Warren Magazine Reading Club! 6 6

[OtherEric]

On 10/8/2022 at 10:00 PM, Axe Elf said:

I wouldn't have recognized the name of "future artist" Leslie Cabarga; he or she?  Future artist for Warren, or in some other capacity?

https://en.wikipedia.org/wiki/Leslie_Cabarga

The only book I have with a cover by him, I was surprised at how small their body of work was overall.  I recognized the name, but didn't know anything off the top of my head.

[OtherEric]

Creepy #13 thoughts:

Cover:  We get a much smaller frame this issue than on the #12, but I think it's less effective.  The colors don't really work that well for a book called Creepy.  I like Morrow's wiry werewolf design but the face just looks ugly.  His hair was perfect, though.

Loathsome lore:  agreed that it goes with the cover, a good call because we don't get a real good look at the werewolf on the lore page itself. 

The Squaw:  Not a story I was familiar with, but the adaptation by Crandall and Goodwin was quite effective on its own terms.

Early Warning:  I doubt I'll ever be a fan of Grandenetti, but I have to give him all due points for craft.  The opening sequence on page one is just magnificently staged.  The story also plays out its twist quite solidly.  So this one gets high marks across the board.

Scream Test:  Neither John Benson or Bhob Stewart (miscredited as Bob in the comic) have a lot of credits to their names in comics themselves, although Stewart was one of the biggest of the big name fans for decades.  I don't think much of the story, although I don't hold it against the writers or Torres's art.  It feels like a experiment to get the Famous Monsters fans who weren't reading the comics interested, with lots of pictures from movies worked into the story itself.  All credit for trying something different and making it work as well as possible, but sometimes you just need to try something to figure out it doesn't work.

Madness in the Method:  Nice art by Mastroserio elevates a fairly generic story by Wessler.

Fear in Stone:  An excellent piece by Colan and Goodwin.  The twist is very strong on the fair play element while still being unexpected, at least by me.  I always forget the original myth after the monster is defeated unless reminded.

Adam Link, Gangbuster:   That's definitely 8 pages of the book, right there.

Second Chance:  Not the strongest of the stories by Goodwin, but some amazing imagery by Ditko ends this issue on a very high note.

Overall, this one was slightly weaker than the average recent issue.  But for at least a few more months, even average Warren hits a very, very high bar.

[Axe Elf]

I don't really have anything to add about the werewolf cover and frontispiece by Gray Morrow, other than that it's kind of hard to believe that people really thought werewolves had hair growing on the inside of their skin.

LOL at the letter on the "Letters" page talking about how bad the Frazetta cover for issue #11 was!  And another at the guy "puffing his reefer of dried wolfbane leaves."  Is wolfbane legal for recreational use?  And no fewer than three letters agreed with my criticism of Manny Stallman's art as being sub-standard for the magazine.

We've gone from Crandall rats to Crandall cats in this issue, as Reed Crandall seems to be the official artist for the Bram Stoker tales ("The Judge's House," CREEPY #5), and it seems like most of the Poe stories adapted for Warren magazines as well.  "The Squaw" is probably the most disturbing story I have read in a CREEPY (or EERIE) to date.  Besides the cultural insensitivity and misogyny inherent in the title (which probably raised zero eyebrows at the time it was published), I have empathy for animals, and I am especially fond of cats, so the callousness with which both of the felines in this story were dispatched left me a little agitated.

First of all, I don't care if he said he didn't mean to hurt the kitten, if I had witnessed someone throwing a rock down from a tower in the vicinity of a baby animal that they knew was there and killing it--"accidentally" or not--I would have been hard pressed not to throw that waste of skin off the tower myself right then and there.  So it was highly satisfying to me when the mama cat gets her revenge on this smug tub--but then as she's sitting there righteously lapping up the blood of her baby's killer, this other bastid grabs a sword and shores her in two!

I was hoping maybe that ending wasn't really in the original short story--maybe it was one of the "embellishments" like those we have seen in the Poe adaptations to make it seem all that much more horrible--but no, I looked it up; the mama cat gets halved in a toss-off line to end the original story as well.  So I guess all the blame goes to Bram Stoker for this particularly distasteful tale, and it's a lot of blame.  I'm a little surprised at how much it affected me, but it did.

So I guess good job horror magazine--and good job Reed Crandall--but dam Bram, that's one dark soul you got there buddy.

