Eerie Archives Volume 11, by Various
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Eerie Archives Volume 11, by Various
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Collecting issues #52 to #55 of Warren Publishing's legendary Eerie horror anthology, this deluxe hardcover contains seminal work from fan favorites Will Eisner, Neal Adams, Vicente Alcazar, Paul Neary, Doug Moench, Tom Sutton, Martin Salvador, and many more! In Dark Horse's latest Eerie outing, Hunter — the deadly demon killer of the future — makes his explosive debut, Esteban Maroto continues his enchanting tales of Dax the Warrior, and Shreck struggles for survival on a dangerous, irradiated alternate world! A run of breathtaking covers by Sanjulian and Ken Kelly, a do-it-yourself "Werewolf!" board game, and two color "Spirit" tales top off this fine collection of 1970s horror tales!
Eerie Archives Volume 11, by Various- Amazon Sales Rank: #1528692 in eBooks
- Published on: 2015-03-11
- Released on: 2015-03-11
- Format: Kindle eBook
About the Author Will Eisner was born William Erwin Eisner on March 6, 1917 in Brooklyn, New York. By the time of his death on January 3, 2005, Will Eisner was recognized internationally as one of the giants in the field of sequential art, a term he coined. In a career that spanned nearly eight decades from the dawn of the comic book to the advent of digital comics Will Eisner was truly the 'Orson Welles of comics' and the 'father of the Graphic Novel'. He broke new ground in the development of visual narrative and the language of comics and was the creator of The Spirit, John Law, Lady Luck, Mr. Mystic, Uncle Sam, Blackhawk, Sheena and countless others. During World War II, Will Eisner used the comic format to develop training and equipment maintenance manuals for the US Army. After the war this continued as the Army's P.S. Magazine, which is still being produced today. Will Eisner taught Sequential Arts at the New York School of Visual Arts. The textbooks that he wrote based on his course are still bestsellers. In 1978, Will Eisner wrote A Contract with God, the first modern graphic novel. This was followed by almost 20 additional graphic novels over the following 25 years. The "Oscars" of the Comic Industry are called The Eisner Awards, and named after Will Eisner. The Eisners are presented annually before a packed ballroom at Comic-Con International in San Diego, America's largest comics convention. Wizard magazine named Eisner "the most influential comic artist of all time." Michael Chabon's Pulitzer-prize winning novel The Adventures of Kavalier and Clay is based in good part on Eisner. In 2002, Eisner received a Lifetime Achievement Award from the National Federation for Jewish Culture, only the second such honor in the organization's history, presented by Pulitzer Prize-winning cartoonist Art Spiegelman.George Henderson is the Sylvan N. Goldman Professor Emeritus, David Ross Boyd Professor Emeritus, and Regents' Professor Emeritus of Human Relations, Education, and Sociology at the University of Oklahoma, where he founded the Human Relations Program and served as Dean of the College of Liberal Studies.
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3 of 4 people found the following review helpful. What Was Warren Thinking Of? By Jason Kerr After reading this latest archive, it's easy to see that Eerie dropped to third place behind Creepy and Vampirella. It didn't have to be that way but someone decided that Eerie would be a serial type of magazine and that was not a wise decision. The serials started within the last two archives but by now, ideas and characters are dropping out left and right. The Dracula series was one of the first to go last archive. This time, the Mummy appears for three stories but is not included in the last issue. The same can be said for the Werewolf series. Dax is taken off the board as well. There are three new series. The first is Hunter: Demon Killer. Strange blend of sci-fi and end of the world type. A better series is Shreck. This is the same type of setting as Hunter but I found the storyline more interesting. Lastly, Dr. Archaeus makes his debut. This is a series about vengeance as the good doctor is found guilty for his misdeeds and hanged but somehow survives the experience and plans his revenge on the jury. Warren is also promoting The Spirit by Will Eisner. I had high hopes for this series but was truly dissapointed by what was presented. I never read any of The Spirit stories but my hopes were high based on two things: the great artwork that graced The Spirit's covers and the idea that Warren was giving us a hero that was going to literally go through the wringer and take his lumps while fighting evil. In the story "Bucket of Blood", the storyline was a good concept but it wasn't handled properly and the story comes out as comedy instead of a gut wrencher. I think the last issue (#55) may be setting us up for the future direction of Eerie as there are no more traditional monsters. Realistically, using Vampirella as an example, Warren knew how difficult it was to keep a character going in a series. Why come up with serial after serial is beyond me. Everyone knows that if the character is not well received, the magazine suffers. The artwork is still very good but I really don't think that the Eerie franchise wasn't great during this point in time.
