Blog Archives

Doctor Strange vs. Dracula!

The late, great, Gene Colan was a signature Marvel artist, and aside from Daredevil, the two characters with which I most associate him are Doctor Strange and Dracula. So it seems only natural that those two characters would clash in a two-part story starting inside the pages of “Comicdom’s Number 1 Fear Magazine” — Tomb of Dracula!

Tomb of Dracula #44

This crossover began in Tomb of Dracula #44, smack-dab in the middle of the classic run by Marv Wolfman, Gene Colan, and Tom Palmer. I’ve sung the praises of Tomb of Dracula here at Longbox Graveyard before (twice!) — it really might have been the finest Marvel comic of its age. And one of the reasons the book worked so well was that writer and editor Marv Wolfman largely kept Dracula and his tales sequestered from the rest of the Marvel Universe. While Drac would encounter Spider-Man and Thor in other titles, Marv jealously guarded the door of Dracula’s own book, ceding to editorial pressure to more closely connect Tomb of Dracula with the Marvel Universe only through crossovers with otherworldly and supernatural characters like Silver Surfer, Brother Voodoo, and (in our case) Doctor Strange!

The first part of the tale, written by Marv Wolfman, opened with Strange mourning the death of his faithful manservant, Wong, beneath the flashing fangs of a vampire!

Tomb of Dracula #44 by Wolfman, Colan, and Palmer

Just look at Gene Colan’s smokey pencils, beautifully illuminated by Tom Palmer’s perfect inks! There’s never been a better team for supernatural comics storytelling!

But this wasn’t just any vampire — this was Dracula, the Lord of Vampires, as Strange discovered when his sorcery allowed him to experience Wong’s final moments.

Tomb of Dracula #44 by Wolfman, Colan, and Palmer

Harnessing the fathomless powers of the All-Seeing Eye of Agamotto (which then, as now, could do about anything the writer needed it to do), Doctor Strange tracked the “life-patterns” of Dracula from the scene of the crime to Dracula’s lair in Boston.

Tomb of Dracula #44 by Wolfman, Colan, and Palmer

I love how Colan’s “camera” pushes in on Dracula, starting with his open coffin, then Dracula in repose, and then Dracula alert to Strange’s intrusion. Looking at this sequence, did you “see” Dracula’s eyes snap open between the last two panels? That’s the magic of comics, boys and girls — like Scott McCloud noted, comics are as much about what you don’t see between the panels as what you see in the panels themselves.

After that? Well, it’s on!

Tomb of Dracula #44 by Wolfman, Colan, and Palmer

But this battle between Dracula and Strange wasn’t the usual Marvel Comics Fist City beat-down, and it wasn’t even a garden-variety Doctor Strange ectoplasmic duel of ghosts.

No, to battle Dracula, Strange invoked the “Images of Ikonn” to delve into Dracula’s “passions and fears,” taking Dracula back to the moment his mortal self fell on the battlefield in a cavalry duel with Turkish invaders.

It’s kind of dirty pool, to be honest.

Tomb of Dracula #44 by Wolfman, Colan, and Palmer

For a couple panels, there, we could almost sympathize with Dracula, and this was intentional. Marv Wolfman considered Dracula the “protagonist” of Tomb of Dracula, rather than the hero, but as readers we still needed to get on board with Dracula, and moments like this served to humanize him. We see Dracula as a mortal terrified of his pending (un)death, we see his noble sacrifice in defense of his homeland, and can kind of feel bad for him … but it doesn’t take much for Dracula to revert to form, showing the dark side of his noble nature with his incredulity that this conflict originated with the death of “… a mere hireling … a cretinous menial … a whimpering domestic.”

(Don’t take a job with Dracula, folks).

Taken aback by Dracula’s sudden recovery — and reluctant to use his “more potent magics” for fear of rendering Dracula incapable of restoring Wong to life — Doctor Strange was quickly mesmerized by Dracula.

Mesmerized … and slain!

Tomb of Dracula #44 by Wolfman, Colan, and Palmer

How’s that for a vintage Marvel shock ending? Doctor Strange is dead? Say it isn’t so!

