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Basil Gogos (artist)

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Basil Gogos is an illustrator best known for his striking, often colourful portraits of movie monsters which appeared on the covers of Famous Monsters of Filmland magazine in the 1960s and 70s.

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Basil Gogos was born to Greek parents in Egypt and his family emigrated to the USA when he was a child. From a young age he displayed a tremendous aptitude for art and spent much time studying his craft at various New York schools, including The National School of Design, The Phoenix School of Design and The School of Visual Arts. His early muse was the American artist, Frank J. Reilly, whose vivid, painted compositions were a clear influence on Gogos’s own later works.

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During the 1960′s, Gogos honed his trade working as an illustrator for numerous ‘men’s adventure’ magazines; lurid, outlandish depictions of voluptuous damsels being attacked/saved/gawped at by brutes, savages and macho heroes. Occasionally, to spice things up even further, the roles would be reversed for even more salacious reading.

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This paintings soon led to work for the renowned comic publisher, Warren, whose early science fiction, horror and fantasy exploits included Monster World, Creepy and Eerie (and eventually Vampirella). Gogos’s first work for Warren was for Forrest J Ackerman’s Famous Monsters of Filmland, which had been running since 1958. By 1960, it was already up to issue 9, and Gogos graced the cover with his interpretation of Vincent Price in House of Usher.

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Over the next 20 years, Gogos continued his association with the publication, his paintings of some of the most recognisable creatures, heroes and villains from classic horror films becoming almost as iconic as the original visions. Although he also had work published in the likes of  CreepyEerie, Spaceman, Wildest Westerns and The Spirit, it was always to Ackerman he returned.

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Gogos often captured his subjects in an array of vivid colours using a technique in which the artist imagined the character bathed in colours from multiple light sources. His sympathetic techniques extended to lending a certain pathos to the monsters, giving them a tortured depiction in the same manner Universal also portrayed their ‘baddies’ as unfortunate souls struggling with their lot. By the late 1970′s, horror comics were giving way to the likes of Fangoria and other film magazines which showed pictures of the guts and gore in photographic form, appealing to blood-hungry kids and adults alike. Gogos turned to fine art, revisiting many of his old paintings and creating sumptuous, incredibly detailed works. His work has, however, remained hugely popular, finding its way onto collectors cards, books and album covers by artists such as Rob Zombie, The Misfits and Electric Frankenstein.

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A coffee table book, Famous Monster Movie Art of Basil Gogos (edited by Kerry Gammill and J. David Spurlock), was published and in 2006 Gogos received The Rondo Hatton Classic Horror Awards’ special Monster Kid Hall of Fame award for his contributions to the field of classic horror. Original works by Gogos can command prices of many hundreds of dollars.

Daz Lawrence

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This Magazine is Haunted (comic book)

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This Magazine is Haunted was a horror comic originally published by Fawcett between 1951 and 1953. Running fourteen issues, it was the first of Fawcett’s supernatural line; a string of titles which included Beware! Terror TalesWorlds of FearStrange Suspense Stories, and Unknown Worlds. Created by Sheldon Moldoff and edited by Will Leiberson and Al Jetter, the publication was loosely modelled after EC‘s New Trend, particularly their highly successful horror titles.

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Like its better-known competitors, This Magazine is Haunted was notable for its black humor and frequent O. Henry climaxes. Drawing on the considerable creative resources of the Fawcett stable, Haunted storylines dealt with the standard horror themes of the period: vengeance from beyond the grave, macabre retribution and ‘dark’ justice, all of which were presented with an appropriate level of irony.

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Human folly played a key role in many stories; characters were constantly led into disaster by their own greed, stupidity or outright corruption. Numerous plots revolved around violent criminals meeting grisly but entirely deserving fates, while others featured hapless bystanders trapped in bizarre or terrifying circumstances. Comics historian Stephen Sennitt describes the Fawcett line as “genuinely eerie” in contrast to EC’s more visceral approach.

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Once more following EC’s example, Haunted featured mainly non-continuing stories narrated by a suitably malevolent host, the cadaverous Doctor Death. Resembling a decaying corpse dressed as a Victorian undertaker, Doctor Death played much the same role as the Crypt Keeper in Tales From the Crypt, breaking the fourth wall to provide explanations and plot details.

