Obscure Comic of the Month is a column where I take a look at a comic or series that hasn't really been talked about. This covers independent comics, zines, weird spin-offs, webcomics and more.
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Dragon by Saladin Ahmed with art by Dave Acosta and Chris O'Halloran - 2022
The story of Dracula is one so well trodden that it would be a fair question ask if there is even anything left for a writer to do with the character. Initially inspired by stories of Vlad the Impaler, over the years we have seen the tale told and re-told, from being made into a supervillain in Marvel's Blade to spinning out into a completely self-contained mythology in Konami's Castlevania. When one undertakes a new retelling, it really is going to require an interesting conceit to stand out from the crowd.
Saladin Ahmed decided that his conceit would be to go back to the inspiration. Back to the historical Vlad the Impaler himself. This on it's own isn't particularity original. 'Let's do the historical Vlad' has served as the jumping on point for many a retelling, but what Ahmed decides to bring to the table isn't the story of Vlad himself, but rather the eyes that we see his story through.
See, the story of Dracula is most commonly told through Christian eyes. The entire mythology of the character from Stoker onwards had always been very steeped in Christian iconography. Crucifixes and exorcists. Dark graveyards and deals with the devil.
This, however, is kind of unusual when you consider Vlad's origins as the ruler of Wallachia, a nation that had much of it's history tied up in the affairs of the Ottoman empire. Far from a Christian story, the historical Vlad lived in a place and time that was on the intersection of two religions, and yet for the most part vampire mythology has rarely found itself entwined with Islamic iconography.
It's this fertile ground that Ahmed chooses to grow his story out from. Splitting the point of view between that of a disgraced Ottoman janissary and a Hungarian nun, Ahmed uses the story of Vlad's vampiric reign of terror to explore the conflicts and contradictions of living on the fault line between two religious worlds.
Ahemd is no stranger to telling these kinds of stories, having already explored similar themes in Throne of the Crescent Moon and his run on Ms Marvel, and he's really putting all his expertise on show here. The worlds of Hungry, Wallachia and Istanbul all feel unique and distinct, and weaving in the historical authenticity seems effortless. While the plot is rather direct and straightforward, I came away feeling I knew more about this time and place in history than I had beforehand.
This is all delivered flawlessly, of course, by Dave Acosta and Chris O'Halloran's beautiful artwork. The towns and landscapes have a grit and reality to them, and yet when the supernatural bleeds into the page the movement and volume feel otherworldly and nightmarish. The characters have a clarity of personality that really lets you know who they are before they even speak a line, and the story flows so smoothly you'll be surprised you got the the end so quick.
On that note, if I have one criticism of Dragon, it's that it finished sooner than I'd expected. This actually isn't any of the creative team's fault, but due to the wealth of bonus materials at the back of the print edition, I thought I was only half way through the story while I was actually nearing the end. Dragon weaves together so many interesting threads and characters that by the closing pages I'm left grasping for more. Should a sequel be announced, I'd be first in line for a copy.
In a world so oversaturated with versions of Dracula's story, it really is a testament to the writing and art that Dragon stands out. So unique, so special, I'll be reading it again and again and again.
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Jack Harvey 2022. Dragon (c) Saladin Ahmed. Images used under Fair Use.
