Review- QUEER VISITORS FROM THE MARVELOUS LAND OF OZ

QUEER VISITORS FROM THE MARVELOUS LAND OF OZ (Sunday Press Books, 2009; Hardcover)

Collects the Oz Sunday strips from September 4, 1904- March 12, 1905

Writers: L. Frank Baum and W.M. Denslow

Artist: W.M. Denslow

Think of it as the very first multimedia crossover. A wildly successful children's book, gearing up for it's sequel, uses the new four color sensation that shook the world...the Sunday comic section. Using the same creative team that brought you the book, you get little slices and bridge pieces of what is to come, feeding off of and into the stage productions that were also moving around the country at the time.

While I am fascinated with vintage comic strips like this, this was a tough read at times. You see, the panel layout in and of itself doesn't tell you the story, even with the line of text underneath of it. You are required to read the entire text passage on each strip page, something which I would have been very happy to do except for the fact that people in the early 1900s must have had stellar eyesight to see text this small. My eyes tested at 20/20 in December of 2014 and I still wished that I had a magnifying glass. The pages are presented in the size of their original publication, so it's not that they are shrunk down or anything.

The stories in and of themselves are fascinating snapshots of a bygone era. Baum and Denslow were co-owners of Oz, and when they had a falling out they actually had competing Oz things going on at the same time. Denslow's version of the Oz strip ran from late 1904 into 1905 and had a completely different vibe to it, being more straightforward than the early strips and reading like a more conventional strip of the day.

The artwork is beautiful and the writing is good. These strips bleed charm, even if many of the colloquialisms require some detective work. As I mentioned earlier, this was a challenging read at times due to the amount of text and how small the typeface is. I am thrilled that these strips were rescued and preserved, as they are important for lovers of comic books and lovers of The Wizard Of Oz.

Junk Food For Thought rating: 4.25 out of 5.

The OCD zone- This book is an absolute beast. It is presented in the original strip size, and newspapers were fricking huge back then. It is an awkward, unwieldy read. If you lay it flat it is difficult to see the top of the page. I recommend laying on your back.

Linework and Color restoration: These are high resolution scans. The yellowing has been removed and it looks as good as can be without full blown restoration. All imperfections found in the original comics (line bleed, off register printing, etc.) are found here.

Paper stock: Thick off-white uncoated stock. Perfect.

Binding: Smyth sewn binding, lays flat. This book is a beast. You need to lay it on your bed or your kitchen table (once you place freshly laundered towels under it on the table, of course- this is the OCD zone, you know!).

Hardback cover notes: Matte casewrap, resistant to scuffing. Cloth wrap around the spine. Classy.

Review- LEONARD STARR'S MARY PERKINS ON STAGE VOL. 5

LEONARD STARR'S MARY PERKINS ON STAGE VOL. 5 (Classic Comics Press, 2008; Softcover)

Collects Mary Perkins On Stage strips originally published on September 18, 1961- March 9, 1963

Writer and Artist: Leonard Starr

Little did I imagine that this strip was just picking up steam during the first four volumes. Holy crow this is some great stuff. The trials and tribulations of Mary Perkins' marriage with Pete Fletcher is the focus of this book. They are both busy career folks with jobs that take them away from one another often, something very uncommon during the time that this strip was making the rounds.

Starr's artwork is absolutely breathtaking, photo realism on steroids. Every panel seems so natural and lifelike, and therein lies the deception. He didn't stage shots, he knew how to draw things that looked natural. Even drapes and sofas look interesting when he draws them. He draws beautiful people as well. His panels are all “camera angles”, and his layout is his “direction”. This would have made a good television series.

The first arc in the book deals with an eccentric millionaire named Walter T. Boniface, who approached Mike O'Hare about financing one of his plays. There is a catch, though. O'Hare must play a game of Rhymie-Stymie in order to get money in dribbles of ten grand. I am not going into too many plots points, as I am of the mind that reviewers who dole out blow by blows are A) essentially doing book reports and not reviews, as there is little critical analysis being done when one does that and B) are robbing readers of the joy of discovery. One of my goals in this blog, aside from amassing obscene wealth and total world domination, is to turn others on to good books that they may have overlooked amidst the glut of collections rolled out every week.