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Like most other comics of the early fifties, Haunted’s content drew upon a wide variety of popular cultural sources, particularly mainstream cinema, pulp fiction and American folklore. Stories were often above average in quality: scripts were literate and occasionally poetic; artwork usually of Fawcett’s professional standards (comparable, in a few examples, to EC’s more outstanding material). Perhaps the one thing lacking was innovation. Haunted dealt in the standard horror fare of the period – bizarre crimes, weird creatures, walking cadavers and the like. Virtually all of Haunted’s recurrent themes were common to the genre, recycled in practically every horror comic to grace the newsstands.

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There was one area, however, in which Fawcett showed some degree of originality. Haunted was notable for employing the “The Beyond,” as a unifying element to many of its storylines. While the idea wasn’t used consistently, it became a recurring plot device in all of Fawcett’s horror titles, sometimes playing an essential role in the narrative. It was, in a sense, the closest thing to a “universe” in a series of books otherwise lacking in continuity.

Briefly speaking, The Beyond was a mysterious plane of existence which occasionally encroached on the physical world. A shadowy limbo vaguely akin to the Afterlife, it served as the source of the many supernatural menaces which threatened the “Realm of the Living.” In a number of cases, it was a grey, lifeless purgatory inhabited by rotting corpses; in others, a place of perpetual torment akin to hell (although it was never specifically defined as such).

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The Beyond seemed to be the abode of all of humanity’s worst fears; vampires, ghosts and demons existed alongside dragons, witches and harpies. All seemed generally hostile towards mankind, some periodically crossed over to prey on selected victims or to seek vengeance on former tormentors. The traffic appeared to flow in both directions; mortals could inadvertently find themselves trapped in the Beyond before the end of their natural lives.

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Access to the Beyond took numerous forms. Ghostly express trains made midnight runs to the other side, carrying the spirits of the recently departed. Phantom cruiseliners ferried moldering passengers through the Sea of the Dead. Unwary travellers often found themselves making a one-way trip on the Road to Nowhere. Sometimes, mechanised transport was completely unnecessary – swamps, caves and haunted houses all seemed to lie within the outer boundaries of The Beyond.

Along with many other titles of a similar vein, This Magazine is Haunted came under fire during the anti-comics backlash of the early fifties (although generally speaking, its content wasn’t quite as visceral as its rivals). Ironically, this was not the reason for the title’s cancellation; Fawcett dropped its entire comics line in 1953, largely as a result of an industry-wide sales slump and a long-running legal battle with DC Comics.

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Fawcett sold most of its properties to Charlton Comics in 1954, a deal which included the four horror titles. Evidently, Haunted was successful enough to continue publishing under its original numbering, starting with no. 16 (March, 1954). For a time at least, Charlton attempted to maintain the moody atmosphere of its predecessor, even retaining the services of Doctor Death as the series’ narrator. While not quite up to Fawcett’s standards artistically, Charlton’s run was distinguished by some of Steve Ditko‘s earliest work in the supernatural genre. After the establishing of the Comics Code in 1954, the content was toned down considerably, dealing with magic, mystery and suspense rather than with outright horror.

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The change in content led to circulation problems, as the magazine was rebooted within a year, reverting back to issue one in 1956. Doctor Death was replaced by Doctor Haunt (possibly designed by Ditko, by now the title’s lead artist). The comic continued bi-monthly another two years despite the financial problems besetting the comics industry at the time. The final issue of the Charlton run was number 16 (May 1958).

Wikipedia

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Images are courtesy of comicvine.com


Undead Evil (digital comic book)

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Undead Evil is a digital comic book released by Asylum Press on all digital platforms on July 17, 2013.

Undead Evil is the tale of Alfred Carter and his attempt to save his estranged family from a centuries old Voodoo curse.  Written by Frank Forte (Heavy Metal, The Vampire Verses, Asylum of Horrors) and illustrated by Nenad Gucunja (Satan’s Circus of Hell, Girls and Corpses, Warlash) with a painted cover by Ben Olson (Area 51:Blacksite, Drakan 1 & 2, The Suffering).

