on a variety of projects, including THE SWORD OF THE ATOM and “Superman” in ACTION COMICS, Gil moved to California to work in the animation industry, where he produced presentation art and character models for Ruby-Spears Productions and Hanna-Barbera Productions, all while keeping a practiced hand in the comic book business. Gil Kane was the recipient of many awards. In 1971, he received the Shazam Award for “Special Recognition” of BLACKMARK. In 1971, 1972 and 1975, he received the National Cartoonists Society’s Reuben Comic Book Division Award for “Best Story”, and in 1977, the NCS’ Reuben Comic Strip Division Award for “Best Story” (STAR HAWKS). In 1997, Gil Kane was inducted into both the Eisner Hall Of Fame and The Harvey Award Jack Kirby Hall Of Fame.

Cartoonist Carmine Infantino was born on May 24, 1925 in Brooklyn, New York City, where he attended P.S. 75 and 85. Later, Infantino studied at Manhattan’s High School Of Industrial Arts (now known as the High School Of Art And Design). During the summer of his freshman year there, Infantino began working for a comic book packager named Harry “A” Chesler, who was very encouraging to the budding cartoonist. Later, while attending night classes at the Art Students League, Infantino took a job at Quality Comics as an art assistant, but it was at Timely Comics that he got his first opportunity to actually draw comic books. USA COMICS No. 1 (August, 1941) featured “Jack Frost”, penciled by Infantino and inked by his friend and schoolmate, Frank Giacoia. During the course of the 1940s, Infantino worked for a number of publishers, including Hillman Periodicals (on AIRBOY and “The Heap”), Fawcett Comics (through the studio/shop of Jack Binder), Holyoke and finally at DC Comics (regularly working on the “Golden Age” versions of “The Flash”, “Black Canary”, “Green Lantern” and their exclusive club for “mystery men” and “mystery women”, the “Justice Society Of America” in ALL-STAR COMICS.) After WWII, when patriotic superheroes began to wane, Infantino drew stories for DC’s science fiction, mystery and western titles, as well as CHARLIE CHAN for Joe Simon and Jack Kirby’s Prize Comics, It was during this period that he and John Broome co-created “Detective Chimp” in THE ADVENTURES OF REX THE WONDER DOG, an ongoing gig that Infantino still regards as his all-time favorite. In 1956, Infantino received a plum assignment; drawing a new version of the Flash, first appearing in DC’s SHOWCASE No. 4 (cover-dated September - October, 1956), featuring “Mystery Of The Human Thunderbolt!” and “The Man Who Broke The Time Barrier!” (Both stories were inked by another “Golden Age” DC alumni, Joe Kubert.) After four try-out issues of SHOWCASE, the Scarlet Speedster sped on to his own series, THE FLASH, with the first new issue, No. 105 (picking up where the “Golden Age” FLASH series left off), cover-dated February – March, 1959. Infantino’s sleek and stylish approach to the character quickly became iconic, and he remained the book’s artist until issue No. 174 (November, 1967), leaving to assume a new managerial position with DC. In the meantime, Infantino had added other series to his workload, with “Adam Strange” in MYSTERY IN SPACE, “Space Museum” in STRANGE ADVENTURES and many covers and interior stories built around his “New Look” for the Caped Crusader in BATMAN and DETECTIVE COMICS, the latter of which also contained “Elongated Man” stories drawn by Infantino. With writer Arnold Drake, Infantino also co-created “Deadman”, first appearing in “Who Has Been Lying In My Grave?” in STRANGE ADVENTURES No. 205 (October, 1967). Around this time, the cartoonist also took on the task of finishing a run of the syndicated newspaper comic strip, THE PHANTOM, after its artist, Wilson McCoy, died unexpectedly. In 1967, Infantino was given the job of designing and art directing all of DC’s covers, and when the company was purchased by the Kinney National Company, he was promoted to Editorial Director, hiring new talent – including Marvel’s Number One cartoonist, Jack Kirby -- and re-assigning DC’s existing creators, making many of them editors. Although this was a period of great change for DC, prompted in large part to compete with Marvel Comics, which was threatening to take over the comic book marketplace, Infantino’s influence was met mostly with favor by DC’s readership. Despite this, Infantino was suddenly – and controversially -- replaced by Jenette Kahn, previously the editor of KIDS MAGAZINE, but without any professional experience in the comic book field. After a very brief stint at Hanna-Barbera Productions, Infantino returned to drawing comic books, first for Marvel (on STAR WARS, NOVA and SPIDER-WOMAN) and Warren Publishing (stories for the anthologies CREEPY, EERIE, VAMPIRELLA and 1984), then back at DC (on such titles as FLASH and “Dial ‘H’ For Hero” in ADVENTURE COMICS.) Carmine Infantino is currently retired. In 2004, J. David Spurlock’s Vanguard Productions published an excellent retrospective of Infantino’s career in comics, THE AMAZING WORLD OF CARMINE INFANTINO. Infantino has been the recipient of many awards. In 1958, he received the National Cartoonists Society’s Reuben Comic Book Division Award for “Best Comic Book”. From 1961 through 1967, Infantino was awarded multiple Alley Awards for his work on FLASH, MYSTERY IN SPACE, DETECTIVE COMICS and “Deadman” in STRANGE ADVENTURES, as well as, in 1969, a special Alley Award for being the person “who exemplifies the spirit of innovation and inventiveness in the field of comic art". In 2000, Carmine Infantino was inducted into the Comic Book Hall Of Fame.

