Tomb of Dracula
Publisher: Gotham
Entertainment Group LLC
Writers: Robert Rodi and Bruce Jones
Pages: 89
Price: Rs.60
When Bram Stoker had published the novel Dracula in 1897, it had unleashed a Pandora’s Box of franchises in various media. By the 1920s, Dracula had already created waves in the film industry. The most notable take was spawned out of German Expressionism through the film Nosferatu (1922).
Dracula, the antagonist of many stories good, bad and ugly, is a vampire whose origin is attributed to obscure historical occurrences. Well, wile the author Bram Stoker may not have intended to base him completely on true-life incidents, he definitely had no idea of its potential. When the cinematic treatments of Dracula had gained popularity, the book was on its way to receiving a classic status. Furthermore, in mainstream cinema, after thespians Bela Lugosi, Christopher Lee, Frank Langella, Gary Oldman and Rutger Hauer had enacted Dracula in different eras, Dominic Purcell had done the role of the legendary vampire in the so-called Hollywood spectacular Blade: Trinity (2004). So why should graphic novels, as a storytelling medium, stay far behind in immortalising the unholy super-human?
Thus was born The Tomb of Dracula, a comic book series published by Marvel Comics from April 1972 to August 1979. Even DC Comics giants Superman and Batman have faced the vampire lord in graphic novels that possibly existed outside the continuity of the fictitious universe as illustrated in monthlies. Hence, the fact that writers Robert Rodi and Bruce Jones and penciller Jamie Tolagson collaborated under editors Warren Simons and John Mieseges to produce the 2004 version of Tomb of Dracula for Marvel Comics was no surprise.
The protagonist of this mini-series is Blade, a super-hero existing in the same world as Spider-Man, Daredevil and the Hulk. In the world of the vampires, Blade is classified as a Daywalker. He is a vampire-slayer, and despite having similar urges of a vampire, he has somewhat controlled his instincts. Created by Marv Wolfman and Gene Colan, the Daywalker first appeared in The Tomb of Dracula #10 (July 1973), which is why again, an attempt to revive the nostalgia in the 2004 release should be expected.
One thing a reader must know as a prerequisite is that vampires, or in a synonymous term, the undead, do not cast a reflection. Tomb of Dracula begins with Blade literally sniffing on the trail of a woman who had cast a reflection, but was st ill a vampire because of a peculiar stench associated with the undead. As his tete-a-tete with her unfolds, a mysterious Noah Van Helsing was gathering a team of vampire hunters and specialists to take on Dracula. The vampire lord has been existent for centuries, but the sudden migration of masses of the undead to his birthplace has made it clear that Dracula is going to prepare for world domination and he needs to be protected for the time-being.
In terms of the artwork, one can easily be dissatisfied with Blade’s
actions at certain junctures. However, one must realise the limitations of this super-hero in the comic-book medium. If that is the case, the Blade motion picture trilogy starring Wesley Snipes is recommended. However, Tomb of Dracula does not go pornographic at any point, unlike the typical movies. In that sense, the art has remained loyal to the story rather than take the attention away.
However, the same cannot be said for the editing. One major mix-up that can fox the readers at several points in the mini-series has specifically to do with the characterisation of the team members determined to prevent the reign of Dracula. The plot hole is large and bordering on blatant.
Is Tomb of Dracula a good read? The opinions will definitely vary from person to person. One can read it either to invoke the imagery that Bram Stoker had created or to enjoy the actions of Blade — the Daywalker.
— Nithin D Koshy blogs at www.atlasreborn.blogspot.com