UNITED STATES AUTHOR · FICTION · CHILDREN
Gary Reed
Gary Reed (May 21, 1956 – October 2, 2016) was an American comic book writer, and the publisher of Caliber Comics, an independent comic book company that released 1,300 titles in the 1990s and published early work by many popular creators. Reed wrote over 200 comics and graphic novels, sometimes under assumed names (including Kyle Garrett, Brent Truax, and Randall Thayer). He was also Vice President of McFarlane Toys when the company launched in 1993. His comics writing credits include Saint Germaine, Baker Street and Deadworld. In addition to comics, Reed wrote a role-playing game for Palladium and wrote some of the storyline scenarios for Final Fight: Streetwise for Capcom. Source: Gary Reed on Wikipedia.
I am writing this to you in the happiest of moods.
— from Renfield
Most acclaimed
Dracula
1986
Our dramatization of this myth of ancient horror is not for children. We do not minimize the genuine horror and sexuality of the story. It is not camp; it is not played for laughs, though it does have important scenes of comic relief; we take the myth of the vampire seriously. It is not a marathon; we follow where Bram Stoker leads, carefully condensing and pruning his expansive novel into a tightly structured theatrical experience of normal length. We dissected the events and chronology of his story down to the minutest detail, and we found that his work is seamless; grant him only the premise that there can be such a being as a vampire, and all else follows with flawless probability and necessity. In the end, the audience should feel that they have been with our characters on a tremendous journey, a quest with life and death at stake, not just for their lives, but for their souls as well. The end of the play--the final victory over the vampire--is a transcendent victory over evil incarnate. This play is a play--not a dramatization with narration and dialogue. It is a fully realized play for the stage, conveying story through action and dialogue. We do go so far as to use Stoker's convention in which written messages convey important events and information, but we always present such messages in the mouths and by the actions of the characters who write and send them. Last but not least, we embrace the emotional richness of the 19th century language and characterization. In many cases, we draw our dialogue directly from Stoker.
Mary Shelley's Frankenstein
A monster assembled by a scientist from parts of dead bodies develops a mind of his own as he learns to loathe himself and hate his creator. Presented in comic book format.