Cartoonist Joe Giella was born in 1928 and attended Manhattan's School of Industrial Art. Future singer (and painter of fine art) Tony “I Left My Heart In San Francisco” Bennett was a friend and classmate of Joe’s, who left the school three months shy of graduation in order to work and help support his Depression-era family. Joe also studied at the Art Students League in Manhattan, alongside future comics professionals Mike Sekowsky and Joe Kubert, and took commercial art courses at Hunter College. At 17 or 18, he freelanced for editor Ed Cronin at Hillman Periodicals, penciling and inking the humor feature "Captain Codfish". Giella later freelanced for Fawcett Comics, commuting by bus to C. C. Beck's and Pete Costanza's studio “shop” in Englewood, New Jersey to ink “Captain Marvel” stories. In either 1946 or 1947, he began freelancing for Timely Comics, the 1940s precursor of Marvel Comics, and shortly afterward joined the staff. "I would do any work that they offered," he recalled in a 2005 interview. "I started out doing a little touch-up work, a little background work, a little inking, redraw this, fix this head, do something with this panel.". Later, he assisted Syd Shores on CAPTAIN AMERICA COMICS, finishing backgrounds, making pencil corrections and inking the occasional page or two. Joe did similar duties on THE HUMAN TORCH, SUB-MARINER, MILLIE, WILLIE and various crime, adventure and romance stories. Inking soon became his specialty. In addition, he joined the Naval Reserves in 1948, continuing with them for eight years. From 1953 through 1955, Joe penciled and inked stories for Better Publications on such titles as GANG LAND, GANG WORLD, JOE YANK; NEW ROMANCE and THRILLING ROMANCES. His close friend Frank Giacoia, who was best man at Giella's wedding, moved to DC Comics in the late '40s, and eventually convinced Giella to join him at that better-paying, if more staid, company. Starting circa 1948, Giella inked the Flash, Green Lantern, Black Canary and other characters under editor JuliusSchwartz. During the early-1950s lull in superheroes, Giella inked Westerns penciled by Alex Toth. Giella began regularly penciling and inking stories for DC Comics, producing a steady stream of work that continued well into the 1980s. Joe’s assignments for DC include: “AdamStrange”; “Air Wave”; ALL-STAR COMICS; ALL-STAR SQUADRON; AQUAMAN; ATOM/ATOM AND HAWKMAN; “Batgirl”; BATMAN; “Black Canary”; BRAVE AND THE BOLD; “Captain Comet”; CHARLIE CHAN; “Detective Chimp”; “Dial ‘H’ For Hero”; “Elongated Man”; ELVIRA’S HOUSE OF MYSTERY; FLASH; “The Flight For Life”; GIRLS’ LOVE STORIES; GIRLS’ ROMANCES; GREEN LANTERN; “The Haunted Tank”; “Hawkman”; HOPALONG CASSIDY; HOUSE OF MYSTERY; SUPERMAN’S PAL JIMMY OLSEN; JUSTICE LEAGUE OF AMERICA; “Justice Society Of America”; “Kid Flash”; “The Legion Of Super-Heroes”; SUPERMAN’S GIRL FRIEND, LOIS LANE; “Matt Savage, Trail Boss”; MR. DISTRICT ATTORNEY; MR. MIRACLE; MYSTERY IN SPACE; OUR FIGHTING FORCES; THE PHANTOM STRANGER; “Red Tornado”; REX THE WONDER DOG; RIP HUNTER, TIME MASTER; “Robin”; ROMANCE TRAIL; ROMANCE, INC.; “Roving Ranger”; SECRET HEARTS; “Space Cabby”; STAR SPANGLED WAR STORIES; STEEL; STRANGE ADVENTURES; “Superbaby”; SUPERBOY; SUPERGIRL; SUPERMAN; TEEN TITANS; WEIRD WAR TALES; “Wildcat”; WONDER WOMAN; WORLD’S FINEST COMICS; and YOUNG LOVE. In the mid-1960s, Joe also did a lot of inking for Tower Comics (FIGHT THE ENEMY; “Lightning”; “Menthor”; NoMAN; “Saga Of The Lucky 7”; T.H.U.N.D.E.R. AGENTS; and UNDERSEA AGENT) and Archie Comic’s line of “Mighty Comics” (“The Black Hood”; FLY MAN; “The Hangman”, THE MIGHTY CRUSADERS; “The Shield”; “Steel Sterling”; and “The Web”). During the 1970s and 1980s, Joe also returned to Marvel, inking A-TEAM, AVENGERS, LUKE CAGE –POWER MAN. RAWHIDE KID, SON OF SATAN, SUB-MARINER, MARVEL TWO-IN-ONE and a giveaway comic, ADVENTURES OF KOOL-AID MAN. He also inked an activity book, THE MIGHTY MARVEL STRENGTH AND FITNESS BOOK. In 1978, Joe drew the Oddball Comic HOLO MAN for Power Records. Giella also penciled, inked and/or assisted on such syndicated newspaper comic strips as FLASH GORDON, THE PHANTOM, MARY WORTH, BATMAN AND ROBIN, THE AMAZING SPIDER-MAN, SHERLOCK HOLMES and SUPERMAN SPECIAL PUZZLE PAGE. Outside of comics, Giella did commercial art for such advertising agencies as McCann Erickson and Saatchi & Saatchi, and such publishers as Doubleday and Simon & Schuster. In 1996, Joe Giella received the San Diego Comic-Con’s “Inkpot Award” for “Achievements In The Comic Arts”.