"Early Warning" was an entertaining vampire story with a twist that wasn't obvious before getting to the end.  I didn't mind the Grandenetti art in general, but his work on faces is barely a notch above Stallman's.

I thought it was an interesting touch to use actual movie stills as part of the artwork in "Scream Test," although I hadn't considered @OtherEric's take on it as a way of pulling in Famous Monsters of Filmland readers.  (I'm not sure how FM fans who didn't normally read CREEPY would know about it unless they were already reading this story in this issue though.)  I didn't think the story itself was a particularly strong one, and it seems like it ended a little prematurely--what happens after she removes his mask?

"Madness in the Method" wasn't particularly strong either; how long could an institution really operate if everyone operating it was insane?  One might also wonder why no one ever missed the inmates that were killed or locked away in the dungeon, but at the time this was printed, we weren't too far away from that kind of barbarism in actual mental asylums, so the setting was a natural one for those kinds of horrors.

As usual, I enjoyed the Fan Club biography, this time of Angelo Torres.  I smiled at another little hidden note of sexism in referencing "his attractive wife."  If she was ugly, would they have said "his homely wife"?  It was interesting to hear of his interactions with Stan Lee, Al Williamson, and the old EC comics.

Having seen Clash of the Titans, I knew Medusa would be the twist in "Fear in Stone" as soon as Dimitrios gratuitously revealed he was Greek.

I'm about ready for the saga of "Adam Link, Gangbuster" to just be over already.  The gang wasn't even busted in this episode (but Adam became a real hothead--yuk, yuk)!

It was pretty easy to tell that "Second Chance" was a Ditko story even before I saw the credit, as it opens with one of his unmistakeable "weird dimension" splash pages:

The story really could have ended with him waking up in his casket, so kudos to Goodwin for adding another little chapter regarding the graverobbers onto the end of it to make it more than a one-twist tale.

Overall, not one of my favorite issues--both because of "The Squaw" affecting me as it did, and due to what I consider to be a little lower storytelling standard through the middle of the book than the better issues.  There were also a LOT of typos and editing errors in this one; more than I could keep track of to report.

[OtherEric]

@Axe Elf: you enumerate the issues I had with "The Squaw" quite admirably .  I just didn't feel like taking the time to articulate the issues... and I stand by my comment it was effective on its own terms.  But it's not a story i would expect to see written or chosen for adaptation today.

[Axe Elf]

Ditko is like the M.C. Escher of comic books.

[Jayman]

On 10/15/2022 at 11:06 AM, The Lions Den said:

As long as you have a valid ID...  

 

[Axe Elf]

EERIE #8 - March 1967

According to the Warren Magazine Index...

8. cover: Frank Frazetta (Mar. 1967)

1) Eerie’s Monster Gallery No. 7: Demon! [Archie Goodwin/Angelo Torres] 1p   [frontis]

2) Oversight! [Archie Goodwin/Gene Colan] 8p

3) Dark Rider! [Archie Goodwin/John Severin] 6p

4) Typecast! [Archie Goodwin/Jerry Grandenetti] 8p

5) The Day After Doomsday! [Archie Goodwin/Dan Adkins] 8p

6) The Covered Bridge! [Archie Goodwin/Bob Jenney] 6p

7) Wolf Bait! [Buddy Saunders & Archie Goodwin/Rocco Mastroserio] 8p

8) Demon Sword! [Archie Goodwin/Steve Ditko] 8p

Notes: Frazetta’s cover of a demon & a swordsman fighting in front of a giant brain was actually rather blah although most artists would be quite happy with it.  Filmmaker John Carpenter may have swiped his -script for ‘They Live’ from the Goodwin/Colan story herein as it shows a man who is accidently given a special pair of glasses that lets him see the monsters who live among us, masquerading as humans.  Adkins outdid himself with a striking art job on ‘The Day After Doomsday!’  In fact, he’s rarely been so good since.  This was Texan writer & comics distributor Buddy Saunders’ professional debut.  Based on the credits I’d guess that Saunders sent this story for the Creepy Fan Club in prose form and Goodwin liked it enough to adapt it for the comics.  Regardless of its origins, it was a good story, well rendered by Mastroserio.  Ditko turned in his usual work, which, for Warren, was always spectacular.  Best story and art here however was on ‘Dark Rider!’ by Goodwin & Severin, another story that turned up in that coverless Eerie #42.  A spooky, macabre and, well, eerie western tale set in the snowy Rockies that brilliantly evoked the quiet terror that one can experience, for no particular reason, in gray winter woods.

