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Vampirella Archives Volume 7 epub

by Bill DuBay,Len Wein,Budd Lewis,Jose Gonzalez,Esteban Maroto,Gonzalo Mayo,Luis Bermejo,Jose Bea,Ramon Torrents,Gerry Boudreau

Vampirella Archives Volume 7 epub

ISBN: 1606904035

ISBN13: 978-1606904039

Author: Bill DuBay,Len Wein,Budd Lewis,Jose Gonzalez,Esteban Maroto,Gonzalo Mayo,Luis Bermejo,Jose Bea,Ramon Torrents,Gerry Boudreau

Category: Comics and Graphics

Subcategory: Graphic Novels

Language: English

Publisher: Dynamite Entertainment (June 4, 2013)

Pages: 400 pages

ePUB book: 1322 kb

FB2 book: 1413 kb

Rating: 4.3

Votes: 744

Other Formats: doc lit mobi docx

Vampirella Archives Vol. 7 book. Stories and art by virtuoso talents like Jose Gonzalez, Esteban Maroto, Len Wein, Neil Adams and many more!.

Vampirella Archives Vol. mor. uis Bermejo (Illustrator), Jose Bea (Illustrator), Ramon Torrents (Illustrator. ess.

Budd Lewis (Author), Bill DuBay (Author), Jose Gonzalez (Artist) . The last issue in the book is all Vampi and it is written by Gerry Boudreau and drawn by Gonzalo Mayo. Vampirella Archives Volume 12. Bill DuBay.

Budd Lewis (Author), Bill DuBay (Author), Jose Gonzalez (Artist), Carmine Infantino (Artist), Dick Giordano (Artist), Esteban Maroto (Artist), Gonzalo Mayo (Artist) & 7 more. Book 9 of 15 in the Vampirella Archives Series. This Vampi story has a whale of a plot (Chaos is back) and it’s a mixture of horror and espionage.

Book 5 of 15 in Vampirella Archives (Collections) (15 Book Series). Unless you're a completist like I am, you can safely skip this volume, as well as the next and 'final curtain' coming out later this summer

Download it once and read it on your Kindle device, PC, phones or tablets. Book 5 of 15 in Vampirella Archives (Collections) (15 Book Series). Unless you're a completist like I am, you can safely skip this volume, as well as the next and 'final curtain' coming out later this summer. A 2 star book elevated to 3 because of my undying love of this undead vixen. 7 people found this helpful.

Titles vampirella archive vampirella archives vol. 7 H.

The following year, Warren Publishing was dissolved and replaced by Warren Communications, a sister company James Warren had founded in 1972. The Spanish artists from Selecciones Ilustradas included Esteban Maroto, José Ortiz, Luis Bermejo, Rafael Aura Leon, Luis Garcia, Jose Gonzalez, Isidro Mones, Martin Salvador, Fernando Fernandez, Leopold Sanchez, Ramon Torrents, Jose Bea, Vicente Alcazar, Jose Gual, Felix Mas and Jaime Brocal.

Jose Bea Luis Bermejo Jose Gonzalez Esteban Maroto Gonzalo Mayo Ramon Torrents. The writers and artists that contributed during the magazine's original run included Jose Gonzales, Archie Goodwin, Doug Moench, Bernie Wrightson, Barry Windsor Smith, Estaban Maroto, Frank Brunner, Mike Ploog, Ruby Nebres, Richard Corben, Wally Wood, and many more. Vampirella Masters Series.

The artwork is great as usual and the cover artwork by Sanjulian and Ken Kelly is top notch. If you like Budd Lewis and Bill Dubay, they write most of the stories.

Ships from and sold by Things From Another World. The artwork is great as usual and the cover artwork by Sanjulian and Ken Kelly is top notch.

Book in the Vampirella Archives Series). More thrilling horror and excitement abound in another masterpiece collection of vintage Vampirella classics Reprinting issues of Vampirella Magazine, Vampirella does battle with the forces of Chaos and a new deadly nemesis - The Blood Red Queen Of Hearts Also featuring classic reprinted covers by Enrich and Ken Kelly, as well as stories and art by virtuoso talents like Jose. Gonzalez, Esteban Maroto, Len Wein, Neil Adams, and others.

Maroto, Gonzalo Mayo, Luis Bermejo, Jose Bea, Ramon Torrents .

