The Evolution of horror Comics

Updated: 6 days ago

PART 1 - GENERAL COMICS & ART by ''Mc Chai'' Mehmet Şevki Akçay


Today, the comic book is a bigger and better show than ever before. To give you an idea of how much comic book art has changed in the last 60 years, I used to fantasize and try to draw such things as an amateur. Now of course, there is such a thing. After I ''founded DAILY STRANGE'', I learned lots of things in this journey. In the short time of this period I mean about 5 years, I made some excellent work thanks to my talented friends and sponsors. And I would like to share some of my experiences here.


The job of the cartoonist is to sell a book. They have to do this with as much impact as possible. With the many advances in modern science and living, it is now more difficult to come up with anything startling. They’re doing comics in more human terms, instead, becoming amateur psychologists.


But this is not the only change in comic-book art, it's changed in color, costuming, and staging, as well. Cartooning was simple but effective, with the colors all basic, primary colors. Now, with mixing and special effects, comics have an entirely different look.



I believe a great portion of the comic's success is that paper cartoons made their point immediately established a premise and gave a reason. They were easy to comprehend and visually exciting. Today's paper comics still do this and more. I see the comic no more than a movie, a ballet, or a book. It's visual and it still gives an escape. We tell the tales with a bit more dimension, however. Now I would call it visual literature.


Reading comics helped me as an individual person. While I love people generally, my favorite stories are still about villains and heroes. There are a few of each of these in every one of us. I believe we all like to figure out why we do what we do.


In comics, I research the hero and villain in every one of us; I research the complete person. Doing so helps me understand myself and other men and women.

Most animation fans consider comics an art and relate to them very closely.


In the period-piece comics of the 1940s through the 1960s, the favorite subjects were the main characters. You can see that is the art that people collect. Being a type of pack rat myself, I can understand the motivation of the collector. I loved them so much. Finally, I have a different type of horror comics collection thanks to Daily Strange Community. And my fiancé's family garage is now fulfilled with my horror comics collection. Thank you for giving me your dark and amazing collections again! David Madden, Stanley Andrews, Julie Lance, Patrick Delaney and Matt Gardner, I will never forget you!


There's something in great comics, like in the great pulp, which you could relate to. The only way I can describe what that is, would be to explain the fellow who looks at a painting and says, "I don't know why I like it, but I like it."



Some fellows will hang on to an imaginary for the same reason. For me, there are particular professionals in all kinds of mystery who turn out such high quality that they bring it to an art form -- and people recognize it as a I believe admiration, that involvement creates lovers, thus collectors.



I have been blessed to do explore and make friends from the comics world thanks to my website, Daily Strange. That gave them a reason to contact with me. Anyway I want to say that artists are allowed to be psychological. They permitted to think. If they've got a story to tell, they've got the chance to tell it. They do not keep active in some way: others do, so an artists begins to think in a dimensional awareness.


I believe that the creative process is in everyone. Given enough time to think, every one of us could create something quite great. Had I worked at a garment factory, my specialization would not have been developed.


The area of comic book art has generated a great deal of fine individuals. They are simply ordinary men who had the chance to develop their creative processes. I believe most of us have the capability to create our own personal forms of art, and I feel blessed to have had the chance to do it.


PART 2 - RARE HORROR COMICS by ''Mc Chai'' Mehmet Şevki Akçay


Collecting horror comics is a dark adventure into other worlds which may be both personally and financially rewarding. Now with revitalized interest in dreams such as iconic horror villains (Frankenstein, Dracula, Vampirella, Solomon Grundy, Mephisto, Deadman, Etrigan the Demon, Swamp Thing and Man-Thing, and of course the Morbius) and other chaotic universes, horror comic books have become valuable collectibles.

To most, collecting comic books represents an odd, yet available investment opportunity and unlike a number of other kinds of collectibles, the comic book provides unending selection, depth, and sophistication. Since the first official comic book of 1933, virtually every motif under the sun has made an appearance. It has given the collector a plethora of topics from which to pick, collect and enjoy.

Whether your interests lie in the reprint comics of the 1930's, the superheroes of the 1940's, the western, crime, love, horror, and science-fiction comics of the 1940's through 1950's, or the rebirth of this costume heroes of the 1960's through 1970's, there's a subject, artist, or author you will enjoy.

