As a fan of dark, thought-provoking stories with a dash of humor, I found myself utterly captivated by this interview with the talented writer, James Peaty. His work, spanning across various genres and publications, seems to revolve around a central theme – the struggle between humanity and dehumanization. This resonates deeply with me, having spent my life observing the world through a similar lens.
Alex Pankadel shares insights on the character of Dracula, which he largely expressed in his revival of the comic strip “The Dracula File.” Originally created by Gerry Finley-Day, Simon Furman, and Eric Bradbury for the British horror anthology “Scream!” in the 1980s, this updated version was published by Rebellion Publishing as part of their celebration for the 40th anniversary of the short-lived “Scream!” anthology. During an interview with ComicBook, Pankadel delved into Dracula’s historical roots in Romanian folklore and societal norms, then elaborated on how he and his collaborators – artist Alejandro Aragon, colorist Jason Wordie, and letterer Jonathan Stevenson – brought a contemporary twist to “The Dracula File,” making it more subtle yet ominous.
Apart from “The Dracula File”, Paknadel is also set to contribute to another Finley-Day collaboration this year. He’s joining forces with artist Jake Lynch on a “Rogue Trooper” tale, which will be featured in the 2000 AD Annual 2025.
How do you feel about the character of Dracula, overall? What relevance does this character still hold, considering it’s over a hundred years old? Did you find it difficult to bring a fresh perspective to a character that has been extensively explored in popular culture? (Paraphrased)
Frankly, my opinions about Dracula can be a bit scattered – largely due to my belief that the character himself is ambiguous and extremely volatile, which in turn, makes him all the more intriguing for me.
In a more conversational style, here’s how you could rephrase the passage:
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In numerous instances, such as evidently demonstrated in the film An American Werewolf in London, the werewolf often symbolizes an inversion of one’s anxiety about the unknown and potential danger lurking outside. By failing to provide safety for a stranger wandering at night, you risk exposing them to peril, which could ultimately lead to harm for your entire community. This scenario underscores the ancient Greek concept of xenia, or hospitality – the act of offering or withholding it can carry severe repercussions, as suggested by folklore.
Indeed, Stoker’s Count Dracula, clearly influenced by Polidori’s “Vampyr”, significantly alters the concept in numerous ways. Unlike traditional Eastern European and Slavic vampires who wander as drifters or even reincarnated dead, Stoker, similar to Polidori, portrays the vampire as an aristocrat – not a visitor, but a resident. In this role, Dracula transforms the vampire into a symbol of upper-class exploitation, feeding off the life force of the lower classes to sustain his supernatural longevity.
It seems to me that the reason Dracula remains so captivating is because of his fundamental concept. He emerged during the Industrial Revolution’s closing stages, a period when the wealthy, including the robber barons, were ruthlessly exploiting and discarding both the poor and, to some extent, the middle class. In essence, Dracula embodies that relentless, dehumanizing greed made manifest.
What exactly was it about “The Dracula File” that made you want to write a story with a similar approach or style?
In my opinion, Finley-Day, Furman, and Bradbury’s creation was almost as groundbreaking as Stoker’s novel, considering it was produced during the peak of the Cold War, with Nicolae Ceaușescu’s televised execution still six years in the future. The concept of Dracula, traditionally an aristocrat, choosing to violently defect to the West, is strikingly innovative. However, Dracula’s rampage through London, where he clashed with British law enforcement and security services, often struck me as a sort of semi-defection.
As I delved into those classic comic strips, it hit me like a punch – Dracula, this ominous figure, could potentially charm his way into the inner circles of the British elite if given enough time. The idea was chilling – they might even welcome him, if he proved beneficial to them. This opened up an intriguing exploration of what Hannah Arendt referred to as ‘the banality of evil’. I got a chance to dissect this concept using none other than the most exaggerated, almost comical embodiment of villainy – Dracula himself. In this retelling, it’s not the monster under the bed we should fear, but the people who leave the door unlocked for what lurks there.
Could you share some insights into our partnership on this tale penned by Alejandro Aragon? This captivating narrative carries an eerie ambiance reminiscent of horror, yet it deviates from the conventional gothic horror style typically linked to Dracula.
Initially, I sought out Alejandro and the talented colorist Jason Wordie immediately, as I was confident they would create something raw and unyielding, yet distinctively different – rougher and more disconcerting compared to previous works. Ale’s artistic approach is remarkably loose, yet he manages to maintain every subtle detail of human emotion in his work. A quick look at his characters reveals their thoughts clearly, which is truly astonishing.
From my perspective as a gamer, I’ve got to say that Jason’s subdued color scheme really pairs well with Ale’s bold half-tones – it’s a combo I’m really digging! In terms of skill and compelling storytelling, there’s no duo more fitting for this tale. I feel like I hit the jackpot with them on this project.
Moving onto another topic, you and artist Jake Lynch are set to release a Rogue Trooper tale in the November issue of the 2000 AD Annual 2025. Could you share some insights about this story and how our unique perspectives shape our interpretation of one of 2000 AD’s legendary characters, Rogue Trooper?
Following the events depicted in ‘All Hell on the Dix-I Front’, the story unfolds slightly thereafter. It centers around an intriguing pathway that cuts through a vibrant, hallucinatory marshland, and its visual appeal is truly breathtaking, largely due to the artistic touch of Jake.
The fundamental writing tip you receive when handed a pen and paper is to challenge your main character with their polar opposite, which is essentially what I’ve done here. I aimed to create a story with the intense excitement I’ve heard so much about, while also incorporating a dark humor reminiscent of 2000 AD. Despite its gruesome elements, it remains primarily humorous. Although I wasn’t a fan of 2000 AD as a child, I’ve grown to appreciate it as an adult, making it incredibly thrilling to contribute to this world during my career.
For those who might recognize you from different projects but aren’t very acquainted with 2000 AD and Scream! (or it could be the other way around), are there specific motifs or other aspects that they might find reminiscent between these stories and your work on series like Sentinels, All Against All, and so forth?
Without sounding overly dramatic or trendy, I’d like to express that my work often stems from a deep-seated anxiety about preserving our shared human essence. Times of turmoil, such as the ones we’re experiencing now, frequently force us into difficult choices between what is right and what is effortless. The path of least resistance may offer temporary comfort and reduced risk, but our humanity is never guaranteed.
Each time we opt for the effortless decision – such as denying aid to a person in need or striking a deal with questionable allies – we seem to lose a piece of ourselves. Granted, I’m far from perfect, but upon reflection, it seems the recurring idea that resonates within me is the unconscious act of stripping oneself of humanity. The thought of it chills me.
The “Scream! 40th Anniversary Special” is currently available for purchase in the U.K., while it will hit US shelves on December 11th. On the other hand, the “2000 AD Annual 2025” will be up for grabs starting November 27th.
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2024-11-09 00:11