Blankets (2003) OGN WA: Craig Thompson. Oddly callous memoir about creator Thompson growing up conservative Christian in rural Wisconsin in the eighties and nineties. The first half is rough but searching. The second half is more polished; usually for nothing. Thompson figures it out by the end, when it’s too late. More unfocused than bad.
Doctor Strange (1974) #14 [1976] W: Steve Englehart. A: Gene Colan, Tom Palmer. The TOMB OF DRACULA crossover finishes up here, with Strange outwitting Drac to save Wong’s immortal soul. Most of it plays as a TOD issue, only with atrocious Englehart scripting. And despite great Colan and Palmer art… the action’s lousy.
Ginseng Roots (2019) #11 [2023] WA: Craig Thompson. The Brothers Thompson finish up their Chinese trip, with Craig showing a great deal of cultural sensitivity and enthusiasm. The boon is their third wheel–a “sister”/tour guide. Lush art; wonderful as usual.
Ginseng Roots (2019) #12 [2023] WA: Craig Thompson. Craig–GINSENG’s protagonist, not the creator–figures out if he’ll actually be able to turn all his ginseng research into a comic. Good thing since it’s the last issue. It’s a double-sized, glorious finale to the series.
Legion of Super-Heroes (1980) #270 W: Gerry Conway. A: Frank Chiaramonte, Jimmy Janes, Steve Mitchell. It’s a surprisingly packed issue, starting with the Legionnaires trying to escape a deep sea prison. On the surface, other Legion heroes investigate, getting into fairly regular battles with the Fatal Five. There’s also the interpersonal squabbling because Conway’s lazy with characterization. A decent issue for this creative team; badly done big reveal for the finish though.
Legion of Super-Heroes (1980) #271 [1981] W: Gerry Conway. A: Jimmy Janes, John Calnan, Steve Mitchell. Despite Goodwin’s jarring second-person Dracula narration, Colan and Palmer’s artwork continues to impress, making even the most static dialogue visually captivating. The story involves Drac and a retired fashion model trying to regain her looks with a magic mirror (apparently mentioned in the Stoker novel). Meanwhile, the vampire hunters team up with Scotland Yard. Definitely an improvement over last issue.
Legion of Super-Heroes (1980) #272 [1981] W: Gerry Conway, Marv Wolfman. A: Carmine Infantino, Dennis Jensen, Dick Giordano, Frank Chiaramonte, Jimmy Janes, Steve Ditko. Legion prospect and reformed (teenage, of course) super-villain Blok has now joined the good guys and we get his origin story along with his first official mission. Wildfire’s a dick to him (obviously) until learning the backstory. Blok’s more likable than most of these characters, which helps, and Ditko pencils are always interesting to see.
Legion of Super-Heroes (1980) #273 [1981] W: Gerry Conway. A: Frank Chiaramonte, Jimmy Janes, Rich Buckler, Steve Mitchell. Conway retcons a story thread from a while ago only for it to be to bring back a big bad. We finally find out who drove Brainiac 5 so insane he tried to destroy the galaxy. Apparently, there was only one death and now he must pay. Goofy excuse for a comic. The art’s iffy, the villain’s fun.
Legion of Super-Heroes (1980) #274 [1981] W: Gerry Conway, Jack C. Harris. A: Bob Smith, Frank Chiaramonte, Rich Buckler, Steve Ditko. Kind of cool, kind of bad issue about Ultra Boy not being dead just amnesiac and a space pirate. The Ditko pencils and the Chiaramonte inks clash, but it’s still a very well laid out book. Lots of cheesecake for some reason. And Conway flexing in strange places (women’s grief). Cosmic Ditko is cool too. The book’s very Silvery Bronze.
Legion of Super-Heroes (1980) #277 [1981] W: Gerry Conway, Roy Thomas. A: Frank Chiaramonte, George Pérez, Jimmy Janes. Thomas takes over scripting, and it’s almost an improvement. Conway still has story credit and once the script gets absurdly talky, he’s missed. The Legion saves a sinking ship, which leads to suspense and heroics. Also momentum-killing blathering from Thomas. Then there’s a mystery hero, an absurd villain, and silly stakes. Some very unimpressive art too.
Legion of Super-Heroes (1980) #278 [1981] W: Gerry Conway, Roy Thomas. A: Bruce Patterson, George Pérez, Jimmy Janes. Thomas’s writing is borderline insipid. He’s so weird about writing couples and there are so many couples in the issue. It’s a packed affair. While Grimbor’s energy chains crush the Earth’s atmosphere, Reflecto gets into a fight with the Legion. I’ll bet his secret is disappointing next issue. The Patterson inks are incredible. Sometimes the art’s not terrible.
Legion of Super-Heroes (1980) #279 [1981] W: Roy Thomas. A: Frank Chiaramonte, George Pérez, Jimmy Janes. Time’s almost up for Earth’s oxygen but there’s always time for Thomas to wrap the Grimbor the Chainsman arc. It never stops being a little silly with Grimbor, who’s a blowhard in fetish gear, but there’s decent tension. The art’s not great but there’s occasionally effort. Thomas’s writing is improving, despite being banally obvious.
