Horror comics book
Horror comics are comic books, graphic novels, black-and-white comics magazines, and manga focusing on horror fiction. In the US market, horror comic books reached a peak in the late 1940s through the mid-1950s, when concern over content and the imposition of the self-censorship Comics Code Authority contributed to the demise of many titles and the toning down of others. Black-and-white horror-comics magazines, which did not fall under the Code, flourished from the mid-1960s through the early 1980s from a variety of publishers. Mainstream American color comic books experienced a horror resurgence in the 1970s, following a loosening of the Code. While the genre has had greater and lesser periods of popularity, it occupies a firm niche in comics as of the 2010s.
Precursors to horror comics include detective and crime comics that incorporated horror motifs into their graphics, and early superhero stories that sometimes included the likes of ghouls and vampires. Individual horror stories appeared as early as 1940. The first dedicated horror comic books appear to be Gilberton Publications' "Classic Comics" #13 (August 1943), with its full-length adaptation of Robert Louis Stevenson's "Strange Case of Dr Jekyll and Mr Hyde", and Avon Publications' anthology "Eerie" #1 (January 1947), the first horror comic with original content. The first horror-comics series is the anthology "Adventures into the Unknown", premiering in 1948 from American Comics Group, initially under the imprint B&amp;I Publishing.
Precursors.
The horror tradition in sequential-art narrative traces back to at least the 12th-century Heian period Japanese scroll "Gaki Zoshi", or the scroll of hungry ghosts (紙本著色餓鬼草紙) and the 16th-century Mixtec codices.
In the early 20th-century, pulp magazines developed the horror subgenre "weird menace", which featured sadistic villains and graphic scenes of torture and brutality. The first such title, Popular Publications' "Dime Mystery", began as a straight crime fiction magazine but evolved by 1933 under the influence of "Grand Guignol" theater. Other publishers eventually joined in, though Popular dominated the field with "Dime Mystery", "Horror Stories", and "Terror Tales". While most weird-menace stories were resolved with rational explanations, some involved the supernatural.
After the fledgling medium of comic books became established by the late 1930s, horror-fiction elements began appearing in superhero stories, with vampires, misshapen creatures, mad scientists and other tropes that bore the influence of the Universal horror films of the 1930s and other sources.
In 1935, National Periodicals published the first story of Doctor Occult by Jerry Siegel (script) and Joe Shuster (Art) in "New Fun Comics" # 6, where he confronts Vampire Master. In "Detective Comics" # 31–32, Batman fights a vampire.
By the mid-1940s, some detective and crime comics had incorporated horror motifs such as spiders and eyeballs into their graphics, and occasionally featured stories adapted from the literary horror tales of Edgar Allan Poe or other writers, or stories from the pulps and radio programs. The single-issue Harvey Comics anthologies "Front Page Comic Book" (1945), bearing a cover with a knife-wielding, skeletal ghoul, and "Strange Story" (July 1946), introduced writer-artist Bob Powell's character the Man in Black, an early comic-book example of the type of omniscient-observer host used in such contemporary supernatural and suspense radio dramas as "Inner Sanctum", "Suspense," and "The Whistler".
As cultural historian David Hajdu notes, comic-book horror: {
Early American scene.
Issue #7 (December 1940) of publisher Prize Comics' flagship title, "Prize Comics", introduced writer-artist Dick Briefer's eight-page feature "New Adventures of Frankenstein", an updated version of novelist Mary Shelley's much-adapted Frankenstein monster. Called "America's first ongoing comic book series to fall squarely within the horror genre" by historian Don Markstein, and "[t]he first real horror series" by horror-comics historian Lawrence Watt-Evans, the feature ran through "Prize Comics" #52 (April 1945) before becoming a humor series and then being revived in horrific form in the series "Frankenstein" #18-33 (March 1952 - November 1954).
Gilberton Publications' 60-page "Classic Comics" #12 (June 1943) adapted Washington Irving's short story "The Legend of Sleepy Hollow" as a backup feature to Irving's "Rip Van Winkle" in a package titled "Rip Van Winkle and the Headless Horseman". The next issue, "Classic Comics" #13 (August 1943), adapted Robert Louis Stevenson's horror novella "Strange Case of Dr Jekyll and Mr Hyde" as the full-length story "Dr. Jekyll and Mr. Hyde", making it the earliest known dedicated horror comic book.
