Atlas Comics (1950s)

Atlas Comics
	File:Atlas Comics logo.svg
Company type	Division
Industry	Publishing
Predecessor	Timely Comics
Founded	November 1951; 75 years ago
Founder	Martin Goodman
Defunct	Template:End date and age
Fate	Rebranded as Marvel Comics in 1961
Successor	Marvel Comics
Headquarters	Manhattan, New York City, U.S.
Key people	Martin Goodman
Products	Comic books, magazines
Parent	Magazine Management Co., Inc.

Atlas Comics was the comic book imprint of the 1950s that eventually transformed into what is now known as Marvel Comics. Publisher Martin Goodman, recognized for his utilization of various corporate entities, adopted the Atlas name to represent his comic book publishing arm. Originating from Goodman's 1940s comic venture, Timely Comics, Atlas operated out of the Empire State Building. This entity is separate from the later 1970s comic publisher also established by Goodman, called Atlas/Seaboard Comics.

Post-Golden Age Period

Following the era of Timely Comics, which Martin Goodman established in 1939 and which flourished during World War II with iconic characters such as the Human Torch, the Sub-Mariner, and Captain America, Atlas Comics emerged as its successor. However, by the early 1950s, comic books experienced a downturn in popularity due to competition from television and other entertainment forms.

By 1950, Timely had discontinued most superhero titles, concluding runs of key series including Captain America Comics (#75), Marvel Mystery Comics (#92), Sub-Mariner Comics (#32), and The Human Torch (#35). There was a short-lived attempt to bring back superheroes with Marvel Boy issues #1-2 (1950-51), which was renamed Astonishing through issue #6 (1951).

Adjusting to changing audience preferences, Atlas broadened its catalog to encompass a variety of genres such as horror, Westerns, humor, crime, war stories, romance, espionage, medieval tales, biblical narratives, and sports-themed comics. The publisher also aimed at specialized audiences including model enthusiasts and working women.

Starting with comics dated November 1951, Goodman began branding publications with the Atlas News Company logo, unifying several subsidiary companies under this banner. Distribution shifted from Kable News to American News Corporation by late 1956. During this time, Atlas rejoined the Association of Comics Magazine Publishers and displayed its "star" emblem from 1952 until 1955 before the establishment of the Comics Code Authority.

Atlas briefly reintroduced superheroes in Young Men issues #24-28 (1953-54), featuring characters like the Human Torch, Sub-Mariner, and Captain America. This period included contributions from prominent figures such as writer Stan Lee and artists Syd Shores and John Romita Sr. The revival also extended to new issues of Sub-Mariner Comics (#33-42) and Captain America (#76-78), along with appearances in Men's Adventures (#27-28).

Following Market Trends

Under Goodman's direction, Atlas' publishing approach centered on exploiting popular trends from television and films—such as Westerns, war stories, and monster movies—as well as emulating competitors like EC's horror comics. As noted by Marvel/Atlas editor-in-chief Stan Lee, Goodman "would notice what was selling, and we'd put out a lot of books of that type." While this strategy generated immediate income, it did not establish long-term brand identity.

In response to EC's success in horror comics, Atlas expanded its offerings in that genre with titles like Marvel Tales. Prior to the creative revolution brought by Lee, Jack Kirby, and Steve Ditko in the early 1960s with titles such as Fantastic Four and Spider-Man, Atlas concentrated on producing a high quantity of comics that were often low-budget but sometimes artistically significant.

The Atlas editorial team consisted of at least five editors besides Stan Lee: Hank Chapman, Paul S. Newman, Don Rico, Carl Wessler, and future Mad cartoonist Al Jaffee. Notably, author Daniel Keyes worked as an editor starting in 1952. Freelance writing contributors included Robert Bernstein.

Artists ranged from veterans like Human Torch creator Carl Burgos and Sub-Mariner creator Bill Everett to emerging talents such as prolific illustrator Joe Maneely, who led much of Atlas’ artistic output before his untimely death. Maneely was noted for his work on covers and genres including Westerns and medieval adventure series like Black Knight. Other distinguished artists included Russ Heath, Gene Colan, and innovative newcomer Steve Ditko.

