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Tomb of Terror published by Harvey was one of many Popular Horror Comics reaching their Zenith in the 1950's. Due to their exceptionally bloody and gory stories; they eventually were banned by the United States Congress under pressure from certain elements of the Public. Now back in Print for your Viewing and Reading Pleasure. This wonderful Work contains Stories in all their Fright from the First Five Isues.
The first Chamber of Chills was a 10-cent horror anthology published bimonthly by Harvey Publications that ran 26 issues (June 1951 - Dec. 1954). Artists included Bob Powell, Lee Elias, Rudy Palais, Howard Nostrand, and Kremer. Issue 7 is mentioned in Dr. Fredric Wertham's scathing 1954 indictment of comic books Seduction of the Innocent (p. 389). Chamber ceased publication following the Senate Subcommittee on Juvenile Delinquency hearings of 1954. Harvey then began concentrating on titles for young children, including Little Dot and Richie Rich. Chamber of Chills was formerly Blondie Comics and its numbering begins where Blondie left off (issue 20). The first four issues of Chamber are consequently numbered 21-24. The numbering was reset with the fifth issue February 1952. Chamber of Chills became Chamber of Clues in February 1955 and saw two issues, folding in April 1955.
The Thing! is an American horror comic book published by Charlton Comics that ran 17 issues from 1952 to 1954. Its tagline was "Weird tales of suspense and horror!" After the 17th issue it was cancelled and the series' numbering continued as Blue Beetle vol. 2.
The Beyond wasa Popular horror comic published by Ace comics during the 1950's. It, like many other comics of the genre, was banned from publication by the U.S. Congress. The reason was their exceptionally bloody and gory content. Now back in print for your viewing and reading pleasure. This wonderful work contains five complete issues. Digitally remastered and Image enhanced.
Between the 1930s and the invention of the internet, American comics reached readers in a few distinct physical forms: the familiar monthly stapled pamphlet, the newspaper comics section, bubblegum wrappers, and bound books. From Gum Wrappers to Richie Rich: The Materiality of Cheap Comics places the history of four representative comics—Watchmen, Uncle Scrooge, Richie Rich, and Fleer Funnies—in the larger contexts of book history, children’s culture, and consumerism to understand the roles that comics have played as very specific kinds of books. While comics have received increasing amounts of scholarly attention over the past several decades, their material form is a neglected aspect of how creators, corporations, and readers have constructed meaning inside and around narratives. Neale Barnholden traces the unusual and surprising histories of comics ranging from the most acclaimed works to literal garbage, analyzing how the physical objects containing comics change the meaning of those comics. For example, Carl Barks’s Uncle Scrooge comics were gradually salvaged by a fan-driven project, an evolution that is evident when considering their increasingly expensive forms. Similarly, Watchmen has been physically made into the epitome of “prestigious graphic novel” by the DC Comics corporation. On the other hand, Harvey Comics’ Richie Rich is typically misunderstood as a result of its own branding, while Fleer Funnies uses its inextricable association with bubblegum to offer unexpectedly sophisticated meanings. Examining the bibliographical histories of each title, Barnholden demonstrates how the materiality of consumer culture suggests meanings to comics texts beyond the narratives.
TOMB OF TERROR #15In the early 1950's, what was known as the "Pre-Code era", horror comics stretched (and often exceeded) the boundaries of what would be called "acceptable." TOMB OF TERROR was one of the most daring books, featuring not only suspenseful stories and excellent artistry, but the graphic horror that made parents fear for their childrens' sanity. Ah - good times!We have a great selection of issues for you: individually, as part of a multi-volume collection, or altogether in the giant CLASSIC COMICS LIBRARY #445These books are reprinted from the best available images, and the books will be updated as new copies are uncovered. Sometimes the early and rarer books reflect the age and the condition of the originals. Our books are NOT digitally remastered; they are taken from scans of actual comics. Many people enjoy these authentic characteristics. If you are not entirely happy, please contact us for exchange or refund at any time! ALL STORIES - NO ADSGet the complete catalog by contacting [email protected]
Winner of the 2022 Eisner Award for Best Comics-Related Book The first-ever full reckoning with Marvel Comics’ interconnected, half-million-page story, a revelatory guide to the “epic of epics”—and to the past sixty years of American culture—from a beloved authority on the subject who read all 27,000+ Marvel superhero comics and lived to tell the tale “Brilliant, eccentric, moving and wholly wonderful. . . . Wolk proves to be the perfect guide for this type of adventure: nimble, learned, funny and sincere. . . . All of the Marvels is magnificently marvelous. Wolk’s work will invite many more alliterative superlatives. It deserves them all.” —Junot Díaz, New York Times Book Review The superhero comic books that Marvel Comics has published since 1961 are, as Douglas Wolk notes, the longest continuous, self-contained work of fiction ever created: over half a million pages to date, and still growing. The Marvel story is a gigantic mountain smack in the middle of contemporary culture. Thousands of writers and artists have contributed to it. Everyone recognizes its protagonists: Spider-Man, the Avengers, the X-Men. Eighteen of the hundred highest-grossing movies of all time are based on parts of it. Yet not even the people telling the story have read the whole thing—nobody’s supposed to. So, of course, that’s what Wolk did: he read all 27,000+ comics that make up the Marvel Universe thus far, from Alpha Flight to Omega the Unknown. And then he made sense of it—seeing into the ever-expanding story, in its parts and as a whole, and seeing through it, as a prism through which to view the landscape of American culture. In Wolk’s hands, the mammoth Marvel narrative becomes a fun-house-mirror history of the past sixty years, from the atomic night terrors of the Cold War to the technocracy and political division of the present day—a boisterous, tragicomic, magnificently filigreed epic about power and ethics, set in a world transformed by wonders. As a work of cultural exegesis, this is sneakily significant, even a landmark; it’s also ludicrously fun. Wolk sees fascinating patterns—the rise and fall of particular cultural aspirations, and of the storytelling modes that conveyed them. He observes the Marvel story’s progressive visions and its painful stereotypes, its patches of woeful hackwork and stretches of luminous creativity, and the way it all feeds into a potent cosmology that echoes our deepest hopes and fears. This is a huge treat for Marvel fans, but it’s also a revelation for readers who don’t know Doctor Strange from Doctor Doom. Here, truly, are all of the marvels.