Count Dracula has been many things over his century-plus career – a villain, a lover, a monster, a tragic romantic figure – but then there was that time a Dracula became the world’s most inept superhero.
Dell Comics was a publisher with its main focus on comics starring licensed characters from Donald Duck to Yogi Bear to Star Trek. But for a brief time in the mid 1960s, they attempted to create the next big superhero universe by licensing the Universal Monsters characters and creating superheroes based on Dracula, Frankenstein’s Monster and the Wolf Man.
None of them lasted more than three issues. Why? Because, basically, they were unspeakably bland and goofy stuff, and compared to the heyday of Marvel Comics and a slowly modernizing DC Comics, they screamed “generic superhero comic,” shoving the creepy classic monsters into ill-fitting spandex suits.
Yet for pure kitsch value along, you can’t ignore Dell’s Dracula, perhaps the worst of all the Draculas out there. Dell’s Frankenstein was a misfire too but there’s a bit of a history with making him an antihero. But turning Count Dracula into an utterly assembly-line crimefighter, complete with spunky sidekick? To quote the original Dracula, “that sucks.”
Dell’s Dracula isn’t the original Drac, but a modern-day Count Dracula, a scientist trying to defy the family legacy. Because he’s inept, he accidentally drinks a top-secret formula he was working on that allows him to turn into a bat. Just a regular bat. Which really isn’t the world’s best super-power, but never mind that.
He decides it’s time to fight crime and make the world a better place despite his tainted family name, dons a ridiculous costume that looks a lot more like “Cat Man” than “Bat Man,” and ends up fighting villains like Boris Eval (because he’s “Evil,” get it?) and Hob Goblin. His “secret identity” is the stunningly clever alias of “Al U. Card.”
You might think hey, that’s not the worst hook to hang a comic book on, right? There might be potential there? Unfortunately, Dell’s Dracula was a prime example of the strained, stiff world of off-brand superhero comics of the 1960s, where writers tried to be Stan Lee and failed.
Dell’s Dracula had incredibly inert artwork and dialogue that sounded like it came from a first grader reader’s primer – “I wish to be a partner in your schemes of evil.” While silver age comics could often seem a bit childish by modern standards, Dell’s Dracula didn’t just seem immature – it was so removed from regular human interaction that it seemed like it came from another planet.
But… that said, I still kind of love the kitschy charm of Dell’s Dracula (and Frankenstein, which is slightly less bad). With the third and final issue, the creators seem to realise this isn’t working as a serious comic.
By the time Drac’s buxom companion dresses up as “Fleeta” (short for “Fledermaus,” German for ‘bat,’ of course) in a costume that’s even worse than Dracula’s, you start to think maybe it’ll all go full camp, loosen up and embrace the absurdity of its concept.
But nope – mere panels after Fleeta joins Dracula in his battle against crime, their comic adventures ended forever, the two would-be-heroes transformed into bats and flying off into the moonset, unmourned and forgotten.
Super-Dracula would never rise again.