The story takes place in New Orleans in the immediate aftermath of Hurricane Katrina. A centuries old family curse is reignited by an undead Voodoo priest and paranormal researcher Alfred Carter begins to have disturbing visions of the past, present and future. When Alfred is summoned by the ghost of his ancestor, he must travel to The Big Easy to cleanse his bloodline. What he finds are untold family secrets and a descent into madness. Asylum Press describe “this twisted tale as H.P. Lovecraft meets Angel Heart.

Undead Evil #1 is available on Comixology, ComicsPlus, Graphicly, My Digital Comics, DriveThruComics, AVE Comics and can be found on on iPad, iPhone, Kindle, Android devices, Mac, and PC.

A preview can be viewed on the Asylum Press website


Terror Tales (pulp magazine)

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Terror Tales was the name of two American publications: a pulp magazine of the weird menace genre, and a horror comic in the 1960s and 1970s.

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Terror Tales was originally published by Popular Publications. The first issue was published in September 1934. One of the most successful horror magazines, it was joined shortly afterwards (1935) with its sister horror pulp, Horror Stories, also from the same publisher. Some of the writers whose work appeared in Terror Tales included E. Hoffmann Price, Wayne Rogers, Wyatt BlassingameRay CummingsPaul ErnstArthur Leo Zagat and Arthur J. Burks. Rudolph Belarski provided several covers for the magazine. Terror Tales ceased publication in March 1941.

A later publication of the same name was a black-and-white horror-comics magazine. Terror Tales was published by Eerie Publications from 1969 to 1979.

Wikipedia

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Images courtesy of coverbrowser.com

Posted by Adrian J. Smith using information via Wikipedia which is freely and legally available to share and remix under the Creative Commons Attribution-ShareAlike 3.0 Unported License. Horrorpedia supports the sharing of information and opinions with the wider horror community.


Sukia (comic book)

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Sukia was a vampire-themed fumetti Italian comics series by Renzo Barbieri and Fulvio Bosttoli published by Edifumetto from 1978 to 1986 over 153 issues. In the series Sukia faces people or creatures who are trying to do some form of harm to the world or other. Sukia is displayed as an antiheroine since she at times helps people fight crimes against humanity or committing crimes for personal gain. Each issue usually was self-contained.

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The series was published in ItalyGermanyFranceSpain and in Latin America where the series was published in Colombia and distributed all over Latin America. The Latin American version of the series can also be found in North America. The physical characteristics of Sukia were clearly inspired by the actress, Ornella Muti.

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Sukia Dragomic/Smith/McNought, is the main character of the series. Sukia is a descendant of the Counts Dragomic who originate from Transylvania. She died in the 13th century and was accidentally revived in 1724, Sukia moved to America and died again in 1801. She now lives in New York, In the first issue of the collection Sukia married with William McNought and then she killed him and she inherited his name and fortune. Sukia was affected by vampirism which was given to her by her father Drakul Dragomic, who tried to rape and kill her.

Wikipedia | Related: comic bookJacula |Les Spéciaux EF | Terror Blu | Vampirella

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Thanks to comic vine.com for some of these images.


Creepy (horror comic magazine)

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Creepy was an American horror-comics magazine launched by Warren Publishing in 1964. Like Mad, it was a black-and-white newsstand publication in a magazine format and thus did not require the approval or seal of the Comics Code Authority. The anthology magazine was initially published quarterly but later went bimonthly. Each issue’s stories were introduced by the host character, Uncle Creepy. Its sister publications were Eerie and Vampirella.

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Russ Jones, the founding editor of Creepy, detailed the magazine’s origins and his lengthy negotiations with Jim Warren in his memoirs: I made a sketch of my host for the mag and sent it off to Jack Davis to work up a cover. Still no title. Titles are tough. Ask anyone who ever had to come up with one. One night I was sitting in the studio alone, looking at Woody‘s tear-sheets from the ECs, when Warren called. He was furious and demanded a name for Project D. I was looking at a balloon over an Ingels Old Witch, and in her narrative, the word “creepy” grabbed out at me. I muttered the name to Jim… We now had a title for our mag.”

