Creepy Archives Volume 1
Learn more about Various. Available for sale exclusive:. Other books by this author. Disney Frozen Adventures: Snowy Stories. Various , Alessandro Ferrari , Tea Orsi. Disney Storied Places. Eerie Archives Volume Creepy Archives Volume Buffy Omnibus: Tales. Johnny Craig , Various , Lee Ames. It can be difficult to grade an anthology, especially one like this. Taken on their own, the stories range from terrible to decent, with few of them really standing out as works of genuine brilliance.
The feel of the collection is almost more important than the content , in this case. There is a cumulative effect that comes with taking in the book as a whole. Many of the stories follow a similar pattern or formula. There are the sci-fi stories about misguided science gone wrong, often with dark repercussions for the fools who try to dethrone God.
The artwork is also hands-down the scariest of the collection, going for a kind of uncanny realism that sticks with you long after you turn the page. Connect with us. Comic Books Reviews Deathstroke 45 Review. Comic Books Reviews Lois Lane 1 review: the real world. That, however, was a much bigger obstacle to doing business than it initially appeared.
Gene Colan, from the Creepy and Eerie Archives: In fact, without the seal, a comic-book publisher was fucked. The national distributors in charge of getting newspapers, magazines and comics to the thousands of stores and news-stands across the country wouldn't ship a comic without the seal. Because the CCA was made up of industry big-shots, and the Government had made its wishes clear to the national distributors that any comics not bearing the seal should be refused, the CCA became an oligarchy.
The first moves they made specifically targeted and killed EC's most popular titles. Certain words were no longer permissible for comic-book titles: crypt, horror, terror, weird, crime, combat, shock The 'New Trend' books were dead. But trying to rebuild their entire line from scratch had the financially devastating effect the CCA was hoping for. In order to protect 'Mad', the irreverent humor comic created by Harvey Kurtzman, Gaines made a tough decision. It had no chance of escaping the scrutiny and censorship of the CCA, so 'Mad' went from being a four-color comic-book to a black-and-white magazine.
By changing format, it no longer required CCA approval for distribution, and was able to get away with the satirical silliness and Kurtzman-style shenanigans that have made it an anti-establishment establishment for over 60 years. For fans of the crazy and endlessly inventive crime, science fiction and horror comics that EC did better than anyone, it was a grim fucking scene. Steve Ditko, from the Creepy and Eerie Archives: A few years later, however, things were starting to relax, as the American public grew a little more comfortable with the prospect of nuclear annihilation.
So be it. Religious types were still doing what they always do, twisting scriptures into prophecy-in-hindsight, and claiming the bible spelled it out clearly that the apocalypse was still extremely fucking nigh. Even though their understanding of Book-of-Revelations-type imagery only worked after shit had already gone down — making it absolutely useless and not really prophetic — they still found plenty of frightened lemmings to follow them over the edge of logic and take the long drop into the pit of religious bullshit.
Ignorance and fear are like gasoline in the religious engine. As the sixties began, more people were deciding that the culture of fear and conformity had caused more harm than good. God was an anachronism. Life and our short time on Earth was precious. Carpe Diem, blah, blah. The Summer of Love was a few years away, but the Beat Generation of poets and novelists were writing strange and dangerous shit about pot and heroin and jazz, and Elvis Presley, the Beatles and the Rolling Stones were freaking out the squares. So… a kid named Archie Goodwin decided the time was right to bring the kind of horror, science fiction and war comics that E.
Gray Morrow, from the Creepy and Eerie Archives: Working first as a writer, Goodwin did most of the stories in the first couple issues, bringing his favorite artists on board by tailoring the material to their strengths and preferences. His skills as writer and talent-wrangler quickly established him as the obvious pick for editor on Creepy and Eerie.
Publisher Al Warren was a far fucking cry from E. He also paid better than other publishers, which goes a long way in inspiring artist loyalty. Warren Publishing did not have that sort of reputation.
What they did have was Archie Goodwin, whose skills as a writer and passion for the material was hard to deny; by re-uniting the E. Maybe Goodwin was just remarkably convincing, or perhaps times really were that tough, in the comic-book dead-zone of the mid-fifties and early sixties. Each book had their own Feldstein-style host — Uncle Creepy and Cousin Eerie — designed by the legendary Jack Davis, who also provided the first fully-painted covers. The Creepy and Eerie Archives are now well past Volume 20 for both titles, but the material collected in the first four volumes of Creepy and the first three volumes of Eerie is light years beyond the later issues.
