Hubbry Logo
The Haunt of FearThe Haunt of FearMain
Open search
The Haunt of Fear
Community hub
The Haunt of Fear
logo
7 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
The Haunt of Fear
The Haunt of Fear
from Wikipedia

The Haunt of Fear
A comic book cover reading "The Haunt of Fear" in dark blue letters on a yellow background. Below is a colorful illustration of a man and woman standing over an empty open coffin, the man with a wooden stake in one hand and a hammer in the other, while a male vampire stands behind them in the shadows.
The Haunt of Fear #16 (2) (July/Aug 1950)
Cover art by Johnny Craig
Publication information
PublisherEC Comics
ScheduleBi-monthly
FormatAnthology
Publication dateMay/June 1950 – November/December 1954
No. of issues28
Main character(s)The Old Witch
The Crypt-Keeper
The Vault-Keeper
Creative team
Created byBill Gaines
Al Feldstein

The Haunt of Fear is an American bi-monthly horror comic anthology series that was published by EC Comics from 1950 to 1954 created by Bill Gaines and Al Feldstein. The magazine began in June 1947 as Fat and Slat. It continued under this title for four issues before becoming Gunfighter (#5–14). It was retitled The Haunt of Fear with issue #15 (1) (May/June 1950). The numbering was reset after #17 (3). The comic bore this title for 28 issues until being discontinued after issue #28 (November/December 1954).

Along with Tales from the Crypt and The Vault of Horror, it formed a trifecta of popular EC horror anthologies. Publication ceased, however, after horror and crime comics came under scrutiny for an alleged link to juvenile delinquency and the subsequent imposition of a highly restrictive Comics Code.

The Haunt of Fear has since been reprinted in single issues and collected volumes. Some of its stories were adapted for the 1972 motion picture Tales from the Crypt and television's Tales from the Crypt, which aired on HBO from 1989 to 1996.

Production history

[edit]

Original run

[edit]

In 1950, EC Comics publisher Bill Gaines and his editor, Al Feldstein, began experimenting with horror tales in their crime titles, War Against Crime and Crime Patrol. An EC Western comic called Gunfighter, which had previously run for five issues as the comedy Fat & Slat, became The Haunt of Fear with issue #15 (1) (May/June 1950). Due to an attempt to save money on second-class postage permits, characteristic of comics publishing in the era, the numbering did not change along with the titles. However, numbering for the magazine was reset after #17 (3) due to a request by the United States Post Office that the fourth issue under the new title be numbered accordingly.[1]

The Haunt of Fear continued to run for a total of 28 issues before ceasing publication with issue #28 (November/December 1954). Along with its sister titles, Tales from the Crypt and The Vault of Horror, The Haunt of Fear was popular, but in the late 1940s and early 1950s comic books came under attack from parents, clergymen, schoolteachers, and others who believed the magazines contributed to illiteracy and juvenile delinquency. In April and June 1954, highly publicized congressional subcommittee hearings on the effects of comic books upon children left the industry shaken. With the subsequent imposition of a highly restrictive Comics Code, which placed severe restrictions on violent comic book genres, including forbidding publishers from using the words "terror" and "horror" in titles and from depicting zombies, werewolves, gruesome characters, and outrè horror fiction trappings, EC Comics publisher Bill Gaines cancelled The Haunt of Fear and its two companion horror titles.[2]

Reprints

[edit]

The Haunt of Fear has been reprinted on numerous occasions. Ballantine Books reprinted selected stories in a series of paperback anthologies from 1964 to 1966. The magazine was fully collected in a series of five black-and-white hardbacks by publisher Russ Cochran as part of The Complete EC Library in 1985. Cochran also reprinted several issues in a standard comic book format during the early 1990s in association with Gladstone Publishing. He eventually reprinted the entire series with Gemstone Publishing from 1992 to 1998. This complete run was later rebound, with covers included, in a series of six softcover EC Annuals. Cochran and Gemstone planned to publish hardcover, re-colored volumes of The Haunt of Fear as part of the EC Archives series, until Gemstone's financial troubles left this project in limbo. The series was revived by GC Press, a boutique imprint established by Cochran and Grant Geissman, and the first volume (of a projected five) was released in 2012. Dark Horse Comics took over publication of the remainder of the series from 2015 to 2018.[3][4] The complete five-volume series was later republished as over-sized trade paperbacks from 2021 to 2025.[5][6]

Production

[edit]

Creative team

[edit]

Gaines and Feldstein were responsible for writing all the stories until the end of 1953. An unauthorized adaptation of Ray Bradbury's work in another of EC's comics eventually led to a series of authorized Bradbury adaptations. Features included "Grim Fairy Tales", horror-based parodies of well-known fairy tales such as "Sleeping Beauty" and "Hansel and Gretel". The parodies began appearing in issue #15 (September/October 1952).[7]

Artist Graham Ingels took over the art duties of The Haunt of Fear starting with issue #4 (November/December 1950). He became the Old Witch's primary artist for the remainder of the comic's run, though his art had been appearing since the second issue. Ingels later took over cover art duty with issue #11 (January/February 1952). Other artists who contributed to the title were Feldstein, Johnny Craig, Wally Wood, Harvey Kurtzman, Jack Davis, George Roussos, Harry Harrison, Joe Orlando, Sid Check, George Evans, Reed Crandall, Jack Kamen, and Bernard Krigstein. Ingels' artwork on the eight-page lead stories and his splash pages, particularly on issues #14 and #17, set a new standard for horror illustration.

Among the title's most controversial stories was "Foul Play" (#19, May/June 1953), written by Feldstein and drawn by Davis. It featured a crooked baseball player being dismembered, with his body parts used to play baseball by his murderers. The story was singled out by Robert Warshow in his 1954 essay "Paul, the Horror Comics, and Dr. Wertham". He described it as "the outer limits of... 'good taste'."[8] It was also one of many examples used by Fredric Wertham in his book Seduction of the Innocent.[9] Author Grant Geissman used the title of the story for his book on EC artists, Foul Play (2005).

Influences and adaptations

[edit]

As with the other EC comics edited by Feldstein, the stories in this comic were primarily based on Gaines using existing horror stories and films to develop "springboards" from which he and Feldstein could launch new stories. Specific story influences that have been identified include the following:

After their unauthorized adaptation of one of Ray Bradbury's stories in another magazine, Bradbury contacted EC about their plagiarism of his work. They reached an agreement for EC to do authorized versions of Bradbury's short fiction. These official adaptations include:

  • "The Coffin" (#16)
  • "The Black Ferris" (#18)

The Old Witch

[edit]
A black-and-white drawing of an old wrinkled woman wearing a hooded cloak cracking a crooked smile while her right eye bulges out of its socket
The Old Witch as drawn by Graham Ingels

Although EC's horror stable consisted of three separate magazines, there was little beyond their titles to distinguish them from one another. Each magazine had its own host, known as a GhouLunatic. The Old Witch was the primary host of The Haunt of Fear. Hosting duties for any one magazine were typically shared with the hosts of the other two. For example, a single issue of The Haunt of Fear would contain two stories told by the Old Witch, one by the Crypt-Keeper (of Tales from the Crypt) and one by the Vault-Keeper (of The Vault of Horror). The professional rivalry among these three GhouLunatics was often played for comedic effect in the letter column.

The Old Witch was the last of the three to make her appearance. She was introduced in the second issue of the magazine, #16 (2) (July/August 1950), in a segment titled "The Witch's Cauldron" in which the Old Witch introduces herself in a story drawn by artist Jack Kamen. The third issue featured a Johnny Craig cover depicting the three GhoulLunatics stepping out of doorways and launched a letter column, "The Old Witch's Niche." Thereafter, the Old Witch presided over the magazine as its comedic horror host, delivering an irreverent and pun-filled commentary to lighten the horrific tone of the stories she introduced. In spite of her late start, the Old Witch would prove to be the most visible of the GhoulLunatics in their initial run. Not only did she appear in virtually every issue of The Haunt of Fear, Tales From The Crypt, and The Vault of Horror, she also appeared in the final story in each issue of Crime SuspenStories from #3 through #16. Occasionally, the Old Witch would appear as a character as well. A personal account of the circumstances surrounding her birth are related in "A Little Stranger!" (The Haunt of Fear #14), and "Horror Beneath the Streets" (The Haunt of Fear #17) tells how she and her fellow GhouLunatics got their EC publishing contracts. The character was inspired by Old Nancy, the Witch of Salem, host of Alonzo Deen Cole's radio series, The Witch's Tale, which aired from 1931 to 1938 on WOR, the Mutual Radio Network, and in syndication.