Fortunately, we needn’t wait even one week to see how this one turns out … the tale continued in Doctor Strange #14!

Doctor Strange #14

While this issue was written by Steve Englehart (who firmly put his stamp on the story, as we shall see), the book was illustrated by the self-same team of Colan and Palmer, and also edited by Marv Wolfman, resulting in an unusually coherent crossover, at least by Marvel standards.

The issue opened with Dracula gloating over his fallen foe, casting Strange’s body into a dungeon, where he might rot until rising, three days later, as Dracula’s undead slave.

Doctor Strange #14, by Englehart, Colan, and Palmer

But in his arrogance, Dracula didn’t reckon that Doctor Strange might be “no stranger to death,” as we learn that Strange escaped death by leaving his body instants before Dracula killed him at the end of last issue. But now, Strange was trapped outside his body, in astral form, with only three days to concoct a solution to his dilemma.

So what did Strange do?

Why, he thought, of course!

Doctor Strange #14, by Englehart, Colan, and Palmer

But all the thinking in the world didn’t solve Doc’s trouble. After trying to distract Dracula with visions and spells — and nearly catching Dracula out in the daylight — Strange was still a helpless, disembodied spectator when Dracula returned three days later. But Dracula was taking no chances, and in an odd reversal of roles, he sought to put a final end to the undead Doctor Strange with a stake through the heart!

Doctor Strange #14, by Englehart, Colan, and Palmer

Right on cue, Strange rose as a vampire, and we finally got some fist-and-fang action, as Dracula battled with a thing that was not-quite-Strange: Doctor Strange’s body, given in to dark vampiric impulses, while Strange’s conscience was helpless to intervene.

And it didn’t take long for Dracula to gain the upper hand against a Doctor Strange reduced to bestial impulses.

Doctor Strange #14, by Englehart, Colan, and Palmer

I love it when Drac calls someone a “clod.” If your boss calls you a clod — or “cretin,” another favorite — then he’s probably a super-villian

It’s when Dracula had Doctor Strange on the ropes that something intriguing and even a little profound occurred. When Dracula asserted himself as “Lord” while strangling the life from Strange, from the depths of his possessed soul, Doctor Strange called on the power of the Christian god to save his life!

Doctor Strange #14, by Englehart, Colan, and Palmer

It’s a bold turn of events, and something Steve Englehart didn’t shy away from — he once featured God Himself in a Doctor Strange story, then authored a bogus fan letter to deflect scrutiny — but what’s most interesting to me about this moment is what it asks about Doctor Strange’s own spirituality.

Does Doctor Strange believe in the Christian god, or is He just another deity in the Rolodex, to be invoked like Cyttorak or Vishanti? In his moment of greatest extremis, it is the Christian god that Strange turns to for salvation. Is Strange a man of faith, or is he just happy to use the best tool at hand?

Either way, that cross-like burst of light sure did the job …

Doctor Strange #14, by Englehart, Colan, and Palmer

Strange’s body and soul become one again even as Dracula is sent down to defeat, but Englehart implies that the will and even the cruelty required to overcome Dracula’s evil doesn’t come entirely from the divine force Strange invoked — that the “… true Dr. Strange would find no pleasure in his (Dracula’s) pain … that his tormentor (Strange) has been touched with Dracula’s own evil …” This conclusion points to an (ahem) strange duality, with the power of God getting Strange back on his feet, but Dracula’s own dark power of evil being the special sauce that let Strange finish the deed and kill Dracula for all time.

(Or at least until the next issue of Tomb of Dracula!)

And with Strange’s (and Wong’s) souls miraculously restored through Dracula’s death (could Drac have died for their sins? Nah …), that brings this tale to a close, and with it this installment of Longbox Graveyard!

So, who do you think would win, in a battle between Dracula and the Sorcerer Supreme? Please let me know what you think of this story and Steve Englehart’s Strange cosmology in the comments section below!

Originally published as part of Super-Blog Team-Up, in Longbox Graveyard #164, November 2016.

MONDAY: Tournament of Terror Championship Round!

Doctor Strange vs. Dracula!

