Mignola's depictions capture the essence of the actors' performances and I think that translates very well into the comics medium, making the iconography of the characters another piece in the overall method of storytelling. Instead of seeing, say, Tom Waits, we get the idea of Tom Waits as Renfield. I also find it fascinating how the art approaches the likenesses for the characters, giving us an accurate depiction of the feel of the actors, their costumes, and their characters, but not of realistic portrayals of what they actually look like.
The bits of color perfectly balance out the shadows of the line art. It's complimented fully by the lovingly restored colors of Chiarello, who chooses a bold, solid color palette, similar to the approach he used also on Mignola's Hellboy. While it would be difficult to reproduce the feel of the film techniques, we instead get Mignola's penchant for moody, inky blackness and shadow fitting perfectly with the ominous shapes of Dracula's horror. The artwork alone from Mike Mignola, John Nyberg, Mark Chiarello, and Digikore Studios is worth it.
The film is a great adaptation in its own right, making it more interesting to see adapted again into another medium.Īnd, quite frankly, this adaptation is incredible. I consider Coppola's film to be a masterpiece of '90s moody goth energy with a stunning performance by Gary Oldman and gorgeous old school cinematography techniques. Originally published by Topps Comics, collected here by IDW, of the comics adaptation of Francis Ford Coppola's film adaptation of Bram Stoker's Dracula, brought to you by Roy Thomas, Mike Mignola, John Nyberg, Mark Chiarello, Digikore Studios, and John Costanza.
emerson eddy - This week we go deeper into comics' Dracula version of Plato's allegory of the cave with an adaptation of an adaptation.
0 kommentar(er)
