Werewolf by Night (1972) #20

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I’m not sure Doug Moench read much Werewolf by Night before writing this issue, which has eighteen-year-old Jack Russell walking around talking like a cheap forties gumshoe. Moench also doesn’t seem to know the bad guys kidnapped his sister because she too has the werewolf curse; when Jack goes to rescue her, the bad guy—Baron Thunder—reveals they just want his werewolf blood to make a super soldier serum.

Pardon the expression but, like, what?

Because Moench’s not lazy. He writes a bunch of narration for Jack. Including the werewolf fighting the bad guy for four or five boring pages. Jack’s got a ring to let him control the werewolf—he grabbed it from a rich guy who offered it to Jack’s landlady as a come-on—so he (and Moench) explain why he’s making all the various wrestling moves as the werewolf.

Thunder’s got a scary house on a haunted hill. It looks like a haunted mansion from a cartoon. It’s absurdly silly; penciller Don Perlin works the fight scenes; he’s interested in the fight scenes. They’re boring and not very good, but he’s engaged. The haunted mansion on a hill? Shockingly bad. Even for Perlin and inker Vince Colletta. This issue reads like the book got told to go cheap on the art, and to compensate, they told Moench he could write 300,000 words.

There’s a little with Jack and his werewolf neighbor, Raymond Coker. The cops have it out for Coker—they just happened to have decided the Black werewolf must be the bad one—but there’s also a third werewolf in the mix now, and it’s got something to do with the magic ring.

Even with the tedious fight scene, this issue does seem like Moench is trying to resolve the loose plot threads. Not sure why he changed old lady hit woman Ma Mayhem into a Marvel seventies blonde, but it’s another change. At first, I thought Topaz was back. Nope. Bummer.

Werewolf’s rarely renamed consistent longer than a few issues, and its best days are long gone.

Will Moench do something interesting with it, or will he too fall victim to the curse of the werewolf (By Night)?

It’s too soon to tell, but it’s not looking great.

Tomb of Dracula (1972) #22

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I got halfway into this issue, until Quincy Harker shows up after Lilith attacked him in Giant-Size Chillers, and stopped to go read Giant-Size Chillers, as it seems to have taken place before this issue.

But then the end of the issue says go read Chillers and then you’ll be ready for next Tomb. Dracula goes from the U.S.S.R. to England in record time, even for a Marvel comic.

Drac’s still in the Soviet Union after his encounter with Roger Corman’s James Bond villain Doctor Sun. He gets into a regional squabble with a local vampire who won’t bow to Dracula’s commands. It’s an ego trip for Dracula, who then becomes the Soviet vampire’s suffering widow’s de facto protector. The Soviet vampire, Gorna, has been terrorizing his wife since he died, feeding on her, killing her suitors, and just being a general pest. Her parents knew Gorna was a vampire but didn’t tell her, so when she thought he was dying, the wife told him off.

So now he’s torturing the wife more than he would’ve otherwise, dragging out her vampiric conversion.

Outside a very awkwardly written flashback, the wife’s not even as big a character as her parents. They’re the ones who finally confront Gorna (it’s unclear why they waited so long to actually intercede), and they have the best moments with Dracula. He’s vicious to them, but the comic can’t help but play it like a comedy beat.

The parents are also the ones who bemoan how godless Communism has made Russia ripe for vampires and all sorts of other evils, as they’ve abandoned God. It’s unclear what writer Marv Wolfman’s going for—obviously, somehow, U.S.S.R. bad, but the parents are also numbskulls. And they enabled their daughter’s abusive marriage; the husband used to lock her up for weeks on end, which the parents must’ve known about. Basically, it’s a horrible situation for the wife from every angle.

Even before her dad and his town council buddies form a lynch mob and put on skull masks to go kill the vampire. It’s entirely unclear if the family tells the town they’ve got the Lord of Vampires, Count Dracula himself, on their side.

Good art, obviously; it’s Gene Colan and Tom Palmer, and the story’s engaging. It’s a little ho-hum, especially Quincy’s whiny C plot, but an okay TOD.