In the second arc Mary attends a press conference where we see the return of famed make-up artist Maximus, “The Man With The Plastic Face”. This time we also meet Ivor Brand, “The Master Of Horror”, Maximus' main competitor for all of the roles in these Horror movies. This is of course a wafer-thin metaphor for the real life competition that Bela Lugosi and Boris Karloff had filling in the void that Lon Chaney's passing left. Brand is insanely jealous of Maximus' unbelievably realistic make up and special effects, and his jealousy drives him to desperate acts. Again, I will say no more, as I don't want to blow it for you.

I really, really enjoyed the Crispin Fly/ John Parrish/ Morgana D'Alexius/ Gerald Philip Jason/ Cassandra Bliss arc which brought Mary Perkins to Detroit. That was one of the longest arcs in this series thus far, weaving and ducking and growing. I couldn't put the book down that night, forgoing sleep to get some resolution. I was blown away by Starr's attention to detail, accurately depicting so much of Detroit. The performance was held at the then-newly renovated Fisher Theatre, as it was converted from a movie theater into a playhouse in 1961, as it remains to this day. There are many street shots of Detroit from when Detroit was still an economic powerhouse. The neighborhood that the Fisher is in has undergone something of a rebirth over the past few years, as the hipsters paved the way for the ballsier yuppies to return to it in numbers. We also see the State Theatre (now The Fillmore), the Fort Shelby Hotel (a Hilton hotel today), and The Willow Run Terminal, which hasn't been a commercial flight hub for decades.

The next arc deals with Mary befriending a nervous actor named Tony Abott and helping him with his self-centered mother, Cristabel Ainsley. The final arc deals with a shell-shocked veteran, Malcom “Nine-Lives” MacNab, who has come to claim a debt he feels is owed to him because he saved Pete's life when his plane crashed in Vietnam while on a photo assignment. His payment? He wants the hand of his high school crush: Mary Perkins. Post-traumatic stress wasn't something on the tip of people's tongues back then, so this is actually a bold storyline. Nowadays there are special snowflakes who claim to have PTSD from online arguments. Those folks do a disservice to those who legitimately have real PTSD.

Then there is a 16-page preview of Stan Drake's The Heart Of Juliet Jones strip, and I have all four volumes aging to perfection in my backlog. I should read them someday, as it seems great. First I am going to finish reading all of Mary Perkins On Stage books, though.

Junk Food For Thought rating: 5 out of 5.

The OCD zone- There is a production error in this book. On page 64, one of the panels is repeated and another is omitted. The corrected page is printed in the back of Volume 6 and will be corrected in future printings, so all is well.

Like most strip books, this is presented in landscape format. It takes some getting used to reading a book this wide, but the material more than makes up for it. Plus the artwork is much larger than it would be if they released it in a standard format book.

Linework restoration: Compiled from many sources such as original art, proofs, etc. The nipple line is removed and many of these strips are more complete than they were at the time of original publication. There are some strips that don't look as good as others but by and large everything is crisp and clean.

The Sundays are presented here in black and white. They were originally printed in color.

Paper stock: Uncoated stock paper.

Binding: Perfect bound trade paperback.

Cardstock cover notes: Cardstock coating has a matte coating that is resistant to scuffing.

Review- FRANK BELLAMY'S KING ARTHUR: THE COMPLETE ADVENTURES

FRANK BELLAMY'S KING ARTHUR: THE COMPLETE ADVENTURES (Book Palace Books, 2008; Flexi-cover)

Collects the King Arthur And His Knights comic strip from Swift Vol. 2 #31-53 and Vol. 3 #1-18 and the Swiss Family Robinson strip (cover dates October 9, 1954- May 5, 1956)

Writer: Clifford Makins (King Arthur And His Knights) and Johann Wys (Swiss Family Robinson)

Artist: Frank Bellamy

Frank Bellamy rules! He is a legend in the UK but is largely unknown to us colonists. This book collects his entire King Arthur And His Knights strip as well as 31 of his 40 Swiss Family Robinson strips. Why only 31 of them, you ask? Who knows! At one time I would have stared at the ceiling and gone downstairs and ordered it in the middle of the night, but nowadays I don't care enough to upgrade anymore.

King Arthur And His Knights is a lot of fun, with tons of medieval action with zero humor and snark. Swiss Family Robinson was Bellamy's first steady strip, and while it lacks the polish of his later stuff his talent was already apparent. Lesser Bellamy is better than many artists' best work.