Among Atlas’ prominent Western titles—many reprinted during the 1970s—were Ringo Kid, illustrated by Maneely, Fred Kida, and John Severin; Doug Wildey’s The Outlaw Kid; Jack Keller’s Kid Colt, Outlaw; the anthology series Gunsmoke Western, which featured Kid Colt; and Black Rider, drawn by Maneely, Syd Shores, among others.

Humor and Miscellaneous Titles

Atlas produced a range of humor comics aimed at children and teenagers, including works such as Homer, the Happy Ghost and Homer Hooper by Dan DeCarlo, along with Joe Maneely's Melvin the Monster. Their answer to the television show Sgt. Bilko was the comic Sergeant Barney Barker, illustrated by John Severin.

One of the company's longest-standing series was Millie the Model, which debuted under Timely Comics in 1945 and continued for 207 issues into the 1970s, generating several spin-offs. Created by writer-artist Ruth Atkinson, this series served as a formative project for cartoonist DeCarlo, who later created Josie and the Pussycats and Sabrina, the Teenage Witch, significantly influencing Archie Comics’ contemporary aesthetic. DeCarlo contributed as both writer and artist on Millie for ten years.

The high school-themed comic Patsy Walker, co-created in 1944 by Atkinson and writer Otto Binder, featured artwork from artists such as Al Hartley and Al Jaffee. This title persisted until 1967 and spawned three spin-offs. Eventually, Patsy Walker was incorporated into Marvel’s superhero universe as Hellcat.

Atlas also published talking animal comics, including Buck Duck by Ed Winiarski, Maneely's Dippy Duck, and Howie Post's The Monkey and the Bear. These characters experienced a brief revival in the early 1970s through Marvel’s five-issue reprint series titled Li'l Pals.

Additional varied titles included the espionage adventure Yellow Claw, which featured artwork from Maneely, Severin, and Jack Kirby; the Native American protagonist series Red Warrior, illustrated by Tom Gill; the space opera Space Squadron, created by future Marvel executive Sol Brodsky; and Sports Action, which began as true sports stories before transitioning into fictional adventures.

Staff artist Stan Goldberg reflected on the collaborative atmosphere among leading artists such as John Severin, Bill Everett, Carl Burgos, and Joe Maneely, emphasizing the committed in-house creative team that bolstered Atlas’ artistic output.

Layoffs

Between 1952 and late 1956, Goodman managed distribution of Atlas comics through his own Atlas News Company. In 1956, he shut down this operation and transferred distribution responsibilities to American News Company, which was then the country's largest distributor until it was forced out by a Justice Department antitrust lawsuit. According to historian Gerard Jones, American News was found guilty of anti-competitive practices, resulting in its dissolution and market exit.

Despite this change, Atlas’ globe emblem continued appearing on covers until American News ceased operations in June 1957. With few alternatives available, Goodman turned to Independent News, owned by rival publisher National Periodical Publications (later known as DC Comics), which imposed a limit of eight titles per month on Goodman’s output. The final comic featuring the Atlas globe was Dippy Duck #1 (September 1957), while the first with Independent News’ imprint was Patsy Walker #73 (October 1957). Following this distribution shift, the company adopted the name Goodman Comics.

Stan Lee recalled that Goodman’s decision to switch to American News was driven by financial considerations but resulted in alienating wholesalers, making self-distribution unfeasible. Consequently, they had to accept restrictive terms from their competitor’s distributor, reducing monthly releases drastically from 40–60 titles down to just eight or twelve.

During this period of downsizing, Goodman reportedly uncovered a stockpile of pre-paid but unused artwork, prompting widespread layoffs while depleting existing inventory. Lee explained that he had acquired numerous strips he did not regard as strong but still paid for and stored them away. Annoyed by the financial consequences, Goodman initiated staff reductions.