Longbox Graveyard #164

Super-Blog Team-Up returns with a Doctor Strange-driven look at magic in comics! Now, Halloween was last week, so I’m a couple days late for Dracula, but with his movie out this week, I’m right on time for Doctor Strange … and it’s always time for Bronze Age Marvel here at Longbox Graveyard. So let’s jump right in as Doctor Strange battles Dracula, Lord of Vampires!

Tomb of Dracula #44

This two-part crossover began in Tomb of Dracula #44, smack-dab in the middle of the classic run by Marv Wolfman, Gene Colan, and Tom Palmer. I’ve sung the praises of Tomb of Dracula here at Longbox Graveyard before (twice!) — it really might have been the finest Marvel comic of its age. And one of the reasons the book worked so well was that writer and editor Marv Wolfman largely kept Dracula and his tales sequestered from the rest of the Marvel Universe. While Drac would encounter Spider-Man and Thor in other titles, Marv jealously guarded the door of Dracula’s own book, ceding to editorial pressure to more closely connect Tomb of Dracula with the Marvel Universe only through crossovers with otherworldly and supernatural characters like Silver Surfer, Brother Voodoo, and (in our case) Doctor Strange!

The first part of the tale, written by Marv Wolfman, opened with Strange mourning the death of his faithful manservant, Wong, beneath the flashing fangs of a vampire!

Tomb of Dracula #44 by Wolfman, Colan, and Palmer

Just look at Gene Colan’s smokey pencils, beautifully illuminated by Tom Palmer’s perfect inks! There’s never been a better team for supernatural comics storytelling!

But this wasn’t just any vampire — this was Dracula, the Lord of Vampires, as Strange discovered when his sorcery allowed him to experience Wong’s final moments.

Tomb of Dracula #44 by Wolfman, Colan, and Palmer

Harnessing the fathomless powers of the All-Seeing Eye of Agamotto (which then, as now, could do about anything the writer needed it to do), Doctor Strange tracked the “life-patterns” of Dracula from the scene of the crime to Dracula’s lair in Boston.

Tomb of Dracula #44 by Wolfman, Colan, and Palmer

I love how Colan’s “camera” pushes in on Dracula, starting with his open coffin, then Dracula in repose, and then Dracula alert to Strange’s intrusion. Looking at this sequence, did you “see” Dracula’s eyes snap open between the last two panels? That’s the magic of comics, boys and girls — like Scott McCloud noted, comics are as much about what you don’t see between the panels as what you see in the panels themselves.

After that? Well, it’s on!

Tomb of Dracula #44 by Wolfman, Colan, and Palmer

But this battle between Dracula and Strange wasn’t the usual Marvel Comics Fist City beat-down, and it wasn’t even a garden-variety Doctor Strange ectoplasmic duel of ghosts.

No, to battle Dracula, Strange invoked the “Images of Ikonn” to delve into Dracula’s “passions and fears,” taking Dracula back to the moment his mortal self fell on the battlefield in a cavalry duel with Turkish invaders.

It’s kind of dirty pool, to be honest.

Tomb of Dracula #44 by Wolfman, Colan, and Palmer

For a couple panels, there, we could almost sympathize with Dracula, and this was intentional. Marv Wolfman considered Dracula the “protagonist” of Tomb of Dracula, rather than the hero, but as readers we still needed to get on board with Dracula, and moments like this served to humanize him. We see Dracula as a mortal terrified of his pending (un)death, we see his noble sacrifice in defense of his homeland, and can kind of feel bad for him … but it doesn’t take much for Dracula to revert to form, showing the dark side of his noble nature with his incredulity that this conflict originated with the death of “… a mere hireling … a cretinous menial … a whimpering domestic.”

(Don’t take a job with Dracula, folks).

Taken aback by Dracula’s sudden recovery — and reluctant to use his “more potent magics” for fear of rendering Dracula incapable of restoring Wong to life — Doctor Strange was quickly mesmerized by Dracula.

Mesmerized … and slain!

Tomb of Dracula #44 by Wolfman, Colan, and Palmer

How’s that for a vintage Marvel shock ending? Doctor Strange is dead? Say it isn’t so!