These Book Palace Books are expensive and not easy to find if you live Stateside. If you don't enjoy paying exorbitant international shipping charges then there aren't many places to find these books other than Bud Plant. Still, they are always top notch affairs and worth the money and the hunt.

Junk Food For Thought rating: 5 out of 5.

The OCD zone- Not quite a hardcover yet not quite a softcover, this flexicover is pretty nice overall. It's more malleable than a hardback yet more durable than a softcover.

Linework restoration: Cleaned up scans. They look very good overall.

Paper stock: Matte coated stock.

Binding: Smyth sewn binding. Binding is tight but loosened up considerably while reading.

Flexi-cover notes: The cover has a dull matte finish and is resistant to scuffing. 

Review- SOCIETY IS NIX

SOCIETY IS NIX (Sunday Press Books, 2013; Hardcover)

Collects newspaper strips from 1895-1915

Writers: Too numerous to list

Artists: Too numerous to list

Wow. As much a lesson in comic strip history as it is a collection of vintage strips from the Platinum Age of Comics, Society Is Nix is required reading for anyone who wants to know how it all began. There is a lengthy introduction which traces the origin of the newspaper strip to England and Germany in the 19^th century, showing numerous examples as well as the origin of the comic book, which was originally a way for publishers to reprint newspaper strips in book format. These were also the very first collected editions, if you will. 

There are many of these strips that I would love to see full blown collections of, such as Buster Brown and Pore Lil' Mose. Due to the racist caricatures found in those strips, it will likely never happen. Folks could never look past that and see these for the historical curiosities that they are. There are several examples in this book of racist caricatures which were common occurrences in newspaper strips of the day, and it seems like something out of The Twilight Zone. Those who believe that race relations have not progressed need look no further than examples found here to see how far things have come.

The comic jam and crossovers, things which I loathe and associate with the worst of modern comic fandom, actually originated during this era. Granted the crossovers were limited to characters within the same newspaper, but happen they did. The more things change...

This was done in clay and then photographed. Amazing!

As this was the dawn of the artform, the rules were made up as they went along. Some of the early strips had numbered panels so that people could understand how to follow along, a tradition continued in the early Golden Age comic books.

There are some brilliant artists in this book. F.M. Howarth's bizarre big-headed characters and thick black lines. Jack Bryans' silhouette style of storytelling. R.F. Outcault is another seemingly forgotten genius. A.D. Reed, whose style was a precursor if not direct influence on Robert Crumb and the underground “comix” of the 1960s. Ed Carey's Simon Simple, which is worthy of it's own line of books. Of course no overview of this era would be complete without a handful of examples of Winsor McCay's genius. Norman E. Jennett is an artist whose work needs to be rediscovered and collected. Penny Ross' Mamma's Angel Child is also brilliant. I can go on and on and on but won't. Suffice it to say that I want to see more of this stuff. 

Mamma's Angel Child. 

The Katzenjammer Kids are the most represented in the book, which makes sense since they were also among the most popular of the day as well as the longest running of these strips. I love the melting pot aspect of the early strips, with artists catering to the various immigrants in their respective cities.

I am beyond thankful for the people who thought to save what was essentially disposable entertainment. If not for the collectors and pack rats of the world this stuff would have been lost entirely. As it is, much of it is gone forever. This book certainly belongs in your collection.

Junk Food For Thought rating: 5 out of 5. 

The Smashing Pumpkins used this turn-of-the-20th-century font for their 1995 double album Mellon Collie And The Infinite Sadness. 

The OCD zone- This book is an absolute beast. It is presented in the original strip size, and newspapers were fricking huge back then. It is an awkward, unwieldy read. If you lay it flat it is difficult to see the top of the page. If you read it laying on your back then you will feel it crush your rib cage as it is heavy.

Linework and Color restoration: These are high resolution scans. The yellowing has been removed and it looks as good as can be without full blown restoration. All imperfections found in the original comics (line bleed, off register printing, etc.) are found here.

Paper stock: Thick off-white uncoated stock. Perfect.

Binding: Smyth sewn binding, lays flat. This book is a beast. You need to lay it on your bed or your kitchen table (once you place freshly laundered towels under it on the table, of course- this is the OCD zone, you know!).

Hardback cover notes: Matte casewrap, fairly resistant to scuffing. Cloth wrap around the spine. Classy. 