Legion of Super-Heroes (1980) #280 [1981] W: Roy Thomas. A: Bruce Patterson, George Pérez, Jimmy Janes. Thomas’s writing falls off. His exposition is excruciating. The story has Superboy thinking he’s (presumed dead) Ultra Boy. After a long discussion about the situation, a team travels to the past to investigate. There they find Superboy a wanted man. Boy. He inexplicably messed up a nuclear detonation test. Thin stuff–with two desperate teasers pleading for attention.
Legion of Super-Heroes (1980) #281 [1981] W: Paul Levitz, Roy Thomas. A: Bruce Patterson, George Pérez, Steve Ditko. Superboy continues thinking he’s Ultra Boy thinking he’s Superboy, the Legion hangs out in Smallville, and an old enemy appears out of nowhere to cause trouble. Levitz basically just does half a (very introspective) SUPERBOY comic (with delightful Silver Age-y Ditko and Patterson art), before doing a LEGION one focusing on Phantom Girl. Levitz just saved the LEGION.
Legion of Super-Heroes (1980) #282 [1981] W: Paul Levitz, Roy Thomas. A: Bruce Patterson, Jim Aparo, Jimmy Janes. Scripting from Thomas’s story, Levitz does his best to wrap up the Superboy, Ultra Boy, Time Trapper arc. The resolution’s a bit of a whiff but the rest of the comic is so good it doesn’t matter. The art’s the best Janes has done on the series, with some able help from Patterson. Wonder what Levitz’ll do now.
Legion of Super-Heroes (1980) #283 [1982] W: Roy Thomas. A: Bruce Patterson, Howard Bender, Jim Aparo. Okay-ish secret origin of Wildfire done-in-one. None of the detailed flashbacks explain why he’s a bigoted dick in the present. Speaking of–the inciting incident is him getting aroused by young hotties. Cool? Thomas is back, in his easy best issue (though it’s overwrought); still miss Paul Levitz (the tag promises his return next issue).
Legion of Super-Heroes (1980) #284 [1982] W: Paul Levitz. A: Bruce Patterson, Pat Broderick, Romeo Tanghal. Broderick does detailed future stuff and realistic, mulleted Legionnaires and it does not work with Levitz’s script. But the script’s got more problems than not. They initially seem to be doing a more sci-fi comic, but then it’s silly fake gore, and all the subplots are about the Legion being horny. I’m very sad it’s a Levitz.
Legion of Super-Heroes (1980) #285 [1982] W: Paul Levitz. A: Bruce Patterson, Keith Giffen, Larry Mahlstedt, Pat Broderick, Romeo Tanghal. It feels a little like a Saturday morning cartoon. It’s very sci-fi adventure, not superhero. But everyone’s in their goofy outfits. So cartoonish. The Legion is trying to save a spaceship repair yard. The art does better match the script tone, but neither are great. Levitz’s script is too horny and Broderick’s expressions are dismal.
Legion of Super-Heroes (1980) #286 [1982] W: Paul Levitz. A: Bruce Patterson, Keith Giffen, Pat Broderick, Romeo Tanghal. The feature has some Legionnaires on R.J. Brande’s vacation planet when a villain decides to attack them. Broderick’s pencils are occasionally almost okay. But they always take a major dip. Some good dramatics in the script. Then the backup story is Princess Projectra and Karate Kid on her home world, where she’s got to defend the crown.
Legion of Super-Heroes (1980) #287 [1982] W: Paul Levitz. A: Bruce Patterson, Keith Giffen, Romeo Tanghal. The feature has the Legion in political peril and a leadership crisis. Previously ignoring Lightning Lad’s resignation subplot, Levitz races through here. But the real danger is for the undercover Legionnaires on an ill-advised, unauthorized mission. The backup promises the next big story arc with a mystery villain, but LEGION always does mystery villains. Better art than usual.
Legion of Super-Heroes (1980) #288 [1982] W: Paul Levitz. A: Bruce Patterson, Keith Giffen, Romeo Tanghal. Levitz’s got a nice device for checking on brewing subplots. He intentionally checks on them. It’s very straightforward and helps keep track of all the various Legionnaires’ storylines. The main one this issue has a Legion team saving Princess Projectra and Karate Kid. The art’s a little better too. There’s a lot of good action. Solid issue.
Legion of Super-Heroes (1980) #289 [1982] W: Paul Levitz. A: Bruce Patterson, Carmine Infantino, Keith Giffen, Larry Mahlstedt. It’s mostly a downer issue. Not entirely, but so much of the Legion is lost or injured, it’s not a fun read. Levitz is really putting them through the paces. Chameleon Kid’s ill-fated espionage mission arc gets the most time. Giffen’s pencils (and layouts) are giving the book visual character, even if Patterson’s inks aren’t right.
Legion of Super-Heroes (1980) #290 [1982] W: Paul Levitz. A: Frank Giacoia, Larry Mahlstedt. Strong start to “The Great Darkness Saga.” As the mystery villain plots, the Legionnaires can’t stop his minions from stealing magical artifacts. Fine layouts from Giffen. The art’s better at the action and sci-fi, not so much the frequent soapy talking heads scenes. Also, almost all the male Legionnaires say something sexiest, like Levitz was tallying.
Legion of Super-Heroes (1980) #291 [1982] W: Paul Levitz. A: Howard Bender, Larry Mahlstedt, Rodin Rodriguez, Romeo Tanghal. It’s an interesting issue–Levitz splits the action between feature and backup stories. The feature has the Legion bickering over the election for leader while the mystery bad guy goes after supervillains to drain on them. The election story and the captured enemy get resolved in the backup. The other big change is the art; the backup’s got real personality.
