The Frighty Reviews 10/28/10

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Dawg's Reviews

Amazing Spider-Man #646
Marvel Comics
Written by: Mark Waid
Drawn by: Paul Azaceta

Origin of the Species concludes in this issue. The question is how well does it end in comparison to the strong issue that got us to here? I would have to say that out of all of the Brand New Day stories that have come out, this and the Kraven story have been my favorites. This is not to say that there aren’t parts I wish would have come out differently. It seems the main concern of this title is to not change any status quo that won’t only be reversed later, but it’s a minor issue for me for the most part considering the books terribly disappointing and rocky road to getting the current statue quo in place.

Mark Waid is pretty much a given for a great Spider-Man story. This arc is no exception to that rule. Lilly Hollister’s baby is a hot commodity in the super-villain community. Supposedly it is the first child born of two different strains of goblin serum tainted blood. This child is supposed to be born from Norman Osborn’s Green Goblin and Lilly’s Menace.

Doctor Octopus, in his current broken down and feeble condition wants this baby like nobodies business, as he believes it is the key to curing himself. Ock lets loose every Spidey Villain imaginable to get that baby and only the web-crawler can keep them at bay and protect the child.

This leads us on a multiple issue odyssey that has Spider-Man kicking every villain in his rogues gallery right in the hind pockets, including a stellar last issue where he doesn’t speak a single word of dialogue as he lays waste to them all.

By unfortunate circumstance… mainly the Chameleon posing as Harry Osborn, the baby ultimately ends up in the hands of the newly more reptilian Lizard. Ock and Spidey decide the enemy of my enemy is still an enemy, but team up to get the baby anyway. For once we get to see that Peter Parker has some brains instead of just a smart mouth and he double crosses Ock. After a quick blood test, Pete finds out that the entire hullabaloo was for nothing as the baby is NOT a new strain of Goblin at all, but in fact Norman is not the father to the child and that someone else is.

The best part of the story was obviously not the ended in which I felt they copped out a little. It was the ride in getting to it. It was incredibly well done and enjoyable to read. Spidey usually finds a way to win the day, but this time, how he wins is the coolest. If you are keeping score, he heroically swung through New York with a baby, dodging every foe he has, cops, Jameson, and saved the kid. He used stealth and cunning to take out these villains and find the Lizard. Lastly he used treachery and dishonor with Ock to take him out of play. Those reasons alone make this my pick of the week.

Secret Avengers # 6
Marvel Comics
Written by: Ed Brubaker
Drawn by: Mike Deodato

This is such a fun Avengers title. It’s very much outside of the box when it comes to what anyone would think of when they mention Avengers. I think that it could very easily be called New SHIELD if Marvel wanted, but that’s just my opinion. What matters is seeing Steve Rogers and crew kick some covert ass every month and taking out threats before the rest of the world even knows they are threats.

This issue is no exception as it appears an ancient clan of ninjas are after the Master of Kung Fu: Shang Chi. These ninjas once thought defunct are followers of Shang Chi’s father and were out to basically destroy the world. This leads to some kung fu Bad-Word-Bad-Word-Bad-Word-Bad-Word-Bad-Word- slapping and Shang Chi wondering if somehow his father has been resurrected.

Steve Rogers being a complete bad ass, already has a man inside to help out Shang and that man just so happens to be the Prince of Orphans, one of the “Immortal Weapons” from Iron Fist cannon. Let’s just say that seeing these two whoop up on some ninja ass is pretty cool.

In fact most of the issue really is Shang Chi and the Prince doing just that, with the set up smartly played out between Rogers, Beast, and Sharon Carter. Which serves as a very good way to convey the plot without bogging down the fight scenes.

It will be very cool to see what happens next as it appears that there is yet again, some “new” and mysterious evil out there that must be nipped in the bud before the stakes become too high. Shang Chi of course joins the fold as the Secret Avengers let him know they are out to take his father’s evil ninja clan down.

In brief… I like it. It almost feels more like a throw back story to when Brubaker and Fraction were writing Iron Fist together, but hey… I liked that stuff a lot and even better to have Steve Roger’s and crew as part of it. Should be interesting to see what happens next. With a great story by Bru and always excellent art by Deodato, this is still the Avengers book to watch.

Wktf’s Reviews

It’s rare I end up reviewing three books from three different publishers. And I was planning to review Thunderbolts, one of my favorite new discoveries. But with Dracula: The Company of Monsters coming out, it’s being Halloween week, and its being published by Boom! Studios whose books, for the most part, I don’t buy, I decided to go for that one instead.

Captain America #612
Marvel Comics
Written by: Ed Brubaker
Drawn by: Daniel Acuna
Cover by: Marko Djurdjevic
Vampire Variant Cover by: Gerald Parel

This issue begins The Trial of Captain America, and it’s a whipsaw of a story for all concerned, including the reader. After all these years, since the time Ed Brubaker began his historic run on Captain America, we’ve been witnessing the rebirth and evolution of Bucky Barnes. First, that he was even alive at all seemed to violate one of the rules of comics, as if saying Thomas and Martha Wayne, or Uncle Ben, still lived. But, then, to see how he’d been turned into a programmed, stone cold killer, saved by Captain America’s use of the Cosmic Cube, suffer through Cap’s death, assume the mantle of Cap and turn a complete 180 from Cold War assassin not only to hero but become a member of The Avengers has been one helluva ride. Now, with Zemo’s reveal of Bucky’s horrible second origin to the world, Brubaker yanks the reader and Barnes back by the hair. Oh, no. We can’t leave The Winter Soldier behind completely. Of course! Naturally, he should be held accountable and judged for the murders he committed when he was a brainwashed Soviet tool.

