Fast Five Q&A with S. Craig Zahler - Hug Chickenpenny: The Panegyric of an Anomalous Child - Dread Central
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Fast Five Q&A with S. Craig Zahler – Hug Chickenpenny: The Panegyric of an Anomalous Child



Earlier this month we posted an excerpt from writer-director S. Craig Zahler new novel, Hug Chickenpenny: The Panegyric of an Anomalous Child; and now, to make sure you’re keeping the project on your radar prior to its release tomorrow, we have a “fast five” Q&A with Zahler to share, in which he discusses the book, his vision for bringing it to the big screen, his partners on the project, and lots more… so strap in, and read on!

Dread Central:  Thanks for taking time out of your busy schedule to chat with us, Craig.  People may not be aware of how versatile your career has been.  In addition to being an award-winning screenwriter, director, cinematographer, AND musician, you’re also a published author with several novels under your belt and a new one, Hug Chickenpenny: The Panegyric of an Anomalous Child, heading our way in early 2018. What’s it like wearing so many different hats?  Exhausting at times, I would imagine! But is there one that you connect with more than the others? Or one that you turn to as a respite when you need some breathing space?

S. Craig Zahler:  I came into an interest in moviemaking really early, at about 13. At the same time, I got really into reading H.P. Lovecraft, Robert E. Howard, and a lot of that sort of stuff. Those interests developed concurrently. And my interest in music probably developed a couple years later, though already at that time I was a big fan of Pink Floyd and a couple of other bands. For me, there’s always been two facets of stuff I’m interested in: One is learning a lot about it, be it a heavy metal band or an independent gore filmmaker or a pulp author or a painter or a jazz musician or whomever. The other facet is then trying to make my own version of whatever art I’m interested in. From a pretty early age I was writing fiction, I was roping my friends into being in my home movies, and I was drawing, as animation is probably my most consistent interest throughout my whole life. And, you know, I went to film school with the thought of working as a director and then focusing more on animation and cinematography. And after I got out of film school and shot a bunch of movies I didn’t really like, I realized that it wasn’t that satisfying for me to just make somebody else’s stories come to life, and I focused more and more on writing. And I think one of the reasons I’ve done more writing than anything else is this was something I could refine and get better at on my own. At this point in my life I’ve written 50 screenplays and eight novels; and that’s something where, if you have the discipline and are critical and apply that criticism to your own work, you can improve. At least I think so.

The music thing is an ongoing interest. I’m self-taught as a drummer. I’m a pretty terrible guitarist, but good enough I can write riffs, and I am a below average singer who was once a terrible singer, but I can sing well enough that I can come up with melodies and basic ideas to apply to the guitar parts or the basslines or whatever else I’m writing. And the musical aspect of my career is certainly aided in large part by one of my closest friends for more than 30 years, Jeff Herriott, who is a professor of music in addition to being a great friend of mine and a co-collaborator in most of my metal bands and the scores for all three of my movies.

In terms of it being exhausting, right now I’ve been burning pretty hot since 2013, when I was writing Mean Business on North Ganson Street and prepping for the Utah version of Bone Tomahawk that had a kind of different cast and didn’t happen and just kind of rolling from project to project. I’d like a little bit of a break before I get into movie number four or book number nine, but I’m happy that I now have a way to create a lot of different things and get them out into the world. I’m seizing those opportunities, but also, I look at pictures of myself in pre-production on Bone Tomahawk, and that was four years ago, and now I look ten years older. So I also need to slow it down for that reason. I don’t need to age ten years for every four I live.

Photo Courtesy of Getty Images/Photo Credit: Dominique Charriau

DC:  I would imagine screenwriting and penning a book are similar, but in what ways do they differ? And especially with Hug Chickenpenny, which you’re also going to be directing, what’s the process been like to now turn a 264-page tale into a tight, screen-ready story?  And since you’re a musician also, do you already have the soundtrack for it worked out in advance?

SCZ:  My intentions at this point are to do this story in full; this book is the script. I will reformat it, but we’re doing all of it. So I want the movie to be the entire book and for the movie to be black and white. And none of these are making the movie any easier to get made, and it will not be a short movie, either. But this idea has existed for me for 21 years, and now it’s coming out into the world in the form of a book, as my single favorite piece of the eight novels, 50 scripts, and two movies I’ve done, Hug Chickenpenny sits at the top. So if it takes awhile to get the movie made, and made properly, I’m okay with that. There’s no rush.

