BLACK 'N' WHITE AND RED ALL OVER

POST # 42 - THE MUMMY STALKS!

2011-04-26T09:59:00.000-05:00

Recently I was talking about artist Reed Crandall and how many werewolf stories he had done over the years. Searching through my database I happened to come across this classic tale by Crandall that features another character from the horror pantheon, that being mummy dearest.

I realize I showcased Reed Crandall in just the past week or so, but I didn't think you'd mind seeing more from him. I believe that you just can't go wrong with a well done work by a master like Crandall.

This time, the duo of writer Archie Goodwin ( here joined by another artistic master Roy Krenkel, who probably provided the plot) and artist Reed Crandall draw our focus to the scene of some unexplained murders occuring in the shadowed halls of a dark and musty London museum, where one of Scotland Yard's best detectives is brought in to try and solve the mystery before the deranged culprit adds to the growing body count. He'd better be quick about it, because every time they turn around they stumble across another mangled victim.

Wait! Did you hear something? It sounds like some kind of muffled but deliberate footsteps, not unlike a shambling walking corpse, and they're getting closer and closer! For God's sake, stay alert! Your heart pounds faster, the sweat begins to bead upon your forehead, and the hair on the back of your neck stands up while you begin to shiver involuntarily, all the while you wonder where the maniac will strike next! Stay out of the shadows, and get ready, as...

THE MUMMY STALKS!

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Ha! Fooled you! Did I neglect to tell you that Mummy was a werewolf?

Must have slipped my mind...terribly sorry, old chap!

Seems it turns out this was another of those famous Reed Crandall werewolf tales after all!

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(originally published in EERIE # 5, 1966)

POST # 41 - THE DAY AFTER DOOMSDAY!

2011-04-23T00:18:00.002-05:00

Some of my favorite art from the Warren horror line was created by today's artist, Dan Adkins.

While he did perhaps a mere half dozen stories and a handful of covers for Warren, the work he did still holds ups against the finest offered from Warren's ranks. And yes, it's true he began his comics career by working in the Wally Wood studios, and that his artwork is often examined in the light that is prominently overshadowed by Wood, even though several works credited to Wood during this period were done in large part or even entirely by Adkins.

The fact remains that Adkins is a fine artist, painter, penciller, and inker, and his work deserves to stand on it's own merits, and today's story is certainly no exception. From EERIE # 8, 1967, THE DAY AFTER DOOMSDAY was created at the beginning of his career in comics and highlights Adkins' finesse with fine lines while it showcases his skills for solid forms and shadows. Where other artists work in a loose and carefree fashion, Adkins invariably brings a completeness and a level of detail beyond most of his contemporaries that is unavoidably reader-friendly and instantly enjoyable to the eye.

Imagine yourself awaking to discover that a devastating war has taken place, and you have somehow miraculously survived. Now imagine the horror and burden of lonliness you feel as you claw your way through the endless rubble and begin to search through the smouldering ruins for other survivors. Finally, as you fight for your life, imagine your complete and utter despair when you realize what lies waiting for you...

THE DAY AFTER DOOMSDAY!

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Art by Dan Adkins / Story by Archie Goodwin

Originally published in EERIE # 8, 1967

Click here to read a fascinating interview with Dan Adkins.

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Now that you've seen what happens on the day after doomsday,

click here to find out what happens on THE DAY BEFORE DOOMSDAY,

as well as on DOOMSDAY itself!

POST # 40 - THE WEREWOLF LEGEND (Original Artwork)

2011-04-17T11:30:00.000-05:00

Today's feature is a story that was the collective creation of Harry Harrison, Wallace Wood, and Gardner Fox.

THE WEREWOLF LEGEND originally appeared in what was a new title for EC Comics, THE VAULT OF HORROR. It's first issue (chronologically numbered #12) hit the news-stands as the April-May 1950 issue, simultaneously with another experimental first issue title, THE CRYPT OF TERROR (chronologically labelled #17), which would by it's fourth issue be renamed as the more familiar TALES FROM THE CRYPT. In another month a third horror title would be released, THE HAUNT OF FEAR, which provided EC with it's own trinity of terror that would catapult them to the forefront of the rising horror comics wave that was soon to sweep the nation, and ultimately would virtually cause the downfall of the entire industry.

What is today known as "pre-code horror" comics was basically still in it's infancy at this moment in time, and over the next six years (1950-55) the artwork and stories would evolve (or devolve, as the case may be) into some of the goriest, grisliest, and most violently graphic comics ever to see publication.

EC Comics was just testing the waters at this point, and had no idea how popular their horror comics would soon become, and by all respects, THE WEREWOLF LEGEND is fairly tame in comparison to the works that would soon follow.

I've already featured the amazing and legendary Wallace Wood here several times, so I will not be repeating myself in any great detail for this post. Let us rather look at Harry Harrison. Readers of science fiction may be familiar with his name, as he is currently a well respected writer whose many works include the novels The Stainless Steel Rat (and it's subsequent sequels), and Make Room! Make Room! (which eventually became more well known as the film Soylent Green). Not only a gifted creative writer, Harrison was better known in the late 40's and the 50's as a fairly talented artist. His work in retrospect tends to be overshadowed by contributions of his then-time collaborator Wood, who is now regarded as one of the greatest comic artists of all time. This is a shame, because Harrison is a talented artist in his own right.

In 1948 both artists met and formed a partnership, doing art for both Fox and Avon Comics before they found their way to the EC staff in 1949, and were both developing their skills even further, both seperately and as partners, when EC launched their popular 'New Trend' comics line in 1950. The pair (and Harrison in particular) are directly responsible for talking EC publisher William M. Gaines into producing it's science fiction comics, WEIRD SCIENCE and WEIRD FANTASY.

Gardner Fox is another well-known name in the comic book industry, having been a writer since the 1930's. His prolific creative work is too great to mention here in depth, though he is perhaps best remembered at this time for being largely responsible for revamping the superhero genre for DC Comics in the 60's, being the creative force behind the Justice League Of America, The Flash, The Atom, and on and on. From 1947-50 Fox was the head writer for EC Comics, and that, my friends, brings us to today's story.

Imagine how you would feel if you suddenly found yourself cursed with dreadful affliction that compelled you to prowl the moonlit countryside, hunting for prey, thirsting for warm blood? Would you be able to embrace the horror, would you succumb to the agonizing suffering, or would you futilely fight the growing persistant urges to massacre your victims night after moonlit night? What would you do when you stared into the mirror and found yourself face to face with...

THE WEREWOLF LEGEND

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Well, there you have it!

HOOOWWWLLL you ever manage to get to sleep tonight, I just don't know!

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For much more fascinating and firsthand knowledge of Harry Harrison,

you can find his personal website by clicking right here!

POST # 39 - HARVEY KURTZMAN's "POT-SHOT PETE" (Original Art) and MORE...

2011-04-07T05:55:00.004-05:00

In the world of comic books and humor there are few names that can cause such awe
and inspiration as the legendary name of Harvey Kurtzman.

For decades, aspiring artists, writers, animators, and humorists have bowed before his work in reverent study to glean inspiration, seek illumination, and generate stimulation. Kurtzman possessed a rare genius of wit and creativity that have provided innumerable moments of imaginative entertainment for more than half a century. Even if you have never heard of the man, you have likely been influenced in some way by his far-reaching creations, the most well-known brainchild being one MAD Magazine. While acolytes of William M. Gaines and Al Feldstein may debate who conceived the original idea, there can be no doubt who was the original driving creative force behind the influential humor publication.

