17 décembre 2008 3 17 /12 /décembre /2008 09:51


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.


Founding and first Golden Age

Russ Jones, the founding editor of Creepy in 1964, detailed the magazine's origins and his lengthy negotiations with Warren in the memoir "Creepy & Eerie" at his website. While doing covers, illustrated stories and photo stories for Warren, Jones continued trying to sell him on the idea of doing a comics magazine, and eventually Warren agreed: Originally it was to be a 64-page magazine. Jim cut it back to 48... 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.Joe Orlando was not only an illustrator for Creepy but also a behind-the-scenes story editor on early issues. His credit on the first issue masthead read: "Story Ideas: Joe Orlando." Russ Jones soon departed, and in 1965, Archie Goodwin became the editor of Creepy. Goodwin, who became one of comics' foremost and most influential writers, helped to establish the company as a major force in its field. 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.


The Dark Age

Goodwin resigned as the editor of Creepy after issue 17 (October 1967). Due to a lack of funds, the majority of the magazine's leading artists left, and Warren was forced to rely on reprints, which would be prevalent in the magazine until 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 would Goodwin, as Associate Editor for issues 35 through 39.

Second Golden Age
A variety of editors would continue to manage Creepy after Goodwin's second departure including Billy Graham and J. R. 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 where Goodwin returned for issues 61 through 64. During this period 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 León, Martin Salvador, Luis García, Fernando Fernández, José González, José Bea, Isidro Monés, Manuel Sanjulián and Enrich Torres. Additional artists from S.I.'s Valencia Studio joined Warren in 1974 including José Ortiz, Luis Bermejo, and Leopold Sánchez. Notable writers during Dubay's era as editor included Gerry Boudreau, Budd Lewis, Jim 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). This era also featured stories that were printed in color, many of which were done by Richard Corben. Towards the end of his period as editor many artists from Creepy's first golden era returned including Alex Toth and John Severin.

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

The end
After Louise Jones resigned as editor following issue 116, Dubay returned to edit the magazine using the alias "Will Richardson" until issue 126. After Dubay's departure various editors including Chris Adames and Timothy Moriarty held the position. Reprints would once again start predominantly appearing in the magazine, with many reprint issues being dedicated to a single artist. Creepy's last issue published would be issue 145 in February 1983 when Warren went bankrupt.

Harris Publications, which had bought the rights after Warren's bankruptcy, published a single issue, #146, in 1985.


A new beginning

In 2000, after a protracted legal dispute with Harris Publications, Jim Warren and Warren Publishing finally regained sole ownership of all rights to his two iconic and flagship comic book franchises Creepy and Eerie.

In February 2007, a new player appeared on the scene: New Comic Company, LLC, which after seven years of effort, completed a total rights acquisition from Warren and his entity for all rights in perpetuity to Creepy and Eerie. Terms of the deal were never disclosed although it has been rumored it was a complete buyout and all copyright renewals and trademarks have been re-established in the name of New Comic Company LLC.

Shortly after that rights acquisition deal, in June of 2007, New Comic Company LLC principals 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 archival volume release date was July 2008. In addition, Dark Horse Comics together with New Comic Company LLC will launch the new Creepy comic magazine in March 2009.

Published by D.Vicente - dans Creepy Magazine
17 décembre 2008 3 17 /12 /décembre /2008 09:05




Richard Corben (né le 1er novembre 1940) est un dessinateur et scénariste de bande dessinée américain. Corben est surtout connu pour ses œuvres de fantasy. Il a été l'un des piliers du magazine Heavy Metal.

Il est né dans une ferme à Anderson dans le Missouri. Il étudia au Kansas City Art Institute, diplômé en 1965.

La série la plus connue de Richard Corben est Den, l'histoire d'un jeune nerd qui, dans le pays imaginaire de Neverwhere, devient un guerrier musculeux se promenant le plus souvent nu et vivant d'improbables aventures érotico-fantastiques.

En 2000, il a dessiné l'arc « Hard Times » de la série Hellblazer (#146-150), scénarisé par Brian Azzarello et publié par Vertigo. L'année suivante, on le retrouve chez Marvel, encore avec Azzarello, sur Banner, mini-série hors-continuité en quatre épisodes consacrée au personnage de Hulk. Et un an plus tard la même équipe réalise la mini-série en 5 numéros Cage, consacrée à Power Man. Il enchaîne avec Punisher : The End, one-shot scénarisé par Garth Ennis qui met en scène les derniers jours du personnage dans le futur.