In a 2003 interview, artist Joe Sinnott confirmed that Lee attributed operational suspension to surplus inventory. Sinnott himself was laid off for six months until this backlog was diminished.

Pre-superhero Marvel

While Goodman's ventures in men's magazines and paperback books continued to generate profits, the comics segment represented a smaller share of the overall enterprise. Goodman contemplated shutting down the comics division but hesitated. During this period, artist Jack Kirby, who faced employment challenges following his split with Joe Simon and a legal defeat against DC Comics, made his comeback in late 1958. Kirby recounted arriving at Marvel's offices amid ongoing furniture removal and vowed to restore the comics' profitability. Although Lee contested Kirby's description of a dramatic reunion, he was pleased to have him back on board.

Kirby had briefly freelanced in 1956 but rejoined permanently with Strange Worlds #1 (December 1958), marking the beginning of a transformative twelve-year run. His vibrant artistic style enhanced science fiction and monster genres, contributing significantly to titles such as Strange Tales, Amazing Adventures, Strange Worlds, Tales of Suspense, Tales to Astonish, and World of Fantasy. According to historian Charles Hatfield, Kirby injected a lively energy and imaginative eccentricity that counterbalanced conventional storylines with strikingly inventive narratives.

Typically, each issue opened with a science fiction or monster tale illustrated by Kirby—initially inked by Christopher Rule, later by Dick Ayers. These were followed by suspenseful stories featuring unexpected conclusions, drawn by artists like Don Heck, Paul Reinman, or Joe Sinnott, and concluded with brief surreal vignettes from Lee and Steve Ditko. Lee characterized these short five-page fillers as "odd fantasy tales" featuring twist endings, developed through the early "Marvel Method" process where Ditko transformed concise plot outlines into celebrated artwork.

Artist Don Heck, who was on staff from 1954 to 1957 before returning in 1958, recalled that page rates were modest—around $20 compared to rival DC Comics’s $38—and only saw slight increases by 1964-65.

Although Timely briefly used a "Marvel Comic" logo between 1949 and 1950, the first contemporary Marvel-branded comics appeared with Journey into Mystery #69 and Patsy Walker #95 in June 1961. Collectors often classify comics published from April 1959 onward—the point when Kirby returned—as pre-superhero Marvel. Goodman later revived the Atlas name for his comic book company in the 1970s.

Atlas titles by type

Some series overlap with Timely or Marvel eras, frequently continuing numbering from earlier runs.

Crime

All-True Crime #37–52 (Feb. 1948 – Sept. 1952), early issues under Timely; continued from Timely Comics' All True Crime Cases
Amazing Detective Cases #3–14 (Nov. 1950 – Sept. 1952)
Caught #1–5 (Aug. 1956 – Apr. 1957)
Crime Can't Win #41–43, 4–12 (Sept. 1950 – Sept. 1952); continued from romance title Cindy Smith
Crime Cases Comics #24–27, 5–12 (Aug. 1950 – July 1952); continued from Timely Comics' Li'l Willie Comics and Willie Comics
Crime Exposed vol. 2, #1–14 (Dec. 1950 – June 1952)
Crime Fighters #11–13 (Sept. 1954 – Jan. 1955); continued from Timely Comics' Crimefighters
Crime Must Lose #4–12 (Oct. 1950 – Apr. 1952); continued from either Sports Action or Blaze the Wonder Collie
Justice #7–9, then 4–52 (Fall 1947 – Mar. 1955), early issues under Timely; continued from Timely title Wacky Duck; continued as Tales of Justice #53–67 (May 1955 – Sept. 1957)
Kent Blake of the Secret Service #1–14 (May 1951 – July 1953)
Police Action #1–7 (Jan.–Nov. 1954)
Police Badge #479 #5 (Sept. 1955); continued from espionage title Spy Thrillers
Private Eye #1–8 (Jan. 1951 – Mar. 1952)