The painted covers by Frank Frazetta are some of his best, and the stories illustrated by Frazetta are amongst the last examples. The way each artist embraces the black and white format is spectacular. Steve Ditko is one of several to use ink-wash grey-tones with superb results; Ditko is at his peak. Gene Colan use of washes gives his stories a painterly brilliance that is absolutely stunning.
The list of contributors for the first few volumes worth of issues is fucking crazy, a super-dense convocation of comic-book-legends-under-construction; Goodwin wanted an E. Blazing Combat! Instead, he told stories that were grittily realistic for the time, illustrating the horror, futility and indignity of war, when other comics were essentially war-hawk propaganda. The artwork is perhaps the best of any 4 issues published by Warren or E.
A veterans group complained, the distributors refused to ship it, and the best war comic of the sixties was dead after four issues. Fantagraphics has an excellent collection available.
View all 11 comments. Mar 28, Marvin rated it it was amazing Shelves: horror. When I was growing up, anything that smacked of horror was forbidden in my family. The only comic books allowed were Illustrated Classics and Disney. However my lifelong obsession with horror fiction began at the age of 6 when a babysitter allowed me to watch the movie Frankenstein while my parents were out.
I was hooked. I was an avid reader even then and I devoured anything I could as I got older including classic horror like Poe and those great paperback Alfred Hitchcock Presents story collec When I was growing up, anything that smacked of horror was forbidden in my family.
- Related Articles.
- With Wellington in Spain?
- Creepy Archives Volume 27 | Penguin Random House International Sales.
- Top Authors.
- Rambler Hornpipe?
- Sprache und Kultur Kataloniens im 19. und 20. Jahrhundert - Geschichte Kataloniens im 19. und 20. Jahrhundert (German Edition)?
I was an avid reader even then and I devoured anything I could as I got older including classic horror like Poe and those great paperback Alfred Hitchcock Presents story collections that I could buy for 50 cents and hide under the mattress. As for comic books, I would read my friends' collections although Spiderman was the only one I really got into.
One day on a boy scout camping tip, one of the scouts brought along a couple issues of Creepy. We pored over them by flashlight in our tent. We never saw anything like it.
Creepy (magazine) - Wikipedia
Here were really scary stories perfect for the 14 year old male mentality. The gore was not as excessive as the earlier EC Comics, which we were then unaware of, but certainly more than kids in the mid 60s were familiar with. But what really stood out was the art. This was not Blondie and Dagwood. This was intricate lines and shadows all in black-and-white, perfect to illustrate horror. These magazines, not called comic books in order to get past the strict comic book codes, were not that easy to come by even then. So I have only seen 4 or 5 of them The full run is slowly being republished by Dark Horse.
They are not cheap. That probably won't last by the time you read this. The color covers, mostly by Frank Frazzeta, and the intricate black and white drawings show up beautifully on my Kindle Fire. They are definitely a blast from the past. As for the writing, it was perfect for a teenage boy in the 60s but seem very dated and a bit campy now. At their worse, the stories are hokey but at their best, when coupled with those great drawings, they are wonderfully The tales can get a little formulaic. After all, they had to be delivered in 6 to 7 pages of drawings. Usually the monster twist was very obvious and the bad guy always got his just dessert if usually in a gory way.
Yet these were part of the 60s coming-of-age for many of us and no doubt for later writers, artists and film makers. This is a must for any horror fan. View 2 comments. May 03, Joe rated it really liked it. It is clearly heavily influenced by "The Twilight Zone" which had just begun in and was still a big cultural force. The stories locales ranged from deep in the Bayou to the outer reaches of space. These stories frequently had classic monsters vampires, werewolves, and zombies being the most popular.
Creepy Archives Vol. 9
However, the one thing that all of the stories had was the big twist ending duh, duh, duuuuuuuhhhhhhhh! I'm a sucker for these and grew up loving them on "The Twilight Zone. The artistry is amazing! That's part of what makes "Creepy" so great: Art gallery level art with juvenile delinquent sensibilities. If you've never read this, do yourself a favor and pick this collection up. Sep 27, Quentin Wallace rated it it was amazing. I absolutely love horror anthology comics, and other than EC Comics, which I consider the best of all time in the genre, Warren was my favorite.
