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Marvel Tales (1949 series) #96


Unknown
writer
 |  Gene Colan
penciler

Marvel Tales (1949 series) #96 cover

Story Name:

The Return of the Monster


Synopsis

Marvel Tales (1949 series) #96 synopsis by reviewer J.A.R.V.I.S. 2008
Rating: 3.5 stars

On a snowbound train in Bavaria, American author Clifford Armstrong meets an older fellow traveler, Herr Berger, who urges him to abandon his plan to investigate the legend of Frankenstein and the Monster. Berger departs at the next station, and Cliff presses on alone to a remote village where the terrified locals eye him with silent hostility. At the village inn he meets Nina Frankenstein, the last female heir of the Frankenstein family, who mistakes him for one of the Fanatics — agents of a foreign power seeking the Frankenstein secret of creating life in order to build an invincible army. Nina explains that the Fanatics have kidnapped her father and taken him to Frankenstein Castle to force the formula from him.

Cliff and Nina trek through the blizzard to the castle, arriving just as the Fanatics succeed: under duress, Nina's father reveals the secret, and the scientists apply it to the Monster's lifeless body. The creature stirs, sits up, and immediately turns on its reanimators, crushing them to death and smashing through the castle walls. It tears through the village, toppling houses and hurling inhabitants through the air before returning toward the castle. Cliff and Nina, caught in its path, are seized — the Monster knocks Cliff aside and carries Nina deep into the castle's dungeons. Cliff pursues through darkened tunnels, pelts the Monster with a rock to break its hold, and lures it into a rubble-filled passage while Nina escapes. Cliff squirms free through a gap too narrow for the Monster, and the two survivors use dynamite to detonate the entire castle. The Monster staggers from the ruins emitting its death wail before a second explosion obliterates it entirely. Weeks later, back in New York Harbor, a white-haired Cliff introduces reporters to his new wife, Nina Armstrong, and denies there was ever any truth to the Frankenstein legend.

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Characters
Good (or All)
Clifford Armstrong, Dr. Frankenstein, Nina Frankenstein.

Antagonists
Plus: The Fanatics.


Story #2

The Deadly Dwarf!

Writer: Unknown.
Penciler/Inker: Vern Henkel.

Synopsis

At the talent agency Jansen Theatrical Enterprises, failed ventriloquist Wylie is being turned away by agent Jensen when his dummy — a small, sharp-eyed figure no bigger than a large doll — suddenly speaks on its own, astounding everyone in the room. Jensen immediately signs the act, and Wylie, bewildered by what he has witnessed, takes the dwarf back to his furnished room. There the creature introduces himself as Demo — short for Demon — and proposes a partnership: he will supply the voice and the talent in exchange for half of Wylie's earnings. The act becomes a sensation, with Wylie and Demo playing to packed houses coast to coast.

As fame and money accumulate, Wylie's greed grows and he attempts to fire Demo, commissioning a look-alike dummy to replace him. On stage with the imitation, Wylie finds he cannot project his voice at all; Demo is seated in the audience, his malevolent stare apparently suppressing Wylie's ability entirely. Humiliated before the crowd, Wylie is reduced to begging Demo to return. He lures the dwarf to his locked dressing room with the promise of reinstating him, then attempts to strangle him — only to discover that Demo's neck is made of wood. Demo gloats that he has learned Wylie's secret and that the secret must never be revealed. A single horrible scream escapes the room. The next morning Jensen and a detective break down the door to find Wylie dead, strangled, with all doors and windows locked from the inside — and Demo seated in the chair, grinning.


Characters
Good (or All)
Demo (dummy).



Story #3

The Mask of the Mind!

Writer/Penciler/Inker: Unknown.

Synopsis

In London in the year 1780, a cloaked figure wearing a hideous mask has been robbing graves of their buried jewelry, escaping police pursuit night after night by darting into alleys and removing the mask to reveal himself as Dr. Benjamin Hill, a respected and beloved physician. Hill is compelled by a dark, irresistible urge he cannot explain or fully control, and his double life goes undetected because no one would suspect the gentle doctor. When word spreads that wealthy philanthropist Sir Robert has died and been buried with his fortune willed to the poor, Hill dons the mask for what he declares will be his supreme and final robbery. Police have posted a guard at Sir Robert's grave; spotted and chased, Hill barely escapes without time to remove the mask, reaching his home just ahead of the officers. He tears off the mask inside, hides it, and opens the door to the police with a calm greeting — but as he passes a mirror he sees with horror that his own face has permanently taken on the monstrous shape of the mask, his crimes having twisted his features into the very likeness of evil he once wore. The police, seeing only the monster, drag him away as he screams that he is Dr. Hill.


