Since Warren's original run of CREEPY from 1964 - 1983 (145 issues) there have been numerous attempts at reviving the spirit of the vaunted magazine-sized horror comic book. Dark Horse acquired the rights to the Warren title and branding, including the image of Uncle Creepy, as well as the rights to reprint the backlog. The resulting series of "Creepy Archives" is impressive, but disappointingly, the new version of the title was shrunk to a standard comic book size, exactly the opposite of Warren's work-around to the albeit weakening stranglehold of the Comics Code Authority which caused the self-immolation of many horror comic publishers in the mid-1950s who were either unwilling or unwitting enough to adapt to the new rules.
Another, indie-produced horror comic, BLOKE'S TERRIBLE TOMB OF TERROR, uses similar design features and themes to CREEPY. Publisher/writer Jason Crawley (really!) and artist Mike Hoffman and Co. do a pretty good job of it, but don't quite hit the heart with the stake.
Then, from out of the blue (or the grave, as Unca' Creepy would probably say) comes THE CREEPS, a brand-new, magazine-sized horror comic that is an unapologetic, unabashed, near clone of CREEPY. Now in its sixth issue, THE CREEPS is the closest thing yet to a true homage to the original, so close in fact, that one could say it is a pastiche. It is obviously deliberate by design, and while other attempts capture the "look" of CREEPY, THE CREEPS not only accomplishes that, but it also actually "feels" like the old CREEPY.
Granted, we will never again see the likes of a team of writers and artists that shepherded the early years of CREEPY. These consummate professionals were the crème de la crème of illustrators that had cut their teeth and sharpened their pencils over the drawing board for EC, the greatest line of horror comics ever, for chrissakes!
In this latest issue of Warrant Publishing's THE CREEPS however, one can see artists clearly under the spell of the aforementioned genius loci of horror comics. What you have here is a bullpen of artists like the Reed Crandall-esque Reno Maniquis, the Wally Wood-esque Jason Paulos, the Orlando-esque Mansyur Daman and the Brunner-esque Mike Dubisch, all combined to achieve a vague, but eerily (no pun intended) reminiscent appearance of the original. Even the mag's mascot, The Old Creep, is a blatant swipe of Uncle Creepy. Editor Rich Sala, writing as "Artie" Goodwin has brought aboard a capable stable of story scripters, including Warren alumni Nicola Cuti and Don Glut. And yes, the stories themselves have that old touch of the macabre and sardonic, with twist endings that hit the mark nearly every time.
I have to admit, I was a little leery with the first couple of issues, but the last two or so have shown a significant improvement in the writing as well as the art moving in the direction of more traditional draughtsmanship as opposed to modernist comic illustration. Issue #6 even sports a Frazetta cover! And I would be remiss to mention the anti-tobacco ad on the letters page as was seen in the original Warren 'zine?
I'm looking forward to more of THE CREEPS. Now that it's selling well enough to be put on the shelves at Barnes & Noble, it is hopeful that a new wave of readers will catch on to the entertainment found between its covers.
Promoted as “one of the most sought-after monster items of
the 1960s”, the “Horrorscope Movie Viewer” is currently up for auction. With a
current bid of $500, the ultra-rare, complete kit is expected to realize a
final bid of $1,000 to $3,000. A photo of the projector was always depicted in ads during its heyday in the 1960s,
but the box it came in is rarely seen.
The Horrorscope was first advertised for sale by mail order
in FAMOUS MONSTERS OF FILMLAND # 29 (July 1964). FM’s “Monster Mail Order” (products
later to be sold under Captain Co.) began in the second issue, and a manual,
hand-cranked movie projector and 8mm film of Lon Chaney’s PHANTOM OF THE OPERA
was offered in issue #4 (August 1959). The “Magnajector”, a gadget that was
placed over photos and projected the image on a wall or screen, appeared in FM
#8 (September 1960).
The Horrorscope was another gizmo that used a series of flip
cards, that, when the hand-crank was turned the cards gave the illusion of a
moving film. Flip books and other “flip” media were popular during this period.
The Horrorscope seemed to sell well as it appeared in FM for
many issues. And why not? At only $2.98 plus 50 cents shipping a Monster Kid
could watch 4 of his favorite movie monsters in action as many times as he
wanted!
Here is the seller’s description of the auction lot:
12x20x3-3/8" deep illustrated cardboard box contains
9" tall hard plastic viewer. Multiple Products Inc., 1960s. This is
Canadian issue w/French text on box sides. Box shows scattered wear
w/edge/corner creases including crease across Frankenstein's face and aged tape
residue by Dracula's collar and across Creature's face w/some scattered surface
paper lifting above. Colors remains bright and vibrant. Fine/VF. Viewer boasted
"No Bulbs, No Batteries, Hand-Action Complete With 4 Full Edition Films"
and comes w/the four issued films - Frankenstein and Dracula and Wolf Man and
Creature from the Black Lagoon. "Dracula's Return" features images
from "Dracula" w/Bela Lugosi and "Frankenstein's Revenge"
features images from "Frankenstein" w/Boris Karloff. Each of the
included double-sided film cards have two images from respective films on each
side. Frankenstein/Dracula includes cards 1-128. "Death Of A
Werewolf" features images of Oliver Reed from the 1961 Hammer film
"The Curse Of The Werewolf" and "The Creature Strikes"
features images from the 1954 film "The Creature From The Black
Lagoon." Wolf Man/Creature includes cards 1-9, 13-16, 33-40, 61-84 and
95-96. Some of the Frankenstein/Dracula cards have been placed within the
viewer as intended. Flip cards exhibit little wear and are VF-Exc. Viewer has
some scattered wear in the form of rubs/melt marks to edges of crank handle
w/some aging along center seam w/some melt marks. Back of viewer has 3"
skipping streak of aging/melt marks and sticker on front is reproduction.
Fine/VF overall. One of the most sought-after monster items of the 1960s.
Forty years after the illustration by an unknown cover artist appeared on the cover of the third issue (June 1926) of the famous pulp, AMAZING STORIES, a sinisterly similar image found its way on to the 18th issue of CREEPY.
The scene depicting a sea serpent (and a giant turtle in the lower right-hand corner) menacing the three-man crew on a raft was illustrating the second part of Jules Verne's serialized novel, "A Trip to the Center of the Earth" (aka "Journey to the Center of the Earth"). The caption on the contents page reads: Our Cover - illustrates an episode in this month's story, "A Trip to the Center of the Earth", by Jules Verne. Here we see our intrepid explorers almost perish at the agency of one of the great sea monsters roaming the great Inner Sea.
The cover of the January 1968 issue of Warren's CREEPY (issue #18) shows a swipe of the AMAZING STORIES cover image from 42 years earlier. Artist Vic Prezio is the culprit here, updating the image to include a damsel in distress. Sadly, our friend, the turtle, is no where to be seen, however. Perhaps after four decades he ended up "in the soup"?