Werewolf by Night (1972) #19

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The Gil Kane, Tom Palmer, and probably John Romita cover sells this issue as Wolfman Jack versus vampires on the moon. But the interior art isn’t Kane, Palmer, or Romita; it’s Don Perlin and Vince Colletta. Wolfman Jack versus the vampires is actually on a movie set, tying into a Dracula Lives story about a hacky Dracula actor going on a murder spree before the real Dracula kills him. Writer Mike Friedrich’s a real trooper, doing a sequel to another series’s story, one he didn’t write (Marv Wolfman wrote the first one).

I think Perlin might be trying with the composition, but it doesn’t work out. He’s got no rhythm to the fight scene, which isn’t a surprise, but he’s enthusiastic, which is both a surprise and unfortunate. Between Friedrich and Perlin, Jack in his human form is doing acrobatics, and as the werewolf, he’s… it’s hard to say. At least an unlikely jump kick makes visual sense; the werewolf versus vampire fight, not so much. Not with the Perlin.

The Colletta inks are dreadful, as one would expect. Every once in a while, there’s a very detailed panel, and it’s clear someone tried, Perlin or Colletta, and got there. But it’s a handful of panels; every other panel’s terrible. Some middling competence can’t overcome it.

Friedrich spends half the issue checking in on all the subplots. There’s kidnapped sister Lissa, who Jack’s having a relatively easy time tracking (he finds torn clothing on a fence at one point), there’s next-door neighbor Raymond Coker, who’s got a big secret of his own, there’s meddling copper Lou Hackett, who doesn’t appear thank goodness, and there’s Jack’s nymphomaniac apartment groupies, who try to seduce him or something. It’s so weird. Though also, it’d be fascinating if it were thoughtful.

Coker and Jack have a showdown, with Coker explaining he’s worked his way over from Jamaica, leading Jack to acknowledge the difficulty of that situation. Far cry from when Wolfman had Jack be a (seemingly unintentional) shitty racist to Coker.

But then one of the girls has an emergency at the studio, which relates back to the lawyer for the big game hunter’s movie producer brother, who tried to kill Jack and kidnap Lissa a long time ago. It leads to the vampire fight, then an overly dramatic cliffhanger.

Friedrich’s got a rocky start; he likes framing in flashbacks too much, and Jack’s always way too surprised when there’s a full moon; it improves as it goes along. Coker and Jack may be the second relationship we’ve seen develop on page in Werewolf, so it stands out. Especially with the cliffhanger.

Of course, the issue’d be incomprehensible for a new reader. Story for the content, art for the “do people really read a book with Don Perlin drawing werewolf fights?”

Yes, yes, we do. No questions, please.

Giant-Size Chillers (1974) #1

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I don’t think I lost anything not reading the resurrectrion of Lilith in order. I missed out on some of the gimmick: Lilith is cursed with vampirism, not a natural vampire. She and her dad, Dracula, go to a rugby game because Lilith likes watching sports and she reminds him of her origin story. She was product of a political marriage when he was human, so when his father died, he cast her and her mom out. Mom paid a Romani to look after baby Lilith and killed herself; fast forward until Drac’s a vampire, he just killed a bunch of Romanis for turning him into a vampire, so the one who’s caring for now adolescent Lilith curses her as revenge.

The curse involves Lilith being a daywalking vampire, but also possessing the body of human girls whose fathers don’t want them. So, basically, her caretaker made sure the curse reminds Lilith she’s got a shitty dad all the time.

Lilith’s resurrection is never explained though. Thirty years ago—so during World War II, apparently—Quincy Harker killed Lilith, maybe as payback for Dracula killing Mrs. Quincy Harker, but they don’t sort out the order.

Or writer Marv Wolfman did and he overwrote it so much I couldn’t get through it. Wolfman starts the comic in second person, talking to Dracula about his return to London. It’s strange because Wolfman tries to be mysterious about it, but basically Drac’s just visiting with some lackey about getting a new mansion. It’s a lot of lead up for very little, so it’s nice when the Lilith story actually has some action. Even if—and again, reading Lilith’s first appearance out of order—she’s not quite the complex anti-hero of the Steve Gerber strips. She’s just feeding on folks left and right, including her human host’s father.

