Psycho #1

In "The Skin And Bones Syndrome!" from Psycho #1 (1971), a mysterious alien probe scanning Earth for a cure to a deadly plague accidentally unleashes a terrifying phenomenon—humans begin to dissolve into skeletons, leaving behind only bone. The story unfolds as ordinary people confront a silent, invisible threat that strips away flesh without warning.

In "The Glistening Death," a man seeking refuge at his uncle’s isolated swamp house stumbles upon a disturbing truth: he’s been quietly feeding a mesmerizing woman red meat—without knowing why. As the line between host and guest blurs, the eerie stillness of the swamp grows heavier, and the woman’s unsettling beauty hides a hunger far beyond human understanding.

In "I Painted Only Terror!", a once-celebrated artist finds his fame built on capturing the final, frozen expressions of fear—until his latest canvas reveals something far more unsettling. As the lines between reality and his own unraveling mind blur, the portrait he’s been painting begins to mirror a truth he can no longer deny.

In "The Thing In The Mirror," a man haunted by a green, monkey-like figure he sees only in reflections begins to unravel as the creature seems to grow more real with each passing day. When it finally steps out of the glass, the man’s fate takes a horrifying turn—only to be reborn as the very thing he feared, now displayed as a sideshow curiosity in a traveling circus.

In the eerie stillness of an old mansion, a man arrives to search for hidden treasure, unsettled by his aunt’s obsession with her many cats—each named, except one. When she speaks of Cicero, the cat she claims is missing, his curiosity turns to dread as he discovers a locked door on the upper floor. What he finds behind it isn’t what he expected, and the cat named Cicero is far from ordinary.

In "Anatomical Monster," a curio shop owner’s chillingly precise drawing of a human figure—half intact, half skinless—draws the attention of an anatomy student, whose professor is so awed by its accuracy that he uses it as a teaching aid. But when the figure begins to move, the classroom becomes a stage for a gruesome, unseen horror.

In "The Hands of Death!" from Psycho #1 (1971), a once-great violinist named Jo, desperate after losing his hands in an accident, turns to a shadowy occult doctor for a terrifying solution. When the new hands—those of a long-dead serial strangler—are grafted onto his arms, Jo begins to lose control, as the hands act on their own, forcing him to strangle strangers in a violent, uncontrollable frenzy.

In "The Gruesome Faces Of Mr. Cliff!" from Psycho #1 (1971), a once-famous horror actor, now broken and forgotten, dons the masks of the monsters he portrayed on stage—each one a grotesque echo of his fading legacy. As he transforms into his own creations, the line between performance and reality unravels, plunging him into a nightmarish descent of flesh and fang.