Hunter episode 1 from Eerie No. 52

'Hunter' from Eerie magazine (Warren)

 

'Hunter' was a recurring character who initially appeared in a run of six episodes in Eerie magazine, issues 52 (November 1973) to 57 (March 1974). 

All six 'Hunter' episodes were combined into a special issue for Eerie #69 (October 1975), in (yet another) display of publisher James Warren's niggardly habit of repackaging and reselling previously published material to hapless Eerie fans.

Further installments of the Hunter franchise appeared as 'Hunter II' in Eerie issues 67-68 and 70-73, with one-shot episodes in Eerie 87, 100, and 121. 

Hunter's last appearance came when he participated in a team-up with other Warren characters (including Vampirella, Shreck, Exterminator One, Dax, Child, and Rook) in Eerie 130, released in April 1982, in the waning months of the Warren franchise.

Needless to say, 'very fine' to 'like new' issues of these old Eerie magazines go for $15.00 and up on eBay, so assembling the entire run of 'Hunter' can be an expensive proposition.

Luckily, as part of their licensing deal with the New Comic Company to reprint the Creepy and Eerie catalogs, Dark Horse issued all the 'Hunter' stories in this hardbound compilation, released in April 2012.

This book has dimensions (11 x 8.5 inches) a little bit smaller than that of the original magazine, but the quality of reproduced pages is very good (note this volume is entirely black and white / screentone). 

All 15 of the dedicated Hunter stories are provided within this volume, save the Warren team-up issue of Eerie #130. Somewhat disappointingly, episode 6, which originally appeared in Eerie #57 and was reproduced in color in Eerie #69, stays black and white in this compilation. But that's really the only fault I could find with 'Eerie Presents: Hunter'.

Artist Paul Neary handled the initial run of 'Hunter' and he used a very ornate, stylized approach to his artwork, often incorporating Zip-A-Tone patterns. Nowadays, of course, manga are the only major graphic media where screentone effects are a part of black and white illustrations, but back in the 70s, Zip-A-Tone effects were a major component of the techniques commonly used by graphic artists. Of course, other Warren artists, such as Sanjulian, Al Sanchez, and Alex Nino, brought their own special touch to the strip, too.

The plots for most of the episodes of 'Hunter' were of good quality, and even today, when most major publishers routinely issue four-color comics featuring graphic violence and sexual content, their themes remain downbeat and disturbing. But all adhered to the premise of Demian Hunter as an offbeat hero in a post-apocalyptic landscape scarred by conflict between the survivors of the nuclear war and a race of radiation- spawned, mutant, 'lizard people', labeled as 'demons' by the superstitious populace.

Below I've posted the inaugural episode of 'Hunter', from Eerie #52, November 1973. 

Future installments will be posted here at the PorPor blog.

If the strip appeals to you, you may want to think about picking up 'Eerie Presents: Hunter'.

Heavy Metal magazine June 1982

'Heavy Metal' magazine June 1982

 

It's June, 1982. And my family has just subscribed to 'expanded' cable, which not only means we now have an extravagant 30+ channels to view, but one of them is this newer channel called 'music television', or 'MTV'.

MTV has been broadcasting for about a year, but only in the Spring of 1982 has it begun to grow in viewership and influence. My brothers and sisters and I are immediate fans of MTV, avidly watching it for hours each day, tolerating the crappy videos because, after all, you're only a few minutes away from the possibility of a better one commencing.

Among the large number of UK-supplied videos in continuous rotation in those early days, I remember seeing this video from the British group The Members: 'Working Girl'. Early-eighties New Wave fashions and hair styles at their finest !

The June, 1982 issue of Heavy Metal magazine is out and on the stands, with a front cover by Page Wood titled 'A Girl and Her Dog', with a back cover by Tony Roberts titled 'Isn't She Lovely ?'

There are some full-page adverts for what are now classic SF films: The Thing, and The Road Warrior. 