Cartoonist Bernard Sachs was quite prolific, working primarily as an inker (but also penciling various “funny animal” assignments) for Ace Periodicals (REVEALING ROMANCES), Avon Comics (“Cicero And Timmy”, “Merry Mouse”, “Paddy Pig”, various horror and science fiction stories), Better Publications (NEW ROMANCES, TODAY’S ROMANCE, various crime stories), Consolidated Books (TOPS), D. S. Publishing (PAY-OFF), Fawcett (romance stories), Feature (crime and romance stories), Fiction House (“The Monster”), Fox (MURDER, INC.), Harvey (THE GREEN HORNET), Hillman (AIRBOY, “The Boy King”, “The Flying Dutchman”, “The Flying Fool”, “The Heap”, “The Iron Lady”, “Johny Halftrack”, “Rackman” and various crime and western stories), I.W. (SPACE MYSTERIES), Marvel (various stories ), Orbit (romance stories), Quality (ESPIONAGE), St. John (various crime, horror and romance stories) and Ziff-Davis (“Joe Barton”, “Red Feather” and various romance, science fiction, sports and western stories). But the majority of Sachs’ comic book work was as an inker for DC Comics. There, his assignments included: “Adam Strange”; ALL-AMERICAN MEN OF WAR; ALL-AMERICAN WESTERN; ATOM; THE ADVENTURES OF REX THE WONDER DOG; THE PHANTOM STRANGER; BLACKHAWK; BIG TOWN; “Black Canary”; “The Black Pirate”; “Captain Comet”; CHARLIE CHAN; DANGER TRAIL; “Darwin Jones”; “Detective Chimp”; “Don Caballero”, “Dr. Mid-Nite”; FALLING IN LOVE; FLASH; “Foley Of The Fighting 5th”; “Ghost Patrol”; GIRLS’ LOVE STORIES; GIRLS’ ROMANCES; GREEN LANTERN; HAWKMAN; HEARTTHROBS; “Hop Harrigan”; HOPALONG CASSIDY; JIMMY WAKELY; “Johnny Law” ; “Johnny Thunder” ; “Justice Society Of America” ; “Kit Colby, Girl Sheriff” ; “Lady Danger” ; “Manhunters Around The World” ; “The Minstrel Maverick” ; MY GREATEST ADVENTURE; “Nighthawk”; OUR ARMY AT WAR; “Overland Coach”; THE PHANTOM STRANGER; “Rodeo Rick”; “Roving Ranger”; SECRETHEARTS; SENSATION MYSTERY; “Space Cabby”; “Space Museum”; “Star Hawkins”; STAR SPANGLED WAR STORIES; STRANGE ADVENTURES; “The Trigger Twins”; WHO’S WHO IN STAR TREK; WHO’S WHO IN THE DC UNIVERSE; “Wildcat”; WONDER WOMAN; “Wonder Women Of History”; WORLD'S FINEST COMICS; YOUNG LOVE; and YOUNG ROMANCE. During the late 1950s, Sachs once shared studio space with Arthur (“Justice Society Of America”) Peddy, Ross Andru, Mike Esposito and Jack Abel. Around 1965, Sachs left comics behind when he was hired by Grey Advertising to draw storyboards and layouts for animated television commercials. Bernard Sachs died in 1998.