As was the case for Bone Tomahawk, which had very little score, and Brawl in Cell Block 99, which had far less—maybe only three minutes of score and all of it is transitional material—the musical aspect for Hug Chickenpenny is going to be sparse and interstitial stuff at the most. This is a story that I think has a lot of horror elements and pretty heavy drama as well as all of the weird stuff and comedic stuff that goes on. My aesthetic has always been to “make the scene work without music” and don’t use that as a crutch. And while there have been great movies that did use music to enhance the emotional reaction, it’s unlikely that I am going to go that route on Hug Chickenpenny. It’s unlikely that I would have a horror sequence or a sad sequence and put horror music or sad music to try and enhance it. I’m just going to try to make the best version of it with the images and the characters and the concept of the piece and see what it brings out honestly with what I was able to get on the set and assemble in the editing room.

DC:  We’ve heard that Hug Chickenpenny is a really unique book, and while it’s not strictly horror, it does have a lot of genre elements. What do you think horror fans will enjoy about it? And can you elaborate a bit on its Gothic nature, especially with regard to the work you’re doing with The Jim Henson Company, which has come on board to produce and create/build the animatronic puppet versions of the titular character, “Hug.”

SCZ:  I am very aware that there are people who like Bone Tomahawk and Brawl in Cell Block 99 who would read Hug Chickenpenny: The Panegyric of an Anomalous Child and say, “What the hell is this?” or spend the whole time waiting for a dude to get cut in half. So some of those people may say, “Well, this didn’t deliver what I like most in Zahler’s work.” And that’s okay. There are also many people who would enjoy Hug Chickenpenny who would be turned off by the violence in Bone Tomahawk or Brawl in Cell Block 99. It’s a different piece… But whereas Bone and Brawl really go off the deep end with graphic violence, and Dragged Across Concrete gets pretty rough but isn’t as violent as these other two pieces, Hug Chickenpenny doesn’t go there at all. So if what was most appealing about my first two movies was the carnage, then Hug Chickenpenny won’t be that. But at the same time, the horror crowd in particular responded really strongly to both of those movies, even though Bone Tomahawk to me is a western that has elements of horror, and Brawl similarly was a crime piece that had elements of horror. Hug Chickenpenny has probably more elements of horror, with intimations of supernatural and wondering about Hug’s parentage and some longer horror sequences, even if the end result isn’t incredibly violent in any spot.

I’ve already had a few meetings with the designers at Jim Henson’s Creature Shop, and recently we closed our deal with the Jim Henson Company, which is going to come on board and co-produce the movie with us. And I couldn’t be more thrilled about that. They are the—it isn’t even that they are the best partners; they are the only partners… Sometimes when I talk about his anatomy, I’m going to want to show interior shots of his anatomy and I want the animatronic of Hug to be extremely detailed and at the edge of how this technology can work, but also flexible so we can have a puppeteer in there and it’s not the fully posable, slightly robotic, animatronic creation where everything is done that way. That’s where we’re at now in having that discussion.

DC:  You had a pretty incredible 2017 – congratulations on the success of Brawl in Cell Block 99!  It has revived Vince Vaughn’s career in a big way, and the film showed up on a lot of end-of-the-year “best of” lists.  You’re so adept at interweaving genres – western, action, thriller/drama, and always a tinge of horror.  Is that something you consciously strive for, or is it just organic in your development of a project?  What films, particularly horror movies, have influenced your work the most?

SCZ:  You know, I’m aware that when I say this it sounds dismissive to the audience, but it shouldn’t, so try and let me phrase it carefully. This is the story I wanted to tell. And I want people to like it. But I’m not thinking about what audience it’s going to grab. My writing process is—I surprise myself. So in the case of writing Hug Chickenpenny, it was initially the idea of doing something different than what I’d done before. But it mainly came from wanting to tell this tale and see how I would deal with something where there wasn’t a lot of violence. I’m just as interested in the character moments as I am in the violent ones and as I am in the humorous moments. So in the case of Hug Chickenpenny, it gave me a lot of room to really explore the character stuff.