Legion of Super-Heroes (1980) #292 [1982] W: Paul Levitz. A: Keith Giffen, Larry Mahlstedt. It’s the best issue of “Great Darkness” so far. Levitz and Giffen choreograph these intricate and elaborate fight scenes between the Legion and the Servants of Darkness (the minions). There’re some discoveries and reveals, though the answers are still asking more questions. Levitz manages some character work, albeit patronizing, but the action’s the point. And the plotting. So good.
Legion of Super-Heroes (1980) #293 [1982] W: Paul Levitz. A: Keith Giffen, Larry Mahlstedt. The penultimate issue and the mystery villain reveal. The Legion also figures out how to defeat the Servants of Darkness–well, some of them; maybe. Lots of good exposition work–Levitz checks in on characters and lets them catch each other up. Good device–keeps the book moving. Great layouts from Giffen. The art’s fine but those layouts are choice.
Legion of Super-Heroes (1980) #294 [1982] W: Paul Levitz. A: Keith Giffen, Larry Mahlstedt. The “Great Darkness Saga” ends in a mix of LEGION sci-fi done right and Kirby homage. It’s big and bold, with Levitz racing to keep the story on track. It’s like he’s guarding it on the way to the basket. And he never slips. Wonderfully evil Darkseid too. Kirby but scarier. The finale’s rushed, but the epilogue’s strong.
Legion of Super-Heroes (1980) #295 [1983] W: Paul Levitz. A: Dave Hunt, Howard Bender, Keith Giffen, Larry Mahlstedt. Mostly flashback issue with Bender handling the pencils for those pages. Giffen takes it easy in the present. Timber Wolf and Blok watch an old Legion tape. It’s supposed to give Timber Wolf insight into girlfriend Light Lass’s ultimatum. It does not. The art’s bland and Timber Wolf’s a dip. Blok’s great. Not enough to save but close.
Legion of Super-Heroes (1980) #296 [1983] W: Paul Levitz. A: Keith Giffen, Larry Mahlstedt. Levitz stumbles towards the end but otherwise it’s a very successful concept issue covering the Legion post “Saga.” They have two page adventures, sometimes interconnected. There’s a nuclear explosion and investigation subplot, so the Legion can be a little fascist. Just a little. Lots of righteous fury. And horny Legionnaires as usual. Low okay art but good layouts.
Legion of Super-Heroes (1980) #297 [1983] W: Paul Levitz. A: Keith Giffen, Larry Mahlstedt. Cosmic Boy goes full fascist instead of the regular Legion-size fascist. He’s after the criminals who nuked his family and he won’t stop until they’re dead. The bad guys not the family. Cosmic Boy choses violence over checking their conditions. There’s some fine writing by the ending stinks. And the art gets way too design-y.
Legion of Super-Heroes (1980) #298 [1983] W: Paul Levitz. A: Keith Giffen, Larry Mahlstedt. It’s another “all Legionnaires are problematic” issue. They’re sexist, xenophobic, and cause wanton private property damage. Except Blok. He’s okay. He’s on a mission to a mining colony with Wildfire, who crap mouths him, their fellow Legionnaires, the mission, and rhe people they’re helping. All the dudes hate having a lady leader. Iffiest art in a while too.
Legion of Super-Heroes (1980) #299 [1983] W: Paul Levitz. A: Keith Giffen, Larry Mahlstedt. You know, outside the Legionnaires being testy towards one another, I don’t think there’s any undue hostility. There’s some good action against the space barbarian troll. Invisible Kid is still trying to find Wildfire, unaware of his teammates’ trouble. Plus there’s some light “starfighter” action. Overall, fun enough to overcome overtly patriarchal blather. Then the art’s bland but thoughtful.
Legion of Super-Heroes (1980) #300 [1983] W: Paul Levitz. A: Curt Swan, Dan Adkins, Dave Cockrum, Dick Giordano, Frank Giacoia, Howard Bender, James Sherman, Joe Staton, Keith Giffen, Kurt Schaffenberger, Larry Mahlstedt. Brainiac Five spends the anniversary issue sifting through alternate reality versions of Legions as he tries to save a mystery patient. The guest artists on each reality vary. None are ever particularly standout. It all seems rushed. Levitz does a little work on some of the ongoing threads. And despite Supergirl cameoing, sadly no cutesy for her and Brainy.
Legion of Super-Heroes (1980) #301 [1983] W: Paul Levitz. A: Keith Giffen, Larry Mahlstedt. Chameleon Boy and his estranged father go to their nightmarish home planet so Cham can get his powers back. They run into trouble with their country-people, who consider them traitors. Then the rest of the Legion is hanging out, but mission assignments let the boys talk about how the female leader is the wrong thing ever. Good grief.
Legion of Super-Heroes (1980) #302 [1983] W: Paul Levitz. A: Keith Giffen, Larry Mahlstedt. Lighting Lord comes to fight his brother to find out where their sister went. It feels like it takes a dozen Legionnaires to slow him down, but it’s really how Levitz is dragging it out. Then there’s conspiracy suspense with Element Lad and his science cop line interest. Plus more mystery villain reveals throughout, all for the forced cliffhanger.
