Hey, it’s Saturday night, we let our hair down, and we’ve all — presumably — better things to do than to linger and moulder at the computer. Here, then are some lovely (under) things by Tentacle Tuesday Master Rich Larson, none of them featuring grasping octopodian appendages. I became aware of Mr. Larson‘s work through some fine covers and stories he illustrated for Charlton’s line of ghost comics in its 1970s heyday. After Charlton more or less gave up the ghost in 1976, he smartly forged his own singular path, generally in collaboration with the equally talented Steve Fastner.
Is everyone ready, then, for a visit to… the Haunted House of Lingerie?
Your mileage may of course vary, but what I find most remarkable about Larson’s work is how its wit and joie de vivre, its good-natured enthusiasm, keep the results from ever seeming crass or tawdry, whatever the topic. Hats off, gentlemen.
American artist Richard Larson has had his ink-smeared fingers in many pies. He has drawn ghost stories for Charlton Comics (see our posts dealing with that here and here), followed by some underground comics, followed by Marvel super-hero portfolios, followed by his own series Demon Baby, followed by…. He often works in tandem with other artists, most notably with Tim Boxell and with painter Steve Fastner (see a gallery of their collaborations here).
« Steve Fastner and Rich Larson have been working in concert since 1976, and together they create one entity of staggering abilities. Rich will lay down the structure of an illustration in pencil form, and then Steve will attack it with army of airbrushes – and when the dust clears – a magnificent painting stands proudly. For over a quarter of a century, they’ve been able to do this, working for comics, book publishers, advertising agencies, movies and television, and now the web. » (quote from Fastner and Larson Gallery, 2002)
I would be remiss in not including a collaboration between Larson and underground comix artist Tim Boxell, whom I mentioned at the beginning of the post and then proceeded to neglect.
Speaking of beautiful women in varying states of undress… if I mention Haunted House of Lingerieto you, does it ring any bells? Does it sound like an intriguing concept? Then the first thing you should do is visit our Tentacle Tuesday: a Day at the Beach. Nothing like shameless self-promotion! But afterwards, you might want to seek out the three volumes published so far before the whole thing goes completely out of print.
I wasn’t around in the 70s. (Literally, as in “I hadn’t been born yet”.) So when somebody – in, oh, say 2008 or so – handed me a copy of some ghost comics printed by Charlton Comics (I don’t remember what exactly), that was my first exposure to this publishing company. I wasn’t aware that I wasn’t « supposed » to like this stuff… and by the time some kind soul pointed out that it’s not exactly orthodox to seek out Charlton publications, it was too late to change my mind. Clearly, that’s how monsters with no taste are created.
Charlton Comics had the reputation for inferior printing (as one of my friends put it, « godawful colours and reproduction and paper ») and low quality control. I’d say that when one contemplates the variety of artistic styles and the dizzying panoply of artists published by them, the quality of the printing distinctly becomes a less important consideration. Charlton paid badly, sure, but since when do people decide what they like and what they don’t based on how artists are treated? (Just look around – companies that trample on creators’ rights are doing very well indeed.) It seems like a knee-jerk reaction; I often wonder if people who automatically react with sneers to the very mention of Charlton have actually read any of the comics this company printed. Or perhaps they’re scared by some of the artists’ styles which are just too wild, too squiggly, just not clean enough. (Sloppy line work! Anathema to any comic book lover worth his salt, right?)
Anyway, Charlton’s « loose editorial oversight » meant there was no house style to speak of, and artists with highly idiosyncratic styles could let their eccentricities shine.
You may notice some names are conspicuously absent from today’s post. Tom Sutton, exhibit A of the “chaotic, scratchy art” category, will get a Tentacle Tuesday post all to himself at a later date. Some beloved artists just didn’t draw any tentacles for Charlton (as far as I know!): Warren Sattler, Don Perlin, Sam Glanzman, Don Newton, Rocco Mastroserio, etc. Wayne Howard is already part of a Tentacle Tuesday (see Plant Tentacle Tuesday), as is Enrique Nieto (Tentacle Tuesday: Spunky Skirmishes).
It surely won’t shock you that the most difficult decision, in such a countdown, lies in crowning numero uno. There are, after all, plenty of worthy candidates. But one also seeks to avoid undue repetition. After a couple of false starts, I opted for a long-time favourite that’s never received its due.
Here, then, is Steve Ditko (and an unknown scenarist)’s expertly-paced department store nightmare, “Halloween Scene”, from Scary Tales #7 (Sept. 1976, Charlton). It occurs to me that Mr. Ditko is about to turn 90 in a couple of days… they didn’t call him “Sturdy Steve” for the alliteration alone, as it turns out.
As a bonus (Hallowe’en comes but once a year, after all!), have a peek at the issue’s fine cover and its original art.
Well, that’s it for this year. Happy spookfest to all, and see you next time, hopefully.
I pity inanimate objects Because they cannot move From specks of dust to paperweights Or a pound note sealed in resin Plastic Santas in perpetual underwater snowstorms Sculptures that appear to be moving but aren’t I feel sorry for them all.
Godley and Creme – I Pity Inanimate Objects (1979)