4 of 5 people found the following review helpful. Eerie, the monster serials & the Spanish artists By Diego Cordoba As some reviewers have said, Eerie has by now began a collection of serials. Being a horror magazine, and the demand of fans back then for more Frankenstein and Dracula-type horror stories, Warren complied by making new stories for these popular monsters of filmdom. Since Warren also published Famous Monsters of Filmland, it wasn't hard for them to hand out many photographs of these monsters to their artists. However, these serials weren't as successful as expected, even if the artwork was always top notch. Maybe because it wasn't really a good idea after all, these monsters were already aging, being replaced by serial killers and psychos in films, and as a matter of fact, once Eerie came up with new original serials, the magazine would get back in track. Case in point was with the Hunter serial, which debuts in this volume. With "Hunter" they hit the jackpot, and it would become one of the most popular serials in Eerie, so much that even after the main character dies, he was ressurected (to less success). Hunter would also be the first attempt at a new serial, and due to its success, Warren suggested further original serials. In this volume we also get "Dr. Archaeus" (one of my favorites), a Victorian mystery about an escaped criminal who kills people according to the 12 days of Xmas. We also get "Shreck", a serial I never liked, and couldn't quite understand. But in future volumes we will get many other serials that just keep getting better. Wait till you discover "Coffin", a horror western by Budd Lewis & Jose Ortiz that makes Jonah Hex look like Little House on the Prairie. Among other series you'll find in future archive volumes are: another Victorian mayhem/killing mystery "Night of the Jackass" by Bruce Bezaire and Ortiz again; the time-travelling dinosaur-extravaganza "Within you, without you" by Bruce Jones & Rich Corben; the gangster/revenge story of "The butcher" by Bill du Bay & Rich Corben; the China seas high adventure/mystery "Scallywag" by Budd Lewis & Jose Ortiz; the two-part killer-in-the-subway mystery "Boiling Point" by Bruce Jones & Leopoldo Sanchez; the Erskine Caldwellesque "Three wishes of Gaffer" by Roger McKenzie & Leo Duranona; the giallo-inspired "Blood on black satin" by Doug Moench & Paul Gulacy (with beautiful artwork by Gulacy), etc. The cool thing about the Eerie serials was that they didn't care to kill their main characters after a while, something that was totally unthinkable for Marvel or DC (though they would also kill some characters every now and then, but not all the time). Add to this some other creator owned series -- which, as the name implies, is owned by their respective authors, and Dark Horse should be careful about it as to this day Maroto owns "Dax the warrior" -- such as Victor de la Fuente's "Haxtur" and "Haggarth", and Jose Bea's "Peter Hypnos", among others. Most of these works were re-written by the Warren writers, sometimes completely as to have very little to do with the original story, though not as extreme as what was done to Maroto's time-travelling story of an Egyptian queen which became the story of Idi Amin reincarnated as a girl and fighting Tricky Dick Nixon in the adult sci-fi Warren magazine 1984 (I'm not making this up).Many American fans then and now, wondered why Warren had opted to have all those Spanish artists. The first answer that came to mind, was that they were actually Mexicans from south of the border who were getting paid minimum wage rates to slave for Warren. But truth of the matter was that Warren actually paid the highest rates at the time, no matter where the artists came from (a practice both DC and Marvel didn't apply to the Filipino artists who were getting a third of what the Americans were paid). Warren's reasoning was quite simple: the Spanish artists were good! But what made these Spanish artists so good? What many people don't know is that most of these guys started working pretty young, mostly in their teens. And as they worked among already seasoned professionals, by the time they reached their early twenties, they were already seasoned professionals as well, something most of their American contemporaries weren't because they had only just started working in the business. You can see this in some of the earlier Warren archive volumes, were the artwork done by some young American artists is quite mediocre by comparison. And even if most of the Spaniards were only in their mid-twenties to early thirties when they started working for Warren, they already had more than a dozen years of experience, which made them seem so much better that their American counterparts.The Spaniards also had a very peculiar