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Essential Tomb of Dracula, Vol. 1 (Marvel Essentials) (v. 1) Paperback – November 10, 2004

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Product Details

  • Paperback: 560 pages
  • Publisher: Marvel Comics (November 10, 2004)
  • Language: English
  • ISBN-10: 078510920X
  • ISBN-13: 978-0785109204
  • Product Dimensions: 10 x 6.4 x 1.1 inches
  • Shipping Weight: 1.4 pounds
  • Average Customer Review: 4.1 out of 5 stars  See all reviews (16 customer reviews)
  • Amazon Best Sellers Rank: #412,018 in Books (See Top 100 in Books)

Customer Reviews

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Most Helpful Customer Reviews

50 of 52 people found the following review helpful By Lawrance M. Bernabo HALL OF FAMEVINE VOICE on November 11, 2004
Format: Paperback
The horror comic book died a horrible death when E.C.'s celebrated lineup of "Tales from the Crypt, "The Vault of Horror," and "The Haunt of Fear" fell victim to the creation of the Comics Code of America, a censoring board created in 1955 in response to Dr. Fredric Wertham's book "Seduction of the Innocent" and the resulting public outcry against horror and crime comics. A decade later a few publishers but out black & white magazines with color covers, such as Warren's "Creepy," "Eerie," and "Vampirella," to evade the Comics Code. If anything, they were more violent than the precode comic books. DC Comics continued the anthology tradition with "House of Secrets" and "Tales of the Unexpected," and eventually released "Swamp-Thing." When Marvel introduced "The Tomb of Dracula" in the early 1970s it was a rather modest entry into the horror market. But because of the success of this comic book it would be followed up with "Werewolf by Night" and "The Frankenstein Monster." But it was "Tomb of Dracula" that would end up proclaiming on its cover that it was "Comicdom's Number 1 Fear Magazine" (starting with issue #43).

The first issue of "Tomb of Dracula" was scripted by Gerry Conway, who gave way to Archie Goodwin on the third issue, who was then replaced by Gardner F. Fox on the fifth. It was not until Marv Wolfman took over the writing reigns with issue #7 and continued for the rest of the comic's run that the title really took off. But "Tomb of Dracula" had the advantage of having the perfect artist from the start with Gene Colan. The penciler inked the first issue but for the third issue Tom Palmer did the chore, and he would ink the vast majority of issues, although there were gaps.
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10 of 11 people found the following review helpful By N. Durham HALL OF FAMEVINE VOICE on January 18, 2006
Format: Paperback
Before Werewolf by Night, or Ghost Rider, or even Monster of Frankenstein, there was the Tomb of Dracula. Debuting in the 70's and the beginning of Marvel's foray into horror comics; Tomb of Dracula began with longtime Spider-Man scribe Gerry Conway at the helm with the legendary Gene Colan providing the pencils. The series begins with Frank Drake, a living descendant of Count Dracula, inheriting Castle Dracula, and unwittingly awakening the vampire lord. Eventually, Drake has to make a big sacrifice, and the writing reins are soon taken over by Archie Goodwin, and later by Gardner Fox. It wasn't until Marv Wolfman took over the series that Tomb of Dracula really took off, as new characters like Rachel Van Helsing and later Hannibal King (in the last issue of this Essential title) are introduced that would have a huge impact on the series until it's end. What Wolfman is the most credited for with Tomb of Dracula, is the creation of the mysterious vampire hunter Blade, who makes his debut in the tenth issue of the series. Later on, there is a cross over with Werewolf by Night, and the first appearance of Dracula's daughter Lilith. Gene Colan's pencils are simply gorgeous, and when he's teamed with inker Tom Palmer, it's really something to behold, even in black and white. All in all, like many of Marvel's other Essential titles, Essential Tomb of Dracula is a deal for the price if you don't mind the brittle black and white pages, and it's the beginning of the best Marvel horror title you'll ever read.
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6 of 6 people found the following review helpful By Edmund Lau Kok Ming on September 9, 2008
Format: Paperback
The year was 1972. DC Comics saw the steady decline of the superhero set and decided to take their books on a "quest for relevance". Denny O'Neil was enamoured by the hip-journalists of his day such as Norman Mailer and the social messages in the songs of Bob Dylan. He brought that spirit into his "Green Lantern/Green Arrow" book in an acclaimed run with Neal Adams (reprinted numerous times as "Hard Travellin' Heroes"). Marvel, who began the Silver Age superhero renaissance, had gone on to its "Phase Two" with Roy Thomas taking over from Stan Lee on many of the books - in order to free Stan's schedule so that he could go on the road on speaking-tours to colleges and universities. In short, everyone was working hard to court the attentions of the more sophisticated college-students. It was, as if, comics as a whole was being forced to grow up overnight. At the same time, the "bravura" writers/artists of the day were turning conventions on its head with their subversive and counterculture meditations on spirituality, reality, politics, drugs, mysticism, etc. (Check out anything by Steve Englehart, Howard Chaykin, Al Milgrom and Jim Starlin to see what I mean!) The more sophisticated storytelling led Stan Lee himself to contribute several issues of "Amazing Spider-Man" to deal with the rising problems of drug-addiction among the youths in his neighbourhood. The Comics Code Authority (that ghetto-like policeman of four-colour pop-culture initiated because of the fundamentalist tirades of Frederick Wertham) refused to approve those issues by Stan Lee. Stan Lee went ahead and published those issues without the code. The world did not end. Morals did not suddenly slide down the drain.Read more ›
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