I’d always wanted to read some of Warren’s black and white horror magazines, so including at least one of their major publications was a given when creating a list for RetroSmack. When it came down to choosing which one though, I realised that none of them particularly deserved more attention than the others. Creepy was the first to be published, but Eerie followed pretty soon afterwards, and Vampirella had always intrigued me for reasons that should be obvious when looking at a few of its covers. All three were monthly publications containing a handful of mostly-contained short stories, and it seemed to me that the writers and artists involved worked across all of them rather than being devoted to a single title. In the end I had little choice but to include all three, at least for the blog’s launching year. With that decision made, I ploughed into a world of vampires, monsters, aliens and supernatural mystery.
Vampirella: The character has always intrigued me. I just can’t put my finger on the reasons why though.
Image Credit: Comic Vine
Warren Publishing was formed by James Warren in 1957 for a single purpose. To publish his own men’s magazine in competition to Playboy. His attempt was titled After Hours, but after just four issues, Warren realised about 30 other clones had launched at the same time, flooding the market. It did give him some solid experience with publishing in general though, along with all the printing and transportation dramas that come with it, so when literary agent Forrest J Ackerman approached him with a good idea, he was ready to jump on it. That idea was for a one-shot magazine called Famous Monsters of Filmland. Ackerman had noticed that many of the black and white horror movies he’d watched in his youth were now being shown on televisions across America and marketed at children. He figured there was an untapped market and he was right. The “one-shot” magazine’s first print run of 200,000 was sold out within just a few days. The magazine was soon a monthly publication that originally ran for 25 years and 191 issues. The success of Famous Monsters of Filmland provided Warren the means to publish other magazines with different themes. These included Wildest Westerns (aka Famous Westerns of Filmland) and Help!, a satirical adult-themed magazine by MAD magazine creator Harvey Kurtzman.
Famous Monsters of Filmland: Warren had no idea just how good his idea actually was.
Image Credit: Biblion
Before I go any further, it’s important to understand the landscape that comics were forced to inhabit in the fifties and sixties. The Comics Code Authority was in place and had been since 1954. This code was introduced after widespread public concern, and banned any form of violence or gore from appearing in comics. At the time, EC Comics’ range of horror-themed series (Tales from the Crypt, The Vault of Horror, and The Haunt of Fear) had been selling like hot cakes, producing a constant flow of vampire, werewolf, zombie and monster stories every month of the year. The Comics Code Authority put an end to that, and the comics that followed for ensuing years were tame out of necessity. It wasn’t long before publishers started to realise there was a way around the code though, and that was black and white newsstand publications in a magazine format. Mad magazine was one of the first publications to make use of this loophole, avoiding the Code due its format. One man that felt particularly saddened by the demise of EC Comics was Russ Jones, an illustrator for various publishers like Marvel and Charlton. His dream was to re-create EC’s horror range in a black and white magazine format. All he needed was a publisher brave enough to do it.
EC Comics’ Range of Horror Comics: Who knows how long they could have run if it weren’t for the code.
Jim Warren was the man that was brave enough to bring horror comics back, but even he took a fair amount of convincing. Jones continually bugged him with his idea while producing covers and strips for Warren’s existing mags, but it wan’t until Famous Monsters of Filmland sales really started to flag that he agreed to take the risk. The title Creepy was chosen for this new magazine, and in true EC style, a host character was created called Uncle Creepy. As editor, Jones began looking for writers and artists to contribute. This was made extra tough by Warren paying insanely low per-page fees, resulting in Jones having to shift some of his own pay to the artists to make sure the quality would remain high. Like Famous Monsters of Filmland, when Creepy finally hit stands it was a huge success. A mass of comic readers across America had apparently been longing for the return of EC-style comics. They snapped up the first issue and demanded more. They got it too, and while Jones left a few issues after launch (he had a falling out with Jim Warren), the magazine was very successfully edited by Archie Goodwin for the next few years. It switched from bi-monthly to monthly, and attracted artists as renowned as Neal Adams, Frank Frazetta, Gray Morrow, Steve Ditko and Al Williamson.
