The document discusses the concept of "less is more" and how it applies to the comic book industry. It argues that comic book publishers have traditionally followed a "more is better" approach by constantly introducing new titles and characters, but this has led to diminishing returns with each additional title selling and profiting less than the last. The document suggests publishers could improve profits by doing less - publishing fewer titles - which could help stave off doom for the industry in the short term by improving margins on existing titles rather than diluting them.

1. Mf->f/fiMm
VALERIE WAITED
iMuitawuii
rjTjTsTTn
GIFT!
a
l» 4lr
SEVEN DAZZLING STORIES!

3. SsMa, Hatha F Rdtii
Editor-ln-Chlet
& Publisher
JAMBS WARREN
conTems ISSUE No. 86
FEBRUARY 1977
DEAR UIMCLE CREEPY
An all Sports CREKPY? But most re;
liked it ... thought the stories ant
were among the best CREEPY t
A IMOGGIIM AT MILE END Muggi„
KEN KELLY
Writers ThiB Issue
GERRY BOUDREAU
BILL DuBAY
BRUCE JONES
BUDD LEWIS
ROGER McKENZIE
Artists This Issue
LUIS BERMEJO
LEODURONONA
CARMINE INFANTINO
GONZALO MAYO
LEOPOLD SANCHEZ
JOHN SEVERIN
AL WILLIAMSON
BERNI WRIGHTSON
BY WARRE>i PUBLISHI
SUBSCRIPTION AND BUSINtSS UfUlitS ftl
145 EAST 3Znd STREET, N,¥, 10016. TELE-
BRAIUCATELLI:COMIC BOOKS
Ever hear of the law of diminishing re-
turns? The theory that less-is-more? Joe
explains how this applies to comic books!
DICK SWIFT'S POWER RING
Mr. Music could recite Dick Swift stories as
if they really happened. But Dick Swift was
THE GRANDEST CHRISTMAS
Duch like Santa Claus. but
"
a present for everyone . .
.
a. What a gift t'
—*
'
MOTHER KNOWS BEST Eve.
_ frozen, like a :
beef, to play Santa Clai"- * — •'— "**
Mother did it and this i
BLOODSTONE CHRISTMAS^^..^ ^^.. ...^j .,-_ „,..„_.„ ilege
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D-CLASS POSTAGE I
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SEASON'S GRIEVINGS
a slashing scalpel, he attacked I
GIFT FOR MOMMA Johnny hated
what his step-father had done to Momm
he and his brother, Ben, had planned a 1<
present for her. It involved an axe i
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4. Frankly I didn't expect
much from CREEPY 084.
Theme issues have a ten-
dency to scrape the bottom ot
the barrel, idea-wise This
should have been especially
true ol an all sports issue
But I was pleasantly sur-
prised.
Nothing in the issue could
be classified as great, but it
was generally on "high aver-
age" quality.
It was Carmine Infantino's
issue really. His artwork was
uniformly beautilul. even dis-
guised behind the hands of
various inkers.
The Rich Corben and Leo-
pold Sanchez offerings were
also good and tor a change,
all the stories were well-
written!
Congratulations!
I'd like to comment on one
thing in CREEPy ffS-l that dis-
turbs me.
Carmine Infantino pen-
cilled four out of SIX stories,
and although I enjoy seeing
his work, I'd rather see it
without the influence of
another artist.
Particularly in the cases
of Walt Simonson and John
Severin, Iheir mking only
obscured Infantino's work .
Let's have one or two
stories done completely by
infantino, and let Simonson
and Severin do work on their
BOBLAMITIE
Delmar, N.Y.
A one word description of
#84. would be: fantastic!
The art in 'Hitter's Wind"
was great! Without reading
the story... by just looking
at the pictures, you feel you're
watching a real game.
"Menace, Anyone," another
"updated" story involving
tennis and zombies was simp-
ly great!
"Relic" was like "Hitter's
Wind." 'I'ou could just look at
the pictures and watch a ball
game.Using robots as players
and grenades as balls was a
stroke of genius. It was the
type ot story you don't expect
tosee in a typical horror maga-
zine, but Warren magazines
are not typical. They're in a
league of their own!
"The Mummy's Victory"
was really funny , , , I wonder
iftheCloverton museumcould
lend the mummy to the De-
troit Lions. They sure could
use such an "active" player.
EDWARD WOJCIK
Detroit, Mich.
"The Mummy's Victory"
was my favorite story in
CREEPY It84. Roger McKen-
zie proved he is capable of a
light touch in his writing
Hilarious! And no one but
Rich Corben would have been
suited to draw it! I'm not
even disappointed by the
absense of color!
"Menace, Anyone?". in-
cluding its political implica-
tions and its sentimentality,
was a hackneyed effort. I
know David Micheline can do
better.
"Relic" was overdone, but
naming the first robot base-
ball player Jackie was a stroke
of genius.
I'd like to see Walt Simon-
son and Dick Giordano do
solo stories not to mention
John Severin, and more stor-
ies by Bruce Jones. And I'm
very pleased at seeing War-
ren stories by 'superhero'
color comic writers like Steve
Englehart, Gary Bates, and
David Micheline.
JULIO REY
Mia i.Fla.
For whatever reason, the
sports issue, CREEPY tt84,
lacked imagination. There
wasn't a basic story line in the
issue that wasn't predictable
to the point of cliche.
"The Mummy's Victory"
however was an enjoyable
bit of absurdity. Rich Cor-
ben's art enhanced Roger
McKenzie's tongue-in-cheek
scripting to perfection.
"Hitter's Wind" benefitted
from deft, evocative scripting
even if the plot has been over-
done. McKenzie maintained
excellent mood, through