Fortunately, we needn’t wait even one week to see how this one turns out … the tale continued in Doctor Strange #14!

Doctor Strange #14

While this issue was written by Steve Englehart (who firmly put his stamp on the story, as we shall see), the book was illustrated by the self-same team of Colan and Palmer, and also edited by Marv Wolfman, resulting in an unusually coherent crossover, at least by Marvel standards.

The issue opened with Dracula gloating over his fallen foe, casting Strange’s body into a dungeon, where he might rot until rising, three days later, as Dracula’s undead slave.

Doctor Strange #14, by Englehart, Colan, and Palmer

But in his arrogance, Dracula didn’t reckon that Doctor Strange might be “no stranger to death,” as we learn that Strange escaped death by leaving his body instants before Dracula killed him at the end of last issue. But now, Strange was trapped outside his body, in astral form, with only three days to concoct a solution to his dilemma.

So what did Strange do?

Why, he thought, of course!

Doctor Strange #14, by Englehart, Colan, and Palmer

But all the thinking in the world didn’t solve Doc’s trouble. After trying to distract Dracula with visions and spells — and nearly catching Dracula out in the daylight — Strange was still a helpless, disembodied spectator when Dracula returned three days later. But Dracula was taking no chances, and in an odd reversal of roles, he sought to put a final end to the undead Doctor Strange with a stake through the heart!

Doctor Strange #14, by Englehart, Colan, and Palmer

Right on cue, Strange rose as a vampire, and we finally got some fist-and-fang action, as Dracula battled with a thing that was not-quite-Strange: Doctor Strange’s body, given in to dark vampiric impulses, while Strange’s conscience was helpless to intervene.

And it didn’t take long for Dracula to gain the upper hand against a Doctor Strange reduced to bestial impulses.

Doctor Strange #14, by Englehart, Colan, and Palmer

I love it when Drac calls someone a “clod.” If your boss calls you a clod — or “cretin,” another favorite — then he’s probably a super-villian

It’s when Dracula had Doctor Strange on the ropes that something intriguing and even a little profound occurred. When Dracula asserted himself as “Lord” while strangling the life from Strange, from the depths of his possessed soul, Doctor Strange called on the power of the Christian god to save his life!

Doctor Strange #14, by Englehart, Colan, and Palmer

It’s a bold turn of events, and something Steve Englehart didn’t shy away from — he once featured God Himself in a Doctor Strange story, then authored a bogus fan letter to deflect scrutiny — but what’s most interesting to me about this moment is what it asks about Doctor Strange’s own spirituality.

Does Doctor Strange believe in the Christian god, or is He just another deity in the Rolodex, to be invoked like Cyttorak or Vishanti? In his moment of greatest extremis, it is the Christian god that Strange turns to for salvation. Is Strange a man of faith, or is he just happy to use the best tool at hand?

Either way, that cross-like burst of light sure did the job …

Doctor Strange #14, by Englehart, Colan, and Palmer

Strange’s body and soul become one again even as Dracula is sent down to defeat, but Englehart implies that the will and even the cruelty required to overcome Dracula’s evil doesn’t come entirely from the divine force Strange invoked — that the “… true Dr. Strange would find no pleasure in his (Dracula’s) pain … that his tormentor (Strange) has been touched with Dracula’s own evil …” This conclusion points to an (ahem) strange duality, with the power of God getting Strange back on his feet, but Dracula’s own dark power of evil being the special sauce that let Strange finish the deed and kill Dracula for all time.

(Or at least until the next issue of Tomb of Dracula!)

And with Strange’s (and Wong’s) souls miraculously restored through Dracula’s death (could Drac have died for their sins? Nah …), that brings this tale to a close, and with it this installment of Longbox Graveyard!

It’s been awhile since I posted here, and it feels good! I hope to make this a more regular occurrence — please let me know what you think of this story and Steve Englehart’s Strange cosmology in the comments section below!