Legion of Super-Heroes (1980) #303 [1983] W: Paul Levitz. A: Keith Giffen, Larry Mahlstedt. Brainiac Five and Supergirl turn out to be the excellent pair I was expecting. They’re trying to stop a rogue artificial planet from crashing into a spaceship fleet. They’re not alone, but the other Legionnaires are just filling pages on the mission. Really uneven art this issue. Never very good but often really middling. Nice enough layouts, weak detailing.
Legion of Super-Heroes (1980) #304 [1983] W: Paul Levitz. A: Keith Giffen, Larry Mahlstedt. Levitz uses his worst plotting device a few times this issue–keep something secret from the reader because it’s unknown to a handful of characters (but not necessarily most of them). It’s all for dramatic effect and always fumbles (here at least). The Legion trainees bicker with the girls cat fighting in lingerie. The art’s getting worse too.
Legion of Super-Heroes (1980) #305 [1983] W: Paul Levitz. A: Keith Giffen, Kurt Schaffenberger, Larry Mahlstedt. The Shrinking Violet mystery no one knew was a mystery until a couple issues ago gets resolved quite nicely here. Despite some yikes machismo from Levitz throughout, it’s a tense, compelling read. The Legionnaires’ investigation takes them unknown and unexpected places, with very strong plotting. And Colossal Boy not being a dipstick for once. Unfortunately, the art’s still sliding.
Legion of Super-Heroes (1980) #306 [1983] W: Paul Levitz. A: Curt Swan, Keith Giffen, Larry Mahlstedt. Wow. It’s all about Star Boy hoping his girlfriend loses her re-election bid for Legion leader because she loves it more than him. Star Boy’s whining his life story to Wildfire as the results come in. The flashbacks have a lot of charm thanks to Swan, even if they’re about an abjectly tepid character. Call him, Narcissism Lad!
Legion of Super-Heroes (1980) #307 [1984] W: Paul Levitz. A: Keith Giffen, Larry Mahlstedt. Despite the best art in ages, the issue plays busy and rushed. Levitz is kicking off the next epic and the big bad is a religious figure called The Prophet. One Legion team is tracking him (or his energy trail), while another hangs out at his target–an enemy world where the Legionnaires are playing bodyguard. It’s too unfocused.
Legion of Super-Heroes (1980) #308 [1984] W: Paul Levitz. A: Keith Giffen, Larry Mahlstedt. Besides some quick action, the feature is padding with the new big bad. He got space magic powers after the destruction of his science outpost. Unclear when the religious fanaticism came in. Levitz finds time for the boys to complain about girls not being demur enough. Then the backup is Colossal Boy’s mom being racist to his wife. Neat.
Legion of Super-Heroes (1980) #309 [1984] W: Paul Levitz. A: Keith Giffen, Larry Mahlstedt, Mike Decarlo, Pat Broderick. The backup this time is Princess Projectra and Karate Kid’s honeymoon. All these backups just seem like too overdue character development. The feature is more with bad guy Prophet being able to kick all the Legion butt. Yawn. There is some checking in on simmering subplots, but nowhere near enough to compensate for the main event. This arc’s flopping.
Legion of Super-Heroes (1980) #310 [1984] W: Paul Levitz. A: Keith Giffen, Larry Mahlstedt. I hadn’t been expecting much from this story arc and Levitz, Giffen, and company deliver even less. Giffen and Mahlstedt’s art has stabilized. It’s kind of a messy riff on Kirby. Fine if it’s your bag. But the action’s busy for busy’s sake. There’s a big unrelated surprise at the end, which feels like Levitz has just given up.
Legion of Super-Heroes Annual (1982) #1 W: Paul Levitz. A: Bruce Patterson, Dick Giordano, Keith Giffen. Even with some big bumps, Levitz, Giffen, and sometimes Patterson deliver a phenomenal annual. Brainiac Five messes up and an old enemy comes back to wreak havoc, turning HQ against the team. Levitz does it like a disaster movie. Also, he brings back the underutilized female science police officer from ages ago to strong result. It’s an outstanding book.
Legion of Super-Heroes Annual (1982) #2 [1983] W: Paul Levitz. A: Dave Gibbons, Keith Giffen, Larry Mahlstedt. It’s supposed to be Princess Projectra and Karate Kid’s wedding issue but instead it’s all about Dream Girl and her team getting stuck in the past. They go to Ancient Greece and find out the gods are just aliens. Evil ones. Gibbons’s guest art mostly disappoints. His figures are too bulky here. It reads well but it’s lukewarm overall.
Monkey Prince (2021) #4 [2022] W: Gene Luen Yang. A: Bernard Chang. MONKEY wraps its origin arc with a big, but not dangerous cliffhanger. Monkey and Shifu team up with Robin again, this time intentionally. They’ve got to save Monkey’s parents from the demonically possessed Penguin. Yang has fun with the teen superhero team-up. Good jokes and a great pairing of culture and canon.
Monkey Prince (2021) #5 [2022] W: Gene Luen Yang. A: Bernard Chang. New town, new school, new girl, new supervillain boss for the parents. The parents are fun and funny but also a tad psychopathic. They’re now bad parents, endangering Marcus. Though Marcus manages to get into danger on his own. Yang continues to impress, especially how he weaves in the DCU. Good, creepy action art. Who needs Batman when you’ve got MONKEY.
