Tag Archives: dracula

Infinite Statue opens the coffin for Bela Lugosi as Dracula

Get a look at the Bela Lugosi as Dracula (Deluxe) 1/6 Scale Figure by Infinite Statue, just ahead of the worldwide release.

This deluxe 1/6 scale figure is a wonderful tribute to Hungarian American actor Bela Lugosi, best known for his iconic role as Count Dracula in the 1931 film from Universal Pictures. Made in collaboration with Kaustic Plastik, as part of Infinite Statue’s Action! Deluxe Figure line, this 1/6 scale figure beautifully captures the Transylvanian vampire’s moods with two hand-painted headsculpts. The Count’s dapper outfit includes a tailored fabric suit and bowtie as well as his sumptuous black and red lined cape. Accessories include an ornate candelabra and his coffin, so he can finally get some rest.

Pre-order the Bela Lugosi as Dracula (Deluxe) 1/6 Scale Figure by Infinite Statue now.

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Review: Out #1

Out #1

Comics are a particularly fertile medium for different interpretations of the vampire mythos. From Vertigo’s Vamps, about a female biker vamp gang that spills the patriarchy’s blood wherever they go, to Image’s Dracula, Motherfucker!, a pulpy reinterpretation of the original vampire’s bloodsucking brides, there’s no shortage of examples about the storytelling possibilities the classic monster can still hold.

Rob Williams and Will Conrad’s Out, published by AWA Studios, is another great foray into vamp territory, but what makes it stand out is how well it tweaks the monster’s foundational myths to produce a more nuanced but infinitely more terrifying version of it. There’s enough classic horror here to satisfy veteran vampire fans with enough variation to keep those hungry for new blood well fed.

Out is essentially a prisoner of war story (P.O.W. for short) set in the final days of the Second World War, with the Allies quickly gaining on the Nazis in their home turf. Like any good POW story, the comic focuses on a small group of captured Allied soldiers that are being kept in a massive castle located deep in the mountains of Czechoslovakia. Dark priests and strange rituals are taking place inside the castle and they end with prisoners being fed to something that thirsts for blood, something ancient.

Out #1

A Native American soldier called Nocona emerges as the main character in all this, a code-talker that speaks several languages and that represents a whole group of First Nations servicemen that the American military enlisted to transmit coded messages during the war (codes the Germans didn’t know how to crack). His knowledge of languages figure greatly into the story and it’s one of the things that help make the vampire a deeper and more frightening character.

Without giving too much away, Nocona’s interactions with the vampire (who’s trapped by the Nazis in an effort to turn a losing war in their favor) are fascinatingly terrifying because of the character’s ability to speak in the same tongue as the creature. This allows Williams and Conrad to flesh out the monster beyond snarls, growls, and hisses.

Conrad creates a horrifying vamp here, bat-like in parts and almost alien-like in others, but William’s scripting choice to allow him to attempt communication means there’s more room afforded to its development as a multidimensional character. The comic shines in this regard.

Usually, vampire characters that are in a permanent bat monster mode rarely get the chance to speak or to add nuance to their personality. Williams and Conrad challenge this by doing the opposite, and it works well enough to set their vamp apart from the ones already out there in the field.

Nocona’s presence, though, isn’t just relegated to vampire whisperer. He’s also trying to help other POWs in the castle escape. It’s here that he meets a soldier that represents a level of attraction beyond any call of duty. His and Nocona’s interactions are among Out’s strongest and they help further differentiate this horror tale from the rest, especially in terms of how naturally it unfolds. Nothing is ever forced or propped up for shock value. It’s an organic type of development and it adds layers of emotion that pay off in the end.

Out #1

In a sense, it’s not unfair to describe Out as a cross between Dracula and The Great Escape. The elements of a POW escape yarn are firmly present and a lot of the tension Williams and Conrad produce comes from the same sense of urgency war movies of this iteration are known for. In turn, the horror elements turn the narrative two-tiered, a ‘busting out of captivity’ scenario paired with a creature feature that makes the need for escape all the greater. It’s smart and it makes for compulsive reading.

Out is a great example of how to take tradition and twist it into something that can appeal to more current sensibilities. It’s a classic horror story that reads like a POW war narrative with key adages and permutations that elevate it into more compelling forms of storytelling. Williams and Conrad came up with a clever and violently emotional exploration of war, death, and everything in between. In the process, they might also suggest learning other languages can be the deciding factor in some life and death situations. You never know when you might need to talk down a blood-sucking creature from using your head as a wine glass in its native tongue.