Also, one thing that I did in this piece that I haven’t done as much in my others is deal with a different scale of time. And so whereas Bone Tomahawk and Brawl in Cell Block 99 both take place in a fairly short period of time, in Hug events are going quickly, and there’s this feeling of dread as bad things are getting worse and worse. Things are becoming terrible. This is a really different kind of piece. And you go with this character on a much longer journey; even though it is not an especially long book, you get a sense of the complete life of this character.  And so that is a very interesting thing for me; instead of having something necessarily plot-driven—though I am inclined towards simpler plots in most cases anyways—instead of having something that’s plot-driven, all of my pieces—almost all of my pieces—are character-driven.

Gremlins was a game changer for me. I was, I think, 11 when it came out, and I saw it multiple times in the theater. I had a Gizmo stuffed animal, and I had the movie book that came with it and Gremlins shrinky-dinks and a lot of stuff. And at that time I wasn’t really into horror; and, clearly, that is a horror movie, and… wow, did they get away with a lot in a PG movie! I guess that movie and Temple of Doom are the reasons we have PG-13. So that was a big door opener for me, realizing I enjoyed the nastier side of the dramatic experience. It has a lot of other things, too; and the creatures in particular were something I really responded to and appreciated the craft of making them and how lifelike they seemed. There’s just some really great animatronics and some really nice puppeteering. So that’s something you’ll see, a direct connection between that and Hug Chickenpenny, where Hug will be created in a similar manner and will be a puppet and an animatronic and a tangible entity that performers are acting with in all of the scenes, not a CG creation after the fact.

Re-Animator was big, and I think I saw that in seventh grade, so let’s say I was twelve. And that was a big one for me to see because I saw the unrated version. I saw a lot of things I hadn’t seen before and was initially horrified and repulsed by the violence and, you know, the intestine strangling, all of that. And then I realized I liked it. So that was more or less the movie that turned me around the corner into a kid who, within a year, had posters from Fangoria on his wall and was a gore hound with a VCR, who would bike to the video store every week and would just rent anything that looked like it was a horror film.

So those were the big ones for me. Certainly David Lynch’s material has interest for me. Around that time I discovered Eraserhead, which I think is particularly striking. There’ve been a lot of different pieces over the years. Night of the Living Dead, Rosemary’s Baby, Texas Chain Saw Massacre—those are three long-standing favorites of mine, all of which I’ve seen multiple times. There’re a lot of different pieces. But definitely Gremlins and Re-Animator were the big stepping stones into the larger world. And Gremlins still remains a top favorite of mine to this day.

DC: Our typical last question is: What’s coming up next? But no doubt you’ll have your hands full with the Hug Chickenpenny adaptation. Is there anything else you have cooking for the near future that might be of interest to the horror crowd? 

SCZ:  I intend Hug Chickenpenny to be my fourth movie, and it’s obviously very different from the first three, which are sort of this collection of men being mean to each other. We can call it “The Mean Men Trilogy.” And then after that I have interest in a few different pieces. One of them is a horror piece that would be quite extreme called Flesh Beneath the Concrete. One is a western feature that I will be writing imminently. And the third is possibly doing a limited series from my western novel, A Congregation of Jackals. So those are the three most likely candidates.

And something else that I have a lot of interest in—but it would be going on more concurrently with other projects—is doing an animated, adult fantasy piece. That’s the kind of piece that I would probably like to co-direct with somebody who has far more experience than I do in animation, though I was trained and have a background in it. And I’d like that to either be hand-drawn in a kind of older style and fluidly done in the style of masters like Richard Williams. That’s a project I hope to get going, but that’s gonna be a tough sell because adult animation in the United States is seriously rare, if not totally nonexistent. But I can’t think what a comparable piece would be that’s in existence anywhere at this point.

So there’s the fantasy-animation piece that I want to do and then the western feature, the western limited series, and the horror piece… I’m going to kinda see what opportunities are there and how long the experience of making Hug Chickenpenny lasts and see where my life is at after going through another big production experience.

DC:  BONUS QUESTION: Since we’re just coming off the holiday season, what are your favorite films to watch during that time of year? Anything you can recommend to our readers that they might keep in mind for next year?