Writer Edmond Moore Hamilton (October 21, 1904 - February 1, 1977) also wrote under the pen-names “Brett Sterling”, “Hugh Davidson”, “Robert Castle”, “Robert Wentworth”, “Will Garth” and “Robert Starr”. He was born in Youngstown, Ohio. A child prodigy, he graduated high school at fourteen and attended Westminster College in Pennsylvania. His career as a science fiction writer began with the publication of the short story "The Monster God of Mamurth", which appeared in the August, 1926 issue of the pulp horror magazine WEIRD TALES and soon became one of its most prolific contributors, with a total of 79 stories published in WEIRD TALES between 1926 and 1948. Hamilton’s writing also appeared in such pulp magazines as STARTLING STORIES, AIR WONDER STORIES, AMAZING STORIES, MARVEL TALES, SCIENTIFIC DETECTIVE MONTHLY, ASTOUNDING, WONDER STORIES, STRANGE TALES, AMAZING STORIES QUARTERLY, THRILLING WONDER STORIES, SCIENCE FICTION, POPULAR DETECTIVE, FANTASTIC ADVENTURES, STARTLING STORIES, FANTASY AND SCIENCE FICTION, UNIVERSE SCIENCE FICTION, ISAAC ASIMOV’S SCIENCE FICTION MAGAZINE, SCIENCE FICTION ADVENTURES, IMAGINATIVE TALES, SPACE TRAVEL, VENTURE SCIENCE FICTION and FANTASTIC. In the 1940s, Hamilton was the creator and primary force behind CAPTAIN FUTURE, a science-fiction pulp magazine hero in the tradition of DOC SAVAGE and THE SHADOW. From 1940 through 1943, Hamilton wrote scripts for Beer Publications’ BLACK TERROR comic book series, a foreshadowing of things to come. Hamilton was always associated with an extravagant, romantic, high-adventure style of science fiction, perhaps best represented by his 1947 novel THE STAR KINGS. On December 31, 1946, Hamilton married fellow science fiction author and screen writer (THE EMPIRE STRIKES BACK) Leigh Bracket. That same year, working for editor Mort Weisinger (also his editor at THRILLING WONDER STORIES) Hamilton began writing for DC Comics, specializing in stories starring Superman and/or Batman; later, he also wrote science fiction scripts for DC editor Julius Schwartz. Hamilton wrote scripts for such titles and features as: ACTION COMICS, ADVENTURE COMICS; BATMAN; “Chris KL-99”; DETECTIVE COMICS; GREEN LANTERN; SUPERMAN’S PAL, JIMMY OLSEN; “The Legion Of Super-Heroes”; SUPERMAN’S GIRL FRIEND, LOIS LANE; MYSTERY IN SPACE; “Space Ranger”; STRANGE ADVENTURES; SUPERBOY; “Supergirl”; SUPERMAN; “Tommy Tomorrow”; and WORLD’S FINEST COMICS. Hamilton retired from comics in 1966, but in 1987, Apple Comics published a four-issue adaptation of his novel, CITY AT WORLD’S END. Meanwhile, Hamilton continued to write science fiction stories, but with a newfound maturity that cast aside the romantic and fantastic trappings of his earlier work. Edmond Hamilton died in 1977 in Lancaster, California, of complications following kidney surgery. In the year before his death he had worked on an anime adaptation of his CAPTAIN FUTURE novels and a tokusatsu adaptation of STAR WOLF; both appeared on Japanese television in 1978 and the CAPTAIN FUTURE adaptation later played in Europe, winning Hamilton a new and different fan base than the one that had acclaimed him half a century before.