Historian Ron Goulart, making no mention of those earlier literary adaptations, identifies Avon Publications' "Eerie" #1, dated January 1947 and sold in late 1946, as "the first out-and-out horror comic book". Its cover featured a red-eyed, pointy-eared fiend threatening a rope-bound, beautiful young woman in a scanty red evening gown, set amid a moonlit ruin. The anthology offered six primarily occult stories involving the likes of a ghost and a zombie. While all but one writer are unknown — Edward Bellin, who teamed with young artist Joe Kubert on the nine-page "The Man-Eating Lizards" — the artists include George Roussos and Fred Kida. After this first issue, the title went dormant, but reappeared in 1951 as "Eerie", beginning with a new #1 and running 17 issues (1951 - September 1954).
Goulart identifies the long-running "Adventures into the Unknown" (Fall 1948 - August 1967), from American Comics Group, initially under the imprint B&amp;I Publishing, as "the first continuing-series horror comic". The first two issues, which included art by Fred Guardineer and others, featured horror stories of ghosts, werewolves, haunted houses, killer puppets and other supernatural beings and locales. The premiere included a seven-page, abridged adaptation of Horace Walpole's seminal gothic novel "The Castle of Otranto", by an unknown writer and artist Al Ulmer.
Following the postwar crime comics vogue spearheaded by publisher Lev Gleason's "Crime Does Not Pay", which by 1948 was selling over a million copies a month, came romance comics, which by 1949 outsold all other genres, and horror comics. The same month in which "Adventures into the Unknown" premiered, the comic-book company EC, which would become the most prominent horror-comics publisher of the 1950s, published its first horror story, "Zombie Terror", by the then relatively unknown writer and artist Johnny Craig, in the superhero comic "Moon Girl" #5. Almost simultaneously, Trans-World Publications issued its one-and-only comic, the one-shot "Mysterious Traveler Comics" #1 (November 1948), based on the Mutual Broadcasting Network's radio show of that name and including amid its crime and science-fiction stories a reprint of the Edgar Allan Poe adaptation "The Tell Tale Heart", reprinted from Charlton Comics' "Yellowjacket Comics" #6. Street and Smith also published two issues of "Ghost Breakers" in late 1948. (ibid GCDB)
The floodgates began to open the following year with the first horror comic from the 1950s' most prolific horror-comics publisher, Atlas Comics, the decade's forerunner of Marvel Comics. While horror had been an element in 1940s superhero stories from the original predecessor company, Timely Comics, through the war years, "when zombies, vampires, werewolves, and even pythonmen were to be found working for the Nazis and the Japanese", the publisher entered the horror arena full-tilt with "Amazing Mysteries" #32 (May 1949), continuing the numbering of the defunct superhero series "Sub-Mariner Comics", followed by the superhero anthology "Marvel Mystery Comics" becoming the horror series "Marvel Tales" with #93 (August 1949) and the final two issues of "Captain America Comics" becoming the mostly horror-fiction "Captain America's Weird Tales" #74-75 (October 1949 &amp; February 1950) — the latter of which did not contain Captain America at all. Harvey Comics followed suit with its costumed-crimefighter comic "Black Cat" by reformatting it as the horror comic "Black Cat Mystery" with issue #30 (August 1951).
EC Comics and the horror boom.
Horror comics briefly flourished from this point until the industry's self-imposed censorship board, the Comics Code Authority, was instituted in late 1954. The most influential and enduring horror-comics anthologies of this period, beginning 1950, were the 91 issues of EC Comics' three series: "The Haunt of Fear", "The Vault of Horror" and "The Crypt of Terror", renamed "Tales from the Crypt".