Monkey Prince (2021) #6 [2022] W: Gene Luen Yang. A: Bernard Chang. While technically a bridging issue, enough happens it never feels like one. Yang takes the action from Marcus’s new school troubles to Black Manta’s schemes (involving Marcus’s parents), to the Trench, to Atlantis, with a flashback to the Monkey King’s hijinks as well. Oh, and there’s some Darkseid (because Monkey King fought him). Really good Chang art this issue too. So much fun.
Monkey Prince (2021) #7 [2022] W: Gene Luen Yang. A: Bernard Chang. The Aquaman… not guest spot, not crossover—stopover? Anyway, it continues swimmingly. As usual, Yang emphasizes the fun in this arc. Monkey Prince and Shifu Pigsy have to escape Aquaman to recover Monkeys magic staff. Except Black Manta comes looking to start trouble, with his cronies along for the ride. Those cronies are, of course, Monkey Prince’s parents. It’s another good one.
Monkey Prince (2021) #8 [2023] W: Gene Luen Yang. A: Bernard Chang. Awesome resolution to the cliffhanger, with Monkey finally conquering some of his self doubt to save the day. There’s also great payoff with the arc’s supporting cast, very unexpectedly in some cases. Only Yang punts the parents are science goons resolution until later, which is lessening the effectiveness of the arc… and Marcus’s character development.
Monkey Prince (2021) #9 [2023] W: Gene Luen Yang. A: Bernard Chang. Marcus and family head to Metropolis for this arc, but Yang skips through the setup. Instead, the issue opens with the big bad arriving on Earth and killing Marcus’s mom (or does he?). Marcus “discovers” some of his parents’ secrets, leading to him fighting Supergirl to protect them. It’s a rough start, but the cliffhanger reveal is outstanding.
Monkey Prince (2021) #10 [2023] W: Gene Luen Yang. A: Bernard Chang. Yang is able to fit PRINCE into the company-wide crossover without being derailed. It’s LAZARUS PLANET (the crossover). The issue spends little time on it, instead staying focused on Marcus’s experiences—teaming up with Supergirl, fighting villainous granddad, talking to his crush, birthing some clones. The usual. Great double page spreads from Chang.
Monkey Prince (2021) #11 [2023] W: Gene Luen Yang. A: Bernard Chang, Haining. Well, I was sort of wrong about crossover success, sort of not. Monkey does go off to LAZARUS PLANET issues, while Dad and Grandad stay here. There’s some big reveals, with a Justice League cameo in the flashback, but it definitely feels like Yang lost the momentum and had to jump start it going again. It’s high grade fine.
Monkey Prince (2021) #12 [2023] W: Gene Luen Yang. A: Bernard Chang. Yang masterfully pulls off the finish, which opens with some more LAZARUS PLANET debris before recommitting to MONKEY. Monkey discovers the truth about himself—well, from a particular point of view—and goes into crisis just when his friends need him most. Yang sends to think there’s going to be a sequel, but stays non committal. Some fine Chang art too.
Tomb of Dracula (1972) #1 W: Gerry Conway. A: Gene Colan. Perfect done-in-one first issue has Yankee blue blood Frank Drake checking out his inherited family (Dracula) castle in Transylvania. Hopefully, none of his friends are planning on betraying him. Hopefully, his undead ancestor, the Count himself, isn’t just waiting for a wake-up call. Decent Conway script (plotted by Thomas), but the singularly masterful art from Colan makes it magic.
Tomb of Dracula (1972) #2 W: Gerry Conway. A: Gene Colan, Vince Colletta. After a quick wrap-up of some previous issue threads, Frank Drake and Dracula (independently) head to England where Frank’s got to contend with more betrayal and Dracula’s got to find someone to eat in the swinging seventies. Conway’s script starts way too wordy but calms down enough; Colan’s art (even inked by Colletta) is simply phenomenal.
Tomb of Dracula (1972) #3 W: Archie Goodwin. A: Gene Colan, Tom Palmer. Palmer joins Colan on inks and it’s a visual feast, more than making up for Goodwin’s clunky, trope-y, unnecessarily (slightly) racist and ableist script. A despondent Frank Drake meets vampire hunter Rachel Van Helsing, and they decide to team up against Dracula. Speaking of the Count, he’s busy enlisting Frank’s former bestie Clifton as his simpering new familiar.
Tomb of Dracula (1972) #4 W: Archie Goodwin. A: Gene Colan, Tom Palmer. Despite Goodwin’s jarring second-person Dracula narration, Colan and Palmer’s artwork continues to impress, making even the most static dialogue visually captivating. The story involves Drac and a retired fashion model trying to regain her looks with a magic mirror (apparently mentioned in the Stoker novel). Meanwhile, the vampire hunters team up with Scotland Yard. Definitely an improvement over last issue.
Tomb of Dracula (1972) #5 W: Gardner Fox. A: Gene Colan, Tom Palmer. Dracula and Taj get stuck in a demonic dimension before finding their way into the past–specifically Castle Dracula, immediately following the events of the Stoker novel–where Drac’s got an idea to kill Sarah Conner or whoever. Frank and Rachel follow, thanks to exceptionally contrived writing by Fox. The plot’s either too complex or too asinine, but the art’s still glorious.