Bill DuBay, Gerry Boudreau, Len Wein, Budd Lewis, Victor Mora, Jose Gonzalez, Esteban Maroto, Gonzalo Mayo, Luis Bermejo, Jose Bea, Ramon Torrents. Also featuring classic reprinted covers by Enrich and Ken Kelly, as well as stories and art by virtuoso talents like Jose Gonzalez, Esteban Maroto, Len Wein, Neil Adams, and others. Download Vampirella Archives Volume 7 by Bill DuBay, Gerry Boudreau, Len Wein, Budd Lewis, Victor Mora, Jose Gonzalez, Esteban Maroto, Gonzalo Mayo, Luis Bermejo, Jose Bea, Ramon Torrents free.

More thrilling horror and excitement abound in another masterpiece collection of vintage Vampirella classics! Reprinting issues #43-49 of Vampirella Magazine, Vampirella does battle with the forces of Chaos and a new deadly nemesis — The Blood Red Queen Of Hearts! Also featuring classic reprinted covers by Enrich and Ken Kelly, as well as stories and art by virtuoso talents like Jose Gonzalez, Esteban Maroto, Len Wein, Neil Adams, and others.
This volume contains issues # 43-49

I can't stress enough the importance of the Warren magazines and the impact they left in the comic-book business. As far as I know, they were one of the few magazines, besides Playboy, that was being published all over the world. And this subject has never been mentioned in any of the articles, or books related to the Warren magazines. Many of the different Warren magazines were being simultaneously published and reprinted in South America, all over Europe and even in Asian countries. With Vampirella they had a character that is as well known the world over as either Superman or Tarzan. By the mid 70's they were outselling the two major comic book companies, and yet people to this day hardly remember that they even existed. The Warren magazines get a lot of backlash, and even by most of the so-called "professionals" of the comic book industry, and is considered nothing more than kiddie-porn fodder aimed at libidinous teenagers, for which they hired "south of the border artists" who were getting paid less than minimum wage. But nothing could be further from the truth. Sure, Warren went through its ups and downs, published some bottom-of-the-barrel crummy work between 67-69, and eventually went bankrupt in the early 80's. But for a certain period of time, they were at the top of the world, publishing the best comics around. In Europe, for example, they kept reprinting the Warren material well into the 21st Century. That's how good it was! And as to the minimun wage and their getting hold of all those cheap labor "Mexican artists", well nothing could be further from the truth. Actually by the mid 70's, Warren was paying top dollar in the comic industry (and much more than any of the two majors), no matter the nationality of the artist. However, one condition was asked: the artists had to turn in their best work ever. And if many had Spanish-sounding names, it was that at the time in Spain they were at the top of the game in the business. I already mentioned the impact of Luis Garcia in a previous review I made of the Vampirella archives, and of how Pilote's editor said he had to raise his pay because he was so good he had put to shame many of the artists in the magazine. I should mention that at the time, Pilote in France was the cream of the crop, having the best artists and writers working for them, and paying the highest wages that have ever been paid by a comic magazine. Making it in Pilote, meant that you just couldn't go any higher or find anything better. Well, in America its equivalent were the Warren magazines. And if they got so much backlash by many professionals, it's simply because they (those "professionals") never made it into the magazine, and were simply jealous because of it.

That said, let's take a look at this volume of Vampirella's archives. As I've just received my copy today, I've noticed that it's printed a little too dark. The covers and the inside art all come out quite dark. I know the Warren magazines weren't printed very good, but if the artwork is tweaked further more, it'll come out too murky. However, this could be the fault of either the restoration or the printing. As is, I'd try to be more careful next time, although it doesn't deter that much from the visual impact (fine details and lines didn't print too well, though).

This volume is also notable for a couple of things.

We continue to get the new work Luis Garcia was doing for Pilote, and being reprinted -- although with a diffrent plot courtesy of an editor wanting to keep the verbose texts and horror in place -- in these issues of Vampirella. Note that Garcia had left Warren because he had grown tired of drawing monsters and wanted to try something else. The stories written by Victor Mora were actually allegorical and philosophical, yet under Warren's reins they become just simple horror stories (re-written by Gerry Boudreau, working overtime here). It'll be interesting to comic book aficionados to know that for his story "Love strip" (Vampi # 44) he based the characters on some of his friends from the Spanish comic book industry. The scriptwriter is based on Victor Mora (the REAL scriptwriter of this series, by the way), and the artist on Garcia's colleague Carlos Gimenez (unfortunately little known in the US, though he's one of Spain's most important comic book artists of all time, and one of the few who still keeps working in the business to this day), and the girl is based on Garcia's then girlfriend Carol de Haro, who also served as model for various of those Vampi covers by Enric Torres, and as a reference for Pepe Gonzalez too. Carlos Gimenez actually does the drawings of the comic strip within the story. It's a pity that Garcia's art doesn't reproduce quite well here (not due to the restoration, but the crummy print job done in America back then and the cheap newsprint used), as the artwork is really beautiful. Not to metion that the plots have been completely changed and bear no resemblance to the original ones.

