What would you do if you won a supernaturally powered redhead? I hope you have a better plan than 'ol lame brain Lester here, but also maybe there's a lesson or two to be learned from all of this macabre madness, as well! From the December 1972 issue of The Witching Hour #26.
4 comments:
Oh boy the overweight nagging wife, at least the comic authority codes didn't prohibit that!
This one is more of a wacky black comedy then a horror story. The art, as always, for 70s DC pre-code, is absolutely excellent throughout. Most of it is talking heads but there's a lot of good visual tricks around that. The ol' Wally Wood method.
I've very nerdy about this so I like to point it out, page 4 has three full horizontal panels; broken up by 3 verticals in the middle. In the 3 horizontal panels, both the witch and Lester switch sides as they talk; in the middle of the three it's viewed from outside a window.
In the vertical panels, the camera rotates around the talking heads. That's real comic 101 and a fabulous job from the artist, making what is two people talking more dynamic.
Well, if Chloe is indeed a witch, maybe she can spice up her marriage by role playing as Camille at night with Lester. That alter ego was hot! Somebody also knows her husband way too well if she knew he’d fall for that witch sweepstakes. (Pun intended)
Cheez Lester, why didn't you wish for millions of dollars or a love potion to make your wife less aggressive towards you?
Henpecked husband is one more sub genre in the realm of horror and crime comics.
Not sure I get how "I don't want to kill innocent people too" and "voodoo is way too 'primitive' for me" morphs into Chloe's giddy, newfound euphoria over her husband's begrudging lack of total hatred for her. Also, "primitive" up there feels uncomfortably like a code word for "black".
While I am not as enamored of seventies comic art as most, I do agree that the work here is spot on. Especially at the page level. Each frame is fine, but standing back and taking the overview is pretty rewarding. I especially like page six. The colorist also helps keep things pretty lively through the clever, compositional placement of solid tones on each page. It all adds up nicely. There's no mention of the colorist at GCD. Glennis Wein, maybe?
I'd like to read the story that Nick Cardy cover teases.
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