Wednesday, 30 September 2015

The Spook & Crackermeyer

One of those Eerie series that didn't seem to know what it was about, The Spook was a Zombie Ju-Ju man in the time of slavery, who protected his people from the threat of the white man with voodoo, all while wearing the slave chain he wore in life.
It was a great setup, as Doug Moench started the series, but after only a couple of stories he jumped ship, leaving The Spook a character without a clear personality or sense of direction.
Budd Lewis didn't know what to do with him either, so brought in Crackermeyer, another voodoo magician, but this one belonging to the world of the living.
Crackermeyer is a more fully rounded and likeable character, I guess more relatable than The Spook, and he acts as the reader' guide from then on.
The Spook & Crackermeyer actually feels more like a run of one-off pieces than a regular series, but each individual story is excellent, full of fascinating voodoo detail as well as being rollicking good twisted adventures. The final story, where the two are revealed to be brothers, feels crowbarred in, and it's obvious that Lewis was flying by the seat of his pants trying to make it all make sense, but as I say, taking each tale individually, this is great stuff.


  1. I read an interview with Moench in which he said he didn't realize that "spook" was a derogatory ethnic term when Bill DuBay assigned the character to him. DuBay had a really weird idea of what made great character names ("Oogie and the Scroungers?" "The Fighting Armenian?" "Grandmother Running Box???"). Moench was pretty upset when he found out that his character had been given a racist name and that may have been why he quit the series.

  2. Interesting, thanks Russ. The Dube certainly didn't seem to have any knid of off switch when it came to offending, as in: just about every strip in 1984.
    In fact, I've debated posting his racist 'masterpiece' The Harvest' a few times, just because it's so shocking and offensive it almost demands to be seen. Always chickened out tho'...

  3. Or even when Dubay didn't write stuff - I seem to recall reading that Richard Corben wasn't happy about gratuitous editorial changes to Mutant World in 1984....

    But, you know, I never read Warren mags for their literary qualities. I really liked all those Spanish artists, a classic example of something you kind of take for granted while they're around but really miss when they're gone.
    Thanks Pete.


  4. And he changed one of Wally Wood's pieces to such an extent that it was a completley different story, and Woody swore never to work for Warren again ( and never did ).
    But even so, my answer to the question: ' If you could take only one run of one comic to a desert island, which would it be? ' is always one of the Warren mags, just 'cos of the variety, and The Dube's a big part of that. ( As are the Spaniards! )