Drama

Man Comics #1–10 (Dec. 1949 – Oct. 1951) transitioned into the war-themed series Man Comics
Rugged Action #1–4 (Dec. 1954 – June 1955) evolved into the horror/fantasy/sci-fi series Strange Stories of Suspense
True Adventures #3 (May 1950) originated from the Western series True Western; later continued as the war-oriented Men's Adventures #4–8 (Aug. 1950 – June 1951)

Espionage

Spy Cases #26–28 (Sept. 1950 – Oct. 1953) was a continuation of Timely Comics' humor title The Kellys
Spy Fighters #1–15 (March 1951 – July 1953)
Spy Thrillers #1–4 (Nov. 1954 – May 1955) subsequently became the crime title Police Badge #479
Yellow Claw #1–4 (Oct. 1956 – April 1957)

Talking animal and children's comics

Adventures of Homer Ghost #1–2 (Jan.–Aug. 1957)
Buck Duck #1–4 (June–Dec. 1953)
Cartoon Kids #1 (1957)
Dippy Duck #1 (Oct. 1957)
Homer, the Happy Ghost #1–22 (March 1955 – Nov. 1958)
Little Lizzie vol. 2, #1–3 (Sept. 1953 – Jan. 1954), following Timely Comics' initial volume of Little Lizzie #1–5
Marvin Mouse #1 (Sept. 1957)
Melvin the Monster #1–6 (July 1956 – July 1957), which continued as Dexter the Demon #7 (Sept. 1957)

Note: Both series were non-supernatural and resembled the style of Dennis the Menace

The Monkey and the Bear #1–3 (Sept. 1953 – Jan. 1954)
Wonder Duck #1–3 (Sept. 1949 – March 1950) later developed into It's a Duck's Life #4–11 (Nov. 1950 – Feb. 1952)

Horror, fantasy, and sci-fi

Adventure into Mystery #1–8 (May 1956 – July 1957)
Adventures into Terror issues #43–44, then renumbered to #3–31 (Nov. 1950 – May 1954), originally continuing from Timely Comics' humor title Joker
Adventures into Weird Worlds #1–30 (Jan. 1952 – June 1954)
Amazing Adventures #1–6 (June–Nov. 1961), which transitioned into Amazing Adult Fantasy #7–14 and subsequently Marvel's Amazing Fantasy
Amazing Mysteries #32–35 (May 1949 – Jan. 1950), continuing from the series Sub-Mariner
Astonishing issues #3–63 (April 1951 – Aug. 1957), a continuation of the superhero title Marvel Boy
Journey into Mystery #1–82 (June 1952 – July 1962), later evolving into a Marvel superhero series
Journey into Unknown Worlds issues #36–59 (Sept. 1950 – Aug. 1957), originally derived from Timely Comics' teen humor series Teen Comics
Marvel Tales issues #93–159 (Aug. 1949 – Aug. 1957), continuing from Timely Comics' superhero title Marvel Mystery Comics
Menace #1–11 (March 1953 – May 1954)
Men's Adventures issues #21–26 (May 1953 – March 1954), a continuation of the war-themed title that later became a superhero series
Mystery Tales #1–54 (March 1952 – Aug. 1957)
Mystic issues #1–61 (March 1951 – Aug. 1957)
Space Squadron issues #1–5 (June 1951 – Feb. 1952), which continued as issue #6 under the title Space Worlds
Spaceman (Speed Carter, Spaceman) issues #1–6 (Sept. 1953 – June 1954)
Spellbound (Stories to Hold You Spellbound) issues #1–34 (March 1952 – June 1957)
Strange Stories of Suspense issues #5–16 (Oct. 1955 – Aug. 1957), following on from the drama series titled Rugged Action
The series Strange Tales ran from issue #1 through #100 (June 1951 – Sept.1962); post-1961 issues were Marvel publications; it evolved into a Marvel superhero title
Strange Tales of the Unusual issues #1–11 (Dec. 1955 – Aug. 1957)
Strange Worlds published issues #1 through #5 (Dec. 1958 – Aug. 1959)
The horror anthology series Suspense ran from issue #1 to issue #29 between Dec.1949 and April 1953
Tales of Suspense ran from issue #1 to issue #38 between Jan. 1959 and Feb.1963; post-1961 issues were Marvel titles; it later became a Marvel superhero series
Tales to Astonish issued numbers #1 through #34 from Jan. 1959 to Aug.1962; post-1961, it was published by Marvel and transitioned into a superhero series
Uncanny Tales spanned issues #1 to #56 from June 1952 to Sept. 1957
The series Venus comprised issues #1 through #19 from Aug.1948 to April 1952, with early editions under Timely Comics
World of Fantasy published issues numbered from one to nineteen between May 1956 and August of 1959
The titles World of Mystery (#1-7, June196- July57) and World of Suspense (#1-8, April56-July57) also fall within this category

