From Publishers Weekly
A goofy romp through a bubbling cauldron of classic sci-fi themes—brain transplants, re-animated corpses, mad scientists's labs, and sexy robots—all in the glossy, gleefully noir setting of the Eastern Bloc country of Bravoda. This comic-book version of Campbell's film of the same name is a dark fantasy of what can happen when an American industrialist, one William Cole, goes behind the Iron Curtain with the intention of investing in a tax shelter and meets a beautiful, murderous local, one Tatoya. She manages to put him in a compromising position before she bumps him off. Happily for Cole, the local mad scientist has been keeping an eye out for fresh bodies, and the businessman is brought back to life, although half of his brain has been replaced by that of a former KGB spy, Yegor. A very dangerous man when he was alive, Yegor, too, was entangled with Tatoya—now Cole and Yegor must join forces, and make the body they share find Tatoya, and, possibly, reunite with Cole's understandably angry wife. The fabulous mayhem is rendered in pumped up, day-glo, pulp-style art—it's a ton of fun.
(Nov.) Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Campbell, lantern-jawed reigning king of the B movies, clawed his way to the throne in Sam Raimi's splatter classics,
The Evil Dead, Evil Dead II, and
Army of Darkness. His new film shares title and plot with this book, which coauthor David Goodman says even Campbell thinks is "a truer vision of the story." So forget the flick. Turn to this graphic-novelization of what is really just a
Frankenstein knockoff with a
Young Frankensteinsoul, in which a hard--charging American businessman and his curvaceous blond wife wind up dead and then alive again, he with a brain half his and half that of an ex-KGB cabbie, she as a robot with all of her brain and a blond wig. Silly? Heavens, yes. But entrancing fun, anyway, because of the energy and screwy panache of the art, which, originally drawn by Rick Remender, is finished by Hilary Barta in his trademark development of the goofy noir-parody style of
MAD founding-father artist Wally Wood. (Michelle Madsen's coloring is a sight worth seeing, too.)
Ray OlsonCopyright © American Library Association. All rights reserved