In 1947, publisher William Gaines had inherited what was then Educational Comics upon the death of his father, Maxwell Gaines. Three years later, Gaines and editor Al Feldstein introduced horror in two of the company's crime comics to test the waters. Finding them successful, the publisher quickly turned them and a Western series into EC's triumvirate of horror. Additionally, the superhero comic "Moon Girl", which had become the romance comic "A Moon...a Girl...Romance", became the primarily science fiction anthology "Weird Fantasy". For the next four years, sardonic horror hosts the Old Witch, the Vault Keeper and The Crypt Keeper introduced stories drawn by such top artists and soon-to-be-famous newcomers as Johnny Craig, Reed Crandall, Jack Davis, Graham Ingels (who signed his work "Ghastly"), Jack Kamen, Bernard Krigstein, Harvey Kurtzman, and Wally Wood. Feldstein did most of the early scripting, writing a story a day with twist endings and poetic justice taken to absurd extremes.
EC's success immediately spawned a host of imitators, such as Ziff-Davis' and P.L. Publishing's "Weird Adventures", St. John Publications' "Weird Horrors", Key Publications' "Weird Chills", "Weird Mysteries" and "Weird Tales of the Future", Comic Media's "Weird Terror", Ziff-Davis' "Weird Thrillers", and Star Publications' "Ghostly Weird Stories". Others included Quality Comics' "Web of Evil", Ace Comics' "Web of Mystery", Premier Magazines' "Horror from the Tomb" Harvey Comics' "Tomb of Terror," "Witches Tales," and "Chamber of Chills Magazine", Avon Comics', "Witchcraft", Ajax-Farrell Publications' "Fantastic Fears", Fawcett Publications' "Worlds of Fear" and "This Magazine Is Haunted", Charlton Comics' "The Thing", and a slew from Atlas Comics, including "Adventures into Weird Worlds","Adventures into Terror", "Menace", "Journey into Mystery", and "Strange Tales". Indeed, from 1949 through comics cover-dated March 1955, Atlas released 399 issues of 18 horror titles, ACG released 123 issues of five horror titles, and Ace Comics, 98 issues of five titles — each more than EC's output.
Backlash.
In the late 1940s, comic books – particularly crime comics – had become the target of mounting public criticism for their content and their potentially harmful effects on children, with "accusations from several fronts [that] charged comic books with contributing to the rising rates of juvenile delinquency." Many city and county ordinances had banned some publications, though these were effectively overturned with a March 29, 1948, United States Supreme Court ruling that a 64-year-old New York State law outlawing publications with "pictures and stories of deeds of bloodshed, lust or crime" was unconstitutional. Regardless, the uproar increased upon the publication of two articles: "Horror in the Nursery" by Judith Crist, in the March 25, 1948, issue "Collier's Weekly", based upon the symposium "Psychopathology of Comic Books" held a week earlier by psychiatrist Fredric Wertham; and Wertham's own features "The Comics ... Very Funny!" in the May 29, 1948, issue of "The Saturday Review of Literature," and a March 19, 1948 symposium called "Psychopathology of Comic Books" which stated that comic books were "abnormally sexually aggressive" and led to crime.
In response to public pressure and bad press, an industry trade group, the Association of Comics Magazine Publishers (ACMP) was formed with the intent of prodding the industry to police itself. The Association proved ineffective as few publishers joined and those who did exercised little restraint over the content of their titles.
"Seduction of the Innocent".
In 1954, Dr. Fredric Wertham published "Seduction of the Innocent", a tome that claimed horror, crime and other comics were a direct cause of juvenile delinquency. Wertham asserted, largely based on undocumented anecdotes, that reading violent comic books encouraged violent behavior in children. Wertham painted a picture of a large and pervasive industry, shrouded in secrecy and masterminded by a few, that operated upon the innocent and defenseless minds of the young. He further suggested the industry strong-armed vendors into accepting their publications and forced artists and writers into producing the content against their will.
Wertham alleged comics stimulated deviant sexual behavior. He noted female breasts in comics protruded in a provocative way and special attention was lavished upon the female genital region. A cover by Matt Baker from "Phantom Lady" was reprinted in the book with the caption, "Sexual stimulation by combining 'headlights' with the sadist's dream of tying up a woman". Boys interviewed by Wertham said they used comic book images for masturbation purposes, and one young comics reader confessed he wanted to be a sex maniac. Wertham contended comics promoted homosexuality by pointing to the Batman–Robin relationship and calling it a homosexual wish dream of two men living together. He observed that Robin was often pictured standing with his