The first issue of DC/National Periodical Publications’ MYSTERY IN SPACE bore a cover-date of April - May, 1951. It introduced the title’s first continuing feature, “The Knight Of The Galaxy”. Over its run, MYSTERY IN SPACE carried other continuing features, including “Interplanetary Insurance, Inc.”, “Space Cabby”, Carmine Infantino and Murphy Anderson’s classic “Adam Strange”, Sid Greene’s “Star Rovers”, “Hawkman”, “Space Ranger” and “Ultra The Multi-Alien”. The final issue of the original “Silver Age” run of MYSTERY IN SPACE, No. 110, as cover-dated September, 1966.

This issue’s 6-page cover-story is “The Man Who Moved The World!”, written by John Broome, penciled by Sid Greene and inked by Joe Giella. It opens with this introduction:

INTRODUCTORY NARRATIVE CAPTION:
Cyro Dynton had no idea of what destiny held in store for him. As through his early manhood he vainly sought to find his proper niche in the world of the 25th Century! Just when it seemed that he could succeed in no profession, he was handed the biggest and most important job on Earth!

“The Great Selector” is a machine that analyzes young men to determine their course of study and occupation; hey, what about the women, Mr. Broome? (Oh, that’s right, females don’t read science fiction comics…or at least they didn’t back in 1956!)

TEST SUPERVISOR:
Men, you are about to be examined by the GREAT SELECTOR! The great machine has been scientifically designed to classify you and determine your future profession!

But Cyro Dynton is disappointed to learn that his evaluation comes up as “Unclassified” and is discouraged for months, until:

CYRO DYNTON (thinking):
Everybody must be so good for something in life! I – I can’t believe I’m a misfit! I’ll prove the SELECTOR is wrong – somehow!

Cyro winds up taking a job as a salesman touring the planet Venus. After striking out in that vocation, he works as a platinum prospector in the asteroid belt and then as a government-subsidized bounty-hunter on one of Saturn’s moons:

CYRO DYNTON:
Well, I’ve just about reached the bottom of the heap! I can’t get much lower than shooting FLYING FROG PESTS for the bounty they bring! The government pays 20 credits for each one shot!

While there, Cyro hears a fateful news announcement that our solar system’s sun is about to present a deadly menace to the Earth’s survival:

RADIO ANNOUNCER:
SPECIAL BULLETIN! Scientists have just completed their calculations! They are now sure that our SUN is about to burst into a SUPER-NOVA!

CYRO DYNTON (thinking):
Wh – what’s that mean?

RADIO ANNOUNCER:
…The intense heat from the exploding sun will destroy all life on Earth – unless a the planet can be moved to a more distant orbit! So far no practical plan for this escape has been reached by the government…

Alternating between feeling sorry for himself and mulling over the predicted disaster, Cyro is inspired when he sees a “pincer-bird” that’s able to pull a “flying chariot” many times its own weight. Then he has a history-making thought:

CYRO DYNTON (thinking):
By Sol! I wonder if the SAME SCIENTIFIC PRINCIPLE couldn’t be applied to MOVING THE EARTH?

After concocting a daring plan while the sun seems to grow huge in the daytime sky, Cyro submits it to a government board of review who select his entry from 9,426 other proposals (!) to save the Earth. Then, at an emergency meeting, Cyro is asked by a committee of scientists to oversee the project of building the giant “pincer rocket” in his plans:

NARRATIVE CAPTION:
Finally, with every detail checked out and re-checked, the huge PINCER-ROCKET grips the Earth and pulls it out of the solar system!

RESCUE MISSION CREW PERSON #1:
We’re moving! It’s pulling the EARTH – just as the PINCER-BIRD pulled that chariot back on the asteroid!

RESCUE MISSION CREW PERSON #2:
The sun is exploding! We’ll hardly feel the effects out here!