Story: Rob Williams Art: Will Conrad
Color: Marco Lesko Letterer: Sal Cipriano
Story: 9.0 Art: 9.0 Overall: 9.0 Recommendation: Buy and learn an ancient language or two.

Purchase: comiXology/KindleTFAW

Preview: Dracula: Son of the Dragon

Dracula: Son of the Dragon

(W) Mark Sable (A/CA) Salgood Sam
In Shops: Oct 27, 2021
SRP: $19.99

A blood-soaked epic of the real-life Vlad the Impaler’s transformation into the vampire Dracula. Part historical fiction, part horror fantasy, this graphic novel is brought to you by writer Mark Sable (The Dark, Graveyard of Empires, Unthinkable) and artist Salgood Sam (Dream Life, Therefore Repent, Sea of Red).

Based on the real-life story of Vlad the Impaler.

Collects the original digital series.

Dracula: Son of the Dragon

The Cult of Dracula Beckons in March

Dracula has never been so dangerous. Learn the depth of her influence in Cult of Dracula, written by Rich Davis with art by Henry Martinez. The first issue of the latest horror mini-series from Source Point Press is available for pre-order now and will be in shops on Wednesday, Mar. 31.

Special Agent Malcom Bram arrives at the House of the Rising Sun. This secluded compound is the home of the secretive Ordo Dracul and the scene of a horrendous crime coined, “The Cult of Dracula Mass Suicides.” 

Mina Murray leads a documentary film crew to uncover the secrets of the mysterious cult by interviewing its enigmatic leader, Robert Renfield. Neither investigator is prepared for the gravity of the truths they will uncover. 

Dracula is eternal. A primordial being formed by the same essence of creation as Adam. Dracula is chaos. The eternal embodiment of entropy. This is her story…

The first issue of Cult of Dracula will be available in an A Cover by Gyula Nemeth and a B Cover from Shannon Maer

Cult of Dracula #1

Bela Lugosi to Star in Bram Stoker’s Dracula Graphic Novel from Legendary Comics

Legendary Comics, in partnership with the Lugosi Estate and Kerry Gammill, have announced Bram Stoker’s Draculaa new graphic novel starring iconic film and stage actor Bela Lugosi, with art by El Garing, set for release in late 2020.

In the late 19th Century, Dracula, an ancient Transylvanian vampire, moves to England to find fresh blood and spread his evil contagion. There, he encounters two women, Lucy and Mina, who become the targets of his dark obsession. Aided by a group of brave men, Professor Van Helsing arrives on the scene to take on the Vampire Prince in the ultimate battle between the forces of light and dark!

Bram Stoker’s Dracula

Around the Tubes

Jim Cornette Presents: Behind the Curtain - Real Pro Wrestling Stories

The weekend is almost here! What geeky things will you all be doing? Sound off in the comments. While you wait for the weekday to end and weekend to begin, here’s some comic news and reviews from around the web.

The Beat – A Year of Free Comics: The crass & unexpected comedy of Abhay Khosla’s Dracula – Free comics!

CBR – Joker Lands R-Rating for Violence, Sexual Content and ‘Disturbing Behavior’ – Anyone surprised?

Newsarama – Disney & Marvel Have ‘Never Shown Stan Lee or His Legacy Any Respect or Decency’ Says Daughter J.C. – Not a shocking stance.


Laughing Place – Ghost-Spider #1
Jim Cornette Presents: Behind the Curtain – Real Pro Wrestling Stories
The Beat –
The Plot #1
Superman: Year One #2
Geek Dad –
Superman’s Pal Jimmy Olsen #2

Preview: Bram Stoker’s Dracula

Bram Stoker’s Dracula

Bram Stoker, Roy Thomas (w) • Mike Mignola (a & c)

Mike Mignola is one of the most popular comic book artists of the past 30 years, known for such important works as Batman: Gotham by Gaslight, Cosmic Odyssey, and, of course, Hellboy. Considered to be among Mignola’s greatest works, Bram Stoker’s Dracula was his last project before Hellboy launched and was originally released as a full-color four-issue adaptation of Francis Ford Coppola’s 1992 movie released by Columbia Pictures (Sony). Unavailable for nearly 25 years, and collected here for the first time ever in gorgeous black and white, Bram Stoker’s Dracula is a book fans have long been clamoring for… and the wait is finally over.

