Unearthed: The Destructor #4

Welcome back! Once again I have exhumed my infrequent feature "Unearthed," in which I delve into some long-retired piece of comic book history. I am very pleased to once more feature the short-lived Atlas comics hero The Destructor, drawn by Steve Ditko! You may recall I have already featured the first three issues on this blog:

Destructor #1

Destructor #2

Destructor #3

At last, I finally hold a copy of Destructor #4 in my hands, thus completing the series! Let's jump right in!

"Doomsday -- Minus One!" blares the cover once again rendered by Larry Lieber in his best faux-Kirby manner. You will observe the Destructor is still wearing the refined costume from issue #3; you shall also note he apparently now has the ability to fire blasts of energy from his hands. Generic powers for a generic hero!

The story inside was brought to us by new author Gerry Conway (replacing Archie Goodwin), returning artist Steve Ditko and new inker Al Milgrom (replacing Frank Giacoia). We open within a cavern in New Mexico as two men hired by the Combine are hunting for the Destructor. Having hidden above the cavern, the Destructor simply drops upon his two enemies and with his superhuman strength handily defeats them. Just as one of the two men draws his gun, a blast of energy strikes from out of the darkness of the cave, hitting the gunman in the back (fatally?).

And who fired this beam of energy? Before the Destructor stand three superhuman beings whom we'll soon learn are Kronus, the Eye and Sister Siren. The Eye's cyclopean "de-moeleculorize" ray was responsible for hitting the Combine agent and the Outcasts now demand the Destructor remain where he is; our hero refuses and the Eye fires a beam at him which misses. "You may have a wacko eye-blast -- but I've got the powers of a beast -- and that makes me the winner!"

Kronus quickly orders Sister Siren to sing her "dream song -- before we have to commit violence!" Evidently firing a destructive ray of energy does not constitute violence in Kronus' mind, but it seems to suggest a pacifist streak amongst these Outcasts. Sister Siren emits a "melodius, luring strain" which causes the Destructor to black out.

The Destructor awakens in an advanced facility with the Outcasts facing him, his mask removed. They all begin calling him Jay Hunter, although he doesn't stop to wonder how they learned his secret identity. Sister Siren begins talking about their world and how their parents "abandoned the culture from which you sprang," but Jay has no interest in gabbing: "as far as I'm concerned, you can take your junior 'Star Trek' set and shove it!" Jay seems unusually high-strung this issue as he socks the Eye one in the face and threatens to do likewise to Sister Siren. Kronus appears and suggests the Destructor is one of them - an Outcast - but Jay takes exception to this.

You may possibly have noticed Kronus' powers haven't been established up until now; we now see he has the power to send people into other dimensions and briefly deposits Jay in one to teach him a lesson. This alien dimension is fully of frightening beasts and has no clear directional axis - yes, it is clearly a Steve Ditko creation. When Jay is brought back to the Outcasts' base he decides to be rational and listen to what Kronus has to say.

While taking Jay on a tour of their underground city in a flying vehicle, Kronus explains the Outcasts' parents were people who feared the atomic bomb and built their city to avoid fallout. Because this is a Steve Ditko comic it is tempting to suppose they were Galtian "off the grid" folks, but that would suggest Ditko plotted this comic which I don't believe was the case (then again, maybe Conway was hired strictly for scripting duties; these Outcasts certainly seem very similar to the Misfits created by Ditko's friend and ex-inker-of-Destructor Wally Wood).

Unfortunately for the founders of this city, they were financed by one Abraham E. Caldwell III "and he was evil incarnate." Caldwell insisted on testing an experimental nuclear power plant in the city, which - as the residents' entire motivation was to escape nuclear weapons - did not go over well. Unable to prevent Caldwell, the citizens watched as their children were born as mutants with superhuman powers. When Caldwell returned in 1956 he was beaten to death by an angry mob. Kronus concludes his explanation by revealing all of the Outcasts are telepaths, which is how they learned Jay's name. Hearing all of this, Jay begins to feel they truly are alike, which prompts a sinister reaction from the Outcasts. There is nothing in the script to suggest the Outcasts are anything other than forthright with Jay, but Dikto's art certainly says otherwise. I don't know how Destructor was created but I assume it would have been "Marvel style," so Ditko likely created the pages with very little input from Conway.

