Bernie Wrightson – Now Read This!

By Bernie Wrightson, with Bruce Jones, Howard Chaykin, Nicola Cuti, Bill Dubay, Budd Lewis, Carmine Infantino & various (Dark Horse Comics)
ISBN: 978-1-59582-809-5 (HB), 978-1-506753-21-8 ?(TPB), 978-1-62115-596-6 (Digital edition)

This book includes Discriminatory Content produced in less enlightened times.

Win’s Christmas Gift Recommendation: Masterfully Macabre Masterpiece… 9/10

Once upon a time the short complete story was the sole staple of the comic book profession, and the intent was to deliver to the reader as much variety and entertainment fulfilment as possible. Sadly, that particular discipline is all but lost to us today.

Towards the end of the turbulent 1960s, a lot of fresh talent was trying to break into the comics industry at a time when numerous publishers were experimenting with cheaper black & white magazines rather than four-colour comic books. Companies like Warren, Skywald and a minor host of imitators were hiring kids who then honed their craft in public – just like their forebears had to. A respectable number of those Young Turks – such as Bruce Jones, Mike Kaluta, Jeffrey Catherine Jones, Al Weiss & “Berni” Wrightson (a young man who soon became a living legend even in that prestigious cabal) – grew into major talents whilst crafting pastiches of the EC Comics they had loved as kids… and paved the way when the comics market again turned to shock, mystery and black comedy to sell funnybooks.

Bernard Albert Wrightson was born a few days before Halloween (October 27^th) 1948 in Dundalk. Maryland. His artist training came via TV, reading comics and a correspondence course from the Famous Artists School, and his first professional publication was fan art, printed in Creepy #9 (June 1966). Around that time, he was toiling as an illustrator for The Baltimore Sun, and after meeting his EC idol Frank Frazetta at a convention gravitated to New York City.

Hooking up with the above-cited band of newcomers, and other hopefuls (like Al Milgrom & Walter Simonson), Wrightson started crafting short horror tales for National-DC, Marvel and other eager publishers. His first rank reputation was cemented for the co-creation (with writer Len Wein) of Swamp Thing.

Wrighton’s close and productive association with DC ended in 1974, as he left to work at Warren on more adult-oriented tales which allowed him to try different techniques: a bountiful period of experimentation that culminated with his joining Jeffrey Catherine Jones, Kaluta & Barry Windsor-Smith in expressive narrative arts collective The Studio. During this period, he also produced commercial commissions, film material and humorous strips for National Lampoon, whilst creating a series of astoundingly complex plates for his signature work: an illustrated rerelease of Mary Shelley’s novel Frankenstein. After that he illustrated posters, trading cards and graphic novels such as Creepshow, Cycle of the Werewolf and Freakshow (with Bruce Jones) as well as print collectibles, before returning to mainstream comic books. Notable successes included The Weird and Batman: The Cult with Jim Starlin, and Spider-Man: Hooky and The Hulk and the Thing: The Big Change as well as a number of Punisher miniseries and OGNs.

Wrightson died in 2017. At the time he was working with Steve Niles (30 Days of Night) on a new Frankenstein miniseries, and almost finished it. The ultimate professional to the last, Bernie made provision for another artist (Kelley Jones) to complete the job before passing. You should add Frankenstein Alive, Alive – The Complete Collection please link to October 29^th 2019 to your must-read list if you haven’t seen it yet…

This stellar compendium gathers Wrightson’s monochrome, two-colour & full-colour offerings, stories, illustrations and frontispieces – from Creepy #9, 62-64, 66-71, 73, 75-77, 83, 86, 87, 95, 113 & 138 and Eerie #57, 58, 60-68, 70-72, 68 spanning 1966-1982. The uncanny yarns and portentous depictions appeared in black-&-white magazine anthologies Creepy and Eerie, and those Warren stories have been gathered into a spectacular oversized (284 x 218 mm) hardback compendium – part of a series of all-star artist compilations which also includes superstars Rich Corben, Alex Toth and Steve Ditko, or track down the entire Creepy archive from Dark Horse. You won’t regret it , fear-fun fan!