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This publication and later companion Eerie, were inspired by legendary EC Comics’ line of horror and suspense publications, from story content and host storyteller Uncle Creepy.

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Thanks to cover browser.com for most of these images.


Bubba the Redneck Werewolf

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Bubba the Redneck Werewolf is a 2013 American horror comedy film adapted from Mitch Hyman’s comic book of the same name. The film is being directed by Stephen Biro and produced by Unearthed Films, And You Films and Two Rubbing Nickels Ltd.

Plot synposis: “In the town of Broken Taint, a vicious evil is unleashed, offering the dreams of humanity if you just sign on the dotted line. One lovesick dog catcher makes a deal with the Devil and not only is his life turned upside down, but so is Broken Taint. Bubba The Redneck Werewolf is born and the town goes to Hell while his local bar is filled with the Damned, Bubba figures out how to beat the Devil—but first, he needs another beer and maybe some hot wings.”

Official Facebook Page

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Godzilla (Marvel comics)

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From 1977 through 1979, Godzilla starred in a 24-issue run of comics written by Doug Moench, drawn by Herb Trimpe, and published by Marvel Comics entitled Godzilla, King of the Monsters. The series thrusts Godzilla completely into the Marvel Universe. In a nod to King Kong vs. Godzilla, the giant radioactive lizard first appears by exploding out of an iceberg near Alaska; although, how the prehistoric creature came to be trapped again in ice is never revealed. Over the course of the series, he crosses the continental United States and eventually ends up in New York City.

Godzilla’s appearances in the Toho films are alluded to in a few issues. In at least one issue, Godzilla seems like the lesser of two evils. He clashes with a monster far more evil, who generally acts more like an actual animal, albeit one with unusual levels of intelligence. Despite such allusions to the films, Godzilla is depicted as more animal-like than as the highly intelligent, perhaps sentient, creature depicted in the majority of the films by the time of the comics’ printing (1977).

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Godzilla encounters not only agents of S.H.I.E.L.D. during the course of the series but many other heroes in the Marvel Comics universe. Among them are the now-defunct group the Champions (sans Ghost Rider), the Fantastic FourDevil Dinosaur and the Avengers, along with a brief cameo by Spider-Man in the last issue of the series.

Godzilla also fights other gigantic monsters, including Yetrigar, a King Kong-esque giant primate, and the alien Mega Monsters. Red Ronin, a giant robotic entity created specifically for the series, reappears in AvengersSolo Avengers, and an issue of Wolverine, in which Godzilla is given an oblique nod, being referred to as a “Time Lost Dinosaur,”.

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Despite the loss of copyright, Marvel would continue to use Godzilla for several years afterward. In Iron Man No. 193, one of Godzilla’s primary antagonists from the original series, mad scientist Doctor Demonicus, captures and mutates Godzilla so that he no longer resembles his Toho namesake. His last appearance was in The Thing No. 31, where he is actually referred to as Godzilla.

Outside of this, Godzilla has been referenced or spoofed in other Marvel comics. In The Web of Spider-Man Annual No. 2 from 1986, the character Warlock from The New Mutants turned into Godzilla and then King Kong during a rampage through New York City.  In The Amazing Spider-Man No. 413, Spider-Man battles a huge robot toy Godzilla brought about by the villain Mysterio.

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The Marvel Comics atlas states that the Age of Monsters began in 1954, which is evidently a reference to the original Godzilla film. Additionally, the entry mentions that Godzilla returns years later and is the reason for the construction of Red Ronin and the formation of S.H.I.E.L.D.’s Godzilla Squadron.

In 2006, Marvel reprinted the entire 24 issue run of Godzilla, King of the Monsters as a trade paperback collection. Like all of Marvel’s Essential line, the series was published in black and white rather than colour as in its original printing.

Wikipedia



Relatos de Presidio (Mexican comic)

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Relatos de Presidio (‘Tales from Prison’) is a popular “sensacionales” Mexican comic with horror and crime themes aimed at adults. Published by Editorial Toukan (and running to over 800 issues), the far from politically correct artwork and stories in Relatos de Presidio feature gory scenes of death and torture involving victims from both sexes.