way of drawing or inking their comics, that didn't resemble anything done in America at the time. They were also masters of working in black and white, and this was due to the fact that they worked mostly for British magazines that were only printed in B&W. They also got their peculiar style of inking from some Italian magazine of the 60's called Linus. That magazine, which got its name from a Peanuts character, feautured the art of two masters of b&w inking and drawing; the Italian Dino Battaglia and the Argentine (though born in Uruguay) Alberto Breccia. Both Breccia and Battaglia had worked for the same editor in Argentina, who also happened to be the best comic book writer of all time: Hector German Oesterheld. Oesterheld got into comic books by accident, and would be among the first writers who would write specifically for an artist (pretty much like Kurtzman and Feldstein would do in EC), and a practice that the Warren writers would also follow. You can imagine the Warren writers fighting to get Maroto or Luis Garcia to draw their stories...Alberto Breccia, the argentine artist who would inspire so many of the Spanish artists in the late 60's/early 70's, would develop his very peculiar style of inking pretty much through trial and error, and a part of genius as well. Cutting himself one morning while shaving, he pulled the razor blade out and when he was about to leave it on the sink, he noticed it left behind a series of trails pretty much like the lines he obtained while inking with a pen. This gave him the idea to use a razor blade not only to ink, but to scratch the board and so obtain different effects on his inking. This wouldn't go unnoticed among the Spaniards, who began scratching their boards with a razor blade to extreme effects (look at Auraleon's artwork to see what I mean). Breccia's extreme use of shading and shadows, leaving only slits of white on the board to give more depth to his drawings, would also be of a great inspiration to the Spaniards. Most of them discovered Breccia's work either from the same British weeklies they were all working for, or from the afore-mentioned Italian magazine. Frequent Vampirella conributor Fernando Fernandez had also lived for a couple of years in Argentina, and when he came back to Spain, he showed all his friends at SI Artists (the art studio they all worked for in Barcelona), some of the astonishing art he had found in Argentina: artists like Breccia, Jose Luis Salinas (who drew the Cisco Kid newspaper strip, and perhaps the best artist of all time along with Hal Foster), Roume and countless other Argentine artists that would inspire the Spaniards as well.Dino Battaglia, the other source of inspiration for the Spaniards, was an Italian comic book artist who in the early 50's worked for another Italian publisher who had moved to Argentina along with such Italian luminaries as Hugo Pratt and Alberto Ongaro. He used a very peculiar way of inking, working not only in heavy blacks, but with grays he obtained with a "souffle-au-cul", a sort of metal tube divided in two sections; one part went inside the ink pot, and through the other you would blow as through a peashooter. Blowing through one of the metal tubes, would cause the ink to rise through the other tube, thus obtaining an ink splattering on the surface you blew onto. This splattering, similar to what an airbrush does, but much more coarser, and depending on the force with which you blew, would appear almost gray in print. This method of graying was very much appreciated by the Spaniards, who didn't know how Battaglia obtained this effect. However, they soon discovered that by dipping a used toothbrush in ink, and then rubbing the bristles with a ruler onto their artboards, they could obtain a splattering effect. Another trick was using an old sock dipped in ink, and then applying it onto the paper. You would obtain a splatter-like effect as well. As soon as this was discovered, all the Spanish artists were either dipping their toothbrushes, socks, or any clothing with a coarse weaving, into their ink pots and applying/or rubbing them onto their artboards. These effects are used by almost the totality of the Spaniards in the late 60's/early 70's, and you can pretty much see it in all the stories they did for Warren. Add to that some scratching with a razor blade over the splatter you obtained with your socks, toothbrushes, etc., and you've got all the shading needed for a Spanish-like inking for a Warren story.Though inspired by both Battaglia and Breccia, the Spaniards came up with a hybrid-style all their own, which however wouldn't last beyond the decade of the 70's, as nobody works that way anymore.Nevetheless, back in the day, the importance of the Spanish artists didn't go unnoticed among the