OPERATION: IRON COFFIN #2 (IDW DARK)
As Count Dracula continues to atone for his sins, the past finds a way to come back and bite him. The Nazi train that is carrying the Vampire Virus is moving quickly towards its destination and the Count along with the British Allied Forces are the only hopes to stop it. But now a new wrinkle has been added, as it seems Dracula’s own children are on the train helping the Nazi’s.
Operation: Iron Coffin #2 - Written By Kenny Porter – Art & Colors By Tyrell Cannon – Letters By Shawn Lee – Edited By Dave Wielgosz - Published By IDW Publishing
Credit: IDW Dark
*** POSSIBLE SPOILER WARNING ***
STORY OVERVIEW:
As Dracula continues to make his way through the train, we get a flashback to 1898 when the resurrected count goes to the Harker house to make amends for his actions. Mina meets him with a gun and bullets for his troubles. But he is able to talk to Jonathan Harker’s young son Quincy and promises him that he will make amends to him and that if he ever needs him, he’ll be there. Fast forward back to the present, and we discover that Quincy is a Captain in the British Allied Forces and the reason that Dracula is helping is because of him as well as to eradicate vampires once and for all, which is the deal he made with Death. However, the further he makes his way through the train, the bigger and more challenging his opposition becomes. Further adding to his problems is the discovery that he has two alleged children who are helping the Nazi’s on the train. Hazel and Ivy want to infect the world and rule over it, and it is an added bonus that they get to torture their father in the process. Can Dracula continue to overcome the Nazi’s and stop the train, or will the Third Reich finally take out the Prince of Darkness?
WRITING:
This second issue picks up right where the first left off and wastes no time throwing the reader back into the chaos aboard the train. Kenny Porter continues to raise the stakes in a way that feels natural instead of forced, layering new revelations on top of the action without ever letting the momentum stall. Coming into this issue, we already knew Dracula had made a deal with Death to eradicate vampires from the world in exchange for his resurrection, but Porter smartly deepens that motivation by connecting the mission to Quincy Harker. The flashback to Dracula visiting the Harker home gives the story a stronger emotional foundation, showing that his presence on the train is not just about fulfilling a supernatural bargain, but also about trying to pay a personal debt for the pain he caused. That connection to the classic Bram Stoker mythology makes the series feel larger and more meaningful, while also proving that Porter has a real respect for the source material rather than simply using Dracula as a cool horror icon.
One of the strongest parts of the writing is how Porter balances the pulpy, blood-soaked fun of the premise with the heavier themes underneath it. There is plenty of violent action, dark humor, and over-the-top vampire brutality, but the issue never feels like it is only relying on spectacle. Dracula is written as a monster who is fully aware of what he has done and is now trying, in his own brutal way, to make amends. That does not suddenly make him heroic in a traditional sense, but it does make him far more interesting. Porter understands that the best version of Dracula is not just terrifying because of his power, but compelling because of his history, arrogance, guilt, and inability to fully escape the damage he has caused. This gives the issue more emotional weight than expected and makes every step he takes through the train feel like both a battle against the Nazis and a battle against his own past.
The deeper dive into Hazel and Ivy gives the issue its biggest narrative jolt. Their connection to Dracula immediately complicates the mission and gives the story a more personal threat moving forward. The idea that they were conceived during one of Dracula’s earlier hunts is a strong twist because it catches him off guard and reframes the legacy he is trying to destroy. Hazel and Ivy are not simply another pair of villains on the train; they are living consequences of Dracula’s past, and their resentment makes them dangerous in a different way than the Nazi soldiers around them. Their frustration over being unable to turn others into vampires gives them a clear motivation, and their alliance with the Nazis shows just how far they are willing to go to gain the power they believe they deserve. This makes them feel sadistic, ambitious, and emotionally driven all at once. By the end of the issue, Porter has not only expanded the mythology of the series, but also set up a more personal and dangerous conflict for Dracula as the story moves forward.
ARTWORK:
The artwork in this issue continues to bring this wild, blood-soaked world to life in a way that perfectly matches the energy of the story. Tyrell Cannon leans all the way into the absurdity and brutality of the premise, making every fight feel chaotic, violent, and entertaining without ever losing control of the page. The action is big, messy, and full of impact, but Cannon’s layouts keep the reader oriented through each beat. You always understand where Dracula is, where the danger is coming from, and how quickly the situation is escalating. That is especially important in a story set almost entirely on a moving train, where the tight corridors and enclosed spaces could easily make the visuals feel repetitive. Instead, Cannon uses the claustrophobic setting to his advantage, turning every compartment, hallway, and corner of the train into a pressure cooker where violence can explode at any second.
What makes Cannon’s art stand out is how well it balances gore, horror, and fun. The violence is over the top in the best possible way, with plenty of blood, monstrous attacks, and exaggerated physical damage, but it never tips into feeling unpleasant or gratuitous. There is a pulpy sense of style behind the carnage that keeps the issue exciting rather than exhausting. Cannon understands that this book is supposed to be horrific, but it is also supposed to be wildly entertaining, and that balance comes through in the expressive faces, dramatic poses, and sharp visual reactions throughout the issue. Dracula in particular looks fantastic. He can appear terrifying, regal, exhausted, furious, or haunted depending on what the scene needs, and that range gives the character more depth than if he were only drawn as an unstoppable monster.
The most impressive part of the artwork is how quickly Cannon can shift the mood from outrageous action to genuine emotion. One panel can be filled with gore, motion, and dark humor, while the next slows things down enough to let a look, a gesture, or a quieter character moment land. Those dramatic scenes are just as important as the action because they remind the reader that the story is not only about Dracula tearing through Nazis and vampires; it is also about regret, legacy, and the consequences of his past. Cannon’s color choices strengthen that effect even more. The brighter, more vibrant palette gives the book a stylish, almost grindhouse energy, making the blood and supernatural elements pop off the page while keeping the tone energetic instead of bleak. The colors help the train feel dangerous and alive, and they make the issue visually exciting from start to finish. Overall, Cannon’s artwork is a huge part of why this issue works so well, because it sells the madness of the concept while still giving the story the emotion and atmosphere it needs.
CHECK OUT MY REVIEW OF OPERATION: IRON COFFIN #1
Final Thoughts:
Operation: Iron Coffin #2 keeps the momentum going with a bigger, bloodier, and more personal chapter for Dracula. Kenny Porter deepens the story without slowing down the action, while Tyrell Cannon’s artwork delivers the chaos, horror, and energy this concept demands. This series continues to be an absolute blast and remains an easy Pull List recommendation. Do not sleep on this series! Make sure you jump on this train now, as you don’t want to miss what happens next.
FINAL GRADE: 10/10
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