Humor (satire)

The satirical comic Crazy consisted of seven issues released between Dec. 1953 and July 1954
Riot issued six editions from April 1954 through June of ’56
Snafu had three releases spanning Nov. ’55 to March ’56
The humor title Wild published five installments between Feb. and Aug., ’54

Humor (sitcom)

The series A Date with Millie ran for seven issues from Oct. ’56 to Aug.’57
Its second volume, also titled A Date with Millie,’ published seven more issues between Oct.’59 and Oct.’60 before continuing as Life With Millie' (#8–20; Dec.’60 onward under Marvel Comics)
A single issue of A Date with Patsy was released in Sept.’57
The Adventures of Pinky Lee comprised five issues from July to Dec.’55
The comic Della Vision (#1-3; Apr.-Aug., ’55) transitioned into the romance title called Patty Powers
Girls' Life ("Patsy Walker's Own Magazine for Girls") produced six editions between Jan.–Nov., ’54
Issues numbered thirty-six through fifty of Hedy of Hollywood Comics ran Feb., ’50 to Sept., ’52, continuing from Timely Comics’ titles including Young Allies, All-Winners Squad, and Hedy De Vine Comics
The single issue titled Hedy Wolfe ("Patsy Walker's Rival") appeared in August ’57
The humor comic Homer Hooper was published in four parts from July to Dec., ’53
The comic strip titled Kathy spanned twenty-seven editions starting Oct., ’59 under Marvel Comics
The flagship humor title Millie the Model extended over two hundred seven issues beginning Winter ’45 under Marvel Comics
Issues three through forty-eight of My Friend Irma were released between June ’50 and Feb.’55, following Timely’s earlier work on My Diary
The run for My Girl Pearl included eleven installments from April ’55 to April ’61
The nurse-themed comic Nellie the Nurse had thirty-six issues published between ’45 and Oct., ’52, with early editions under Timely Comics; its second volume included one issue in ’57
The long-running series Patsy Walker produced ninety-nine editions spanning Winter ’45 through Feb., ’62; post-1961 releases were Marvel publications
Issues one through seventy-three of Patsy and Hedy were published between Feb., ’52 and Dec., ’60
The comic strip titled Patsy and Her Pals issued twenty-nine editions between May ’53 and Aug., ’57
Two installments (#1-2; Aug.–Dec., ‘57) of Sergeant Barney Barker were followed by its transformation into the war-themed title called G.I. Tales
The showgirl-themed comic series started with three issues titled Sherry the Showgirl from July to Dec., ‘56, then continued as Showgirls issue four in Feb., ‘57 before reverting back to Sherry for three more editions (#5-7; Apr.–Aug., ‘57)
A second volume titled Showgirls consisted of two issues published during July-August ‘57
The humorous series called Wendy Parker spanned eight installments from July ‘53 through July ‘54
A single issue named Willie the Wiseguy was released in September ‘57

Jungle

The jungle adventure comic series Jungle Action comprised six issues released between Oct., ‘54 and Aug., ‘55; a second volume appeared in the ‘70s
Issues one through seven of Jungle Tales were published Sept., ‘54 through Sept., ‘55 before evolving into the series called Jann of the Jungle’’, which ran from issue eight to seventeen between Nov., ‘55 and June, ‘57
The jungle heroine comic titled Lorna, the Jungle Queen’’’ consisted of five issues spanning July ‘53 to Feb., ‘54 before continuing as ‘’Lorna, the Jungle Girl’’’’ (#6-26; Mar., ‘54 - Aug., ‘57)