List of issues

[edit]
The Haunt of Fear issues
Issue # Date Cover artist Story title Story artist Summary (GhouLunatic host)
15 (1) May/Jun 1950 Johnny Craig The Wall Johnny Craig

A man finds his wife's love for her cat, Snooky, unbearable, and finally decides to take care of the problem once and for all, but soon finds he is slowly slipping into insanity when his imagination gets the best of him. (No host)

House of Horror Harvey Kurtzman

A fraternity initiation goes eerily wrong, when the initiates are told to walk through a supposedly haunted house... but never come out. (No host)

The Mad Magician Wally Wood & Harry Harrison

Boris Petaja, a skilled magician, begins to kidnap innocent townspeople to use in his experiments on a real "saw a man in two" trick but finally meets his match in a young couple he kidnaps. (No host)

The Thing in the Swamp! Al Feldstein

A swamp hermit relates a tale of a group of scientists that fed an amoeba that ate everything in its path to two boaters. It is just a myth... right? (No host)

16 (2) July/Aug 1950 Johnny Craig Vampire! Johnny Craig

A doctor insists that the body he examined was killed by a vampire, but no one in town will believe him. So, he goes to the mansion where the body came from and finds that there is a vampire, but who is the vampire? (No host)

Horror-Ahead! Wally Wood

A shopkeeper tells a customer a story about his quest with his assistant to Africa to collect some real shrunken heads from a native tribe. When they are caught stealing, they learn a startling punishment. (No host)

The Killer in the Coffin! Graham Ingels

Ernest Parker grows tired of his nagging wife, Nan, and meets a younger woman named Faye. Together, they plan going away and getting married, but they have to get Nan out of the picture, so Ernest coughs up a plan to fake his death. (No host)

The Mummy's Return! Jack Kamen

Over a thousand years ago, a jealous pharaoh had one of his servants mummified after he fell in love with the girl the pharaoh loved. However, the girl discovered his plot and tried to revive him with a scribe, only to be offed by the king. In the present, three friends stumble upon the crypt and find that history has a nasty way of repeating itself. (The Old Witch)

17 (3) Sept/Oct 1950 Johnny Craig Nightmare! Johnny Craig

A you-are-the-main-character story in which you are a man afflicted with recurring nightmares about being buried alive. Your psychiatrist assures you it is all in the mind but can you tell when your nightmares will begin to spill over into reality? (No host)

Television Terror! Harvey Kurtzman

An arrogant reporter does a story on a famous haunted house and learns the hard way that some things should just be left alone. (No host)

Monster Maker! Graham Ingels

Dr. Ravenscar, a disgraced surgeon, retreats to his family castle to plan his comeback. He wants to prove he can bring a man back from the dead, but things take a turn for the worse when he damages the corpse's brain and has to make a last-minute substitution. (No host)

Horror Beneath the Streets! Al Feldstein

The story of how Bill Gaines and Al Feldstein met the Crypt-Keeper, Vault-Keeper, and Old Witch in a sewer and were "persuaded" into giving them a publishing deal. (The Old Witch)

4 Nov/Dec 1950 Al Feldstein The Hunchback! Graham Ingels

Roger Compton goes to a small town to visit his old college friend, Peter, but finds that his old pal is now a feared recluse with a peculiar hump on his back and an even more peculiar taste for human flesh. (The Old Witch)

The Tunnel of Terror! Jack Kamen

A young woman takes her alcoholic, partying brother to Mexico for a relaxing vacation. When he disappears into an underground club and numerous bodies are found partially eaten, she decides to find him on her own. (The Vault-Keeper)

The Living Mummy Jack Davis

A group of scientists working on an experiment to raise a mummy back to life actually revive it, only to learn the true horror of the pharaoh's curse. (The Old Witch)

Man from the Grave! Wally Wood

Jon Wayland, a painter, returns from the grave to keep on painting for all of eternity after committing a crime against his friend. (The Crypt-Keeper)

5 Jan/Feb 1951 Johnny Craig A Biting Finish! Graham Ingels

A jealous man murders another man over a girl and buries him in an old graveyard. His secret soon comes out, and he is forced to hide in an old Civil War tunnel, a tunnel that leads him straight to a "biting finish". (The Old Witch)

Horror in the Freak Tent! Wally Wood

A crude, malicious circus owner mistreats and sabotages his circus freaks and employees until he blinds one of his famed attractions, then the tables are turned... (The Crypt-Keeper)

A Tasty Morsel! Jack Davis

You are a traveler seeking shelter in a commodious inn owned by an old, ugly man and find out he has a little secret that is just dying to come out. (The Old Witch)

Seeds of Death! Johnny Craig

A hobo finds a hand in the garbage at the city dump, a hand that belonged to an abusive man who murdered his wife's hired farmhand. (The Vault-Keeper)

6 Mar/Apr 1951 Johnny Craig A Strange Undertaking... Graham Ingels

Ezra, a vengeful caretaker decides to get back at his enemies when they die and are brought to his cemetery by desecrating their bodies and refusing to bury them until spring... but not if the dead have anything to say about it. (The Old Witch)

So They Finally Pinned You Down! Wally Wood

A man moves to a new town, meets a beautiful girl, and moves in with her. After being "drugged" by her and having severe blackouts, he sets out to get revenge. However, whenever he blackouts, a woman ends up dead. (The Vault-Keeper)

A Grave Gag! Jack Kamen

Jonah Westlake, the black sheep of the Westlake family, gets his kicks by playing practical jokes on his own kin, especially at funerals, but his latest joke may be his last. (The Old Witch)

Cheese, That's Horrible! Jack Davis

Bradbury Prince assists Henrick Villhem, the head owner of a cheese company, but when he refuses to tell Bradbury the secret ingredient, he decides to do away with Henrick. (The Crypt-Keeper)

7 May/Jun 1951 Johnny Craig Room for One More! Graham Ingels

Rodney Whitman was just a young boy when his parents died and he was sent to live with his uncaring aunt and uncle and their two mean sons. The only thing that kept him going was the thought of being buried with his family in the Whitman mausoleum, a mausoleum with just one more coffin, which Rodney is saving for himself at any cost. (The Old Witch)

The Basket! Jack Davis

A town is full of curiosity at a strange man who always carries a basket on his shoulder. The townspeople get the answers they have been searching for when they break into his house. (The Crypt-Keeper)

Horror in the Schoolroom Jack Kamen

A young boy's teacher does not believe the stories he comes up with about traveling with an imaginary monster named Magog, even when the boy tells him Magog will gobble him up for whipping him. The teacher should have heeded the warning. (The Old Witch)

The Howling Banshee! Johnny Craig

A retired mobster marries a superstitious Irish family who are convinced that a banshee wails prior to the death of one of their kin. (The Vault-Keeper)

8 July/Aug 1951 Al Feldstein Hounded to Death! Graham Ingels

A jealous husband keeps his wife locked up in their mansion like one of the numerous hounds he uses to hunt foxes. When she falls for another man, the husband decides to take care of the problem, only to find he is barking up the wrong tree. (The Old Witch)

A Very Strange Mummy! George Roussos

Three explorers travel to a cursed crypt rumored to hold an evil being, but when they venture inside they find a perfectly preserved mummy and soon find that he is not the only monster lurking about. (The Vault-Keeper)

Diminishing Returns! Edwin J. Smalle

Vincent Beardsley, a greedy New Yorker seeking the fourth tribal diamond for his collection, takes his friend to Ecuador to claim the gem. When they are caught by the tribe themselves, he gives up his "friend" to the vengeful tribalmen only to find he must face the ultimate consequence! (The Old Witch)

The Irony of Death! Jack Davis

Jeff Slag, a conniving young man working at an ironworks, marries his boss's daughter and then murders his boss in order to take over the plant only to find that there really is irony in death. (The Crypt-Keeper)

