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The Annotated Sandman #3
The Annotated Sandman, Vol. 3
The third of four volumes, THE ANNOTATED SANDMAN reprints Neil Gaiman’s THE SANDMAN with annotations by Leslie Klinger (The Annotated Sherlock Holmes, The Annotated Dracula) that delve into the historical and literary references contained in the series. In this volume, Leslie Klinger provides historical insights into issues #40-55 of THE SANDMAN, along with THE SANDMAN SPECIAL #1 and “How They Met Themselves” from VERTIGO: WINTER’S EDGE #3.
New York Times best-selling author Neil Gaiman’s transcendent series SANDMAN is often hailed as the definitive Vertigo title and one of the finest achievements in graphic storytelling. Gaiman created an unforgettable tale of the forces that exist beyond life and death by weaving ancient mythology, folklore and fairy tales with his own distinct narrative vision. THE ANNOTATED SANDMAN is a must-have for any die-hard fan or newcomer to the series.
Collects #40-55 of THE SANDMAN, along with THE SANDMAN SPECIAL #1 and “How They Met Themselves” from VERTIGO: WINTER’S EDGE #3.
New York Times best-selling author Neil Gaiman’s transcendent series SANDMAN is often hailed as the definitive Vertigo title and one of the finest achievements in graphic storytelling. Gaiman created an unforgettable tale of the forces that exist beyond life and death by weaving ancient mythology, folklore and fairy tales with his own distinct narrative vision. THE ANNOTATED SANDMAN is a must-have for any die-hard fan or newcomer to the series.
Collects #40-55 of THE SANDMAN, along with THE SANDMAN SPECIAL #1 and “How They Met Themselves” from VERTIGO: WINTER’S EDGE #3.
520 pages, Hardcover
First published October 28, 2014
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August 7, 2022
Probably not much more to say on this one than there were on the previous two.
Fortunately, this time I did not catch any errors where annotations were pointing to the wrong panel or even the wrong page. Unfortunately, there were more things than ever that went unglossed, mostly people who probably seem too famous to mention, but then you get to the note explaining what Star Trek is and that excuse doesn't seem to hold water. Things that should have had notes (or, at least, the ones I bothered to jot down): Vincent Price, Charlton Heston, "Like a Virgin" and other songs, the Savoy Hotel, the Hall of the Presidents at Disney World.
There were also a few things in the art that I recognized from the real world and which seemed like they ought to be explained. The two I noted were a many-breasted sculpture behind the priest at Orpheus's wedding in ancient Greece (I've definitely seen something like this before at a museum) and one of the halls in Haroun Al-Rashid's palace that is clearly drawn from the Mosque-Cathedral of Cordoba. I will at least acknowledge that Klinger is annotating the story and not the artwork, but it did surprise me. Klinger mentions having referred to online, fan-created annotations and encyclopedias, so I'm surprised that none of them pointed these out.
Anyway, some of the notes that most interested me:
Issue 44, page 1820, panel 5: Death and Destruction (accompanied by the Corinthian) are walking the waking world in Restoration England, visiting the Invisible College (which is a much cooler name than the Royal Society that came later) and Destruction is starting to show signs of dismay at the inevitability of scientific progress leading to destruction. He quotes (as Klinger tells us) Isaac Newton's Opticks--"Are not light and gross bodies incontrovertible?"--which Klinger tells us that some of have suggested that if Newton could have found his way to E=mc squared in the late 1600s. And isn't that a fascinating, terrifying thought?
Issue 46, page 13: Klinger gives us one of Gaiman's personal notes from the script, in which he describes how he's been squeezing creativity around his daughter's illness. "There are people who assume that Sandman is written in marble observatories at midnight, and others who figure I jot it all down in ballpoint in smoky beatnik coffee houses, and yet more who probably figure it's dictated by me lying in a gutter somewhere; The floor of a terribly pink bedroom seems like the last place you'd expect it."