Medieval adventure

The medieval-themed comic titled Black Knight’’’ ran for five installments between May ‘55 and April ‘56

Romance

Issues thirty-nine and forty of ‘’Cindy Smith’’ appeared between May and July ’50 as a continuation of Timely’s ‘’Cindy Comics’’; this was followed by its transition into crime genre with ‘’Crime Can't Win’’
‘’Girl Confessions’’ numbers thirteen through thirty-four appeared March ’52 through August ’54 as a follow-up to ‘’Girl Comics’’
‘’Love Adventures’’ published twelve editions from October ’49 through August ’52 under early Timely branding before becoming ‘’Actual Confessions’’ (#13-14)
‘’Love Romances’’ ran from issue six up to one hundred six spanning May ’49 through July ’63 with early volumes under Timely; it succeeded Timely’s ‘’Ideal’’
‘’Love Tales’’ (#36-75; May ’49-Sept.’57), initially part of Timely’s lineup, originated as a continuation from superhero comic ‘’The Human Torch’’
‘’’’Lovers’’ (#23-86; May’49-Aug’57), also early Timely material, followed up on superhero comic ‘’Blonde Phantom’’
‘’Meet Miss Bliss’’ (#1-4; May-Nov.’55) was succeeded by ’’Stories of Romance’’ (#5-13; Mar.’56-Aug.’57)
’’Molly Manton’s Romances’’ began with its first issue in Sept.’49 followed by ’’Romances of Molly Manton’’ (#2; Dec.’49)
’’My Love Story’’ encompassed nine editions between Apr.’56 and Aug.’57
’’My Own Romance’’ ran from issue four up to seventy-six spanning Mar.’49-July’60 as a successor to Timely’s ‘‘My Romance,’’ then continued as ’’Teen-age Romance’’ (#77-86; Sept’60-Mar’62), with post-#82 volumes under Marvel
’’Patty Powers’’ (#4-7; Oct.’55-Oct.’56) followed on from humor title ’’Della Vision’’
’’Secret Story Romances’’ issued twenty-one editions Nov.’53-Mar.’56 before transitioning into ’’True Tales of Love’’ (#22-31; Apr.’56-Sept.’57)
’’The Romances of Nurse Helen Grant’’ debuted with its first issue in August ’57
’’True Secrets’’ (#3-40; Mar.’50-Sept.’56) was a continuation from Timely’s ‘‘Our Love’’

Sports

Sports Action issues #2 through #14 (February 1950 – September 1952) followed Timely Comics' Sport Stars series

Superheroes

Captain America issues #76 to #78 (May–September 1954) continued from Timely Comics' Captain America Comics and Captain America's Weird Tales
The Human Torch issues #36 to #38 (April–August 1954) carried on from its Timely Comics run, despite numbering being adopted by Atlas Comics' Love Tales
Marvel Boy issues #1 and #2 (December 1950 – February 1951) transitioned into the horror series Astonishing, featuring Marvel Boy in issues #3 through #6
Men's Adventures issues #27 and #28 (May–July 1954) followed the horror series Men's Adventures
Sub-Mariner issues #33 to #42 (April 1954 – October 1955) continued from Timely Comics' Sub-Mariner Comics
Young Men issues #24 to #28 (December 1953 – June 1954) continued from the miscellaneous title Young Men