Creepy Magazine: Many of the early issues had fantastic covers by Frank Frazetta
Given the success of Creepy, it shouldn’t come as much of a surprise that Warren figured another title could have the same result. The first issue of Eerie was published in early 1966. It had a new host, Cousin Eerie, but otherwise followed the same formula as Creepy and was edited by Archie Goodwin. Both Creepy and Eerie sold well for a couple of years until Warren faced their first real crisis in the backend of 1967. Funds were dwindling, and when Goodwin resigned, a lot of well-known artists working on the magazines followed. Warren was forced to rely on reprints of earlier stories to fill page counts, and a revolving door of editors occurred. Something had to change, as the company’s future was looking bleak. It wasn’t until late in 1969 when the solution was found. Surprisingly, it was the addition of a third horror-themed magazine that got things back on track. A magazine called Vampirella!
Eerie Issue #2 and Vampirella Issue #1: More Warren = More Frank Frazetta
Vampirella was an immediate success, its sultry, not to mention vampiric, hostess drawing in a new audience that would then explore the other two titles. Goodwin returned as editor of all three titles, and some of the big artists also made a comeback, including Frazetta. Sales were up, and in 1971, Warren began hiring artists from the Spanish agency Selecciones Illustrada (such as Jose Gonzalez, Enrich Torres and Luis Bermejo) to make sure original content could fill Creepy, Eerie and Vampirella month in, month out. Another notable change naturally occurred in 1972, when Eerie magazine began publishing ongoing series and storylines. Prior to this point, all three magazines had focused on standalone stories, with the notable exception of the Vampirella stories that headlined every issue of that magazine. The first of these series was Dax the Warrior, which ran for twelve issues between 1972 and 1973. Soon afterwards famous horror characters like Dracula, the Wolfman and the Mummy would get lengthy storylines over many issues.
Dax the Warrior: Notice the introduction by Cousin Eerie. A process taken straight from EC Comics.
Image Credit: The B-Side Barbarians
I badly underestimated the time required to read every issue of Creepy, Eerie and Vampirella for 1977. It didn’t seem that bad on paper, with a total of 28 issues being released across the three titles. But I soon discovered that each issue ranged from 64 pages to a whopping 100, and the majority of stories were really quite wordy. Unlike a typical DC comic, which I can read and write notes on in about 30 minutes flat, some of these issues took close to two hours to complete! It took me around three and a half weeks to get through all 162 separate stories, with very little attention given to any other RetroSmack subject matter during that time. It’s for this reason that it’s unlikely I’ll be able to cover these magazines again going forward, particularly as I would need to read two year’s worth in 1979 (1978 & 1979 combined). It’s a shame too, as the quality found behind the fantastically illustrated covers was for the most part exceptionally high. There was a huge variety of content, with a heap of science fiction, sword and sorcery fantasy, and Twilight Zone-style mysteries to go with the title-promised horror.
Creepy Issues #85 to #93: There are three awesome recycled Frazetta pieces in there, but Bernie Wrightson’s #87 and Enrique Torres’ #90 covers are almost as good.
Speaking of themes, one of the few things that I did feel lowered the standard of work were the various themed issues (all stories in an issue following a preselected theme). From what I understand, previous editor Bill DuBay had introduced the idea in the early seventies, and current editor Louise Jones carried it on. It was fine when every story in an issue was based on Mars, or when every story in an issue has Richard Corben artwork. More often than not though, the themes were not to my liking, or appeared to force the writers down paths they weren’t completely comfortable with. The Christmas issue wasn’t as bad as it could have been, but the all-sports one was absolutely terrible, basically repeating the same formula for different American sports. The idea of every story in Eerie issue #81 having the same finale wasn’t necessarily a bad one, as it gave writers the opportunity to find creative ways to drive their plot towards the same close. The choice of climax however, being a 50 foot naked woman taking the place of King Kong on the Empire State Building, was less inspired, and clearly chosen to match Frazetta’s cover for that issue alone. The issues I enjoyed the most were the ones where contributors had free reign, resulting in both quality and variety.
Eerie Issues #80 to #88: Once again there are three Frazetta classics in there (#81, #84 & #87), but Enrique Torres’ and Ken Kelly’s The Rook covers (#83 & #85) are also high quality.