Issue 46, page 14: Okay, I really think Klinger stretched things way too far with this note. Dream asks Bast, Egyptian cat goddess, what she knows about Destruction's whereabouts. She tells him, "I last heard of your brother sixty years ago, in Paris. His companion savaged one of my people." Now, we already know from reading this book set in 1992* that Destruction's current companion is a dog. [*Thank you, Klinger, for being my kind of nerd and creating a timeline in the back of volume 4.] My assumption has always been that Barnabas chased a cat, and that the "savaging" Bast describes is the fur displaced from its perfect position by the effort required to escape. Maybe it's just me, but the cats I have known would certainly describe fleeing from even a friendly dog in the most horrified tones. Makes perfect sense in my mind. Klinger's explanation, however, is that Bast has misremembered the event by some 200 years, instead pointing to the "great cat massacre" that took place in the 1730s, when Parisian apprentices killed "sackloads of cats". I'm just not buying that kind of mistake at all. Why would she say only one of her people was hurt during a thing like that? Why would Destruction, who had that point would have recently abandoned his duties, be sticking around scenes of great destruction where he might be found? Nope, I'm not buying it. But at least Klinger taught me something new!
Among the books spotted in Dream's library is a sequel to a real one that sounds interesting: Hope Mirrlees's Lud-in-the-Mist, about a city on the edge of Faerie. I'll be looking that one up!
Issue 48, page 22: Here's another case where it's obvious that Klinger is focusing on the story rather than the art. Destruction is assembling a typical sack-on-a-stick, a bindle (a word I will probably only ever remember in context). I never gave this construction much thought; I mean, he'd just turned a cloth from all black to red with white spots. Klinger's note, quoting the script, tells us that Gaiman did not feel the same: "I don't know where he got the stick from. I don't care where he got the stick from. I promise that even if I get to be 100 I will never go back and pick up on the stick as a tiny bit of discontinuity that needs to be explained." But the really funny thing? If you're paying attention to the pictures as well as the story, or if you've read this book too many times, you might notice that one of the empty picture frames in Destruction's gallery is made of sticks, and that one of the four sticks that complete the frame is, once Destruction has assembled his bindle, missing one of its sides. The artist obviously felt the author's distress and solved the problem. It's so charming I just wish Klinger had noticed it and pointed it out!
Fortunately, this time I did not catch any errors where annotations were pointing to the wrong panel or even the wrong page. Unfortunately, there were more things than ever that went unglossed, mostly people who probably seem too famous to mention, but then you get to the note explaining what Star Trek is and that excuse doesn't seem to hold water. Things that should have had notes (or, at least, the ones I bothered to jot down): Vincent Price, Charlton Heston, "Like a Virgin" and other songs, the Savoy Hotel, the Hall of the Presidents at Disney World.
There were also a few things in the art that I recognized from the real world and which seemed like they ought to be explained. The two I noted were a many-breasted sculpture behind the priest at Orpheus's wedding in ancient Greece (I've definitely seen something like this before at a museum) and one of the halls in Haroun Al-Rashid's palace that is clearly drawn from the Mosque-Cathedral of Cordoba. I will at least acknowledge that Klinger is annotating the story and not the artwork, but it did surprise me. Klinger mentions having referred to online, fan-created annotations and encyclopedias, so I'm surprised that none of them pointed these out.
Anyway, some of the notes that most interested me:
Issue 44, page 1820, panel 5: Death and Destruction (accompanied by the Corinthian) are walking the waking world in Restoration England, visiting the Invisible College (which is a much cooler name than the Royal Society that came later) and Destruction is starting to show signs of dismay at the inevitability of scientific progress leading to destruction. He quotes (as Klinger tells us) Isaac Newton's Opticks--"Are not light and gross bodies incontrovertible?"--which Klinger tells us that some of have suggested that if Newton could have found his way to E=mc squared in the late 1600s. And isn't that a fascinating, terrifying thought?
Issue 46, page 13: Klinger gives us one of Gaiman's personal notes from the script, in which he describes how he's been squeezing creativity around his daughter's illness. "There are people who assume that Sandman is written in marble observatories at midnight, and others who figure I jot it all down in ballpoint in smoky beatnik coffee houses, and yet more who probably figure it's dictated by me lying in a gutter somewhere; The floor of a terribly pink bedroom seems like the last place you'd expect it."
