I'm late getting to this, but I didn't want to miss the chance to say how much I enjoyed it.
A nice Baker cover starts things off, followed by the best story in the book, "The Widow's Lover" by Infantino and Kubert. I'm an Infantino fan. In fact he was one of my early art influences. Infantino's layouts are excellent, and Kubert's rough ink style adds energy to his figures. The story is good too (even if the splash panel gives away the ending). The coloring is...interesting. It reminds me of Fawcett horror comic coloring. The colorist grabs whatever color comes to mind and if the panel is too complicated, s/he just makes it all one color. The yellow/green thing does nothing for me.
"Tentacles of Death" doesn't make much sense. Here George Tuska is developing the style he used for the Buck Rogers daily strip: cartoony characters and simplified inking. Sorry, George, your Octeel is pathetic.
Since others commented on "Dr Osborne's Secret Weapon" I gave it a read. This is one of those stories where the author starts with an interesting ending--humans repel a high-tech invasion using antique weapons--then goes through contortions to make the story fit it. The atomic wall has cancelled out all modern weaponry but apparently it hasn't created a physical barrier. What's to stop the aliens (or the humans for that matter) from simply walking across the line and beating their enemy over the head? They may not remember airplanes and rifles but I'm sure they haven't forgotten swords, clubs, and bricks. The story is oddly reminiscent of Charlton s-f stories.
"The Bloody Sword" is a fair story rescued by an excellent art job. I have a hard time seeing John Giunta in the inks. I like Giunta's early ink style (I'm not much a fan of his pencils) but he always took a rather minimalist approach. The inking here is far more elaborate than I'd expect from JG.
"Portrait of Death" is a really dumb story, mostly because of the laughable payoff. However George Roussos' art is terrific. I'm one of the many early Marvel fans who hated his sloppy inks on Kirby and Co. His earlier solo jobs were much better but usually nothing to cheer about. But every now and then he'd explode! He'd do a story like this which suggests there was a really fine artist hidden inside. The faces are too cartoony for my tastes, but his compositions and figures are excellent. And look at the care he put into the backgrounds. He really thought them through, using detail and local color to give a strong sense of atmosphere.
The Kinstler one-pager is nice to look at. Comics offer endless variations on this story. I wonder if it ever really happened to somebody? And speaking of really happening, has anyone ever heard about the 1910 Graveyard of Lost Seals?
All in all a pleasing read.