Last week, we mentioned the passing of Dark Shadows creator Dan
Curtis. This promoted us to revisit the gothic soap opera in
its comic book incarnations. Jeffrey Thompson, a leading Dark Shadows collector
and historian, contributed this piece.One of the most phenomenal
television series of the 1960s was ABC-TV's
Dark Shadows, the daytime
serial which ran from 1966 to 1971. Originally a mildly mysterious romantic
serial reminiscent of the Gothic novels popular at the time,
Dark Shadows
became completely supernatural with the 1967 introduction of Barnabas Collins, a
tortured, guilt-ridden vampire, freed from his chained coffin after 171 years of
maddening imprisonment. The unprecedented character of Barnabas, as portrayed
by Shakespearean actor Jonathan Frid, so captivated the daytime-television
audience—especially children and teenagers—that
Dark Shadows
soon was one of the highest-rated programs in all of daytime TV. The serial's
ratings increased steadily from 1967 to 1969, and its ratings were still
respectable when the show was cancelled in early 1971.
Dark
Shadows helped acquaint or reacquaint audiences of the 1960s with
traditional vampirism, from its coffins, bats, and stakes to the bite marks
which the fanged Barnabas inflicted upon the other characters and to Barnabas's
battles with other, more sinister vampires. Although vampire Tom Jennings may
have been the show's most frightening vampire and Angelique or Roxanne the most
sensual, it was Barnabas Collins who set the post-Lugosi/Lee standard for the
popular-culture vampire. It was not long before Barnabas and
Dark
Shadows invaded another popular-culture medium
: comic
books.
The first issue of Gold Key Comics'
Dark Shadows series was
dated December 1968, and the thirty-fifth (and final) issue bore a February 1976
date. The comic magazine began as a quarterly publication but with issue #13
(April 1972) was stepped up to bi-monthly status. Twenty-six of the thirty-five
issues were published after the ABC-TV series was cancelled. All thirty-five
issues were edited and/or supervised by Wallace I. Green, managing editor.
Among the uncredited scriptwriters of the
Dark Shadows comic book were
Donald J. Arneson and Arnold Drake. Arneson wrote
Dark Shadows #1 and
other issues, the one-shot
Dark Shadows Story Digest Magazine (June
1970), and stories for Gold Key's
Boris Karloff's Tales of Mystery, The
Twilight Zone, and
The Governor and J.J. Arnold Drake wrote
Dark Shadows #22, #24, #30, and about ten other issues.
Drake is
one of the most respected names from the Silver Age of Comics. "I wrote
something like 2000 stories during my comic-book period," Drake declared in a
1986 interview. Arnold Drake created Deadman and the Doom Patrol for DC Comics.
At DC and elsewhere, Drake scripted the four-color adventures of Batman, Bugs
Bunny, Bullwinkle, Challengers of the Unknown, Heckle and Jeckle, Little Lulu,
and Barnabas Collins.
As for the art direction of the
Dark Shadows
comic book, "Everybody who has seen all of the
Dark Shadows [comic]
magazines has seen every piece of reference we ever got from Dan Curtis
Productions!" Wallace I. Green recalled in a 1986 interview. "We used all of
the photographs [which came from Dan Curtis Productions] on front covers and
inside covers [of the first seven comic books]. Eventually, of course, we ran
out of photographs. That's when we went to the painted covers. The artist was
a man named George Wilson, who did
a lot of painted covers for us. I
think for several years he may have been the
only artist we had painting
covers [for Gold Key comics], so almost everything you saw that had a painted
cover was done by George Wilson. George eventually went on to do [covers for] a
lot of paperback novels. How we were able to keep him as long as we did at the
prices we paid him, I'll never know! Joe Certa did [the artwork for] all of the
insides; he did every single issue of
Dark Shadows."
From 1940 to
1943, Joe Certa was one of the illustrators of Street and Smith's twenty-issue
Doc Savage comic book. The 1950s found Certa penciling the adventures of
Robotman, the Martian Manhunter, and other DC Comics super-heroes. In the
newspapers, Certa collaborated with John Belfi and Ray Gardner on the Western
comic strip
Straight Arrow. After Gold Key Comics'
Dark Shadows
was cancelled in late 1975, Joe Certa drew stories for Gold Key's
Ripley's
Believe It or Not, The Twilight Zone, and
Grimm's Ghost Stories
magazines.