Suddenly, an atom bomb is set off ten miles away (this is the unluckiest anti-atomic radiation plot ever). The radiation from the blast bathes Jay and reacts with the serum in his bloodstream, causing his powers to alter even further so that now he can emit destructive blasts of energy. "We may have gained a new soldier for our... army." Kronus remarks with another fiendish Ditko grin. The Outcasts convince the Destructor he should use his powers to destroy the nearby army base where the bomb was tested and Jay sets off with the Eye to do just that. To be continued... never!

The next issue blurb announced "The Man with the Golden Bomb" which sounds like a magnificent Bond mash-up. But this is where the Destructor ends - the plot of him destroying the Combine unresolved and with Jay joining forces with the Outcasts (though it's the sort of plot where one assumes he would eventually discover they had evil intentions).

Conway didn't have time to get into the Destructor's character, what with this issue basically setting up a completely different series and taking its time to introduce the Outcasts. Archie Goodwin had a firm grip on the plotting & characterization in the first three issues, but for whatever reason (editorial? Ditko?) this last issue jettisons much of what made the prior issues work. Ditko remains game, of course and can never be boring. The Outcasts are a bit generic as characters but are fine Ditko designs.

Unfortunately, the Destructor suffered from being too generic; even if the comic book marketplace of the time had been more forgiving to the line of Atlas Comics it would not have made up for Destructor's generic origin, generic powers, generic motivation and generic costume. What the strip most needed was something unusual; Ditko drew unusual characters, true; Goodwin could script unusual villains; but a hero avenging his father's death by wearing a costume and using the powers he received from a fluke experiment is played out on every level. As Jay began as a criminal and would sometimes use his connections to combat the Combine, perhaps it would have been more interesting if Jay were like Serpico, an undercover super hero trying to bring down the gangsters he worked alongside; that would have been different and appropriate to the 70s zeitgeist.

This then is the end of the Destructor. Look for his return when the rights around the Atlas heroes are sorted out and he's (inevitably) snapped up for a quickly-forgottten revival series. My money's on Dynamite, but IDW has fair odds. And then there's Marvel, but... hm... what was I talking about?

Unearthed: The Destructor#3!

Welcome back to my examination of Atlas Comics' 1975 series the Destructor! Having covered issue #2 last time, we're on to issue #3!

For the third time in a row, Larry Lieber handles the cover art. Here we have our hero being attacked by the Huntress and her giant kitties while a stadium of businessmen cheer her on. I don't think anyone would seriously think for a minute that the Destructor is going to be defeated, but at least this cover sells this issue's villain - it certainly sells her more effectively than Deathgrip on the previous issue's cover. She actually looks formidable and avoids Deathgrip's awkward posture. As always, simplicity serves this comic best.
Perhaps the most important thing to note are the white fringes which have appeared on the Destructor's boots and gloves, evidently to give his appearance about 5% more pizzazz while still remaining pretty generic. The new design is found within as well.
We open "In the Hands of the Huntress" to note that while writer Archie Goodwin and penciler Steve Ditko are back again, inker Wally Wood is MIA. Sadly, now that the series finally has a significant female character to be drawn, Wood has tapped himself out. The actual inker is uncredited, but the Grand Comics Database attributes the role to Frank Giacoia.

We're back to the Combine, the faceless masters of last issue's villain Deathgrip; they're no longer quite as faceless, as one member - Dr. Shroud - is identified as the one who designed Deathgrip's hand. Shroud is working on something called the Darkriver Project, but believes they should deal with the Destructor at the same time (having evidently forgotten that the entire reason they involved the Destructor last time was to pit him against their rival Big Mike Brand). Observing films of their foe's fighting style, Dr. Shroud believes the Destructor possesses enhanced animal-like senses; to that end, he has brought in an expert tracker: the Huntress! She demonstrates how her "laser-lash" weapon generates a crackling energy whip, boasting "there's practically no limit on what it can do!" Truly? Can you use it to fill out your tax return?

We return to the deserts of New Mexico... no wait, the pine forests of New Mexico where Big Mike Brand's ranch is located. From the Destructor's dialogue about his wounded arm, it seems this is indeed soon after last issue - no explanation as to why he changed his costume. To sneak back into Brand's ranch... because he couldn't walk in through the front door as Jay Hunter why, exactly? - the Destructor flings himself over the security fence by using one of the newfound pine trees as a catapult. Wow, after two issues of no particular storytelling issues, suddenly there are a lot of little things turning up.

