One challenge of the pandemic is that its kept me from spending quality time at my favorite bookstores and comic shops. I’ve still been patronizing them when I can, but I have missed spending a luxurious hour just wandering the shelves looking for new things to catch my eye. With that in mind, about two weeks ago, I started browsing some lists of the best comics and graphic novels of 2020 just to see if I missed something I would want to know about. One graphic novel that popped up on several of those lists was Dracula, motherf**ker! written by Alex de Campi with art by Erica Henderson. I was already well acquainted with Erica Henderson’s art from her work on Unbeatable Squirrel Girl and Jughead. Also, she’s one of those artists I’ve known of from way back when, since I used to do a lot of work with her father, C.J. Henderson. Between Erica’s work and the description of the graphic novel as a grindhouse-inspired Dracula story set in 1970s Los Angeles, I knew this was something I needed to read. A quick search of my local comic shop’s website revealed they had the book on the shelf.
Dracula, motherf**ker! opens in 1889 Vienna. Dracula’s brides capture the count and nail him into his coffin. The action then jumps ahead to 1974 Los Angeles where Hollywood star Bebe Beauland opens his crypt. A short time later, photographer Quincy Harker appears on the scene to take photos of the carnage that results. We soon learn that Bebe Beauland is not as dead as she first appeared and, of course, Dracula is on the loose again. Dracula’s brides from the opening of the story appear and begin helping Quincy.
The story is told largely through the visuals. Many pages are nighttime dark cut through with bright neon-like colors. The graphic novel format gives Henderson the freedom to design the story around two-page visual spreads. Even when there are two discrete pages of narrative panels, there’s a visual cohesion across the two-page spreads. Dracula himself seems inspired by Nosferatu but ratcheted up a few notches. He’s a monstrous creature of eyes and teeth with an old man’s arms and a cape of night. The story’s stars, though, are the brides and Quincy. Henderson does a great job of conveying emotion through the characters’ facial expressions and body language.
This was the rare graphic novel that I actually read three times back-to-back. I kept seeing things in the art and picking up things from de Campi’s minimalist, but effective dialogue. I recommend this volume for fans of vampires and good comic books. I picked up my copy at Zia Comics in Las Cruces.
Some of my interest in this graphic novel came from the fact that I’m collaborating on a vampire book project based on a short episode in my novel Dragon’s Fall: Rise of the Scarlet Order Vampires. It was fascinating to see so many of the lessons I’ve been learning applied effectively in Dracula, motherf**cker! Next week, I’ll be back with a little sneak peek at the project I’m working on.