Tomb of Dracula (1972) #6 [1973] W: Gardner Fox. A: Tom Palmer. Dracula gets back to the present (along with captive Taj and vampire lackey Lenore); they’re on the moors and there’s a monster about. Would you believe the vampire hunters track them down almost immediately? Fox’s script manages to break continuity immediately from last issue, but the writing’s a definite improvement. Not good, but not worse. And the art’s still dynamite.
Tomb of Dracula (1972) #7 [1973] W: Marv Wolfman. A: Gene Colan, Tom Palmer. Wolfman’s first TOMB has Drac using killer kids to foil the vampire hunters (they’re not going to kill kids, homicidally hypnotized or not). We also meet Quincy Harper, who’s got a bunch of Bond gadgets to fight the Count. Wolfman flexes continuity with the Stoker novel while going beyond. Great art. Dracula’s finally got purpose too. Better late than never.
Tomb of Dracula (1972) #8 [1973] W: Marv Wolfman. A: Ernie Chan, Gene Colan. Just after hitting a peak, TOMB stumbles thanks to Chan’s inks. Wolfman wisely turns Drac into a Bond villain—he’s got a vampire-making device. However, the vampire hunters resolution to the brainwashed kid cliffhanger disappoints. Any narrative ambition helps a lot, even with the awful inking, even with the peculiar plot holes (i.e., how long was Drac asleep?).
Tomb of Dracula (1972) #9 [1973] W: Marv Wolfman. A: Gene Colan, Vince Colletta. A weary, wounded Dracula finds himself beholden to some villagers, even though they take him to church for help (it doesn’t go well, but does wake Drac up). Hopefully the priest’s not going to form a lynching party at some point to gin up enthusiasm from his parishoners. The book survives Vince Colletta inks (they could be worse?). Go, Dracula, go.
Tomb of Dracula (1972) #10 [1973] W: Marv Wolfman. A: Gene Colan, Jack Abel. Blade makes his first appearance in lousy circumstances. First, Wolfman’s got everyone being low (and high) key racist to him. Then the visuals–Abel’s the worst inker for Colan so far–even the letters are ugly. Finally, the story’s some nonsense about Dracula taking over a yacht. Plus, they’ve (intentionally) utterly broken continuity. Better be reading DRACULA LIVES! Too.
Tomb of Dracula (1972) #11 [1973] W: Marv Wolfman. A: Gene Colan, Jack Abel, Tom Palmer. Abel’s inks aren’t as injurious as before to Colan’s pencils and Wolfman’s script’s downright good. Dracula hunts a biker gang; they’re taking out a dying oligarch’s bucket hit list. Turns out they’ve got a common acquaintance. Wolfman’s bringing lots more depth to Drac, who’s less a floundering megalomaniac and more a deranged royal. Great ending too.
Tomb of Dracula (1972) #12 [1973] W: Marv Wolfman. A: Gene Colan, Tom Palmer. Palmer’s back inking Colan, returning the art to the divine, but Wolfman’s script disappoints on multiple levels. Drac invites the vampire slayers to a mansion, they go (knowing it’s a trap), he traps them. Not much opportunity for the art in the setting, but it gets worse–when Blade saves the day, they’re all just racist towards him. Yikes.
Tomb of Dracula (1972) #13 [1973] W: Marv Wolfman. A: Gene Colan, Tom Palmer. Wolfman nicely recovers from bumps, with the vampire slayers finally gaining the upper hand on the Count–they’ve tracked him to his hideout, and he’s racing to make it before daylight. The issue also reveals a little more of Dracula’s plan, which involves creating sleeper agents to help him take over. Great art from Colan and Palmer.
Tomb of Dracula (1972) #38 [1975] W: Marv Wolfman. A: Gene Colan, Tom Palmer. More filler to delay the Dracula showdown with Doctor Sun. Unfortunately, it involves the return of Harold H. Harold, Wolfman’s most obnoxious creation (to date). Quincy and Co. team up with Sun; I’m sure they won’t regret that choice.
Tomb of Dracula (1972) #39 [1975] W: Marv Wolfman. A: Gene Colan, Tom Palmer. Doctor Sun’s master plan comes into focus, with the vampire hunters unwittingly (but predictably) playing into his plans, which–shocker–aren’t just about trying to kill Dracula. Colan seems to be doing a Will Eisner homage at times, which is something, at least.
Tomb of Dracula (1972) #40 [1976] W: Marv Wolfman. A: Frank Giacoia, Gene Colan. Gorgeous art, thank goodness, to compensate for insipid dialogue and more plot churning from Wolfman as the army tries to take on Doctor Sun. Will Dracula have to get involved to save the day?
Tomb of Dracula (1972) #41 [1976] W: Marv Wolfman. A: Gene Colan, Tom Palmer. Dracula’s back from the dead (again), because no one else can possibly stop the evil Doctor Sun (again). Dippy Wolfman script, great Colan and Palmer art. Sadly, Blade joins the gang just so they can be racist at him (again).
Tomb of Dracula (1972) #42 [1976] W: Marv Wolfman. A: Gene Colan, Tom Palmer. So much racism. So much. Blade’s just here as a target. Anyway–Wolfman wraps up the third(?) final showdown with Doctor Sun, in full tell don’t show mode. The obnoxious supporting cast doesn’t help anything either. Lackluster in the extremis.