While the Destructor takes a nap to let his left arm finish healing, Angela confronts her father about his career as a criminal, which she learned about from Deathgrip. Big Mike insists he's been preparing to confess his activities to the authorities, but Angela notes he lied to her about his life for 19 years - it's hard to trust him now. Big Mike's right-hand man Pepe notes he's been looking into Jay's background and learned about his connection to the Destructor (from issue #1), but Big Mike is too distraught by the conversation with Angela to pursue this train of thought.

The Destructor wakes up at night for a little Destructor: After Dark on Cinemax, as evinced by Angela heading to Jay's room in her nightie; Jay switches back to his civilian clothes in time to greet her and his arm is fully healed now. Angela is so clearly distraught that Jay helpfully speaks one of her speech balloons for her (above).

After hearing Angela's story, Jay heads out the next day as the Destructor, revisiting the auto yard Deathgrip used ("yesterday," he claims; I guess the police have already cleared up the crime scene?) to find out if the site owner had been working with Deathgrip. However, the Huntress (somehow) anticipated this and the Destructor sets off a trap which gasses him unconscious. The Huntress collects her quarry alongside Lobo, her Wolverine-before-it-was-cool-to-be-Wolverine sidekick. Returning to the Combine in Las Vegas, Huntress tells them she's caught the Destructor but rather than simply kill him, she intends to let him go free and hunt him, while cameras capture the event for the Combine's pleasure. The Combine point out this is not what they asked for and it makes more sense to kill him while he's helpless, but the Huntress is in love with this Most Dangerous Game homage.

The Destructor wakes up inside of a cage somewhere in the wild and smashes through the bars. The Huntress observes and sets after him with Lobo and her two pet mountain lions Siva and Kali. We now learn Lobo is infatuated with his mistress, but she is adamant that he's merely the "back-up man" and isn't physically attractive (as Wolverine had yet to make hairy comic book trolls sexy). The Huntress tells Lobo he can only hunt the Destructor if she fails, but she won't. Me-ow! I'd say she had him whipped, but if she tried her laser-lash would kill him.

The Destructor finds no way out of the valley the Huntress deposited him in as there's a force field encasing the area. Siva & Kali attack him but he dives into a pool to flush the big kitties away. His costume torn and scratched-up, the Destructor runs right into the Huntress! He manages to get past the laser-lash by throwing a piece of kindling at her, causing her to strike it with the lash and thus leaving her open to a punch, but Lobo intervenes to try and save the Huntress, causing the Destructor to run away. The Huntress throws two of the giant claws from her headband at him and the claws explode. She prepares to resume the hunt but Lobo insists on going ahead to prove he's "man enough" for her. Lobo follows a trail of blood to a cave and blindly opens fire with his gun into the mouth of the cave, but the Destructor's wounds have already healed and he snuck out of the cave, knowing it would bring someone there; with Lobo having wasted his ammo, the Destructor easily trounces the less-than-bright flunky.

The Destructor again tries to get through the force field, but this enables the Huntress to catch up. One of her lash blows strikes the force field as she tries to strangle the Destructor and the backlash hurls the Huntress over a cliff to her death (not that we readers knew they were standing on a cliff). With the force field shorted out due to the lash, the Destructor escapes, leaping himself away from the Combine. The next day the Combine scour Las Vegas to find the Destructor, reasoning his wounds would be severe enough to give him away in his civilian guise; of course, their men go right past Jay Hunter, whose body has again completely healed.
Thoughts: It's not as good as before, and not only because Wally Wood is gone (it doesn't help, anyway). The Combine have gone from being clever schemers who utilize the Destructor as a pawn against their enemies to a typically brain-dead criminal organization whose wealth of resources can't handle a lone man who barely knows they exist. Big Mike has gone from being possibly-good to essentially a reformed mobster, which makes him a lesser threat to the Destructor. And while the Destructor's terrific sensory powers would have been well-served in the Most Dangerous Game pastiche this issue, instead the Destructor seems to get through problems by relying on his healing factor (put he and Lobo together and you've got Wolverine!). Earlier issues were generic, but well-handled. This issue is just plain generic.
Next time on Unearthed: Something completely different; having looked at three obscure 70s Ditko comics, let's visit the King himself: Jack Kirby's Justice, Inc.!

Unearthed: The Destructor#2

Not content to give up after issue #1, I'm back for more of Atlas Comics' generic-yet-appealing super hero the Destructor!

