This story of an Aztec curse trots the globe to tell its tale, from the hills of Austria to the ruins of Mexico, and finally to the streets of New Delhi. Did I say it was a story of a curse? Actually, it is a tale of sacrifice and male friendship.
According to the wonderful Grand Comic-Book Database, this script comes from Dick Wood and the art is by John Celardo, who worked for the famed Eisner-Igor studios in the 1940s. I like Celardo’s hard, heavy line and shadow, which give this story the feel of an ancient fable etched in wood. The cover? – another un-credited beauty.
What stays with me about this story is the to-the-death friendship between the two protagonists. It feels real and touching. This is from Boris Karloff Tales of Mystery No. 31, August, 1970. All scans are from my own comic. Just click the image for the big picture.
According to the wonderful Grand Comic-Book Database, this script comes from Dick Wood and the art is by John Celardo, who worked for the famed Eisner-Igor studios in the 1940s. I like Celardo’s hard, heavy line and shadow, which give this story the feel of an ancient fable etched in wood. The cover? – another un-credited beauty.
What stays with me about this story is the to-the-death friendship between the two protagonists. It feels real and touching. This is from Boris Karloff Tales of Mystery No. 31, August, 1970. All scans are from my own comic. Just click the image for the big picture.
This from the back cover. I was a PF Flyer man myself, a shoe that had a wedge inside that (I firmly believed) gave me superhuman speed. The Red Ball Jet sneakers had an artsy or perhaps avant-garde feel about them that I could admire, sure, but not quite trust.
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9 comments:
How often do you hear the phrase "this calls for a medical checkup in Mexico City" ?
I've always been a Chuck Taylor man, myself.
wow! i love this so much! and the great thing about this is the scene on the cover actually appears inside the comic. i love that monster.
Aaron: At least once too often as our boys didn't have much luck there. I didn't go with the Chuck Taylors until the 1980s.
Keith: Gold Key was pretty good for their covers matching the enteriors. That monster is great. Did you see the size of those choppers? -- Mykal
Another great one, Mykal. This blog is becoming a favorite haunt of mine.
Thanks, Chuck! Likewise, I'm sure. -- Mykal
I like the story better than the art on this one (although page six is great, with the MEAT !) This is one of those tragic stories that, as a Child, I would read and then ponder for hours... Why couldn't it have ended differently ? Why did it have to end this way ? Why didn't the protagonists find some other solution...? Of course, as an Adult, I now know the answer: Because then, we wouldn't have a story !!
I find that there is something about Celardo's style that grows on me - those bold lines and heavy blacks, I guess - a little stiff at first glance (or maybe even the second glance) but it works for me. At least he had a unique style that was like no one else. He did a bunch of work for Gold Key, so I am sure I'll run across his stuff again for this blog.
That hunk of meat on 6, I know! Yow! What the hell was that! Just a big hunk of bony meat. It looks like it was just ripped off a live animal. That was being served to a guest? Lord. The bones where sticking out of it. -- Mykal
Very enjoyable Mykal! I too love that cover-- the way the artist has the light portrayed on the monster's (Shawns) legs!
Say, is it just me or does John Celardo's interior art kind of remind you of Irv Novrick (I think that's his name) who drew the Flash in the early
1970s (maybe it's the Barry Allen-ish picture of Craig's head shot on page 3)
R/E: I like the highlights on the monster's legs myself! Celardo does remind me a bit of Novrick, now that you mention it. -- Mykal
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