While he is just as revered for his ground-breaking war and adventure comics, as well as his innovative story-telling techniques, it is the culture warping humor of the zany MAD that will ultimately be Kurtzman's legacy. Prior to MAD's inaugural issue in October 1952, Harvey Kurtzman had been honing his craft with his hilarious HEY LOOK! series of one-page gag cartoons published in various Timely/Atlas/Marvel comics since 1946. From there he joined the young and talented staff at EC Comics who would soon change the face of American comics, where he initially contributed dozens of stories for their science fiction and horror lines, but would later discover his niche as the editor, writer, and artist for EC's war and adventure comics TWO-FISTED TALES and FRONTLINE COMBAT.

It was during this period when Kurtzman also conceived of the character of POT-SHOT PETE, a sheriff whose charmingly amusing adventures were published first by DC in 1950 as one page gags, and later that year by TOBY in JOHN WAYNE ADVENTURE COMICS, debuting in issue #5 with the 5 page story, POT-SHOT PETE vs. TWO-GUN ZILCH (which was later reprinted in MAD #15 and #18, both in 1954, under the title of "POT-SHOT PETE Sheriff Of Yucca-Pucca Gulch"). The delightful and amusing story is a playful mixture of Kurtzman's HEY LOOK style and his later MAD satirical story-telling.

(You can find more about Harvey Kurtzman and his stories and art on another blog of mine here, here, and here.)

Here now for your pleasure I present Harvey Kurtzman's original artwork for...

POT-SHOT PETE vs. TWO GUN ZILCH

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A Harvey Kurtzman bonus:

If you enjoyed the previous story, you'll also dig these...

Original artwork for Kurtzman's HEY LOOK!, circa 1950

Original art for a Kurtzman one-page gag story, "GENIUS",

published in JOHN WAYNE ADVENTURE COMICS #12, circa 1951-52

Original art for an unpublished Kurtzman gag page, circa 1950,

later reworked in MAD as a "Movie Scenes We'd Like To See" bit

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POST # 38 - CURSE OF THE FULL MOON!

2011-03-30T02:07:00.002-05:00

As I now reestablish tentatively from my self-induced exile and commence posting on my blogs once more, I will attempt to initiate re-entry here with a minimum of blathering and effluvium.

That means that today's post will feature 50% less chattering,

so you can rightly focus 100% on the wonderful artwork's that are mattering.

Urg...terrible word play, but that's what happens when I bite my tongue.

Also, I bleed alot.

Reed Crandall (1917-1982) was an amazing artist and illustrator who brought a quality of professionalism to his work that tended to transcend the comic page. Even though he was said to be extremely humble and almost self-critical of his own work, his peers and fans universally esteemed him to be a master craftsman, and rightly so. His artwork in comics projected a sense of his illustrative skill for detail that could put technical draftsmen to shame. His artwork was basically almost too good to be in a comic book, but there it was, drawing in the reader with every delicate brush stroke.

He received critical fame from the onset of his career in comics, from the early 40's when he brought his talents to heroes such as BLACKHAWK and many others, continuing into the 50's when he was a gargantua among gargantuas in the renowned EC Comics stable (heavyweights all), again into the 60's when he lent his pen and brush to masterpieces such as today's post by contributing to Warren's classic horror line, and right on up through the early 70's. Toward the end of his comics career it was known that health issues as well as alcohol played a role in hastening his downfall, but in 1965 when he drew "CURSE OF THE FULL MOON!" he was still quite able to bring the magic he was known for.

I'm not sure how many werewolf stories Mr. Crandall drew over the course of his life, but there have been an unusually high amount. That is probably because he was so incredibly skilled at it. There were several done for the Warren books alone. This horrifying lycanthropic chronicle was originally published in CREEPY #4 in 1965.

Don't you hate when the carriage you're riding in is attacked by a wolf and your driver gets killed? Whenever that happens to me, I just know it's going to be a long, rough night. Well, sure enough, that's just what happens in this classic tale, too, deftly written by Archie Goodwin.

I now cease my gurgling verbage and present for your enjoyment,

"CURSE OF THE FULL MOON!"

(Remember, click images to enlarge)

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That was good nasty fun, eh?

In case this happens to me, I always wear my wolf-whistle!

If you want to see another masterful werewolf tale by Reed Crandall, this time in color, click right here!

Go on, I dare ya!

SPECIAL ANNOUNCEMENT - "ABE AND THE ALIEN" PRINTS NOW ON SALE!

2011-03-12T00:30:00.001-06:00

Hi gang!

Thanks for being patient!

I'll be back up and running here licketty split, just keep checkin' in daily!

I must interupt my blog momentarily for an exciting announcement!

I've just been busy working on a few projects,

one of which is preparing for the sale of my original artwork poster prints!

The 1st prints I'm offering is a two (2) print set containing my original artwork that was published on the cover of SLAM BANG #3, (Fan-Atic Press). These print sets are limited to only 250, and when they're gone, they're gone! So don't miss out! Offered for the initial low bargain price of $29.95 per set, you will receive 2 beautiful high-quality prints on heavy stock, suitable for framing and/or lining the birdcage!

You will receive one large 11" x 17" full color cover reproduction art and one smaller 8" x 10" sized faux photo-look B&W print. These are unique, rare, and hilarious, and you can only buy them from me (the artist) exclusively! Created originally for SLAM BANG's issue devoted to "Mostly True Stories", they depict the slightly skewed reality of our 16th president's final evening, as he is stalked by a most unlikely assassin!

To order your set, click here or on the image above, or contact me at

theapocolyte@hotmail.com

THANK YOU!

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Please stay tuned for more amazing Black and White artwork in the next few days!

POST # 37 - THUN'DA plus FRANK FRAZETTA INTERVIEW

2011-01-24T22:37:00.007-06:00

In Memoriam

Frank Frazetta

(2/9/28 - 5/10/10)

This is my first opportunity to post a tribute to legendary Frank Frazetta, who passed from our midst over 8 months ago. His name is recognized the world over as one of greatest fantasy artists of the last generation, yet even to say that pays him a disservice. He was more than that, as his body of work stretches well beyond fantasy and science fiction. To comic book artists, he was the ultimate comic artist; to painters and cover illustrators his work has been regarded as the epitome of the genre for decades. He has done work ranging from comic strips (ghosting for Al Capp on Li'l Abner, Johnny Comet, etc.), to westerns, to funny animals, to horror and science fiction, to animated film design, movie and fantasy posters (if you owned at least one Frazetta poster in your life, raise your hand with me), and his name will be forever linked to Edgar Rice Burroughs and Robert E. Howard as the cover artist who brought new life to the pulp characters they created in 1912 (Tarzan) and 1932 (Conan) respectively. Modern enthusiasts will remember his invaluable contributions to the Warren magazine line in the 60's. To most of you, a history lesson isn't really needed. But, for those who know little about him, here today you will find much to enlighten you. Not in my words, but in Frank's own words.

There's much we can learn from the master of illustration. Some information here is taken from FRAZETTA #1, a black and white volume produced and published by Frazetta himself in 1969, as his fame and fortune were still rising. Included here is also a biography from 1975, written by Frank himself, telling us what he thought were important accomplishments in his life up to that point, telling us himself the things he thought were important for us to know about him.

Also here from The FRAZETTA Treasury (1975) is a rare interview with Frank and his wife Ellie Frazetta, who was also his business manager and contributed greatly to his success. Sadly, she passed away in 2009, a year before Frank.