Joining Bru for this story is Cap-newcomer Daniel Acuna, whose style is very different than Bruce Guice or Steve Epting’s before him. Its simplicity makes it feel almost like a painted Michael Lark. It’s a bit of an adjustment for those of us who’ve become used to the strong line work of Bru’s previous artist. And at times Acuna’s rendering seem less powerful, overly simplistic and even a bit sloppy. But still, Acuna’s facial expressions in this issue really speak volumes. The scene of Steve, Natashia, Tony, Hawkeye and Mockingbird around the table as Clint rails at his partners for keeping Bucky’s past a secret is beautifully handled. Steve’s concern, Clint’s anger and frustration, Tony’s seeming indifference, Natashia’s aggravation. Acuna does a great job here. As with Steve’s confrontation with The President, whom Steve treats with respect but still speaks his mind even if he’s in defiance of his Commander In Chief.

This story feels very much like a turning point, even a new direction brewing, for a character whose trajectory many of us have cheered. Seriously, it’s conceivable this story could go either way for Bucky. And that’s the mark of a great serial story.

Action Comics #894
DC Comics
Written by: Paul Cornell & Nick Spencer
Drawn by: Pete Woods & RB Silva
Cover by: David Finch

Well, this may be the most impressive guest star in a mainstream comic. The storyline Cornell’s set up has Lex either teaming up with (as with Deathstroke) or going up against (as with Grodd, last issue) some of DC’s other nastier villains. But, having been shot by Grodd last issue Lex now must face someone he can’t manipulate, overpower or trick in some other way. This issue, Lex faces Death the Endless! Yes, Death, from the Sandman series. And it’s quite a shock to Lex. Not only is he baffled by Death’s personification as an emo teenage girl, but he finds himself in a disadvantaged position of compromise that seems to, well, baffle him.

And Cornell really seems to get Gaiman’s character. Death is her usual, unflappable self. Her voice and look feel completely right. Soft, confident, calm. And Pete Woods really nails her look. Far less angular and sinewy as portrayed in Finch’s stunning cover, but far scarier in her calm, softer and more pleasant demeanor. Very little happens in this issue besides a conversation between these two, with Lex obviously feeling the more desperate and ill at ease. It’s a credit to Cornell that his dialogue and story progression can hold the reader so well, and to Woods for making an encounter that involves little more than two talking heads so damn engaging. Seriously, despite the whimsical near-throwaway Jimmy Olson story in the back, this book is by far my pick of the week.

Dracula: The Company of Monsters #3
Boom! Studios
Created and by: Kurt Busiek
Written by: Daryl Gregory
Drawn by: Damian Couceiro
Cover by: Ron Salas

After two issues that seemed to meander and drag, here we have an issue with some real tension and story progression. The Barrington Corporation has resurrected Dracula for purposes that, this issue, become a little bit clearer. Conrad, the firm’s CEO hadn’t done anything deceptive or suspicious yet but, certainly, his motives don’t feel too pure. Evan Barrington, son of the founder and Chairman, has been enlisted by Conrad to be his mystical lightning rod, and his training in the occult has actually given him some strange and potent abilities that seem only to have piqued his curiosity further.

But it’s the character of Dracula who, this issue, has emerged to be the most interesting character of our cast. Neither the suave Count nor the vicious monster he’s sometimes been portrayed, this Dracula is a prince and a warrior, highly intelligent and a quick learner. Having been resurrected last issue and living trapped in a modern cage and held at bay by a suit of weapons designed to active to kill him, he presents an interesting contrast to Conrad. His dialogue about corporate malfeasance, where executives and shareholders profit at the expense of employees, compared to the obligation of a prince to protect his subjects, brings home the question regarding who the real monster is in this story. Of course, more on this debate is revealed at the story’s end, for sure. But Dracula’s growing relationship with Evan show he’s working the chess board even as he knows he’s being manipulated to serve the wills of others.

There’s an interesting subplot in this issue about a band of vampire hunters as they go in seek of their prey. The shape shifting vampires they encounter do beg the question of why Dracula remains in human form, subjected to armor designed to stop or kill him. Surely, turning into a bat or wolf would allow him to slide out of his confines. But, regardless, the ending of this subplots interval promises an interesting intersection with our main story. All in all, this is a terrific and very different type of Dracula tale that’s brought me back around. I’m glad this is an ongoing comic which hopefully, depending on sales, will allow the creators to explore different avenues as Marv Wolfman and Gene Colan did so successfully with Marvel’s famous Tomb of Dracula.

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Wktf’s Frighty Trade Reviews

Well, this is it. 2010’s final Frighty Trade Reviews! And for such a momentous occasion I’ve saved a collection of trades featuring my single most favorite creature of the night! Dracula! Read on, if only you dare. But just remembers as the sun slowly sets that you’ve several hours of terror ahead before you can rest peacefully again!!