This issue features yet more installments of Corben's 'Den II', 'Incal Light', by Jodorowsky, Chaland, and Moebius; 'At the Middle of Cymbiola', by Renard and Schuiten, and 'Nova 2' by Garcia. Portfolios include a look at the forthcoming Ridley Scott film Bladerunner, and 'H. R. Giger's New York'.

The Dossier features 'Rok' Critic Lou Stathis ripping bands like Quarterflash and The GoGos for being superficial and unhip; homages to film noir; an overview of men's adventure novels (The Destroyer, Mack Bolan, etc.); and tepid reviews of StarTrek 2: Wrath of Khan and Grease 2.

The June issue also features the next installment of Christin and Bilal's 'The Voyage of Those Forgotten', which I've posted below.

Book Review: Voyagers in Time

Book Review: Voyagers in Time', edited by Robert Silverberg

 

3 / 5 Stars

‘Voyagers in Time’ first was published in 1967 in hardback by the Meredith Press. This Tempo Books paperback (208 pp.) was issued in July 1970. 

The stories in the collection all first appeared in various sf magazines and digests from 1937 to 1957.

If ‘Voyagers’ could be said to provide an overarching theme, it's a theme with a cautionary note about time travel.

The best-known entry is David Masson’s ‘Traveler’s Rest’ (1965), about a planet where time travels faster the more closely one approaches the equator. While the concept is certainly imaginative, the story’s prose is overly dense, and suffers from some contrivances; for example, author Masson uses a deliberately clipped style of dialogue when recounting events in the northern latitudes; once his character moves further south, conversations become more expansive.

Another of the better entries is Michael Moorcock’s ‘Flux’ (1963), in which troubleshooter Max File is sent forward in time in an effort to save a dysfunctional European Union from collapse (a concept quite prescient when regarded from my vantage point of 2012).

Editor Silverberg’s ‘Absolutely Inflexible’ (1967) takes an ironic look at preventing paradoxes. Larry Niven’s ‘Wrong-Way Street’(1965) is a middling tale of an astronaut who tinkers with an alien spaceship.

Wilma Shores’ ‘A Bulletin…’ takes a humorous approach to time travel; when a contemporary scientist succeeds in snatching a witless Everyman from 2061, back to his laboratory in 1961, frustration ensues.

Some of the Old School tales hold up rather well. P. Schuyler Miller’s ‘The Sands of Time’ (1937; travel to the age of the dinosaurs), William Tenn’s “Brooklyn Project’ (1948; tampering with the future might change the present), C. M. Kornbluth’s ‘Dominoes’ (1953; exploiting stockmarket data from the future), and Poul Anderson’s ‘Time Heals’ (1949; cryogenic preservation) all are reasonably interesting.

The less impressive entries include Alfred Bester’s ‘The Men Who Murdered Mohammed’ (1964), which suffers from too-forced an effort at humor. Lester del Rey’s ‘And It Comes Out Here’ (1950) adopts the rarely used second-person narrator, but this only burdens an already clumsy plot. 

The verdict ? Of the 11 stories in this anthology, there are several worth reading. This may be enough justification to pick ‘Voyagers’ up from the used-book shelves.

'Questar' magazine August 1980: interview with Robert Bloch

 

While the bulk of the August 1980 issue (which actually was on newsstands in late June) of Questar magazine was devoted to the film The Empire Strikes Back, there also appeared an interview with writer Robert Bloch. I've posted it below.

Bloch had some interesting observations on writing for a living during the depths of the Great Depression; the prose styles of the New Wave movement; the lack of critical applause for Bloch's work; and the burden that comes with being best known as the author of the novel Psycho.

'The Voyage of Those Forgotten' by P. Christin and E. Bilal

from the May 1982 issue of Heavy Metal

Spirit World by Jack Kirby

'Spirit World' by Jack Kirby

DC Comics, Summer 1971

Upon joining DC comics in 1971, Jack Kirby was given a conditional green light by the management to investigate publishing comics and graphic art in newer, more varied formats. 