‘Sensacionales’ or ‘La revisit vaquero’ are very low quality black and white comics printed in tones of sepia featuring about four panels per page in a four square diagram. The pocket size books generally have approximately one hundred pages and are famous for portraying voluptuous women on their covers. Most are sold cheaply at newsstands, either new or second-hand (similar to Italian fumetti).

Adult comics have a unique place in Mexican culture. Sensacionales are trashy and exploitative, but they also represent a genuinely popular indigenous medium. The dominant role of adult comics in Mexico is relatively new. From the 1930s through the 1970s, Mexico had a thriving comic-book industry with many genres. Titles such as Pepín, Fantomas, and Memín Penguín sold millions of copies during this era. But in the 1980s, American superhero comics poured into Mexico. That, combined with the perception that comics were only for kids, nearly wiped out indigenous comic books in Mexico. The only genre to survive, and even thrive, was a unique form of adult pulp comics.

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Wikipedia | Comic Vine | Related: JaculaSecrets of Haunted House | Vampirella


The Gorbals Vampire (event/urban myth)

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The Gorbals Vampire is an all-encompassing term which refers to the events in a Glasgow graveyard in 1954. Reportedly stemming from a 1953 edition of ‘Dark Mysteries’ comic, featuring a story called ‘The Vampire with the Iron Teeth’, dozens, if not hundreds, of children descended on a local graveyard, determined to destroy a vampire which was rumoured to have abducted two local children.

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The sprawling Southern Necropolis resides in the South of Glasgow, in an area known as the Gorbals, an area sadly best-known for its overpopulation of poor, underprivileged families and crime. It was here, on the 23rd of September 1954, that hundreds of school-aged children, spanning the ages of 4-14 arrived armed with knives, stones and hand-crafted spears and stakes, with the sole intention of slaying a vampire which had taken two of their own.

The children had been taken, according to their own reports, by a 7 foot tall vampire, clad with iron teeth. So berserk had their stories become that alarmed parents sought assurances from the police that the undead weren’t prowling around their neighbourhood. Rumours spread first from playground to playground that a vampire was at large in the necropolis, a factless whisper that quickly turned to a local frenzy. Children swarmed upon the graveyard hailing anything and everything that moved was the spawn of the Devil, not that this focussed their attentions, few of them even knowing what a vampire was or how to deal with one. Returning for the next 3 nights, though in fewer and fewer numbers, the children were never able to catch the foe, though a sighting of a bonfire did lead to screams that the vampire was burning the corpse of one of his victims. A local headmaster eventually bringing things under control by telling everyone they were being ridiculous.

The story from the comic book upon which blame is attributed to the hysteria was created by Hy Fleishman, who drew strips for many publications in the 1950′s. Quite how a relatively obscure pre-code American comic came to be the cause for such uproar is unclear, though that rather supposes that this was indeed the cause. It was certainly enough for the authorities who, embarrassed and alarmed by the scale of the event, quickly sought to pin the blame on something tangible. As such, it became held aloft as the corrupter of young minds and led to the introduction the Children and Young Persons (Harmful Publications) Act 1955 which, for the first time, specifically banned the sale of magazines and comics portraying “incidents of a repulsive or horrible nature” to minors.

Daz Lawrence

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Zora la Vampira (comic book)

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Zora, the vampire, better known as Zora la Vampira is an Italian comic book erotic character. The first comic book was published in 1972. Her physical appearance is partly inspired by Catherine Deneuve. The comic book artists who created the character are Giuseppe Pederiali and Balzano Biraghi. The comics were published from 1972 until 1985. A film, also named Zora la Vampira, was released in 2000, directed by the Manetti Brothers.

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Her real name is Zora Pabst and is shown as an aristocrat of nineteenth century, possessed by spirit of Dracula, where she becomes her servant to satisfy her lust and blood-lust. Her adventures are a mixture of horror and eroticism.

Zora la Vampira is one of many such characters from the Italian ‘fumetti‘ tradition. Other figures from the same era, and with similarly violent or erotic preoccupations, include Maghella, Lucifera, Biancaneve, Vartan, JaculaSukia, Jolanda de Almaviva, and Yra.

