I reread the story after I’d inked the image. Sigh. If I were to draw the piece now, the Monster would be wielding a cutlass and a blunderbuss. Oh well.
One of my favorite Frankenstein sequels is the short story “Black as the Pit, From Pole to Pole” by Howard Waldrop and Steve Utley. It picks up where the novel left off with Frankenstein’s Monster wandering across the polar ice cap. He has discovered that Frankenstein made him too well – the ice and cold won’t kill him. He doesn’t want to try drowning himself – it might not work. So he keeps walking – right into the northern opening to the hollow earth.
He makes his way through the Earth encountering all manner of monsters, beasts and weirder things, conquers kingdoms, finds love, and sows fear and destruction in his path. Eventually he comes out at the South Pole. I liked the story so much that I bought the book Custer’s Last Jump just so that I wouldn’t have to check it out of the library the next time I wanted to read it. One of these days I’ll have to get around to reading the other stories that keep it company.
From left to right – Wilbur Whateley, the Frankenstein Monster and Helen Vaughn. I did a portrait of this trio last year. I didn’t think I did them quite the justice they deserved so here’s another attempt.
I gave the Bride the same neck bolts as the Monster. In the film she doesn’t have them. There’s no explanation in the film why she doesn’t. It’s possible that Frankenstein and Pretorius improved on Frankenstein’s animation process and the bolts weren’t necessary. Or perhaps they put the bolts in a more discreet place?
I’ve read that the Bride (of Frankenstein) spends less than two minutes onscreen. In that short time she manages to be unforgettable. It does help that Bride of Frankenstein is a good movie and the Bride herself never got watered down or ruined by appearing in sequels.
This version of the Frankenstein Monster is inspired by the comics of Dick Briefer. Briefer did both serious and humorous versions of the creature.