Issue 46, page 14: Okay, I really think Klinger stretched things way too far with this note. Dream asks Bast, Egyptian cat goddess, what she knows about Destruction's whereabouts. She tells him, "I last heard of your brother sixty years ago, in Paris. His companion savaged one of my people." Now, we already know from reading this book set in 1992* that Destruction's current companion is a dog. [*Thank you, Klinger, for being my kind of nerd and creating a timeline in the back of volume 4.] My assumption has always been that Barnabas chased a cat, and that the "savaging" Bast describes is the fur displaced from its perfect position by the effort required to escape. Maybe it's just me, but the cats I have known would certainly describe fleeing from even a friendly dog in the most horrified tones. Makes perfect sense in my mind. Klinger's explanation, however, is that Bast has misremembered the event by some 200 years, instead pointing to the "great cat massacre" that took place in the 1730s, when Parisian apprentices killed "sackloads of cats". I'm just not buying that kind of mistake at all. Why would she say only one of her people was hurt during a thing like that? Why would Destruction, who had that point would have recently abandoned his duties, be sticking around scenes of great destruction where he might be found? Nope, I'm not buying it. But at least Klinger taught me something new!
Among the books spotted in Dream's library is a sequel to a real one that sounds interesting: Hope Mirrlees's Lud-in-the-Mist, about a city on the edge of Faerie. I'll be looking that one up!
Issue 48, page 22: Here's another case where it's obvious that Klinger is focusing on the story rather than the art. Destruction is assembling a typical sack-on-a-stick, a bindle (a word I will probably only ever remember in context). I never gave this construction much thought; I mean, he'd just turned a cloth from all black to red with white spots. Klinger's note, quoting the script, tells us that Gaiman did not feel the same: "I don't know where he got the stick from. I don't care where he got the stick from. I promise that even if I get to be 100 I will never go back and pick up on the stick as a tiny bit of discontinuity that needs to be explained." But the really funny thing? If you're paying attention to the pictures as well as the story, or if you've read this book too many times, you might notice that one of the empty picture frames in Destruction's gallery is made of sticks, and that one of the four sticks that complete the frame is, once Destruction has assembled his bindle, missing one of its sides. The artist obviously felt the author's distress and solved the problem. It's so charming I just wish Klinger had noticed it and pointed it out!
June 20, 2015
Sandman is great but I'm not at all impressed with these Annotated editions. There's not nearly enough annotation.
February 5, 2017
I know I stated with Annotated Sandman Vol. 2 that that seemed to be the best material to that point, but I'm saying that again with Vol.3. Would you really want it any other way?
This time I offer some specifics: the material from the "Brief Lives" and "Worlds' End" arcs (themselves available in their original, separate collections) is truly masterful. I know Hollywood has been attempting to bring Sandman to the big screen (Joseph Gordon-Levitt is the latest to give up on the idea) for years; I'd argue that "Brief Lives" is easily the most cinematic material to this point in the series. Is that not enough a selling point for this volume?
I have no idea why Delirium isn't considered one of the essential characters created by Neil Gaiman, other than that she doesn't really fit the Goth stereotype that no doubt assisted in the popularity of Sandman in the Goth-centric '90s (hello, Tim Burton!) like Dream and Death do (today we also have Lucifer emerging as the third most famous and possibly even eclipsing the other two, with a TV series to his credit, which is more than they can boast, and a rebooted comic). She's the most fun character in the series, and she's got the most immediate appeal as a character, less an interesting concept or arc than a thoroughly engaging personality, with plenty of dimensions on display at any given moment. "Brief Lives" is a road trip, and it's the moment Sandman really starts to take shape, with the first climax of the whole thing, the discovery of what happened to Destruction. But it's also Delirium hijacking the series, spectacularly.
The next climax occurs in "Worlds' End," where we discover that Dream will be dead at the end of the series; arguably the arc is about the echoes he leaves behind in his wake (heh), throughout history. It's also, to my mind, Gaiman commenting on the then-recent launch of the whole Vertigo imprint, which was a seismic shift in the kind of storytelling DC was willing to publish on a regular, rather than exceptional, basis, taking what the likes of Gaiman, Alan Moore, and Grant Morrison started, and applying it to a point where, perhaps, Gaiman thought it became less special. It could also be seen as Gaiman's tip of the cap to the DC tradition of rebooting canon, which to that point had only occurred with Crisis on Infinite Earths, but would occur again with Zero Hour, Infinite Crisis, and Flashpoint (which, incidentally, also coincided with the end of the original Vertigo, with most of the characters who'd been absconded under the banner, or at least its creative birth, returning to the mainline DC fold).