It's a pity that to this day few people remember Luis Garcia's work, as he made quite an impact back then, being the first hyperrealistic comic book artist of the day. By the 80's he would begin working in pencil only, as opposed to his pen and ink work during the 70's, and nowadays does mainly paintings. His pencil drawings, however, are so realistic that when he sent a sample of them to a gallery, he was told that they exhibited only paintings and not photographs.

As to Pepe Gonzalez, he was having an on/off relationship with the Warren magazines. As I've explained in a previous review, he had never read a comic book in his life prior to working for SI Artists (the art studio in Barcelona, Spain), so drawing Vampirella wasn't his priority in life, although he was treated like royalty by Warren himself once Vampirella hit the million copies per issue mark. Gonzalez came from a modest family and had never flown on a plane, so when he was invited by Warren to come over to America, he had to practically be shoved inside the plane. He also hated crowds, and his American trip was more of a nightmare for him than anything else. That said, due to Gonzalez's mercurial personality, the editors at Warren were frantic and trying out new artists for Vampirella in case Gonzalez wasn't available. José Ortiz and Leopold Sanchez were tried in the previous volume. In this volume, we get Gonzalo Mayo's first attempt at illustrating Vampi. Mayo was maybe the only other artist who could compete with Pepe Gonzalez's version of Vampi, by drawing a more voluptuous version of her, if such a thing were possible. Anyway, Mayo would later become one of the recurring Vampi artists, and one admired by many fans back in the day. Also, Mayo had made the trip from his native Peru to New York and knocked at the offices of Warren. He drew in a style reminiscent of Maroto, and unlike Gonzalez, was really eager to work, and easier to handle.

Speaking of Maroto, he would draw, for the one and only time ever, a Vampirella story for issue # 49, though for some obscure reason he never drew another Vampi story, even if he's continually introduced in comic book fairs as the artist who drew Vampirella, to which Maroto must constantly reply that he drew only one story, and that the Vampi artist was Pepe Gonzalez. I asked Maroto why he never drew another Vampi story, and he told me he was never offered another one, though he wouldn't have mind drawing some other stories. But Vampi belonged to Pepe, even if Maroto does a very good job here. That said, we do get a couple of Gonzalez-drawn Vampi stories too. We also get some stories drawn by a Gonzalez wanna-be named Zesar. I don't know who that guy is, and all the artists I've spoken to don't remember him either, but as Isidre Mones told me recently, "We didn't hang around among artists. I just went into the Selecciones (SI Artists) offices, picked up a script and headed home to draw it." By the early 70's, long gone was the art studio-like environment, where the artists hunched over their drawing boards and toiled all day long over their work. Many artists who had been there from the beginning had left to look for work elsewhere, and the studio ambience was abandoned for a more practical one. Let the artists work at home and turn in their work afterwards. Warren was paying enough so that they (the artists) wouldn't have to make ends meet by working for three or four other publishers at the same time on a daily basis.

Auraleon is also back illustrating another Pantha story, though it would be his last, as Pantha in future issues, will become a recurring character in the Vampirella saga, where we learn she comes from the same planet as Vampi, only she comes from a family of cat people as opposed to Vampi who comes from a family of vampire people. It's interesting to see Pantha alongside Vampi in the near future, as we will be getting two very sexy girls participating side by side in the same adventures (and I might add that Pantha is even sexier than Vampi in those adventures; at least in the stories drawn by Gonzalez, and due to the wanton personality Du Bay and the other writers gave her).

Noteworthy is also what I consider one of the best short stories of all time, "Gamal and the cockatrice" from issue # 47. This story was written by Bruce Bezaire, a Canadian artist who in the 70's wanted to try a hand at drawing comic books, but when he sent his samples to Warren was asked to write stories instead, something that was becoming the norm at Warren. Both Bill du Bay and Bruce Jones had begun as comic book artists, and would later become scriptwriters, and very successful at that. Another artist turned writer would be Jim Stenstrum, whom we will meet in future issues. Getting back to Bezaire, he would write some of the best stories and serials for Warren, including the frenetically-paced, and absolutely psychotic "Night of the Jackass", being currently reprinted in the Eerie archives. But his best work was the short story "Gamal and the cockatrice", which I consider one of the best short stories ever written, alongside with the best work by authors like Poe, Lovecraft, Maupassant, Bierce and even O'Henry and the Arabian Nights. Oddly enough, it hardly made it to the top 25 stories list in the Warren Companion book, arriving only at number 24. I don't know why fans consider "Thrillkill" to be the best Warren short story ever, as I believe "Gamal and the cockatrice" surpasses them all. It's an original, clever, and surprising story, that resembles absolutely nothing at all (well, the tales of the Arabian Nights come to mind). Aptly illustrated by Auraleon, it's a story that after reading it for the first time in the 70's, had me put down the magazine, for I couldn't think of ever reading anything better than that. And afterwards I re-read it again, just to make sure I would remember it forever. Anyway, although I knew the ending, re-reading it again all these years later, the story still packs a wallop. A carefully crafted script that actually works, and best of all, will leave you thinking. About the only inconsistencies I found lately, were with the word balloons, as there's some confusion as to where the balloon stems should go. But that's a minor detail. Anyway, how I envy you, who will read it for the first time in this volume...

