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Post by Slam_Bradley on Oct 11, 2016 10:05:59 GMT -5
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shaxper
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Post by shaxper on Oct 11, 2016 13:22:08 GMT -5
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Post by MWGallaher on Oct 11, 2016 14:32:11 GMT -5
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Post by DubipR on Oct 11, 2016 14:37:07 GMT -5
4- ACE,REX, JACK, WHITEY, PUGSLEY, and ORPHAN Evan Dorkin and Jill Thompson' Beasts of Burdenis one of my all time favorite comics. These dogs and cat are the protectors of Burden Hill where strange and mysterious things happen in their city. From zombie rats, to spiritual dogs and all things spooky in between, Dorkin's masterful wrting is scary, tear-jerking and downright brilliant. Jill's watercolors are gorgeous beyond compare. 
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Post by Paste Pot Paul on Oct 11, 2016 17:50:04 GMT -5
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Post by foxley on Oct 11, 2016 17:51:06 GMT -5
4. Fantomah, Mystery Woman of the Jungle by Fletcher Hanks in Jungle Comics 2 (Feb 1940) -15 (March 1941)For fourteen issues, the inimitable Fletcher Hanks brought his creative madness to the jungle with the astounding Fantomah. Like his other most noted characters Stardust the Super Wizard and Tabu, Wizard of the Jungle (who preceded Fantomah in Jungle Comics 1), Fantomah was a nearly omnipotent, magical figure meting out horrific vengeance to those who disturbed the ways of her domain. Hanks augmented the visual appeal of his technically limited and stiff drawing by granting Fantomah the memorable and startling transformation from jungle "beauty" to a skull-faced horror (that retained her golden locks), or even sometimes to just a floating skull. Fantomah's judgment against evil-doers might result in dismemberment by a tribe of gorillas:  or banishment to distant asteroids:  or merging with others to become a slave to a race of monsters:  --- You get the idea! Hanks' work had a crude veneer, but a hypnotic tone and a solid design sense, and I've loved his work since the first time I laid eyes on it. Of all his (few) creations, Fantomah is the most astonishing, horrific, and unforgettable. And the lesson from these panels seems to be 'anyone who wears a pith helmet is evil!'  |
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Post by pinkfloydsound17 on Oct 12, 2016 16:53:25 GMT -5
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Post by Bronze Age Brian on Oct 13, 2016 13:09:32 GMT -5
#4: Death (as appears in "War Is Hell" #9-15)
 Death first appears in War Is Hell #9, where he encounters American outcast John Kowalski in World War II era Poland. At first Kowalski wonders if Death has come for him, but soon realizes the Reaper is after a little girl nearby. John makes an effort to save the girl, sadly to no avail. But before Death leaves the scene, he bestows Ostergan's Curse on John, and he is doomed to die a thousand deaths, and would be forced to occupy various bodies of people in World War II and attempt to change things before each death. In the subsequent issues John would change diverse outcomes in the bodies he would occupy, but would still always die with Death laughing eerily in the background. A grim reminder that Death always wins. Death would change a bit once Jim Starlin later reintroduced the character, but there was a sense of dread and macabre entwined around the War Is Hell Death. I mean literally as soon as he shows up he kills a little girl, and Kowalski's curse takes some dire turns as well. A bit unusual for a war comic, but Chris Claremont made it work and made Death a scary character to encounter.