SCZ:  Well, let me go back to Gremlins again, and say that’s a really nice one to see in the Christmas season. I’m a purist, as much as I can be when it comes to movie watching, so with movies that were shot on 35mm, I want to see them projected on 35mm, so I tend to see what’s running in revival houses. So it’s a little more dependent on what’s out there. But Gremlins is certainly a really good movie for this time of year. I also think Fargo is particularly good, with all that snow, to put you in that sort of experience; and, perhaps most people aren’t choosing Death Wish as their Christmas movie, but it was pretty enjoyable to check out this year. And I make an effort to watch holiday specials. So I’ll always watch something that looks like it’s going to be fun. There are one or two good Muppet specials, like “Letters to Santa,” that I enjoy; and then there’s a Pee-wee Herman Christmas special that’s particularly funny. So I enjoy watching a bunch of that stuff even though I’m not religious and not Christian if I were. So I do get into the spirit with that and have a nice time watching all that sort of stuff.

Cinestate releases the trade paperback original Hug Chickenpenny: The Panegyric of an Anomalous Child on January 23, 2018.

Hug Chickenpenny is an anomalous child. Born from tragedy and unknown paternity, this asymmetrical and white-haired baby inspires both ire and pity at the orphanage, until the day that an elderly eccentric adopts him as a pet. The upbeat boy’s spirit is challenged in his new home and as he is exposed to prejudiced members of society in various encounters. Will Hug and his astronautical dreams survive our cruel and judgmental world?



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Battle of the Hell Priests: Gary J. Tunnicliffe’s Idea for Hellraiser: Judgment Sequel



I think it’s safe to say that many of us were pleasantly surprised by director Gary J. Tunnicliffe’s Hellraiser: Judgment. The film was a fun blast of twisted horror, and Tunnicliffe’s performance as The Auditor was a killer addition to the Hellraiser lore.

But has the director thought about a sequel to his film? Not during shooting evidently.

“I had no concept of a sequel, a spinoff, nothing at all,” the director told Screen Rant. “People suggest, ‘Oh, you’re trying to write a sequel for The Auditor and stuff like that.’ It’s like, ‘Are you f***ng kidding?’ I was just trying to swim to the other bank and survive without being eaten by the sharks.”

But now that filming is long over with, Tunnicliffe says he does have some ideas for a sequel.

“I have thought about it afterward, what I think would be great fun,” he says. “Maybe a new Cenobite ruler comes in or takes over, and a new head priest comes in, and it’s not working out and clearly this person, this Cenobite’s not doing a great job. And underhandedly, The Auditor is leaving a trail of breadcrumbs for the guy who is Pinhead to find his way back, and he gets pulled in. And then it’s like, he turns up, and it’s like a showdown between the newly born Pinhead and this guy who’s taken over his mantle… we do a bit of a standoff, and it’s like a battle of the Hell priests.”

Battle of the Hell priests? Pardon the pun, but Hell, yeah! Would you like to see Tunnicliffe’s Hellraiser sequel? Let us know below!

Hellraiser: Judgment stars Damon Carney, Randy Wayne, Alexandra Harris, Jeff Fenter, Helena Grace Donald, Grace Montie, John Gulager, Diane Goldner, Heather Langenkamp, and Paul T. Taylor as Pinhead.

The film is now available on Blu-ray, DVD, and digital.

Special features:

  • Deleted and extended scenes
  • Gag reel


The dreaded Pinhead returns in the next terrifying chapter of the classic Hellraiser series. Three detectives trying to stop a diabolical serial killer are sucked into a maze of otherworldly horror, where hellish denizens including the Auditor, the Assessor, and the Jury await to pass judgment.


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Such Sights to Show You – 02/21/18



What’s in a name? In this latest edition of Such Sights to Show you’re about to find out a great deal, that’s what! Read on for the usual cartoon shenanigans.

Kevin D. Clark is a cartoonist from Scotland who grew up watching classic monster movies, cartoons and wrestling, as well as reading comics. He started drawing at an early age and hasn’t stopped since. His sense of humor is a veritable cornucopia of the wacky and weird inspired by the likes of Monty Python, Mel Brooks, “MST3K,” Rab C. Nesbitt, as well as his older brother.

Kevin was diagnosed with Aspergers and because of that, he tries to push himself to work as hard as possible. Kevin also has a self-published comic book and helps run a film club for autistic people. He has recently earned a degree in cartooning from the London Art College and he’s pretty sure that he could take an octopus in a fight.


