Bernard Krigstein began his career as an unremarkable journeyman cartoonist during the 1940s and finished it as a respected fine artist and illustrator ― but comics historians know him for his explosively creative 1950s, during which he applied all the craft, intelligence and ambition of a burgeoning “serious” artist to his comics work, with results that remain stunning to this day. Krigstein’s legend rests mostly on the 30 or so stories he created for the EC Comics, but dozens of stories drawn for other, lesser publishers such as Rae Herman, Hillman, and Atlas (which would become Marvel) showcase his skills and radical reinterpretation of the comics page, in particular his groundbreaking slicing and dicing of time lapses through a series of narrow, nearly animated panels. Greg Sadowski, who has previously written and designed a Harvey Award-winning biography of Krigstein, has assembled the very best of Krigstein’s comics work, starting with his earliest creative rumblings, through his glory days at EC, to his final, even more brilliantly radical stories for Atlas Comics ― running through every genre popular at the time, be it horror, science fiction, war, western, or romance (but no super-heroes).
Jubal is the son of an important priest in the First Temple; the prophet is Jeremiah; and the time is Jerusalem under siege by the Babylonian Army. Jubal’s father leads the struggle against Babylon. Jeremiah pleads for submission to Babylon. Jubal, of course, would rather follow his father, but in spite of this natural desire, he is convinced by the message and personality of Jeremiah. His struggles lead him directly into adventure. With his friend Ezra he outwits the commander of the gates of Jerusalem, the jailer who would torture the prophet, and then this boy of courage and wisdom fights heroically in the final battle. All this, and more is the theme of the book, a story that is filled with constant action, colorful background and human as well as spiritual emotion. “Jeremiah was the most disquieting of all the prophets. To this day there are some who call him traitor. If, however, a prophet is—as I believe he is—God’s instrument, a man who speaks because a Power greater than he compels him to speak, there can be no question about Jeremiah’s integrity. Nevertheless, the human being is also present; and it is the tension between the prophet’s function as God’s mouthpiece, and his humanity as a patriot, that constitutes the theme of this book: he must condemn his people and his country even while he loves them.”—Frieda Clark Hyman
This comics anthology includes Krigstein’s most famous story ― which broke both aesthetic and narrative boundaries ―plus material that’s never been reprinted since the 1950s. In addition to "Master Race,” this volume includes “The Flying Machine” (based on a story by Ray Bradbury). Other stories include: “Slave Ship,” an unpublished science fiction tale that was only discovered in the decades following EC’s demise, “The Monster From The Fourth Dimension,” a horror/science fiction shocker that has never been reprinted since its original appearance in 1954, and other Krigstein crime, horror, war, and science fiction stories covering the full gamut of EC titles, including Tales From the Crypt, Crime SuspenStories, Shock SuspenStories, Aces High, and Incredible Science Fiction.
Jubal is the son of an important priest in the First Temple; the prophet is Jeremiah; and the time is Jerusalem under siege by the Babylonian Army. Jubal’s father leads the struggle against Babylon. Jeremiah pleads for submission to Babylon. Jubal, of course, would rather follow his father, but in spite of this natural desire, he is convinced by the message and personality of Jeremiah. His struggles lead him directly into adventure. With his friend Ezra he outwits the commander of the gates of Jerusalem, the jailer who would torture the prophet, and then this boy of courage and wisdom fights heroically in the final battle. All this, and more is the theme of the book, a story that is filled with constant action, colorful background and human as well as spiritual emotion. “Jeremiah was the most disquieting of all the prophets. To this day there are some who call him traitor. If, however, a prophet is—as I believe he is—God’s instrument, a man who speaks because a Power greater than he compels him to speak, there can be no question about Jeremiah’s integrity. Nevertheless, the human being is also present; and it is the tension between the prophet’s function as God’s mouthpiece, and his humanity as a patriot, that constitutes the theme of this book: he must condemn his people and his country even while he loves them.”—Frieda Clark Hyman
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