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[APOCOLYTIC ADDENDUM-
As readers Rick Tucker and Mr. Door Tree have pointed out to me, there is apparently major controversy surrounding the authenticity of the information contained in the volume THE FRAZETTA TREASURY...until today I had never heard of this. Since it was published and then purchased by myself I have always believed it was an authentic Frazetta volume, published with the full authority and under the supervision of Frazetta. Allegedly this may not be the case. As I mention in my comments below, it is still hard for me to accept, since it reads like a real interview and 99.9% seems verifiably accurate!
Still, I cannot ignore Rick Tuckers assertion, as well as Mr. Door Tree's comments on my other blog. I know that Mr. Door Tree has extensive knowledge in this area, and when he weighs in, I therefore have to consider it as accurate.
Thank you, Rick Tucker and Mr. Door Tree.
The rest of you can read it and comment below with your opinion or any information that may shed more light on this controversy.
Thank you all.
- THE APOCOLYTE Speaks]

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So much has been said before, so many books have been written about him, and other blogs paying tribute to the man are impossible to count. As an artist myself, one cannot help but be influenced by his genius.

So I'll keep it short and let the man speak to you himself, through his words and his artwork.

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(Thun'da was a creation of Frank Frazetta, published by Magazine Enterprises in 1952.

Here is his origin from Thun'da #1.)

THUN'DA!

(click images to enlarge)

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As I leave you for now, I want you to look at the 1st panel of Thun'da page 10 (last page) done in 1952, and now go back and look at the photo of Frank painting Conan facing the giant snake (photo taken in 1967).

Frazetta certainly knew how to create compelling and thoughtfully designed imagery, and where the giant snake looked fantastic in '52, he recycled and further refined the imagery 15 years later and it became the basis for Lancer paperbacks classic and stunning CONAN THE USURPER cover art.

There is so much Frank Frazetta contributed to us that I will assuredly be sharing more of his genius with you in days and months to come. In the next day or two, on my other blog, I will be posting little known information about Frank Frazetta's first published oil painting (click here), and trying to set GCD's record straight. Stay tuned!

KREEE - GAAHH!!

2011-01-24T02:20:00.001-06:00

Just when I thought things couldn't get any worse!

After being sabotaged by hackers, after months of exile beyond my control, I finally managed to get a new computer up and running, to return to the online world of comics, art, and blogging, I returned only to discover that one of the greatest comic blogs ever, TEN CENT DREAMS just shut down within hours of my return. Created and managed by comic expert, writer, artist and film-maker Lysdexicuss (aka Jamie Wilson), TEN CENT DREAMS was a haven for wonderful comic book stories and art from the early Golden Age through the Silver Age and sometimes beyond. I know and you know that there are plenty of comic blogs around, but only a handful that were/are as entertaining and fun to visit. A prolific talent, Jamie has several projects to occupy his time right now, and at present can no longer maintain TEN CENT DREAMS.

I know that I speak for many who have spent hours and hours enjoying what he had created for us all, and for all of us who are going to miss his one-of-a-kind blog, I can only offer this plaintive cry of

"KREEE-GAAHH!!"

It is a cry of sorrow, and of hope, that one day he will return.

Thanks for the memories, Lysdexicuss.

If I may be so bold as to speak for your many fans, we wish you success on whatever you do. Godspeed.

An era has passed, and we are better for what you contributed to us all.

As of this writing, you can still find the genius of Jamie's artwork and writing on his other blogs,

http://hungrycomix.blogspot.com/

and

http://klownrebellion.blogspot.com/

Please take the time to drop by and check them out,

and tell him THE APOCOLYTE sent ya..

RETURN OF THE APOCOLYTE!

2011-01-22T22:55:00.005-06:00

Hello, fans of great art!

The Apocolyte has returned.

More great black and white comic stories coming soon.

First, a brief message.

For anyone who cares, I didn't forget about you or abandon you, but the truth is I was the victim of cyber terrorism which destroyed my computer and has played havoc with my personal life as well as my income for the past several months. That is why I haven't been able to post anything for nearly a year.

To anyone who fancies themselves a computer hacker, go get a real job and stop destroying peoples work. The fact is I have a family and an elderly father who depend on me to take care of them, and when you attack my computer and my personal work, you are attacking and hurting not only me, but several people who depend on me. Life is hard enough nowadays.

Not only did these cyber-schmucks ruin my life for the past year, but they prevented all of you wonderful folks from enjoying the posts I had prepared. For that alone, I am angry at these spoiled cyber-creeps. So, you break-a my computer, I break-a you face! Go find a real hobby instead of destroying what someone else created...

Well, I'm back, and starting from scratch once again. Please be patient as I begin to re-scan all my stories and then soon enough I'll be posting with regularity.

Though I had never intended to do so, I will be setting up a PayPal link here and on my other blogs so that anyone who wishes to may offer donations, and I again say that I must do so as a real neccesity at this point. If you enjoy this blog, or any of my other blogs, please consider a gift of any size if you are able. I thank you for considering this, and I and my family thank you for your viewership and support. The link is on the right just above the Followers - Please click on the PayPal / Donate button (you don't need a PayPal account). I am grateful for any amount you can manage. Thank you again.

Please stay tuned for much more to come.

Thank you!

To commission original artwork of any type, email me at theapocolyte@hotmail.com

POST # 36 - TO KILL A GOD!

2010-04-05T02:32:00.002-05:00

We have here a lovely work by Wallace Wood that should leave no confusion over who did what. According to one-time Wood assistant Nick Cuti, the work here is all Wood.

The story is entitled "To Kill A God!", and first appeared in Warren's VAMPIRELLA #12, 1971. My scans are taken from Pacific Comics limited series WORLD OF WOOD , issue number 4, 1986, which would probably explain why the story is hosted by Wood's 'Snorky' creation, and not one of Warren's horror hosts. Included here is a wonderful glimpse into the inside world of being Wood's art assistant, written by Nicola Cuti, that was featured on the inside cover to the issue. Reading those paragraphs should alleviate any doubt as to who drew what. According to Mr. Cuti, this story was all Wood's baby, done in part in order to prove to suspicious fans (who had come to believe that Wood was relying on his art assistants too much) that he, in fact, was capable at any time of creating the breath-taking works that we had all become familiar with in the past, with no outside help whatsoever. So, for everyone who wondered and speculated on the authorship of the last Wood story posted here, lay your doubts at the door, come on in and just enjoy one of the finer works done by the incredible Wallace Wood during this time period.

(I probably need to point out that World Of Wood #4 presented the story in sepia tone, and for this blog that art was converted to black and white...this blog is, after all, not called "SEPIA 'N' WHITE AND RED ALL OVER". Wheteher or not that has caused the slight blurry quality that is present, or not, I cannot say, nevertheless, the scans are not as crisp as I would usually expect. Still, the mastery of Mr. Wood is evident. I hope you will enjoy it as much as I do.)

On a final note, while according to most records Wood not only wrote the story and most likely lettered it as well, the often imperfect notations of the GCD has listed Gerry Boudreau as the writer here, yet I have no evidence to corroborate this as true. Therefore, while confusion may still occur here in regards to the writer, the art is entirely attributed to Wally Wood, no ifs, ands, or buts.

Walk softly with me, as together we will try...

"TO KILL A GOD!"

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POST # 35 - JEWELS OF GWAHLUR!

2010-03-29T04:42:00.005-05:00

Many of you have no doubt heard the sad news
that Dick Giordano has passed away.