---------------------------------------------------------------------------------------------------------------------------------------------

"Rather blah" huh...  Well, this is one of my favorite Frazettas, just because (like the Wolfmother album that shares the Frazetta from the cover of EERIE #7) it also adorns one of my favorite rock albums--"Expect No Mercy" by Nazareth.

 

I consider it kind of typical of Frazetta's common use of amorphous color blobs--although I never really thought of it as a brain before--I thought the two swordsmen were fighting before some magnificent spacescape or something, with a rising multicolored planet in the distance.  I guess I'll see when I get to the Demon Sword story...

I must confess that I have read ahead into some of this issue--and I too was thinking of the "They Live" movie when reading "Oversight"--but I'll save further comment for the review.

Don't really remember seeing a Severin story since Blazing Combat ended (just a couple of Lore/Gallery pages), so I'm looking forward to that...

[OtherEric]

Eerie #8 thoughts:

Cover: I must disagree with the index, this is a magnificent Frazetta painting.  It may not make that much sense why there's a giant brain in the background, but it's a gorgeous piece.

Monster Gallery:  A very nice piece by Torres.  I almost wonder if it was originally intended as a cover.

Oversight:  It really does feel like Carpenter borrowed the concept for "They Live".  I also want to call attention to Colan's layouts here, the panels are all tilted, creating a nicely disconcerting effect- while never being unclear as to the storytelling.  

Dark Rider:  Severin was just so insanely good at drawing westerns.  Another case where Goodwin went for a fairly simple story to let the artist go crazy on.  Goodwin's ability to write to so many different purposes is incredible.

Typecast:  After praising Grandenetti's work in the last Creepy, his work here just seems to emphasize everything about his style I dislike.  

The Day After Doomsday:  Just stunning art by Adkins with a solid story by Goodwin.

The Covered Bridge:  Nice art by Jenney and a story that feels almost like an adaption of something from the late 1800's.  I'm not sure any of Goodwin's stories individually stand out in this issue, but the sheer diversity of what he brings to the table is amazing.

Wolf Bait:  I've said this before, but my appreciation for Mastroserio's art has just been going up the more of his Warren work I see.  Buddy Saunders winds up doing about 20 stories for Warren over the next few years.  He's also the person who has sold me about 2/3 of my Warren collection; he's the owner of mycomicshop.com.  I don't think I can claim most of my issues with his stories as file copies, though...

Demon Sword:  As usual, it's hard for me to come up with new praise for the Ditko/ Goodwin team.  I do like Ditko's design for the demon.

Overall, this is another A+ issue, even by Warren standards at this point.

[Axe Elf]

On 10/16/2022 at 12:40 AM, OtherEric said:

Buddy Saunders winds up doing about 20 stories for Warren over the next few years.  He's also the person who has sold me about 2/3 of my Warren collection; he's the owner of mycomicshop.com.

Wow, amazing bit of backstory there.  How cool that a comic retailer also used to be a writer for the books he sells!

[OtherEric]

On 10/15/2022 at 10:52 PM, Axe Elf said:

Wow, amazing bit of backstory there.  How cool that a comic retailer also used to be a writer for the books he sells!

I have been trying hard to get at least one detail above and beyond the stories themselves into all of my primary posts for the club.  Not sure I've managed it completely, but I think I've had a decent track record.

[Axe Elf]

On 10/16/2022 at 1:04 AM, OtherEric said:

I have been trying hard to get at least one detail above and beyond the stories themselves into all of my primary posts for the club.  Not sure I've managed it completely, but I think I've had a decent track record.

I know there are always several interesting points in your reviews.  I wish we had more regular members like you!

But we do seem to have a diverse group of readers, collectors, and occasional commenters that also add value on a regular basis, so I can't complain.

[Axe Elf]

I've already commented on the Cover for this issue being one of my favorite Frazettas, and an album cover for Nazareth to boot.

I don't really have anything to say about the Demon "Monster Gallery" offering; it's ok I guess, just not noteworthy to me.

