« The last I saw of Count Dracula was his kissing his hand to me, with a red light of triumph in his eyes, and with a smile that Judas in hell might be proud of. » — Bram Stoker

Comics fans of my generation might be forgiven for not fully appreciating Lee Elias‘ artistic assets if they encountered him, say, in Mystery in Space when he took over its lead feature, Adam Strange, from visionary Carmine Infantino. The series was mercifully soon discontinued, the victim of a game of editorial musical chairs designed to save the Batman titles, then — believe it or not — facing cancellation thanks to Jack Schiff‘s mismanagement.

So Schiff and Julius Schwartz traded workloads, Infantino grudgingly took over the Bat, and disaster was averted. But Adam Strange was the casualty.

While I do have a soft spot for Elias’ work on Ultra, the Multi-Alien (in Mystery in Space) and Eclipso (in House of Secrets), it wasn’t until I found out about his earlier, far edgier pre-Code shenanigans at Harvey Comics (with art director/designer/co-conspirator Warren Kremer) and, more directly and subtly his handful of stories for editor Murray Boltinoff‘s spooky titles (Ghosts, The Unexpected, The Witching Hour) in the 1970s, that I came to discern his light.

Boltinoff wisely played to Elias’ strengths in interests, handing him historical gothics to play with, and he delivered some of the finest work of his career.

Editor Boltinoff had this amusing idée fixe, commissioning purported ‘true’ stories wherein famous authors were “inspired” to pen their immortal works by some supernatural encounter earlier in life. From what I recall, Mary Shelley, Charles Dickens, Robert Louis Stevenson and — in this case — Bram Stoker were among the elected.

-RG