_Eerie_ returns with two new tales of science gone amok, plus a classic from the dungeon! Mike Allred (_iZombie_, _Madman_) embellishes Damon Gentry's ("The Horror Robber") tale of communication breakdown between us and "Our Friend the Ant," Brian Clevinger (_Atomic Robo_) and Evan Shaner (_Buddy Cops_) warn of aliens' most insidious invasion plan yet! Mike Allred returns to Dark Horse! Presented in glorious, ghoulish black and white!
When publisher Jim Warren created Creepy magazine in 1962, he soon realized he'd hit pay dirt on a gruesome gold mine of great comics storytelling. Under the leadership of editor/writer Archie Goodwin, Warren's hit line of horrorcomics magazines grew another lurid limb with the introduction of Eerie in 1964, and soon there were two great horror magazines on the rack instead of one. Following in the fetid footsteps of our sinfully successful archive library of Creepy, Dark Horse is also proudly publishing its Eerie equivalent keeping chilling stories and incredible artwork in the family! * Includes astonishing artwork and classic stories from such comics legends as Gene Colan, Steve Ditko, Gray Morrow, Neal Adams, and Frank Frazetta! * Reprints classic Eerie stories originally published from 1966 to 1967. * A New York Times Bestselling series!
A gruesome gold mine of horror, suspense, and the supernatural, Eerie magazine (and its partner in crime, Creepy), set the bar for gripping tales of terror in the comics medium. Collecting the groundbreaking series, Eerie Archives is now available in a value-priced paperback edition. Under a jaw-dropping cover painting by Frank Frazetta lies a collection of chilling tales written by comics legend Archie Goodwin and illustrated by a murderer’s row of top talents including Steve Ditko, Gene Colan, Neal Adams, Gray Morrow, Johnny Craig, Dan Adkins, and more. Collects Eerie magazine #6–#10.
In 1954, the comic book industry instituted the Comics Code, a set of self-regulatory guidelines imposed to placate public concern over gory and horrific comic book content, effectively banning genuine horror comics. Because the Code applied only to color comics, many artists and writers turned to black and white to circumvent the Code's narrow confines. With the 1964 Creepy #1 from Warren Publishing, black-and-white horror comics experienced a revival continuing into the early 21st century, an important step in the maturation of the horror genre within the comics field as a whole. This generously illustrated work offers a comprehensive history and retrospective of the black-and-white horror comics that flourished on the newsstands from 1964 to 2004. With a catalog of original magazines, complete credits and insightful analysis, it highlights an important but overlooked period in the history of comics.
Slithering upon the heels of Dark Horse's archive collections of the seminal horror comics magazine Creepy comes its terror-filled cousin publication Eerie! Collected for fans for the first time ever, and packaged in the same amazing oversized format as the Creepy Archives, Dark Horse Comics has taken great, gruesome care in presenting this groundbreaking material to readers who have been waiting decades to get their claws on it.
This veinchilling second volume showcases work by some of the best artists to ever work in the comics medium, including Alex Toth, Gray Morrow, Reed Crandall, John Severin, and others. Each archive volume of Creepy is packed with stories (usually up to eight short stories were featured in every issue!) running the gamut of gruesome subject matter, from reimagined horror classics such as The Cask of Amontillado, to spectacularly mindtwisting shorts such as The Thing in the Pit, or the macabre maritime yarn Drink Deep. * This volume collects Creepy #610. "Since the stock is much finer than the authentic newsprint, visually, these pages are better than the originals, with moodly, dark blacks that punctuate the shock endings." Publishers Weekly
The latest Eerie Archives volume reprints issues #65–#69 of Warren Publishing's frightful anthology of horror, fantasy, and science fiction and includes work by Alex Toth, Bernie Wrightson, Paul Neary, and others. Vivid covers by Ken Kelly and Sanjulian are reproduced, and a new introduction by John Cochran caps off this fine collection! * Legendary creators influential, experimental horror! "There's an astonishing assortment of style and craftmanship contained in each and every volume." –Mania.com
Collecting issues #61-#64 from the midseventies, 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, and painted covers by Ken Kelly and Sanjulian. * New introduction by Tom Neely (The Blot, The Wolf). * Bernie Wrightson brings to life the disturbing H. P. Lovecraft yarn “Cool Air”!
This volume explores how horror comic books have negotiated with the social and cultural anxieties framing a specific era and geographical space. Paying attention to academic gaps in comics’ scholarship, these chapters engage with the study of comics from varying interdisciplinary perspectives, such as Marxism; posthumanism; and theories of adaptation, sociology, existentialism, and psychology. Without neglecting the classical era, the book presents case studies ranging from the mainstream comics to the independents, simultaneously offering new critical insights on zones of vacancy within the study of horror comic books while examining a global selection of horror comics from countries such as India (City of Sorrows), France (Zombillénium), Spain (Creepy), Italy (Dylan Dog), and Japan (Tanabe Gou’s Manga Adaptations of H.P. Lovecraft), as well as the United States. One of the first books centered exclusively on close readings of an under-studied field, this collection will have an appeal to scholars and students of horror comics studies, visual rhetoric, philosophy, sociology, media studies, pop culture, and film studies. It will also appeal to anyone interested in comic books in general and to those interested in investigating intricacies of the horror genre.
