HHRRIS

ranmg

PUBLISHER
Stanley Harris
All Stories by Archie Goodwin,
except where noted
EXECUTIVE PUBLISHER

Dennis S. Page
Q INTROPUCTKM
ASSOCIATE PUBLISHER U by MC CbacWk
& EDITORIAL DIRECTOR
Meloney Crawford
Chadwick
j SOUL OF HORROR
RETAIL SALES
II art by Angelo Torres
& MARKETING DIRECTOR
Jonathan Rheingold
19 PARK RIPER
ART DIRECTOR I U art by John Severin
Michael Chatham

PRODUCTION
COORDINATOR &
RETAIL PROMOTION
H TRIAL,
art
FIRE
© story by Johnny Craig
Stewart Morales

ASSISTANT EDITOR

David Bog3rt
H FULL FATHOM FRIGHT
art by Gene Colan

RETAIL SALES ASSISTANT

Yoshi Aino

EDITORIAL INTERNS
M ROOM WITH A VIEW art by Steve Ditko
Mike Mertens
Seth Biederman

COVER ARTIST
Kc Hey Junes
MFAK EXCHANGE art by Neal Adams

«CAVEOFTHEPRM!PS
EERIE GREATEST HITS
art by Reed Cr and all
is published by

Harris Publications,^.,

1115 Broadway,
THE LIGHTHOUSE
New York,

™&© 1994 Harris

NY 10010.
UU
Jjjj
art by Al Williamson
Publications, Inc.,

All Rights Reserved, including

the right ol reproduction in 01 TOSLAYAPRAGON

whole or in part in

Printed in
any lorm.

USA
UI art by Jeii Jones
EERIER 3nd all prominent

characters appearing herein

and the likenesses thereof are

trademarks

Publications, Inc.
of Harris
H THE MONUMENT
art by Alex Toll,
 HHRRIS

ranmg

PUBLISHER
Stanley Harris

EXECUTIVE PUBLISHER

Dennis S. Page

ASSOCIATE PUBLISHER
& EDITORIAL DIRECTOR
Meloney Crawford
Chadwick

RETAIL SALES

& MARKETING DIRECTOR

Jonathan Rheingold

ART DIRECTOR

Michael Chatham

PRODUCTION
COORDINATOR &
RETAIL PROMOTION
Stewart Morales

ASSISTANT EDITOR

David Bog3rt

RETAIL SALES ASSISTANT

Yoshi Aino

EDITORIAL INTERNS

Mike Mertens
Seth Biederman

COVER ARTIST
Kc Hey Junes

EERIE GREATEST HITS

is published by

Harris Publications,^.,

1115 Broadway,
New York, NY 10010.
™&© 1994 Harris
Publications, Inc.,

All Rights Reserved, including

the right ol reproduction in

whole or in part in any lorm.

Printed in USA
EERIER 3nd all prominent

characters appearing herein

and the likenesses thereof are

trademarks of Harris

Publications, Inc.
 GREATEST HITS
TABLE OF CONTENTS
All Stories by Archie Goodwin,
except where noted

3 IMTROPUCT^N
U by MC Cnadwick
R SOUL, OF HORROR
™ art by Angelo Torres

13 PARK RIPER
I U art by John Severin

10 TRIAL, FIRE
I U art © story by Johnny Craigf

MRU, FATHOM FRIGHT art by Gene Colan

QQ ROOM WITH A VIEW

UU art by Steve Ditko

M FAIR EXCHANGE
art by Neal Adams

«CAYEOFTWEPRM!PS
art by Reed Cr and all

RJj THE LIGHTHOUSE

UO art by Al Williamson

01 TOSUAYAPRACON
UI art by Jeff Jones

H THE MONUMENT
art by Alex Totb

lltlllll..

