Atlas/Seaboard Comics

Seaboard Periodicals

The Scorpion #1 (Feb. 1975). Cover art by Howard Chaykin
Industry	Publishing
Founded	June 1974
Defunct	1975
Headquarters	717 Fifth Avenue Manhattan, New York City
Key people	Martin Goodman Charles Goodman Larry Lieber Jeff Rovin
Products	Comic Books

Atlas/Seaboard is the term comic-book historians and collectors use to refer to the 1970s line of comics published as Atlas Comics by the American company Seaboard Periodicals, to differentiate from the 1950s' Atlas Comics, a predecessor of Marvel Comics. Seaboard was located on Fifth Avenue in Manhattan, New York City.

CREATORS

TITLES

IMAGES

IMPRINTS

CHARACTERS

History

Company creation

Marvel Comics founder and Magazine Management publisher Martin Goodman left Marvel in 1972, having sold the company in 1968. He created Seaboard Periodicals, which opened its office on June 24, 1974 to compete in a field then dominated by Marvel and DC Comics. Goodman hired Warren Publishing veteran Jeff Rovin to edit the color comic-book line, and writer-artist Larry Lieber, brother of Marvel editor-in-chief Stan Lee, as editor of Atlas' black-and-white comics magazines.

Rovin said in 1987 he became involved after answering an ad in The New York Times.

I was working for [Warren Publishing founder] Jim Warren, running his mail-order division, Captain Company, and just starting to edit [the black-and-white horror-comics magazine] Creepy [and] I'd edited comics for DC and Skywald.... Several weeks after answering the ad, I receive a call from Martin Goodman.... I was one of several people Martin interviewed, and I got the job because I'd had experience not only in comics but in mail order, the latter of which was to contribute significantly to Seaboard's cash flow. Sharing editorial duties on the comics was writer artist Larry Lieber, whom Martin had long wanted to transplant from under the shadow of Larry's brother.... Larry ended up handling about a quarter of Atlas' output—primarily the police, Western [and] war [comics], and color anthologies of horror stories.

Lieber later became editor of the color comics following Rovin's departure. Steve Mitchell was the comics' production manager, and John Chilly the black-and-white magazines' art director. Goodman offered an editorial position to Roy Thomas, who had recently stepped down as Marvel Comics editor-in-chief, but Thomas turned it down, recalling in 1981 that, "[I] didn't have any faith in his lasting it out. The field was too shaky for a new publisher."

As Lieber recalled in a 1999 interview:

When I went there, Martin put out two kinds of books. He was putting out color comics, and he was also going to put out black-and-white comics like Warren and Marvel. Now, I knew nothing about black-and-white comics, right? My only experience was in the color comics. Jeff Rovin came from Warren, and he knew nothing about color comics. Martin unfortunately put Jeff in charge of all the color comics and put me in charge of the black-and-white books. It was an unfortunate thing, and basically what happened was that Jeff's books didn't turn out so well... Martin had to pay high freelance rates, because otherwise nobody would work for a new and unproven company... It didn't work out too well, and Jeff finally left angrily or something, and I had to take over all his books. At this point, business was bad, and I tried to do what I could. One of the things I had to do was to cut rates and tell people they were going to make less money, which was not an enviable position.

Comic-book collectors and others began using the term Atlas/Seaboard to differentiate these 1970s Atlas Comics from the 1950s' Atlas Comics, publisher Goodman's predecessor of Marvel Comics.

Creators'-rights pioneer

Atlas/Seaboard offered some of the highest rates in the industry, plus return of artwork to artists and author rights to original character creations. These relatively luxurious conditions attracted such top names as Neal Adams, Steve Ditko, Russ Heath, John Severin, Alex Toth and Wally Wood, as well as such up-and-coming talents as Howard Chaykin and Rich Buckler. More importantly, these benefits helped initiate eventual change in the virtually completely work-for-hire industry,^{[citation needed]} in which artists and writers had no royalties, rights to characters, rights to their artwork and other rights routinely held in similar creative fields, such as book publishing and the music industry.