En 2005, il a réalisé le deuxième numéro de l'anthologie Solo de DC Comics où on le voit notamment s'essayer au western pour la première fois de sa carrière. Entre temps, il a commencé à réaliser des adaptations de Swamp Thing, créature marécageuse popularisée par Berni Wrigthson ou Alan Moore et immortalisée au cinéma par Wes Craven. En tout, il réalisera trois épisodes consacrés à la « Créature du Marais » chez DC Comics. Puis, il a signé, sur un scénario de Steve Niles et de Rob Zombie, le dessin de Big Foot. Il y dépeint la traque vengeresse d'un homme dont les parents ont été sauvagement agressés par le célèbre équivalent nord-américain du yéti. Début 2006, Richard Corben a dessiné la mini-série en deux épisodes Hellboy : Makoma, en collaboration avec Mike Mignola, créateur de ce super-héros.

Au cours de l'été 2006, il a livré chez Marvel le dernier épisode d'une trilogie intitulée Edgar Allan Poe's Haunt Of Horreur. Constituée de dix relectures graphiques de l'œuvre de Poe, cette série en noir et blanc le voit renouer avec des récits horrifiques comme The Tell-Tale Heart ou The Sleeper, dans la lignée de sa récente Maison au bord du monde ou de ses adaptations plus anciennes du poète (La Chute de la maison Usher ou The Raven, ici réactualisé). Dans un autre registre, Israfel s'avère un prolongement de la veine « gangsta rap » initiée par le récit Cage, The Happiest Day un court récit de massacre urbain contemporain tandis qu'Eulalie, récit de la misère sexuelle ordinaire, peut être perçu comme un clin d'œil au recueil Créatures De Crève.

Fin 2006, il sort de nouveau du registre fantastique/SF en signant l'un des courts récits du deuxième volume d'American Splendor de Harvey Pekar. Il y illustre un épisode de la vie d'un homme ordinaire d'âge mûr. Dans la foulée, Corben revisite une nouvelle fois un super-héros de l'univers Marvel, Ghost Rider alias Johnny Blaze. Pour ce personnage de motard surhumain, spectre en cuir clouté revenu du brasier, il fait équipe pour deux volumes avec le coloriste José Villarrubia, dont on avait déjà pu croiser les couleurs saturées dans Cage.

Toujours chez des éditeurs mainstream comme DC Comics ou Dark Horse, il s'illustre ensuite avec plusieurs couvertures : "Jonah Hex", "Living with the dead", "Unknown Soldier", "Cable". Corben se révélera particulièrement prolifique en 2008. Après Edgar Poe, il rend hommage à Lovecraft dont il adapte neuf nouvelles. "Dagon" contient des réminiscences de la saga de Den (hommes poissons, poulpe géant...) tandis que "The Canal" peut être interprété comme la vision de l'artiste des inondations à la Nouvelle-Orléans. "The Lamp" renoue avec les récits de pilleurs de tombes aggressés par des monstres, très courants dans l'oeuvre de Corben. Parallèlement, il signe une nouvelle collaboration avec Mike Mignolia, pour une autre aventure d'Hellboy en trois épisodes intitulée "The Crooked Man", où sorcellerie et zombies abondent. On remarquera son travail sur la série "Conan The Cimmerian", où il réalise plusieurs dizaines de pages d'histoires à l'intérieur du récit principal. Il revient ainsi à un travail d'adaptation d'Howard, oeuvre au sein de laquelle il n'avait pas puisé depuis 1976 et "Bloodstar". La première partie du récit, qui conte les aventures de Conacht, grand-père de Conan le barbare, est consacrée à des lycanthropes (loups garous), comme on en a pu en croiser tout au long de l'oeuvre de Corben, et notamment dans le recueil "Belles à croquer" (1985).



        


                

www.corbenstudios.com/

Published by D.Vicente - dans Art
17 décembre 2008 3 17 /12 /décembre /2008 08:28



John Romita, Sr
. (better known as simply John Romita) (born January 24, 1930) is an Italian-American comic-book artist best known for his work on Marvel Comics' The Amazing Spider-Man. He was inducted into the Comic Book Hall of Fame in 2002.

Romita is the father of John Romita, Jr., also a comic-book artist.John Romita graduated from the School of Industrial Art in 1947. He broke into comics on the seminal series Famous Funnies. "Steven Douglas up there was a benefactor to all young artists", Romita recalled. "The first story he gave me was a love story. It was terrible. All the women looked like emaciated men and he bought it, never criticized, and told me to keep working. He paid me two hundred dollars for it and never published it — and rightfully so".

Romita was working at the New York City company Forbes Lithograph in 1949, earning $30 a week, when a friend from high school whom he ran into on a subway train offered him $20 a page to pencil a 10-page story for him as uncredited ghost artist. "I thought, this is ridiculous! In two pages I can make more money than I usually make all week! So I ghosted it and then kept on ghosting for him", Romita recalled.[1] The friend worked for Marvel's 1940s forerunner, Timely Comics, which helped give Romita an opportunity to meet editor-in-chief and art director Stan Lee.