HC • B&W • $29.99 • 136 pages • 8” x 12” • ISBN: 978-1-68405-315-5

Bram Stoker’s Dracula By Mike Mignola Returns To Print!

25 years ago one of comics’ most celebrated creators, Mike Mignola, adapted to comics, along with Roy Thomas, the star-studded Columbia Pictures (Sony Pictures Entertainment) film by Francis Ford CoppolaDracula, based on the world-renowned novel by Bram Stoker. Now at last fans of this lost treasure will have a chance to relive the terror, or discover it for the first time, as IDW Publishing is bringing the complete story back to print!

The 136 page hardcover collection features Mignola’s stunning black and white artwork, and showcases the master creators’ final work before launching Hellboy.

Bram Stoker’s Dracula by Mike Mignola is available for pre-order now wherever books are sold using ISBN 978-1684053155. The feature film Bram Stoker’s Dracula is available on Blu-ray and 4K Ultra HD.

Review: Van Helsing Vs. Dracula #1

helsing001There is likely no villain as pervasive as Dracula.  He is maybe not the most intimidating of comic book super villains, but as a character borrowed from literature and history, he has shown up at practically every major comic company.  He is a big enough enemy of the X-Men at Marvel, has shown up occasionally at Marvel, and even in the past year has already been featured in his own miniseries, which he shared with the Blood Queen at Dynamite.  With such a wide swath of appearances, it makes sense that he would appear in Zenescope’s Grimm Fairy Tales, a setting which is established on the very concept of ripping off characters from myth, legend, fairy tales, and literature.  As the Grimm Fairy Tales universe expanded it also made sense to expand its list of heroes, most of whom happen to be female.  In this case a female vampire hunter by the name of Liesel Van Helsing, with a fair amount of steampunk, was thrown into the continuity, although the character has never really been able to find a solid home at the company, rather appearing in a sequence of cameos.  Perhaps this is on the verge of changing as she is featured in his first standalone miniseries, and one taking on the darkest creature of the night.

For those that are accustomed to Grimm Fairy Tales, they will find that there is something familiar here, but for those that are not they might be confused at some of the very basic concepts introduced here.  As the main universe of Grimm Fairy Tales tends to be pretty jumbled, often without a lot of direction, it should come as no surprise that a Victorian steampunk vampire hunter is dating Hades, the Greek god of the underworld.  For those that might like to look past this part, it is not really possible, as he is not here as a cameo, but rather as a major part of what is pushing forward the plot.  As it turns out, one of Liesel’s old friends has a bit of a vampire problem, and she is off to investigate it, with the god of the dead in tow.  Little does she know though that Hades and Dracula already have a history (which is a bit of a stretch even by Grimm Fairy Tales’ standards) and this complicates her goal of helping her friend.

It might seem that this issue is overly busy, but it never really is.  The inclusion of Hades is perhaps a poor choice, but it is an editorial choice that was made long ago, and the writer here has to deal with what they have.  Despite this, this is a hard issue to get an impression of for where the miniseries might be heading.  For those that are interested in a bit of supernatural, they will probably find this approachable enough, but there is really not much here to tell whether it will be one of the better Grimm Fairy Tales projects, or something more limited.  As it stands after the first issue it evidently has the potential, only it is unclear what it can make of it.

Story: Pat Shand Art: Michele Bandini 
Story: 7.6 Art: 7.6  Overall: 7.6  Recommendation: Read


When Comic Book Film Costumes Stray

It’s an exciting time to be a fan of comic book-based films. New stories are optioned often, and the wait usually isn’t more than a couple of months for the next theatrical release. Part of the fun of following these adaptations is witnessing the choices made in transferring the bold costumes of the printed page to the silver screen. In any adaptation of material from one medium to another, changes are bound to happen, and sometimes for the better. Of course, it can also be disappointing when the choices unnecessarily stray from the established lore. Let’s take a look at a few of the most drastic examples of unfaithful costume choices in comic book films, and whether those changes were appropriate, or way off base.

In writing this article, I made a few rules to help keep things focused: 1) No animation, only live-action projects. 2) Nothing before Superman: The Movie in 1978, just to keep the comparisons relatively similar. 3) Any cases where the alter-ego of a comic character was introduced but not exhibiting powers (such as Dr. Curt Conners in Sam Raimi’s Spider-Man trilogy; he never became The Lizard) was not eligible. 4) Characters created with heavy CGI (like The Hulk) were also in a different category, so they were out.

comic-punisherTHE PUNISHER, Dolph Lundgren, 1989.