NARRATIVE CAPTION:
As the globe is towed into a new orbit around ALPHA CENTAURI, the nearest sun…

RESCUE MISSION CREW PERSON #3:
From now on, ALPHA CENTAURI will be our sun! The Earth will circle this star just as it did our former sun!

Later, on the relocated Earth, an official banquet of thanks is held in honor of Cyro Dynton:

GOVERNMENT OFFICIAL:
…And in the history of our planet, the name CYRO DYNTON must be ranged alongside our greatest heroes…

CYRO DYNTON (thinking):
Now I know why the GREAT SELECTOR labeled me as “unclassifiable”…At that time there was no necessity to select anyone to move the Earth – and I was beyond the machine’s powers to predict such an emergency task! All of which proves human ingenuity will always be superior to the cold calculations of a machine!

(This story was reprinted in DC’s FROM BEYOND THE UNKNOWN No. 9 (February – March, 1971.)

This issue’s six-page “Space Cabby” story is “Dangerous Journey to Earth!”, which was written by Otto Binder, penciled by Gil Kane and inked by Joe Giella. It kicks off with this introduction by the series’ starring character:

SPACE CABBY (narrating):
Here I am again with another thrilling Space-Cabby adventure! But I’m not sure where to begin this story – since there are two beginnings! Yet there is only one ending! One thing I AM sure of – and that’s the title…DANGEROUS JOURNEY TO EARTH!

Space Cabby’s passenger is Professor Anton, who needs a lift to Earth to take his latest invention to the patent office on Earth. But when Space Cabby asks what his new device is, the professor declines to answer:

PROFESSOR ANTON:
Er…I’d rather not tell – till I’m sure it works! But I’m hoping it will prove its worth before the space-trip is over!

SPACE CABBY (thinking):
I wonder what he means?

But it’s not long before Space Cabby finds himself flying through a space-field of potentially deadly objects:

SPACE CABBY (narrating):
I’m lost in deep thought when suddenly I realize we’re heading through a meteor swarm…It’s easy by-passing the large meteors – but a pea-sized one proves my undoing…

The tiny meteor pierces the space-cab’s fuel tank, releasing its “atomic gas” into the void. They’re stranded, unless Professor Anton’s package might prove useful to them:

SPACE CABBY:
Can your invention help us? Is it good for an emergency like this --

PROFESSOR ANTON:
Sorry, Cabby, it isn’t! But I’m sure the trouble isn’t…er…as bad as it seems!

Desperate, Space Cabby dons a helmet, climbs out on top of his cab and manages to lasso a passing meteor, which tows them to a “gas station” satellite. After refueling, they’re on their way to Earth, but again, disaster strikes:

SPACE CABBY (narrating):
We’re somewhere between Jupiter and Mars when trouble strikes again…

SPACE CABBY:
My space-radar mast broke off! Without radar in wide open space, we’re hopelessly lost! Professor – by any chance is your invention an “electronic brain” that can plot a route to Earth?

PROFESSOR ANTON:
No, nothing like that, Cabby!

Landing on the first asteroid he can, Space Cabby finds a natural formation that contains a magnetic lodestone. Then, using an iron nail, Cabby creates a “compass” of sorts to lead him toward the Earth, the core of which contains “the largest mass of iron in space”. Then, yet another disaster rears its ugly head:

SPACE CABBY (narrating):
As I point my ship Earthward, I’m wondering what in the universe his invention is good for anyway!

SPACE CABBY:
You expected this space-trip would prove its worth! But twice it failed to help us! Is it a dud, Professor?

PROFESSOR ANTON:
Far from it, Cabby! You’ll see when the right time comes!

SPACE CABBY (narrating):
I’m wondering it it’s the right time later when my luck turns worse than a Plutonian ice man caught in a furnace!

SPACE CABBY:
A COSMIC AURORA ahead, composed of sheets of deadly cosmic rays! I-I can’t stop the cab in time! Now’s the time for your invention to come through or we’re COOKED…>Gulp!<

Can it bore a hole through a cosmic aurora, or something?

PROFESSOR ANTON:
No – nothing like that!

