This Magazine is Haunted was a horror comic originally published by Fawcett between 1951 and 1953. Running fourteen issues, it was the first of Fawcett’s supernatural line; a string of titles which included Beware! Terror Tales, Worlds of Fear, Strange Suspense Stories, and Unknown Worlds. Created by Sheldon Moldoff and edited by Will Leiberson and Al Jetter, the publication was loosely modelled after EC‘s New Trend, particularly their highly successful horror titles.
Like its better-known competitors, This Magazine is Haunted was notable for its black humor and frequent O. Henry climaxes. Drawing on the considerable creative resources of the Fawcett stable, Haunted storylines dealt with the standard horror themes of the period: vengeance from beyond the grave, macabre retribution and ‘dark’ justice, all of which were presented with an appropriate level of irony.
Human folly played a key role in many stories; characters were constantly led into disaster by their own greed, stupidity or outright corruption. Numerous plots revolved around violent criminals meeting grisly but entirely deserving fates, while others featured hapless bystanders trapped in bizarre or terrifying circumstances. Comics historian Stephen Sennitt describes the Fawcett line as “genuinely eerie” in contrast to EC’s more visceral approach.
Once more following EC’s example, Haunted featured mainly non-continuing stories narrated by a suitably malevolent host, the cadaverous Doctor Death. Resembling a decaying corpse dressed as a Victorian undertaker, Doctor Death played much the same role as the Crypt Keeper in Tales From the Crypt, breaking the fourth wall to provide explanations and plot details.
Like most other comics of the early fifties, Haunted’s content drew upon a wide variety of popular cultural sources, particularly mainstream cinema, pulp fiction and American folklore. Stories were often above average in quality: scripts were literate and occasionally poetic; artwork usually of Fawcett’s professional standards (comparable, in a few examples, to EC’s more outstanding material). Perhaps the one thing lacking was innovation. Haunted dealt in the standard horror fare of the period – bizarre crimes, weird creatures, walking cadavers and the like. Virtually all of Haunted’s recurrent themes were common to the genre, recycled in practically every horror comic to grace the newsstands.
There was one area, however, in which Fawcett showed some degree of originality. Haunted was notable for employing the “The Beyond,” as a unifying element to many of its storylines. While the idea wasn’t used consistently, it became a recurring plot device in all of Fawcett’s horror titles, sometimes playing an essential role in the narrative. It was, in a sense, the closest thing to a “universe” in a series of books otherwise lacking in continuity.
Briefly speaking, The Beyond was a mysterious plane of existence which occasionally encroached on the physical world. A shadowy limbo vaguely akin to the Afterlife, it served as the source of the many supernatural menaces which threatened the “Realm of the Living.” In a number of cases, it was a grey, lifeless purgatory inhabited by rotting corpses; in others, a place of perpetual torment akin to hell (although it was never specifically defined as such).
The Beyond seemed to be the abode of all of humanity’s worst fears; vampires, ghosts and demons existed alongside dragons, witches and harpies. All seemed generally hostile towards mankind, some periodically crossed over to prey on selected victims or to seek vengeance on former tormentors. The traffic appeared to flow in both directions; mortals could inadvertently find themselves trapped in the Beyond before the end of their natural lives.
Access to the Beyond took numerous forms. Ghostly express trains made midnight runs to the other side, carrying the spirits of the recently departed. Phantom cruiseliners ferried moldering passengers through the Sea of the Dead. Unwary travellers often found themselves making a one-way trip on the Road to Nowhere. Sometimes, mechanised transport was completely unnecessary – swamps, caves and haunted houses all seemed to lie within the outer boundaries of The Beyond.
Along with many other titles of a similar vein, This Magazine is Haunted came under fire during the anti-comics backlash of the early fifties (although generally speaking, its content wasn’t quite as visceral as its rivals). Ironically, this was not the reason for the title’s cancellation; Fawcett dropped its entire comics line in 1953, largely as a result of an industry-wide sales slump and a long-running legal battle with DC Comics.
Fawcett sold most of its properties to Charlton Comics in 1954, a deal which included the four horror titles. Evidently, Haunted was successful enough to continue publishing under its original numbering, starting with no. 16 (March, 1954). For a time at least, Charlton attempted to maintain the moody atmosphere of its predecessor, even retaining the services of Doctor Death as the series’ narrator. While not quite up to Fawcett’s standards artistically, Charlton’s run was distinguished by some of Steve Ditko‘s earliest work in the supernatural genre. After the establishing of the Comics Code in 1954, the content was toned down considerably, dealing with magic, mystery and suspense rather than with outright horror.
The change in content led to circulation problems, as the magazine was rebooted within a year, reverting back to issue one in 1956. Doctor Death was replaced by Doctor Haunt (possibly designed by Ditko, by now the title’s lead artist). The comic continued bi-monthly another two years despite the financial problems besetting the comics industry at the time. The final issue of the Charlton run was number 16 (May 1958).
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