Friday, June 28, 2019

Crimson Death

Some very nice artwork --and how about that splash!-- highlights this Nodel and Alascia tale of voodooey vengeance from the April 1953 issue of Eerie #11. And take a lesson from this tale too while you're at it: if things in your life are getting stale, jazz it up with something terrifying, and / or deadly!











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4 comments:

  1. JBM6/28/2019

    Yes, that is a wonderful splash. So ominous. Great zombie face. Daisy's got nice gams. The zombie dancers are cool. I like the "instances are on record". This is true! Daisy and the bed bottom of page two are well done. This is a fun perfect post. The squabbling in the story is good. Greed vs. fear. We only imagined what we saw. Page four the bed reappears with Daisy almost.... Then there is Tessie's tautness and more bed scenes. This is "real art" Thank you Mr. K.

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  2. Brian Barnes6/28/2019

    Just great artwork all around. Every floating zombie/ghost (I've given up on that distinction in pre-code comics at this point) was great, with the flowing hair/cloaks/tattered clothes filling space around the zombie head.

    This reads a bit like a romance comic! If you removed all the floating dead, you'd basically have a romance plot, except in the end Daisy would have to go back to that nice non-jazz-dancing zombie she knew back on the farm and rejected for not "being cool, daddy-o!"

    Last page, panel 3 is a stand-out panel.

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  3. Grant6/28/2019

    Somehow it's hard to imagine a couple of sailors - at least traditional ones - booing Daisy. Maybe Jack, but not Daisy.

    Even though I hate what usually happens to them, I always seem to like these "Outsider messing with voodoo music" stories, like that DR. TERRORS HOUSE OF HORRORS segment and the THRILLER episode "Papa Benjamin."

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  4. Mr. Cavin6/29/2019

    Hot times down at the old voodoo lounge! I'm not saying I buy into every aspect of our modern social conversation about cultural appropriation, but I certainly wouldn't quibble about the problematic nature of minstrelsy, either. I really dig the nimble irony here: The story can be the very thing it is actively warning us all about. Four-color cultural cartooning as meta-commentary? Let them have cake and eat it too?

    And the character art here is excellent. I like the muscular pop art sensibility of the cover, too. That color distribution is aces.

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