Also, had I read in order, I’d have known the human host’s pregnant. I just found that out with the human host’s current beau over in Dracula Lives; quelle surprise.

Gene Colan gives Lilith’s bat form long, flowing lady locks, which I feel like I’d have remembered in Lives. It’s a look, especially since inker Frank Chiaramonte really leans into the horror. The bats are icky monsters. Dracula is garrish. Gone are Tom Palmer’s noble inks; this Dracula is human, but demonic. So Lilith’s bat having some seventies hair is something. Maybe I love it, actually.

Doesn’t matter.

Lilith coming back is basically just to spin in her off. We get a scene where she tells Dracula it’s finally time for him to admit they’re both Draculas and she should rule the Undead with him. He says no, never, you’re no kid of mine, and leaves her to be upset about it. Despite the often overwrought narration, Wolfman does a good job with Dracula being a dick this issue. It’s a special too, so it’s a flex; you’re marketing the regular book as having an asshole lead.

Especially with the actual main plot, which involves that house Dracula wants. The mansion. There’s a girl living there and the house is haunting her. Her name’s Sheila Whittier and she’s mysterious and tormented, trapped in a British haunted house movie. When it crosses over with Dracula, she thinks he might save her, but then he doesn’t because he’s a dick.

It’s amazing.

Of course, he comes back because he needs the house and there’s a resolution, but still. He dumps this helpless woman right after accidentally saving her.

The art’s objectively not as good as on the main series, but for a special, there’s a certain charm to it being brusk. Similarly, while Wolfman’s exposition is a lot—in the British horror movie context it at least makes sense—the characterizations play through. It works out. Good special.

Then Wolfman spends a couple pages addressing continuity between Tomb of Dracula, Dracula Lives!, and Giant-Size Chillers Featuring The Curse of Dracula. Basically, they knew they were all over the place but they’re trying to do better and sort through it all. Wolfman promises a timeline, but I’m not sure Lives lasted long enough for them to do one.

A couple Atlas reprints (possibly colored for this reprinting) close out the Giant-Size.

First is a Stan Lee and John Romita (Senior) joint about an Austrian village’s vampire and public corruption problems. It’s middling.

Second is about a haunted house on a graveyard. Russ Heath does the art, no writer credit. The Heath art, including fifties horror good girl art, eventually sells the story but it’s a slog to get there.

The reprints do remind of how nice they were to have over in Lives.

Chillers is more than worth its 35¢ cover price.

Werewolf by Night (1972) #18

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I really haven’t been reading the creator credits well enough. First, I thought this issue was Doug Moench writing; it’s Mike Friedrich. Second, I thought it was Don Perlin’s first issue as full artist (penciler and inker), but he had that role last time. Third, he’s got an inker: Mike Royer. I blame the Don Perlin and Mike Royer art; it’s like an anti-Mozart effect. Instead of listening to the music for a temporary IQ bump, you look at the misshapen heads in Werewolf by Night and lose points.

I assume they come back but possibly not until you’re done reading Werewolf by Night and the book’s not even half over.

So, some of the problem with talking about Perlin art is Perlin is a punchline. At his very best, he exhibits the chops to do an Archie fill-in. One with a lot of adults making comedic mad expressions. This issue’s surprise villain is not the other werewolf (teased on the cover) but “Ma Mayhem,” the foremost witch in California. The Committee—led by Baron Thunder—has sent her to collect Wolfman Jack. She arrives just as copper Lou Hackett arrives to question Jack about being a werewolf, and Jack saves Hackett from her, well, her hatchet.

She’s got a bag of weapons for werewolf fighting, but she wasn’t prepared for another one to drop in.

Jack’s seventeen-year-old sister Lissa has arrived downstairs to witness the werewolf fight, and to get Ma Mayhem’s attention; she just has to get a Russell werewolf; they didn’t say it had to be Jack.

The issue starts with a flashback to the late 1700s when Baron Russoff (pre-Americanization) suffers his monthly lycanthropy, so it all ties in. I thought the Tomb of Dracula crossover revealed a limited family curse time, but it might have been the pre-TOD origin. The Russell family curse has changed at least three times in the two years since the character debuted.

