Not one of the artists that I suspect fans tend to think of when we discuss comic book horror, nor an artist who's technical style, itself, blows me away, Jim Aparo makes this list based entirely on his work on The Spectre with Michael Fleischer. With a stringent comic code in place, he and Fleischer found brilliantly imaginative ways to create utterly disturbing and unforgettably gruesome visuals that were (amazingly enough) completely comic-code compliant.
Can't show blood? That's okay. I'm pretty sure readers can't help but imagine the follow-up to this panel:
Can't show dismemberment? Okay, let's go back to that Silver Age Spectre story where the Spectre turned a criminal into a candle and then melted him down, but then leave out the part where he was turned into the candle first:
Or how about any of these gruesome visuals that were totally comic-code compliant:
Man, even just Aparo's Spectre kind of gave me the chills:
So to what extent these visuals were the brain child of Fleischer or Aparo, I couldn't pretend to know, but Aparo sure brought them to life in panel after panel of unforgettable visuals that will forever remain imprinted on my brain.
That's comic book horror.
Last Edit: Sept 4, 2020 18:20:58 GMT -5 by shaxper
He's a master of sheer horror of where hordes of skeletons coming out of the boondocks terrifying this poor woman soul out of sheer torture and disbelief. He only use a minimal of colors white/black for the skeletons and white/red for the terrified soul of a young woman screaming out of her lungs trying her best to escape the hordes of skeletons coming at you.
This is Bissette's great work as an artist for Boom shown here.
Post by thwhtguardian on Oct 9, 2015 11:36:21 GMT -5
Week #2 Dave McKean
There's nothing graphic, gory or particularly violent about Mckean's art work but his use of mixed mediums never fails to disturb me on some level. His use of found objects, photography and traditional painted art work in a single piece gives his work a very deep sense of un-realness that makes it look like you're seeing a nightmare brought to life.
His work is just unsettling, like the ravings of a total madman or the clues left behind by a deranged serial killer and I love it.
A life is like a garden. Perfect moments can be had, but not preserved, except in memory. LLAP
Burns' art seems to take place in another, parallel universe, where not much good ever happens. Or maybe two different universes, because although he has a pretty consistent technique, he's got two distinct styles: a stylized cartoony one for things like El Borbah and Big Baby, and a more realistic one for things like Black Hole. Both visions are pretty damn dark.
I love, though, how his inking is in such a classic comic book style.
Equal parts Charles Addams and equal parts Edward Gorey, Richard Sala's unique style is fun horror as its best. From his animation shorts on MTV to comics to novels, Sala's artwork is fantastic and creepy, with an blood smattering of whimsy. Dark shadows, creepy characters, and moxey fighting women, Richard's work is some of my favorite of the small press comics of the late 80s/early 90s
Post by Icctrombone on Oct 9, 2015 20:13:31 GMT -5
Coming in at #4 is Neal Adams. Neal is probably the best horror cover artist on my list. He made quite an impression on me with his scary images although, he wasn't really known for Horror interiors and that's why he only makes it to #4.
Post by Phil Maurice on Oct 9, 2015 21:20:52 GMT -5
#4: Harry Anderson (Week 2)
In the crowded field of 1950s horror comics, Harry Anderson managed to stand out with a finely-detailed and meticulous style that virtually leapt off the page.
His figures have weight and heft, and are convincingly dynamic. And though his covers are legendary, his interior game was also solid, lavishing attention on each panel with hundreds of individual lines
no matter how absurd the subject matter.
Like many of his contemporaries, Anderson often juxtaposed horrific elements with the banal and mundane, and he did it with a remarkable deftness, like in this unusual Atlas cover that makes great use of white space:
It's a testament to Anderson's skill that even under the bright light, his monster still horrifies.
DOCTOR: I don't like the looks of your husband. WIFE: I don't either, but he's good to the children.
This cover was my first exposure to Tom Sutton's work and haunted my nightmares as a child...
The look of sheer terror on the girl's face cut right through me and the grotesque presence of the sewer dwellers just creeped me the hell out.
Here again we see the facial expressions that just read terror...specially the eyes...
Not only is he able to portray the horrific and the grotesque beautifully, but the people experiencing those things look genuinely terrified, adding to the the horrific experience of the readers. The verisimilitude of the facial expressions breaks down the barrier of disbelief making the horrific events portrayed feel more real than fiction-at least it did for me. Those facial expressions and body language depictions just cut right through me and made the scenes depicted all the more terrifying.
(glad I never saw that one as a kid or I would never have looked at my teddy bear the same way again)
even without human figures he can evoke a mood of dread...as this Poe splash illustrates...
and then there's Alice Cooper....
People don't want the Truth. They want only information that supports what they think they already know. -Vess from Invisible Kingdom
I see a comics culture that preserves and appreciates its past, but doesn't wallow in witless nostalgia. -Scott McCloud
Humans beings always do the most intelligent thing…after they’ve tried every stupid alternative and none of them have worked -Buckminster Fuller