1) Dolph Lundgren as The Punisher, The Punisher (1989): A cornerstone of most iconic superheroes is a symbol that sums up their mission and their persona. In the case of The Punisher, this is especially true. The skull emblazoned on his costume is a harbinger of death. And yet, in the first feature adaptation of The Punisher starring Dolph Lundgren, his black tactical gear featured no skull at all. There were tiny skulls on the knives that he used as weapons, but that was all. While this film debuted at a time when comic book films (especially those few licensed by Marvel) were not even a shadow of what they have become, it still doesn’t excuse the omission. Beyond the skull, the other parts of the costume are negotiable and variable, but the skull really ties it all together (to paraphrase The Dude). Whatever you may think of the 2004 and 2008 versions of the character, the filmmakers at least had the good sense to include the skull.

comic-x-men x-men-film-cast

2) The Main Cast of X-Men, X-Men (2000): After Blade became a surprise hit in 1998, Marvel upped the stakes by adapting the much-beloved X-Men. Under Bryan Singer’s guidance, the key word was realism, and that extended to the costumes. For the X-Men team, Singer decided on black leather uniforms with hints of color. While the idea of coordinated battle uniforms remained from the earliest comics, otherwise they were quite different from anything seen on the characters before. While at first it seemed that Singer’s choices unnecessarily toned down the bold world of the X-Men, it proved to be a wise choice in the bigger picture. X-Men was a pivotal film in legitimizing the comic book film to worldwide audiences. While Blade may have cracked the door, X-Men pushed it further so that 2002’s Spider-Man could kick it open. Viewing it through that perspective, the care that Bryan Singer and his team took in creating an X-Men film for the masses seems downright prophetic. A film that completely tackled all the outrageousness of the X-Men comics could have alienated some viewers, perhaps causing a much different comic movie landscape.

comic-witchbladeWitchblade Complete TV Series on DVD, starring Yancy Butler as Sara Pezzini

3) Yancy Butler as Det. Sara Pezzini/Witchblade, Witchblade (2001 – 2002): Of all properties to be adapted to basic cable television, Witchblade must have been far down most people’s list. But it was adapted for TNT, where it aired for two seasons. While the show had a decent share of fans, the realization of the Witchblade itself left a bit to be desired. While in the comics a self-aware organic gauntlet/armor, the Witchblade of the show took on the look of a medieval knight’s armor. Perhaps it was inevitable on a television budget, yet the result was still disappointing. The subsequent anime adaptation presented a truer version of the Witchblade, though it wasn’t Sara Pezzini wearing it in that series. Plans for a feature film reboot have been floated, but nothing has yet landed.

comic-huntress tv-huntress

4) Ashley Scott as The Huntress, Birds of Prey (2002 – 2003): Smallville debuted in 2001, and proved to be a decade-long success for the WB network (which became the CW). In response to the success of that show, Birds of Prey came along one season later. While some aspects were very faithful to the comic book series (Dina Meyer as Oracle, formerly Batgirl), others were wildly divergent (Dinah Lance as a psychic teenager rather than martial artist Black Canary). In the latter column was Ashley Scott’s Huntress, a curious mixture of old and new versions of the character. Her costume, however, favored neither version. A strange mix of club wear that included no mask or other source of identity concealment, this Huntress looked like she had just finished crime-fighting and was headed downtown to blow off some steam. While on the show Batman was her biological father, he obviously never instructed her in the importance of anonymity.

comic-dracula film-dracula

5) Dominic Purcell as Dracula/Drake, Blade: Trinity (2004): When the third Blade film rolled around, he had already battled and defeated Deacon Frost and a horde of mutant bloodsuckers. So what could up the stakes? How about Dracula? Yes, I know Dracula isn’t originally a comic book character, but he was published by Marvel in Tomb of Dracula in the 1970s, and that comic was where Blade debuted (he didn’t headline his own book until after the original Blade film became a hit). Marvel’s version of Bram Stoker’s big bad took a page from Bela Lugosi, Christopher Lee and even Jack Palance, whom his facial features were based upon. He also had a jaunty mustache. But in David Goyer’s take on him, Dracula (here using the name “Drake” as an alias) wore no cape, nor evening wear, nor even a mustache. Instead, he settled for a silk shirt and leather pants like he was shooting a 90’s R&B video in the desert. He did have another, more demonic-looking form that was cooler, but it was underused. Couldn’t they at least have kept the mustache?