The most incredible thing in the book is thinking about how Friedrich was probably writing it Marvel-style, meaning he was writing to match the Perlin and Royer art. There’s a mini-riot late in the book, and Friedrich reminds the reader it’s taking place in the pitch black so no one can see they’re fighting werewolves, but it’s bright as day. Sure, Linda Lessmann’s coloring plays a part, but Perlin and Royer don’t get lighting either.

So knowing Friedrich knew what he was bringing forth, he gets a little slack. He also does make Jack racist to his Black next-door neighbor, so he gets a point for that one (before Friedrich showed up, Jack was straight-up racist).

The art’s disappointing, but it’s never not going to be disappointing, which will become the latest curse for Werewolf by Night. Significant asterisks aside, it’s a nearly okay combination of silly action, werewolf action, and Bond villainy.

It’s a Seventies comic, after all.

Tomb of Dracula (1972) #21

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Writer Marv Wolfman has been working on his Doctor Sun subplot since he took over Tomb of Dracula, with the arc running at least ten issues. So, it’s too bad it’s got such an underwhelming finish. It’s a Bond movie conclusion, only with the “good guys” literally inert the entire issue instead of just being dramatically inert.

The issue starts with Dracula, Frank Drake, and Rachel Van Helsing held in a stasis beam. Vampire Brand tells Dracula the origin story of Doctor Sun, presumably because it’s supposed to be interesting to someone—Doctor Sun was a Chinese scientist who lost the Party’s trust, so they took his brain out and put it in a computer. They even made his own son—Doctor Sun’s son—do the dirty work. There are a couple entirely pointless digs at “Red China” in the comic; strange how Wolfman wasn’t concerned about inequities in the West.

Though it tracks given the now dead Harker daughter was straight-up racist about Blade.

Speaking of Blade, he and Quincy Harker have another entirely pointless check-in scene to remind readers if they hang out long enough, the story might someday get back to hip, Black vampire hunter Blade or decidedly un-hip old rich white guy vampire hunter Quincy. Wolfman covering all the reader bases there.

The rest of the issue is Dracula and Brand vampire-fighting in a Bond lair while Doctor Sun monologues about his master plan: create a vampire more powerful than Dracula and transfer Dracula’s memories to this new super-vampire. But, see, Doctor Sun’s computer circuits run on human blood (Wolfman never reveals why the Red Chinese designed the hardware to be blood-dependent, though, again, Occam’s razor), and the only way he can figure out how to get a steady supply is to get a vampire to bring him victims.

Since Frank and Rachel are in stasis for most of the issue, it’s unclear if they understand they’re pawns in a living brain’s plans. They may not even hear Doctor Sun communicating; they give no indication they do, but, again, they’re in a stasis field, so who knows.

In other words, no one comments on Doctor Sun’s plan being insipid and not the work of a genius human brain-powered supercomputer. The plan’s not even good enough for a seventies comic book.

Gene Colan and Tom Palmer’s art continues to be magnificent and make the book more than worthy, but, wow, does Wolfman’s first big long arc fizzle.

Werewolf by Night (1972) #17

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I’m already regretting this statement, but I’m glad to have hit the Don Perlin era of Werewolf by Night. No more wondering if Mike Ploog will get an okay inker this time (because he won’t); now it’s just Perlin enthusiastically hacking it out, page after page, including a kind of good double-page spread. Despite his wanting skills, Perlin’s visibly thrilled to be drawing this book.

At least on his first issue.

There’s some really bad art, though. You could make a drinking game out of how Perlin draws faces.

Mike Friedrich’s scripting again. The action picks up immediately following the previous issue’s finish, which had the werewolf unable to save a modern-day Hunchback of Notre Dame from falling. The Paris cops—all familiar with werewolf hunting—see Wolfman Jack in the cathedral and are out to get him.

There’s more about how Topaz can’t control him anymore, but she always manages just enough to get him to morning. Despite knowing how to hunt loup-garou, the Paris coppers don’t notice shirtless, barefoot, wearing the werewolf’s pants Jack Russell walking out with Topaz. Also, they abandon Topaz to the werewolf at one point (not knowing she’s the girlfriend).