Needless to say, we also get some beautifully rendered stories by Ramon Torrents, who just draws the most beautiful girls. Torrents, however, disappeared from the comic book industry in the 80's and his whereabouts are unknown.

Leafing through the volume I also noticed that most of the stories seem to be written by Gerry Boudreau, besides the Vampi stories which were written by Bill du Bay. As such, the stories are a little text-heavy to my liking, but then that's what editor Bill du Bay preferred (maybe in an attempt to outdo the EC comics?).

The last story I want to talk about in this review is of special interest due to what happened to the artist who drew it. The story is "Then one foggy Christmas Eve" written by (surprise!) Gerry Boudreau and illustrated by Joaquin Blazquez, and appearing in issue # 49. If the name Blazquez doesn't ring a bell, don't worry, as nobody seems to remember him, and it's all the more sad.

Joaquin Blazquez Garcés began working for comic books at the tender age of 13, for the Bardon agency in Barcelona. He would draw, among others, many humorous comic books, and more realistic ones like "Buffalo Bill" and "Ben-Hur", until in the mid 70's he discovered the Warren magazines and the fact that many of the artists that worked there were also Spanish like him. He then decided to contact the agency Selecciones Ilustradas (also known as S.I. Artists) who was the main source that supplied Spanish artists for the American market, and especially for Warren. Influenced by Luis Garcia, Blazquez would take over the Mummy saga started by Brocal Remohi--and actually ended by Martin Salvador a couple of issues earlier--, for three more adventures, drawing it in a very hyperrealistic style (relying of course on photographs, for which Blazquez would often use himself as model). Though the Mummy was a series that was quite old-fashioned for the times, it would resurface now and again in the Eerie magazines, even appearing on those sports-themed issues (which, by the way, was one of the worst ideas Warren ever had). Blazquez, although a very capable artist, would only draw a handful of stories for Warren. Ironically, the last story he would ever draw for them was titled "Epitaph" (in Creepy # 118).

After leaving Warren, Blazquez worked for various humorous magazines in Spain, and toward the end of the 70's worked in the series "Ron Camaro" for the German market. Due to a mental breakdown he quit drawing comic books in the 80's, and it was while watching a re-run of a popular 80's kiddie-film on the TV screen, that he came upon an astonishing realization. The movie in question featured an alien character that was uncannily similar to one he had drawn for that Vampi issue many years before. As any artist who discovers his work has been swiped, he wrote the makers of the film a letter about the "mysterious" coincidence. The first letter was actually quite polite, wherein he said that he admired the filmmaker's work (actually one of the most well-known nowadays!), but incidently the character in his film looked a lot like one he (Blazquez) had drawn many years earlier for an American magazine. The fact that Blazquez wrote the letter himself, and in English, a language he didn't master, made it all the more amazing. Needless to say, Blazquez's letter never got a reply, although he kept sending letters so that his work would be acknowledged as being used as reference to create the alien creature in that popular kiddie sci-fi film from the early 80's. Since Blazquez never got an answer, he began a lawsuit, for which he had to hock all his possessions and sell his artwork as well. Though the news was diffused around Spain at the time, even attracting a Spanish magazine that asked Blazquez to re-draw the story for them again (to avoid any copyright infringement), and giving him the front cover to do a painting of his "version" of the character, it was of no avail. Blazquez spent the few remaining years of his life fighting for his rights, eventually succumbing to a brain hemorrhage in 1986 without obtaining any results about the lawsuit or finding out whether there had been any plagiarism.

The case would have ended there, if it weren't that in 2006, a documentary about Blazquez and his lawsuit was put to work, but as to this day the documentary was never finished, and the website and blog dedicated to the documentary and lawsuit have since been pulled down from the internet, and mysteriously vanished (though you can still do some detective work and find snippets of the documentary on YouTube).