9 Sept/Oct 1951 Al Feldstein Warts So Horrible? Graham Ingels

Two men attempt to rob their wealthy uncle's grave as revenge for his not leaving them any of his money. They are witnessed by a pair of young boys who have gone to a graveyard to test out an old wives' remedy for removing warts—but is it just magic or can the boys really believe their eyes? (The Old Witch)

Forbidden Fruit Joe Orlando

A man and his secretary are marooned on a deserted island following a plane crash. They ignore a warning not to eat any fruit from the trees growing on the island, with consequences neither of them could have foreseen. (The Vault-Keeper)

The Age-Old Story! Jack Kamen

Gold-digging Harriet plans to ditch her elderly husband to move in with a younger lover, but her husband has one final surprise for her before she goes. (The Old Witch)

The Gorilla's Paw! Jack Davis

A man acquires a gorilla's mummified paw and discovers it can grant him anything he wishes. Unfortunately, he does not always think before he wishes aloud. (The Crypt-Keeper)

10 Nov/Dec 1951 Al Feldstein Grave Business! Graham Ingels

A greedy undertaker extorts money from the families of the dead by charging them for the most overpriced funerals possible. He finds the tables turned when he uncovers a previously hidden talent of his own for "playing dead." (The Old Witch)

The Vamp! Jack Davis & Johnny Craig

While on holiday, a man begins a flirtation with a beautiful yet mysterious woman; but notices that she tends to appear whenever there is a murder in the local area. (The Vault-Keeper)

My Uncle Ekar! Jack Kamen

An abandoned child is taken in by the police. He tells them about his "Uncle Ekar," who has three eyes, a forked tongue, and commits murders. The cops do not believe the boy's story... until they find a body exactly where he described it. (The Old Witch)

Bum Steer! Jack Davis

A washed-up bullfighter wants to get rid of a newcomer who has taken over both his spotlight and his sweetheart. The rival dies and so does the bull, but now they are both set on revenge. (The Crypt-Keeper)

11 Jan/Feb 1952 Graham Ingels Ooze in the Cellar? Graham Ingels

An elderly miser hoards treasures in his cellar and refuses to give anything to anybody. He insists that his wife save canned food rather than give it away, and when she is poisoned by a jar of rotted fruit, it and her body create a living ooze that soon swallows up the cellar and everything else in the house. (The Old Witch)

The Acid Test! Jack Kamen

Sylvia becomes so fed up with her fawning, over-devoted husband that she blinds him with sulphuric acid. He is so infatuated with her that at her trial he pleads for her to be released, but she had not considered that he might want justice outside of the law. (The Vault-Keeper)

Extermination George Roussos

A sadistic pest exterminator finds himself on the receiving end when he is surrounded by the creatures he once loved to torture. (The Old Witch)

Ear Today... Gone Tomorrow! Jack Davis

Two fertilizer salesmen face problems when no one will sell them the goods to fill a massive order for bone meal. They decide to use bones from the local cemetery despite stories about the cemetery being haunted but meet their comeuppance when their car breaks down near a cornfield. (The Crypt-Keeper)

12 Mar/Apr 1952 Graham Ingels Poetic Justice! Graham Ingels

A lonely old man is tormented mercilessly by a wealthy father and son who want him evicted from his house so they can build over the land. He is driven to suicide but returns from the grave one year later on the day he died—Valentine's Day. (The Old Witch)

...On a Dead Man's Chest! Johnny Craig

Unaware that his wife is having an affair with his younger brother, an old sailor decides to have a picture of the three of them together tattooed on his chest. He is murdered by his wife and brother, who try to cover up their crime, only to find there is one piece of "evidence" they cannot hide. (The Vault-Keeper)

Till Death Do We Part! Joe Orlando

Tommy and Ernie commit an armed robbery. Ernie is shot while escaping from the police and tries to send for help but no one will listen. (The Old Witch)

What's Cookin'? Jack Davis

Two failing restaurant owners manage to turn their business around with the help of a mysterious stranger. They become a roaring success, but when he demands half the profits, they decide to get him out of the way. Little do they know he has one more dish left to serve. (The Crypt-Keeper)

13 May/Jun 1952 Graham Ingels For the Love of Death! Graham Ingels

A lonely man decides to take the place of the corpse at a funeral so he can enjoy the eulogies and ceremony for the deceased. Assuming, of course, that he can get out of the coffin again... (The Old Witch)

Fed Up! Johnny Craig

A carnival sword-swallower pulls a unique trick on her husband when he spends all the money she was saving for a new sword on junk food for himself. (The Vault-Keeper)

Minor Error! Jack Kamen

A gang of neighborhood kids become friendly with a new boy in town. They believe his uncle is the vampire responsible for a string of strange killings nearby, but how much do they really know about vampires? (The Old Witch)

Wolf Bait! Jack Davis

In early 20th century Russia, some hunters are being pursued by a pack of ravenous wolves, and their sleigh is too heavy for them to escape. They soon run out of bullets and decide there is only one way out of the situation. (The Crypt-Keeper)

14 July/Aug 1952 Graham Ingels A Little Stranger! Graham Ingels

The Old Witch recounts the story of how her dead werewolf father and dead vampiress mother fell in love and brought her into the world. (The Old Witch)

Take Your Pick! Jack Kamen

Stuart Braden has always boasted about having a "heart of ice." His wife decides to make his words come ironically true after his brutal cruelty results in the deaths of his dog, his mother-in-law, and his former business partner. (The Vault-Keeper)

Ship-Shape! Sid Check

Four survivors of a plane crash are out at sea when they find an abandoned ship. They climb on board but the oozy, frightening substance that covers the ship does not want them to leave. (The Old Witch)

This Little Piggy... Jack Davis

During the rule of the British Raj in India, the grandson of an English governor is banned from hunting wild boar because the local tribesmen consider them sacred. He is determined to bring home the head of a boar as a trophy but is unaware of just how far the tribesmen will go to stop him. (The Crypt-Keeper)

15 Sept/Oct 1952 Graham Ingels Chatter-Boxed! Graham Ingels

An elderly man begins to suffer from catalepsy, which makes him appear to be dead when he is not. He leaves instructions to be buried with a telephone if he "dies", just in case he is not really dead. There is no way this plan could go wrong, or so he thinks. (The Old Witch)

All Washed Up! George Evans

Harry kills his wealthy love rival and decides to steal the corpse's ring so he can sell it and use the money to marry his sweetheart. But when trying to dispose of the body in a well, he drops the ring, too, and now he is going to have to go down and get it... (The Vault-Keeper)

Marriage Vows! Jack Kamen

A king agrees to marry off his daughter to the ruler of a neighbouring kingdom so they can obtain a loan and refill the royal treasury. The princess is unhappy and wants to marry Prince Dashing instead, but then she remembers that she only agreed to give her hand in marriage. (The Old Witch)

Death of Some Salesmen! Jack Davis

A door-to-door salesman gets more than he bargained for when he goes to the home of a couple who like to test out the product in advance. (The Crypt-Keeper)

16 Nov/Dec 1952 Graham Ingels Nobody There! Graham Ingels

A prominent surgeon has spent his life repeatedly forcing a younger subordinate to perform a horrific operation that keeps the old man looking young, but what will happen when he refuses to take continue taking orders? (The Old Witch)

A Creep in the Deep! George Evans

Philip is devastated after his wife disappears during a fishing trip to their cabin. When he tries to sell the cabin, no one will buy it because of the strange murders that have started happening around the lake. (The Vault-Keeper)

...From Hunger! Jack Kamen

A royal chef is driven insane by the king, who is so gluttonous that he leaves no food for his subjects. There is only one thing to do with a nice big pig... (The Old Witch)

The Coffin! Jack Davis

Richard Braling's terminally ill brother is an inventor who seems determined to build a coffin for himself before he dies. Richard cannot see anything special about the mechanical coffin, but when he tries to examine it so he can patent his late brother's invention, he discovers that all is not as it seems. (The Crypt-Keeper)

17 Jan/Feb 1953 Graham Ingels Horror We? How's Bayou? Graham Ingels

In a swamp, a man waits to lure victims for his insane serial-killer brother. He likes to get rid of the bodies by throwing them into the marsh, but what he does not know is that this might not be the end of them. (The Old Witch)