As a beginner, you should invest only in the better condition, more in-demand titles. Many young collectors get interested in the hobby through purchase of their favorite comics, one at a time, hoping these books will become prized collectors' items. As a consequence of low print runs and greater than expected demands, some current comic books will get valuable, but many more are being saved now. As a general rule, the possible value is higher in comics released before 1964.

The locations that have always shown the best growth would be the 1940's through the early 1950's. Comics of the 1930's mostly comprise strip reprints from newspapers, and their costs have shifted more slowly than those from different periods. But keep a watchful eye on these ancient novels will someday make a comeback; Fewer collections of the period have been turning up and at some stage scarcity will affect cost.

Many horror collectors are looking for the vintage horror comics;

1- Santa's Claws (Web Of Horror #3, Major Publications, 1970)


Final issue of the series. "Dead End" (script by Otto Binder, art by Mike Kaluta), "Curse of the Yeti" (script by Binder, art by Ralph Reese), "Santa's Claws" (art by Frank Brunner), "Strangers" (script and art by Syd Shores), "Point of View" (art by Bruce Jones. Script also credited to Jones by publisher, but actual author is Buddy Saunders--seen further notation below), and "Feed It!" (script by Mike Friedrich, art by Berni Wrightson. Two-page center spread by Wrightson. Inside front cover by Brunner. Front and back cover painting by Wrightson.


"Point of View" was written by and submitted as an entry in a story for a publication that never saw print. Apparently, the story was illustrated by Bruce Jones and found its way into Web of Horror. Poor Buddy was neither credited nor compensated for this story, but it is very much his!

Cover price $0.35.


2- AFTERLIFE WITH ARCHIE


When Jughead's beloved pet Hot Dog is killed in a hit and run, Jughead turns to the only person he knows who can help bring back his canine companion—Sabrina the Teenage Witch. Using dark, forbidden magic, Sabrina is successful and Hot Dog returns to the land of the living. But he's not the same... and soon, the darkness he brings back with him from beyond the grave begins to spread, forcing Archie and the gang to try to escape Riverdale! Collects issues 1-5 featuring the first storyline "Escape from Riverdale" from the new ongoing TEEN+ comic book horror series Afterlife with Archie.





3 - Tomb Of Dracula #61 (Marvel, 1977)

Marvel's Tomb of Dracula was more than just your average vampire tale. The comics weaved an ongoing saga plotting its title's vampire count against a group of vampire hunters. Gene Colan's pencils, inked by Tom Palmer, added a vivid dimension to Marv Wolfman's dramatic storytelling. The result was a gothic atmosphere which harked back at the classic vampire stories while at the same time adding new momentum to the theme, and sustained innovation to its medium, the comic book. Tomb of Dracula is Marvel's outstanding contribution to the genre and a classic in its own right.



4-Arkham Asylum: A Serious House on Serious Earth


The inmates of Arkham have taken over the Asylum on April Fools Day, demanding Batman in exchange for their hostages. Accepting their challenge, Batman is forced to live and endure the personal hells of the Joker, Scarecrow, Poison Ivy, Two-Face and many other sworn enemies in order to save the innocents and retake Gotham's prison for the criminally insane.




5 - Mirror, Mirror, On The Wall (Tales From The Crypt #34, 1953, EC Comics),


A first person narrative where a man fashions a monster together out of artificial parts ala Frankenstein and transfers your brain into it. You stumble into a carnival's hall of mirrors and are killed by the sight of your own multiple ghastly images.

-- -- -- -- -- -- -- -- -- -- --

Amazing Spider-Man #228 (Marvel, 1982 ), Arkham Asylum: A Serious House On Serious Earth (DC Comics, 1989), are center on horror stories and they have gothic style of covers. And other horror comics collections; Animal Man #26 (DC Comics, 1990), Sandman #18 (DC Comics, 1990), The Saga Of The Swamp Thing #21 (DC Comics, 1984), Crime SuspenStories #22 (EC Comics, 1954) and Bernie Wrightston's Frankenstein (Marvel, 1983/Dark Horse 2008) which is one of the highest-quality horror comics ever produced , form another valued collection.

Horror has made a major comeback in the movie business and is also an area of renewed popularity in comic books in our quarantine days again.


These are simply a couple of the trends found in comic book collecting. The wide range of methods for collecting comics is practically endless, you must choose yours based on your preferences. So I choose horror and now you time

Collecting comic books has been a steadily growing area for the past half century. It has proved a superb region of investment and will continue to demonstrate growth in the future.