Then they get back to L.A., where all is happy with the Russell family until sister Lissa explains it’s her half birthday and she’s only got six months (six issues?) until she turns into a werewolf too.

Until the action-packed conclusion, where the werewolf fights a giant monster, the comic’s a series of editors notes referring readers to previous issues. Not just Werewolf by Night,Tomb of Dracula, and Marvel Spotlight, you’ve also got to be reading Dracula Lives. Did Marvel sell back issues in the seventies?

Two things are missing from this section of the comic, as Jack pours over ancient texts trying to uncover a secret to save Lissa while having adventures with his neighbors. Friedrich does not write Jack as a low-key racist toward his Black neighbor, which is a nice change from before. But for the month between the opening resolution and the closing battle, Jack doesn’t seem to be spending any time with his girlfriend Topaz or panicking sister Lissa.

Even for a seventies Marvel comic, it doesn’t work. Probably because Jack’s narrating.

The finish promises even more changes to the book. I’m resigned to Werewolf by Night, but not in a bad way.

Tomb of Dracula (1972) #20

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It’s another fantastic issue. Not quite as good as last time because there was so much more human drama (and fewer hapless white dudes), but fantastic. Writer Marv Wolfman starts the issue with a hunted Dracula and ends with a captured Dracula, but by entirely different foes. The story’s called The Coming of Doctor Sun and Wolfman’s been steadily building this subplot for at least eight issues, though then he reveals some elements go back even further, with Wolfman tying in elements from before Tom Palmer was inking Gene Colan on the steady. It’s a culmination.

And it’s also a ret-con. At one point, Frank Drake makes some glib remark to “good God, she’s too good for him, it could be a sitcom” Rachel Van Helsing, and so she has to school him on her origin facts. One would think she might’ve mentioned them in the second issue or some time between then and now, but Frank’s a dipstick. It also gives the comic a chance to plug the Bram Stoker’s Dracula adaptation running in Dracula Lives. Rachel is Abraham Van Helsing’s granddaughter, after all.

Wolfman again reveals details of the post-novel era for Dracula, coming back and hunting down all the Van Helsings in revenge. Then there’s Quincy Harker saving little Rachel with his missile darts in his wheelchair. It’s a combination effective and silly sequence, punctuated with Rachel talking about how Quincy then “raised her into womanhood.”

Frank and Rachel are in a helicopter shooting at Dracula with wooden bullets as he runs through a blizzard in the Transylvanian Alps. He can’t turn into mist because the winds would blow him apart; he can’t turn into a bat because the winds would toss him around. Has he ever turned into a wolf in Tomb? Maybe not.

The chase is excellent. Beautiful art from Colan and Palmer.

The kidnappers are Doctor Sun’s thugs. They’re tracking him through the storm and set a trap for him. No explanation on how they set the trap, but Doctor Sun’s presumably a genius. We get a big reveal on him, changing him from an evil Chinese Bond villain trope into something weird and wild. Wolfman’s fairly straight-edge as far as his plotting, never wanting to give Colan anything too silly to realistically render, but Doctor Sun appears to be Wolfman coloring outside the lines.

It’s cool. And silly. And fantastic.

There’s particularly great Dracula writing, especially after one of the surprises.

The book’s on a phenomenal roll right now.

Werewolf by Night (1972) #16

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Mike Friedrich writes, adding his name to the list of seventies Marvel writers who tried to make hash out of Werewolf by Night with limited success. The issue credits have some enthusiasm for pairing two Mikes (Friedrich and Ploog), but then Frank Chiaramonte’s the inker, so how much can they really do? The most Ploog the issue ever gets is probably Topaz; Chiaramonte leaves her alone the most. I think it’s Ploog’s last issue, which makes the watered-down werewolf even more disappointing.

And then the villain.

This issue's villain is a mutant; his mutation contorts his spine and gives him super-strong skin. He begins the issue hijacking a French airliner; Jack and Topaz are connecting through Paris, done with their Tomb of Dracula crossover and ready to get back to Los Angeles. Except then there’s a fourth full moon (which the comic doesn’t explain at all, unfortunately). So Jack changes, running amok in the airport, then getting into a pissing contest with the hijacked airliner.