use of the bat boy as narrator.
The artwork was also fine,
largely because Walt Simon-
sons heavy inks outweighed
Infantino's pencils.
"Till Hell Freezes Over"
was a nice tribute to EC, with
its poetic justice ending. The
setting was too far fetched to
be believable, however.
"Home Stretch": again the
EC ending. C'mon, let's have
a little originality. The use of
double narrators was a nice
touch though.
In closing, I'd like to men-
tion that the teaming of Car-
mine Infantino with strong
inkers, is the best pohcy to
follow. The most successful
Infantino art ot the issue
resulted from inkers like
Simonson or John Severin,
whose own styles are prom-
inent. You might even try a
really ornate inker like Gon-
zalo Mayo.
ED O'REILLY
Ada. Ohio
_rThe Detroit Lions, huh!
Not a bad idea, Edward. May-
be you'll read that story in
CREEPY'S next sports spe-
You asked for it, Ed.
Check out EERIE ttSl's "The
Bride of Kongo' for some
really spectacular Mayo ink-
ing ot Infantino's pencils.
I lust had to write and say
that CREEPY If84 was the
best issue I've ever read!
My favorite story, by far,
was "Relic." I almost cried
at the ending. Face it, Roger
McKenzie knows how to tell
a superb story. And the art
by Carmine Infantino and
John Severin was great!
The other stories were ex-
cellent too! CREEPY IS going
strong!
ROBERT KRAKOWSKI
Auburn, Mass.
Quite an issue! The cover
alone would make anyone buy
CREEPY «S4!
I am both a horror fan and
a sports fan, and I've been
reading CREEPY since tt50,
tfS4 was by far the best issue
Warren has put out.
The first story, "Hitter's
Wmd" was a classic -story,
art, everything— and I hope
to see more like it in future
issues.
"The Mummy's Victory"
was a good blend of horror,
humor and sports, and "Till
Hell Freezes Over" was
another classic; the ending
was especially shocking.
"Menace, Anyone?" was a
serious look at things which
may even be going on today,
while "Relic" was a fright-
ening glimpse of the future.
A well-rounded, enjoyable
issue'
Keep it up!
JESS STOTT
Yukon. Okla.
CREEPY ff84 was unusual.
I read on the letters page
that there will be an all-war
and an all-monster CREEPY
also This new trend is like an
album, .presenting one
central idea in varied ways.
The cover by Ken Kelly was
eye-catching , . . one solitary
pitcher hurling a grenade
at the reader. An excellent
choice of color on that cover.
It felt like baseball season!
It astounded me to find
Rich Corben's artwork in
CREEPY ff84, I thought this
genius wasonly doing summer
and Christmas special issues!
Needless to say, I was de-
lighted. The "Mummy's Re-
venge" story was great too.
A revived mummy winning a
football game for a small
college. Terrific!
The Leopold Sanchez art
on "Home Stretch" was some
of the best he's done, especial-
ly the panel he signed.
The final piece, "Relic,"
IS truly incredible! Futur-
istic baseball played with ro-
bots and grenades! Far out!
The art was beautiful on
all four stories pencilled by
Carmine Infantino but I'd
like to see him work alone
from now on.
Bruce Jones had no stor-
ies in CREEPY f»8d but he
is a fantastic writer who you'd
better not lose.
STEPHEN PIROS
Edison, N.J.
I really enjoyed Ken Kelly's
cover tor CREEPY 1*84. The
green background was such
a bright, unusual (for a maga-
zine) color, it flashed on the
newsstand like a neon sign.
The pose is dramatic and
well-rendered, but I have one
quibble . . . the color of the
robot's face doesn't really
look metallic, instead he
looks like he's swallowed a
bottle of poison, or is choking
on a chicken bone . . . making
his face turn green
I'm not even a sportsfan.
but Kelly's cover sparked my
curiosity about the inside
contents. That's quite an
achievement in itself!
Who wouldve thought that
an all sports issue of CREEPY
would be among the best
magazines Warren has put
out in the past few years?
But It was!
A great deal of credit goes
to the old master. Carmine
Infantino. My impressionable
years were spent reading his
work, and his talent has been
sorely missed.
"Till Hell Freezes Over"
was my favorite tale in an ex-
cellent issue Steve Engle-
hart's plot was chillingly real-
istic and entirely possible...
like a good disaster movie,
the tear built to an inevitable
David Micheline's "Menace.
Anyone?" had a little some-
thing extra to say, and said it
Roger McKenzie's four
efforts ranged from very good
to mediocre, 'Hitter's Wind"
however featured absolutely
exquisite artwork. Whoever
had the idea of teaming Walt
Simonson with Infantino is
a genius, Simonson's extreme-
ly arty style meshed well with
the solid storytelling ability
of Infantino. I was most im-
pressed with Wall's ability
with tone: the panels literal-
ly leaped oft the pages at the
"Relic, '
the futuristic story,
was nicely handled and I
found the ending very effect-
ive. John Severin's beautiful
inks totally overshadowed
the pencils, but it was still
a once-in-a-lifetime treat I'm
sure comic fans relished,
I really enjoyed Ken Kelly's
offbeat cover, and would like
to see it made into a poster.
FREDHEMBECK
Buffalo, N.Y.
_ That's one wish we can
grant, Fred. That poster's
available through Captain
Company in a large 28' x20'
size. See page 69 .
OEARUNCUE
CREEPY
c/o Warren PublishiitB
145 e.SZnd Street
MeMYork.ru.y. 10016

