How unfortunate. Morse finishes up here (and has the series’s first dialogue no less) and it’s a disastrous wrap-up. For whatever reason, he felt the need to bring everything together for the final issue. It opens as a crossover Indiana Jones and The Lost World, but only for a few pages. It soon turns in…

Morse unfortunately does not arrest Strange Science Fantasy’s decline this issue. In fact, the previous issue’s problems just compound here. Morse has a hero again—this time it’s a Mr. Fantastic-type; an accident of science turns a boxer into an elastic man. He uses his power to beat up those who wronged him, then he unknowingly…

So it’s a war comic, mixed with an alien comic. All done very fifties… should be fine. But it’s not. Morse changes up his format here. Instead of the three panels a page, he includes multiple single panel pages (with the same amount of text as if he was doing the normal format). They slow…

This issue features Morse’s most concise, yet most ambitious (just because he’s sticking to a formula) work on the series so far. I get the concept. I’m just not sure how successful it all works out. Morse does a film-noir set in Hollywood, with very literal looking characters (the projectionist has a projector for a…

Returning to Strange Science Fantasy raises a question about expectation. The first issue ends with a “to be continued.” How does a story without characters get one interested enough to come back? I didn’t really see what Morse could do with that story, certainly not for five more issues. Well, he doesn’t continue it (this…

Morse takes a peculiar approach here. I imagine he chose it to lessen the illustrating load. He has three panels a page, no dialogue, all very overdone exposition. He’s mimicking the tone of a sensational movie poster or comic book cover. And it works. There’s not a single character in the comic, yet it’s totally…