Life may seem peaceful … but never if your name is Van Helsing.
Creative Staff:
Story: Joe Brusha, Ralph Tedesco, Dave Franchini & Pat Shand
Writer: Pat Shand
Artwork: Alessandro Uezu
Colors: Walter Pereyra
Letters: Taylor Esposito
What They Say:
Liesel Van Helsing has protected the nights from vampires, werewolves, and creatures beyond nightmares for years. Now, all of her deadliest foes return in one final attempt to break the famed hunter: Dracula’s Daughter, Frankenstein, the Beast of Exmoor, the Invisible Woman and more launch an all-out assault against the hero. Before they let her die, though, they have a plan to break her down in a way that she’s never been before. Will this be the end for Van Helsing?
Content (please note that portions of review may contain spoilers):
With the banishment of her father, Charlotte has searched for a way to release him from his imprisonment, and now after an arduous pursuit has found a sanguine ritual which will summon one who can free Dracula, however with utmost secrecy this nameless being bequeaths his new follower a boon to call him only when the time is right, then will he grant what she desires, by taking what he wants as compensation. However as the moment for his release nears, this blood princess knows she can only begrudgingly accomplish this formidable task with the assistance of a new League of Monsters, all with resentment against a common foe and the one who caused the downfall of all – Liesel Van Helsing. This motley crew who follow Charlotte are composed of a human calling herself the Bride who was once an impressive cryptozoologist by creating a new body for her husband’s dying consciousness, but this now decrypt form named Frankenstein has reverted to animalistic instincts but joins his wife for revenge, a man once named Phil inherited the family curse after his sister was killed by the monster hunter and now is called the Beast of Exmoor, with the final member an Invisible Woman from another world with the intention of preventing her future from happening, and while all may think she is mad, that makes her a weapon easily manipulated.
But as this shadowy organization plan their next move, their intended target Liesel and boyfriend Rick are roaming the streets of London and enjoying the nightlife, but this American cannot but wonder how the world has changed for his girlfriend, now that he knows of her past with the knowledge the last time she saw this foggy city was centuries ago. While the man can recall his childhood house, he cannot imagine what it must be like for a woman who was exiled and only having memories of long ago, with Van Helsing admitting it is odd to see buildings which look familiar but changed, though sorrowfully admitting since they always moved around, she never really had a place which she could call home. Although this affectionate couple may jokingly bicker about Rick trying not to imply Liesel as being old, all this nostalgic Brit can remember as she walks and witnesses historic landmarks is the last time she was here with Ares, with these modern alleyways the place where they clashed with and defeated her father’s old foe Dracula. It is scary that all of the memories Van Helsing has of London are not about family or someone she loved, but the grisly encounters she had with monsters, gore and death, and certainly too frightening to tell Rick, but as she is brought back to the present by a disagreement about a questionable dish for this Yank called blood pudding, their conversation is abruptly cut short. The humorous man’s speech is swallowed up by his vain attempt to catch his breath, stumbling forward in shock as both see a crossbow bolt protruding from his neck, and while he may wish to pull the painful projectile out, Liesel stops the foolish action in hopes of preventing excessive bleeding, only to have this impromptu first aid crisis cut short as another dart narrowly misses the startled woman and silently impacts on a nearby wall.
In Summary:
Ever since we were introduced to Charlotte Le Fanu in Van Helsing vs. Dracula’s Daughter, we have known this beautiful vampiress to be a fiercely tenacious woman, not letting a little thing such as death stand in the way with being reunited with Dracula, but of course with the fallout from Van Helsing vs. The League of Monsters, it was only a matter of time in which history repeated itself and she was separated from her father as he was exiled to the Underworld. And yet now with this new series Van Helsing: Return of the League of Monsters, it allows this vengeance driven woman to correct the wrongs she feels have been done to her family by unfolding a harrowing tale created by Joe Brusha, Ralph Tedesco, Dave Franchini and Pat Shand to keep readers guessing as to what may happen next, and permitting writer Shand to craft a new story of retribution and cyclic hatred. However as this intriguing tale opens with the introduction of familiar characters who seek to balance the scales against the monster hunter, the motivations for each person differ as much as their personalities, with the only common factor being they blame Liesel for the wretched state of their prospective lives. While her own action as in the case of the Invisible Woman for seeking out the Bit may the cause, or a family curse surrendered to Philemon after the death of his twin sister Phillipa, these are understandable reasons of wanting to confront Van Helsing, and yet it is questionable as to why Charlotte or the Bride would wish for the same against a woman who supposedly caused them no wrong, or the grudge should have been settled long ago; it was Hellchild who sent Dracula into the depths and Taylor sacrificed herself to save husband Franklin from being destroyed, so why go after someone who directly holds no fault for another’s actions or their own, especially when it would mean going after someone they know defeated them and most likely could do so again.
