In the early 1960s, the “Monster Kid” phenomenon was at its peak. While Famous Monsters of Filmland ruled the newsstands, a unique alternative emerged in 1962: Fantastic Monsters of the Films.
What set this magazine apart was the sheer authenticity of its creators. It wasn’t just put together by editors; it was forged by three men who were the literal architects of 1950s sci-fi and horror:
- Bob Burns: A legendary collector and historian who owned many of the original props from films like King Kong.
- Ron Haydock: A rockabilly musician, actor, and writer with a deep passion for the macabre.
- Paul Blaisdell: The premier “monster maker” of the era. He was responsible for creating the iconic creatures in The She-Creature, It Conquered the World, and Invasion of the Saucermen.
Editorial Style and “The Devil’s Workshop”
Published by Blacker-Whitman, Fantastic Monsters of the Films (often shortened to FanMo) offered a more “hands-on” feel than its competitors. While other magazines focused on puns and celebrity profiles, FanMo felt like a peek into a professional creature lab.
The magazine’s crown jewel was the column “The Devil’s Workshop,” written by Paul Blaisdell. In an era before YouTube tutorials or specialized makeup schools, Blaisdell provided a masterclass in DIY special effects. He taught readers how to:
- Cast latex masks.
- Build articulated monster hands.
- Create professional-grade “slime” and gore on a budget.
This technical transparency gave the magazine a cult following among aspiring filmmakers and artists.
Rare Content and the “Burns Collection”
Because of Bob Burns’ extensive personal archive, the magazine featured high-quality, rare stills that hadn’t been seen elsewhere. The trio’s industry connections meant they could provide “behind-the-mask” stories that were grounded in reality rather than studio-sanctioned fluff.
The magazine also embraced a slightly more “wild” aesthetic. The covers were often garish and striking, and the interior layout had a kinetic, fanzine-on-steroids energy that resonated with the rebellious youth of the early 60s.
A Brief But Brilliant Run
Despite its high quality and the pedigree of its creators, Fantastic Monsters of the Films was short-lived. It ran for only seven issues (plus one “Yearbook” special) between 1962 and 1963.
The reasons for its demise were largely financial and logistical. The publishing house, Blacker-Whitman, didn’t have the distribution muscle of larger entities, and internal disagreements regarding the magazine’s direction eventually led to its shuttering.
Legacy and Impact
Though it only existed for a flash, its impact on the horror community was permanent.
- Inspiration for Pros: Future legends like Rick Baker and Guillermo del Toro have cited these early monster magazines—and Blaisdell’s workshop columns specifically—as the spark for their careers.
- The Blaisdell Revival: The magazine helped cement Paul Blaisdell’s reputation as a misunderstood genius of low-budget practical effects.
- Collectibility: Today, original copies of Fantastic Monsters of the Films are highly prized by collectors, often fetching significant prices due to their rarity and the historical importance of the Burns/Haydock/Blaisdell collaboration.
To read my other Monster Kid Memories blogs, click HERE! To buy reprints of this amazing magazine, click on the cover below.
