Weird War Tales Comics Download Pdf ((FREE))

In the mid-1950s, Leo Margulies, a well-known figure in the magazine publishing world, launched a new company, Renown Publications, with plans to publish several titles. He acquired the rights to both Weird Tales and Short Stories, and hoped to bring both magazines back. He abandoned a plan to restart Weird Tales in 1962, using reprints from the original magazine, after being advised by Sam Moskowitz that there was little market for weird and horror fiction at the time.[39][notes 5] Instead Margulies mined the Weird Tales backfile for four anthologies which appeared in the early 1960s: The Unexpected, The Ghoul-Keepers, Weird Tales, and Worlds of Weird.[40] The latter two were ghost-edited by Moskowitz, who proposed to Margulies that when the time was right to start the magazine up again, it should include reprints from obscure sources that Moskowitz had found, rather than just stories reprinted from the first incarnation of Weird Tales.[40][42] These stories would be as good as new for most readers, and the money saved could be used for an occasional new story.[40]

The cover art during Baird's tenure was dull; Ashley calls it "unattractive",[8] and Weinberg describes the color scheme of the first issue's cover as "less than inspired", though he considers the next month's cover to be an improvement. He adds that from the May 1923 issue "the covers plunged into a pit of mediocrity". In Weinberg's opinion the poor cover art, frequently by R. M. Mally, was probably partly to blame for the magazine's lack of success under Baird.[59] Weinberg also regards the interior art during the magazine's first year as very weak; most of the interior drawings were small, and with little of the atmosphere one would expect from a horror magazine. All the illustrations were by Heitman, whom Weinberg describes as "... notable for his complete lack of imagination. Heitman's specialty was taking the one scene in a frightening story that featured nothing at all frightening or weird and illustrating that".[70][71]

Weird War Tales Comics Download Pdf

Download 🔥 https://urluso.com/2xYiNH 🔥

Arthur J. Burks, who would go on to be a very successful pulp writer, appeared under both his real name and under a pseudonym, used for his first sale, in January 1925. Robert Spencer Carr's first story appeared in March 1925; H. Warner Munn's "The Werewolf of Ponkert" appeared in July 1925, and in the same issue Wright printed "Spear and Fang", the first professional sale of Robert E. Howard, who would become famous as the creator of Conan the Barbarian.[75] In late 1925 Wright added a "Weird Tales reprint" department, which showcased old weird stories, typically horror classics. Often these were translations, and in some cases the appearance in Weird Tales was the story's first appearance in English.[76]

As well as fiction, Wright printed a substantial amount of poetry, with at least one poem included in most issues. Originally this often included reprints of poems such as Edgar Allan Poe's "El Dorado", but soon most of the poetry was original, with contributions from Lovecraft, Howard, and Clark Ashton Smith, among many others.[89][90][91] Lovecraft's contributions included ten of his "Fungi from Yuggoth" poems, a series of sonnets on weird themes that he wrote in 1930.[92]

Except for a couple of short-lived magazines such as Strange Tales and Tales of Magic and Mystery, and a weak challenge from Ghost Stories, all between the late 1920s and the early 1930s, Weird Tales had little competition for most of Wright's sixteen years as editor. In the early 1930s, a series of pulp magazines began to appear that became known as "weird menace" magazines. These lasted until the end of the decade, but despite the name there was little overlap in subject matter between them and Weird Tales: the stories in the weird menace magazines appeared to be based on occult or supernatural events, but at the end of the tale the mystery was always revealed to have a logical explanation.[103] In 1935 Wright began running weird detective stories to try to attract some of the readers of these magazines to Weird Tales, and asked readers to write in with comments. Reader reaction was uniformly negative, and after a year he announced that there would be no more of them.[104]

Weird Tales included a letters column, titled "The Eyrie", for most of its existence, and during Wright's time as editor it was usually filled with long and detailed letters. When Brundage's nude covers appeared, a lengthy debate over whether they were suitable for the magazine was fought out in the Eyrie, the two sides being divided about equally. For years it was the most discussed topic in the magazine's letter column. Many of the authors Wright published wrote letters too, including Lovecraft, Howard, Kuttner, Bloch, Smith, Quinn, Wellman, Price, and Wandrei. In most cases these letters praised the magazine, but occasionally a critical comment was raised, as when Bloch repeatedly expressed his dislike for Howard's stories of Conan the Barbarian, referring to him as "Conan the Cimmerian Chipmunk".[108] Another debate that was aired in the letter column was the question of how much science fiction the magazine should include. Until Amazing Stories was launched in April 1926, science fiction was popular with Weird Tales' readers, but after that point letters began to appear asking Wright to exclude science fiction, and only publish weird fantasy and horror. The pro-science fiction readers were in the majority, and as Wright agreed with them, he continued to include science fiction in Weird Tales.[109] Hugh B. Cave, who sold half-a-dozen stories to Wright in the early 1930s, commented on "The Eyrie" in a letter to a fellow writer: "No other magazine makes such a point of discussing past stories, and letting the authors know how their stuff is received".[110]