As a comics fan growing up in the Silver Age, I recall seeing his name on nearly every DC comic I ever brought home from the drugstore (they didn't have comic shops back then). My favorite comics featuring Mr. Giordano would have to be ones that had him working with Neal Adams, as I thought his inks over Adams pencils seemed to be a perfect fit.

Dick Giordano, besides being one of DC comics best and most popular inkers, was clearly also a wonderful and talented penciller as well. You can look up his name at the usual places on the web, and find out more about Dick Giordano and his long and respected career as artist and editor, as I am unable to delve too deep into his history at the moment. Suffice to say, the man did excellent work over the many years he spent working in the comics industry. It is my honor to post for you a story he pencilled and inked, for Marvel comics Savage Sword Of Conan # 25, in 1977. It was adapted from Robert E. Howard's work, by Roy Thomas. You may agree with me that he does an outstanding job, his version of Conan being able to stand shoulder to shoulder alongside the likes of those by John Buscema, Barry Windsor-Smith, Neal Adams, and Gil Kane. That says alot for the man's talent. It is a shame he didn't get to do more like this.

I want to offer my heartfelt condolences to his family and friends, and to say thank you, Mr. Giordano, for all you have contributed to comics that has entertained and captivated our imaginations all these years.

IN MEMORIAM:

Dick Giordano

(7/20/1932 - 3/27/2010)

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Here is a link to Mark Evanier's POV ONLINE
where he has more regarding Dick Giordano.

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Plenty of wonderful art found on Dick Giordano's own site.

http://www.dickgiordano.com/

POST # 34 - CREEPS

2010-03-13T22:30:00.004-06:00

[ Apocolytic Addendum - "Some of the information listed in this post has been revealed to be incorrect, mainly the credits for pencils and inks were transposed.
The correct credit should read Pencils: Wally Wood. Inks: John Severin. Please see comment section for the full story." ]
- The Apocolyte speaks.

Here we have a fascinating exhibit of two legendary EC Comics artists with widely divergent styles coming together in a once-in-a-lifetime mixture -- John Severin pencils and Wally Wood inks!

I have stated on previous posts how much I respect each of these talented artists. I'm limiting my commentary to say only that this is possibly the only instance where Wally Wood inks do NOT overpower the pencils! Now, let me clarify, when I say overpower, I don't mean destroy, of course, I mean dominate the artwork in the sense that, many times Wally Wood inks over another artists pencils results in art that looks like Wood alone. That isn't always the case, nor is it necessarily a bad thing! For instance, Wood inks on Bob Oskner was to me a joyous blending of styles. So was Wood inks over Gil Kane pencils. Both artists shined through and the individual talents unique to each formed a synergy that was the best of both worlds.

Is that the case here? You tell me.

In the end, the result is astonishing, and the art is excellent. While I love the strange hybrid art that these masters created here, the truth is that the marriage of styles was ultimately not in the best interest for either artist. The only other penciller Wood inked where I can recall two amazing artists that didn't blend as expected was perhaps when Woody inked Syd Shores in Marvel's RED WOLF. Check it out sometime and see what you think ( I still love it). Personally, I would loved to have seen more from this unlikely team.

This is classic CREEPY, from issue # 91, 1976. Written by Archie Goodwin, this story remains an intriguing study of a collaboration of giants.

CREEPS!

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Alright, friends!

Do you like black and white horror comics?

Sure you do!

I have been busy as usual, and haven't had the time to tell you about

my good buddy Mykal Banta's latest blog

THE BLOODY PULP

which focuses on some of the

grisliest, goriest, and grittiest black and white horror mags

ever produced, Myron Fass' EERIE Publications of the 70's!

If you haven't already done so, go drop on by,

and tell Mykal that The Apocolyte sent you!

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POST # 33 - IN THE DAYS OF THE MOB

2010-03-07T19:36:00.001-06:00

Sometimes it pays to have friends!

Regular readers of my blogs know I am not the most regular or punctual of bloggers...I never seem to find enough time to keep all seventeen of my blogs organized and on schedule. Yet.

That is why I am grateful to my fellow comic blogger LYSDEXICUSS, creator and author of TEN CENT DREAMS as well as his new personal art showcase HUNGRY COMIX.

Today's post comes courtesy of Lysdexicuss, and it is a stunning example of black and white stories by none other than the king himself, Jack Kirby, aided ably by inker Vince Colletta.

I have little need to explain who either artist is to you, my knowledgable readers. I don't need to share that Kirby was born on August 28th, 1917, that his real name is Jacob Kurtzberg, and that he grew up on Suffolk Street in Manhattan's Lower East Side. That he grew up reading classic adventure stories by H.G. Wells and Edgar Rice Burroughs, as well as pulp magazines, is probably common knowledge. Kirby had no formal art education in his youth, but he almost did. After enrolling in Pratt Institute and attending one day of class, young Jack came home to find his father had lost his job. No more Pratt Institute for him. The next day he was out selling newspapers to help support his family.

It was in this depression era that young Jack became part of a local boy's club, the Boy's Brotherhood Republic, or BBR for short (this may explain his fondness for drawing comics like the Boy Commandos, Boys Ranch, and the Boy Explorers later in his career). It was there that he began what is one of the most amazing careers any comic artist has ever experienced, as from 1933 to 1935 he drew his first feature, Kurtzberg's Konceptions, printed as a mimeographed newsletter that sold for a penny apiece. In 1935 he started working for Max Fleischer Studios, doing work as an 'in-betweener' for animators (filling in poses in between the other artist's poses). In 1937 he drew his first daily comic strip, The Lone Rider, and soon after began working for the Eisner-Iger studios.

In the early 1940's, Jack met future partner Joe Simon, whose collaboration would produce, among other things, their most famous creation, Captain America. Later, it was his collaboration with Stan Lee at Marvel Comics that would earn Kirby the nickname of "The King", as his powerful and dynamic style set the tone for just about every comic book to come after that point, ushering in the revolution known as the Marvel Age Of Comics in the 60's.

Vince Colletta's name has become a polarizing force in recent days, and I don't desire to add any more fuel to that controversy, other than to say that I feel some of his best work, aside from the romance comics that he is heavily identified with, is when he was inking Kirby. Many fine artists worked as inkers for Kirby in the 60's, and in my mind Colletta was one of them, his work on The Mighty Thor remains a much beloved example to many fans. The story posted here is another wonderful example of his skills as an inker.

(for more of my thoughts on V.C., you can check out my comments on Jacque Nodell's SEQUENTIAL CRUSH, here.)

Aside from a short story intermission (written by Mark Evanier and Steve Sherman), all of these stories were written and edited by Kirby, and published in 1971 under DC Comics Hampshire Distribution banner (the only comic published that way). I now present to you, courtesy of Lysdexicuss, a beautiful example of Kirby's art in a rare black and white format. I hope you will enjoy...

IN THE DAYS OF THE MOB!

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An extra bonus, here are two pages of gangster cartoons that also appeared in this issue, as drawn by the incomparable

Sergio Aragones.

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POST # 32 - MUCKEY SPLEEN'S THE BLOODY DRIP

2010-03-03T06:48:00.000-06:00

I am back from the dead to bring you a humorous diversion by one of the greatest artist/cartoonists to ever put brush to paper.

Walt Kelly, the creator of POGO, is beloved by many. He happens to be one of my favorite artists, and is certainly a major influence on anyone who has ever attempted to draw a comic strip since the 50's.

