Captain Kronos – Vampire Hunter is an odd entry in the Hammer Studios horror oeuvre. After a couple of decades of movies featuring middle-aged scholars struggling against monsters and supernatural menaces, Captain Kronos introduces a young, handsome, aristocratic swordsman as its hero. The movie was written & directed by Brian Clements, who previously had a prolific career in British television.
Clements is probably best known for his decade-long association with the spy-fi series The Avengers, and he brought much of the energy & ingenuity of that show to Captain Kronos. The movie was a deft blending of swashbuckling action and gothic horror. Clemens had conceived of Kronos as a possible franchise for Hammer. Unfortunately the movie was not released for two years after its completion in 1972, and its theatrical run was limited. Between that and Hammer being on its last legs, there would be no further cinematic adventures for Kronos.
Over the next few decades, however, the movie would go on to become a cult classic, gaining numerous fans. I saw it on television twice in the 1990s, and thought it was amazing. I’ve re-watched it several more times since it was released on DVD in 2003.
I definitely agreed that Kronos had the potential to helm an ongoing series. Obviously others also felt the same way, and the character has at long last been revived by Titan Comics in a four issue comic book miniseries written by Dan Abnett, illustrated by Tom Mandrake, colored by Sian Mandrake, and lettered by Simon Bowland.
Set in the mid-1600s, the first issue opens with Kronos and his fellow vampire hunters Grost and Carla pursuing the undead fiend Porphyr across Eastern Europe. This chase leads the trio to the town of Serechurch, which is beset by a plague of vampirism. The town elders ask Kronos to rid them of these monsters, and the swordsman, eager to continue his vendetta against the undead, agrees.
Abnett does a good job writing a fast-paced story. There are several exciting action sequences in the miniseries. Much as Clemens did in the original movie, Abnett also effectively utilizes a certain amount of humor in order to offset the horror and violence of the plot.
The characterizations of Kronos, Grost and Carla are tweaked to various degrees. Clements merely hinted at Kronos’ immense obsession in one scene, and for the rest of the movie depicted him as a level-headed strategist. Abnett, however, re-casts Kronos as a brooding monomaniac who charges in to danger. Grost is no longer quite Kronos’ close friend, but rather a mentor who is alarmed at his protégé’s rash actions. Carla has evolved from Kronos’ girlfriend and inexperienced assistant to a very adept vampire hunter in training.
It is certainly possible to see these as logical extrapolations of the characters. One can imagine Kronos, after repeated encounters with the forces of darkness, and the loss of a number of people who were close to him, eventually becoming harder, more obsessed and rash. Grost, the level-headed scholar, would be alarmed to see this change, and would probably feel that stern admonitions would work better than heartfelt pleas at bringing the Captain to his senses.
Carla is the most-changed of the trio. The sweet, kind Gypsy girl has become a tough, take-no-crap fighter. I appreciated that Abnett gave Carla much more agency in this story than she had in the movie. At times, though, I felt perhaps he did go too far in changing her.
That said, via her dialogue in this miniseries we can conclude that Carla’s first meeting with Kronos was a transformative experience. She became aware of both the existence of the supernatural and of the wider world outside of her tiny village home. Already cognizant of the very limited choices available to women in the 17th Century, and now awakened to the dangers posed by vampires & their ilk, Carla obviously decided that the best opportunity she had to both gain independence and acquire the skills necessary to survive in a very dangerous world was to join Kronos and Grost on their quest.
Abnett does fortunately still retain some of Carla’s innocence and inexperience. Upon arriving at Serechurch, she thinks to herself that it is the “biggest place [she’s] ever seen” and wonders “Is this what a city looks like?” In the next scene, entering the hall of the town council, Carla is awed by the wealth on display, whispering to herself “Is that gold? The ceiling’s painted with gold.”
The one real criticism I have concerning Abnett’s writing is that at times his scripting is a bit too present day, especially in his humorous banter. Early in the second issue Kronos goes off to scout the town quarter occupied by the vampires. Carla, fearing that he will do something rash, tells Grost “Let’s hope Kronos doesn’t do anything too Kronos before we’re ready.” That line feels more like it belongs in an episode of Buffy the Vampire Slayer than in a Hammer Horror period piece.
There is also a running gag throughout the miniseries where one of the three main characters will curse and another will respond with a chiding tsk tsk of “Language.” It’s funny the first couple of times, but after that not so much.
On the artwork end of things, Tom Mandrake is certainly a very appropriate choice to illustrate Captain Kronos – Vampire Hunter. Mandrake has a great deal of experience working on horror-related series, such as his acclaimed collaboration with John Ostrander on The Spectre at DC Comics and his work with Dan Mishkin on the grotesque miniseries Creeps from Image Comics. Mandrake superbly renders both the supernatural elements and the fast-paced action in Abnett’s plots for Captain Kronos.
Mandrake’s storytelling is very effective on this miniseries. It works equally well in the action sequences and in the quieter moments when characters are conversing.
One thing I noticed regarding Mandrake’s layouts is that many of the pages are constructed to contain tiers of three to five panels stacked vertically. I don’t recall Mandrake employing this device before. I am curious if he made this choice in order to evoke the widescreen frames of a movie. It is an interesting creative decision, one that does suit this story.
As I have observed before in other reviews, when working on licensed properties it can be a tricky proposition for an artist to capture the likenesses of actors. Sometimes going too photorealistic can actually be jarring, with characters who look like they were traced from photographs, which can really take the reader out of the story. It is usually more important for the artist to depict the personalities of the characters.
To wit, Mandrake’s renderings of the main trio in Captain Kronos do not look especially like actors Horst Janson, John Carson and Caroline Munro; however they do feel like the characters of Kronos, Grost and Carla, if you understand what I mean.
Sian Mandrake is obviously going to be very familiar with her father’s artwork, with knowing what works over it and what doesn’t, and she does an excellent job coloring it. The subdued palette she utilizes works well in the service of the story, with the occasional bright splash of color for blood or fire consequently standing out.
The only quibble I have concerning the coloring is that Sian gives Carla reddish-brown hair. A darker color, something closer to black, would have more closely evoked the look of actress Caroline Munro.
Despite a few missteps in the writing, I really did enjoy the Captain Kronos – Vampire Hunter miniseries. I definitely would like to see a follow-up from the same creative team. There is a great deal of potential to these characters, and to the world they inhabit.
My dream would be to see Kronos encounter the Hammer Studios version of Dracula. In real life actor Christopher Lee was an expert fencer, and so it would be very appropriate to have his iconic depiction of the lord of the undead cross swords with Kronos. There is also the infamous Karnstein family, who were actually alluded to in the movie. They would make appropriate adversaries for Kronos to meet in combat.
Really, there are a lot of possibilities, and I hope that the character returns soon.