As strange as it may sound, I'll let you be the judge whenever you read or see the story of "Then one foggy Christmas Eve", and see if you recognize that doll/alien character from elsewhere. And remind you also of a lawsuit where David fought Goliath, and lost, and ended costing the life of a cartoonist, even if the whole affair was eventually swept under the carpet and forgotten...

NOTE: I have finally found out who the mysterious "Zesar" is. His real name is César Alvarez Cañete, though he signed his work as "Zesar" and worked extensively for the Warren competitors Skywald. When Skywald closed, he turned over to Warren and his work appeared in Vampirella, although only for a couple of issues. He apparently abandoned comic books in the late 70's and worked as an illustrator, but in the recent years his work has been seen in the european comic book Martin Mytère, published by Sergio Bonelli in Italy.
Here we are with archive #7 of Vampirella's Magazine. It was the sexiest of all the dark side magazines which made the heart pump all the faster. Whether it was from artwork, Vampirella herself, or the plain terror to be found enclosed is up to you to decide.

In the pages of this collection of her magazines 43-49 Vampirella gets shot, but is she dead?

Beware of Easter Sunday as the seven-foot Easter Bunny may come to claim your life, but don't worry, there are worse things to contend with, like Paul, an artist who draws Love Strips of by-gone lives he has lived. Or maybe the troll of the Ambassador Bridge who only wanted to live on hand outs from the motorists using the bridge.

There is Sir James Grace who was well versed in battle, bloodshed and death, but he knew nothing until he returned to London, England in 1664 and saw the terror that had gripped his hometown.

Even Vampirella has seen things that no mortal could comprehend unless they joined with the Dark One in a pack to serve him, but be warned, you must be very precise or your contract may end prematurely, as Mr. Tibbs found out.

You will also find out about Vampirella's origins, whose life began on the dying planet of Darkulon, and that her name does not mean fear, hate or alien, but "Gentle people, kind of heart." A people who would rather die than kill. Much like another race of people I know of, called Vulcan.

As usual the artwork is top class, some of the tales are terrifying, but don't despair, if all else fails, shut the book and be glad it is not for real, or is it?

I give this volume five stars, and hope a lot of people enjoy reading it, as I have.
Diego Cordoba wrote an incredible review about the artists that blessed Warren Publications (and Vampi in particular) during this time period, providing a wealth of information concerning their various backstories and the international circulation impact that this supernatural siren had on readers globally. So there's nothing relevant to add in that regard. These artists were the cream of the crop regardless of illustrative era, and Cordoba's insights and factual data make further discussion about the art pointless. What I'm commenting on is the newfound depth of literacy, the brilliant artwork and the better binding involved in the issues collected here in volume seven.

The last volume or two seemed to have publication problems - the binding cracking, making noise(clicking?) as you flipped through the pages, separation of inside front cover flaps, even thinner dust jackets (am I being hypercritical?), all of which have been eradicated in this volume. Diego Cordoba took issue with the fact that the covers are printed too darkly, which is true to a degree, but the stories themselves seem to benefit from the darker shading compared to the inferior paper used in the original issues during this timeframe - they seem richer, like the ink is still wet and bleeding forth as you read. This is another good reason (as if I needed one) to order 'The Art of Vampirella - the Warren Years', which will hopefully be out soon, as the release date has already been pushed back twice already. This book, also published by Dynamite, will give us old diehard fans just the virgin cover artwork without the graphics so we can voraciously absorb the excellence of the artistic visions without the desperate "Please buy me!" verbiage added to all publications. Even the colorized stories are stronger here, as they appeared washed-out and pastel-soft in the original issues, which always unnerved me. Here they are richer, darker, edgier and more in tune with the horrific tales being told.

The stories themselves are fewer per issue, but longer in length, so the writers had more page space to plumb the storylines, developing them with great success. Jose Bea, Ramon Torrents, Rich Margopoulos, Gerry Boudreau, Bill DuBay and Archie Goodwin all lend great tales, among other superlative scribes, making this a treasure chest of titillating terror tales of treasured chests, if you get my drift. Vampi and the other femmes fatales never looked more provocative. The She-Beast Pantha is featured throughout, and we're treated to the first appearance of the Blood Red Queen of Hearts too. 'Can't go wrong here, gents, this is mandatory reading/owning for aficianados globally.

You don't need a blow by blow synopsis of each story or issue, you don't require the tales rated or compared to previous volumes, you don't need to lament the absence of Bernie Wrightson or Rich Corben, what you do need is to shoot the lock off your wallet and order this baby immediately. A five star powderkeg from Dynamite that demands a permanent place on your bookshelf. As in yesterday.