Mehmet Şevki Akçay

Now let's focusing the horror comics and it's dark journey...


HORROR COMICS FILES

Written by: M. Keith Booker

Source: Encyclopedia of Comic Books and Graphic Novels

Pages: 293 - 300 ( Total Page 763)



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Horror has been the most important genre in comics, though horror comics have a complex and contentious history. The first examples of horror in comics were affected by literature, and were directly adaptations. Vintage Comics led the way with adaptations of literary works like The Legend of Sleepy Hollow (#12, 1943), Dr. Jekyll and Mr. Hyde in Classic Comics #13 (1943) and Frankenstein (Number 26, 1945). Another notable early example is Eerie Comics #1 (1947), a one off issue created by Avon Periodicals. This comic holds the distinction of being the first to comprise wholly original material, instead of adaptations of literary prose. For this reason, it's often seen by historians as the first modern horror comic book. Another issue of the title didn't appear till 1951; it then continued to a total of 17 issues. Adventures Into the Unknown (1948) was the oldest horror comic to realize continuous ongoing publication. It was made by B&I Publishing (which became the American Comics Group) and achieved a streak of 167 issues. The name focused on more literary horror and ghost stories and was tame compared to the more shocking material that would appear in different comics in the upcoming few years. This allowed it to survive the widespread condemnation of horror comics in the 1950s and the comic survived until it was canceled in 1967.


EC made the most crucial horror titles throughout the 1950s. The business was founded by Max Gaines and produced biblical and educational comics. After Gaines's passing, his son William Gaines took over the business, rebranding it as Entertaining Comics and altering the subject matter and tone of those names which were being generated, with dread proving to be the most successful.


For a period of time he would present a new title but keep the numbering of a name he'd covertly canceled, to make savings on second-class postage licenses, he had to stop doing once he had been discovered. This resulted in confusion for fans decades later, as names started with an issue number inherited from an unrelated name. EC's Crime Patrol ran for 15 issues, was replaced by The Crypt of Terror (issues #17-19) before the name was finalized as Tales from the Crypt (issue #20); War Against Crime became The Vault of Horror with issue #12; Gunfighter became The Haunt of Fear with issue #15. These were later replaced with its truer issue numbers after the ruse was discovered by the U.S. Post Office.


In partnership with Al Feldstein, a multi-talented editor, artist and author, EC established horror comics that were visceral, darkly funny, and edgy. Gaines and Feldstein developed a system that allowed them to keep a steady rate of narrative production. Gaines was an insomniac and a voracious reader, and he spent many evening hours devouring books. He would use this opportunity to come up with story concepts, or "springboards" to discuss and develop Feldstein the next morning. When the story was fully developed, it would be delegated to an artist whose style will complement the narrative.


The stories in each of the EC horror comics could be introduced with a fictional host. Four Tales from the Crypt, the Crypt Keeper played this function, while the Vault Keeper presided over The Vault of Horror, and the Old Witch took charge of The Haunt of Fear. These stories would often end with an ironic, horrible twist, frequently involving horrific vision and brutal poetic justice. This could lead to the business encountering problems with sections of the American people and the authorities.


EC comics were among Wertham's major targets, especially their violence. He also discussed the "injury to the eye" theme he saw as being common to the horror comics. In addition, he focused on what he believed to be sexual subtexts in superhero comics, such as homosexuality in regard to Batman and Robin, and a lesbian and bondage subtext in Wonder Woman. Wertham believed that comics fostered readers fake and that they would lead young readers to reevaluate crimes and questionable actions.

Wertham and his work came to the attention of the United States Senate Subcommittee on Juvenile Delinquency, which was established the year before his book was published. Wertham was called on to outline his beliefs concerning the connection between comics and delinquency, and he gave a damning indictment of what he saw as the comics' ability to pervert and corrupt.



Scenes that would prove problematic would usually involve violence ("Scenes of brutal torture, excessive, and unnecessary knife and gun-play, physical agony, gory and gruesome crime shall be removed"); sex ("Passion or romantic interest shall never be treated in such a way as to stimulate the lower and baser emotions"); horror ("Scenes dealing with, or instruments associated with walking dead, torture, vampires and vampirism, ghouls, cannibalism, and werewolfism are prohibited"); or anti-authoritarian acts ("Policemen, judges, Government officials, and respected institutions shall never be presented in such a way as to create disrespect for established authority").




