Creepy (magazine)

Launch

Illustrator and editor Russ Jones , the founding editor of Creepy in 1964, said he approached Famous Monsters of Filmland magazine publisher Jim Warren with the idea of horror comics similar to the 1950s’ EC comics books, but as black-and-white magazines that Comics Code Authority ‘s self-censorship . Warren eventually agreed. Jones recalled that,

Originally it was to be a 64-page magazine. Jim cut it back to 48 … I made a sketch of my home for the first time. 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 asked for a 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 have a title for our mag. ^[1]

Joe Orlando was not only an illustrator for Creepy but also a story editor on early issues, with his masthead credit reading: “Story Ideas: Joe Orlando.” Bill Pearson also worked on the first issue.

The Archie Goodwin era

In 1965, Russ Jones had a falling out with publisher Jim Warren and departed. ^[2] Archie Goodwin , having already been writing most of the stories and working with most of the regular artists, ^[2] Goodwin, who became one of the comics foremost writers, helped establish the company as a leading force in the field of black-and-white comics magazines. ^[1]

Artists During this era included Neal Adams , Dan Adkins , Reed Crandall , Johnny Craig , Steve Ditko , Frank Frazetta , Gray Morrow , John Severin , Angelo Torres , Alex Toth , Al Williamson and Wally Wood . Originally published quarterly, Creepy switched to bi-monthly by the end of 1965.

To help draw the best possible performance of the artists working on the series, a goodwin would ask the artist what type of story or he would like to work in; Goodwill’s thinking, making it easier to come up with a story idea. ^[2] He also wrote a considerable number of adaptations of public domain works for Creepy . Initially, it was felt that the original works were overly familiar, it would change the ending or the beginning of the story when doing these adaptations. Eventually, it was presumptuous, and more closely adhered to the original stories. ^[2]

Goodwin resigned as the editor of Creepy after issue 17 (October 1967). ^{[ Citation needed ]} Due to a Lack of funds, ^{[ citation needed ]} the majorité of the magazine’s leading artists left, and Warren Was forced to Rely on reprints, Which would be prevalent in the magazine up to issue 32 in April 1970. A variety of editors ran the magazine during this period, including Bill Parente, Nicola Cuti and Warren himself. Things would pick up starting in 1969 with the premiere of Vampirella magazine. Some of Creepy’s original artists, including Frazetta, Crandall and Wood, would return, as did Goodwin, who was associate editor for issues 35 through 39. ^{[quote needed ]}

Editors and artists

A variety of editors continued to manage Creepy after-Goodwin’s second departure, Including Billy Graham and JR Cochran. William Dubay, who had started at Warren as an artist with issue 32 in 1970, would become editor of the magazine for issues 50 through 78, except for a short period of time in 1974, when Goodwin returned for issues 61 through 64. The frequency of Creepy and Warren’s other magazines was upped to nine issues per year.

Another major development occurred in late 1971 when artists from the Barcelona Studio of Spanish agency Selecciones Illustrada started appearing in Creepy and other Warren magazines. Artists from Spain would go on to dominate Creepy and the other Warren magazines throughout the 1970s. These artists included Esteban Maroto , Jaime Brocal , Rafael Aura Leon Martin Salvador, Luis Garcia , Fernando Fernández , José González, José Bea , Isidro Monés , Sanjulian , and Enrich Torres. Additional artists from SI’s Valencia Studio joined Warren in 1974José Ortiz , Luis Bermejo , and Leopold Sánchez. Gerry Boudreau, Budd Lewis, Stenstrum, Steve Skeates and Doug Moench .

Themed specials dominated Dubay’s era as editor, and included two Edgar Allan Poe issues (69 and 70), three Christmas issues (59, 68 and 77), three issues dedicated to a single artist (71, 72 and 74), a science fiction issue (73) and an issue where every story was based on the cover painting (64). These stories were printed in many colors by Richard Corben . Towards the end of his period as editor, many artists from Creepy’s first golden era, Alex Toth and John Severin .

Dubay resigned after issue 78 and was replaced by Louise Jones , his assistant trainer . Jones would edit the magazine until issue 116 in March 1980. Former DC Comics publisher Carmine Infantino joined Warren shortly after he became editor and did pencils for over 50 stories. Much like the wave of Spanish artists Dominated That Creepy Throughout the mid-1970s, a number of artists from the Philippines joined Warren During Jones’ period as editor, Including Alex Niño , Alfredo Alcala and Rudy Nebres , remaining with Creepyuntil its end in 1983. While he had resigned as editor, Dubay remained with Warren and became their dominant writer during this period. Other frequent writers During this period included Bruce Jones , Bob Toomey and Roger McKenzie .

After Louise Jones resigned as editor after issue 116, Dubay returned to edit the magazine using the alias “Will Richardson” until issue 126. After Dubay’s departure, various editors and Chris Adames and Timothy Moriarty held the position. Reprints once again in the magazine with many reprint issues being dedicated to a single artist. Warren’s last Creepy (# 145) was published February 1983, and then he went bankrupt. Harris Publications bought after Warren’s bankruptcy and published a single issue (# 146) in 1985.

In 2000, after a protracted legal dispute with Harris Publications, ^[3] [4] Jim Warren and Warren Publishing finally adopted the Creepy and Eerie franchises .

Archives and the relaunch

In February 2007, Newcomic Company, LLC completed a seven-year-old effort for Creepy and Eerie . Terms of the deal were not disclosed. All copyright renewals and trademarks have been re-established in the name of New Comic Company LLC. ^{[ quote needed ]}

Short comics , Dan Braun , Craig Haffner, Josh Braun and Rick Brookwell completed a partnership agreement with Dark Horse Comics and its CEO Mike Richardson to republish in archival hardcover form all 285 total issues of the original Creepy and Eerie . The first Creepy archival volume was published in August 2008, with additional releases available every four months. The first archival Eerie was released in March 2009, with subsequent archives available every four months.

In July 2009, Dark Horse Comics and Newcomic Company LLC released the new Creepy magazine. ^[5] Edited by Shawna Gore and Dan Braun with Craig Haffner it displayed the work of artists Bernie Wrightson , Angelo Torres , Saskia Gutekunst and Jason Shawn Alexander Illustrating script by Michael Woods , ^[6] Dan Braun, Joe Harris and Bill Dubay .

Awards

In 2009, Dan Braun and Shawna Gore won the Eisner Award for best archival project for Creepy Archive # 1. ^[7]

Cultural legacy

Uncle Creepy is featured in an early stage in Percy Jackson & the Olympians: The Lightning Thief .

The back cover of Roger Taylor ‘s (drummer of rock band Queen ) solo project album Fun in Space shows him reading the July 1980 issue of Creepy . The album ‘s front cover flips the image, showing the alien from the issue of Roger Taylor.

In 2010, New Comic Company, LLC Uncle Creepy mask in almost 20 years. The mask was sculpted by Trick or Treat Studios Art Director Justin Mabry and will be available in Halloween and costumes stores across the world for the 2011 Halloween season.

By September 2012, the apparel company Stüssy launched a line of T-shirts and hats titled “Stüssy x Creepy ” featuring Uncle Creepy, the Creepy logo and graphics from the magazines. ^[8]

References