More and more headlines adorn the front cover of Dark Horse International‘s Bram Stoker’s Dracula as strips and features are added, the comic morphing like the Prince himself on this great Mike Mignola image. Gone is the glossy cover, replaced with a good quality matte paper throughout that seems to suck up the ink magnificently, and you’ll notice a lack of specific dates on the spine. That’s right, the comic is now an ongoing monthly title instead of a limited series of three-weekly issues. Not that anything is made of this in the editorial. More on this below.
Our main strip runs to 17 pages, concluding the adaptation and again it’s the art that really stands out. The spectacular moments during the final 20 minutes of the film must’ve been daunting for penciller Mike, inker John Nyberg and colourist Mark Chiarello. The minimalist style flies in the face of the film’s production design but it works perfectly, such as with this opening scene above. The carriages aren’t even drawn but it works. (Accompanied by John Costanza‘s lettering of Jonathan’s diary.)
In fact there are some small, incidental panels of individual characters which, if combined in a grid, could make for a lovely minimalist poster for fans of the film. Look at these images below of Jonathan (Keanu Reeves), Arthur (Cary Elwes), Mina (Winona Ryder) and Quincy (Billy Campbell) and imagine that large poster made up of these and likewise panels for all of the others.
The first half of the strip concentrates on the journey to Dracula‘s castle and the inner fight of Mina’s as she struggles between her love for Jonathan, the enforced lust for the Prince and Helsing‘s attempts to save her. As with previous chapters the only negative here is the memory of these scenes from the film making for an unfair comparison. The horseback gunfight was an absolutely thrilling moment as our heroes fought the setting sun, accompanied by Wojciech Kilar‘s booming score. Reading it instead of watching it accentuates just how much their music brought to the scene! Also, the key factor of the setting sun is completely missing apart from one mention in text.
Meanwhile, further ahead at the castle Helsing battles with Mina’s soul. The powerhouse performances by the actors is replaced by some dramatic poses, which are highlighted wonderfully by the lack of detail, the silhouette of Mina over Helsing with the three vampire women scrawled in the background being my favoured panel here. A couple of pages later (after Helsing is seen entering a crypt post-sunrise) we see the ultimate fate of the three watching horrors. It’s surprisingly gore-free given what we’re actually looking at. In fact, gore is something that’s largely been missing throughout the adaptation.
Not that the film relied on gore for its scares, but the comic really dials it down to little more than the odd splash of bold red, such as in Dracula’s final moments after Jonathan slits his throat. From here on it pretty much follows the film shot-for-shot, word-for-word. Well, why would you want to change such a perfect ending? Throughout these months there have been other changes made to the overall film, and there was no way it could match the atmosphere or looks, but what this series did differently to other adaptations was make bold artistic choices.
What we’ve been treated to over these first five issues is nothing short of a work of art. An adaptation of a work of art into another, in fact. For fans of the film it’s just such a unique take, a love letter to the movie. It feels like the team has created a tapestry of the film in comic art and as such it transcends a mere “comics adaptation of the current blockbuster movie”. It’s best enjoyed as a piece of art in this way and when it is it’s the best movie adaptation I’ve ever seen.
Dave Hughes‘ Bloodlines news pages are chock full of goodies this month (although we’ll try to ignore the creepy description of actor Sadie Frost as “delectable”), beginning with the box office takings of the film so far. Until beginning this series I’d no idea it was this big at the time! Saying “set is the operative word” when describing where it was made is a reference to the fact the whole thing was filmed on huge soundstages. Even the outdoor scenes were elaborate sets, something I wish the comic had delved into in more depth.
There isn’t exactly glowing praise for something they then immediately give away in a competition, I wonder if Coca-Cola had anything to say about the ‘Cult Classic’ logo used on the Evil Force video cover, and after reading the Sound Bites it’s no wonder Gary Oldman loves playing Jackson Lamb so much these days. One last thing of note, I have no idea how that “natural conclusion” was made in the ‘Scarlett Woman’ news item! (Oh, and I’ve given up on the promised Sadie interview ever appearing now.)