Gorilla My Dreams! George Evans

You are a man who is abducted by a mad scientist and whose brain is transplanted into the body of an escaped gorilla. (The Vault-Keeper)

A Likely Story! Jack Kamen

A cantankerous queen terrorizes the staff who work in the royal household. Nobody's work can ever please her, until a painter comes up with a clever way to ensure the queen's official portrait will turn out just right. (The Old Witch)

Garden Party! Jack Davis

Geoffrey drives his wife Louella crazy by trampling all over her beloved garden. He discovers just how crazy Louella can be when he and his friends hold a raucous barbecue that destroys the lawn. (The Crypt-Keeper)

18 Mar/Apr 1953 Graham Ingels Pipe Down! Graham Ingels

A woman and her lover come up with a plan to dispatch her elderly, crippled husband. They succeed in making the murder look like an accidental death, but a new pet in the house is a little more suspicious. (The Old Witch)

Bedtime Gory! George Evans

On the eve of her corrupt, blackmailing husband's promotion to company president, an abused wife gives him a little surprise in the form of a new bed. (The Vault-Keeper)

Pot-Shot! Jack Kamen

A spoiled young nobleman who loves to drive at high speed devises an ingenious way to get an increase in his allowance from his wealthy father. It turns out to be his undoing in a more literal way than he could have imagined. (The Old Witch)

The Black Ferris! Jack Davis

Two young boys discover a sinister secret about the man who runs the ferris wheel down at the local carnival. Written by Ray Bradbury. (The Crypt-Keeper)

19 May/Jun 1953 Graham Ingels Sucker Bait! Graham Ingels

A brilliant young chemist on leave from university comes up with a plan to lure and kill the vampire that is terrorising the town but finds that the vampire is a little too close to home. (The Old Witch)

Lover, Come Hack to Me! George Evans

A couple on their honeymoon encounter a storm on the road and are forced to stop in an abandoned house, where the groom discovers a shocking skeleton in his new family's closet. (The Vault-Keeper)

Double-Header! Jack Kamen

In a fictional European kingdom, three jealous ladies of the royal court conspire to usurp the new queen by exposing her as an adulteress. The king, however, does not hold the witnesses blameless. (The Old Witch)

Foul Play! Jack Davis

Baseball players take deadly revenge on a corrupt rival found to have fatally poisoned a player from the opposing team. (The Crypt-Keeper)

20 July/Aug 1953 Graham Ingels Thump Fun! Graham Ingels

A jealous man kills his brother for money and is suddenly tormented by the sound of a heartbeat. He thinks back to "The Tell-Tale Heart" by Edgar Allan Poe and believes the thumping sound is all in his mind. When the local police show up to his house, he soon finds out just how wrong he was. (The Old Witch)

Terror Train Al Feldstein

Gloria is convinced her husband Ralph is trying to kill her, so she runs off and boards a train. To her surprise, Ralph keeps popping up everywhere she looks, even in a lonely cabin that contains a single open coffin. Reprinted from The Vault of Horror #12 (Apr/May 1950). (The Vault-Keeper)

Bloody Sure Reed Crandall

A man laughs off the townspeople who are convinced his new bride is a vampiress, but just how can he be so sure? (The Old Witch)

Hyde and Go Shriek! Jack Davis

Myron and his girlfriend hatch a scheme to fleece her eccentric employer by pretending to create a potion to turn him into his hero: the villainous Edward Hyde. The old story turns out to be more true than they thought. (The Crypt-Keeper)

21 Sept/Oct 1953 Graham Ingels An Off-Color Heir Graham Ingels

Newly married Laura has learned to handle her suspicions about her husband's long business trips and the mysterious locked room in his house. However, there is something she cannot put her finger on about the portrait of Baron Gilles de Rais that hangs in the hallway. (The Old Witch)

Dig That Cat... He's Real Gone! Jack Davis

A homeless man receives a partial brain transplant from a cat. He capitalizes on his newly acquired "nine lives" by becoming a star performance artist whose specialty involves cheating death, but his time may be running out faster than he thinks. (The Crypt-Keeper)

Corker! Jack Kamen & Bill Elder

Believing she is possessed by a demon, a woman seeks the advice of the fortune teller who first encouraged her interest in witchcraft. Her fiancé will have none of it—should he have listened to her? (The Old Witch)

The High Cost of Dying! Reed Crandall

In 19th-century France, Henri has 24 hours to raise the money to bury his dead wife due to an ordinance from the town council, otherwise the Commissioner of Health will hand the body over for dissection by medical students and pocket a financial bonus. Thankfully, Henri and the commissioner reach an agreement. (The Vault-Keeper)

22 Nov/Dec 1953 Graham Ingels Wish You Were Here Graham Ingels

A couple facing bankruptcy discover that the statue they bought from a mysterious store can grant them three wishes. When the first wish goes tragically wrong, they are reminded of the old story of "The Monkey's Paw" and soon find life imitating art. (The Old Witch)

Chess-Mate George Evans

Townspeople try to convince an eccentric local genius to take part in a chess tournament that will put their town on the map, but he has a sinister secret that may foil their plans. (The Vault-Keeper)

Snow White and the Seven Dwarfs Jack Kamen

A gruesome re-imagining of the "Snow White" fairy tale. (The Old Witch)

Model Nephew Jack Davis

Sidney was always eager to know how his wealthy, stingy old uncle had made his beloved ship in a bottle. After murdering his uncle to claim an inheritance, Sidney realizes just how many secrets the model is hiding. (The Crypt-Keeper)

23 Jan/Feb 1954 Graham Ingels Creep Course Graham Ingels

Stella's history professor has a special interest in ancient Rome. After she attempts to seduce him to get better grades, she finds she in for more than she expected. (The Old Witch)

No Silver Atoll! George Evans

Lovers Ruth and Clark are caught in a plane crash and stranded on a small island with the remaining survivors. Possessions containing silver start to go missing, mutilated bodies turn up, and the group remembers that there is only one creature to whom silver is fatal. (The Vault-Keeper)

Hansel and Gretel! Jack Kamen

A gory retelling of the "Hansel and Gretel" fairy tale. (The Old Witch)

Country Clubbing! Jack Davis

An escaped convict finds himself in a chase through a swamp with a club-wielding maniac, but is everything really as it seems? (The Crypt-Keeper)

24 Mar/Apr 1954 Graham Ingels Drink to Me Only With Thine Eyes... Graham Ingels

Bethy has always called her abusive, alcoholic husband a "creep"—but when she and her lover attempt to kill him by drowning him in a whiskey still, it becomes true in a terrifying way. (The Old Witch)

...Only Sin Deep Jack Kamen

A woman "sells" her beautiful looks to a sinister pawnbroker in order to raise the money to lure a wealthy husband but finds her beauty fading faster than she thought. (The Vault-Keeper)

The Secret George Evans

An orphaned young boy is taken in by adoptive parents who are hiding a mysterious secret, only to find that their new son may be hiding a thing or two of his own. (The Old Witch)

Head-Room! Jack Davis

A landlady suspects that her frightening-looking new tenant is the "Ripper" who is murdering local women. (The Crypt-Keeper)

25 May/Jun 1954 Graham Ingels The New Arrival Graham Ingels

During a storm, a man takes refuge in a derelict old house but finds he is sharing the residence with the devoted mother of a very unusual child. (The Old Witch)

Indisposed! George Evans

A man takes the arrival of his new garbage disposal unit as the perfect way to murder his nagging wife and get away with it, but "disposing" of her body turns out to be no easy task. (The Vault-Keeper)

Out Cold Jack Kamen

A story with two endings. Ralph would have asked his beautiful new co-worker on a date, and discovered the horrifying reason for her dislike of cats, if only he had not gone "out cold" first. (The Old Witch)

The Light in His Life! Jack Davis

Jake, stranded in his cabin by the long Alaskan winter, is joined by a new arrival sheltering from a snowstorm. To pass the time, Jake recounts his story of why it is never a good idea to be snowed in with one's wife. (The Crypt-Keeper)

26 July/Aug 1954 Graham Ingels Marriage Vow Graham Ingels

Martin would like to leave his wife, but she always reminds him that they vowed, "till death do us part." Unfortunately, he has a very pressing reason to keep that promise. (The Old Witch)

