By Archie Goodwin, Joe Orlando, Otto Binder, Russ Jones
Assemble up your wood stakes, your blood-covered hatchets, and the entire skeletons within the darkest depths of your closet, and get ready for a scary experience into the darkest corners of comics background. darkish Horse Comics additional corners the industry on prime quality horror storytelling with essentially the most expected releases of the last decade, a hardcover archive selection of mythical Creepy Magazine.
This groundbreaking fabric grew to become the area of photograph storytelling on its head within the early Sixties, as extra special younger artists like Bernie Wrightson and Neal Adams reached new inventive heights with their interesting explorations of vintage and glossy horror stories.
*Brilliant, vintage Creepy tales from 1964-1966 raised from the lifeless after twenty-five years.
*Featuring paintings by way of such comics luminaries as Joe Orlando, Al Williamson, Alex Toth, and Frank Frazetta.
* Archive versions of Creepy may be the cornerstone of any comic-book library.
*Volume One reprints the 1st 5 terrifying problems with the magazine's unique run!
Read Online or Download Creepy Archives - Volume 1 (reprints v1 1-5) PDF
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Additional info for Creepy Archives - Volume 1 (reprints v1 1-5)
That was when the Young Adult Library Services Association scheduled a preconference session on graphic novels, at the American Library Association national gathering in Atlanta in June, which was attended by 175 people. “Get Graphic @ Your Library” was chosen for that year’s theme for Teen Read Week, October 13 –19, and was supported with a Web site on the subject of graphic novels (St. Lifer, 2002: 9). This tied in with the industry’s ﬁrst promotional “Free Comic Book Day,” which was planned for the Saturday after the opening of the ﬁrst Spider-Man movie.
Three distinct groups of critics targeted comic books. First were those educators and librarians, who believed comic books diverted children away from better literature, retarded the development of reading skills, and overexcited young minds with lurid tales of superhero adventure. Civic and religious leaders made up the second group to object to comic books. They feared that the violence and sex in comics were a threat to the morality of young readers, and they patterned their attacks after earlier “decency crusades” aimed at pulp novels.
A glossary of comic book terms was compiled by Jane K. Grifﬁn, who noted that in addition to the specialized terms used in comic book publishing, “fandom has its own well-deﬁned culture, making extensive use of slang and shorthand vocabulary” that she did not include in her list (1998, 71). Michael R. Lavin contributed a multipart series, complete with extensive lists, on collecting graphic novels and more broadly on the structure of the comics publishing industry. ’” (1998, 31). Lavin, however, moves beyond the “begrudging” acceptance of comics by librarians to deal with some of the speciﬁc objections they raise, by stating, “...