War

3-D Action issue #1 (January 1954)
Battle issues #1 through #70 (March 1951 – June 1960)
Battle Action issues #1 to #30 (February 1952 – August 1957)
Battle Ground issues #1 to #20 (September 1954 – September 1957)
Battlefield issues #1 to #11 (April 1952 – May 1953)
Battlefront issues #1 through #48 (June 1952 – August 1957)
Combat issues #1 to #11 (June 1952 – April 1953)
Combat Kelly issues #1 to #44 (November 1951 – August 1957)
Commando Adventures issues #1 and #2 (June–August 1957)
Devil-Dog Dugan issues #1 to #3 (July–November 1956) continued as Tales of the Marines issue #4 and Marines at War issues #5 through #7
G.I. Tales issues #4 to #6 (February–July 1957) followed the humor title Sergeant Barney Barker
Man Comics issues #11 through #28 (December 1951 – September 1953) continued from the drama title Man Comics
Marines in Action issues #1 to #14 (June 1955 – September 1957)
Marines in Battle issues #1 through #25 (August 1954 – September 1958)
Men in Action issues #1 to #9 (April–December 1952) evolved into Battle Brady
Men's Adventures issues #9 through #20 (August 1951 – April 1953) originated from a drama title; later became a horror series
Titles including Navy Action, Sailor Sweeney, and subsequent releases (#1–18; August 1954 – August 1957)
Navy Combat issues #1 to #20 (June 1955 – October 1958)
Navy Tales issues #1 to #4 (January–July 1957)
Series such as War Action, War Adventures, and related titles (#1–14; January 1952 – June 1953)
War Combat issues #1 to #5 (March–November 1952) transitioned into Combat Casey
War Comics spanning issues #1 through #49 (December 1950 – September 1957)

Western

Series including 3-D Tales of the West, All Western Winners, and their successors (#2–77; Winter 1948 – July 1963), which developed through various titles like Western Winners, Black Rider, and Gunsmoke Western
Regional titles such as Annie Oakley, Arizona Kid, and Arrowhead, covering the late 1940s through mid-1950s
The series Billy Buckskin Western, which was later retitled as Two-Gun Western
Titles like Frontier Western, The Gunhawk, alongside various Kid-themed series, including the transition of Kid Colt, Outlaw, into Marvel Comics
Tales such as The Kid from Dodge City, Matt Slade, Gunfighter, and Outlaw Fighters
Well-known series including Outlaw Kid, Rawhide Kid, plus western-themed runs like Reno Browne, Hollywood's Greatest Cowgirl, which eventually led into the Apache Kid franchise
Additional notable western titles: Ringo Kid Western, Six-Gun Western, Texas Kid, along with early volumes of the influential series, Two-Gun Kid
Further series include: Western Kid, Western Outlaws, and continuations of Timely Comics' western line such as Western Outlaws & Sheriffs
Tales exploring western motifs with titles like Western Thrillers, later renamed to Cowboy Action
A long-standing series such as Wild Western, which continued from Timely Comics' earlier western publications
The persistent character-driven title, Wyatt Earp, which Marvel reprinted during the 1970s

Additional Titles

Bible Tales for Young Folk issues #1 through #5 (August 1953 – March 1954)
Girl Comics issues #1 to #12 (October 1949 – January 1952), which later evolved into the romance series Girl Confessions.
Miss America Magazine, retitled Miss America starting with issue #46 (July 1952), spanning #1 to #93 (January 1944 – November 1958; totaling 126 issues with irregular numbering); note: encompassed genres such as superheroes, romance, and humor.
World's Greatest Songs issue #1 (September 1954)
Young Men from issue #4 to #23 (June 1950 – October 1953), continuing the numbering from Timely Comics' Cowboy Romances; covers bore the title Young Men on the Battlefield! between issues #12 and #20; subsequently transitioned into a superhero-themed series under the same name.

Note: The romance series Linda Carter, Student Nurse issues #1–9 (September 1961 – January 1963), frequently associated with Atlas Comics, actually falls within Marvel's publishing period and displays the "MC" logo on its covers.

References

External Resources

A Guide to Marvel's Pre-FF #1 Heroes by Jess Nevins
A Timely Talk with Allen Bellman at Comicartville.com
A Look at the Atlas Pre-Code Crime and Horror Work of Stan Lee at Comics Buyer's Guide