Review- FLASH GORDON SUNDAYS 1941-1944: THE FALL OF MING

FLASH GORDON SUNDAYS 1941-1944: THE FALL OF MING (Titan, 2013; Hardcover)

Collects Flash Gordon Sunday strips from January 19, 1941- August 13, 1944

Writers: Don Moore and Alex Raymond

Artists: Alex Raymond and Austin Briggs (April 30- August 13, 1944)

Alex Raymond is one of the greatest comic artists of all time. No, make that one of the greatest artists of all time, period. One of the reasons that I have such a hard time taking so many modern artists seriously is because of artists of Raymond's caliber who set the bar so high that pretty much everything else comes up short. This may sound harsh or snobbish but I call them as I see them. His layouts, panel composition, and vehicle, city, and clothing designs became the template for futuristic scenes for decades to come. Everything that you love owes a debt to Alex Raymond.

Raymond began simplifying and streamlining his style as 1944 wore on, with him eventually turning the strip over to Austin Briggs. While Briggs is a fine, fine artist in his own right it is like when Tommy Bolin stepped in for Richie Blackmore in Deep Purple. As fine as his style is, you can't follow that no matter how hard you try.

This was a wonderful read, devoid of humor and snark. Stuff like this makes many modern comics seem laughable and amateurish and only reinforces my disdain of event driven crossovers and “mature” comics. Titan has announced a fourth and fifth book in the line but neither have materialized, and it has been a while now so I am getting worried that they won't ever see the light of day.

Junk Food For Thought rating: 5 out of 5.

The OCD zone- These strip collections are in “landscape format”, which means that they horizontal in layout.

Linework and Color restoration: These are cleaned up scans from newspaper pages, so the anomalies found there (off register printing, line bleed, etc.) are at times present here. Some of the later strips are from slightly inferior sources but look perfectly fine. The IDW collections of this same material boast full blown restoration. The long out of print Nostalgia Press books were shot from the original art.

Paper stock: Thick uncoated stock.

Binding: Smyth sewn binding, lays perfectly flat. This book will last the rest of your life.

Hardback cover notes: No dustjacket. Image is on the paper casewrap. Casewrap has spot varnish and effects like foil dye on the logo. Coating is thick and scuff resistant. 

Reviews- LEONARD STARR'S MARY PERKINS ON STAGE VOL. 2 and MAGIC WIND VOL. 4: THE BEAST

 LEONARD STARR'S MARY PERKINS ON STAGE VOL. 2 (Classic Comics Press, 2007; Softcover)

Collects the Mary Perkins On Stage strips originally published on January 12, 1958- April 19, 1959

Writer and Artist: Leonard Starr

This is where more and more of my comic buying dollar is going to these days: the classic comic strip. Characterization is king, with story being the center of attention. Starr makes every single character believable and makes you care what happens to them whether you like them or not. Starr's beautiful artwork is heavy on the photo realism while not relying on Photoshop. In other words, pure craftmanship. If gimmicks and crossovers bore you then come and join me over here. You may like what you find.

Junk Food For Thought rating: 5 out of 5.

The OCD zone

Linework/ restoration: Excellent, with many strips taken from proof sheets.

Paper stock: Uncoated stock.

Binding: Perfect bound trade paperback.

Cardstock cover notes: Slightly glossy coating.

MAGIC WIND VOL. 4: THE BEAST (Epicenter, 2014; Softcover)

Collects Magic Wind #4 (cover date October, 1997)

Writer: Gianfranco Manfredi

Artist: Pasquale Frisenda

Colorist: Laura Piazza

Italian comics are a new thing for us Americans, as the English language translations have just started creeping over here during the past couple of years. They are a more violent, more mature outing than our spandex-clad superhero comics. Epicenter has been licensing the newly colored versions from the European market for the English speaking world with fresh translations...albeit with several typos along the way. Good stuff regardless.

Junk Food For Thought rating: 4 out of 5.

The OCD zone

Paper stock: Glossy coated stock.

Binding: Sewn binding.

Cardstock cover notes: Matte coating which had a scuff or two by the time that I was done with it, and I handle my books gingerly. 

