By Mike Howlett
Eerie Publications' horror magazines introduced blood and undesirable style to America's newsstands from 1965 via 1975. Ultra-gory covers and bottom-of-the-barrel construction values lent an air of chance to each factor, bold you to examine (and buy) them.
The bizarre of worldwide of Eerie guides introduces the reader to Myron Fass, the gun-toting megalomaniac writer who, with tyranny and glee, made a occupation of fishing pocketbook switch from younger readers with the main insidious kind of exploitation. You'll additionally meet Carl Burgos, who, as editor of Eerie guides, flooring his awl opposed to the full comics undefined. Slumming comedian paintings greats and unknown hacks have been either hired through Eerie to plagiarize the extra encouraged paintings of pre-Code comedian artwork of the 1950s.
Somehow those lowbrow abominations stimulated a iteration of artists who proudly blame occupation offerings (and psychological difficulties) on Eerie guides. certainly one of them, Stephen R. Bissette (Swamp factor, Taboo, Tyrant), presents the creation for this volume.
Here's the sordid historical past at the back of this mysterious comics writer, that includes astonishingly pink reproductions of many covers and the main spectacularly creepy art.
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Additional info for The Weird World of Eerie Publications: Comic Gore That Warped Millions of Young Minds
Because of this, the art from the Iger Studio has a distinct style and a certain feel to it. ” Clean, crisp lines, neat panels and concise storytelling are the earmarks of Iger Shop artwork. Robert Farrell, who wrote for the Studio in the late ’30s, was always keen to use Iger Shop stories in his comics. An associate at Fox, Superior, and the main man at Ajax, Farrell used the Iger Shop up until the very end, and even a bit beyond. honchos and was handed the keys to their new horror title Tales of Horror.
1959) art possibly by Bob Powell Carl Burgos was. 31 THE WEIRD WORLD OF EERIE PUBLICATIONS Secondly, there is evidence of hasty pasteups, and the scent of mucilage and X-acto knives hangs heavily over these comics. One story is stretched out from five pages to six and there are plenty of instances of bizarrely placed text and titles. Sketchy production values aside, these mags are packed to the gills with tremendous art. A bevy of pre-code artists turned up to fill these books with top-notch horror art.
This cover wouldn’t be In Beware #7 (Trojan, Jan. 1954), Fass’ only self-portrait to see print. Fass’ story “The Life of Riley” has more As 1954 was coming to an ugly close, Fass dismemberment but adds a helping of did some more covers and stories for Beware, cannibalism to the stew, making this one, curiously signed “Myron Fass… Good by” [sic], one of Fass’ more stomach-churning pre-code entries. More interesting still is Fass’ cover to Beware #11 (Sept. 1954), where he draws himself as a comic book artist tortured by his own creations.