Eerie Archives Volume 13, by Various
For everyone, if you intend to begin joining with others to review a book, this Eerie Archives Volume 13, By Various is much advised. And also you have to get guide Eerie Archives Volume 13, By Various below, in the web link download that we give. Why should be below? If you want various other sort of books, you will always find them as well as Eerie Archives Volume 13, By Various Economics, politics, social, scientific researches, religious beliefs, Fictions, and a lot more publications are provided. These offered publications are in the soft data.
Eerie Archives Volume 13, by Various
Download Ebook Eerie Archives Volume 13, by Various
The fiendish Eerie Archives series is back with a lucky thirteenth volume of horror, fantasy, and science fiction from Warren Publishing’s classic anthology! Collecting issues 61 through 64 from the mid-seventies, this terrible tome features dark and dystopian tales from talents like Wally Wood ("Killer Hawk"), Alex Toth ("Daddy and the Pie"), Bernie Wrightson ("Cool Air"), and Richard Corben ("The Butcher"). Revel in the vengeful exploits of favorite recurring characters Dr. Archaeus, Coffin, Exterminator One, the Spook, and others! This deluxe hardcover also includes all original letters columns and color frontispieces, haunting painted covers by Ken Kelly and Sanjulian, and a new introduction by modern horror pioneer and painter Tom Neely (The Blot, The Wolf).
Eerie Archives Volume 13, by Various- Amazon Sales Rank: #871518 in eBooks
- Published on: 2015-03-11
- Released on: 2015-03-11
- Format: Kindle eBook
Where to Download Eerie Archives Volume 13, by Various
Most helpful customer reviews
3 of 3 people found the following review helpful. Swipes, swindles & swaps By Diego Cordoba As I have already spoken of most of the Spanish artists that collaborated for the Warren magazines, this will be my last entry concerning these archives. Most of the artists I spoke of would either leave Warren by the mid 70's, or a few would remain till the very end. As to why they left, is, according to most of them, simply because they got bored of doing all those horror stories, and many of them went on to other (sometimes greater) things. By the end of the 70's, most of the art would be done by the Filipino artists, and contrary to what many believe, it wasn't because they were paid less, or were better than the Spaniards: they simply filled the void left by the Spaniards, and gladly went over to Warren who paid better than the nickels and dimes they were getting at DC and Marvel.There are two artists I never mentioned, and it was on purpose, as their work for Warren wasn't up to their talents, and indeed, what was published herein was far inferior to what they were capable of. Maybe because they didn't like the horror genre. These two artists were Victor de la Fuente and Jesus Blasco, the Spanish equivalents of Alex Raymond and Hal Foster. That is to say, the two top Spanish artists of all time. Victor de la Fuente never found a series or a writer with whom he could create something that would last forever (though with Victor Mora he came pretty close), and other than his sword & sorcery series "Haxtur" and "Haggarth" (which were both eventually published in the Warren magazines), little is known of him in America. Nevertheless, Victor de la Fuente is pretty well known in Europe, and he's the sort of artist who could tackle any subject, though aside of his two s&s series, he did little in the sci-fi and horror genre.Jesus Blasco was Victor's equivalent, though much older. Blasco was one of Spain's premier artists, having created the kiddie adventures of Cuto as far back as the '30's (drawn first in a humorous style, and then in a realistic way), and he's best known for having drawn "Steel Claw" for the British weeklies, in a very, almost photo-reslistic style (London never looked as real as in Blasco's strips).Also a special mention must go to Carlos Prunes, who was actually the first artist to send his work to Warren, long before Toutain had made the trip to America. As to why Prunes, who drew in a style reminiscent of Alex Raymond, didn't continue his collaboration with Warren, is open to debate. Prunes says that he didn't like the scripts he was given, and decided to leave. There's also a rumor that once Toutain, who was the head at SI Artists--the art agency Prunes and most of the Spanish artists worked for--, got word that one of his collaborators was selling his work without telling him, Toutain got mad and fired Prunes. Prunes said he left on his own volition.That said, looking at this volume of the Eerie archives, I noticed Paul Neary's Exterminator story in color. What I noticed is that Neary must've had a hard time competing with the Spaniards--as he drew in the Marvel style--, so to keep up with them he did the best he could: he started swiping their art. In this color story we can see he clearly swiped the most photo-realistic of the Spaniards: Luis Garcia. I wonder if swipe is the right word, as he has exactly the same drawings of a story Garcia had done for the French. Maybe believing that he wouldn't be caught swiping a european comic, Neary practically traced Garcia's characters. Unfortunately for him (Neary, I mean), Garcia's story in question would be published in a future Vampirella issue ("Love strip", Vampirella # 44). If you have the latest Vampirella archives (vol. 7), check Garcia's story and then Neary's and notice they are both using the same character (who happens to be Spanish artist Carlos Gimenez; the first real person to appear in two different Warren stories). But not only is Neary swiping Garcia, he's also swiping Albero Breccia's "Mort Cinder" stories (the Ezra Winston character is used in this story as well). Apparently nobody caught up with the swipe at the time (until now?).As to José Ortiz's Apocalypse, these were actually a series of stories Ortiz