Came the Dawn by Al Feldstein and Wally Wood from SHOCK SUSPENSTORIES #9 ~ June-July/1953.
Frank Frazetta’s never finished sketches for a remake of the story.
Wait I can’t just go on. Look at that first panel, by Wood. Every panel in the entire story displays a similar mastery of composition and texture. Look at the incredible complexity of the different areas of light and dark. There is more going on in this one panel than in entire Renaissance paintings. As busy as the panel is — there’s even a portrait of an INDIAN CHIEF crammed in — there is no confusion or lack of clarity. The eye is drawn, of course, to the exquisite, inviting figure of the woman, rendered in silky crosshatching, but she stands out against the stark geometric background of the wall covered with frames, and the hard-edged shadows of the man. If I had one cavil, it would be that the cat (the CAT?) is floating in the air, not lying on the floor, but Wood also made the lower left part of the panel more hazy and indistinct to reflect the flickering firelight, so perhaps it is on purpose. Again, I am dumbfounded by the complete confidence of storytelling, design and rendering that this single panel shows — and every other panel is just as strong.
As for Frazetta…the fluidity and liveliness of this drawing astonish me. Again, notice the different line quality that gives texture and form to all the different shapes in the (very busy) panel. The figure of the man is alert, menacing (even if he wasn’t holding a rifle you’d be scared of him), tangible, the unexpected but realistic placement of his feet giving him a solid grounding in reality despite the obvious idealization of the drawing.
Those guys were good.
[Via Matthias Wivel]