Any adaptation of Dracula will always be one removed from the original, because the original is an epistolary(told through journal entries, letters, and that kind of thing). So when Dracula is adapted, one is forced to interpret, and usually those are quite different than the novel. Sometimes this ends up good, like with both versions of Nosferatu. Other times it's mangled, like most of the 1931 version or Coppola's pretty debacle.The most usual thing is for Lucy and Mina to either be switched or merged, and Quincy Morris and Arthur Holmwood are either eliminated or, as in this version, merged.
This one manages to be closer to Stoker than any other version. And is quite scary. Also kind of hot. This film has been somewhat of an obsession for me since I was a kid. You may disagree, but for me, this is the best non-Nosferatu version of Dracula.
It's BBC 1970s, which means it's film outside, video inside. But like many, I think horror works better when it looks cheaper, and in any event they do a fantastic job with the means they have. I certainly prefer it to the American-clean way a lot of BBC looks now. And I actually like the cheesy video effects too. Also excellent are Frank Finlay as Van Helsing, Judi Bowker as Mina, Jack Shepherd as the best Renfield since Dwight Frye--and maybe better--and my first movie crush, the incredibly sexy Susan Penhaligon as Lucy Westenra. To this day I have a thing for chokers or ribbons about the neck thanks to her in this, which is why I draw them so often on women. Quincy is played with the worst American accent you've ever heard, but try to look past that. (as well as the Portuguese subtitles, unless you speak it, in which case, bonus!)
> Here's the score, which makes heavy use of not a theremin, but a different early electronic instrument called the Ondes Martenot, which Radiohead fans might recall as an instrument Jonny Greenwood is very fond of. You start hearing it about 0:45 in--it's a bit like a theremin in that it sounds like it's singing, but in a much warmer way.
Also appearing on the program are my friend and colleague Dale Lazarov, who's faced plenty of banning in his own right, and Tim Pilcher, who with Gene Kannenberg, wrote about us both in the second volume of the excellent historyEROTIC COMICS.
LULU Chapter 4 p. 68 + Charlie Update (He's Much Better)
He looks smug, but actually he's quite grateful to you all.
First of all, sorry for the slight delay, as this should have gone up on Friday, but since last Friday I've been preoccupied with a sudden illness in my cat Charlie, about which I wrote earlier. So on that quickly: the vet found only an elevated temperature and white cell count, and decided it was an upper respiratory infection the idiot probably got the last time he was out, because he's an indoor cat with only resistance to what he's gotten shots for.
The antibiotics(two of them twice a day) have had a great effect upon him, and he's doing just fine; very much back to himself. I think he's going to be fine.
Charlie, Roscoe and WHAT THE HELL IS THAT WITH YOUR EYES CHESTER
Thanks again to everyone who pitched in to help, because had he not gotten the meds he would not have made it. He was not easting on his own.
It's not easy taking care of even one cat (let alone four) when you're an indie cartoonist working on hella long projects about five people have heard of that have no zombies or superheroes and that often get banned for dated or arbitrary reasons. So the help was sorely needed and it was a pleasant surprise. Thank you.
And by the way, a brief beggy note: support is not only appreciated in a life-threatening emergency. You can help make the load lighter on all the work I will be doing and showing you anyway at least on the web, whatever print or ebooks or whatever way of actually making money from all this is shut to me(as you've also been reading of late).
THE MAN: The Undrawn Script Around 2007, I was talking to Ted Rall, who at the time I seem to recall was working for United Media, about creating a comic strip. Possibly a foolish idea on my part--I never could do comics on the schedule a comic strip demands. But in this case it would have been a full-time job for me, so who knows? In any case I chose to give it a shot, and the result was called THE MAN, and you can see all that was drawn of it here. Ted and I were in talks to adjust aspects of the strip but then, sadly, he was fired. I published what there was of it in THIS SICKNESS #6, and did mean to return to it, but it relied too much on the zeitgeist in which it was created; I'm not really sure it could continue now as I had intended. But I did write one more script, and so I'll post that here. I don't ever plan to draw this now, but it shouldn't go to waste. Read more »