did as a presentation for Warren. The stories were bought, and as what was becoming the practice of the company, it was completely re-written, bearing little resemblance to the actual stories Ortiz had done. However, we get to see Ortiz's absolutely brilliant art (he was a master of black and white, as these stories can attest).Esteban Maroto turns in a pretty interesting version of a Nathaniel Hawthorne story (at least artistically speaking). In this story alone he uses about every inking technique the Spaniards were known for.Of special interest too is the work of Joaquin Blazquez, a young artist who relied heavily on photographs as well, and would be known for the lawsuit he attempted against the makers of E.T. (See my review for Vampirella Archives volume 7, for more information). His art, nonetheless, is absolutely magnificent!We also have great work from Americans Richard Corben, Wally Wood, Alex Toth and Berni Wrightson.And lastly, we get the conclusion to one of my favorite serials: the infamous "Dr. Archaeus". In the previous volume the wily doctor kills his pursuer (which by the way, must've been a first anywhere; to kill the hero in the penultimate chapter of the serial). Here we meet a new character whom I'm sure was meant to be a hero for a future series, but it never came to be. The ending is a little disappointing after all we've been put through. That said, I'll share with you an interview I did a couple of weeks ago with the serial's artist: Isidre Monés.Isidre started in the advertisement business and had drawn some children's books before he joined SI Artists as a comic book artist. He practically began in the comic book business directly with Warren. By the way, the brackets in the interview are mine.- Isidre, do you remember your first Warren story?IM: Yes. I had just arrived at Selecciones (SI Artists, the agency in Barcelona representing all the Spanish artists) with an adaption I had done from a Russian story, and they handed me 10 pages of a Warren story to adapt. It was called "Blood brothers" and it eventually appeared in Vampirella. Being my first professional job, I put everything in that story. That is, the shading of Toppi (Sergio Toppi, Italian artist), the washtones of Battaglia (Dino Battaglia, another Italian artist who actually drew at the same size his work was printed), the rubbing and scratching of Breccia (Alberto Breccia whom I've mentioned in previous reviews), and the pencil tones from Luis Garcia whom I had just discovered. It all became part of that first story. Another thing, the pay was good enough that you could spend more time on each page. I never spent as much time on a job as I did on those first pages. I just had fun, got paid, and never thought of getting the originals back.- That's weird... Warren normally gave the originals back...IM: Well you see, Diego... I gave the originals to Selecciones (SI Artists)... and I never saw them again. When years later, I asked what had happened with the originals, I was told that Warren never gave them back, but who knows?I never formed part of that group of Spaniards who worked for Creepy. Maroto, Beá, Torrents, Auraléon, Garcia, Gimenez, where all older than me. I began working for Warren in 73, and the truth is that I don't have a single original.A couple of years ago I saw in the net that they were selling the originals of my Poe adaption of "Berenice". I was about to buy them, but they were too expensive, and I never saw them again.- Getting back to that first story. Did you know it was written by a woman?IM: I'm discovering that now that you tell me. Now, 40 years later I understand what drew me to the script--we could choose them, by the way... It was its sensibility and profoundness, something that you rarely find in a beginner's script. Truth of the matter is that we didn't know any of the writers. They just gave us a story and told us what to draw on each panel...- You mean you didn't get a written script?IM: Well, as you know, the stories had a lot of text. We only got a short version of it, giving us the gist of the story... I really don't know what they wrote inside the balloons or text boxes.- So you only turned in illustrated pages with no text? You know, many American artists said that you guys only did nice drawings, but couldn't tell a story. That you weren't really comic book artists.IM: Well, I think they were right. On rare occasions were there panels that pretended to be cinematographic. In my case, I was more worried about composing the page, but paid little attention to the dynamics. The thing about "nice drawings" well rendered, but not very comic-like, seems pretty much on target.- Let's talk about Dr Archaeus, one of my favorite serials...IM: Archaeus, yes!- Did you pick that one out?IM: No, that was given to me, and I didn't like it much.- What?! It's the one with the crazy doctor who kills every member of the jury following the 12 days of Christmas rhyme. Do you know the rhyme?IM: No. I don't know anything about it...- That serial is a masterpiece (I go on for about an hour talking about it)...IM: Well, now that I've heard you talk about it, I don't know if I knew about the song or not... The thing is that I've never been interested in movies about serial killers, the zodiac killer, apostles, or bizarre murders as is the case with Archaeus.But looking back, that Gerry (Boudreau, the writer of the series) guy was pretty original, as we've seen from what you just told me.Before that, we had the three blind mice and the ten little indians, which is the only thing I remember as a "game" between the assasin and the detective. In other words, a complete bore. Do you know that I only remember but a few chapters? The one taking place in the abbey is the one I liked best. I've seen similar things since.Hey, is it true that Gerry is now a famous writer of movies and tv series?All in all, this particular volume is highly recommended!