Tomb of Dracula Omnibus Volume 1
Marvel Comics
Written by: Gerry Conway, Archie Goodwin, Gardner F. Fox, Marv Wolfman, Chris Claremont, David A. Kraft
Drawn by: Gene Colan, Tom Palmer, Mike Ploog, Don Heck
Cover by: Neal Adams
Variant Cover by: Gene Colan

Have you ever been so happy that a comic book arc or series was collected that you felt like someone up there was looking down at you, specifically, when some reprint editor decided to publish a book? I felt that way recently when DC gave us Batman: Going Sane and, years back, as well when Marvel packaged Avengers Under Siege. But this! This glorious HC is in another category altogether! To steal a bit from Tom Field’s appropriately reverential introduction, Tomb of Dracula is the single greatest comic book series of the 1970s, bar none. The team of Marv Wolfman, Gene Colan and Tom Palmer cranked out 60 consecutive issues of this 70 issue series, making them the creative team for the 1970s that Lee/Kirby was for the FF in the 1960s and Bendis/Bagley was for Ultimate Spider-Man in the new century. From its rather shaky six issue start before Wolfman joined Colan, when the book changed writers no less than three times, Tomb of Dracula would become the standard by which comic book greatness would be judged and the model for other great series in years to come. Hyperbole? I think not. And to think, like all of Marvel’s greatest creations, we have Stan Lee to thank for its genesis. The Comics Code Authority, the power that killed EC Comics, forbade the use of sex, drugs and monsters like vampires and werewolves in comic books until Stan defied them with the famous Amazing Spider-Man #96, the 1971 “drug story,” published defiantly without the CCA seal, after which the Code was forced to revise their standards. Marvel and DC lost no time exploring the appeal of horror comics with the likes of Swamp Thing, Man-Thing and Werewolf by Night. A ”living vampire’ named Morbius was even introduced shortly thereafter in the pages of Amazing Spider-Man #101. But with Tomb of Dracula, which debuted in 1972, horror comics had found its brotherhood’s reining king!

First, what will you find in this first of what’s promised to be three glorious Tomb of Dracula Omnibi? Of course, you’ll read about Frank Drake, Dracula’s semi-hapless descendant, and his role in Dracula’s rising from the grave and stepping into the Marvel Universe. You’ll be introduced to the band of vampire hunters with whom Drake joins forces. Quincy Harker, the son of Jonathan Harker who’s first introduced in the final pages of Bram Stoker’s novel, and Rachel Van Helsing, granddaughter of the famous Abraham Van Helsing also from Stoker’s book, both make the core of this team. As well, this volume introduces Blade, the vampire slayer, and Hannibal King, the vampire detective. The big title bout of this package would have to be the two issue crossover where Dracula battles Jack Russell, Werewolf by Night. But we’re also introduced to the disembodied brain called Dr. Sun, the and, possibly, Dracula’s most dangerous enemy, his own daughter Lilith!

The actual tales told would not be as powerful as I’ve made them out to be without the manner in which they’re told. Most comics of the 1960s and ‘70s were either self contained or offered extended story arcs (as Stan did with his books) that had pretty clean beginnings and ends. Oh, sure, Stan would filter sub-plots into his Spidey, Thor and FF stories that would bear fruit in future stories but, for the most part they had jumping on and off points. In Tomb of Dracula Marv Wolfman evolved his characters and interwove such compelling, powerful and intricate sub-plots that reading this book felt like being sucked into a continually growing and building serial. Anyone who’s seen The Soprano’s or Weeds knows what I’m talking about. Add to this Gene Colan’s eerie, cinematic style and graphically violent art (lots of blood and people dying!), only enhancing the growing, tumbling and weaving storytelling, and soon Marvel had a cult following for a book that sported the most unusual protagonist in comics: a soulless, evil, undead monster. But the character of Marvel’s Dracula was one of the most commanding in all of the company’s 1970s line up. Proud and powerful, arrogant yet hunted, enigmatic but violent, predator extraordinaire but one you simply couldn’t help loving to read about. This Dracula is mythic, monstrous and hateful while also intelligent, cunning, desperate and a victim of his own nature. He’s an outstanding villain who I’d stack up against any of Marvel’s pantheon of villains AND who managed to hold his own title longer than any other Marvel monster or villain, including the far more famous Marvel villain, Dr. Doom. And the Wolfman/Colan/Palmer team’s over-the-top kinetic and desperate storytelling and pacing threatens to suck the very breath from your body as you’re reading these stories.

This Omnibus collects Tomb of Dracula #1-31, Werewolf by Night #15, Giant-Size Chillers #1 and Giant-Size Dracula #2-4. It also contains some awesome Gene Colan pre-production pencil pages and, for those like me who bought the non-variant edition, you still get the full color Gene Colan painted variant cover in the book’s back. The pages are faithfully remastered and colored on the usual Omnibus high quality paper stock, and having all these issues together in their full color glory is a complete joy! My one complaint, same as with the Frank Miller DD Omnibus, is that unlike with the FF and Spidey Omnibuses Marvel chose not to reprint the letters and Bullpen Bulletins pages. Have to admit, I was looking forward to rereading these as well (especially since I had a letter printed in one of these issues) to enhance my trip down memory lane. It’s a disappointment but not enough to seriously dampen my pleasure at owning this fine volume. At a retail price of $99.99, this 784 page tome is a big purchase in these trouble economic times, no question. That said, Amazon’s got it for about 40% off and I bought mine at DCBS for 50% off. There are bargains to be had out there. If you can find this book at a price you like, damn it, buy it!

