POST # 54 - "HERBIE THE LIAR SAID IT WOULDN'T HURT" by Alfredo Alcala

Hello again, friends!
I am
THE APOCOLYTE!


Today we look at at a story by the incredible Filipino artist 

ALFREDO ALCALA!

Alfredo Alcala was born in the Philippines in 1925, and developed an interest in comic books as a youngster, particularly influenced by the artwork of Lou Fine. He began a career drawing the comics he loved in 1948, and soon his exquisite and detailed style made him one of the most famous and popular comics artists in the Philippines. 

He began to be known by American audiences after publishing his character VOLTAR in 1963, a sword and sorcery style hero along the lines of Conan and Prince Valiant. Alcala's lush and expressive brushwork soon drew the attention of North American comics publishers. In the early 1970's he began doing work for DC and Marvel. 

Many comic readers are familiar with Alcala's wonderful abilities as a penciler and an inker, his style being easily recognized. In the mid 70's Alcala used his gifts as inker to add new dimensions to the artwork of THE SAVAGE SWORD OF CONAN stories drawn by John Buscema, rendering elaborate panoramas and splendidly ornate embellishments that elevated the stories' artwork from good to grandiose. I personally regard the stories he worked on as some of the greatest Conan artwork ever published. (You can see one of those amazing stories by clicking the link HERE)

Our story today originally appeared in Marvel's TALES OF THE ZOMBIE #9, published in 1975, and was written by Doug Moench. Alfredo Alcala's brilliant brushstrokes bring to life a tale of a lonely freak who struggles to make sense of the world around him, while dealing with the loss of his only real friend.

Now, I'll let my co-host SKULLY introduce today's gut-wrenching chronicle!

"HERBIE THE LIAR SAID IT WOULDN'T HURT"

_____________________

________________________

Don't forget now, if you want another real special treat,

click on the image below and feast your eyes upon an amazingly beautiful

CONAN  story by John Buscema and Alfredo Alcala!

You won't be sorry!

_____________________________

POST # 26 - "SAM'S SON AND DELILAH!" by Carmine Infantino and Al Milgrom

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!

_______________________

"Bubber! Bubber! Bubber!"

POST # 13 - "THE CITADEL AT THE CENTER OF TIME" by John Buscema and Alfredo Alcala

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.

___________________