The terrors begin here with Wrightson’s short shockers from Creepy – but only after fellow raconteur and horror stylist Bruce Jones shares his memories of the great man and those early days in his evocative Foreword. Then dark visions commence with Wrightson’s gripping adaptation of ‘Edgar Allen Poe’s The Black Cat’ (Creepy #62) as a man slowly going mad enters into a deadly war of wills and nerve with his wife’s pet…

Moving from his signature linework into softly-alluring grey-marker tones for Bruce Jones’s ghastly tale of mutant madness and deviant sexual seduction, Wrightson delivers a potent shocker with the tale of ‘Jenifer’ in issue #63 before compounding the horrors of existential loneliness for his next doomed hero’s icy obsession with ‘Clarice’ (also scripted by Jones in #77). He inked Carmine Infantino on Jones’ ‘Country Pie’ in #83, a wry variation on both serial killer modernity and American Gothic sensibilities, after which Bill DuBay joins the unlikely artistic duo to expose an Edwardian-era Dime-novel hero in moving sentimental mystery ‘Dick Swift and his Electric Power Ring’ (Creepy #86).

Thematic shades of Ray Bradbury inform Nicola Cuti’s ‘A Martian Saga’ in #87, but the bleak dark humour is all Wrightson (as is the stylish pen-&-ink drawing), whereas Jones’ fable of ‘The Laughing Man’ from #95 – which sees a white hunter’s brutal deeds return to haunt him – manifests via stunning grey tones and manic shock that is pure poetic karma…

Bernie’s Eerie escapades are fewer but just as memorable and start with classic beast-hunting fervour as greedy chancer George Summers attempts to capture ‘The Pepper Lake Monster’. Written and drawn by Wrightson from Eerie #58, the stark, heroic chiaroscuro conceals a deliciously mordant and sardonic sting in the tale, after which DuBay details the terrors of children who see monsters in moodily grey-toned vignette ‘Nightfall’ (#60), and leads to Wrightson fulfilling a lifetime ambition in issue #62.

A huge fan of classical horror writers, the artist chillingly adapted H. P. Lovecraft’s ‘Cool Air’, detailing the uncanny fate of bizarre lodger Dr. Munoz who warmly befriends a young writer but cannot find a home cold enough to suit him. Budd Lewis, Wrightson & Howard Chaykin combined to craft a strange tale of ‘Reuben Youngblood: Private Eye!’ who finds himself trapped in a world of intrigue, zeppelins and Nazi vampires in a rambunctious romp entitled ‘Beware the Scarlet Combine’.

Although largely a monochrome magazine outfit, Warren occasionally sprang for full-painted colour and the all-Wrightson saga of ‘The Muck Monster’ in #68 gave the artist opportunity to flex his painterly muscles and revisit past glories in a tale of cometary catastrophe to complete the narrative section of our celebrations.

Happily, that’s not the end of the visual valuables, as a ‘Creepy and Eerie Frontispiece and Illustration Gallery’ delivers a selection of images (33 in total, including covers and back covers) designed to introduce the anthological treats of the magazines via narrators Uncle Creepy and Cousin Eerie. These allowed Wrightson’s sense of macabre humour full rein in panels, pages and other concoctions in assorted media and various degrees of seriousness.

This voluminous volume has episodes which terrify, amaze, amuse and enthral: utter delights of fantasy fiction with lean, stripped down plots and a dark yet always playful wit which lets the art set the tone, push the emotions and tell the tale, from times when a story could end sadly as well as happily and only wonderment was on the agenda, hidden or otherwise.

These stories display a sharp wit and dark comedic energy which seems largely lacking these days, channelled through Wrightson’s astounding versatility and storytelling acumen: another cracking collection of his works not only superb in its own right but also a telling affirmation of the gifts of one of the art-form’s greatest stylists.

This is a book serious comics fans would happily kill, die or be lost in a devil-dimension for.
Creepy, the Creepy logo and all contents © 1966, 1974, 1975, 1976, 1977, 1978, 1979, 1982 2011 by New Comic Company. All rights reserved.