As stated on one of my other blogs, Kelly's amazing and whimsical humor seems to flow directly out of his imagination right onto the page in a spontaneous stream of humorous thought, in a manner that few can hope to emulate.

Here, in a story taken from UNCLE POGO'S SO-SO STORIES, 1953, Kelly lambasts author Mickey Spillane and his famous creation, hard-boiled private detective Mike Hammer. As a child reading these, I had no idea who either of those names were, and it didn't make much difference to me. I laughed and found it quite funny regardless of my ignorance of the subject matter. As an adult with a bit more understanding, it is even funnier.

I hope you enjoy it as much as I do.

here is...

MUCKEY SPLEEN'S 'THE BLOODY DRIP'!

POST # 31 - HORRIBLE HARVEY'S HOUSE

2010-02-17T08:01:00.000-06:00

One of my favorite artists is Richard Corben. His black and white style can vary depending on the medium or his mood, but always there is an underlying cinematic realism. His figures always have a light source and a shadow, giving them a 3D effect that is singularly his own.

Corben recieved his BFA from Kansas City Art Institute in 1962, when he also began working as an animator, artist, and cameraman for Calvin Productions in Kansas City. He carries his animation skills with him into his comic book stories, which play out more like little films than traditional comic stories. In the 70's Corben broke into the public eye through his underground comic work as well as stories done for Warren's black and white horror magazines.

This story is a favorite of mine that clearly illustrates his mastery of sequential and cinematic story-telling.

It first appeared in the underground SKULL COMICS #3, in 1971. My scans are from the hard-bound collection, Richard Corben's Funny Book, published in 1976. This story also appeared minus the first 3 pages under the title "The Haunted House".

This story is...rated R for nudity.

HORRIBLE HARVEY'S HOUSE!

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Here's an extra bonus , Corben fans!

"Monsters Rule" Part 4

One-page Story Original Art (1968). Corben's very first published storyline was a continuing saga called "Monsters Rule", which first saw print in Rudy Franke's Voice of Comicdom fanzine. This, the fourth installment, appeared in VOC #14, from December, 1968. While there would be considerable refinements made to his later, highly polished work, a lot of classic Corben elements were evident at this early point of his career.

( I unfortunately do not have copies of parts 1-3.)

POST # 30 - HE WALKED AMONG US (original art)

2010-02-13T06:14:00.000-06:00

As I was reviewing the artwork for today's post, I knew I couldn't hold back any longer.

I had to post it .

You'll see why.

This original artwork is from a classic story originally published in EC comics WEIRD SCIENCE # 13, 1952, written by Al Feldstein and lifted into the heights of near perfection by the pen and brush of Wally Wood. The black and white original art allows us to see in greater definition the incredible details Wood lavished upon every panel..please, do not rush through this one, you'll regret it. Even if you've read it before (and most of us have), take your time and enjoy.

It's one of Wood's best.

When you're done, follow the link to APOCOLYTE'S WORLD OF COMICS for the story in color!

Ready? Here we go!

HE WALKED AMONG US!

click here to see this story in color!

POST # 29 - THE DEBT

2010-02-10T01:12:00.000-06:00

Hello, friends!

Where does the time go?

I have been neglecting you, haven't I?

Well, please accept this original art from Jack Davis, originally printed in EC Comics IMPACT # 3, 1955.

A story from their 'New Direction' line of Comics Code approved tales with an "Impact", which appear to be Shock Suspenstories with less blood. This one was written by Carl Wessler.

(For the published color version, click here to go see
THE BLOG AT THE END OF TIME!)

Jack Davis is a legend. I don't think you need me to tell you who he is, and I'm in a bit of a rush, so I'll skip the usual insights and let you enjoy...

THE DEBT!

POST # 28 - HOWLING SUCCESS

2010-02-04T20:08:00.000-06:00

Have you heard the latest? Werewolves are IN this year!

That's good news for horror fans, and I have soooo many wonderful werewolf tales to share with you...

Like this terror-iffic tale by Archie Goodwin and Angelo Torres, from CREEPY # 3, 1965.

What would you do if you ran into a werewolf on a dark street?

Would you try to negotiate, like Joe Schneider?

Would it be useless, or would it be a...

HOWLING SUCCESS!

POST # 27 - SPAWN OF THE CAT PEOPLE

2010-02-03T07:05:00.000-06:00

Here's another beauty from the pages of CREEPY. Issue number 2, to be exact. 1965.

Archie Goodwin wrote it, and Reed Crandall exqisitely illustrated it, with the cinematic genius that hides beneath his perfectly rendered forms. As always, Crandall's gorgeous work is a joy and a wonder to behold.

Following the story is an ad that also appeared in CREEPY #2, drawn by the amazing Jack Davis. It depicts a scene from the story, and was more than likely originally a proposed cover design for issue 2 (Davis created the now famous cover artwork for CREEPY #1, and this cat-people design did make it onto the cover of 1965's EERIE #1 - ashcan edition). It appears Warren decided to bump Davis's cover image, and instead started printing covers by a blossoming artist named Frank Frazetta. The rest, as you know, is history.

Now, grab yourself an extra-large scooper for the kitty litter box, here comes the

SPAWN OF THE CAT-PEOPLE!

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Ad from CREEPY #2. Art by Jack Davis.

Cover for EERIE #1 ashcan edition.

POST # 26 - SAM'S SON AND DELILAH

2010-01-29T19:25:00.000-06:00

This is the story of Bubber.

You heard me. No, It's not the story of Rubber.

Bubber is the son of Sam. No, not the mass murderer. He's Sam's son, the deaf kid with amazing strength and skill. Skill that Sam uses for his own purposes.

When I first read this story in EERIE # 79 both my friend and I would laugh at his name. We just don't see many "Bubber's" where I come from. The scenes where the fans are chanting his name were particularly amusing to my buddy.

But Bubber's story is far from funny. Nope. It is a tale with tradgedy of biblical proportions, you might say. Certainly a cautionary tale for all parents.

The story is written by Bruce Jones, Pencilled by Carmine Infantino, and Inked by Al Milgrom.

Those names should be familiar to most comic fans. I think I've already mentioned my appreciation for Bruce Jones work. Carmine Infantino is a DC legend, and he does a typically perfect job of story-telling here.

Al Milgrom 's inks fit over Infantino's pencils like a glove, their styles working together as one.

Are you ready to be Bubberfied?

Then strap in for the most Bubberific ride of your life,

for here comes the Bubberous tale of

SAM'S SON AND DELILAH!

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"Bubber! Bubber! Bubber!"

NEW COMICS BLOG - APOCOLYTE'S WORLD OF COMICS

2010-01-25T13:44:00.000-06:00

SPECIAL ANNOUNCEMENT!

Today is the GRAND OPENING of my 3rd, final and ULTIMATE Comics Blog -

APOCOLYTE'S WORLD OF COMICS!

It will be my new main home for Nothing But COMICS (the NON black and white kind)!

Of course I'll still be posting here at BLACK 'N' WHITE AND RED ALL OVER

(hopefully with more frequency), and comics will also still be a huge part of THE BLOG AT THE END OF TIME as well, but for pure comic book history and stories, you'll want to bookmark

APOCOLYTE'S WORLD OF COMICS!

POST # 25 - COOL AIR

2010-01-25T11:26:00.000-06:00

If one were to take the odd camera angles and ghastly, shadowy gothic imagery of EC horror maven Graham Ingels, and cross it with the delicate, fine-lined etching quality pen-work of illustrator Franklin Booth, what would you get?