SPACE CABBY (narrating):
The professor is as cool as a Martian cucumber! Me, I’m sweating it out – when a bead of perspiration rolling down my face gives me an idea…

Space Cabby removes a rubber patch used to plug a tiny hole in his space-taxi’s fuselage to insert a tube, through which he sprays his emergency water supply so that it covers his entire vehicle. In the bitter cold of space – 459 degrees below zero – it instantly freezes into a protective coating of ice, which prevents the space-cab and its passengers from being incinerated by the cosmic aurora’s deadly cosmic rays. As they emerge from the aurora area, Space Cabby confronts his passenger:

SPACE CABBY:
How can you be so calm, Professor – after the dangers we just passed through?

PROFESSOR ANTON:
We were never in any danger, Cabby! I’d better explain by telling you my invention is a FUTURESCOPE – a machine that enables one to visualize future events! It was secretly beamed at you all along!

SPACE CABBY:
You mean that none of these events really happened at all?

PROFESSOR ANTON:
CORRECT! It was all projected into your mind – roping the meteor – the space compass – icing the cab – everything! That’s why I was calm all the time – there was no real danger!

SPACE CABBY (narrating):
Looking out the windshield, I get another shock…

SPACE CABBY:
Why – we’re still on Neptune! Our trip to Earth hasn’t started yet!

PROFESSOR ANTON:
RIGHT! Those future happenings all flashed through your mind in short moments before you shifted into jet gear!

SPACE CABBY (narrating):
After I start the SECOND time…

PROFESSOR ANTON:
Now, if those space events really happen on our trip to Earth, you’ll be my witness that the FUTUROSCOPE works! But what’s the matter, Cabby?

SPACE CABBY:
I just realized something! As long as we all have to go through all those space-dangers again – how about paying me DOUBLE FARE?

Also included in this issue of MYSTERY IN SPACE are the following stories, features and advertisements:

• “Identify Even The Strangest Stamps – At A Glance!”, a black-and-white, inside-front-cover cover advertisement for a world map, a “stamp finder”, an ”encyclopedia of stamp-issuing countries” and “30 much-wanted foreign stamps”, all available via mail-order from the “Littleton Stamp Co.”

• “Wildroot Cream-Oil Gives You Confidence!”, a 1/3-page ad for “Wildroot Cream-Oil” hair product.

• “Boys! Girls! Which Prize Do You Want?” an ad soliciting for door-to-door salespeople to peddle “new and beautiful Christmas cards” for the “Junior Sales Club Of America”.

• “Binky Shows ‘How To Spend A Summer Week!’”, a public-service page written by Jack Schiff and drawn by Winslow Mortimer.

• “Here Are The Prizes In The GIANT DC Slogan Contest”, a three-page contest announcement and entry form.

• “Open the Door, Earthman!”, written by Otto Binder, penciled by Carmine Infantino and inked by Bernard Sachs. “You are hiking through the woods on your vacation! You are enjoying nature, with not a care in the world – until you see the strange craft ahead – and suddenly discover that all the cares of the world depend upon your solving a fantastic riddle!” Two bald, yellow-skinned alien beings confront the anonymous “Earthman” with a deadly challenge: “We have been waiting for you, Earthman – to decide for us whether or not we shall invade your planet! There are many worlds in this galaxy to conquer and it is our custom to give each a SPORTING CHANCE! We have chosen you at random, to determine if Earth will be our next victim – or not! You see before you two identical boxes! One of them is empty – and if you should open that door, no harm will come to you or your fellow-humans! We will leave Earth – and never return! But opening the other door will release a D-RAY, disintegrating you! It will also be our signal to attack Earth! We give you just FIVE MINUTES to open the right door and live! Choose the wrong door and die!” When our planet’s ad-lib champion asks if there are any clues to help him make his choice, one of the aliens answers, “Yes, there is a clue to guide you – if your mind is sharp enough to detect it! Time begins NOW!” As a stylized clock-face (located in the caption-box of each panel) counts down the time elapsed, the Earthman examines both boxes, comparing their hollowness and weight. Then he pretends to open each box to see if the aliens’ expressions change, but they display no reactions on their faces, just placid smiles. With only a minute left, the Earthman finally makes his move – instantly saving the Earth! As the aliens depart in their space shift, the Earthman explains to the reader: “They took their two boxes along to give some other world a ‘sporting chance’. I saved myself, and Earth! The clue was cunningly hidden in what they first said! They said ‘Open the right door and live! Choose the wrong door and die!’ The secret clue was to pick the RIGHT door, not the LEFT!’” (This story was reprinted in DC’s THE FLASH No. 176 (February, 1968).)