Review- FRANK BELLAMY'S HEROS THE SPARTAN

FRANK BELLAMY'S HEROS THE SPARTAN (Book Palace Books, 2013; Hardcover)

Collects Heros The Spartan comic strips, (Books 1, 2, 4, 6, and 8) originally published in Eagle on October 27, 1962- October 26, 1963, June 9- October 17, 1964, and June 6- October 17, 1965 and the Eagle Annual September 1965

Writer: Tom Tully

Artist: Frank Bellamy

Limited to 720 copies worldwide, this deluxe hardcover has made me a convert to The Church of Bellamy. Once you see the light you too will begin hunting down all of these expensive, obscure British books. I have quite a collection of them going now. Kill me.

Heros The Spartan is, obviously, a Spartan from Rome. His adventures see him encountering Jackal-Men, sea serpents, armies of giants, monsters, pagan god cults, and Druids while taking him as far as Libya. This is incredible fantasy stuff. Being British, there is way more violence than American comics would allow at that time.

You know what I really loved about this strip? The complete lack of humor and snark. No crappy one-liners, no self deprecation or any of that other crap. Those things have helped ruin comics.

Bellamy's artwork is breathtaking. It is honestly quite distracting. I would have to pore over each double-page spread strip, read it, and then go back and gawk for a while. It took me six months to finish this book because of that.

Stuff like this makes 99% of comic books published seem like amateurish crap. This is high adventure that is also high art. This strip belongs on walls in museums. Forget chase variants and crossovers and pick up Heros The Spartan! You can thank me later.

Junk Food For Thought rating: 5 out of 5.

While it is not available stateside yet, soon FRANK BELLAMY'S HEROS THE SPARTAN HC will be available at InStockTrades! Once it is, I will update this link.

The OCD zone- This strip was originally published as a two page centerfold. There is some slight gutter loss here and there, with this example being the worst.

The absolute worst case scenario in terms of gutter loss. The rest of the book is quite good in this regard.

Sometimes there is zero loss, other times very very minor, other times maybe 1/8”, and the worst being slightly more. This wouldn't annoy me as much as it did if the word balloons didn't cross the gutter in the books. Sometimes a letter of a word gets swallowed, and the worst case scenario (seen above) is two letters get lost. It is still readable but it takes a second of guesswork. It didn't detract from the quality of the story but it did annoy me. 

The only other complaint that I have is that is that Books 3, 5, and 7 were omitted because Luis Bermejo handled the art duties. Bermejo is great in his own right and I would love to see these strips as well. Book Palace made a judgment call to go with Bellamy strips only with this book. The disruption in story is only momentary, as the weekly strip was designed in such a way as to let anyone walk in at any time and get it. It is really a lost art form.

DVD-style Extras included in this book: Foreword by John Byrne. (2 pages)

Foreword by Dave Gibbons. (2 pages)

Foreword by Walt Simonson. (2 pages)

Foreword by Ken Steacy. (1 page)

Foreword by John Watkiss (1 page)

Introduction by Norman Boyd. (8 pages)

Lighting The Darkness: An Insight Into The Life And Work Of Frank Bellamy, loaded with rare unseen artwork, full page sample strips of other Bellamy work, and an interview from the 1970s by Dez Skinn and Dave Gibbons. (37 pages)

Linework and Color restoration rating: 5 out of 5. These were mostly scanned from original art boards, meaning that this material has never been seen by the general public in this quality and detail. Think of it as a frame by frame restoration of a classic movie, finally available on Blu-Ray disc.

Paper rating: 5 out of 5. Incredible thick dull matte finish uncoated stock, although it is very smooth feeling. Whatever sorcery they used to make this paper, or no matter how many virgin Amazon rainforest trees the Chinese paper mills used to make it do not matter so long as I have a book as beautiful book like this. I am of course kidding...or am I? Face facts, folks- if you collect dead tree editions of books then you can't be that concerned about the environment, can you?

Binding rating: 5 out of 5. Smyth sewn binding, ten stitches per signature. The book lays completely flat from the first page to the last, which is a godsend given how massive it is! (11 X 14 inches, or 270 mm X 360 mm for my friends out there in the non-English units of measuring system world outside of the United States.)

Hardback cover coating rating: 5 out of 5. The image is printed on the casewrap; no dustjacket provided. The images are spot varnished and semi-glossy, while the solids have a dull matte finish coating which seems fairly impervious to scuffing.