The comic-book rights to
Dark Shadows went to Western
Publishing Company (Gold Key comics) in the first place because Dan Curtis
Productions, controller of
Dark Shadows then and now, was unable to sell
the rights to either Marvel or DC, the two major comics companies at the time.
Neither DC nor Marvel legally was able to produce a
Dark Shadows-type
series in 1968 because of each company's voluntary, long-time observation of the
strict tenets of the Comics Code Authority. In the late 1960s, most comic books
were still governed by the original guidelines established by the Comics Code
Authority on 26 October 1954. One passage of the restrictive Comics Code read,
"Scenes dealing with, or instruments associated with, walking dead, torture,
vampires and vampirism, ghouls, cannibalism, and werewolfism are
prohibited."
It was not until 27 October 1971 that the Code was revised
and the above passage was changed to read, "Scenes dealing with, or instruments
associated with, walking dead or torture shall not be used. Vampires, ghouls,
and werewolves shall be permitted to be used when handled in the classic
tradition, such as
Frankenstein, Dracula, and other high-caliber literary
works written by Edgar Allan Poe, Saki (H.H. Munro), Sir Arthur Conan Doyle, and
other respected authors whose works are read in schools throughout the world."
Marvel and DC Comics then were able to feature vampires and werewolves in their
magazines—too late, however, for Dan Curtis Productions' 1968 deal with
Gold Key Comics. Dell/Western/Gold Key/Whitman comic books had
never
been governed by the Comics Code Authority, reportedly because of some fast
talking by publisher George Delacorte in 1954. With their newly increased
creative freedom, Marvel and DC immediately launched two of the greatest post-EC
supernatural-horror titles in the history of comics
: Tomb of
Dracula (1972-1979) and
Swamp Thing (1972-1976),
respectively.
Meanwhile, Gold Key had been producing the highly
supernatural
Dark Shadows comic book for almost four years. With lurid
titles such as "Creatures in Torment," "Souls in Bondage," and "My Blood or
Yours," the stories in
Dark Shadows recalled—but did not
equal—the height of EC Comics horror of the 1950s. Although often lacking
the high quality of the subsequent Dracula and Swamp Thing comics,
Dark
Shadows nevertheless zealously pitted vampire Barnabas Collins and werewolf
Quentin Collins against other vampires and werewolves, zombies (still
technically taboo elsewhere), a golem, a mummy, winged "zozoes," and even a
headless horseman. Most of the stories took place in and around the Collins
estate in Collinsport, Maine, although Barnabas or Quentin occasionally traveled
to the Netherworld, Limbo, Eskimo Point, the Island of Eternal Youth, and other
locales. Barnabas also indulged in a great deal of time travel. In almost one
dozen of the thirty-five issues, Barnabas used various methods to transport
himself to the seventeenth, eighteenth, nineteenth, or (in
Dark Shadows
#11) twenty-first century.
Although Barnabas occasionally behaved more
like a super-hero than a vampire (e.g. #3, #5, #13, #15, #33, et al.), editor
Wally Green and writer Arnold Drake tried to remain faithful to their basic
concept of the character as a romantic hero. According to Green, "We thought of
him as a sympathetic character with a lot of problems. That's the way we saw
him. He had to be a hero despite the evil part of him which he was constantly
fighting."
Green continued, "We [at Western Publishing Company] were very
circumspect with any comic book we did which was based on a licensed property to
see that the material went to the licenser and we got a written approval on it
before we went to press. However, I don't remember that we
ever did that
with Dark Shadows! Actually, Dan Curtis Productions had zero input. Every
story was original with its author."
Although such unsupervised
originality was a dream come true for the writers, the
readers of Gold
Key's
Dark Shadows comic book often suffered through drastic
inconsistencies and deviations from the established facts, history, and
relationships depicted on the ABC-TV series. Even more disconcerting was the
fact that many of the comic-book stories themselves did not even agree with
each other as to which of the seven regular characters knew Barnabas's
secret, whether or not Quentin could speak while in werewolf form, whose name
was what, and even whether Elizabeth Collins Stoddard and Roger Collins were
indeed brother and sister or (as incorrectly portrayed in the infamous
Dark
Shadows #28) "husband and wife!"
Arnold Drake admitted that he did
not watch the TV series regularly while he was writing Gold Key's
Dark
Shadows comic book.