5. ANOggiNat MILE ENDSTORY: BUDD LEWIS/ART: LEOPOLD SANCHEZ

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15. By Joe Brancatelli
l.FSS IS MORE
Bnigmaiic California Gov-
ernor Jerry Brown galh-
fred reams of puhliciiy
from the less-is-morc Glance
he adopted during his quixo-
tic campaign for ihe Demo-
craiic Presidenlial nomina-
tion. Bui both the hype and
the substance of the less-is-
more doctrine quietly went
the way of most campaign
Carter and Gerald Ford
geared up iheir publicity
machines for the nuadrennial
"Promise More Services and
Lower Taxes No Matter
What" derby otherwise
known as the presidential
inly not go-
'
about the
politics of America
here — all you Americans can
jump into the Pacific Ocean
for all we New Yorkers care
about you anymorf — but 1
am quite willing and even
eager to consider less is more
as a short-term panacea for
what ails the comic-book in-
dustry. Me, I believe nothi
N^
viii Si irket CI
might stave o
doom for a couple of years.
As opposed to the bedrt^k
American belief that more
of anything is preemptorily
belter than less of anything,
less is more recognizes the
equally bedrock notion of a
point of diminishing return.
While much of the Ameri-
can economy is based on the
notion that big volume is
says it is oftentimes desirous
In do less, to produce less,
to sell less, because — in the
long run —your return will
be greater than had you done
more, produced more, sold
every turn —even though do-
ing so depressed the margin
and profits of (he new titles
and rettuced the sales and
profits of (he existing ones.
Like so many other Ameri-
cans, comic-book moguls
have constantly been blind-
ed by the sheer dint of
volume to the detriment of
the bottom line.
For example, Marvel pub-
lished only one comic book
starring Spider-Man several
years ago. It sold, let us say,
X number of copies and
made V profits for a cost of
Z dollars. By adding a second
title starring Spider-Man,
Marvel ihoughi it could sell
X + X copies and make Y + Y
profits for a cost of Z -- Z.
What happened, however,
was that the two Spider-
Man titles sold only
3/4X + 1/2X and made a pro-
fit of only .V4YH I/2Y. The
cost was the full Z+Z,
though.
That's what we call di-
minishing return, folksies.
Rather than get a full X
worth of sales and Y worth
of profits from the new in-
vestment of Z dollars. Mar-
B
eing a^ atally steeped in
nal American
book producers have natural-
ly followed the raore-for-
more's-sake theory, blindly
in total disregard for what
is actually happening in their
marketplace. Blithely trip-
ping down the more-is-al-
ways-better road, comic-book
companies always managed
to produce new titles ai
itsongi-
when Marvel then added a
third Spiiier-Man book, it
was paying Z + Z + Z dollars
to do so, but only getting
something like 5/8X + 3/8X
+ I/4X sales and only 5/8Y
+ 3/8+ 1/4Y profits.
I
chose Marvel for that lit-
tle demonstration not be-
cause it is the only comic-
book company ignorant of
diminishing return —god
ages to be the most oafish in
its flouting of it. Marvel ac-
tually has three Spidey ti-
tles now when you count
Mari'el 7>am-t//>- which al-
ways features the Web-Spin-
ner-and each individually
sells fewer copies per issue
than what the original Spi-
der-Man title sold in a one-
book market. Granted, the
combined total sales of the
three books are higher than
the one book's sales ever
were, hut the three books
aggregately return less pro-
fit now than the one Spidey
All of which brings us
dollars needed to prtnluce
even one copy of any title.
What I suggest is that the
companies cut the number of
titles they produce down to
the bone, down to the tried-
and-true best sellers. If a
company publishes 60 titles
now. let it cut back to the
15 or 20 most successful ones.
With the additional 45 titles
out of the way, not only wil|
you be saving the costs of
producing those comics,
you'll he giving your best
sellers a chance to improve
their sales performance, loo.
For example, if a distribu-
tor is committed to giving a
retailer only 240 comic books
per deliver^' he'll probably
give him four copies each
of those 60 titles. If, how-
ever, a company only print,
15 titles, chances are the <li^-
mnd ,
desirability for comic books.
What has happened to Mar-
vel's three Spider-Man titles
happens in a larger sense to
the comic-book macrocosm.
All titles compete against
each other and take readers
and profit away from each
other. Moreover, because of
the vagaries of the magazine
market we discussed in pre-
vious columns, there is only
a limited amount of space
available on retail display
racks- distributors estimate
there is room for only about
four of every 10 comics pub-
lished Today,
Sothe question (hen is why
produce all those addi-
tional comics in the first
sell because they will never
be seen? The old argument
that you have to over-pro-
duce to sell notwithstanding,
there is no reason to be glut-
ting the market. Distributors
say they can only distribute
four of every 10, so why give
them 10? Give them four be-
cause that's how many you
know they can distribute.
What I'm proposing is
not a reduction In the
book titles. That would re-
sult in only a marginal sav.
the big cost today,
rising newsprint
sellers, thos
will probably sell better tiian
the copies of the fringe titles
that once cluttered the
WhatI'm saying, in a nut-
shell, isthis:rdbe will-
ing to wager that if
Marvel and National each
cut their number of titles by
50 or more percent, their
profits would not only in-
crease as percentage of sales,
but also in terms of actual
dollars. Sales of (he remain-
ing titles might improve
from 40 per cent to maybe
60 or 70 per cent of the press
run without adding a din
the
I'm that Ihe
iber of all comics sold
won't decrease ei(her. Giv
the better display, the total
sales of those 15 or so best
sellers should easily match
the total sales of 60 titles
which were never displayed
properly.
And for National and Mai
vel, both fighting and losing
battles with their
lines, a 50 per cent
cutback in titles i
with no loss of total sales
would be very helpful.
So
take heed out (here,
Jerry Brown was right.
Less is more— at least for
One caveat, though. Know-
ing the turkeys in the comic-
book business, the minute
they cut back titles and see
sales and profit increases in
the remaining books, they'll
wrongly interpret it as a :
comic-book boom and r
state the old titles.
That'll put us right back
wher irted.
and editor fur Pair-
P«blitali<,ns, the ilA-
r tariff!t chain of 6mli-
- woiaamrdtJ
197f) ABF lAmeriean
Press} AuiarJ /ar
<l ExctlUnce in
er for hi> ^ve-fart
tilled -W.T. Gra«(.'
•e fali a lonk al
ramification! rvrround-
ing the uatioKi Urges/

16. STORY: BILL DuBAY/ART: CARMINE INFANTINO AND BERNI WRIGHTSON

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19. In his wanderous all-electric laboralory, Dick Swiff v
keepinf; watch on the city wilh his incredible dec
'
Dick's inventions' told him "
s busy Suddenly. Dick's electrical equipment
ing with" sudden //fr...t And thi " '
kled, brar-
o( I he boy
:d upon the macical
Uick's brain spuilered und his thoughts
raced with ihe speed of pure electrk-ul
li);htning! U'hicfi sister should he save"!
He bud always been partial lo pure
I'earl's blonde locks ... but there was
much lo be said for Woni/fl'.v one lust,
lim like an ekc-
Irical shock... and swiftly, Dick Swift
used his magical magical eleciric pow-
er ring to invent an cleclrically-power-
ed//r'«gniachinel
Dick Swifl ;..„«Pi-,/,.ver Gothams roof-
lops with lighlning-like specdt He
scooped up the enraged Pasta pusher
in one deft motion, and walched smug-
ly as the dealhty perils bore towards
his long-lime female compatriots!
^'ei, even as Ihe hoy marvel swoop-
ed lo a perfect Iwo-poinI landing,
he heard the sickening sound o[ a
buzzsaw cleaving through cruticli-
inn hone... and the rumble of a
speeding subway bumping along on
an unallerable
ifused I
Dick looked upwards towards
where pure Pearl had been tied,
and was instantly sptallered with
something akin lo l.uigi's famed
pasta sauce!!
19