A lot of the Letters this time were in praise of the Frazetta "Sea Witch" cover for EERIE #7.  One commented on Donald Norman's art style that reminded us of woodcuttings in previous issues (CREEPY #11 in particular), and Cousin Eerie explained that it is called "scratchboarding"--scratching the white lines into a black coated surface.  I used to do that with crayons as a kid.

We've already noted the similarity between the movie "They Live" and "Oversight," so I won't dwell on it.  It was a nice twist, with the glasses being mixed up and all--but unless both the optician and the protagonist both had the same prescription, wouldn't he notice that he wasn't wearing his own glasses?  Best to not ask too many questions...

I hadn't really thought about John Severin as a "Western" artist, since I know him primarily as a humor artist from CRACKED magazine, but I have to agree with @OtherEric's assessment of his mastery over western themes.  I probably enjoyed the art of "Dark Rider" more than the story, although it wasn't bad.

"Typecast" was a solid psychological thriller.  It was only when I was reviewing the issue to write this summary that I noticed how intense the contrast is between black and white in Jerry Grandenetti's art for this piece--perhaps an allegory for the contrasting good and evil in the actor?

If Severin does well with westerns, Dan Adkins does well with these post-apocalyptic landscape jobs (I'm thinking of "The Doorway" from CREEPY #11) such as "The Day After Doomsday."

I think the lesson we are learning from Archie Goodwin's stories is that if you ever come across an attractive woman who appears to need help against some sort of overwhelming evil--either walk away or actively assist the evil!  Every guy that follows a siren in distress in these books ends up regretting it.

"The Covered Bridge" was cool because it was kind of like a haunted house story, but the "house" was the bridge, and setting it as a historical piece was a little different too.  But I can't help but wondering what happens to people who tried to cross the bridge from the other direction...?

The most interesting thing about "Wolf Bait" for me has been to learn about Buddy Saunders--from the Index suggesting that this was originally sent in as a Fan Club piece, to @OtherEric's information about him doing maybe 20 more stories for Warren over the years, to the fact that the guy who wrote this story now owns a comic shop where he sells magazines with his own stories in them!  This is my favorite thing about the Warren Magazine Reading Club--learning things I never would have learned from just the books themselves.  Otherwise this would be just another tale of outsmarting a werewolf.

The way it began, I was kind of wondering how the "Demon Sword" tale was going to result in two warriors fighting to the death as the Frazetta cover depicted, so it was kind of cool that the two warriors turned out to be the same person, sort of.  Still don't get the giant brain, though; does Frazetta do a cover based on a story, or is a story based on a pre-existing piece of Frazetta art?  That the warriors fought between dimensions, rather than just there in the study, was an almost gratuitous excuse for Ditko to draw a few more interdimensional panels.

He always manages to get a few of those 3-legged octopus things swimming around in the dimensions.

Overall, nothing really affected me in this issue the way "The Squaw" did last week, but it was another solid issue that would do nothing towards dissuading me from buying again in another month (or two).

[OtherEric]

On 10/19/2022 at 4:21 PM, Axe Elf said:

"Typecast" was a solid psychological thriller.  It was only when I was reviewing the issue to write this summary that I noticed how intense the contrast is between black and white in Jerry Grandenetti's art for this piece--perhaps an allegory for the contrasting good and evil in the actor?

 

A great example of Grandenetti's craft... I'm starting to admire him more and more for his sheer skill, but nothing seems to make me actually LIKE it.  There are some creators I just wind up going "the problem is me, not them" and Grandenetti is definitely on that list.

[Axe Elf]

On 10/19/2022 at 6:21 PM, Axe Elf said:

"The Covered Bridge" was cool because it was kind of like a haunted house story, but the "house" was the bridge, and setting it as a historical piece was a little different too.  But I can't help but wondering what happens to people who tried to cross the bridge from the other direction...?

It just occurred to me that if "Oversight" foreshadowed the plot of "They Live," "The Covered Bridge"--as a haunted house story--foreshadows the plot of "Poltergeist"--tying a rope around a person, sending them through to the other side, pulling them back with the rope, and them bringing someone back from the other side with them!

Edited October 20, 2022 by Axe Elf

[Axe Elf]

CREEPY #14 - April 1967

According to the Warren Magazine Index...