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Related: Jacula | Les Spéciaux EFRelatos de PresidioSukia | Terror BluVampirella

Wikipedia | We are grateful to Comic Vine for these images


X-Men: Apocalypse vs. Dracula

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X-Men: Apocalypse vs. Dracula is a four-issue comic book limited series published in 2006 by Marvel Comics. The series was written by Frank Tieri and drawn by Clayton Henry and was collected into a trade paperback in October 2006.

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One is a villain that has been plaguing civilisation since the time of the Pharaohs. The other is the deadliest vampire to ever walk the earth. The story tells how centuries ago, before his vampire days, Vlad Tepes lost in battle against the ageless mutant, Apocalypse. Now in the days of 19th century London, Dracula is seeking revenge to his past defeat and is turning members of Apocalypse’s clan into vampires. Apocalypse himself is awoken from his slumber to take battle against the Lord of Vampires, and with Abraham Van Helsing at his side.

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Buy X-Men: Apocalypse vs. Dracula from Amazon.co.uk | Amazon.com

Wikipedia

 


Eerie Comics (comic book)

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Eerie Comics was a one-shot full-colour, 52 page horror comic book dated January 1947 and published by Avon Periodicals as Eerie #1. Its creative team included Joe Kubert and Fred Kida. The contents comprised six full-length horror feature stories and a two-page humorous tale. It holds the distinction of being the first true, stand-alone horror comic book and is credited with establishing the horror comics genre. The comic book’s glossy cover depicts a red-eyed ghoul clutching a dagger and a rope-bound, voluptuous young woman in a derelict moonlit ruin.

The issue featured six stories that were fairly tame in their depiction of the gore and violence generally found in horror fiction. ”The Eyes of the Tiger” follows a man haunted by the ghost of a stuffed tiger; ”The Man-Eating Lizards” (with a script by Edward Bellin and artwork by Joe Kubert), tells the story of an island infested with flesh-eating lizards; and another, “The Strange Case of Henpecked Harry” (with art by Fred Kida), follows a man spooked by the bloody corpse of his murdered wife. Other feature stories include “Dead Man’s Tale”, “Proof”, and “Mystery of Murder Manor”. A two-page humorous tale starring Goofy Ghost rounds out the issue. Members of the creative team included Fugitani, and George Roussos.

Following the 1947 issue, Eerie disappeared from newsstands shelves. In 1951, Eerie #1, cover-dated May/June 1951, was published by Avon and saw a run of seventeen issues. The first issue reprinted “The Strange Case of Henpecked Harry”  as “The Subway Horror”, and issue 12 printed a Dracula story based on the Bram Stoker novel. Several covers featured large-breasted women in bondage. Artists Joe Orlando and Wallace Wood were associated with the series. The title saw a run of seventeen issues, ceasing publication with its August/September 1954 issue. Eerie then morphed into Strange Worlds with #18, October/November 1954.

Wikipedia


Eerie Publications (publisher of comic magazines)

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Eerie Publications was a publisher of black-and-white horror-anthology comics magazines. Less well-known and more downscale than the field’s leader, Warren Publishing (CreepyEerieVampirella), the New York City-based company was one of several related publishing ventures run by comic-book artist and 1970s magazine entrepreneur Myron Fass.

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Titles published during their fifteen years of operation included WeirdHorror TalesTerror TalesTales from the TombTales of Voodoo, and Witches’ Tales. All of these magazines featured grisly, lurid colour covers. New material was mixed with reprints from 1950s pre-Comics Code horror comics. Writer and artist credits seldom appeared, but included Marvel Comics penciler/inkers Dick Ayers and Chic Stone, as well as Fass himself, with brother Irving Fass and Ezra Jackson serving as art directors.