The Shadow Knows Reed Crandall

When Eric murders his wife, Mabel, so that he can marry his rich girlfriend, he finds Mabel may be gone but her shadow remains. (The Vault-Keeper)

Spoiled Jack Kamen

A bored, wealthy housewife begins an affair with a stranger but does not count on her surgeon husband deciding to make them part of an experiment with a new anaesthetic. (The Old Witch)

Comes the Dawn! Jack Davis

A group of prospectors in Alaska unearth a vampire frozen beneath the snow. One of them decides to keep the money from their uranium stake for himself and frees the vampire to kill his companions. He knows that vampires crumble into dust once dawn comes—but when will that be? (The Crypt-Keeper)

27 Sept/Oct 1954 Graham Ingels About Face Graham Ingels

Jeff is the father of twins Penny and Olga. He loves Penny very much but has never met Olga, who on her mother's instructions is shut away in a locked room of the house. When Jeff's wife dies suddenly, he decides it is time he got to know Olga better and discovers that there was a very good reason to keep her hidden. (The Old Witch)

Game Washed Out! George Evans

A Puritan man drowns his wife to prevent her from telling the village elders about his adultery, but he finds out that when she said she would "never let him go", she really meant it. (The Vault-Keeper)

The Silent Treatment Jack Kamen

The ruler of a mythical kingdom orders complete silence throughout the land, even forbidding his subjects to breathe. This leads them to take a very "timely" revenge. (The Old Witch)

Swamped Reed Crandall

A ghoulish creature who lives in a swamp builds a shack where he can hide the dead bodies upon which he feasts. (The Crypt-Keeper)

28 Nov/Dec 1954 Graham Ingels The Prude Graham Ingels

A powerful 19th-century gentleman petitions the local authorities for increasingly stringent rules to protect public decency but goes a little too far when he orders the graves of the dead to be moved so that men and women are not buried together. (The Old Witch)

Numbskull Bernard Krigstein

A vicious jungle-dwelling hunter becomes the hunted when he accidentally falls into one of his own traps. (The Vault-Keeper)

Audition Jack Kamen

Ethel Stark is desperate to join Phil Vitale's all-girl orchestra, but will she really do anything to be in the band? (The Old Witch)

A Work of Art! Jack Davis

An elderly mortician who takes great pride in his work goes to extreme lengths to ensure his hated son-in-law will not be the one to embalm him after his death. (The Crypt-Keeper)

In other media

[edit]
A latex mask of a wrinkled old woman with long white hair, bushy eyebrows, a large nose, and a bulging right eye wearing a red hooded cloak
Steve Fiorilla's latex mask of the Old Witch, as seen on HBO's Tales from the Crypt

"Poetic Justice!" (#12) and "Wish You Were Here" (#22) were adapted for the 1972 film, Tales from the Crypt from Amicus Productions. Three other stories came from Tales from the Crypt and The Vault of Horror.[10] An homage film entitled Creepshow (1982) followed from Warner Brothers, paying tribute to the tone, look, and feel of Haunt and other EC comics without directly adapting any of their stories.[11]

Some stories were also adapted for the HBO television series Tales from the Crypt, which features John Kassir as the voice of the Crypt-Keeper and included comic book covers designed by Mike Vosburg—with at least one drawn by Shawn McManus—to look like the original 1950s covers. The series ran for seven seasons from 1989 to 1996 and spawned 93 episodes.[12] A photograph of a latex mask of the Old Witch, sculpted by Steve Fiorilla, appears in the "Korman's Kalamity" episode (season 2, episode 13). Adapted from "Kamen's Kalamity" (Tales from the Crypt #31), the story is set in EC's offices, where the EC editors have a meeting with illustrator Jack Kamen about his artwork.

The following tales were used in HBO's Tales from the Crypt TV series: "House of Horror" (#15 (1)), "Television Terror" (#17 (3)), "Ear Today... Gone Tomorrow" (#11), "On a Dead Man's Chest" (#12), "Till Death Do We Part" (#12), "What's Cookin" (#12), "Death of Some Salesmen" (#15), "Lover Come Hack to Me" (#19), "Dig That Cat... He's Real Gone" (#21), "Creep Course" (#23), "Only Sin Deep" (#24), "The Secret" (#24), "The New Arrival" (#25), "Spoiled" (#26), "Comes The Dawn" (#26), and "About Face" (#27).

HBO's Tales from the Crypt was adapted into a Saturday morning cartoon series called Tales from the Cryptkeeper in 1993. It lacked the violence and other questionable content that was in the original series. Kassir reprised his role as the voice of the Crypt-Keeper. The Old Witch appeared as a character, voiced by Elizabeth Hanna. It ran for three seasons from 1993 to 1994 and in 1999, spawning 39 episodes.[13]

A pinball machine, Tales from the Crypt, was produced under license by Data East in 1993. The game incorporates art from the original comics as well as the HBO series.[14]

References

[edit]

Sources

[edit]
  • Goulart, Ron (2001). Great American Comic Books. Publications International. ISBN 978-0-7853-5590-8.
  • Overstreet, Robert L (2004). Official Overstreet Comic Book Price Guide. House of Collectibles. ISBN 978-1-4000-4669-0.
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia
from Grokipedia
The Haunt of Fear was an American bi-monthly anthology series published by Entertaining Comics (EC) from May–June 1950 to November–December 1954, totaling 28 issues. The series featured self-contained , typically introduced and framed by the grotesque Old Witch character, who cackled warnings to readers about the ensuing moralistic stories of revenge, betrayal, and retribution, often ending in twist conclusions with graphic depictions of violence and decay. Written primarily by and illustrated by artists including Graham Ingels (known as "Ghastly"), Johnny Craig, and Jack Davis, the comic emphasized meticulous artwork and provocative narratives that pushed boundaries of the era's standards, earning acclaim for artistic innovation amid its notoriety for sensationalism. Its unflinching portrayals of horror, including stories like "Foul Play" in issue 19 that sensationalized real-world figures in scenarios, fueled public and parental backlash, contributing directly to U.S. Senate hearings in 1954 that scrutinized content and precipitated the industry-wide , which imposed strict content restrictions and effectively ended EC's horror line.

Publication History

Launch and Original Run (1950–1951)

The Haunt of Fear launched in May/June 1950 as the third horror anthology title from EC Comics, under publisher William M. Gaines, following the introduction of the "Haunt of Fear" feature in The Vault of Horror #12 (April/May 1950). The debut issue, cover-dated and marketed as #1 but indicia-numbered #15 to continue sequencing from discontinued titles, marked EC's expansion into supernatural horror amid a post-World War II comics market favoring escapist, pulp-influenced genres over educational content. Bi-monthly publication commenced immediately, with the series producing 28 issues through September/October 1954, each typically containing four to five short stories framed by horror hosts. This schedule aligned with EC's strategy to meet rising distributor demands for boundary-pushing anthologies, as Gaines pivoted from initial "Educational Comics" branding to "Entertaining Comics" to capture free-market consumer interest in macabre tales. Early circulation benefited from sensational covers, often by Johnny Craig, whose artwork for the inaugural issue depicted vampiric menace to draw newsstand browsers. These visually striking designs reflected unfiltered market signals for provocative horror, contributing to the title's prompt sell-through rates in an era of minimal content regulation prior to the 1954 Comics Code.

Expansion and Peak Circulation (1952–1953)

In 1952 and 1953, The Haunt of Fear reached its zenith of production and commercial success within ' "New Trend" lineup, as publisher capitalized on surging demand for horror anthologies amid a booming pre-Code market. Issues during this phase typically comprised 36 pages, featuring six self-contained stories of four to five pages each, augmented by editorial framing and advertisements, which allowed for denser narrative output compared to earlier volumes. Print runs escalated to hundreds of thousands of copies per issue, with Gaines confirming a baseline of at least 250,000 units as the minimum viable for EC titles to sustain operations and profitability. This expansion aligned with the broader horror genre's proliferation, where EC's titles collectively contributed to monthly sales exceeding several million units across the line. Content innovations emphasized visceral gore, decapitations, and ironic twist endings that subverted reader expectations, directly responding to fan letters praising such elements and to competitive pressures from rivals like ' lines including Men's Adventures and , which offered tales but lacked EC's unflinching intensity. Al Feldstein's editorial oversight refined these "preachies"—morally pointed yarns with punitive climaxes—to heighten shock value while maintaining superficial cautionary intent, a formula that differentiated The Haunt of Fear and propelled its appeal among adolescent readers seeking escapist thrills unhindered by . Technical enhancements in four-color printing enabled richer, blood-red palettes and detailed artwork, enhancing the visual impact of horror sequences and contributing to the series' standout shelf presence. EC's strategic use of independent distributors expanded reach beyond urban centers to rural newsstands nationwide, reflecting Gaines' pragmatic alignment with consumer tastes for unvarnished terror over sanitized alternatives, which fueled the title's peak viability before regulatory scrutiny intensified.

