The Resurrection of Evil: Matt Wagner and Kelley Jones Conclude Their Definitive Dracula Saga
For over a century, Bram Stoker’s 1897 masterpiece Dracula has stood as the bedrock of Gothic horror. Yet, for all its cultural ubiquity, the novel’s conclusion has long been a subject of intense debate among literary scholars and horror enthusiasts alike. Was the Count truly vanquished, or did the "heroes" of the story merely scrape by with a hollow, temporary victory?
Acclaimed comic book creators Matt Wagner (Grendel, Mage) and Kelley Jones (Batman: Red Rain) have spent the better part of the last few years answering that very question. Through their ambitious Orlok Press graphic novel series—Book I: The Impaler, Book II: The Brides, and Book III: The Count—they have meticulously expanded the Stoker canon. Now, the pair returns to deliver the final, blood-soaked chapter: Dracula: Book IV—The Undead.
With the project currently live on Kickstarter, the creative duo sat down to discuss the culmination of their "most evil" volume yet, reflecting on the psychological toll of horror, the legacy of their "Dream Team" creative unit, and the dark future that awaits the Prince of Darkness.
The Chronology of a Masterpiece: From Wallachia to the Grave
The journey began with an analytical approach to the source material. Wagner and Jones did not simply want to adapt the book; they wanted to excavate the gaps between the lines. By looking at the "uncharted corners" of Stoker’s world, they found stories that had been left in the shadows for generations.
The series followed a deliberate trajectory:
- Book I: The Impaler: Established the historical and supernatural origins of Vlad the Impaler, setting the stage for the centuries-long curse.
- Book II: The Brides: Focused on the harrowing dynamics of Dracula’s sisterhood and the expansion of his influence.
- Book III: The Count: Directly engaged with the iconic events of the 1897 novel, providing context for the moments occurring just off-stage.
- Book IV: The Undead: The definitive finale, moving entirely beyond the original novel to explore the "morning after" the supposed defeat of the vampire lord.
"This final part of our epic saga was planned from the beginning," explains Matt Wagner. "Many fans find the ending of Bram Stoker’s 1897 novel a bit unconvincing in its finality. Throughout the course of the novel, Professor Van Helsing describes in some detail exactly how to destroy a vampire. And then, in the exciting chase-driven finale, the British heroes really don’t attack him with these prescribed methods. There’s no wooden stake through the heart, his head is not severed from his body—and all of these ineffectual actions take place just as the sun is setting and he regains his power."
Supporting Data: A Crowdfunded Phenomenon
The success of this series is not merely artistic; it is a statistical juggernaut in the indie comic space. The first volume of the saga famously broke into the Top 20 of Kickstarter’s all-time most successful graphic novel campaigns, proving that there is a massive, underserved appetite for high-quality, mature Gothic horror.
Dracula: Book IV—The Undead arrives as a 122-page, European-album-sized hardcover. To maintain the series’ aesthetic integrity, the creative team has remained unchanged:
- Writing: Matt Wagner
- Art: Kelley Jones
- Colors: José Villarrubia
- Lettering: Rob Leigh
The Kickstarter campaign serves as the exclusive gateway for these premium editions, offering fans three tiers of covers: the main art by Kelley Jones, a variant by Matt Wagner, and a limited edition of 666 signed and numbered copies.
Official Responses: The Creators on the "Most Evil" Volume
When asked if it was daunting to move beyond the final page of Stoker’s canon, the creators expressed a sense of creative liberation.
"We’ve already greatly expanded on the mythos of the vampire lord while staying rigorously true to Stoker’s canon," Wagner notes. "But, holy shit, the excitement level was through the roof! This volume lets us provide a whole new ending to Dracula’s history. We really cut loose and let Dracula live up to his full, horrifying potential."
Kelley Jones, whose art is synonymous with atmospheric dread, echoed this sentiment. "Matt’s story concentrating on the character of Vlad Tepes himself—who emerged through the supernatural vampiric curse—was fascinating. The vile things he does here have nothing to do with his bloodlust; this is that Wallachian warlord that made his reputation 500 years ago."
The psychological impact on the survivors—the "heroes" of the novel—is a central theme of the final book. Wagner posits that the characters would not simply walk away into a "happily-ever-after." Instead, they would be grappling with what modern audiences call PTSD. "To have been defeated by mere humans, whom he looks at as ‘peasants,’ for the first time in over four hundred years—well, let’s just say his history as a brutal warlord comes to the forefront again."
Implications: The Legacy of Orlok Press
As the series draws to a close, the implications for the Gothic horror genre are significant. Wagner and Jones have effectively bridged the gap between Victorian literature and modern graphic storytelling.
The Creative "Dream Team"
The importance of continuity cannot be overstated. By keeping José Villarrubia and Rob Leigh on the project, the visual language of the series remains consistent.
"José brings an old-school comic elegance to every panel," says Wagner. "And Rob provides not only evocative style but also perfect placement for all the captions and balloons. We are so lucky to have them on board for the entire saga."
A Return to the Golden Age
Beyond the graphic novel itself, the Kickstarter campaign features a unique nod to the horror sensibilities of the 1970s: a black-light poster. For both Wagner and Jones, this is more than just merchandise; it is a homage to the formative years of their own artistic development. It encapsulates the "Orlok Press vibe"—a commitment to the visceral, the psychedelic, and the macabre.
Looking Toward the Future
With the Dracula saga concluding, fans are already curious about what comes next. Matt Wagner is currently deep into his Grendel epic, Devil’s Crucible, which is slated to continue through 2028. However, he has already begun outlining a new project for Orlok Press. While details are under wraps—as Wagner jokingly notes, "Kelley hasn’t even seen it yet"—he promises that it will maintain the intense, Gothic horror standards set by their Dracula run.
For his part, Kelley Jones remains humble and ready for the next challenge. "More Matt Wagner for me," he quips.
As the sun sets on their Dracula series, the impact remains clear: they have reclaimed the character from the tropes of pop culture and returned him to his roots as a terrifying, ancient, and relentless warlord. For those looking to support the final chapter of this dark, visionary journey, the Kickstarter campaign remains the only path into the shadows.
"I’d like to think," concludes Jones, "wherever Vlad Tepes is, he would like this."