Then we have the conspicuous decision within the story – why would someone as intelligent as Charlotte and prejudiced against humans join with those who she only sees as a food source and easily manipulated pawns? While the Beast of Exmoor could be considered a substitute for the werewolf Lycaon from the original series, and the Invisible Woman’s mental faculties make her disposable weapon, this leaves us with the reason for allowing Taylor to soil this proud vampire’s presence with the stench of a lowly sack of blood. Although it was hinted that this genius inventor had returned at the end of Van Helsing vs. The League of Monsters with her comforting a buried Frankenstein, then subsequently scouting new allies also at the close of Van Helsing: Invisible Woman and Van Helsing: Beast of Exmoor, it makes one wonder how she could still be alive after being unintentionally impaled by Liesel at the end Van Helsing vs. Frankenstein, unless someone in the shadows was watching the battle against the Mothman five years ago and decided this cryptozoologist and her creation could be of use for future plans, with a plausible explanation hopefully to be disclosed soon.
However what painfully unravels something that could have been a fulfilling narrative is the closing line for Charlotte during the opening act, with her uttering the classic line: “… and turn her very existence into an act of suffering.” Whenever we as an audience hear that clichéd idea of a statement within a movie, it is obvious the act of vengeance will not be a straight forward confrontation, instead allowing the cunning antagonist or protagonist to construct an elaborate series of catastrophes which will slowly chisel away at their rival’s protective shell, often composed of close allies or family members, thus lengthening the tension inducing story. As such with this predictable foundation now set, it is clear who this new League of Monsters will go after if not Liesel, with all of her allies overseas and any close relations aside from a hateful half-sister deceased, the only reasonable target would be boyfriend Rick, unable to protect himself and thus reliant on the deadliness of a certain vampire hunter, thus making his inevitable defeat a traumatic blow and psychologically advantageous against such a formidable foe.
While the story itself may be leading in its literary ambitions, it is Alessandro Uezu’s fantastically dark artwork which keeps the reader entranced in what it is trying to accomplish, all due to an oddly enticing portrayal of Charlotte playing with her food and allowing the panels to guide the audience forward at its own pace, captivated by the focal image of this powerful woman preoccupied in her grisly work. But what makes this scene so ominously appealing is the dismal color palette of Walter Pereyra, with a diaphanous veil of shadows clinging to every image, making this commanding vampiress all more beguiling with rosy hints of skin tantalizingly peeking out from a curve hugging costume, even as she pours a sanguine bowl of viscous goodness, so static as if the blood has been frozen in time and she may release it to stand alone. Strongly defined linework from Uezu gives Charlotte a domineering presence, her sharply contoured face showing none of the cruelty which she is known for, resulting in a somewhat submissive innocence within this opening. And yet as we turn the page and witness the being she has summoned, his imposing form looking down upon the one who called him, it is immediately evident this woman is willing to sacrifice anything to achieve her goal, made readily apparent as we watch this crimson laden act come to a close with a focus upon a ghastly grin and gleaming fangs.
However as we are introduced to this new League of Monsters, it is then when readers realizes the lone human who occupies a place within this maniacal menagerie is the one who stands out the most, and it is not due to the choice of a lavender dress blouse which encloses her shapely curves, but the sickly skin when compared to that of her undead mistress. If the Bride is supposed to the singular person who is normal within this group, then how can her countenance be so pale when compared to someone who has not had blood pumping through her veins for centuries, made especially noticeable when they are shown side by side in the group portrait, with Charlotte having a more pleasing blush and Taylor’s complexion appearing washed out, as if she is being exposed to a personal spotlight. This tendency for Pereyra to overcompensate on the illumination for the human characters is carried over when first see Rick and Liesel, for while they are walking through a fog laden London night, they seem to be followed by the same distracting illumination, their skin tones constant shifting from bleached out and only returning to normal when in shadows and the throes of a battle. And while this minor flaw may be slightly annoying, it is the glaring change of our beautiful Brit’s eye color which loyal readers cannot ignore, from the sultry brown which was tempered by her flowing mane of ebony hair to a shocking peridot which makes us wonder if this the same Van Helsing we have always known through all of her harrowing adventures.
Van Helsing: Return of the League of Monsters has an encouraging premise for a tale of revenge, but as readers progress past the opening act and the promising return for a much beloved character, the leading narrative slowly spoils the tension one should feel for such an ambitious goal. But even as fascinating artwork attempts to keep our attention glued to every captivating panel, it is the lack of consistency within somber colors which serves as an unwelcomed distraction instead of a balancing guide to the enthralling momentum which unfolds before our despondent eyes. However as the Bride finally sees the error in her ways and we are given a whisper of hope, it is the future conundrum of limited space within the finale which leaves us to wonder if all our questions will be answered, or will this title leave us wanting for more due to a lack of finality.
Grade: A
Rating: T (Teen)
Released By: Zenescope
Release Date: November 10, 2021
MSRP: $5.99