Anyway, this is truly great storytelling. Morrison would attempt something like "Worlds' End" with Seven Soldiers of Victory and The Multiversity, while Gaiman was clearly inspired by Moore's Watchmen, and by Moore himself in general (the Prez story), thinking he wasn't worthy but actually vastly exceeding Moore's artistic reach. Frank Miller seems to have been inspired by "Brief Lives" to create Sin City (complete with a stripper named Nancy who dances tits-out in heavily-inked panels). Even Lostprobably owes a debt to it (certainly the arguments for what "Worlds' End" is all about).
"Worlds' End," incidentally, is what my general impression of Sandman was before actually setting out to read all of it. It's also the point in the Annotated Sandman volumes, funny enough, where I began to entertain doubts that Gaiman really knew what he was doing. That's the great thing about Leslie Klinger's notes, though, that he gives readers access to everything, including Gaiman's doubts about what he was doing. It'd be one thing if Klinger merely explained references and allusions, which is certainly incredibly handy. But he also interjects excerpts from Gaiman's scripts, which randomly include essays he writes, mostly to himself, about his thought process. Invaluable.
It's really hard to see a publisher letting a writer get away with this level of creative freedom again. But we're all the better for Sandman existing, like a synthesis of all the reasons literature, and culture in general, remains as vital today as it ever was. By the end of this volume, there's no longer any doubt that Sandman deserves to be considered great literature, and easily the best comic book ever written.
This time I offer some specifics: the material from the "Brief Lives" and "Worlds' End" arcs (themselves available in their original, separate collections) is truly masterful. I know Hollywood has been attempting to bring Sandman to the big screen (Joseph Gordon-Levitt is the latest to give up on the idea) for years; I'd argue that "Brief Lives" is easily the most cinematic material to this point in the series. Is that not enough a selling point for this volume?
I have no idea why Delirium isn't considered one of the essential characters created by Neil Gaiman, other than that she doesn't really fit the Goth stereotype that no doubt assisted in the popularity of Sandman in the Goth-centric '90s (hello, Tim Burton!) like Dream and Death do (today we also have Lucifer emerging as the third most famous and possibly even eclipsing the other two, with a TV series to his credit, which is more than they can boast, and a rebooted comic). She's the most fun character in the series, and she's got the most immediate appeal as a character, less an interesting concept or arc than a thoroughly engaging personality, with plenty of dimensions on display at any given moment. "Brief Lives" is a road trip, and it's the moment Sandman really starts to take shape, with the first climax of the whole thing, the discovery of what happened to Destruction. But it's also Delirium hijacking the series, spectacularly.
The next climax occurs in "Worlds' End," where we discover that Dream will be dead at the end of the series; arguably the arc is about the echoes he leaves behind in his wake (heh), throughout history. It's also, to my mind, Gaiman commenting on the then-recent launch of the whole Vertigo imprint, which was a seismic shift in the kind of storytelling DC was willing to publish on a regular, rather than exceptional, basis, taking what the likes of Gaiman, Alan Moore, and Grant Morrison started, and applying it to a point where, perhaps, Gaiman thought it became less special. It could also be seen as Gaiman's tip of the cap to the DC tradition of rebooting canon, which to that point had only occurred with Crisis on Infinite Earths, but would occur again with Zero Hour, Infinite Crisis, and Flashpoint (which, incidentally, also coincided with the end of the original Vertigo, with most of the characters who'd been absconded under the banner, or at least its creative birth, returning to the mainline DC fold).
Anyway, this is truly great storytelling. Morrison would attempt something like "Worlds' End" with Seven Soldiers of Victory and The Multiversity, while Gaiman was clearly inspired by Moore's Watchmen, and by Moore himself in general (the Prez story), thinking he wasn't worthy but actually vastly exceeding Moore's artistic reach. Frank Miller seems to have been inspired by "Brief Lives" to create Sin City (complete with a stripper named Nancy who dances tits-out in heavily-inked panels). Even Lostprobably owes a debt to it (certainly the arguments for what "Worlds' End" is all about).
"Worlds' End," incidentally, is what my general impression of Sandman was before actually setting out to read all of it. It's also the point in the Annotated Sandman volumes, funny enough, where I began to entertain doubts that Gaiman really knew what he was doing. That's the great thing about Leslie Klinger's notes, though, that he gives readers access to everything, including Gaiman's doubts about what he was doing. It'd be one thing if Klinger merely explained references and allusions, which is certainly incredibly handy. But he also interjects excerpts from Gaiman's scripts, which randomly include essays he writes, mostly to himself, about his thought process. Invaluable.
