After being bitten and kidnapped by Dracula, John Harker and Dr. Seward debate how to rescue Mina from the vampire’s clutches. Van Helsing convinces the two men to join him at Carfax Abbey to kill the monster once and for all. Universal Monsters Dracula Issue #4 serves as the finale for this miniseries. 

James Tynion IV and Martin Simmonds held an exciting prospect for Universal Monsters Dracula because the comic book was based on the 1931 Tod Browning adaptation instead of the titular novel by Bram Stoker. Overall, the final issue succeeds in translating the classic film to the comic book medium, partly due to where Tynion decides to expand the characters and narrative. Renfield has much more depth, and his relationship with Dracula becomes the story’s focal point. Tynion demonstrates what psychologically lies within the character and makes him more than the stereotypical familiar. Also, the writing evokes the original’s classic gothic tone without feeling shamelessly replicated. He knows what must be updated and what stays essential to the story. Considering how much of the movie relies on atmosphere, Tynion builds up the dread as the men head to Carfax Abbey to fight the vampire. Rus Wooten’s lettering perfectly ties in with leaning into the past while being fearless in bringing in some modern elements. There’s an elegant but creeping aspect to his craft. 

Simmonds’s art and colors elevate an already great story into a gorgeous piece of art. The decision to mimic the black-and-white nature of the film to convey the normalcy of London, where the presence of Dracula brings color to the comic, serves as an excellent visual to convey his power and influence over others and his surroundings. In addition, Simmonds takes full advantage of the comic book medium to portray not only the horror of the vampire but how his presence impacts Renfield and Mina. Simmonds does not present Dracula as a man but as a force of nature who takes the form of one to infiltrate English society. Renfield’s porcelain white face lacking a nose evokes the uncanny where he appears primarily human but not fully human. Finally, his unique and haunting panel layouts feel like something from a bad dream that haunts the darkest parts of your mind. Simmonds’s evocative and emotional artistic style not only helps the comic stand out from other adaptations but also furthers how to represent Dracula beyond a man in a tuxedo and a cape. 

As a big Dracula fan, I was inquisitive to see how Tynion and Simmonds would tackle such an iconic monster and film while bringing their touches. Universal Monsters Dracula succeeds with its final issue, where it pays homage to the original movie but still has the series be able to co-exist with Browning’s classic. It has genuinely felt gothic in both word and art, where some of the most beautiful and ghastly images can co-exist on the page. Simply put, the final issue gave me much to sink my teeth into.

Story: James Tynion IV Art and Color: Martin Simmonds Letterer: Rus Wooten
Story: 9.0 Art: 9.5 Overall: 9.25 Recommendation: Read

Image Comics provided Graphic Policy with a FREE copy for review

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