Review- BRENDA STARR: THE COMPLETE PRE-CODE CLASSICS VOL. 1: GOOD GIRLS, BONDAGE, AND OTHER FINE THINGS

BRENDA STARR: THE COMPLETE PRE-CODE CLASSICS VOL. 1: GOOD GIRLS, BONDAGE, AND OTHER FINE THINGS (Hermes Press, 2013; Hardcover)

Collects Brenda Starr Comics Nos. 13 and 14 (or 1 and 2 as listed in the indicia of this book, originally published by Four Star Comics ) and Brenda Starr Nos. 3-8 (originally published by Superior Comics, cover dates September, 1947- May, 1949)

Writer: Unknown

Artists: Dale Messick, Matt Baker, and the Iger Studios artists

I'll admit it. The sensationalist title and cover image made me look twice. Brenda Starr? Who fucking cares about Brenda Starr? And yet I was intrigued to eventually pick this book up. Once I flipped through it it got bumped up to the reading pile. Sorry seven boxes of unread Marvel Masterworks, PS Artbooks, normal-sized non-Warren Magazine Dark Horse Archives and DC Archives, but this seemed intriguing enough for me to pass you all by. 

Brenda Starr began life as a newspaper comic strip like all “respectable” properties. Comic books in those days were the ghetto, where creators who couldn't make the big time went to peddle their wares. The strip was around for seven years by the time that a comic book counterpart was launched. These comics, like the strip, were done by Dale Messick. The comic book didn't seem to have the legs that the strip did (no pun intended), as there weren't very many issues published when compared to the strip, which ran until 2011. An interesting tidbit that I came across while researching this post was that June Brigman of Power Pack fame did the artwork on the strip for a number of years. Hermes Press, please compile these in hardcover and TAKE MY MONEY.

Back when America was great because employees had no rights!

Brenda Starr is a reporter in an age when females weren't taken seriously in the workplace. Indeed, the rampant sexism of the era is present throughout the comic book. It's unintentionally funny here in 2014. The overly sensitive may be offended by these non-politically correct comic books. It's funny how everyone wants to marry Brenda, since people supposedly didn't have sex before marriage in “the good old days”. The comic, like the strip, takes place in Chicago, but the street names and landmarks don't ring any bells for me. I have been to Chicago many times over the years and love it there.

One thing that I found interesting was the transition in #8 from hand lettering to the Leroy mechanical hand lettering template most commonly found in EC Comics. I recognized the clear lettering style immediately. I wish that more comic books used this font, even today. 

The non-Brenda Starr back-up stories are also included.

While the title of this book might lead you to think that this is a cheesecake comic, there isn't much in the way of innuendo or double entendres. Golden Age Wonder Woman has this beat hollow. This is still an entertaining read that bleeds charm. I enjoyed this so much that I have since picked up Hermes Press' Brenda Starr daily and Sundays strip book. I hope to read it someday. Hopefully we will see a volume 2 in this line, which should collect #9-12 from Superior Comics, #13-15 from the 1955 Charlton series, and the one-shot published by Dell in 1963.

Junk Food For Thought rating: 4.25 out of 5.

The OCD zone- The cover image found on the dustjacket is repeated on the casewrap of the hardback.

DVD-style Extras included in this book: Introduction by Ron Goulart (3 pages)

Focus: Restoring Brenda Starr (2 pages)

Several pages of original art, water color guides for Sunday strips, and other Dale Messick art found throughout the book.

Linework and Color restoration rating: 4.5 out of 5. These are digitally cleaned up high resolution scans. This warts and all approach allows you to see all of the imperfections present in the original comics including but not limited to line bleed and off register printing. Some fans love this authenticity, others want full blown “frame up” digital reconstruction. I have rated these based on the quality of the restoration as cleaned up scans. They look pretty sharp.

Paper rating: 5 out of 5. Semi-glossy coated stock with a slight sheen. I tell you, I could sit and huff these sweet smelling Chinese made books all day.

Binding rating: 5 out of 5. Smyth sewn binding, 7 stitches per signature. The book lays about 95% flat in one hand.

Hardback cover coating rating: 4 out of 5. The casewrapping suffered a few very light scuffs during handling and reading, which is disappointing considering how gingerly I handle my books. I'm not the Samsonite gorilla, folks.

Buy BRENDA STARR: THE COMPLETE PRE-CODE CLASSICS VOL. 1: GOOD GIRLS, BONDAGE, AND OTHER FINE THINGS HC at InStockTrades!