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Eerie Archives #8
Eerie Archives, Vol. 8
Eerie Magazine was Warren Publishing's outlet for everything fantastic, sinister, and otherworldly This particular excursion features the work of comic-book luminaries Ernie Colon, Mike Ploog, and Dave Cockrum, as well as fan-favorite creators Doug Moench, Don Glut, Tom Sutton, Sanjulian, Esteban Maroto, and Steve Skeats. Each volume in the Eerie Archives reprints tales of horror in a high-quality hardcover format, including all "Monster Gallery," "Dear Cousin Eerie," and other fan pages.
304 pages, Hardcover
First published September 6, 2011
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About the author
Philip R. Simon
49 books4 followersPhilip R. Simon was raised in the heart of Cajun Louisiana and has been in Portland, Oregon, for eighteen years. He lives with his wife, two geriatric cats, over 150 filled comic book boxes, and a decent collection of vinyl records. Philip has worked in the editorial department at Dark Horse Comics for over twelve years, spearheading a wide variety of comic book and art book projects. He’s the editor of the long-running “Blade of the Immortal” manga series, and he helped launch Dark Horse’s Korean comics line, expanded Robert E. Howard fantasy line, and archival pre-Code hardcover line.
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Displaying 1 - 5 of 5 reviews
July 12, 2020
These archives always have some really good stories and art mixed in with some that aren't so good. Thankfully the good always outweighs the bad. I love these black and white horror comic anthologies.
October 19, 2023
The story lengths grew longer than they were in the earlier issues but still manage to hold my interest for the most part. Things pick back up in this volume with the influx of then-new talent that would go on to be legends in the industry. A lot of these guys would go on to work for Marvel in DC in the '70s and '80s.
While free from the constraints of the Comics Code Authority, the Warren Magazines seem tame by today's standards. There is little gore and no swearing and nothing more than fleeting nudity. It's mostly old school Horror with a slight edge for its time.
#37's Horror At Hamilton House is filled to the brim with Gothic atmosphere, really good stuff. That same issue's The Ones Who Stole It From You has one sequence which is amusing by 21st century standards. Natahan Prine and Amanda Vincent are enjoying post-coital conversation and Amanda goes into a paranoid tirade about “tinier and tinier cages of freedom” and how banks are computerizing everybody, eventually giving everyone a “tiny charge card that'll have your symbols and responsibility all stamped on it's plastic surface”. The paranoia of the Baby Boomer generation seems downright quaint here in the middle of the second decade of the 21st century. Computerized files and credit cards seem innocuous compared to drones, NSA surveillance, emerging robotic technology, artificial intelligence, and the like. Sadly, we do have tinier and tinier cages of freedom. If someone reads these words in forty years the things that I worry about today will seem quaint. NSA surveillance? Try One World Government surveillance, where they send the robot thought police to arrest you for thinking about something offensive to someone somewhere!
Ken Barr is one of those artists who seems lost to time. A quick check online revealed a fair amount of work in the 1970s, eventually moving on to painted covers. Jose Bea and Esteban Maroto were at the front of the pack of the Filipino comic artists who were hired by Warren in the early '70s. Maroto excelled at the fantasy stuff. Eerie was more diverse than Creepy, delving into science fiction (Yesterday Is The Day Before Tomorrow) and swords and sorcery stuff (Dax The Warrior, an ongoing strip) which was popular at the time.
We get treated to some great early Mike Ploog artwork in #40s The Brain Of Frankenstein. Ploog of course went on to draw the first six issue's of Marvel's The Frankenstein Monster shortly after this story was published and became synonymous with the early '70s monster revival at Marvel.
The highlight of this book was #41's The Caterpillars, a genuinely creepy story by Fred Ott with brilliant artwork by Luis Garcia. Garcia didn't do nearly enough comic work, leaving the field in the mid-80s to become a painter. It saddens me that a lot of these artists, whose work blows away a lot of modern artists, couldn't make a living as a comic artist and so left the industry. How much quality artwork did we miss because they happened to be a certain age at a certain point in time? Garcia would be a star today.
While free from the constraints of the Comics Code Authority, the Warren Magazines seem tame by today's standards. There is little gore and no swearing and nothing more than fleeting nudity. It's mostly old school Horror with a slight edge for its time.
#37's Horror At Hamilton House is filled to the brim with Gothic atmosphere, really good stuff. That same issue's The Ones Who Stole It From You has one sequence which is amusing by 21st century standards. Natahan Prine and Amanda Vincent are enjoying post-coital conversation and Amanda goes into a paranoid tirade about “tinier and tinier cages of freedom” and how banks are computerizing everybody, eventually giving everyone a “tiny charge card that'll have your symbols and responsibility all stamped on it's plastic surface”. The paranoia of the Baby Boomer generation seems downright quaint here in the middle of the second decade of the 21st century. Computerized files and credit cards seem innocuous compared to drones, NSA surveillance, emerging robotic technology, artificial intelligence, and the like. Sadly, we do have tinier and tinier cages of freedom. If someone reads these words in forty years the things that I worry about today will seem quaint. NSA surveillance? Try One World Government surveillance, where they send the robot thought police to arrest you for thinking about something offensive to someone somewhere!
Ken Barr is one of those artists who seems lost to time. A quick check online revealed a fair amount of work in the 1970s, eventually moving on to painted covers. Jose Bea and Esteban Maroto were at the front of the pack of the Filipino comic artists who were hired by Warren in the early '70s. Maroto excelled at the fantasy stuff. Eerie was more diverse than Creepy, delving into science fiction (Yesterday Is The Day Before Tomorrow) and swords and sorcery stuff (Dax The Warrior, an ongoing strip) which was popular at the time.
We get treated to some great early Mike Ploog artwork in #40s The Brain Of Frankenstein. Ploog of course went on to draw the first six issue's of Marvel's The Frankenstein Monster shortly after this story was published and became synonymous with the early '70s monster revival at Marvel.
The highlight of this book was #41's The Caterpillars, a genuinely creepy story by Fred Ott with brilliant artwork by Luis Garcia. Garcia didn't do nearly enough comic work, leaving the field in the mid-80s to become a painter. It saddens me that a lot of these artists, whose work blows away a lot of modern artists, couldn't make a living as a comic artist and so left the industry. How much quality artwork did we miss because they happened to be a certain age at a certain point in time? Garcia would be a star today.
December 13, 2019
Another classic collection, this one has a lot of good stories and art, but some crap as well. Not sure if the Dax stories started here, but there are a few in this volume. I expected them to be great, but they are just OK.
January 21, 2016
I was lucky and collected a full set of these magazines and got a chance to read the fantastic stories and enjoy the incredible art from many of the greats, many of who got their start here, from the comic world. If you like offbeat horror, supernatural, SiFi and just plan different stories then these are the magazines for you. Very recommended
August 28, 2023
Dax begins with three tales, plus another Moroto story are the highlights of this serviceable volume. A nice piece by Sanho Kim and some decent work by folks like Jose Bea, Fred Ott and Tom Sutton fill out the usual chores.
Displaying 1 - 5 of 5 reviews