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  • Horror Tales (27 issues, June 1969 – Feb. 1979)
  • Strange Galaxy (4 issues, Feb. 1971 – Aug 1971)
  • Tales from the Crypt (1 issue, July 1968)
  • Tales from the Tomb (33 issues, July 1969 – Feb. 1975)
  • Tales of Voodoo (36 issues, Nov. 1968 – Nov. 1974)
  • Terror Tales (46 issues, March 1969 – Jan. 1979)
  • Terrors of Dracula (9 issues, May 1979 – Sept. 1981)
  • Weird (69 issues, Jan. 1966 – Nov. 1981)
  • Weird Worlds (5 issues, Dec. 1970 – Aug. 1971)
  • Witches’ Tales (34 issues, July 1969 – Feb. 1975)

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Wikipedia | We are grateful to Comic Vine for the images above


Orror (comic)

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Orror (Italian: ‘horror’) was an Italian ‘adults only’ fumetti comic book published in two different series in the late 1970s. For the first series, publishers Edifumetto issued 21 issues from June 1977 to May /1978; for the second series, 6 issues were issued in 1979.

As was the case with most horror-themed fumetti, the comics and covers often depicted scantily-clad or half-naked young women being terrorised by all manner of predatory ghouls, killers and monsters. Artwork was sometimes based upon images from horror films, such as the first edition’s no.20 which shows a vampire modelled on actor Jon Pertwee from the Amicus movie The House That Dripped Blood (1970) but shows him as Afro-Caribbean, Blacula-style! The cover for number 10 seems to be derived from an image used to promote Blood and Lace (1970), although in this case the hammer murder weapon is replaced with an axe. Second edition, no.6 shows a vampire with a striking resemblance to Jack Palance, who played Dracula for TV director Dan Curtis in 1973.

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We are grateful to Comic Vine for the cover images shown here. Visit their site to see more…

 



Legend Horror Classics (magazine)

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Legend Horror Classics
was a British magazine published by Legend Publishing and which ran for thirteen issues between 1974 and 1975.

The magazine was very much a second fiddle imitation of Monster Mag, being a format that opened out to feature a large horror “pin-up” poster. Interestingly though, it arguably predicted Monster Mag follow-up House of Hammer, having a mix of comic strips and film features. The comic strips were usually four page adaptations of famous horror stories – the first issue featuring Dracula (the 1973 film rather than the novel), the second Frankenstein (based around the 1931 film) etc. Kevin O’Neill illustrated many of the comic strips and served as art editor, later becoming editor.

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Other films adapted included The 7th Voyage of Sinbad in issue 3 and Hammer’s Dracula in issue 5, while more original stories include Blood Lust of the Zombies in issue 4 (which featured a gory cover still from Death Line), Terror from Space in issue 6, Killer Jaws (a shark story, predictably) in issue 8 and The Jokers in issue 9. The magazine also adapted Beowulf in issue 7.

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From issue 11, the comic strips were dropped and the final issues were ‘themed’, concentrating on Dracula, werewolves and Frankenstein.

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Although not particularly well distributed or popular (certainly in comparison to Monster Mag), Legend Horror Classics remains an interesting, oddball entry in the history of both horror movie magazines and British comic books, and copies are now highly collectable.

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David Flint, Horrorpedia


Emanuele Taglietti (artist)

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(n. 74, settembre 1980)

Emanuele Taglietti (born in Ferrara, January 6, 1943) is an Italian designer, illustrator and painter.

Born to an artistic father, Emanuele Taglietti graduated from his local art institute, then moved to Rome where he studied set design at the Experimental Center of Cinematography. He worked on the art direction and set decoration for various films, including Federico Fellini’s Juliet of the Spirits

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In 1973, he returned to live in his home town and came into contact with Renzo Barbieri of Edifumetto, for whom he worked as a cover artist of erotic, crime, fantasy and horror-themed fumetti (Italian comic books). Having been inspired by artists such as Frank Frazetta and Averardo Ciriello, he created artwork for fumetti such as Zora the vampire, Belzeba, Cimiteria, Sukia, Stregoneria (“Witchcraft”), Gli Spettri (“The Spectres”), Il Sanguinari (“The Blood”), Lo Schelectro (“The Skeleton”), Ulula (“Howls”), Vampirissimo and Wallestein.

(anno I, n. 15, dicembre 1978)

Occasionally, Taglietti reworked images and artwork from horror films such as Creature from the Black LagoonNight of the Demon (1957) and The Plague of the Zombies, and seems to have had a fixation on actress Ornella Muti (whom he based the image of Sukia on). Featuring the signature nudity of fumetti, his work was sometimes censored when the comic books were publish in other countries, like Spain.