14. cover: Gray Morrow (Apr. 1967)

1) Creepy’s Loathsome Lore: Magicians! [Archie Goodwin/John Severin] 1p   [frontis]

2) Where Sorcery Lives! [Archie Goodwin/Steve Ditko] 8p

3) Art Of Horror [Archie Goodwin/Jerry Grandenetti] 6p

4) Snakes Alive! [Clark Dimond & John Benson/Hector Castellon] 7p

5) The Creepy Fan Club: Archie Goodwin Profile/Train To The Beyond [Archie Goodwin & Glenn Jones/Randall Larson, Frank Brunner & Joseph J. Dukett] 2p   [text article/text story w/photo]

6) The Beckoning Beyond! [Archie Goodwin/Dan Adkins] 8p

7) Piece By Piece [Archie Goodwin/Joe Orlando] 8p

8) Castle Carrion! [Archie Goodwin/Reed Crandall] 8p

9) Curse Of The Vampire! [Archie Goodwin/Neal Adams] 8p

Notes: Morrow’s sword & sorcery cover was probably his best Warren cover.  Good stories and generally good artwork throughout, although Castellon’s art doesn’t do much for me.  The voodoo king in that Dimond-Benson/Castellon tale was supposed to be a black man.  Frank Brunner’s second appearance on the fan page depicted an ancient & vampiric Batman!  Neal Adams made his comics debut  here {although he’d been doing the Ben Casey comic strip for at least 3 years}, and it was a quite nice job too!  Joe Orlando also had a strong art job.

---------------------------------------------------------------------------------------------------------------------------------------------

This is definitely the best non-Frazetta cover of the run so far.

I remember posting about Neal Adams' comic debut in this issue back when he died earlier this year--and now here we are, reading Adams' debut ourselves in the WMRC.  It's kind of a somber, yet joyful feeling, to be organically crossing this milestone in comics history as we proceed through the Warrens chronologically.  It's one of the things I most enjoy about the WMRC, though; reading the magazines consecutively against the backdrop of history in hindsight.

Castles...  Carrion... and Crandall?  I'm sensing a high potential for Crandall rats here...

[OtherEric]

Creepy 14 thoughts:

Cover: Morrow knocks it out of the park.

Loathsome Lore:  Decent art and writing, but as is frequent with the lore pages it's hard pressed to do as much as it wants with only one page.

Where sorcery Lives:  The Goodwin/ Ditko team continues to be absolutely magnificent.

Art of Horror:  A nice twist, but Grandenetti's art continues to turn me off.  Not a lot I can add at this point.

Snakes Alive:  Castellon's art looks more like "talented amateur" than professional caliber at this point... I can see bits with lots of potential along with a lot of very underwhelming work.

The Beckoning Beyond:  Adkins & Pearson provide some first rate art for a story where Goodwin gets downright Lovecraftian.  

Piece by Piece:  Nice Orlando art as Goodwin does a riff on Frankenstein.

Castle Carrion:  Beautiful work by Crandall.

Curse of the Vampire:  This isn't even close to Adams comic book debut, despite what the index says... he had done quite a few pages for Archie, some promotional comic books, and some ads in comic form that had appeared in comics, never mind the Ben Casey comic strip the index mentions.

All this means that Adams had several years of experience in comics in various forms under his belt before he finally drew this story, which is his first multi-page comic story in a regular newsstand comic, and the first comic book I'm aware of where he's actually credited.  And it looks like full-blown Neal Adams, doing his amazing, brilliant, innovative work.  It would not surprise me to learn Adams plotted this, or at the very least Goodwin wrote it Marvel Style, because it seeems tailored to Adams.  That wouldn't have really been possible at this point since it's his first story.

Adams is arguably the most influential comic book artist of all time.  (Although you can certainly make a case for Kirby at the very least, and I might listen to a couple other names.)  Pretty much everything from the early 70's on shows his influence to greater or lesser degree.  And this is fundamentally where that all started.  

Another great issue!

[The Lions Den]

On 10/19/2022 at 7:21 PM, Axe Elf said:

Still don't get the giant brain, though; does Frazetta do a cover based on a story, or is a story based on a pre-existing piece of Frazetta art? 

From what I've read, Jim Warren just let Frank do whatever he wanted, an arrangement that turned out to be pretty spectacular...  

