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- The publisher Fiction House was infamous for what anti-comics crusader Dr. Fredric Wertham called "headlight comics," i.e. comics featuring the ample female bosom. The Pre-Code publisher used their buxom heroines to star in jungle comics, science fiction tales, and scary GHOST STORIES! The Chilling Archives of Horror Comics series curates the sexiest and scariest of these poltergeist-infused Good Girl Art comics in a pulse-pounding tome, Ghosts and Girls! Your hair will stand on end and at the same time your toes will curl!
- Featuring faithfully reprinted original art from these 1940s and 1950s by brilliant masters Matt Baker, Maurice Whitman, and more, don't miss this must-have, large format collection edited by comics historian and filmmaker Michael Price, with its lovingly restored comics.
- Sales Rank: #503811 in Books
- Published on: 2015-11-10
- Original language: English
- Number of items: 1
- Dimensions: 11.10" h x 1.00" w x 8.80" l, .0 pounds
- Binding: Hardcover
- 152 pages
About the Author
The Marvel and Other Short Stories is a collected anthology of six short stories written by the winners of the Austin Macauley World Book Day short story competition.
The Marvel and Other Short Stories is a collected anthology of six short stories written by the winners of the Austin Macauley World Book Day short story competition.
No biographical note available
Most helpful customer reviews
11 of 12 people found the following review helpful.
not particularly compelling as stories, but interesting as historical record--wanted more analysis
By B. Capossere
In the early history of comic books, Fiction House was well known for its “headlight comics,” so named for the focus on buxom half-dressed females. Though the publisher spanned various genres, including jungle stories, aviator adventure tales, and space opera, as the title implies, Ghosts and Girls of Fiction House!, edited by Michael Price,vfocuses on their supernatural stories, in particular a long-running series entitled “The Ghost Gallery by Drew Murdoch” (Murdoch is the private eye narrator, not the actual author), which ran for 126 issues before evolving into Ghost Comics in the 50s.
This volume opens with a very brief introduction by Craig Yoe, in which he recounts an early bonanza purchase of old comics as an adolescent — his first introduction to Fiction Houses’ Jumbo Comics. After recounting his purchase and discovery, he offers a quick few lines from famed anti-comic crusader Dr. Fredric Wertham about the Fiction House line of stories, none of which, you won’t be surprised to hear, were at all positive.
A second introduction delves much more into the history of Fiction House: how it came about, its place in the industry, a recounting of some of its better known writers and illustrators, including Will Eisner, and Bob Kane. This introduction, while informative, reads a bit choppy, and I wouldn’t have minded some more time spent here to offer up more full explanations/histories, smoother shifts, and a bit more cultural context, as when the introduction quotes Trina Robbins saying about Fiction Houses’ female characters: “[most] were strong beautiful, competent heroines. They were war nurses, aviatrixes, girl detectives, counterspies, and animal-skin-clad jungle queens, and they were in command.” The intro also touches upon the comic’s connection to the B-movie horror studios, runs through some of the artists, and touches upon some of the problematic portrayals thanks to the comics being written at a time “when ethnic stereotyping was a commonplace practice.” While the attempt to place said portrayals in context is both worthy and probably necessary, the phrase “affectionate condescension” is an unfortunate one I’d say (referring to the dialect of one of the black characters, which indeed is wince-inducing).
After a series of wonderfully lurid and colorful covers from the 50s by Maurice Whitman, the collection moves into the reprints of the old Ghost Gallery stories, running from page 17 to page 95.
The stories themselves are probably more interesting as historical artifacts than as compelling narratives. They tend to feel a bit repetitive after about halfway through, and the few at the end almost feel like after-thoughts or toss-offs by writers not getting paid very much, they’re so sketchy. The ghosts in the works are surprisingly substantive at times, able to interact with objects and people. Others use their spectral knowledge to gain vengeance on those who did them wrong or to otherwise seek justice. The mix of the private eye/noir genre with the ghost story one is interesting, with Murdoch getting called in by someone who knows he’s the “go-to guy” when it comes to investigating not just crimes but crimes with a potentially supernatural element to them. As mentioned, the ethnic portrayals (or regional ones, such as the moonshining/feuding hillbillies) are painful at times; luckily they don’t arise very often, one assumes thanks to the selection process.
