PROG: 97 – DEAR MUM
Script: John Richardson
Art: John Richardson
Letters: Peter Knight
Plot: A humanoid writes home to his mother after 5,000 years of ‘exile’ on a planet after having committed the first murder in a society that had discovered everlasting life. He recounts how he managed to make a primitive shelter, hunt wild animals for food and eventually build himself a large impregnable structure high on a hill. He tells her not to worry, his 20,000 year sentence will pass, meantime he has had a nap…
Shock: ..and is heading down to ‘the village‘ for a ‘bite to eat‘. Our mysterious correspondent is none other than Dracula.
Thoughts: John Richardson becomes the second person to fulfill both scripting and drawing duties (Kevin O’Neil, FS 11, Prog 35) in this rather abrupt odd tale of Dracula’s back-story. The third Shock to feature vampires (FS 9, Prog 34; FS 30, Prog 60) the story is played straight and with the vampire looking at the reader in with a menacing salivating contemplation. The strip has several problems – obviously the society who had discovered ‘eternal life‘ had not encountered stakes, sunlight or garlic bread and there is a strange panel showing a stone hut that Dracula had constructed, obviously a tomb-reference, which is made from slabs of stone far too large for a single person, or presumably vampire, to lift. However despite the disjuncted nature of the ending the art is effective and polished, again very much in the traditional boys comics mold, and the idea of Dracula writing to his alien mother has a certain charm. Some impact is undoubtedly lost by the reveal panel being merely a quarter page panel and very static; a large image of Dracula chomping down on the locals would have given the story some dramatic impact. The most striking aspect of the strip is that, despite the context of Dracula coming from a foreign planet, through a combination of art style and topic the strip doesn’t feel like a 2000AD story.
Shock’d?: The only shock Richardson intended was the fun final panel of the fanged Count eyeing up the readers and, despite the space limits of it being on a half-page, it is nicely done. From a story-telling point of view, with the exception of the tomb image, absolutely anything could have gone before that final panel.