Whatever it is, I'll bet it looks a helluva lot like the art of Berni Wrightson, whose work has been compared to both. Mr. Wrightson has become enthroned as the modern master of horror, and for good reason. Picking up the torch once held by Ingels, Wrightson has carried said torch farther and to more places than Ingels could have imagined. With an expert mastery of the black and white shapes he creates with his fine pen lines or his broad brushstrokes, Wrightson certainly had a hand in bringing horror comics back into fashion in the late 60's and early 70's.

Here he shows he is not only an excellent illustrator, but also a keen writer and director as he takes on the challenge of adapting H. P. Lovecrafts classic horror tale COOL AIR.

Originally published in EERIE # 62, 1975, here is Berni Wrightson's version of

H.P. Lovecraft's COOL AIR!

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EERIE #62 inside cover. Art By Berni Wrightson.

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If you want more Berni Wrightson, then you must see these two posts from Mr. DoorTree over at the incredible GOLDEN AGE COMIC BOOK STORIES! I highly recommend it!

Click here and here.

POST # 24 - ONE FOR DE-MONEY!

2010-01-18T04:40:00.000-06:00

Angelo Torres was one of the first artists to be featured here, and you will very likely see his name and artwork here quite often, if I can help it! The more I revisit his art for Warren Publications, the more respect I have for his bold and finished style.

Today's tale comes from EERIE # 2, 1966, and was written by E. Nelson Bridwell. If you've ever read a DC comic or a MAD magazine from the sixties, you've read Bridwell's work. This happened to be his first contribution to the Warren line (click here for another), a story about a rich uncle, a squandering nephew, and conjurings of demons. Torres creates such an aura of horror, you can practically smell the sulfur and brimstone tickling your nostrils.

A classic horror tale of greed and murder, here is...
ONE FOR DE-MONEY!

POST # 23 - DRACULA'S GUEST

2010-01-18T02:15:00.000-06:00

Now, it is my guess that most of you have already seen this one, as posted by Karswell over at THE HORRORS OF IT ALL, a day ago or so.

But, if you haven't, you should.

As you know (or at least you should) THOIA is the premier home on the web for amazing pre-code HORROR comic stories, and the host of darkness Karswell serves up delicious daily doses of blood-curdling tales to twist your toes off! The absolute best bastion of HORROR on the web!

Originally published in Christopher Lee's Treasury of Terror (Pyramid Books, 1966 series), DRACULA'S GUEST appeared in EERIE # 16 two years later. Presented here is the first page only (for the rest go here), which bizarrely pastes the head of cousin Eerie over the face of Dracula! For the rest of this beautiful black and white story by E. Nelson Bridwell and Frank Bolle, click the link and head over to THOIA now!

POST # 22 - CENSORED POPEYE SUNDAY STRIP

2010-01-16T19:25:00.000-06:00

Today's post is a bit of a diversion from the usual.

In my travels across the inter-web searching for beautiful and thought provoking black and white artwork, I came across quite a number of original pages and strips selling at auction houses and private galleries. As the last post, this entry comes from the Lewis Wayne Gallery.

Elzie Segar (1894-1938) was a platinum age cartoonist. In 1920 he created The Thimble Theater, a strip that started running in the New York Journal. The Thimble Theater featured a beanpole-thin heroine named Olive Oyl and her brother Castor. About ten years later Segar introduced a character that became a huge hit, that's right, you guessed it -- Popeye the Sailor was born.

The strip below is notable in that while it was accepted by King Features Syndicate, it was censored by a great number of the nations newspapers, being deemed too grisly. Today's readers wouldn't bat an eyelash at the work, although it is remains a hilarious cartoon from one of comics greatest creators. From the POPEYE Sunday strip dated 10-1-33.

POST # 21 - PROCESS OF ELIMINATION

2010-01-14T05:20:00.000-06:00

Well, it's about time for another terrific tale told in beautiful black and white, wouldn't you say?

I agree completely.

Russ Heath is an amazing artist who has contributed some of the most wonderfully drawn comics since the Golden Age, and the last I heard, he is still drawing and painting. What a talented man! Whether he is depicting western action, the battlefields of war, beautiful women, or any other subject, his attention to detail and fine, realistic rendering have earned him the respect of his peers and fans around the world.

In this story he is joined by another favorite of mine, Bruce Jones, who wrote it. Originally appearing in CREEPY #83, 1976 , here is a grim little yarn that will hold your attention! Luckily, the original artwork is being auctioned on Ebay from Lewis Wayne Gallery. I present you with both -- scans of the printed version, and scans of the original artwork, where all the beauty and details come through with crystal clarity.

Here is a story about a man with something on his mind...something weighing on his concience. You'll discover what that is by...

PROCESS OF ELIMINATION!

POST # 20 - NOT A CREATURE WAS STIRRING

2009-12-24T01:50:00.000-06:00

It's Christmas time, and I'm afraid you may be getting a sweet tooth from too many sickly-sweet Christmas stories on your favorite blogs, so here at BLACK 'N' WHITE AND RED ALL OVER, we're dreaming of a red Christmas. From 35 years ago, I'm offering up a double treat in my CREEPY Cross-over -- two great Christmas stories, CREEPY style! Both stories from CREEPY # 59, 1973. One offered here, in glorious black and white, and another one in color at my home at THE BLOG AT THE END OF TIME! One story is about a Santa Killer, and the other story is about a Santa Killer...er, that is, one is about a killer who kills Santa's, and the other one is about a Santa who kills...oh, never mind - you'll see! Merry Christmas!

First off, here's an artist we've featured recently, Tom Sutton. I wrote earlier how Mr. Sutton was able to change his stylistic approach for each story, and here the chameleon-like artist delivers an interesting illustrative style. Don McGregor wrote the tale that delivers a happy holiday ending(Creepy style, that is)!

Enjoy this delightful selection, and if you're good, Santa may bring you a special gift tomorrow!

Here you go, here is...

NOT A CREATURE WAS STIRRING!

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Remember, just click here to go to THE BLOG AT THE END OF TIME to see the second Creepy Christmas tale from this same classic issue!

CREEPY # 59 cover art by Manuel Sanjulian.

POST # 19 - DEATH AND DOCTOR MORBIDUS

2009-12-17T18:02:00.000-06:00

In the beginning, Warren Publications used well-known and established American comic book artists for their black and white horror magazines, CREEPY and EERIE. But by the time VAMPIRELLA hit the stands in 1969, financial concerns had led them to use many artists unfamiliar to most readers - talented artists from Spain, Puerto Rico, the Philippines, and elsewhere. One of my favorite artists from Spain was Rafael Aura Leon, or Auraleon, as he became known.

Auraleon began his career in comics in Spain in 1959. His first Warren stories appeared in 1971. Rafael would stay with Warren until their bankruptcy in 1983, contributing 69 stories in total. He left the comics industry about a year later. He may be best remembered by American audiences as the artist for the running feature 'Pantha' from VAMPIRELLA.

Today's post is just a 'quickie', a two page story running on the inside cover pages of VAMPIRELLA # 26, from 1973. This is the original artwork, and it is for sale on Ebay for $2,750.00, if anyone is interested. It does not belong to me, but the images were there for all to see, so I thought I would share them with you. I always enjoy seeing the original artwork, I hope you will enjoy it, too.

Written by George Henderson, here is...

DEATH AND DOCTOR MORBIDUS!

POST # 18 - EYE OF THE BEHOLDER

2009-12-08T17:20:00.000-06:00

Johnny Craig is one of my favorite artists from the fifties.