It's really hard to see a publisher letting a writer get away with this level of creative freedom again. But we're all the better for Sandman existing, like a synthesis of all the reasons literature, and culture in general, remains as vital today as it ever was. By the end of this volume, there's no longer any doubt that Sandman deserves to be considered great literature, and easily the best comic book ever written.
February 26, 2021
This series has slowly but surely grown on me. I gave the first collection 3 stars, the second 4, and here I am in full 5-star territory for volume three. It’s fascinating to me how things I perceived as weaknesses in the first collection now seem like strengths: the sense of experimentation and uncertainty about what I’ll find on the next page are still here, but they now seem charming and assured where before they seemed slapdash and uncertain (or maybe Gaiman is just having to play in the DC universe a little less). I still love the one-off stories the most, but even here it feels like they are building to something, an incredible cliffhanger that is propelling me to pick up the fourth collection immediately.
June 20, 2021
This book was great, but was not as great as volume 2 for me so it took me longer to finish. The stories were interesting and the art was great, but the annotations began to get more sparse and the story seemed to slow down a bit for me. The "Brief Lives" storyline was interesting and it added some more lore to The Endless, which was greatly appreciated. However, the black and white nature of this book I think affected me the most in this volume because the color scheme made reading Delirium's text a bit difficult. On the plus side, Delirium and Destruction became two of my favorite characters so there was enough to keep me going, just not enough to want me to finish volume 3 as quickly as I did volume 4.
June 24, 2019
The Worlds' End series of stories that make up the latter portion of this collection offer escape through lavish artwork to imagined worlds and historical places that offer perfect fodder for Leslie S. Klinger's annotations. Klinger also perks up the "Brief Lives" storyline that comprises the former portion of the book, but he can't keep that roadtrip yarn from being so needless and unsatisfying as to make me realize that had I saved the money I spent on this four-volume collection I could be buying a much nicer quality of undershirt.
November 28, 2020
I love the Sandman series. I was hoping for more annotations as those are very sparse and the arcs in this book should have a lot of backstory. At times many pages go by without any annotations at all. A pity really. Also, this is in black and white so it does take away some from the enjoyment of the stories. The two that suffered the most from this are probably the Sea Tale by Jim, and Ramadan which when seen in full color is Spectacular.
March 17, 2024
sloppy work. annotations not paired with panels they refer to, a lot of references referring to past annotations instead of at least fleetingly rehashing the content, some annotations lacking explanations, some panels lacking annotations even though there clearly there is some allusion to something/ somewhere/ somebody in the text. too expensive for that little content and motivation to guide the readers.
March 23, 2022
Brilliant. Exhausting. Tedious. Long. As before there is not as much to the annotations as I would like, but still interesting to catch just a little more. Much of this I remembered from previous reads. But really much I had forgotten. Lots of death, a bit of horror. I don't think Sandman really is meant to be read in one go. But I don't think an issue at a time truly works either.
Read
June 19, 2019More than half the pages lack annotations. The entire purpose of this volume is annotation. Why would anyone invest in this otherwise??
November 9, 2020
I read this as a companion to the series as I've been rereading it. Annotations include plot notes from the author, background material, and many, many references to Sandman issues.
February 2, 2021
Ric Madoc's writing inspiration is not what he pretends it to be. Delia has a face that she truly does not want to be seen by others, so she wears a mask.
This entire review has been hidden because of spoilers.
December 1, 2025
Gaiman's Masterpiece Explicated
March 26, 2015
While my opinion of this volume of the Annotated Sandman overall is really no different than the one I hold for volume 2, there are two issues that I am glad saw inclusion.
The first is "Ramadan," one of my favourite issues of the series as a whole for its luscious artwork and through-provoking themes about history and stories. The story told in its pages is easy to understand from a narrative stance, but having Klinger's tidbits of knowledge about the Middle East (names, political roles, historical references) added some much needed context since I am not a scholar of that era or part of the world.