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Last Meeple Standing

Machine of Death: The Game of Creative Assassination – Last Meeple Standing Game Overview and Review



I’m going to kill you. Well, actually, me and few friends are going to snuff you. We are going to use… ummmmm… a bunch of old socks, a bucket of lighter fluid, and a piece of quartz to do it. Believe it. This is all because a machine that took a drop of your blood told you your cause of death would be “Blaze,” whatever that means. As assassins, it is our job to see you shuffle off your mortal coil in that manner (somehow, no matter how vague) using only a random assortment of items to force that death upon you. It’s a dirty job, but someone has to do it. And we LIKE our job. It makes us laugh, you see.

Photo Credit: Tiffany Hahn

In the world of Machine of Death: The Game of Creative Assassination (MoD for short), a device has been invented that uses a single drop of your blood it takes when you stick your hand in it to predict, in VERY vague terms, how you are going to die. The catch lies in that vagueness. When the machine spits out the card with your cause of death, it is going to be one or two words that may or may not make any sense to you. For example, the card that pops out of the machine might say “Elephant.” How the hell is an elephant going to kill you if you live in Modesto? Just avoid circuses and trips to Jakarta, right? Wrong. What about that billboard for Elephant brand tires that falls off a four-story building and squishes you into strawberry jam?

MoD puts players in the role of killers whose job it is to make sure the Machine of Death pays off in…well…death. The problem, and the fun, of the challenge is that you HAVE to use a randomly drawn assortment of items to send your victim on to the next life. If MoD didn’t have such a dark theme, I’d call it a party game. Wait…fuck it. It IS a party game. Who am I kidding? It is hysterically funny to try, within a limited amount of time, to bring about the timely end of your target.


Shall I start drooling all over this game right away? Yes! Commence drooling. The hefty, glossy game box comes packed with goodies: a huge pack of Death Cards, the cards that pop out of the MoD; a big box of Black Market Gift Cards, the items used to kill the victims with; a pack of Specialist Cards, bonus cards you can be awarded with to aid in our murderous adventures; a book of Target Intel Sheets, slips where you list various important traits for your victim; a wooden Fate Coin, which is flipped at various points in the game to help with decisions; a Mission booklet; and a nifty, red, custom die with a skull symbol for the “1.” All of this schwag is top-notch, high-quality stuff. The art on the cards is whimsical and very functional. The Death Cards look like those cards that used to pop out of the Fortune-Telling Gypsy booths on the boardwalk when you put a quarter in. The Black Market Gift Cards are designed to look like credit cards on one side with cute iconography identifying the item in question. The Specialist Cards have really fun artwork depicting the helpers you are awarded with if you kill particularly well. Lastly, anyone who frequents this column knows I’m totally nutty for custom dice, and this game scores with theirs. An embossed skull? Yes, please!


Separate out and shuffle the Death, Black Market Gift, and Specialist Card decks, and place each deck nearby face down. Draw one Death Card face down to the table. Count out 20 of the Black Market Gift Cards face down as your “shopping budget” for the game and put the rest away. Create your victim on an Intel slip using the tables in the rule book or select one from the Mission booklet. This will give the players some important and helpful insight into the target, allowing them to manipulate both their tools and the target for the kill. Turn over the Death Card and draw three Black Market Gift Cards face up in a row. Put the sand timer nearby, and you are ready to annihilate the victim.


It is important to remember that the game is more about fun storytelling than beating the dice. The more the players work together to come up with good stories, the better the gameplay is going to be. If you lose, so what? The game sets up in moments and is ready to go again, with fresh people just lining up to visit with Death.

Each game lasts for four rounds (four assassination targets). Each round you will do the following in order:

  1. Generate a target.
  2. Make an assassination plan.
  3. Attempt the kill.

If you fail at any kill, you lose. Too bad, so sad. If the kill is successful, you stand a chance to earn bonus Specialist Cards before moving on to the next assassination.

To generate a target, you use a series of simple tables and basically answer questions Mad Libs style to come up with Name, two pieces of intel (such as likes, dislikes, fears, beliefs, etc.), and a location for them. This meta-game is sorta fun all by itself. Making up goofy characters to slaughter shortly thereafter is a good time, right?