One of the cornerstones in the foundation of EC's dominating success in the 1950's, Johnny Craig was known for his skill as an artist (and a writer), and being a really nice guy, but also for one other unfortunate aspect. Apparently, he was a very slow and meticulous worker. In fact, listen to a few of his co-workers:

"It was hard for him to draw; it was painful watching him work. He was struggling with it all the time. He had a very exact way of working." - Wally Wood

"Al (Feldstein) was doing seven books, Johnny Craig was doing a book...Johnny was slow, so slow. Jack Davis was our fastest artist, Johnny was our slowest. He would take an entire month to write and draw one story. It was just his nature. A lot of guys in comics bat stuff out; Johnny never did. Everything had to be perfect." - William Gaines

"Johnny was extremely talented, but he had no real drive, either monetarily or from the ego point of view. He was slow in his artwork, and therefore his income was limited." - Al Feldstein

"Johnny Craig should have gotten much more recognition at EC, because his stuff was really good. In his own right, he was as good as Harvey Kurtzman, because he wrote good stories and drew them well, and knew how to entertain you." - Al Williamson

Even the author of today's tale, Archie Goodwin, had this to say: " I don't know how he made a living in comics. His work was so good, but every page took him forever."

I can't help being reminded of a quote from Ralph Waldo Emerson, who said "To be great is to be misunderstood." No one understood, but he just wanted his comics to be the best they could be, and he took great pains to bring forth his masterpieces. Clearly his pain-staking attention to details resulted in an amazing body of work that has earned him the praise and respect of comic fans everywhere. Stylistically, you can see the influences of his idols Will Eisner and Milton Caniff in his work, but Craig adds something more that is quite his own. Here is the ever-modest Craig's own take on his work output:

"I was supposed to do three stories a month. I was lucky if I did one. I was forced at an early age to learn drawing by continually searching for flaws in my own work, and then drawing it again and again to try to correct those flaws."

(By the way, those quotes and much of today's information can be found in Grant Geissman's FOUL PLAY!, a beautiful volume spotlighting all of the talented EC artists. Check it out, if you are an EC comics fan.)

When the bloody ax of Comics Code chopped the head off of the 'horror' comics boom, many publishers including EC comics died a slow and painful death, but before the last gasp (before finding a new life from MAD source), EC tried it's Picto-Fiction experiment, where Craig and his compatriots really got to show off their black and white technique. Beautiful stuff, all of it. I definitely plan to post some of those pages in the future. After that time, Craig left comics and worked in advertising, where his talents led him through the ranks straight to the top to eventually be Vice President and Art Director for a Pennsylvania based firm. Doesn't sound like someone with 'no drive' to me! It isn't surprising that one of the reasons he would leave advertising to go back into comics was because of "extreme deadline pressure"! He couldn't get away from it!

Some of the earliest work done during his 'comeback' to comics was some excellent black and white work for Warren, and today's story is a wonderful example of varying styles within one story, as you will see. Craig does it with skill. I almost said effortlessly. Now, because he was still working in advertising and he didn't want his clients to know he was doing comic book work, Craig spelled out his initials, J.T.C. -- Jay Taycee (I don't know why it isn't Jay Teecee). Whatever name he used and however long it took him, I love his work. I, for one, am grateful he took his time. Sadly, Craig passed away in 2001. We can remember him through his comics.

Read more about the great Johnny Craig here.

http://www.povonline.com/cols/COL365.htm

From EERIE # 2, 1966, consider now today's story of a man who loves his wife...too much. It is hard to understand how he feels unless one looks through the...

EYE OF THE BEHOLDER!

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POST # 17 - VISION OF EVIL

2009-12-07T17:32:00.000-06:00

When Warren Publishing wanted to put out a black and white horror mag companion for their successful CREEPY, they chose the name EERIE. Unfortunately, so had another publisher, and in order to beat the competition and gain the legal rights to the name, Warren slapped together a few CREEPY stories, cobbled a cover featuring the new logo, and got their version of EERIE # 1 to the stands first. The rest, as they say, is history. So EERIE # 2, in 1966 was in truth the real first issue, but that didn't matter much because those first few issues were essentially just like CREEPY -- great art, great stories.

This one is from the renowned and capable Alex Toth. In the story by Archie Goodwin, obsessive art collector's think they have found the perfect artist...or have they? Heh heh...

Here is...VISION OF EVIL!

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POST # 16 - A CHANGE OF PACE

2009-12-03T11:20:00.000-06:00

Tom Sutton is a very versatile and under-appreciated artist. When he drew this story he had already been working for both Marvel and Warren for about a year, where his art was eaning deserved praise. What I really like about his comic stories (for Warren especially) is how he changed his style effortlessly depending on the story, ranging from total gothic horror to the sweet and humorous. Here he uses a little bit looser, kind of Jack Davis-ish approach. I have many more examples his varying styles to be shared sometime soon. For right now, here is a little topic near to my heart, time travel. Do you know how many variables we threaten to unravel with each journey through the plethora of time? Ha! Here's a story of a couple of time travelers who weren't paying attention in science class, a couple of guys looking for...

A CHANGE OF PACE!

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Here is Tom Sutton's fantastic cover for this story.

EERIE # 18, 1968.

POST # 15 - FAIR EXCHANGE

2009-11-28T13:08:00.000-06:00

Before Neal Adams drew for DC Comics, before he helped give life to Deadman, before he helped re-invent the Dark Knight in Bat-Man and Detective Comics in the late 60's, he did a small number of black and white stories for Warren Publishing. FAIR EXCHANGE is in fact his second Warren tale, from EERIE #9, in May of 1967, and for the most part, no one knew who he was...yet. Previously, he had worked mainly in the commercial art arena of advertising, notably for Goodyear Tires. In 1960 a young Neal Adams found work as an assistant to Howard Nostrand (notable for his Harvey Comics work throughout the 50's), drawing backgrounds for the syndicated newspaper strip 'Bat Masterson' for about 3 months. In 1962 he would become the artist for the syndicated comic strip Ben Casey, written by Jerry Caplin (aka Capp - Al Capp's brother), which would run successfully until 1966, when Adams was looking for something new to do. That next thing was to be a handful of impressive stories with Archie Goodwin for Warren's new horror magazines, before finding his 'home' at DC.

So here we have Adams' second full comic book story ever to see print, and it reveals much of what was to come -- a one-man revolution in comic book illustration. At the time, there were two big names breaking on the horizon that influenced comic book art from that point on. Adams, for DC, and Steranko, for Marvel. Both broke new ground and astounded the competition, and when Steranko left comics to pursue greater things, Adams continued to help mold and shape DC comics into the 70's. Now, please take a moment and enjoy Neal Adams'...

FAIR EXCHANGE!

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extra bonus - here's Adams' one page Monster Gallery featuring The Minotaur.

From EERIE #11, 1967.

POST # 14 - KEEP YOUR SPIRITS UP

2009-11-25T02:01:00.000-06:00

I'd like to keep things short and sweet today. Reed Crandall is a name you will see here from time to time, as he did so much beautiful artwork for Warren's horror magazines in their early days. Undoubtedly one of the Golden Age's greatest talents, Crandall drew this story for CREEPY #25, 1969. The story, written by Bill Parente, reminds us that, no matter how dark the circumstances seem, you should always...

KEEP YOUR SPIRITS UP!

POST # 13 - THE CITADEL AT THE CENTER OF TIME

2009-11-20T07:29:00.000-06:00

Hey, you know I like you, right?