I was quite surprised reading Winter's Edge #3, since I was sure that I had read all of the Sandman issues but had clearly missed one as I did not recognize this story at all as I read it. Apparently it was not collected until the Absolute Sandman editions, so I am sure that when I was reading those I assumed that I had read it before and skipped it entirely to focus on the additional material. Well, the wrong has been righted now, even though I don't think that I was missing much. It's not the strongest of the issues and really didn't appeal much at all with its Victorian-era characters and rather soppy themes.
The first is "Ramadan," one of my favourite issues of the series as a whole for its luscious artwork and through-provoking themes about history and stories. The story told in its pages is easy to understand from a narrative stance, but having Klinger's tidbits of knowledge about the Middle East (names, political roles, historical references) added some much needed context since I am not a scholar of that era or part of the world.
I was quite surprised reading Winter's Edge #3, since I was sure that I had read all of the Sandman issues but had clearly missed one as I did not recognize this story at all as I read it. Apparently it was not collected until the Absolute Sandman editions, so I am sure that when I was reading those I assumed that I had read it before and skipped it entirely to focus on the additional material. Well, the wrong has been righted now, even though I don't think that I was missing much. It's not the strongest of the issues and really didn't appeal much at all with its Victorian-era characters and rather soppy themes.
September 4, 2016
Update: I read volume three again this year because volume four had not yet come to the library when I read it last, and wanted to get back into the story. If anything, the second reading feels fuller than before, and I'm almost afraid to start the final volume because I don't want to stories to end. If I ever need a lesson in humility I would read Gaiman- I like to think I could write something great if I devoted myself. Reading Gaiman though, I see true master at the craft, and I can only admire genius when I experience it.
2015:
The Sandman is one dark, dark story. But it's also a very gripping, epic tale, and like a lot of Gaiman's work, I don't have a clue where it's going, but I am totally in for the ride. This is the third in the annotated series, and if my research is correct there are still two as yet unpublished books to go. I am very much looking forward to reading them as well.
2015:
The Sandman is one dark, dark story. But it's also a very gripping, epic tale, and like a lot of Gaiman's work, I don't have a clue where it's going, but I am totally in for the ride. This is the third in the annotated series, and if my research is correct there are still two as yet unpublished books to go. I am very much looking forward to reading them as well.
March 6, 2015
This is the 3rd of 5 volumes containing the entire works of the Sandman comic series. In this volume, we mostly see Dream and Delirium's search for their lost brother Destruction. For the first time, we get a lot of insight on Delirium's character and even some of her background. Delirium, despite being possibly the most chaotic and diverse of the endless, suddenly makes the most sense out of all of them. This may be because she is in a way, so human. She makes mistakes and actually shows emotion, unlike her elder brother Dream. Delirium forms connections with people and views the world much as a child does.
I especially loved this volume because of the development of Delirium. We also get a peak into the twisted lives of Despair and Desire. This volume has very high appraisal from me, and i would recommend it to almost anyone...just so long as they read the first two first.
I especially loved this volume because of the development of Delirium. We also get a peak into the twisted lives of Despair and Desire. This volume has very high appraisal from me, and i would recommend it to almost anyone...just so long as they read the first two first.
November 5, 2014
I'm always happy for an excuse to revisit Sandman. The ideal experience of these stories, I think, is reading the Absolute editions, but the annotated volumes are fascinating in their own right. The annotations are a bit of a mixed bag: some interesting, some meh. I don't think any two readers will agree on the interesting/meh status of every single one though. Just because I already know, for example, who Emperor Norton was doesn't mean that everyone else knows too. This volume takes us up to the point where Volume 4 should start with "The Kindly Ones." Looking forward to it!
February 15, 2016
Seeing Neil Gaiman's annotations, thoughts, & notes accompanying the stories from Sandman was pretty interesting. If you haven't read the comics, I would not recommend these volumes, as the annotations give spoilers. Disappointingly, these are also black & white....you'll want to read the comics in color. I can appreciate that printing these tomes would have rendered them exorbitantly expensive.
October 16, 2016
The SANDMAN saga bogs down a bit here in the middle 1/4 of the storyline. That's not to say there's not good material here, because there is, but the overall narrative slows to a crawl and there are a lot of interesting stories that just don't move anything forward. Still, Gaiman is a compelling writer, and it's heads and shoulders better than 90% of the comics being published at the time. It probably read better with a month between each issue.
January 5, 2013
Excellent.
June 19, 2016
Rating reflects annotations not story (see first annotated review for more comments)
Displaying 1 - 21 of 21 reviews