The horror line was joined by Vampirella in 1969. The adult subject matter and magazine format were influential in the development of more mature comic magazines like Epic Illustrated (published by Marvel) and Heavy Metal (an American version of the French magazine Metal Hurlant). Artists employed by Warren included veterans such as Alex Toth, Wally Wood, and Gene Colan, in addition to newcomers like Dave Cockrum and Berni Wrightson. Writers included Archie Goodwin, Doug Moench, Don McGregor, and Steve Skeates.


DC would produce significant horror titles in the 1970s. The House of Secrets was an anthology title that originally ran for 80 issues between 1956 and 1966, mixing one-off stories with some ongoing features. A more significant run of the title was a revival which began in 1969 and ended in 1978. The series was now hosted by Abel, who would offer an introduction to, and provide links between, each story in the anthology, often making conversation with an unseen companion called Goldie. It was complemented by another title, The House of Mystery, hosted by Abel's brother Cain from issue #175 in May-June 1968, with the title ending in 1983. The content of both series was very much in the style of the EC comics of the 1950s, and the two titles dominated the horror comic field in the 1970s. Their influence would be felt some years later, as Cain and Abel became recurring characters in Neil Gaiman's Sandman series, where he delved more deeply into their relationship and established locations for both houses within the Dreaming itself.


House of Secrets #92 (1971) saw the debut of the Swamp Thing, created by Len Wein and Bernie Wrightson, in an eight-page tale in which Alec Olsen is killed and his body cast into a swamp, where he mutates into a swamp creature who enacts revenge upon Alec's killer. The character proved popular enough to warrant an ongoing series (1972), which modernized the setting and characters. The Swamp Thing was now Alec Holland, who, with his wife Linda, is working on a bio-restorative formula.


Holland is then caught in an explosion set by people who are after the secrets of his formula, and his body is thrown into the swamp, where it mutates. The series lasted for a respectable 24 issues, until 1976.


In 1971, the Comics Code Authority began to relax some of its rules in relation to horror in comics, such as the depiction of vampires, and this led to the publication of the Tomb of Dracula in 1972, which ran for 70 issues until 1979. Marvel took advantage of the fact that Bram Stoker's creation was in the public domain and featured him as the title character. The title was scripted by Marv Wolfman from issue #7 onwards (the earlier issues being written by Gerry Conway, Archie Goodwin, and Gardner Fox) and penciled by Gene Colan for the whole run. Dracula would sometimes work with others to vanquish threats, but in the main he took on the role of villain in the stories. Supernatural stories were balanced with appearances by Spider-Man and the X-Men, which located the title firmly within the mainstream Marvel universe.


The Tomb of Dracula issue #10 saw the first appearance of Blade as a supporting character. He is a vampire hunter with the ability to sense supernatural creatures and immunity to vampirism. He would go on to appear intermittently in other titles during the 1970s, but gained a more significant following in the 1990s, starring in his own series. He appeared in three films and a TV series that were only loosely based on the comic's incarnation. His most recent appearance at the time of this writing has been in Captain Britain and MI: 13, written by Paul Cornell with art by Leonard Kirk.


The first significant horror comic series produced by DC Comics in the 1980s involved the Alan Moore scripted issues of Saga of the Swamp Thing, which became Swamp Thing from issue #31 onwards. His run covered issues #20-64 and annual #2 (1984-87). The title was facing cancellation due to poor sales (it had been revived in 1982 in an attempt to capitalize on a feature film version). Len Wein, Swamp Thing's editor and co-creator, had seen some of Moore's U.K. work and was impressed, which led to him offering Moore his first regular work in U.S. comics. Moore approached issue #20 as an opportunity to resolve previous plot threads and clear the way for his new version of the series. In this version, Swamp Thing is shot and killed by the agents of the Sunderland corporation who had pursued him in previous issues.


Issue #21, entitled "The Anatomy Lesson," is set within the Sunderland Corporation building. Jason Woodrue, the Floronic Man, has been hired to perform an autopsy on Swamp Thing, and his conclusion completely redefines the nature of the character: he had never been Alec Holland, as the bio-restorative formula Holland had worked on somehow allowed the plant-life to absorb characteristics of Holland's consciousness. Moore felt that the character was restricted by a premise that could never be fulfilled: if he became human again, it would be the end of the series. By taking away the possibility of reverting to Holland he reset the rules for the character in this issue and went on to redefine the American horror comic in subsequent issues.


