Review: King Dracula #2 - Crimson Rebellion
From Zenescope
The rise back up continues here in King Dracula #2 from Zenescope Entertainment.
Reinvigorated but still hunted, Dracula emerges from the sewers of New York City, ready to take back the world that was so ruthlessly stolen from him. But he realizes the Vampire Lords’ control has grown even deeper into the roots of society in his absence, and new dangers lurk at every turn.
But desperate times call for desperate measures, so he seeks an unlikely ally who despises him more than any other…his daughter!
Story: Joe Brusha & David Wohl, Writer: David Wohl, Artwork: Massimiliano La Manno, Colors: Jorge Cortes, Letters: Taylor Esposito (Of Ghost Glyph Studios), Editor: David Wohl, and Production & Design Christopher Cote
This is an odd mini-series, but in a way that works in its favour. You find yourself rooting for Dracula, which isn’t something you expect going in. As the self-proclaimed King of the Vampires, he’s clawing his way back to the top of the vampire hierarchy, trying to reclaim a throne that was very deliberately taken from him. And it couldn’t be happening at a worse—or better—time, because the vampire lords ranged against him clearly have their own long-term plans for humanity, and those plans don’t seem subtle or merciful.
Those plans involved blood—specifically Dracula’s—and now that the gloves are off, it’s clear they aren’t messing around anymore. There’s a real sense of escalation here, both in terms of violence and stakes. At first glance, Dracula appears weakened and outmatched, but that impression doesn’t last long. He isn’t nearly as powerless as he lets on, and as this issue unfolds, it becomes evident that he’s been thinking several moves ahead. In this particular chapter, things actually seem to be going his way, which makes the tension even more interesting because you know that kind of momentum never comes without a price.
That’s not to say he’s doing all of this alone. Some vampires are still loyal to Dracula—at least for now—and their presence adds another layer of uncertainty to the story. Loyalty in vampire politics is clearly temporary, and that keeps every interaction feeling dangerous. There’s also a nice twist in the vampire lords’ larger scheme that unexpectedly works in Dracula’s favour, and it’s one of those moments that reinforces why he’s still such a formidable figure despite being knocked down.
The issue itself is action-packed, with significant collateral damage along the way. Humans and vampires alike get caught in the chaos, and nobody feels truly safe. The fight scenes move fast and hit hard, and I liked the pace—they don’t linger too long, but they’re still clear and impactful. There’s a good sense of brutality and consequence here, which fits the tone of the series well.
Overall, this continues to be an interesting series, especially in how it’s positioning Dracula within the more expansive Zenescope universe. Where this all ends up is clearly going to have implications for the Grimm Universe as a whole, and probably Van Helsing in particular. After the brief cameo, it also looks like Dracula’s daughter is going to be involved going forward, which opens up even more possibilities. If nothing else, this mini-series keeps finding ways to make Dracula compelling without pretending he’s anything other than what he is—a monster with a crown to reclaim.
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