"I saw a few episodes of 'Dark Shadows,'" Drake
said. "I did not see many of them. It wasn't one of my favorite shows. I saw
several of them because I knew that Dan Curtis was turning out a good,
low-budget package, and I was interested in the techniques. As a man who had
written and produced for the screen, I was interested in the techniques that
were being used to knock those things out at the bottom dollar they were doing
them for. So I did watch [a few episodes] for that reason, and I read a number
of the stories that had been written [by Dan "Marilyn" Ross], one or two of the
theatrical scripts [of
House of Dark Shadows and/or
Night of Dark
Shadows], and some of these comic books which had been written before I
started to write them. And I gained the basic flavor of it
: the
language, the somewhat 'purple prose' which makes something like that work, and
I'm not knocking it at all. And then I just took off on my own. I would get
outside the 'house cast' [of Barnabas, Elizabeth, Quentin, Julia, Roger,
Angelique, and Stokes] and search for other themes. One of the things I tried
to do [with
Dark Shadows] and with most of my comics was to bring in as
much of the real world as I could
: to try to write out of the headlines
and out of what was happening.
"My goal was to write a good story. The
'fans' are interested
beyond the normal interest in a story. Their
interest becomes almost like a religion or something bordering on it. So they
are interested ritualistically
: they want everything to be 'observed' in
a particular kind of way. The writer is not interested in the 'ritual' of
Dark Shadows. He is interested in the people, yes; in the characters, of
course; and in the best darn stories that he can get out of them, but
not
in whether he observes precisely what Jonathan [Frid as Barnabas Collins]
should do under these precise conditions so that it will be in agreement with
twenty other stories that came before [or be in agreement with the television
series]. If the writer involves himself that much in the 'ritual' of
Dark
Shadows," he isn't going to get a decent story. He's going to be
restricted—bound—too much by what has been done."
Despite
some fallacies and low points within the 35-issue run of Gold Key's
Dark
Shadows, excellence shone through many other issues. Quite a few issues
of
Dark Shadows presented exciting, thought-provoking stories which were
true to the TV characters and their backgrounds and/or were good comic-book
stories in their own right. Occasionally, the writers even produced a tale
which fans might have wished could have been dramatized on the TV series or in a
third
Dark Shadows movie. Issues #1, #4, #6, #8, #11, #17, #18, #24,
#31, and #32 were superb. Issues #7, #25, #29, #34, and #35 were above average.
The remaining twenty issues of
Dark Shadows ranged from average to below
average. Nevertheless,
Dark Shadows fans still seek out the comic books
and pay top dollar for this unusual facet of the voluminous
Dark Shadows
memorabilia (which also include model kits, games, puzzles, masks, gum cards,
LPs, View-Masters, et al.). A near-mint copy of even the least valuable issue
is worth more than $60.00—and the value of a near-mint
Dark Shadows
#1, complete with the pull-out poster of Barnabas still attached, is worth more
than $410.00.
In the
Dark Shadows comic book, the circumstances of
Barnabas's becoming a vampire were left vague at best and contradictory at
worst.
Dark Shadows #1 (December 1968) revealed that "in the late
eighteenth century
...a real witch, more evil than death, cast the curse
which doomed Barnabas to eternal existence as a vampire." The witch was
Angelique, who appeared in eleven issues of the comic book to torment (and
occasionally aid) her beloved Barnabas. However, three-and-one-half years
later, in
Dark Shadows #14 (June 1972), Barnabas mused, "My travels took
me to the West Indies! Now, I return with the dread mark of the bat!" This
story ("The Mystic Painting") asserted that Barnabas was cursed in the West
Indies in about 1740 as opposed to the TV-series fact that Angelique cursed
Barnabas in Collinsport in 1795-1796 (as
Dark Shadows #1 also
implies).
The
Dark Shadows comic book succeeded in observing most
of the conventions of vampirism. By day, Barnabas remained in his coffin; the
box was seen in almost every issue of the comic book. At least five issues
(#10, #11, #24, #31, #33) even mentioned the bit of "native soil" which Barnabas
needed to keep inside his coffin. "The Thirteenth Star," the excellent story in
Dark Shadows #11 (November 1971), even hinged on the need for the soil.
In this one point at least, the comic book bested the TV series, for the TV show
never mentioned vampires' need for native soil.
After enduring the
brief catastrophe of having his coffin
stolen (in #21), Barnabas actually
carried his coffin with him when he traveled away from Collinsport (in #23 and
#24). However, in
Dark Shadows #33, as Barnabas prepared to follow
Quentin to Eskimo Point, the vampire was confident that "nature will provide
some sunken hole in which to rest."