2 of 2 people found the following review helpful. The Land of Serials By Jason Kerr The latest Eerie Archives is another showcase of wonderful artwork. Some of the drawings resemble black and white photographs. Eerie, some archives back, turned into Warren's serial magazine. Vampirella was already a smash hit but as we all know, it's very hard to turn stories out in a consistent manner that's believable. The decision was made to have short serial runs whereby a sudden ending can come at anytime and the hero or villain could meet a fatal end. This is my first go through with the Eerie line so I cannot say which serials return or not but here is what is in this archive:1. Coffin - The living dead man (1 story).2. Killer Hawk (drawn by Wally Wood) - 1 story.3. Cotton Boy & Captain Blood - 1 story.4. Mummy & Werewolf Series - 3 stories. Both had their own serials that really didn't go too far so the idea was to merge them together and see what happens. I lost track of the characters and I couldn't really enjoy this series.5. Dr. Archaeus - 1 story. I really felt that this was a great series with good plot twists and excitement. I didn't feel that way at first but the series got better with time. I really thought there were a few more stories left to be told but this series concludes in a way I never expected.6. Apocalypse - 3 differant stories.7. Horror story classics - The first story is Lovecraft's "Cool Air" masterfully drawn by Bernie Wrightson. The 2nd is "Hollow of the Three Hills" by Hawthorne.8. The Spook - 3 stories with a new character named Crackermeyer. The Spook is not the lead anymore and makes limited appearances.9. The Butcher drawn by Corben - 2 stories. This is a mafia color serial and Corben's brutal depiction of a priest getting his face carved up is haunting.10. Circus of Pain - 1 story.11. Night of the Jackass - 2 stories. I loved the original story and one never knows how the latest story might end. Under seige in these stories are a church and an orphanage.12. Daddy and the Pie - 1 story.13. Exterminator 1 - 2 stories. This series may be the best in this archive. There are two awesome covers done by Ken Kelly. The story line is very interesting and you just have to know what comes next.This is what Eerie Archives 13 is all about. Anything goes in this volume.
1 of 1 people found the following review helpful. Serials abound and a few excellent stand alones By Dean Wirth Wrightson, Corben, Oritz and Paul Neary are all over this volume. Wrightson gives four full page two color drawing of cousin Eerie , masterful portraits and Lovecraft's Cool Air also gets Wrightson's masterful treatment in story form. Corben offers a gangster two shot series one in color and one in black and white. Paul Neary start the excellent Exterminator One series in color then black and white, Jose Oritz is everywhere in this volume, his excellent if sparse drawing style can sometimes be quite breathtaking. Ken Kelly (an underrated cover artist if there ever was one) does most of the covers including the dust jacket (which is of the Exterminator One series). Slavery, End of the World, Religion, and War are major themes in these issues, sometimes a little to preachy for my tastes, but the old werewolf/mummy themes are still present in the dumbest series that just wouldn't die (really -a were-mummy?). A little run of the mill and quite a bit of the old Warren magic makes this 4 volume well worth having.
See all 5 customer reviews... Eerie Archives Volume 13, by VariousEerie Archives Volume 13, by Various PDF
Eerie Archives Volume 13, by Various iBooks
Eerie Archives Volume 13, by Various ePub
Eerie Archives Volume 13, by Various rtf
Eerie Archives Volume 13, by Various AZW
Eerie Archives Volume 13, by Various Kindle
Tidak ada komentar:
Posting Komentar