Tomb of Dracula Omnibus Volume 2
Marvel Comics
Written by: Marv Wolfman, with David Anthony Kraft and Steve Englehart
Drawn by: Gene Colan & Tom Palmer, with Virgilio Redondo

Marvel released this second of three promised Tomb of Dracula Omnibi with the unusual timing of late December, 2009. You’d think closer to Halloween, when the first volume was released the prior year, would have made more sense, but whatever. The important thing is that we now have this most excellent volume of some of the very best storytelling comic books of any era had to offer. By this point, where this volume picks up with ToD #32 out of the title’s 70 issue run, the core creative team of Marv Wolfman, Gene Colan and Tom Palmer had truly hit their creative partnership and storytelling stride, and managed to hold that stride all the way through to the title’s end. Because of their sheer size, these Marvel Omnibus titles always are awkward to hold and can be a little intimidating to crack. Now, granted, I was prepped for this book, having already read the first volume and having loved this series ever since I first read it as a teenager. But, when I opened this book up after getting it home I found myself joyfully reading it every night until I’d polished it off.

I simply can’t recall another title in which I’d developed such a huge emotional investment in its heroes as I did with this core cast of vampire hunters. The aged Quincy Harker, Dracula’s lead adversary throughout this series, had lost his wife and daughter to Dracula’s hands. The youthful, beautiful but distantly cold Rachel Van Helsing had lost her parents and nearly her life as a teen to Dracula as well. Frank Drake, Dracula’s own descendant, carries the guilt and anger of having revived Dracula in ToD #1 which, in addition to unleashing the vampire lord on the world, cost him his fiancé’s life. The odd man out but still core member of the team is Blade the Vampire Hunter whose own personal target is Deacon Frost, the vampire who murdered his mother as she was in labor with Blade. But Blade hates all vampires and, as a result, particularly despises the Lord of the Undead. In this volume we’re also introduced to the nerdy and hapless Harold H. Harold and stunning but ditzy Aurora Rabinowitz, the writer and secretary to a publishing firm that prints schlock horror magazines. Though they initially create some much needed comic relief they actually manage to become core members of our family of vampire hunters. In addition to our central cast, this volume contains a bevy of guest stars, including Dr. Strange, Brother Voodoo and even The Silver Surfer, all of whom either lend important aid to our heroes or battle the Vampire Lord themselves.

Of course, in a book where Dracula is the title character, the villains found here are pretty impressive as well. Dracula, of course, remains the charismatic, volatile and incredibly dangerous threat that carried this series for seventy issues. There’s a final, desperate battle with the disembodied brain of Dr. Sun, introduced in volume 1, who actually manages to slay Dracula and usurp his powers in order to dominate mankind. This leads Quincy and his team to have to choose the lesser of two great evils as they must determine whether or not to revive Dracula in order to successfully battle Dr. Sun. This kind of character depiction, moral ambiguity and personal conflict combined with desperate action is what makes this series so special. It seems that every action on the part of our team to destroy Dracula picks at and torments their very souls as well. In this volume the character of Dracula also substantially grows beyond the maniacal and vicious monster of the first volume. Dracula hatches a plan for dominate mankind but tries to do so by creating his own religious order, allowing him to spread his evil influence and power in far more difficult, subtle and malevolent ways. This effort brings him into conflicts even Dracula couldn’t possibly imagine, conflicts not only with his very nature but also with the very nature of evil itself, in the form of Satan who fears the vampire’s plans will disturb the natural order that makes Satan’s existence even possible. And this conflict with the fallen archangel, and Dracula’s subsequent struggles, force the normally arrogant and confident Dracula to question the value and nature of his own existence.

As mentioned, it’s so clear that the team of Marv Wolfman, Gene Colan and Tom Palmer just loved the work they were doing on this title. I can’t even imagine the flow chart Marv must have created to help him layer in every plotting and sub-plotting element into this series that enables the title to take its various twists and turns, always returning to seeds planted several issues prior. Gene Colan’s art is just stunning, from the quiet moments of Quincy pondering his next move in his office with his faithful German Shepherd, Saint, at his side to the frenzied battles with Dracula where the sweeping, cinematic motion and action of these scenes are portrayed as only Gene Colan can. One in particular serves as a great example of what I mean, from issue #46, when Dracula is thrown through a window by another monster he’s battling, only to change into a bat and swing back through the window to reengage in the battle, all in a single, fluid and dynamic panel. It’s all just fantastic comic book storytelling. From the torment the vampire hunters all feel as they relentlessly pursue the proud, unnervingly empathetic yet murderous Dracula, to the intricate and carefully woven storylines, to the moody but energetic art. Reading Tomb of Dracula, the reader discovers that the journey is every bit as satisfying as the destination itself. The only place where this book does fall flat is at the very end, the last few pages in fact, where you can tell Wolfman had to suddenly come up with an ending he wasn’t prepared to execute when Colan decided he wanted off the book. Nevertheless, whether you’re a 1970s Marvel monster fan or just a fan of great comic book storytelling, I highly recommend this massive nearly 800 page volume, collecting the five year run of Tomb of Dracula #32-70, Giant-Size Dracula #5 and Dr. Strange #14, even if you can only find it at the retail price tag of $99.99.

Stoker’s Dracula HC
Marvel Comics
Written by: Roy Thomas
Illustrated by: Dick Giordano

This HC came out in 2005 and, this year, Marvel reproduced it in color. But, when the black and white HC was first published it was, for me, quite literally the publishing event of a lifetime. Let me explain. The story behind this story is just amazing. In 1974 I was a 14 year old kid and already had read Bram Stoker’s “Dracula” twice. I would go on to read it several more times after that, including as part of a Gothic Literature course in college. I liked the Legosi and Christopher Lee “Dracula” movies just fine but I never understood why they deviated so much from the original source material. All other “Dracula” movies would deviate from this material as well. Back in the 1970s I also was a huge fan of Marvel’s “Tomb of Dracula” comic book and when Marvel came out with “Dracula Lives!” as well as their other black & white monster magazines I gobbled them up too.