This volume includes the first 5 issues and it's great. You do have some predictable stuff, some may be a little cheesy, but thats horror comics in general and part of the appeal. The talent that worked on this series was also amazing. The late Archie Goodwin did much of the writing, and he was I absolutely love horror anthology comics, and other than EC Comics, which I consider the best of all time in the genre, Warren was my favorite. The late Archie Goodwin did much of the writing, and he was really writing well at this time. The Warren books also used some of the old EC talent, going back to there roots to honor the masters of the craft.
As far as each story goes, it's the usual mix of Vampires, Werewolves, Witches, Ax Murderers and other various creatures of the night. I recommend this volume to anyone who likes horror comics, you just can't go wrong with this one. Apr 01, Midnight Blue rated it it was amazing. I had heard about these comics in fanzines and in forwards by Stephen King but they weren't really out there for my generation. If you liked Stephen King's Creep Show movies and Tales From The Crypt then these will feel like a slice of heaven from page 1; I can't wait to read the whole archived series.
Thank you Hoopla!!! View 1 comment. Nov 23, Williwaw rated it it was amazing Recommends it for: comci book connoisseurs. Shelves: comics. This was absolutely my favorite comic book when I was growing up.
I never would have done it if high-quality reprints like these had been available back then. As it turns out, my youthful tastes were not simply arbitrary: Creepy featured some of the greatest comic book artists ever, like Wallace Wood, Steve Ditko, Jerry Grande This was absolutely my favorite comic book when I was growing up. None of that crappy looking, blotchy four-color stuff that you saw in the old Marvel or DC comics. What's more, drawing and coloring are usually separate steps, executed by separate people in the comic book production process.
The original artist would often have no idea how his work would ultimately look. Another interesting feature of Creepy is that it was printed in full magazine size and displayed on magazine racks -- not comic book spinners -- to avoid the necessity of compliance with the Comics Code Authority. So look out: there's plenty of gore and nudity, especially in the issues that were published during the 's.
The covers were usually masterful, full-color oil paintings by the likes of Frank Frazetta, Enrich, or Sanjulian. The full magazine size also helped showcase the incredible art work on the inside. Less than half way through, I'd guess: there were issues of Creepy, in all, before the publisher's bankruptcy, circa Creepy started out in as a gothic, traditional horror magazine, but slowly evolved into a more ground-breaking, occasionally post-modern, and often disturbing periodical.
These reprints allow the reader to review that evolution in a convenient, hardbound format. Not that you should have particularly high hopes for the writing. It's very difficult to do much in a stand-alone six or nine page comic book story that is targeted at 12 year old boys. Yet I think Creepy did remarkably well, given these limitations. Beware: there are lots of bad puns and "trick" endings that will be sure to make your eyes roll. But that's what Creepy was all about: stand-alone short stories.
There were no continuing characters to identify with, as in the typical superhero comic book. Which was great, because each magazine could feature several different artists and writers. And different genres could be mixed in for variety: typically horror, science fiction, or fantasy, with an occasional crime noir story. If you love high-quality comic book art, you will love these volumes. Jun 02, Michael Mallory rated it really liked it. Those of us who were around in the mids when "Creepy" magazine could be found at the newsstand for a paltry 35 cents for the industrious among us, that was 18 discarded pop bottles scavenged from the streets and alleys and turned in at the grocery store are rejoicing that these pages are back in print.
But those black-and-white pages boasted of some of the finest comic artwork to be found, created by the likes of Frank Frazetta, Alex Toth, Reed Crandall, Al Williamson, Steve Ditko and a host of others. Even today, much of the artwork is amazing. The problem with "Creepy" was the stories themselves, which were often simplistic and hugely repetitive. Editor Archie Goodwin was responsible for the vast majority of the writing, but all too often he stole a plot from a movie or else relied on "surprise" endings in which one character or another ends up as either a vampire or a werewolf.
The creative parent of "Creepy" was obviously the E. So anyone wanting to seem some spectacular comic art should relish this book, but don't expect a lot from the writing.