Given that there are 27 issues totalling 162 stories, there are obviously too many contributors to mention. I recognised a couple from my DC reading (writer Cary Bates and artist Carmine Infantino), and another duo from my time with Heavy Metal magazine (Richard Corben and Nicola Cuti). For the most part though, the regular writers and artists for the three magazines were completely new to me. It didn’t take me long to become accustomed to their work though, as close to 70% of the writing was completed by just five individuals (Bill DuBay, Bruce Jones and Roger McKenzie produced 50% alone) and rather incredibly, over 50% of the artwork was cranked out by just five illustrators (the Spanish quartet of Luis Bermejo, Jose Ortiz, Leopold Sanchez and Raymon Torrents, plus Carmine Infantino). Rather than bang on about each of them independently, I’ve decided to list ten notable stories from the whole selection, indirectly giving praise where it’s due.
Vampirella Issues #57 to #65: All nine covers are by the insanely talented Enriques Torres. He’s an artist I’ll most definitely be looking into after this experience. I think issue #64 is my favourite.
10. The Pharaoh’s Lady (Story by Nicola Cuti, Art by Luis Bermejo)
I’ve always been drawn to Egyptian mythology, so always enjoy a good yarn in the world of Pharaohs and pyramids. I really loved this one from Nicole Cuti in issue #65 of Vampirella. When the Pharaoh’s adopted daughter Isisi discovers that he is building a magnificent pyramid so as to gain immortality, she can think of nothing else beyond taking it for herself. While outwardly serene and loyal, Isisi betrays everyone she loves to get what she wants. Will the Gods look kindly on such treacherous acts though? Beautifully clean yet detailed artwork by Bermejo bring this story of betrayal and lust to life.
09. Thrillkill (Story by Jim Stenstrum, Art by Neal Adams)
This comic made me angry. I can’t say for sure that Jim Stenstrum was inspired by Stephen King’s Rage, but this story of youth gone mad has a very similar feel and message. When Bobby decides the world isn’t a place he wants to live in any longer, he takes a sniper rifle and starts taking out innocent victims from a rooftop above a crowded city. The violence, which is portrayed with brutal realism by the immensely talented Neal Adams, isn’t the aspect of Thrillkill that made me angry though. It’s the commentary that goes with it, apparently a recorded interview with Bobby’s youth leader, suggesting that both family and society let the boy down. The story doesn’t glorify the murder of innocent people quite as much as Rage did, but it’s not far behind. It’s in Creepy #91 if you want to see it for yourself.
08. Mother Knows Best (Story by Bruce Jones, Art by Al Williamson)
The cool red colouring was enough to catch my attention, but that’s not the only great thing going for Bruce Jones’ story from Creepy #86. It initially seems to be a pleasant story involving siblings being raised by a robot in a safe environment. All that changes when Santa arrives on Christmas eve, not only with gifts, but also with a message the children never expected. Maintenance robots have taken control of Cyliss II, a spaceship seeking habitation on a distant planet. The kids must decide whether to help a stranger dressed as Santa, or to stick by the only mother they’ve ever known. This is my first experience with Al Williamson artwork, and I can see why he’s held in such high regard.
07. Skimpole’s Monsters (Story by Bill DuBay, Art by Ramon Torrents)
This story, that appeared in Vampirella #61, is one that has really stuck with me. Wilber is so dedicated to the craft of making puppets that he inadvertently neglects his beautiful wife Cynthia. When she finds comfort in the arms of her doctor, Wilber’s puppets hold discussions about what is to be done. But are the puppets really alive, or are they merely voicing the thoughts of Wilber himself? Both DuBay and Torrents outdid themselves with this story. The former giving each of the puppets distinct personalities in just a few pages, and the latter creating panel after panel of detailed, emotionally moving work.
06. Stand In (Story by Bruce Jones, Art by Carmine Infantino and Dick Giordano)
This comic from Vampirella #57, once again written by Bruce Jones, is based on a really interesting science fiction idea. Technology has given humanity the ability to know when people are going to be killed (like in Minority Report). It is fine to try to save them, but a religiously controlled government has produced a law that states that someone must die in their place. Enter Surrogates: professionals that are paid to place themselves into the situation that the computer states will cause a death. If they die, then the originally intended victim gets to live. If the Surrogate lives, they receive their payment and the originally intended victim is gassed to death. Infantino’s pencils are solid enough, but the story had me gripped until the climax, which delivered in fine style.