Tomb of Dracula (1972) #43 [1976] W: Marv Wolfman. A: Gene Colan, Tom Palmer. Wolfman punts on Blade’s vengeance art (as always), leaving the previous cliffhanger unresolved. Instead, he does a done-in-one reset involving a reporter. The art’s nice and the characters are far less obnoxious than the regular cast.
Tomb of Dracula (1972) #44 [1976] W: Marv Wolfman. A: Gene Colan, Tom Palmer. Aside from the perplexing choice of Boston as the new setting, lousy supporting character moments, and over-baked dialogue, it’s not bad. There’s movement on Blade’s arc (finally) and great art on guest-star Doctor Strange. Plus deep cuts to Dracula’s Marvel origin. Crossover concludes in DR. STRANGE (1972) #14.
Tomb of Dracula (1972) #45 [1976] W: Marv Wolfman. A: Gene Colan, Tom Palmer. Blade and Hannibal King team up in a back door pilot and Wolfman does a full, immediate cop-out on the DR. STRANGE crossover death for Dracula. Instead, Dracula decides to start a cult. Weird, dumb, but gorgeous art.
Tomb of Dracula (1972) #46 [1976] W: Marv Wolfman. A: Gene Colan, Tom Palmer. Dracula gets married, which is boring. Blade hangs out with another racist, also boring. To stay engaged, Wolfman does a horror comic done in one about a toxic waste monster. Not good but different, with solid but not great art.
Tomb of Dracula (1972) #47 [1976] W: Marv Wolfman. A: Gene Colan, Tom Palmer. It’s an all romance issue. Dracula and Domini talk past each other with agendas and love at first bite. Blade’s girlfriend distracts him from his life-long quest. Rachel’s sick of Frank. Harold comes back for some ungodly reason. Speaking of godly, Wolfman goes 100% Christian comic, with Jesus being a visually passive but ostensibly active participant. Blah.
Tomb of Dracula (1972) #48 [1976] W: Marv Wolfman. A: Gene Colan, Tom Palmer. Competently executed filler with a lead story about one of Dracula’s victims as she encounters him time and again throughout her life. Not great but gives Colan and Palmer variety.
Tomb of Dracula (1972) #49 [1976] W: Marv Wolfman. A: Gene Colan, Tom Palmer. Dracula’s trapped in a woman’s magical library where she hangs out with her favorites from classical literature, and he’s a mega prick about it. Good but not great Colan and Palmer art.
Tomb of Dracula (1972) #50 [1976] W: Marv Wolfman. A: Gene Colan, Tom Palmer. It’s the battle no one needed–Silver Surfer versus Dracula! Thanks to the art, the comic works out, but Wolfman tries too hard writing the Surfer. He gets the protagonist spot, making Dracula a supporting player for an anniversary special. Also, the Christian stuff is overbearing.
Tomb of Dracula (1972) #51 [1976] W: Marv Wolfman. A: Gene Colan, Tom Palmer. It’s a mostly action issue–Dracula’s fundraising for his cult, evil vampire Blade happens in, Drac’s racist as usual, they duke it out. Meanwhile, Frank successfully gaslights Rachel into admitting men are always right. Blah. Not even the art keeps it going.
Tomb of Dracula (1972) #52 [1977] W: Marv Wolfman. A: Gene Colan, Tom Palmer. It’s Dracula vs. an unknown super-being who looks like Adam Warlock but isn’t a warlock because Wolfman’s doing a Christian comic. Colan’s the same but less. Colan’s real close to phoning it in level.
Tomb of Dracula (1972) #53 [1977] W: Marv Wolfman. A: Gene Colan, Tom Palmer. Blade and Hannibal King need to track down Deacon Frost for their vengeance arcs. Only problem is Blade’s dead. Good thing there are guest stars like Damian Hellstrom available. Real good art, slightly obnoxious King narration, but it’s solid action comics.
Tomb of Dracula (1972) #54 [1977] W: Marv Wolfman. A: Gene Colan, Tom Palmer. The Son of Dracula is born, on Christmas Eve. Will Dracula keep wife Domini happy as his minions plot against him, in league with his nemeses? Of course. Gorgeous night-time wintery art–Colan’s seeming Eisner nods are back. Best “normal” issue in ages, which sadly means some racism towards Blade from his white pals.
Tomb of Dracula (1972) #55 [1977] W: Marv Wolfman. A: Gene Colan. An occasionally problematic, but incredibly ambitious TOMB, centering (eventually) around bride of Dracula, Domini. Colan and Palmer have a glorious issue. Wolfman does okay (it’s complicated) but there’s a lot of earnest to it. At times, so much things get silly.
Tomb of Dracula (1972) #56 [1977] W: Marv Wolfman. A: Gene Colan, Tom Palmer. Harold writes a novel about fighting Dracula. It’s terrible (one has to wonder if Wolfman was self-aware when mocking garishly purple prose). So is the comic any good? No. The art’s good. The story is surprisingly bland.
Tomb of Dracula (1972) #57 [1977] W: Marv Wolfman. A: Gene Colan, Tom Palmer. Wolfman tries another done-in-one-ish horror comic about a man who keeps getting reincarnated until he meets Dracula in present-day Boston. Lots of racism in the flashbacks (Wolfman frankly revels in it), while the regular subplots get pushed again further. Bah. But some good art.