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cophagus. And, n Wi iiould
liaiB lT,h«, tails loi Ibe founi
' ' "^IJdilfon"lhis'M'i.mm. rt
lulal, more deadly than
INCREOIBLE
censsu.
MONSTER
iDMEMmB
IkENAGEWEREWblE
ne ol in« mosl popular mon-
er movies In h.slory. A toung
11 triili pirchialtlil lor lo
e dDcfa... hkratll, I. defing-
PlRHMPill!
intbof V«
.. _ hjFpnailt, tin fpuns man is
tl convincfd b) the piirchlilrist
I
thit he Is a wctewoll! Then, il'i
blood-gulp*', "ho subiuHlei
N V'i*^l fh"'.'oni<;?h™"l"rv^'pi«
W^ / «nrihTrn"!'h/«.n.'.T6?/
ilRNvDIiacillMliiDEMII
lEHIWeHBIlOK
NfiTREIMME
actors] L^°el AlMin porlrays a
dtnl. Alvll dlscoven the bod)
and Uirough the Hse ol high-
vollafe awclrtcrli, brings Cha-
ne; back to Me. Bui Ihe Inick
"^sssasaisiiRfliMJicKf
Join Crawlord, sl»( ol 'Whit-
eiH Happened to Babr Jane"
Bned wilh "Roitmanr's Ssby"
I CeiUe le cmle Hilt mod-
ttn-iti horror classic. This
iie-kHlings appear in this tiim
A real s^hoclTe'r x22e6/S9.95
for conveniont RUSH ORDER FOR
TNE BEAST.
IGERSWiTriFiVfeRNC
when he is possetsed b> dev-
the incredible Beast Wilh Five
i~
KS t ^ besi, Wilh a tine supporiing

26. fILUNG YOUNG /fe/VTTS
ANP By£'5...ANI? HMPS...
PLUMB JOTHB SRlVi WITH
A WONPEHPUL SORT OP
.BSCAOBS THf CMLQUEN
.WELL, THE y ARE THE
WVC f»(^^IC OFCH/nST-
AIAS.AFIERALL....'
WMERRy CHPISTMAS^
AWLOUIS eAy?»^
PtPN'T LOOK MUCH L
WHOCANSAY? WHQk.
EVER, TRUi.y SAy...
{ WHEW—!
'^NRtSTMAS SMOTE CAN
Se ^.flfli? WORK.. .AH A
WRINHLeO -ANP SZ-fZ/T
Pe;?T N£AR A'PORE He
KNOV/S IT/I'LL JESTPeST
HESe A &lJ...Me&BE JEST
fiOye A1UH Ey£5...JHSTFeR
^a MINUTE .' )-/T SHORE (S
COiPEH'N EVEN TtWN THET WflV, SO VeR>^ VERY iAVG -WO. IP JEST TURNEP 7)-/t^ THET yEAR. THET
Gi-OffiOuS y£-Aff,„THET VESy 5PEC./,. Ct<RSTMAe
mmsi
STORY; ROGER McKENZIE/ART: LEO DURANONA

27. WELL, RIGHT ABOUT TT/E/V I MUSTA BIIHKE& OR ,
SDAIETHIN'...0UTflLLOF-A 5«P«SV HE IVUZ ffOlWe.-
LOST 0EHINP THE WfNK 0^^^ EYB
".../IN' VMOULPNT /A *WOM"X I PULLEPDUT
JEST ABOUT THe BIGGBSTAfi' FURTT/eSTCHfftST-
MAS fViCfiAGe TO EVBR 5BB9...AN' ... eesr OF
AuL. .11 WJZ /U?PffeSSEPTOMe,W(i~ -' -'= '
fiANCiesr MANQWRmN' tubt ever j

28. 'SPLAtN Right now Ti^ET I
WL'Z f?iGHTA»OC>« BACK 7,-.t."
BONE. RAGQEIP POOR...
•^WlVERFUL StCKAN- POPPA...
WELL, popp>^ wuz ^/tr*" /):«?
ONLY -V/S SltTKNESb WDULP OWS
.iM Gf?e>aT LOf^ GLLP5 FROM
&WBES COLORBt? SOTTieS THET
MAPE HIA^ SA1BLL 8AQ AN HE
WOULi? STAY SOfm MOST OF THg
"SO'S THET SORT CFAWPE >•« THE
MANO^ THE FAMILY. THEN,
/»fa*l**<4 H>IP TOLPtf£. SO WEE)«
BEPORB, 5ETWEEN ,C/7"S
COUGH/N-, AH' SHE TOi^ -vl£ THET
THAR WOULDN'T BE >:* CUPISTMAS
FERU& LE^ST ways M3T Tver
-W WE <S^5P iV/ii
HAi/E -A Ct4RlS7mAS.ffO^I^'.
^e. RANT W££-
^^
MESSE MBXT YBAR. SHE H^^P
S^IP. NEXT /EAR SHE MIXJLP BE
BBrTER...'NOUUP 9£ ABLE TD
FlNC?/^ JOB ^OMEWHAR. THEN
SHE H/iC BEGUN 70 CRY. "

29. THE UVfN'KOO/^ AN
THAR IT VyUZ....LOAQBQ !?OWN WJTH
BALLS OF f?£P AN' 8LUe AN' GRBBN AN'
JEST Aaour eye^y COLOR thet ever wu:
•ZACTty LIKE 1 tVAf/T£P IT AN' THE SWeE"
ET SMELL OFPWe PILLEP OUR UOUSB.