05. Vampirella (Stories by Bill DuBay, Art by Jose Gonzalez)
I’d always wanted to read some Vampirella, but I never thought I would enjoy it as much as I did. I imagined it would be somewhat similar to Red Sonja, focussing on the beauty and seductive talents of the main character above decent storytelling and character development, but that hasn’t turned out to be entirely true. Sure, Jose Gonzalez makes her look stunning in every frame she inhabits, but Vampi has a vulnerability and dare I say humanity (she’s actually an alien from the planet Drakulon) that I never expected. Constantly fighting her thirst for blood, and caring deeply for her friends Pendragon, Adam and Conrad Van Helsing, Vampirella fights out of necessity rather than any want for power or riches. DuBay’s headlining storylines were constantly intriguing, and Gonzalez’s art style perfectly captured the Gothic feel required. Yep, I’m a Vampi fan!
04. Shadow of the Axe (Story by Dave Sim, Art by Russ Heath)
Oh man! I didn’t see this one coming! This is the only story in the issues I read that was penned by Cerebus creator Dave Sim, but boy does he leave his mark. A family has already be torn apart by the drunken and violent actions of the man of the house, but things take a turn for the worse when it becomes apparent that he is committing murders around town. The man’s son decides there is nothing else to do but take things into his own hands. Shadow of the Axe is a beautifully crafted short horror story, its six pages so meticulously planned and illustrated that I was left stunned. While Sim deserves credit, Russ Heath is the real star here. This story is one of the reasons why Creepy #91 was up there with the best issues I read.
03. The Rook (Story by Bill DuBay, Art by Luis Bermejo)
I’d be shocked if The Rook wasn’t in some way inspired by Doctor Who. Its main character spends his time moving between times in a ship called The Rook. There are however enough points of differentiation for this continuing story to hold value. It manages to combine science fiction with classic western action reasonably seamlessly, and gives its minor characters (The Rook’s great, great grandfather Bishop, the villainous Gatt, and the threesome of droids, Mr. Manners, Nuts and Bolts) just as much importance as the title character. I looked forward to these segments in each Eerie issue, partially for Bermejo’s typically awesome artwork, but mostly for DuBay’s adventurous and often mind-blowing stories. I wasn’t at all surprised to read that the character eventually got its own comic series.
02. Yellow Heat (Story by Bruce Jones, Art by Russ Heath)
A huge proportion of the stories in Creepy, Eerie and Vampirella concluded with Twilight Zone-ish surprise endings. Many of them were clever, but there were also quite a number that failed miserably, clearly put in as an afterthought, seemingly as a requirement. The ending of Yellow Heat is genius. The story itself was interesting (it depicts the quest of a man as he attempts to defeat a lion in combat to claim a prized woman), Russ Heath’s artwork insanely good, but the last panel will put your jaw in the same position it was during the closing scene of The Sixth Sense. I will say no more. Get Vampirella #58 to find out what happens.
01. Jenifer (Story by Bruce Jones, Art by Berni Wrightson)
When I saw the first page of this short story, I had a strong feeling that I’d seen it before. It was only later, after I’d been completely blown away by it, that I discovered where. Jenifer is the only individual story from Warren’s horror comics line to appear in 1001 Comics You Must Read Before You Die. It thoroughly deserves it too! When Jim discovers a man with an axe about to murder a young woman in the woods, he shoots him and rescues her. On finding that the woman, named Jenifer, is horrifically deformed, Jim feels compelled to take her into his mortified family. As his compulsions to help and even love her increase, so too do his family members’ concern and disgust. It soon becomes apparent that Jenifer is somehow manipulating Jim, and history repeats itself with the only conclusion there could ever have been. This is wonderful storytelling by a writer and artist at the top of their powers. I’ve since discovered that Jenifer originally appeared in Creepy #63 back in 1974. I’m not at all surprised that Warren decided to give it another run.
The Warren Horror Comics (1977) RetroCard has now been added to the RetroCard Shop. It’s a rare card, so therefore costs 60 smacks and has a limited release of 20.
Featured Image Credit: Cover of Creepy #50 by Sanjulian
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