Swamp Thing remained firmly rooted in the DC universe, with appearances by characters including Batman and the Justice League of America. Moore also explored the paranormal side of the DC universe, with appearances by the Demon and Deadman.


The title also introduced readers to John Constantine, a blue-collar warlock who bore a striking resemblance to the musician Sting, who would go on to star in his own series Hellblazer. Stories used traditional horror icons and themes with a contemporary twist, such as using lycanthropy as a metaphor for menstruation. Moore took Swamp Thing all across America to explore the dark side of contemporary society and then sent him headlong into space to explore issues of lost love. The darker side of human relationships is also explored through society's negative reactions to the relationship between Swamp Thing and Abigail Arcane, a female supporting character that Moore had inherited and made his own. By issue #64 Moore had established a significant reputation for himself as a writer in U.S. comics, and he saved Swamp Thing from cancellation, helping the title to become one of DC's biggest sellers. The series would continue after Moore's departure, although never reaching the same levels of critical acclaim.


Hellblazer is an ongoing monthly comic first published by DC comics in 1988. Originally conceived under the title Hellraiser, the name was changed due to the release of the Clive Barker film of that name. The original creative team on the series was writer Jamie Delano and artist John Ridgway, with covers supplied by Dave McKean. The series has attracted a wealth of creative talent, including writers Garth Ennis, Mike Carey, Warren Ellis, Brian Azzarello, Neil Gaiman, and Grant Morrison, and notable artists such as Steve Dillon, Cameron Stewart, and Bryan Talbot. The comic is still being published at the time of this writing and has been collected in a series of trade paperbacks. A film version starring Keanu Reeves was loosely based on Ennis's "Dangerous Habits" storyline (issues #41-46), although much was altered in terms of the plot and the central character, who were now transformed into a dark-haired American.


The comic book series focuses on John Constantine, the British, working-class warlock who first appeared in the Moore, Bissette, and Totleben issues of Swamp Thing. His facial appearance is modeled upon the musician Sting, as Bissette, and Totleben fans, and had drawn a Sting look-alike as early as issue #25. The Constantine character officially appeared for the first time in issue #37. He originally operated on the fringes of the DC universe during his time in Swamp Thing, and while there have been appearances by various supernatural characters in Hellblazer, including Swamp Thing, the Phantom Stranger, and Zatanna, the series operates very much within its own universe, set apart from the mainstream DC superhero universe.


Constantine was born in Liverpool, but he relocated to London during his midteens. He became involved with the occult and later formed a punk rock band called Mucous Membrane. He suffered a nervous breakdown following an incident involving an abused child and a demon, which left him psychologically scarred. He is often portrayed as wearing a trench coat, with a shirt and tie (and sometimes with a suit jacket), although he has experimented with a leather jacket at one point in the series. He is perhaps best described as an occult detective figure, and has proclaimed himself to be a "weirdness" magnet. He has had relationships with both men and women and is a streetwise, cynical, manipulative, chain-smoking rogue whose charm can dilute his less attractive qualities.


DC's success with horror titles continued with Gaiman's Sandman series, which began in 1989. It had a strong current of horror in the opening arc of stories, and the series would return to the genre at various times throughout its 75-issue run. It would also focus on myth, legend, and history. Gaiman's childhood interests in comics were reignited in his 20s by Moore's work on Swamp Thing. He wrote a letter of appreciation to Moore and included a copy of Ghastly Beyond Belief, a collection of humorous quotations from science-fiction novels he had edited with Kim Newman. This led to a friendship between the two writers. Moore showed Gaiman how to write a comic book script, and Gaiman began to submit scripts in addition to his journalism work. He later submitted a proposal for a new version of the Sandman character to DC Comics, which became a major title for the company and led to widespread mainstream success beyond comics fandom.