Decline and Final Issues (1954)

The publication of The Haunt of Fear ceased after issue #28, cover-dated November–December 1954, as distributor refusals to stock intensified amid public outcry and congressional scrutiny. These boycotts stemmed from wholesaler policies favoring titles compliant with emerging self-regulatory standards, pressuring publishers like EC to either conform or face market exclusion. In anticipation of the Senate Subcommittee on Juvenile Delinquency hearings held in April and June 1954, publisher implemented preemptive self-censorship by moderating graphic violence in the final issues, though content remained provocative. Issue #28 included an editorial directly confronting community and congressional backlash against horror genres, underscoring EC's resistance even as sales viability eroded. This decline prompted to abandon its horror anthology lines, redirecting resources to the satirical title Mad, which Gaines reformatted as a in to evade Comics Code Authority oversight and sustain operations through unregulated periodical distribution. The pivot highlighted how regulatory threats channeled creative demand into alternative formats rather than extinguishing it outright.

Production and Creative Team

Editorial Direction under Bill Gaines and Al Feldstein

Gaines, who assumed control of following his father Maxwell Gaines's death in 1947, pivoted the company toward the "New Trend" of mature-themed anthologies in late 1949, converting existing titles into dedicated horror books by spring 1950, with The Haunt of Fear launching as part of this initiative. , hired by Gaines in early 1950 for his shared interest in storytelling, became of the horror line, scripting most stories and enforcing a formula of compact, self-contained tales driven by O. Henry-style twist endings that delivered ironic . This direction prioritized narrative surprise over didactic simplicity, often underscoring moral ambiguities through scenarios where human vice invited supernatural or karmic retribution, diverging from sanitized genre conventions. To cultivate excellence, Gaines and Feldstein implemented a policy of offering page rates exceeding industry norms—typically $50 to $100 for artists on full stories—enabling recruitment of premier illustrators and writers without compromising on graphic intensity or thematic depth. This financial incentive supported unfiltered innovation, as EC eschewed voluntary toning down of content in anticipation of external pressures, instead embracing fantasy's potential for extremity, as Gaines articulated: "in the field of fantasy I’ll go as sick as you want." Their stance reflected a commitment to artistic autonomy over conformity, rooted in Gaines's resistance to moralistic constraints; during the 1954 Senate Subcommittee hearings on , he testified in defense of ' expressive latitude, rejecting blanket censorship as incompatible with creative liberty. This unyielding position sustained The Haunt of Fear's provocative edge until regulatory backlash enforced the in 1954, curtailing such editorial independence.

Key Writers and Artists

Al Feldstein, as co-editor and primary writer alongside publisher Bill Gaines, scripted numerous stories for The Haunt of Fear, often incorporating twist endings and ironic morals derived from pulp horror traditions. Feldstein's contributions emphasized craftsmanship, blending cautionary elements with dread to heighten reader engagement. Later issues featured scripts from , who penned tales like "Marriage Vow" in issue #26 (1953), focusing on vengeful horrors with precise plotting. Graham Ingels, signing his work as "Ghastly," illustrated the lead story in every issue from #4 (1951) onward, mastering visuals of and monstrosity that defined the series' aesthetic intensity. His meticulous rendering of decayed flesh and exaggerated features, often tied to the Old Witch host, transformed standard horror tropes into viscerally compelling art. Jack Davis provided dynamic artwork for multiple stories, such as "Death of Some Salesmen!" in issue #15 (1952), where his fluid lines and expressive poses influenced pacing through varied panel rhythms and action sequences. In the collaborative , artists received complete scripts from writers but adapted visuals to amplify tension, with Davis's energetic style often accelerating narrative momentum. Other contributors, including Jack Kamen and George Evans, diversified the visual palette with realistic portraits and atmospheric details, sustaining the anthology's high artistic standards across 28 issues.

Production Techniques and Influences

The production of The Haunt of Fear relied on ' in-house operations at their offices, where a compact and artistic team handled scripting, , , and pre-press preparation to achieve cost-effective output and adhere to the title's bi-monthly schedule from its 1950 launch through 1954. This streamlined workflow minimized external dependencies, allowing rapid iteration on stories and art amid rising demand for horror anthologies in the early . Narratives frequently adapted public-domain horror tales or drew from original concepts, with initial issues incorporating unauthorized comic versions of Ray Bradbury's short stories, such as elements from his appearing without permission around 1951. Bradbury identified these in 1952 and requested $50 per story for secondary rights, prompting publisher to pay retroactively, which fostered subsequent authorized adaptations across EC's horror and science-fiction lines. This episode highlighted EC's opportunistic approach to sourcing material while transitioning to formal permissions for high-profile authors. Visually, the series utilized advanced four-color printing techniques, including dense shading and bold palettes, to evoke atmospheric tension in depictions of decay and the , echoing the lurid aesthetics of 1940s like and Universal Studios' monster films featuring vampires and werewolves. These influences contributed to EC's distinctive emphasis on visceral horror over subtlety, setting The Haunt of Fear apart from contemporaneous titles through exaggerated, high-contrast illustrations that amplified narrative shocks.

Content and Storytelling

Anthology Format and Horror Tropes

Each issue of The Haunt of Fear adhered to the standard anthology structure of ' horror line, featuring four self-contained short stories that collectively filled 24 to 28 pages, with each tale typically spanning six to eight pages. This allowed for rapid pacing and variety, drawing readers through diverse narratives before culminating in an O. Henry-style reversal—a sudden, ironic twist in the final panels that subverted expectations and highlighted the protagonist's downfall. These endings prioritized revelations of human vice, such as deceit or avarice, over mere intervention, ensuring that terror arose from the logical consequences of flawed decisions rather than arbitrary fate. The series drew heavily on established horror tropes, including vengeful spirits returning to punish the living, deranged scientists tampering with nature's boundaries, and visceral depicting decay or mutilation. Ghosts and entities often manifested as agents of retribution against exploiters or betrayers, while experiments gone awry exposed the perils of , frequently illustrated with graphic depictions of or transformation. These elements echoed traditions but were amplified through EC's emphasis on detailed, unflinching artwork that rendered the tangible, such as festering wounds or skeletal remains. Unlike purely escapist horror of the era, The Haunt of Fear integrated these tropes within consequence-driven plots where events served as extensions of characters' failings, demanding accountability for , , or . Resolutions rarely permitted unpunished ; instead, twists enforced a form of , where the horror's climax stemmed causally from the perpetrator's actions, reinforcing that outcomes were not random but tied to ethical breaches. This approach distinguished the series by blending visceral shocks with narratives that critiqued human frailty, avoiding resolutions that excused vice through otherworldly loopholes.