30. "MOAtMA JEST SMOO/< HER HB^P VfS'
AU- S^/L£D AT ^E LIKE MESSE 5HEV
JE'=>T S££(? /yi£ PER THE ^^57 ;?Zfff OR
SOMETH/N' -AN' ^^E ALL GOT 3i/A/Pl£P
i/PRaALWARf^..-eV£N^HOAf/yi^-.- AN'

31. WEWur/LL A'LAUGHIN'
.IN' ^OfflfV Mi- W^VIW THe
r/Me OP OUR LIVES vvhen
eUPPeNLY MO/VIMA'S BffeATH
SORTA RATTteP WAV POWN iN
HEff TfffiOATAH yiER FACE
-O HW/Tf/? TH.flN EVEN
FALUN' SNOV^. "

32. aN'«»Kety WALK
.HOMB FfiR US. AN'
JT SeSMEP TO AflE
THET THE MWP WW
fitf(X(/eLBR JMAi^
(7HAPA-FORB."
E WUZ AH E¥/L AWN. MUH
POPPA. COURSE IT wepeN'T
AlLMSPAt/L7..:CAU^B I
PIGGER TWeTAfOST OF HIS
BITT£RN€SS JEST SORTW
SPfLLEP )NT>^ HIM, RlQHT
/la^NS WITH THE CHEAR SAP
SMELLIN' WINS...."'
Q£AP..,iA¥A-t^A7%
SERves... W/C'...^
SERVES HSR
L RtSUr! MANAMA
THREW B/1C< HIS
9mr HEAP ^^'
lAUGHEQ..."
"AN" 1 QROPf^P A^UH SACK.. .
mHMAGfCAL SACK f^»Ul HAQ
BEEN EMPTY EVS? SINCE MOMMA
HAPP/£P JHAR h TH£ SOFT,
SV/iffLiN© SHOW WiTH HBRHEAP
UBSTLB9ALL SAP£ JWA^L/H >?««."
.../^N'HELAUGHfiDAN'LAUSHeP 50 AMVPi* THET I THOUGHT
HE WEffEN'T E/eK A'SOIN' TD Sf/r FIfWLLY I C0ULi7N'T SM«P
A« /tfOC^. . . I JEST KePT TMINKiN' 80Ur/t^AiAM. . . PORe
MCMMA...AN' 'aOUlOUR TPEE. . . AH' -L MfT HW JEST/^S
i<M>?P AS X COULP. THEN Hi5 ><>hre CiOUOElP OVER AN' HE
SLAPPEP MB 50 HARP THST IT fCNOCKEC MB POi/^N. "

33. "SHOBE SEEN » MI&HTy LONG
T/A*e SINCE -r^BT CHRISTMAS
RAY fJHeU POPPA C!iAM/VeQ
HI5 MANP 90)NN MS (NTfl MLfH
POWN FUPTHBR THEN J
COUJ>B/e!ZP£ACN...AH- T
WL/Z WHEN HE STARTED
SC/i£AMff^... "
"„,^N' JERKfP H(5 HANOS OUT/i
TH,AR Q.UICtH^'o L/GHTNIN'...
Sb'T NOT NSAKLV QUICt^ ENUPF'
"IT WUZ THE BtGGeST SNAffE I'P
S'JBfi SEBP, f^OMMA AffATTCE'
SA/A/<£...AU^^-t PiPN'TLETGC
fE^ A lOAfG. IONS TIME.."
'VtlPQER KRANTZ TOOKX
>SAL G<?0P C4We OF i/S",
[>4faM«f>4, AFTER THeT.,.AN' X
AFi^r MUH 0LP5>»CAr, TOO/-
1-irS BEEN A (SOW t/re^
A10/WAlA,,.>6PeCl^i-LyON
/ CHRtSr/V^AS. WHY, I AIN'T
/ NEVER WAQ9A USB NONE OF
THE MAGIC FER MURSELP.
>-/lUNP£fi'5TANP„,JfS7"F£ffTH£ f
omeRs. i--iyB got so/vwn/
PR/£MX... T... Af/SS...yOU- J
A*OM—:
f?E PtPtrT LOOK MUCH LIKE SANTA
CLAUS. . .NO! AT FIRST GLANCE...S>UT
WHO CANSAy'? WHO CAN EVER
TRULY, SAY...P

34. Hei( for Lhe hrsl limr srs Ihe heios o) Sli _^_^^_^_Tteli, iinns Iheii Itgend in nen sloriei, ntver
icen on Ihc tcrfenr 8 llle$ nilH tprcial inlro- STAR [REK LIVES'
ducllons N 'he ori|in3l call! Foiewoid hr Gene ;o<i3l notes and d
Roddenbfirj Ihe msgic o1 Itie Enterorise comes doles, iNal Ihe i
<D liii Ihrouihoul Ihl; lil page notk ol aM. loc! ate dome i
ReadwhatWilTiainShitner,Le<inardriiino),Geoiee goati i ntiirttm
sayf' the' NEW VOIUCES ^?l'lOSl 75 leliin 321190/S
Trsn'm^orveslhe -Once Upon a Planel.' leibim.! .ou The Sui- fhesi Star," !(esl«-
rna^Ele.»nd"More ;'MudiI's Passion, tnd •l<o>."''The lotelei Sig- vear." and "One ol Oui
1 as nn inj L.e«. o^ et n^o^gy
lae>cli:
lyf?!
[7
LOG TWO STKR TREK LOG ONEK LOG FOUR STAR IREK LOG THREE -
- Tiand.an- Si
ouble. Mote Ttib- "The Mae>ch"»l Hegai' nal."'a<ii) The Infinite Planets is Misting.
is" '2118951. 2S lo."Buf f211sa/S1.50. Vulcan. "r21]79 SI 5Q Itthentuir. t<211»/jf.2i
SIHR IHEK TEN ST«RTR£KKINE ST*S IREK EIGHI ST«R IREK SEVEN ST*,R TREK StX ST*H TREK FIVE S 1 « R T R t K F U R
.enlutes' Incfuding
''*
touched bf Ihe mutdet- McCo, laid it' but sal being in our "Who et n>l<i> cannot Oe EnleiB'ise IS lh» plot ploMs tealiitin^^ "«l
Piivale Little Wat " ous beauty? Find oul aboul ifhDni' "THE Ene- Moutns lot Adonais?' Dietlooked by you! Ah oi one slot, in this Out lesletdayi, "Ihi
The Empath," "OmelB in this seties includ m, WKhin," "Calsoai.," and "The Patadise S,n- so tead jboi.t"fhe Sa.- eiciling coflectio n Devil In th.DaTfc" »
Glott." i "The GallHo in| "Ihe Ulilmalc & Snock sBtain among diome ohich ate 2 ol age Cutlain. and The Whom Cods Desliov A Piece nt the Action
Se«n."»2109S/S1.25 CoinpulH.'"2l071, S1.25 olheu "2193,51.25 6 yams.fl2192/ 51 25 Apple. r>2191,S125 4 Boiheis.BjlW/Sl.ZS DDntui'^s'ino/-;!
SPACE: 1999 RECORDS KIT
Thtwihiiing tales I'D m SPACE 1999on BoildthedellHed model ollamous shin Itoffl
LPt«DtdlBl<)ka«a( Death's 01 hoi Do SPACE; I999I Eatle lianspotlett 12 Inches
mlnion'MiBionolDaiians °2J79 S2.49 longlDalachaWecitio holdt '2*1G5/S2.9S
To ordar any of thess items, please see last page of this maga:ise see last page of this rr
SHDHOERFORM