Again we open with a Larry Lieber cover because - inexplicably - Atlas Comics did not realize advertising the fact that Steve Ditko served as the series' artist might bring in more readers (of course, covers were always done early; p'rhaps Lieber drew all of the series' covers before Ditko had even been hired). Take notice of the words "All New No Reprint" in the top right corner. By 1975, the comic book industry had certainly been overrun with reprinted stories and the publishers usually disguised the fact that said reprints were not all-new material. In fact, it's been alleged that the entire reason for Marvel expanding the number of reprint titles in their library was simply to crush Atlas, forcing them off their newsstands (theorizing that vendors could more easily sell reprints of Don Heck's Avengers or Werner Roth's X-Men than gamble on an unknown quantity such as Morlock 2001 or Demon Hunter). If the direct market had been a force in those days, Atlas might have stood a better chance.
Anyway, the cover also serves to introduce the issue's villain: Deathgrip. He doesn't seem that formidable here (if his right hand can emit crackles of destructive energy, why is he bothering with that hook in his left hand?) and the woman hanging off the girder is needless clutter. The previous issue's cover was a touch generic, but it did a better job of selling the Destructor.

This story is called "Deathgrip!" and is again brought to us by writer Archie Goodwin, penciler Steve Ditko & inker Wally Wood. We resume the Destructor's tale by visiting the fallout from the first issue. While Destructor's primary foe Max Raven is dead, his lieutenant Lash and his mob are still a concern. There's a nice Daredevil-like bit where the Destructor's superhuman senses alert him to a truck trying to drive him over while he's in the midst of a fight. With the rest of Lash's men down, the Destructor moves in on the leader, but Lash points out if he's brought down, the Syndicate will simply bring in another leader, just as Lash replaced Raven. He suggests the Destructor should strike at the Syndicate's leader Big Mike Brand, who lives on a ranch in Ransom, New Mexico. The Destructor swallows this story and sets out to investigate Brand.

Once the Destructor leaves, Lash meets with a shadowy figure (soon revealed as Deathgrip) as they conspire over how they've tricked the Destructor into bringing down the Syndicate so their true masters the Combine can take over. While Jay Hunter briefly flashes back over his origin story, Deathgrip hints at his own origin (apparently the Combine supplied him with his bionic right hand) while being self-aware enough to note "Subtlety can hardly be the stock-in-trade of anyone called Deathgrip!" However, Deathgrip isn't with Lash simply to conspire - the Combine wants Lash killed. Deathgrip does so, apparently by burning through Lash's throat with his hand (Ditko cuts away for matters of discretion). "See Lash? No subtlety!" Deathgrip remarks. Again, while the Destructor is a fairly average series, Goodwin's scripting is well above average.

While Jay sets off to New Mexico, thinking how prior to his father's death he used to idolize Big Mike Brand, Deathgrip checks in with the Combine. The Combine want Deathgrip in Las Vegas for a new assignment, but he insists on following the Destructor's actions. The Combine agree, provided he serve only as a last resort - the Combine don't want Brand's death to be traced back to their agents.

In the New Mexico desert, Jay catches a rattlesnake and uses it to startle Brand's horseback-riding daughter Angela, giving Jay an opportunity to win Brand's confidence. One can't help but notice inker Wally Wood always wakes up when it's time to ink a pretty girl (and all girls are pretty in Wood's comics). Jay's plan works and Brand invites him back to the ranch, although Brand's top bodyguard Pepe is suspicious of Jay. For good measure, Jay fouls up Brand's car so he can save the day again through his mechanic training.

Jay soon accepts a job offer as Brand's chauffeur and intends to tear Brand's empire apart from within. As a continuing premise, this isn't too bad; if Jay's double identity/purpose is discovered by these people, it's worse than losing a secret - it would mean his life. And you thought Aunt May gave Peter Parker a lot of grief! Over dinner with the Brands, Jay meets Angela's boyfriend Glenn Thorne, whose curly perm suggests an underlying menace.

That evening, Jay dons his costume and breaks into Brand's office where he discovers Brand no longer has anything to do with the Syndicate operations Lash had been dealing in. The Destructor is seen by Brand's guards before he can leave and they shoot him, but his healing powers again save his life. Elsewhere, Deathgrip hears about the break-in and fears the Destructor might know Lash lied to him; he decides to go against the Combine and strike immediately.

The next day, Glenn takes Angela for a drive to an auto dump, where he removes a mask and wig to expose himself (in a fully-clothed manner) as Deathgrip! He tells of his origins as a cardsharp who lost a hand in an auto wreck. He again uses "subtle," this time to describe his ability with cards, but notes with his new hand "I can never be subtle again!"