The first issue tells the story of Roderick Burgess (created in the style of real-world occultist Aleister Crowley), who tries to invoke and capture Death in a magic ritual. The spell is not completely successful as Dream (or Morpheus, the Sandman of the title) is captured instead and imprisoned by Burgess for 70 years. Morpheus escapes, returns to his realm of dreaming, and begins a quest to retrieve special items in which he had imbued part of his power, as this had allowed him to conduct his duties more efficiently. As a part of this quest, which takes place over the first few issues of the title, Morpheus encounters a number of situations which fit well within the horror genre: he discovers that Cain and Abel, the hosts of DC Comics' horror anthology names The House of Secrets and The House of Mystery, are part of the dreaming (issue #2); he meets John Constantine, a significant terror personality, and retrieves a pouch of magic sand (#3); he goes to Hell to regain his helmet (#4); he visits a diner where the customers are being manipulated to conducting horrendous acts (#6). Another early highlight was that the serial killers' convention issue (#14). The title was also instrumental in helping to establish the Vertigo line of books, an imprint within DC Comics that included pre-existing and newly commissioned titles containing content deemed to be more suitable for a mature audience. DC's horror titles suited the aims of the new line, which led to Swamp Thing and Hellblazer joining Vertigo.


Another Vertigo book, the Preacher, was written by Irish writer Ennis and British artist Dillon. It ran for 66 issues and 5 specials between 1995 and 2000. It remains in print in a series of 9-trade paperbacks, with a 10th containing Glenn Fabry's cover illustrations. The series tells the story of Jesse Custer, the eponymous preacher, who is suffering a crisis of faith when he becomes possessed by a creature who is the offspring of an angel and a demon called Genesis. It grants him the ability to force others to do what he tells them to. In his search to call God to account he is accompanied by Tulip O'Hare, an ex-girlfriend, and Cassidy, an Irish vampire.


Ennis and Dillon combine overt horror conventions, like Cassidy's vampirism, with other genre conventions: there is a respectful take on the Western achieved through the depiction of Custer's relationship with an imaginary John Wayne informing his own personal ethics and character; while Arseface, a deformed character who, in visual terms, seems to be the typical type monster in the horror genre, actually embodies a criticism of the media and the impermanence and shallowness of celebrity, being a young man who is inspired to shoot himself like Kurt Cobain, but survives and becomes a media celebrity, until a series of misfortunes ends his career.


Horror continues to be a popular genre in the 21st century. The Walking Dead, published by Image Comics, is a black-and-white comic created by writer Robert Kirkman and artist Tony Moore in 2003, with Charlie Adlard replacing Moore from issue seven onwards. It focuses on a group of people who are trying to survive an apocalypse where zombies are the primary danger. The comic is an ongoing monthly series that has been reprinted in trade paperback collections. Kirkman has stated that his intention is to write the series for as long as he can, as he is a fan of zombie films and wants to continue to follow the development of characters' lives after a movie's conclusion.


The protagonist is Rick Grimes, a police officer, who's shot by an escaped convict at the beginning of the collection. He awakens from a coma in the hospital and soon finds that zombies, the walking dead of the series' title, are roaming Earth. He bands together with a group of survivors, including his wife Lori and son Carl, becoming their reluctant leader. The series focuses on their struggle to survive. Along the way they encounter more zombies, and more survivors (both friendly and dangerous). The series is a powerful combination of horror and soap opera in its combination of visceral danger and engaging character interaction.


Marvel Zombies was a five-issue limited series published from 2005 to 2006, also written by Kirkman, with art by Sean Phillips and Arthur Suydam. Its popularity has led to a number of sequels. The idea was first presented in Ultimate Fantastic Four issues #21-23, by writer Mark Millar and artist Greg Land. The central idea is that the superheroes in an alternative universe have become infected by a virus that has turned them into zombie cannibals.


The first series tells how the Silver Surfer arrives on an alternate Earth ahead of Galactus (the eater and destroyer of planets) and is overpowered by zombie versions of Captain America (or Colonel America in this universe), Hulk, Wolverine, Luke Cage, Giant Man, Spider-Man, and Iron Man, who then ultimately overpower Galactus until they are stopped by Reed Richards' Ultimate Doctor Doom. 2 sequels, a graphic novel entitled Marvel Zombies: Dead Days, and a crossover with The Army of Darkness (Dynamite Entertainment) have emerged at the time of this writing.


Kirkman's fascination with terror is also evident in The Astounding Wolf Man, an ongoing monthly series that he created, that has been released by Image Comics since 2007. Art is provided by Jason Howard. The narrative focuses on the experiences of Gary Hampton, who attempts to use the forces he gains from turning into a werewolf to be a superhero. He soon meets Zechariah, a vampire who becomes his mentor. The show is notable for Kirkman's usage of terror concepts within the framework of a superhero story.


#horrorcomics #vintagecomics #comicsart #collectingcomicbooks #comicbooks

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