35. "MV CONCERN HAS ALWAYS BEEN FOR THB CHILDREN. . .THEY OCCUPY MY
EVEOY WAKING THOUGHT; THEY ARE THE MOTtVE BEHINQ MY M'NISTRA-
TlONG AND THE FOUNTAIN OF ViY EXISTENCE. 1 WAG PROGRAMMED TO
INSTRUCT THEM. OUIOE THEM, PROTECT THEM —AND I WILL DO SO,
UNPAILINGLY. ATANY COST. WHATEVER THE THREAT TO MY
PERSONAL SAFETY. THE CHILDREN ARE THE SEEDS OF THE
FUTURE, THE BUILDERS OF TOMORROW; THEY, ABOVE ALL,
MUST BE SHIELDED AGAINST ADVEKSITY. .,.'"

36. DO YOU
KNOW WHAT t
WISHED FOR,
WOTHER? I
WISHED FOR
A KEY TO THE
BLUB DOOR
"THEY WILL BE AWAKB AGAIN SOON...
/MUST FINISH MAKIHG THEIR GIFTS.
THANK HEAVEN THE MACHtUE ROOM
IS STILL FUNCTIONING... HOW MANY
CHRISTMASBG IS IT NOW- ~ SEVEN.
EISHT? I COULD CHECK /if>y MBMQILV
BANKS, BUT IT'S NOT IMPORTANT.
WHAT IS IMPORTANT IS THAT THEY
HAVE CHRISTMAS. "

38. WE HEAPEC? OUT
TEW YEARS AGO
FROM EARTH FOR
CYLISS II,,,We WERE
©ONNA BETHEF/RST
CREW TO COLONIZE
THE PUANETS. YA
SHOUUDA SEEN
THE INTKEPIP
"Z IV^S FIXIN' A FAULTY VENTI-
LATION OUCT INTHE RECARBA
Wh/£N KV£ tVBffE HIT.THE SHOCK
ALONE KNOCKED MOST OF THa
CREW COLD. ..INCLUDING ME...'.'

39. -
A'r.C iHf. SERVICE FOaOTS... THEY'D GONE
BERSERK ! Wa DIDN'T FIND OUT 'TILL LATBR
mAT THE IMPACTOF WHATEVER HAD HIT UG
HAD DESTROYED THE MAIN COMPUTER BANK
THAT CONTROLLED TW£M. JESUS!—THBY
WERE LIKE A PACK OF RAB/P WOLVES !
"
'WE FOUGHT BACK
THE BEST >VE COULD
auT THEY HAD THE
APVANTAGE--ALL
THE WEAPONSAND
SHIPS CONTROLS
WERE UP FRONT IN
THE BRIO6E&EY0ND
THE NURSERY. ^E
COULDN'T BVEfJSEE
OUT TO TELL WHERE
WE WAS HEADIN'!
FOR A TIME THERE,
THEY ALMOST
WIPED US OUT!"
"FOR THREE YEARS WB
I WERE HUNTED LIKE
ANIMALS— HIP/NG
J LIKE RATS FROM THAT
I ARMY OF METAL HORRORS,
I
WHILB THE SHIP SPUN
USELESSLY THROU&H
SPACE. L/GHT YEARS OFF
COURSE. I BECAViE A
NOMAD. STEALING WHAT
FOOD I COULD FIND,
I
HOARDING IT TO MYSELF/"
r:,;:-AL'UALLY I WORKED mv WAY FORWARP TO THE
KITCHEN AND AT LAGT HAD SUITABLE FOOD. BY NOW
THE ROBOTS HAD DESTROYED ALL OR MOST OF THE
OTHERS. THEN, ONE NIGHT, IN DESPERATION, I /^AD£
A ItA/P ON THE ROBOT
COMPUTER BANK AND
SHORTEP OUT THE
DAMAGED CONSOLE..." mm'--'^
•THAT DID IT. ALL OVER THE SHIP ROSOTS
WOUND DOWN AND STOPPED ROLLING
ZHAO WON.' I WAS FREE' ALONB-.. BUT
free! I STARTED FOR THE MAIN
CONTROLS ON THE .

40. B-VEN SAW HBR COMING!"'
"WHEN I NEXT OPENED AIY EVES,
THE FREEZER LID WAS BACK
AND SHE WAS STANDING THERE
WITHTHBSANTA CLAUS SUIT...!"
"r THOUGHT FOR
SURE I WAS A
QONER. SUT
SHE SEBMEP
PtFPERBNT
FROM THE REST
OF THEM. SHE
DID AN OOP
THING. .
.
INSTEAD OF
KILLING ME
SHE TOOK ME
-TO THE
CRYomc
PBCK ANO
PUT ME IN
SUSFENDSO,
AtJIMATlONf"
FOR THE PAST £/ert7"yEARS
NOW, SHE UNFREEZES ME
EVERY CHRISTMAS LltelE A
SIDE OFBEEFTO PLAY SANTA
TO you KIDS. L'VE BEEN SO-
ING our OF KV MIND WAT-
INS FOR YOU TO GROW
OLD ENOU6H TO
WELPME,.,/ J BUT
'^MOTHER.
WOULDN'T
HURT AHV-
;SOPY...SHE
f PROTECTS
PROTECTS VOU?HA .'WHY CO
YOU THINK SHE NEVER LETYOU
SEE BEYONPTHE BLUE DOOR"
'CAUSE IT'S A MORGUE OUT
THERE, THiAr'S tVHY/ w_
ou
LISTEN..
YOU 60TTA GET TO THE
SR/Oee.' THERE'S A
HEAT PISTOL THERE
~N THE WALL OVER THE
CAPTAIN'S CHAIR--I
S££/VlTONCE/

