{"id":20188,"date":"2025-10-08T07:00:32","date_gmt":"2025-10-08T11:00:32","guid":{"rendered":"https:\/\/www.cemeterydance.com\/extras\/?p=20188"},"modified":"2025-10-07T00:12:45","modified_gmt":"2025-10-07T04:12:45","slug":"20188-2","status":"publish","type":"post","link":"https:\/\/www.cemeterydance.com\/extras\/20188-2\/","title":{"rendered":"Matt Wagner, Kelley Jones, and the Brides of Dracula"},"content":{"rendered":"

\"banner<\/p>\n

\"\"After the graphic novels Dracula: Book I — The Impaler <\/em>and Dracula: Book II — The Brides<\/em><\/a>, writer Matt Wagner and illustrator Kelley Jones are back with Dracula: Book III — The Count. <\/em>The third book is currently on Kickstarter<\/a>, and it\u2019s told from Dracula\u2019s point-of-view. Cemetery Dance<\/em> spoke with Wagner and Jones about building on the previous books, what research went into this, and how their feelings about Dracula have been affected. <\/p>\n

(Interview conducted by Danica Davidson)<\/a><\/strong><\/p>\n

CEMETERY DANCE: How does Dracula: Book III \u2014 The Count <\/em>build on the previous books?<\/strong><\/p>\n

MATT WAGNER<\/strong>: Book III <\/em>is, in some ways, what we\u2019ve been aiming for from the beginning of this series. Any fan of Bram Stoker\u2019s original classic 1897 novel can tell you that one of the most frustrating aspects of the tale is that once the action shifts from Transylvania to London, our title character is basically offstage for pretty much the rest of the novel. Dracula is treated as more of a sinister presence rather than a physical villain. And, just like our previous two volumes\u2026 Book I \u2014 The Impaler<\/em>\u00a0and Book II \u2014 The Brides<\/em>\u2026that narrative gap provides us with an incredibly ripe scenario to fill in those missing details and bring readers our version of what happened. Obviously, Dracula came to England with certain lofty and sinister goals\u2026he\u2019s definitely doing something during the period covered in the novel. Well, Kelley and I will be showing our readers how Dracula explores and begins to integrate into, what is to him, a very alien culture.<\/p>\n

KELLEY JONES<\/strong>: The interesting thing was to show Dracula go from medieval warlord to cursed vampire dealing with his new powers and his new limitations to now a regal and imperial aristocrat. His restraint is matched only by his malevolence. That transformation simply draws itself. Dracula is now engaging a modern world that has so much for him to desecrate so I had to portray him with the joy of these new found goals.<\/p>\n

What sort of research went into this volume?<\/strong><\/p>\n

WAGNER<\/strong>: I did a shit-ton of research for this volume; it is, without a doubt, one of the most intensive things I\u2019ve ever written. Dracula <\/em>is one of the most analyzed and annotated novels in the English language and a lot of that stems from the fact that the book is epistolary \u2014 told entirely in the form of letters, journals and articles. So, the action of the novel is incredibly specific since every day and night described is noted by both month and date. So, while I was writing this volume, I had myself surrounded by research materials\u2026intricately annotated editions of the original text, maps of Victorian-era London, and even a calendar of the events of the novel, notated for every individual day, including the sunrise and sunset times and the phases of the moon! I had to make sure I got everything right to pass muster for the many Dracula <\/em>scholars out there.<\/p>\n

But, I also had to make sure that this volume was engaging and entertaining for those who\u2019ve never read the original novel. It was quite the balancing act. And there were many, many details to consider. Just from a sheer practical standpoint\u2026how does he get around this thriving metropolis? After all, London is dramatically different to the Carpathian mountains that had been his home for over four hundred years. Carfax, the dilapidated estate he acquires as his home base, is located some eighteen miles east of central London; he would obviously need some means of transport to travel between his den and the city\u2019s hub of activity. Additionally, we all know the classic trope that a vampire may not enter a dwelling without being invited inside. A city of London\u2019s size has sooo many thresholds that would require this sort of admittance for him to enter. How does he get around these restrictions? And what is his goal? What is he aiming to do, other than gain access to a whole new strain of revitalizing blood? One thing I can tell you he isn\u2019t doing\u2026obsessing about Stoker\u2019s group of heroes and the two women at the core of that cast. To my reading of the book, his attention is definitely focused elsewhere.<\/p>\n

JONES<\/strong>: For me it was a complete immersion into not simply the architecture of 1890s Britain, but of its half-lit worlds of the different classes. The designs of the velvet wrapped sumptuous rooms of splendor of the upper classes to the maze-like back streets of those that had to survive one day at a time. I wanted a look of a great metropolis piled high upon itself with plenty of age, yet presenting itself as a modern, forward thinking civilized city. A place Dracula could happily wander unnoticed in his evil.<\/p>\n

How did the two of your collaborate together this time around?<\/strong><\/p>\n

WAGNER<\/strong>: Kelley and I comment to each other all the time about how fluid, organic and fulfilling our collaboration is on every level. We are so completely in sync it feels like this was a pairing that was meant to be. These sorts of perfect storm scenarios happen from time to time in comics and I really feel like we\u2019re soaring at those heights with this project. I\u2019m constantly writing specifically to Kelley\u2019s strengths and saying to myself, \u201cOh, man\u2026Kel is gonna slay it on this scene!\u201d And then he sends me his pencils and they\u2019re even better than I could\u2019ve even imagined. We were talking the other day and I was telling him that, even though I\u2019ve always loved and admired his work, he’s really operating at a different level here. There\u2019s a concentration of focus and emotional engagement from him that I think outshines any of his other (amazing) efforts. I\u2019ll say it again\u2026it\u2019s like this series is the story that Kelley was fucking born to draw!<\/p>\n