Delaney's personal taste also reduced McIlwraith's latitude. In an interview with Robert A. Lowndes in early 1940, Delaney spoke about his plans for Weird Tales. After saying that the magazine would still publish "all types of weird and fantasy fiction", Lowndes reported that Delaney did not want "stories which center about sheer repulsiveness, stories which leave an impression not to be described by any other word than 'nasty'". Lowndes later added that Delaney had told him he found some of Clark Ashton Smith's stories on the "disgusting side".[113][notes 9]

The art editor, Lamont Buchanan, was able to establish five artists as regulars by the mid-1940s; they remained regular contributors until 1954, when the magazine's first incarnation ceased publication. The five were Dolgov, John Giunta, Fred Humiston, Vincent Napoli, and Lee Brown Coye.[119] In Weinberg's review of Weird Tales' interior art, he describes Humiston's work as ranging "from bad to terrible", but he is more positive about the others. Napoli had worked for Weird Tales from 1932 to the mid-1930s, when he began selling to the science fiction pulps, but his work for Short Stories brought him back to Weird Tales in the 1940s. Weinberg speaks highly of both Napoli and Coye, whom Weinberg describes as "the master of the weird and grotesque illustration". Coye did a series of full-page illustrations for Weird Tales called "Weirdisms", which ran intermittently from November 1948 to July 1951.[121][122][123]

During this time Weird Tales published works by a wide range of strange-fiction authors including Michael Moorcock and Tanith Lee, as well as newer writers such as N. K. Jemisin, Jay Lake, Cat Rambo, and Rachel Swirsky.[42] This period also saw the addition of a broader range of content, ranging from narrative essays to comics to features on weird culture. The magazine won its first Hugo Award in August 2009, in the semiprozine category,[129] along with receiving two Hugo Award nominations in subsequent years[130] and its first World Fantasy Award nomination, for Segal and Vandermeer, in more than seventeen years.[130][131]

Weird Tales was one of the most important magazines in the fantasy field; in Ashley's view, it is "second only to Unknown in significance and influence".[3] Weinberg goes further, calling it "the most important and influential of all fantasy magazines". Weinberg argues that much of the material Weird Tales published would never have appeared if the magazine had not existed. It was through Weird Tales that Lovecraft, Howard, and Clark Ashton Smith became widely known, and it was the first and one of the most important markets for weird and science fantasy artwork. Many of the horror stories adapted for early radio shows such as Stay Tuned for Terror originally appeared in Weird Tales.[2] The magazine's "Golden Age" was under Wright, and de Camp argues that one of Wright's accomplishments was to create a "Weird Tales school of writing".[142] Justin Everett and Jeffrey H. Shanks, the editors of a recent scholarly collection of literary criticism focused on the magazine, argue that "Weird Tales functioned as a nexus point in the development of speculative fiction from which emerged the modern genres of fantasy and horror".[143]

The Marvel Comics series ran 168 issues, cover-dated June 1951 to May 1968.[1] It began as a horror anthology from the company's 1950s precursor, Atlas Comics. Initially modeled after the gory morality tales of the popular and groundbreaking EC line of comics,[2] Strange Tales became less outr with the 1954 establishment of the Comics Code, which prohibited graphic horror, as well as vampires, zombies and other classical monsters.

The comic changed again with the return of industry stalwart Jack Kirby, the artist who had co-created Captain America for the company, then worked elsewhere for 17 years. Starting with #68 (April 1959), Strange Tales was revamped to reflect the then-current trend of science fiction drive-in movie monsters. Virtually every issue would open with a Kirby monster story (generally inked by Christopher Rule initially, then later Dick Ayers), followed by one or two twist-ending thrillers or sci-fi tales drawn by Don Heck, Paul Reinman, or Joe Sinnott, all capped by an often-surreal, sometimes self-reflexive Stan Lee-Steve Ditko short. be457b7860