another fine hacsa/granrty scan

SCART HONSTE BY M.C. CHADWICK
my childhood was magazines.
One unusual
my
aspect
that encouraged me
family
of
to read CREEPY. EERIE.
comics. My grandfather, particularly, felt Even the logos
that superhero comics were an "all-American" were scary. The
form of entertainment and kept me well-sup- high contrast
plied with the adventures of his heroes, created by the
Superman and Batman. (I imagine the fact absence of color
that a stack of comics could keep me quietly made everything
entertained for hours also represented a cost- seem more
effective investment.) haunting, and
the stories
In hindsight. I realize that my playthings were oh. my! Ghouls.
blessedly free of gender-role stereotyping. No Conjurings. Sea
one ever admonished me "those aren't for Monsters.
girls." played with six-shooters and Barbies;
I
I Ghosts.
had an Easy-Bake oven and a little set of work- Treachery.
ing carpenter's tools. There was one thing, Slaughter.
and one thing only, that was actively prohibit-
ed: horror sto- Did realize then that the pages leafed
I I

ries, or as they through on the sly contained the finest comics

were referred to work of that time? Nope. While could tell that I

inour household, Gene Colan pages looked -different from Steve

"scary stuff." Ditko pages, had yet to develop an aware-
I

ness of different art styles, to say nothing of

Now, should
I an ability to spot them at arm's length.
point out that the
scary stuff of my What I did realize was that these stories
childhood wasn't scared me silly. While I was unaware of the
the high-octane reputation of the great talent that contributed
level of Freddie to the pages of EERIE, the artistry of Archie
or Jason, but Goodwin's stories, illustrated by Ditko, Toth,
much tamer fare: Jones and others made an impact. Who knows
Dracula; the what was more distressing: the nightmares
Werewolf; the that kept me scanning the darkened corners of
Creature from the my room for monsters, or the lectures I

Black Lagoon (very scary, that one ) as well as received from the adults after expressing my
the Japanese monsters, Godzilla, Rodan and anxieties. ("We told you not to read those
(my favorite) Mothra. There were also scary scary comics!")
comics: DC had tales of science-gone wrong in
titles like MY GREATEST ADVENTURE, while in Years later,
WHERE MONSTERS DWELL Marvel got Up- these are still
close and personal with guys like Googam, scary comics, as
Son of Goom. And then there was the really well a treasury of
—
heavy-duty stuff CREEPY and EERIE. work by masters
of comics art.
Naturally, the prohibited nature of scary stuff Enjoy it on either
only made more enticing to me.
it level. And watch
Occasionally I'd sneak in some unsupervised out what you tell
Saturday afternoon television viewing. your kids not to
("What's that on TV? Not a scary movie, I read. ..after all, I

hope." "Oh, no.") I'd tag along with my ended up working

Granddad to the barber shop so could surrep- I
with scary stuff
titiously leaf through old Marvel monster on a daily basis
once grew up. •
comics and those big black and white comic I
Welcome to a wilp err of HffiMP wtZARpRY fro/aWMOtoy mausoacum of
MANIACAL. ARMORIES.' YOU'U BE MEETING OR, CLIFFORD LOCKE, WHO WEAVES THIS
piece of Hf/rtwaMFT... a spellbihder. that touches on the very...

SOUL OF HORROR.?
 DEBATE STARTED PEACEFULLY ENOUGH, BUT SOON SKEW IN
frVlE YHE MOMENT THE WORDS SPRANG FROM HIS
INTENSITY, FOR THE JUt> GE KNEW HOW MUCH DEPENDED ON LIPS, THE JUDGE KNEW ALL WAS LOST. HE
THE OUTCOME. HIS OPPONENT KNEW THAT HE, TOO, WAS ON STAGGERED BACKWARD ...THE CROWD WAS
THE VERGE OF 5UCCESS. IF HE COULD MAKE THE JUDGE SUDDENLY RAISED TO FEVEE PITCH ... AND
COMMIT ONE MISTAKE... THE JUDGE'S OPPONENT FELL PEA P.'

...AND I SAV TO YOU, JUDGE

HARKER, IP YOU KNEW HALF
AS MUCH ABOUT ECONOMICS
",
AS TOU DO ABOUT
WITCHCRAFT...