But, before you go — it took the awesome power of Super-Blog Team-Up to wake Longbox Graveyard from its Odinsleep … assuming you view this as a welcome development, please pay your thanks forward by visiting these other Super-Blog Team-Up articles, all looking at some form of “Strange” Magic!

Super-Blog Team-Up: Magic!

NEXT: #165 I Shopped At An Amazon Brick And Mortar Book Store

Visions Of The Past

With news breaking last week that Paul Bettany will be playing the Vision in Avengers 2, this seemed a good time to take a look at FOOM #12, which featured … the Vision!

FOOM #12

FOOM #12 cover from the unusual pairing of John Buscema and P. Craig Russell

The origin and nature of this new cinematic Vision are of great interest to Marvel fans, as it seems one of Marvel’s iconic characters of the 1970s can’t help but be a shadow of the original. With the Hank Pym story seemingly in flux for the pending Ant Man film, and with Ultron supposedly a creation of Tony Stark in the Marvel movie universe, the Vision’s origin will certainly be seeing revision (and to be fair, this is a character that’s always suffered a bit for muddled origins).

But back in 1975, the Vision was still a new(ish) kid on the block, and one of the most intriguing characters in Marvel’s line-up — intriguing enough to warrant an issue of Marvel’s in-house fan magazine mostly to himself.

This issue of FOOM dates to a time when Steve Englehart was developing the married relationship of the Vision and the Scarlet Witch, having taken over Avengers scripting duties from Roy Thomas. Most interesting to me were little tidbits offered by Thomas and Englehart in separate interviews about the origins and nature of the Vision.

FOOM #12

Roy Thomas, on the pragmatic origins of the Vision:

“The Vision was created because, at certain periods, I was not allowed, because of editorial policy, to use Captain America, Thor and Iron Man as much as I wanted to … I wanted to create an Avenger that I could play around with … and I wanted to bring back a new version of Jack Kirby’s Vision character … Stan, at the same time that I went over it with him, wanted an android character. He wanted the name Android Man or something like that … since I really wanted to get the Vision I talked Stan into having the Vision but as an android …”

Thomas, on John Buscema’s character design, which in Thomas’ estimation was heavily linked to Jack Kirby’s original:

“I explained to John what I wanted and sent him a picture of Kirby’s Vision … one of the early issues where he looked very grim … and I said I wanted that but I wanted kind of a helmet feeling. And I think I probably drew a picture of the head and mentioned the jewel and mentioned the diamond on the chest and so forth. John came up with it and we changed it between the first and second book only in how the cape fastened on the front. But it was basically a combination of sort of Kirby’s and mine and Buscema’s.”

Jack Kirby, the Vision

the Vision, by Jack Kirby

Steve Englehart, referencing Roy Thomas on the original nature of the character:

“The Vision was created, as far as I could determine from talking with Roy, to be Marvel’s Mr. Spock. He was going to be the mysterious guy that everybody fell in love with … the sort of untouchable but super man. You know, the guy that everybody wants because he’s so unapproachable … (Now) he’s sort of like at Stage Two, having totally abandoned the pure concept of Mr. Spock. We’re into the stage now where we see what happens when Mr. Spock gets married.”

Englehart, on the Vision’s anatomy:

“It’s always been my opinion that the Vision could not be a natural father. I had played with the idea and rejected it as being impossible to explain in a code approved comic book … that the Vision could drop around to his local sperm bank and pick up a liter of stuff … it became very logical to me that Ultron-5 would not have endowed the Vision … given the fact that he was trying to build a sort of ‘son’ … you never think of your son as being a sexually together individual. A son is not thought of in terms of his sexual prowess.”

FOOM #12, back cover

The Vision of the mid-1970s is “my Vision,” and I’ve always resented how the character was handled by later creators … but as we prepare ourselves for this new, cinematic version of the Vision, it’s worth remember just how much these characters owe to the variable and sometimes accidental confluence of necessity, convenience, pop culture influences, and collaboration by creators who may have seen their original … uh, vision … only part-way realized — and yet somehow the whole was greater than the sum-of-the-parts. Here’s hoping Paul Bettany’s Vision catches a little magic of its own!

See you again next week for another FOOM Friday!

%d bloggers like this: