Some of what they are showing are after everyone bailed out and they retooled the books, before cancelling them. Goodman made a lot of promises that he broke, almost immediately and the talent walked. They then revamped most of their books into something else.

For instance: The Phoenix, by Jeff Rovin and Sal Amendola, was a sci-fi/biblical allegory, about an astronaut who gains tremendous power and faces alien invaders, in a sort of end of the world scenario......



Suddenly, Rovin, who was editing the color line of comics, as well as writing The Phoenix, is gone and Gary Friedrich and Ric Estrada do the next issue, where the character is drafted by new aliens and made into a new member of The Protectors, an intergalactic police force, ripping off Green Lantern (who swiped it from the Lensman Saga). He gets a new costume and everything.....



Meanwhile, one of the real high water marks, at the start, was Howard Chaykin's The Scorpion, a pulp-style adventure hero, alluded to be over a hundred (or more) years old......



Chaykin is gone by the third issue, which has the pulp hero turned into a generic superhero, with an implication that he has adopted a new identity, at a later decade......



For two issues, Morlock 2001 was a sci-fi/monster tale, an extension of HG Wells, with a superhero type thrown in for good measure....



Issue #3 adds The Midnight Men.....



Several books were cancelled after an issue or two, others continued as they were. Ditko di 4 issues of The Destructor....



Wulf the Barbarian lasted 4 issues...



IronJaw got 4 issues....



...by basically swiping the gimmick from Crimebuster's nemesis.

IronJaw also appeared in one issue of The Barbarians....



The Grim Ghost had 3 entertaining issues....



Atlas tried Men's Adventure/Hardboiled Detective/Police comics, but the one that went through the big change was Targitt.....



In it's second issue, he gained a costume and a codename...



Howard Chaykin sort of took Scorpion back to Marvel, when he created Dominic Fortune, though it isn't the same character; just the same 30s pulp world, but in Hollywood, with a lighter character. David Anthony Kraft and Rich Buckler took their whole character and just slightly altered the name and costume, but kept the history and everything...



...turning him into Devil-Slayer....



For the uninitiated, the basic story was that after Cadence Industries bought out Goodman, they balked at putting his son, Chip, in charge of the company. So, Goodman opened a new company, Seaboard Periodicals, with Chip in charge of things. They called the comics Atlas, after their old 50s name, and hired ex-Warren editor, Jeff Rovin, to handle a color line of comics and Larry Lieber (Stan's younger brother)to handle a line of black & white magazines. Lieber also edited some of the genre color titles. Goodman offered top rates, to draw away talent from DC and Marvel and also offered partial ownership and other enticements, but not in the form of a contract. Talent quickly left when they saw that Goodman wasn't going to keep his promises and distribution problems meant that few people even saw the comics. Rovin was gone and Lieber was running the whole thing, for a short period of time, when all the revamps came. Then, the plug was pulled.

The black and white magazines were knockoffs of Warren books, with Devilina trying to copy Vampira, Weird Tales of the Macabre followng eerie and Creepy, and Movie Monsters aping Famous Monsters of Filmland. They had an adventure title, Thrilling Adventures, which actually featured an adaptation of TE Lawrence's adventures, in WW1.

The real oddball of the line was the teen humor comic, Vicki.....



It was a reprint of Tower Comics old Archie knockoff, Tippy Teen....



In a period of about a year, Atlas/Seaboard published 23 comics and 5 magazines.

They almost got The Savage Empire, from Mike Grell. He was taking his unsold fantasy newspaper strip there, when Carmine Infantino found out and then offered to publish it at DC, where it became The Warlord, one of DC's best-selling titles, in the 70s (in terms of sell-through, meaning copies sold as a percentage of total copies printed...Superman had more copies printed, but sold a lower percentage of them)

I was just hitting some highlights; not a Hulk fan, so not a Brute fan, by extension.  I covered the whole line in my independents thread, The Other Guys, fairly early on in the thread.  The only one I saw new, in the wild, was Phoenix...The Protector #4, with the revamp.  Had never seen any of the previous 3 issues, from Rovin and Amendola or any other Atlas comic.

When I started college, I discovered a local comic shop, and they had several Atlas titles.  I had picked up Jeff Rovin's Encyclopedia of Super Heroes, at a Waldenbooks, and he covered all of the super hero characters, in detail, plus several covers were displayed, in the color sections.  I picked up The Scorpion and The Destructor, while I was in college.  Later, after I went to my first duty assignment, I discovered that a local shop had a good chunk of their line and just started buying up most of the color comics, for the hell of it.  I was also trying to assemble all of Archie's Red Circle/Archie Superhero line, from the 80s (and succeeded, after I found the THUNDER Agents issues they did, in conjunction with Joe Carbonaro).  I later got a digital collection of everything but Vicki and Gothic Romances (the rarest publication of the company, from their magazine line).  I saw, but never purchased, one issue of Thrilling Adventures, in a shop.  I have since acquired digital files of everything, including Vicki and Gothic Romances.  Movie Monsters is almost a page-by-page swipe of Famous Monsters.

The western and war comic stuff they did were pretty good, the police/detective stuff was fine, for what it was.  They were trying for Dirty Harry and The Executioner, but couldn't go too far, because of the Code.

The big names were mostly there for the first issue or two of a comic, before walking away.  You do get some art from younger guys, like Larry Hama and Pat Broderick, who would get higher profile gigs, at Marvel, while the bulk were guys who had been working for DC and Marvel, with Wally Wood and Neal Adams being the biggest names, along with Ditko, who stayed the longest.

I wouldn't have minded more from Chaykin, on the Scorpion and Rovin's Phoenix was interesting, if over-written.  By the 4th issue revamp, he was unrecognizable, though I wouldn't have minded another few issues of the revamp premise, to see if they could do anything with it.  When I saw that issue, as a kid, I though it was pretty cool; but, I hadn't seen a lot of Green Lantern, at that point and knew nothing of The Lesman Saga.  It was one of the first ones I picked up, as an adult, out of nostalgia, then got the first 3.  The Rovin stuff was far more interesting, but also far more melo-dramatic.  Rovin needed to settle down a bit and focus on story and not style, so much.  He had a pretty high opinion of his own work, in his encyclopedia entry for the series, which I found rather comical.

Most of the straight superhero stuff was pretty generic and forgettable.  The monster stuff was pretty derivative, too.  A few titles had interesting hooks, while the original talent was on them.

The only book I remember getting back in the day was the first issue of Phoenix. Over the last 5 years , I've picked up most of their superhero line. 

I’m not surprised at the roster of talent. They were paying much more than the big two. It also appears that the major companies didn’t hold much of a grudge afterwards, the artists were given work.

Most of the Atlas titles were mediocre, and the 'name' creators only did brief appearances.  They had other problems as well ... they overextended, and Marvel (more than DC) started blitzing the newsstands with reprint titles, partially to crowd out Atlas.

At one point I owned 80-90% of their titles (for some reason I never came across their b&w magazines), I think all I've kept are the Chaykin issues of Scorpion and a couple with short Toth strips.