JONES<\/strong>: With Matt I try to simply put that emotion on paper as directly as I can from reading his story. It\u2019s that simple. I want readers to feel that same awe I do when I first read the scripts and fall under Matt\u2019s spell. I tell him all the time anyone could draw this and it would be a masterpiece as I feel he’s truly done something original, literary and beautifully grotesque.<\/p>\n

How did you approach narrating the story from Dracula’s voice?<\/strong><\/p>\n

WAGNER<\/strong>: At this point, with two previous volumes under my belt, I definitely feel like I\u2019ve got a handle on Dracula\u2019s voice. And, let\u2019s face it, after creating and writing Grendel <\/em>for over forty years, I do have some experience with portraying unrepentant villains. Dracula is a megalomaniacal monster; his every thought is centered around his own lust for power and cravings for blood. In the book, he\u2019s also portrayed as very scholarly and scheming. He\u2019s also ruthless and quick to action. Much like my own Hunter Rose or Hannibal Lecter or Tony Soprano, he\u2019s the sort of charismatic monster you find yourself somewhat rooting for in spite of yourself. All of which makes for an incredibly fun character to write.<\/p>\n

\"alternate<\/p>\n

JONES<\/strong>: The objective of making a character come to life is that you understand them, not simply stereotype them. Matt has so delved into Dracula, and not as a two dimensional cardboard villain but a man with no other goals than the satisfaction of his aims. Not an anti-hero and not a monster, but a man. I see that clearly and he comes to life naturally on the page. This Dracula is a man I understand, and that makes him far more frightening beyond him being a vampire lord.<\/p>\n

Have your feelings about Dracula been affected by writing so much about him and his world?<\/strong><\/p>\n

WAGNER<\/strong>: There have been so very many portrayals of Dracula over the more-tha-a-century since the original novel\u2019s publication, you\u2019d think that the character would\u2019ve been (yes\u2026pun intended) bled dry by now. But having to examine this character from what I feel is an all-new yet strict-to-canon perspective has surely given me some insights into his persona that I didn\u2019t perceive at the beginning of this project. He\u2019s absolutely merciless\u2026and yet, if you look at how he\u2019s portrayed in our first two volumes, he does have something of a soft spot for the ladies. Not to say that he\u2019s romantic, but he appreciates the role that women serve in regards to his appetites. He speaks at some length in Book II \u2014 The Brides <\/em>on how nothing is equal to the ecstasy experienced by a vampire when drinking blood; \u201cNO BEDDING\u2026NO BATTLEFIELD VICTORY\u2026NO BASE INTOXICATION EVEN COMPARES.\u201d And he treasures the delicacy of women\u2019s blood over all others. Part of that is referenced by the fact that, in the novel, we mainly see him preying on women.<\/p>\n

But I am also inspired by how certain animals toy with their prey. We\u2019ve all seen cats play with mice in a way that, if we\u2019re anthropomorphizing them, certainly seems cruel. And apparently orcas can viciously play with a captive seal, battering it and tossing it in the air for an hour or more\u2026like cats, for reasons that aren\u2019t completely understood. You\u2019ll hear animal behavioralists comment that these actions are the predator practicing its skills\u2026which never quite rang true for me. I mean, they\u2019ve already caught the creature in question\u2026how do these actions hone that efficacy? And then I struck on an idea\u2026perhaps toying with their prey just makes them taste better. What if the fear endorphins obviously released during that animal\u2019s ordeal serve to marinate the meat in a way that their killers just fucking love? And so I took that thought and applied it to Dracula; he prefers preying on women because they just taste better to him. And the fear aspect would also serve to heighten his enjoyment.<\/p>\n

In the pages of Book III \u2014 The Count<\/em>, I continually have him describe how each person he preys upon tastes in very specific terms. And it was a blast coming up with those descriptions to match each victim\u2019s persona and station in life. So that\u2019s just one example of how my outlook on Dracula evolved over the course of telling our tales.<\/p>\n

JONES<\/strong>: Matt didn’t take Dracula out of the 15th century and impress our modern beliefs or morals upon him. He is a man of his time and that makes the story far more interesting. There is no way to know what he will do next, but it can be sure that it will only be to serve his desires, which Dracula would be bewildered to have described as evil.<\/p>\n","protected":false},"excerpt":{"rendered":"

After the graphic novels Dracula: Book I — The Impaler and Dracula: Book II — The Brides, writer Matt Wagner and illustrator Kelley Jones are back with Dracula: Book III — The Count. The third book is currently on Kickstarter, and it\u2019s told from Dracula\u2019s point-of-view. Cemetery Dance spoke with Wagner and Jones about building … Continue Reading! “Matt Wagner, Kelley Jones, and the Brides of Dracula”<\/span><\/a><\/p>\n","protected":false},"author":5,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[7,444],"tags":[294,767,3260,307,2280,3259,851,3504],"class_list":["post-20188","post","type-post","status-publish","format-standard","hentry","category-interviews","category-comics","tag-columns","tag-danica-davidson","tag-dracula","tag-interviews","tag-kelley-jones","tag-matt-wagner","tag-the-comic-vault","tag-the-count"],"yoast_head":"\nMatt Wagner, Kelley Jones, and the Brides of Dracula - 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