KIOT FAR AWAV, THE JUDGE'S WIFE HURRIED TO THE ®EEP IN THE BLACKNESS OF HER HEART, 6ILDA HARKER
'

FRONT DOOR TO ANSWER A FRANTIC KNOCKING ... KNEW THAT HER REVENGE WAS ALMOST COMPLETE
SHE WANTED VERY MUCH TO SEE THE JUDGE BURN .. TO
SEE THE FINAL ACT... AND PRETENDING CONCERN FOR
HIM, 5HE RUSHED TOWARD THE 5QUARE
PROLOGUE • IT &EGINS FAR UNPERGROUNP LIKE THE &URROW OF SOME LARGE FOK-
GOTTEN ANIMAL ANP TUNNELS UPWARP... BUT IN IT'S OWN WAV, THIS CARVEP CHANNEL
OF PAMF MUPPY EARTH 15 A MUSEUM...
? EtC HARP CALDWELL HAP SURVIVED. HE HAD NO CONCEPT OF HOW LONG HE HAD BEEN UNDER-
GROUND. PERHAPS PAYS, PERHAPS MONTHS, PERHAPS YEARS. ..THINGS HAD STARTED TO GO WKOWS
) IN THE SHELTER, GENERATORS HAD FAILED, EQUIPMENT HAD BROKEN DOWN ...TIME HAD SLIPPED
FROM HIS GRASP NOTHING WENT AS PLANNED. HE HAD BEGUN TO DIG, AND ENDED BY CLAW- ,

ING... BUT HE HAD SURVIVED

.'
Eerie 101
E=r,e 107
Eerie 109
E=r,e 111
II6Eeri
118 E<
Eerie 123
 Flushep WITH ANGER, the butler sprang- forward
SENDING THE MUTILATED CARCASS FLYING FROM THE
CHILD'S GRIP... i
130 Ee„
Prentice took the trembling- facein his hands, brushing- away strands of golden hair, the eyes
OFTEN SPOKE FIRST OF MADNESS, BUT THESE FRIGHTENED ORBS WERE NOT GLAZED OR DULI THEy
QUESTIONED, BUT INTENTLY, AS THOUGH REACHING INTO HIS VERY SOU I

KILL ME? WHY SHOULD THEY'RE GOING TO KILL RACHEL, IF I'M

THEY DO THAT, RACHEL? YOU... JUST LIKE THEy TO HELP you, YOU
THEy 'RE THE ONES WHO DID DR. ALDRICH J I'M NOT MUST COOPERATE
SENT FOR ME., CRA2Y, IT'S TRUE,' I'M ...THERE'S NO
USED AS BAIT TO LURE EARTHLY REASON
WHY THEY.

Prentice's throat felt parched, dry. her chained

'THAT'S
THEY COUNT ON, THAT YOU
WON'T BELIEVE ME UNTIL TOO
LATE . I'M NOT CRAZY, I'M NOT'
SINCE I'M A RELATIVE THEY TRY
NOT TO HARM ME, JUST KEEP
CHAINED. HELPLESS/
. .
WHAT hands clasped his hotly, her. moist eyes pleadingly
riveted with deepe5t intent on his own. he found
himself almost desperately wanting to believe
the sobbing words from those delicate
pale lips...
PLEASE/ you
KNOW I'M TELL-

ING THE TRUTH...

SO I CAN BE USED. GET ME OUT
OF HERE.' SET
ME FREE.'
PLEASE,
DOCTOR,
PLEASE/ I'M
NOT MAD,
I'M ,
not!

LISTEN, RACHEL, I. ..I BELIEVE IT'S j

As HE MADE HIS
WRONG THAT YOU'RE CHAINED THIS i
WAY DOWN THE LONG
WAY. I'LL GET THE KEY FROM
. .
WINDING STAIRS FROM
HUGO, BUT. ..BUT BEYOND THAT... THE TOWER, DISAPPOINT
I CAN'T REALLY.. ME NT WEIGHED HEAVILY
1

ON PRENTICE. THE
WILD ACCUSATIONS
ONLY SEEMED TO
PROVE WHAT HUGO
LUPUS HAD INSISTED.
THE SINCERITY,
THE DEEP LOOKS,
WERE ONLY THE
CUNNING OF AN
UNSTABLE MIND...
THEN, FOR THE
FIRST TIME, HE
NOTICED THE FOG
HAD LIFTED TO
RE/EAL A
BRIGHT
142 Ec.
144 E er ;.
 EERIE: GREATEST HITS represents
some of the very best of terror. It is as
fine a collection of horror stories for
today as it was when these fine efforts
first disquieted our nights, roused our

admiration and stirred our souls.

/
$12.21 USu.
$17.95 Canada