One of the more novel, but more short-lived, manifestations of Kirby's ambitions was the single-shot issue of 'Spirit World', which was released in the Summer of 1971. 

'Spirit World' was an effort by Kirby to produce material for an older audience in the manner of the Warren magazines. Apparently, Kirby wanted to release the magazine in  full color, but DC was intent on publishing the magazine in a cheaper black and white format. 

Indeed, DC was not overly enthused with the concept of 'Spirit World', and distributed it under the 'Hampshire Distribution' label, as part of what was intended to be a line of comic magazines under the 'Speak Out Series' imprint. Poor distribution meant that 'Spirit World' never really got off the ground.

Copies of 'Spirit World' in good condition go for $20, on up to $50, at e-Bay. A hardcover edition of the magazine, incorporating material from a second issue that was never printed, was released by DC in early May 2012 at a list price of $39.99.

I've posted one of the stories in 'Spirit World' below. 'House of Horror' is an interesting look at the sort of 'What If' question comics fans may have had back in the early 70s:  

What If Jack Kirby did a story for a black and white, non-code magazine like the Warren magazines ?

 

 

Book Review: The Inverted World

Book Review: 'The Inverted World' by Christopher Priest

3 / 5 Stars

‘The Inverted World’ first appeared as a serial in 1973-1974 in Galaxy magazine. A hardback edition was published by Harper and Row in 1974. A paperback edition was published by the New English Library (UK) in June 1975, and a trade paperback edition, featuring an Afterward by British sf critic John Clute, was released by New York Review Books in 2008.

‘Inverted World’ was Christopher Priest’s third novel. Priest is of course well known as the author of the book ‘The Prestige’, which was made into a successful 2006 movie starring Hugh Jackman and Christian Bale.

The protagonist of ‘Inverted’ is Helward Mann; his story unfolds in alternating first- and third-person narratives. Mann is born and matures entirely within the confines of a City named ‘Earth’, where the passage of time is measured in miles, not hours or days. There is an implication that the City is under some form of continuous movement, but detailed knowledge of the nature of this movement is withheld from the majority of the City’s inhabitants.

Day-to-day duties of life in this city are carried out by members of various guilds devoted to the creation or synthesis of food, clothing, and material goods. First-Order Guilds comprised of Navigators, 'Future Surveyors', Bridge-Builders, and Trackmen attend to the affairs of the movement of the City. 

When Mann comes of age, he asks to serve an apprenticeship in the 'Future Surveyor’s' Guild. His apprenticeship is granted, with the admonition that from now on, all knowledge of Guild affairs are to be kept solely within the circle of its members, under pain of instant execution.

The day after his apprenticeship is granted, Helward is allowed to exit the City. There he learns that the City is in fact a collection of structures with overall dimensions of 200 feet in height, and 1500 feet in width (for comparison, the height of the Empire State Building is 1,250 feet).

The City rests on a framework to which enormous wheels are attached; much of the work of various Guilds deals with the movement of the City along sets of rails which are continuously laid in front of its path. When all is going well the City moves at a pace of one mile per day. When the terrain presents obstacles, such as rivers, streams, or gullies, movement is halted until bridges are constructed from trees in the surrounding landscape. Once the obstacle is crossed the movement of the City resumes.

The landscape through which the City moves is one devoid of organized agriculture or other manifestations of human industry. Its inhabitants are poor, malnourished and ill-disposed towards the City; however, in exchange for food and clothing, they provide short-term labor for the construction of the rails and bridges demanded by the movement of the City.

As the chapters unfold, the reason behind the nature of the City, and the edicts that compel its continuous movement, are gradually disclosed to Helward Mann, and by extension the reader.

Unfortunately, the Big Revelation about the City and its environs that comes in the book's closing chapters was, to me, a disappointment. I found the Revelation to be contrived and unconvincing. Not quite as bad as telling the reader that 'it was all a Dream', but of a similar flavor. 