By Mike Friedrich, Gerry Conway, Marv Wolfman, Len Wein, Steve Skeates, Robert Kanigher, Raymond Marais, Sam Glanzman, Jack Kirby, Mark Evanier, Jack Oleck, Mary Skrenes (as Virgil North), Jerry Grandenetti, Bill Draut, Werner Roth, Jack Sparling, Dick Giordano, Dick Dillin, Neal Adams, Sid Greene, Alex Toth, Mike Royer, Mike Peppe, Don Heck, Wally Wood, Ralph Reese, John Costanza, Gil Kane, George Tuska, Gray Morrow, Ross Andru & Mike Esposito, Michael Wm. Kaluta, Rich Buckler, Bernie Wrightson, Al Weiss, Tony DeZuñiga, Jim Aparo, Sergio Aragonés, Nestor Redondo, José Delbo, Adolfo Buylla & various (DC Comics)
ISBN: 978-1-4012-1818-8 (TPB)

Win’s Christmas Gift Recommendation: A Splendid Slice of Spectral Shock & Awe… 9/10

This book includes Discriminatory Content produced in less enlightened times.

It’s the time for sweet indulgence, shocking over-eating and spooky stories, so let’s pay a visit to a much-neglected old favourite…

American comic books started slowly until the creation of superheroes unleashed a torrent of creative imitation and invented a new genre. Implacably vested in the Second World War, the Overman swept all before him (and very occasionally her or it) until the troops came home and the more traditional genres resurfaced and eventually supplanted the Fights ‘n’ Tights crowd. Although new kids kept on buying, much of the previous generation of consumers also retained their four-colour habit but increasingly sought older themes in the reading matter. The war years altered the psychological landscape of the world and as a more world-weary, cynical young public came to see that all the fighting and dying hadn’t really changed anything, their chosen forms of entertainment (film and prose as well as comics) reflected this.

As well as Westerns, War and Crime comics, celebrity tie-ins, madcap escapist comedy and anthropomorphic funny animal features were immediately resurgent, but gradually another of the cyclical revivals of spiritualism and public fascination with all things occult, eldritch and arcane led to them being outshone and outsold by a wave of increasingly impressive, evocative and shocking horror comics.

There had been grisly, gory and supernatural stars before, including a pantheon of ghosts, monsters and wizards draped in mystery-man garb and trappings (The Spectre, Mr. Justice, Sgt. Spook, Frankenstein, The Heap, Sargon the Sorcerer, Zatara, Monako, Zambini the Miracle Man, Kardak the Mystic, Dr. Fate and dozens more), but these had been victims of circumstance: The Unknown as a “narrativium” power source for super-heroics.

Now the focus shifted to ordinary mortals thrown into a world beyond their ken with the intention of unsettling, not vicariously empowering, the reader. Almost every publisher jumped on the increasingly popular bandwagon, with B & I (which became magical one-man-band Richard E. Hughes’ American Comics Group) launching the first regularly published horror comic in the Autumn of 1948. Technically though, Adventures Into the Unknown was actually pipped by Avon who had released an impressive single issue entitled Eerie in January 1947 before finally committing to a regular series in 1951.

By this time, and following the filmic horror heyday of Universal Pictures’ fright films franchises, worthy comic book monolith Classics Illustrated had already long milked the literary end of the medium with adaptations of The Headless Horseman, Dr. Jekyll and Mr. Hyde (both 1943), The Hunchback of Notre Dame (1944) and Frankenstein (1945) among others.

If we’re keeping score this was also the period in which Joe Simon & Jack Kirby identified another “mature market” gap by inventing the Romance comic (Young Romance #1, cover-dated September 1947) but they too saw the sales potential for macabre mood material, resulting in seminal anthologies Black Magic (launched in 1950) and boldly obscure psychological drama vehicle Strange World of Your Dreams (1952).

Around that time the staid cautious company that would become DC Comics bowed to the commercial inevitable and launched a comparatively straightlaced anthology that became one of their longest-running and most influential titles with the December 1951/January 1952 opening of The House of Mystery. When the hysterical censorship scandal which led to witch-hunting hearings was at its height, the mobs with pitchforks furore was adroitly curtailed by the industry adopting a castrating straitjacket of self-regulatory rules.

Horror titles produced under the aegis of the Comics Code Authority were sanitised, anodyne affairs in terms of Shock and Gore. However, since the appetite for suspenseful short stories was still high, in 1956 National introduced sister title House of Secrets which debuted with a November/December cover-date. Plots were dialled back into superbly illustrated, rationalistic, fantasy-adventure vehicles which would dominate the market until the 1960s when superheroes (which had begun sneaking back in 1956 after Julius Schwartz began the Silver Age of comics by reintroducing The Flash in Showcase #4), finally overtook them.