Role of the Old Witch as Host

The Old Witch functioned as the primary host for The Haunt of Fear, debuting in the magazine's second issue (#16, July–August 1950), where she introduced stories through framing sequences titled "The Witch's Cauldron." Created by publisher William M. Gaines and editor , the character drew inspiration from radio program The Witch's Tale and its host Old Nancy, portraying a equipped with a broomstick and cauldron to evoke folkloric imagery. Illustrated prominently by artist Graham Ingels, who served as the lead contributor for the title, her design featured exaggerated features such as a bulging eye, wrinkled , and a sinister grin, reinforcing the publication's emphasis on visceral horror aesthetics. In her role, the Old Witch appeared in every subsequent issue of The Haunt of Fear, from #17 through #28 (1954), providing narrative cohesion to the anthology format by bookending tales with direct addresses to readers. These sequences often featured her cackling commentary that blurred the line between storyteller and participant, occasionally sharing hosting duties with fellow EC ghouls like the Vault-Keeper or Crypt-Keeper in crossover appearances. Her introductions and pun-laden wrap-ups mocked the audience's fascination with narratives, positioning as complicit in the voyeuristic thrill of witnessing human depravity and retribution. The character's presence symbolized ' irreverent editorial stance under Gaines and Feldstein, employing her as a vehicle to frame stories that exposed societal hypocrisies through exaggerated horror tropes, yet consistently delivering twist endings that enforced causal consequences for ethical failings such as or betrayal. Unlike purely nihilistic tales, her hosted episodes underscored absolute hazards, where predictably invited downfall, aligning with the creators' intent to cloak cautionary fables in graphic spectacle. This hosting mechanism enhanced reader engagement by personalizing the horror, transforming passive consumption into an interactive confrontation with the .

Recurring Themes and Notable Stories

The stories in The Haunt of Fear frequently explored themes of , where characters' moral failings—such as greed, lust, or unchecked ambition—directly precipitated their gruesome demises through ironic twists, emphasizing human agency over supernatural inevitability. This causal structure underscored that horror arose from protagonists' volitional choices rather than arbitrary fate, as seen in narratives dissecting , where arrogant pursuits of power or wealth invited self-inflicted ruin. Revenge motifs recurred as well, often manifesting as retribution against exploiters or betrayers, reinforcing a realist view of in which violations of social or ethical boundaries triggered proportionate, visceral consequences. Across its 28 issues, published from 1950 to 1954, the series integrated these elements with grotesque visuals evoking the , particularly through artist Graham Ingels' depictions of decayed flesh and moral corruption, amplifying revulsion tied to ethical decay. Empirical patterns in the highlighted sports fanaticism's perils in "Foul Play" (issue #19, May/June 1953), where tennis rivals decapitate their opponent mid-match to claim victory, only to face a twist of bodily fragmentation mirroring their crime—a tale that exemplified the series' excess in graphic retribution for competitive . Similarly, "The Haunted Mine" (issue #5, December 1950/January 1951) portrayed miners' greed-fueled descent into a collapsing shaft as a direct outcome of their avarice, devoid of ghostly intervention, illustrating causal realism in resource exploitation's hazards. Notable for creative precedents, several unauthorized adaptations of Ray Bradbury's works appeared, beginning with "The Handler" (issue #6, February/March 1952), which Bradbury discovered post-publication and prompted a settlement allowing credited future uses, such as "The Black Ferris" and "The Coffin" in later issues; these borrowings enriched the horror with literary depth while sparking early debates on adaptation rights. Such stories exemplified the anthology's strengths in blending pulp shocks with cautionary realism, though their excesses in violence tested boundaries of taste.

Controversies and Censorship

Criticisms of Graphic Violence and Moral Decay

Parental and religious organizations in the early 1950s voiced strong objections to the graphic depictions in The Haunt of Fear, arguing that illustrations of , decaying corpses, and severed heads fostered moral decay and deviance among youth. Groups such as Parent-Teacher Associations (PTAs) and church committees organized public comic book burnings, citing covers like Haunt of Fear #20 (February-March 1953), which featured an axe-wielding figure amid bloody horror, as emblematic of content that normalized and taboo subjects such as vampirism and zombification. These critics contended that such imagery, often rendered in vivid detail by artists like Graham Ingels, encouraged impressionable readers to emulate antisocial behaviors rather than serving as mere entertainment. Despite these assertions, contemporaneous investigations found no establishing a causal connection between and increased or crime rates. The U.S. Senate Subcommittee on Juvenile Delinquency's review, while highlighting public concerns over violent content, concluded that comics did not bear direct responsibility for societal ills, with experts like David Abrahamsen testifying that such reading material did not precipitate criminal acts. Sales data underscored the voluntary nature of consumption: The Haunt of Fear achieved circulations exceeding 1 million copies per issue at its peak, reflecting strong demand from teenagers and adults drawn to its anthology-style thrillers as fictional escapism rather than prescriptive guides. The series' emphasis on visceral storytelling, including recurring motifs of posthumous and bodily horror, was perceived by detractors as prioritizing shock over ethical instruction, yet this approach aligned with pre-Code horror traditions that prioritized narrative impact for market appeal. Religious publications, such as those from Catholic dioceses, decried the erosion of traditional values through portrayals of and gleeful decay hosted by figures like the Old Witch, viewing them as subversive to family-oriented morality. However, the content's confinement to imaginative tales—without real-world endorsements of violence—mitigated claims of inherent corruption, as evidenced by the absence of longitudinal studies linking readership to behavioral decline during the comic's run from 1950 to 1954.

Fredric Wertham's Campaigns and Empirical Critiques

, a German-born operating the Lafargue Clinic in , launched campaigns in the late against , including Entertaining Comics (EC) titles like The Haunt of Fear, which he deemed contributors to through depictions of graphic violence and moral depravity. In his 1954 book , Wertham asserted that such fostered antisocial behavior, including violence and sexual deviance like , drawing on observations of approximately 800 clinic patients from low-income urban backgrounds who consumed . He specifically criticized horror formats for normalizing gore and sadism, claiming they conditioned children toward criminality without empirical controls or comparative data from non-readers. Wertham's methodology relied on anecdotal case studies, selectively interpreting patient drawings, confessions, and comic preferences as direct causation, while omitting counterexamples of comic readers who exhibited no delinquency. A 2013 analysis by library science professor Carol L. Tilley, reviewing Wertham's archived notes, revealed systematic manipulation: he exaggerated ages, altered quotes, invented symptoms such as or tied to comics, and overstated to fit his , compromising scientific validity. Absent peer-reviewed protocols or randomized sampling, Wertham's work exemplified , prioritizing ideological advocacy for over falsifiable hypotheses, and ignored market that horror comics like The Haunt of Fear thrived amid broader societal trends without universally producing delinquents. From a causal standpoint, Wertham inverted symptom and cause: urban decay, family instability, and lax parental oversight in post-war America correlated with both rising comic sales and delinquency rates, but no rigorous studies established comics as the driver; instead, they mirrored existing cultural undercurrents rather than originating them. Empirical scrutiny post-1954, including subcommittee reviews, found insufficient proof of Wertham's links, favoring individual accountability and voluntary industry self-regulation over state-mandated bans that disregarded free expression. Wertham's clinic-derived data, drawn from a non-representative pool of already troubled youth, lacked generalizability and was later critiqued for forensic unreliability in psychiatric literature. This approach not only targeted EC's innovative storytelling but underscored a broader preference for interventionist policies unsubstantiated by controlled evidence.

U.S. Senate Hearings and Industry Response

The U.S. Judiciary Committee's Subcommittee to Investigate held hearings on April 21–22 and June 4, 1954, probing the alleged role of comic books in contributing to juvenile delinquency, with ' horror titles such as The Haunt of Fear singled out for their graphic depictions of violence and supernatural retribution. Publisher William M. Gaines testified on April 21, arguing that EC's stories served an educational purpose by illustrating consequences of immoral behavior, where criminals or wrongdoers invariably face punishment, thereby reinforcing that "crime does not pay." Committee counsel Herbert Beaser and senators, including , pressed Gaines on covers and content emphasizing gore—such as dismemberment or decay—over explicit moral resolutions, questioning whether such imagery glamorized horror rather than condemning it. Gaines faced particular scrutiny over an EC promotional circular titled "Are You a Red Dupe?", distributed in comics like The Haunt of Fear, which parodied anti-communist quizzes by likening industry critics to unwitting Soviet propagandists suppressing free expression. He defended the ad as a response to perceived totalitarian tactics in the censorship campaign, but senators viewed it as inflammatory deflection, highlighting Gaines' reluctance to concede on editorial standards amid evidence of distributor boycotts and public complaints targeting EC's unflinching style. Gaines countered by noting selective focus on visuals while ignoring narrative arcs that ended in justice or downfall for antagonists, exposing what he portrayed as inconsistent application of decency criteria compared to less graphic media like films or literature. In the hearings' aftermath, the industry preempted federal legislation by establishing the Comics Magazine Association of America (CMAA) in September 1954 for voluntary self-regulation, aiming to avert broader government intervention through content guidelines that publishers could adopt prior to a formalized code. EC's defiant posture—Gaines' testimony emphasized creative autonomy and rejected preemptive sanitization—amplified free speech concerns, as the publisher's titles faced intensified distribution barriers and sales declines, demonstrating the practical toll of resisting coordinated industry conformity amid political pressure.

