"The Curse Of Dracula!"

 

OR: "London Victims Are Falling Down"

Though there was a surprising lack of special annual issues for the Tomb Of Dracula series, even with over sixty issues to its credit, readers were able to turn to no less than five such efforts in the Giant-Size books which were hitting the stands in droves during the mid-1970s--beginning with Giant-Size Chillers, which, as was the case with the Fantastic Four and Spider-Man, would adjust its masthead to headline its principal character with succeeding issues.

Padded with reprinted material (which was often the case even with genuine annuals), the mid-1974 issue still featured a new 24-page story (officially numbering 32 when factoring in ad pages, a little sleight-of-hand which I never appreciated in the sales game) as well as an intriguing new character--Lilith, Dracula's estranged daughter, who has received generous exposure in the PPC (along with her hated father, it goes without saying). Produced by Marv Wolfman and Gene Colan, the same writer/artist team who headed the main book (currently at its 21st issue at this point in time), it would instead be inker Frank Chiaramonte's work we'll be seeing here rather than that of Tom Palmer, turning in splendid pages and meshing quite well with Colan's style.

There are essentially two separate stories in play throughout the issue--but the stunning splash page we're greeted with (seen here to include its original published copy) leaves little doubt that the character who will take center stage is Dracula, who while having had dealings in London since his revival now moves to insert himself in the lives of those in government who are positioned to better help him safeguard his continued existence.

While there are a number of comics titles that benefit from digital enhancement, I've found there are certain instances in Tomb Of Dracula where the changes tend to detract from the overall atmosphere the artist attempts to convey. Here, for instance, the outer surroundings of Parliament in the digital copy appear more well-lit from a distance than one might normally expect to see at midnight; in addition, Dracula himself comes across as a more stark presence rather than the (figuratively) looming threat he appears as in the original, and with too much contrast being displayed in the layers of coloring surrounding him. (I would have been keenly interested as to what Colan might have felt about it all.)

As for Dracula's business at Parliament, he may detest the less reputable aspects of politicians (as well as humans in general)--but concerning his utter satisfaction in holding power over others as well as his penchant for conducting his affairs behind closed doors in the dead of night, he appears to exemplify the role more adeptly than he might admit.

The tale of Shiela Whittier will play out more decisively in the main title where we would learn more of the fears which plague her in her home of Castle Dunwick, as well as the unexpected way that she and Dracula become drawn to one another. But here, there is of course another figure who demands her own due--a vampire slain by Quincy Harker decades ago, but whose unique nature allows her essence to rise from the grave and inhabit any female host who suffers the treatment of an abusive father. We come across one such woman, whose father has disowned her and just killed her new husband--a fate which he will soon share.

Now active once more, Lilith, as we've learned, intends to settle some pressing matters--first, with Harker, whom she surprises and drains of blood (though, unknown to her, still clinging to life following the attack and receiving timely medical care). But then, after being more thorough with an unsuspecting bar patron, she seeks out her father to meet with him, as eager to safeguard her continued existence as he is. Yet Dracula is not Lord Henry--and the chilly reception Lilith receives is unrelenting in both his disdain of her and his unchanged desire to never have dealings with her again.

And speaking of Lord Henry, he has come to Castle Dunwick without the knowledge of either Shiela or Dracula--yet not to remove Shiela, per Dracula's wishes, but to reassert a state of freedom that neither himself nor his master expected to manifest again.

We would discover later that it was Dracula's recent encounter with Doctor Sun which was responsible for Lord Henry being able to break free from his control. But as is chillingly implied in this story's closing panel, Dracula is mistaken that his former slave is the tormentor in Castle Dunwick whom Shiela feared--a mystery we'll explore in detail next.