Soon, Deathgrip sends a message to Big Mike: get out of the country and don't turn anything over to the authorities, or Angela will die. Jay overhears this and has begun to think Brand might not be the terrible gang lord he once was; Jay decides he'll rescue Angela. At the auto yard, Deathgrip shows off the compactor and has Angela locked inside a car, planning to crush her if her father doesn't comply with his demands. Fortunately, the Destructor arrives. Although Deathgrip's bionic hand causes Jay terrible pain, his quick healing enables him to stagger through and eventually he manoeuvres Deathgrip under the compactor's crane; Deathgrip's metal hand causes him to cling to the magnet and the Destructor releases him in the compactor, crushing him to death. The Destructor leaves the auto yard with Angela, still wondering if he'll have to kill her father.
Thoughts: Not bad. Again, average and I didn't find Wood's inking as energetic as before - the first issue had a kind of softness about the lines, whereas this issue feels almost glossy. Still, I'm one of those who always enjoys Ditko's layouts and Goodwin is virtually unbeatable as a scripter, so it's still a decent package. This is a minor treasure - worthwhile for any fan of Ditko, Goodwin or Wood.
In the next installment of Unearthed: The Destructor#3!

Unearthed: The Destructor#1

Or, INTRODUCTORY TO DESTRUCTORY!

Funny thing: after Hands of the Dragon I'd planned Atlas Comics' Destructor to cover my next few entries of Unearthed, when earlier this week Calamity Jon tackled Destructor on his site, Gone & Forgotten. Go read his article if you'd prefer a few laughs over my ramblings.

From the cover of the Destructor#1, it seems at first glance to be another undistinguished comic book like so much of what was crowding the spinner racks of 1975. The art here is by Larry Lieber & Wally Wood, hence why there's an effort towards Kirby-ish dynamism (Lieber) and a large-busted woman (Wood). It's our first look at the Destructor himself and there's not much you can say about a costume such as his; it's rather generic. Even the unique-looking pointed red tips travelling up his brow bring to mind DC's Hawk (he of and the Dove). I think the advantage of a simple super hero costume (such as Destructor's) is that when it's set against a detailed backdrop, it pops out. The disadvantage is that against a bland background, the figure is lost. Where does the Destructor fall? Read on...
The Destructor's debut story "The Birth of a Hero!" (cripes, even the title's generic) is written by Archie Goodwin, pencilled by Steve Ditko and inked by Wally Wood - so right there, there's your reason for bothering with this comic. If neither Ditko nor Wood are to your tastes then I can only suggest - perhaps you aren't that interested in comics? Goodwin has not been praised to the stratosphere as the two artists have and many of his plaudits are due to his work as an editor. However, he was a truly fine writer as well; I think most Iron Man fans would agree with me that he was that series' first truly fine author. Can these talented men sneak a quality hero past Atlas' publishers? Let us see...

Our setting is the exotic locale of Newark, New Jersey, where mobster Max Raven occupies his time with one hand in his pocket, watching his goons rough someone up. Hm. We meet Jay Hunter, a young delivery boy whose primary job in the Raven mob is to bring his boss the take from their numbers racket. Jay is interested to see them working over one of their own men and follows up this observation by suggesting he could be a bigger help to them. This inspires Raven to have Jay killed, rather than accept Jay into his ranks and get at least a few months of valuable service out of him before finalizing the matter. Raven's a little paranoid to think Jay should die for being ambitious, to put it neatly.

Jay goes to see his scientist father Simon, who disapproves of Jay's lifestyle. Simon believes the serum he's been working on will enhance the senses of whomever ingests it. Jay doesn't believe his father will ever obtain the funding he needs, but their conversation is interrupted by Raven's gunman Blitz, who shoots them both. Dying, Simon gives the serum to Jay, tells him to find something hidden in the lab closet, then perishes. The serum saves Jay's life, granting him a superhuman healing ability, but he's still sent to the hospital, suffering from nightmarish visions (excellently captured by Ditko). Hearing that Jay is alive, Raven has Blitz killed to prevent him from speaking. If this trend continues, Jay may not need to seek revenge on Raven, Raven might obligingly kill off his entire mob!