Characters
Good (or All)
Dr. Benjamin Hill (the Mask), Police.



Story #4

Don't Shake Hands with the Devil

Writer/Inker: Unknown.
Penciler: Mike Sekowsky.

Synopsis

Horror magazine publisher Jeremiah Pendergast is alone in his locked office when a grotesque, skull-faced stranger materializes through the sealed door, introducing himself as an emissary of Satan. He has come because Pendergast's magazine Satanic Stories has turned more souls away from evil than any other force alive or dead, and Satan intends to stop him. The visitor produces a manuscript scroll made of human skin — the Manuscript of Misery — written in archaic script and seemingly penned with liquid fire. Pendergast, unable to resist reading it, falls into a hypnotic trance and utters a promise to lend his soul to the ruler of Hades. The emissary erupts into hellfire and Pendergast plunges through the floor into the depths of the earth.

He arrives in Hell and is greeted by Satan himself, who shows him the pit of screaming damned souls below and informs him that since he is not yet dead — the Grim Reaper has not claimed him — he cannot be kept permanently. Satan instead curses him: upon returning to his office, Pendergast will be seized by an uncontrollable urge to kill the first person he sees, and will then be electrocuted for the crime, delivering his soul to Hell for eternity. Back in his office, Pendergast's mind blazes with the murder compulsion. He lunges at the first figure he sees and strangles it — only to watch the body disintegrate into nothingness. It was Satan's own emissary, come to witness the deed. Without a corpse, there is no murder charge and no electrocution. Satan has outwitted himself: the first being Pendergast would see on returning would always be the emissary sent to observe him. Shaken and white-knuckled, Pendergast is free — for now — but dreads what form Satan's next attempt will take.


Characters
Good (or All)
Jeremiah Pendergast.

Antagonists
Plus: Demons.


Story #5

The Witch's Son!

Writer: Unknown.
Penciler/Inker: Carl Burgos.

Synopsis

In the Hungarian village of Tsigane in 1627, a superstitious mob prepares to burn Marja, an old woman accused of witchcraft, at the stake. A boy named Bela refuses to believe she is a witch — she has always been kind to the villagers — and releases the bears from the cage of traveling bear trainer Petra Brun, scattering the mob. He leads Marja to safety in a cave in the hills, where she rewards him not with gold but with a promise: her son will protect him from all harm and evil for as long as he lives. Bela is skeptical — everyone knows Marja has no son — but agrees to the vow, and also promises never to try to see the son's face. On his way back to the village, a mysterious cloaked figure in blue, mounted on a black horse, appears from nowhere and drives off a crowd that has turned on Bela, whipping them away with a long serpentine whip.

Over the years the cloaked stranger rescues Bela repeatedly — pushing him clear of a falling tree, restraining the village bully, shielding him in battle — always departing before Bela can glimpse his face. Bela grows up, marries Zelda, and finally tells her the full history of his mysterious guardian. Zelda, consumed by curiosity, devises a scheme: she dangles herself from a window as bait. The stranger lunges to catch her, and in that instant Zelda tears away his hat and sees his face — and screams at what she finds beneath it. The cloak falls empty; there is nothing inside. Minutes later the town crier announces that old Marja, one hundred years of age, has just died — at the precise moment Zelda broke Bela's vow. Bela understands at last that Marja's son was never a man but a power only witches possess, and tells Zelda he will never doubt anything again.


Characters
Good (or All)
Witches.



Story #6

The Terror That Creeps

Writer: Unknown.
Penciler/Inker: Werner Roth.

Synopsis

Explorer and adventurer Russell Sterett addresses the reader directly from his apartment, warning that a horror known only to him now threatens all life on Earth. He has always been obsessed with the Great Sphinx, sensing a living mystery behind its stone face, and eventually travels to Egypt with his guide Kroho Sahk. Inside the Sphinx, beyond any point other men have reached, they discover a colossal wall mural of the evil god Set. Sterett presses forward alone; a blinding blast of fire erupts from the idol's mouth, Kroho Sahk flees, and a hidden chamber opens behind the massive head of Set — revealing a secret room occupied by a living woman of unearthly beauty, the Sphinx herself, a half-human, half-lion demon who was Set's most loyal servant. She declares Sterett her king for unsealing her tomb and awakening her after centuries of sleep.