• A 1/3-page ad – featuring a testimonial from Superman himself! --and coupon for admission to New Jersey’s “Palisades Amusement Park”.

• “Marvels Of Mars!”, a ½-page educational feature illustrated by Martin Naydel.

• “Own The Daisy Eagle Air Rifle With 2X Scope Mounted!”, a ½-page ad for a variety of B-B guns from the “Daisy Manufacturing Company”.

• “Wonders Of Space”, a two-page text-feature illustrated by pulp magazine artist Virgil Finlay.

• “Interplanetary Trouble-Shooter!”, written by Edmond Hamilton, penciled by Sid Greene and inked by Bernard Sachs. “When someone began tapping the VIDEOPHONES of the 22nd Century, ace trouble-shooter Al Kyler was sent out to scour the solar system for the mysterious eavesdropper! But strangely enough, the greater the distance from his home base Al searched, the FURTHER AWAY he moved away from his quarry – and the CLOSER approached the doom for the solar system!” First off, this story’s splash-page demonstrates the function of the 22nd Century’s “videophones”, a technological innovation that allows sentient beings to communicate across interplanetary space, with every message passing through the “Solar System Central” satellite. There, Al Kyler oversees the automatic switchboards, installs new ones and flirts with his fiancée, Marta Mallen. When his boss, Mr. Crayne, asks if Al knows anything about special operators or service men eavesdropping on private calls, he winds up with the assignment of investigating the videophone tapping. But before he can begin, Al has to answer “trouble calls” from every planet in the solar system: a burned-out videophone on a fiery asteroid; electric eels short-circuit a videophone on the watery moon called Triton; and another burnt-out videophone in the jungles of Jupiter! Back at Solar System Central, Al trades information with Marta, but before he can finish, he’s once again called upon to repair a broken videophone on one of the tiny moons of Saturn, then to a “space-liner” with a burnt-out videophone. En route, Al realizes that, “Every time I get set to inspect that new switchboard, VIDEOPHONES burn out somewhere and call me away! That’s too coincidental…” Back at Solar System Central, Al uses a “search beam” to examine the new switchboard’s circuits; he discovers that its switchboard is somehow “eavesdropping hundreds of calls and relaying them on its own secret wave”! Tapping onto that wave, Al discovers that a race of “machine men” have been using information secretly gleaned from the videophones to plot against the Earth! After consulting a small electronics lab, Al returns to Solar System Central, where he discovers that one of those bright pink machine men has been built right into the new switchboard! The robot explains that it’s from a distant planet where its human masters all died out, leaving the machine men to search for suitable worlds to relocate to. When they discovered the Solar System Central satellite, the robots realized that it presented the perfect opportunity to study our solar system’s planets for a suitable location to relocate. But since the atmosphere on these worlds – including the satellite – is corrosive to the metal the robot is made of, a spaceship soon arrives to take away the “mechanical eavesdropper” in search of new worlds more suitable to inhabit. “It just goes to show that an interplanetary trouble-shooter can fix ANYTHING!” boasts Al.

• “100 Toy Soldiers $1.25”, an ad for “100 toy soldiers, made of durable plastic, each on its own base” and “packed in this footlocker toy storage box”, available through mail-order from the “Josely Co.”

• “If You Get A Stunning $10.98 Dress Without Paying 1¢…Will You Wear And Show It In Your Community?”, an ad soliciting for female door-to-door salespeople to peddle dresses and other women’s clothes for “Fashion Frocks, Inc.”

• “Do You Want Spending Money? Sell These Popular Patriotic And Religious Mottoes”, a black-and-white, inside-back-cover ad seeking salespeople for “beautiful glittering mottoes” and earn cash from “Stephens Credit Sales”.

• “Most Beautiful Bike In The World! Schwinn Phantom – Made In America…So You Know It’s ‘The Best”, a back-cover advertisement for “this amazing new Phantom”, available at local dealers of bicycles made by “Arnold Schwinn & Company”.

Bonus ODDBALL FACTOID – Cartoonist Sid Greene had the delightful habit of sneaking the image of Julius Schwartz into every story he drew for the DC editor!

Bonus ODDBALL FACTOID – Kinsman, Ohio celebrated "Edmond Hamilton Day" on July 18, 2009!

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