Publication Dates: March 1966 – February 1983
Number of Issues Published: 138 (#2 – #139)
Color: Color covers; Black and White Interiors (some issues have some color pages)
Dimensions: 8.5 inches x 11 inches
Paper Stock: Newsprint
Binding: Saddle-stitched; Squarebound
Publishing Format: Was Ongoing Series
Publication Type: magazine
Continues from Eerie [ashcan] (Warren, 1965 series) #1 (September 1965)
Issue #1 was an undistributed ashcan.
Issue #2 is the first newsstand issue.
By 1967, Bill Yoshida is also lettering (according to Creepy #15).
Information thanks to the Grand Comics Database
Eerie was an American magazine of horror comics introduced in 1966 by Warren Publishing. Like Mad, it was a black-and-white magazine intended for newsstand distribution and thus intentionally outside the control of the Comics Code Authority. Each issue’s stories were introduced by the host character, Cousin Eerie. Its sister publications were Creepy and Vampirella.
The first issue, in early 1966, had only a 200-issue run of an “ashcan” edition. With a logo by Ben Oda, it was created overnight by editor Archie Goodwin and letterer Gaspar Saladino to establish publisher Jim Warren’s ownership of the title when it was discovered that a rival publisher (later known as Eerie Publications) would be using the name. Warren explained, “We launched Eerie because we thought Creepy ought to have an adversary. The Laurel and Hardy syndrome always appealed to me. Creepy and Eerie are like Boris Karloff and Peter Lorre.”
Official distribution began with the second issue (March, 1966), priced at 35 cents. Behind the Frank Frazetta cover were graphic horror tales edited by Goodwin and hosted by the lumpish Cousin Eerie, a curious character created by Jack Davis. With scripts by Goodwin, E. Nelson Bridwell and Larry Ivie, the second issue featured art by Gene Colan, Johnny Craig (as Jay Taycee), Reed Crandall, Jerry Grandenetti (uncredited), Gray Morrow, Joe Orlando, John Severin, Angelo Torres and Alex Toth. Other artists during this era included Wally Wood, Al Williamson, Neal Adams, Dan Adkins, and Steve Ditko. Eerie was published on a bi-monthly basis.
Goodwin would eventually resign as the editor of Eerie after issue 11 in September 1967. Due to a lack of funds, the majority of the magazine’s well known artists departed, and Warren was forced to rely on reprints, which would be prevalent in the magazine until issue 26 in March 1970. Editors during this period included Bill Parente and publisher Jim Warren himself. Things would pick up starting in 1969 with the premiere of Vampirella magazine. Some of Eerie’s original artists including Frazetta, Crandall and Wood would return, as would Goodwin, as Associate Editor for issues 29 through 33.
A variety of editors would continue to manage Eerie after Goodwin’s second departure including Billy Graham and J.R. Cochran. William Dubay, who first joined Warren as an artist in 1970, would become editor of the magazine for issues 43 through 72. During this period the frequency of Eerie and Warren’s other magazines was upped to nine issues per year. Color stories would begin appearing in Eerie starting with issue 54 in February 1974.
In late 1971, artists from the Barcelona Studio of Spanish agency Selecciones Illustrada started appearing in Eerie and other Warren magazine. These artists included Esteban Maroto, Jaime Brocal, Rafael Aura Leon, Martin Salvador, Luis Garcia, Jose Gonzalez, Jose Bea, Isidro Mones, Sanjulián and Enrich Torres. Additional artists from S.I.’s Valencia Studio joined Warren in 1974 including José Ortiz, Luis Bermejo, and Leopold Sanchez. Towards the end of Dubay’s time as editor, artists from Eerie’s first golden era including Alex Toth and John Severin returned. Notable writers during Dubay’s era as editor included Gerry Boudreau, Budd Lewis, Jim Stenstrum, Steve Skeates and Doug Moench.
Dubay resigned after issue #72 and was replaced by Louise Jones, his former assistant. Jones would edit the magazine until #110 (April 1980). Former DC Comics publisher Carmine Infantino would also join Warren shortly after she became editor. Much like the wave of Spanish artists that dominated the magazine throughout the mid-1970s, a number of artists from the Philippines would join Warren during Jones’s period as editor including Alex Niño, Alfredo Alcala and Rudy Nebres and would remain at Eerie until its end in 1983. The Rook, an adventurer who first appeared in #82 (March 1977), would appear in nearly every issue of the magazine over the next two years and would eventually be given his own magazine. While he had resigned as editor, Dubay remained with Warren and became their dominant writer during this period. Other dominant writers during this period included Bruce Jones, Bob Toomey and Roger McKenzie.