Barnabas seemed to have no trouble
crossing water (e.g. #19 and #24), but his primary enemy remained the dawn. The
vampire found "reflected sunlight" to be painful in issue #24, and the sunrise
almost caught him away from his casket in #25 and #27. The sun
did come
up on the hapless vampire in
Dark Shadows #10 (August 1971) when his body
withered away and his soul was snatched by Termina, high priestess of St.
Lucifer Island. (Quentin Collins and Dr. Julia Hoffman succeeded in
resurrecting Barnabas.)
Writers D.J. Arneson and Arnold Drake and editors
Wally Green and Denise Van Lear also made frequent use of the vampiric
convention of the transformation into a bat. Just as he sometimes did on the TV
show, Barnabas turned into a bat in almost two dozen of the thirty-five issues
of the comic magazine. Finally, the writers handled with caution the matter of
the actual bite. Although in many comic-book panels Joe Certa prominently drew
Barnabas's fangs in his mouth, Barnabas was rarely seen biting anyone.
Sometimes, Barnabas's attempt at biting was foiled by a cross or some other
distraction; at other times, the bite was suggested more than shown. Barnabas
actually fed in only a handful of issues (including #1, #8, #18, #30, and
#32).
Most curious of all was the fact that Barnabas Collins was
not a vampire in issues #3 (November 1969) through #7 (November 1970).
The writers gave no explanation for this startling move other than Barnabas's
casual line in
Dark Shadows #4 (February 1970) about "the day Angelique's
curse dissolved." In issues #3 through #7, as well as in the June 1970
Dark
Shadows Story Digest Magazine, Barnabas lived in fear of the curse's
reactivation as he was "forced to walk the thin line between worlds." Then, on
the splash page of
Dark Shadows #8 (February 1971), vampire Barnabas was
seen once again lamenting his unholy affliction. Without a transition or even
an explanation, he was a vampire again for the duration of the comic-book
series. Perhaps the writers made Barnabas human for a year because there had
been periods on the TV show in 1968-1969 when Barnabas had been cured and was
human again.
Several other vampires found their way into the
Dark
Shadows comic book. In
Dark Shadows #7 (November 1970), Angelique
transformed herself into Barnabas's double and bit Collinsport citizen Pamela
Cordon. Pamela, now a vampire, bit Terk, a wharf bum, and planned to make
Barnabas a vampire again, too. However, Professor Stokes developed a serum
which cured vampirism and used the serum to return Pamela and Terk to normal.
Apparently, Stokes—and the writers—had forgotten about the cure
before Barnabas could have used it. Curiously, Pamela Cordon returned in
Dark Shadows #23 (December 1973) in a story which took her,
Barnabas, Quentin, and Stokes to Amenti, a village populated by the 400-year-old
Cult of the Dasni. Having drunk from the cursed waters of Ab-I-Hayat, the Dasni
cultists were immortal vampires who made Pamela Cordon one of their own. In the
excellent
Dark Shadows #8 (February 1971), Barnabas killed Tybalt, an
occultist who sought to kill Barnabas and Quentin. However, Tybalt was
resurrected as a vampire and further terrorized Barnabas and Quentin until he
was impaled on a stake. In
Dark Shadows #20 (June 1973), werewolf
Quentin Collins himself became a vampire during the full moon when he
accidentally received Dr. Julia Hoffman's blood serum meant to cure Barnabas!
At the end of the story, Julia developed another serum which cured Quentin of
vampirism (but not lycanthropy) but which, in another forgotten plot point,
seemingly never was used on Barnabas.
An outstanding exploration of
vampirism took place in
Dark Shadows #24 (February 1974), one of the very
best issues of the series. In Arnold Drake's story "On Borrowed Blood," an
emergency blood transfusion from Barnabas turned the ruthless millionaire Andre
Markovian into a vampire. Markovian used his new supernatural powers to become
the dictator of the island nation of Romanique, and he blackmailed Barnabas into
acting as his First Minister! Ultimately, the leader of Romanique's rebel army
fired a crossbow whose arrow pierced Markovian's heart and ended his unnatural
life and evil reign. Deadman creator Arnold Drake said of this fine story, "I
had fun with that." Despite some failings, Drake and other creative forces
behind Gold Key's
Dark Shadows comic book led the magazine to quite a few
creative pinnacles before it was cancelled in late 1975.