Thanks to the hijacker attacking the werewolf when it boards the plane, the werewolf decides he’s the bad guy. Topaz tries to control Wolfman Jack, which the bad guy observes, so he kidnaps Topaz and, because it’s a Hunchback of Notre Dame thing, literally takes her to the cathedral as a hostage.

The werewolf goes to save her, surprising bit of emotion in the finish, and scene.

Friedrich doesn’t do well with the Jack narration. He does well with some other things, ranging from the historical detail—hence why the fourth full moon begged explanation—and his willingness to put the werewolf in everyday situations. It’s a plane hijacking guest starring Werewolf by Night. It works way better than it should.

The villain’s a little flat throughout, but Friedrich has an arc for him. The groundwork’s there.

I’d thought Ploog was done after the Dracula crossover (anything to save another Chiaramonte inking), and this issue appears to be it. Unfortunately, art-wise, it’s a wanting finish, even with the usual caveats.

Overall, the whole thing’s wanting; there are just some solid moves from Friedrich, even if they don’t end up working out.

Dracula Lives (1973) #9

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Until the last story, which might be the least impressive entry in an issue of unimpressive entries… I think the most successful art, overall, in the issue is Ernie Chan’s one-pager. It opens the issue, with a Tony Isabella script, all about the various ways of killing vampires. It’s amusing and practical; statements it’s difficult to make about the rest of the issue.

The first story’s the most disappointing, just because it continues Doug Moench’s okay “Dracula vs. the NYPD” story from the previous issue. This time Frank Robbins is penciling with Frank Springer inking. It’s a cartoony style, with disappointing character work. Not sure if it’s Robbins or Springer, but the people look lousy. Neither good nor bad is Dracula, who’s more inhuman. The story involves Dracula tracking down the guy who looted his castle and having to figure out how to get his wares back.

Meanwhile, the cop whose wife Dracula killed last issue is out to get him. His fellow cops believe his story of a vampire forcing the guy to kill his own wife, which tracks. Imagine what police accountability was like in the seventies.

Interestingly, Dracula’s still a somewhat mythic figure, with the lady who buys his stuff at auction (seriously, hasn’t another Tomb story used this bit) wishing he were real. Well, she finds out.

For a panel, it seems like the Franks are at least enthusiastic about good girl art but then not really.

The disappointing art sets the tone for the rest of the issue, with the most personally disappointing coming up next. It’s another Moench story (there are four features, one movie review, and a letters page, yet another change of regular content), with art by twenty-one-year-old Paul Gulacy and inks by Mike Esposito. It’s about Dracula versus some other vampire; this other vampire’s terrorizing a European village, which pisses Dracula off because it means no easy feeding there.

I’d love to say baby Paul Gulacy has the chops.

He does not. He’s got better panels and worse panels, and you can see proto-Gulacy at work (even the almond eyes), but you can’t really see how good he’ll get from this one.

The story’s got a strange finish, kind of jokey. What’s more bizarre is the other two stories have the same kind of finish.

They have a different writer, though—Gerry Conway.

His first story has Alfredo Alcala art. Alcala’s a better inker than penciller and inker. His faces are flat in the wrong places, and his figures are strange. His backgrounds are fantastic. The story’s about a young couple; the evil girl convinces the boy to rob a jewelry store for her.

Meanwhile, Dracula’s around. Their paths cross. Unlike the Moench story, this one begins and ends with light humor. It’s a weird tone, especially with the art. The whole issue just feels off.

The last story—the only one where the art’s more successful than that Chan one-pager—is about a mysterious figure in a top hat hunting Dracula. Sonny Trinidad does the art. The art’s good. The story’s terrible. Conway takes a big swing with it and completely misses. So again, the issue feels off, especially with usually sturdy (on Lives anyway) Conway fumbling both his stories. Moench’s got more art problems, so it’s hard to say. But Conway’s stories go wrong because of the writing.

The movie review—by Gerry Boudreau—covers the Hammer Dracula film, The Scars of Dracula. Boudreau hates it, though with less personality than Moench or Isabella had in their previous reviews.

No Bram Stoker’s Dracula adaptation here.

Unfortunately—and unexpectedly—I’m back to wondering if Lives is worth it again.