Green Lantern, Hawkman, The Atom and a slew of other costumed cavorters generated a gaudy global bubble of masked mavens which even forced the dedicated anthology suspense titles to transform into super-character split-books, with Martian Manhunter and Dial H for Hero monopolising House of Mystery whilst Mark Merlin – later Prince Ra-Man – sharing space with Eclipso in House of Secrets. When caped crusader craziness peaked and popped, Secrets was one of the first casualties, folding with #80, the September/October 1966 issue.

However, nothing combats censorship better than falling profits and by the end of the 1960s the Silver Age superhero boom was over, with many titles gone and some of the industry’s most prestigious series circling the drain…

This real-world Crisis prompted surviving publishers to loosen the self-imposed restraints against crime and horror comics. Nobody much cared about gangster titles at that juncture, but as the liberalisation coincided with another bump in public interest in all aspects of the Worlds Beyond, the resurrection of scary stories was a foregone conclusion and obvious no-brainer…

Even ultra-wholesome Archie Comics re-entered the field with a rather tasty line of Red Circle Chillers: a minor substrate they regularly return to with style and potency to this day.

Thus, with absolutely no fanfare at all, House of Secrets returned with issue #81 (August/ September 1969) just as big sister The House of Mystery had done a year previously. Under a bold banner declaiming “There’s No Escape From… The House of Secrets”, writer Mike Friedrich, Jerry Grandenetti & George Roussos introduced a ramshackle, sentient old pile in ‘Don’t Move It!’, after which Bill Draut limned the introduction of bumbling caretaker Abel (with a guest-shot by his murderous older brother Cain from HoM) in eponymous intro set-up fable ‘House of Secrets’. The portly porter then kicked off his storytelling career with Gerry Conway & Jack Sparling yarn ‘Aaron Philip’s Photo Finish!’ before the inaugural issue was put to bed with a Draut limned ‘Epilogue’…

HoS #82 was a largely Conway scripted affair as Draut drew both ‘Welcome to the House of Secrets’ and ‘Epilogue’, whilst cinema shocker ‘Realer Than Real’ was illustrated by Werner Roth & Vince Colletta. Written by Marv Wolfman, ‘Sudden Madness’ delivered a short sci fi saga via the brush of Dick Giordano, ere Conway regaled us with ‘The Little Old Winemaker’ (Sparling art): a salutary tale of murder and revenge. Wolfman – realised by Dick Dillin & Neal Adams – wowed again with ‘The One and Only, Fully-Guaranteed, Super-Permanent, 100%’: a darkly comedic tale of domestic bliss and how to get it…

After Draut & Giordano’s ‘Welcome to the House of Secrets‘ piece, superstar Alex Toth made his modern HoS debut with Wolfman-written fantasy ‘The Stuff That Dreams are Made Of’, and Mikes Royer & Peppe visualised sinister love-story ‘Bigger Than a Breadbox’ before Conway & Draut revived gothic menace for a chilling fable ‘The House of Endless Years’.

Conway & Draut maintained the light-hearted bracketing of the stories prior to #84, properly beginning with ‘If I Had but World Enough and Time’ (Len Wein, Dillin & Peppe), a cautionary tale about too much TV. Tensions grow with Wolfman & Sid Greene’s warning against wagering in ‘Double or Nothing!’ and Steve Skeates, Sparling & Jack Abel’s utterly manic parable of greed ‘The Unbelievable! The Unexplained!’, before Wein & Sparling mess with our dreams in ‘If I Should Die before I Wake…’

Cain & Abel acrimoniously open HoS #85, after which Wein & Don Heck disclose what happens to some ‘People Who Live in Glass Houses…’ whilst art-legend Ralph Reese limns Wein’s daftly ironic ‘Reggie Rabbit, Heathcliffe Hog, Archibald Aardvark, J. Benson Baboon and Bertram the Dancing Frog’…

John Costanza contributed a comedy page entitled ‘House of Wacks’ and Conway, Gil Kane & Adams herald the upcoming age of slick and seductive barbarian fantasy with gloriously vivid and vital ‘Second Chance’. Issue #86 featured the eerily seductive ‘Strain’ with art by George Tuska, powerful prose puzzler ‘The Golden Tower of the Sun’ – written by Conway with illustrations from Gray Morrow – after which the writer and Draut tug heartstrings and stun senses in the moving, moody madness of ‘The Ballad of Little Joe’. The issue ends with another episode of peripatetic, post-apocalyptic, ironic occasional series ‘The Day after Doomsday’, courtesy of Wein & Sparling.