other artists working for Warren, as many of the non-Spanish artists were trying to emulate them too. You can see this with Paul Neary's work on "Hunter", where he tries to copy Maroto's style, and even with some stories drawn by Tom Sutton. Of special note is also Gonzalo Mayo's work, who many believe is Spanish, but is among the only two peruvian comic artist to ever make it in America (the other one being Pablo Marcos). Mayo's work is very similar to Esteban Maroto's. And Maroto, whether you like him or not, has left an indelible mark on comic books, with his neo-classic, Mucha-influenced style of drawing.Maroto's series "Dax the warrior", by the way, was meant for Vampirella (see my review for Vampirella Archives volume 5 for further info). Since I've been writing about the various Spanish artists in other reviews I've done for the Warren archives, I'll only talk about two others I haven't mentioned before for this review: Brocal Remohi and Aldoma Puig.Artur Aldoma Puig only drew a couple of stories for Warren, and is an artist that is best known for his work in France and Belgium. Aldoma was also part of the group that worked for SI Artists in Barcelona, an art studio he had joined in the mid-fifties. Among his first creations was the western series Lonely Rock, which unfortunately didn't achieve a great success in Spain, but gained a certain notoriety in South America, as a back-up feature for various western comics published there, and later on in Britain, were he worked for a short time. His relative success came for the series he drew for french publishers such as Dupuis and Vaillant. For Spirou magazine he drew the series "Brice Bolt", written by Jean-Michel Charlier, one of the most popular french comic book writers of all time. At least two graphic novels (or albums as they are known in Europe) were published with this character, though they are by now long out of print. He would also draw other series for Pif, a kid's magazine. From 1975 onwards, he dedicates himself exclusively to sculpting, and has become one of the most important catalan sculptures of recent years. He has had showings of his works all over Europe, and many of his sculptures can be seen around various cities in Spain.Jaime Brocal Remohi was already a well known comic book artist in Europe by the time he worked for Warren. He had already started working from the early 50's in Spain, and in the early 60's drew the series "Ögan", the story of a viking and one of his first incursions into the world of Sword and Sorcery (or what's known in Spain as Heroic Fantasy). He also worked for Fleetway in England, drawing the popular series Janus Stark, about a magician who can do impossible feats. For Warren he drew the series of "The Mummy walks" (featuring a very muscular mummy, by the way), and all sort of horror stories. But his real success he found it in Europe after leaving Warren, creating the sword and sorcery series "Kronan" in Spain, and then "Arcane" and "Taar" for Pilote in France. In the 80's he would draw a series of biographies of well known historic personages, but it was in the 90's that he returned to the genre he became the most popular with: sword and sorcery and muscular barabarians. He must've been one of the few western artists to have his work published in Japan, a market that is completely hermetic to foreigners. He did the series "Kami no ude" at the end of the 90's for Japan, drawing in a hybrid style of realistic characters with bug-eyed eyes, the way the japanese draw the eyes on their characters. He passed away in 2002, but remains known throughout the world (well, outside of America) for his muscular barbarians, and sexy damsels in distress.
0 of 0 people found the following review helpful. Spirit in color and Hunter's debut By Dean Wirth Eerie has become a serialized magazine at this point, with Dax the Warrior still in attendance (still great artwork but story is wearing thin). The Mummy series continues and is creepy and still fresh. Hunter debuts, with zombies a and future scenario (it was popular for good reason).The Spirit makes a showing, colored by the master Richard Corben, it was a masterpiece by the great Will Eisner, and was published in Eerie as a tie in to a new Warren magazine launched at that time, which I believe were reprints from the 40's. At this point Eerie was a serial magazine, with stories told in 3 - 10 episodes, one per magazine with a ghostly /futuristic slant with a dash of horror thrown in. Creepy was straight horror, and Vampirella was a cross of both, with a lot of erotic imagery of course. Eerie still had the stunning artwork, interesting storylines (that could not be explored in one - shot stories), and of course great covers!
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