There’s a lot of great art this issue… but it seems like Goodwin was getting worn out. There really aren’t any stories with any bite–even the WWII one with the marine taking gold teeth from every corpse he finds.
The opening story, credited to Joe Orlando but apparently pencilled by Jerry Grandenetti, is an indistinct monotony of war story. All of the faces look identical (Orlando did ink it, so maybe he is responsible after all). Goodwin relies a lot on action sequences this issue. Almost all the stories have lots of them.
Alex Toth’s story, set in what appears to be a post-apocalyptic Russia (but it could be anywhere, the Russia thing is just a guess), is probably the weakest. Toth’s art doesn’t go well with the story of a survivor who goes crazy when he encounters others.
The Wally Wood (maybe Dan Adkins pencilled) is best.
Special Forces; writer, Archie Goodwin; penciller, Jerry Grandenetti; inker, Joe Orlando. Foragers; writer, Goodwin; artist, Reed Crandall; letterer, Ben Oda. U-Boat; writer, Goodwin; artist, Gene Colan; letterer, Oda. Survival; writers, Alex Toth and Goodwin; artist and letterer, Toth. The Battle of Britain; writer and inker, Wally Wood; penciller, Dan Adkins; letterer, Oda. Water Hole; writer, Goodwin; artist, Gray Morrow; letterer, Oda. Souvenirs; writer, Goodwin; artist, John Severin; letterer, Oda. Editor, Archie Goodwin; publisher, Warren.