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During this busy period, which continued until 1988, Taglietti also restored old paintings and occasionally collaborated as an illustrator for magazine publishers such as Mondadori and Rizzoli. He retired in 2000, broadened the scope of his artistic interests, devoting himself to mural decoration and furniture.

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n. 10 (ottobre 1978)

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n. 8 (giugno 1985)

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(n. 17, gennaio 1979)

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We are very grateful to the Emanuele Taglietti Fan Club blog for the images above.Visit their blog to see lots more of Taglietti’s artwork…


Shako (comic strip)

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“This is no cute and cuddly polar bear. He’s a blizzard of white hot horror, the terror of the frozen wastes, he is SHAKO – and he is death!”

Shako was a horror comic strip published in legendary British weekly 2000AD for sixteen issues in 1977.

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While 2000AD was (and is) primarily science fiction based, it would occasionally venture into the world of horror, usually in single-run strips – that is, stories that have a beginning, middle and end over a period of continuing episodes, rather than a continuing character. Shako was one such story, written by Judge Dredd creators Pat Mills and John Wagner, and illustrated by Ramon Sola, Juan Arancio, Dodderio and Lopez Vera.

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The story of a killer polar bear who swallows a container of germ weaponry after a plane crash, the strip was short on plot or character development, but high on gory mayhem as the CIA, represented by Jake Falmuth – or “Foulmouth” – and assisted by Inuit guide Buck Dollar, try to capture the bear, who has developed a taste for human flesh and a hatred for people, before the Soviets get hold of him.

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The strip ran from prog 20 to prog 36, and would later have a prequel story, White Fury, which apeared in the 1987 2000AD Annual. It had the feel of a leftover from 2000AD predecessor, the notorious Action!, and in many ways is an imitation of that comic’s Jaws rip-off, Hook Jaw, with the bear replacing the shark. It was also very much in the tradition of the ‘nature strikes back’ horror that was popular at the time.

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Like many of these single-run strips, Shako didn’t develop much of a following amongst the readership at the time, but over the years it has developed a reputation as one of the most outrageous of the early 2000AD stories, with its mix of the ludicrous and the gory violence, which frequently saw Shako biting heads off – remember, this was a comic aimed at kids!

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The strip was republished in reprint magazine 200AD Extreme in 2006, and in December 2012, the whole Shako run – including White Fury – was compiled in book format. You can also buy a Shako T-shirt from the 2000AD website!

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DF


The Unseen (comic book)

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The Unseen was a short-lived pre-Code Authority comic book published by Standard Comics, owned by Ned L. Pines. Comprising 36 pages the artwork for The Unseen was by the likes of Abe Simon, Mike Roy, Gene Fawcette, George Roussos, George Tuska and Alex Toth. Standard Comics also published the better known Adventures into Darkness during the same period. Stories included were: Shadows in Pawn, The Claw of Klath, The Hungry Lodger, The Devil’s Stones, Bayou Vengeance, 

  • Mirror of Hate

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We are grateful to Comic Vine for most of the images above.


Scream Inn (board game)

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Scream Inn is a horror themed board game, first produced in the UK by Strawberry Fayre from 1974.

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Scream Inn was a a comic strip that ran in British weekly Shiver and Shake during 1973-74, and this game – only vaguely related – appeared in the second year of its run. Oddly, the game didn’t feature any of the original characters (apart from a generic white-sheet ghost) and it is uncertain if there is any official connection between the two (the game makes no mention of the strip).

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The game was aimed at players aged six years-old to adult, and could be played by 2 – 4 players. Each players starts with five figures and four ghosts, and you hide your ghosts under the rotating board, placing them under beds of floorboards, concealed from other players. If you land on a bed of a floorboard, you have to look underneath – if you encounter a ghost, you lose that piece and must start again. The aim of the game is to escape Scream Inn without being frightened by ghosts.It had the slogan “We’re only here for the fear!”.

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The board had a semi-3D format and the game was full of small parts that would inevitably get broken or lost, and was needlessly complicated. Nevertheless, the packaging and the name ensured that it was popular amongst horror-loving kids.

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DF



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