Reed Crandall covers

Reed Crandall

Reed Crandall (Penciller) , John Celardo (Inker)

Above artwork courtesy of the vastly underrated Reed Crandall from the third issue of the EC Picto-Fiction mag, TERROR ILLUSTRATED.

The Cask of Amontillado! by Archie Goodwin and Reed Crandall from Creepy #6 ~ June/1966

RICHARD CORBEN BLACK AND WHITE

Richard Corben Bio

Richard Corben was born on a farm [2] in Anderson, Missouri, and went on to get a Bachelor of Fine Arts degree from the Kansas City Art Institute, in 1965.[3]
After working as a professional animator, Corben started doing underground comics, including Grim Wit, Slow Death, Skull, Rowlf, Fever Dreams and his own anthology Fantagor.[4] In 1970 he began illustrating horror and science-fiction stories for Warren Publishing.[5] His stories appeared in Creepy, Eerie, Vampirella, 1984 and Comix International. He also colored several episodes of Will Eisner's Spirit.
In 1975, when Moebius, Druillet, and Jean-Pierre Dionnet started publishing the magazine Métal Hurlant in France, Corben submitted some of his stories to them.[6] He continued his work for the franchise in America, where the magazine was called Heavy Metal. In 1976 he adapted a short Robert E. Howard story in what is possibly the first graphic novel, Bloodstar.[7]

Eerie '86 cover by Corben featuring a scene from his story "Change... Into Something Comfortable"
Among the stories drawn for Heavy Metal he continued the saga of his most famous creation, Den which had begun in the short film Neverwhere (Neil Gaiman used the same title, Neverwhere later, but the two have nothing common) and a short story in the underground publication Grim Wit #2. The saga of Den is a fantasy series about the adventures of a young underweight nerd who travels to Neverwhere, a universe taking inspirational nods from Robert E. Howard's Hyborian Age, Edgar Rice Burroughs's Barsoom and H. P. Lovecraft's horror dimensions. There, the boy becomes an enormously endowed nude muscleman who has erotic adventures in a world of outrageous dangers, hideous monsters and buxom nude women who lustfully throw themselves at him. This story was adapted in a highly abridged form in the animated film, Heavy Metal, where Den was voiced by John Candy.

Bat out of Hell a well-known album cover by Richard Corben
Due to the sexual nature of Corben's art, it has been accused of being pornographic, a description he himself disagrees with. One notorious example was the interview he gave Heavy Metal editor Brad Balfour in 1981.[2][8][9] Corben was very dissatisfied with the interview. He felt it portrayed him as a "petty, childish, borderline psychotic oaf". He wrote a letter in retort, which was published in September 1981 (vol V, issue 6).

Neverwhere, 1978. This is the first Den comics collection, cover art by Richard Corben
His work in comics and animation has won him recognition, including the Shazam Award for Outstanding New Talent in 1971, and a Shazam Award for Superior Achievement by an Individual in 1973. He also received a CINE Golden Eagle and President of Japan Cultural Society trophy in 1968 for his short film Neverwhere.[10]

Corben did the cover of Meat Loaf's Bat out of Hell, Jim Steinman's, Bad for Good and a movie poster (based on a drawing by Neal Adams [11]) for the Brian De Palma film Phantom of the Paradise. In addition, he provided cover art for the VHS release of the low-budget horror film Spookies.

Corben's collaborations are varied ranging from Rip in Time with Bruce Jones, to Harlan Ellison for Vic and Blood, to the Den Saga, Mutant World, Son of Mutant World, Jeremy Brood and The Arabian Nights with Jan Strnad.
In 2000, Corben collaborated with Brian Azzarello on five issues of Azzarello's run on Hellblazer (146-150) which was collected in a trade called Hellblazer: Hard Time.[12] He also adapted the classic horror story The House on the Borderland by William Hope Hodgson for DC's Vertigo imprint.

In 2001, Azzarello and Corben teamed up to create Marvel's Startling Stories - Banner (a four issue mini-series exploring Doc Samson's relationship with Bruce Banner) and Marvel Max's Cage (a five issue mini-series starring Luke Cage).
Ever the independent, Corben would work with rocker, Rob Zombie, and Steve Niles in 2005 on a project for IDW Publishing called Bigfoot. The graphic series ran for five issues and demonstrates the artist's evolution. The story chronicles a young boy who witnesses the brutal slaughter of his parents by the enigmatic title character and his return to the forest for revenge when he becomes older.

In 2007, Corben did a two issue run on Marvel Comics' surreal demon biker, Ghost Rider. At Marvel's MAX imprint he has produced Haunt of Horror, mini-series adapting classic works of horror to comics. The first mini-series, published in 2006, was based on the stories of Edgar Allan Poe[13] followed by a second series in 2008 adapting works by H. P. Lovecraft.[14] Between 2008 and 2009 he illustrated the flashback sequences in Conan of Cimmeria #1-7, collected as Conan Volume 7: Cimmeria. In 2009 he illustrated Starr the Slayer for Marvel's MAX comics imprint.
His latest work was serving as animator on the upcoming computer game DARKSTAR – The Interactive Movie.[15]

Richard Corben

I found Corbens graphic novel Neverwhere in a bookstore in 1978 and my life changed forever. I had never before (or since) found anything so cool. The only thing I can compare it too for pure excitement and sense of discovery was when I got my first girlfriend to take her shirt off. I knew at that moment I had to be an artist- because Corben had showed me what being an artist could mean. It was like my most insane supercharged fantasy brought to life permanently by the sheer force of this guys skill. Why in the world they carried Neverwhere in the news stand of a suburban bookstore I will never know. I guess no one bothered to look inside. But Thank God they did. And Thank God my friend was with me with exactly the twelve dollars I needed to buy it.

Everyone is familiar with Corben so I wanted to post some stuff people may not have seen. He has started selling off a lot of his original work and this gives a look inside his process- lots of his original grayscale work is scanned now and floating around the internet. This is a blessing for obsessed fanboys like me!

Billy