Next, the players look at the gift cards that have been turned up and try to come up with a way to use them to bring about the demise of the target. Keep in mind that these gifts are not going to be simple, single words, like: chainsaw, acid, or rifle. More than likely, they will be something like “something red.” In this case you could say, for example, it is a pile of bricks, a red dump truck, or a red baseball bat. String together a story of sorts from all of the items you have to form the death plan. If you had the cards music, something red, and batteries, you could come up with: “We’re going to block him into an alley with a red dump truck, confuse him with loud Skinny Puppy music so he doesn’t try to escape, and then pour battery acid on him from above.” All is good and well, but now you have to, as a team, try to assign a difficulty, from 2 (easy) to 6 (hella hard), for each of the three parts. How hard is it to accomplish each part? You might say that backing the truck block the alley is easy, so a 2, but getting enough battery acid together to kill the person might be hard, so maybe a 5.

To attempt the kill, you turn over the sand timer and get started as quickly as possible, because once the timer runs out, it’s game over, man! Starting with the first item in your plan, select a player to roll the die, in an attempt to roll the decided-upon difficulty level or greater. If you succeed, move on to the next item! If you fail, discard that item card, draw another, and revise you plan using the remaining items. The remaining items can operate the same way they did before, or you can create new uses and new difficulty levels for them. Then start over, attempting to succeed with all three items in your plan. If you roll greater than the difficulty level you set for all three items, your assassination is carried off for that victim. If you still have time on the clock, roll the die and consult the Aftermath table, which will let you attempt to flee the scene, establish an alibi, cater the target’s wake (really), etc. by drawing one item card and attempting a plan against that item. Win and you get to roll again, draw again, and try again if there is still time on the timer. For each successful roll, you get to draw a Specialist card and set it aside for the moment. These cards allow you to switch them out for item cards on subsequent assassination attempts, basically giving you more options of a unique and interesting kind (e.g., “water into wine,” “killer solo,” or “flying saucer ride”).


You win by successfully killing all four targets. Good job. You’re a serial killer. You lose if at any time you run out of both Gift Cards and Specialists before all four targets are dead. You also lose if you fail to kill a target before the timer runs out. What? You think you get a lifetime to snuff anyone you want? Guess again, killer!


By now, my enthusiasm for this game should be self-evident. I fricking LOVE MoD! The components are great, but the gameplay is even better! You’ve got a winner already, but I’ve been holding some info back from you, readers. This game is based on two awesome books of short stories delving into the possibilities of the wicked machine: Machine of Death and This Is How You Die. Both of them are chock full of hysterical…and creepy…stories of the fates of folks who fall victim to the machine. Not only that, but the website dedicated to this game,, is packed with bonus goodies for players: an Intel randomizer, timer music albums you can use in place of the sand timer (fun!), more missions, and target Intel blank sheets. Wow! The website also has pins, patches, posters, death certificates, t-shirts, etc. for fans to pick up if they love the game, which I suspect they will. Mind you, I’m not trying to sell you anything here, but WOW! What a bunch of cool-ass stuff! But wait, there’s MORE, and this may be the best part: there is a gigantor expansion for MoD. The Side Effects expansion includes more than 600 additional cards to plan deaths with: Death Cards, a Genre Deck, Intel, and what they call “Web Pals + Chums,” cards designed by famous Web personalities and illustrators (these cards are particularly awesome, according to ME).

There you have it…one of my favorite games in my collection. I’m happy to admit I have pretty much everything available for this game. Yes, I love assassination THAT much! This game is perfect for nights when you need a break from heavier games but are still in the mood for some mayhem and murder. I’ve rarely played MoD in public without some random stranger begging to please sit in on the next game. I strongly urge all of my readers to take the time and effort to find a copy and pick this up as soon as possible…or my friends and I will kill you.


Designer: David Fooden, David Malki, and Kris Straub
Artists: Kris Straub
Publisher: TopatoCo
Published: 2013
Players/Playtime: 2-4 players/30 min
Suggested Player Age: 15+


Last Meeple Standing is brought to you by Villainous Lair Comics & Games, the ultimate destination for board game fanatics in Southern California. For more information visit the official Villainous Lair Comics & Games website, “Like” the Villainous Lair Facebook page and be sure to follow Villainous Lair on Twitter and Instagram.


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