comic-catwoman film-catwoman

6) Halle Berry as Catwoman, Catwoman (2004): It felt weird typing “Halle Berry as Catwoman”, because this film is a concrete example of using a familiar name to sell an unfamiliar character. Berry’s character in this film, Patience Price, has no affiliation to Batman or any previous version of Catwoman. And then there’s the costume. A goofy mask that sits too high like a trucker hat, a bikini top with mismatched straps, and ripped leather pants create a look that doesn’t make sense even in the weird pocket universe of the film. At least there is a whip involved; as much a trademark of any Catwoman as of Indiana Jones. A creative misfire added to the list of misfires that comprise this deeply misguided film.

comic-dark-phoenix film-dark-phoenix

7) Famke Janssen as Dark Phoenix, X-Men: The Last Stand (2006): After the exciting tease for The Dark Phoenix Saga at the end of X2, fans were piqued to see Jean Grey take a walk on the wild side. Unfortunately, the combination of two major plotlines in X-Men: The Last Stand left only half the space for the Phoenix story, and so her debut wasn’t all it could’ve been. That included to her costume as well. The comic story featured a maroon and gold bodysuit complete with a gold sash and a flamebird emblem. For the film, Famke was outfitted with a red dress that alluded to the comic costume, but without the gold, sash or emblem. A choice that paid a bit of service to the look, but minus any of the detail. Would something a bit more bold have worked better to sell her character as a being of incredible power? It couldn’t have hurt.

comic-green-goblin film-new-goblin

8) James Franco as New Goblin, Spider-Man 3 (2007): The film costumes of the Green Goblin have always been offbeat choices, from Willem Dafoe’s shiny lime-green armor to Dane DeHaan’s grotesque cyborg combination. But perhaps the most off-the-wall was James Franco as the New Goblin. Harry Osborn’s turn to super-villainy had been progressing for two movies, and by the third film the idea was ripe. If only the execution had been better. The New Goblin opted for a suit based on extreme sports, including a flying snowboard-like glider and a modified paintball mask. While Dafoe’s suit was on the goofy side, it did possess elements of intimidation. But the New Goblin simply came off as the drunken creation of a pissed-off ski patrol douche. Hopefully in the future a more traditional route may be attempted.

film-wanted wanted-comic

9) James McAvoy as Wesley Gibson, Wanted (2008): Now this choice runs perilously close to breaking my rule of “no alter-ego characters”. In the original Wanted comic series, Wesley was outfitted with a very tactical costume that looked like a high-tech cross between Snake Eyes and SWAT team. Because of the change from super-villains to assassins for the film, he never wears anything other than street clothes. However, since he uses and exhibits his skills in those street clothes, he is in full “super” mode. It is definitely the most unfaithful costume choice on this list, since there was no particular attempt made to replicate the comic’s costume. It’s a shame, too, as that costume would’ve looked slick onscreen.

comic-deadpool film-deadpool

10) Ryan Reynolds as Deadpool, X-Men Origins: Wolverine (2009): I feel much the same way about Deadpool in this film as I do about Halle’s Catwoman – i.e., I just wish they were named something else. In my opinion, the Wade Wilson scenes in this film were good – funny, while also showcasing the character’s powers. But then there’s that troublesome climax, with the eyebeams, the teleportation and the absence of a mouth. It isn’t enough to awkwardly suggest the look of Deadpool’s comic costume. If it’s only half-Deadpool, then it’s not Deadpool. Thankfully, it really does look like Fox is correcting their mistakes with the upcoming solo film. Ryan Reynolds is great casting, but there has to be commitment to the character.



It’s got to be a tricky assignment for costume designers to create the film version of characters with such striking ensembles. You have to pay homage to the source material to please the fans, but you can’t make beloved characters look goofy for their mass-audience debuts. The most successful projects seem to walk the thin line of heightened reality leavened by common sense and real-world input. But make no mistake, it doesn’t take much more than a misstep to lose that line. Still, much of the outside wrappings can be forgiven if the structural integrity of the characters’ personalities are intact. When both are missing, you have Catwoman or the first attempt at Deadpool. When both are present, you have Iron Man or Hellboy. We can only hope that as comic book-based films continue to evolve, more filmmakers will find ways to exhibit both in a satisfying way.

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