Romita's first known credited comic-book art is as penciler and inker on the six-page story "The Bradshaw Boys" in Western Outlaws #1 (Feb. 1954) for Marvel's 1950s predecessor, Atlas Comics. He went on to draw a wide variety of horror, war, romance and other comics for Atlas. His most notable work for the company was the short-lived, 1950s revival of Timely's hit character Captain America, in Young Men #24-28 (Dec. 1953 - July 1954) and Captain America #76-78 (May-Sept. 1954).

He also was the primary artist for one of the first series with a Black star, "Waku, Prince of the Bantu" — created by writer Don Rico and artist Ogden Whitney in the omnibus title Jungle Tales #1 (Sept. 1954), and starring an African chieftain in Africa, with no regularly featured Caucasian characters. Romita succeeded Whitney with issue #2 (November 1954).


   

Spider-Man

The Amazing Spider-Man #50. Cover art by Romita and Mike Esposito.

At Marvel, Romita returned to superhero penciling after a decade working exclusively as a romance-comic artist for DC. He felt at the time that he no longer wanted to pencil, in favor of being solely an inker:
“  I had inked an Avengers job for Stan, and I told him I just wanted to ink. I felt like I was burned out as a penciler after eight years of romance work. I didn't want to pencil any more; in fact, I couldn't work at home any more — I couldn't discipline myself to do it. He said, 'Okay,' but the first chance he had he shows me this Daredevil story somebody had started and he didn't like it, and he wanted somebody else to do it". He showed me Dick Ayers' splash page for a Daredevil [and] asked me, 'What would you do with this page?' I showed him on a tracing paper what I would do, and then he asked me to do a drawing of Daredevil the way I would do it. I did a big drawing of Daredevil ... just a big, tracing-paper drawing of Daredevil swinging. And Stan loved it. 

Romita began a brief stint on Daredevil beginning with issue #12, initially penciling over Jack Kirby's dynamic layouts as a means of learning Marvel's storytelling house style. It proved to be a stepping-stone for his famed, years-long pencilling run on The Amazing Spider-Man. "What Stan Lee wanted was for me to do a two-part Daredevil story [#16-17, May-June 1966] with Spider-Man as a guest star, to see how I handled the character".

Coming to The Amazing Spider-Man as successor of Spider-Man co-creator Steve Ditko, Romita initially attempted to mimic Ditko's style, but brought his own clean, soap operatic style of illustration to the book, and made the character his own.

Romita was the artist for the Spider-man newspaper strip, from its launch in January 1977 through late 1980.

Marvel Comics art director

When editor-in-chief and art director Stan Lee assumed the position of publisher, he promoted Romita to the latter position. In that capacity, Romita played a major role in defining the look of Marvel Comics and in designing new characters. Among the characters he helped design are the Punisher, Wolverine, and Brother Voodoo.

Following his retirement from day-to-day comics work, Romita returned to draw his signature character Spider-Man on latter-day occasions. He was one of six pencilers on Peter Parker, the Spectacular Spider-Man #121 (Dec. 1986), and he penciled a nine-page story "I remember Gwen" in The Amazing Spider-Man #365 (Aug. 1992, the 30th-anniversary issue) and an eight-page backup story starring the conflicted hero and supporting character the Prowler in Peter Parker, the Spectacular Spider-Man Annual #13 (1993).

He both penciled and inked the 10-page backup story "The Kiss — a flashback in which Peter Parker (Spider-Man) and his girlfriend Gwen Stacy share their first kiss — in Webspinners: Tales of Spider-Man #1 (Jan. 1999). He also drew an alternate-universe version of the Spider-Man characters in the one-shot Spidey: A Universe X Special (2001), and penciled the final four pages of the 38-page story in the milestone The Amazing Spider-Man #500 (Dec. 2003). Romita also drew one of four covers to the April 27 - May 3, 2002 issue of TV Guide.

Additionally, Romita contributed to multi-artist jams in commemorative issues. He did a panel in Captain America vol. 3, #50 (Feb. 2002), starring the first Marvel superhero he'd drawn; a portion of Iron Man vol. 3, #40 (May 2001), although the hero was not one of the artist's signature characters; a panel for Daredevil vol. 2, #50 (Oct. 2003); and a few pages featuring Karen Page in Daredevil vol. 2, #100 (Oct. 2007), done in the style of the romance comics he had drawn decades earlier. Romita both penciled and inked the cover of Daredevil vol. 2, #94 (Feb. 2007) in that same romance-comics style. The following year he drew a variant cover of his signature series, for The Amazing Spider-Man #568 (Oct. 2008)

In the mid-2000s, Romita sat on the board of directors of the charity A Commitment to Our Roots.


Interview :
www.twomorrows.com/comicbookartist/articles/06romita.html

Published by D.Vicente - dans Comics