[The Lions Den]

On 10/23/2022 at 11:24 AM, OtherEric said:

Adams is arguably the most influential comic book artist of all time.  (Although you can certainly make a case for Kirby at the very least, and I might listen to a couple other names.)  Pretty much everything from the early 70's on shows his influence to greater or lesser degree.  And this is fundamentally where that all started.  

Certainly, a great Warren debut. I love the movement of his artwork in this story. I only wish he'd done more work for Warren...  

[OtherEric]

On 10/26/2022 at 2:13 PM, The Lions Den said:

Certainly, a great Warren debut. I love the movement of his artwork in this story. I only wish he'd done more work for Warren...  

Agreed.  His Warren work was pretty uniformly first rate.  Then again, I rarely recall seeing any art from him I would consider bad.  Scripts, yes.  Coloring, yes.  Actual ART?  Very little that wasn't first rate, and even what wasn't was still interesting.  Even his later projects for DC were fun.  Somewhere between bonkers and borderline incoherent -script wise, but they looked great.

[Axe Elf]

"Magic" does seem like a pretty broad topic to try to cover in four panels of "Loathsome Lore"--especially when one of them is about Rasputin, who I would consider more of a religious extremist than a magician anyway.  I'm a little surprised that Uncle Creepy introduced the piece as "our latest eerie effort"; it's their latest CREEPY effort, not EERIE effort.  Get your magazines straight, Unca C!

Neal Adams notably joins the list of "staff artists" on the contents page--notable since they're listed in alphabetical order, so Neal is first.

The first letter to "Dear Uncle Creepy" was fun; a nostalgic look back to the author's purchase of CREEPY #1 way back in 1964, and how he had followed every issue since then.  But the best part was listing his favorite magazines as CREEPY, EERIE, and Playboy, in that order.    And even Uncle Creepy was sympathetic to the mama cat when a gal wrote about the ending of "The Squaw"--if he's not careful, he might develop feelings like compassion and empathy--ugh!

"Where Sorcery Lives" felt kind of like the conclusion to a more epic sword and sorcery tale, but it was given enough space to breathe in its own right.  For some reason, I wasn't as impressed with Ditko's art this time around--maybe I'm just getting used to it.  For instance, the faces on the scorpion and the dragon seemed more comical than horrific, more human than creature, and too similar to each other.

"Art of Horror" was a really good spin on the "dead guy doesn't know he's dead" archetype--the dead guy doesn't know he's dead, and "pretends" to be dead to scare his friends!

The first panel of "Snakes Alive" made me smile when someone referenced going home to catch the Monkees--another one of those little backdrops of history which make my reading enjoyment all the richer (the Monkees TV Show ran from September 12, 1966, to March 25, 1968).  Hector Castellon's heavily line-based art was really interesting too--crude, but effective.  Some of the story was kind of confusing, though; I wasn't sure if it was the audience or the musicians that turned reptilian at first--and they killed the snake on the roof--but still ran away without the recorder?

The "Fan Club" was enjoyable as always, and with an extra dose of humor this time as we learned how Archie Goodwin came up through the ranks with cute little touches, like "upon showing his portfolio to the School of Visual Arts, they let him in anyway." 

I didn't think "The Beckoning Beyond" delivered very well on the promise it showed in the setup, neither in the plotting nor in the otherworldly artwork I expected from Adkins.  But we didn't really get much of his foreign landscape expertise, just a dark world of chubby demons.

I was pretty engaged in "Piece by Piece" as a first-person perspective on the Frankenstein device, and I thought it had one of the best page layouts we've seen in a Warren magazine thus far:

Unfortunately, though, the ending was pretty stupid and kind of ruined the whole story.

"Castle Carrion" was almost a better sword-and-sorcery tale than the opening "Where Sorcery Lives," despite an ending that was pretty predictable.  And of course there were...

CRANDALL RATS!

And that brings us to Neal Adams' "Curse of the Vampire."  It seems almost impossible that this work, which seems so polished and realistic compared to the likes of Stallman or Castellon or even Grandenetti, was Adams' first full-length comic story.  And Goodwin gave him a good --script to work with, sporting believable twists and counter-twists to the end.

And in the end, it's probably Adams' debut in this issue that gives it the asterisk to rise above normal Warren goodness.

P.S.  Apparently at the time of publishing, Captain Company was "SOLD OUT" of human skulls (p.64).  I shudder to think what Uncle Creepy had to do to secure more inventory...

Edited October 28, 2022 by Axe Elf