The Sphinx then recounts her ancient history. In the dim age when Egypt ruled the world under Pharaoh Ta-La-Bokh, he made a pact with Set for conquest. His prime minister Kobh-Mali, the greatest magician in Egypt and Set's enemy, opposed the pact. Set dispatched the Sphinx to wreak devastation: she spread plague, drowned Atlantis beneath the sea, and burned entire civilizations — the ruins that archaeologists dig for today. When Set himself was finally destroyed along with the other gods, Kobh-Mali confronted her and, unable to kill her, imprisoned her soul within a giant stone image of herself in the desert, condemned to watch helplessly through stone eyes as mankind rebuilt and surpassed the world she had destroyed. Centuries passed; man forgot her origin and invented legends to explain the Sphinx. Now she has regained her power, still crawling imperceptibly toward the edge of the desert — a movement no human eye can detect — and when she reaches the edge her full power will return and she will fly to destroy the world in Set's name. She offers Sterett immortality as her king. Overwhelmed by her supernatural allure, he nearly succumbs, but tears himself free and flees. Back in civilization, no one believes his warnings: scientists dismiss the idea that the Sphinx can move, and the story ends with Sterett alone, wild-eyed, while the final panel shows the Sphinx crawling — slowly, inexorably — closer.


Characters
Good (or All)
Russell Sterett.

Antagonists
Sphinx.



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Main/1st Story Full Credits

Gene Colan
Vince Alascia
?
Syd Shores (Cover Penciler)
Syd Shores (Cover Inker)
Unknown (Cover Colorist)
Additional Credits

Editor: Stan Lee.



Review / Commentaries


reviewer
Marvel Tales (1949 series) #96 Review by (April 21, 2025)

About the Monster story: The story moves with genuine momentum through its pulp-horror setpieces — the reanimation scene in particular is well-staged, with the Monster's hand twitching to life before the Fanatics grasp what they've unleashed. The script leans heavily on caption narration to compensate for compressed pacing, and Nina's father, though central to the plot's trigger, disappears entirely once the Monster rises without any resolution to his fate on the page.

About the Deadly Dwarf story: The story earns its chill through restraint: Demo's nature is never explained, and the final locked-room image — the dummy grinning in the chair beside the corpse — lands cleanly because the script has the discipline not to solve its own mystery. The middle section loses some tension as Wylie's greed is spelled out in repetitive caption commentary rather than shown through action, slowing the pace before the dressing-room confrontation brings it back.

About the Mask of the Mind story: The concept — that sustained evil physically reshapes a man's face into the mask of his own corruption — is a genuinely effective moral horror idea, and the final mirror panel executes it with visual economy. At four pages the story is too compressed to build the dread the premise deserves, and Dr. Hill's interior monologue, which acknowledges his compulsion without illuminating it, keeps the character at arm's length throughout.

About the Devil story: The plot's ironic twist — that Satan's own plan defeats itself because his emissary is the first person Pendergast sees — is neatly constructed and pays off the setup cleanly without cheating. The descent into Hell is the visual high point, but the story rushes its infernal tour, spending more panels on caption rhetoric than on the genuinely striking imagery of the pit below.

About the Witch's Son story: The story's strongest quality is its patience — spanning a lifetime of rescues rather than a single incident — which gives the guardian's eventual dissolution genuine emotional weight rather than mere shock. The ending depends on the reader accepting that Zelda's scream is more evocative left unexplained, a gamble that works because the empty cloak image does the heavy lifting the dialogue wisely declines to do.

About the Terror That Creeps story: The story earns its place as the issue's lead epic through sheer ambition — the Sphinx's monologue spanning Atlantis, the death of the Egyptian gods, and millennia of silent imprisonment is genuinely mythic in scope, and the artist fills those pages with images that match the scale. The frame narrative device of Sterett addressing the reader directly is effective at the opening but dissolves into conventional panel storytelling before the end, and the closing irony — a lone man unable to warn the world — is undercut by the final caption's over-explanation of the dread it should have left unspoken.





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