In several previous blog posts (most extensively in this one), I’ve described the early 1970s horror boom in American comics as part of a larger wave of interest in monsters (especially among young people) that can be traced back to the arrival of the classic old Universal monster movies on television in the late 1950s, and that flourished in the following decade and beyond, ultimately giving us such enduring cultural artifacts as Bobby “Boris” Pickett’s hit 1962 single “Monster Mash”, the Gothic TV soap opera Dark Shadows (which premiered in 1966, but didn’t really didn’t take off until the arrival of the vampire Barnabas Collins in ’67), and, lest we forget, Count Chocula and Franken Berry breakfast cereals, which first crept onto grocery shelves in 1971.  It was a legitimate popular phenomenon, but one that had largely passed American color comics by — at least until the early 1971 revisions to the Comics Code, which allowed for vampires, werewolves, and ghouls to be used “when handled in the classic tradition such as Frankenstein, Dracula, and other high calibre literary works” for the first time since the Code’s adoption in 1954.  Before too many months had passed, spinner racks were filling up with titles like Tomb of Dracula, Werewolf by Night, Frankenstein, and Swamp Thing — and fifty years ago, in the summer of 1973, new ones were continuing to arrive.  Read More