Writers:
William M. Gaines, Al Feldstein, Wallace Wood, Harry Harrison (with scholarly
material by Bill Mason, Ted White, and S.C. Ringgenberg)
Artists:
Wallace Wood (with Harry Harrison)
$29.99,
Fantagraphics Books, 240 pgs.
ISBN
978-1606998052
Settle
in, gang. This review starts with a bit of a history lesson.
In
the early 1950s, American newsstands sold all kinds of comics: Westerns,
superheroes, romance, teen humor, funny cartoon animals, war stories…you name
it. But the top-selling comics of the day were the horror, science fiction, and
crime comics perfected by EC Comics and imitated by a slew of other publishers.
The
EC imitators, however, were just that: Johnny Come-Latelys in a field defined
by the EC style. EC boasted a stable of cartoonists whose work was, simply put,
the best the medium had to offer at the time. Now-legendary names such as Frank
Frazetta, Al Williamson, Jack Davis, Graham Ingels, Jack Kamen, and Johnny
Craig all worked under the EC imprint, as did the artist whose work is
collected in the volume up for review this week: Wallace “Wally” Wood.
Eventually
a wave of anti-comics hysteria all but killed the EC line and restricted
American comics to safe, easily-palatable children’s fare,* a stunted
quasi-life from which US comics didn’t begin to emerge until the 1980s.** But
comics fans remembered the glory days of the EC line; they kept the legend
alive and paved the way for subsequent generations of readers to discover the
magic of these wild and inventive comics. Previously available only as expensive
collectibles and tattered flea market finds, low-quality reprints and expensive
small-press collected editions, the EC line has at last returned in high-grade
formats worthy of the material. It’s long overdue, but EC’s best output is now accessible
by a wide audience, finally giving this valuable part of our cultural and artistic
heritage artistic the recognition it deserves.
(The
author steps away from the lectern and apologizes to his audience, who might
not have gone into this knowing that he has taught college classes on the
evolution and creation of comics.)
Modern
readers can engage with this material in two different ways. Dark Horse Comics
reprints the individual EC titles (Tales
from the Crypt, Vault of Horror, Shock SuspenStories, and others) in
lavish color editions, presenting the stories in the order they were published
in the 1950s. They’re wonderful books, and if you can afford them, they’re
worth their hefty cover price of $49.99 per volume. The subject of this review
is from a different series: the Fantagraphics EC Artists Library, which
collects the material by artist and subject matter, making for a very different
reading experience and—because the art is presented in black-and-white—a much
cheaper one, too.*** This twelfth volume in the series, SPAWN OF MARS AND OTHER
STORIES, collects the science fiction stories drawn for EC by one of its most
talented creators, the aforementioned Wallace Wood.
Wally
Wood’s name is, among comics scholars, virtually synonymous with the phrase “EC
science fiction.” In these stories drawn for EC’s Weird Science and Weird
Fantasy titles, Wood crafts a science fiction universe that is at once
terrifying and alluring, filled with fascinatingly complex technology, rugged
heroes and gorgeous heroines, and weird, menacing aliens. Wood’s artwork, seen
here at varying stages of its development, eventually matures into a lavish
style that even the most jaded modern reader cannot help but appreciate. The art
is the star of the show here.
The
writing, in contrast, is almost simple. For example, the stories “Rescued!” and
“The Gray Cloud of Death!” are essentially two approaches to the same basic
tale! These stories are heavy on pulpy narrative exposition, and most culminate
in a trademark EC twist, but that’s not a criticism. Rather, the overwrought
heavy-handedness is part of the fun. It pairs quite nicely with Wood’s moody
lighting, realistic textures, and penchant for detail upon detail. In
total, this is a genuinely special reading experience.
I’ve
already written far more than you probably cared to read, so I’ll conclude
simply by saying this: if you’ve got serious art-hounds in your patron
population, this book will be a hit.
I suppose I could’ve saved us both a lot of time by
leading with that…
TIPS FOR LIBRARIANS: This is a thick, well-made hardcover at a reasonable price, and since the individual volumes in the EC Artists Library have no narrative relationship with one another, you’re free to purchase them one at a time as needed or requested.
READERS’ ADVISORY NOTES: Fans of science fiction and horror should respond well to this material, even if they favor one genre and don’t think of themselves as fans of the other. Some readers may be familiar with the TALES FROM THE CRYPT title, but unaware of the other comics EC published; if your patrons like TFTC, suggest they range a bit further afield and try this volume, too. And finally, art buffs will, of course, go nuts over the stunning black-and-white reproduction of Wood’s art.
CONTENT ADVISORY: Some science fiction and horror violence
*Yes,
that happened…the United States Senate even got involved! SPAWN OF MARS
contains an essay touching (briefly) on this topic, but for more on this
strange and fascinating sequence of events, see David Hajdu’s terrific book THE
10-CENT PLAGUE: THE GREAT COMIC BOOK SCARE AND HOW IT CHANGED AMERICA (ISBN 978-0312428235).
**Technically, the underground “comix” of the 1960s and ‘70s were the first American comics to challenge the idea that comics were exclusively for children. It wasn’t until the 1980s that mainstream publishers began to push the envelope, though, and really, that’s the watershed moment: the undergrounds may have paved the way creatively and even ideologically, but it was this mainstream paradigm shift that eventually led to the broad, diverse comics marketplace we enjoy now. We’re still decades behind the French, but that’s another article entirely.
***It’s also a lot easier to appreciate the astonishing level of detail ECs artists employed when you see the art in B&W, which is why publisher Russ Cochran’s fabled Complete EC Library reprints were so sought-after by collectors for so long…but again, that’s another article.