Then something truly amazing happened in “Dracula Lives!” #5 and, remember, this still was 1974. Roy Thomas and D ick Giordano produced the first chapter of an illustrated serialization of Stoker’s book! And it was WONDERFUL! Thomas’ writing was faithful to the book, right down to Dr. Van Helsing’s strange dialect, and Giordano’s inks and washes produced dark, mysterious and foreboding illustrations. Not comic book art, but illustrations. This serial ran in separate chapters from “Dracula Lives!” #5-8, 10-11 and the final (but not the last) chapter was published in “Legion of Monsters #1 before it met its premature demise for want of a platform in which to be published. I was crushed. I had dreams of this story’s being collected in one big magazine or book which I would keep and treasure forever. The one faithful illustrated rendition of Stoker’s novel in the entire world. Oh, well. Such was not to be. Life had to go on.

Fast forward 30 years. Yes, no kidding, 30 years. The stars align. Fate lends a hand. Just when Thomas and Giordano, who had been talking for years about finishing this series, were about to finally give up on completing it, Marvel actually contacts them to make this very request. It was announced on fan web sites and I, for one, practically had a fangasm. Marvel reprinted all their prior work in the first issue of the new “Stoker’s Dracula” series, which premiered October 2004, and the rest of their prior work from the 1970s in the first half of the second issue. The rest of the second and the entire third and fourth issues would be all new material. Marvel completed the series in March 2005 and then published the HC collected edition of these four issues (my childhood dream come true!) in time for Halloween of that same year.

And what a beautiful volume it is! Well over 200 black and white story pages, printed on heavy paper stock, HC bound in a gorgeous black, white and (dripping) red dust jacket, complete with a bright red book mark sash. In addition to the story, this volume is loaded with “Stoker’s Dracula Extras” that include an introduction by Thomas and an afterward by Giordano, both recounting the history of this seminal effort from their own perspectives, the front and back cover art for the four issues of Stoker’s Dracula, the reprinted covers from the 1974 Dracula Lives! and Legion of Monsters black & white magazines wherein this effort originated, prior chapter recaps that led off each subsequent chapter from the original serialization, used and unused cover sketches, and rough pencil-to-ink wash progression pages.

Thomas writes in his essay, “Now – or at least, after all four issues of ‘Stoker’s Dracula’ have been published at six-week intervals – it’s for readers to judge whether D ick and I have succeeded in what was always our ambition: to draw and script the most faithful adaptation ever done, in any medium, of Bram Stoker’s ‘Dracula.’” Roy, you guys definitely succeeded. I must confess that, after 30 years, D ick did lose some of his drawing chops, the newer segments appear more two-dimensional, and the visual tone isn’t as mysterious and terrifying as the earlier ones. But this is a wonderful piece of work, a must have for any Dracula fan and, clearly, a labor of love for you two creators. I couldn’t be happier, having waited 30 years to see it happen, for this series’ completion to be compiled in this gorgeous HC volume. Thank you, from a die-hard fan. And, for those of you out there yearning for a faithful “Dracula” recreation who didn’t pick up the four part series (or even if, like me, you did) please be sure to pick up this collected HC book. It retails for $24.99 but you can find it on eBay for about $15. At either price, it’s a real treat!

Dr. Strange vs. Dracula: The Montesi Formula
Marvel Comics
Written by: Marv Wolfman, Steve Englehart, Roger Stern
Drawn by: Gene Colan, Dan Green, Steve Leialoha

Marvel released this trade a few years back, collecting Tomb of Dracula #44 and Dr. Strange #14 and 58-62, and I was very glad to see it. Tomb of Dracula is one of my single most favorite comic book series of the 1970s. It lasted 70 issues, plus Giant-Size specials and black and white Marvel magazine spin offs and, while not Marvel’s first foray into classic horror characters (Werewolf by Night came first), it was Marvel’s most successful. TOD also boasted one of comics’ longest running creative teams of Marv Wolfman, Gene Colan and Tom Palmer who stayed together on the title for 64 issues once Marv picked up the writing chores for the book with issue #7. Not the legendary Lee/Kirby Fantastic Four or Bendis/Bagley Ultimate Spider-Man runs but, still, pretty damn impressive.

To start, some quick Marvel Dracula background. It relates to this trade, I promise and you’ll see. Frank Drake, a descendant of Dracula’s, ushered the vampire into the Marvel Universe in Tomb of Dracula #1 when he went to Transylvania with his business partner and girlfriend Jeannie to turn his inherited Castle Dracula into a tourist attraction. Naturally, once the stake was removed from Dracula’s corpse all kinds of hell breaks lose from that point onward. Grief stricken over Jeannie’s death, Drake joined the aged and wheelchair bound Quincy Harker (son of Jonathan Harker from Bram Stoker’s novel, Dracula) and the young, beautiful, cross bow wielding Rachel Van Helsing (granddaughter of the famous vampire hunter, also from Stoker’s book) all of whom joined forces to combat Dracula. They, in turn, were occasionally joined by Blade and Hannibal King, a private detective turned into a vampire by Deacon Frost, the same vampire who killed Blade’s mother. Later, Harker died in the series’ final battle with Dracula that ended with a silver stake through the vampire’s heart and an explosion that destroyed Castle Dracula and killed the old man. Frank and Rachel, awkward lovers, split up afterwards. Blade went his own way. And that seemed the end of it. During this series’ run and afterwards, Dracula met up witih various Marvel heroes beginning in 1974 with a non-encounter with Spider-Man in Giant-Size Spider-Man #1, but he battled the Silver Surfer in TOD #50 as well as Thor, The Defenders and The X-Men in their comics as well. In fact, it was in X-Men Annual #6 that Dracula murdered Rachel Van Helsing and turned her into his vampiric slave from which she ultimately was freed by Wolverine. But the lord of vampires’ most persistent Marvel adversary was Dr. Strange.