Tomb of Dracula (1972) #58 [1977] W: Marv Wolfman. A: Gene Colan, Tom Palmer. Blade and an old friend team up to save the friend’s wife from an odd vampiric affliction. The story gets silly at times, but… at least no one’s racist in it towards Blade or his Black friends. In the story, anyway. Wolfman’s got to make sure Blade treats his girlfriend like garbage. Fine art, but the story’s more compelling for once.
Tomb of Dracula (1972) #59 [1977] W: Marv Wolfman. A: Gene Colan, Tom Palmer. Unsurprisingly, the fearless vampire hunters bungle ambushing Dracula as he celebrates the birth of his son. The regular cast doesn’t like the idea of using… guns with silver bullets to kill Dracula (it’s unsporting, but then there’s no comic if they ever succeed). Great art and a silly finish. Wolfman’s bad at Christian comics.
Tomb of Dracula (1972) #60 [1977] W: Marv Wolfman. A: Gene Colan. Phenomenal art–Dracula raging against a thunderstorm–would make the issue stand apart, but then there’s also all the weird and icky. First, it retcons last issue’s Christian comic cliffhanger. Then Dracula rants about being a rapist when he was alive. Wolfman’s idea of writing him sympathetic is something else. But, the art.
Tomb of Dracula (1972) #61 [1977] W: Marv Wolfman. A: Gene Colan, Tom Palmer. After a distressing intro with the insipid vampire killers, the issue settles into the main event—Mrs. Dracula trying to resurrect Junior. Except if Junior comes back he’ll be a Heaven vampire, Dad’s mortal enemy. Wolfman’s overwriting passes obnoxious, but it’s weird enough to compel, with help from the gorgeous art.
Tomb of Dracula (1972) #62 [1978] W: Marv Wolfman. A: Gene Colan, Tom Palmer. The issue starts soft, with Domini and Janus talking too much before Janus turns into a golden eagle (the Heavenly version of a vampire bat?). But then there’s a great, weird fight scene, followed by actual suspense. Wolfman overwrites it a tad, but the main story about a haunted house, is rock solid.
Tomb of Dracula (1972) #63 [1978] W: Marv Wolfman. A: Gene Colan, Tom Palmer. Drac, son Janus, Frank Drake, and guest star Topaz fight a demonic, telepathic worm monster in a haunted house. Lots of setup to fill pages before a strange time jump back to gladiator times. Lots of great art. And in the last few pages, Wolfman figures out how to make it compelling.
Tomb of Dracula (1972) #64 [1978] W: Marv Wolfman. A: Gene Colan, Tom Palmer. Dracula and Topaz go to Hell so Satan (not Mephisto) can babble incessantly about Dracula being so badass he most be destroyed. It’s another of Wolfman’s terrible Christian comics. Back on Earth, lots of (misogynistic) talk of the fearless vampire hunters. Not even the art can help this stinker. Okay cliffhanger. Maybe.
Tomb of Dracula (1972) #65 [1978] W: Marv Wolfman. A: Gene Colan. Human Dracula roams Boston by daylight, becoming a reluctant hero, while the fearless vampire hunters debate whether killing him in his resurrection is fair game. They decide human or not, he goes. Then there’s some cowboy vampire hunter. Is it lazy or just bad? Good art, though.
Tomb of Dracula (1972) #66 [1978] W: Marv Wolfman. A: Gene Colan. Dracula is in New York City, trying to find daughter Lilith to turn him back into a vampire. He meets a divorcée at a discotheque. His cowboy hitman pursues. Good art, if strange (cowboy vs. vampire in seventies New York. Wolfman overdoes the Christian stuff again and teases The Cowboy about his real name not being manly enough.
Tomb of Dracula (1972) #67 [1978] W: Marv Wolfman. A: Gene Colan. Still in New York, Dracula tracks down daughter Lilith, who takes advantage of his humanity to beat the everblooming shit out of him. Great art, a tad exploitative at times (cleavage angles are a big thing). Harold shows up and gets into a buddy cop movie with Drac. Bad Christian comics too! It’s packed.
Tomb of Dracula (1972) #68 [1979] W: Marv Wolfman. A: Gene Colan, Tom Palmer. Really good conclusion to the Dracula as human arc. Not without many faults, including the barely present Colan pencils. The art is good, but it’s very different than usual. The ending’s a talky disappointment but the ride there is phenomenal. Even with problems, the writing’s got momentum going for it.
Tomb of Dracula (1972) #69 [1979] W: Marv Wolfman. A: Gene Colan, Tom Palmer. On the run from his old subordinates, Dracula—once again a vampire—finds himself protecting scared children. There’s a lot about crucifies too, which Wolfman manages not to bungle. It’s the first time he hasn’t screwed up the Christian stuff. Art’s good. Still that “New Colan” vibe. Maybe we won’t go back.
Tomb of Dracula (1972) #70 [1979] W: Marv Wolfman. A: Gene Colan, Tom Palmer. Big finale has some great art. Some. It’s also a whiff of a finish, with Wolfman going all in on a “Rachel’s a broken woman” bit. No special guest stars. No big payoff. Wolfman basically soft booted last issue and now we’re at the end. But some good—some great art. “New Colan” is mostly gone. Too bad about the script.