Implementation of the Comics Code Authority

The (CCA), formed under the Comics Magazine Association of America, adopted its self-regulatory code on October 26, 1954, imposing prohibitions on core horror motifs prevalent in titles such as The Haunt of Fear. Specific rules banned scenes involving "walking dead, , vampires and vampirism, ghouls, , and werewolfism," alongside restrictions on excessive blood depictions, slang, and any suggestion of moral ambiguity in criminal acts. Titles containing "horror" or "terror" were also disallowed, directly targeting formats reliant on dread and graphic retribution. Enforcement occurred through a pre-publication review process granting a "seal of approval" stamp to compliant issues, which distributors required for placement on newsstands; non-sealed comics faced systematic boycotts by wholesalers, creating a monopoly favoring adhering publishers. This mechanism exemplified , where industry leaders preempted federal oversight by internalizing external pressures from Senate hearings, but at the cost of smaller or specialized operations unable to adapt without diluting content. For , publisher William M. Gaines initially sought partial accommodation by submitting revised stories, but refusals to excise signature elements like vengeful or visceral punishments led to distributor rejections, precipitating the abrupt termination of The Haunt of Fear after issue 28 (September-October 1954) and the broader horror line by 1955. This distribution collapse validated short-term fears of market instability while empirically stifling narrative innovation, as EC's shift to sanitized proved unviable against competitors' compliance. Subsequent revisions, including the 1971 code update permitting limited supernatural themes and crime details, underscored the original prohibitions' overreach, as relaxed standards did not correlate with spikes in —contrary to initial causal claims lacking robust empirical support from Senate inquiries. The persistence of youth crime trends independent of comic content highlighted how self-imposed censorship addressed symptoms of broader cultural anxieties rather than verifiable harms.

Reception and Legacy

Contemporary Sales and Public Backlash

During the early 1950s, The Haunt of Fear and ' companion horror titles achieved substantial commercial success, with individual issues selling hundreds of thousands of copies amid a booming market for pre-Code horror anthologies. Publisher M. Gaines reported annual gross revenues exceeding $1 million for EC by 1954, reflecting strong demand driven by the series' sensational covers and twist-ending stories that appealed to adolescent readers seeking and thrills. Letters pages in issues of The Haunt of Fear featured enthusiastic fan correspondence, with readers commending the visceral storytelling and artwork for delivering "shudder" experiences without promoting real-world emulation. Public backlash emerged concurrently, spearheaded by parent-teacher associations (PTAs) and who decried the comics' depictions of gore, revenge, and the as contributors to moral erosion among youth. Organizations such as PTAs orchestrated burnings in communities, while religious leaders amplified calls for boycotts through sermons and petitions, framing the content as symptomatic of postwar cultural decay. coverage, including articles in newspapers and magazines, often echoed these moralistic critiques, portraying EC titles as emblematic of broader societal threats despite the intentional use of to captivate audiences rather than indoctrinate. However, assertions of direct harm from The Haunt of Fear and similar comics lacked substantiation from contemporaneous data, as juvenile delinquency rates did not exhibit spikes correlating with horror comic sales or popularity. Critics' causal claims, often rooted in anecdotal observations rather than controlled studies, failed to demonstrate empirical links between reading such material and increased criminality, undermining the outrage's foundation while highlighting the divide between commercial viability and prudish sensibilities alienated by the genre's unapologetic intensity.

Long-Term Cultural Impact and Reappraisals

The Haunt of Fear contributed to the horror genre's evolution by popularizing twist endings, a device featuring ironic reversals that became a hallmark of subsequent works. These surprise conclusions, often moralistic in tone, influenced authors like , who credited horror titles with shaping his early storytelling approach and cited them as foundational to his career. Reappraisals in later decades positioned the series as a to mid-20th-century cultural , valuing its unflinching depictions of human frailty and retribution as essential for artistic liberty amid post-World War II social pressures. Empirical assessments post-Comics Code Authority refuted claims of comics-induced societal decay, with U.S. Senate subcommittee findings indicating no substantial causal connection between and in adjusted individuals. Longitudinal observations showed persistent or rising delinquency rates despite , underscoring the absence of evidence for Wertham's hypothesized links and highlighting methodological flaws in early anti-comics advocacy. From a perspective emphasizing free enterprise, the hearings exemplified governmental overreach, as industry via the Comics Code stifled innovation and contributed to ' collapse, save for Mad magazine's pivot. Publisher William M. Gaines emerged as a legacy figure in defending unfiltered narrative expression, resisting external moral impositions that prioritized conformity over creative autonomy and market-driven content.

Modern Reprints and Collectibility

In the decades following the decline of the Comics Code Authority's influence, reprints of The Haunt of Fear facilitated broader access to ' uncensored horror anthology. Russ Cochran's initiatives, including the 1970s black-and-white facsimiles and the subsequent Publishing EC Library series in the 1990s and early 2000s, reproduced original issues in oversized formats to preserve the pre-Code artwork and content fidelity. These efforts were complemented by Gladstone's 1990-1991 reprint series, which targeted collectors seeking affordable entry points to the full run. Dark Horse Comics expanded high-quality archival editions starting in 2006 with The EC Archives: The Haunt of Fear, featuring restored art, new digital coloring, and comprehensive collections such as Volume 1 (covering issues #15-17 and #4-6) and subsequent volumes through 2015. Trade paperback editions and digital formats from further democratized availability, countering prior suppression under self-regulatory codes by enabling modern readers to encounter stories like those by Johnny Craig and Graham Ingels without alteration. Original pre-Code issues of The Haunt of Fear exhibit significant collectibility, driven by scarcity, condition rarity, and appeal as artifacts of mid-20th-century comic history unbound by censorship. High-grade copies of key issues, such as #2 in 9.8 Near Mint/Mint condition, have fetched $6,000 at auction, while premier examples of inaugural or cover-iconic numbers often exceed $10,000, reflecting investor demand for authenticated, unrestored exemplars. Auction records underscore this value, with factors like complete copies and provenance elevating prices amid limited supply from the 1950-1954 print run.

Adaptations and Broader Media Influence

The 1972 anthology film Tales from the Crypt, directed by , incorporated adaptations of stories from The Haunt of Fear, including material from issues #12 ("Reflection of Death") and #22 ("Wish You Were Here"), preserving the comics' twist endings and moral retribution themes amid the era's constraints. These segments emphasized and ironic justice, aligning with EC's gritty narrative style, though production toned down some gore to suit British film standards. The television series Tales from the Crypt (1989–1996), hosted by the Crypt Keeper, drew directly from The Haunt of Fear for multiple episodes, such as adaptations of "Foul Play" and other tales featuring supernatural vengeance and human depravity, with 93 episodes overall sourcing from EC titles including Haunt. This series revived the format, crediting original comic sources in and maintaining fidelity to EC's shock value through practical effects and star-driven segments, which aired uncut on cable and influenced subsequent horror TV by demonstrating commercial viability for pre-Code Comics-inspired content. Indirectly, The Haunt of Fear contributed to the ethos of 1980s–1990s horror anthologies like and Stephen King's Creepshow (1982), which emulated EC's macabre framing devices, vengeful , and comeuppance plots without direct story lifts, instead channeling the comics' anarchic morality and visual pulp aesthetic evident in segments like "The Crate." This influence extended to unauthorized adaptations of EC-inspired works, such as early film nods to Ray Bradbury's contributions across EC lines, fostering a pathway for licensed cross-media revivals while highlighting the comics' role in shaping genre conventions like twist-laden vignettes. As of 2025, no major or series has directly adapted The Haunt of Fear stories anew, with EC properties largely confined to archival reprints and scholarly analysis rather than fresh productions, though their unexpurgated horror elements continue informing academic examinations of pre-Comics Code pulp influences on modern and ethical horror subgenres.

References

Add your contribution
Related Hubs
User Avatar
No comments yet.