This trade begins with Strange and Dracula’s first encounter in Tomb of Dracula #44 and continuing in Dr. Strange #14. Wong is attacked by a vampire and is dying. Strange enters Wong’s unconscious mind, follows his memories back to the grisly encounter, and discovers Dracula, a being Strange thought a legendary figure only, was the perpetrator. An enraged Strange goes after the vampire lord in hopes of a cure for Wong. The battle between the sorcerer and the vampire is pitched and desperate but, shockingly, Strange falls to the vampire’s bite. With only three days until Strange’s corpse rises as Dracula’s vampire slave, Strange’s astral form frantically battles the vampire, but to no avail. In the end, having risen from the dead, Strange as a vampire must defeat Dracula, his master now, and cure himself and Wong even as his will begins to bend to Dracula’s commands. Though these two issues are crafted by two different writers, Wolfman and Englehart, they both are drawn an inked by Gene Colan and Tom Palmer thus providing perfect visual consistency (not to mention dynamic and powerful art) throughout this harrowingly wonderful tale.

Somehow, though, following his subsequent death at Quincy Harker’s hands (see above), Dracula resurrected himself yet again and now we learn, beginning in Dr. Strange #58, he is seeking The Darkhold, an evil manual crafted by the demon Chthon, the very book that possessed the Scarlet Witch back in the John Byrne art run on the Avengers. With The Darkhold in his possession Dracula could become the ultimate evil on Earth. Through an encounter with Hannibal King (see above), Dr. Strange learns of Dracula’s plans and, with good reason, moves swiftly into action. Strange and Dracula both learn that The Darkhold resides in a vault in Avengers Mansion and, though Dracula is terrified of encountering Thor again (see above), he and his minions breach the mansion. Strange, with the aid of The Scarlet Witch and Captain Marvel (Monica Rambeau), repels the vampire and spirits The Darkhold to the Transylvanian Castle of Baron Mordo, but not before he leans of the Montesi Formula within this tome, the formula to undo and completely destroy vampires across the globe. Now, with the vampire lord’s acquiring more power from the estranged Darkhold all the time, King gathers up Blade and Frank Drake (see above) who is angry and saddened by Rachel Van Helsing’s death by Dracula in X-Men Annual #6 (see above…see, I told you that Tomb of Dracula background paragraph was relevant to this trade!), and Strange and his crew race to beat Dracula to Mordo’s castle. Of course, what follows is another pitched and desperate battle to save all of humanity and stop one of the single greatest evils ever to walk the planet.

This trade is action packed, tense and filled with a genuine sense of desperation and fear. Despite the variety of writers and artists in this trade, the whole thing holds together extremely well and the respect for continuity and consistency keeps the story flowing nearly perfectly, despite the jump in years between the first story and the second. Gene Colan’s art cannot be beat, but Dan Green’s art is a bit reminiscent of Ditko and Leialoha’s art is conceptually eerie. Given who the writers are in this trade, we should expect nothing more than exceptional stories and that’s exactly what we’re given, not to mention a beautifully colored Gene Colan drawing for this trade’s cover of Dracula standing triumphantly over the fallen Dr. Strange. Great trade and highly recommended.

[wktf]

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Frighty Trade Reviews (Cont'd)

Dracula vs. King Arthur HC
Silent Devil Productions
Written by: Adam & Christian Beranek
Drawn by: Chris Moreno
Introduction by: Jim Krueger (he of Alex Ross co-creator fame)

The four issue “Dracula vs. King Arthur” series received limited circulation and even less press (my reviews excepted) during its 2005-6 run. Silent Devil is a small, independent publisher who put great creative talent on this book but whose publishing delays were pretty extreme. That said, when the product was as stellar as this comic series was, considering it was from a fledgling publisher, I think the delays were completely forgivable. This story blends two different legends, that of the vampire lord Dracula and the Christian hero King Arthur Pendragon of Camelot, into a tale that creates a fantastic, brutal and horror-laden intersection of the two. As a series it was terrific. Packaged as a limited edition, signed HC or as the more readily available trade paperback, it’s a must-have for anyone collecting the best of comic book storytelling!

After being introduced to King Arthur and Vlad Dracul III, and taken down a strikingly parallel tale of their respective lives and rises to power, we find the mortal Dracula in 1473 broken from his wife’s suicide, betrayed to his Turkish enemies by his brother and at death’s door. Lucifer, dramatically and horribly portrayed by Moreno, intervenes and offers Dracula the ability to create a new kingdom, made in his image, if he will only slay God’s chosen champion, the legendary King Arthur of Camelot. Having been seduced by Lucifer’s powers of persuasion, Dracula agrees and, so, is brutally and painfully transformed into the world’s first vampire and sent back in time to the Camelot of yore. Combining his new supernatural powers with his own warlike cunning Dracula gradually turns Camelot, including Arthur’s wife Guinevere and many of Arthur’s Round Table Knights, into a land of the undead. Arthur, in the mean time, is off on a quest for the Holy Grail, a quest on which he dreamed God sent him but which, in reality, was planted in his dreams by Lucifer to remove him from Camelot while Dracula worked his evil ways.