Chatty introductions and interludes with Abel were gradually diminishing to make way for longer stories and experimental episodes like #87’s ‘And in the Darkness… Light’; subdivided into ‘Death Has Marble Lips!’, a sculptural shocker by Robert Kanigher, Dillin & Giordano; sinister sci fi scenario ‘The Man’ by Wolfman, Ross Andru & Mike Esposito, and excellent weird pulps pastiche ‘The Coming of Ghaglan’ by Raymond Marais & talented newcomer Michael William Kaluta. Much the same was #88’s dread duo ‘The Morning Ghost’ (Wolfman, Dillin & Frank Giacoia) and ‘Eyesore!’ by Conway & Draut.

The majority of covers were the magnificent work of Neal Adams but HoS #89 sports a rare and surprisingly effective tonal image by Irv Novick (albeit attributed here to Gray Morrow): a gothic romance special with period thrillers ‘Where Dead Men Walk!’ – drawn by Morrow – and ‘A Taste of Dark Fire!’ from Conway & Heck. This latter tale debuted Victorian devil-busting duo Father John Christian & Rabbi Samuel Shulman, who appeared far too infrequently in succeeding years (see also Showcase Presents the Phantom Stranger).

Tuska illustrated Skeates’ futuristic thriller ‘The Distant Dome’ in #90, whilst Wolfman, Rich Buckler & Adams described the short, sharp lives of ‘The Symbionts’, after which Mike Friedrich & Morrow end the SF extravaganza with the perplexing tale of ‘Jedediah!’ HoS #91 was almost entirely Conway scripted, leading with a South American revolutionary rollercoaster ‘The Eagle’s Talon!’, illustrated by Grandenetti & Wally Wood. Sparling limned faux-factual feature ‘Realm of the Mystics’, prior to writer/artist Sam Glanzman producing a potent parable of alienation in ‘Please, Don’t Cry Johnny!’ before Murphy Anderson wrapped up the wonderment with Conway’s deadly doppelganger drama ‘There are Two of Me… and One Must Die!’

Issue #92 was one of those rare moments in comics when all factors are in perfect alignment for a major breakthrough. Cover-dated June/July 1971, the 12^th anthological issue of House of Secrets cemented the genre into place as industry leader as Len Wein & artist Bernie Wrightson produced a throwaway thriller set at the turn of the 19^th century. Here, gentleman scientist Alex Olsen is murdered by his best friend and his body dumped in a swamp. Years later, his beloved bride – now the unsuspecting wife of the murderer – is stalked by a shambling, disgusting beast seemingly composed of mud and muck…

‘Swamp Thing’ was cover-featured – also eerily illustrated by Wrightson – striking an instant and sustained chord with the buying public. It was the bestselling DC comic of that month and reader response was fervent and persistent. By all accounts, the only reason there wasn’t an immediate sequel or spin-off was that the creative team didn’t want to produce one.

Eventually, however, bowing to interminable pressure, and with the sensible notion of transplanting the concept to contemporary America, the first issue of Swamp Thing appeared on newsstands in the spring of 1972. It was an instant hit and immortal classic.

The remaining pages in that groundbreaking HoS issue weren’t bad either, with Jack Kirby & Mark Evanier scripting psychodrama ‘After I Die’ for old Prize/Crestwood Comics stablemate Draut to illustrate, whilst ‘It’s Better to Give…’ – by Virgil North (AKA Mary Skrenes) provided an early chance for Al Weiss & Tony DeZuñiga to strut their superbly engaging artistic stuff. The issue ends with Conway & Dillin’s sudden shocker ‘Trick or Treat’…

House of Secrets #93 (August/September 1971) saw the title expand from 32 to 52 pages – as did all DC’s titles for the next couple of years – opening access to a magnificent hoard of new material wedded to the best of their prodigious archives for an appreciative, impressionable audience. Jim Aparo made his HoS debut in Skeates-scripted spook-fest ‘Lonely in Death’, and so did macabre cartoonist Sergio Aragonés in ‘Abel’s Fables’, after which the reprint bonanza began with ‘The Curse of the Cat’s Cradle’ (originally seen in My Greatest Adventure #85) stupendously depicted by Alex Toth.

