11/15/2025
The mighty Marvel Comics universe may have been built on the backs of superheroes, but it never shied away from featuring non-superhero characters when urgency or inclination called for it. Such was the case in the early 1970s, when a convergence of looser content restrictions and growing popular interest in the occult and supernatural presented Marvel with a chance to “dip its toes” back into horror — a genre the company had originally explored in its earliest days, only to abandon after the Comics Code Authority (CCA) deemed such content off-limits. Seizing that rare moment when opportunity met readiness, Marvel plunged boldly into the genre, launching five horror-based titles within two years, along with a series of horror anthology comics. It’s a fair argument that in the 1970s, Marvel was the place to be for horror comics.
As revealed by ’s then-Editor-in-Chief, Roy Thomas, in an interview with the legendary Stan Lee for Comic Book Artist #2, which was republished on TwoMorrows., the company had little trouble pivoting to horror stories. This was due to their extensive reservoir of horror concepts, many of which originated from Stan Lee, who had been thinking them up over the years, for a time when content limitations were eased. Most of these ideas — based on vampires, werewolves, zombies, and Frankenstein-like creatures — drew from classic horror tropes of the 1950s and early 1960s. Others were embellishments of creatures from the black and white horror magazines that had otherwise been allowed to publish grisly tales.
Needless to say, many of the monsters Marvel introduced in its first wave of horror comics and stories didn’t quite mesh – stylistically – with the prevailing pop culture of the time. That began to change with the arrival of that is, until the arrival of Blade. Created by Marv Wolfman and Gene Colan — who, alongside Roy Thomas, Gerry Conway, Steve Ge**er, and Doug Moench, were among Marvel’s leading horror comic architects — Blade debuted in Tomb of Dracula #10 (1972), the publisher’s flagship horror title.
Although he began his “career” in the Marvel Comics universe as a supporting character, Blade had a distinctive vibe that set him apart from Daimon Hellstrom, the Man-Thing, and other fellow representatives of the quickly expanding Marvel “horror-sphere.” Indeed, unlike his peers, he carried the unmistakable aura of a superhero — a vigilante more concerned with hunting monsters than fighting crime.
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