42. END

43. PROLOGUE
AMJOffA. taax- NOT Nm OMneeo
W7HE THREE nARS JESS MPE WW
AWy, eiooPSTCWE WflS still a
POOR PBWr TOWN; A UV/Nfi WOW-
IWeWT TO SOME OMZy-CU6S PBM-
FOPTUNATELy BL0OP5T0^E iAyAlOH<b
THE OUrrtf T«J« FROM TEXaS TD
WUFORNW.THETOWfJSWiWPR BUT
NEVER PMSPCfteP, fly LIVING OFP
P/teSlNG COWBOYS.
JSS VMS qffWBffifitfr.Hg CAME fO
9U3(X>SVDNE ANatmJm..A WILP,
REBgLLiOUS TeeNAGBi WO'P WKENlO
JMtfnjWffFAOVI'^'^SRANCHEKil ~
TlLTHey «LIBP INfl "RfiaUWTOff^
HIRfPAKt«flVTOPyTA OTOP
"
STORY^ GERHY BOUDREAU/ART: CARMINE INFANTINO AND JOHN SKVEHIN

44. mLi,zm£w JOyPOn'TTHHEATen
BLOW THAT VAULT Ue,CA!P£. YOU
COMB fece/HBep s^ootoff
2Vw- F you H0M8RES >DUR MOUTH
^WTW/WME, IT " -
MEAN5 yOU'RB
cwJSEROus mr-
AfeSS£5...AW 1
ALWAYS COVER
UPAI/TXMCA'i,'
ALL RIGHT, HAve IT'W'HflLFAIILLiON^
fOVR way r wnt T POiiARSf'
mNVABrrsPEww] wh^tke you
THEH/ILFAIILLION I TALKWfiBOUl?
^^'^iw^tdfl ''CO* TDIVW. IF
1 THERE'S Tf/V
5G'*4Vi'/NTH-ATj
^LUOfy.'
TIPUE. aUT 9ERT S^WSRPjS THey'f?£
GflRPeWTERS eOyST? STDPPfN'OVERJN
JUST PEL(V£ReP ^ BiOOOSTONB
A HUGE HERP OF
PRIME STOCK TO
TU5C0W; THEY'RE
ON THEIR WAy
BACK TO S/M
tOWHOOPnUP
FORTHEMl/eiAYS
,..ANPPU7JIN'ALL
IhAJ MONEY PSOM
cAme SAiE
SLOOPSTONE'S
M(/17 f^RSAFE-
'
<eeFING,M£AN'
~^ TJME.

45. CVIMM/T, CAPS; I KNOVJ YOU GOJiAtV- ^
Al£A/AflER >VUR SKIN flKM THE aARSAR/^
CMSTALL THE WAY TO AlfSSOUfiA I VE
LEPT roU ^LONE SO B«R CAUSE TM lOO
OIQAUQ WEP 10 GIVB A GOOP 60P-
PAMN...
MOeSAN JUCKEH HAP BB£N SHERIFF Of SLOOPSTDNE I
Even SINCE 11 me> fiOV/fP£C. n HAP SEEN AN
easy job; a SATURPAY night SfMWL HERE, A
lAPy SHDPi-IPTING THERE. NOTHWS 700 PEiV^NPING.
I
UKE AW6T F0LW5 IN 8LCOP57DNE, TUCKER NEVER
LM^PE>^N/5SU£0Fr«f/rfW -as L0N(S>^5 THINGS
WEffE 0L;IET/NP PEACBfUL, HE S/tW NO REASON
70 P/STWajTHEM.
U^ GONE OUT' .^ aiJA'/V,/^0raS/iN.5W)?^H'6 ^M
B^TlBKwiHi^T^^^pL L>P6T^iRB, WAITING ^^^^H
^^Pi131
^^m
K^ 1
^"wititk
5«1 /
rr :; ~
lllll J 1 ' 1 liryV ]
III 1 H n~ '^ '
AWfiaAN ST/^SGEREP UNSTE^CTi-Y, UP THE SXfllHC^SE
TO SflfWH tflERNy^N'S /^ WRT/V1EMT. ^tmEP IP SHS
1M5N'T THEDNLV THING IN HJS LIFE, BE5fP£&
A^WWMS/TJWT/VWPE (T tMJRTH GETTINS tfP
MORNINGS.

46. WHENEVER I COME NEAR, I SEE HIS HAf/O
BASH TDWAHP HIS LSATMefi, LIKE HE'S
H«/7W roc Me 10 CHALieNGB ¥M.
I KNOW IF I TOIEP 10 rAXE H'/W *0**;
HE'P HWE ME SAIIN'LEAP BEfOSE I
couip iwncKMy finges;

47. 'MERHy CHRIST^
/VIAS, SAM
PAt!Lm6...ANP
hO MAIJBI WHAT
BieE)VU/ViAY
HBAR. 1
M£AN1HAT
S/MC£A£LY.
I AVWH' you CO.
SARAHMYLOVB.
OH QEAR.-I aOJGMT
A BPEOAL PfieS-
CAfT fOK you THJ6
AflERNOON, BUT I
LEfy n IN MY
0ff/C£...AJ7HE
A4W/IPBeTTEB
i^n:?ownanps£t.
IT.
SAM KIEIfUAN WAS A HAPPY MAN;
HOW C0UIJ>Afjy0NEM>T6E HAPPY
ON CHI?)6T/HA6 EVE ?0H HE /NtW
e^ffW^e PIC- - . SUT HE AL90
(CNBV THAI THROUGH TH6M Al L, HER
LOVE TOR ««*f HAP NEVER P/AtfU-

50. rtmsAi IF evERvoNB ANTioPAiEP eoME. oi^'fNe /re
ffiimfrioft R3R TH6 pesecfiAriON of coo'e
UaUSe. WHfN n IWIS OBI/JOUS NCNE was fORTU-
tOMim,lHE FAerrOH. HAVING HO aBTTeft IPSA, BEGAN
END