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shaxper
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Post by shaxper on Oct 13, 2016 13:30:21 GMT -5
#4: Death (as appears in "War Is Hell" #9-15)
Death first appears in War Is Hell #9, where he encounters American outcast John Kowalski in World War II era Poland. At first Kowalski wonders if Death has come for him, but soon realizes the Reaper is after a little girl nearby. John makes an effort to save the girl, sadly to no avail. But before Death leaves the scene, he bestows Ostergan's Curse on John, and he is doomed to die a thousand deaths, and would be forced to occupy various bodies of people in World War II and attempt to change things before each death. In the subsequent issues John would change diverse outcomes in the bodies he would occupy, but would still always die with Death laughing eerily in the background. A grim reminder that Death always wins. Death would change a bit once Jim Starlin later reintroduced the character, but there was a sense of dread and macabre entwined around the War Is Hell Death. I mean literally as soon as he shows up he kills a little girl, and Kowalski's curse takes some dire turns as well. A bit unusual for a war comic, but Chris Claremont made it work and made Death a scary character to encounter. I have GOT to track these down. |
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Post by Slam_Bradley on Oct 13, 2016 13:30:30 GMT -5
Hannibal King I'm a sucker for hard-boiled detectives. Tomb of Dracula (after it found its footing in the second year) was the best of the Marvel horror comics. A lot of that was due more to the supporting cast than to Drac himself. Hannibal King mixes the anti-hero detective with the anti-hero vampire and Wolfman and Colan make me wish that we had gotten a book just about King.  
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Post by thwhtguardian on Oct 13, 2016 17:15:05 GMT -5
Hannibal King I'm a sucker for hard-boiled detectives. Tomb of Dracula (after it found its footing in the second year) was the best of the Marvel horror comics. A lot of that was due more to the supporting cast than to Drac himself. Hannibal King mixes the anti-hero detective with the anti-hero vampire and Wolfman and Colan make me wish that we had gotten a book just about King. I love King, and his hard boiled attitude is definitely why. Thinking about this makes me wish they'd do a Tomb of Dracula show on Netflix. |
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shaxper
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Post by shaxper on Oct 13, 2016 23:18:32 GMT -5
Thinking about this makes me wish they'd do a Tomb of Dracula show on Netflix. It MUST be in discussion at this point. |
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Post by thwhtguardian on Oct 14, 2016 10:38:32 GMT -5
Thinking about this makes me wish they'd do a Tomb of Dracula show on Netflix. It MUST be in discussion at this point. I really hope it is, and I hope that if it comes to fruition it isn't too Blade centric. I mean, I like Blade but the ensemble cast from Tomb of Dracula is much stronger. |
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Post by Deleted on Oct 14, 2016 14:46:52 GMT -5
They have been trying to launch a Blade series for several years (since the Spike series failed) and it has fallen apart every time they tried, mostly due to lack of interest from any of the networks. Several genre shows based on vampires (including one based on Dracula already on NBC) have failed in recent years and the only ones that have succeeded (Vampire Diaries on CW) are going more for the Twilight vein of vampire (pun intended) than the traditional gothic take on vampires, so the tone and style of a Blade/Tomb of Dracula is not seen as a successful combo in the current TV marketplace. Netflix might be changing the paradigm of TV being purely a copycat business slowly, but Marvel's Netflix programming is tied up until their contract runs out with Netflix-it was initially only through Defenders, they renegotiated to add Punisher due to reaction to the character) but there is no agreement in place currently for more shows after that yet. So I doubt there is any further shows being developed until an extension of that contract is made, and a lot will depend on how willing people are to do further seasons of existing shows post-Defenders to form the spine of the contract on which a few other news shows could be developed. So I wouldn't hold my breath on ToD anytime soon, and there was a bit on Bleeding Cool earlier in the week basically saying Blade is dead in the water again and likely to be left to lay fallow for another few years before they try again.
-M
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Post by berkley on Oct 15, 2016 3:12:07 GMT -5
Week 2: The Darkhold This choice might seem to stretch the idea of a fictional character far past the breaking point, but when I decided to participate in this year's Long Hallowe'en I found myself drawn to my earliest comic book impressions. So when I thought about the first Werewolf by Night stories in Marvel Spotlight I realised that it was the Darkhold that loomed over the WbN world more than anyone or anything else in my imagination back then. The idea of a book that was so powerful it had to be hidden, secured against theft, for fear of the consequences, seemed to lend it something like the will of an independent actor. Everything, it felt to me, centred about the Darkhold in those early stories. Later on, when Moench and Perlin took the series to what I willingly concede were its greatest heights, the Darkhold was no longer a factor, never even got a mention. But in those early days (when I was but a lad of ten, etc) it was unquestionably (in my mind) the most important element in what ended up being Marvel's second most successful horror series. |
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