Jack Abel’s ‘Nightmare’ was followed by golden oldie ‘The Beast from the Box’ – courtesy of Nick Cardy and House of Mystery #24 – after which Lore (Shoberg) contributed a page of ‘Abel’s Fables’ before the entertainment ended with John Albano & DeZuñiga’s chilling ‘Never Kill a Witch’s Son!’ rounding out the fearsome fun in period style. HoS #94 began by exposing ‘The Man with My Face’ (Sparling art) and Wein & DeZuñiga’s ‘Hyde… and Go Seek!’, whilst ‘The Day Nobody Died’ (George Roussos; Tales of the Unexpected #9) and ‘Track of the Invisible Beast!’ (Toth from HoM #109) provided vintage voltage before another Aragonés ‘Abel’s Fables’ and ‘A Bottle of Incense… a Whiff of the Past!’ by Francis (Gerry Conway) Bushmaster, Weiss & Wrightson closed proceedings in devilishly high style.

Albano & Heck showed domesticity wasn’t pretty in ‘Creature…’ before everybody got a nasty case of chills in ‘And Thing That Go Bump in the Night!’ (credited here to Sparling but probably Tuska & Win Mortimer) before ‘The Last Sorcerer’ (Bernard Baily from HoM #69) and ‘The Phantom of the Flames!’ – a rare DC illustration job for magnificent Marvel Mainstay Joe Maneely from HoM #71. The dark dramas close with Jack Oleck & Nestor Redondo’s ‘The Bride of Death’. HoS #95 also included a couple of Lore’s ‘Abel’s Fables’, a Sparling ‘Realm of the Mystics’ and a Wein/Sparling ‘Day after Doomsday’ vignette.

Oleck & Draut’s ‘World for a Witch’ opened the next peril-packed issue, followed by a high-tension, high-tech Toth reprint ‘The Great Dimensional Brain Swap’ (HoS #48) and Wein, Dillin & Jack Abel’s ‘Be it Ever So Humble…’ whilst Oleck & Wood’s ‘The Monster’ describes a different kind of horror. ‘The Indestructible Man’ (by master-draughtsman Bill Ely, originally in Tales of the Unexpected #12) closes the show. Also lurking within this issue is another agonisingly funny Aragonés ‘Abel’s Fables’ fun frolic…

The penultimate issue in this sparkling collection – incomprehensibly still the only way to affordably access these chilling classics – leads with Sparling’s classical creep-show ‘The Curse of Morby Castle’ after which Skeates & Aparo return to ‘Divide and Murder’ before Aragonés strikes again in ‘Abel’s Fables’. Blasts from the past ‘The Tomb of Ramfis’ (HoM #59, by the fabulous John Prentice) and ‘Dead Man’s Diary’ (drawn by Ralph Mayo for HoM #46) are demarcated by another trenchant Wein/Sparling ‘Day after Doomsday’, whilst José Delbo delineates manic monster-fest ‘Domain of the Damned’.

The last issue in this magnificent monochrome compendium opens with a glorious intro page from Mark Hanerfeld & Kaluta, after which the artist entrancingly illustrates Albano’s tough-as-nails-thriller ‘Born Losers’ and Toth illuminates ‘Secret Hero of Center City’ (originally seen in HoM #120). After one last Aragonés ‘Abel’s Fables’, Wein and Mikes Royer & Peppe reveal why ‘The Night Train Doesn’t Stop Here Anymore!’, and another John Prentice treat is served up in ‘The Fatal Superstition’ (HoM #35) before the legendary Adolfo Buylla celebrates the end of the affair in grisly fashion with ‘Happy Birthday, Herman!’

These terror-tales captivated the reading public and critics alike when they first appeared and it’s no stretch to posit that they probably saved DC during one of the toughest downturns in comics publishing history. Now their blend of sinister mirth, classic horror scenarios and suspense set-pieces can most familiarly be seen in such children’s series as Goosebumps, Horrible Histories and so many latterday imitators. If you crave beautifully realised, tastefully gore-light and splatter-free sagas of mystery and imagination, not to mention a huge supply of bad-taste, kid-friendly cartoon chills, book your stay at the House of Secrets as soon as you possibly can…

Category: Bernie Wrightson

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