51. STORY: BRUCE JONES/ART: GONZALO MAYO

53. She stoop uktil mer to£S
muwagd, then stsppsd back
INSlPE AND WHvep GOOOBVE.
SHE SHUT The poor BEmiNQ
MECS ANP LOC/<££^ IT SECLiRELV
IT WA3N'T UNTIL ShE'P POUCEP
The coFPee that she loo<sd
POWN AT THE^ FLOO^,

56. f
t
swe TWISTED ^boutI
IN TIME TO Sse Hi/w
flETK/ei/WS THE
FORK PROVlTWe
SINK TOR
SME PiCKE
HIM A MS
P UP A CHAm. HURLED iT AT
^. A CLOCK .
TriEV caASHes
L.essL.y TO TME F^.ooB.
HER Right
ACROSS Tr
[-Ei3 G^VE vVAV
e i^„5 MA;jl>S
r-= CHKISTMA
SME C>iTCHEO
;^OSIN:5,OVEs: -HE
S TREE...
TOOPUING IT.
mc.i "-^^^Jj/ff^

58. eVERVONE htAD
THAT kVAS THE
AW^UL PART-
(ai.L THB
IN HIS FIELP...
EVEN HIS a(VN
END

59. ^15TMA5 Ti^Ve UNPEK "
BREATH AS HE ANP HIS VOUNSER
BROTHER, meN, STKiiG&LEP THRU,
THE SWIRLING SNOI^. - - ~
f"-^".
. WHy, WHEN SHE SEES OUR CMfttSTMAS Tneg, ALL BRIGHT AMP SHINV ANP OCaontTt^, S-SHe'LL)
jMZASV ANP ^-<K/SW,.. JUST,.. JUST Lil^e SHE, ,.ii«eP TO/'" VOU'LL Jgg, flISV. )MX/'l£. S&Bf"
IjC/WWVK BUNCHEP his thin S>«3Wt.^*je5 STIFFLV AGAINST THE BONE-NUMBINe DECEMBER STOKM.
A&AIN5T THE S<:ReeCHrN&, RAZOR SHARP /«WP ANP THE FREEZING, CUN^'N© SNOW. HE STAGGERCP ON
%AXE WAS HEAV> ANP COU> tN HIS>Jf«a|L^
STORY; ROGER McKENZIE/ART: LUIS BERMEJO

62. JOHMNV REMBM-
£te'/?'f£?HIM RE-
MEMBEKEP HE'P
HIM A4UCH.
e^tSH AT FIK5T.
POPPA P BEEN .SOVC OVER
A YEAR WHEN HE STAKTFP
COA4JN6 AKOUNCJ..,HAIK
St^fCf<mP BACK TI&HT TO
HIS HEAD, ANP 5MELUN&
OF TOti-ET iVATeR. .
a?, JOHNNV /,*J
lA/^ U^IAJ -TY^K ''
'fV
THEY GOT A4ARRl££>. _ _
piPN'T uA/aeRST-Afi/e? how -mis
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ITyWOAAWyJ MAP

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1
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END

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I'KAZli'FFA
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VAMPIRELLA &
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72. DATE: 1 JAN 77
OFFICIAL STAR-
DATE: 7701.01.
JOURNEY ALONG
WITH THE CREW
OF THE
ENTERPRISE BY
TRACING THEIR
TREK THROUGH
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ON A STAR TREK
1977iSTARDATE)
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74. nMHKfNfTfD BELA LUGOSI
BIG AS LIFE
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__ _ with 'The
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meantng to Christ-
-naa In tho tals of
"Anti-Christmas!"
Learn the strange
causes behind the
vendatta of 'The
Butcherl" Each one
illustrated by the in-
comparabla Rich
Copben! Then trauwl
to Drecula's dark
world with Maroto
in "Tho Circus of
King Carniual!" Qn
to distant galaxies
inWood'stale, "Man-
huncersl" Also,
Wrlghtson. Crandall
and many others. 1
" ing storiea!
COMIX »E
lt1C12/S3.9a
in HLL itInCC bunnin!
ALITY IN PR NT NG
I fi.iti'A.Sd iTiTy M111 n N
Learn how sane insanity can seem when told
through the eyes of a madman. A heart that
won't stop beating. A story that cannot be
forgotten. Poe's "Toll-Tale Heart!" Recall
"Child," the monster with the face and mind
of a child? Reliue Child's tragic creation in
a story illustrated by Rich Cor ben. In
another Corben tale, the strange, little elf.
Shinny Upatree, brings the joys of Christ-
mas and the finality of death to "The Be-
leluer!" The difficulty of working as a gov-
arnment killer in trie overpopulated world
of the future Is doubled when you happen to
be 3 machine as well. Hauing a human mind
doesn't aid In ycur unpleasant task, not If
you are "EKterminator OnB!" A scary, action
Racked storu by Paul Neary. When you are a
eak then the "normal" people gape, shudder
and ridicule you. But you do have feelings.
Even if you are more like a bat or a snake
than a human being there is just so much to
your suffering for "A Thin Dime of Pain!"
A female uampire was terrorizing New York
City. People were being slaughtered like
flies. Could this be Uampirella? Had the mis-
understood stranger from Draculon finally
gone berserk? Was she actually "The Monster
Called Uampirella?" These are examples of
some of the fright filled tales of terror
fromthelatest COMIX INTERNATIONAL. Comix
number one is already a rare collector's
item and two and three are vanishing fast.
The reason is because the quality of thase
magazines is easily recognizable. But never
mind that the stories are top notch . .
the artwork is beyond reproach. Every full
color page is printed upon high quality,
heavy stock paper to insure the perfect
reproduction. And, as a special added bonus,
there are two surprise stories in each . .
COMIX INTERNATIONAL No. 4. tt1C14/S2.9B!
Is Reality here or
does it lie just be-
yond your own TV
screen? The answer
can be found here —
"Black and White
Vacuum to BtuesI"
Who is "Harry?" A
demonic entity? Or
is it tiny girl's
stuffed rabbit? "A
Wonderful Morning"
Sure, because the
Is dead! But others
will carry on. What
happens to a child
big and ugly ... in a
the sight of him?
does hia "Childhood
End?" Corben, Jones,
Maroto and others!
COMIX f3
«1C1 3/54.98

76. KONG...ATOP THEjO|afiL£aU§I^S!