Arthur’s allies include his Knights of the Round Table and his mage and advisor, Merlin. All play a role either in Dracula’s or Arthur’s efforts. At one point in the story, Merlin brutally experiments on one of the vampires’ victims (Amide, the poor sister of Arthur’s knight Percival) to uncover the undeads’ weaknesses while Sir Lemorak, one of Arthur’s remaining Knights, nearly singularly keeps the vampires at bay with his mace and sword. Arthur, himself, loses his holy sword Excalibur, falls to Dracula in battle and, subsequently, discovers Guinevere, Lancelot (Guinevere’s lover, as well as Arthur’s first knight), Galahad and others of his royal circle converted over to Dracula’s vampire curse. The plot progression, scripting, wonderfully energetic art, and sheer horror in this series are absolutely riveting and, as the reader comes to the final chapter of this tale, Arthur’s ability to right this horrible situation truly seems completely hopeless.

And for many of the reasons previously mentioned, Arthur’s cause truly is hopeless. The final battle of the forces of good against Lucifer’s minions of evil is as savage as anything Barry Smith or John Buscema gave us in the pages of Marvel’s Conan stories and, even in victory, some tremendous wrongs simply can not be righted. And humans, even formerly good ones like Lancelot and Guinevere, once turned to vampires cannot be turned back. This book’s ending is shocking, daring, takes no shortcuts and pulls no punches. It is one helluva story and one of the best indie publishing events in a very long time.

Weighing in at over 100 pages of story and retailing for $29.99, this limited HC is very tough to find. Mine, courtesy of Lone Star Comics, is numbered 97/250. It’s a little more expensive on eBay. Both the HC and TPB contain 10 pages of additional story not found in the original mini series that add some depth to an important sub-plot. Both also contain concept art and character sketches the publisher creatively included in each of the book’s chapter headings. No matter how you access your “Dracula vs. King Arthur,” you’ll experience one of the most compelling, horror-filled and terrifying good-versus-evil stories to entertain a comic book audience.

Legion of Monsters HC
Marvel Comics
Written by: Mike Carey, Skottie Young, Charlie Houston, Ted McKeever, Robin Furth, Jonathan Hickman, Brendan Cahill, C.B. Cebulski, Doug Moench, Bill Mantlo, Marv Wolfman, Tony Isabella, Scott Edelman
Drawn by: Greg Land, Skottie Young, Klaus Janson, Ted McKeever, Kalman Andrasofsky, Jonathan Hickman, Michael Gaydos, David Finch, Val Mayirk, Frank Robbins, Dave Cockrum, Rico Rival, Ruben Yandoc, Ron Wilson

Marvel released this oversized hardcover a few years back and, if you’re a horror comics fan and/or a fan of Marvel’s 1970’s horror stories, this is your book! I, for one, couldn’t wait for Marvel to release this book, consumed the whole 280 page in one sitting and, frankly, found it almost too much fun for words.

Earlier the same year Marvel released a monthly comic book series of brand new monster stories, featuring their horror creations from the 1970s, under the title of “Legion of Monsters.” These books contained two stories apiece and, for the most part, each of these comics and all these stories are captured here were phenomenal. The only questionable stories among them were The Living Mummy tale by Jonathan Hickman, which was just a little too obtuse, and the Simon Garth Zombie story by Ted McKeever which, unfortunately, is a stupid story about zombie love that, quite frankly, seems to disrespect this terrifying character. That said, the other six alone are worth the $24.99 cover price, plus you get a whole lot more (but I’ll get to that in a minute). My favorites here of the newer tales include the Werewolf by Night story by Mike Carey and Greg Land, where a local girl struggles both with her lycanthropy and against an angry mob, with Jack Russell’s assistance, of course. I also loved Skottie Young’s absolutely haunting story about the Monster of Frankenstein, a creature who seeks redemption but can’t help but be drawn back into the evil of his monstrous nature. Young’s story is wonderful and sad, and his bizarre and dark art style is just perfect for this story. Charlie Houston, whose Moon Knight has been lacking, and Klaus Janson give us a “delicious” and creepy Man-Thing tale about control, justice and, of course, fear. The Satana and Morbius stories also are fun, but my favorite of this bunch is C.B. Cebulski and David Finch’s tale of Dracula and his daughter, Lilith. And not just because I own two killer pages from this story (though, I do!). If you want a twisted and violent vampire tale filled with anger, manipulation and pure, unadulterated violence, this is your story!

As bonuses, this HC also includes a plethora of Marvel Monster offerings from their heyday of the 1970s. So, in this book you’ll also find the Monster of Frankenstein and Manphibian pieces from their 1975 Legion of Monsters #1 black & white magazine, complete with the recreation of the famous Neal Adams cover painting of Dracula, Frankenstein Monster and Manphibian. Also, there’s the 1976 Legion of Monsters story from Marvel Premiere #28 where Morbius, Werewolf by Night, Man-Thing and Ghost Rider find themselves united in confusion against a strange, interstellar being. The next two stories are about a supernatural being called The Scarecrow, first from 1975’s Dead of Night #11 and 1976’s Marvel Spotlight #26, a super strong and nearly invulnerable creature who emerges from a painting to combat evil supernatural forces. The final tale, from 1976’s Marvel Two-In-One #18, teams The Scarecrow with the bashful blue-eyed Thing against another evil demon. A word of caution: those who didn’t read the Marvel monster comics in the 1970s may well find these reprinted tales a bit corny. I have to admit I found them, and especially some of the dialogue, kind of hokey and completely lacking the, forgive the pun, bite of the much more recent stories. Marvel’s story choices for these ‘70s reprints are a little strange, too. I can see Marvel’s wanting to add some depth and diversity to this book but, come on, The Scarecrow? The “Manphibian” (though it came from a “Legion of Monsters” mag, which also is the title of this book)? I do think Marvel would have been better served by reprinting some self-contained, single issue stories from Tomb of Dracula, Werewolf by Night, Monster of Frankenstein, Man-Thing, Ghost Rider or Fear (where Morbius had a solo career for a while). That said, if you grew up reading these stories in the 1970s as I did, this trip down memory lane was a nostalgic hoot and, despite shaking my head and smiling at some of the dialogue, I found myself really enjoying these reads.