Halfway through
the run of the
Dark Shadows comic book, Barnabas and Collinwood enjoyed a
second four-color incarnation—in the "funny papers." Syndicated by
Register Tribune, the beautifully drawn
Dark Shadows newspaper comic
strip appeared in papers seven days each week between 14 March 1971 and 5 March
1972. The comic strip presented six different stories, each lasting two
months.
Although the writer of the
Dark Shadows newspaper comic
strip was never credited, the strip's story editor was Elliot Caplin, younger
brother of
Li'l Abner creator Al Capp (Alfred Gerald Caplin). Yale
graduate Elliot Caplin scripted the newspaper comic strips
Abbie and Slats,
Big Ben Bolt, Doctor Kildare, and
The Heart of Juliet
Jones.The illustrator of
Dark Shadows was Kenneth Bruce Bald,
who had drawn the
Doctor Kildare strip in the 1960s and
Judd Saxon
in the 1950s. Ken Bald, a Pratt Institute graduate, first made his mark
illustrating the comic-book adventures of Captain Marvel, Bulletman, the Black
Owl, and Captain Battle in the 1940s. In the 1971-1972
Dark Shadows
newspaper comic strip, Ken Bald achieved a remarkable likeness of Jonathan Frid
as Barnabas Collins. In addition to Barnabas, the only TV characters ever to
appear in the year-long comic strip were Elizabeth Collins Stoddard, her
daughter Carolyn Stoddard (
never seen in the comic
book), and the
witch Angelique.
In one storyline, Barnabas traveled back in time two
hundred years. In other stories, Barnabas battled a 310-year-old warlock, a
Caribbean voodoo cult, and "Mr. Sinestra, Monarch of Darkness." In one of the
two best storylines (May-July 1971), Barnabas became romantically involved with
the Egyptian goddess Isis, who believed that Barnabas was the seventh
reincarnation of the god Osiris. In the other of the two best tales
(July-September 1971), Barnabas fought werewolves in Collinsport and in Europe.
In the entire, year-long run of Ken Bald's
Dark Shadows newspaper comic
strip, the vampire Barnabas Collins fed only once. On 9-10 June 1971, Barnabas
gave Isis "the bite of love!"
Finally,
Dark Shadows returned to
comic books very briefly in the early 1990s. In 1991,
Dark Shadows was
reborn on NBC-TV as a nighttime serial starring Ben Cross, Barbara Steele, Roy
Thinnes, and Jean Simmons. Although the new Dark Shadows was a superb remake
with fine production values and clever new twists, it was cancelled after a
two-month run. One year later, in mid-1992, the now-defunct Innovation Comics
launched a
Dark Shadows comic book based on the new TV series. Only nine
issues were produced irregularly before Innovation abruptly went out of business
on December 31, 1993.
Although the intricately painted illustrations (by
E. Silas Smith and later Jose Pimentel) were often exquisite and highly faithful
to the likenesses of Cross, Steele, and the other actors, the lackluster
writing of the nine issues was the comic book's undoing. With each new
issue, the writers (David Campiti, Scott Rockwell, and Maggie Thompson) veered
farther and farther away from the established TV characters and instead
populated Collinsport with a man who could read minds through touch, an old
dollmaker named Granny Whitlock, and even Euryale and Stheno, the two immortal
Gorgons of Greek mythology! Most of the readers of Innovation's
Dark
Shadows comic book probably wanted to read stories about the established TV
characters instead of tales about so many new characters. The comic book first
went wrong (in issue #2) when it took Barnabas Collins and Dr. Julia Hoffman to
Barrettstown, a Colonial-style village populated with small, gnomelike, mutated
freaks controlled by the Reverend Redmond Swann, a centuries-old religious
fanatic. This ill-conceived
Dark Shadows comic-book incarnation's only
redeeming qualities were its usually gorgeous artwork and its brief flashbacks
to 1790 in the first four issues. Its ultimate, swift cancellation was no
loss.
The Gold Key comic books' stories were impressive almost half the
time, and the Gold Key cover paintings were often stunning. The Innovation
issues' interior artwork was usually beautiful, and much of the short-lived
newspaper comic strip was a real joy. Nevertheless, the immortal Gothic serial
Dark Shadows has yet to reach its full potential as a comic book or a
comic strip. The 1966-1971 and 1991 television series remain extremely popular
because of their availability on VHS, DVD, and the Sci-Fi Channel, so perhaps
some day,
Dark Shadows will find its way to the four-color medium for a
fourth—and even more creatively fulfilling—time.