Sharpening the letdown is the fact that ‘The Inverted World’ is written with clear, straightforward prose, with a focus on human perception and psychology that gives it a ‘soft-science’ component to go with the ‘hard science’ elements surrounding the descriptions of the City’s transits. 

In many respects, ‘Inverted’ serves as a kind of British counterpart to the influential 1975 sf novel by the American author John Crowley, ‘The Deep’. 

John Clute’s Afterward in the New York Review Books trade paperback edition is, not unexpectedly, awful. 

Clute’s writings (I am familiar with his entries in the 1995 edition of 'The Encyclopedia of Science Fiction') only get more pretentious with time; here, they involve the use of the verb ‘complexified’, and the phrase:

 “…abysses of indeterminacy and play.” 

Summing up ? 'The Inverted World' is one of those New Wave novels that, for all its carefully constructed build-up, fails to deliver. If you are accommodating to that sort of storyline, then you might find the book rewarding, but all others can pass.

'The Black Knight' by Didier Eberoni

from the May 1982 issue of Heavy Metal

Book Review: 'The Day the Sun Stood Still' edited by Lester del Rey

1 / 5 Stars

‘The Day the Sun Stood Still’ was first published in May 1972 in hardcover. This Dell Laurel-Leaf paperback edition (221 pp.) was published in October 1975; the cover artwork is signed [Andy ?] ‘Lackow’. While Lester del Rey is not listed on the cover as the editor, he did contribute the Forward.

‘The Day’ is a shared-theme anthology devoted to the topic of how the modern world might react to the stopping of the Sun described in some Bible passages, most notably Joshua, chapter 10.

Perhaps because of restrictions on content (Laurel-Leaf was a publication line devoted to Young Adults), the three novelettes all focus less on apocalyptic horrors, and instead center more on the sociological and psychological ramifications of a manifestation of the Creator at a time when ‘God Is Dead’ skepticism is well-entrenched. The stories are more or less set in the year 2000.

Poul Anderson’s ‘A Chapter of Revelation’ starts with the planet trembling on the edge of WWIII, as the US and China face off in the Yellow Sea over the fate of Korea. A middle-aged auto repair shop owner from Oakland, named Louis Habib, goes on television, and urges the world to pray at the same time, on the same day, for Peace.

Miraculously, the Sun stands still for an entire 24 hours as a result of this Moment of Prayer.

The narrative then takes a cynical turn, as religious groups and politicians try to co-opt the bewildered Habib into serving their causes.

Robert Silverberg’s ‘Thomas the Proclaimer’ also features a reluctant Prophet, in this case, a former drifter and con man who finds himself mediating the stopping of the Sun. In the aftermath, global society comes undone, and Thomas struggles with how to exploit his miracle. This tale also has a cynical tenor, as Silverberg takes the attitude that miracles are easy, it’s following up on them that proves a prophet’s hardest task.

The final tale, Gordon R. Dickson’s ‘Things Which Are Caesar’s’ is the weakest entry in the anthology. Over-long and unfocused, the story commences on the eve of the stoppage of the Sun, as Americans from all walks of life descend on a remote campground to await the miracle. 

Most of the ensuing narrative is preoccupied with having the characters engaged in post-miracle philosophical debates about The Meaning of It All. A taciturn onlooker named Ranald, who may be Immortal and a witness to Joshua’s feat, serves as a kind of neutral counterpoint to the mutterings of the modern people gripped by their existential angst. 

The story ends on a rather contrived note, as if author Dickson felt he had to impart some kind of Deep Message to justify his meandering storyline. 

In summary, ‘The Day’ is an unremarkable anthology, with its contributors adopting rather unimaginative approaches to what might have been a provocative topic (in more inspired hands). 

'The Day' is probably most interesting as an indicator of how much more sophisticated a vocabulary junior high and high school students were expected to possess back in the early 70s. 

Silverberg's story includes words like 'schadenfreude' , as well as a list of terms related to religious artifacts, that had me using an online dictionary. Nowadays, I suspect few members of various state Board of Regents English ('Language Arts') faculty would be able to grasp such terms.....