Vampirella‘s strip (written by Archie Goodwin, drawn by Tom Sutton) is reduced to seven pages to make way for a second back up, although personally I’m quite glad there’s less this time. The place she found herself in happens to be where a cult is trying to bring forth a demon of chaos and the scantily-clad alien vampire is to be sacrificed in order to do so. The man she fell in love with after five minutes turns out to be the soul of a warlock in a dead man’s body. He saves Vampirella and decides the evil nurse woman will be used as a vessel instead. How romantic. However, when she says no to him he turns on her (which sadly sounds rather familiar these days) and soon he’s trying to sacrifice her again.
She’s saved by the monster from her visions, who is actually the soul of the deceased man inside the withered old body of the warlock. You keeping up? The summoned beast has come for their souls but instead devours all of the cult and the place crumbles under its power. It’s left up in the air whether it made its way through the portal and the strip ends with the revelation that Van Helsing is making his way around the graves of the crashed airplane’s passenger list, staking them all until he finds the vampire he knows was on board. (Such a shame the comic’s ‘Previously’ round up describes this despite it not being mentioned in the previous issue, ruining the twist.)
As my first delve into the world of Vampirella I’m not particularly underwhelmed because I had low expectations (see last issue’s review to find out why). I know it’s an old strip and it’s very much of its time, however I’ll admit there’s intrigue with Helsing’s mission and the chaos demons, so we’ll see if the characterisation of the lead develops more next time.
There’s a fascinating two-page article by Adrian Rigelsford about a forgotten BBC Count Dracula production from the year of my birth, 1977. (The article begins with a play on words based on the pop rock band Transvision Vamp so I was sold immediately!) I didn’t think I’d be interested in some older Dracula adaptation but as soon as I found out Octopussy‘s Kamal Khan himself, Louis Jourdan played the Count I was, ahem, sucked in.
It all sounds fang-tastic (sorry). Originally shown as a three-hour movie and then split into episodes for repeats, at the time of this comic’s publication it was thought to be one of those “lost” BBC shows, which as a Doctor Fan I know all about. However, in a spooky coincidence, in the same month this issue was released the BBC repeated Count Dracula as a two-parter, possibly spurred on by the success of Francis Ford Coppola‘s movie. It hasn’t been broadcast since but was released on DVD in the early 2000s, so there may be a little second-hand purchase for Hallowe’en this year.
Finally, there’s a second six-page back up strip simply called Werewolf. I sighed when I saw a credit for Vampirella’s writer but this is an error, it was actually written by Larry Ivie (Eerie, T.H.U.N.D.E.R. Agents, artist on Castle of Frankenstein) for #1 of Creepy back in 1964 by Vampirella’s Warren Publishing. This story follows a complete asshole of a big game hunter (aren’t they all?) but he’s by no means the hero of the story. Treating local tribespeople like simpletons and beating his assistant, the ultimate outcome of the strip is satisfying as a result.
He’s been hired to track down a fabled immortal beast that’s said to transform into a human during the day. It has never killed but its evil apparently infects those around it. In the end he does indeed track it down and empties bullet after bullet into it to no avail. Not until he hits the one tiny white spot on its body does it fall to the ground. It then turns into a previous animal hunter, who had been cursed to live as the beast until someone else skilled in killing innocent animals could take it down.
The hunter of the story then transforms into the werewolf, doomed to live this way for hundreds of years just like his predecessor. The moral of the story is clear and it’s always fun to see someone who hunts animals for fun get their commence in my book. Or in my comics, I should say. A simple, straight-to-the-point story with some gorgeous art by Frank Frazetta (Famous Funnies, Conan the Barbarian novel covers, album covers and movie posters), this bodes well for the comic’s choice of any additional back up strips from here on. Speaking of which, time to check out that back cover.
There’s a full-page Next Issue back cover just like Aliens had in its #8 and this too was used as advertising across the range. With four more pages (is this where Aliens’ four pages wandered off to?), the origin story of our main character, more Vampirella and an interview (fingers crossed) with Anne Rice, the comic is about to continue morphing into something quite different, heralded by the change in logo away from that of the movie’s. All for the same price though. Which of course is free for you lot, just tune into the OiNK Blog from Sunday 11th May (four weeks from now instead of three).
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