I hope you realize that. I'll bet you don't know how much I like you...well, let me show you!

I like you so much that I went way above and beyond the call of duty with this post. No mere 4 - 8 page story for you, uh uh...not today! You deserve a real treat, and I'm about to give it to you.

How would you like a full length Conan story? But not just any Conan story, oh noo! How about a 44 page epic featuring not one, but two incredibly talented artists? Trust me, you're going to want to kiss me after you check out the stunningly gorgeous black and white artwork taken from Marvel's SAVAGE SWORD OF CONAN #7, 1975. While this particular story isn't based on any known Robert E. Howard story to my knowledge, the uncredited (likely Roy Thomas) story is a good one, and coupled with the beautiful visuals, it becomes a masterpiece.

This is the first post here to feature two artists, and both are fully deserving of credit. John Buscema started drawing comics for Stan Lee and Timely/Marvel comics in 1948. In the mid 60's he found himself back at Marvel where he became one of their most important, capable and best-loved artists. In 1973 he took over for Barry Smith drawing CONAN THE BARBARIAN, and he would soon become the artist most associated with the popular Robert E. Howard character. Now, let me say that personally I think Barry Smith is a wonderful artist, and his later Conan artwork was certainly more accomplished than his earlier stories. But, for those of us who had read the Lancer paperbacks and seen the iconic representation of Conan by Frazetta, Smith's Conan was a skinny kid. That just wasn't really Conan. Gil Kane did a wonderful job drawing two issues, but it really wasn't until John Buscema stepped in that we saw that real Conan again. To me, and to many others, this was the way Conan should look, or at least the closest thing we had to the Frazetta version. A year later Marvel published the new black and white SAVAGE SWORD OF CONAN, and of course Buscema would be the main artist in nearly every issue. A new phenomena was being born, and Buscema would be the architect behind the visual onslaught that was just beginning.

Starting in issue no. 2 of SAVAGE SWORD, Buscema was paired with a relative newcomer to American comic book readers, Alfredo Alcala. Alcala was born in the Philippines, where, like Buscema, he also would enter the comic business in 1948, working for the Philippines biggest publisher, Ace Publications. American audiences got their first exposure to Alcala's art in 1963 when he published his own creation, VOLTAR, a Viking in the sword and sorcery mold, very similar to the work he would be doing later in CONAN. Here is what the World Encyclopedia of Comics had to say regarding VOLTAR and Alcala: "...an astonishing display of sustained artistic endeavor. Every chapter contains a spectacular center spread. Each panel is embellished in an etching style that rivals the works of the old masters. Inch for inch, it is probably the most detailed art ever to appear in comic books." I couldn't have said it better. In the 70's he came to New York and was quickly recognized for his amazing pen and ink work, as you will soon discover (or re-discover) for yourself here.

As I was scanning this story, I can't tell you how many times I stopped and found myself saying "Wow!" right out loud as I examined each amazing page. To enjoy this story, you must not rush...have something to drink handy, maybe something to eat, your not going to want to go anywhere for the next few minutes. The combination of Buscema's Conan, his solid, exciting story-telling visual style, and Alcala's detailed, lush pen and brush work elevates the comic book to the level of fine illustration. This story is absolutely breath-taking!

You can thank me later...and never, ever doubt how much I like you!

Now, finally, I will shut up and let you feast your brain on...

THE CITADEL AT THE CENTER OF TIME!

WHEW!!

Ishtar's Knotted Knickers! That was a BLAST! Well, see you next time, CROM willing!
___________________________

Cover for SAVAGE SWORD OF CONAN # 7.
Art by Boris Vallejo.

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POST # 12 - WEREWOLF

2009-11-18T22:58:00.000-06:00

It is about time I share some work of one of the world's most talented and best loved fantasy artists, Frank Frazetta. I stop short of saying what I really believe, that he is in fact THE premiere fantasy artist. Practically everyone is aware of the amazing paperback book covers Frazetta painted for Lancer Books, depicting the greatest characters of Edgar Rice Burroughs, Robert E. Howard, and others. Of course he also was the main cover artist for the Warren magazine line in it's inception. I don't know anyone in the comic/art world who hasn't been influenced by his incredible body of work.

In recent years, Frank has suffered many hardships. His health was adversely affected from years of painting in a fairly enclosed space which in turn caused him to inhale toxic fumes from paint thinners and turpentine, and a series of strokes has severely limited his ability to paint and draw with his right hand, so he in turn has been using his left hand, and also turning more to sculpture. Most recently, Franks lovely wife Ellie (who has many times served as a model for Frank), who was also his brilliant business manager, passed away in July, 2009, after battling with cancer. It unfortunately has been a rough times for America's greatest fantsy artist recently, and on behalf of the millions of his fans, we offer Frank Frazetta our deepest condolences, as well as our best wishes for the days ahead.

So much has been said about the man's art, I have only one observation to point out. His skill at composition is I believe THE BEST in comics. When Frazetta draws comics (as well as in his paintings and sketches), he composes each panel in a way like no other artist. Frazetta is the master of composition, truly. I have never seen a single panel of his that did not have every single element in it's proper place, artistically designed to flow and draw the eye from one point to the next. I mean it. Look at each panel as a mini painting, a mini work of art. Fantastic! Incredibly talented! If only more comic artists would take the time to study Frazetta's comic work, I'd be buying more modern comics! Sadly, there are scant few professionals working up to this caliber nowadays.

Now, from CREEPY # 1, published in 1964, and written by Larry Ivie, here is Frank Frazetta's

...WEREWOLF!

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As an extra bonus, here is Frazetta's artwork for CREEPY'S LOATHSOME LORE, witten by Archie Goodwin. From CREEPY # 2. 1965.

POST # 11 - THE DOORWAY!

2009-11-17T07:32:00.000-06:00

Today's tale is from artist Dan Adkins, who got his start in comics as Wally Wood's apprentice, often collaborating with Wood himself, as well as with other young artists in the Wally Wood Studio. Some of his earliest comic stories were for Wood's Tower Comics line in 1965, and soon thereafter was doing solo artwork for Warren Magazines along side such established artists as Wood, Crandall, Torres, Orlando, and the rest of Warren's top-notch art staff.. Adkins showed himself to be an excellent student of Wood's, with a clean, attractive style very similar to his teacher. From Creepy # 11, 1966, please won't you step right through....

THE DOORWAY!

POST # 10 - DARK RIDER

2009-11-15T01:02:00.000-06:00

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From EERIE # 8, 1967, today's tale was written by Archie Goodwin and illustrated by a master of American comics, the great John Severin. Severin's striking use of the limited black and white pallete, punctuated by his grey tones of shadow, makes this quite an unforgettable tale, and easily worthy of showcasing here.

I think you will really enjoy this story. It's about three cowboys trying to make their way home through the mountains in the middle of winter, and the snow isn't the biggest worry they have deal with...they seem to be pursued by a relentless and mysterious...DARK RIDER!

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If you enjoyed this beautifully illustrated Severin story, why don't you click here? That (other) awesome comics blog TEN CENT DREAMS recently posted a couple of other very cool John Severin westerns! Good stuff!

POST # 9 - BUSINESS HOURS

2009-11-14T23:59:00.000-06:00

Here's a fun story form Marvel's EPIC ILLUSTRATED # 18. From British artist John Bolton, and written by Chris Claremont, here is ...BUSINESS HOURS!

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Here is the cover for this issue, art by John Bolton.

You can find out more about artist John Bolton at his website, just click here.