Jay sneaks out of the hospital and tries to lie low with some friends, but they want nothing to do with him (you can tell the gal above has more ink than pencil in her lines, eh?). Jay winds up hiding in his father's lab, where he accidentally discovers his enhanced abilities also include superhuman strength. In the hidden closet his father mentioned, Jay discovers a costume.

"Bringin' down Raven'll take somethin' more vicious... ...a Smasher, a Destroyer... a Destructor!"

Thus he decides upon his name and begins to strike back against Raven in his costumed identity, using his inside knowledge of the Raven mob to destroy their hideouts. Jay sends messages to Raven where he claims the Destructor is working with him to destroy Raven; the use of a double identity in this situation doesn't quite make sense to me as he's fighting Raven in both guises, but at least it rattles Raven so he wonders who Jay's new friend could be.

The Destructor's continued assaults upon Raven's mob coupled with Jay's constant taunts begins to wear upon Raven's reputation. He decides to call in the Slaymaster! We next witness Slaymaster as he goes into action against a gang in Ohio he'd been hired to kill. The Slaymaster wears normal-looking duds - a suit, sensible shoes, gloves and a quite Ditkoesque hat. He also has a large belt of gadgets (such as a rope), two guns and wears a net-like mask over his face (being Ditko, I'm not quite sure if the mask is supposed to be netting, cloth or perhaps nylon?). It's interesting to note that all of the people Slaymaster slays he shoots in the back; hardly a sporting one, he. Slaymaster accepts Raven's bid to have both the Destructor and Jay killed. Won't he be pleased when he finds out this job is actually a twofer!

At this point we're halfway through the story and the Destructor thinks back upon his father's death. Perhaps the story was originally intended to be broken up within an anthology, such as Atlas' Thrilling Adventure Stories? The Destructor heads to another of Raven's front companies, the Giant Novelty Co. Wait, seriously? Have we gone from Newark to Gotham City? Entering the factory, the Destructor walks right into the sights of Slaymaster, who successfully strikes our hero twice (the story would probably be over here but for Destructor's healing ability). The Slaymaster calls out to the Destructor, boasting of all the technology at his hands to help hunt the hero. The Destructor has nothing but his own hands and feet for weapons, but this new challenge encourages him to better understand how his powers work; through concentration, he learns how to better pinpoint his enemy's location and train his reflexes to dodge his attacks. It's in this sequence that Ditko finally gets to show off the kind of stylized acrobatics which are his forte. At one point Destructor leaps up and grabs a pipe in the rafters to avoid being seen by Slaymaster, but the noise of doing so gives him away. It's all one great cat-and-mouse contest until Destructor leaps on him and a gun goes off.

The Slaymaster seemingly returns to Raven to report on the Destructor's death, but it turns out to be the Destructor wearing Slaymaster's clothes. Before Destructor can have his revenge on Raven, Raven's lieutenant Lash bursts in with two gunmen and shoot Raven to death, blaming him for the destruction of their mob. The Destructor roughs up Lash and the others, then reveals his identity to Raven before the mobster dies (his dying thought: cousin Chill said there'd be days like this). Visiting his father's grave, Jay declares it's not enough to simply obtain revenge; he resolves he'll carry on as a hero.
Thoughts:
Gosh darn it, I like this comic. Yes, the costume, origin and set-up are very familiar, but it's told well. Goodwin, Ditko and Wood were (in Ditko's case is) masters of comic book storytelling and they make no real missteps in this tale. If Atlas had produced more comics like this - hired experienced talent then stepped out of their way - their reputation might have been a bit better.
Atlas didn't seem to understand what it had here - I mean, this is a class-a creative team, yet they spent their time thumping their chests to remind people Larry Lieber was Stan Lee's brother, or Martin & Chip Goodman claiming credit as "the men who created Marvel Comics." Sure, what history of Marvel Comics would dare omit mention of Chip Goodman? He certainly left an impression on all our minds, unlike that Ditko guy who, oh yeah, created Spider-Man and Doctor Strange! Ah, phooey. Atlas deserved to fail.
I realize this will sound like damning with faint praise, but Atlas Comics have a very good selection of advertisements. When you look at a 70s publisher like Charlton, the second-rate ads tend to confirm their status as a second-rate publisher, but Atlas' ads were as good as anything running in Marvel or DC at the time - one of the benefits Martin Goodman enjoyed would have been that rolodex of all the people he worked with at Marvel. Heck, there's an ad for Jim Steranko's Mediascene and I don't recall them running in Marvel titles. That's a pretty good get!
In the next Unearthed: The Destructor#2!