Atlas/Seaboard was Martin Goodman's 1974 comics imprint under Seaboard Periodicals. It lured prominent creators with higher pay and character ownership, produced short-lived titles like Barbarians and Fright, and closed after a short, commercially unsuccessful run. The line is remembered for its creator-focused pitch, the high-profile talent it attracted, and its place in 1970s comics history.

Origins and ambition

Martin Goodman - the publisher who had built Timely/Atlas into the company that became Marvel - returned to comics publishing in 1974 with a new firm, Seaboard Periodicals, and an imprint called Atlas Comics. Goodman had sold Marvel to Cadence Industries in 1968 and left the company in the early 1970s. With Atlas/Seaboard he tried to recreate the business he once ran, this time promising creators higher pay, more editorial say, and ownership rights for new characters.

Talent, titles, and creative approach

Atlas/Seaboard immediately recruited high-profile creators from Marvel and DC. Names associated with the line include Neal Adams, Steve Ditko, Russ Heath, John Severin, Alex Toth, Wally Wood, Howard Chaykin, Rich Buckler, and Larry Lieber, who served as editorial manager. Many Atlas series deliberately echoed popular trends of the day - sword-and-sorcery, war comics, horror, and superhero-adjacent characters - and some characters bore strong resemblances to established Marvel or DC figures.

Notable Atlas/Seaboard titles included Barbarians, Blazing Battle Tales, The Brute, The Cougar, Fright (featuring a "Son of Dracula" concept), and Howard Chaykin's The Scorpion. Most series ran only a few issues before the line folded.

Business friction and reception

Goodman's offers attracted attention and stirred friction in the comics community. Atlas positioned itself as creator-friendly, and that marketing helped recruit talent. At the same time, publishers and some creators reacted strongly to Atlas' approach to talent recruitment. Reports from the period describe heated disputes and accusations of aggressive tactics; some accounts say Goodman threatened to blacklist creators who did not work for him .

Despite strong names and a visible launch, Atlas/Seaboard did not unseat Marvel or DC. Low sales and distribution problems quickly limited the imprint's reach. The company wound down its comics publishing effort after a short run; exact timelines and the total number of issues produced vary by source 1.

Aftermath and legacy

After the comics line ended, the Goodmans shifted focus toward other publishing interests. Seaboard Periodicals' brief comics experiment left a mixed legacy: the books are a collectible curiosity, notable both for their creative talent and for being explicit attempts to lure top creators with ownership and better pay. Collectors today can assemble much of the Atlas/Seaboard output; many issues remain affordable, though rarer items command higher prices.

Atlas/Seaboard stands as a 1970s example of a well-funded challenger that ultimately could not overcome the market dominance and loyal readership of Marvel and DC. Its story remains useful for understanding creator rights disputes, publishing economics, and the competitive dynamics of the comics industry in that era.

  1. Confirm exact launch and closure dates for Atlas/Seaboard and the total number of issues published.
  2. Verify reports that Martin Goodman threatened to blacklist creators and details of any legal disputes from 1974.
  3. Confirm whether Seaboard acquired Swank magazine at the same time as the Atlas launch and the timeline of that acquisition.
  4. Clarify ownership status of specific Atlas/Seaboard characters and whether creator ownership claims were formalized in contracts.

FAQs about Comics

What was Atlas/Seaboard Comics?
Atlas/Seaboard was a 1974 comics imprint launched by Martin Goodman through Seaboard Periodicals that aimed to compete with Marvel and DC by offering better pay and creator ownership.
Why did Atlas/Seaboard fail?
Despite hiring top talent and offering creator-friendly contracts, Atlas/Seaboard struggled with low sales, distribution challenges, and strong loyalty to existing publishers, forcing the line to shut down after a short run.
Who worked for Atlas/Seaboard?
The imprint attracted well-known creators such as Neal Adams, Steve Ditko, Wally Wood, Howard Chaykin, Rich Buckler, and Larry Lieber among others.
Are Atlas/Seaboard comics collectible?
Yes. Many issues are collectible curiosities; most remain affordable, though rarer issues can command higher prices among collectors.
Did Atlas/Seaboard own its characters?
Atlas/Seaboard promoted creator ownership as part of its pitch, but details about who retained rights for specific characters vary and depend on individual contracts and later arrangements .