Finally, the book is rounded out with 2005’s Official Handbook of the Marvel Universe: Horror that gives all the vital stats and history on many of Marvel’s monsters, as well as some Werewolf by Night cover and page sketches by Greg Land, some Dracula and Lilith page sketches by David Finch, and a penciled Man-Thing page by Klaus Janson. All in all, this hardcover is a really fun and diverse mishmash of Marvel Monster madness and mayhem. As I said, above, Marvel monster lovers can’t go wrong with this book as part of their trade library.

[Primal]

Agreed on all points regarding Cap, Joe! This story has the potential to be truly amazing if done right. I'm confident Bru & the artist will give us an intriguing ride ahead. Doesnt hurt that i'm a big fan of courtroom drama similar to how Bendis handled White Tiger's trial during his DD run.

[protector2814]

Dawg, in Secret Avengers 6, do they mention Shang-Chi's Father by name. He's Fu Manchu but I thought Marvel couldn't use the character name anymore.
Can't wait to read this.

WKTF, I'll be picking up the 3rd ish of Dracula, The Company of Monsters. So far, so great i.m.o..

Thanks guys and a special thanks for the Frighties! I've enjoyed every word written.

[bat_collector]

I'd love to get my hand on those tomb of dracula volumes.

[wktf]

Dawg, in Secret Avengers 6, do they mention Shang-Chi's Father by name. He's Fu Manchu but I thought Marvel couldn't use the character name anymore.
Can't wait to read this.

WKTF, I'll be picking up the 3rd ish of Dracula, The Company of Monsters. So far, so great i.m.o..

Thanks guys and a special thanks for the Frighties! I've enjoyed every word written.

They don't mention Fu Manchu by name and, yes, you're correct that they're no longer legally allowed to use his name. Great issue, too. Deodato's art, especially Shang-Chi's fight scenes, is excellent!

[wktf]

I'd love to get my hand on those tomb of dracula volumes.

Well worth it, Mike. Some of the best comic book storytelling you'll ever read. Guaranteed.

[bat_collector]

Well worth it, Mike. Some of the best comic book storytelling you'll ever read. Guaranteed.

the first one is going for crazy money on ebay

[wktf]

the first one is going for crazy money on ebay

Yeah, I know. I feel bad for folks who can't pick this up due to the lift on the secondary market. I hope you can score it some day.

[wktf]

...Thanks guys and a special thanks for the Frighties! I've enjoyed every word written.

Dude, you are so very welcome. It's such a pleasure. And thanks for all the great support over the years! :thumbs2:

[bat_collector]

Ok, I got the full color tpb of tomb of dracula on sale! first 12 issues!

[Monty Props]

Hey WKTF, I have always appreciated your enthusiasm for The Tomb of Dracula and I certainly became a loyal fan thanks to you. Did you ever here if Bowen was going to do a Dracula sculpt? I'd personally love to have a MB.

[wktf]

Hey WKTF, I have always appreciated your enthusiasm for The Tomb of Dracula and I certainly became a loyal fan thanks to you. Did you ever here if Bowen was going to do a Dracula sculpt? I'd personally love to have a MB.

Lots of teasing and indirect promises, but nothing definitive unfortunately... :bawling:

But happy to hear I'm responsible for creating another loyal ToD fan! Awesome, Monty Props! :cool:

[Monty Props]

WKTF, since I defer to you for all things TofD, which cover was the variant cover for Omnibus 2?

[wktf]

WKTF, since I defer to you for all things TofD, which cover was the variant cover for Omnibus 2?

Well, according to both Amazon and Marvel, the variant was the original Gene Colan cover image from Tomb of Dracula #70, though I always thought that the Kalman Andrasofszky cover was the variant.

[Babytoxie]

Ok, I got the full color tpb of tomb of dracula on sale! first 12 issues!

Excellent, where'd you pick it up?


Re: the Thomas/Giordano Dracula, I saw it at Borders today, and I have a coupon for 33% off. Joe, you said the new collection has been colored - have you seen the colored pages? Do they look any good?

[wktf]

Excellent, where'd you pick it up?


Re: the Thomas/Giordano Dracula, I saw it at Borders today, and I have a coupon for 33% off. Joe, you said the new collection has been colored - have you seen the colored pages? Do they look any good?

They do look good. I passed only because I have the black & white HC already and that's the version I remember from my teen years begun in the Dracula magazine format Marvel had published. But, yes, the colored pages do look good. I'd recommend it.

[Babytoxie]

They do look good. I passed only because I have the black & white HC already and that's the version I remember from my teen years begun in the Dracula magazine format Marvel had published. But, yes, the colored pages do look good. I'd recommend it.

Thanks, I'll grab it tomorrow!

[supahman]

I read the black and white Magazine as a kid.. n it scared the crap outta me.. m gonna try n look fr the black and white HC...