But when many of the titles emerged toward the end of 1974, most proved derivative and uninspired, according to critics at the time.^{[citation needed]} Wholesale creative changes were implemented, with one observer coining the term "The Third Issue Switch".^{[citation needed]} Chaykin's character the Scorpion, for example, started as a 1930s-style pulp adventurer, then in issue three was changed by a different creative team to a contemporary superhero with minimal relation to Chaykin's work. The 3rd issue of the Tarantula changed his motivation. In issues #1 & 2, he changed from human to spider monster at will and was willing to eat evil human beings, using his curse to do good rather than evil. Issue #3 had him change uncontrollably like the Hulk originally did at sunset, and refer to his human alter ego as a different person altogether, In issue four of The Phoenix, the protagonist tries to kill himself, only to be stopped by aliens who grant him a new costume and powers to become the Protector.

A total of 23 comics titles and five comics magazines were published before the company folded in late 1975. No title lasted more than four issues. Of the characters, Chaykin's Scorpion would inspire his Dominic Fortune at Marvel, and Rich Buckler's Demon Hunter would inspire his Devil-Slayer at Marvel.

Chip Goodman

Some reports at the time^{[citation needed]} suggested Goodman was angered that Cadence, the new Marvel owners, had reneged on a promise to keep his son, Charles "Chip" Goodman, as Marvel's editorial director. Marvel and Atlas writer Gary Friedrich recalled: "I never really felt that [Martin] did it for that reason. I think he did it to make money and that he thought with Larry in charge and paying good rates that he could do it. Now, he probably wouldn't have minded if it would have taken a bite out of Marvel's profits, but I don't think it was done out of revenge. I think Martin was too smart for that". Marvel art director John Romita, however, believed, "Chip was supposed to take his place. But that part of it must not have been on paper, because as soon as Martin was gone, they got rid of Chip. That's why Martin started Atlas Comics. It was pure revenge".

Although Chip Goodman was also in charge of the Seaboard comics, he was a "lightweight" in making decisions about them, according to Rovin. Historian and one-time Marvel editor-in-chief Roy Thomas recalled, "One of the problems was just being Martin Goodman's son. I don't think that Martin respected Chip very much—he put Chip in charge but would treat him with less than benign contempt in front of other people. Martin was a little cruel sometimes".

This father-son conflict was fictionalized by a Magazine Management staffer, Ivan Prashker, who wrote a short story with a thinly disguised, unflattering portrait of a character based on Chip Goodman. When this story, "The Boss's Son," was published in the February 1970 issue of Playboy, Prashker expected he might be fired, but instead, wrote comics historian Jon B. Cooke, he "was rewarded with his own editorship of a magazine as Martin was apparently more impressed that one of his staffers was published in the premier men's magazine than with any insult made to his son".

Other publications

Seaboard Periodicals also acquired the men's magazine Swank,^{[citation needed]} which Chip Goodman continued to publish after the comics line ended until 1993 when it was sold to another company.

Revival

Circa 2010, Martin Goodman's grandson Jason Goodman announced a partnership with Ardden Entertainment to relaunch Atlas Comics starting with two "#0" issues featuring the Grim Ghost and Phoenix. On March 2, 2011, another title, Wulf the Barbarian, was among the titles published by the new Atlas.^{[citation needed]}

Devilina #2 (May 1975), one of Atlas/Seaboard's black-and-white comics magazines Cover art by George Torjussen.

Atlas titles

Main article: List of Atlas Titles

Indicia/Colophon Publishers

• Atlas Comics 54 (1975-1975)
• Seaboard Periodicals, Inc. 13 (1975-1975)

Brand Emblems

• Atlas Comics (BE) 1974 1975
• Atlas Comics Bar (BE) 1974 1975

External links

• "The Atlas Archives". Archived from the original on January 28, 2011. 
• Atlas/Seaboard at the International Catalog of Superheroes. WebCitation archive.
• Ardden Entertainment's Atlas page
• Cooke, Jon B. (December 2011). "Vengeance, Incorporated: A history of the short-lived comics publisher Atlas/Seaboard". Comic Book Artist. No. 16. Archived from the original on December 1, 2010. Retrieved September 28, 2011. 

Comic book publishers in North America

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