Embark on a voyage into Robotmen of the Lost Planet #1, a relic from a bygone era where egg-headed robots and audacious humans collide in a battle for supremacy. Yet these mechanical marvels weren’t your run-of-the-mill sleek automatons; they sported peculiar egg-shaped heads, akin to creatures plotting to join a futuristic circus. Interestingly, this distinctive robot design draws its inspiration from the novel toy Panic Pete, the brainchild of John M. Auzin.
Brought to life by the prolific writer Walter Gibson, celebrated for his contributions to “The Shadow,” and visualized by the skilled hands of Gene Fawcette and Mort Lawrence, the comic’s allure emanates from its idiosyncratic narrative and, shall we say, daring editorial choices.
In a future where humans embraced leisure while robots took the reins of labor, the tale unfolds across three chapters, each separated by intervals of five years. Allow me to introduce our dauntless central figure, Alan Arc, who’s on the cusp of exchanging vows with the lovely Nara. However, hold onto your bouquet, as a discordant note strikes. Robots are staging an unconventional soirée at a manufacturing site, minus the cake but with an abundance of mayhem. Alan’s father rushes back to the plant with the secret weapon plans in his hands as if he was handing them out as party favors. He tragically relinquishes his hold on the confidential information and the robots promptly assist his fatal fall off a balcony.
Enter Emperor Johns whose fitness regimen has evidently been outsourced to these egg-headed automata. Alan and Nara dash to him as if participants in a curious game show named “Forewarn the Emperor Before Extermination.” In the interim, robots engage in a global chat, resolute in their decision for some thorough “spring cleaning” of the human population.
For those seeking survival strategies amid a robot uprising, the rule is clear: find solace in a cave, blend science and DIY experimentation, and set up camp. Alan and Nara transition from wedding preparations to test tubes, even enlisting their son, Laurie, in their scientific escapades. An interesting twist is that Laurie harbors no fear of robots; he regards them as outsized, oddly shaped playthings.
Leapfrogging five years, Alan and Nara have transformed their cave into a makeshift laboratory. Alan toils with determination to engineer synthetic flesh, nurturing aspirations of infiltrating the robotic ranks. His clandestine mission unveils a startling revelation – robots strive to emulate humanity by incorporating nerve ganglia into their artificial physiques.
Amid the regression of civilization, fashion becomes a victim too, with fur vests and Flintstone-esque attire taking center stage. Amid this sartorial transition, Nara’s blue swimsuit makes intermittent appearances, as if symbolizing a splash of defiance against the world’s upheaval. Meanwhile, little Laurie transitions from fur briefs to a complete ensemble.
Ladies and gentlemen, brace yourselves for the third act! The caves undergo a technological metamorphosis, transforming into the setting of an electronic dance music extravaganza powered by enigmatic electricity. Humanity is primed for retribution, with nine-year-old Laurie inadvertently kindling a standoff as he aims toy-like artillery at the robots. Whether it’s a plaything or a genuine weapon remains an enigma held within the comic’s pages.
As the climactic confrontation looms, the paramount question lingers: Can a humanity that has ascended from the brink of savagery within a decade triumph over robots doggedly pursuing assimilation? The saga culminates, leaving us yearning for more, yet lamenting the absence of Robotmen of the Lost Planet #2.