The art is solid if conservative by today’s standards. Panels are generally symmetrical and roughly all the same size with characters and action tightly constrained. Characters are surprisingly static much of the time. Every now and then the illustrator will play around with a triangular panel, an asymmetrical slanted one, or one set somewhat askew, and these are a relief from the relative monotony otherwise. Things do liven up as the stories move forward artistically; I’m not sure whether that’s a result of the editing/selecting process or a chronological effect as the artists matured and became more experimental. Throughout though, the covers remained an artistic highlight.
I can’t say the stories or the art were particularly impressive or at all compelling, but I did enjoy the general “spirit” of them. And as historical documentation, both of the comic book art and of pop culture, Ghosts and Girls of Fiction House! is a nice record, even if I would have liked a bit more analysis in the intros.
3 of 3 people found the following review helpful.
Not quite second rate
By Chuck Furnace
these ghosts stories fall somewhere between the EC and AIG horror offerings, with inconsistent stories and art. They mostly concern a Ghost Detective whose personality is not very developed and many stories have a Scooby Doo ending. The Iger Shop had some great talents, but that doesn't shine in this volume.
5 of 6 people found the following review helpful.
Needs better organization
By JKMFilms
Risqu�? Maybe a little; but not by today's standards.
But are they sexist?
It's interesting that in so many of these sexy girl comics, the heroine is the strong character. She's not waiting for a man to save her. She's not here simply for men. Do they pass the Bechdel test? I don't know. More on that later.
Famed indie comic author Trina Robbins noted "most of [Fiction House's] stories either starred or featured strong, beautiful, competent heroines. They were war nurses, aviatrixes, girl detectives, counterspies, and animal-skin-clad jungle queens, and they were in command."
Ghosts and Girls gives the interesting history of Fiction House comics. It even has a pulpy vibe to the writing. It describes how Fiction House set the pace for horror comics but newer publishing houses like EC seemed to be the ones that started the genre.
It's interesting how many big comic names contributed to these before creating the superheroes they were known for - like Jack Kirby or Bob Kane.
But then, for me, the confusion started. About 10% of this book is essay - describing some of the interesting history noted above. In this section, it would have been good if the covers shown could have related to the text. For example, when he talks about Bob Hebberd's googley eyes, it would have been good to see an example rather than Jumbo Comics #164, which isn't even mentioned in the text.
But then, the hardest thing to figure out about this book is the structure. It appears to be a couple of essays on Fiction House followed by examples of some of the comics. (And I'm assuming that the covers following the section on Maurice Whitman, though it should be more explicit, at least in the captions.) Then next 10% is these example covers.
And then, more than 75% of this almost-200-page-book is actual comics.
I've never really read any of these old horror books. They're pulpy and fun.
Ye gods! Bullets won't stop the thing! It's a ghost beast!
Though sometimes a bit confusing; the grammar isn't the best and there's often a lot going on - who killed who and when?
And to be honest, after reading several of these stories they get a bit tedious. Why? Because, they're all about Drew Murdoch, Ghost Hunter. Maybe this book should have been called "Ghosts and Drew Murdoch of Fiction House."
Are the several comics shown here the best examples of Fiction House fare? A random sampling? An intro to each one might have been good. And maybe a closing the book ends with the last page of the last comic.
Unfortunately, none of the comics were good examples of what the essays were talking about. The closest we get to strong women is the Cleopatra story where she curses those that have defiled her grave. Other than that, it's just a bunch of ghost stories being investigated by our intrepid ghost expert Drew Murdoch.
This book would have been much, much more interesting if the essays had tied to the comics somehow - and if the text was more explicit about it.
Note: Received copy for review.
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